More recently, some scientists are focusing on links between science and art. For example, natural scientists in the “SciArt” community are creating art using photographs of scientific processes and phenomena, with the goal of making science more interesting for the wider public. more
Every year since year two, we have tried to include some ‘special awards’. There were created for a few different reasons. Primarily to ensure that certain classes of image that may be under or over represented in the main categories can have a focused outlet. E.g. in the first year we included Rocks & Geology, Trees & Forests, Snow & Ice, Mountains and Rivers & Seas. These just seemed to be some core subjects to include. We also an more
Click here to download issue 338 (high quality, 100Mb) Click here to download issue 338 (smaller download, 55Mb) more
In 1978, I started at an art college in Yorkshire. After one year of foundation, I chose photography, knowing already that this was going to be my life’s passion. more
Welcome to our 4x4 feature, which is a set of four mini landscape photography portfolios which has been submitted by Franz Gisin, Goran Prvulovic, Kenny Muir & Tom Zimberoff more
The liminal interface of seawater, sand, and sky inspires a construct of consciousness, the space in which everything appears, the light by which everything is seen. It beckons my camera. more
I'm not really a bucket list person. I often find myself at the same locations, where every visit reveals something new. This is a short series of 4 images taken in a local ancient birch woodland across the seasons. more
While just a small part, this river is part of a bigger watershed I’ve explored many times. Constantly changing with the seasons, this spot is never the same yearly. more
In this case, California's Auburn SRA (State Recreational Area), where the intersection of two Sierra Nevada mountain canyons allows the north and middle forks of the American River to merge. more
These lists I keep making each year, which end up taking me to places I wasn’t destined to see, let alone photograph. more
We are living in a golden era for photography and printing. If you can dream it, you can make it - at a reasonable cost. more
Today, in the third of five chapters from his Darkroom Diaries, Michael focuses on grain, cropping and toning. more
In this episode, Tim Parkin and Mark Littlejohn chat with John Gibbs about his experiences in photography, working at the National Trust, and the evolving landscape of the art form. They discuss the pressures of photography, the impact of social media, and the importance of empathy when leading tours. more
What I’ve learned over the years from painting and photography is that you develop an instinct for what fulfils you, with experience and passion playing a significant role. more
Click here to download issue 337 (high quality, 218Mb) Click here to download issue 337 (smaller download, 117Mb) more
Despite the drama of the captured view, there is no drama with the editing. One could easily have darkened those moody clouds to make it look even more foreboding than it is, but he hasn’t. more
on Michael Kenna’s Darkroom Diaries
Hi Jon - It's interesting when you find out that Cartier Bresson's was quite willing to crop if needed. The famous "Behind the Gare Saint‑Lazare" is one example. I crop because I don't particularly like 3:2 - I much prefer either 1:1, 4:5 or 2:1 if I can. 3:2 is OK [...]
- Tim Parkin, 17:48 29th Oct
on All the Wood’s a Stage
Wonderful images.
- Nigel Charlesworth, 21:39 28th Octon Flowerscapes
Dear Adam, thank you very much for the nice words, I really appreciate them!
- Theo Bosboom, 15:09 23rd Oct