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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
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
Landscape and the Picturesque
It’s interesting to analyse the mood that pictures create, the feelings they inspire, and to link that back to the decisions the photographer must have made at the moment of making the image. more
Geometrical Landscapes
The viewpoint has turned this into an image that is actually about something completely different. What we see here is a perfectly balanced geometric patterned rendition of the landscape. more
Steve Gosling and the desire to touch…
Two images then, one which calls for the viewer to reach out and stroke its softness whilst the other forbids any such interference. more
Thomas Peck’s Critiques
The results of long exposures to the passage of the sun are quite extraordinary. The images all have a deep gash where the sun has burned a hole in the paper. more
Thomas Peck’s Critiques
I make no apologies for focussing on Marc Adamus in this article. A photographer who, in every sense of the word (awe, majesty, grandeur, fear etc), makes Sublime images. more
Thomas Peck’s Critiques
Colin Westgate’s rather lovely image Island in the Mist is right on the edge of that minimalist/abstract divide. There are perhaps two clear hooks that anchor the picture in reality. more
Thomas Peck’s Critiques
Living just next to Epping Forest I have always been fascinated by images of trees. They can be wonderfully expressive things. Not easy to photograph, though. Too chaotic, seemingly random, difficult to isolate from surroundings. more
Thomas Peck’s Critiques
What does a diptych do? By bringing together two images the artist is implying a relationship between them. The viewer has to react to that relationship, to question 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
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
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
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
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