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Issue 333
Click here to download issue 333 (high quality, 129Mb) Click here to download issue 333 (smaller download, 89Mb) 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
Alex Jones – Portrait of a Photographer
His work is not loud; it does not insist. Instead, it invites us to look closer, to notice the quiet details that most would overlook. Each image feels like a found object, carefully selected for its texture, its geometry, or its subtle interplay of light and shadow. more
4×4 Landscape Portfolios
Welcome to our 4x4 feature, which is a set of four mini landscape photography portfolios which has been submitted by Graeme Darling, Leo Catana, Robert Hewitt & Ronald Lake more
Kjetil Karlsen
Creating and using the creative qualities that lie within us make us better people. Being creative is something universal in us, and if this does not get an outlet through photography or other creative activities, it will be forced to find an outlet in another way. more
Technology advance and evolutionary adaptation or why it is all about harmony (for me)
Here, I would like to pick up on one of those themes, expressed by Vilém Flusser (1920-1991) back in pre-digital days, about how, as photographers, we are all (to a greater or lesser extent) functionaries in the development of the photographic industry as part of the capitalist technological industrial complex. more
Desert: sand, dunes and intangible vastness
This region became famous through travelogues such as “Arabian Sands” or “The Wells of the Desert” by Sir Wilfred Thesiger (1910 - 2003). He was one of the first Europeans to cross this desert between 1947 and 1950. more
Marc Wilson, The Edge of Ruin
We interviewed Marc Wilson at the Royal Armouries way back in 2013 when he was out promoting his Last Stand book on the relics of wars. He's currently promoting a Kickstarter campaign to help in the publication a new and predominantly landscape project about the relics of our industrial past. We asked him a few questions about the project. Can you give us a short summary of how you found yourself on the verge of going to print with more