"What I mean by photographing as a participant rather than observer is that I'm not only involved directly with some of the activities that I photograph, such as mountain climbing, but even when I'm not I have the philosophy that my mind and body are part of the natural world"
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Rowell is pushing back against the myth of the camera as a neutral instrument, the idea that the photographer can hover above reality like a clean-eyed referee. His “participant rather than observer” stance is an ethic disguised as a workflow: if you climb the mountain you photograph, you’ve earned a certain kind of truth that can’t be replicated from a scenic overlook or a helicopter. The intent isn’t just credibility-bragging; it’s a claim about how images are made. Risk, fatigue, weather, and physical proximity aren’t obstacles to art here - they’re the medium.
The subtext is quietly political, especially in the context of late-20th-century nature photography, which often sold wilderness as pristine spectacle: a world “out there,” separate from viewers and conveniently empty of human presence. Rowell refuses that split. By insisting his “mind and body are part of the natural world,” he rejects the colonial gaze that turns landscapes into trophies. He’s saying: I’m not extracting beauty, I’m entangled in it.
That last phrase also expands “nature” beyond trees and peaks into physiology and attention. Your breathing, fear response, and decision-making are natural forces in the scene, shaping what gets framed and what gets missed. In an era when “Leave No Trace” ethics and environmental consciousness were becoming mainstream, Rowell’s philosophy offers a bracing alternative to the sanitized postcard: immersion over consumption, reciprocity over capture. The camera isn’t outside the ecosystem; it’s another organism making choices.
The subtext is quietly political, especially in the context of late-20th-century nature photography, which often sold wilderness as pristine spectacle: a world “out there,” separate from viewers and conveniently empty of human presence. Rowell refuses that split. By insisting his “mind and body are part of the natural world,” he rejects the colonial gaze that turns landscapes into trophies. He’s saying: I’m not extracting beauty, I’m entangled in it.
That last phrase also expands “nature” beyond trees and peaks into physiology and attention. Your breathing, fear response, and decision-making are natural forces in the scene, shaping what gets framed and what gets missed. In an era when “Leave No Trace” ethics and environmental consciousness were becoming mainstream, Rowell’s philosophy offers a bracing alternative to the sanitized postcard: immersion over consumption, reciprocity over capture. The camera isn’t outside the ecosystem; it’s another organism making choices.
Quote Details
| Topic | Nature |
|---|---|
| Source | Help us find the source |
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