[Photographer, b. 1952, Albany, New York, lives in Tempe, Arizona.]
We now view landscape photographs, both past and present, much like the shadows on the walls of Plato’s cave. They are artifacts of what we think we know about the land, and how we have come to know it.
[Photographer, b. 1946, Vancouver, Canada, lives in Vancouver.]
In making a landscape we must withdraw a certain distance—far enough to detach ourselves from the immediate presence of other people (figures), but not so far as to lose the ability to distinguish them as agents in a social space. Or, more accurately, it is just at the point where we begin to lose sight of the figures as agents, that the landscape crystallizes as a genre.
[Photographer, b. 1945, Newport Beach, California, d. 2014, Paris.]
In my research, my interest has always been with the phenomenal margin, those areas that are not quite landscape, not quite visible, the marginally taboo, the nearly obscene.
[Artist, b. 1961, Sao Paulo, Brazil, lives in New York.]
My first reaction to finding Robert Smithson’s Spiral Jetty in a book was, “Wow, what a great photograph!” I could not believe that someone had gone to so much trouble just to end up with a picture.
[Photographer, b. 1903, St. Louis, Missouri, d. 1975, New Haven, Connecticut.]
...nature photographs downright bore me for some reason or other. I think: “Oh, yes. Look at that sand dune. What of it?”
[Curator, critic, historian, and photographer, b. 1925, Ashland, Wisconsin, d. 2007, Pittsfield, Massachusetts.]
To photograph beautifully a choice vestigial remnant of natural landscape is not necessarily to do a great favor to its future.... It is difficult today for an ambitious young photographer to photograph a pristine snowcapped mountain without including the parking lot in the foreground as a self-protecting note of irony.
[Photographer and writer, b. 1937, Orange, New Jersey, lives in Astoria, Oregon.]
Many have asked, pointing incredulously toward a sweep of tract homes and billboards, why picture that? The question sounds simple, but it implies a difficult issue—why open our eyes anywhere but in undamaged places like national parks?
[Photographer, b. 1902, San Francisco, d. 1984, Carmel, California.]
Landscape photography is the supreme test of the photographer—and often the supreme disappointment.