For nearly a decade, artist and photographer Anita Friedrich has been translating the world's vast landscapes into captivating visual narratives. Her work, however, extends far beyond the traditional confines of a printed canvas.
Through a series of art exhibitions in San Diego, features in prominent local magazines, and spotlights on photography-focused YouTube channels, she has cultivated a practice that delves into the multi-sensory realms of experience. Building on her on-site photographic work, Friedrich collaborates with sound designers and perfumers to construct immersive installations.
Each landscape series is meticulously paired with authentic ambient soundtracks and complementary scent diffusions—the rush of ocean waves, the whisper of a forest breeze, the crisp scent of pine, or the tang of salt air. This innovative approach, which recently earned her a win at a photo editing competition in Los Angeles, is not merely an artistic whim.
It is a calculated endeavor to deepen the viewer's connection to the natural world, leveraging visitor engagement data to fine-tune audio levels and scent diffusion rates. The result is a body of work that not only showcases visual beauty but also fosters measurable psychological and restorative benefits, such as stress reduction and a heightened sense of presence.
This synthesis of art and science is at the core of her practice, transforming the passive act of viewing into an active, restorative experience.
Thank you for speaking with us today, Anita. What drew you to explore ambient soundscapes and scent layers as extensions of your landscape photography, and how did those collaborations with sound designers and perfumers begin?
That's a thoughtful and insightful question. Exploring ambient soundscapes and scent layers as extensions of my landscape photography often comes from a desire to deepen the emotional resonance and immersive quality of a captured scene.
Landscape photography freezes a visual moment in time, but the true experience of a place is multi-sensory. I was drawn to this work out of a desire for greater immersion, as adding ambient sound recreates an environmental context that helps viewers feel as if they are inside the scene.
I also recognize that smell is closely tied to memory, and a specific scent layer can evoke vivid personal memories that deepen a viewer's connection to the image. These elements add a temporal dimension to the stillness of photography, giving rhythm and flow to a static image for a fuller sense of the moment.
Furthermore, engaging more senses can cultivate a stronger emotional response when I am documenting fragile environments, potentially encouraging environmental advocacy. Creatively, it becomes a form of landscape storytelling, allowing me to explore how different sensory inputs work in harmony.
These elements drew me to explore national parks in Yosemite and the waterfalls in Kauai, Hawaii. From a technical standpoint, I'm using the latest technology of the Sony Alpha A7 IV camera with a wide Sony 16–35mm GM f/2.8 lens to capture breathtaking photos.
The collaboration with sound designers began when I realized the importance of mixing different art forms. After researching how to incorporate sound and smell and attending similar art shows for advice, I found that adding sound effects was an innovative way to draw more visitors to my online displays, making my projects feel complete.
How do you select specific environmental sounds and fragrances to pair with each photographic series, and what criteria guide those creative choices?
Selecting specific environmental sounds and fragrances is a multi-sensory curatorial process that enhances the viewer's emotional and psychological immersion. My approach begins with conceptual alignment, where the photographic mood—be it melancholic, serene, or joyful—dictates the sensory palette, from soft piano for introspection to the scent of damp earth for mystery.
The subject matter, whether urban or natural, also guides these choices, with cityscapes paired with traffic sounds and nature scenes featuring birdsong and pine scents. The temporal and geographic context is crucial as well; I match the time of day and location with corresponding sensory details, such as the sound of crickets for night scenes or the scent of sea salt for Mediterranean landscapes.
This process taps into emotional synesthesia, where fragrances can bridge subconscious emotions, and sounds can mimic visual textures, like the snap of a branch mirroring sharp contrasts in an image. Ultimately, the audience's experience is paramount, with gallery spaces using subtle scent diffusion and looping soundscapes to foster immersion, while my digital presentations might use interactive audio.
A key technical criterion is ensuring the sound level is maintained at a 70 dBA time-weighted average to create a pleasant and consistent auditory experience for the viewer.
Can you describe your process for capturing authentic audio and scent references on location and how you translate those sensory elements into a gallery setting?
Capturing authentic audio and scent references on location involves a blend of technical preparation, sensory awareness, and thoughtful documentation. My process starts with scouting and planning, which includes identifying key soundscapes and choosing the appropriate times of day to record different sounds, like the dawn chorus.
For equipment, I use a complex setup of shotgun mics for directional sounds and stereo mics for ambient environments, emphasizing that having the newest technology is key in these types of projects. During on-site recording, I capture long segments of ambient audio to ensure a dynamic range and use headphones for real-time monitoring.
I carefully document each recording with notes on time, weather, and location, and after reviewing all footage, I selectively choose audio that has a calming effect suitable for a gallery. To translate these elements into an exhibition, my goal is to create a multi-sensory experience that engages visitors beyond the visual.
This involves using immersive visuals like projections, carefully designed lighting, and interactive screens to guide the viewer's focus and participation. I manage auditory elements through ambient soundtracks, directional speakers to localize sound, and headphones for individual listening experiences.
Tactile engagement is encouraged through materials visitors can touch, while I introduce olfactory elements via scent diffusers or natural items integrated into the installation. In some cases, I even consider gustatory experiences, such as thematic tastings, to create a holistic sensory parallel to the visual work.
In what ways do you use visitor engagement data from magazine features and YouTube spotlights to refine the balance and intensity of sound and scent in your installations?
Magazine features play an important role in my art presentations. I use the visitor data to determine the age group and gender, and that data really puts an emphasis on what sounds to place into a photographic piece.
Using visitor engagement data from magazine features and YouTube spotlights to refine the balance of sound and scent involves a strategic blend of analysis. Critiques from journalists often describe the sensory impact with phrases like "overpowering scent" or "subtle soundscape," offering direct insights into how the elements were perceived.
The demographic reach of a publication also helps me guide adjustments, ensuring sensory intensity aligns with audience expectations. The comment sections on YouTube videos are another rich source of direct feedback, with mentions of how sound and scent influenced perception, while engagement metrics can correlate peaks in watch time with moments of sensory intensity.
How do you measure the psychological and restorative impacts of your multi-sensory exhibitions, and what findings have surprised you most?
Measuring the psychological and restorative impacts of my multi-sensory exhibitions involves a combination of research methods, as studies suggest these experiences play a significant role in mental health. To measure these effects, my team and I ask visitors to fill out a quick questionnaire.
This process involves pre- and post-experience surveys, in-depth interviews or focus groups, and behavioral analysis to understand how adding sound or smell to visual stimuli helps reduce stress and improve mood. One of the most surprising findings was when visitors mentioned feeling goosebumps when viewing a photo accompanied by the sensation of a breeze and other multi-sensory effects.
It was also revealed that scents and tactile elements often have stronger emotional and memory-based impacts than visuals alone. Another unexpected discovery from our interviews was that forest scenes paired with plant-based aromas led to the highest reported increases in calmness among visitors.
Could you share a memorable audience reaction or testimonial that illustrates the power of combining sight, sound, and scent in your work?
Certainly! A powerful testimonial from a museum visitor illustrates the impact of combining sight, sound, and scent in my work.
The visitor explained, "I walked into the exhibit expecting to see beautiful visuals and hear some ambient music, but the moment I caught the scent of pine needles and distant smoke, I was completely transported." They felt they were standing inside a forest fire simulation, not just looking at one.
The combination of crackling embers in the visuals, rumbling thunder in the audio, and an earthy scent triggered a deep childhood memory of camping with their grandfather. The visitor recalled, "I walked out in tears—not out of sadness, but because I felt so deeply connected. It was the most immersive and emotional art experience I've ever had."
Another testimonial captured a joyful reaction, where a person smelled ocean waves and pineapples. This combination immediately reminded them of a happy childhood spent in Hawaii with their parents.
What technical challenges have you encountered when diffusing scents and layering audio in exhibition spaces, and how have you overcome them?
This process is a complex project that has had many obstacles. The most challenging technical part is the scent, as diffusing the right amount and combining different fragrances effectively can be difficult.
Scents can linger, overlap, or travel unpredictably, making precise control a significant challenge. To manage this, we have adopted solutions like integrated scent diffusers or localized diffusers that are equipped with timers and fan controls for better regulation.
Another major challenge is sound bleed between different zones in an exhibition space. Overlapping audio can cause a cacophony or reduce the clarity and intelligibility of the intended soundscape. To overcome this, my team and I design and implement directional audio systems that use parabolic speakers or highly directional transducers to keep sound localized.
Looking forward, how do you plan to evolve your multi-sensory approach, and are there new sensory dimensions you hope to integrate into future landscape photography installations?
That's a forward-thinking and exciting question. My ideas are endless, and I am hoping for many more new multi-sensory innovations, such as a touchscreen next to every photo to give a background story, more interactive displays, and sound for every exhibition.
Looking ahead, the evolution of my multi-sensory approach will focus on deepening the immersive connection between the viewer and the landscape. I aim to move beyond the visual and sonic dimensions to create environments that more holistically simulate presence within a space.
This includes developing advanced soundscapes using spatialized audio to reflect how sound naturally behaves in open spaces, such as wind sweeping through valleys or birds shifting in trees. I am also exploring tactile interactions through haptic feedback, perhaps with wearables or reactive surfaces, that would allow viewers to "feel" environmental textures like the grit of sand or the coolness of mist.
Finally, I hope to deepen the integration of scent by collaborating with olfactory artists to create precise scent profiles that match each landscape—the earthy petrichor after rain, alpine pine, or coastal salt air—to bring a new depth to spatial memory and emotion.
Through a meticulous process of on-site sensory documentation and thoughtful collaboration, Friedrich transforms her landscape photography into holistic, immersive experiences. Her integration of ambient sound and layered scents is not merely an enhancement but a fundamental redefinition of how audiences can engage with visual art.
By carefully curating each sensory element to align with the conceptual and emotional core of her photographic series and leveraging visitor data to refine her installations, she creates environments that resonate on a deeply personal level. This pioneering approach balances artistic intuition with analytical precision, pushing the boundaries of traditional photography.
It also underscores the profound potential of multi-sensory art to foster well-being and a more intimate connection with the natural world. Her ongoing exploration into new sensory dimensions promises to further dissolve the barriers between the observer and the observed, inviting us to not just see a landscape, but to feel it in its entirety.
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