Archives › 2011 › April
I had been looking at Don’s photography on Flickr for a while now and he regularly posts something a little different to the norm. The images are a mix of film photography and digital but are consistently thought out compositions. Despite being a resident of the Lincolnshire and retired automotive entrepreneur (although he’ll just say [...]
I met Jason Theaker a few years ago when I had just started using my digital camera and again a few years later when I first picked up my large format camera. We’ve met up a few times over the past years and each time we enjoy a chat about photography and a talk through [...]
There has been a fair bit of sunset/rise bashing goes on in LandscapeGB and there’s been a good few debates about the virtues of flat light, contemplative compositions and all that goes with it. I myself am a fully signed up member of the wowless club, the more I journey into the my world of [...]
First of all please accept your editors humble apologies for the tardiness of the current issue. All the plans were put in place to ensure a week in the wilderness would generate content rather than delay it, but like the best military leaders often say “no plan survives direct contact with the enemy”. In this [...]
I’m sure that every reader of this magazine is aware that one of the pitfalls of landscape photography is the tendency to cherry pick the “best locations” repeatedly, the tripod hole mentality if you like. We can appear like a bunch of thrill seekers intent on the next big thing, leaping from subject to subject [...]
I’ve read a couple of blog posts recently that asked photographers to give a bit of praise and I thought I’d pass this request on. Next time you see a website or a photograph that moves you, spend a few moments to send the photographer an email or use the contact form on their website. [...]
Last issue I took a look at the concept of balance in composition. The second main concept that I want to cover is the concept of ‘flow’. Flow describes the natural directionality in a composition and it also describes the way the eye will flow around a photograph. Firstly it may help to cover a [...]
This week I asked Chris Goddard from the south of Wales to send a couple of pictures of Mewslade to me to ‘critique’. I’m not a huge fan of the term critique – hints of criticise but that is far from what I want to do here. The two photographs are wonderful interpretations of an [...]
My interest in Harry Callahan was piqued when Joe Cornish showed me some of his work and I also saw him mentioned in relation to Minor White and Steiglitz. I saw a book called ‘Elemental Landscapes’ whilst searching on Alibris and had to buy it. I also bought ‘Harry Callahan – The Photographer at Work’ [...]
Richard Childs visited the Great British Landscape head office this week (aka Tim’s attic) and as well as enjoying the usual inter photographer chit chat we recorded a few videos about some of his images. As usual, we’re using a similar format to Joe’s videos, a popular shot, a not so popular shot and, in [...]
Harry Callahan, born 1912, was a photographer many of us could relate to. He wasn’t a graduate of any particular art school or a rich family who could support a creative life. Harry, an engineer by training, worked for Chrysler during the Great Depression and only started photography as a hobby during a ‘mid life [...]
When asked ‘who do you make photographs for’, a very common answer is ‘myself’. However, given recent discussion, I started to think about what this means. When I started my photography, I didn’t know who I was doing it for. I did know that I wanted to show people what I was doing though; I [...]
As people quest for more resolution and sharper pictures, they invariably encounter someone singing the praises of tilt-shift lenses. Most commonly used in close up product or architectural photography, these lenses allow the photographer to choose where the plane of sharp focus lies and also choose to correct or to manipulate perspective (to a limited [...]
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? The idea of a narrative existing within a photograph intrigues me. A successful image can be as much about atmosphere and storytelling as about the [...]