Recently I again became interested in idea of “imaginary landscapes.” I made a series of photographic images that are derived from elements of actual landscapes I have visited, but which are modified in various ways to alter their appearance. They retain some landscape-like qualities, but they do not correspond to real landscapes.
Continue reading Imaginary Landscape — Fractal Veins
This feels like a floral version of my “imaginary landscape” photographs, in which I push the interpretation of the image significantly, to the point that I feel it is best to acknowledge what is going on. (To many photographers and flower-lovers it is obvious that this is not a “what I saw” photograph, but more a “what I imagined” photo.) The starting point was a photograph I made using a macro lens and shooting across the top of a group of flowers.
The boundary between real and imaginary in photographs is much less obvious that some observers may realize. If you know what you are looking at, it is not a secret that photographs are usually the photographers interpretation of the subject, not a simple reproduction. To be honest, this is more or less a feature of photographs — they cannot really be full, objective records of things, and some element of interpretation figures in virtually all photographs.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” (Heyday Books) is available directly from him.
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I first photographed this specific subject in Death Valley well over a decade ago, and perhaps closer to two decades. I “discovered” it by accident while driving back from visiting an entirely different feature. I had stopped in this location to photograph other things, and as I scanned the landscape I noticed this section of almost pure sand dunes. I went here again this year at the end of February when the light on my intended subject died early, and I thought I might be able to work with the soft light in this spot.
Because I have photographed here for some time, I have watched — at times with some concern — as this location started to become another “icon” of Death Valley photography. One positive development of this, perhaps, is that the many photographs can look quite different, revealing how ambient light “paints” the landscape of the desert. (Well, OK, also revealing the role that post-production interpretation plays in such photographs.)
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G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” (Heyday Books) is available directly from him. Blog | Bluesky | Mastodon | Substack Notes | Flickr | Email
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I am sorry to disappoint, but there is no place on this planet that looks like this. This photograph depicts an imaginary scene, produced not by AI but by my own manipulation of a photograph of a desert mountain landscape, transforming it into a scene of impossible peaks and extremely deep valleys. (The source material is from Death Valley, but I doubt that you could locate it in the real world, even if you know the park quite well. Take that as a challenge, if you will. ;-) )
Still, there is something compelling about the image, I think. Perhaps these are the sorts of mountains and valleys we dream of but never quite find. (Some viewers may notice that this subject has appeared here twice. I previously produced a monochromatic version of the subject.)
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
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