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End frame: Lake Julien by Joshel Namkung
The colour contrast between the reflected blue sky on the water and the yellow grass delineates the two parts of the scene cleanly. more
End frame: Cattle, Turbine, Pylon by Robin Friend
The inclusion of the wind turbines clearly date stamps the image as post late 20th century, in the same way that the horse and cart in the Hay Wain dates Constables’ painting to the early 19th century. more
End-frame “Forrest Bench” by Lyle Gomes
Photographer, Jonathan Chritchley, put me on the track of Lyle Gomes. This picture is on the cover photograph of the book “Imagining Eden: Connecting Landscapes.” The book contains photographs made over a sixteen-year period from locations in America and Europe. more
End frame: Between Dog and Wolf by Chrystel Lebas
The title Between Dog and Wolf refers to the French expression entre chien et loup, which is used to describe the time of day when it is too dark to distinguish between a dog and a wolf. more
End frame: Dancing in the Moonlight by Wim Vooijs
While they are not mirror images, they are beautifully balanced. The reflection is like an echo of the moon. more
End frame: Autumn Pallete by Michael Bollino
As an added bonus, Michael’s image also contains an abundance of nature’s irregular patterns and textures. That is how I believe the natural world prefers to present itself to us, always a bit chaotic, as opposed to what we commonly find in structured orchards and manicured gardens. more
End frame: “Bloom” by Peter Coskun
Taken in the Paria Canyon Wilderness, Utah, Bloom is an example of such a captivating image. The caption reads that it captured two rocks fallen into wet mud, causing the mud to curl up as it dries up. more
End frame: Light Show by Sandra Bartocha
This photograph has the perfect light and expresses it in a clean, direct, simple, and tremendously special way, striking the soul. It doesn't matter if it's the first ray of sunshine of the dawn or the last of the evening. more
End frame: “Sand Patterns, Laig Bay” by Hugh Milsom
The photograph I have chosen from the book does another thing, though, important to my own ‘work’. I really like mirroring of features of a landscape in clouds above, the sea below, or in this case, the surf below the landscape. These things are, of course, part of the landscape we look at but are not always used constructively. more
End Frame: Twilight Canyon, Glen Canyon, Utah, by Eliot Porter
These issues are once again gaining great importance with global warming and climate change, a long multi-year drought lowering the lake to critical levels, and the lake silting up more
End Frame: No Smoke Without Fire by Joe Cornish
Starting with the broad elements, we seem to have a sort of paradise in the background, full of light, leaves, green, and ephemeral light and, seemingly, some sort of hell archetype in the front, scorched earth, scattered debris and all the evidence of the fire. more
End frame: Earthrise by Bill Anders, Apollo 8, 1968
The astronauts (and everybody around them) were dutifully machine-like in their approach to the mission, but it wasn’t until they were more relaxed that they were able to appreciate a different perspective altogether. more
End frame: Colour transect #19, 57.868º N by Niall Benvie
One of the things I have learned from Niall recently is not to be frightened of using words in photos. Particularly if you are communicating a message, one or a few words can ensure that the message is not missed or misunderstood. more
End frame: On the Nature of Things 2012 by Dr Les Walkling
Robert Adams, in his 1996 essay “Truth in Landscape”, opined that “landscape pictures can offer us three verities - geography, autobiography, and metaphor.” I find this is a useful framework through which to consider why an image remains in my thoughts. A photograph in which an artist succeeds in posing a question is uncommon. An image in which the viewer is left pondering a moral response to the posed quandary is memorable. The skill more
End frame: Skyfall by Valda Bailey
n the face of it, it’s a little ominous and there could even be a storm brewing. There is something very dark in the background – a cliff? an approaching storm? The palette is subdued, mainly shades of blue, white and black, with some touches of warmer browns in the foreground more