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Sony A7RII – Wrap Up
The Canon 5DSr and the Sony A7Rii offer the highest resolution and some of the highest sensitivity at high resolution available and it would be remiss not to compare and contrast them. more
Sony A7Rii compared with Sony A7R & Canon 5DSr
Our test involved exposing a picture so that the brightest parts are exposed to the right and then underexposing a shot by 6 stops. 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
Endframe – “Wiltshire, October” by Barry Thornton
There are a number of images that represent key moments in my own photographic development. more
Thomas Peck’s Critiques
It’s quite incredible that such a vision can be brought to life from an iPhone. more
Testing the Canon 5DS(r)
Ever since the Canon 5D Mark III was released, photographers have been crying out for more resolution. more
4×4 Portfolio
Our new feature this issue is 4x4, a set of four mini portfolios from subscribers. more
Endframe – ‘Stravinsky at the Piano’ by Arnold Newman
Choosing an image for End Frame is a daunting and nigh on impossible undertaking. more
Thomas Peck’s Critiques
Abstract photography, which is how I would almost classify this lovely photograph by Michéla Griffith (click here to read previous articles by Michela), engages the viewer in a completely different way from other photographic genres. Unlike a landscape or a portrait there is a momentary hesitation, a second of uncertainty, as we ponder what it is that we are seeing. Abstraction demands engagement; the viewer must work to see and recognise. Why is this picture only almost an abstract? more
Softly Does it
While I was in the process of learning to photograph the landscape (and still am!) I was intrigued by a comment from a fellow photographer that when the light was soft and flat it was details weather. I fully understand that details work really well under soft lighting conditions but what was wrong with trying to shoot a vista in soft, flat light? The British Isles’ weather systems more
Endframe – “Yellow Sea, Cheju, 1992” by Hiroshi Sugimoto
I have not given much thought to horizon lines for a long time. Indeed, I have not given much thought to straight lines in general for a long time. Living in the heart of the Lakeland fells as we do, or did, straight lines do not feature in the landscape very much and where they do occur they seem an unwelcome intrusion on our sensibilities; inevitably man made and symbolic of our disregard, even fear, of nature’s organic more
Greg Whitton
Can you tell me a little about your education, childhood passions, early exposure to photography and vocation? I had an unconventional upbringing as I was a 'forces brat', my dad was in the Army. I didn't live in mainland UK until I was 15 when he was finally posted back to blighty. We lived mainly in Germany with a couple of years in Hong Kong. Holidays tended to partially involve the Alps more
In Sympathy with the Landscape: the photographic pastoral
In a previous article we looked at Alan Hinkes’s photographic depiction of the Sublime. High up in the Himalaya, in the death zone, Hinkes photographed awe-inspiring landscapes, where man was insignificant and puny in the face of massive and indifferent nature. Hinkes, whether consciously or not, was tapping into an artistic genre. In the 17th and 18th centuries artists had deliberately sought to capture the emotional impact that particularly mountain landscapes had created in the viewer. The exhilaration more
Peter Scammell
Although he has always taken photographs, a move from London to Devon gave his photography new impetus. more