Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside into the landscapes. There is only the big spotlight in the sky to work with, and it decides where it will be, not us. Robert Adams North Jetty, mouth of the Columbia River River on left, ocean on right 1990

Photography Lighting: While the light may be beyond our control to move, it is not beyond our control to predict its behavior, and be ready of the subtle changes in lighting effect it offers us. Robert Adams Southwest from the South Jetty, mouth of the Columbia River 1990

Photography Lighting: We know, for example, that the sun moves around the sky from east to west. It is at its maximum height at noon, when it shines from the south. We know that it rises and falls as the day progresses, and we know that the color changes as it sets. Robert Adams Untitled, Denver

Photography Robert Adams Untitled, Denver

Photography Lighting: Although we cannot alter the natural movement of the sun, we can move ourselves and our cameras relative to the sun, thus dramatically changing the visual (lighting) effect we capture in our pictures. Robert Adams Untitled, Denver

Photography Lighting: Deciding what to do with the sun and the reflections or shadows it creates is central to creating mood in landscapes. Robert Adams Untitled, Denver

Photography Robert Adams Untitled, Colorado1994

Photography Robert Adams Untitled, Colorado1994

Photography Lighting: We are not in the business of showing what a place looks like, but rather of interpreting how we feel about the landscape, or relate to it. To achieve these less easily definable results, the creative and considered use of light is essential. Robert Adams Edge of the San Timoteo Canyon, San Bernardino County, California 1978

Photography Lighting: There are two forms of sunlight. Firstly there is the direct light from the sun itself. Secondly, there is the reflected light which reaches us the long way by bouncing off the blue sky before lightening up those areas the direct sunlight cannot reach. Robert Adams Untitled, Colorado 1994

Photography Robert Adams Remains of old growth forest, Washington 1990

Photography Robert Adams Untitled, Denver

Photography Lighting: Soft lighting can be used to create wonderfully low key monocromatic images. Manuel Alvarez Bravo Portrait of the Eternal 1935

Photography Manuel Alvarez Bravo fire workers 1935

Photography Manuel Alvarez Bravo First Solitude 1956

Photography Manuel Alvarez Bravo Somewhat Gay and Graceful 1942

Photography Manuel Alvarez Bravo Landscapes with grass 1940s

Photography Manuel Alvarez Bravo Laughing Mannequins 1930

Photography Manuel Alvarez Bravo Running boy 1950s

Photography Manuel Alvarez Bravo El color 1966

Photography Manuel Alvarez Bravo Striking Worker, Assassinated 1934

Photography Lighting: In this photograph the shadows play a key role in creating the drama. Manuel Alvarez Bravo Man from Papantia 1934

Photography Manuel Alvarez Bravo Frida Kahlo in Alvarez Bravo's Studio 1930s

Photography Tina Modotti Campesinos 1926

Photography Tina Modotti Mexican peasants reading El Machete 1928

Photography Tina Modotti Hands of the puppeteer 1929

Photography Tina Modotti Woman of Tehauntepec carrying jecapixtle 1929

Photography Tina Modotti Mother and child, Tehuantepec 1929

Photography Tina Modotti Diego Rivera and Frida Kahlo in the May Day march 1929

Photography Tina Modotti Woman with olla 1926

Photography Tina Modotti Stadium, Mexico City c. 1927

Photography Tina Modotti Staircase, Mexico 1925 The photograph is entitled "Staircase," but it is only in the most abstracted sense an architectural photograph; it is concerned with a different kind of structure, related perhaps to folded paper birds and geometric puzzles. It is a picture of space becoming pattern – a construction of lines and triangles stretched very tightly toward two dimensions - in which depth is both precisely described and subtly denied.

Photography Tina Modotti Bandolier, corn, guitar 1927

Photography Tina Modotti Julio Antonio Mella's typewriter 1928

Photography Tina Modotti Telephones wires 1925

Photography Paul Strand Blind 1916

Photography Paul Strand untitled 1916

Photography Paul Strand church 1944

Photography Walker Evans church 1944

Photography Paul Strand City Hall Park New York 1915

Photography Paul Strand The Family, Luzzara, Italy 1953

Photography Paul Strand Harold Greengard Twin Lakes, Connecticut 1916

Photography Paul Strand Lathe No. 3, Akeley Shop, New York 1923

Photography Paul Strand Leaves ii 1929

Photography Paul Strand untitled 1915

Photography Paul Strand Wall street 1915

Photography Paul Strand Portrait, Washington Square Park 1916

Photography Paul Strand White Fence 1916

Photography