Archives › 2011 › February

I really ought to begin this review by declaring an interest on behalf of Great British Landscapes. As you no doubt know, Joe Cornish, along with Tim Parkin are the driving force behind this magazine. So reviewing this book lays us open to accusations of bias. So in the best traditions of honest journalism (now [...]

Goredale Scar sits on the edge of the 15 million year old Craven Fault which passes from Cumbria along the bottom and eastern edge of the Yorkshire Dales. Many classic photographic locations sit on this fault such as Giggleswick, Attermire, Keld Head and Twistleton Scars, Thornton Force, Malham Cove and onto Linton Falls and Trollers [...]

This issue of the First Light series takes a look at a themese set of images from Joe Cornish’s back catalog. If you have Scotland’s Mountains then you will have seen a couple of the images before but there is also a final image from Padley Gorge in the Peak District (interestingly of the same [...]

We’re back on the film comparison tests again and this time we’ve got a polarised blue sky and some fir tree greens and pine cone reds and browns. As in the previous tests, the comparisons are between colour films available in large format sheet sizes (comparing roll films is expensive and time consuming). Digitalab of [...]

Were talking to Peter Hyde this issue, a great photographer from Lancashire who has been recommended by a few people as someone we need to talk to. We hope you enjoy the read and Peter’s pictures. In most photographers lives there are ‘epiphanic moments where things become clear, or new directions are formed. What were [...]

Castle Crag is one of the highlights of what Wainwright called “the loveliest square mile in the Lake District” and when I got together with a group of photographers at the end of January we were treated to a great display of why he thought so. We stayed in small self catering cottage in Manesty [...]

As we’ve seen in my Christopher Burkett mini-biography, Christopher is an extraordinary photographer by any account. However, he has also realised that the best way to disseminate his work is through publishing books and even went to the lengths of working in a scanning and printing companies to learn the skills of colour separation and [...]

Tim Smalley was one of our early subscribers and Dav Thomas and I had already met him when he came on one of our one to one workshops (actually two to one – we like intimidating our clients). He’s an engineer by training (studied for degrees in material science and computational science) but has ended [...]

When I started my photography path, I was enamoured of the ‘vista’ photographers, Joe Cornish, Colin Prior, Charlie Waite, etc., probably because of ease of finding books by them but obviously because of the instant ‘hit’ of a great vista. Once I started looking around the internet for other photographers, I found people like David [...]

By Rob Hudson Chris Tancock is perhaps best know in the landscape photography world for his colour Quiet Storm series for which he was highly commended in the very first Landscape Photographer of the Year competition in 2007. There is a double irony here, firstly because at least 99% of his work is black and [...]

We’re taking a break from the Joe Cornish videos this week and looking at some photographs by another large format proponent, Dav Thomas. Dav lives in Sheffield, on the edge of the Peak District and travels the 15 minutes from his house to one of our most loved national parks on a regular basis. Dav [...]

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. His pictures eschew the vista for the characterful portrait of the ingredients that make up the environment. Trees, gritstone, grasses – the results, [...]

In my previous article on this topic, I concentrated on the physical characteristics of Large Format gear and how understanding these might help encourage digital photographers towards a slower, more considered approach. In this second and final article in the series, I look at two further workflow differences between film and digital, namely uncertainty and [...]

