Join the conversation
Subcribe to comment rss feed
Subscribers 4×4 Portfolios
Alistair Young, Camila del Castillo, Jesibel Fernandez & John Martin
Issue 128 PDF
Browse On Landscape on your Tablet, iPad or Desktop
Subscribers 4×4 Portfolios
David Haughton, Istvan Nagy, Jason Riley & Jörg Frauenhoffer
Carla Regler
Featured Photographer
Endframe: Radiant Pastels by Guy Tal
Wayne Bingham talks about one of his favourite images
The Sport of Waterborn Photography
Full Steam Ahead
Why not…?
Creating something other than an objective facsimile
Life on the Ullswater Steamers
Uncovering New and Unknown Gems
Thomas Peck’s Critiques
Dan Nathan
Isolation of Winter
Conveying the sense of emptiness and vulnerability
Don’t Forget To Take Your Soul
Listening to Your Inner Self
sponsored by ..
This week, in between moving houses and scanning film, I’ve been judging another photography competition. This time it’s the International Landscape Photographer of the Year, a competition run by Peter Eastway of Better Photography. It’s always an honour to be asked to do this sort of work but I also get a lot out of it in terms of seeing the large range of photographs that are being submitted and finding out, from analysing my own choices and those of other judges, just what it is that engages in landscape photography.
A photograph really has to engage on multiple levels to get past the instinctive filter. A picture with a strong and creative composition will definitely get a second look. But what I took from it on a personal level was me was two equal and opposite things. Firstly how to really look at my own images and secondly that individual images, however amazing and however much I loved them, told me almost nothing about the photographer or the subject. A photographer and his or her story is more, much more, than any of their individual photographs and, knowing this, the mass reaction to any individual photograph is far from the most important thing.
Tim Parkin
Subscribers 4×4 Portfolios
This issue our 4x4 landscape photography portfolio features are from subscribers: Alistair Young, Camila del Castillo, Jesibel Fernandez & John Martin. more
Issue 128 PDF
This week, in between moving houses and scanning film, I’ve been judging another photography competition. This time it’s the International Landscape Photographer of the Year, a competition run by Peter Eastway of Better Photography. more
Subscribers 4×4 Portfolios
Our 4x4 feature is a set of four mini landscape photography portfolios from our subscribers: David Haughton, Istvan Nagy, Jason Riley & Jörg Frauenhoffer. more
Carla Regler
Living in such a close community with the locals and fishermen they often tell you stories and the stories are often how big the waves were, and sometimes it’s hard to believe. more
Endframe: Radiant Pastels by Guy Tal
Guy Tal’s “Radiant Pastels” represents one of the many images that drew me to his photography. It impresses me with its deep energy, stillness, and contemplative quietness. more
The Sport of Waterborn Photography
I have to say that the experience of producing photographs at such a pace, of being forced to instinctively compose and recompose, was extraordinarily powerful. more
Why not…?
What passes for beauty continues to be reinterpreted as we grow a different understanding of reality and a greater tolerance towards art and artists. more
Life on the Ullswater Steamers
Working every day on Ullswater highlights how long it can take to intimately know your local landscape. I am constantly uncovering new and hitherto unknown gems. more
Thomas Peck’s Critiques
What does a diptych do? By bringing together two images the artist is implying a relationship between them. The viewer has to react to that relationship, to question it. more
Isolation of Winter
I have always preferred making photographs in the winter months. I do love autumn and spring, but there is something about the starkness of trees with no foliage, or the muted light, and often the lack of sunlight. more
Don’t Forget To Take Your Soul
As a landscape photographer I have often been advised that there is no substitute for "being there" with "the right light", preferably during the "golden hour" to make wonderful pictures. I have often wondered about this universal advice, is it strictly true? more