Take, for example, Ernst Haass images of dramatic skies, the elements and the seasons. His work, dramatic and inspiring, calls upon our pre-modern imaginations of the world at its most elemental, charged with a dynamic energy.
Photographs can also point out the extraordinary or magical in the seemingly irrelevant, as in Bolucevschi Vitalis prizewinning image of ants poised like dancers in stellar form. Modernised, urbanised and alienated as many of us are, photographs remind us of natures many complexities and subtleties. Or, as in Sebasti?o Salgados on-going project Genesis that is linked to an equally challenging project at the Instituto Terra to restore Brazils Atlantic rain forest, photography marries wonderment, amazement and joy to a well-defined and articulated commitment to the planet. It melds fractures and helps envisage solidarity in our imbalanced and fractured world.
So what moves us to snap a sunset on the horizon, a flowing river, a blossom in spring? The photograph by itself is only a token of a moment gone by. Its power lies in the metaphor, for photography captures our minds more than we capture the subject.
In the case of nature photography, we discover that the battle for sustainability and environmental balance is not something fought out there, in the distance, but one that ultimately returns us to the natural. Environmental photography matters, because it offers the lifeline of a bridge between our modern, denaturalised, mechanistic mores and the imperative of nature within and without.
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