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End frame: The Frozen Swan by Fortunato Gatto
Let creativity be the true driving force that transforms landscape and natural elements into art—not only for the photographer, but for each of us, rediscovering our personal ability to dream and interpret when confronted with such images. more
End frame: Hashikui Rocks, Study 1, Kushimoto, Honshu, Japan, 2002 by Michael Kenna
Considering these many layers of interpretations, it feels almost as if the image is a statement on time: the smooth water surface indicates a long exposure. more
End frame: Les Grandes Jorasses, by Pierre Tairraz
The foreground spires in the photo seem to point to two cloud-filled couloirs of the mid-ground Taléfre, and their angle is identical to the massive couloirs of the north wall of the Grandes Jorasses, further back. more
End frame: “Maple and Birch Trunk & Oak Leaves” by Eliot Porter
The central pattern of vertical elements could mean two things, I think. Are there two red trunks bounded by the dark space behind them? Or are there three nearly black trunks against an autumnal background? more
End frame: Autumn, Yosemite Valley 1938 by Ansel Adams
It looks simple: a gentle river scene with reflections. However, the elements in the image are a mixture of different trees, separated by the piercing light of morning, which breaks up the jumble of the woods into discrete areas. more
End frame: Nyx #60006 by Anna Cabrera & Ángel Albarrán
An image I keep coming back to in particular is this work from Albarrán Cabrera’s series ‘Nyx’. The name derives from Greek mythology, where the goddess Nyx is the personification of the darkness and is considered one of the first beings to exist. more
End frame: Shimmer & Flame by Simon Baxter
Looking at Shimmer & Flame brings back memories of my own autumn forest wanderings. Though few of them had such perfectly magical conditions. more
End frame: Old Coastguard House, Ynys Llanddwyn, Anglesey by Porl Medlock
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
End frame: Arran Light by Dylan Nardini
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
End Frame: lo non ho mani che mi Accarezzino il Volto by Mario Giacomelli
Mario Giacomelli is considered one of Italy's greatest photographers, as well as a figure who made the expression of inner feelings his focus. more
End frame: Lido di Venezia, 1959 by Gianni Berengo Gardin
The photograph invites questions without offering answers. Who are these people? A couple with their child? Relatives? Domestics of a wealthy Venetian family? What are their thoughts? more
End frame: The Pond Moonrise by Edward Steichen
It could be argued that The Pond – Moonlight (1904), taken in Mamaroneck, New York, near the home of his friend Charles Caffin, still stands as his most important early work. more
End frame: A Winter Coral by Trym Ivar Bergsmo
‘A winter coral’ is not exactly a landscape photograph. Yet, somehow, it evokes so much of what, to me, makes great landscape photography. Trym Ivar Bergsmo was, in his own words, of the North. more
End frame: Cromarty Firth, July 2024 by Marianthi Lainas
I have circled back to Marianthi’s work regularly over the last decade or so, not in the sense of moving backwards to something in the past, but each time I visit her new work or revisit pieces I am already familiar with, I feel a new sense of discovery, as if I am uncovering an aspect of myself previously unknown to me. more
End frame: L’Éclipse by Eugène Atget
There is something immediately appealing about Eugène Atget’s 1912 albumen silver print L’Éclipse—a sense of spontaneity, playfulness, and ease with which the Parisian photographer pulls us right into the center of the crowd that gathered on Place de la Bastille to observe a solar eclipse. more