I'm on my way . . .
to London for the day to find some pictures of window frames for an assignment . . .
See ya all later!
See ya all later!
PWDP - Progressing with Digital Photography
PWDP - Progressing with Digital Photography > Wednesday, August-18-2010
PWDP - Progressing with Digital Photography > Wednesday, April-21-2010
Assignment 2: Tutor Report
PWDP - Progressing with Digital Photography > Wednesday, April-07-2010
Assignment 2: A Day in the Life Of. . .
While I was exploring, researching and deciding on which angle to take with this assignment, I looked at the key words and concepts given in the brief. One of the photography books I have been reading is “Why photography matters as art as never before” by Michael Fried. The picture on the cover of the book really spoke to me and I found myself being drawn to it often. As I worked through this assignment, I researched the image on the cover of the book, which is by Jeff Wall. And I started seeing the image on the cover of the book as inspiration for the image I wanted to create for this assignment.
My subject for this assignment is simply a good friend of mine, who spends her days mostly at home, taking care of her young son and creating and maintaining a home for her and her family. In the images I finally chose to use, I wanted to show that her day is not only about what she does for her family, but also what she does for herself.
With regards to the style and colour treatment I chose, I partially desaturated the images, and applied a strong sepia tint to them. I wanted a “sameness” feel to all of them in the final image. I didn’t want possible harsh colours to distract from the impact of the windows and the images within them. I felt that a purely monochromatic treatment of either black and white, or sepia would not have the impact that this has. This way, there are still colours faintly visible, but they do not distract the attention from the details in the image.
While I was working on the image, I had the Simon & Garfunkel song Mrs. Robinson in mind. The song is featured in the 1967 movie “The Graduate”. My goal was to try and reconstruct that feel to a certain extent, which is another reason for the colour treatment I used. I was also amused at the line “We’d like to know a little bit about you for our files” in the lyrics, which relates directly to the purpose of this assignment – finding out more about someone through creating an image which portrays the narrative “A day in the life”.
One of the first elements I noticed about Jeff Wall just by glancing at his work is that he is drawn to windows. He has numerous images that depict windows or views from windows, or reflections from windows. For my own image, I decided to use a Wide Angled shot of my friend in front of the window in her kitchen as the foundation. The wide angle gives the viewer the feeling of being pulled into the scene.
The location I chose is ideal because it is one of the rooms she spends the most time in and she is most comfortable going about her day without thinking about the fact that I’m observing her. There are many activities to keep her busy, as she’s always moving about doing things. I wanted the shoot to be as natural as possible, and I wanted to capture her going about her daily tasks as if I wasn’t there. I also wanted to take advantage of the window in the way that I have. I made use of it as a primary light source, and immediately saw potential in its partitions. Taking the different sections of it, I combined various images of my friend onto it, showing a “window period” – interval of time during which an activity takes place – in thiscase - A day in the life of . . .
I was fascinated by the definition of “window”, when I looked it up, and its similarities to photographic elements. An opening constructed in a wall that functions to admit light or air into an enclosure and is often framed and spanned with glass mounted to permit opening and closing. The definition also reminded me of shutter speeds. I was further amused by the source of the word window. From the Scandinavian invaders and settlers of England, it is related to the Old Norse vindauga, “window,” which is a compound made up of vindr, “wind,” and auga, “eye,” obviously referring to the time when windows contained no glass.
On further investigation of Jeff Wall’s work, I saw that a lot of his work is exceptionally ambitious and unique. I was drawn particularly to one of his images called After “invisible man by Ralph Ellison”. I cannot imagine the amount of time and effort and commitment that went into creating that shot. I learnt that some of his images are specifically based on literary texts, including this one. I can relate to Wall’s way of working on this, as I have often found it necessary to move from words/ a novel/ lyrics of a song / something I had written - to an image I wanted to create. Words inspire me in that way. I think that finding words already written, helps me verbalise how I feel, and gives me a sense of “belonging” and being understood, as someone else evidently felt it, to be able to write it down. But then I have a need to recreate it, and make it mine and make something new from it, which always pushes me in the direction of photography as artistic expression.
I started thinking more about the invisible man and his dwelling, of what home is for him, and how in the image, he is so engaged in his occupation, paying no attention to or responding to the fact that he is being observed. I wanted to use that concept in my image. I also wanted to link the quote above to my subject. Most of the acts she is engaged in, is in preparation for something. The people around her see the results or the outcome of her actions – the freshly baked cookies, the coffee made, her being physically ready for the day after she’s put on her make up etc. But I think in the average monotony of the every day household , the actions I have captured becomes unobserved, lending towards my subject possibly feeling invisible, similar to the protagonist in the literary work above. Also, she is never fully visible in these images. Even in the background layer, her face is turned away from the observer. Rather, she is defined through her actions and body language – which brings me right back to the quote above - “I did not become alive until I discovered my invisibility.”
After I studied the image I spoke about above, I went back to the image on the book cover I mentioned before. I realised that the image on the cover was cropped quite liberally. When I looked for the picture as a whole, I realised that I had found an image that I could relate to more specifically in terms of what I wanted to do for this assignment.
Light plays a major role in both the Wall images I mentioned, as well as in mine. Not only in terms of decisions regarding lighting used by the photographer during the shoot, but the representation of light in terms of – the light bulbs in the first image, the blending of light from the second Wall image, the way Wall exhibits his images in light boxes, as well as the presentation of light within my image.
I took great care in the balance and presentation of light as I brought the image together. The background image was given a dark vignette to draw further attention to the window and the immediate vicinity, which received the light that fell through it. The window itself was treated with images imposed over the window panes, which appear to be backlit. Though it was not my intent, I could not help but note that it is in an exaggerated manner similar to how Wall exhibits many of his pieces. To achieve the effect , the panes were first blocked out with white. The edges of the images were then vignette to allow the white to show through – in direct contrast with the vignette used on the background image – emphasising the contrast between “shadow” and “light”. The highlights in each of the smaller images appear a bit burnt out, and I included artificial rays of light streaming from the window. All of these elements work to give a sense of intensity to the light source.
Back to the image that inspired me – It is a recent work by Wall called “A view from an apartment” 2004 – 2005. For years he wanted to make a picture based on a view of the harbour seen through the window of an apartment in Vancouver. A lot of work went into the preparation for the image – he had to find the right apartment, and model (who was an art student which he considered more as his collaborator than his model). There is a similarity here as well in the way that I approached my subject. I wanted her to be part of the project as a whole, so I discussed the object of the assignment with her, and talked to her about my ideas before the shoot, as well as during, and after. She wasn’t just a subject.
His subject lived in the apartment for months before the shoot, as he wanted her to feel comfortable with her surrounds, and for it to be “home” – which is the exact reason why I chose to shoot my subject in her home, and why I chose the background layer to be her kitchen, which is probably the most familiar room in the house to her.
Body language is a critical element in the success of a photograph, and is almost as tangible as any prop that might be used in a composition. Surrounding the subject with familiarity helped ensure that her actions were every bit as natural as the presence of a bottle of dishwashing liquid next to the kitchen sink.
Wall wasn’t the only stickler for the detail. I took extreme care in tending to the little things, both in subject matter, and in post-processing. Her hands in particular were of interest to me, as our hands are one of our primary instruments of interaction with the world. In each of the 9 images that I used in the project, her hands are featured. Even in the background layer, where they are partially obscured, her attention is focused entirely on them and the task that they are performing – “focused on the task at hand”. Unlike with Wall, however, there were no outside props used. Everything in the images was already on hand and appears in its natural place. I was also careful not to allow evidence of myself to appear in the final image, by neither presence nor belongings.
As I was processing, I took great care in the little details in light. I added faint reflections on the countertops, the hint of partial images projected onto the blinds and ceiling, and gentle beams of light streaming through the window. Each element carefully weighed against and blended into the existing details. I also chose, positioned, and imposed each image with purpose. A prime example of this is the image where she appears with her son. It is centrally located, and is the only image to span more than one frame, symbolic of his importance in her life.
I found that quite a few of Wall’s images show themes of domestic activities. Wall commented in his 2005 catalogue on his interest with the theme of cleaning, washing, housework and “every day activities involved in the maintenance and the keeping up of our common world in care.” Evidently, those themes are all present in my image.
The entire shooting process took him two weeks, and because of this, there was a mismatch between the interior lighting of the apartment and the lighting from the scene through the window, as he wanted the view through the window to be dusk, showing street lights, etc. His final image is a product of numerous shots that he blended together digitally. Although his image was processed to depict one realistic image, and mine is obviously different in style, I did the same technically and in theory.
As for his subject as well as mine, as mentioned before, they do not show any awareness of the camera or the photographer. Also, neither subjects are consciously aware of the window, or the view through the window. I think this makes the juxtaposition of interior vs. exterior spaces very interesting. In Wall’s picture, his subject is not aware of the world outside her window. In my image, my subject is going about her day, unaware of how it’s divided into different activities and “frames of time”.
I enjoyed this assignment very much and I had the opportunity to use all the skills that I have learnt and mastered. I have been looking forward to it, as it falls into the category of Social Documentary, which is where my main interest lies. I tried to use this assignment as an opportunity to do something interesting and creative, using the skills that I’ve learnt thus far, but also showing my fondness for Social documentary. I am pleased with my final product. I feel I achieve what the assignment asked for, and I feel that I was able to do what I had planned to before and during the shoot. I also used to opportunity to learn more about other photographers - Wall in particular - and it was an interesting and great learning experience for me to analyse and compare my work to someone else’s in the way that I did.
Here is the final product:
My subject for this assignment is simply a good friend of mine, who spends her days mostly at home, taking care of her young son and creating and maintaining a home for her and her family. In the images I finally chose to use, I wanted to show that her day is not only about what she does for her family, but also what she does for herself.
With regards to the style and colour treatment I chose, I partially desaturated the images, and applied a strong sepia tint to them. I wanted a “sameness” feel to all of them in the final image. I didn’t want possible harsh colours to distract from the impact of the windows and the images within them. I felt that a purely monochromatic treatment of either black and white, or sepia would not have the impact that this has. This way, there are still colours faintly visible, but they do not distract the attention from the details in the image.
While I was working on the image, I had the Simon & Garfunkel song Mrs. Robinson in mind. The song is featured in the 1967 movie “The Graduate”. My goal was to try and reconstruct that feel to a certain extent, which is another reason for the colour treatment I used. I was also amused at the line “We’d like to know a little bit about you for our files” in the lyrics, which relates directly to the purpose of this assignment – finding out more about someone through creating an image which portrays the narrative “A day in the life”.
One of the first elements I noticed about Jeff Wall just by glancing at his work is that he is drawn to windows. He has numerous images that depict windows or views from windows, or reflections from windows. For my own image, I decided to use a Wide Angled shot of my friend in front of the window in her kitchen as the foundation. The wide angle gives the viewer the feeling of being pulled into the scene.
The location I chose is ideal because it is one of the rooms she spends the most time in and she is most comfortable going about her day without thinking about the fact that I’m observing her. There are many activities to keep her busy, as she’s always moving about doing things. I wanted the shoot to be as natural as possible, and I wanted to capture her going about her daily tasks as if I wasn’t there. I also wanted to take advantage of the window in the way that I have. I made use of it as a primary light source, and immediately saw potential in its partitions. Taking the different sections of it, I combined various images of my friend onto it, showing a “window period” – interval of time during which an activity takes place – in thiscase - A day in the life of . . .
I was fascinated by the definition of “window”, when I looked it up, and its similarities to photographic elements. An opening constructed in a wall that functions to admit light or air into an enclosure and is often framed and spanned with glass mounted to permit opening and closing. The definition also reminded me of shutter speeds. I was further amused by the source of the word window. From the Scandinavian invaders and settlers of England, it is related to the Old Norse vindauga, “window,” which is a compound made up of vindr, “wind,” and auga, “eye,” obviously referring to the time when windows contained no glass.
On further investigation of Jeff Wall’s work, I saw that a lot of his work is exceptionally ambitious and unique. I was drawn particularly to one of his images called After “invisible man by Ralph Ellison”. I cannot imagine the amount of time and effort and commitment that went into creating that shot. I learnt that some of his images are specifically based on literary texts, including this one. I can relate to Wall’s way of working on this, as I have often found it necessary to move from words/ a novel/ lyrics of a song / something I had written - to an image I wanted to create. Words inspire me in that way. I think that finding words already written, helps me verbalise how I feel, and gives me a sense of “belonging” and being understood, as someone else evidently felt it, to be able to write it down. But then I have a need to recreate it, and make it mine and make something new from it, which always pushes me in the direction of photography as artistic expression.
I started thinking more about the invisible man and his dwelling, of what home is for him, and how in the image, he is so engaged in his occupation, paying no attention to or responding to the fact that he is being observed. I wanted to use that concept in my image. I also wanted to link the quote above to my subject. Most of the acts she is engaged in, is in preparation for something. The people around her see the results or the outcome of her actions – the freshly baked cookies, the coffee made, her being physically ready for the day after she’s put on her make up etc. But I think in the average monotony of the every day household , the actions I have captured becomes unobserved, lending towards my subject possibly feeling invisible, similar to the protagonist in the literary work above. Also, she is never fully visible in these images. Even in the background layer, her face is turned away from the observer. Rather, she is defined through her actions and body language – which brings me right back to the quote above - “I did not become alive until I discovered my invisibility.”
After I studied the image I spoke about above, I went back to the image on the book cover I mentioned before. I realised that the image on the cover was cropped quite liberally. When I looked for the picture as a whole, I realised that I had found an image that I could relate to more specifically in terms of what I wanted to do for this assignment.
Light plays a major role in both the Wall images I mentioned, as well as in mine. Not only in terms of decisions regarding lighting used by the photographer during the shoot, but the representation of light in terms of – the light bulbs in the first image, the blending of light from the second Wall image, the way Wall exhibits his images in light boxes, as well as the presentation of light within my image.
I took great care in the balance and presentation of light as I brought the image together. The background image was given a dark vignette to draw further attention to the window and the immediate vicinity, which received the light that fell through it. The window itself was treated with images imposed over the window panes, which appear to be backlit. Though it was not my intent, I could not help but note that it is in an exaggerated manner similar to how Wall exhibits many of his pieces. To achieve the effect , the panes were first blocked out with white. The edges of the images were then vignette to allow the white to show through – in direct contrast with the vignette used on the background image – emphasising the contrast between “shadow” and “light”. The highlights in each of the smaller images appear a bit burnt out, and I included artificial rays of light streaming from the window. All of these elements work to give a sense of intensity to the light source.
Back to the image that inspired me – It is a recent work by Wall called “A view from an apartment” 2004 – 2005. For years he wanted to make a picture based on a view of the harbour seen through the window of an apartment in Vancouver. A lot of work went into the preparation for the image – he had to find the right apartment, and model (who was an art student which he considered more as his collaborator than his model). There is a similarity here as well in the way that I approached my subject. I wanted her to be part of the project as a whole, so I discussed the object of the assignment with her, and talked to her about my ideas before the shoot, as well as during, and after. She wasn’t just a subject.
His subject lived in the apartment for months before the shoot, as he wanted her to feel comfortable with her surrounds, and for it to be “home” – which is the exact reason why I chose to shoot my subject in her home, and why I chose the background layer to be her kitchen, which is probably the most familiar room in the house to her.
Body language is a critical element in the success of a photograph, and is almost as tangible as any prop that might be used in a composition. Surrounding the subject with familiarity helped ensure that her actions were every bit as natural as the presence of a bottle of dishwashing liquid next to the kitchen sink.
Wall wasn’t the only stickler for the detail. I took extreme care in tending to the little things, both in subject matter, and in post-processing. Her hands in particular were of interest to me, as our hands are one of our primary instruments of interaction with the world. In each of the 9 images that I used in the project, her hands are featured. Even in the background layer, where they are partially obscured, her attention is focused entirely on them and the task that they are performing – “focused on the task at hand”. Unlike with Wall, however, there were no outside props used. Everything in the images was already on hand and appears in its natural place. I was also careful not to allow evidence of myself to appear in the final image, by neither presence nor belongings.
As I was processing, I took great care in the little details in light. I added faint reflections on the countertops, the hint of partial images projected onto the blinds and ceiling, and gentle beams of light streaming through the window. Each element carefully weighed against and blended into the existing details. I also chose, positioned, and imposed each image with purpose. A prime example of this is the image where she appears with her son. It is centrally located, and is the only image to span more than one frame, symbolic of his importance in her life.
I found that quite a few of Wall’s images show themes of domestic activities. Wall commented in his 2005 catalogue on his interest with the theme of cleaning, washing, housework and “every day activities involved in the maintenance and the keeping up of our common world in care.” Evidently, those themes are all present in my image.
The entire shooting process took him two weeks, and because of this, there was a mismatch between the interior lighting of the apartment and the lighting from the scene through the window, as he wanted the view through the window to be dusk, showing street lights, etc. His final image is a product of numerous shots that he blended together digitally. Although his image was processed to depict one realistic image, and mine is obviously different in style, I did the same technically and in theory.
As for his subject as well as mine, as mentioned before, they do not show any awareness of the camera or the photographer. Also, neither subjects are consciously aware of the window, or the view through the window. I think this makes the juxtaposition of interior vs. exterior spaces very interesting. In Wall’s picture, his subject is not aware of the world outside her window. In my image, my subject is going about her day, unaware of how it’s divided into different activities and “frames of time”.
I enjoyed this assignment very much and I had the opportunity to use all the skills that I have learnt and mastered. I have been looking forward to it, as it falls into the category of Social Documentary, which is where my main interest lies. I tried to use this assignment as an opportunity to do something interesting and creative, using the skills that I’ve learnt thus far, but also showing my fondness for Social documentary. I am pleased with my final product. I feel I achieve what the assignment asked for, and I feel that I was able to do what I had planned to before and during the shoot. I also used to opportunity to learn more about other photographers - Wall in particular - and it was an interesting and great learning experience for me to analyse and compare my work to someone else’s in the way that I did.
Here is the final product:
PWDP - Progressing with Digital Photography > Saturday, March-27-2010
Assignment 1 Feedback
I received the feedback from my tutor for Assignment 1 PWDP a few weeks ago and I've taken some time to work through it. I'm satisfied with what he said. We worked through some issues that I had with project one, that I had to rework and repost (will do this soon)
Generally speaking, I like everything he said, and I like how he acknowledges what I did in a positive way. He is satisfied with the way I work on here in my journal, so that's good. We touched on my preferred genre being Social documentary, so he knows my broader vision. We talked a bit about the upcoming written assignment, which I'm working on right now.
As far as Assignment 1 is concerned, he said: " The intentions are well thought out, imaginative and varied. You have explained your aims, methods and your feelings about your achievements clearly and honestly. "
With regards to the actual work I did, he mentioned that my Photoshop files had a tendency to over saturation. while the saturation issue might be due to a difference in monitors, he did make some suggestions as to ways in which he might have approached the same process, and I have taken some time studying these. He also gave more details with regards to what he means in his report.
He says that it might all be a matter of personal taste and, that he does think the work I did works really well - so, I'm happy with the assignment and the feedback!
Generally speaking, I like everything he said, and I like how he acknowledges what I did in a positive way. He is satisfied with the way I work on here in my journal, so that's good. We touched on my preferred genre being Social documentary, so he knows my broader vision. We talked a bit about the upcoming written assignment, which I'm working on right now.
As far as Assignment 1 is concerned, he said: " The intentions are well thought out, imaginative and varied. You have explained your aims, methods and your feelings about your achievements clearly and honestly. "
With regards to the actual work I did, he mentioned that my Photoshop files had a tendency to over saturation. while the saturation issue might be due to a difference in monitors, he did make some suggestions as to ways in which he might have approached the same process, and I have taken some time studying these. He also gave more details with regards to what he means in his report.
He says that it might all be a matter of personal taste and, that he does think the work I did works really well - so, I'm happy with the assignment and the feedback!
PWDP - Progressing with Digital Photography > Tuesday, March-09-2010
Assignment 1: A Seasonal Change
This first section of PWDP is all about learning and applying colour control at various stages throughout a digital photographic workflow. At first glance it is a highly technical course, and if that is purely how the course is approached, then that is all it will be. But there are so many different elements involved. I spent most of my time during the past few months getting more familiar with Photoshop, and then applying the techniques I learnt during the first 8 projects, to my images. To guide me through this, I used various Photoshop manuals as well as online tutorials.
Even though I spent most of my time during this section of the work on technical skills, I did not want to loose focus of the broader picture. To me, the broader picture is that this PWDP course will guide me not only through how to produce better images, but will help me shape my ideas and personal philosophy on image alteration and enhancement. Before I started this course, I had some ideas of how I felt about this. Social documentary is my passion - it is important for me to show the true. But having said that, I am easily enchanted by exceptional quality surreal (fantasy) art. And I realise that the two are on exact opposites of the scale from each other. And that is ok. I don’t feel that I should only focus on one area of photography at this stage. I also don’t feel that my mindset and philosophy over what is acceptable and what isn’t, using image alteration programs, has to be exceptionally rigid at this stage. Fluid is good, as I am still learning what is and what is not possible. Up to yesterday, my mindset has pretty much been to “keep natural natural” and to be as creative as possible with what is obviously surreal. And then I discovered Kelli Connell. And I realised again how easily that line is blurred for me at this stage, as her images are definitely natural and “real”, yet her entire approach is based on image alteration by using Photoshop to scan and manipulate two or more negatives to create a “believable situation” . Her work is reconstruction. It’s about creating a story. I relate well to that approach. I like story-telling through images, not purely from a narrative style, but through emotion, symbolism, and the underlying elements of an image. So, having discovered her work, I have not only gained an admiration and more inspiration, but I have realised once again how good it feels to have my boundaries pushed.
With regards to this specific assignment, I chose the four different images in this set for specific reasons. There is a harmony in them all being nature shots. When we think of seasons and of change, we think of nature. The interior of a room changes colour when it is painted, but outside in nature, everything changes as the earth makes its orbit around the sun. It’s a natural process – so naturally that I often instinctively turn to nature to find evidence of these changes, which we call seasons. And during this project it was no different. While making decisions about what to shoot for this project, it was easy for me to imagine what something that actually exists would look like, and then to change the picture accordingly. I thought of how, what I was doing with Photoshop is similar to what actually happens in nature – changing colours from one to another. It wasn’t about creating something obscure that does not exist. And it wasn’t about changing the picture to colours that don’t exist naturally. It was a subtle and realistic process and end-result. If you look at the four different images I use in this project in the following order:
In Path, the colour change is meaningful and has quite an effect on the feel of the scene, but isn’t necessarily a realistic application if viewed up close. It’s a purely aesthetic change, and feels that way, too. But the colour change is effective in representing seasonal change.
Even though I spent most of my time during this section of the work on technical skills, I did not want to loose focus of the broader picture. To me, the broader picture is that this PWDP course will guide me not only through how to produce better images, but will help me shape my ideas and personal philosophy on image alteration and enhancement. Before I started this course, I had some ideas of how I felt about this. Social documentary is my passion - it is important for me to show the true. But having said that, I am easily enchanted by exceptional quality surreal (fantasy) art. And I realise that the two are on exact opposites of the scale from each other. And that is ok. I don’t feel that I should only focus on one area of photography at this stage. I also don’t feel that my mindset and philosophy over what is acceptable and what isn’t, using image alteration programs, has to be exceptionally rigid at this stage. Fluid is good, as I am still learning what is and what is not possible. Up to yesterday, my mindset has pretty much been to “keep natural natural” and to be as creative as possible with what is obviously surreal. And then I discovered Kelli Connell. And I realised again how easily that line is blurred for me at this stage, as her images are definitely natural and “real”, yet her entire approach is based on image alteration by using Photoshop to scan and manipulate two or more negatives to create a “believable situation” . Her work is reconstruction. It’s about creating a story. I relate well to that approach. I like story-telling through images, not purely from a narrative style, but through emotion, symbolism, and the underlying elements of an image. So, having discovered her work, I have not only gained an admiration and more inspiration, but I have realised once again how good it feels to have my boundaries pushed.
With regards to this specific assignment, I chose the four different images in this set for specific reasons. There is a harmony in them all being nature shots. When we think of seasons and of change, we think of nature. The interior of a room changes colour when it is painted, but outside in nature, everything changes as the earth makes its orbit around the sun. It’s a natural process – so naturally that I often instinctively turn to nature to find evidence of these changes, which we call seasons. And during this project it was no different. While making decisions about what to shoot for this project, it was easy for me to imagine what something that actually exists would look like, and then to change the picture accordingly. I thought of how, what I was doing with Photoshop is similar to what actually happens in nature – changing colours from one to another. It wasn’t about creating something obscure that does not exist. And it wasn’t about changing the picture to colours that don’t exist naturally. It was a subtle and realistic process and end-result. If you look at the four different images I use in this project in the following order:
- Path
- Reflection
- Leaf
- Abstract Drops
In Path, the colour change is meaningful and has quite an effect on the feel of the scene, but isn’t necessarily a realistic application if viewed up close. It’s a purely aesthetic change, and feels that way, too. But the colour change is effective in representing seasonal change.
