This article offers an approach to land art through the perspective of the “camera’s eye”. By analyzing site-specific works such as Whirlpool (1973), Sun Tunnels (1976), Munich Depression (1969), and Spiral Jetty (1970), it explores how the technical image articulates complex relationships with both spatiality and temporality. Two key features are highlighted: intermediality and photographic seriality, characteristic strategies of the neo-avant-garde practices of the 1960s. In particular, it argues that serial montage introduces a mobile, processual vision of the intervened site, demonstrating that photography is not merely documentary evidence of earthworks but a fundamental device in their conceptual and perceptual configuration.