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End frame: Arran Light by Dylan Nardini
Despite the drama of the captured view, there is no drama with the editing. One could easily have darkened those moody clouds to make it look even more foreboding than it is, but he hasn’t. more
Natural Landscape Photography Awards 2025
It's the Natural Landscape Photography Awards time of year again, and we've spent the last few weeks making final decisions on winners during a long seven-hour judging session on Zoom. A big thank you to Matt Palmer from Australia, who had to stay up from midnight until the next morning in order to synchronise with the Europeans and Americans on our panel. The rest of our judging panel consisted of Jennifer Renwick from the US, Jack Lodge from more
Walking in the Shadow of Middle Earth
As with many aspects of myth and history, there are contrasting beliefs and political nuances that often clash when attempting to anchor Tolkien's world to specific real-world locations. more
End Frame: lo non ho mani che mi Accarezzino il Volto by Mario Giacomelli
Mario Giacomelli is considered one of Italy's greatest photographers, as well as a figure who made the expression of inner feelings his focus. more
End frame: Lido di Venezia, 1959 by Gianni Berengo Gardin
The photograph invites questions without offering answers. Who are these people? A couple with their child? Relatives? Domestics of a wealthy Venetian family? What are their thoughts? more
Escaping the Algorithm, Missing the Buzz
I think we have all become tired of it. The algorithms, the endless tweaking of hashtags, and the feeling that our creativity was being filtered through a faceless server farm— the gatekeeper who decides if our work is worthy of being seen. more
End frame: The Pond Moonrise by Edward Steichen
It could be argued that The Pond – Moonlight (1904), taken in Mamaroneck, New York, near the home of his friend Charles Caffin, still stands as his most important early work. more
End frame: Cromarty Firth, July 2024 by Marianthi Lainas
I have circled back to Marianthi’s work regularly over the last decade or so, not in the sense of moving backwards to something in the past, but each time I visit her new work or revisit pieces I am already familiar with, I feel a new sense of discovery, as if I am uncovering an aspect of myself previously unknown to me. more
End frame: L’Éclipse by Eugène Atget
There is something immediately appealing about Eugène Atget’s 1912 albumen silver print L’Éclipse—a sense of spontaneity, playfulness, and ease with which the Parisian photographer pulls us right into the center of the crowd that gathered on Place de la Bastille to observe a solar eclipse. more
End frame: No Lilac Time by Kjetil Karlsen
What stands out in No Lilac Time—and in much of Karlsen’s work—is the interplay between sharp and blurred elements. Only the fence in the foreground is in focus; everything else is softened by swirling snow. more
End frame: Wild Dusk Watchers by Dan Harnett
What strikes me immediately is how these ordinary natural elements have been transformed into something extraordinary and evocative, and finally into a piece of art. more
End frame: Road from Abiquiú (1964-68) by Georgia O’Keeffe
O’Keeffe is part of the story of modernist photography whether she likes it or not. She was married to Alfred Stieglitz, who took more than 300 photographic portraits of her. more
End frame: Near Sommarøy by David Ward
Yes, you travel thousands of miles to a stunning, exotic location full of dramatic scenery and choose to photograph two rocks and a bit of grass! And yet, David’s image, viewed on the back of his 5x4 camera, was a far more interesting piece of work than anything taken by the rest of the group that evening, or even the whole trip. more
Convergent vs. Divergent Thinking in Photography
Even if you’ve shifted your creative process and focus, your past work doesn’t have to be left behind. Sometimes, the old and the new can converge in surprising ways—and that’s a pretty exciting thought for any photographer. more
End frame: The Ladies of Granston by Chris Tancock
Whilst Chris photographs in the landscape, and often his images include wildlife, “traditional” landscape and wildlife photography are genres that he doesn’t particularly warm to. more