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Endframe: Afterlight, Eigg by Richard Childs
Ever since stepping into Richard Child’s gallery, I’ve been a huge fan of his work. To pick one favourite image is an impossible task. more
Endframe: Migrant Mother, by Dorothea Lange
From 1935 t0 1944 the FSA ran a program of photography, hiring photographers to document the plight of poor farmers and migrant workers. Altogether, eleven photographers were hired for this project, but in particular Gordon Parks, Walker Evans and Dorothea Lange. more
Mat Robinson
The challenge of trying to distill a 3D scene into a 2D photograph while still retaining the feel and beauty of a place is one that keeps me, at least, very much more present in the moment than I might otherwise be. more
Endframe: Coast People (1 of a series & book), by Ian Forsyth
The actual piece of work I have chosen is a northeast photographer, Ian Forsyth, from his longitudinal study ‘Coast People’. more
Going it Alone on Harris
I was happy to return for the third time when Adam suggested the possibility of a trip, and I felt he would also be a kindred spirit when it came to searching out dereliction! more
Endframe: “Rainbow Over The Potala Palace” Lhasa, Tibet, 1981 By Galen Rowell
"Rainbow Over The Potala Palace" doesn't have a complex composition, creating order from chaos, or much navel-gazing value, but the fabulous conceit here is that what looks like a simple image has a fantastic back story and one that we can take a few lessons from. more
Dylan Nardini
I love experiencing my surroundings and observing light in its many forms and this for me is what landscape photography allows me to do and hence why I love it. more
Thomas Peck’s Critiques
How much more difficult does it become, however, for the viewer to link the images when they are abstracts as we see here in these shots by Edward Burtynsky? more
Endframe: Rho Ophiuchi Nebuale in Scorpio constellation by Scott Rosen
You can argue astrophotography is more science than art; you are capturing what’s already there. There isn’t any room for different interpretation. It’s not like you can change your composition. more
Thomas Peck’s Critiques
The Quiet Sublime: The tradition of the Sublime in landscape has existed since the 18th Century. The most common understanding is when the landscape inspires awe and wonder, even dread and terror. more
Endframe: “Before the Storm” by Edward S. Curtis
The upper third of the frame contains tempestuous backlit clouds, and the middle of the frame is rounded out by the four Apache riding diagonally away from the camera and into the distance. more
The Art of Practice
I recently came to the realisation that what a highly experienced photographer does is very similar to that of an equally experienced musician. That is to be so totally in control of their instrument that it becomes an extension of them. more
Endframe – Dawn on the Trotternish by David Noton
Since I got into landscape photography seriously, I’ve always admired one man. His dedication to the art is undeniable and his enthusiasm for the subject comes across in floods in his writing and his images. more
Matt Botwood
Twitter led me to Matt, and to his book “Travels in a Strange Land: Dark Spaces”. I knew that he worked predominantly in monochrome, so when I came to do the prep for this interview, I was a little surprised to see that his website opens with colour images. more
Thomas Peck’s Critiques
Michael P Berman stamps his personality very clearly on images he makes in the border wilderness lands between America and Mexico. His focus is the local issues of the land – mining, grazing, timber, water more