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Endframe: Approaching Storm by Chris Upton
Is it a landscape image or am I just on a nostalgia trip? I’ll let you decide but to me it’s both. A photograph of any type is by definition a moment in time past so the two are probably inexorably linked. A lot of our industrial landscape has slipped away over the years without being captured. more
Thomas Peck’s Critiques
The best photographs leave something to the imagination, they leave room for the viewer wrote David Ward In an article "Leaving room… Where does the viewer live?" (OnLandscape, issue 65) David Ward goes on to explain that to capture the viewer’s attention, images pose questions without necessarily providing any answers; they tend to be slightly ambiguous and are open to interpretation. It is not enough to be a passive viewer in front of such images but rather there needs more
Endframe: Platon, North Kivu, Eastern Congo by Richard Mosse
I’ve selected the image, ‘Platon, North Kivu, Eastern Congo’ from his series ‘Infra’. Broadly speaking, ‘Infra’ offers what is referred to as a “radical rethinking” to the portrayal of the conflict in the Democratic Republic of the Congo. more
An Accidental Book Venture
In 2013 I self-published a photography location guide book, which started out as personal curiosity and accidentally ended up as a continuing venture. How I hadn’t thought of combining photography and book publishing before then is a mystery to me in hindsight, but let me explain how it happened. more
Luminous photographs
Technically, luminosity refers to how much light an object emits. In photography we tend to think of luminosity as how much light an object reflects, we measure luminosity with light meters, usually the amount reflected off the subject, though this isn’t really technically correct. A printmaker will think of luminosity in terms of how much of the paper tone will shine through in the final print. An artist will think of how bright the lightest tones they will add more
Franci van der Vyver
To me the appeal of photography lies in the communication – to understand how and why we see things in different ways and then to translate it into a different way of viewing the subject that is then made visible to all. more
Paul Strand Retrospective Exhibition at the Victoria and Albert
The Paul Strand retrospective at the Victoria & Albert Museum, London runs until July 3rd and is the first Strand retrospective in the UK since before he died in 1975. more
Looking back, looking forward
On a now regular, long, late night drive home from Teeside I was running back through all the different combinations of camera equipment I have used since taking up photography back in 2000. more
Endframe: Bulldogs by Elliott Erwitt
Verbal humour is slippery. To get a joke requires a subtle understanding of language and culture. The fact that visual humour is universally understood leads to an interesting conundrum. Why are there so few photographers who are known for their conscious use of visual humour? more
An Interview with Despina Kyriacu
I saw Despina's work at a gallery in London and had wanted to talk with her about her photographs for a while. This year we finally met up at Joe Cornish's gallery in Northallerton for an interview about her history and working practise. more
Linda Lashford
I think I am a traveller who makes portraits of the places I encounter. The landscape might be the whole subject, or it might be the canvas on which other things are imprinted more
Creative Lightroom Pt 9
In this Lightroom installment we're taking a quick look at the panorama module. For most panoramas with good originals with decent overlap and lots of detail, Lightroom will do an excellent job with little user intervention more
Endframe: Contours in Blue by Joe Cornish
The picture is primarily wave-worn undulating grey limestone rock, with some pebbles and small pools of sea water that are in the process of drying out. And yet what we see is definitely not it what it says on the tin’s list of contents. more
Musical Secrets…
I attended a workshop held at Woodford Folk Festival (December 2002) where a panel of musicians revealed their methods for unleashing their creativity, when they find a creative block. On reflection I found their advice was accurate for me as a visual artist, which I was able to apply to my own creative endeavour of taking photographs. more
