Photographs taken by Terry Evans in the “Heartland” collection show diverse perspectives of the Midwestern prairie. “Heartland” exhibits the characteristics of traditional Gothic through the combination of vast landscapes and dilapidated factories. Photos from three collections illustrate the transition from the untouched landscape to an overgrown and Gothic scene. The first photos of the Gothic transition come from the “Prairie Images of Ground and Sky” collection. The collection shows an untouched nature that gives a feeling of the sublime. It shows vast expanses of green, bathed in warm light, which demonstrate a raw beauty and goodness created by nature. This sense of the sublime is a major aspect of Gothic because of its ability to contrast with the often dark plots. This aspect also gives the reader a sense of wonder that provokes a confrontation and reevaluation of the power of nature in relation to the characters and other elements of the novel. The photos in the “Prairie Images of Ground and Sky” collection inspire the sublime in the viewer but often lack the evil component in Gothic novels because the landscapes are pristine. These open expanses represent the unknown, but not in a traditional Gothic way that would raise concerns about the possibility of something treacherous lurking in the landscape. Instead, they are devoid of any signs of human activity and use soft lighting associated with virtue and goodness. This collection shows the distant and the sublime before contact with other gothic themes which cause a darker scene to unfold. In many novels, such as The Turn of the Screw and The Mysteries of Udolpho, the role of the sublime is not to induce a power of nature in a familiar way but to use nature as an agent or conduit in the middle paper......and the suspicion of a forgotten power linked to ruin. Terry Evan's "Heartland" photography collections visualize basic Gothic elements through a progression of themes. Starting with the sublime astonishes the viewer who is then quickly corrupted by suspicion by the fear of isolation created by sparse but perceptible human activity. The sublime is then seen as something that can be used as a mask for evil rather than as the purity of nature. The last perspective shows the loss of power and the presentation of vestiges that show what one was. The ruins add even more mystery to what happened to this specific location, on top of the suspicion and isolation of the landscape provided before. Through the series of photographs, “Heartland” shows the evolution of the integrity of nature towards a more complex story and mystery that features primary Gothic elements..