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Endframe “Martinique, 1 January 1972” by Kertesz
My end frame image is a photograph that for me goes some way to represent the many facets of our plight for artistic development and indeed our struggles to be creatively free. more
Thomas Peck’s Critiques – Ice seal
Many photographic images are illustrative. They present the viewer with whatever is in front of the camera. more
4×4 Portfolio
This issue's landscape photography 4x4 portfolio features Esen Tunar, Jon Gibbs, Julian Elliott & Sean Goswell. more
Endframe – “Evening Tidal Pool“ by David Muench
One image in particular that had a big influence on me was “Evening Tidal Pool“ by David Muench. more
4×4 Portfolio
This issue's landscape photography 4x4 portfolio features Dave Varo, Christos Andronis, Camillo Berenos & Andrew Tobin. more
Sony A7RII – Wrap Up
The Canon 5DSr and the Sony A7Rii offer the highest resolution and some of the highest sensitivity at high resolution available and it would be remiss not to compare and contrast them. more
Sony A7Rii compared with Sony A7R & Canon 5DSr
Our test involved exposing a picture so that the brightest parts are exposed to the right and then underexposing a shot by 6 stops. more
Endframe – Granite and seeps, Tasmania by Chris Bell
I have to redefine favorite, and can present to you the most influential photograph I have encountered recently. more
Endframe – “Wiltshire, October” by Barry Thornton
There are a number of images that represent key moments in my own photographic development. more
Thomas Peck’s Critiques
It’s quite incredible that such a vision can be brought to life from an iPhone. more
Testing the Canon 5DS(r)
Ever since the Canon 5D Mark III was released, photographers have been crying out for more resolution. more
4×4 Portfolio
Our new feature this issue is 4x4, a set of four mini portfolios from subscribers. more
Endframe – ‘Stravinsky at the Piano’ by Arnold Newman
Choosing an image for End Frame is a daunting and nigh on impossible undertaking. more
Thomas Peck’s Critiques
Abstract photography, which is how I would almost classify this lovely photograph by Michéla Griffith (click here to read previous articles by Michela), engages the viewer in a completely different way from other photographic genres. Unlike a landscape or a portrait there is a momentary hesitation, a second of uncertainty, as we ponder what it is that we are seeing. Abstraction demands engagement; the viewer must work to see and recognise. Why is this picture only almost an abstract? more