Theo Bosboom is a passionate photographer from the Netherlands, specialising in nature and landscapes. In 2013, he turned his back on a successful legal career to pursue his dream of being a fulltime professional photographer. He is regarded as a creative photographer with a strong eye for detail and composition and always trying to find fresh perspectives.
The Scream, the Netherlands, 2006. I must confess that I only noticed the face in the water when seeing the image on my computer screen and not when taking the image.
Introduction
During the fall of last year, I had the privilege of being one of the judges at the Natural Landscape Photography Awards. One of the things that struck me there was, on the one hand, the large number of entries in the Intimate landscapes category and, on the other, the very high quality of many of these images. Of course, this is just a snapshot, but there are numerous other trends and figures that indicate that intimate landscapes have become very popular among landscape photographers. On Google, you already get 60 million (!) hits if you search on the term Intimate landscapes, and there are now countless articles and blogs on how best to create these kinds of images.
We can therefore conclude - 44 years after the publication of Eliot Porter's book that gave the genre its name - that intimate landscapes have become one of the main movements in landscape photography.
When listening to podcasts about landscape photography, such as Matt Payne's famous series F-stop, collaborate and listen, you will regularly hear photographers who have discovered intimate landscapes in recent years and now have a preference for this type of images. If you are still in doubt, take a look at the cover photos of the last 30 editions of OnLandscape magazine, and you will see that many of the chosen images can be categorised as intimate landscapes. It, therefore, seems that intimate landscapes have now become as popular with photographers as grand landscapes, although this observation may still involve a bit of wishful thinking and tunnel vision. In any case, the rise of this type of landscape photography is undeniable, and we can therefore conclude - 44 years after the publication of Eliot Porter's book that gave the genre its name - that intimate landscapes have become one of the main movements in landscape photography. For me, as an early adept and also as one of the advocates of this movement, this is very gratifying to note. At the same time, it also raises some questions, which I will discuss at the end of this article. Before I go any further, it is worth noting that much of what I note here about intimate landscapes can also be said of abstract landscapes, including the abstract aerials that are now widely made with the drone. How exactly the categories should be distinguished from each other, by the way, is a tricky question, as many abstract landscapes could also be referred to as intimate landscapes.
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