After my research for the last module and reading the Abstraction chapter of Art and Today, which discussed how many abstract artists drew their inspiration from the landscape, I have begun to look back at my own photographs of the landscape and the feelings that they evoke for me.
I recognised recently that the creation of earlier, twee, work was an attempt to capture the colour and evoke the feelings I felt at the time. I now realise this would be much better represented by work focussing on colour to suggest the emotions. So I have begun to look at reducing some of my photographs down to important colours as a way to begin the creation of abstract work.
I hope to be able to reduce the landscapes down to 9 colours (as I have done for my days in my colour diary) as a way of disciplining myself to stay away from the literal. As with my diary, my colours will be IMPORTANT to the landscape and not how I feel about them, or be an emotive response. However, I recognise that taking the photograph in the first place was a response to emotions felt at the time – the discipline will be in picking the colours that sum up the image, not which are most prominent and leaving out those that are unimportant. To help this process, I intend to look at some images created by other people – where I can eliminate the emotions associated with the image to help me master the technique. Once this is mastered I would then like to look at how the palettes produced can influence feelings. Looking at other people’s photograph to create palettes is important as I rarely take landscape images unless the colours are singing and making me feel light and float (unless it is to record something particular). It is important to see the flip side and images that are from the whole colour spectrum and not leaning towards the blue/golds that I favour. Once I have established what colour does together and how those palettes ‘read’ for me I will be in a better position to make work that exploits the colours to convey emotion.
The Mail had an article last week on Landscape Photographer of the Year and I will be using images from this book (6) and previous books in this series to look at colour palettes and to hone skills with no personal reference attached to them (beyond liking them or not) before I move onto my own, personal, more emotive images.
Mandatory Credit: Photo by Dudley Williams / Rex Features (1970580o) The North Harris Hills, Scotland Landscape Photographer of the Year Book, Britain - Dec 2012 A stunning new book shows the best of British landscapes. 'Landscape Photographer Of The Year: Collection 6,' offers a magical tour around the British Isles through the viewfinders of some of the best landscape photographers in the world. The brainchild of Charlie Waite, one of today's most respected landscape photographers, the book showcases the best pictures from amateur and professional photographers alike from the sixth annual Landscape Photographer of the Year competition. Highlights range from atmospheric urban views, including Ion Paciu's 'Sunset from a rooftop' which captures London at dusk, to inspiring views of lush countryside such as Andrew Wheatley's The Punch Bowl, Somerset. 'Landscape Photographer Of The Year: Collection 6' is published by AA Publishing and is out now. A CONDITION OF USING THESE IMAGES IS THAT THE BOOK IN WHICH THE IMAGES APPEAR MUST BE MENTIONED IN THE ARTICLE. IT IS A NECESSITY THAT THE BOOK COVER IS ALSO FEATURED.