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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
End frame: Evening Tracks, Swaledale by Garry Brannigan
There is a natural meeting point of all the lines in the middle of the picture which holds the eye in the frame; so often this is not the case and we wander off the page! The trees on each edge help to emphasis this point. more
Why did you take it?
This question is not given a lot of thought and this can be the difference between an excellent image and an average, or even a bad one and responses can be convoluted and unclear. more
End frame: Dovercourt Lighthouse by Neil Hulme
The lighthouse is a subject that has been shot many times but I think Neil has delivered an image with an air of reflective beauty and mystery. more
End frame: The Dysfunctional Family by Simon Baxter
One of the photographers I follow on YouTube, stands out for his woodland photography; Simon Baxter. Being able to watch Simon discovering, composing and making his images, provides an invaluable insight into his thinking and I hope plants creative seeds in my photographic mind. more
Alan Lait
There is something about the rugged beauty of the mountains, mixed with the often moody weather that I engage with and, although my early visits were more about reaching the top of the fells more
End frame: Vesturhorn by Esen Tunar
It still has that uplifting vibe that I felt the first time that I saw it, and I still feel like I’m stood in the very spot that he was just taking in the wondrous view before me, probably just like he did. more