Other Natures (Landscape in Five Views of Yosemite)

This week, our chapter discussed the changing meaning and significance of the art of "landscape" photography. Though the technical definition of landscape photography is that the photograph be longer length-wise than height-wise, the colloquial and artistic definition is more nebulous. Many might think of "scenery", or more specifically "nature" at the utterance of the term. However, photographers have long been asking the question of what can be considered landscape, and why photographers from across the spectrum seem to be drawn to them: "What is the continuing lure of the natural world for photographers of all kinds?". 

Ansel Adams is seem by many as the quintessential landscape photographer. His large format photographs of the American wilderness are rendered in sweepingly sublime black and white tones, the perfection of which he was inspired to create his 12 tone photographic system to accomplish. This view of the untrammeled wilderness; the majestic cliffs overhanging vast valleys, mountains towering in the sky, has been ever the more challenged by each successive generation of photographers. Stephen Shore's photographs directed their focus away from a vision of a "pure" nature framed chiefly to emphasize its most aesthetically beautiful elements. Instead, Shore allowed people, cars, and signs of human development to enter the frame.

The potential of the landscape photograph is something I believe will only continue to expand in the coming years. No doubt, the human race's intrusions upon nature will continue as our population grows and our technological capacity increases. It will be interesting to see just where photography fits into that picture.