Literature and the Arts
Ackroyd, Peter (2004). Albion: The Origins of the English Imagination. Vintage. What are the influences and who are the contributors to the “english imagination”. Ackroyd attempts to provide us with answers, a good starting point to explore the subject.
Lewis, C.S. (1955) Surprised by Joy, London: Harcourt Brace Jovanovich. and Lewis, C.S. (1943). The Pilgrims Regress, 3rd ed. London: Geoffrey Bless. Both C S Lewis’s books explore the nature of our existence; what it means to consider it, and what conclusion you can you draw upon. The idea of “searching for we know not what” emerges strongly through his writings, and became my ‘motto’ in land exploration.
Mellor, David (1987). A Paradise Lost: The Neo-Romantic Imagination in Britain, 1935-1955. London: Lund Humphries. The principles, positioning, leading members and circumstances of the British Neo-Romantic movement.
Alexander, J.A.P (2015) Perspectives on Place London Bloomsbury. Alexander gets you thinking into the realms of understanding landscape photographs, and creating interesting images without over-relying on technique.
Berger, John (2013). Understanding a photograph. New York: Aperture. Essays compiled over a period of time, Berger produces ideas to help read and analyse images.
Clarke, Graham (1977). The Photograph. Oxford: Oxford University Press. Enjoyable and broad, but with a serious approach to the major debates and important contributors.
Handy, Ellen (1994). Pictorial Effect Naturalistic Vision Norfolk, USA: Chrysler Museum Library. Handy’s chronology documents the debate of what photography is – “scientific truth and laws of nature or principles of taste and beauty”. Useful in considering your own photographic ‘style’.
Hauser, Kitty (2007). Shadow Sites: Photography, Archaeology, and the British Landscape 1927-1955. Oxford University Press. Shadow Sites recognises the contributions to Landscape Photography of Archaeology and presents us with a positioning of the Neo-Romantic vision. She introduced the concept of ‘site’ and ‘archaeological imagination’ into the lexicon of Land Photography.
Jeffrey, Ian (2009). How to Read a Photograph: Understanding, Interpreting and Enjoying the Great Photographers. Thames & Hudson. Not a prescriptive approach, but an important step in understanding what resonates for you in a photograph. His other articles and books should never be avoided, especially his introduction to Land, Fay Godwin.
Brandt, Bill (1975). Bill Brandt, early photographs, 1930-1942. London: Arts Council of Great Britain. Shows the early influence of European ‘surrealism’ in British photography, and starts to ask the question, ‘what is a landscape’ and how should we portray it.
Callahan, Harry (2001). Elemental Landscapes. Philadelphia Museum of Art. Callahan explores the idea of a landscape being comprised of the detail, not a single vista.
Elwall, Robert (2014). Evocations of Place: The Photography of Edwin Smith. London: Merrell. Elwall attempts to re-establish Smith as a leading Neo-Romantic photographer who was concerned with the loss from the British landscape of iconic symbols. Smiths images have been under scrutiny for years being considered by some purely sentimental and class-ridden.
Emerson, Peter (2012 Reprint). Naturalistic Photography for Students of the Art. London: Forgotten Books. Emersons observation on how differential focus applies to our vision has been challenged, but not his contention that nothing in nature has a sharp outline or vivid colours still holds.
Godwin, Fay (1985). Land. London: William Heinemann Ltd. The essay by John Fowles and the introduction by Ian Jeffrey illuminates as the photographs do.
Godwin, Fay (1990). Our Forbidden Land. London: Jonathan Cape. “Godwin’s work there is an unequivocal, impassioned account of the effects of the closure of vast tracts of countryside for commercial, venal reasons, such as the rearing of animals and birds merely to shoot them”. Philip Stokes
Godwin, Fay (1995). The Edge of Land. London: Jonathan Cape. Words, images and curation by Fay, a rare insight into her thoughts.
Hamilton, Peter (2007). An English Eye: The Photographs of James Ravilious. 2nd ed. Oxford: The Bardwell Press. Ravilious photographs can be seen as ‘nostalgia’, or even ‘mawkish sentimentality’, they are a reminder of a loss, where community defined us – a place few people have a desire to return to.
Moore, Raymond Murmurs at Every Turn.(1981). London: Travelling Light. & Every So Often. (1983). London: BBC Books. Both books are hard to find, but worth it. Try the British Library.
Szarkowski, John (1981). American Landscapes – Photographs from the Collection of The Museum of Modern Art. New York: MOMA.
van Wadenoyen, Hugo (1947). Wayside Snapshots. London: Focal Press. The pleasure of how a book and subject matter can unfold, a simple lesson in where to take your camera. Everywhere.
Wells, Liz (2011). Land Matters. Landscape Photography, Culture and Identity. London: I. B. Tauris & Co Ltd. Well structured approach to why landscape photography matters in our contemporary society. Offering us the opportunity to tell us so much about ourselves and our society and how we can reflect it in our work. The section on Scandinavian imagery was influencial in my research.
Richard Muir (1999). Approaches to Landscape. Basingstoke: MacMillan Press Ltd. Summarises the different approaches to the study of Landscape History. Richard Muir is a prolific reader and I would recommend any of his books of practical research.
Pryor, Francis (2011) The Making of the British Landscape. London: Penguin. W G Hoskins books can now seem dated, if so, this one provides a current view of the inquiry of what we see before us.
Schama Simon (1995). Landscape & Memory. London: Harper Collins. Following on from the Archaeological experience of Pryor, this explores far more what we can choose to see.
Tuan, Dr Yi-Fu (2007). Space and Place: The Perspective of Experience. 5th ed. Minnesota: University of Minnesota Press. Helps address the complexity of how we relate to our environment.
Taylor, John (1994). A Dream of England. Manchester: Manchester University Press. Among other things, it illustrate the concept of photographer as tourist or explorer, a first step towords rationalising photographic output.
Self, Will (2007). Psychogeography. London: Bloomsbury. Insights on walking, thinking and rationalising our observations.
Three Perspectives on Raymond Moore, Neil Shirreff. “In this dissertation I approach the photography of Raymond Moore, photographer and artist, from three perspectives: his positioning in Britain’s photographic history, the perspective of Moore himself, and the perspective of a viewer engaging with one of his photographs.”
Critical review on Raymond Moore by Anne Giddings. A good place to start in untangling the layers of Raymond Moores images.