Mount Williamson Mount Williamson depicts beautiful scenery — the land of rocks and the light shining through mountains. The black and white film creates a beautiful depth to each boulder. Hundreds of stones flood the land, creating a sea of rocks. Clouds that create a mystic aurora. Dark clouds slowly disappear into the distance as we see the future of clearer skies. Ansel Adams captured the photograph "Mount Williamson, Sierra Nevada" in 1944. Mount Williamson is the second-highest peak in the Sierra Nevada range, after Mount Whitney. It’s located in the eastern part of the Sierra Nevadas. Williamson is part of the California Fourteeners. This is a group of peaks in the state that rise above 14,000 feet. The photograph shows the mountains with …show more content…
Every rock is unique, not every one is the same. Every stone has its own story, creating a deeper meaning to this photograph. The Sunlight allows you to see detail within each one. Analyze each one, seeing the rough edges, depth, and dimension. Adams can use sunlight to his advantage to get these beautiful effects. Although the clouds seem to be only a minor detail in the photograph, they also add depth. Adams is known for taking photographs of these dramatic skies. Relating to the Mount Williams photograph, these clouds can present action in the photograph. These allow the viewer to see the motion within the photograph. Your mind is processing it as the clouds are moving off to the side drifting through the mountains. The clouds are a great example of atmospheric perspective. This technique creates an illusion of depth by depicting distant objects as paler and less detailed. They can give an angelic feel and without this photograph it might have been much more dull. The dynamic between dark and light completes this photograph. Sunlight is seen piercing through each cloud. Each strand of light reveals details that usually aren’t recognized. Analyzing the photograph, under each light you can see deeper
For example, he uses texture, color and organic forms to make the landscape look as real as possible. Most of the shapes are formed by shifts in colors and line because the canvas are two-dimensional. The viewer can observe that the painting is dominated by greys, browns, ochers, and other natural colors such as green and yellow to give the scene a more nature-like look. All the components and objects painted in this piece appear to have the same texture and color as the ones found in real life, such as rocks suggesting a rough hard texture and clouds being soft, which probably means that Vernet took in consideration real landscapes and places he might have seen in real life. While using different shades of grey, and painting dark clouds, Vernet was able to convince that a storm was approaching but he also decided to add source of light coming from the upper left corner by using a golden yellow color to create a sense of warmth, which creates a nice contrast between the light and the coldness from the overall shadows that seem to dominate the artwork, creating variety; however, the repetition of colors such as greys gave the whole piece a sense of unity and they also express the shadows of a stormy day. We
The Appalachian Mountains in the nineteenth century landscapes are often depicted in a grand, glorious, and often spiritually uplifting form. The Hudson River School artists painting in the romantic style engages viewers to tell a story through naturally occurring images as well as interior knowledge of the times at hand.
Canyonlands National Park, immense amounts of wilderness and rock, is located at the heart of the Colorado Plateau (Canyonlands National Park-Geology). Millions of years have formed specific features to the rock and surrounding wilderness that make it so special. Throughout the park, you will find that the sedimentary rock has formed many features such as hundreds of colorful canyons, mesas, buttes, fins, arches, and spires. The Green and Colorado rivers have played a major role in the formation of many of these features. These rivers cut through the park forming two massive canyons. This further splits the park into three distinct zones. “Island in the Sky” sits to the north while “The Maze” sits off to the west and “The Needles” to the east (Canyonlands National Park Information Guide). “Island in the Sky” serves as Canyonlands’ observation tower; it allows tourists to see overwhelming vistas of the rest of the land. “The Maze,” as hinted at by the name has been described as a “30 square mile puzzle in sandstone” (NPS: Nature & Science» Geology Resources Division). This section of the park often ranks as one of the most remote and inaccessible areas of the United States. Lastly, “The Needles” is known for its diversity in rock features. Throughout this land, features such as sculptured rock spires, arches, canyons, grabens, and potholes can be seen. The varying names hint at the diversity of the land as a whole. As said by The National Park Service’s Geology Resources Division, “Traces of the Anasazi can be found in almost every canyon in the Needles. Many of their stone and mud dwellings and storehouses are remarkably well-preserved. Tower Ruins, built high on a cliff ledge in a side canyon of Horse Canyon, is an outstanding ex...
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
It is said that, "A picture is worth a thousand words." Ansel Adams proved this statement correct with every single image he produced. Some of his best-known photographs were taken in the Yosemite Valley, including his first ever picture of Monolith; the Face of Half Dome nestled in the heart of the valley. When the thought of Yosemite comes to mind, Ansel Adams' name follows right behind it. Adams' life revolved around Yosemite in many ways, and he was often called "Ansel Yosemite Adams" (Fischer 8). He was a caring man and cared deeply about the Sierra Nevada, and seemed to have a psychic connection with Yosemite (Spaulding 615). Ansel Adams once recalled his first visit to Yosemite:
“The power of imagination makes us infinite.” (John Muir). Both John Muir and William Wordsworth demonstrate this through their use of language as they describe nature scenes. John Muir studies nature and in his essay about locating the Calypso Borealis he uses scientific descriptions to grab his reader’s attention and to portray his excitement at finding the rare flower. William Wordsworth on the other hand shows his appreciation for the beauty of nature and its effect on a person’s emotions in the vivid visual descriptions that he gives of the daffodils in his poem ‘I wandered lonely as a cloud.’ Wordsworth with his appreciation of beauty and Muir through scientific descriptions provide an indication of the influence that nature has had on them as they capture their reader’s attention both emotionally and visually through their personal and unique use of tone, diction, syntax and vocabulary.
The park is an asymmetric mountain range, it is 50 to 80 miles wide and it extends in altitude from near sea level along its west edge to more than 13,000 feet along the crest in the Yosemite area. The highest peek in the Sierra Nevada and in the United States is Mount Whitney, which is located in Sequoia National Park. Yosemite is dominated by a huge amount of granite and so is much of the Sierra Nevada’s. Mount Hoffman and most of what is visible from there is composed of granite. Granite is formed deep within the earth by solidification of molten rock material and is also due to the exposure of erosion of the rocks, which are overlaying.
With his Kodak Brownie his parents gave him in hand, Ansel soon visited Yosemite National Park and became fasciated by the nature around him. The Yosemite National Park became Ansel’s favorite place to go to and photograph in the years to come. His phenomenal image of a landmark in Yosemite titled, “Monolith, the face of Half Dome”, received critical acclaim in
The canyon is a part of what is now the Yellowstone National Park in Wyoming, an area of land first acquired through the Louisiana Purchase. In this painting, the observer may notice many features which stand out. In the background, the image depicts a large, rocky ravine, occupied by a river and rows of trees. The river leads to a large orb of light, presumably stemming from a fire. In the foreground, two men are seen standing on a cliff above the ravine, presumably in awe at the wondrous land they have just discovered in the distance. Behind the men is an untraveled area of
Dani and I stand in the sun waiting for the “men” to catch up. The view was worth Quill’s whining and navigating through the snow. The breeze catches in the bright green and gold of new Aspen leaves whispering around the lake. The Pine trees scent the air and bask in the sun to steal its warmth from the forest below. The trees are a dark canopy along our path permitting only a few patches of the raised finely mulched trail to a beam or two of sun. Framed like a photo three pencil lead gray peaks rise above a lower sweeping curve of pines. They look close enough to walk over the ridge and touch them. Boulders precariously cling to the side of the mountains. The perfect deep blue early summer sky is the perfect backdrop.
All of these elements together, flow together smoothly and are a realistic representation of what a landscape would look like in person, so it gives you the sense that you yourself are looking out onto this
From the piece of artwork “Rain at the Auvers”. I can see roofs of houses that are tucked into a valley, trees hiding the town, black birds, clouds upon the horizon, hills, vegetation, a dark stormy sky and rain.
The mother and daughter are sitting on a bench of some sort on a ledge of a window with a portion of the window open. Outside the window there is landscape of mountains, trees, and a stormy sky. The sky is rich with a high value of grays including the whites of the clouds. The technique for creating the landscape out the window, the painter used an atmospheric perspective. The outside is slightly less focused and very fluid compared to the detail used for the mother and daughter.
What I see in this piece is peacefulness. Stokes of the paintbrush are perfect to make it look whole. With the sun shinning down making the colors pop out even more. The olive trees glowing in the suns light with the mountains behind it. It is a piece I could look at for a long time with out getting bored. The colors of the piece just make it look so complete. With the lines of the
...d the clouds. Cortazar focuses upon the imagery of clouds and pigeons, which conceals the larger story between the boy and the woman. The imagery also eludes to the photographers hallucinations, instead of truly seeing the pigeons and clouds he hallucinates and in the end these images are on a projector. For example, “… like a spell of weeping reversed, and little by little, the frame becomes clear, perhaps the sun comes out, and again the clouds begin to come, two at a time…And the pigeons once in a while…” (Cortazar, 131). Such imagery of the clouds and the pigeons in the end become the projections of the photographer’s mind as he projects these images onto the blow-up. The blow-up itself becomes instrumental to the photographer as it becomes a revelation of the projected reality. The photographer’s misconstruction of reality is his way of projecting his reality.