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End frame: “Sand Patterns, Laig Bay” by Hugh Milsom
The photograph I have chosen from the book does another thing, though, important to my own ‘work’. I really like mirroring of features of a landscape in clouds above, the sea below, or in this case, the surf below the landscape. These things are, of course, part of the landscape we look at but are not always used constructively. more
End Frame: Twilight Canyon, Glen Canyon, Utah, by Eliot Porter
These issues are once again gaining great importance with global warming and climate change, a long multi-year drought lowering the lake to critical levels, and the lake silting up more
End Frame: No Smoke Without Fire by Joe Cornish
Starting with the broad elements, we seem to have a sort of paradise in the background, full of light, leaves, green, and ephemeral light and, seemingly, some sort of hell archetype in the front, scorched earth, scattered debris and all the evidence of the fire. more
End frame: Earthrise by Bill Anders, Apollo 8, 1968
The astronauts (and everybody around them) were dutifully machine-like in their approach to the mission, but it wasn’t until they were more relaxed that they were able to appreciate a different perspective altogether. more
End frame: Colour transect #19, 57.868º N by Niall Benvie
One of the things I have learned from Niall recently is not to be frightened of using words in photos. Particularly if you are communicating a message, one or a few words can ensure that the message is not missed or misunderstood. more
End frame: On the Nature of Things 2012 by Dr Les Walkling
Robert Adams, in his 1996 essay “Truth in Landscape”, opined that “landscape pictures can offer us three verities - geography, autobiography, and metaphor.” I find this is a useful framework through which to consider why an image remains in my thoughts. A photograph in which an artist succeeds in posing a question is uncommon. An image in which the viewer is left pondering a moral response to the posed quandary is memorable. The skill more
End frame: Skyfall by Valda Bailey
n the face of it, it’s a little ominous and there could even be a storm brewing. There is something very dark in the background – a cliff? an approaching storm? The palette is subdued, mainly shades of blue, white and black, with some touches of warmer browns in the foreground more
End frame: Image #1 from ‘Behind the Day’ Series by Lars van den Brink
This emotionally charged image, like all photography, allows one to ponder our feelings, our thoughts, to connect with the world we frequently rush through. more
End frame: Sierra Nevada Morning by Albert Bierstadt
What’s a painting doing featured in an end frame article? I hear you protest. Well, for me, it is one of the most impactful images that I’ve experienced - either painted or photographed. more
End frame: Lights of New York City 1972 by Ernst Haas
Photographers that, for me, encompass not only a creative vision but also a philosophy and approach to photography that I aspire to. more
End frame: Wonder Valley, CA 2019 by Joan Myers
The hero has become overwhelmed and is nowhere to be found. Perhaps the hero has left his superhero outfit for someone else to try to take on his burden. Only time will tell if someone will don the outfit again. more
End frame: Friston Forest by Edd Allen
With this superb photograph, Edd has captured the mood I felt so many years ago – and for any photograph to conjure up any strong feelings in the viewer is remarkable. more
End frame: After the Storm, Climbers on the Doldenhorn, Switzerland by Henry Bradford Washburn Jr.
"After the Storm" has that graphic quality in spades. But this image has extra “life" to it because of the climbers on the ridge. They give it scale and drama, and this is what really thrilled me when I first saw it. more
End frame: Rùm Sunrise, Inner Hebrides by Joe Cornish
Rùm’s soaring profile catching the warm light just after sunrise was crying out to be photographed, and I assume Joe knew about this particular wave-cut platform on the Isle of Eigg and that it would one day make a useful foreground. more
End frame: Rain and Cliff, Milford Sound by Craig Potton
It is a testament to Craig’s simplified working practice in which he doesn’t use filters, is limited to two or three prime lenses and makes compositions on instinct, preferring not to have to think too much. more