photography that I began to discover
really isn’t utilized very much.”
In his landscape work, Gore relies
heavily on the use of color theory as well
as digital imaging in service of images
that aim to evoke powerful feelings in
the viewer. In fact, he even hesitates to
call his work “photography.”
“The topic of image manipulation may
go down in eternity as the most hotly
debated topic of landscape photography,”
he says. “Everyone has an opinion, and
I’ve witnessed some all-out wars on the
subject—some of which I’ve been a part
of. I don’t care to engage on the subject
these days because I just don’t see the
point anymore. People should decide
where they lie on the spectrum of how
much manipulation is ‘OK’ and then just
put it to rest and go make some images.
But yes, on my website I do talk about
how I prefer to use the term ‘images’
rather than photographs for my own
work because the definition of a photo-
graph is a bit gray, and I do utilize more
techniques beyond the capabilities of a
camera and what it can give me alone.
I guess I just feel a bit uncomfortablecalling my work ‘photographs.’ It’s just a
personal thing, and I certainly don’t sug-
gest anyone who does any kind of post
processing to their images do the same.
“My vision of the images I create is
more to evoke the emotion and feeling
of the place I’ve made the image of,”
Gore continues. “When you are there, the
experience is about so much more than
what can be portrayed on a two-dimen-
sional image. It’s the air, the smells, the
feeling of being there. I set off beyond
what the camera alone is able to do to try
and breathe a little bit of that experience42 Outdoor Photographer outdoorphotographer.com