paper size and colour is relay important  I would like to have a small  book sort of 8X10 in size most of the photo books are a4 or slightly larger  the images will be a bit smaller because the ratio  of the  of the images they don't don't fit fully. i did want a border round the images and i like the size of the images the way they are. for a book having the images smaller makes it interesting more personal you have to look for the animal. it will be the same in a galiry evanthough nthe images will be printed bigger people probaly wont get up close to the image so will have so serch for the animal thats what i want tpeople to look and find rather than it be in there face.  as regards to colour i think that whiye works the best its just very clean, simple its not off putting the black just blends in to the images to much and the conitations with black are very much about death and i don't want the book to be all dark the images have enough of that.  I wanted to try out the square paper becuase of How To Touch What by Lawrence Weiner, Eve Sonneman. all the images are on square paper but there images are in twos and the text is on the images so the problem of captions is not there where as with my book captions on squared paper dosen't work also i don't think there is any significance of squared paper. 

Published by Aperture in 1982 and long unavailable, Stephen Shore's legendary Uncommon Places has influenced a generation of photographers. Among the first artists to take color beyond advertising and fashion photography, Shore's large-format color work on the American vernacular landscape stands at the root of what has become a vital photographic tradition. Uncommon Places: The Complete Works presents a definitive collection of the original series, much of it never before published or exhibited. Like Robert Frank and Walker Evans before him, Shore discovered a hitherto unarticulated version of America via highway and camera. Approaching his subjects with cool objectivity, Shore's images retain precise internal systems of gestures in composition and light through which the objects before his lens assume both an archetypal aura and an ambiguously personal importance. In contrast to Shore's signature landscapes with which 'Uncommon Places' is often associated, this expanded survey reveals equally remarkable collections of interiors and portraits. As a new generation of artists expands on the projects of the New Topographic and New Color photographers of the seventies-Thomas Struth (whose first book was titled Unconscious Places), Andreas Gursky, and Catherine Opie among them-Uncommon Places: The Complete Works provides a timely opportunity to reexamine the diverse implications of Shore's project and offers a fundamental primer for the last thirty years of large-format color photography.

This was the last image I took in Thanet this was one of three badgers In a row. The mangled state of the corpse was evidence of its time spent at the roadside. The decomposing stages had already started. The smell was not very nice I tried not to keep Bex next to the badger for to long when focusing.  Again the roadside was very buzzy so we di have to keep moving.  At this point we did stop for a little while as I had managed to walk in to a signpost on the long walk to the badger and was forming a large lump and an unwanted headache.  I keep going back to the fox with the curve in the road although there is no curve in the road I tried to creating a slight angle to the image in the hope it will make it more visually interesting.  At this point you cannot see anything on the other side of the road it dose add this ominous blackness. I like the way it feels like it is creeping in further to the image like the darkness is going to take over the badgers being. The exposure was F4 and with a shutter of 1/160 this brings as much light in to the image as possible while freezing the flash.    The focusing was difficult with this image because of the constant moving.

This was an existing find for us the road was very buzzy so it was hard to stop. We had to walk along the roadside quite along way from the car this was a challenge in its self as the bank was very wet and slippery. The animal its self was quit hole crumpled In to a coil. Since we set up we did find that we had to keep moving to make way for cars.  I did try 2 angles and I likes this one better than dead on because of the curve in the road it slides of in to the darkness. It was quite windy so the grass was blowing to the time of the trees.  The golden grass on the other side of the road is quite dreamy.

There is very little Photoshop used in this image I processed it through camera raw keeping the white balance the same the exposure was as shot in camera I did remove

The exposure was F4 and with a shutter of 1/160 this brings as much light in to the image as possible while freezing the flash.    The focusing was difficult with this image because of the constant moving.

this is one of the images I like most out of all of them I think its the position of the rabbit that dose it  the legs up in the air.
the road is so clear and clean it dose make the image seem more apeling than a road filled with rubbish and dirt.
the blood is very clearly staining the road its a head kill. I do like it when there is blood  it dose at a murder element but the image is still beautiful  thats very impotent.
the angle of the road is perfect it has a long curve and the light tralie of with it  it dose draw your eyes over the rabbit that something I keep wanting to do I want peoples eyes to be drawn over the animal I want them to see it but i don't want it so in your face.

mark power's book is something i have been looking at for other projects but its very relevant to this project the book layout is something I have been looking at I wanted to get the layout right. what is intresting is he has an image on both the front and back something i hadent thought about.  the text is very very small and in a difrent place to most books i have seen, top left.  from the images i almost didn't see it.  it dose work it makes a change to the normal text in the bottom of the left side of the image. i think the wight page in between each image is key it adds a barrier so you can look at each image individually but still see them as a collective
 

Kelly Richardson: Life After Nature

Kelly Richardson’s hyper-real digital landscapes are as poignant as they are striking.  Working with advanced digital technologies intermingled with a façade of organic landscapes she constructs a distorted intricate imagery that depicts a post-apocalyptic future in which we see the developments of human technologies that have permanently altered the natural state of the organic environment.

The use of large wide screen high-definition video creates immersive filmic installations which evoke a number of emotions, awe, fear and excitement. It can often make you feel like you’re a stranger taking your first steps onto a new planet.

Each space has its unique qualities that create the atmosphere; the polished floors often found in the gallery space create a mirrored image almost like a parallel universe showing a familiar but distorted version of the post apocalyptic imagery above.   

“Every space has its own challenges and limitations (budget, size, light bleed, audio bleed, etc.) But white box gallery spaces still offer the best, controlled environments to present the work, where it's not otherwise informed by distractive elements around it or restrictive of how viewers engage with the work as it would be within a cinema, for instance. The works operate like moving paintings or filmic set extensions in a way, without a traditional narrative, inviting the viewer to spend as little or as long with the work as they like.”( http://ca.blouinartinfo.com/news/story/897672/kelly-richardsons-portent-is-having-an-effect) Most films Richardson creates use footage from real landscapes giving each of her films a sense of reality grounding them firmly in the realm of humanity.  With no narrative provided it is up to the viewer to create their own story drawing from their past experiences and merging it with the physical landscapes Richardson films to produce an individually crafted narrative.

The Great Destroyer is a series of 7-12 screens hung in a darkened room. As with all of her work we step in to a familiar distorted landscape, in this piece we see details of the Canadian wilderness. Recorded from the depths of the landscape we witness a series of close up footage of lush green inviting habitats. The title is quite ironic, The Great Destroyer implies that something or someone is destroying theses landscapes but humankind has not yet sculpted the landscape for colonization.  The sound within this work is essential to the understanding of the piece.  The work is woven with natural sounds of the landscape, a mesh of bird’s, insects, frogs and trickling water immerse the senses. As the sounds develop we start to hear the city movements sporadically scattered throughout the landscape, it’s as if humankind are gradually encroaching on the un-spoilt wilderness.  as the time passes we are slowly introduced to the sounds of a car alarm and we might even catch the tones of a chainsaw or an echoing of a gun shot interjecting through the natural sounds of the forest.  The signs are almost hidden within the sounds very much like the reality of the world around us, as we are not always aware of the alterations we as people are creating within the landscape and hence, the damage we are doing.

By characterization, The Erudition suggests that the spectators are onlookers to a significant message, the identity of the educator and the content of its meaning are left mysteriously open-ended.

The peculiar panorama is supplemented by the sounds crackling noises, as each tree appears into view the loud gentle rumbling of what sounds like wind blowing through an uninhabited space emphasizes the abnormal characteristic of the trees digital disruption.

Each tree fizzles in and out of the film, this being a particularly unnerving vision of nature being apart of faulty software, in turn this makes us hesitant as to whether the trees were once here or are yet to come. 

Orion Tide is almost like a commentary to The Great Destroyer In the motionless moments of perpetual twilight, the feeling cannot be shaken that all is not well. The barren landscape is strewn with lifeless undergrowth.  The unnerving outburst of sound fills the room creating an uneasy feeling as the gradual upsurge of fire from the sterile landscape pushes forth something deliberately ambiguous. The trail of smouldering ash and fire ascends in to the sky and out of eyesight, as soon as the first has flown the screen, more fly high pushing on up as more and more move forth.  Whatever is happening is happening en-masse, this could be missiles being fired from the earth to other parts of the world or through the atmosphere to alien intruders. Conversely with the earth being so desolate, this could be the start of a mass evacuation.  When experienced following on after The Great Destroyer it does start to hit home, the destructive nature of humans as a race conquering and colonizing everything we see with little regard for the nature around us. Only when it is gone do we start to see the impact, which we had on the environment.

In the far future one could see works like Richardson’s in 12-floor office building’s across the country with the nature we know today has long since been eroded from the landscape and replaced with man made technology, high rise buildings in a concrete jungle and scientific experiments. The videos she creates are only a view of the nature that was once thriving throughout the earth, now lost to the destructive nature of the human society. In the future this type of installation could be pared with an advanced form of not requiring the use of headphones as it dose today. The immersive nature of binaural sound would add a sense of other worldly reality.   

last night was a long trip we did find this rabbit. just  before we where going to go home 

it was very fresh when we came across it the road

was mildly bizzy the problem was we where outside a  house so we didn't want to stay to long as the man had already come outside to see if we where ok he did have a very nosy dog the hole exsperence was very unerving this issure was focusing it was very light rain so it look a while to focus the camera the water driplits where getting on the lens evan with a lense hood the rain was still falling on the glass  in this image you can see one o the dots  on the image this is something i didn't see when first editing i am using the uni macs and my mac must be different screen brightness or something.  there is a pole in the image something that i am tempted to Photoshop out of the final image. i think the rabbit is in focus with in this image although I'm not 100% sure  i think it dosent matter with in this image if its on the line because i can clearly see what the animal is.