ABSTRACT
This chapter proposes instead to see the analog and the digital as a continuum—with the latter inheriting and recycling the ways of seeing nature that became internalized over the course of earlier analog experiences. In addition to exposure through photographic processes and digital circulation, there is another type of exposure relevant to landscape photography—the meteorological one. The exposure in landscape photography is layered, both from the point of view of equipment and atmospheric conditions, and from the afterlife of the images in the sphere of digital circulation. The discussion of exposure as manipulation of camera settings begins with the master of 20th-century landscape photography himself—Ansel Adams. E. H. Gombrich debunks the myth of the innocent eye and argues that it is in the field of landscape painting “where sight counts for so much more than calculation, that these psychological facts were first discovered”.
