Luminous-Lint - for collectors and connoisseurs of fine photography
HOME  BACKFREE NEWSLETTER

Getting around

 

HomeWhat's NewContentsVisual IndexesOnline ExhibitionsPhotographersGalleries and DealersThemes
AbstractEroticaFashionLandscapeNaturePhotojournalismPhotomontagePictorialismPortraitScientificStill lifeStreetWar
CalendarsTimelinesTechniquesLibraryImages and WordsSupport 
 

Social media

Share |

 

HomeContentsThemes > Landscape

Contents

Introduction
4.01   Landscape photography
4.02   Surveying
Nineteenth century landscape photography
4.03   Nineteenth century landscape photographers
4.04   Peter Henry Emerson: Marsh Leaves (1895)
4.05   Pictorialism and trees
4.06   Pictorialism: Landscapes of ice and snow
Themes
4.07   Trends and themes with landscape photography
4.08   Landscapes: Straight vs. Pictorialist
4.09   Landscapes: Pristine vs. Altered by man
4.10   Figures within the landscape
4.11   The landscapes of war
4.12   Early use of colour in landscape photography
4.13   Print size and perception within landscapes
Amateur, snapshots and the popularisation of landscape
4.14   Snapshots of landscapes
4.15   Cigarette cards of landscapes
4.16   Miniature views
4.17   Fred Judge: UK: Postcards
The legacy of Ansel Adams
4.18   Ansel Adams: The New Ansel Adams Photography Series
New Topographics
4.19   New Topographics (1975)
Thoughts
4.20   Thoughts on trends in landscape photography
This theme includes example sections and will be revised and added to as we proceed. Suggestions for additions, improvements and the correction of factual errors are always appreciated. 
  
Status: Collect > Document > Analyse > Improve
 
  
Introduction 
  
4.01   Landscape >  Landscape photography 
  
Landscape remains one of the commonest genres for the photographer with most using the camera as a memory machine but with little inner reflection on the underlying reasons for their choice of shot. The fact that it is a view of the Pyramids or the Eiffel Tower is sufficient and the resulting images are a means of demonstrating that the taker has been to the location and it really is as remarkable as people say it is. For others the selection is more reflective and the resulting images allow the viewer to dissect their own emotional and socio-political reactions and add their own interpretations, correct or incorrect, to what the photographer intended. 
  
4.02   Landscape >  Surveying 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
The measurement of the land, the naming of features, and the establishment of boundaries has been a fundamental part of non-nomadic societies. The building of roads, canals and railways has necessitated survey expeditions to plan routes and the civil engineering necessary to accomplish the tasks. Standards became necessary as urban centres grew or expeditions were necessary to explore new territories. The reasons for the surveys were numerous - scientific, archaeological, military, natural resources and the common factor was mapmaking and surveying. Photography was a supplement to these and provided the visual evidence.
 
The importance of photographers is preserved in the nomenclature of the landscape features with mountains named after them - examples include Mount Watkins[1] in Yosemite which was named after Carleton Watkins in 1865, Masa Knob[2] in Great Smoky Mountains National Park after George Masa in 1961 and Mount Ansel Adams[3] after Ansel Adams in the Sierra Nevada of California named in 1984. 
  
Nineteenth century landscape photography 
  
4.03   Landscape >  Nineteenth century landscape photographers 
  
To understand the origins of landscape photography there are different pages that cover regional areas during the nineteenth century. The reason for this is that in each area the cultural motivations and styles have subtle differences worthy of examination.  
  
4.04   Landscape >  Peter Henry Emerson: Marsh Leaves (1895) 
About this photographer | Photographs by this photographer 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
In 1895 Peter Henry Emerson produced Marsh Leaves[10], the last of his volumes of photographs to be published. Smaller in format than the early works, it is illustrated with sixteen photogravures. For On English Lagoons and Marsh Leaves Emerson did, as he claimed he would do, make all his own photogravure plates, finally freeing himself from commercial engravers.
 
Many of the photographs in this last book demonstrate that he was no longer exclusively concerned with the direct transcribing of perception. Several are taken with a lens of relatively long focal length, resulting in a distant, two-dimensional view quite different from unaided human vision. He was using, to borrow a phrase from Aaron Scharf[11], ‘the vocabulary and syntax’ of photography. It is possible that, released by his "Renunciation" from the requirement to follow artistic conventions, Emerson at last felt free to discover what photography itself had to offer.
 
It is tempting to see, in Emerson’s last published photographs, the first suggestions that he had begun to adopt an approach and a working practice that were closer to the twentieth century than to the nineteenth, and it is certainly true that he maintained a keen interest in the most recent technology. No photograph he took after the mid-nineties has been identified, however, so as far as posterity is concerned, his career as a photographer ended in 1895.
 
The distinctive characteristics of Emerson's later work have been noted by other writers, notably Ian Jeffrey (1989)[12] and Mark Durden (1994)[13].
 
The 16 photogravures in Marsh Leaves are:
I A Winter's Sunrise
II The Lone Lagoon
III The Fetters of Winter
IV A Waterside Inn
V A Winter Pastoral
VI Marsh Weeds
VII Gnarled Thorn-Trees
VIII The Misty River
IX Bleak Winter
X The Waking River
XI The Bridge
XII The Snow Garden
XIII A Corner of the Farm-Yard
XIV Rime Crystals
XV The Lonely Fisher
XVI The Last Gate
[Courtesy of David Stone] 
  
   Peter Henry  Emerson Marsh Leaves 
View exhibition 
Title | Lightbox | Checklist
 
  
4.05   Landscape >  Pictorialism and trees 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
Although snow-covered landscapes had been photographed long before the Pictorialists it is with them that we start to get a sense of a moody chill.  
  
Trees in the snow 
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
We see not only the same themes repeating but the same photographs being published in the catalogues for the different Pictorialist salons. For example At the Rushy Pool by Hugo Henneberg was in "The Photographic Salon" (London} in 1895 and as Am Schilfweiher in Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien in January 1896.  
  
Tranquil water and trees 
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
 
  
Figures in a Pictorialist landscape 
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
 
  
Mystery amongst the trees 
Thumbnail  
  
 
  
   Nature Trees Pictorialist 
View exhibition 
Title | Lightbox | Checklist
 
  
4.06   Landscape >  Pictorialism: Landscapes of ice and snow 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
Photographing ice and snow falls to two main types under pictorialism the first are the photographs that use contrast as the defining element and the second are those of a very restricted contrast range. The George H. Seeley gum bichromate and platinum print of a Winter Landscape (1909) is unusual as it preceeds Modernism and yet has all the signs of an Edward Weston dune photograph of twenty years later.  
  
High contrast 
Thumbnail Thumbnail Thumbnail  
  
Low contrast unpopulated photographs give a tranquil reflective mood to the viewer - bleak landscapes to be viewed within warm interiors.  
  
Limited contrast 
Thumbnail Thumbnail Thumbnail Thumbnail  
  
People in Pictorialist snowscapes are focal points but the photographs are rarely about humanity in the board sense.  
  
Figures in Pictorialist snowscapes> 
Thumbnail Thumbnail Thumbnail  
  
 
  
Themes 
  
4.07   Landscape >  Trends and themes with landscape photography 
  
Once the regional trends in the landscape photography in the nineteenth century have been examined it is necessary to understand the motivations that provoked global movements through exhibitions, magazines and personal relationships. The soft focused pigment prints of pictorialism are examined followed by the reaction against it with the straight landscape photography of Ansel Adams[14] and Edward Weston.[15]  
  
Ansel Adams: Straight landscape photography 
Thumbnail  
  
 
  
Edward Weston: Straight landscape photography 
Thumbnail Thumbnail Thumbnail Thumbnail  
  
There are a number of additional factors that have influenced greatly influenced landscape photography and these include the increasing awareness of environmental issues since the 1960‘s. The New Topographics[16] photographers from the 1960's onwards showed the suburbs and industrial parks rather than pristine wilderness.  
  
Lewis Baltz: The New Industrial Parks near Irvine, California (1974) 
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
 
  
Robert Adams: Denver: A Photographic Survey of the Metropolitan Area 
Thumbnail Thumbnail  
  
Increasing lobby groups and socially committed photographers are showing the impacts of uncontrolled industrial and urban growth and the effects of pollution. Although a single landscape photograph is taken at a specific moment in time it can also fit into a temporal continuum and the historical issues of locations are being increasingly questioned and explored. 
  
4.08   Landscape >  Landscapes: Straight vs. Pictorialist 
  
Thumbnail Thumbnail Thumbnail Thumbnail  
  
By examining these four photographs we can clearly see how styles have changed over time in response to fashion and technological changes.
  • The 1873 albumen silver print by Timothy H. O'Sullivan[17] is about clarity and showing all possible detail, he was accompanying a scientific survey team in the American West and although the choice of camera position and time of day could be selected for artistic purpose the primary aim is to record as accurately as possible what was seen. 
      
    Thumbnail  
      
  • If the photograph by Timothy H. O'Sullivan was taken for scientific effect the bromoil print by the French photographer Emile Joachim Constant Puyo[18] was taken for an artistic purpose. It shows a landscape with a solitary woman in misty hues on the banks of the Seine. The choice of the bromoil process, so beloved by pictorialists, softens the focus so the overall effect is one of a nineteenth century salon oil painting. 
      
    Thumbnail  
      
  • By the 1920s the accepted practice of rendering the landscape as a painting was being challenged as modernism was superseding impressionism and becoming the dominant trend in the arts. With the clarity of the 1942 gelatin silver print by Ansel Adams[19] the mood of the shot is captured in a way that Timothy H. O'Sullivan did not strive for but Ansel Adams also gets all the detail. This is not about resembling a painting but creating awe by showing the grandeur of nature. 
      
    Thumbnail  
      
  • Towards the end of the twentieth century there are photographers who strive for the tonalities of Ansel Adams but the fine art market has moved on and now we have what I term "The New Pictorialism" with high quality printing of long exposure shots that are delving deeper into the emotions of a location. No person walks in the dream landscapes of these worlds. Michael Kenna is a master of this style. 
      
    Thumbnail  
      
When looking at photographs keep in mind the technologies that were available and the artistic trends that were taking place when the photograph was created. Photographs reflect the mental frameworks of the time they were taken and they go in and out of fashion just as much as clothes. 
  
4.09   Landscape >  Landscapes: Pristine vs. Altered by man 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
Over time within landscape photography we have seen changes in the way human activity is recorded - many photographers strive to ensure that there is no trace of humanity and that no telegraph pole, power line or road is shown. They see a world in which nature is a pristine Eden unblemished by human progress.
  • This approach is in keeping with the 1865 albumen print of Mirror Lake and Reflections, Yosemite Valley, Mariposa County, California by Charles Leander Weed.[20] He was the first person to take photographs of the Yosemite Valley and at a time when there was little human activity so it really was virgin territory. 
      
    Thumbnail  
      
  • Many of the early topographical views of the American West were taken by survey teams and railroad photographers. Their photographs highlighted the boundless opportunities of the untouched territories to the audience in the eastern cities and encouraged them to travel west. At the same time the photographs showed the stockholders and owners of the railroads the progress that was being made. The incredibly detailed albumen print of Carleton Eugene Watkins[21], taken between 1866-1868, shows one of the trestles on the Canadian Pacific Railroad - here the landscape is being tamed and conquered. 
      
    Thumbnail  
      
  • Photography is not only about well known photographers - it embraces amateur photographers taking snapshots. A lonely tent in a clearing is a memory without an owner as nothing is known of the photographer who took it or the context. Although the tent is within nature it is not a part of it. It is a sign of a passing human presence within the landscape.  
      
    Thumbnail  
      
  • The vision of photographers such as Jim Dine, Lewis Baltz[22] and Robert Adams[23] in the western USA in the 1960s and 1970s was a break with the nature as grandeur that could be tamed tradition. In the seventies their approach was termed the New Topographics and the name was well chosen. They rejected the wilderness and showed the industrial parks, suburbs and mundane construction that were paving the land. They showed a brutalized world that had been black topped into parking lots, turned into gas stations and become an endless series of strip malls and road junctions. In the 1970 gelatin silver print by Robert Adams there is an attraction in the patterns of uncontrolled suburbs but it is the antithesis of the untouched valleys of Charles Leander Weed from a hundred years earlier. 
      
    Thumbnail  
      
  • As color photography became accepted as an art form documentary photographers and photojournalists like Ernst Haas adopted it and now it is widely accepted by contemporary landscape photographers such as Christopher Burkett, Robert Glenn Ketchum, Stephen Shore and Shinzo Maeda. The photograph by Eliot Porter is a return to the nostalgia for the untouched wilderness and the need to preserve it. 
      
    Thumbnail  
      
There are cyclical movements in the way that landscape is photographed. 
  
4.10   Landscape >  Figures within the landscape 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
The relationships between people and the landscape are as diverse as the motivations for visiting the locality. Some photographs are expedition and survey documents where figures denote the scale, others record indigenous peoples within their regions and some show people participating in leisure activites. War photographs showing landscapes vary with a contrast between natural beauty and the portrayal of casualties and others show shell-blasted forests and hills with a solitary figure viewing defiled nature. 
  
4.11   Landscape >  The landscapes of war 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
The landscape has been seen as a romantic Arcadian idyll - a place for painters and photographers to reflect on beauty as in Forest of Fontainebleau.[24] With war the hills, tracks and forests are disjointed and fractured by shells, roads are littered with cannon balls[25] and soldiers and refugees transverse what once had purity. The landscape itself loses its timeless nature and becomes a visible reflection of a specific conflict where shell holes, bomb craters and trenches are the souvenirs.
 
Even where there are no apparent visible reminders within the landscape there is an interplay between history and landscape and some photographers such as Eva Leitolf in her series German Images - Looking for Evidence 2006-2008 have explored this. David Farrell photographed the localities where bodies were disposed of during The Troubles in Northern Ireland.[26] 
  
4.12   Landscape >  Early use of colour in landscape photography 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
 
  
4.13   Landscape >  Print size and perception within landscapes 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
Any image of a landscape is cropping of reality and the way we perceive the "real" landscape is distinct from a memory captured in tangible form. The size of print affects our sense of the place shown which we may, or may not, have visited. If the same mammoth plate negative was used as the basis for large prints, cabinet cards and carte de visite would we perceive the image in the same way or is grandeur linked to print size? Curators will almost inevitably select the most visually powerful material for display and publications because of rarity, display considerations and impact. cabinet cards, Carte de visites and miniature views are not as imposing - but the landscapes within the image might be. It would be foolhardy to say that all landscape photographers are equally skilled but to understand landscape trends we need to separate ourselves from the distinction between the size of the image and its content. 
  
Amateur, snapshots and the popularisation of landscape 
  
4.14   Landscape >  Snapshots of landscapes 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
 
  
4.15   Landscape >  Cigarette cards of landscapes 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
 
  
4.16   Landscape >  Miniature views 
  
Thumbnail Thumbnail Thumbnail  
  
 
  
4.17   Landscape >  Fred Judge: UK: Postcards 
About this photographer | Photographs by this photographer 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
 
  
The legacy of Ansel Adams 
  
4.18   Landscape >  Ansel Adams: The New Ansel Adams Photography Series 
About this photographer | Photographs by this photographer 
  
Thumbnail Thumbnail Thumbnail  
  
For those that admire high quality landscape photography with black blacks and white whites Ansel Adams stands as the master and his work has influenced generations of large-format photographers. His three books in The New Ansel Adams Photography Series published by the New York Graphic Society were:
The Camera[27]
The Negative[28]
The Print[29]
The books concentrate on the cameras, chemicals and processes and although they do cover subject visualizations the emphasis is on the technical rather than the spiritual side. 
  
New Topographics 
  
4.19   Landscape >  New Topographics (1975) 
  
Thumbnail  
  
The 1975 exhibition "New Topographics: Photographs of a Man-altered Landscape"[30] curated by William Jenkins at the International Museum of Photography at George Eastman House has proved to be one of those seminal exhibitions that has changed the way a genre of photography is understood.[31] Simplistically we can see American landscape photography as split into those that came before the exhibition influenced from the 1920s onwards by Ansel Adams[32] and Edward Weston[33] and those that came after. The shift was not so much one of technologies but more of how the natural world, and human impact upon it, was conceived. In 1975 the Vietnam War (1961-1975) was coming to an end with a cynicism in government, a rising environment awareness brought about by Rachel Carson in Silent Spring (1962)[34] and Marshall McLuhan examining media with The Medium is the Massage (1967)[35]. For a generation of western students reading Hermann Hesse, Andre Gide, Albert Camus and George Gurdjieff, listening to Bob Dylan, and watching Easy Rider (1969) pristine landscapes were not enough and different ways of approaching the world were required. New Topographics was timely because it reflected the unease, and spiritual yearnings, of a generation.
 
The photographers included in the exhibition were:
Robert Adams
Lewis Baltz
Bernd and Hilla Becher
Joe Deal
Frank Gohlke
Nicholas Nixon
John Schott
Stephen Shore
Henry Wessel
With the exception of the Bechers all the photographers included were American but the issues of encroaching suburbia and the industrialisation of the landscape with a world of strip malls, tarmac were prophetic. There were prescedents to this as in the series Homes for America (1966-1967) by Dan Graham who had used magazine-style photographs and text to juxtapose the family dream of the housing developments of suburbia with the bordom and alientation of the world they are responsible for. [36]
 
When we look at the contemporary works of Edward Burtynsky in Manufactured Landscapes (2003)[37] or David Maisel in Oblivion (2006)[38] they are within the documentary tradition and are descendents of New Topographics 
  
Thoughts 
  
4.20   Landscape >  Thoughts on trends in landscape photography 
  
When we look at landscape photography it can be viewed as a series of trends that reflect upon the wider political and social movements of the time.
  • The idealism of raw nature (Pioneer spirit)
     
  • The taming of nature by man (Acceptance and control)
     
  • The pretty as a painting approach to landscape (Crafting photographs to appear to be paintings)
     
  • The realization that the taming of nature has detrimental effects (Environmental issues)
     
  • The nostalgic quest for a pristine and more spiritual world (The New Pictorialism)
Each of these has its own adherents and today one can find photographers who have made a conscious or an unconscious choice about the one they've selected. 
  

Footnotes 
  
  1. Λ Mount Watkins, Yosemite, California, United States, North America
    Lat/Lon: 37.78299°N / 119.51735°W 
      
  2. Λ Masa Knob, North Carolina/Tennessee
    Lat/Lon: 35.634708°N / 83.377939°W 
      
  3. Λ Mount Ansel Adams, California, United States, North America
    Lat/Lon: 37.69798°N / 119.2817°W 
      
  4. Λ Henry Fox Talbot did topographical views and perhaps the best collection is his work on Scotland - William Henry Fox Talbot, 1845, Sun Pictures in Scotland 
      
  5. Λ Bill Jay, 1974, Francis Bedford 1816-1894. English landscape photography of the wet-collodion period, (University of New Mexico, Albuquerque - MA Thesis); Stephanie Spencer, 2011, Francis Bedford, landscape photography and Nineteenth-Century British culture: the artist as entrepreneur, (Farnham: Ashgate); Francis Bedford, n.d., Photographic views of North Wales, (Chester: Catherall & Prichard) 
      
  6. Λ Roger Fenton is the best known of Crimean War photographers and there is a considerable amount written about him - Gordon Baldwin et al., 2004, All the Mighty World: The Photographs of Roger Fenton, 1852–1860, (New Haven, CT: Yale University Press; New York: Metropolitan Museum of Art); Helmut & Alison Gernsheim, 1954, Roger Fenton: Photographer of the Crimean War, (London: Secker & Warburg); John Hannavy, 1975, Fenton of Crimble Hall, (Boston: David R. Godine); Valerie Lloyd, 1988, Roger Fenton: Photographer of the 1850s, (London: South Bank Board); Richard Pare, 1987, Roger Fenton, (New York: Aperture).
     
    For a rephotographic study - David R. Jones, 2012, In the Footsteps of Roger Fenton, Crimean War Photographer, (www.lulu.com: self-published) 
      
  7. Λ Roger Taylor, 1981, George Washington Wilson: Artist and Photographer, 1823-93, (Aberdeen: Aberdeen University Press) 
      
  8. Λ Mark Haworth-Booth, 1992, Camille Silvy: River Scene, France, (Malibu, CA: J. Paul Getty Museum) 
      
  9. Λ The photographs of the Forest of Fontainebleau were the ancestors of how the forests of Yosemite in the United States would become iconic in American photography.
     
    London had large and well forested Royal parks such as Richmond Park, Bushy Park, Hyde Park and a number of others and one needs to ask if there were similar, but not so famous, series being completed at the same time in those locations. The Crown Lands Act of 1851 made them into freely accessible public parks. 
      
  10. Λ P.H. Emerson, 1895, Marsh Leaves, (London: D. Nutt) 
      
  11. Λ Aaron Scharf, 1986, ‘P. H. Emerson: Naturalist and Iconoclast‘, in Neil McWilliam & Veronica Sekules (eds.), Life and Landscape: P. H. Emerson: Art and Photography in East Anglia, 1885-1900, pp. 21-33 
      
  12. Λ Ian Jeffrey, 1989, ‘Emerson Overturned; On English Lagoons and Marsh Leaves‘, in Weaver, Mike (ed.), British Photography in the Nineteenth Century, (Cambridge University Press) 
      
  13. Λ Mark Durden, 1994, Autumn, ‘Peter Henry Emerson, The Limits of Representation‘, History of Photography, vol. 18, no. 3, pp. 281-284 
      
  14. Λ Ansel Adams, 1981, Ansel Adams: Images, 1923–1974, (Boston: New York Graphic Society); Nancy Newhall, 1963, Ansel Adams: The Eloquent Light, (San Francisco: Sierra Club); Andrea G. Stillman, 2012, Looking at Ansel Adams: The Photographs and the Man, (Little, Brown and Company) 
      
  15. Λ Charis Wilson & Edward Weston, 1940, California and the West, (New York: Duell, Sloan and Pearce); Edward Weston, 1947, Fifty Photographs, (New York: Duell Sloan & Pearce Publishers); Edward Weston, 1950, My Camera on Point Lobos, (Yosemite National Park, CA: Virginia Adams; Boston: Houghton Mifflin Co.); Edward Weston & Brett Weston, 2003, Dune, (Wild Horse Island Press)
     
    To better understand the thinking of Edward Weston his Daybooks are the best source - Nancy Newhall (ed.), 1973, The Daybooks of Edward Weston: Volume 1, Mexico, (Millerton, NY: Aperture); Nancy Newhall, (ed.), 1973, The Daybooks of Edward Weston: Volume 2, California, (Millerton, NY: Aperture). The immortality of any photographer is strongly linked to having a good editor and a biographer - Nancy Newhall had that ability. 
      
  16. Λ 1975, New Topographics: Photographs of a Man-altered Landscape, (Rochester, NY: International Museum of Photography at George Eastman House) [Introduction by William Jenkins]; Brit Salvesen (ed.), 2010, New Topographics, (Steidl); Greg Foster-Rice & John Rohrbach (eds.), 2013, Reframing the New Topographics, (Columbia College Chicago Press) 
      
  17. Λ Keith F. Davis & Jane L. Aspinwall, 2011, Timothy H. O'Sullivan: The King Survey Photographs, (Nelson Atkins Museum) 
      
  18. Λ Emile Joachim Constant Puyo, 1896, Notes sur la Photographie Artistique. Texte et Illustrations par C. Puyo, (Paris: Gauthier-Villars et fils Editeurs) 
      
  19. Λ Ansel Adams, 1981, Ansel Adams: Images, 1923–1974, (Boston: New York Graphic Society); Nancy Newhall, 1963, Ansel Adams: The Eloquent Light, (San Francisco: Sierra Club); Andrea G. Stillman, 2012, Looking at Ansel Adams: The Photographs and the Man, (Little, Brown and Company) 
      
  20. Λ Peter Palmquist, 1979, ‘California's Peripatetic Photographer, Charles Leander Weed‘, California History, vol. 58, no. 3 
      
  21. Λ Weston Naef, 2009, Carleton Watkins in Yosemite, (J. Paul Getty Museum); Weston Naef & Christine Hult-Lewis,2011, Carleton Watkins: The Complete Mammoth Photographs, (J. Paul Getty Museum); Douglas R. Nickel, Maria Morris Hambourg & Peter E. Palmquist, 1999, Carleton Watkins: The Art of Perception, (San Francisco: San Francisco Museum of Modern Art); Peter E. Palmquist, 1989, Carleton E. Watkins: Photographs, 1861-1874, (Bedford Arts); Peter E. Palmquist & Martha A. Sandweiss, 1983, Carleton E. Watkins: Photographer of the American West, (Albuquerque: University of New Mexico Press); Amy Rule (ed.), 1993, Carleton Watkins: Selected Texts and Bibliography, (Boston: G.K. Hall); Carleton E. Watkins, 1979, Carleton E. Watkins: Photographs of the Columbia River and Oregon, (Friends of Photography: Weston Gallery); Carleton E. Watkins, 1989, Carleton E. Watkins, Photographs, 1861–1874, (San Francisco: Bedford Arts Publishers); Carleton E. Watkins, 1997, Carleton E. Watkins, (J. Paul Getty Museum Publications) [In Focus]
      Weston Naef is also publishing online his own biography of Carleton Watkins, Chasing Aurora
    (Accessed: 20 July 2013)
    www.westonnaef.net/index.html 
      
  22. Λ Lewis Baltz, 1974, The New Industrial Parks near Irvine, California, ([New York]: [Leo Castelli/Castelli Graphics]); Lewis Baltz, 1986, San Quentin Point, ([Paris]: Editions de la Différrence); Lewis Baltz, 1989, Candelestick Point; J. Rian, 2001, Lewis Baltz, (New York: Phaidon Press) 
      
  23. Λ Robert Adams, 1974, The New West: Landscape Along the Colorado Front Range , (The Colorado Associated University Press); Robert Adams, 1994, Cottonwoods: Photographs by Robert Adams , (Washington: Smithsonian Institution Press); Robert Adams, 1994, Why People Photograph: Selected Essays and Reviews , (New York: Aperture); Robert Adams, 1995, What We Bought: the New World - Scenes from the Denver Metropolitan Area 1970-1974 , (Hannover: Stiftung Niedersachsen) [First edition]; Robert Adams, 1999, Eden , (New York: Andrew Roth) [First edition]; Robert Adams, 2008, The New West: Landscapes Along the Colorado Front Range , (New York: Aperture); Robert Adams, 2009, The Place We Live, a Retrospective Selection of Photographs, 1964-2009 , (Yale University Art Gallery); Robert Adams, 2011, Sea Stories , (Yale University Art Gallery); Robert Adams, 2012, Skogen , (Yale University Art Gallery) 
      
  24. Λ A classic example of the purity of natures was the Forest of Fontainebleau which was photographed by numerous photographers in the nineteenth century including - Charles Bodmer (1809-1893), Eugène Cuvelier (1837-1900), Charles Famin, Constant Alexandre Famin (1827-1888), Giraudon's Artist, John Beasly Greene (1832-1856), William Drooke Harrison, Alphonse Jeanrenaud and Gustave Le Gray (1820-1884). 
      
  25. Λ The Roger Fenton photographs of the "Valley of the Shadow of Death" are a useful example of this. See:
     
    Errol Morris, 2007, 25 September, ‘Which Came First, the Chicken or the Egg? (Part one)‘, New York Times
     
    Errol Morris, 2007, 4 October, ‘Which Came First, the Chicken or the Egg? (Part two)‘, New York Times
     
    Errol Morris, 2011, Believing is Seeing: (Observations on the History of Photography), (The Penguin Press) 
      
  26. Λ David Farrell, 2002, Innocent Landscapes: Sites of the Disappeared in Ireland, (Dewi Lewis Publishing) 
      
  27. Λ Ansel Adams, 1991, The Camera - The New Ansel Adams Photography Series, Book 1, (New York Graphic Society) [Numerous editions] 
      
  28. Λ Ansel Adams, 1968, The Negative - The New Ansel Adams Photography Series, Book 2, (New York Graphic Society) [Numerous editions] 
      
  29. Λ Ansel Adams, 1984, The Print - The New Ansel Adams Photography Series, Book 3, (New York Graphic Society) 
      
  30. Λ 1975, New Topographics: Photographs of a Man-altered Landscape, (Rochester, NY: International Museum of Photography at George Eastman House) [Introduction by William Jenkins] 
      
  31. Λ Brit Salvesen (ed.), 2010, New Topographics, (Steidl); Greg Foster-Rice & John Rohrbach (eds.), 2013, Reframing the New Topographics, (Columbia College Chicago Press) 
      
  32. Λ Ansel Adams, 1981, Ansel Adams: Images, 1923–1974, (Boston: New York Graphic Society); Nancy Newhall, 1963, Ansel Adams: The Eloquent Light, (San Francisco: Sierra Club); Andrea G. Stillman, 2012, Looking at Ansel Adams: The Photographs and the Man, (Little, Brown and Company) 
      
  33. Λ Charis Wilson & Edward Weston, 1940, California and the West, (New York: Duell, Sloan and Pearce); Edward Weston, 1947, Fifty Photographs, (New York: Duell Sloan & Pearce Publishers); Edward Weston, 1950, My Camera on Point Lobos, (Yosemite National Park, CA: Virginia Adams; Boston: Houghton Mifflin Co.); Edward Weston & Brett Weston, 2003, Dune, (Wild Horse Island Press)
     
    To better understand the thinking of Edward Weston his Daybooks are the best source - Nancy Newhall (ed.), 1973, The Daybooks of Edward Weston: Volume 1, Mexico, (Millerton, NY: Aperture); Nancy Newhall, (ed.), 1973, The Daybooks of Edward Weston: Volume 2, California, (Millerton, NY: Aperture). The immortality of any photographer is strongly linked to having a good editor and a biographer - Nancy Newhall had that ability. 
      
  34. Λ Silent Spring by Rachel Carson was initially serialized in three parts in the June 16, June 23, and June 30, 1962 issues of The New Yorker magazine.
     
    Rachael Carson, 1962, Silent Spring, (Houghton Mifflin). This book was important in invigorating the environmentalist movement and raising the issue of the indescriminate use of pesticides.
     
    in 1993 Rachel Carson's Silent Spring, a documentary in the PBS "American Experience" series, was shown examining the significance of her book. 
      
  35. Λ Marshall McLuhan, 1967, The Medium is the Massage: An Inventory of Effects, (Bantam) 
      
  36. Λ Abigail Solomon-Godeau, "Two Radically Disjunct Approaches", 15 April 2014, An Online Discourse on Photography - Fotomuseum Winterthur
    (Accessed: 25 April 2014)
    blog.fotomuseum.ch/2014/04/1-two-radically-disjunct-approaches/ 
      
  37. Λ Lori Pauli (ed.) & Edward Burtynsky, 2003, Manufactured Landscapes: The Photographs of Edward Burtynsky, (Ottawa: National Gallery of Canada in association with Yale University Press) 
      
  38. Λ David Maisel, 2006, Oblivion, (Nazraeli Press) [Essay by William L. Fox and poem by Mark Strand] 
      

alan@luminous-lint.com

 
  

HomeContents > Further research

 
  
Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail Thumbnail  
  
General reading 
  
1975, New Topographics: Photographs of a Man-altered Landscape, (Rochester, NY: International Museum of Photography at George Eastman House) [Introduction by William Jenkins] [Δ
  
Emdur, Alyse, 2013, Prison Landscapes, (London: Four Corners Books) isbn-10: 0956192866 isbn-13: 978-0956192868 [Δ
  
Hellman, Karen & Abbott, Brett, 2012, Landscape in Photographs, (J. Paul Getty Museum) isbn-10: 1606061038 isbn-13: 978-1606061039 [Δ
  
Klett, M. et al., 2004, Third Views, Second Sights: A Rephotographic Survey of the American West, (Albuquerque: University of New Mexico Press) [Δ
  
Klett, Mark et al., 1984, Second View: The Rephotographics Project, (Albuquerque, University of New Mexico Press) [Δ
  
Vanderbilt, Paul, 1993, Between the Landscape and the Other, (Baltimore: John Hopkins University Press) isbn-10: 0801842581 [Δ
  
Wall, A[lfred] H., 1896, Artistic Landscape Photography, (London: Percy Lund) [Δ
  
Wells, Liz, 2011, Land Matters: Landscape Photography, Culture and Identity, (I. B. Tauris) isbn-10: 1845118642 isbn-13: 978-1845118648 [Δ
  
 
  
Readings on, or by, individual photographers 
  
Ansel Adams 
  
Szarkowski, J., 2001, Adams at 100, (Boston: Bulfinch Press) [Δ
  
Robert Adams 
  
Adams, Robert, 1974, The New West: Landscape Along the Colorado Front Range, (Colorado: The Colorado Associated University Press) [Δ
  
Adams, Robert, 2008, The New West: Landscapes Along the Colorado Front Range, (New York: Aperture) [Δ
  
Thomas Easterly 
  
Kilgo, Delores A., 1994, Likeness and Landscape: Thomas M. Easterly and the Art of the Daguerreotype, (University of New Mexico Press) isbn-10: 1883982049 isbn-13: 978-1883982041 [Δ
  
David Farrell 
  
Farrell, David, 2002, Innocent Landscapes: Sites of the Disappeared in Ireland, (Dewi Lewis Publishing) isbn-10: 1899235884 isbn-13: 978-1899235889 [Δ
  
Alexander Henderson 
  
Guay, Louise, 1987, ‘Alexander Henderson: Canadian landscape photographer‘, Archivist (Ottawa), vol. 14, no. 5, pp. 6-7 [Δ
  
Guay, Louise, 1989, ‘Alexander Henderson, photographer‘, History of Photography, vol. 13, pp. 79-94 [Δ
  
Triggs, Stanley, 1977-78, winter, ‘Alexander Henderson: Nineteenth-century Landscape Photographer‘, Archivaria (Ottawa), no. 5, pp. 45-53 [Δ
  
Triggs, Stanley G., 1998-2013, Alexander Henderson [Dictionary of Canadaian Biography, Volume XIV (1911-1920), www.biographi.ca/en/bio.php?id_nbr=7437] [Δ
  
David Maisel 
  
Maisel, David, 2012, Black Maps: American Landscape and the Apocalyptic Sublime, (Steidl) isbn-13: 978-3869305370 [Δ
  
Joel Meyerowitz 
  
Meyerowitz, Joel, 2003, Tuscany: Inside the Light, (Boston: Bulfinch Press) [Text by M. Barrett] [Δ
  
Beaumont Newhall 
  
Newhall, Beaumont, 1986, Supreme Instants: The Photography of Edward Weston, (Boston: New York Graphic Society) [Δ
  
Nancy Newhall 
  
Newhall, Nancy (ed.), 1973, The Daybooks of Edward Weston: Volume 1, Mexico, (Millerton, NY: Aperture) [Δ
  
Newhall, Nancy (ed.), 1973, The Daybooks of Edward Weston: Volume 2, California, (Millerton, NY: Aperture) [Δ
  
Heinrich Riebesehl 
  
Riebesehl, Heinrich, 1979, Agrarlandschaften, (Bremen) [Δ
  
Joel Sternfeld 
  
Sternfeld, Joel, 1997, On this Site: Landscape in Memoriam, (Chronicle Books) isbn-10: 0811814378 isbn-13: 978-0811814379 [Δ
  
Edward Weston 
  
Conger, Amy, 1992, Edward Weston: Photographs from the Collection of the Center for Creative Photography, (Tucson: Center for Creative Photography, University of Arizona) [Δ
  
Maddow, Ben, 1973, Edward Weston: Fifty Years, (Millerton, NY: Aperture) [Δ
  
Newhall, Beaumont, 1986, Supreme Instants: The Photography of Edward Weston, (Boston: New York Graphic Society) [Δ
  
Newhall, Nancy (ed.), 1973, The Daybooks of Edward Weston: Volume 1, Mexico, (Millerton, NY: Aperture) [Δ
  
Newhall, Nancy (ed.), 1973, The Daybooks of Edward Weston: Volume 2, California, (Millerton, NY: Aperture) [Δ
  
Weston, Edward, 1950, My Camera on Point Lobos, (Yosemite National Park, CA: Virginia Adams; Boston: Houghton Mifflin Co.) [Δ
  
Wilson, Charis & Weston, Edward, 1940, California and the West, (New York: Duell, Sloan and Pearce) [Δ
  
 
  
If you feel this list is missing a significant book or article please let me know - Alan - alan@luminous-lint.com 
  
 
  
Resources 
  
David and Marc Muench work together to create photography that fills many a coffee table book. 
http://www.muenchphotography.com 
  
British Panoramics - David J. Osborn - English Landscape Photography 
http://www.britishpanoramics.com 
  
Charlie Waite 
http://www.charliewaite.com 
  
Ansel Adams: Fiat Lux 
http://www.cmp.ucr.edu 
Go to the "Collections - Permanent" page. 
  
The Ansel Adams Gallery 
http://www.anseladams.com ... 
  
Northlight Images - Landscape photographs, mainly black and wite, by Keith Cooper. 
http://www.northlight-images.co.uk ... 
  
 
  

HomeContentsPhotographers > Photographers worth investigating

 
Ansel Adams  (1902-1984) • Robert Adams  (1937-) • Lewis Baltz  (1945-) • Michael Berman  (1956-) • John Blakemore  (1936-) • Wynn Bullock  (1902-1975) • Christopher Burkett  (1951-) • Edward Burtynsky  (1955-) • Paul Caponigro  (1932-) • Linda Connor  (1944-) • Robert Dawson  (1950-) • Mitch Dobrowner  (1957-) • Alfred Ehrhardt  (1901-1984) • Elger Esser • Lukas Felzmann • Robbert Flick  (1939-) • Franco Fontana  (1933-) • Lee Friedlander  (1934-) • John B. Ganis  (1951-) • Mario Giacomelli  (1925-2000) • Fay Godwin  (1931-2005) • Frank Gohlke  (1942-) • Emmet Gowin  (1941-) • Harry Gruyaert  (1941-) • Andreas Gursky  (1955-) • Alexander Henderson  (1831-1913) • Rolfe Horn  (1971-) • J. Payne Jennings  (check) • Michael Kenna  (1953-) • Mark Klett  (1952-) • Knud Knudsen  (1832-1915) • Jules Lejeune  (1885-1946) • Shinzo Maeda • Dolorès Marat  (1944-) • Lawrence McFarland  (1942-) • Joel Meyerowitz  (1938-) • Courtney Milne  (1943-) • Richard Misrach  (1949-) • Eadweard Muybridge  (1830-1904) • Eliot Porter  (1901-1990) • Heinrich Riebesehl  (1938-) • Mark Ruwedel  (1954-) • Pentti Sammallahti • C.R. Savage  (1832-1909) • Nikolaus Schletterer • John Sexton  (1953-) • Massimo Vitali  (1944-) • Charlie Waite • Carleton E. Watkins  (1829-1916) • Brett Weston  (1911-1993) • Edward Weston  (1886-1958)
HomeThemes > Landscape 
 
A wider gazeA closer lookRelated topics 
  
Agricultural and pastoral 
Beaches 
Cityscapes - Urban 
Cliffs 
Deserts and dunes 
Fantasy 
Forest of Fontainebleau 
Forests 
Horizon 
Ice and snow 
Lakes, ponds, meres, reed beds and lagoons 
Mountains 
New Topographics 
Rephotographic projects 
Rivers and streams 
Rural pathways, tracks, trails and lanes 
Sea 
Trees 
Water and waterfalls 
 
  

HomeContentsOnline exhibitions > Landscape

Please submit suggestions for Online Exhibitions that will enhance this theme.
Alan - alan@luminous-lint.com

 
  
ThumbnailDaguerreotypes - Exterior views (1839-1855) 
Title | Lightbox | Checklist
Released (October 24, 2010) A preliminary reference set.
 
Currently seeking higher quality scans and further examples.
ThumbnailFontainebleau, Barbizon - the relationships between painters and photographers 
Title | Lightbox | Checklist
Released (November 6, 2010) Further examples sought showing direct parallels between individual paintings and photographs.
ThumbnailFrank Jay Haynes: Alaska Views 
Title | Lightbox | Checklist
Released (February 19, 2007)
ThumbnailLandscape: Cityscapes - A Pictorialist Perspective 
Title | Lightbox | Checklist
Released (April 22, 2012)
ThumbnailLandscape: Cityscapes - Urban - Urbanscapes 
Title | Lightbox | Checklist
Released (April 22, 2012)
ThumbnailLandscape: Mountains 
Title | Lightbox | Checklist
Released (April 8, 2012)
ThumbnailLandscape: Rural pathways, tracks, trails and lanes 
Title | Lightbox | Checklist
Released (April 8, 2012)
ThumbnailLandscape: A 19th Century Perspective 
Title | Lightbox | Checklist
Released (April 8, 2012)
ThumbnailLandscape: Deserts and Dunes 
Title | Lightbox | Checklist
Released (April 22, 2012)
ThumbnailLandscapes: Horizon 
Title | Lightbox | Checklist
Released (April 27, 2012)
ThumbnailLandscapes: Ports, harbors - harbours and docks 
Title | Lightbox | Checklist
Released (April 27, 2012)
ThumbnailLuca Gilli: The Silences of Photography (Silenzi di forme) 
Title | Lightbox | Checklist
Released (March 9, 2007)
ThumbnailMarialba Russo: An evolving retrospective 
Title | Lightbox | Checklist
Released (May 19, 2006)
ThumbnailMichael Berman: Under a Dry Moon 
Title | Lightbox | Checklist
Released (January 24, 2007)
ThumbnailMitch Dobrowner 
Title | Lightbox | Checklist
Released (August 31, 2007)
ThumbnailPeter Henry Emerson - Marsh Leaves 
Title | Lightbox | Checklist
Released (February 6, 2011)
ThumbnailRick Dingus: An Evolving Retrospective 
Title | Lightbox | Checklist
Released (September 15, 2008)
ThumbnailSalt paper prints - Exterior views (1839-1855) 
Title | Lightbox | Checklist
Released (October 24, 2010) A preliminary reference set.
 
Currently seeking higher quality scans and further examples.
ThumbnailStuart Rome 
Title | Lightbox | Checklist
Released (June 19, 2006)
  
 
  

HomeVisual indexes > Landscape

Please submit suggestions for Visual Indexes to enhance this theme.
Alan - alan@luminous-lint.com

 
  
   Photographer 
  
ThumbnailAchille Quinet: Rural landscapes 
About this photographer | Photographs by this photographer 
ThumbnailAfong: Banker's Glen, Yuen-foo River 
About this photographer | Photographs by this photographer 
ThumbnailAlexander Henderson: Canadian landscapes 
About this photographer | Photographs by this photographer 
ThumbnailAlfred Horsley Hinton: Landscapes 
About this photographer | Photographs by this photographer 
ThumbnailAnsel Adams: Illustrated Guide to Yosemite Valley (1946) 
About this photographer | Photographs by this photographer 
ThumbnailAnsel Adams: The New Ansel Adams Photography Course 
About this photographer | Photographs by this photographer 
ThumbnailAntoine Fauchery & Richard Daintree: Australia - Landscapes 
About this photographer | Photographs by this photographer 
ThumbnailArthur Wesley Dow: Landscapes 
About this photographer | Photographs by this photographer 
ThumbnailAugust Sander: Landscapes 
About this photographer | Photographs by this photographer 
ThumbnailAxel Lindahl: Norway: Landscapes 
About this photographer | Photographs by this photographer 
ThumbnailBenjamin Brecknell Turner: Great Britain: Landscapes 
About this photographer | Photographs by this photographer 
ThumbnailBrett Weston: Deserts 
About this photographer | Photographs by this photographer 
ThumbnailBrett Weston: Trees 
About this photographer | Photographs by this photographer 
ThumbnailCharles Marville: Rural landscapes 
About this photographer | Photographs by this photographer 
ThumbnailEadweard Muybridge: USA: CA: Yosemite 
About this photographer | Photographs by this photographer 
ThumbnailF. Jay Haynes: Yellowstone 
About this photographer | Photographs by this photographer 
ThumbnailJohn Blakemore: Landscapes 
About this photographer | Photographs by this photographer 
ThumbnailMario Giacomelli: On Being Aware of Nature (Presa di coscienza sulla natura) 
About this photographer | Photographs by this photographer 
ThumbnailMario Giacomelli: Storie Della Terra 
About this photographer | Photographs by this photographer 
ThumbnailMario Giacomelli: The Theatre of Snow (Il teatro della neve) 
About this photographer | Photographs by this photographer 
ThumbnailPaul Hill: Landscapes 
About this photographer | Photographs by this photographer 
ThumbnailPaul Hill: White Peak Dark Peak (1978-1990) 
About this photographer | Photographs by this photographer 
ThumbnailPeter Henry Emerson: Marsh Leaves 
About this photographer | Photographs by this photographer 
ThumbnailRephotographic surveys: Colorado City, Cheyenne Mt. 
ThumbnailRephotographic surveys: Crater of the Castle Geyser 
ThumbnailRephotographic surveys: Mountain of the Holy Cross 
ThumbnailRobert Howlett: Valley of the Mole, Surrey 
About this photographer | Photographs by this photographer 
 
 
  
   Connections 
  
ThumbnailAlbert Renger-Patzsch - Albert Steiner 
ThumbnailCarleton E. Watkins - Carl Alfred Czichna 
ThumbnailKnud Knudsen - Huber 
ThumbnailWilliam Henry Jackson - A.J. Russell 
 
  
   Themes 
  
ThumbnailIce and snow: Icebergs 
ThumbnailLandscape: A 19th century perspective 
ThumbnailLandscape: A 20th century perspective 
ThumbnailLandscape: Beaches 
ThumbnailLandscape: Cityscapes - Urban - Urbanscapes 
ThumbnailLandscape: Cityscapes - Urban: A Pictorialist perspective 
ThumbnailLandscape: Cityscapes - Urban: Construction 
ThumbnailLandscape: Cityscapes - Urban: Strolling the streets 
ThumbnailLandscape: Cityscapes - Urban: Wartime 
ThumbnailLandscape: Cliffs 
ThumbnailLandscape: Deserts and dunes 
ThumbnailLandscape: Early colour 
ThumbnailLandscape: Forests 
ThumbnailLandscape: History 
ThumbnailLandscape: Horizon 
ThumbnailLandscape: Ice and snow 
ThumbnailLandscape: Lakes, ponds, mers, reed beds and lagoons 
ThumbnailLandscape: Mountains 
ThumbnailLandscape: New Pictorialism 
ThumbnailLandscape: New Topographics 
ThumbnailLandscape: Rainforests 
ThumbnailLandscape: Rivers and streams 
ThumbnailLandscape: Rural pathways, tracks, trails and lanes 
ThumbnailLandscape: Sea 
ThumbnailLandscape: Water 
ThumbnailLandscape: Waterfalls 
 
  
    
  
ThumbnailBackgrounds: Landscape 
 
 
  
   Techniques 
  
ThumbnailAutochromes: Themes: Landscape 
ThumbnailCarte de visites: Themes: Places and landscapes 
ThumbnailCyanotypes: Themes: Landscapes 
ThumbnailDaguerreotypes: Themes: Landscape 
ThumbnailWoodburytypes: Themes : Landscapes 
 
 
  
   Still thinking about these... 
  
ThumbnailCigarette cards: Beautiful Scotland Series - published by Senior Service 
ThumbnailCigarette cards: Cavenders - Camera Studies 
ThumbnailCigarette cards: Themes: Landscape 
ThumbnailFigures within the landscape 
ThumbnailMaps 
ThumbnailMinature views 
ThumbnailSnapshots: Themes: Landscapes 
 
 
  
Refreshed: 03 August 2014, 05:01
 
  
 
  
HOME  BACKFREE NEWSLETTER
 Facebook LuminousLint 
 Twitter @LuminousLint