The majority of the images were shot in the afternoon where the spatial direction of the sun is almost nearly overhead. This creates deep shadows where they are seen, but due to the intentional camera movement, the shadow edge transfer of the light to shadow tends to render softer than it typically would without this technique. Also, there is no actual specular highlights present for the same reason and that there were no real reflective matter present in the images. Also because of the camera technique used the diffused value renders as soft rather than sudden although a good portion of the lighting conditions were during bright or directional parts of the day. One of the key elements of this body of work was the choice to manipulate the color palette for an emotional effect. Choosing to do this led the work to have contrast of saturation and contrast of cool and warm. The work is very subdued with the grey and ominous skies presented in the work, the oranges and yellows however were not desaturated and even some were saturated a little more. Because of the grey skies that render as a cool contrast to the warmth of orange and yellow elements present throughout the images, the emotional effect was to highlight and demonstrate a pictorial transition from fall into winter. As the work progresses through from the first image to the last more snow or blocks of white appear. There is still a warmth to the season of fall where winter is darker, moodier, and even visually cooler. The play between warm and cool hues affect the overall plasticity of the imagery but the blurring also undermines the push and pull of plastic intervals. The images seem flatter than they really are regardless of the contrast and color dynamics in the images presented therefore the distance between objects (or foreground and background) feel as if they are on the same plane.