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Moving into Film
I’ve never really been a kit man, so to speak. Since starting my journey in landscape photography a few years ago, almost every shot I have taken has been on one of two lenses. Now I can already imagine the incredulity that some will feel reading this, what an amateur! But I think it boils down to two reasons – firstly to save weight as a lot of my photography is spent up and down mountains and secondly the cost more
Endframe: Radiant Pastels by Guy Tal
Guy Tal’s “Radiant Pastels” represents one of the many images that drew me to his photography. It impresses me with its deep energy, stillness, and contemplative quietness. more
Endframe: Postured Birches by Dav Thomas
Three years after the publication of Dav’s book With Trees, it’s still my go-to option when I have half an hour’s browsing time more
Endframe: Winter Tees Mono V1F by Robert Fulton
This image was Winter Tees, and ironically, having seen Roberts work for several years and followed his many images from the Trossachs, I had never seen his Yellowstone collection. more
Endframe: Oaks, Mist, Melting Snow, Yosemite by Charlie Cramer
About 15 years ago I happened to pass by a photography gallery in Oakhurst California and decided to drop in. Oakhurst is about 1/2 hour from the Mariposa gate of Yosemite National Park and there were many very large photographs of the park on display. more
Endframe: Afterlight, Eigg by Richard Childs
Ever since stepping into Richard Child’s gallery, I’ve been a huge fan of his work. To pick one favourite image is an impossible task. more
Endframe: Migrant Mother, by Dorothea Lange
From 1935 t0 1944 the FSA ran a program of photography, hiring photographers to document the plight of poor farmers and migrant workers. Altogether, eleven photographers were hired for this project, but in particular Gordon Parks, Walker Evans and Dorothea Lange. more
Endframe: Coast People (1 of a series & book), by Ian Forsyth
The actual piece of work I have chosen is a northeast photographer, Ian Forsyth, from his longitudinal study ‘Coast People’. more
Endframe: “Rainbow Over The Potala Palace” Lhasa, Tibet, 1981 By Galen Rowell
"Rainbow Over The Potala Palace" doesn't have a complex composition, creating order from chaos, or much navel-gazing value, but the fabulous conceit here is that what looks like a simple image has a fantastic back story and one that we can take a few lessons from. more
Endframe: Rho Ophiuchi Nebuale in Scorpio constellation by Scott Rosen
You can argue astrophotography is more science than art; you are capturing what’s already there. There isn’t any room for different interpretation. It’s not like you can change your composition. more
Endframe: “Deciduous Beech In Winter, Cradle Mountain – Lake St Clair, Tasmania” by Peter Dombrovskis. 1993
The composition is truly exceptional for such a chaotic subject and makes me admire Peter's great eye for these type of scenes. more
Endframe: Basin Mountain, Approaching Storm, by Bruce Barnbaum
I first came across the name Bruce Barnbaum when I bought his book “The Art of Photography: An Approach to Personal Expression”. I remember sitting on the platform at London Bridge Station, waiting for the train home and reading the first pages. I was approached by a stranger who said, “This is the best photography book you’ll ever own.” He was right. I’ve bought dozens of books on photography since then, but this one is still the more
Endframe: “Before the Storm” by Edward S. Curtis
The upper third of the frame contains tempestuous backlit clouds, and the middle of the frame is rounded out by the four Apache riding diagonally away from the camera and into the distance. more
Endframe – Dawn on the Trotternish by David Noton
Since I got into landscape photography seriously, I’ve always admired one man. His dedication to the art is undeniable and his enthusiasm for the subject comes across in floods in his writing and his images. more
Endframe: “Maple and Birch Trunk & Oak Leaves” by Eliot Porter
Almost all the other photographs were obvious subjects – mountains, rivers, etc – photographed in more or less bombastic style. This was a more subtle shot; small trees in a dense woodland arranged all on top of each other in the middle of the frame. more