Looking at nature: The politics of landscape photography

Abstract

Examining two Nathan Farb Adirondack landscape photographs from a wall calendar, this paper asks whether or not one can read a Nature photograph as an ideological text First, the paper traces Farb's way of seeing Nature to the emergence of the 19th century bourgeoisie and the Transcendental philosophy of Emerson and Thoreau in which Nature is positioned as an alternative to modernity and urban existence. Second, it notes that the Nature photograph contains three levels of discourse: substantive, technical and aesthetic. As a photograph moves through these levels of discourse, both its exchange value and its sign value increase. Third, it investigates the ambivalent relationship between the photograph and its subject Fourth, it examines the ideological boundaries of alternative ways of photographing Nature. The paper concludes that the realistic landscape photograph is deeply rooted in the history of the American bourgeoisie, its way of seeing is an extension of bourgeois semiotics, and its value as a commodity‐sign is a function of bourgeois economics.

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