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Portrait of a Photographer – Anna Morgan
I get the sense that the subject is much deeper than a collection of simple objects in nature, rather, each image asks the viewer to reflect deeper within oneself to find something more. more
Perfection in Nothingness
What does this image convey to you? A feeling of peace, calm and quietness? Does it suggest tranquillity and harmony? Perhaps a meditative feeling, of a sense of emptiness? more
Portrait of a Photographer- Jimmy Gekas
He approaches every trip and scene with the same lack of expectation and embodies what the Buddhists call “Shoshin,” which roughly translates as “beginner’s mind.” more
It’s Up To You What You See
Abstract art can be the most frustrating of art forms, but it can also be the most rewarding. There is a simple reason for this I think: the responsibility for finding ‘meaning’ in an image is thrown entirely on to the viewer. more
The Timeless Horizon
The monochrome toning of the water seems to increase that sense of constant, ageless solidity. It has a luminosity that feels metallic, not in a polished and reflective sense, but matt and translucent. more
Compare and Contrast
I guess this analytical approach stuck because as I look at these two photographs by Finn Hopson, I can’t help but react in exactly the same way. They both have the same subject – woodland scenes with mist and fog. They are structured very similarly – strong verticals bisected by flowing horizontals. But their mood is completely different. more
Landscape and the Picturesque
It’s interesting to analyse the mood that pictures create, the feelings they inspire, and to link that back to the decisions the photographer must have made at the moment of making the image. more
Geometrical Landscapes
The viewpoint has turned this into an image that is actually about something completely different. What we see here is a perfectly balanced geometric patterned rendition of the landscape. more
Steve Gosling and the desire to touch…
Two images then, one which calls for the viewer to reach out and stroke its softness whilst the other forbids any such interference. more
Thomas Peck’s Critiques
The results of long exposures to the passage of the sun are quite extraordinary. The images all have a deep gash where the sun has burned a hole in the paper. more
Thomas Peck’s Critiques
I make no apologies for focussing on Marc Adamus in this article. A photographer who, in every sense of the word (awe, majesty, grandeur, fear etc), makes Sublime images. more
Thomas Peck’s Critiques
Colin Westgate’s rather lovely image Island in the Mist is right on the edge of that minimalist/abstract divide. There are perhaps two clear hooks that anchor the picture in reality. more
Thomas Peck’s Critiques
Living just next to Epping Forest I have always been fascinated by images of trees. They can be wonderfully expressive things. Not easy to photograph, though. Too chaotic, seemingly random, difficult to isolate from surroundings. more
Thomas Peck’s Critiques
What does a diptych do? By bringing together two images the artist is implying a relationship between them. The viewer has to react to that relationship, to question it. more
Thomas Peck’s Critiques
How much more difficult does it become, however, for the viewer to link the images when they are abstracts as we see here in these shots by Edward Burtynsky? more