All posts by Cara Logan

Filters

Author:
Category:

Typologies-Artist Reference- Bernd & Hilla Becher

Bernd and Hilla Becher were German photographers who were famous for their detailed and methodical approach to documenting industrial architecture. Their work is key in typological photography, especially for capturing buildings that were vanishing or about to be replaced.

About them:

  • Bernd Becher (1931–2007) and Hilla Becher (1934–2015) started working together in the late 1950s, driven by a desire to document industrial buildings in post-war Europe.
  • Their photography is known for being very precise and systematic, mainly focusing on industrial structures that were either being demolished or replaced by newer designs.
  • They are often credited with popularizing typological photography, where they photograph similar objects in a consistent way to highlight patterns and differences.

They are are best known for photographing: Water Towers, Blast Furnaces, Gas Tanks, Cooling Towers, and Wells. They would arrange these photos in grids, showing multiple images of the same types of buildings. This helped emphasize the common features and small variations between them.

    Image Examples:

    They organised their images – including these Half-Timber Houses – according to type, and referred to each grid of images as a ‘typology’ (Credit: Estate Bernd & Hilla Becher)

    The funny thing is,” says Engler, “that they never did anything else, apart from their typologies. When Bernd died, Hilla continued their work – not making photographs, anymore, but rearranging and making new typologies from material that they had shot together over the previous 40 years.”https://www.bbc.co.uk/culture/article/20170817-how-the-dsseldorf-school-revolutionised-photography

    Typology Overview

    What is a typology?

    A typology is a series of images focused on a shared theme or subject, consistently explored across the collection. For example, it could involve photographing every streetlamp of a certain style within a particular neighbourhood or taking pictures of a series of windows from the same perspective.

    Key Aspects of Typologies in Photography

    1. Subject-Based Typologies:
      • These typologies categorize photography by the subject matter of the image. For example, you might focus on people, landscapes, buildings, or everyday objects, with each category further divided into subgenres.
      Examples:
      • Portrait Photography: Captures individuals or groups to highlight their expressions and personality.
      • Landscape Photography: Focuses on nature, such as mountains, forests, and coastlines.
      • Architecture Photography: Emphasizes buildings and other man-made structures.
      • Still Life Photography: Involves photographing inanimate objects, often arranged for artistic purposes.
    2. Technique-Based Typologies:
      • These typologies are based on the techniques used to create the photograph, such as camera settings, lenses, or editing methods.
      Examples:
      • Black and White Photography: Utilizes only shades of gray to focus on composition, texture, and light without color.
      • Long Exposure Photography: Uses a slow shutter speed to capture motion or create smooth effects in the image.
      • Documentary Photography: Focuses on real-life events and subjects, often telling a story or documenting social issues.
      • Experimental Photography: Involves using unconventional techniques, like double exposures or pinhole cameras.
    3. Conceptual Typologies:
      • These typologies are centred on the ideas or themes behind the photograph, often conveying a deeper message or concept.
      Examples:
      • Abstract Photography: Emphasizes shapes, textures, and patterns rather than recognizable subjects.
      • Social Documentary: Addresses social, political, or cultural issues through photography.
      • Fashion Photography: Focuses on clothing and trends, often in a stylized or commercial context.

    Examples of Typologies

    Famous Photographers- Typologies

    Bernd and Hilla Becher
    Notable Work: Bernd and Hilla Becher are widely regarded as pioneers in typological photography, particularly for their systematic documentation of industrial structures like water towers, blast furnaces, and other industrial facilities. Their work emphasizes the repetitive and standardized nature of these buildings, often presented in grid arrangements to highlight both their common features and subtle differences.

    Andreas Gursky
    Notable Work: Andreas Gursky is renowned for his large-scale, high-resolution photographs that often explore the repetition and patterns present in contemporary life. Many of his works include typologies of architectural elements, such as rows of buildings, expansive factory floors, or crowds of people, illustrating the vast scale and systematic characteristics of modern society.

    Martin Parr
    Notable Work: Martin Parr is celebrated for his documentary-style photography, which frequently employs typological techniques to examine British culture and society. In several of his iconic series, he captures everyday life, including subjects such as food, holidays, and domestic scenes like doors or windows, often infusing his work with humor and social commentary.

    Jeffrey Milstein
    Notable Work: Jeffrey Milstein’s photography often features aerial views of cities and architectural spaces, employing a typological approach. He frequently focuses on the repetition and patterns found in building facades, windows, and urban layouts, emphasizing the geometric forms and organized structures of architecture.

    Edward Weston
    Notable Work: While primarily known for his nature and still-life photography, Edward Weston’s typologies often concentrated on organic forms, such as shells, vegetables, and human nudes. His approach was to photograph similar objects or shapes, highlighting their formal qualities and repeating patterns.

    The New Topographics- Artist reference

    Robert Adams- Case Study

    Introduction to the Photographer

    Robert Adams (born 1937) is an American photographer best known for his images documenting the changing landscapes of the American West. Originally a literature professor, he turned to photography in the 1960s as a way to explore the impact of human expansion on nature. His work is closely associated with the New Topographics movement, which rejected traditional, romanticized views of the landscape in favour of a more neutral, documentary approach.

    His photography is both critical and contemplative, capturing the tension between nature and human intervention. His images often highlight the environmental consequences of industrialization, and deforestation while maintaining a subtle, poetic quality through careful use of light and composition.

    Types of Images He Captures

    Adams’ work focuses on human-altered landscapes, particularly in the American West. Some key themes include:

    • Suburban Expansion – Housing developments, shopping malls, and roads replacing open land. Example: The New West (1974) documents the rapid suburbanization of Colorado.
    • Deforestation & Environmental Impact – Images of cleared forests, barren landscapes, and environmental degradation caused by human activity.
    • Industrial and Urban Scenes – Photographs of highways, factories, and commercial spaces, often showing the contrast between human structures and nature.
    • Light and Atmosphere – Despite the sometimes bleak subject matter, Adams’ use of natural light adds depth and a quiet beauty to his images, reflecting both loss and resilience.

    Image Analysis

    Technical

    This black-and-white photograph demonstrates precise technical execution, likely taken on film due to its smooth tonal transitions and slight grain. The sharp focus across the entire scene ensures that both the foreground and background elements are clearly defined, emphasizing the interaction between the built and natural environments. The lighting is soft and diffused, casting subtle yet effective shadows that enhance depth and texture. The composition is carefully arranged, with structured, geometric forms in the trailers contrasting against the rolling landscape in the distance.

    Visual

    The image relies on a strong contrast between human-made structures and the organic landscape. The trailers form a repetitive pattern of rectangular shapes, which is subtly broken by the presence of winding roads and scattered vehicles. The sky, filled with dark, heavy clouds, adds a sense of atmosphere and suggests an impending change. The absence of colour shifts the focus toward shape, structure, and tonal contrast, reinforcing a detached, observational quality. The way the image leads the eye from the trailer park toward the distant hills creates a sense of scale and perspective.

    Contextual

    This image aligns with the New Topographics, as it combines human-altered environments with natural landscapes. The trailer park setting suggests temporary or transitional living, reflecting how suburban expansion has altered rural areas. This theme is central to many photographers associated with topographics, such as Robert Adams, Lewis Baltz, and Stephen Shore, who sought to capture ordinary, often overlooked landscapes without romanticizing them.

    Rather than presenting nature as untouched or idealized, the image highlights the way built environments invade open landscapes. The distant hills appear secondary to the presence of the trailers, reinforcing the theme of human intervention in natural spaces. The lack of dramatic lighting or strong emotional cues is characteristic of New Topographics photography, which aims to document places as they are, rather than how they are traditionally perceived.

    Conceptual

    At its core, this image explores the expansion of human settlements, the impermanence of modern living, and the evolving relationship between people and their surroundings. The contrast between temporary structures and the vast open land raises questions about the impact of development on rural areas. The absence of people creates a sense of emptiness, reinforcing the idea of isolation or detachment from the environment. Instead of making a clear judgment, the image adopts an observational tone, allowing the viewer to reflect on how urbanization and suburban expansion have reshaped modern landscapes.


    Stephen Shore- Artist reference

    Stephen Shore, born in 1947, is an American photographer widely recognized for his pioneering work in colour photography. He became a key figure in the New Topographics movement, which emerged in the 1970s. Shore is best known for capturing the ordinary aspects of daily life, particularly through images of suburban landscapes and urban settings. His use of colour and large-format cameras helped redefine how photography could document everyday environments.

    Themes and Style:

    • Color Photography: At the time Shore started his career, black-and-white photography was still dominant in fine art. However, he embraced color photography, which allowed him to present everyday scenes with a new sense of vibrancy and realism.
    • Focus on the Everyday: Shore’s work is often centered around the banal, unremarkable scenes of daily life. This includes motels, parking lots, and gas stations—places typically ignored in traditional art. His photos highlight the ordinariness of American culture, creating a sense of detachment while drawing attention to the beauty of these overlooked spaces.
    • Large-Format Cameras: Using large-format cameras, Shore captured images with incredible sharpness and clarity. This level of detail contributed to the sense of objectivity in his work, making the viewer see the subjects as they are, without embellishment.
    • Documentary Influence: Shore’s photography carries the influence of documentary photography, but instead of focusing on people, he chose to document the spaces they inhabit. His images avoid traditional notions of beauty and focus on presenting scenes in a straightforward, almost impersonal manner.

    His Most famous pieces:

    1. “Uncommon Places” (1982): This collection features color photographs taken across the United States, capturing everyday scenes like suburban developments, roadsides, and motels. Shore’s compositions are both meticulous and full of life, and the use of color contrasts with earlier trends in fine art photography, helping to reshape the way photographers viewed the ordinary world.
    2. “American Surfaces” (1976): In this series, Shore documents his road trip through the U.S., photographing diners, motels, and highways. The work explores themes of American culture and identity, focusing on unremarkable yet significant moments in the journey through the country.

    Connection to New Topographics:

    Shore is often linked to the New Topographics movement, a group of photographers in the 1970s who sought to document landscapes in a way that was neutral and devoid of romanticism. The New Topographics photographers rejected the traditional view of nature as pristine and beautiful, instead focusing on how humans have altered the environment.

    Stephen Shore, Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975, chromogenic colour print

    Technical

    • The photograph is taken using a large-format camera, producing sharp details and an extensive wide depth of field, ensuring clarity throughout the scene from foreground to background.
    • Natural daylight creates an even, neutral tone across the image, with cool lighting and a clear sky contributing to the stark, detached aesthetic.
    • The hard-edged shadows emphasize the geometric forms of the gas station structures, reinforcing the rigid, structured environment.
    • The square format and precise framing create a sense of order, yet the low horizon line allows the sky to dominate the upper portion of the image, contrasting with the cluttered foreground.

    Visual

    • The foreground is busy and cluttered, filled with cars, signage, and urban elements, while the background opens into distant mountains, offering a sense of escape.
    • The composition uses leading lines created by the road and sidewalk, guiding the viewer’s eye toward the centre, where various gas station signs overlap.
    • The horizon line is set low, giving prominence to the sky while compressing the lower half of the image, enhancing the sense of congestion and overdevelopment.
    • There is a strong use of geometric shapes and linear elements, such as the rectangular signs, road markings, and structured architecture, contributing to an almost mechanical, impersonal feel.

    Contextual

    • The image reflects themes of industrialization, suburban sprawl, and car dependency. The gas stations symbolize a society built around mobility and consumption, yet they also highlight environmental consequences tied to the oil industry.
    • The sense of nationalism is reinforced through the dominant colours—red, white, and blue—which appear in the branding of Chevron, Texaco, and other American corporations. This suggests a patriotic connection between capitalism, mobility, and national identity.
    • The photograph subtly critiques suburban expansion, with cars and gas stations becoming symbols of how people are pushed further from natural spaces, relying on automobiles for daily life.
    • The signage, advertisements, and corporate branding reflect a culture driven by commerce, where even the visual landscape is shaped by consumerism.

    Conceptual

    • The contrast between urban congestion and the distant mountains suggests a tension between human development and nature, reinforcing themes of escape vs. entrapment. The mountains in the background may symbolize a longing for open space and freedom, yet the heavily structured foreground reminds us of urban constraints.
    • The road and signs act as visual directives, subtly guiding the viewer toward an unseen destination. This can be interpreted as a commentary on direction and progress—are we being led toward opportunity or further into urban confinement?
    • The American Dream is both celebrated and critiqued—on one hand, the image portrays a society built on movement and prosperity, but on the other, it suggests that this same system leads to environmental damage, overcrowding, and a loss of connection to nature.

    Formal Elements

    • Line: The road, signs, and shadows create strong linear elements that structure the image and guide the viewer’s eye.
    • Shape & Form: The rigid, rectangular structures of the gas station contrast with the organic, soft forms of the mountains in the background.
    • Texture: The smooth, polished surfaces of the cars and signs contrast with the rougher textures of the road and distant hills.
    • Pattern: Repeating elements, such as the signs and gas pumps, reinforce the industrial and commercial nature of the scene.
    • Tone: The clear sky and strong light create high contrast, with deep shadows adding a sense of sharpness and definition to the composition.

    The New Topographics

    New topographics was a term coined by William Jenkins in 1975 to describe a group of American photographers (such as Robert Adams and Lewis Baltz) whose pictures had a similar banal aesthetic, in that they were formal, mostly black and white prints of the urban landscape.

    https://www.tate.org.uk/art/art-terms/n/new-topographics

    New Topographics is a style of photography that emerged in the 1970s, characterized by a detached, documentary approach to landscapes, often focusing on human-altered environments.

    Key Features:

    • Neutral, Deadpan Aesthetic – Avoids romantic or dramatic portrayals of landscapes.
    • Human Impact on the Environment – Captures industrial sites, suburban developments, parking lots, highways, and other man-made structures.
    • Black and White or Muted Colours – Many images are in black and white, emphasizing form and composition.
    • Inspired by Documentary Photography – Influenced by early 20th-century photographers like Walker Evans but with a more detached, objective approach.

    Notable Photographers:

    • Robert Adams – Captured suburban sprawl in the American West.
    • Lewis Baltz – Focused on industrial parks and urban developments.
    • Stephen Shore – Used colour photography to document everyday American scenes.
    • Bernd and Hilla Becher – German photographers known for typological studies of industrial structures.

    The movement was a reaction against traditional landscape photography, which often glorified untouched nature (e.g., Ansel Adams). Instead, New Topographics photographers emphasized how humans shape the land, influencing later movements in contemporary landscape and documentary photography.

    What was the New Topographics a reaction to?

    The New Topographics movement emerged as a response to major changes in post-war America, especially in how the landscape was being reshaped by urban growth and industrialization.

    Post-War Expansion and Changing Landscapes

    After World War II, the U.S. went through a period of rapid economic growth, leading to suburban expansion, new highways, and industrial parks. Cities spread outward, replacing open landscapes with shopping centers and residential developments.

    Photographers in the New Topographics movement responded by capturing these transformed spaces, showing how human activity was altering the land in a way that was often overlooked.

    Environmental Awareness

    During the 1960s and 1970s, concerns about pollution, deforestation, and urban sprawl were growing. Books like Rachel Carson’s Silent Spring (1962) and events like the first Earth Day in 1970 brought more attention to environmental issues. This shift influenced photographers to take a closer, more critical look at human-altered landscapes.

    A New Take on Landscape Photography

    Traditional landscape photography, led by figures like Ansel Adams and Edward Weston, focused on the beauty of untouched nature. In contrast, New Topographics photographers rejected this romanticized view. Instead of grand, dramatic scenery, they captured everyday places shaped by human presence e.g parking lots, trailer parks, motels, and industrial sites, presenting them in a neutral, almost detached way.

    Artistic and Cultural Shifts

    • Redefining Beauty – The movement challenged the idea that landscapes had to be visually stunning to be worth photographing. By focusing on ordinary or even unattractive scenes, they expanded the definition of what was considered artistically valuable.
    • Minimalism and Conceptual Art Influence – The straightforward, objective style of New Topographics was influenced by Minimalism and Conceptual Art, particularly the work of Bernd and Hilla Becher, who systematically documented industrial buildings. Their influence helped shape the movement’s structured, documentary approach.

    The Bigger Picture

    At its core, New Topographics reflected a shift in how people viewed the landscape-not as something untouched and pure, but as something constantly shaped by human activity. This perspective continues to influence contemporary photography today.

    Photoshoot 2- inspired by Ansel Adams

    For this photoshoot I went to Greve de Lecq beach, where the ruggedness of the rocks fit in well with the dramatic, high-contrast images that Adams is so well known for.

    I had planned to edit the images to black and white in order to try and keep the timeless aesthetic so I payed close attention to the light and shadows as I took the images in order to bring out the stark details of the landscape. I also had the tonal range in mind, striving to preserve every subtle gradation between light and shadow, emphasizing the contrast between the sunlit areas and the deep, moody shadows.

    I obviously couldn’t match the level of drama or scale that is portrayed in Ansel Adams Images but I tried to convey the immense scale of the landscape. The jagged rocks seeming to reach toward the sky, while the vastness of the sea stretched out infinitely in the background. The sense of space and isolation in these images is inspired by Adams’ work, where nature is both awe-inspiring and humbling.

    I also took a few images when I was driving across the north coast as it has steep rugged cliffs that I thought would fit well with this photoshoot.

    Contact Sheet

    Image Selection

    Editing

    I chose to edit my images into black and white like Ansel Adams.

    Final Images

    I decided to pick these 3 images as my final landscapes for this photoshoot because I think they reflect Ansel Adams’ dramatic style through careful attention to tone and contrast.

    I utilised editing to replicate Adams’ zone system, concentrating on fine detail and a wide tone range. Visually, the images share strong compositions—like leading lines, dramatic skies, and textured foregrounds. To establish harmony and rhythm across the series, The first image is bold and dynamic, the second more open and reflective, and the third combines both to create balance across the series.

    Contextually, my work connects to Adams’ tradition of capturing nature’s beauty to inspire respect and protection. While he focused on mountains, I used the coast to explore similar ideas of scale, power, and stillness.

    Conceptually, the series expresses themes of awe, and the emotional impact of nature. The absence of colour helps focus on mood and form, while small human figures in one image hint at our insignificance within the vast landscape—an idea central to Adams’ philosophy.

    Photoshoot 1

    In this Photoshoot I explored the movement of water at the beach, focusing on how it constantly shifts and changes. I looked at composition, using the flow of the waves and the patterns in the water to create dynamic images. Perspective and scale were important in showing the contrast between the vastness of the sea and the smaller details, like the way water moves around rocks.  

    Light played a key role in my images, as I captured how it affected the colours, shadows, and tonal value of the water throughout my images. I also focused on texture capturing the the smooth and rough parts of the water. This photoshoot allowed me to explore the way water interacts with its surroundings, creating images that capture the movement of the water.

    Contact Sheet

    Long Exposure

    Some of my long exposure images turned out like this one (blurred) but I quite like how the misty water erupts over the rocks, it creates a sense of eeriness but in a way it’s also peaceful.

    Short Exposure

    I took images of the same flow of water with a short exposure to contrast the long exposure images. Which allowed me present the movement of water in different ways.

    I positioned the camera down low, pointing upwards towards the waterfall so the rocks are in focus which captures how the water bubbles and moves around them.

    Editing Before and After

    Here I adjusted the contrast, shadows, highlights and dehaze in order to dramatize the movement of the water.

    Final Images- Presented in Art Steps

    I chose these 3 Images as they include both long and short exposure and they are taken from various perspectives which represent my aim for this photoshoot, which was to explore the movement of water.

    Exposure Bracketing

    Exposure Compensation- Exposure compensation basically helps you override automatic exposure adjustments your camera makes in situations with uneven light distribution, filters, non-standard processing, or underexposure or overexposure. It lets you take control of your image’s brightness by manually increasing or decreasing exposure.

    Exposure Bracketing- Basically, when you bracket your shots you take exactly the same picture of your subject at several different exposures. This technique gives you a range of options to choose from when you’re editing. As a result, it’s much less likely that you’ll end up with a badly underexposed or overexposed photo.

    HDR Photos- The term dynamic range describes the ratio between the brightest and darkest parts of an image. HDR, or high dynamic range, can describe the cameras or techniques you can use to capture a greater dynamic range than SDR (standard dynamic range, a non-HDR format) camera sensors can record.

    Exposure Bracketing Camera Guide

    1. Click Av on the camera
    • In the menu, select the second tab and go to ‘Expo. Comp. /AEB
    g0101331
    • Use the dial on the top of the camera to set the range of exposure you want to capture with your 2nd and 3rd photo
    • After you have set the exposure range, you will see two extra marks on the exposure metre
    • Now take 3 photos and your camera will automatically change the exposure for each one.
    • TIP: You can also set the camera to continuous shooting, to take 3 photos in close succession – all you need to do is hold the shutter button down.

    Exposure Bracketing Experiment

    I used the exposure bracketing setting on the camera which takes 3 images with your chosen exposure. 1 as normal exposure 1 as a higher exposure and 1 with a lower exposure.

    How To Do It

    Select the 3 images:

    Right Click and select Photo Merge HDR:

    Final HDR Image

    Second Images

    Final Image

    Images

    HDR Image

    Images

    HDR Image

    Experimenting using lightroom

    Vignette

    How to: select effects and change the amount of vignette and if you want it to be lighter or darker

    My Vignette Images

    Experimenting with filter pre-sets

    Ansel Adams

    Who is Ansel Adams?

    Ansel Adams was an American photographer and environmentalist, best known for his black-and-white landscape photographs of the American West, particularly Yosemite National Park. His work helped define modern landscape photography and played a significant role in conservation efforts.

    His childhood

    Ansel Easton Adams was born on February 20, 1902, in San Francisco, California. As a child, he was somewhat shy and struggled with formal schooling, partly due to what some believe may have been dyslexia. He was home-schooled by his father and aunt, which allowed him to explore his interests more freely. One of the defining moments of his childhood was the San Francisco earthquake of 1906, which caused Adams to fall and break his nose, leaving it permanently crooked. His love for nature started early, as he spent much of his childhood exploring the outdoors.

    Yosemite

    Adams first visited Yosemite National Park in 1916 when he was 14 years old. His parents gifted him a Kodak Brownie camera, and he was immediately captivated by the landscape. This trip was a turning point in his life, sparking both his love for photography and his deep commitment to conservation.

    ‘I knew my destiny when I first experienced Yosemite’

    Adam Ansel

    How did his photography career develop?

    During his early visits to Yosemite, Adams took numerous photographs and experimented with darkroom techniques. He later joined the Sierra Club, which played a major role in shaping his environmental consciousness. Through the club, he met influential conservationists and began to see photography as a tool to advocate for nature preservation. His early Yosemite images led to his first portfolio and professional recognition.

    Sierra Club

    The Sierra Club is one of the oldest and most influential environmental organizations in the United States. Founded in 1892 by naturalist John Muir, the club focuses on protecting natural spaces, promoting environmental policies, and advocating for conservation efforts.

    In 1927, Adams created one of his most famous images, “Monolith, the Face of Half Dome” in Yosemite. This photograph marked a turning point in his career, as he moved away from soft-focus pictorialism to a more sharp, detailed style. This year was also when he began using a larger format camera, which allowed him to capture more precise detail and tonal range—techniques that would define his later work.

    What else was he involved in?

    While photography was his main passion, Adams was also deeply involved in environmental activism. He worked with the Sierra Club, using his images to support conservation efforts, and played a key role in lobbying for the establishment of Kings Canyon National Park in 1940. The powerful rushing Kings River peaked the interest of the nearby and fast-growing city LA. Because the river plunges nearly 11,000 feet in just 80 miles, it carried enormous potential as a hydroelectric power source. Additionally:

    • He was an author, writing books and essays on photography and conservation.
    • He developed the Zone System, a technique for controlling exposure and contrast in black-and-white photography.
    • He served as a consultant for Polaroid, testing new film and cameras.
    • He was a teacher, mentoring aspiring photographers through workshops and writings.

    Why were Ansel Adams’ images first used for environmental purposes?


    Ansel Adams’ images were first used for environmental purposes because they showcased the beauty and grandeur of natural landscapes, particularly in the American West. His black-and-white photographs captured the majesty of places like Yosemite and the Sierra Nevada, inspiring public appreciation and support for conservation efforts. His work was instrumental in advocating for the protection of wilderness areas, as his striking images helped convince policymakers and the public of the need to preserve these landscapes.

    Why was Kings Canyon at risk?


    Kings Canyon was at risk due to logging, grazing, and potential development, which threatened its pristine wilderness. In the early 20th century, there was pressure to use the land for commercial purposes, but conservationists, including Ansel Adams and the Sierra Club, worked to prevent this and advocate for its protection as a national park.

    How did Ansel Adams protect the Sierra Club?


    Ansel Adams played a key role in protecting and promoting the Sierra Club by using his photography as a powerful advocacy tool. He was an active member of the club and served on its board of directors for many years. His images were used in Sierra Club publications, helping to garner public and political support for conservation initiatives. His work significantly contributed to the success of the club’s campaigns, including the push to establish Kings Canyon as a national park.

    When was the proposal to create the national park approved, and what prompted this?


    The proposal to create Kings Canyon National Park was approved in 1940. The movement to protect the area gained momentum in the 1930s, thanks in part to Ansel Adams’ photography, which helped highlight the region’s natural beauty. His 1938 book Sierra Nevada: The John Muir Trail was sent to President Franklin D. Roosevelt and Congress, influencing their decision to grant national park status and protect Kings Canyon from development.

    Presidential medal


    Ansel Adams received the Presidential Medal of Freedom in 1980 from President Jimmy Carter. This award recognized his contributions to photography and environmental conservation, as his work had played a crucial role in inspiring efforts to protect America’s natural lands.

    Ansel Adams was all about visualisation in his photography what does this mean?

    Ansel Adams describes The Monolith, The Face of Half Dome (1927) in his book The Negative as his first true example of visualization—the process of imagining the final print before capturing the image. Initially, he took the photograph using a yellow filter but soon realized that it did not achieve the dramatic effect he had envisioned. The yellow filter resulted in a more neutral, less striking image that did not fully convey the depth and intensity he sought.

    Recognizing this, Adams took a second exposure, this time using a red filter, which dramatically darkened the sky and enhanced the contrast, creating a bolder and more powerful composition. This decision aligned with his pre-visualized idea of the scene, as the red filter emphasized the blue light in the atmosphere, intensifying the shadows and adding a sense of drama.

    Although Adams was known for his darkroom techniques, the foundation of his images was always established at the moment of capture. Unlike modern digital photography, where extensive post-processing allows for greater manipulation, film photographers had to make critical choices in-camera to ensure the final print aligned with their artistic vision. This method of working underscores Adams’ mastery of light, exposure, and the Zone System to create his iconic landscapes.

    What is the Zone system?

    The Zone System is a photographic technique for determining optimal film exposure and development, formulated by Ansel Adams and Fred Archer. It divides the tonal range of an image into eleven zones, from pure black (Zone 0) to pure white (Zone X), with various shades of grey in between.

    Image Analysis

    Mount McKinley and Wonder Lake, Denali National Park, Alaska, 1947.

    Visual Analysis

    • The image is a black-and-white landscape photograph showcasing a contrast between dark, rolling hills in the foreground and bright, snow-capped mountains in the background.

    • The use of light and shadow emphasizes the rugged texture of the mountains and the smooth, dark surface of the lower hills.

    • The sky is subtly detailed, with wispy clouds adding depth to the composition.

    • There are leafless trees in the lower section of the image, which provide a sense of scale and natural framing.

    Conceptual Analysis

    • The stark contrast in the image could symbolize themes of duality—light and darkness, foreground and background, life and desolation.

    • The snow-capped peaks evoke a sense of majesty, while the dark hills below create a sense of mystery or even foreboding.

    • The lone figure (possibly a horse or another animal) in the distance adds an element of solitude and scale, reinforcing the vastness of nature.

    • The image may reflect themes of isolation because the landscape is so desolate. It may also be showing passage of time as the light creates an almost passageway through the shadows, until it reaches the bright mountain.

    Technical Analysis

    • The photograph is likely taken using a high-contrast black-and-white film

    • The sharpness and depth of field are well-controlled, making both foreground and background elements crisp and detailed.

    • The use of natural light is very well controlled, with strong highlights on the mountains and deep shadows in the foreground.

    • The composition follows a layered approach, leading the eye from the dark foreground to the bright, intricate peaks.

    Contextual Analysis

    • This image is reminiscent of Ansel Adams’ work, particularly his photographs of the Sierra Nevada mountains in the United States. If this is indeed the Sierra Nevada, the photograph could carry historical or environmental significance.

    Romanticism

    Romanticism is an artistic movement that emerged in the late 18th century and flourished throughout the 19th century. It was a reaction against the rationalism and order of the Enlightenment and the industrialization of society, emphasizing emotion, imagination, and nature as the true sources of beauty and truth.

    Key Characteristics of Romanticism:

    • Emotion Over Reason – Feelings, passion, and intuition were valued more than logic and rational thought.
    • Imagination & Creativity – Romantic artists and writers sought to explore new, fantastical ideas rather than adhere to traditional structures.
    • Nature & The Sublime – The natural world was seen as a place of spiritual renewal, beauty, and power, often depicted as wild, untamed, and awe-inspiring.
    • Individualism & Rebellion – Romanticism celebrated the unique individual, particularly those who defied societal expectations and pursued their own path.
    • Mysticism & The Supernatural – Interest in folklore, the occult, and the unknown played a significant role in Romantic literature and art.
    • Melancholy & Nostalgia – A longing for the past, lost love, or unfulfilled dreams was a recurring theme in Romantic works.
    • Idealism & Transcendence – Many Romantic thinkers believed in the pursuit of higher truths, often through artistic expression, dreams, or personal introspection.

    What was Romanticism a reaction against?

    The Enlightenment (18th Century Rationalism)

    • The Enlightenment emphasized reason, logic, science, and order, promoting structured thought and empirical evidence.
    • Romanticism rejected this, believing that emotion, imagination, and intuition were just as important as reason.
    • While the Enlightenment valued universal truths, Romanticism focused on individual experience and personal truths.

    2. The Industrial Revolution (18th–19th Century)

    • The rise of industrialization and urbanization led to crowded cities, pollution, and a shift away from rural life.
    • Romanticism responded with a nostalgia for nature, portraying it as pure, spiritual, and untainted by human corruption.
    • Many Romantic thinkers opposed the dehumanization of workers in factories and celebrated the individual over machines.

    3. Neoclassicism & Structured Art

    • Neoclassicism, which dominated the 18th century, emphasized order, harmony, and rationality in art and literature.
    • Romanticism rejected strict forms and celebrated experimentation, spontaneity, and emotional expression.

    4. Political & Social Order (Revolutions & Rebellion)

    • Romanticism was influenced by the French Revolution (1789), which symbolized the power of individual freedom and rebellion.
    • Many Romantics championed the rights of the individual and celebrated outcasts, revolutionaries, and misunderstood heroes.
    • Figures like the Byronic Hero (dark, rebellious, passionate characters) emerged as symbols of Romantic defiance.

    5. Scientific Rationalism & Materialism

    • The scientific advancements of the 18th and 19th centuries prioritized materialism and mechanistic worldviews.
    • Romantics, however, explored spirituality, mysticism, and the supernatural, believing in forces beyond human understanding.

    Enlightenment

    The Enlightenment (1685–1815)

    The Enlightenment was an intellectual and cultural movement that emphasized reason, logic, science, and individual rights over tradition, superstition, and religious dogma. It emerged in the late 17th century and peaked in the 18th century, influencing politics, philosophy, science, and society.

    Key Ideas of the Enlightenment:

    • Reason Over Tradition: Knowledge should be based on rational thought and empirical evidence, not religious faith or inherited beliefs.
    • Scientific Progress: The Scientific Revolution fueled belief in human ability to understand and control the natural world through observation and experimentation.
    • Skepticism of Authority: Many Enlightenment thinkers questioned monarchy, aristocracy, and the Church, advocating for political reform.
    • Individual Rights & Freedom: Thinkers like John Locke and Jean-Jacques Rousseau argued for natural rights, democracy, and self-government.
    • Separation of Church and State: Many Enlightenment thinkers promoted religious tolerance and secular governance.
    • Optimism & Progress: There was a strong belief that humanity could improve through education, science, and reason.

    Key Figures of the Enlightenment:

    • John Locke – Advocated for natural rights (life, liberty, property) and government by consent.
    • Voltaire – Criticized religious intolerance and promoted freedom of speech.
    • Jean-Jacques Rousseau – Explored democracy and the idea of the “general will.”
    • Montesquieu – Proposed separation of powers in government.
    • Immanuel Kant – Defined the Enlightenment as “daring to know” (Sapere aude), encouraging intellectual independence.

    Impact of the Enlightenment:

    • Influenced Revolutions – Inspired the American Revolution (1776) and French Revolution (1789) by promoting democracy and human rights.
    • Shaped Modern Democracy – Ideas about constitutional government, checks and balances, and civil liberties remain influential today.
    • Advanced Science & Secularism – Led to the decline of religious influence in politics and an increase in scientific thinking.

    The Sublime

    The sublime is a concept in art, literature, and philosophy that refers to experiences that evoke awe, terror, or overwhelming beauty, often associated with nature’s power and human insignificance. It was a key idea in Romanticism, emphasizing emotions beyond ordinary perception—something vast, infinite, or beyond human control.

    J.M.W Turner

    Edmund Burke on the Sublime

    Edmund Burke, in his 1757 work A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, defined the sublime as something that provokes “the strongest emotion which the mind is capable of feeling.” He argued that the sublime is linked to feelings of terror and awe, especially when encountering vast, powerful, or obscure things.

    Quote from Burke:
    “Whatever is fitted in any sort to excite the ideas of pain and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime.”

    Key Aspects of the Sublime:

    • Terror & Awe – The feeling of being overwhelmed by something vast or powerful (e.g., storms, mountains, or the night sky).
    • Nature’s Power – The sublime is often found in untamed landscapes like waterfalls, thunderstorms, and vast oceans.
    • Obscurity & Mystery – The unknown or the infinite can evoke a sense of the sublime, such as deep space or dark forests.
    • Contrast with Beauty – Unlike beauty, which is harmonious and pleasing, the sublime is intense, sometimes even terrifying.

    Impact of the Industrial Revolution on Romanticism

    The Industrial Revolution (late 18th – 19th century) dramatically transformed society through urbanization, mechanization, and technological advancements. While it brought progress, it also led to pollution, harsh working conditions, and a loss of connection to nature. Romanticism emerged as a reaction to these changes, emphasizing emotion, nature, and individualism in opposition to industrialization’s focus on rationalism, efficiency, and mass production.

    Romantic Artists

    John Constable (1776–1837) – The Beauty of Rural England

    • Style: Naturalistic landscapes, soft colour palettes, and emotional connection to the countryside.
    • Themes: Romanticized rural life, nostalgia for pre-industrial England, and a deep appreciation for nature.
    • Famous Works:
      • The Hay Wain (1821) – A peaceful, idyllic scene of a rural wagon crossing a river, representing a simpler life untouched by industrialization.
      • Wivenhoe Park (1816) – A lush, serene depiction of an English estate, emphasizing the harmony of nature.

    How He Embodied Romanticism: Constable’s paintings reject urbanization and celebrate the emotional and spiritual power of nature, reflecting the Romantic ideal that the countryside was pure and unspoiled.

    Wivenhoe Park- John Constable

    J.M.W. Turner (1775–1851) – The Power and Drama of Nature

    • Style: Dramatic lighting, expressive brushwork, and intense colour contrasts.
    • Themes: The sublime in nature, the overwhelming force of storms, seas, and industrialization’s impact on the world.
    • Famous Works:
      • The Fighting Temeraire (1839) – A nostalgic farewell to an old warship being towed by a modern steam-powered boat, symbolizing the transition from the past to the industrial age.
      • Rain, Steam and Speed (1844) – A blurred, powerful depiction of a steam locomotive racing through the landscape, capturing the awe and terror of technological progress.

    How He Embodied Romanticism: Turner’s work focused on the power of nature and the sublime, showing humanity’s smallness in the face of storms, fire, and the vast ocean. His later works blurred the lines between realism and impressionism, emphasizing feeling over precision.

    3. Caspar David Friedrich (1774–1840) – The Mysticism of Nature

    • Style: Melancholic, atmospheric landscapes with solitary figures.
    • Themes: The spiritual and mystical connection between man and nature, solitude, and contemplation.
    • Famous Works:
      • Wanderer Above the Sea of Fog (1818) – A lone figure stands atop a misty mountain, gazing at the vast landscape, symbolizing human insignificance and self-reflection.
      • The Abbey in the Oakwood (1809–1810) – Ruins of a Gothic church stand among barren trees, evoking themes of death, decay, and mystery.

    How He Embodied Romanticism: Friedrich’s paintings convey the mystical and transcendent qualities of nature, aligning with Romanticism’s fascination with emotion and the unknown.

    4. Francisco Goya (1746–1828) – Dark Romanticism & Human Emotion

    • Style: Dramatic, often dark and nightmarish imagery with emotional intensity.
    • Themes: The horrors of war, human suffering, madness, and the supernatural.
    • Famous Works:
      • The Third of May 1808 (1814) – A powerful depiction of Spanish civilians being executed by French soldiers, showing the brutality of war.
      • Saturn Devouring His Son (1820–1823) – A disturbing, nightmarish image of the god Saturn eating his child, reflecting madness and horror.

    Hay Wain by John Constable

    “I shall endeavor to get a pure and unaffected manner of representing the scenes that may employ me… there is room enough for a natural painter. The great vice of the present day is bravura, an attempt to do something beyond the truth.”

    John Constable
    ArtistJohn Constable
    Year Painted1821
    GenreLandscape Painting
    PeriodRomanticism
    MediumOil on canvas
    Dimensions51.2 x 72.8 in
    Where it’s keptNational Gallery, London

    Notes- from video

    -Landscape wasn’t a popular art style- ambitious

    -Hay Wain 6 ft landscape (1821)

    -River where he grew up farmers in field

    -Father was a land owner, came from well to do family

    -Machines were taking employment away, losing jobs in countryside ( industrial revolution)

    -Painting relaxed/ romanticized

    -Landscapes were usually people doing something legendry unlike constables landscape that was mundane

    -He deliberately created rough texture- to feel the nature

    key terms associated with romanticism

    Emotion – Romanticism emphasized deep, raw emotions over logic, celebrating feelings as the truest form of human experience.

    Imagination – The movement valued imagination as a means of transcending reality and exploring new artistic and intellectual possibilities.

    Nature – Romanticists saw nature as a source of inspiration, beauty, and spiritual renewal, often portraying it as a powerful and untamed force.

    Sublime – The concept of the sublime captured the awe-inspiring and sometimes terrifying aspects of nature and human experience.

    Individualism – Romanticism championed the unique individual, often portraying solitary heroes who defied societal norms.

    Rebellion – Many Romantic works celebrated defiance against authority, embracing revolution and personal freedom.

    Freedom – Personal and artistic freedom were central, with Romanticists rejecting rigid structures in favor of self-expression.

    Passion – Love, desire, and intense emotional experiences were key themes, often explored in dramatic and tragic narratives.

    Melancholy – A sense of longing, loss, and nostalgia permeated much of Romantic art and literature, adding depth to its themes.

    Mysticism – The supernatural, folklore, and mystical experiences were often woven into Romantic works to explore the unknown.

    Transcendence – Romanticism sought to elevate human experience beyond the mundane, reaching for deeper truths and higher states of being.

    Idealism – Romantic thinkers often pursued ideals of beauty, truth, and love, even in the face of harsh realities.

    Beauty – The movement emphasized beauty in all its forms, whether in nature, art, or the human spirit.

    Spirituality – Romanticism embraced a deeply personal and often unconventional spirituality, rejecting institutionalized religion.

    Intuition – Instinct and feeling were valued over reason, with artists and writers trusting their inner voice.

    • Dreams – Dreams and the unconscious mind were seen as gateways to deeper truths, influencing much of Romantic poetry and art.

    Landscapes

    Meaning of Landscape

    Landscape refers to the visible features of an area of land, often depicted in art or photography to showcase its natural beauty. In artistic terms, it describes works that focus primarily on natural scenery such as mountains, rivers, forests, and fields.

    Emergence of Landscape as a Genre in Western Culture

    Landscape painting began to emerge as an independent genre in Western art during the Renaissance (15th–16th centuries). However, it remained secondary to historical, religious, and portrait painting. It gained prominence as artists began incorporating more detailed backgrounds into their works.

    Classical Landscape Genre

    Classical landscape painting became a distinct genre in the 17th century, particularly in the works of artists like Claude Lorrain and Nicolas Poussin. These artists created idealized, harmonious landscapes influenced by classical antiquity, often incorporating mythological or historical themes.

    Rise of Landscape Art in the Late 18th / 19th Century

    The rise of landscape art during this period was influenced by several factors:

    • Romanticism: Artists sought to express emotions and the sublime power of nature, as seen in the works of Caspar David Friedrich and J.M.W. Turner.
    • Industrial Revolution: As cities grew and industrialization changed rural life, people became more nostalgic for untouched nature.
    • Scientific Exploration: Increased interest in geology and natural sciences led to a fascination with documenting landscapes.
    • National Identity: Many countries, including the U.S. and Britain, used landscape art to celebrate national pride and beauty, as seen in the Hudson River School and John Constable’s works.

    Origin of Landscape Photography

    Landscape photography originated in the mid-19th century, with early pioneers like Carleton Watkins, William Henry Jackson, and Eadweard Muybridge capturing dramatic scenes of the American West. The development of better cameras and exposure techniques allowed photographers to document landscapes in ways previously reserved for painters.