Statues, busts, and other specimens of sculpture, are generally well represented by the Photographic Art; and also very rapidly, in consequence of their whiteness.
 
These delineations are susceptible of an almost unlimited variety: since in the first place, a statue may be placed in any position with regard to the sun, either directly opposite to it, or at any angle: the directness or obliquity of the illumination causing of course an immense difference in the effect. And when a choice has been made of the direction in which the sun's rays shall fall, the statue may be then turned round on its pedestal, which produces a second set of variations no less considerable than the first. And when to this is added the change of size which is produced in the image by bringing the Camera Obscura nearer to the statue or removing it further off, it becomes evident how very great a number of different effects may be obtained from a single specimen of sculpture.
 
With regard to many statues, however, a better effect is obtained by delineating them in cloudy weather than in sunshine. For, the sunshine causes such strong shadows as sometimes to confuse the subject. To prevent this, it is a good plan to hold a white cloth on one side of the statue at a little distance to reflect back the sun's rays and cause a faint illumination of the parts which would otherwise be lost in shadow.

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Goldsworthy is a land artist in the tradition of the great American earth-movers like Robert Smithson who created Spiral Jetty at Salt Lake, Utah. Richard Long, who imported that tradition to Britain, is another mentor; like them, he wants to get away from two-dimensional representation of landscape in a frame, and give you the thing itself. That's the theory. But he is also strongly in the tradition of everyone who has ever had memorable days making dens in parks or sandcastles on beaches. He preserves such ephemeral creations, icicle statues on rocks, brilliant forest dramas made with autumn leaves, in exquisite photographs.^[10]

1. Λ Herman Moeshart, 1985, July-September, ‘Daguerreotypes by Adolph Schaefer‘, History of Photography, vol. 9, no. 3, pp. 211-218 
     
   
2. Λ Joseph-Philibert Girault de Prangey's daguerreotypes are included in - 1998, Girault de Prangey (1804-1892): dessins, peintures, photographies, études historiques, (Langres: Musées de Langres / D. Guéniot) [Exhibition catalogue] 
     
   
3. Λ Delores A. Kilgo, 1994, Likeness and Landscape: Thomas M. Easterly and the Art of the Daguerreotype, (University of New Mexico Press) 
     
   
4. Λ Pauline Lunsingh Scheurleer, "Isidore van Kinsbergen, Photographer of Javanese Antiquities", in Jane Levy Reed (ed.), 1991, Toward Independence, A Century of Indonesia Photographed, (San Francisco: Friends of Photography), pp. 36-43 
     
   
5. Λ British Museum - Hoa Hakananai'a From Orongo, Easter Island (Rapa Nui), Polynesia, around AD 1000
   (Accessed: 4 April 2013)
   www.britishmuseum.org/explore/highlights/highlight_objects/aoa/h/hoa_hakananaia.aspx 
     
   
6. Λ Alois Löcherer, 1998, Alois Löcherer. Photographien 1845 - 1855, (Schirmer /Mosel Verlag Gm) 
     
   
7. Λ pers. email (1 July 2013) Robert G. Hill to Alan Griffiths. A set of the six folios is in the Private Collection of Robert G. Hill, Toronto, Canada. 
     
   
8. Λ Rodin and Steichen - Musée Rodin
   (Accessed: 5 November 2013)
   www.musee-rodin.fr/en/rodin/educational-files/rodin-and-steichen 
     
   
9. Λ For a selection of books on the Land art of Andy Goldsworthy - Andy Goldsworthy, 1990, A Collaboration with Nature, (Abrams); Andy Goldsworthy, 1996, Wood, (Harry N. Abrams); Andy Goldsworthy, 2004, Hand to Earth, (Harry N. Abrams), Andy Goldsworthy, 2011, Stone, (Thames & Hudson) 
     
   
10. Λ Tim Adams, 11 March 2007, "Interview: Andy Goldsworthy - Natural Talent", The Observer (UK)
    (Accessed: 17 August 2013)
    www.theguardian.com/artanddesign/2007/mar/11/art.features3 
      
    

alan@luminous-lint.com