I Turned down the Brightness and Contrast.
Original
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Edited
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Original
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Edited
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i Used The levels tool to Darken the background of the image
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Edited
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I turned down the brightness from levels i changed the hue and out around +25 saturation, this made it look more like a sunset photo and it also made it so the Viewers Attention would be more on the sunlight instead of the surroundings
Framing the Environment
John Divola
In the 1970s, Los Angeles photographer John Divola began photographing in abandoned, often dilapidated houses. With his series Vandalism (1973–75) and Zuma (1977–78), however, he didn’t just photograph houses. Here, Divola describes how he manipulated the environments with painting and other interventions as a way of “vandalizing the tradition of photography.”
Here are some of My Work .
these are the images in black and white
Wild Concreate
Wild Concrete is a series about resilience of nature in an urban environment. No matter how clever we are at dominating our environment with concrete structures, nature somehow finds its way to fight back.
Artist needed
This is my second response
Sun Ji
Sun Ji, a Shanghai-born artist whose photo collages suggest a nuanced view of the city’s past and present. A curator says the 29-year-old artist’s two-part “Memory City” series is “part cubist collage and part hyperreal landscape.” In one work from his “Memory City I” series, Sun juxtaposes black-and-white photographs of factories, smokestacks, and industrial errata. Glimpsed from across an art gallery, the kitchen-window-sized collage resembles a real photograph. But move closer, and the skewed lines of perspective and improbably dense arrangement of buildings reveal a whimsical critique of China’s late-twentieth-century economic “miracle.
Development
Building Simplification
Nature
Reflection
Sanna Kannisto
FieldWorks
The core practice of the natural sciences is to collect in order to inspect more closely. Collecting implies taming and containment, traits shared to some extent by photography. Breaking away from the conventions of scientific documentation, which typically presents specimens in isolation and devoid of context, Kannisto’s work addresses the acts of staging and image-making. Her photographs, with their biologically correct titles, show not only the breathtaking beauty of nature, but also the tools used to achieve the would-be image at center—the velvety black drapes at each side, the difficult “neutral” lighting rig, the seamless white background.
This is some of his work.
These are some of the photographs i took
Final Piece