Goldsworthy's work is certainly some of the most perplexing in photography. Like Skoglund, he creates the subject he plans to photograph which raises the question of whether the photograph or the sculpture is the art. Certainly there would be no photo with out the sculpture, but that doesn't mean the decisions Goldsworhty makes behind the camera dont play a huge part in how the art. Here for example he shoots the structure when the lake is perfectly calm. Had he shot this an a windy day the ripples would have ruined the effect, destroying exactly half of art work.
In this image the time of day does not play as big a part as in the previous shot, although it still is prevalent. The grey overcast lighting and use of a eye-level vantage point gives the feeling of a open grave at a funeral. Once again, the camera plays more then a purely documentary role in this shot. It is not simply recording the sculpture; it is utilizing the form to create a new work of art. At the same time, it can't be said that the camera is truly pushed to its limits when creating this. It is more like the camera was used in such away to keep it invisible.
Here again, Goldsworthy uses the light and angle of the camera to best display the work. The ray of light forces the ice to stand out from the white show in the back ground. Even the dark of the tree bark gives a harsher contrast to the foreground. Though the sculpture is eloquent on its own, the photograph captures the moment when it is literally at the hight of its brilliance.