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Issue 227 PDF
Browse On Landscape on your Tablet, iPad or Desktop
End frame: Lone Tree by Michael Kenna
Mark Banks chooses one of his favourite images
Grounded
A year of nature connection on Hollesley Marshes
Kevin Krautgartner
Featured Photographer
When Time, and Trees, Stood Still
Constrained, deprived of work, limited to local movement
The Plain
An interview with Melanie Friend
Lockdown Podcast #12
Whether to weather the Weather
The Dolomites
Living my dream
Hiraeth
A yearning for the lost places of our past
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When Photoshop introduced the “Sky Replacement” technology, there was more than a couple of landscape photographers who gave a little sigh of despair. What was once a niche tool provided by a non-mainstream photo editing platform and used by a handful of photographers now had headline billing on the biggest editing tool in town. Playing the ‘Instagram Fake Sky’ bingo game would now have you shouting full house in the first few pages of scrolling the #vanlife tag.
However, just over a week ago Photoshop introduced a new tool called “Super Resolution” that suggested it could interpolate the detail in raw files and create images with more apparent resolution than could be had by sharpening alone. The results are pretty damned good, and fast too. There are lots of caveats though. The first is that Topaz Gigapixel has been doing something similar to this for a while (albeit expensive and slow) and secondly, to get the most out of Super Resolution, you really need to have a critically sharp image to begin with (it works on the contrast between individual sensor pixels).
However, it’s great to see some added value coming from Photoshop and if you have some appropriate images, the tool might just eke out a bit of extra detail for that big print (or huge crop) you’ve been working on. If you’re interested in a practical take on it, Alex Nail did a nice overview on his YouTube channel. It’s sometimes hard to see the improvement in sample photos but here’s my attempt to show the potential difference, especially in fine lines.
Tim Parkin
Tim Parkin
Issue 227 PDF
Click here to download issue 227 (high quality, 151Mb) Click here to download issue 227 (smaller download, 79Mb) more
End frame: Lone Tree by Michael Kenna
The simple delineation between the ground and sky using subtle changes of grey tones allows the curved V-shaped horizon to sweep across the image gently and is critical in forming a feeling of depth and space. more
Grounded
This photography project began as a piece of work to document a year in the life of Hollesley Marshes. It is an area I have been fascinated with for a while and one I walk to every morning with my dog. more
Kevin Krautgartner
For the ultimate in abstracts, take to the air. From the glacial rivers in Iceland that we have become familiar with to the landscapes of Australia, Kevin Krautgartner’s images show that there is plenty to find and enjoy at a larger scale. more
When Time, and Trees, Stood Still
Although photography is a visual medium I like the idea, or sense, of listening to the trees, of being receptive to their whispering voices. And I heard that there is much to be said for standing still. more
The Plain
Through my work as a photographer, I have also spent time in different kinds of landscapes; landscapes which are embedded with the aftermath and traces of war (as in Kosovo), or which are marked out as land under military occupation (as in The Plain). more
Lockdown Podcast #12
The weather is a continual topic of conversation for many living in the British Isles, and for landscape photographers, it becomes something of an obsession. more
The Dolomites
The Dolomites are composed of Dolomite rock, a compound of calcium carbonate and magnesium, elements that accentuate the reflectivity of the sun's rays. more
