The new Topographics was a term made by William Jenkins which was used to describe a group of American photographers whose photos had a similar banal aesthetic. in that they were formal and mostly taken in black and white, there photos also consisted of the urban landscape around them.

The New Topographics mostly focused on Man-altered landscapes such as homes packed together, industrial buildings, roads and anything that disrupted the view or area of natural landscapes.

Historical context

The New Topographics were mostly made in response to the fast increasing suburbanised world around them. Topographic photos were taken around the 70s and the historical context of why America were becoming more suburban is that in post-war America, to accommodate all the returning soldiers coming home and to keep up with the new innovations in the industrial sector, they decided to build more buildings and more homes as well as more roads so vehicles (which were rising in popularity more and more) could drive along these paths. As a result it ended up transforming areas, which were previously natural and contained good views of the landscape ahead into buildings and roads which expanded for 100s of miles in each direction which resulted into landscapes beyond these buildings being barley visible and big natural areas being removed in order to build these man made structures.

Why were Photographers interested in these structures?

Most photographers took pictures of these manmade structures to show the growing unease of how natural landscapes were being replaced and removed by industrial development. Places once natural and untouched were now cleared and terraformed in order to make space for buildings and roads which would be placed instead.

Artist Reference – Stephen Shore

Technical

The photo uses natural daylight in this image which lights the image up quite strongly as their is no clouds in the sky to cover up the suns light. You can also see the image uses a slow shutter speed as we can see the cars on the left side of the image appear quite blurry. The temperature of the lighting is cold as the image contains more of a blue hue than a yellow hue of colour. We can also see that due to the way the lighting is projecting towards the object, it ends up creating hard edged shadows of the objects/structures in the image.

Visual

With this photo you can see the hard edged shadows that form around the objects and structures. The image is aligned in a specific manner that it resembles some aspects of the rule of thirds. We can also notice that starting from the top of the image with the bright blue skies and then moving towards the bottom half of the image that it starts to become more cluttered with buildings, signs and lamp posts obstructing the view ahead. The photo is in a square format which allows the focus of the image to be more concentrated towards the bottom and the picture appears to be pointed towards nature by the way some objects are pointed like the signs or the direction the cars are driving towards.

Contextual

This picture might be focused on the achievement of cars and how prices for them have gone down meaning lots more people are able to afford them and drive hundreds of miles and have the freedom to go anywhere. We can also see nationalism on the gas station sign as it uses the iconic colours of the American flag.

Conceptual

This image might be showing us the gradual change from natural landscapes to man-made structures which is starting to benefit the majority of people. From the cheap cars to the wide range of options of where to go for food or shopping in town areas. This photo could also be seen as a depicting the start of the American dream and how it looks to live in America.

What is it ?

New topographics is a term created by William Jenkins in 1975 to refer to a collection of American photographers, including Robert Adams and Lewis Baltz. Their work shared a common, ordinary style, characterized by formal, predominantly black and white images of urban environments.

Key features

Their photos captured the constructed surroundings, suburban expansion, industrial buildings, and the ordinary details of everyday life occurring in the American landscape after World War II, all presented with a sense of objectivity and a nearly scientific distance.

What was the new topographics a reaction to ?

The striking, well-printed images of this ordinary yet strangely captivating landscape served as both a mirror of the growing suburban environment surrounding them and a response to the oppressive nature of idealized landscape photography that glorified the natural world and its basic elements.

Robert Adams

Robert Adams, born in 1937, is a renowned American photographer known for capturing the evolving scenery of the American West. He gained recognition in the mid-1970s with his book “The New West,” published in 1974, and by being part of the 1975 exhibition “New Topographics: Photographs of a Man-Altered Landscape.” Throughout his career, he has been honoured with two Guggenheim Fellowships, a MacArthur Fellowship, the Deutsche Börse Photography Prize, and the Hasselblad Award.

His photos

Photo Analysis

Technical – The image depicts a gas station located at the border, likely taken during the evening or night since the main source of light comes from the artificial lamps that can be seen. The details in the foreground are sharp and well-defined, suggesting that a high aperture setting and a deep depth of field were utilized. Additionally, there is very little visual noise, indicating that the ISO was kept low, probably around 100.

Visual – The image is entirely in black and white, which enhances its somber mood, as the gas station seems to dominate the landscape. There’s a strong contrast between light and dark, with the gas station in the front featuring lighter shades, while the mountains in the back remain shadowy and unlit. The way the station is positioned adds a sense of depth and three-dimensionality, contributing to the overall dramatic effect.

Contextual/Conceptual – Adams was a member of The New Topographics, a movement that examined how human-made structures impact natural environments. This is evident in the image, where the gas station draws attention away from the distant mountains, highlighting the tension between artificial and natural landscapes.

Examples in Jersey

Recycling plant in St Helier

Car parks

Piers

Stephen Shore

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

Analysis and discussion… starting points and key features of The New Topographics

• Foreground vs background | Dominant features
• Composition | low horizon line | Square format
• Perspective and detail / cluttering
• Wide depth of field | Large Format Camera
• Colour | impact and relevance
• Nationalism vs mobility vs isolation
• Social commentary | The American Dream ?
• An appreciation of the formal elements : line, shape, form, texture, pattern, tone etc

Technical – The lighting in this image is natural harsh but warm light, most likely a late morning or middle of day light. This type of lighting causes hard edged shadows. A large format camera with a high aperture was used to take this photo, this is how all the small details where captured within the image.

Visual – This image mostly follows the rule of thirds with a lot of horizontal and vertical lines, the horizon is in the bottom third of the image, this causes the image to seem somewhat compressed. The leading lines in the image all point towards the mountains and back to nature.

Contextual/ Conceptual – The images focal point draws the viewer towards the mountains in the background, it hints at freedom and how you can get in your car and drive anywhere, however it comes at a cost of the environment. Furthermore the red, white and and blue colours hint at the American flag.

What is it?

New topographics was a term made 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.

Many of the photographers associated with new topographics including Robert Adams, Lewis Baltz, Nicholas Nixon and Bernd and Hiller Becher, were inspired by the man-made, selecting subject matter that was matter-of-fact. Parking lots, suburban housing and warehouses were all depicted with a beautiful stark austerity, almost in the way early photographers documented the natural landscape. An exhibition at the International Museum of Photography in Rochester, New York featuring these photographers also revealed the growing unease about how the natural landscape was being eroded by industrial development.

What were the new topographics a reaction to?

These stark, beautifully printed images of this mundane but oddly fascinating topography were both a reflection of the increasingly suburbanised world around everyone, and a reaction to the tyranny of idealised landscape photography that elevated the natural and the elemental.

Case Study – Robert Adams

Robert Adams, born in 1937, is a prominent American photographer renowned for his exploration of the evolving landscapes of the American West. His work gained significant recognition in the mid-1970s, particularly with the publication of his book, The New West, in 1974, and his involvement in the 1975 exhibition titled New Topographics: Photographs of a Man-Altered Landscape. Throughout his career, Adams has been awarded with two Guggenheim Fellowships, a MacArthur Fellowship, the Deutsche Börse Photography Prize, and the Hasselblad Award.

Critic Sean O’Hagan, writing in The Guardian about Adams’ work, said “his subject has been the American west: its vastness, its sparse beauty and its ecological fragility. [. . .] What he has photographed constantly – in varying shades of grey – is what has been lost and what remains” and that “his work’s other great subtext” is silence.

Image Analysis

Technical – The picture shows a gas station on the frontier, presumably at darker hours which means the lighting for the image is coming mostly from the manmade lamps that are visible. All details in the foreground are clear and visible, meaning a high aperture value and deep depth of field were likely used – furthermore, there is little to none visual noise meaning ISO was kept to a minimal value such as 100.

Visual – The picture is completely lacking in colour being in black and white, which helps add to the bleakness of the image due to the gas station almost having invaded the landscape. There is also a clear contrast in light and dark tones, with the station in the foreground having more of an emphasis on lighter tones with the mountains in the background not being illuminated and therefore being darker. There is also a sense of depth and three dimensions with how the station has been positioned in the image, helping to create a sense of drama.

Contextual/Conceptual – Adams was part of The New Topograhics with a focus on manmade landscapes and their effect on natural ones, hence why the image focuses on a station which is taking away the focus and attention from the mountains placed farther away in the background.

Stephen Shore

Key features:

• Foreground vs background | Dominant features
• Composition | low horizon line | Square format
• Perspective and detail / cluttering
• Wide depth of field | Large Format Camera
• Colour | impact and relevance
• Nationalism vs mobility vs isolation
• Social commentary | The American Dream?
• An appreciation of the formal elements : line, shape, form, texture, pattern, tone etc

Image analysis:

Technical – The image features natural light, likely taken in the most prominent hours of sunshine (~12pm) which casts distinct, hard-edged shadows on the pavement. It is also likely a high aperture was used since there is clear detail in all aspects of the image, even the mountains in the distance to an extent.

Visual – There is some alignment to the rule of thirds which the lamp posts, but the main visual feature of this image is the fact that most of the detail is cluttered in the bottom third with the two top thirds of the image being almost empty except from the sky and gas station sky, which when combined with the lines leading towards the mountains creates a contrast between this suburban area and the natural landscape off in the distance.

Contextual/Conceptual – The image features predominantly the colours red white and blue, linking to the American flag which when considering the lines pointing off towards the horizon creates links towards American pride for their landscapes.

Examples in Jersey

Recycling Plant – Fort Regent

Around this area there is plenty of natural landscape (e.g. Havre des Pas), allowing for images capturing both man-made and natural landscapes for contrast.

Car Parks

Car parks are fully man-made and create a bleak atmosphere, containing mostly artificial lighting and the lack of people also adds to the uncomfortable mood.

Tunnels

The lights along the top of tunnels create leading lines which direct attention towards the end of the tunnel, creating immersive images with a dramatic atmosphere.

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

These photos have an uneasy contrast between man and nature, it shows the responsibility we hold on the landscapes future.

Parking lots, suburban housing and warehouses were all depicted with a beautiful stark austerity, almost in the way early photographers documented the natural landscape. An exhibition at the International Museum of Photography in Rochester, New York featuring these photographers also revealed the growing unease about how the natural landscape was being eroded by industrial development.

What was the New Topographics a reaction to?

The New Topographic Movement represented a paradigm shift in the world of photography and had a profound influence on contemporary art. It forced viewers to reconsider their perceptions of the environment, the impact of human activity on the landscape, and the aesthetics of the ordinary.

Their stark, beautifully printed images of this mundane but oddly fascinating topography was both a reflection of the increasingly suburbanised world around them, and a reaction to the tyranny of idealised landscape photography that elevated the natural and the elemental.

Historical Context : Post-war America struggled with

Family’s living in America before the war struggled with many situations such as Inflation and labour unrest. The country’s main economic concern in the immediate post-war years was inflation. The baby boom and suburbia. Making up for lost time, millions of returning veterans soon married and started families. Isolation and splitting of the family unit, pharmaceuticals and mental health problems. They also struggled with Vast distances, road networks and mobility

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

• Foreground vs background | Dominant features
• Composition | low horizon line | Square format
• Perspective and detail / cluttering
• Wide depth of field | Large Format Camera
• Colour | impact and relevance
• Nationalism vs mobility vs isolation
• Social commentary | The American Dream ?
• An appreciation of the formal elements : line, shape, form, texture, pattern, tone etc

The aperture is a little slow as the car on the left hand side is slightly blurry. the photo has a wide depth of field, the lighting is natural, from the sun and the photo is probably taken around late morning/early afternoon. the lighting in this photo is quite cold. there are many shadows with hard edges from the sun which helps us find out what time of day it is. across the picture there is vertical lines from the lamppost and signs. there is the rule of thirds and as the photo has a low horizon line it lowers the composition in the photo. the mountain is also hard edge, it is miles away but the photo makes it looks a lot closer than it is. the image looks like its leading the viewer towards the mountains in the background, indicating to get out of the busy area. the photo is connected to transport and getting around, the photo has at least 3 petrol stations and 7+ cars, nothing in the photo is coming towards the viewers however it makes it look like if you were to follow the road you would get to the mountain. in this photos the most seen colours are red white and blue which creates a sense of nationality as they are Americas colours of the flag.

Definition

“New Topographic: Photographs of a Man-Altered Landscape” was a ground-breaking exhibition of contemporary photography landscape held at the George Eastman House’s International Museum of Photography from October 1975 to February 1976. topographic is the physical feature of the area.

Term from William Jenkins

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

Their photographs were taken in a built-up environment, suburban sprawl, industrial structures, and the mundane aspects of daily life.

The New Topographies photographers, which include Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Frank Gohlke, Nicholas Nixon, and Stephen Shore, documented built and natural landscapes in America, often capturing the tension between natural scenery and the man made structures of post-war America: car parks , suburban homes, crumbling coal mines. These photographs, stark and documentary, are often a lack of human presence.

Jenkins described the images as “neutral” in style, “reduced to an essentially topographic state, which conveys the substantial amounts of visual information but was very serious in the aspects of beauty, emotion, and opinion.

Features

Jenkins described the images as “neutral” in style, “reduced to an essentially topographic state, which conveys the substantial amounts of visual information but entirely the aspects of beauty, emotion, and opinion”.

What Was The New Topographic A Reaction To?

They were reacted by the tyranny of an idealised landscape photography that elevated the natural and the elemental.

Image Analysis-Stephen Shore

Technical

In this image there is a slow shutter speed due to the cars in the distance being blurred. The light is a natural light because it was taken near lots of petrol stations. This is a very strong but cold light. The light was projecting towards the signs which will create hard edge shadows that will project onto the pavement below.

Visual

There is hard edge square pavement, signs and the horizon line , which creates harsh, clear lines . The rule of thirds are present because this image can be split into a grid, into threes. There is lots of repetition with the signs due to ,most of the lines being squared shaped.

Contextual

By using the red, white and blue colour theme it represents the American flag, which conveys national pride of the nation. By having lots of petrol stations it implies that this era focuses on the oil industry and the nature in the background represents the environment. With these two together, it shows a connection between the oil industry and the nature of the American dream in the the 1970s. By being in a town it conveys isolation due to being far away from a city and it also implies a sense of community because everyone will know everyone that lives in this small town.

Conceptual

This image connects nature and the oil industry. It also looks like the angle of the mountain is pointing to the petrol stations.

Panoramic Landscapes

Panoramic photography is a technique of photography, using specialized equipment or software, that captures images with horizontally elongated fields of view. Panoramic landscapes are wide, expansive views that capture a large area of scenery in one image, often showcasing the beauty of nature. Referring to the wide or ultra-wide angled nature of the shot, these images are taken by a specialized camera with a wide lenses or created by stitching together multiple photos from different positions.

Joiner Photos

Joiner photography is a photographic technique wherein multiple pictures are assembled into one A joiner photo is a single image made up of multiple overlapping images. It is a photo collage when the artist assembles an image from several overlapping photographs. David Hockney is the most notable artist that uses this technique, creating a piece of art called ’Pearblossom Highway’ which depicts a view of an American Highway. It is a collage compiled from over 700 separate photographs. The artist himself describes his work as a drawing as opposed to a photographic piece.

My Panoramic Photos

My Joiner Photos

The photos that are selected are all the ones that are worth further editing.

These photos are similar to Ansel Adams because of the formal elements used. Ansel Adams’ photos were all about formality. For example the high levels of contrast and high tonal range that I have captured is similar to his photos. There is a lot of texture in the photos – the rocks and the sea are providing these natural shapes and forms not found in manmade architecture. I have deliberately used a high depth of field by setting the aperture to 16 or above, which is not only reminiscent of his images but also allows the camera to capture detail on all different ‘layers’ of the photos. This creates an effect where none of the image is out of focus. I also tried to keep my shutter speed over 1/250 so there was no camera motion blur and so the sea was crisp and frozen in time.

The place where I took these photos is what is known as an SSE in jersey which means “Site of Special Interest”. This means the area has some particular qualities or wildlife that the Jersey government wants to protect and preserve. I think that is a very good thing as we can see, throughout the rest of the island there is other beautiful landscapes like this that non-local millionaires buy and build massive, ugly houses on – that they don’t even live in most of the time, just for the sake of paying less tax. Sites being SSE’s protects it from this. I did this photoshoot with the intent of supporting this cause as I think massive development on rural landscapes ruins the environment and is actually extremely sad. I aimed to capture the beauty of these places to support this and show people why these places need to be protected.

possible things can take photos of –

Scrapyards, building sites, cranes, restoration yards, derelict ruins, car parks, underpass, harbours and dockyards, industrial centres, retail park, stadiums, floodlight arenas, staircases, road systems, circuit boards, pipework, telephone poles, towers, pylons, shop displays, escalators, bars, libraries, theatres and cinemas, gardens, parks, playgrounds, swimming pool

possible titles –

Dereliction / Isolation / Lonely Places / Open Spaces / Close ups / Freedom / Juxtaposition / Old and new / Erosion / Altered Landscapes / Utopia / Dystopia / Wastelands / Barren / Skyscapes / Urban Decay / Former Glories / Habitats / Social Hierarchies / Entrances and Exits / Storage / Car Parks / Looking out and Looking in / Territory / Domain / Concealed and Revealed

possible places to go –

NICHOLAS NIXON –

Nicholas Nixon (Detroit, 1947) graduated with a degree in American Literature in 1969 and went on to enroll in a postgraduate program in Fine Arts at the University of New Mexico. After completing his studies he relocated to Brookline, outside of Boston, and began his career as an independent photographer and professor of photography at Massachusetts College of Art and Design.

Influenced by photographers such as Walker Evans, his interest in portraiture and social photography is visible in renowned series such as The Brown Sisters (1975 – present) and People with AIDS (1991). Nixon has been able to portray issues related to the passing of time, intimacy, love, and illness with detail and emotion.

The photographer has received numerous awards, such as the John Simon Guggenheim Memorial Foundation Fellowship in 1977 and 1986, and the National Endowment for the Arts Photography Fellowship in 1976, 1980 and 1987. His works belong to some of the most prestigious collections worldwide including the National Gallery of Art in Washington, the Art Institute of Chicago, and La Maison Européenne de la Photographie in Paris. His photographs have been exhibited extensively including at MoMA in New York.

These images of the vast cityscapes of New York and Boston, at once both ordered and chaotic, were part of one of the most influential exhibitions of the seventies, New Topographies: Photographs of a Man-Altered Landscape at the George Eastman House.

image analysis –

visual –

within this image you can see that this is a black and white cityscape, which has a winter setting. this can be seen from the snow covered streets and cars. also the building seem like they are early to mid 20th century architecture, which suggests that its an industrialized city. which in this image you can see few or no people which emphasizing the built environment over human presence.

technical –

the image is shot from a an elevated perspective, which is an wide angle. this provides a broad view of the city. this photo has a deep depth of field, this keeps all elements sharp and in focus. there is a high contrast between the snow, dark buildings and the smoke, which enhances the texture and details.

contextual –

within this photo its likely a mid 20th century city, which is in north America, during the period of industrial and economic growth. there is also reflects of the post war urban renewal with infrastructure prioritizing efficiency and function.

conceptual –

this photo there is industrialization and modernization, you can see this from the smokestacks, large buildings and structural roadways which reflect urban growth. there are environmental impacts, this is seen in the thick smoke which suggests pollution, which is caused by industrial expansion. also the cold, structured atmosphere, which is shown in the black and white aesthetics and the winter setting evoke a sense of isolation or detachment.

artist reference –

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

• Foreground vs background | Dominant features
• Composition | low horizon line | Square format
• Perspective and detail / cluttering
• Wide depth of field | Large Format Camera
• Colour | impact and relevance
• Nationalism vs mobility vs isolation
• Social commentary | The American Dream ?
• An appreciation of the formal elements : line, shape, form, texture, pattern, tone etc

technical –

within this image you can see that it uses natural daylight, which you can tell that it could of been taken in the middle of the day or late morning, also you can see by the shadow’s that the sun is on the left. furthermore the shadows you can see have a hard edge. and you can see in the image that its a cold light.

visual –

firstly you can see that a hard edge is seen in the image by the structure, the mountain’s in the background and the American building such as the petrol station. furthermore within the image there is some aliment with the rule of thirds, such as the bottom 3rd is all clotted with multiply aspects within it. the image has an vanishing point within the image which draws people to the centre of the image.

contextual –

you can see that in this image that industrialisation is seen and from the cars and transport show that people are connected but at the time people weren’t worried about the environment, which before cars people were isolated. but this image shows that people are now connected. also showing this is the aromatises and petrol stations. in addition within this image you can see the the main colours are red, white and blue which could represent nationalism, theses colours are the same as the American flag.

New Topographics was a term coined by William Jenkins in 1975 to describe a group of American photographers whose pictures had a similar banal aesthetic, in that they were formal, mostly black and white prints of the urban landscape. The photographers associated with New Topographics include Robert Adams, Lewis Baltz, Nicholas Nixon and Bernd and Hiller Becher, who were inspired by the man-made.

Composition. Centred, ‘matter of fact’ style framing, flat horizontal and straight vertical lines are all hallmarks of New Topographic photography. Composition is everything and what you exclude from your frame is just as important as what you include.

What was the New Topographics a reaction to?

It is a reflection of the increasingly suburbanised world around, and a reaction to the tyranny of idealised landscape photography that elevated the natural and the elemental.

Robert Adams

Robert Adams (born 1937) is an American photographer who has focused on the changing landscape of the American West. His work first came to prominence in the mid-1970s through his book The New West (1974) and his participation in the exhibition New Topographics: Photographs of a Man-Altered Landscape in 1975.

Adams Style – a spare formalism coupled with emotional depth.

Analysis

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Contextual (Photography in Relation to Its Environment & Purpose)

Robert Adams’ work in the New Topographics movement (1970s) responded to rapid urbanization and environmental change. Instead of romanticizing landscapes, his photos presented suburban expansion with a neutral, detached perspective. This image shows the tension between natural landscapes (the distant mountains) and human development (tract housing and roads), highlighting the spread of suburbanization in the American West.

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Conceptual (Ideas & Meanings in Photography)

This photograph challenges traditional landscape photography by portraying the human-altered environment rather than untouched nature. Adams doesn’t dramatize the scene; instead, he presents suburban sprawl as mundane yet thought-provoking. The image invites viewers to reflect on progress vs. loss, raising questions about how human expansion reshapes nature. The placement of the mountains in the background suggests an underlying contrast what the land once was vs. what it has become.

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Visual (Composition & Aesthetic Aspects)

Framing & Depth: Adams uses a straightforward, almost clinical framing with a balanced composition. The houses and streets lead the eye toward the mountains, subtly reinforcing the idea of encroachment.

Lighting & Tone: The use of black and white removes any romanticized colour, making the scene appear stark and factual. The tonal contrast between the light-coloured homes and the darker roads creates structure in the composition.

Repetition & Patterns: The uniformity of the houses and roads emphasizes suburban monotony and the lack of uniqueness in modern development.

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Textual (Photography & Language/Representation)

Absence of People: By not including human subjects, Adams shifts focus to the environment itself, letting the landscape tell the story of human impact.

Title as Context: “Colorado Springs, Colorado” is direct and unembellished, reinforcing Adams’ documentary approach. The neutrality of the title reflects the movement’s goal of avoiding subjective emotional influence.

Photographic Language: The image’s restrained, observational tone aligns with the New Topographics philosophy describing rather than judging.

Joint Analysis

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

Visual

The line across the horizon, squashed compressed loads of negative space in the top of the image

Technical

Clear sky no clouds, cold lighting, hard edged distinct shadows

Contextual

8 cars 4 pumps and 3 gas stations this photos about the cars and roads connecting places back together all about petrol cars and oil damaging the environment. sense of nationalism red white and blue colours same as the American flag.

Conceptual

The road leads back to the mountains and open air. leaving the squashed ruined land and going back to the beautiful open sky of California.