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The Highs and Lows of a Landscape Photographer
Do you remember Ciara and Dennis – how can you not?! Sod’s law would have it that I managed to coincide my trip with these two storms more
End Frame: ‘Dead Camelthorn Trees, Dead Vlei, Sossusvlei, Namibia’ by Frans Lanting
To draw attention to the story he wants to tell, he has to make images which are beautiful, creative and compelling. Therefore, he is always looking for different perspectives and different ways to show us the world. more
End Frame: ‘High Light’ by Colin Prior
What is striking is his capability to capture the authentic spirit of place, and by doing so, his place within that place. He offers some of the most natural interpretations of a landscape more
It’s Up To You What You See
Abstract art can be the most frustrating of art forms, but it can also be the most rewarding. There is a simple reason for this I think: the responsibility for finding ‘meaning’ in an image is thrown entirely on to the viewer. more
There & Back Again!
The fact was I had lost the mojo and the enthusiasm. It had become an automated process. There were few decent ones I could have printed, which is my litmus test for a good image. more
End Frame: ‘Hrafntinnusker Fog Ice River’ by Bruce Percy
Bruce’s work also teaches us the value of building a relationship with the landscape that we photograph, of returning again and again. more
The Post-Processing Debate, Part I:
Few topics in landscape photography generate as much emotional debate as digital post-processing. The fascinating thing about the current debate is that it closely parallels a similar debate that occurred nearly 100 years ago. more
Meaning, C19 and the Voice Within Our Landscapes
During this pandemic crisis, landscape photography is as relevant and meaningful as ever. It has much to offer in terms of thinking about re-evaluating our approach and the opportunity to do things differently when we emerge from this situation. more
End frame: ‘Salt’ by Murray Fredericks
Something that stands the test of time and continues to show nuance over a sustained period. This is what Murray Fredericks work has been to me. more
The Timeless Horizon
The monochrome toning of the water seems to increase that sense of constant, ageless solidity. It has a luminosity that feels metallic, not in a polished and reflective sense, but matt and translucent. more
In Rombalds Wake
Apart from the spa, Ilkley is famous for another thing: a little ditty entitled On Ilkla Moor Baht 'at – which is meant to be sung in Yorkshire dialect – and is translated to mean “on Ilkley Moor without a hat.” It was reputed to be composed during a Victorian church outing to the moors and is the unofficial anthem of Yorkshire. more
End frame: At the Edges by Lee Acaster
If you haven’t been there, Shingle Street is about eight miles south-east of the Suffolk town of Woodbridge, across the marshes on the far side of the village of Hollesley more
End frame: Glowing Autumn Forest, Virginia by Christopher Burkett
Amongst my more contemporary influences is the photography of Shinzo Maeda and Christopher Burkett; it is Christopher’s image titled ‘Glowing Autumn Forest, Virginia’ that is my chosen end frame. more
Compare and Contrast
I guess this analytical approach stuck because as I look at these two photographs by Finn Hopson, I can’t help but react in exactly the same way. They both have the same subject – woodland scenes with mist and fog. They are structured very similarly – strong verticals bisected by flowing horizontals. But their mood is completely different. more
End frame: Plate 29, Series called ‘Door suite’ by Ray K. Metzker
Metzker always titled and grouped his images based on their location or technique. He rarely gave individual images a descriptive title. more