The photographic collage Night Garden uses digital manipulation to create a surrealistic architectural landscape that propels the viewer to look deeper into the center of the doorway, and by doing so, to ponder the reality of the space. The essence of surreal landscape photography is the creation of a place that entices the viewer to ponder whether what they are seeing is illusory. This photographic art is an excellent example of this premise, utilizing the concept of surreal landscape photography to evoke a sense of discontinuity in the viewer.
Once in the doorway, the viewer is enticed to peer further into another doorway and yet another doorway. The photographic collage of the doorways is so seamless that the viewer mentally completes the illusion that beyond the apparent space other doorways would emerge into infinity. The photographic collage is both soothing in sense of familiarity of the viewer with the vine covered ruins yet disturbing in that the viewer must realize when seeing the repeating doorways that the place could not exist.
The use of the decaying stones in stark contrast to the living vines gives the viewer a sense of timelessness; the viewer could gaze into this photographic art piece and just as easily assume he has been transported back in time as the image could be in the present tense with the viewer experiencing ruins from a bygone era.
The use of color is a key factor in successfully tricking the viewer into thinking the picture is real. These colors are what a viewer would expect to see in nature, and in combination with the living green vines and architectural stonework, imply a sense of cohesion, fooling the eye into perceiving that the digitally manipulated art could exist in reality.
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At the core of this work of digital art is a winding stairway descending in a geometrically pleasing repetition reminiscent of the graceful curves within a chambered nautilus. This photographic art represents surreal architectural photography, focusing on a feature from the building’s interior.
The photographic collage pulls in natural elements with the transparent layer of bare gray tree branches deftly positioned over the pale stairway. Without closer inspection, the branches appear as a network of cracks in the stairs. The branching forms spread into the surrealistic digital art from the upper right, not reaching the center of the spiral. Do these represent an intrusion of a future vision where the stairs and enclosing building have crumbled to be replaced by forests? Or is this a desire to be free from the constraints of the man-made world?
As a work of surreal photography, this fine art collage combines three fractal forms, the elegantly curving organic form of the stairs, the branching trees, and the digitally cloned yellow and purple scaffolding into a mystical composition with its own logic and cohesion.
The colored lines form repeating geometric shapes resembling an inscribed star. These are in sharp contrast to the muted grays and weathered whites of the rest of the surreal photographic art piece. While on the stairs, the lines retain their shape but appear to be pulled to the center of the spiral in wisps of energy. Both the branches and architectural lines are transparently layered over the spiral stairway.
The view is straight down into the heart of the surrealistic spiral, and visual movement in this photographic art circles and descends into a swirling vortex. The very center of the spiral is obscured by the mass of purple and yellow lines flowing off the stairs and into the void below.
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An old red brick wall serves as the backdrop in this photographic collage; a window allows the viewer to peer into the world within. This surreal landscape photography piece creates an instance of photographic art that inspires both a mood of rural pining and bucolic unease. These disconnected digital art images have been recombined into a photographic collage that is simultaneously fantastical and mundane.
The wall is strong, solid and weathered, constructed from bricks that are not identical. The majority of the blocks are large and long with three lateral lines separating four parallel bars. Smaller pairs of bricks create systematic interruption in the regularity of the pattern. It is through the enduring strength of this old wall that the viewer peers, beyond a window frame that is discolored from age and exposure to the elements into a landscape of pastoral serenity. The viewer first perceives elements of the great outdoors – a hay roll, a vast field, and the clear blue sky; however, the eye is drawn to the darkness that looms overhead, a great blackness, and shadowy concrete cinderblocks which seek to imprison.
This photographic art piece combines and transforms, taking what is common and making it uncommon and otherworldly. Rural settings are depicted beneath a ceiling of block and mortar to conjure the viewer’s foreboding. The manipulation of these digital art images into a photographic mosaic makes the viewer wonder if this is what our reality has become: Has man constructed his own urban prison, completely cut off from the natural world?
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In this fine art photographic collage, the viewer immediately tries to focus on the central images, the ghostly visages of model Julie Allen; however, the blurred quality of the digital art portrait makes the viewer unable to see clearly the details of her face. The superimposed images of the woman have an ethereal quality, as her many faces appear to be both beckoning the viewer to join her on the ghost train while simultaneously turning away as if to warn of impending danger.
The haunting quality of the otherworldly motif within this surreal portrait forces the viewer to consider his own mortality and the many simultaneous faces he both presents to the world and keeps to himself. As the viewer’s eye follows the movement of the model’s doppelgangers around the abstract collage, he inevitably becomes aware of the sense of foreboding emanating from the surreal photo, of the neon green trees and bright blue sky juxtaposed in stark contrast to the washed out, translucent colors of the ghostly figures. When the viewer peers through to the other side of the train, a secondary landscape is present, giving this otherwise surreal photography a contradictory sense of reality.
Overall, the use of layout, color, and blurred images within the composition help to suspend the viewer’s disbelief in the concept of the ghost train. The resulting photographic collage begs the viewer to answer the question, “Do you believe in ghosts?”
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Photographic collage benefits from attention to detail, and a key element of a successfully executed piece is appropriate composition. Using elements of photo art that have some direct or implied relationship to the topic at hand is a sure way to create an overall scene whose parts seem to fit with each other as if they were actually made together.
Take this Vesuvius image as a prime example of surreal landscape photography where a keen eye for the right image selection and placement has created a seamless photographic collage that looks like it came right out of an archeological dig. By using photo art sections from both the Vatican City and Pompeii, even though the heydays of these places are anachronistic, the resultant finished piece creates a new space and time that contains nothing that feels out of place geographically or historically.
Photo art also benefits from strong focus, which is easily derived from compositional placement. Clearly, the focal point of this image is the astrological sun motif whose strong lines draw the viewer in from the well-placed foreground ruins. By masking the sun with an ordinary mountain, it appears to burst from the peak in a very effective, easily-understood symbolic representation of a flaming volcano.
The use of a high contrast foreground “frame within a frame” effect suspends disbelief, allowing for further creative license with the superimposition of clouds and suggestive wave shapes in the background. The overall finished product is a well-made surreal landscape composition that brings volcanic ruins of former island civilizations to mind even if one isn’t familiar with the Vesuvius story.
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This fine art photographic image is an example of surreal art, a style of art that emphasizes dream imagery, chance operations, and rapid forms of thought notation that express the inner workings of the subconscious.
The use of color evokes a sense of surrealism; the piece layers into the background arcs of hot pink, lavender, blue, and red, creating a sense that the hallway is floating in a swirling vortex of dark carnival hues. The use of straight floor planks and vintage lighting fixtures along the ceiling creates the appearance that the floating hallway is anchored in the center of the composition. When peering down the hallway, viewers get the sense that they could be in a hotel hallway from days gone by; however when viewers see the surrounding arcs of color, they are instantly disoriented. Doors along the hallway reflect the lighting fixtures, prompting viewers to think of the hallway as real. The image of the lady inside the frame hung in the optical center of the piece creates the illusion of a back wall. Through the introduction of this lady in white, model Julie Allen, superimposed multiple times behind herself and again in the photograph at the end of the hallway, the composition within this photographic collage contradicts itself by juxtaposing items that appear to be from the real world and with other worldly ethereal concepts; the repetitive visual, appearing as a ghostly anachronism, anchors this sense of discontinuity for the viewer.
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Though the subject would ordinarily be tranquil, there is a quality about this piece of photographic art that causes disquiet in the viewer. A close examination reveals why, and illustrates some of the elements of surreal landscape photography.
The photographic collage shows three views of this scene in different lighting and focus. The near fence and pasture are out of focus, seeming indistinct and unreal. The bales of hay are so blurred that the edge of the field can be seen through them. In contrast, the field, building and bushes immediately around the building are in much sharper focus; details are clearer and objects seem more substantial. This middle part of the picture was shot under brighter light; yellow and reddish shades are much clearer, indicating direct sunlight. The line of fence behind the building is also distinct, but immediately behind that is the third element in the photographic collage, an exposure of the ridge and trees taken at a much lower light level. The uppermost part of the picture seems to have been taken under overcast light; the far ends of the spectrum are dim, giving a washed-out, grayish quality.
In reality, we see details in the foreground more clearly than in the background. By putting the foreground out of focus and making more distant objects sharper, this surreal landscape photography reverses what we expect to see. Differing lighting and focus in photographic art enhance the feeling that something is wrong.
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Digital art techniques have come a long way since their inception. Modern photographic collage includes surreal art elements that Salvador Dali would be proud to include in any of his traditional oil paint or print masterpieces, creating dreamlike secret gardens.
In this image, we see elements of classic surreal art combined seamlessly with architectural forms drawn from real world photography, resulting in an image that makes the viewer wish they could visit the scene depicted. By maintaining solid compositional principles, the digital art produced draws the eye into the focal point of the image; a bright swatch of green foliage set against a darker background of hedges. By replicating the shape of this focal point through the arches that spread out and towards the foreground, the suggestion of a long hall has been well laid out, giving the piece a nice sense of depth.
In contrast to the deeply layered tunneling effect, we see a great amount of detail in the foreground. The exquisitely rendered vines and leaves in the column that dominates almost half of this photographic collage are key to suggesting the overall garden motif, which although reinforced by the continuation of plant life along the arches in the middle space, could be established definitively even with a different background.
To avoid creating a regular, flat image, subtle flares of pale blueish light are included in the top area give the arching interior of the hall a greater sense of space than it would otherwise have. The addition of a single railing beyond the final arch helps add to the feeling of a regularly divided, organized garden that has succumbed to the passage of time and growth.
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