Nick Brandt: This Empty World
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Working in colour for the first time, Nick Brandt’s latest project uses complex composition and dramatically cinematic staging to highlight environmental degradation in the world and its effect on both animal and human life.
This Empty World, Nick Brandt’s new monograph, features a series of dramatically staged photographs that bring together and reveal the animals and people of East Africa as the victims of environmental degradation in an emotionally powerful, cinematic way.
Moving into colour photography for the first time, the work is both a technical tour-de-force and a massively ambitious project in which the sets are constructed on a scale typically seen in major film production. Each panoramic image is a combination of two moments in time, almost all of them captured weeks apart from the exact same camera position.
Brandt first builds and lights a partial set, then waits for the animals that inhabit the region to enter the frame. Once captured on camera, the full set is built with the camera remaining fixed in place. The sets include bridge and highway construction sites, a petrol station, a bus station and even a dead forest. Completing the scene with a huge cast drawn from local communities, Brandt then photographs the second sequence. The final large scale prints are a composite of the two intricately plotted elements.
Viewed as a whole, the images vividly illustrate a world in which, overwhelmed by runaway human development, there is no longer space for animals to survive, and beg the question: what kind of world will we live in when stripped of its natural wonders.
This Empty World, Nick Brandt’s new monograph, features a series of dramatically staged photographs that bring together and reveal the animals and people of East Africa as the victims of environmental degradation in an emotionally powerful, cinematic way.
Moving into colour photography for the first time, the work is both a technical tour-de-force and a massively ambitious project in which the sets are constructed on a scale typically seen in major film production. Each panoramic image is a combination of two moments in time, almost all of them captured weeks apart from the exact same camera position.
Brandt first builds and lights a partial set, then waits for the animals that inhabit the region to enter the frame. Once captured on camera, the full set is built with the camera remaining fixed in place. The sets include bridge and highway construction sites, a petrol station, a bus station and even a dead forest. Completing the scene with a huge cast drawn from local communities, Brandt then photographs the second sequence. The final large scale prints are a composite of the two intricately plotted elements.
Viewed as a whole, the images vividly illustrate a world in which, overwhelmed by runaway human development, there is no longer space for animals to survive, and beg the question: what kind of world will we live in when stripped of its natural wonders.
Extent: 128 pp
Format: Hardback
Illustrations: 84
Publication date: 2019-07-02
Size: 33.0 x 38.1 cm
ISBN: 9780500545140
Introduction • Essay • The Plates • Bloodshot Eyes (and how they got that way), Nick Brandt
Press Reviews
Dr. Paula Kahumbu, O.G.W., Chief Executive Officer WildlifeDirect, Kenya
E.O. Wilson, Theorist, Biologist & Author
Choice
Widewalls
About the Author
Nick Brandt (b.1964) is an English-born, US-based photographer whose themes always relate to the disappearing natural world. He is the co-founder of the Big Life Foundation, in Kenya, where all of these photographs were shot.
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