Evaluation

I am very pleased with the outcome of my first book, The New Landscape. I set out to make a book that documented landscapes and could inform people about the human effects on the land without directly documenting people. My biggest inspirations came towards the end of making the book, looking at the New Topographic movement, and Richard Misrach. I could reflect on their work and compare how they used the same photographic intentions in different compositions. It motivated me that the type of photography I was making, is something that becomes recognized.

The lay out of the book is simple but affective, having the images on the right page allows them to be the first part of the spread the reader engages with, then reading the small amount of text that explains or provides details to the landscape. The images I chose have been decided on terms of how they suit the lay out and flow of the book. Focusing on making sure the images work as a story, showing you through the landscape in terms of colour balance and location. I think having the Iceland images provides a nice contrast at how two similar ground masses can use their landscape, with the advantages and disadvantages to both. I think the length of the book is good, with 24 different images it allows the reader to see different aspects of the landscapes without becoming overwhelmed with similar landscapes and information.

Extra things in the book could’ve included factual images, such as graphs and industrialisation plans. But as I didn’t plan this in to my book originally, I decided not to go down this path on this occasion. Also, maybe with a longer project, compare one or more extra landscapes in the book.

I think the book allows the reader to create their own opinion on the statements at whether they think the industrialisation is beneficial for the landscape or not.  It is affective and I am pleased with the level of photography that has gone in to it.

Supporting statement

My supporting statement is the same as my ‘About the book’. This is the information I would like to accompany the book or images, as it states the intentions of the book as well as the statistics that developed the images. The quote reflects on my biggest inspiration for the project, the effects of people on the environment.

The New Landscape aims to draw attention to the environmental impact of industrialised landscapes, documenting the relationship between man and nature. The photographs included a substantial amount of information about the landscapes, using their visual power to fuel the thoughts of the viewer. The book depicts the landscapes of England, and Iceland. England is 130 square kilometres in size, and with Iceland being 103 square kilometres, they share nearly the same land mass with drastically different statistics. The population of England is 53 million, whilst Iceland’s is a minuet 16% of that at 323 million. Iceland has 100% renewable energy, from their abundant hydro-electric and geothermal sources. These statistics present themselves through the distinct differences in the use of the landscape, which flows throughout the book.

Many of the landscapes presented here the viewer will see on a day to day basis. As people in the 21 century, we have been subconsciously taught to beautify these landscapes and ignore the pylons, industrial sites and clouds of smoke that fill our environment. In these photographs, the emphasis is on eschewing from adorning the landscapes. This allows the viewer to apply their own opinion upon the photographs, exploring elements of the landscape they have never stopped to question before.

There’s no purely natural environment in any of my photographs. In fact, in most of them the only natural element may be the sky, and it’s not wholly natural these days either. Lewis Baltz, American Suburb, Oral history interview with Lewis Baltz, 2009 Nov. 15-17.

About the book

Key words/ideas to be used:

  • quotes from new topo and richard to reflect on
  • draws attention to the environmental destruction cased by industrial landscapes
  • emphasized the relationship between man and nature through the documentation of industrial intrusions on land
  • substantial amounts of visual information but eschewing entirely the aspects of beauty, emotion and opinion
  • There’s no purely natural environment in any of my photographs. In fact, in most of them the only natural element may be the sky, and it’s not wholly natural these days either. : BALTZ

About the book

The New Landscape aims to draw attention to the environmental impact of industrialised landscapes, documenting the relationship between man and nature. The photographs included a substantial amount of information about the landscapes, using their visual power to fuel the thoughts of the viewer. The book depicts the landscapes of England, and Iceland. England is 130 square kilometres in size, and with Iceland being 103 square kilometres, they share nearly the same land mass with drastically different statistics. The population of England is 53 million, whilst Iceland’s is a minuet 16% of that at 323 million. Iceland has 100% renewable energy, from their abundant hydro-electric and geothermal sources. These statistics present themselves through the distinct differences in the use of the landscape, which flows throughout the book.

Many of the landscapes presented here the viewer will see on a day to day basis. As people in the 21 century, we have been subconsciously taught to beautify these landscapes and ignore the pylons, industrial sites and clouds of smoke that fill our environment. In these photographs, the emphasis is on eschewing from adorning the landscapes. This allows the viewer to apply their own opinion upon the photographs, exploring elements of the landscape they have never stopped to question before.

There’s no purely natural environment in any of my photographs. In fact, in most of them the only natural element may be the sky, and it’s not wholly natural these days either. : BALTZ


  1. Dartmoor has been a National Park since 1951. The public has open access to far reaching views of heather moorland, wide open landscapes and flowing rivers that provide an abundance of habitats for distinctive wildlife.

http://www.yourdartmoor.org/about/special-qualities
http://www.dartmoor.gov.uk/visiting/vi-enjoyingdartmoor/vi-walkingforall/vi-countryside-access/vi-openacces

2.  China Clay production started in 1830 on Lee Moor. The industrial site compromises 2200 acres of moorland, occupying 5.5% of the heath, that are kept private from the public, causing the loss of natural surface, vegetation and animal habitat.

https://www.dartmoorsociety.com/files/debates/chinaclay.html
http://www.devon.gov.uk/amlp-ip37_lee_moor.pdf

3. Power cables have stretched across Dartmoor for decades. In 2014, a new underground power supply was added to minimise the impact on the moorland, its archaeology, wildlife and livestock.

https://www.ukhillwalking.com/news/item/69104/dartmoor_power_lines_go_underground_
http://www.plymouthherald.co.uk/kilometres-power-cables-buried-dartmoor/story-19636806-detail/story.html

4.  Farming is a dominant use of the land on Dartmoor, using over 90% of the land. Within this, livestock can roam openly, or be enclosed through fences across the moor. Animals including sheep, cattle and ponies graze on the short grass the land provides.

http://www.dartmoor.gov.uk/learningabout/lab-printableresources/lab-factsheetshome/lab-farming_history

5. Squares

6. Swaling, the burning of heath areas to provide better grazing for farm animals, has been taking place for 1000’s of years on Dartmoor. This contributes to the decline of natural wildlife and plants on the moor.

http://www.dartmoor.gov.uk/learningabout/lab-printableresources/lab-factsheetshome/lab-farming_history

7.  Dartmoor provide 449 miles of public rights of way, including footpaths, bridleways and byways for the public to enjoy. Image taken, Cornwood to Lee Moor Public Footpath.

http://www.dartmoor.gov.uk/visiting/vi-enjoyingdartmoor/vi-walkingforall/vi-countryside-access/vi-prow

8. Lincolnshire is one of the main areas of vegetable growth in the UK, growing large amounts of wheat, barley, sugar beat, potatoes and cabbages. In 2008, permission was granted for a wind farm consisting of 13 turbines to be built on this fen in Bicker.

http://www.thewindpower.net/windfarm_en_1543_bicker-fen.php
http://www.windprospect.com.au/wf_project?wf=19&c=engineering_completed_ALL&p=services_engineering&pa=e

9.  Local farmers are now at risk of being affected by plans to take up their land, to sink 40 miles of electric cabling into their ground, at 60m in width, to power the wind farms.

http://www.lincolnshirelive.co.uk/lincolnshire-farmers-concerned-controversial-wind/story-28106378-detail/story.html
http://www.fwi.co.uk/news/lincs-wind-farm-project-will-damage-land-warns-nfu.htm

10. There’s no purely natural environment in any of my photographs. In fact, in most of them the only natural element may be the sky, and it’s not wholly natural these days either. : BALTZ

11. The largest offshore windfarm in the United Kingdom is in Skegness. Triton Knoll has 288 wind turbines, changing the sea side views of the tourist beach town.

http://www.dailymail.co.uk/news/article-2361335/Worlds-biggest-offshore-wind-farm-300-turbines-built-Lincolnshire.html

12. Concerns about wind farms range from, environmental impacts, such as the effects on wildlife, the knock-on effects on the local landscapes, listed buildings, disruption to public footpaths, disturbance to television and radio signals and increased Traffic.

Read more at: http://www.skegnessstandard.co.uk/news/residents-speak-out-at-orby-wind-farm-public-inquiry-1-5891746
http://www.skegnessstandard.co.uk/news/residents-speak-out-at-orby-wind-farm-public-inquiry-1-5891746

13. Squares

14. Thingvellir National Park is one of the most visited tourist sites in Iceland. It is home to an abundance of wildlife, such as 40% of Icelandic flora and 52 resident bird species.

http://www.thingvellir.is
http://www.hartford-hwp.com/archives/61/266.html
http://news.bbc.co.uk/1/hi/programmes/crossing_continents/6449955.stm

15. A Management plan focuses on safeguarding the nature, historical area and heritage sites of the park, to ensure the fast-growing number of guests does not pose serious consequences to the environment. The environmentally friendly plan orders to make better use of the existing infrastructure and facilities, to provide education for guests.

http://www.thingvellir.is

16.  The volcanic nature of the soil in Iceland, increases the chance of erosion to the land. Off-trail hikers can damage the top of the land, allowing wind and rain to erode the lower layers.

* ADD TO WATERFALL IMAGE* Almost 100% of Iceland’s energy is obtained from geothermal sources. 87% of its electricity comes from hydro-power, using dams and reservoirs.

17. Geothermal energy heats 89% of the homes in Iceland, which is inexpensive and reliable for residents. Combined with the low population, the architecture is unique and colourful.

18. Parts of the Icelandic National Parks are closed off from the public, due to safety in the winter months and preservation of the land.

 

RICHARD MISRACH

I was working on my book, and someone saw my work. They commented saying it reminded them of the work of Richard Misrach, in his petrochemical America series.

I find this project fascinating because it so delicately taps in to the human emotion by presenting humans footprint on the earth in such a simple way. It focuses on the destruction of the environment cause by the petrochemical industry, or the ‘Chemical Corridor’.

https://fraenkelgallery.com/tag/petrochemical-america

Richard Misrach’s current exhibition at the David Brower Center, “Petrochemical America,” draws attention to the environmental destruction cased by industrial landscapes. His photographs capture the pollution the petrochemical industry has caused, in an area known as the Chemical Corridor.


Ultimately, this joint enterprise brought forth an exploration and expansion of both disciplines: how can photography and landscape architecture generate change, and how can design choreograph public and private interest to refashion a place? Misrach and Orff started with a discussion of public health and local politics and ended in a dialogue about the future American landscape relative to obsolescence and sprawl. Their collaborative examination of Cancer Alley points to the past and into the future, implicating neighborhoods and corporate states. It also aims to participate in new thinking about how we can best divest ourselves of our addiction to petrochemicals, and to sketch the outlines of a more hopeful future. Petrochemical America‘s “About This Book”

I am interested that he created an ‘About this book’ section. I have space at the front of my book for text, and I think I may reflect on this, questioning the intentions and purpose of the book. I feel it works well to connect the reader to the book, so they go on the same journey as you went on creating the book.

3swampandpipeline-759x600

This photograph works well because of the bold line that cuts through the image, like in the front cover of my book the line completes the frame, drawing your eye towards it. I like the subtle colour palette of green and brown, natural, earthly colours, but yet you get the feeling that these colours shouldn’t be there.

norcocumuluscloud1-720x574-714x570

This photograph perfectly complements a struggle I went through in my processing. The landscape is set on a beautiful day, blue sky, high saturation in the fields. But the main focus is the pollution from the power station in the distance, and I needed to remember the context of the image and not to make the landscape look ‘desirable’.

Full bleed

I opened up my book to view the lay out from a clean mind, and knew there was something not completely right with the front cover. I decided to try it on a full bleed, which I found immediately made a bolder statement and complemented the title better as it wasn’t sharing its empty space of white. Although it did crop more of the frame out, I feel the strong line work holds the smaller crop well.

Screen Shot 2017-01-09 at 14.41.51.png

As I wanted the back cover, and front cover to reflect each other, I then made the back cover full bleed. But I then found the text did not sit right in the frame, so I initially moved it central so it balanced the clean frame, and then decided to turn the font white. The white complements the sky better in a natural form, and also the front cover title.

screen-shot-2017-01-09-at-14-43-16screen-shot-2017-01-09-at-14-45-14