Paul Seawright - THEY DOPPED LIKE FLAKES  - THEY DROPPED LIKE STARS (2017)

I chose Seawrights work because I felt drawn to it. I took the majority of my photos before I came across his work and I found that there was a similarity to mine. This series is a colour series however the colours and textures almost make the image look like they were taken in black and white. Seawright had taken images of the landscape that most people wouldn't usually pay much attention to as they aren't the prettiest and aren't colourful. They come across quite gloomy. I think he has an eye for detail in the landscape that is mostly looked through. its not typically stared at. Each of the images almost synthesise as a abandoned road to know where. 

Paul Graham - Troubled Land (1984-86)

I chose Grahams (Troubled Land) series because of some of his perspectives. The series influenced my work, helping me to think of a way to connect my camera with the landscape slightly differently. Looking at sections that maybe others wouldn't look at. In photography you see lots of typical American roads, however here it looks to be a road located somewhere within the United Kingdom. Looking through the rest of the series the roads, signs, telephone poles, weather and greenery suggests to me UK. However I may be completely wrong. Also in one of the images there is a roundabout and I know the UK is one of the few places to find roundabouts. 

Michael McILvaney 

I think some of McILvaney's work is really creative, he works with the landscape, opposed to creating it. The M on the McDonald's cup ties in nicely with the double yellow lines, where as the white of the cup goes well with the star marking. In the image on the right the red of the stop sign works well with the persons body of the coat and the white line through the middle works well with the persons sleeves. McILvaney either creates or waits for that perfect moment to get a shot that work well. This has been influential for me in terms of spending more time creating my images and maybe bringing items along with me to help create my images and slightly change the landscape. The act that he also shoots the landscape as it is really shows how we destroy what we take for granted. 

Charlie Waite - Hidden Works

I chose this image from Waites series, Hidden Works specifically because of his creativity. You can only see reflection, water and part of an object, but he has creatively and beautifully composed his image that you know its the tip of either a boat or something similar, in a body of water with seagulls flying above. A very simple image but very thought out. This really connected with me because I want to not just look at human impact on the world but look at the smaller images within the landscape. I think this is a prime example. 

Simon Roberts - The Weeds and The Wilderness 

I choses this series of Roberts because of its lack of human impact. This wilderness looks to be natural and left untouched to thrive as it wishes, with know one altering it. It may look messy but its natural and on a gloomy eve I would estimate. I wanted to not just look at the human impact but what has also not been impacted. I thought Roberts series was a great example of this. 

Nick Hedges - City Streets// 60s - 70s 

Although Hedges is a street photographer and not a landscape one, I think these images perfectly demonstrate the human impact on the world. Back in the 60s and 70s through imagery the world looked ravished by humans and it looks worse than it does now, but in fact its much much worse now. For instance the worlds population in (1960) 3.031 billion vs (2021) 7.9 billion. This averages 973,800 million people each year more, over the last 50 years. Just one human can have a huge impact, with those numbers the earth doesn't stand a chance. 

I think Hedges captures this perfectly.