Journal articles: 'Landscape photography – Australia – History'

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Neath, Jessica. "Visions of Nature: How Landscape Photography Shaped Settler Colonialism AND Colonization, Wilderness and Spaces Between: Nineteenth Century Landscape Painting in Australia and the United States." Australian Historical Studies 54, no. 1 (January 2, 2023): 179–81. http://dx.doi.org/10.1080/1031461x.2023.2158426.

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Fensham, R. J., and R. J. Fairfax. "Aerial photography for assessing vegetation change: a review of applications and the relevance of findings for Australian vegetation history." Australian Journal of Botany 50, no. 4 (2002): 415. http://dx.doi.org/10.1071/bt01032.

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Studies attempting to calibrate vegetation attributes from aerial photography with field data are reviewed in detail. It is concluded that aerial photography has considerable advantages over satellite-based data because of its capacity to assess the vertical dimension of vegetation and the longer time period the record spans. Limitations of using the aerial photo record as digital data include standardising image contrast and rectification. Some of these problems can be circumvented by manual techniques, but problems of crown exaggeration that varies with photo scale and variation in contrast between the textures of tree crowns and the ground remain. Applications of aerial photography for assessing vegetation change are also reviewed and include deforestation, reforestation, changes in vegetation boundaries, tree density, community composition and crown dieback. These changes have been assessed at scales ranging from individual tree crowns to regional landscapes. In Australia, aerial photography has provided a clear demonstration of deforestation rates and the expansion and contraction of forest and woodland, which is generally attributed to changes in grazing and fire regimes. It is suggested that manual techniques with point-based sampling, digital processing of data for complete spatial coverages and the application of photogrammetric measurements with stereo-plotters are all techniques with great promise for utilising this underrated medium for assessment of vegetation dynamics.

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Sharp, Ben R., and David M. J. S. Bowman. "Patterns of long-term woody vegetation change in a sandstone-plateau savanna woodland, Northern Territory, Australia." Journal of Tropical Ecology 20, no. 3 (April 21, 2004): 259–70. http://dx.doi.org/10.1017/s0266467403001238.

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Aerial photographs were used to assess changes in woody vegetation cover at 122 locations within a sandstone-plateau savanna woodland in the Victoria River region, Northern Territory, Australia. Despite locally variable vegetation responses, there has been little change in total woody vegetation cover since 1948. Thirty-three locations were also surveyed on the ground. It was found that sites for which vegetation cover had changed over the 50-y period were not significantly different from stable sites in terms of floristic composition, recent fire history, demographic stability among the dominant tree species, or edaphic setting. However, two of the dominant overstorey tree species – Eucalyptus tetrodonta and Eucalyptus phoenicea – showed significantly higher mortality on sites that had experienced vegetation cover decline since 1948. We suggest that observed changes in woody vegetation cover are a consequence of natural cycles of die-back and recovery of at least these two species in response to spatially heterogenous variables such as dry-season moisture stress. Although the widespread decline of fire-sensitive Callitris intratropica populations clearly indicates a historical shift from lower- to higher-intensity burning conditions within the study area, we reject the hypothesis of a landscape-wide process such as changing fire regimes or climatic change as the driving factor behind large-scale vegetation changes detected by aerial photographic analysis.

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Duarte, German A., and Justin Michael Battin. "Latin America in Focus." Review of International American Studies 15, no. 2 (December 31, 2022): 19–23. http://dx.doi.org/10.31261/rias.14917.

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A key distinction of Review of International American Studies is its commitment to the notion that the Americas are a hemispheric and transoceanic communicating vessel. This angle provides a unique path to de-center the American Studies discipline, which has become tantamount to studies of the United States. This angle also expands the discipline beyond its traditional literary roots, inviting critical investigations into other forms of communicative media, such as cinema, television, and photography. Informed and inspired by this conceptualization of the discipline, this issue of RIAS is composed of several pieces specifically focused on Latin America, each of which employs a unique interpretive approach of visual media to, collectively and comprehensively, articulate how this multilayered cultural landscape manifests in our contemporary social imaginary. The arbitrary delineation of the globe through the notion of ‘the western world’ has, seemingly, transformed the Latin American continent a no man’s land. In its vast extension, this part of the planet seems condemned to exist between two worlds. Despite being part of the western hemisphere, and despite its deep Catholic tradition, this vast region is surprisingly excluded as a member of ‘the west.’ Yet, it was neither placed in ‘the east,’ nor on the other side of the wall, when the world was politically, culturally, and economically divided by the Iron Curtain. This land’s perpetual homelessness might be due to its consistent political instability, to the weakness of some of its democracies, or even its colonial past, one that bears no relation to the Commonwealth of Britain, a belonging that placed Australia in the topos of the West. These reasons, in addition to others, have fostered an understanding of Latin America as being generally alien to the ‘western world.’ Being a no man’s land, deprived of a hemisphere, and broadly unintelligible by the general imaginary of the western cultural industry, this continent, populated by almost 700-million people, was traditionally subjected to stereotypes formulated during the twentieth century, and that remained unchangeable in this new millennium. Latin America has become, for the global imaginary, a place of military juntas, a vast lowland displaying desertic features, a tropical yet savage jungle, a poverty-stricken favela, and a land fought over by romantic revolutionarios. Certainly, the question remains if the obsolete model ‘western world,’ the also obsolete ‘third world,’ or ‘periphery,’ and even the in vogue ‘global south’ would be able to embrace and reproduce a closer image of this heterogenous and vast continent, and by extension if this generalization is able to denote a set of multiple series of social diversities. We doubt it. This doubt encouraged us to gather diverse scholars from diverse academic disciplines to contribute to this issue of Review of International American Studies. And this doubt, which was at a first glance only intuitive, brough us to avoid the topic of identity and representation as the main theme for this journal’s issue. Our initial plan was to structure the series of contributions on some problematics relating to the photographic medium, a medium that is widely regarded as exerting an objective representation of reality, yet also places the pictorial representation on an undetermined semiotic field. The choice of photography was also a choice of intuition that we quickly abandoned since, in our twenty-first century mediascape, photography represents only one element of a fast and global visual stream that shapes and refashions the collective imaginary of the Latin American continent. Thus, we expanded our scope to include other media such as films, paintings, and any visual-oriented human expression that could provide insights on the complex and chaotic mechanism that formulates and constructs the imaginary on the turbulent entity that we call society.

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GROVE, SIMON J., STEPHEN M. TURTON, and DANNY T. SIEGENTHALER. "Mosaics of canopy openness induced by tropical cyclones in lowland rain forests with contrasting management histories in northeastern Australia." Journal of Tropical Ecology 16, no. 6 (November 2000): 883–94. http://dx.doi.org/10.1017/s0266467400001784.

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Tropical Cyclone ‘Rona’ crossed the coast of the Daintree lowlands of northeastern Australia in 1999. This study reports on its impact on forest canopy openness at six lowland rain forest sites with contrasting management histories (old-growth, selectively logged and regrowth). Percentage canopy openness was calculated from individual hemispherical photographs taken from marked points below the forest canopy at nine plots per site 3–4 mo before the cyclone, and at the same points a month afterwards. Before the cyclone, when nine sites were visited, canopy openness in old-growth and logged sites was similar, but significantly higher in regrowth forest. After the cyclone, all six revisited sites showed an increase in canopy openness, but the increase was very patchy amongst plots and sites and varied from insignificant to severe. The most severely impacted site was an old-growth one, the least impacted a logged one. Although proneness to impact was apparently related to forest management history (old-growth being the most impacted), underlying local topography may have had an equally strong influence in this case. It was concluded that the likelihood of severe impact may be determined at the landscape-scale by the interaction of anthropogenic with meteorological, physiographic and biotic factors. In the long term, such interactions may caution against pursuing forest management in cyclone-prone areas.

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Tamura, Keiko. "Pacific Exposures: Photography and the Australia-Japan Relationship." Australian Historical Studies 50, no. 4 (October 2, 2019): 555–57. http://dx.doi.org/10.1080/1031461x.2019.1662563.

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Tyrrell, Ian. "Environment, landscape and history: Gardening in Australia." Australian Historical Studies 38, no. 130 (October 2007): 339–47. http://dx.doi.org/10.1080/10314610708601252.

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Lydon, Jane. "Photography and Critical Heritage." Public Historian 41, no. 1 (February 1, 2019): 18–33. http://dx.doi.org/10.1525/tph.2019.41.1.18.

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Historical photographs of Australian Aboriginal people were amassed during the colonial period for a range of purposes, yet rarely to further an Indigenous agenda. Today, however, such images have been recontextualized, used to reconstruct family history, document culture, and express connections to place. They have become a significant heritage resource for relatives and descendants. Images stand in for relatives lost through processes of official assimilation—or as this sad history is now known in Australia, the Stolen Generations. This article explores the potential healing power of the photos in addressing loss and dislocation, and emerging tools for supporting this process through reviewing the Returning Photos project outcomes.

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ZAHAR, IWAN. "A BRIEF CONCEPT IN LANDSCAPE PHOTOGRAPHY." International Journal of Creative Future and Heritage (TENIAT) 4, no. 1 (June 30, 2016): 63–84. http://dx.doi.org/10.47252/teniat.v4i1.335.

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AbstrakDi Malaysia, tidak terdapat banyak perbincangan tentang landskap fotografi dan tidak ramai juru gambaryang berkemahiran dalam bidang ini. Penyelidikan ini menggunakan analisis kandungan dan analisis fotodaripada sumber yang berlainan termasuk monograf, buku, dan jurnal. Esei pendek ini menerangkanpengaruh seni Zen terhadap landskap foto, dan perkembangannya di Barat. Ia juga menerangkansecara ringkas tentang sejarah landskap fotografi di Malaysia. Selain daripada itu, esei ini tidak berhasratuntuk menerangkan semua teknik dan konsep landskap fotogafi, tetapi saya cuba menghubungkaitkanpengalaman saya dalam landskap fotografi dan mengintegrasi teori fotografi dalam penciptaan landskapfoto. Kesimpulan kajian ini menunjukkan ramai landskap jurugambar telah memperkembangkan konsepmereka daripada ideologi dan sumber lain seperti lukisan dan falsafah. Tiada pengaruh Zen atau Gestaltdalam landskap fotografi Lambert dan Thompson ditemui. AbstractThere are not much discussions on landscape photography and also not many photographers in Malaysiaspecialize in this genre. The research uses content analysis and pictoral analysis from many sources,including monographs, books and journals. This short essay explains the influence of Zen art on landscapephotos, and the development of landscape photos in the west. It also briefly explains history of landscapephotography in Malaysia. Furthermore, this short essay does not aim to explain all the techniques andconcepts of landscape photography, but I try to relate to my own experience in landscape photographyand other integrated photograhic theories in making landscape photo. The conclusion of this studyindicates that many landscape photographers develop their concepts from the previous ideas and alsofrom other sources such as painting and philosophy. There are no Zen or Gestalt influences on Lambertand Thompson’s landscape photographies found.

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Pickard, John. "Assessing vegetation change over a century using repeat photography." Australian Journal of Botany 50, no. 4 (2002): 409. http://dx.doi.org/10.1071/bt01053.

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Repeat photography is a technique of detecting changes in the landscape by comparing old and more recent photographs taken at the same place. Information gained is used to detect landscape change as one component of historical ecology. Understanding the causes of any change detected requires additional information. The technique was pioneered in vegetation ecology in Arizona and has since been applied in many other parts of the United States. After a description of the technique, the American experience is reviewed and the problems of detecting change and assigning cause are discussed. The relatively few Australian examples are briefly summarised. There are many limitations of repeat photography, but these can be controlled through a careful approach. Although repeat photography has rarely been used in Australia, it has significant applications in education, in understanding past changes and in helping to help predict future changes in vegetation.

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Mandler, P. "Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955." English Historical Review CXXIII, no. 503 (August 1, 2008): 1084–85. http://dx.doi.org/10.1093/ehr/cen216.

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Mitchell, W. J. T. "Reframing Landscape." ARTMargins 10, no. 1 (February 2021): 14–19. http://dx.doi.org/10.1162/artm_a_00281.

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Abstract “Reframing Landscape” explores three distinct landscapes that have been decisively impacted by conquest and colonization, reframed by three artistic interventions: painting, photography, and sculpture. August Earle shows us the de-forested landscape of 19th century New Zealand, still guarded by a Maori totem; Miki Kratsman photographs a wall mural in occupied Palestine that erases the presence of indigeneous people; and Antony Gormley anticipates the clearing of Manhattan by a pandemic in whirlwind of metal. Real spaces and places are converted into landscapes of attention into what has been lost and what is to come.

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Duarte Alonso, Abel, and Jeremy Northcote. "Wine, history, landscape: origin branding in Western Australia." British Food Journal 111, no. 11 (October 24, 2009): 1248–59. http://dx.doi.org/10.1108/00070700911001068.

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Maxwell, Anne. "Eugenics and photography in Britain, the USA and Australia 1870–1940." Studies in History and Philosophy of Science 92 (April 2022): 71–85. http://dx.doi.org/10.1016/j.shpsa.2022.01.005.

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Payne, Christiana, and John Taylor. "A Dream of England: Landscape, Photography and the Tourist's Imagination." American Historical Review 101, no. 2 (April 1996): 488. http://dx.doi.org/10.2307/2170456.

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Kane, Carolyn. "The Toxic Sublime: Landscape Photography and Data Visualization." Theory, Culture & Society 35, no. 3 (January 12, 2018): 121–47. http://dx.doi.org/10.1177/0263276417745671.

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If the cliché about garbage – ‘Out of sight, out of mind’ – is true, its inverse, unfortunately, is not. Heaps and masses of garbage brought into direct view still somehow manage to escape acute recognition, let alone social responsibility or global political activism. This article investigates this trend as a growing problem between the human world and representation. Focusing on historical and contemporary landscape photography, the article questions whether data visualization trends, particularly those that attempt to visualize the post-industrial consumer landscape, help or hinder our capacity to understand our environment, and possibly even ecological endeavors. The article charts the history of photography’s landscape genre, mapping the contours of a shift from the classical ‘nature’ aesthetic, to an industrial, post-industrial, and eventually a mathematical aesthetic contingent on emergent techniques and data visualization in the attempt to depict ever amassing magnitudes of environmental despoliation.

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Rosen, Jochai. "The P6 Group and critical landscape photography in Israel." Journal of Israeli History 32, no. 1 (March 2013): 75–85. http://dx.doi.org/10.1080/13531042.2013.768033.

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Nordström, Paulina. "Glass Architecture as a Site for Encountering the Surface Aesthetics of Urban Photography." Space and Culture 20, no. 3 (May 11, 2017): 271–86. http://dx.doi.org/10.1177/1206331217707475.

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This article brings glass architecture and geophilosophy into a relationship with one another with the further aim of studying surface aesthetics of urban photography. First I present a selected history of glass architecture and its previous methodological applications. Then, I focus on the characteristics of glass architecture—its permeability/reflectivity and capacity to act with light—in relation to the geophilosophies of Nietzsche and Deleuze. I aim to formulate surface aesthetics through which I contemplate the materialities and the fabulative landscape of urban photography. Urban photography is valued for its characteristic of combining the practices of art and research. In this article, urban photography is also understood as an affectual encounter. However, for urban photography to be seen as a creative medium, it has to be acknowledged as not merely making aesthetic representations of the world but also opening a landscape in order to see it differently and ask new questions.

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Wright, P. "Shadow Sites: Photography, Archaeology & the British Landscape 1927-1955. By Kitty Hauser." Twentieth Century British History 19, no. 2 (December 13, 2007): 239–42. http://dx.doi.org/10.1093/tcbh/hwn004.

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Mazur, Adam. "Brief Glimpses of Beauty. Thinking about the History of Lithuanian Photography." Acta Academiae Artium Vilnensis, no. 99 (July 5, 2021): 342–62. http://dx.doi.org/10.37522/aaav.99.2020.21.

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The article proposes a critical rethinking of the multi-layered phenomenon of Lithuanian photography. From the beginning, in the 19th century Lithuanian photography cherished an exceptional status within a cultural landscape, being considered a vehicle of lofty, patriotic emotions. The article is reassessing the social and cultural role of Lithuanian photo- graphers and is looking into a symptomatic lack of synchronicity with the medium’s grand narratives. The Lithuanian history of photography seems to be a consistent and exceptional narrative developed within a relative- ly small milieu of artists based in their homeland as well as Lithuanian émigrés. According to the author, indexical and documentary qualities of photography constitute the core of the phenomenon. The text is advocating inclusivity for non-Lithuanian authors, be it Polish Lithuanians, Russians, Jews, Germans, or Lithuanian Americans. Looking at photographs from the perspectives of literature (quoting Marcelijus Martinaitis and Tomas Venclova) and contemporary art (Jonas Mekas and Fluxus) may be also useful in reshaping and opening up the discourse of the discipline.

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Abashev, Vladimir V. "VISUALIZING THE CITY IN ROOFTOPPING PHOTOGRAPHY." Ural Historical Journal 70, no. 1 (2021): 80–88. http://dx.doi.org/10.30759/1728-9718-2021-1(70)-80-88.

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The article examines the representation of the city in rooftopping photography. Methodologically, the research is based on A. Lefebvre’s concept of social space, and also M. de Certeau’s concept of spatial practices as agents of its production. The principal notions in this analytical framework employed in the article are the urban imaginary and the gaze in constructivist understanding, which not only reflects, but also forms the object of vision. Rooftopping photography is considered in the context of the history of the view of the city from above, which has become an important factor in the urban imagination. The expansion of rooftopping photography into the public space and the presentation of cities is associated with the development of new communication and optical representation technologies in the 2010s. The analysis of the rooftoppers’ visualizing of the city carried out in semantic, aesthetic and rhetorical aspects revealed its substantive and aesthetic qualities. Rooftoppers photos capture the moment when a person faces the city as a whole. The city converges with natural and landscape objects. In the night panoramas that make up the bulk of roofer photography, the city is represented as a space of energy flows. In rhetorical terms, in contrast to the metonymy of a promenade, roofer photography is metaphorical. In general, it is concluded that the subject of rooftopper photography is not so much the identity of the city as its universal urban beginning embodied in the centers of the world’s megalopolises. Following D. Nye and his interpreters, the aesthetic mode of the city in roofer visuality is interpreted as urban version of the sublime.

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Scott, Samantha L., Rick Rohde, and Timm Hoffman. "Repeat Landscape Photography, Historical Ecology and the Wonder of Digital Archives in Southern Africa." African Research & Documentation 131 (2017): 35–47. http://dx.doi.org/10.1017/s0305862x00022512.

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Environmental history projects using repeat photography often involve the acquisition of large collections of historical and current images, matching those images for comparative analysis, and then cataloguing and archiving the imagery for long-term storage and later use (Webb et ah, 2010). When used in combination with other techniques, repeat photography is an excellent tool for documenting change (Gruell, 2010) and has been used in a variety of disciplines, including historical ecology, to determine changes in plant populations, soil erosion, climate trends and ecological processes to name a few. Historical photographs often provide greater temporal range to an analysis compared to, for example, satellite imagery and in many cases even aerial photography (Gruell, 2010).

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Scott, Samantha L., Rick Rohde, and Timm Hoffman. "Repeat Landscape Photography, Historical Ecology and the Wonder of Digital Archives in Southern Africa." African Research & Documentation 131 (2017): 35–47. http://dx.doi.org/10.1017/s0305862x00022512.

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Environmental history projects using repeat photography often involve the acquisition of large collections of historical and current images, matching those images for comparative analysis, and then cataloguing and archiving the imagery for long-term storage and later use (Webb et ah, 2010). When used in combination with other techniques, repeat photography is an excellent tool for documenting change (Gruell, 2010) and has been used in a variety of disciplines, including historical ecology, to determine changes in plant populations, soil erosion, climate trends and ecological processes to name a few. Historical photographs often provide greater temporal range to an analysis compared to, for example, satellite imagery and in many cases even aerial photography (Gruell, 2010).

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Anderson, Fay. "Chasing the Pictures: Press and Magazine Photography." Media International Australia 150, no. 1 (February 2014): 47–55. http://dx.doi.org/10.1177/1329878x1415000112.

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For over a century, press and magazine photography has influenced how Australians have viewed society, and played a critical role in Australia's evolving national identity. Despite its importance and longevity, the historiography of Australian news photography is surprising limited. This article examines the history of press and magazine photography and considers its genesis, the transformative technological innovations, debates about images of violence, the industrial attitudes towards photographers and their treatment, the use of photographs and the seismic recent changes. The article argues that while the United States and United Kingdom influenced the trajectory of press and news photography in Australia, there are significant and illuminating differences.

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von Brevern, Jan. "Fototopografia: The “Futures Past” of Surveying." reproduire, no. 17 (September 8, 2011): 53–67. http://dx.doi.org/10.7202/1005748ar.

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This article examines a particular problem in the early history of photographic land surveying: the unwavering desire to use photography to capture accurate topographical information for map-making, even in light of practical difficulties. It considers how both the practical survey work and the status of photography changed when, instead of the landscape itself, photographs were measured. Photography’s promise to simplify strenuous fieldwork was almost as old as photography itself—but in practice, it took decades of experimenting until the process was feasible.

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Foster, Kevin. "Purposeful Nation-Building: Photography, Modernisation and Post-War Reconstruction in Australia." Journal of War & Culture Studies 15, no. 2 (April 3, 2022): 183–207. http://dx.doi.org/10.1080/17526272.2022.2065122.

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Mogoutnov, Alena, and Jackie Venning. "Remnant tree decline in agricultural regions of South Australia." Pacific Conservation Biology 20, no. 4 (2014): 366. http://dx.doi.org/10.1071/pc140366.

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Agricultural landscapes in southern Australia were once dominated by temperate eucalypt woodlands of which only fragmented patches and scattered trees in paddocks remain. This study focuses on the decline of scattered trees in the Mount Lofty Ranges and South East agricultural regions of South Australia. A combination of digitized aerial photography and satellite imagery was used to extend a previous assessment of decline undertaken in the early 1980s and increase the period over which decline was assessed to 58–72 years. A total of 17 049 scattered trees were counted from the earliest time period assessed over 11 sites of which 6 185 trees were lost by 2008 — a 36 % decline. Recruitment of 2 179 trees during this period was evident. Imagery indicates that clearing for agricultural intensification is the primary cause of the decline. A range of management options and policy settings are required to reverse the decline notwithstanding the challenges of implementation at a landscape scale across privately owned land.

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Fox, William L. "Terra Antarctica: a history of cognition and landscape." Archives of Natural History 32, no. 2 (October 2005): 192–206. http://dx.doi.org/10.3366/anh.2005.32.2.192.

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The evolution of our perception of the Antarctic from an unknown space to a comprehensible place can be traced through the evolution of its portrayal in visual art. Early expedition artists relied upon the topographically-based aesthetic traditions of northern European landscape painting as the polar region was first charted, and the continent's outlines were traced in coastal profiles during the late eighteenth through mid-nineteenth centuries. This pragmatic approach with its close ties to cartographic needs was later superseded by increasingly symbolic depictions of the environment. The artists accompanying Scott, Shackleton and Mawson, for example, often portrayed the Antarctic as an historic stage for heroic action. With the International Geophysical Year in 1957–1958, modernist aesthetics reached the continent. Visiting artists sponsored by national programs began to abstract the environment in photography and painting. By the turn of the century, sculptors and installation artists had helped bring the Antarctic more fully into the international cultural arena as a subject for contemporary art. This aesthetic shift is both a symptom of, and part of the process for, the transformation of a terra incognita into a terra Antarctica.

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Crutchley, Simon. "The Landscape of Salisbury Plain, as Revealed by Aerial Photography." Landscapes 2, no. 2 (October 2001): 46–64. http://dx.doi.org/10.1179/lan.2001.2.2.46.

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Bell, Amy. "Crime Scene Photography in England, 1895–1960." Journal of British Studies 57, no. 1 (January 2018): 53–78. http://dx.doi.org/10.1017/jbr.2017.182.

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AbstractThis article discusses the development of techniques and practices of murder crime scene photography through four pairs of photographs taken in England between 1904 and 1958 and examines their “forensic aesthetic”: the visual combination of objective clues and of subjective aesthetic resonances. Crime scene photographs had legal status as evidence that had to be substantiated by a witness, and their purpose, as expressed in forensic textbooks and policing articles, was to provide a direct transfer of facts to the courtroom; yet their inferential visual nature made them allusive and evocative as well. Each of four pairs of photographs discussed reflects a significant period in the historical evolution of crime scene photography as well as an observable aesthetic influence: the earliest days of police photography and pictorialism; professionalization in the 1930s, documentary photography, and film noir; postwar photographic expansion to the suburban and middle class, advertising images of the family and home; and postwar elegiac landscape photography in the 1950s and compassion shown to infanticidal mothers. Crime scene photographs also demonstrate a remarkable shift in twentieth-century forensic technologies, and they reveal a collection of ordinary domestic and pastoral scenes at the moment when an act of violence made them extraordinary.

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Tommasini, Alexandra. "Anti-icon icon: Gabriele Basilico’s photography of the Italian urban landscape." Modern Italy 21, no. 4 (November 2016): 427–40. http://dx.doi.org/10.1017/mit.2016.47.

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This article explores Gabriele Basilico’s photographs of the contemporary Italian environment and argues for their status as both iconic – that is to say, distinctive, highly visible, and memorable – and anti-iconic symbols or images. The discussion first explores the anti-iconic impulse in Basilico’s work. It marks out his standing as one of the most prominent proponents of the trend in contemporary Italian photography which sought to counter the mythic view of the country’s landscape and highlights his involvement in the trend’s seminal exhibition, Viaggio in Italia (1984). The article then makes a case for the simultaneous iconic nature of Basilico’s photographs by looking at the 2007/08 exhibition Milano si mostra. 1 Km con Gabriele Basilico, examining the ways in which Basilico’s images were made into icons of Milan’s urban identity.

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Link, Alessandra. "Editing for Expansion: Railroad Photography, Native Peoples, and the American West, 1860–1880." Western Historical Quarterly 50, no. 3 (2019): 281–313. http://dx.doi.org/10.1093/whq/whz043.

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Abstract In the nineteenth century, both railroad expansion and photography influenced relations between the United States and Native peoples in powerful ways. Scholars have often dealt with these two technological developments separately, but photographs and railroads have a shared history. Throughout the mid-to-late nineteenth century railroad companies engaged with photographs and photographers to promote travel on their lines. This article evaluates the production and circulation of transcontinental railroad photographs, and it concludes that the so-called golden age of landscape photography was built on the suppression of peopled scenes in the West. Images of Indians and trains that reached broad audiences placed Indigenous peoples in opposition to the modern forces cast in steel and running on steam. Picturing an unpeopled West and anti-modern Indians brightened business prospects for those investing in the promise of U.S. expansion beyond the 100th meridian.

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Howitt, Richard, and Lesley Head. "Second Nature: The History and Implications of Australia as Aboriginal Landscape." Economic Geography 77, no. 4 (October 2001): 397. http://dx.doi.org/10.2307/3594113.

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Mitchell, Anthea L., Richard M. Lucas, Brian E. Donnelly, Kirrilly Pfitzner, Anthony K. Milne, and Max Finlayson. "A new map of mangroves for Kakadu National Park, Northern Australia, based on stereo aerial photography." Aquatic Conservation: Marine and Freshwater Ecosystems 17, no. 5 (2007): 446–67. http://dx.doi.org/10.1002/aqc.818.

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Conte, Chris. "The Usambara Knowledge Project: Place as Archive in a Tanzanian Mountain Range." History in Africa 48 (June 2021): 83–102. http://dx.doi.org/10.1017/hia.2021.11.

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AbstractThe essay chronicles the early phases of a digital history project on landscape change in the mountains of eastern Tanzania. In collecting sources for a land and culture narrative, the project aims ultimately to create an archive that is locally produced in Tanzania and maintained by Utah State University Library’s Special Collections and Archives division. The project draws on more than thirty early twentieth-century landscape photographs from the Usambara Mountains in northeastern Tanzania by Walther Dobbertin, a professional photographer living in German East Africa. In the fall of 2015, team members scouted the sites for repeat photographs. The following summer, the project team began repeat photography and expanded the range of local collaborators to develop an oral history collection tied to the region’s landscape history. The essay lays out the problems, pitfalls, and successes of the preliminary collaborative work among academics, university students, archival specialists, and elders’ groups intent on collecting and preserving knowledge.

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Bedford, Alison, Richard Gehrmann, Martin Kerby, and Margaret Baguley. "Conflict and the Australian commemorative landscape." Historical Encounters: A journal of historical consciousness, historical cultures, and history education 8, no. 3 (December 22, 2021): 13–26. http://dx.doi.org/10.52289/hej8.302.

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Australian war memorials have changed over time to reflect community sentiments and altered expectations for how a memorial should look and what it should commemorate. The monolith or cenotaph popular after the Great War has given way to other forms of contemporary memorialisation including civic, counter or anti-memorials or monuments. Contemporary memorials and monuments now also attempt to capture the voices of marginalised groups affected by trauma or conflict. In contrast, Great War memorials were often exclusionary, sexist and driven by a nation building agenda. Both the visibility and contestability of how a country such as Australia pursues public commemoration offers rich insights into the increasingly widespread efforts to construct an inclusive identity which moves beyond the cult of the warrior and the positioning of war as central to the life of the nation.

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Baguley, Margaret, Martin Kerby, and Nikki Andersen. "Counter memorials and counter monuments in Australia’s commemorative landscape: A systematic literature review." Historical Encounters: A journal of historical consciousness, historical cultures, and history education 8, no. 3 (December 22, 2021): 93–120. http://dx.doi.org/10.52289/hej8.308.

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Over the course of the last four decades there has been a growing interest in the development and impact of counter memorials and counter monuments. While counter memorial and monument practices have been explored in Europe and the United States, relatively little research has been conducted in the Australian context. This systematic literature review examines the current state of scholarship by exploring what form counter monuments and memorials have taken and what events they have focussed on. A total of 134 studies met the selection criteria and were included in the final review. The major factors identified that have impacted on the development of the counter memorial and monument genre in Australia are international and domestic influences, historical, political and social-cultural events in Australia, the socio-political agenda of various individuals or organisations, and the aesthetics of the counter memorials and monuments themselves. The review found that Australia has a diverse and active counter memorial and monument genre, with commemorative practices honouring Aboriginal and Torres Strait Islander peoples, women, victims of human made and natural disasters, the experiences of asylum seekers, and the histories and experiences of the lesbian, gay, bisexual, transgender and queer communities.

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Kwa, Chunglin. "The Visual Grasp of the Fragmented Landscape." Historical Studies in the Natural Sciences 48, no. 2 (April 1, 2018): 180–222. http://dx.doi.org/10.1525/hsns.2018.48.2.180.

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Between 1925 and 1980, landscape ecology underwent important changes through the gradual imposition of the view from above, through the uses of aerial photography. A new concept emerged, “the smallest unit of landscape,” also called ecotope and land unit, expressing a direct visual grasp of the landscape. This article compares the view from above as introduced and promoted by geographers Carl Troll and Isaak Zonneveld, with its (problematic) history vis-à-vis a school of ecology, i.e., plant sociology, led by Josias Braun-Blanquet and Reinhold Tüxen. This school’s internal struggles with balancing the physiognomic gaze (at the ground) and numerical methods are discussed. In comparison, the geographers based themselves on the mechanical objectivity of standardized aerial surveys, whereas the plant sociologists relied on their subjective expert judgment of plant recognition together with the structural objectivity of their numerical methods. An important communality of both schools was their inductive building of a landscape from its constituent landscape fragments. Landscape fragments were identified through abstraction and categorization, emanating from a taxonomical style of science.

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Hills, E. R. "The imaginary life: Landscape and culture in Australia." Journal of Australian Studies 15, no. 29 (June 1991): 12–27. http://dx.doi.org/10.1080/14443059109387052.

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Siddons, Louise. "Seeing the four sacred mountains: Mapping, landscape and Navajo sovereignty." European Journal of American Culture 39, no. 1 (March 1, 2020): 63–81. http://dx.doi.org/10.1386/ejac_00011_1.

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In 1968, photographer Laura Gilpin published The Enduring Navaho, which intentionally juxtaposes colonialist cartography with an immersive understanding of landscape. This article situates Gilpin’s project within the broader historical trajectory of traditional Navajo spatial imaginaries, including the work of contemporary Navajo artist Will Wilson. Euramerican settler-colonist maps of the Navajo Nation at mid-century were tools for Native displacement, revealing the transnational dilemma of the Navajo people. Their twentieth-century history was one of continual negotiation; on a pragmatic level, it often entailed the cultivation and education of Euramerican allies such as Gilpin. For her, landscape photography offered an alternative indexical authority to colonial maps, and thus had the potential to redefine Navajo space in the Euramerican imagination ‐ in terms that were closely aligned with Navajo ideology. Without escaping the contradictions inherent in her postcolonial situation, Gilpin sought a political space for Navajo epistemology, and thus for Navajo sovereignty.

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Halpin, Kim, and David N. Durrheim. "The dynamic landscape of bat borne zoonotic viruses in Australia." Microbiology Australia 41, no. 1 (2020): 6. http://dx.doi.org/10.1071/ma20003.

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This review discusses the history, epidemiology, diagnostics, clinical presentation in humans, as well as control and prevention measures, of the high-profile viruses Hendra virus (HeV) and Australian bat lyssavirus (ABLV). Since the discovery of HeV and ABLV in the 1990s, these viruses have only caused disease in areas where spill-over hosts, including humans, encounter the reservoir host.

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Banfai, Daniel S., and David M. J. S. Bowman. "Dynamics of a savanna-forest mosaic in the Australian monsoon tropics inferred from stand structures and historical aerial photography." Australian Journal of Botany 53, no. 3 (2005): 185. http://dx.doi.org/10.1071/bt04141.

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Stratified ground-truthing was undertaken within an area of approximately 30 km2 of tropical savanna across an abrupt sandstone escarpment in the monsoon tropics of Australia. Comparison of aerial photographs from 1941 and 1994 had previously revealed a landscape-wide expansion of closed forest and contraction of grassland patches. Good congruence between field measurements and the vegetation classifications from the 1994 aerial photography supported the authenticity of the vegetation changes. The relative abundance of rainforest and non-rainforest tree species also concurred with mapped vegetation transitions. Changes in individual size classes of rainforest species, which are relatively fire sensitive, were consistent with the primacy of fire in controlling the distribution of the closed-forest formation. Fire scars previously mapped from satellite imagery were used to derive a fire activity index for contrasting vegetation transitions. Savannas that had converted to closed forest had lower fire activity than did stable savannas. Conversely, closed forests that converted to savanna had the highest fire activity index. The landscape-wide expansion of rainforest is associated with the cessation of Aboriginal fire management, possibly in conjunction with elevated CO2 and increasing annual rainfall.

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Doyle, Thomas B., Andrew D. Short, Peter Ruggiero, and Colin D. Woodroffe. "Interdecadal Foredune Changes along the Southeast Australian Coastline: 1942–2014." Journal of Marine Science and Engineering 7, no. 6 (June 4, 2019): 177. http://dx.doi.org/10.3390/jmse7060177.

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Foredunes are important features within coastal landscapes, yet there are relatively few medium to long-term studies on how they evolve and change over time. This study of Australia’s New South Wales (NSW) foredunes has used 70 years of aerial photographs (or photogrammetry) and recent Light Detection and Ranging (LiDAR) datasets to assess multi-decadal fluctuations in foredune morphology. It was shown that over the past 70 years NSW foredunes have exhibited considerable spatial variation, ranging from accretion/aggradation to recession. Those sites that accreted predominantly extended seaward as new incipient dunes, gaining a maximum of 235 m3 m−1 in sand volume over the study period (for the entire dune system). These sites were commonly found in the north of the state, within closed sediment compartments, and with strong onshore (and alongshore) wind climates present (increasing the potential for aeolian sand transport). Stable foredunes were those that remained within +/− 50 m3 m−1 of their initial volume and managed to recover from the various storm impacts over the study period. The majority of these sites were found within the central to southern half of the state, behind embayed beaches, and within leaky sediment compartments, or those that have estuarine sinks. Finally, those foredunes in recession have retreated landwards and/or have reduced in height or width, and lost up to 437 m3 m−1 of sand volume over the study period. There was no clear spatial trend for these sites; however, generally they were found in compartments that had unusual orientations, had disruptions in longshore drift/cross shore sand delivery (i.e., rocky reefs), or were being impacted by humans (i.e., the installation of river training walls, sand bypassing systems, or coastal management programs). This study has shown that NSW foredunes have undergone substantial recent changes and, by understanding their past history, will provide better insight into how they can be managed into the future.

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Brooke, Stephen. "Revisiting Southam Street: Class, Generation, Gender, and Race in the Photography of Roger Mayne." Journal of British Studies 53, no. 2 (April 2014): 453–96. http://dx.doi.org/10.1017/jbr.2014.10.

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AbstractThis article examines pictures taken by the British photographer Roger Mayne of Southam Street, London, in the 1950s and 1960s. It explores these photographs as a way of thinking about the representation of urban, working-class life in Britain after the Second World War. The article uses this focused perspective as a line of sight on a broader landscape: the relationship among class, identity, and social change in the English city after the Second World War. Mayne's photographs of Southam Street afford an examination of the representation of economic and social change in the postwar city and, not least, the intersections among class, race, generation, and gender that reshaped that city.

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Spunta, Marina. "'Il Profilo Delle Nuvole': Luigi Ghirri's Photography and the 'New' Italian Landscape." Italian Studies 61, no. 1 (March 2006): 114–36. http://dx.doi.org/10.1179/007516306x96719.

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Fensham, Roderick J., and Russell J. Fairfax. "A land management history for central Queensland, Australia as determined from land-holder questionnaire and aerial photography." Journal of Environmental Management 68, no. 4 (August 2003): 409–20. http://dx.doi.org/10.1016/s0301-4797(03)00110-5.

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Sailor, Rachel McLean. "Across the West and Toward the North: Norwegian and American Landscape Photography by Shannon Egan and Marthe Tolnes Fjellestad." Oregon Historical Quarterly 123, no. 4 (December 2022): 405–6. http://dx.doi.org/10.1353/ohq.2022.0052.

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Bowman, David M. J. S., and Joanne K. Dingle. "Late 20th century landscape-wide expansion of Allosyncarpia ternata (Myrtaceae) forests in Kakadu National Park, northern Australia." Australian Journal of Botany 54, no. 8 (2006): 707. http://dx.doi.org/10.1071/bt05202.

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Allosyncarpia ternata S.T.Blake is a large tree endemic to the rugged western edge of the Arnhem Land Plateau, northern Australia, with most of the species conserved in Kakadu National Park (KNP). A. ternata stems suffer substantial mortality following wildfire but the species resprouts prolifically from root stocks. Nonetheless, there is concern about the persistence of A. ternata rainforest patches following breakdown of traditional Aboriginal landscape burning that generated a mosaic of burnt and unburnt areas. Generalised linear modelling was used to identify the landscape features associated with the fragmentary distribution of A. ternata rainforest. We randomly sampled 12 areas that together made up 12.6% of the total coverage of A. ternata in KNP (12 191 ha) that spanned the geographic range of this vegetation type within the Park. The modelling of these data showed that A. ternata forests were most likely to occur at sites with fire protection, as inferred from the small number of fire scars apparent on sequences of satellite imagery, steep slope angles and proximity to drainage lines. Analysis of historical aerial photography revealed that, despite considerable negative and positive variation, there has been a 21% expansion of A. ternata forests over the last 50 years. Expansion occurred by incremental growth from existing forest boundaries and not by nucleation, reflecting the poor seed dispersal of the tree. The forest expansion was negatively correlated with fire activity. A regionally wetter climate since the mid-20th century may be an important cause of the expansion despite currently unfavourable fire regimes.

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Taylor, Ken, and Carolyn Tallents. "Cultural landscape protection in Australia: The Wingecarribee Shire study." International Journal of Heritage Studies 2, no. 3 (June 1996): 133–44. http://dx.doi.org/10.1080/13527259608722167.

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Anderson, Fay. "‘Photographing Lindy’: Australian press photography and the Chamberlain case, 1980–2012." Media International Australia 162, no. 1 (September 26, 2016): 7–18. http://dx.doi.org/10.1177/1329878x16665495.

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This article analyses the news photography surrounding a high-profile case of alleged matricide in Australia: the disappearance of 9-month-old Azaria Chamberlain, and the subsequent murder trial and eventual acquittal of her mother, Lindy. While the scholarship on the media’s conduct during Chamberlain’s ordeal has been exhaustive, the press photographers’ role has not been considered. Drawing on oral history interviews with newspaper photographers, this article explores the ways that the photographers’ workplace culture, gender, relationships and practices informed their approach. It argues that their images in isolation did not contribute to the demonisation of Chamberlain; the same photographs were used to project both innocence and guilt depending on the editorial interpretation. The article will provide new historical understanding about the photographic traditions and routines surrounding the Chamberlain case and crime photography more generally.

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Journal articles on the topic 'Landscape photography – Australia – History'

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