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This Padlet documents the entire progress of my final project—from the initial shooting process to the feedback and reshoots, as well as the development of my film, including test strips, full prints, and sequence layout choices.

In modern society, the relationship between humans and the environment is becoming increasingly strained. We shape the world with artificial materials, yet we are simultaneously trapped by them. Plastic pollution has become a symbol of environmental degradation, blurring the boundary between nature and human existence. Shadows serve as a visual metaphor—representing both presence and the lingering, often invisible impact we leave behind.

Through this project, I aim to explore the interconnectedness of light, shadows, plastic waste, and human activity, questioning how we influence the environment and, in turn, how it reshapes us. This is not just a documentation of pollution but a visual narrative that confronts how deeply embedded artificial materials have become in our existence. We are not just surrounded by waste; we are part of it, consumed by the very things we create.

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might switch brief1 & 2 -- by Kristy

breif3 change to 4b (fashion style) -- it is the only one that can be -- by wummi

brief 3 -- the plastic gun is very powerful

brief 3 -- shadow one --> like watering? contrast from brief 5

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Tilda Swinton -- W Magazine, Scotland, Volume 5  (2023)

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Tilda Swinton -- W Magazine, Scotland, Volume 5  (2023)

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If I can reshoot next time, this would be the reshoot for 4b visual reference

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BREIF 1 -- Portrait (focusing on one main quality)

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BREIF 1 -- Portrait (focusing on one main quality)

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“Interwoven”

A tree branch casts its shadow on a human arm, symbolizing the initial harmony between humans and nature. This moment of unity foreshadows the gradual intrusion of artificial materials.

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“Bound”

A foot is trapped inside a plastic bag, framed by metal bars. This image hints at an impending loss of freedom, illustrating how plastic subtly begins to entangle human existence.

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BREIF 3 -- Displace meaning by altering elements or context

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BREIF 3 -- Displace meaning by altering elements or context

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“Plastic Assassin”

A figure wraps their hands in plastic and mimics a gun gesture, transforming an everyday material into a symbol of violence. This absurd yet unsettling image questions how deeply artificial materials have infiltrated our perception of power and destruction.

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BREIF 4 -- Create a transformation by shifting photographic language

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BREIF 4 -- Create a transformation by shifting photographic language

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“Suffocation”

(4a) A human presence is implied through plastic and tree branches, creating an ambiguous yet tense dialogue between artificiality and nature.

(4b) A figure sits under a plastic umbrella in a moment of quiet despair, contemplating their fate. The umbrella, meant for protection, now symbolizes suffocation, reinforcing the overwhelming entrapment of humans within synthetic environments.

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BREIF 5 -- Narrative transformation within a sequence of photographs

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BREIF 5 -- Narrative transformation within a sequence of photographs

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“Ensnared”

A model leans backward in a dense forest, surrounded by towering trees that resemble prison bars. Their plastic-bound hands and wrapped head intensify the sensation of suffocation and helplessness, serving as the culmination of an irreversible entrapment within an artificial world.

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By combining the ideas of Joakim Möler, Alicja Brodowicz, and Dominic Dähncke, I believe "Reconstructed Identities" is not just about the physical transformation of the body but also about reflecting the reconstruction of the self through interaction with nature, artificial materials, and external environments. Through the collage of human body parts, natural textures, and shadow manipulations, I can explore the multiplicity of identity and how it is shaped and molded by external influences. This collage is not just a visual contrast but a weaving of emotions and philosophy. When the textures of skin, natural elements, and the ephemeral presence of shadows meet, I hope to break traditional material and form boundaries, creating a piece that is visually striking and layered with deeper meaning, showing how individuals constantly reshape themselves through their interaction with the environment.

In the process of shooting, I will focus on detailed close-ups, emphasizing the connection between the human body, nature, and artificial materials. For example, by zooming in on close-up shots of the eyes, lips, and hands, I can make these parts the most prominent in the image and then collage them with natural objects and shadow manipulations. This approach will visually strengthen the relationship between the body and nature, while also imbuing each detail of the work with significance. This is not just about surface collage but about creating a deeper dialogue between the body, artificial materials, and nature, demonstrating how identity is continuously shaped and reconstructed through the external world.

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Firstly, Joakim Möler's surreal collage style has been a major inspiration for me. In his work, the combination of the human body with elements of nature or even objects is not just a simple collage but a process of deconstructing and reassembling, breaking traditional perceptions of the body. Through this approach, he explores how individuals constantly shape and reconstruct their identities under the influence of their surroundings. For me, this means that in the theme of "Reconstructed Identities," I need to focus not just on physical transformation but on the fluidity and uncertainty of human identity. I can deconstruct and collage partial details of a model (like eyes, lips, hands, etc.), and combine these parts with natural elements (such as flowers, feathers, tree bark), creating a visual effect that is both surreal and tangible. This kind of collage allows me to break traditional boundaries and express the multiplicity of identity and the interaction between the individual and the external environment.

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At the same time, I am also deeply inspired by Alicja Brodowicz's work, particularly her series A Series of Diptychs. By juxtaposing images of human skin with natural textures like rock, sand, and tree bark, Brodowicz showcases the close connection between the human body and nature. Her work blurs the boundaries between the body and natural elements, suggesting that we are not only a part of nature but are deeply interconnected with it. In my own work, I can draw on her approach by juxtaposing skin with various natural textures, creating a strong visual contrast. This not only emphasizes the fusion of the body with nature but also invites the viewer to reflect on how our identities are shaped not only by internal perceptions but also by the external environment. For instance, I could combine the skin of a model with petals, broken mirror pieces, or feathers, creating a surreal visual effect that both showcases the delicacy of the body and contrasts with the rough or soft textures of natural elements, thus conveying the diversity and fluidity of human identity.

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FIRST ATTEMPT

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A photography project by Alicja Brodowicz

'I photograph nature – the macrocosm. The surface of water, grass, tree bark, dry leaves. I combine the two images, looking for converging lines, textures, similarities in layout, and analogies in composition between the microcosm and the macrocosm.

By combining images of the human body and elements of nature I am trying to show that we are inter-connected and that our separate existence is impossible.'

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Further developed before my first shoot

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CF000313 Unaltered stomach contents of a Laysan albatross fledgling, Midway Island, 2009

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Midway, Message from the Gyre (2009-2013)

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Chris Jordan’s Midway series has profoundly shaped the way I approach my exploration of identity, nature, and plastic in my photographic work. His images of deceased albatrosses, their stomachs filled with plastic waste, are more than just visual records of environmental devastation—they are a direct confrontation with the consequences of human consumption. For me, his work is not only about pollution; it is about the entanglement of the natural and the artificial, the inescapable fusion of organic life with synthetic materials. This concept aligns deeply with my theme of "Reconstructed Identities," as it challenges me to explore how humans, too, are shaped and altered by their relationship with artificial materials, and how this transformation influences our sense of self.

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I like Dominic works so much from last term, but I didn't use his work as final inspiration, but I think I can fully apply his work to my final this term. His approach aligns with the idea of fragmentation and reassembly, but instead of physically altering or collaging body parts, he uses shadows to abstract, distort, or obscure identity, creating a fluid and shifting sense of self. Shadows function as an ephemeral yet recognizable trace of a person, but they are also inherently unstable, shifting with light and perspective. This quality makes them a powerful metaphor for an identity that is not fixed but constantly evolving.

Rather than physically altering the human body, I could experiment with projecting shadows of people that are distorted, fragmented, or merged with objects and natural elements. For example, if a shadow appears to have animalistic extensions—perhaps elongated hands resembling claws or a human figure blending into tree branches—it suggests a merging of identities between human, nature, and external materials. This technique would create an organic form of identity reconstruction, where identity is not reshaped through physical manipulation, but through the illusion and transformation of presence itself.

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After delving into Chris Jordan’s Midway series, I gradually realized that plastic is not just an environmental pollution issue—it is a symbol. It has infiltrated our identity, our way of life, and even our relationship with nature. Because of this, I decided to center my project on the relationship between humans, nature, and plastic, drawing inspiration from Joakim Möler, Alicja Brodowicz, and Dominic Dähncke to explore how plastic alters our perception of both the self and the world.

Within this theme, I aim to depict how plastic has become an extension of the human body. Alicja Brodowicz highlights the connection between human skin and natural textures, whereas I want to introduce plastic into this contrast, making it a symbol of reconstructed identity. I envision photographing bodies wrapped in plastic, close-ups of plastic adhering to skin, and even surreal depictions where plastic appears to “grow” on human flesh, creating an atmosphere that feels both intimate and unsettling. These images won’t just capture the presence of plastic—they will question how it alters our understanding of the body: Is plastic a protective layer, or is it a suffocating restraint?

At the same time, I have been influenced by Joakim Möler, whose work explores the fragmentation of identity through collage and reassembly. In my project, plastic is not just a pollutant—it becomes a material for reconstructing human identity. I want to experiment with cutting, reassembling, and layering images of human body parts with plastic textures, interweaving skin, plastic, and natural surfaces to create a surreal and almost post-human visual. If plastic becomes part of our body, does that mean our identity has been reshaped by it? Are we still organic beings, or are we becoming artificially manufactured?

Beyond the direct visual representation of plastic, I also began considering how to express its impact in a more abstract and metaphorical way. This is where I found inspiration in Dominic Dähncke, who extensively uses shadows in his photography to represent objects, creating a blurred interplay between reality and illusion. This made me wonder—could I use shadows to portray the invisible yet omnipresent invasion of plastic into both humanity and nature? Shadows have no physical form, yet their shape and presence are undeniable—just like plastic pollution, which may not always be visible on the surface but leaves an irreversible impact. I could experiment with casting shadows where human figures and plastic intertwine, creating the illusion of bodies being consumed or reshaped by plastic. I could also manipulate the shadows of discarded plastic waste, making them appear parasitic, as if plastic is creeping onto the human body, forming a striking visual metaphor.

Ultimately, I aim to deepen the discussion on plastic’s role in both nature and human identity by integrating Chris Jordan’s environmental critique, Joakim Möler’s deconstructed identity, Alicja Brodowicz’s texture contrasts, and Dominic Dähncke’s shadow metaphors. Plastic is no longer just waste—it has become a part of our living environment, and perhaps even an extension of our very being. Through this series, I want to raise an unsettling question: When plastic’s shadow has already covered our bodies, when nature, artificial materials, and shadows blur into one another, can we still distinguish which world we truly belong to?

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What strikes me most about Midway is its ability to evoke both sorrow and introspection. The birds, unable to distinguish between food and waste, unknowingly incorporate plastic into their bodies, blurring the boundary between the organic and the artificial. This loss of distinction resonates with my photographic research, where I aim to explore the fluidity of human identity in the face of external, often unnatural, influences. If albatrosses are unknowingly consuming plastic and integrating it into their biological existence, how does the presence of synthetic materials shape human identity—both physically and psychologically? Are we, in some way, also consuming, absorbing, and becoming one with the artificial world we have created?

I see Jordan’s work as a reminder that identity is not formed in isolation. Just as the albatrosses’ bodies have been reconstructed—literally filled with remnants of human waste—our own identities are also shaped by what surrounds us. This realization drives me to rethink the relationship between plastic, nature, and the human body in my own photographic practice. Rather than simply capturing the contrast between organic and artificial, I want to depict a more intricate fusion of the two, much like how Jordan reveals the integration of plastic into the natural cycle of life and death.

Furthermore, Jordan’s Midway series forces me to consider the concept of inevitability. His work does not show direct human intervention; instead, it reveals the long-term consequences of human actions. This makes me reflect on how plastic, once created, becomes an eternal part of the world, incapable of disappearing. This idea of permanence versus impermanence intrigues me, especially when thinking about identity as something constantly reconstructed yet permanently shaped by its surroundings. I want to explore how plastic, as a seemingly indestructible material, metaphorically mirrors aspects of identity that become ingrained in us over time. Just as the birds carry the remnants of human excess, do we, too, carry the weight of artificial influences, even when we are unaware of them?

Incorporating this into my project means moving beyond simple juxtapositions of plastic and nature, or plastic and the human body. Instead, I want to create a visual language that expresses entanglement, inescapability, and transformation. Inspired by Jordan’s approach, I could focus on symbolic imagery—perhaps capturing human hands tangled in plastic debris, faces partially obscured by synthetic materials, or organic forms altered by artificial elements in ways that make them indistinguishable from one another. I also want to experiment with found objects, incorporating real pieces of discarded plastic into the photographic process, much like Jordan documents the physical evidence of human presence within the natural world.

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Capture the interaction of the person's shadow with natural elements (such as branches, stones) to convey an abstract emotion through the shape and position of the shadow

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植物是我的血脉_1_初秋听风_来自小红书网页版

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From something and nothing chapter

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Some Visual references for each briefs

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See buildings and plants outside through Windows or holes. Natural frames (Windows or holes) are utilized to focus the viewer's gaze while creating a sense of depth, with each hole acting as an independent "window" to a different world.

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⚪️玖拾陆：＂窥视＂万物_2_三途川道_来自小红书网页版

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Through the dislocation and overlap of shadows, these photos achieve a transformation from actual objects to abstract meanings, exploring the relationship between man and nature, thus providing a profound visual and conceptual expression of my "man and nature" theme

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Two photos that have a certain connection are juxtaposed and compared with similar forms: the first group combines environmental issues with human images, and the second group shows the forms of natural elements in different environments, both of which realize the transformation from one visual language to another.

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two people at the table. 2 men. discussion. interview. interrogation. silhouette. black isolated white ba… | Silhouette people, Black cat silhouette, Boy silhouette

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Mar 21, 2024 - Explore photos and images by amingdesign on Shutterstock. Discover their unique visuals for your projects.

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A Dialogue Between Humanity and Nature

(Open-ended Narrative – Coexistence & Reflection)

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Brief 1: Shadows of Nature (Portrait – Unity with Nature)

In this shoot, I will use natural sunlight to cast the shadows of tree branches onto the model’s arm. This composition symbolizes harmony between humans and nature, emphasizing their interconnection. By using light and shadow, I aim to create an organic portrait where the boundaries between the body and the environment blur, reinforcing the idea of coexistence.

Brief 2: Framing the World (Out of Frame – Limited Perspective)

For this concept, I will shoot through small openings—such as a soda can’s pull-tab or any circular hole—to frame my subject. This technique aligns with the “out of frame” requirement, challenging the viewer’s perception of reality by introducing a confined viewpoint. By selectively revealing only parts of the scene, I want to explore how framing influences meaning and perception.

Brief 3: Metaphorical Transformation (Change the Meaning – Environmental Destruction)

This shoot will utilize metaphor to depict the process of environmental destruction. Instead of showing direct pollution or damage, I will use symbolic imagery to subtly suggest how human actions harm nature. My goal is to create thought-provoking visuals that shift the meaning of ordinary objects, encouraging viewers to interpret the hidden consequences of human impact on the natural world.

Brief 4: Shape and Substance (Symbolic Comparison – Human/Nature vs. Plastic)

For this concept, I will create a series of diptych-like comparative images where different objects share similar shapes but differ in material or origin. This juxtaposition will emphasize the relationship between humans, nature, and plastic—highlighting how artificial elements have become deeply intertwined with our environment. Through this visual contrast, I want to question whether plastic has become a permanent part of our world, mimicking natural forms while simultaneously replacing them.

Brief 5: A Dialogue Between Humanity and Nature (Open-ended Narrative – Coexistence & Reflection)

In this final image, I will stage a symbolic conversation between humans and nature. A person will be partially hidden behind a chair, with one hand holding a plastic-wrapped umbrella and the other holding a natural element such as a flower or tree branch. This composition represents an open-ended discussion between humanity and the environment, emphasizing that they are equals in this dialogue. Rather than presenting a conflict, this image offers a moment of contemplation—exploring how humans and nature might work together to create a better future.

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Overall, this was a highly productive shoot, and I was able to accomplish much of what I had planned. I used the RB67 camera with a 180mm lens, which turned out to be a great choice for this project. I see this as a strong starting point for my final work.

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REFLECTION from FIRST SHOOT

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The location I selected was a park near my home, and I chose to shoot at 3 PM because the sunlight at this time cast strong shadows, allowing me to achieve the desired effect on the model’s arm. Initially, I made a mistake in my first shot by having the model place the actual branch on their arm rather than capturing the branch’s shadow. Once I realized this, I quickly adjusted and took a second shot, which I was very satisfied with in terms of both lighting and composition. I believe this image successfully fulfills the objectives of Brief 1.

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For Brief 2, I originally planned to shoot through a soda can’s pull-tab or another small opening. However, I encountered difficulties in getting the subject into focus, possibly due to the focal length of the lens I was using. Additionally, since I hadn’t rented a tripod, I was unable to create enough distance between the camera and the can, which may have contributed to the issue. Fortunately, at the park entrance, I noticed a small iron gate and decided to incorporate it into my Brief 2 shoot. I tore a plastic bag and discarded it on the ground, instructing my model to repeatedly step over it. However, the effect wasn’t as striking as I had hoped—the plastic on the ground wasn’t easily recognizable. To improve this, I had my model tie a piece of plastic around their foot and move back and forth, allowing the plastic to be lifted by the wind. This introduced a sense of movement, creating a feeling of being momentarily free. In contrast, my intended message was that human footsteps are, in reality, bound by the discarded plastic, portraying a dynamic struggle that immerses the viewer.

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I initially didn’t have a solid idea for Brief 3, but inspiration struck during the shoot. My core theme explores how humans and plastic contribute to the destruction of nature. The first visual that came to mind was a gun—symbolizing a tool of destruction. However, since I didn’t have a toy gun available, I decided to use my hand to mimic a shooting gesture. Still, using just my hand wasn’t enough to convey my concept. To integrate the plastic element, I wrapped a plastic bag around my hand, transforming the idea into "The Plastic Killer." I found this concept fascinating, and the execution during the shoot went smoothly. The final image successfully conveyed my vision without any major issues, and I was very satisfied with the outcome.

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For Brief 5, I attempted to capture the "conversation" concept I had initially envisioned. While I believe the idea was strong, the execution fell short. One of the main issues was the cluttered background, which made the rain-covered umbrella the only clearly distinguishable element, while the tree branch in the other hand blended too much with the background. This was disappointing, and I plan to reshoot this image to achieve a more impactful result.

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One of the most unexpected yet favorite shots from this session was an unplanned image of the model leaning backward in a dense forest. This image perfectly conveyed a sense of entrapment. The tall, rigid trees reminded me of prison bars, reinforcing the feeling of being confined. I had my model tilt backward as I captured the moment, aiming to express an overwhelming force pressing down on them. To enhance the concept, I incorporated plastic elements into the model’s hands and wrapped plastic around their head. This not only reinforced the idea of suffocation but also added an eerie, mysterious quality to the image. The bound hands echoed the earlier scene of the plastic-wrapped foot, further enhancing the theme of restriction and entrapment.

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Finally, the last image in this series, featuring the model holding a plastic-wrapped umbrella in one hand and a knife in the other, is the only one where their face is fully visible. Compared to the previous image, this one is a more direct representation of how plastic is a silent killer of humanity. I deliberately chose an umbrella as a prop because it typically serves as a protective object—shielding people from the sun and rain. However, by tearing plastic bags and attaching them to the umbrella, I created a stark contrast, challenging the viewer’s assumptions. In this case, the umbrella is no longer a symbol of protection but rather an invisible threat. I shot this image from a low angle, making the model appear dominant as they look down at the camera. This composition, combined with a deadpan expression, evokes a sense of helplessness and despair. The model’s gesture of pressing the knife toward their own neck invites viewers to reflect: In what ways is humanity unknowingly being harmed by plastic?

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After sharing the shoots I took this week with the classmates in the group, they helped me to make the first sorting selection. These are the optional photos for each breif. In my favorite photo, wummi said that 4a could be done first, and then 4b could be shot the next week, which could be shot in a more fashionable way. Try not to shootin the same venue, but the meaning conveyed should be the same, only reflected from different shooting angles

AND Wummi said I can start for printing final works this week!

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SECOND ATTEMPT

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Some visual references

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Having already established a strong direction from my first shoot, with many successful images to choose from, my second shoot focused primarily on re-shooting Brief 2 and Brief 5, as well as creating a secondary version of Brief 4b. I continued using the RB67 camera but also borrowed a flash this time, as I wanted to experiment with some indoor shots.

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REFLECTION FROM SECOND SHOOT

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For Brief 2, while my initial shoot produced decent results, I wanted to refine my concept and see if I could achieve a more impactful effect. My inspiration for this re-shoot came from a photograph of a staircase, where I noticed that the columns beside the stairs conveyed a similar visual structure to my original idea. I decided to use a stairwell as the setting for my second attempt at Brief 2. This time, I aimed to depict a girl holding both a flower and a knife, suggesting a narrative moment where she is about to take action. However, the shoot did not go as smoothly as planned. The flash unit I borrowed was incompatible with the RB67’s sync port, preventing me from using artificial lighting. Given the dim lighting conditions in the stairwell, most of my images suffered from underexposure. Consequently, I was unable to produce a proper contact sheet and could only present mobile phone images as references. Ultimately, this re-shoot for Brief 2 did not feel as effective as my original version. Wummi mentioned that this approach felt too direct compared to my previous shoot, and I agreed, so I will not expand too much on this further.

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For Brief 3, I found inspiration on Pinterest—an image of a young boy using an oxygen mask connected not to a traditional oxygen tank but to a potted plant. This sparked a new idea: I could create a plastic-based oxygen system, subverting the typical association of IV drips and oxygen masks as sources of life support. Instead of delivering oxygen or medicine, my device would "infuse" the wearer with plastic waste, symbolizing the inescapable contamination of our environment.

To construct this concept, I cut a large plastic bottle in half, ensuring it was just the right size to cover a face like an oxygen mask. For the tubing, I repurposed the plastic packaging from multiple bottles, cutting and taping them together to form long, flexible tubes. I retained the original concept of "oxygen intake" but replaced the plant-based oxygen source with a plastic-filled airbag, made by inflating a plastic bag.

This concept aligns with my overarching theme by illustrating how plastic pollution has infiltrated even the air we breathe—turning life-sustaining elements into contaminants. The work highlights the paradox of survival: while oxygen is essential, in this dystopian vision, what’s being inhaled is plastic waste. This transformation challenges viewers to consider the invisible ways in which pollution seeps into daily life, questioning whether we are unknowingly poisoning ourselves.

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THIRD ATTEMPT

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For Brief 5 (The Conversation), I was unable to complete the planned re-shoot in the stairwell and had to move the shoot into the studio instead. The shoot itself went smoothly, but this time I introduced a new element—I used two models rather than one. Each hid behind a chair, raising their hands above their heads, one holding a flower and the other

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This week marks my final photography session for my project. I have confirmed Brief 1 and 2, but I’m still finalizing the other briefs. The primary goal of this shoot is to rework Brief 4b and 5, which I previously struggled with due to underexposure and indoor setting challenges that altered the intended feel of the photos. Therefore, I’ve decided to reshoot these in an outdoor setting using the RB67 and a 180mm lens.

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from deadpan chapter, for brief 4b (reshoot)

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Some visual references

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For innovation, I haven’t introduced any completely new ideas, but I’ve focused on refining and improving the concepts from the past two weeks. The oxygen device I created last week was well-received by both my tutor and classmates, though they felt it would be better suited for Brief 3 (Change the Meaning). In response, I’ve incorporated the device into Brief 3, but with a new context: I’ve placed it in nature, attaching it to a tree trunk. The absurd idea I want to express here is that plastic is giving life support to a tree, symbolizing humanity’s paradoxical relationship with nature. I’m happy with the result, and this photo could be a strong contender for Brief 3.

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REFLECTION FROM THIRD SHOOT

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For Brief 4b, I reshot the scene with a more fashionable approach. The model was holding a long plastic bag, waving it from side to side. I used a slow shutter speed to capture the motion of the bag. The background consisted of two large pillars in front of a church, which I intended to replace tree trunks, evoking a prayer-like atmosphere. However, this shot didn’t convey my intended theme. The pillars failed to create the connection with nature and instead made the photo feel industrial. Therefore, I’ve decided not to use this as Brief 4b.

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Regarding Brief 5, I made another attempt in a park with a set of small stone pillars. This time, I arranged a scene where a flower (in a plastic water bottle) and a person wearing a plastic bag on their head sat opposite each other, creating a conversational space. This aligns with my initial concept for Brief 5, and I’m satisfied with the result, so it will be considered as a backup.

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A pleasant surprise occurred when the sunlight that day worked well for my shadow compositions. In one shot, my model is holding a plastic bag, seemingly about to cover the flower with it. The shadow in the background perfectly mirrors the action, creating a complete visual of the movement. This image turned out well because of the interplay between light and shadow. I find that shadows often leave much room for interpretation, as the viewer sees only the silhouette, which adds an element of mystery. I believe this photo could also be a strong candidate for Brief 3.

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I also reshoot another Brief 2 as the according to the visual reference above, however I think it didn't stronger than the brief2(1), hence I just didn't use these photos.

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OUTLINE OF ALL POTENTIAL BRIEFS