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There’s no Art without…
Great Art succeeds in revealing hidden truths: it makes you re-evaluate how you see the world or your fellow humans. more
The Credit Crunch
The issue is about giving credit for our inspiration and the influences in our work. more
Fields of the British Isles
Britain's landscape has many faces and with its remote uplands, dramatic summits and dynamic coastline to explore. more
Journey of Photographic Discovery
Mike Cummins reflects on his time in La Axarquia, far-removed from the generally lowland hills of Derbyshire. more
The Slow Interview with photographer Eliot Dudik
I was most interested in the idea of war, our current cultural and political standings that have been shoved down our collective throats and seem to be leading toward inevitable disaster. more
Sigma 35mm Art
One of the things I was wary of when starting On Landscape was including too many reviews. There are so many reviews out there already that adding a few more ‘yeah this looks quite good, 92%’ posts wouldn’t really contribute a lot. However, I did get a lot of people asking for my opinion on various items, from cameras and lenses to tripods and raw converters and when I feel I’ve had something to add beyond what is already more
Not a Master
In my images I wish to impart something of my relationship with them, but not something entirely independent of them. more
The Science of Lenses – Part Two
Those Dotted Lines (Astigmatism) OK, we’re back to the dotted lines and these need a little more explanation as they’re quite complicated. I want to show you in a diagram what is happening as a verbal explanation is quite difficult. What I want to show is that for a single point source of light, there are two possible planes in which it can be in focus. Very odd and it took me a while to understand myself but with the more
The Science of Lenses – Part One
We recently recorded a livestreamed webinar about lenses and although we went overtime by a considerable amount, the interest was very strong. As such we thought it a good idea to go into a little bit more about the science behind lenses without scaring people too much. Hopefully we’ll split the content into ‘easily digested’ with a few separate ‘geeky asides’ for those of you, like me, who like to know what is really going on. The first thing we’ll more
Interview with Finn Hopson
In March, I spent a weekend in Sussex, meeting and talking with other photographers such as Valda Bailey (who has been a previous featured photographer) and David Higgs (who had an exhibition which was reviewed in a previous issue and whose interview will be in the next issue). Finn Hopson owns the Brighton Photography Gallery and has recently put on the exhibition 'Southbound', which I mentioned in the previous issue. I caught up with Finn early one Sunday morning more
Lightweight Landscapes
Lightweight Landscapes – how camera choice can inspire creativity The second sentence of this article is the most important. I use a digital compact camera for all my landscape photography. You may or may not be surprised, but I find it very inspiring. A little bit of explanation is perhaps necessary, but that’s the basis for the collection of thoughts offered below. Some less important details: it is a Panasonic Lumix LX5, has a lovely Leica lens to which I can more
Face to Face with the Sublime
Inspired by Alan Hinkes presentation at the A Meeting Of Minds conference at the Rheged Centre in Nov 2014, Thomas Peck investigates how 18th century notions of the sublime are brought to life in 20th/21st century mountaineering photography. Something quite extraordinary happens when you watch Alan Hinkes present his pictures and talk about his experiences climbing the highest mountains in the world. You quickly realise that his photographs in the mountains are not the run-‐ of-‐the-‐mill dawn and dusk shots more
Choosing a new Camera System
At the end of last year I realised I could really do with upgrading my digital camera. This was prompted by a couple of things. The first was the fact that my current camera is heavy and combined with a chunk of glass that is the 28-135mm Minolta “Secret Handshake” lens it weighed almost as much as my large format camera. The second was that if I wanted to write about photography it made sense to be using a more
Manfrotto XPRO-3WG
Balls or Gears? If you're asking about tripod heads this is the main question. There are those of us who prefer the freedom, weight savings and holding power that ballheads can bring or the control and fine tuning that geared heads give you. I've always been a ballhead sort of person but having seen my colleagues subtly tweaking compositions with their Manfrotto 410's and 405's (not to mention the fantastic and fantastically expensive Arca D4's and Cubes) I must more