Shown at the international Exhibition in 1862, this work displays the exquisite care of Bedford's approach. He takes further than J. R. Llewelyn the diminishing of the human Presence. At first we do not notice the man leaning against the rock. Our discovery of him renews our appreciation of the scale of the surrounding terrain. He is the conventional 'marker figure' of early photography - but one, it seems, about to be overwhelmed or engulfed by what he 'defines'. Bedford chooses the 'Pre-Raphaelite' high vantage point, this being the best way to display the patterns brought about by the play of light on geological structure. He has clearly caught Ruskin's enthusiasm: 'Now if there be any part of landscape,' the critic wrote, 'In which nature develops her principles of light and shade more clearly than another, it is rock... every crack and fissure has its shadow and reflected light separated with the most delicious distinctness'.