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The Western Landscape is a classic subject for American Photographers ever since the invention of photography—one might even argue that photography invented our vision of the American west, with views by O’Sullivan, Muybridge,  Edward Weston, and Ansel Adams (and many others).

Lee Friedlander has turned his delightful eye on this subject.  In the 2005 epic retrospective book, “Friedlander”, the last section (68 photographs) is devoted to “Landscapes”.  This work seemed to be something of a continuation of “The Desert Seen” (1996) in that iconic views are frequently relegated to the background of photos that seem to feature sharply focused rocks and trees in the foreground.

Lee Friedlander, Yosemite National Park, 2004

Lee Friedlander, Yosemite National Park, 2004

In 2008, Friedlander published “Recent Western Landscapes”—a book I pre-ordered on Amazon, but never received a copy of.  Apparently the book sold out before any copies were shipped to Amazon.  I’ve never managed to find a copy at a reasonable price, so have never held that book in my hands.

So when “Lee Friedlander:  Western Landscapes” was available for pre-order on Amazon in mid-summer, I ordered a copy, fingers firmly crossed.  It arrived a few weeks ago, but I gave it to my wife so she could wrap it as a Christmas gift.  Weighing in at 7 pounds, and 14 X 15 inches, with 189 full sized plates, each reproduced at 12×12 inches, the book feels epic in both scope and size.  The printing can be described only as perfect, in the sense that one cannot imagine that looking at an original silver print could offer more pleasure than the reproductions presented in the book.   (Given my modest means as a collector, purchasing an original Friedlander print is well beyond me, but purchasing a second copy of this book and desecrating the binding with a razor so I can frame and hang at least some of these images may be a temptation I can’t resist.)

Lee Friedlander, Point Lobos, 2012

Lee Friedlander, Point Lobos, 2012

The book begins with a series of images from Point Lobos—the neighborhood playground of Edward Weston.  There are many other easily recognized places—Yosemite, the Grand Tetons, the Grand Canyon, Death Valley, Monument Valley, Canyon de Chelly, Zion National Park, Arches National Park—as well as numerous images of seemingly anonymous tangled trees.   There are a handful of images from the Canadian Rockies, and one from Mexico.

I must confess one disappointment with the book, albeit a personal one.  My first reading of the book was to look at the pictures, one by one, hoping to find some Alaskan Landscapes.  In “America by Car”, Friedlander included eight images from Alaska, all dated from 2007, so it seemed reasonable to hope that a few of Alaska’s majestic views caught his attention.  I did not see any recognizable views on my first reading, but examination of the captions at the back revealed one image was from Alaska—plate 145.

Lee Friedlander, Alaska, 2007

Lee Friedlander, Alaska, 2007

At first glance, this image is, in my humble opinion, one of the least interesting images in the whole book, a disappointment to someone who has spent a significant part of his life attempting to photograph the Alaskan Landscape.  The foreground appears to be a grassy bank—not typical of Alaska–it looks like a road cut—which occupies more than half the frame—and beyond that, some scruffy trees, and a sliver of a river in the distance.  Only after looking at the image for a few minutes did I recognize the view—one I’ve seen many times, though never photographed in the way Friedlander did—it is a view of the Susitna River from a tourist pull-out on the Parks Highway about 130 miles north of Anchorage.  The pull-out was built to provide a view of the south face of Denali, a splendid view when the weather is cooperative, with the braided channels of the Susitna River in the foreground and the mountain in the distance, a view that could be seen—in clear weather—by pivoting ninety degrees to the right from the Friedlander picture, and walking a few hundred feet to the tourist viewing area.

My question is, why did Friedlander include this picture, rather than one of the iconic mountain?  The simple answer, and probably the most likely, is that the mountain was hidden by clouds during the time Friedlander was there—a guess suggested by the clouds that appear in the upper right corner of the frame.  From the “America by Car” images, Friedlander includes two pictures of rain on the windshield of his car—weather typical of late summer.  While, on average, the “mountain is out” one day out of five, there are streaks of bad weather where the mountain might not be out for weeks at a time.

So why did Friedlander include this picture at all?  Is it intended as a snub at Alaska—a “this place is really overrated” statement?  Or is it an admission of defeat—between the weather and the almost exhausting array of possible subjects, he walks away without an iconic frame to include with the others?  Or is this picture an inside joke–a deliberate look away from the iconic view?   Of course, the picture is mute.

There have been multiple books on the American west that don’t include a single image of Alaska—so having one—even boring—picture included is perhaps a way of saying that Alaska is included in his view of the west.  There are at least two other states represented by a single image in this collection—Nevada and Idaho.   Maybe “the West” is too big for any single photographer, or single book.  But he includes two photographs from New York—hopefully at least west of his house.

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2 Comments

    • Marvin Falk
    • Posted December 29, 2016 at 1:28 am
    • Permalink

    Many long essays should be written about Alaska landscape photography. About 30 years ago I a read an exchange on why there was not a greater tradition of serious Alaska photography. The conclusion was that there were too many grand vistas exploited by coffee-table tourist volumes for serious work to gain traction (I can no longer find the citation for the exchange). We all know that not every vista in Alaska is grand and indeed there has been serious work done (your own included). When Barry McWayne first came to Alaska, he used to bring a saw along to cut down pesky brush and saplings that got in the way of his vistas. He soon gave that up.

    • denniswitmer
    • Posted December 29, 2016 at 7:11 am
    • Permalink

    Marvin

    I remember Barry joking about buying a “Zone 6 Chain Saw”–and he was following in the tradition of Ansel Adams, who, when young used a hatchet, and when older, bungee cords, to remove unwanted obstructions from the foreground.


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