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Issue 323
Browse On Landscape on your Tablet, iPad or Desktop
End frame: Mussels in the Sand by Theo Bosboom
Birgit Potthoff chooses one of her favourite images
Bonnie Lampley – Portrait of a Photographer
The Power of Abstract Photography
Xavier Lequarré
Featured Photographer
Direct to Plate Photogravure
Smashing Ink into Paper
On Engagement with ‘Form’ Part Two
Place
Cleansing the Soul
The golden light of morning
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I was out photographing near the King’s House hotel on Rannoch Moor recently. I saw a bunch of photographers orienting their cameras toward the Buachaille (a well photographed Highland hill for those who don’t frequent Scotland) and whilst this is an altogether quite common sight, I noticed two of them using Lee graduated filters and realised that I hadn’t seen many people using them for quite some time.
In fact, I hadn’t seen a lot of people using graduated filters at all, and it made me wonder whether it’s just the people I had seen or whether the idea of getting something balanced in camera isn’t as common as it used to be? I know that cameras now have enough dynamic range to cope with the most extreme of dynamic lighting situations but, when I carry my graduated filters (i.e. when I’m not walking in the hills) I do like to use a graduated filter, mainly to see in my viewfinder/lcd screen an image that is closer to my intended result.
To this end, I’ve got a H&Y system that includes five graduated filters of the soft and hard capacity which I use on both my digital and film systems (obviously they’re required when using transparency film!). As an aside, I’ve just received an updated filter holder for this system and it’s significantly improved over the original - something I’ll comment on in a short review in a future issue. I realised that I enjoy this aspect so much that I’m trying to get my hands on one of Kase filters 1.1mm thick glass filter systems to take with me on my hill walks (a system that saves significant weight if you carry a few filters).
https://forms.gle/vjScpYziXXJH7ZRaA
I’d love to know what filter system you’re using with your digital cameras, so I’ve created a single question Google form if you have the time to let me know.
Tim Parkin
Issue 323
Click here to download issue 323 (high quality, 96Mb) Click here to download issue 323 (smaller download, 47Mb) more
End frame: Mussels in the Sand by Theo Bosboom
The strong contrast between the black and blue mussels and the light, partly transparent stones makes the eye jump between the shells. The dark color of the colonies contrasts with the orange sand bed. more
Bonnie Lampley – Portrait of a Photographer
One of the most compelling aspects of Bonnie’s work is her pursuit of abstraction. Her approach moves beyond the confines of representational photography, seeking to distill nature into its purest forms. more
Xavier Lequarré
In our society, emotions are often "suppressed." We are no longer connected to our bodies, to our deepest feelings; we live in our heads. This disconnects us from ourselves and our environment. Conscious photography aims to reconnect us to our sensations and emotions in the present moment. more
Direct to Plate Photogravure
After success with carbon ink printing by Cone Editions, I noticed they had a lot of photogravure classes and I was curious. How would photogravure compare to carbon ink? Does it look different? Would it get more attention? Is it more durable? more
On Engagement with ‘Form’ Part Two
But the outcomes, the benefits of having those conversations, the benevolence taking root, that I am made better by having such conversations, and the stories that I have made from them in my images must be shared. more
Cleansing the Soul
As the golden light of morning penetrates the veil of fog and pierces through our lenses, all our photographic senses are heightened, and there is nowhere else that we can be but right here in the ‘now’. more