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Subscribers 4×4 Portfolios
This issue the 4x4 portfolios are from John Osman, Paul Osgood, Richard Earney & Stuart Westmore. more
Abisko
Few people outside Sweden have never heard about Abisko National Park. This is why I want to give a try to put it on the photographic map. more
Stephen Barnett
I was first taught to process film in 1974 at my College of further education in Nottingham, but I wouldn’t at that stage call it ‘photography’ as I was on my way to Sheffield School of Art to study Sculpture. more
Issue 105 PDF
This issue includes some work from a photographer who has been posting images occasionally on my Facebook stream and had to be coaxed into letting us publish some of his work. more
Wide Open Landscape
Robin Jones came to my attention with a series of photographs taken with an old Canon lens, nearly all wide open, and presented in a soft black and white look. The images stood out from my usual stream and as I had just started using a similar lens we got chatting a little - I was interested in finding out more and Robin was happy to help - Tim Parkin The Jones family settled in Cambridgeshire after my father decided more
Quarried
In 2013 I started photographing the quarries and works associated with mineral extraction and processing. What inspired me was the view from a local track. more
Endframe: “Nianån Creek in winter” by Hans Strand
It took me quite a while to decide which image I would like to write about in the End Frame, as there are so many images that influenced me in a significant way, and even more that are a pleasure to look at. more
Creative Lightroom Pt 8
In this installment of our Lightroom videos we're looking at the new(ish) HDR module. We have an example of Joe Cornish and one from Tim Parkin. more
Thomas Peck’s Critiques
Landscape photography is a slight misnomer, in that a large number of landscape photographs have as their subject not land but water. Or at least they take the interaction between water and land as a starting point for their imagery. more
Subscribers 4×4 Portfolios
This issue the 4x4 portfolios are from James Luscombe, Martin Dyde, Nigel Cooke & Phil Hemsley. more
Diego Lopez
Sometimes an image pops up in your feed that stops you in your tracks. For me, this happened recently with an abstract by Spanish photographer Diego Lopez and judging by the reaction when I reshared it, the same was true for many others. more
Has colour photography finally come of age?
It’s almost 190 years since Nicéphore Niépce made the first light-fast photographic image. That image was monochrome but I’m not sure that modern photographers understand how recently colour photography became widespread or how radically things have improved in the last ten years. more
Beyond the Visual: Sound, Word and Landscape.
I've long believed that for my work, seeing by itself is insufficient to create a good photograph. Whereas visual skills are essential, they are only a part of the contribution we can make as individuals or artists to our photography. The real skill of the visual is translating whatever it is we're trying to say into images; an extra level that might go some way to communicating our intent. Beyond seeing lies the murky, complex world of ideas, motivation, more
Issue 104 PDF
Tis the season to be jolly - and also the season to convince ourselves that we deserve to buy ourselves a few gadgets to play with in the new year. Some of my little treats include a load of darkroom equipment from one of our contributors David Tolcher and another treat is going to see Star Wars. Interestingly both of these have something in common - they both are driven by the resurgence of interest in film. Star Wars more
When is a Cliché not a Cliché
This article isn't composed of my own solid definition. As a photographer I'm trying to come to my own conclusions about how photography works and what tools we have to play with. I'd be very interested in your own thoughts on this. In the last article, I talked about how the cliché is not in the subject itself but the approach that a photographer takes in photographing that subject and that true artists can use clichés as positive components in more