The Photographical landscapes spontaneously evoke associations with horizons like Hiroshi Sugimoto’s Seascapes, but have emerged in a completely different way, namely during a working day in the photo lab that many photographers perceive as meditative. The immersion of photographic paper in the various developer, stop and fixing baths is repeated countless times, the liquids wet the papers and reveal the latent images hidden in them, and after hours of work the vapours from the chemicals affect the concentration. In Photographical landscapes, the focus is on the procedure between photographic paper and developer bath. Without a previously taken picture and without exposure, only by dipping and panning different manufacturers’ papers, a horizon forms, irregular dividing lines between a (delicate pink) sky and (already in the dark) earth, which we quickly read as elevations fading in sfumato into a landscape. The terms from the analogue photographic process—developing and fixing—can also be read metaphorically in Photographical landscapes: the blackened surface or horizon that it forms is developed, and thus concretised, everything above it is still untouched, open and to be developed.