on landscape The online magazine for landscape photographers
Issue 330
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End frame: No Lilac Time by Kjetil Karlsen
Arild Heitmann chooses one of his favourite images
Max A Rush
Featured Photographer
4×4 Landscape Portfolios
Estelle Slegers Helsen, Dominique Philippe Bonnet, David Buchanan & Ashok Viswanathan
After The Tide
A photographic series
Any Questions, with special guest Damian Shields
Episode Eighteen
Blåtone
Diptychs as a dissonant
A Year at Duncansby, 2022
Uncharted territory

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

I’ve had a couple of days out in recent weeks where we’ve been exploring a river bed near our house. The most recent was with a couple of friends, one of whom happens to be a geologist. It was great to wander around a 200m stretch of river and get excited about the rocks and stones, using my camera as a tool to look more closely at these finds. I came back with some interesting ‘record’ pictures of my discoveries, a few wider views showing context, and some ideas to motivate me to return in the near future.

That motivation is key for me. It’s the hook that prompts me to get out again and have another look and see what more treasure I might find. And this is just a tiny part of our local area.

While I was processing the images, I was also browsing Facebook and noticed a few more of the ongoing flood of AI photos scroll by and realised that I very rarely see anything but wide views. In a small experiment, I attempted to create AI versions of the photos I took while exploring, but I got absolutely zero results that resembled them.

I see this as reassuring. A sense that our efforts exploring our environments and creating a visual story are not going to be supplanted by the rising AI tsunami. I think the opposite is true. I see our unique, personal stories becoming increasingly interesting because they are human. There will always be a need for artists to demonstrate their connection to a place, and unless we can build AIs that want to wander the landscape with their own cameras, that will always have to come from human beings.

So, as a silent protest against the use of clickbait AI mountain vistas, here’s some rock.

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Tim Parkin

Content Issue Three Hundred and Thirty
On Landscape Issue80
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Issue 330

Click here to download issue 330 (high quality, 127Mb) Click here to download issue 330 (smaller download, 75Mb) more

Kjetil Karlsen No Lilac Time
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End frame: No Lilac Time by Kjetil Karlsen

What stands out in No Lilac Time—and in much of Karlsen’s work—is the interplay between sharp and blurred elements. Only the fence in the foreground is in focus; everything else is softened by swirling snow. more

Tupelo Shower
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Max A Rush

This year, after Max won International Garden Photographer of the Year, it felt like a good time to check in again—to see how his work has progressed and hear about his latest project: building another 5x4 camera. more

Photo By David Buchanan
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4×4 Landscape Portfolios

Estelle Slegers Helsen, Dominique Philippe Bonnet, David Buchanan & Ashok Viswanathan more

Red Rock With Blue Rock At Garden Cliff
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After The Tide

At 354 km, the River Severn is Britain's longest river, winding its serpentine route from the hills of Plymlimon in Wales to the Bristol Channel, gathering countless tributaries along the way. more

Any Questions Title Damianshields
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Any Questions, with special guest Damian Shields

In this episode, Damian Shields shares his journey as a photographer, exploring the deep connections between his artistic influences, personal experiences, and the landscapes of Scotland more

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Blåtone

Diptych as an art form traces back to antiquity. Art a thousand years ago was something different from today and served another function. more

10onl
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A Year at Duncansby, 2022

Looking forward, I questioned what the solution was. I’ve never been a planner, so even that question put me in uncharted territory. I’ve never thought about doing a project, but that quickly sprang to mind, but what? more

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