Landscape Photography

"If research into aspects of women’s photographic representation of landscape throws up any one significant fact, it is the relative rarity – seen against the whole sweep of photographic history – of such representation, and some of the far from insignificant practical reasons for this are discussed below. There is, however, a more general consideration which bears examination, which might be called the conditional nature of women’s presence within the landscape."

Este artigo busca analisar as escolhas de produção e montagem de uma série fotográfica do artista belga Mishka Henner. O caso de “Fifty-One US Military Outposts” chama a atenção porque, nesta obra, Henner trata de selecionar e de recortar os registros fotográficos de paisagem indexados ao software de mapeamento geográfico Google Earth para remontar estas “fotografias-mapa” nos ambientes de exibição da arte, e compor um novo modelo expressivo para tais imagens.

Esta exposición recorre la obra del fotógrafo Carlos Cánovas, centrado en su producción en relación con el espacio urbano, que ha desarrollado en sucesivas series desde principios de los años ochenta hasta hoy. Su interés en las áreas periurbanas y en los límites de las ciudades le ha llevado a explorar distintas zonas industriales y residenciales, manteniendo siempre una visión poética de estos espacios. El Museo acoge en esta muestra más de un centenar de fotografías, muchas de ellas inéditas. La selección comienza con sus primeros trabajos, Extramuros (1982- 1986), desarrollado en torno a la ciudad de Pamplona, y Vallès Oriental (1990), en Barcelona, en que documenta algunos aspectos residuales de una Cataluña entre lo industrial y lo rural. En Paisajes sin retorno (1993-94) Carlos Cánovas registra el Bilbao industrial en los momentos previos a su transformación. Su exploración de las periferias continúa en Paisaje Anónimo (1994-2006), con una selección de imágenes que recorren distintas ciudades españolas. La muestra concluye con Séptimo cielo (2007-2016), su trabajo para el proyecto artístico Tender Puentes impulsado por el Museo.

The article discusses three photographic projects presenting transition and border areas: documentation of the course of the Warta entitled 808.2 km by Waldemar Śliwczyński, Jedynka (No. 1) by Maciej Rawluk and Urodzaj (The Harvest) by Michał Woroniak.
Each of the chosen case studies interprets differently the assumptions of "new topography" in photography – a trend interested in showing a man-altered landscape. Photographers' works relate to landscape studies, disputes over new theoretical proposals such as anthropocene and capitalocene, as well as to issue of periphery. Forgotten peripheries in the geography of Poland are Warta river, road No. 91, dominated by the A1 motorway become a symbol of the depleted, abandoned memory. In turn, Urodzaj presents the circumstances of the creation of an open-cast mine in the agricultural area and refers to both possible damage to the area and its social benefit for inhabitants.

"The Unfixed Landscape" pairs the landscape photography of Meghann Riepenhoff and Matthew Brandt. While the physical practices of these artists vary—one develops cyanotypes while the other works with chromogenic prints—both are intent on engaging with the landscape in unconventional ways. Riepenhoff and Brandt challenge the standard expectations and understanding of what photography is. When the medium gained rapid popularity at the turn of the twentieth century, it was largely due to its reproducibility and accuracy in capturing the subject. These two artists push against these staples of the craft by instead making prints that are wholly unique and partially or completely abstracted. Their embrace of the genre of landscape photography is simultaneously a denial of these expectations. Nevertheless both practices cannot be extricated from the history of art, and photography specifically, that grapple with portrayals of nature. Indeed, it is fruitful to plumb Riepenhoff and Brandt’s work in order to place them within an art historical framework, something that has been not been done in depth until now.

There are two key ideas that will be highlighted through a historical framework that provide the foundation necessary for understanding the work within our present day study of the photographs. The motivations for creating the discussed noteworthy artworks from the past carry forward and are the same impetuses that Riepenhoff and Brandt are tapping into today, but with new approaches: they empower organic matter to take a role in depicting itself, thus placing themselves as collaborators with nature, and they introduce a terrain to an audience for whom it is foreign or distant through innovative techniques. Their continuation of this exploration in today’s contemporary digital landscape make their works relevant and worth our consideration.

In this essay, their artwork will be considered in the context of four historical periods and specific artists active during those periods that directly correlate with the conceptual intentions or physical practice of Riepenhoff and Brandt. The discourse focuses on the rise of cyanotypes during the mid-nineteenth century, nineteenth century Westward expansion landscape photography, the Land Art movement of the late 1960s, and the return to outdated alternative photographic processes and concern for materialism during the late 1960s.

This paper is a study of a book of Western photographs by the contemporary photographer Richard Avedon.  While Avedon is probably best known for his magazine work and his photographs of the rich and famous, In the American West is his attempt to reinterpret and redefine the Western myth.  He shows us the West through portraits of people who live there, specifically those who are the most unfortunate--the underprivileged, disenfranchised and the bizarre.  By depicting the West as a bleak and barren environment that does not reward its inhabitants, Avedon demonstrates his awareness of myths of the West that extolled it as the land of new wealth, social harmony and progress.  And by choosing to illustrate his West through images, Avedon steps in the tracks of artists like Edward Curtis who set out to document North American Indians in the nineteenth century.

The iconic images heralding an age of connectivity are the plane and the trace of digital flows bearing information. However, not far behind has been the cumbrous yet essential 'big box' of containerisation, shipping all manner of goods across the planet on great vessels remorselessly circling the globe. Critiques of global trade have latched upon the counter image of these mighty ships' ruinous carcasses beached and being broken in South Asia. Here then is the antipode of globalisation - ships, once carrying cargoes now themselves sold around the globe for scrap and ending up broken up according to the very logics of cheap locations that their routes made possible. This paper interrogates these counter-images of global capitalism. Looking at the works of various photographers it examines how waste ships are made to work aesthetically. It examines the photodocumentary and traditions of the industrial sublime to find ‘time-images’ that speak to the material and labour worlds of global capital.

Dieter Kienast (1945–1998) is a key Swiss figure in European landscape architecture. Amidst a striking change in societal understandings of nature, he sought a synthesis between design and ecology in the 1970s. He designed spaces to make the dissolving opposition between city and countryside legible and to enable aesthetic experience to help cope with increasingly complex everyday life. As a designer, planner, researcher and university lecturer, Kienast introduced new challenges into the discussion of those fields. Critique of urban planning, processes of participation and the significance of spontaneous urban vegetation played just as much a role in these discussions as did art, literature, architecture and the popularity of postmodernism.

"The Landscapes of Dieter Kienast" is the english edition of "Dieter Kienast – Stadt und Landschaft lesbar machen" (Zurich: gta 2016). It is the first critical and extensive study of the work of Swiss Landscape Architect Dieter Kienast (1945-1998) to appear in English. Kienast searched for a possible reconciliation of science and memory in landscape architecture, thus giving important impulses for a reorientation of the profession.  His projects aimed for a sensual experience of nature and the reintroduction of its symbolic reading and understanding. This occurred after a period in which nature was merely understood as an ecological system. Apart from being ‘nature’s advocate’, landscape architecture followed an emancipatory design paradigm focused on the practical daily use of open space. After receiving a diploma in landscape planning and a doctorate in plant sociology from the University of Kassel, Kienast carried out research on spontaneous urban vegetation and developed a new aesthetic for designing with nature in the city. He was able to go from a study and interpretation of spontaneous vegetation in the 1970s to making his work legible through an emblematic and symbolic use of plants. In the 1980s Kienast used his concepts based on form to confront and oppose the wildlife gardening movement influenced by Swiss garden architecture. His search for forms that would make spatial and material qualities more conscious was influenced by the literature, art, and architecture of the day. Some examples of these forms are presented in the paper. Within this context, Kienast’s nature- and social science-oriented education went through several processes of reinterpretation. The question of whether his increasingly form-driven open spaces were suitable for daily use shows that Kienast successfully modified the emancipatory design paradigm of the Kassel School in his later projects – from practical to contemplative use, from daily life to aesthetic experience – while his subject-related focus remained constant. Proponents of the Kassel School considered him to be little more than a “postmodern designer of shapes”, a label that more accurately applies to those of his imitators who adopted his vocabulary without considering whether it could be integrated in the landscape or not. Kienast’s projects are bound to space and consciousness; they embody the topological and phenomenological dimensions of landscape architecture.

從1980 年以來，游本寬所關注的核心是社會風景，他罕有人物的攝影常顯
露歷史變遷和生活習俗。他的鏡頭聚焦在城市、郊區、鄉鎮的人造環境，
記錄常民使用空間的習性。他的足跡踏及臺灣和英美，透過敏銳直覺和田
野觀察，具體而微地揭示地方的時間沉積和不斷變動的現況，打開了「純凝視」之外的豐富可能性。

Dispersing the Pure Gaze: Ben-Kuan Yu's Social Landscape Photography

Ever since 1980, social landscapes have been the core of Ben-Kuan Yu’s artisticpursuit. His photographs rarely capture any human figure but tend to reveal historical
transformation and social custom. He focuses his lens on manmade environments of
cities, suburbs and towns, recording ordinary people’s habitual use of spaces. Traveling
around Taiwan, the United Kingdom and the United States, Yu reveals in exact detail the passage of time and constant change in different places using his sharp intuition and observation. His social landscapes encompass public spaces such as roads, stores, landmarks, schools, temples, gas stations, playgrounds, parks, and graveyards, as well as private ones such as homes, work places, courtyards and estates. They exhibit not so much breathtaking natural scenery as texts of immense cultural value and visual delight. As it developed historically, landscape photography emulated the composition and style of landscape painting, pursuing sublimity, picturesqueness, lyricism and ethereality, offering an escape from the clamor of the mundane world, and achieving a pure gaze and a sense of spiritual transport. Yu’s works, conversely, uncover the smallest details of modern life, revealing social phenomena and interpersonal relationships, which opens up great possibilities beyond the “pure gaze.”

Photobooks were an integral and generative part of photographer Gabriele Basilico’s practice. Through them he meticulously probed the shifting states of urban environments, like a doctor or scientist detecting the state of health of a patient. In a catalogue accompanying an exhibition held in 2006, he described his photobooks as ‘points of arrival’ — the result of a series of open and wide-reaching explorations of the urban condition. Once readers spend time with his narratives, they begin to think more about the nature of the contemporary urban landscape. Certain questions then arise: What stories do Basilico’s volumes recount about the urban condition? Do Basilico’s urban theses raise questions or chart possibilities? How do his volumes evoke the potential of the city space? In what ways do his photobooks act as archives of disappearing urban environments? Using these guiding questions, this article explores how Basilico’s photographs work in conjunction with the narrative capacity of the book format to advance a position on urban spaces. It looks closely at three volumes: Interrupted City (1999), Cityscapes (2000) and Milano. Ritratti di fabbriche [Milan. Portraits of Factories] (1981; 1983).

An examination into the influences that earlier photographic pioneers of landscape had on more contemporary photographers working in Yosemite, also looking at how changing capabilities and attitudes to photography alter perceptions of landscape in this incredible wilderness.

This is the text of paper delivered at the National Gallery on May 18, 2017 on the occasion of the National Gallery's exhibition East of the Mississippi. 
There are no illustrations.  An updated, illustrated version will appear soon.

John Moran (1831-1902) was known to his peers as the first art photographer in America, yet we don't know him today.  This paper explores why he is being rediscovered now.  Moran made his photographs for the top photographers in America in the 1850s, 60s,and 70s. -- they were in Philadelphia.  Right time, wrong place, as Philadelphia lost its prominence in history and culture after the Civil War,.  But  in Moran's day,  he joined a  community of amateurs, scientists, intellectuals and historians who all found photography useful to their work. Moran went on expeditions with his brother Thomas Moran, who later became famous for his lush landscape paintings of the American West.  His work was collected by a group of avid historians, determined to preserve evidence of Philadelphia's 18th century past. Moran's photographs record both the buildings and the decay that overtook them. Moran also perfected the art of stereography, and composed in 3 dimensions. But his work was not modern, and never abstract, nor did it ever turn away from subject matter.  Moran admired lithographs of the Barbizon artists,  the prints of Turner, and Rembrandt. He learned the history of art through the excellent private print collections of Philadelphia collectors.  His photographs clearly came out of the print-making tradition. John Moran stopped working in the early 1870s, turned to painting and journalism, and died in New York in the year Alfred Stieglitz founded the Photo Secession.  Historians of photography have much to learn from John Moran.

In each period of American photographic history the western landscapes of a few photographers have risen above the rest to receive widespread and long lasting public attention. As a consequence, their photographs have tended to imprint the photographer’s ‘way of seeing’ western space on the general public; that is, the photographer’s way of seeing western spaces was thought to be the way western spaces actually were. In this manner, a certain way of visualizing the West would become the norm in American culture, until at some point another photographer’s vision of the West replaced it. This paper focuses on three such influential photographs, each taken at a very different time in American history by an acknowledged master of that period. Specifically, this paper analyzes Study among the Rocks of Echo Canyon Utah, 1869, by William Henry Jackson; Clearing Winter Storm, 1940, by Ansel Adams; and Mobile Homes, Jefferson County, Colorado, 1973, by Robert Adams. The paper discusses the societal context that surrounded each photograph and the influence that the photograph has had on the American public and subsequent western landscape photographers. While the analysis
focuses on these specific photographs, each was selected as a representative of the respective artist’s principal body of work, and hence the analysis extends accordingly.

Prof. Reiner (1825-1897) from Celovec and B. Lergetporer (1845-1910) from Bled, the authors of the first series of the landscape photographs of Carniola and other lands
http://www.collecta.si/o-prireditvi/arhiv/arhiv-2012/program-2012/predavanja-in-drazbe/

""""[This digital reproduction of a photograph album of original prints titled 'Index to Negatives of Auckland Pas and Surroundings taken by Hugh Boscawen 1899' is presented here with the permission of the Museum of New Zealand Te Papa Tongarewa (Ref. No. AL.000562), personal communication Kate Murphy (Media Sales and Licensing Assistant), 25 Sep 2013. The work has the support of the Auckland War Memorial Museum Library (Ref. No. Album 260) and the University of Auckland Library, General Library Special Collections Manuscripts and Archives (Call No. MSS & Archives A-204) from which additional prints and transparencies were sourced. The digital facsimile was created during 2005-09, with some minor corrections being made this year with the help of museum and library staff in Auckland and Wellington. Earlier work on the album by Lady Aileen Fox, Les Kermode, David Simmons and Gordon Maitland is acknowledged.]

The digital facsimile (68pp) contains 103 photographs (approx. 6 by 4 inches or 152 x 102 mm) pasted to the front (recto or right-hand side) and back (verso or left-hand-side) of 30 pages of heavy-duty card in a purpose-bound volume (measuring in inches 11 1/2 width by 9 3/4 height by 1 1/2 depth or 292 x 248 x 38 mm); it has an adhesive or unsewn binding and is classed as a ‘guard book’ binding type (crafted to strengthen the binding, enable easy page-turning and viewing, and prolong the life of the album). For easy referencing individual photographs have been references by their page number and position on the page (i.e. whether they are placed on the left-hand or right-hand side). For example, photographs on page 1 are identified by the alpha-numeric code 1-L and 1-R.

Currently, research suggests that the photographs were taken between the years 1896-99, possibly as early as 1894, when Hugh Boscawen was Chief Clerk at the Auckland Lands and Survey Department office. During this time, he also acted as Honorary Aide-de-camp to the Governor Generals David Boyle (1892-97), The Earl of Glasgow, and John Uchter Mark, Lord Ranfurly (1897-1904). The photographs were part of a programme of work: (1) to provide illustrations for the book ‘Peopling of the North…’ by Stephenson Percy Smith (1896), the then Surveyor General in Wellington; (2) to promote greater public recognition of the ‘amazing’ Maori pa of Tamaki-makaurau Auckland; (3) to preserve a record “so that future generations might see what the ancestors of the Maori race were capable of in the way of earthworks”; and (4) to initiate ‘Scenery Preservation Society’ interest in protecting and preserving the volcanic cones and the unique archaeological structures and features that they contained. (Refer to ‘Auckland Star’ 12 Sep 1899 Vol. XXX Issue 216 p.4). Further research shows that the pa photographed by Hugh were first named and described in evidence given by kaumatua (Maori elders) in the Native Land Court Orakei Claims (in 1866, and more particularly in1868). They were then recorded as part of Francis Dart Fenton’s ‘Interlocutory Judgment’ on the 1868 ‘Orakei Claim’ (‘Daily Southern Cross’ 30 Dec 1868 p.4, also see Fenton’s ‘Important Judgments’ 1879 p.62), and then later referenced in books by John White (1888 Vol. XI Chapter VII pp.82A-100) titled ‘Ancient History of the Maori…’, and  Percy Smith (1896 pp.77-78) titled ‘Peopling of the North…’.

There are 103 photographs within Album 260 and they are clustered around 15 localities spread mainly across the Auckland Isthmus but also including Devonport on the North Shore, across the Waitemata Harbour (requiring a ferry ride), and Mangere, across the Manukau Harbour (using the Mangere Bridge or going the long way round the harbour through Otahuhu). According to a newspaper story by James Cowan (‘Auckland Star’ 5 June 1937 p.8), published soon after Hugh’s death on the 20th of April 1937, together with forensic analysis of the photographs themselves, these places were reached travelling on horse-back or in a horse-and-trap (a two-wheeled horse drawn carriage). These modes of transport helped carry photographic equipment (tripod and stand) and provisions for day-trips that would have taken between five hours (Three Kings) and ten to twelve hours (Waitomokia); Mt Eden could have been reached on foot, in less than 20 minutes, being located less than half-a-mile (0.7 km) from Hugh’s family home in Mount Eden.

Analysis of the photographs shows that they are focused on pa earthworks (terraces, rua or kumara pits, tihi or pa citadel and stoneworks) predominantly located on the volcanic cones although not exclusively so (see Orakei, St Heliers and Panmure, for example).  Using a GIS computer application to identify the original photo points, and creating eight concentric mile-distance circles from Hugh Boscawen’s home at the corner of Grange and Mount Eden Roads (No. 457 Mount Eden Road), it has been estimated that 84 photographs were taken on or near to 15 volcanic cone pa. These are (spelling after David Simmons (2013) ‘Greater Maori Auckland…’ and Bruce Hayward, Graeme Murdoch and Gordon Maitland (2013) ‘Volcanoes of Auckland…’):

* Maungawhau - Mount Eden [12 photographs] and Titikopuke or Puketitiko (also Te Kopuke) - Mount St John [7 photos] (from No. 457 Mount Eden Road to one mile);
* Te Tatua A Riukiuta - Three Kings (including Taurangi – South or Southern King, Koheranui or Omahu – Big King and Te Tatua a Mataaho – Great King) [11 photos], Maungakiekie - One Tree Hill [8 photos], Remuera (a miss-spelling of Remuwera) - Mount Hobson [6 photos] and Pukekawa (and Pukekaroa) – the Auckland Domain [3 photos] (1 to 2 miles);
* Owairaka - Mount Albert  [2 photos] (2 to 3 miles);
* Rarotonga - Mount Smart [3 photos] and Onepuwhakatakataka – Point Hobson and Takaparawhau - Orakei [6 photos] (3 to 4 miles);
* Takarunga – Mount Victoria and Takararo - Mount Cambria (also called Heaphy Hill and Sheep Hill) at Devonport [6 photos], Maungarei - Mount Wellington [5 photos] and Mangere – Mangere Mountain (also called Te Pane a Mataoho and Mount Eliott) [6 photos] (4 to 5 miles); and
* Whakamuhu - St Heliers (miss-spelt Helyers) [4 photos] and Waitomokia (miss-spelt Mokoia) at Ihumatao [5 photos] (6 to 7 miles).

In addition to these clusters of photographs, there are 19 photographs that were taken en route: on the way to the Three Kings and Mount Roskill [2 photos]; travelling past One Tree Hill [3 photos]; one on the way to Orakei [1 photo]; on the way to Mt Wellington [6 photos]; at Otahuhu [1 photo], possibly on the way to Mangere; on the way to St Heliers (Kohimarama) [4 photos]; and at Otuataua which lies adjacent to Waitomokia south of Mangere [2 photos]. Other places photographed from these pa included (from north to south): Maungauika or Takapuna – North Head (Takapuna was the name generally given to the spring at the foot of the mountain); Duders Hill (at Devonport); Motukorea – Browns Island in the Waitemata Harbour; the ruin of St Thomas’ Church at Kohimarama; Maungarahiri – Little Rangitoto located in Remuera south Orakei Basin in Hobson Bay; Taurere – Taylors Hill at Glendowie; Te Tauoma – Purchase Hill Mount Wellington; Mokoia at the western end of Panmure Bridge over the Tamaki River; Puketapapa - Mount Roskill (also called Mount Kennedy); Puketutu – Weekes (miss-spelt Weeks) Island (on Te Motu a Hiaroa or Puketutu Island); Otuataua (also called Moerangi); Puketapapa a Hape (also referred to as Moerangi and Pukeiti); and Maungataketake – Elletts Mountain.

It is important to note, that hidden among the album are 10 panoramas, or ‘near panoramas’ (i.e. two photographs taken in close proximity to one another but with not overlap), that can be re-created by joining two or sometimes three photographs together. These are (from front of album and photos left to right): Remuera - Mount Hobson east (3-L/3-R/5-L); Remuera - Mount Hobson west (4-R/4-L); Remuera - Mt Hobson west (5-R/1-L/1-R); Remuera - Mount Hobson east (6-R/6-L); Te Kopuke - Mount St. John to Remuera Mt Hobson (9-R/11-L/11-R). Te Tatua A Riukiuta - Three Kings (12-L/24-R); Te Tatua A Riukiuta - Three Kings (28-R/28-L) a ‘near panorama’; Mokoia - Panmure (35-R/35-L); Owairaka - Mount Albert (52-R/52-L); Maungarei - Mount Wellington (55-R/55-L); and Te Tatua A Riukiuta - Three Kings (58/-R/58-L).

Album 260 is a significant contribution to the historic photography and geography of Auckland. More importantly, it is possibly a unique New Zealand ‘historic artefact’, because it links back through late 19th century secondary sources to original testimony given by kaumatua in the Native Land Court ‘Orakei Claims’ of 1866 and 1868. Today, the album continues to facilitate archaeological and historic research as was intended in 1978, when copy negatives and prints were deposited on permanent loan with the Auckland War Memorial Museum by the then National Museum of New Zealand.


Ian Lawlor
10 Oct 2013

[Note 1:  Research is progressing on producing a 21st century album of the same photo points taken by Hugh Boscawen (a before-and-after exercise). The current version of this work has recently been made available (Ian Lawlor A 21st century facsimile of Album 260) with the hope that others might assist with this work. Recent library and archive searches have uncovered additional photographs that were obviously part of the same programme of work (e.g. at Kauri Point on the North Shore and at Mangere and Taurere - Taylors Hill in East Tamaki). A REDUCED PDF FILE SIZE (9.9MB as opposed to 59.4 MB)  for the album facsimile has been added to meet recent requests.]

[Note 2:  Photographs on pp.12 and 35 have been edited; photo 12-L was not showing properly and photo 35-L was flipped horizontally. These have been remedied and a corrected file attached. Thanks to colleagues for identifying these problems. (ITL 10 Nov 2013)]""""

Being in the landscape is the classic instance of the figure/ground dichotomy. The landscape itself may not register us, but we animate it in the language we use to describe 'sheltering' rock, grassy bed, or scratching thorns. The creation of this 'animus' presumes purpose in the landscape, but close analysis of our words reveals what is expressed is actually our purpose and our being. The word 'mountain' contains our act of climbing it, and 'gorge' doubles as part of the human body. These words and phrases index the human mind's interaction with the forms of the earth. It is an overlay imposed because we have to experience with thought and sensation that which is outside us, something for which we are of no consequence but which has great consequence for us 1 . These are the terms of the figure-ground, in which the self becomes the 'third term', as phenomenologist Maurice Merleau-Ponty 2 reminds us in his situationist, as opposed to geometric/scientific, mapping of this spatiality.

Regarding this article and the imagery found on internet, it turns out that the Anthropocene would already caught in the trap of an imagery and a school of photography devoted to spectacularization of the clear conscience – a trap constituted by the worst of all possible viewpoints -, but I suggest in this paper another path, others pictures for the Anthropocene Era.

Nowadays, most studies conducted on Chinese photography focus on social documentation and the tools used for realistic reportage. Furthermore, analyses are generally based on the aesthetic principles referred to by the Maoist ideological system, which actually considers photography as an instrument of propaganda for power legitimacy. The book I wrote together with Antonella Flamminii (containing an essay by Yee Wah Foo), is the first Italian monograph on the history of photography in China, and it considers the elements pre-existing in Chinese culture as well. This is because the Chinese element, despite political interferences, has persisted in art since antiquity and is also the result of a hard experimentation, mainly practised by amateurs, so that official channels were involved too. In this article, I would like to place the focus on certain issues related with the origins of Chinese photography, because the process of composition reveals many aspects in common with the theoretical and technical assumptions of traditional painting.  the photographic tools provided by the West, could have found a rich soil amongst the Chinese, because there already existed an indigenous research in the field of vision. Photography has rightly been defined as a universal code comprehensively shared and understood all over the world. It is the result of the experimentation of many ways of expression and composition that have participated to the dialogue of civilizations. Even if we can affirm that Western culture has influenced Chinese photographers, they seem to do nothing but use the photographic tools to evoke the style or to maintain the compositional procedure by which the ancestral painting is built up, as demonstrated by some peculiar landscapes, scenes of daily life, and portraits. Although we should not neglect that the selection of these three themes still depends on the contact with Westerners, as demonstrated by our analysis, there are still many Chinese photographers, such as Lai Afong and Liang Shitai, that maintain the lyric aspirations of traditional Chinese paintings. This was the first step of the revolution of Chinese photography that achieved its climax just in the twentieth century.

Edited by Gareth Doherty and Charles Waldheim, Is Landscape . . . ? surveys multiple and myriad identities of landscape. Rather than seeking a singular or essential understanding of the term, the collection postulates that landscape might be better read in relation to its cognate terms across expanded disciplinary and professional fields. The publication pursues the potential of multiple provisional working definitions of landscape to both disturb and develop received understandings of landscape architecture. These definitions distinguish between landscape as representational medium, academic discipline, and professional identity. Beginning with an inquiry into the origins of the term itself, Is Landscape . . . .? features essays by more than a dozen leading voices shaping the contemporary reading of landscape as architecture and beyond.

Contents: Foreword Mohsen Mostafavi; Introduction Doherty and Waldheim; Is Landscape Literature? Gareth Doherty; Is Landscape Painting? Vittoria Di Palma; Is Landscape Photography? Robin Kelsey; Is Landscape Ecology? Nina-Marie Lister; Is Landscape Gardening? Udo Weilacher; Is Landscape Planning? Frederick Steiner; Is Landscape Urbanism? Charles Waldheim; Is Landscape Infrastructure? Pierre Bélanger; Is Landscape Technology? Niall Kirkwood; Is Landscape History? John Dixon Hunt; Is Landscape Theory? Rachael Z. DeLue; Is Landscape Philosophy? Kathryn Moore; Is Landscape Life? Catharine Ward Thompson; Is Landscape Architecture? David Leatherbarrow.

Discussions concerning the authenticity of Capa's Falling Soldier have generated diverse opinions and theories but remarkably little research. A version of the events authorized by the International Center of Photography was refuted when this author located the photograph at Espejo and not at Cerro Muriano, where previously it was thought to have been taken. Locating the site of the photograph more exactly required important work method adaptations to features of a new landscape, given that the objective evidence results from reproducing Capa's framing, including the perspective and the orographic accidents seen in the original photo. The application of new technologies has played an essential role in obtaining the evidence that reveals that this image was taken at Cerro del Cuco using a technique applied by Robert Capa. With this new location Falling Soldier must be seen in a completely different light. Capa's own version of how this photograph was taken is demonstrably false. These facts also disprove all the stories arising from his version, including the notion that credit this photograph to his partner, Gerda Taro.

Hacia 1934 -cuenta José Ortiz Echagüe-, los temas populares iban haciéndose más escasos y me decidí por la fotografía de los pueblos y paisajes de mi patria. Esto resultaba bastante atractivo ya que en España existen numerosos pueblos, repletos de tradiciones y de bellos monumentos"'. Desde 1923, Ortiz Echagüe dirige una empresa de fabricación de aviones (Construcciones Aeronáuticas SA) y dedica su tiempo libre a la fotografía. Una afición que practica de modo sistemático, hasta el punto de que en 1929 ha reunido material suficiente para publicar un libro, que se titulará Spanische Kopfe [Cabezas españolas] en su primera edición alemana, y 'l'ipos y trajes de España en la castellana'.

Although Ansel Adams’s (1902-84) photographic legacy remains indisputable in mass culture and among museums and collectors, the nature of that legacy has been in contention among contemporary artists, scholars, and theorists of photography. For some by the end of the 20th century, Adams’s iconic mid-century landscapes of the American West colluded with Cold War-era US western expansion, even as his name was synonymous with aestheticized and depoliticized landscape photography. For their part, contemporary photographers remain beguiled by landscape aesthetics if additionally beset by political and environmental concerns. This essay analyzes some of the tensions in Adams’s ongoing legacy for Western landscape photography, and investigates the transformation of landscape photography by artists who negotiate contemporary political and environmental concerns of the global West.

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The digital merging of multiple perspectives around an axis of symmetry through photographic means often discovers, by serendipity, unimaginable urban and suburban landscapes of fantasy, whimsy, or wonder. Here the procedure is justified fundamentally and liberally illustrated for the benefit of photography students and classes. Major photographers are cited and quoted. Thematics include fine art, architecture, and aesthetics. Helpful discussions for classes by  the same author:

https://www.academia.edu/40892658/Three_Basic_Photographic_Formats_RS_

https://www.academia.edu/42716307/Three_Digital_Camera_Special_Techniques_RS_

Please see the recently published Supplemental Note for this paper:

https://www.academia.edu/63507062/Fresh_Insight_into_Multi_Exposure_Photography

Although Luigi Ghirri is widely recognized as one of the most influential Italian photographers of twentieth century, his work remains very little known outside Italy. But, recent publications and exhibitions are starting to generate greater international interest, making acknowledgement of his work more than just a re-discovery. This dissertation aims to delineate the historical reasons that helped Ghirri to develop a new photographic language capable to effectively describe the changes occurring in contemporary Italy when he was working. At the same time, Ghirri’s practice questions the very act of looking, positioning his art in direct conversation with the medium and the representation of the man-altered landscape. Using It’s Beautiful Here Isn't It (2008) the dissertation attempts to question the strategies of representation deployed for this particular publication but also to find out how Ghirri’s work has been repositioned for an international audience. This re-discovery of his work has additionally generated a debate about Ghirri’s practice in Italy which has ramifications for Italian contemporary photography.

Des spécialistes des études du paysage ont identifié une tension entre le paysage conçu comme objet d'observation (le paysage de la peinture) et le paysage conçu comme espace vécu (le paysage de la géographie). Dans cet article, je montre que, de toutes les formes de médiation qui président à l'émergence du paysage, c'est au cinéma que cette tension se manifeste de la façon la plus vive et, jusqu'à un certain point, qu'elle se résout d'elle-même. Au coeur de cette question réside la capacité unique du cinéma de conjuguer espace et temps, représentation picturale et récit, et de les projeter sur le paysage. L'argument nécessite un parcours qui nous conduira de la peinture au cinéma en passant par la photographie avant de retrouver, enfin, le cinéma.

Meanwhile/Becoming is a practice-led research project that includes a written thesis and a final exhibition of work investigating methods of creating photographs that do not conform to the Cartesian perspective prevalent in photographs taken with a standard format camera. The research explores the opportunity of examining a visual space other than that offered by the standard single lens reflex camera through manipulation of the pinhole camera.

The photographic series that constitutes Meanwhile/Becoming uses processes that produce what the research describes as a reinterpretation of phenomenology, postphenomenology and posthumanism through photographic practice; where the photographs are expressive of the what and how humans see and the lived experience of the situated perspectives of a specific space. The research question reflects and critiques this position asking, if multiple viewpoints are presented within a single photograph, does the resulting photograph incorporate the human experience of, relation to and presence in, the world? Once expressed within this framework, the research questions if these multiple viewpoints more closely represent the physiology of how humans see.

The concept of the meanwhile is taken as the timespace between events, examining the “meanwhile” through the landscape of the domestic garden. “Becoming” refers to “the movement between events”, an interval between events that allows the processes of creativity and change through differentiation and duration, identified by Gilles Deleuze and Félix Guattari (2004) and Henri Bergson (1911).

Together, my practice and thesis interrogate the restricted boundaries of the Cartesian model of constructed visual space through the apparatus of a unique purpose-built multiple pinhole camera. This apparatus mediates between me and the world, enabling me to develop a new method of making photographs that considers space/place and how we respond to it both physically and perceptually.

Objects or lights of possibly spherical appearance photographed and filmed from aircraft in the air have been sought from a massive databank on UAP reports recorded on film. Only 7 events have been considered for examination and these have been analyzed to the limit of the available information. The average level of information remains low, in spite of the authors' attempts to improve it, but 4 events allow reasonable mundane explanations. The remaining 3 are hardly evaluable and lack strangeness. In general, all images are highly ambiguous. The authors recommend that steps need to be taken to increase the professionalism of UAP inquiry.

The paper discusses Derrida's concept of hospitality which perfectly describes the experience of loosing the sense of feeling at home and reveals the disintegrating entrance of the Otherness into a coherent home space. Jacques Derrida's theory makes it possible to deconstruct the familiar home space, which, however, does not constitute in any case its destruction. Revealing a complex and ambiguous nature of the challenge of hospitality, he perceives the sense of feeling at home as one of the necessary conditions of a stable subject. This is the subject that most fears the Otherness which could disrupt, unsettle their permanent structure and a sense of certainty. Therefore, the Author follows closely the fear of strangeness and the nostalgic longing for the sense of feeling at home as depicted by David Lynch and Michael Haneke in their films. Then he passes on to the field of contemporary art which not only reveals the fact that something has happened to the house we have known so far, but it also allows for creative deconstruction of the feeling at home. The artistic works selected by the Author break the binary oppositions: one’s own/someone else’s, familiar/strange (Jessica Sue Layton), close/distant (Shizuka Yokomizo) and finally the most important one: interior/exterior (Marja Pirilä, Eve Dent).

This article reconsiders the politics and aesthetics of aftermath photography. Many critics have argued that the emerging, experimental genre of documentary photography ‘abstracts’ and renders ‘sublime’ the traumatic historical events that it takes as its subject matter. While these terms accurately reflect the aesthetics of aftermath photography, their politics cannot, the author argues, be so easily dismissed. The article reconsider the genre through Gene Ray's theories of the sublime and Rosemary Laing's photograph welcome to Australia (2004), which documents the Woomera refugee detention centre, in order to offer a better understanding of what is at stake in this new mode of documentary photography.

Third Text, 28.6 (December, 2014), 555-562

Free download for those without access to Third Text:

http://www.tandfonline.com/eprint/65x3pFdkmTNRu4ZkQbj9/full

Or
http://www.tandfonline.com/doi/full/10.1080/09528822.2014.970775#.VbMVRjWzq-0

c orso di fotografia prof. g ianni g osdan neW toPogrAPHicS dalle terre selvagge alle periferie urbane te s i d i tiziano r ossano m ainieri relatore Prof. Walter guadagnini c orrelatore Prof. g ianni g osdan S e SSione S trA ordinA riA Anno AccA demico 2012/2013