Tim Parkin

Issue 94 PDF

You can download the PDF by following the link below. The PDF can be viewed using Adobe Acrobat or by using an application such as Goodreader for the iPad. We've split the PDF into highest quality and small download versions now. The small download is still good enough quality for general browsing but you won't be able to zoom into the smaller images as much as with the larger. Click here to download issue 94 (high quality, 82Mb) Click more →

The Environmental Photographer of the Year, 2015

Following on from helping the Wildlife Photographer of the Year competition with their judging, I was also asked to help judge the Environmental Photographer of the Year (alongside the excellent photographer Stephen Vaughan). It may not have the profile of some larger competitions but because entry is free it attracts a great deal of entries from around the world. Over ten thousand images were submitted this year from across 60 countries and I was very surprised at the amount more →

Endframe – “The Markerstone: Harlech to London Road” by Fay Godwin

Fay Godwin (17 February 1931 – 27 May 2005) The Markerstone: Harlech to London Road. Wales 1974 I don’t think I can say I have one all time favourite photograph. I have so many for different reasons and moods. But when faced with such a question to consider your ‘favourite’ photograph from another photographer, my initial recollection were not of what I expected; I suppose upon receiving the question I was reminded of the landscape greats, Adams, Western, Porter, and more →

Thomas Peck’s Critiques

Abstract photography, which is how I would almost classify this lovely photograph by Michéla Griffith (click here to read previous articles by Michela), engages the viewer in a completely different way from other photographic genres. Unlike a landscape or a portrait there is a momentary hesitation, a second of uncertainty, as we ponder what it is that we are seeing. Abstraction demands engagement; the viewer must work to see and recognise. Why is this picture only almost an abstract? more →

Interview with Karen Thurman

Tim Parkin: Hi Karen, where are you based then? Karen Thurman: Luton TP: Not a renowned landscape location KT: No, but one of our ‘On Your Doorstep’ locations. One of the ones we’ve already done. TP: And what do you find to photograph on your doorstep? KT: Same thing we photograph around all our ‘On Your Doorstep’ locations - parks, woodlands, etc. TP: Interesting as I was talking to Niall Benvie about his 20/20 imaging projects and conservation photography groups. He deals with more →

Caroline Fraser

Caroline Fraser’s images from New Zealand have made some think she hails from down under, so an interview with her is a good chance to clear this up (she lives in Sussex). more →

Softly Does it

While I was in the process of learning to photograph the landscape (and still am!) I was intrigued by a comment from a fellow photographer that when the light was soft and flat it was details weather. I fully understand that details work really well under soft lighting conditions but what was wrong with trying to shoot a vista in soft, flat light? The British Isles’ weather systems more →

Building Your Own Gallery

When we looked into moving house a few years ago, one of the criteria I had was that it had to have some outbuildings. I had all sorts of ambitious ideas about a large studio or gallery, even a teaching space where I could run processing workshops. Financial reality then set in and I set my sights a little lower, thinking in terms of a small studio-cum-gallery, but somewhere where, potentially, I could set up still life and macro scenes. Our new house more →