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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
Ghosts
When I do have an afternoon to myself the weather rarely plays ball, which is how two years ago my Highgate Woods project came about. more
The Voyage of the Malmö
While I must have seen Svalbard on maps before, I first remember reading about the archipelago in the Time-Life Photography Year 1974/75 book, which was in the art rooms during my time in the sixth form back in the 80s.. more
Endframe: David with daughters, 2008 by Sirkka-Liisa Konttinen
I think landscape photography is a valid and impossibly important vehicle for storytelling, as much as any other form of photography, documentary or conceptual. more
Thomas Peck’s Critiques
Photography is always a delicate balance between technique and aesthetics. Think of the debate that swirls around long exposures/Big Stoppers. You either like the effect or hate it. All more
Creative Cloning
We’ve all been in the position of having what looks like a wonderful picture we can see but sadly there is an obstacle sitting in the way. For me it’s quite often the trunk of a tree sitting in the way. more
Endframe: Gondola, Venice by Charlie Waite
I'm grateful it inspired me to think differently about all aspects of my work. At first sight I enjoyed its simplicity and then an analytical study revealed just how carefully the image had been considered. more
A Field, A Lane, A Wood
A recent self help trend for those suffering stress has been mindfulness. A method where by concentrating and focusing all of your attention in on yourself and the process of breathing and other bodily sensations you are able to fully relax by blocking out negative thought. If you can take the time to assess exactly how you are feeling as you make images you should find, as I do, that you will have entered a very similar state. more
Simon Ashmore
Simon is less interested in accurately recording that which he sees than he is in combining subject, shape and tone using one or more images to create an impression. His aim is to encourage the viewer to see familiar things in a new light, and not all of his images are as they first seem. more
Thomas Peck’s Critiques
Photography can be a frustrating art form. It delights to pose questions and not to provide answers. Take this eerie image by Kilian Schönberger. Why are these trees bent at the base and straight at the top? What is going on? more