on landscape The online magazine for landscape photographers
Issue 322
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End frame: Ash tree, Balmacara by Colin Prior
Ars Silentium chooses one of his favourite images
Any Questions, with special guest Paula Pell-Johnson
Episode Fourteen
Anne Campbell
Featured Photographer
Can You Hear the Music?
The skills of Previsualization
Winter Colour
Lessons the mountains teach us
The Challenge of Over Shot Locations
Finding Novel Compositions in the Palouse and Yellowstone

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Viewpoint Editor’s Letter editor@onlandscape.co.uk
Tim Parkin

It’s been an incredibly busy couple of weeks since the last issue. I’ve been helping to judge the Wildlife Photographer of the Year awards (WPY), assisting with technical assessments and reviewing entries. I have also been working on critiques for the Nature Photographer’s Network and the Natural Landscape Photography Awards. The quality of entries for WPY is always amazing. Wildlife photographers have an extraordinary patience and an in-depth knowledge of their chosen specialised subject.

Every time I think about this, it inspires me to find out more about my favourite subjects in the landscape. Our local area is renowned for a place where the ideas behind modern geology were developed, and having become interested in the rock through climbing as well as photography, I loved finding more out about it. At the back of a ridge near our house, the Aonach Eagach, there is a line at the edge of the caldera where the whole of Glen Coe collapsed into a magma chamber. The rocks along this edge were ripped off as a square mile of ground plummeted down. On a trip out recently, we found that a river had cut through the magma chamber, polishing it to a smooth finish. Inside it, you can see thousands of chunks of rock that were plucked from the caldera walls.

In the three photos below, you can see where I was, a detail from the river bed and a (hopefully) aesthetically pleasing photograph showing the context of the river against the background of Loch Leven. It’s nowhere near as challenging as having to sit in a hide for a few days to capture pictures of rare birds but engaging with the landscape under my feet was fascinating and made a photography trip ten times more interesting.

Editorial

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Tim Parkin

Content Issue Three Hundred and Twenty Two
On Landscape Issue80
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Issue 322

Click here to download issue 322 (high quality, 69Mb) Click here to download issue 322 (smaller download, 35Mb) more

Scotland
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End frame: Ash tree, Balmacara by Colin Prior

In this autumnal palette, death does not mean the end but a transformation. The ash resists mourning its loss and does not shrink from its bareness. The elder stands with a quiet confidence, unshaken, an echo of strength. more

Any Questions Title Paulapelljohnson
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Any Questions, with special guest Paula Pell-Johnson

In episode fourteen, we talk with Paula Pell Johnson, who shares the history and evolution of her family-run photography business, Linhofstudio, and much more more

14 Stacks Of Duncansbay Head
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Anne Campbell

My love for the Scottish landscape and its remote locations is, for me, better represented using a variety of darkroom processes and papers, than being a perfect HD colour image. more

Atmosphericaspensweb
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Can You Hear the Music?

The most important tool of photography is your mind. Keep it sharp. Avoid distraction. Fill it with knowledge about your subject matter. more

12 Looking Across To Derry Cairngorm
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Winter Colour

My philosophy of photography has evolved a few times over the last decade, but there’s a core question I keep coming back to: am I doing a thing in order to create images, or am I doing it to have an adventure and maybe create image opportunities along the way? more

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The Challenge of Over Shot Locations

When I arrived, I came across another challenge: How do I go about photographing an area which has been shot to death by so many other photographers in the past? more

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