An Ominous End is a series of imagery that confronts the notion of photographic validity through the construction of a manipulated reality. The eight photographs create a fabricated truth through the deception of light and the selection of scenes to construct a threatening narrative. The landscape transforms into an envisioned world, where we view it systematically in a way that forces meaning and intention. The day becomes a shadowed night with the anxieties of the unknown, bundled with the rustic decay of the past.

The photographs present an illusioned journey through a village landscape. The dilapidated fences and decaying structures are intensified with obscuring shadows, menacing clouds and forced perspective, giving power to the subjects. While the structures are representative of a physical truth existing in the real world, the ideology is challenged through the selection representing the series as a whole. In reality, they are only a part of the village with a greater context than dilapidation; it is a living and thriving community. In addition to the subject selection, each photographs angling, framing, and post-processing contrasts the original through the removal of colour and the editing of dramatic shadows, obscuring aspects of view and illuminating specific areas.

The series challenges the notion of truth in photography by stretching the limits of what is real and blurring the lines with fabrication. The transformations from day into night, light into dark, and illuminating into shadowed connect to the multiple layers of truth, which is rarely black or white but is often conceptualised as such. Additionally, there is a greater emphasis on what feelings and emotions are uncovered rather than the identification and residence of location.

The photographs can be interpreted in multiple ways, relying on the viewer’s perspective and the landscape’s familiarity. The foreboding intensity is more likely to be inferred from someone unfamiliar with the village. The dilapidated fences, rustic buildings and contrasting shadows are positioned to insight a place that is ghostly, abandoned and dominated by a presence outside our own. A viewer who can identify the location may see the subjects as part of reality rather than a whole because of visual or lived memory.