JAMES WYNESS
  • Home
  • about
  • news
  • projects
    • music >
      • ubanu tarasa
      • fouter and swick
      • music for film
      • discography
    • sound art >
      • words on resilience
    • photography >
      • prints for sale
      • Evidence
      • Rural Hours
      • collage
      • photozines >
        • the fundamentals of architecture
        • crusts
    • moving image >
      • The Landowner
      • Conversations with a Forest
    • Archive
  • Blog
  • Contact

Eliot Porter, a study in green

21/4/2020

0 Comments

 
That's not really the title of the photograph, a study in green, but essentially that's what it is. This sounds quite simple - a photographer known for his woodland work makes a picture with lots of green in it. But it's not so simple, at least not for someone like me who has spent hours post-processing images of woodlands in order to balance the almost infinite hues, tints, shades and tones of green. 

I'm looking at some species of conifer, a sapling, just left of centre and in the foreground, with bright lime green turning-to-white flourishes of needles, like a dancer's pompoms in an impressionist painting. These are met at the top of the trunk by the leaves of another sapling, deciduous this time, just to the right. They're so bright they could be electric fairy lights. Then a few dapples of the same green on the forest floor and off to the right. From there the rest of the composition is quite simple. Everything recedes into darker green, except for one notable feature - a grey trunk just behind the conifer sapling, almost dead centre. It might be a birch. There are no branches visible so it's just like the one in my garden where the branches start half way up the trunk. It seems to break every rule in the composition book yet it holds the photograph together.

I know that Porter took time over his dye transfer prints and I also know that green can be problematic with respect to exposure, especially under direct light. I might be mistaken but I doubt it would be possible to achieve this kind of colour balance and harmony in the digital realm. Of course I'd love to be proved wrong because then I could buy that printer.
0 Comments

Portfolio, Woodlands

11/4/2020

0 Comments

 
Picture
river teviot, scottish borders
Picture
swinnie forest, scottish borders
0 Comments

Portfolio, Woodlands (The Killing Floor)

11/4/2020

0 Comments

 
Picture
aftermath 1, menslaws, scottish borders
Picture
aftermath 2, natural wood, scottish borders
Picture
aftermath 3, menslaws, scottish borders
Picture
aftermath 4, natural wood, scottish borders
Picture
aftermath 5, natural wood, scottish borders
0 Comments

Portfolio, Botany 1

11/4/2020

0 Comments

 
Picture
Carnations, Dianthus caryophyllus
Picture
Daffodils, Narcissus pseudonarcissus
Picture
Daffodils, Narcissus pseudonarcissus
0 Comments

    Music, photography, experimental film.

    processes, methods, experiments, research, drafts, sketches and observations.

    Archives

    February 2021
    January 2021
    November 2020
    October 2020
    July 2020
    June 2020
    May 2020
    April 2020
    March 2020
    January 2020
    December 2019
    November 2019

    Categories

    All
    Botany
    Collage
    Current Projects
    Diy Instruments
    Introduction
    Landscape
    Music
    Photography
    Portfolio
    The Killing Floor
    Woodlands
    Words

    RSS Feed

Proudly powered by Weebly
  • Home
  • about
  • news
  • projects
    • music >
      • ubanu tarasa
      • fouter and swick
      • music for film
      • discography
    • sound art >
      • words on resilience
    • photography >
      • prints for sale
      • Evidence
      • Rural Hours
      • collage
      • photozines >
        • the fundamentals of architecture
        • crusts
    • moving image >
      • The Landowner
      • Conversations with a Forest
    • Archive
  • Blog
  • Contact