Third Views,
Second Sights: A Rephotographic Survey
of the American West
by Mark Klett, Project Director
Kyle Bajakian, William L. Fox, Michael
Marshall, Toshi Ueshina, Byron Wolfe
Museum of New Mexico Press, Santa Fe in
association with the Center for American
Places, 2004
256 pp. illus. 138 b/w, 14 col., and interactive
CD. $N/A
ISBN: 0-89013-432-4.
Reviewed by Aparna Sharma
The Film Academy
University of Glamorgan
aparna31S@netscape.net
Third Views Second Sights is a
collection arising from a second rephotography
survey in the American West. The book
brings into dialogue images from the first
surveys of the landscape, undertaken in
the 1860s and 70s with a first rephotography
project in the 1970s and a second, two
decades apart, in the late 1990s. Both
projects followed a strict technical methodology,
imaging landscapes from the same vantage
points as in the first survey images and
meticulously filmed at the same time of
the day and year. Images from the three
surveys are juxtaposed in the book, setting
up a very clear index of change and continuity
for the reader. The collection is supported
by an extensive introduction by Project
Director, Mark Klett and concludes with
a selection of field notes compiled by
author and participant, William L. Fox,
who has previously written on landscape
interpretation. The visual richness of
the project aside, the book achieves in
sharing and provoking reflection upon
how closely landscape and the culture/s
evoked and technology/ies employed in
engaging with it are interrelated.
Besides indexing amendments due to human
settlement and development, natural variations,
and concerted attempts at environmental
preservation, the book simultaneously
amounts to a register of advances in photographic
technologies. It clearly furnishes an
interdisciplinary preoccupation, mobilizing
a spread of discussions including photographic
history, earth science, and conceptual
art. Navigating through the text, the
strict adherence to position clearly evokes
the presence of the photographer, muddying
the distinctions between, as William Fox
states in his notes, "object and
process" or "science and art."
The rephotography surveys involving intensive
fieldwork, often performed under strenuous
natural circumstances, emerge as more
complex than a mediation surrounding form.
They open a passage wherein the process
of rephotography exemplifies the imbrication
of history, personal narrative/s, culture,
and technology through which the subject
of "landscape" stands argued
beyond spatial definition and dynamics
and landscape documentation itself extended
beyond nature or wilderness photography.
A question all participants of the Third
View team tangentially yet critically
engaged with was whether their work amounted
to "making history," a phrase
first used by a journalist while questioning
them. Klett and Fox resist the arrogance
and presumption in such a take. Rather,
they hold their work as "participatory,"
"not separate from history."
Rephotography is resituated now, not as
a goal oriented activity, more as an evolving
process from which participants make "excursions"
to reflect upon variegated dynamics associated
with the landscapes they interact with.
In this process global movements and contemporary
geopolitical dynamics find as much claim
as engagement with artefacts or documents
such as the Hollywood Western. Such reflection
and embracing of multiple movements, dimensions,
and connections open a fine discursive
territory that is away from simplified
categories of form and content with respect
to apparatus and nature-culture or history-development
in terms of anthropological inquiry.
The American West, which has been the
subject of vast landscape interpretation
and visual and cultural anthropological
research, provides rich testimonials of
physical and geological malleability,
competing lines of communications, and
layers of complex cultural inscriptions
interpreting which landscapes can be understood
as constantly evolving and not strict
cartographic categories. By offering this
curvaceous landscape in some of her most
telling splendour and argument, Third
Views casts the net of the rephotography
project and its engagement with time on
us readers, too. Landscape gets emphatically
catapulted to an altogether new dimension
of temporality, summarised in Kletts
comment: "So space is not whats
new, but time is, and thats what
we traverse in Third View. Thats
what rephotography is all about."
Injecting the dimension of time posits
more sensuous and experiential possibilities
that are useful interventions within debates
surrounding the problematics of self-reflection
within Visual and Cultural Anthropology.
The book is accompanied by an interactive
DVD that includes, among other research
resources, a collection of short films
pertaining to the sites visited and field
notes. The book concludes with a useful,
select bibliography.