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He slept close to his father that night and held him but when he woke in the morning
his father was cold and stiff. He sat there a long time weeping and then he got up and
walked out through the woods to the road. When he came back he knelt beside his
father and held his cold hand and said his name over and over again (281).

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My photo is that of a dead, curling leaf on a dead fallen tree trunk. I wanted in this photo to capture many layers of an absence of life by piling the dead objects on one another. The background is blurred out thanks to a wide aperture. The leaf is placed on the left third of the frame. The log on which it sits curves towards the right third. For my color scheme I strove to make it almost completely black and white with the exception of the brown leaf. This was to show that the man is in the process of dying on the beach in The Road just as the leaf is on the log. I opted to simply focus all of the light available in the photo on the leaf, since it was my subject and everything else was blurry. I also attracted the viewer's eye by highlighting the white moss on the log. My title, Downfall, is significant for three reasons. As I stated, it shows the end of the father’s health and his final breaths. Second, the fact that the leaf itself is on the ground represents the physical act of the leaf falling off the branch, but metaphorically it signals the way that society’s nonchalance towards environmental problems caused its death.

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This image is one of a piece of wood being overrun by moss. It is hard to make out but there are pieces of yellow visible under the white vines. The color scheme purposefully blocks out as much green as possible. In the lower left hand corner there is a clover plant which illustrates this. This was done to not have distracting brightness. The name, “Burial Shroud,” is a reference to the death of the father. At the end of the novel he is left with only a single blanket covering his otherwise exposed corpse. This is matched in the photo by the fact the log is partially exposed under the moss. The whiteness of the moss is also a reference to the white salty beach sand on which the father rests.

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This photo is of a dead branch sticking out of the side of a tree. This photo has a shallow focus which extends only to the nearest branch and the beginning of the second. The branch extends from the lower left corner to the upper right one. The hues I used a range of different grays and a pale blue. This color scheme parallels those mentioned about those of the daytime scenes. This photo focuses the light in the background but is void of it on the black branch. This made the branch distinct in the image. By having the branch seemingly black in conjunction with it’s dark appearance, I intended the texture of the wood to match that of a dried corpse. This image’s title is Petrified, which is dual-natured in that it refers to the woods appearance. Wood can become petrified when placed in a dry environment, making it devoid of viable nutrients, meaning it cannot be decomposed into soil. People may also become petrified when the die, first starting with a state of rigamortis then further regressing if mummified.

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This photo is one of an uprooted tree trunk which somehow split, likely a result of weather. The two pieces start at opposing poles of the photo but meet on the center right of the page. In the background are varying limbs and ferns which are in a state of decay. The amount of intertwining plant material creates a chaotic and disorderly scene, which parallels the way that world is at the time of the novel. It is this world which separates the two pieces of wood, which are representative of the father and boy, in that the harsh environment split them apart. At the right corner of the picture the two pieces look as though they are connected, “Splitting” as they move towards the left. The right represents earlier events in the story in which the father was alive, and thus his existence was made whole by his son. The gray color scheme I used because it the hues distracted from the form of the wood itself.

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This image demonstrates a barely sprouted bud of some plant in sandy, pale soil. The sapling itself is located on the border between the center and left thirds of the frame. Around it are various natural small objects which relative to the subject seem imposing. On the right third there is a branch blurred on the ground which I intended to resemble a snake or worm, somehow posing a position of danger to the plant. This image more than others connects to the scene of the boy on the beach at the end. The bent top of the plant is to resemble the boy bending his head in remorse of his father’s passing. The request of the father, that the boy “[has] to carry the fire” (278) is carried out in the photo by having a tiny amount of red on the stem. The ground in which the plant is placed also alludes to the setting of the novel, since the beach sand is described as being a similar hue and texture to the white soil in the picture.