For many years after its foundation in 1791, the Ordnance Survey was mainly concerned with making small-scale military maps of England. The department had no definite plans for Ireland until 1824, when it was directed to map the whole country (as a prelude to a nationwide valuation of land and buildings) as quickly as possible on the large scale of six inches to the mile. After many delays and some mistakes, economy and accuracy were brought to this new task by applying the division of labour in a complex succession of cartographic operations, outdoor and indoor, each of which was as far as possible checked by one or more of the others. A similar system was later adopted by the Survey's British branch. The six-inch maps of Ireland appeared between 1835 and 1846, during which time they evolved from merely skeleton maps (Sir James Carmichael Smyth) into a full face portrait of the land (Thomas Larcom). It was originally intended to accompany them with written topographical descriptions, but only one of these had been published when the idea was abandoned in 1840. The revision of the maps, begun in 1844, was more successfully pursued, though like the original survey it presented new and challenging problems. In the 1850s the production of both smaller and larger scale maps of Ireland was placed on a regular footing. The survey's Dublin office was kept in being to carry out these tasks, which were not completed until almost the end of the century. The above mentioned topics are fully described in this thesis. Meanwhile a new and separate chain of events had begun in 1887 with the authorization of cadastral maps of Ireland on the scale of 1/2500. The latter, together with some more recent aspects of Irish Survey history, form the subject of a brief postscript.

Too much of what has so far passed for the 'historical background' to Indonesia's environmental problems has consisted of little more than thinly disguised backward projections of modern trends. The writers in this volume report on their own pioneer journeys into the paper landscapes of the colonial literature and archives in search of the real environmental history of Indonesia.

The editors begin with articles that illuminate the discipline's diverse scientific foundations, such as L.

See the images and read the stories behind the creative process of one of America’s most respected landscape photographers, William Neill.

For more than two decades, William Neill has been offering his thoughts and insights about photography and the beauty of nature in essays that cover the techniques, business, and spirit of his photographic life. Curated and collected here for the first time, these essays are both pragmatic and profound, offering readers an intimate look behind the scenes at Neill’s creative process behind individual photographs as well as a discussion of the larger and more foundational topics that are key to his philosophy and approach to work.

Drawing from the tradition of behind-the-scenes books like Ansel Adams’ Examples: The Making of 40 Photographs and Galen Rowell’s Mountain Light: In Search of the Dynamic Landscape, Light on the Landscape covers in detail the core photographic fundamentals such as light, composition, camera angle, and exposure choices, but it also deftly considers those subjects that are less frequently examined: portfolio development, marketing, printmaking, nature stewardship, inspiration, preparation, self-improvement, and more. The result is a profound and wide-ranging exploration of that magical convergence of light, land, and camera.

Filled with beautiful and inspiring photographs, Light on the Landscape is also full of the kind of wisdom that only comes from a deeply thoughtful photographer who has spent a lifetime communicating with a camera. Incorporating the lessons within the book, you too can learn to achieve not only technically excellent and beautiful images, but photographs that truly rise above your best and reveal your deeply personal and creative perspective—your vision, your voice.

John Stilgoe is just looking around. This is more difficult than it sounds, particularly in our mediated age, when advances in both theory and technology too often seek to replace the visual evidence before our own eyes rather than complement it. We are surrounded by landscapes charged with our past, and yet from our earliest schooldays we are instructed not to stare out the window. Someone who stops to look isn’t only a rarity; he or she is suspect. Landscape and Images records a lifetime spent observing America’s constructed landscapes. Stilgoe’s essays follow the eclectic trains of thought that have resulted from his observation, from the postcard preference for sunsets over sunrises to the concept of "teen geography" to the unwillingness of Americans to walk up and down stairs. In Stilgoe's hands, the subject of jack o’ lanterns becomes an occasion to explore centuries-old concepts of boundaries and trespassing, and to examine why this originally pagan symbol has persisted into our own age. Even something as mundane as putting the cat out before going to bed is traced back to fears of unwatched animals and an untended frontier fireplace. Stilgoe ponders the forgotten connections between politics and painted landscapes and asks why a country whose vast majority lives less than a hundred miles from a coast nonetheless looks to the rural Midwest for the classic image of itself. At times breathtaking in their erudition, the essays collected here are as meticulously researched as they are elegantly written. Stilgoe’s observations speak to specialists—whether they be artists, historians, or environmental designers—as well as to the common reader. Our landscapes constitute a fascinating history of accident and intent. The proof, says Stilgoe, is all around us.

Charles S. Aiken, a native of Mississippi who was born a few miles from Oxford, has been thinking and writing about the geography of Faulkner's Yoknapatawpha County for more than thirty years. William Faulkner and the Southern Landscape is the culmination of that long-term scholarly project. It is a fresh approach to a much-studied writer and a provocative meditation on the relationship between literary imagination and place. Four main geographical questions shape Aiken's journey to the family seat of the Compsons and the Snopeses. What patterns and techniques did Faulkner use--consciously or subconsciously--to convert the real geography of Lafayette County into a fictional space? Did Faulkner intend Yoknapatawpha to serve as a microcosm of the American South? In what ways does the historical geography of Faulkner's birthplace correspond to that of the fictional world he created? Finally, what geographic legacy has Faulkner left us through the fourteen novels he set in Yoknapatawpha? With an approach, methodology, and sources primarily derived from historical geography, Aiken takes the reader on a tour of Faulkner's real and imagined worlds. The result is an informed reading of Faulkner's life and work and a refined understanding of the relation of literary worlds to the real places that inspire them.

A collection of seventeen essays examining the field of American cultural landscapes past and present. The role of J. B. Jackson and his influence on the field is a explored in many of them.