Photo Review, The. Vol. 15 No. 1 (15:1) Winter 1992. Photography, Environment.

Issue includes "Photographing Nuclear Landscapes" by Peter Goin; "In Defense of America" by David Graham; "A Word About Photography" by Lou Stoumen; and the entire Changing Visions of the American Landscape catalog, James A. Michener Museum, November 16, 1991 – March 22, 1992 with text by Bruce Katsiff, Brian Peterson, Congressman Peter H. Kostmayer, and Stephen Perloff. Includes photographs by John Pfahl, Emmet Gowin, Margot Balboni, Len Jenschel, Ansel Adams, Richard Misrach, Ray Mortenson, Edward Weston, Robert Adams, Carleton Watkins, Mark Klett, and Lois Connor. Fine.  Summary:

The Winter 1992 issue of The Photo Review (Vol. 15, No. 1) is a thematic powerhouse centered on the evolution of the American landscape. It marks a transition from the "Sublime" tradition of the 19th century to the "New Topographics" and politically charged environmentalism of the late 20th century.

Featured Essays: The Politicized Landscape

The issue features two major profiles on photographers who document the tension between human presence and the environment:

• "Photographing Nuclear Landscapes" by Peter Goin: A chilling exploration of Goin’s work documenting nuclear test sites. Goin discusses the "invisible" danger of these landscapes—places that appear deceptively normal but are fundamentally altered by radiation.

• "In Defense of America" by David Graham: A look at Graham's often satirical and colorful documentation of the American cultural landscape, focusing on the quirky, the patriotic, and the eccentric ways Americans mark their territory.

• "A Word About Photography" by Lou Stoumen: A reflective piece by the Academy Award-winning filmmaker and photographer, offering a seasoned perspective on the philosophy of the medium.

Special Catalog: Changing Visions of the American Landscape

A significant portion of this issue serves as the official catalog for the exhibition at the James A. Michener Museum. Through text by Stephen Perloff, Bruce Katsiff, and others, the catalog traces the "Changing Visions" of the land through three distinct lenses:

1. The Classical and Romantic Tradition

The issue contextualizes the work of pioneers who viewed the landscape as a pristine, divine cathedral:

• Carleton Watkins & Ansel Adams: Representing the epic grandeur of the West.

• Edward Weston: Focusing on the formal, sculptural beauty of nature’s details.

2. The Altered Landscape (Man-Altered/New Topographics)

A pivot toward showing the landscape as a site of consumption and industry:

• Robert Adams & Mark Klett: Highlighting the encroachment of suburbs and the passage of time on historical vistas.

• Richard Misrach & John Pfahl: Using beauty to draw the viewer into uncomfortable subjects, such as desert fires or nuclear power plants (Pfahl's "Power Places").

• Emmet Gowin: Utilizing aerial photography to show the massive scale of human scarring on the earth.

3. Modern Atmospheric and Formal Studies

• Lois Conner: Utilizing the platinum print and panoramic format to bridge Eastern and Western landscape traditions.

• Len Jenschel & Margot Balboni: Exploring color and composition to document the contemporary environment with a sophisticated, often critical eye.

Institutional Perspectives

The inclusion of text by Congressman Peter H. Kostmayer underscores the issue's subtext: that landscape photography is inextricably linked to public policy and conservation. The magazine argues that how we see the land through the camera directly influences how we treat the land through legislation.

Summary Takeaway

The Winter 1992 issue is a vital scholarly record that documents a paradigm shift. It moves from the "Mighty Wilderness" aesthetic toward a "Post-Nuclear" aesthetic, where the photographer's role is no longer just to celebrate beauty, but to serve as a witness to the ecological and cultural state of the union.