1. 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

2. 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

3. 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 1970-74

4. Photography Robert Adams Untitled, Denver 1970-74

5. 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 1970-74

6. 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 1970-74

7. Photography Robert Adams Untitled, Colorado1994

8. Photography Robert Adams Untitled, Colorado1994

9. 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

10. 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

11. Photography Robert Adams Remains of old growth forest, Washington 1990

12. Photography Robert Adams Untitled, Denver 1970-74

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

14. Photography Manuel Alvarez Bravo fire workers 1935

15. Photography Manuel Alvarez Bravo First Solitude 1956

16. Photography Manuel Alvarez Bravo Somewhat Gay and Graceful 1942

17. Photography Manuel Alvarez Bravo Landscapes with grass 1940s

18. Photography Manuel Alvarez Bravo Laughing Mannequins 1930

19. Photography Manuel Alvarez Bravo Running boy 1950s

20. Photography Manuel Alvarez Bravo El color 1966

21. Photography Manuel Alvarez Bravo Striking Worker, Assassinated 1934

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

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

24. Photography Tina Modotti Campesinos 1926

25. Photography Tina Modotti Mexican peasants reading El Machete 1928

26. Photography Tina Modotti Hands of the puppeteer 1929

27. Photography Tina Modotti Woman of Tehauntepec carrying jecapixtle 1929

28. Photography Tina Modotti Mother and child, Tehuantepec 1929

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

30. Photography Tina Modotti Woman with olla 1926

31. Photography Tina Modotti Stadium, Mexico City c. 1927

32. 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.

33. Photography Tina Modotti Bandolier, corn, guitar 1927

34. Photography Tina Modotti Julio Antonio Mella's typewriter 1928

35. Photography Tina Modotti Telephones wires 1925

36. Photography Paul Strand Blind 1916

37. Photography Paul Strand untitled 1916

38. Photography Paul Strand church 1944

39. Photography Walker Evans church 1944

40. Photography Paul Strand City Hall Park New York 1915

41. Photography Paul Strand The Family, Luzzara, Italy 1953

42. Photography Paul Strand Harold Greengard Twin Lakes, Connecticut 1916

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

44. Photography Paul Strand Leaves ii 1929

45. Photography Paul Strand untitled 1915

46. Photography Paul Strand Wall street 1915

47. Photography Paul Strand Portrait, Washington Square Park 1916

48. Photography Paul Strand White Fence 1916

49. Photography