A lightning talk is a very short presentation lasting only a few minutes. Over the lunchtime, on the Saturday and Sunday, we are inviting our community of photographers to talk about a project they are working on or an idea.
Saturday
TIM PARKIN
Lee Filter Transitions, 13.00
Up until recently, we had two choices of filter transition, soft and hard, and you picked the one you wanted based on whether you used wide angle lenses. Most of the time this worked, but On Landscape and Lee worked together to produce Soft, Medium, Hard and Very Hard transitions for their filters. The talk looks at the relationship between the different transitions and camera/lens combinations with the aim of producing a predictable effect and to help people choose the appropriate filters.
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KAREN THURMAN
From Seed to Show, 13.15
Karen will be talking about getting a photographic project from a germ of an idea to an exhibition.
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THOMAS PECK
Utah Rocks!, 13.30
The American West is a photographer’s mecca, especially Utah and Arizona with their canyons both Grand and Intimate. A land of iconic vistas, but a risk of photographic cliché. So how do you search for your own point of view? Is it possible to develop a vision as well as technique while on a landscape workshop? Here’s what I learned when I swapped being a landscape workshop attendee for leading the workshop myself.
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ALASTAIR ROSS
Ties to the Land, 13.45
Using pinhole cameras and film I explore humanity's relationship with the land and how it has used the land. Humanity has always used the land to his own ends and he has left evidence of that across the millennia from the subtle to wholesale reforming of the land.
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COLIN BELL
What’s the Story?, 14.00
Colin will be using his work from Holme Fell, Thirlmere and Delamere Forest to talk about how the landscape reveals the narrative of its history and regeneration. He will talk about how to create photographs that embrace imperfection and reflect the sense of place and not just a location.
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Sunday
JOE CORNISH
The Life of the Print: A maverick’s view of digital printing technique, 12.30
If you are already an advanced printer you may be familiar with some unorthodox techniques and tactics. Joe’s thesis is that your own ideas and interpretation should guide and form your working method, not simply the conventional wisdom. These may include the subtle application of monochromatic noise to mask digital artefacting; local or global use of softening, or minus clarity, to enhance image quality; local reduction of saturation for better colour balance; local contrast and sharpening adjustments to enhance depth… the goal of the technique is to bring the image to life, to fully reflect the artistic intention behind them.
These may include the subtle application of monochromatic noise to mask digital artefacting; local or global use of softening, or minus clarity, to enhance image quality; local reduction of saturation for better colour balance; local contrast and sharpening adjustments to enhance depth… the goal of the technique is to bring the image to life, to fully reflect the artistic intention behind them.
GREG WHITTON
Eryri: A Song for Snowdonia, 12.45
A year of images. Some seen and some unseen, and stories of how those images came to be. Moments of unparalleled grandeur interspersed with quieter reflection. A personal love affair, with this most special of National Parks.
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MICHELA GRIFFITH
Redefining the River, 13:00
In between the extremes of sharp detail and blur, photographing water offers a wide range of possibilities; a palette to suit each mood, the possibility of a painter’s touch. Rather than focus on incident or motion, I increasingly look at the surface of the river as a canvas on which I’m making marks and finding new truths.
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ALEX NAIL
Wilderness Time-lapse, 13.15
An introduction to the capture and creation of time-lapse films in remote areas. Alex will discuss the unique challenges he has experienced whilst shooting time-lapse films in the Drakensberg and Greenland.
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RICHARD CHILDS
Foreground First, 13.30
Richard explains how his photography has evolved to a point where his images are always about where he is standing rather than the horizon thanks to using Large Format cameras. He also demonstrates how reading from the front down helps to build strong composition often making light a secondary consideration when taking a photograph.
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