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The Credit Crunch
The issue is about giving credit for our inspiration and the influences in our work. more
Fields of the British Isles
Britain's landscape has many faces and with its remote uplands, dramatic summits and dynamic coastline to explore. more
Journey of Photographic Discovery
Mike Cummins reflects on his time in La Axarquia, far-removed from the generally lowland hills of Derbyshire. more
Softly Does it
While I was in the process of learning to photograph the landscape (and still am!) I was intrigued by a comment from a fellow photographer that when the light was soft and flat it was details weather. I fully understand that details work really well under soft lighting conditions but what was wrong with trying to shoot a vista in soft, flat light? The British Isles’ weather systems more
Not a Master
In my images I wish to impart something of my relationship with them, but not something entirely independent of them. more
Face to Face with the Sublime
Inspired by Alan Hinkes presentation at the A Meeting Of Minds conference at the Rheged Centre in Nov 2014, Thomas Peck investigates how 18th century notions of the sublime are brought to life in 20th/21st century mountaineering photography. Something quite extraordinary happens when you watch Alan Hinkes present his pictures and talk about his experiences climbing the highest mountains in the world. You quickly realise that his photographs in the mountains are not the run-‐ of-‐the-‐mill dawn and dusk shots more
On Limitations and Creativity
This morning I read a comment on a Facebook post saying simply that the weather recently had sapped any creativity and discouraged photography trips. I paraphrase, obviously, but it’s a sentiment that is seen expressed often. I’ve said it myself too, many times. Or should that be too many times! Only on Sunday morning I looked out early, saw the overcast sky and decided against going out. So, for those more
The Problem with Photography Journalism
Landscape photography receives little wholly positive press in the newspapers but most coverage of photography in general is neutral to positive. However, over the last few weeks a certain journalist from The Guardian seems to have taken the reins from Brian Sewell and ridden full blast into the anti-photography hall of fame. Jonathan Jones started his little escapade with the subtley titled “Flat, soulless and stupid: why photographs don’t work in art galleries” In this essay he has some great quotes on photography more
Taste and Landscape Photography
As you may already know from the interviews we have done with him, Mark Littlejohn was voted as the Take a View Landscape Photographer of the Year. The picture chosen was one that gathered quite a lot of praise online from many people who have previously criticised the competition (including me) but to say it was universally acclaimed is a stretch considering some of the quite vociferous abuse it has received on Facebook. more
What is Landscape Photography …
For me, photography is first and foremost a creative pursuit. Therefore, everything I think of and do with my photography is influenced by this. more
Overexposure
If we, as artists, fail to make such investments in learning the history and traditions of our medium, and in the appreciation of worthy photographic works offering more than the simple feats of dazzling viewers with color or views of exotic locations, how can we hope that others will? more
Autumnal Notes
I decided to make a foray into my local woods last weekend (5th October), my first visit for quite some months. The forecast was promising – clearing skies, a drop in temperature and no wind. As predicted there was a light ground frost, low lying mist with a promise of post dawn streams of light. Three hours later I was driving back home with a warm glow and eager to download the fruits of my labour. more
The Path of Some Resistance
With the exception of my love of wild places, photography had so far been the most persistent thread in my life more
Zero Footprint
The Zero Footprint project, explained in a nutshell, is a series of landscape photographs captured from one single location over a period of five years, and counting. The restriction is purely geographical – roughly one square metre of the patio outside our kitchen, we could use any camera and lens combination and had the entire (not insubstantial) vista as a palette. The one other stipulation was that each image should be aesthetically pleasing in it’s own right, as well more
Artistic Promiscuity
With this in mind, it was with some bafflement that I recently heard from a fellow photographer asking if I would recommend avoiding viewing other people’s photographs as a means of isolating their own “vision.” more