First I opened my images in Camera Raw and tweaked any adjustments I needed to make, then opened all of the re-photos taken at one scene. I opened up the archival image in photoshop and compared it to each re-photo and picked which image worked best. I duplicated the layers into a new document and started editing there, calling them by the number I have from the start to keep it systematic. It was only when I was actually in photoshop that I fully realised just how precise my shooting needed to be and was glad I had a variety of shots to choose from. Working with different layers and opacities, I managed to make a start with my editing. I found that if I worked on one image for too long I lost the ability to truly “see” it and so would move onto another and return at a later date with fresh eyes to continue editing on a previous piece. I then showed my progress in class and received very beneficial feedback which made me re-look at my editing.
I had not seen how crucial the role of people were in my images, blindsided by the word “landscape”. It was class feedback that made me see the deeper messages in my re-photography and realise that it was the presence of humans that made my final photos successful. Thus I went back through my 22 photos and removed 2 that were proving exceedingly difficult to edit due to my miss calculation of where I was standing when I took the photo to where the archival image was taken from, and looked at my work with the intent of emphasising the presence of human life – highlighting how frail we are compared to the architectural structures that remain for generations. Once I was happy with an edit I moved it as a JPEG into a new file called “20” and kept the PSD files separate. From class feedback I also was able to decide on my final large print.