SURREAL LANDSCAPE, 2016-2019, film photography. Surreal Landscape uses the medium of photography to look at vision as a way human understanding differs from artificial intelligence. The vision of elements presented in the series are sensual and textural. The materiality of imaging the abstractions of elements becomes mirrored in the psyche, and embodied perception through the physicality of spacial viewing. The images are framed for the physicality of form in union with the perceptual state of mind to extract new forms from “mental turbulence.” As Davinci depicted turbulence in water and in the mind in paint, illuminating perceptual turbulence. Such methods in painting are translated into the contemporaneity of the photographic process. The ability to extract form from turbulence becomes the ability to invent new form in visual art history. Artificial intelligence cannot do this as samples must be referenced. The difference is so slight, the self-evident truth is most often missed. As challenging for humans to gain direct experiences presents a challenge, particularly for technocrats. The aesthetic relationships stir ethical conversations on relationships between humans and nature. Using the distinct qualities of imaging technology by enhancing the digital interpretations of analogue film, the photographic image invites the viewer to open various methods in which vision and images can be read, related with, and understood. Values of beauty and internal and external landscapes, as principles, guide emotional and behavioural choices related to the environment of which humans are made of.