ABSTRACT
This essay unpacks the ongoing tendency to want photography to be both objective and subjective. Through discussion and critique of several positions form photography theory, the argument is presented that landscape architects can transcend this dualistic way of thinking for a much broader acceptance of photographic meaning. There are more than two ways to think about how photography works, how we use it, and how others understand it. These augments are articulated through both examples in every day practice and the contemporary body of theory in landscape architecture regarding representation.
