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End frame: Wild Dusk Watchers by Dan Harnett
What strikes me immediately is how these ordinary natural elements have been transformed into something extraordinary and evocative, and finally into a piece of art. more
End frame: Road from Abiquiú (1964-68) by Georgia O’Keeffe
O’Keeffe is part of the story of modernist photography whether she likes it or not. She was married to Alfred Stieglitz, who took more than 300 photographic portraits of her. more
End frame: Near Sommarøy by David Ward
Yes, you travel thousands of miles to a stunning, exotic location full of dramatic scenery and choose to photograph two rocks and a bit of grass! And yet, David’s image, viewed on the back of his 5x4 camera, was a far more interesting piece of work than anything taken by the rest of the group that evening, or even the whole trip. more
Convergent vs. Divergent Thinking in Photography
Even if you’ve shifted your creative process and focus, your past work doesn’t have to be left behind. Sometimes, the old and the new can converge in surprising ways—and that’s a pretty exciting thought for any photographer. more
End frame: The Ladies of Granston by Chris Tancock
Whilst Chris photographs in the landscape, and often his images include wildlife, “traditional” landscape and wildlife photography are genres that he doesn’t particularly warm to. more
Visions of Paradise – American Wilderness
Visions of Paradise: American Wilderness" presents a collection of black-and-white photographs by Jon Ortner, offering a thoughtful exploration of America’s wild landscapes. more
Traveling Trees
It all began one misty morning nearly ten years ago, as I meandered on the still-wet sand of Nehalem Bay on the Oregon coast. It was low tide, and as the shroud of fog began to thin, it revealed a long array of brooding, sculptural forms deposited at the farthest edge of the water line. more
End frame: The Old Pond by Krister Berg
The viewer’s eye is drawn to a solitary water lily in the lower right corner of the image. It is then guided horizontally toward the bright grass on the left and follows a gentle upward path toward the water lily leaves, which are thoughtfully distributed across the lower branch silhouette. more
End frame: The”Awakening Dragon” by Alister Benn
When I look at the Awakening Dragon, I might or might not know anything about where and when the photo was taken, what Alister had in mind, what mood he was in, or what was going on in his life. It doesn't matter to me as a viewer. more
Direct to Plate Photogravure
After success with carbon ink printing by Cone Editions, I noticed they had a lot of photogravure classes and I was curious. How would photogravure compare to carbon ink? Does it look different? Would it get more attention? Is it more durable? more
End frame: Ash tree, Balmacara by Colin Prior
In this autumnal palette, death does not mean the end but a transformation. The ash resists mourning its loss and does not shrink from its bareness. The elder stands with a quiet confidence, unshaken, an echo of strength. more
Anne Campbell
My love for the Scottish landscape and its remote locations is, for me, better represented using a variety of darkroom processes and papers, than being a perfect HD colour image. more
End frame: Papaver Nudicale by Tine Poppe
The flowers, just past their peak and beginning to wilt, are set against the smoky, foggy and greyed landscape backgrounds, which evoke the tumult and terror of Romantic era painters working in nature’s Sublime. more
End frame: Big Horn Sheep and Mesa Arch, Canyonlands National Park by Whit Richardson
On the day Whit made this image, he arrived early and photographed sunrise from these more conventional perspectives. After some time close to the arch, he walked farther back to experiment with compositions at a distance. more
Exploring Sumi-E
These three techniques—Sumi-e, Negative Space, and black-and-white photography—have inspired a series of images that can really only be created during snow-rich winters. more