This edited volume considers the many ways in which landscape (seen and unseen) is fundamental to placemaking, colonial settlement, and identity formation. Collectively, the book’s authors map a constellation of interlocking photographic histories and survey practices, decentering Europe as the origin of camera-based surveillance. The volume charts a conversation across continents - connecting Europe, Africa, the Arab World, Asia, and the Americas. It does not segregate places, histories, and traditions but rather puts them in dialogue with one another, establishing solidarity across ever-shifting national, linguistic, racial, religious, and ethnic. Refusing the neat organization of survey photographs into national or imperial narratives, these essays celebrate the messy, cross-cultural reverberations of landscape over the past 170 years. Considering the visual, social, and historical networks in which these images circulate, this anthology connects the many entangled and political histories of photography in order to reframe survey practices and the multidimensionality of landscape as an international phenomenon. This book will be of interest to scholars in art history, history of photography, and landscape history.

Moving beyond existing scholarship, this book connects photography, archives, ecology and historical change and critically applies the Anthropocene as framework to the in-depth study of artists’ projects. It discards single modes of seeing environmental transformations in favour of a multiple and de-centred environmental imagination. Bergit Arends uses multidisciplinary perspectives to view localized environmental, social and political issues through research-based artistic practices. The book not only makes available original research into newly and recently discovered archives of ecological and historical change but also shows how this research is manifest in exhibition formats. This book presents international, transhistorical projects by contemporary visual artists who use archives together with photography as documentary and performative media for the comparative study of environments and places. A wide array of artists from diverse backgrounds working primarily in Europe and North America from the 1970s to the present day are discussed and set in relation to Anthropocene narratives. Case studies include environmental archive-based work by Nguyen the Thuc, Christiane Eisler, Chrystel Lebas, Mark Dion, Joy Gregory and Philip Miller. The book will be of interest to scholars working in photography, archive studies, art history, visual culture, environmental humanities and ecocriticism.

Focusing on the Mediterranean region from 2015 onwards, this volume explores photography’s engagement with displacement, a process that denotes the environmental and social breakdown of places and the forced mobility of people. The ongoing proliferation of photography of the displaced plays a crucial role in shaping opinions, by sensitising the public to the despair of displacement and hardening them to the trope through repeated exposure. Through a range of images by both established and amateur photographers, as well as ethnographic notes that draw from interviews with actors who are either displaced or working with the displaced, Parvati Nair questions the extent to which photography opens a space of possibility for the displaced in the face of globally dominant ideological drives that lead to the Anthropocene. Chapters focus on key aspects of this mass phenomenon, such as the question of crises no longer as exception but as historical process, the lived experiences of protracted relegation to borders and exposure to possible death, the prevalence of domicide and the spread of encampments, and the question of hope for the future. The book will be of interest to scholars in photography theory, migration and refugee studies, art history, Mediterranean studies, and political science.

Diverse Practices, the third book in the Active Landscape Photography series, presents a set of unique photographic examples for site-specific investigations of landscape places. Contributed by authors across academia, practice and photography, each chapter serves as a rigorous discussion about photographic methods for the landscape and their underlying concepts. Chapters also serve as unique case studies about specific projects, places and landscape issues. Project sites include the Miller Garden, Olana, XX Miller Prize and the Philando Castile Peace Garden. Landscape places discussed include the archeological landscapes of North Peru, watery littoral zones, the remote White Pass in Alaska, Sau Paulo and New York City’s Chinatown. Photographic image-making approaches include the use of lidar, repeat photography, collage, mapping, remote image capture, portraiture, image mining of internet sources, visual impact assessment, cameraless photography, transect walking and interviewing. These diverse practices demonstrate how photography, when utilized through a set of specific critical methods, becomes a rich process for investigating the landscape. Exploring this concept in relationship to specific contemporary sties and landscape issues reveals the intricacy and subtlety that exists when photography is used actively. Practitioners, academics, students and researchers will be inspired by the underlying concepts of these examples and come away with a better understanding about how to create their own rigorous photographic practices.

How can photography be transformed into an active process of investigation for landscape architecture and environmental design? The second book in Godfrey’s series, Active Landscape Photography, presents engaged photographic methods that turn photography into a rigorous, thoughtful endeavor for the research, planning and design of landscape places. Photography is the most ubiquitous and important form of representation in these disciplines. Yet photography is not specifically taught as a core skill within these fields. This book creates a starting point for filling this gap. Concepts and working methods from contemporary photography and critical cultural theories are contextualized into situations encountered in the daily practice of landscape architecture and environmental design. These methods can be integrated into practices in academic and professional settings or picked up and self-taught by an individual reader. Part I: Methods presents easily accessible approaches to photography creating a core set of active skills. Part II: Practices discusses working methods of specific contemporary photographers and extrapolates their practices into common extrapolates their practices into common planning and design situations. Contemporary photographers presented include Richard Misrach, Dawoud Bey, Duane Michals, Latoya Ruby Frazier, Mark Klett, Sophie Calle, Joe Deal, Robert Adams, Naima Green, Bernd and Hilla Becher, Stephen Shore, David Hockney, Amy Sherald, William Christenberry, Jeff Wall, and Sohei Nishino. Beautifully illustrated in full color with over 150 images by Godfrey, her students, and contemporary photographers, this book provides both clear guidelines for a set of diverse methods as well as a deeper discussion about the implications of making and using photography in environmental design for professionals, academics, students and researchers.

The Art, Science, and Craft of Great Landscape Photography, 2nd Edition teaches photographers how to convert their visual peak experiences—moments of extraordinary natural beauty that evoke a sense of wonder and awe—into stunning images that elicit the same awestruck emotion in their viewers. Author Glenn Randall is an experienced wilderness photographer, and whether you want to venture into the mountains for once-in-a-lifetime shots of raw nature, or simply hone your landscape photography skills from the safety of your back deck, Randall explains the art, science and craft behind creating stunning landscape photographs.

This fully updated edition of the best-selling first edition includes nearly all new imagery throughout the book, as well as a new first chapter, "Photographic Essentials," to help beginners to landscape photography get up to speed quickly. Additionally, this second edition takes into account how Randall's techniques have changed and evolved since the first edition published—from photographic practices to how he uses smart phones and apps as important and powerful tools for landscape photography.

After discussing photographic essentials, Randall focuses on the art of landscape photography. He describes his three-step process for composing a photograph and shows how good composition is an organic process that begins with rules but ultimately transcends them. Randall then explores the science behind successful landscape photographs, which requires understanding key concepts from geography, optics, vision, and psychology. These concepts include:

• How the position of the sun at sunrise and sunset varies throughout the year. This will help you plan when and where to shoot.

• Using optics to predict where rainbows will appear, how polarizers will interact with reflections, and where to find spectacular light.

• How to use topographic maps and computerized mapping tools to help you find promising shooting locations in the wilderness.

• Calculating exposures, achieving correct exposure in high-contrast lighting situations, and the best digital darkroom techniques.

With some practice and by applying the techniques that Randall teaches you, you will soon be ready to master the finer nuances of creating magnificent landscape photographs.

TABLE OF CONTENTS

Introduction
Chapter 1: Photographic Essentials
Chapter 2: Landscape Photography Looks So Easy
Chapter 3: In Search of Extraordinary Landscapes
Chapter 4: Visualization
Chapter 5: The Art and Science of Light
Chapter 6: The Art and Science of Composing Compelling Images
Chapter 7: The Perfect Exposure
Chapter 8: Digital Capture and Processing of High-Contrast Scenes
Chapter 9: Take a Walk on the Wide Side
Chapter 10: The Landscape at Night
Chapter 11: The Psychology of the Compelling Landscape
Index

In a little-known chapter of World War II, Black people living in Nazi Germany and occupied Europe were subjected to ostracization, forced sterilization, and incarceration in internment and concentration camps. In the absence of public commemoration, African diaspora writers and artists have preserved the stories of these forgotten victims of the Third Reich. Their works illuminate the relationship between creative expression and wartime survival and the role of art in the formation of collective memory. This groundbreaking book explores a range of largely overlooked literary and artistic works that challenge the invisibility of Black wartime history. Emphasizing Black agency, Sarah Phillips Casteel examines both testimonial art by victims of the Nazi regime and creative works that imaginatively reconstruct the wartime period. Among these are the internment art of Caribbean painter Josef Nassy, the survivor memoir of Black German journalist Hans J. Massaquoi, the jazz fiction of African American novelist John A. Williams and Black Canadian novelist Esi Edugyan, and the photomontages of Scottish Ghanaian visual artist Maud Sulter. Bridging Black and Jewish studies, this book identifies the significance of African diaspora experiences and artistic expression for Holocaust history, memory, and representation.

This publication maps out key moments in the history of environmentalist photography, while also examining contemporary examples of artistic practice. Historically, photography has acted as a technology for documenting the industrial transformation of the world around us; usually to benefit the interests of capitalist markets. An alternative photographic tradition exists, however, in which the indexical image is used 'evidentially' to protest against incidents of industrial pollution. By providing a definition of environmental activism in photographic praxis, and identifying influential practitioners, this publication demonstrates that photography plays a vital role in the struggle against environmental despoliation. This book will be of interest to scholars in photography, art and visual culture, environmental humanities, and the history of photography.

In this major work on landscape photography, extensively illustrated in colour and black & white, Liz Wells is concerned with the ways in which photographers engage with issues about land, its representation and idealisation. She demonstrates how the visual interpretation of land as landscape reflects and reinforces contemporary political, social and environmental attitudes. She also asks what is at stake in landscape photography now through placing critical appraisal of key examples of work by photographers working in, for example, the USA, in Europe, Scandinavia and Baltic areas, within broader art historical and political concerns. This illuminating book will interest readers in photography and media, geography, art history and travel, as well as those concerned with environmental issues.

Fragmentation of the Photographic Image in the Digital Age challenges orthodoxies of photographic theory and practice. Beyond understanding the image as a static representation of reality, it shows photography as a linchpin of dynamic developments in augmented intelligence, neuroscience, critical theory, and cybernetic cultures. Through essays by leading philosophers, political theorists, software artists, media researchers, curators, and experimental programmers, photography emerges not as a mimetic or a recording device but simultaneously as a new type of critical discipline and a new art form that stands at the crossroads of visual art, contemporary philosophy, and digital technologies.