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On Labels and Limitations
For the longest time, I have forced upon myself a label, a classification, specifically revolving around the type of art I create. Even calling what I make “art” places a name upon my creations and differentiates my work from photography, writing, etc. more
End frame: Black Range series 1986-89 Ian Lobb
The Black Range series by Australian photographer Ian Lobb and collected by the National Gallery of Victoria, has always been a great source of inspiration to me. more
Know thy Subject
If you want to become a better nature photographer, you should dedicate more time to learning about your subject rather than photography. more
Joseph Rossbach
He made the decision to commit to nature photography relatively early, and we talk about how he has made a career of it. 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
Photography and the Arc of Human Progress
The last 20 years have seen more change to photography than the 150 years prior, and, with no sign of advancement slowing down, the next ten will yield just as much change as the last 20, and so on and so forth. more
End frame: Dungeon Canyon, Glen Canyon by Eliot Porter
A collection of 80 images was first published in 1963 under the title “The Place No One Knew - Glen Canyon on the Colorado” as part of the Sierra Club’s Exhibit Format Series. more
Colour as Form
Kodachrome, introduced in 1935, was the first colour film to be mass-marketed successfully. Although Kodachrome quickly became popular with hobbyists and commercial photographers, so-called “fine-art photographers” have initially shunned the use of colour, and many have expressed derisive views of colour photography. more
David Tatnall
As for motivation, being able to say something about our fragile environment by making a photograph and it having an impact and meaning is it. more
Photographing the Un-Grand Landscape
With a fine-tuned ability to see, photographic opportunities will inevitably increase; but that will be of small value unless there is a willingness to receive them with an open mind. more
Frank Sirona
All the limitations I´ve mentioned render photography a much more conscious process and that, of course, has an impact on the results you´ll bring home. more
William Neill – Retrospective
William Neill is no stranger to On Landscape, most notably because he runs his own On Landscape column for Outdoor Photographer, but also as we’ve reviewed a few of his e-books previously. more
Endframe: “Maple and Birch Trunk & Oak Leaves” by Eliot Porter
Almost all the other photographs were obvious subjects – mountains, rivers, etc – photographed in more or less bombastic style. This was a more subtle shot; small trees in a dense woodland arranged all on top of each other in the middle of the frame. more
Rolling Stones, Norwegian Wood and some others
In 1990 I visited the Ansel Adams Gallery in Yosemite National Park. I was eager to see some powerful American landscape photographs. In their collection of work by the American masters, they had several dye transfer prints by Eliot Porter and for very decent amount of money. However at this time in my life I was not ready for Eliot Porter. I simply did not appreciate the subtle content of his intimate landscapes. more
Endframe – Granite and seeps, Tasmania by Chris Bell
I have to redefine favorite, and can present to you the most influential photograph I have encountered recently. more
Larry Monczka and Kathleen Pickard
I came across their work last year and found it appealed on a number of levels. They delight in finding the beauty in small things that are easily overlooked. more
Deborah Hughes
This issue we're interviewing Deborah Hughs, a photographer from La Sal, Utah (Near Arches National Park, Canyonlands National Park, and Hovenweep and Natural Bridges National Monuments). Deborah is retired but is still busy with her garden, grandchildren, representing local charities and of course photography. Can you tell me a little about your education, childhood passions, early exposure to photography and vocation? My passion for photography has traveled a circuitous route. Growing up, my mother's brownie and my father's 8mm movie more
Taste and Landscape Photography
As you may already know from the interviews we have done with him, Mark Littlejohn was voted as the Take a View Landscape Photographer of the Year. The picture chosen was one that gathered quite a lot of praise online from many people who have previously criticised the competition (including me) but to say it was universally acclaimed is a stretch considering some of the quite vociferous abuse it has received on Facebook. more
End Frame – Near Stonehenge by Charlie Waite
Is this my all time favourite image? No. A single image can never be ‘the best’ because every image we like offers us a variety of different emotions and visual delight. more
Harvey Lloyd-Thomas
Can you tell me a little about your education, childhood passions, early exposure to photography and vocation? As a child I was always into painting and drawing, along with Lego and later programming my ZX81. I did Art at A Level (along with Maths and Physics) and at one point thought of going on to do an Art Foundation Course, but ended up studying for an engineering degree and then a computing PhD at the University of Bristol. Other than the more
In Conversation with Paul Wakefield
Some of you may not have heard of Paul Wakefield - he isn't famous for leading workshops, he doesn't write for popular photographic magazines and his last published book was in the 1980s. more
Book Print Quality
There are various aspects that make up the quality of printing in a book but one of the biggest influences is the way that the photographs are converted into plates for the lithographic print process. more
Johsel Namkung – A Retrospective
The style, reminiscent of Eliot Porter but with echos of Harry Callahan in his abstract work, is one of considered detail. This are the illustrations to the never published Zen and the Art of Landscape Photography. more
Nigel Clarke
This issue we're featuring a photographer local to both myself and Joe - Nigel Clarke also went on a one to one workshop with me to discover the pleasure and pain of large format photography. Since then he's been delving into platinum palladium too, to great effect. Can you tell me a little about your education, childhood passions, early exposure to photography and vocation? Much of my education has been more
Nigel Morton
Landscape Photographer of the Year's loss is our gain this week where we're featuring Nigel Morton's images including a few classics that failed to get through the first round of Take a View. In most photographers lives there are 'epiphanic’ moments where things become clear, or new directions are formed. What were your two main moments and how did they change your photography? Well as with most people there have been more
Photography and the World of Books – a Talk by Joe Cornish
Joe Cornish spoke of his early influences including Ansel Adams, Edward Weston and John Blakemore, important for their photography and their way of thinking. more
The Sacred Headwaters – Carr Clifton
Carr Clifton is a photographer that I have talked about before in On Landscape (in "The Rightful Heir to Eliot Porter?") and who is probably one of the hardest working landscape photographers covering environmental issues. The Sacred Headwaters book is one I have been trying to get hold of for some time and I have to thank Paul Marsch for loaning me his copy to peruse and review. more
Chris Goddard
This month we're featuring a photographer that previously offered some work as an image critique which we featured in issue 12. Chris Goddard is a ranger who works in South Wales but travels the country capturing some stunning imagery along the way. In most photographers lives there are 'epiphanic’ moments where things become clear, or new directions are formed. What were your two main moments and how did more
Carr Clifton
Carr has been photographing the landscape for over thirty years. In that time he has produced five exhibit format books, including my favourite, California more
Music and Photography
Having learned to play piano as an adult, and also became obsessed with landscape photography in my thirties, I’ve been amazed at the similar trajectories. more
Wilderness and the Mind of the Photographer
But does wilderness really exist or is it just in the mind of the photographer, who goes all starry eyed at the mention of the word?This article is written in response to that by Julian Barkway on Beauty, which had a wilderness connection, and as a result of Joe Cornish’s report from the great wilderness trek in NW Scotland. His book Scotland’s Mountains could be regarded as a homage more
Joe Wright
Dav Thomas sent me an email recently saying to take a look at Joe Wright's photographs as he saw something interesting going on. After looking myself I had to agree and so called Joe for a chat. He's only been taking photography seriously for about four years but there has been a major change in his outlook over the last year which caught both of our eyes. A systems architect living in Swindon, Joe has a particular love to more
The Psychology of Saturation
There has been some interesting discussion on the history of saturation boosting in photography in recent days, notably David Hyde on the excellent Landscape Photography Blogger website talks about "Did Velvia Film Change Landscape Photography". His topic was about how the use of hyperreal film such as Fuji Velvia and whether it fundamentally changed the look of landscape photography. Well the first question I'd ask is 'could you get saturated colour before Velvia came out?' and I think the more
Peter Dombrovskis
I found out about Peter Dombrovskis when I was on a large format photography course with Joe Cornish and David Ward. more
Sunsets?
Joe Cornish, Flow of Light I've just read an article in a popular outdoor photography magazine that was written in defense of shooting sunsets that I can't help but write a reaction to. He does say in the article that he knows many photographers who think that "capturing a sunset as a creative end in itself is a waste of time". Well I think I probably fit more
The Photographer’s Place
A couple of weeks ago I went on a workshop, a workshop that continues a series that started in the early 1980s more
Iain Sarjeant
Birch Frost I first saw Iain's work on flickr about two years ago, just as he was posting some of his old Velvia slides and some of his current work and was very impressed at his sense to composition and use of texture/pattern in nature. We chatted on the phone last week and he told me a little about himself, an ex-print designer who lives just north more
Dav Thomas
Working out of Sheffield on the edge of the Peak District, Dav Thomas has created a portfolio of images that bring together the essence of some of this national park's wild places. more
Sierra Nevada – Galen Rowell
This book covers Galen’s relationship with the area and, as well as a great biography, includes wonderful, high quality pictures covering his photography from 1968 to 2002 more
Digital Landscape Photography – Michael Frye
The book stores are full of ‘guides to digital photography’, promising much but delivering little of real value. more
Bole Hill & Padley Gorge, Peak District
Padley Gorge is well know in photography circles, mostly for Burbage Brook, the small stream that flows through the length of this wooded, miniature valley. more
Neil Bryce
For every 'famous' photographer that you may hear about through our esteemed photographic press or via 'exploring' the photo sharing websites. more
Eliot Porter
Eliot Porter, born in 1901; the beginning of a century that would transform photography. more