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Fragments & Impressions
Roger and I have been talking on and off over the last couple of years and I've been dragging my heels for a while in getting this interview completed. As it turns out, this hasn't been such a bad thing as Roger has continued to produce some excellent photography over this period and he has just won the Black and White category and been highly commended for a portfolio of 3 images, in the USA Landscape Photographer of the more
Issue 100 PDF
The PDF can be viewed using Adobe Acrobat or by using an application such as Goodreader for the iPad. more
Creative Lightroom Pt6
Continuing in our Lightroom for Landscape series, Joe Cornish and I are looking at the radial selection tool and also we're taking a closer look at the hue, saturation and lightness sliders. more
What’s Up With Camera Firmware?
Exposure controls haven’t really moved on a whole lot since the days of film, apart from perhaps the histogram, an inaccurate way of showing how far wrong the internal meter was. I’m hoping to take you through some of the innovations that I’d like to see in the next range of cameras from the big manufacturers. more
Light and Land at the Mall
Light and Land put on a week long exhibition at the Mall Galleries called "The Year of the Print in August 2015. Read further for a review from an exhibitor & two visitors. more
4×4 Portfolio
This issue's landscape photography 4x4 portfolio features John Barton, Michael Cummins, Mike Curry and Paul Gotts. more
Exhibition: The Blazing Forest, Thomas Peck
A new exhibition: The Blazing Forest, by Thomas Peck concentrates on Epping Forest in its most exquisitely beautiful autumnal colour. more
Thomas Peck’s Critiques – Untitled
Do you like modern art/photography? Especially abstract modern art…? Or does it frustrate you? Does it feel like the artist is being deliberately obscure, cloaking an image in obfuscation, and then calling it Art! I must admit I can have both reactions… But with this image by Sandy Weir I’m definitely in the former camp. To me this is beautiful, delicate and wispy. And yet on first viewing I had no idea what it was a more
Endframe: “Infinite Funnels” by Guy Tal
Over the years Guy has been someone whose images and words have constantly moved me. There’s been a connection that I really haven’t found as strong elsewhere. more
Theo Bosboom
In my work I focus on intimate landscapes and the details in nature and I always try to find fresh perspectives. more
Issue 99 PDF
You can download the PDF by following the link below. The PDF can be viewed using Adobe Acrobat or by using an application such as Goodreader for the iPad. We've split the PDF into highest quality and small download versions now. The small download is still good enough quality for general browsing and reading but you won't be able to zoom into the smaller images as much as with the larger. Click here to download issue 99 (high quality, more
Memory Colour
Colour - it’s something we sort of take for granted. After all the camera records the correct colour and then we play with it. Right? Well - not actually. Cameras are definitely getting better but they are certainly not perfect yet and if we add in the effects of camera profiles then what we actually see when we load our photos into Lightroom (or whatever) isn’t necessarily what we expect. Many of us think this probably doesn’t matter, after all more
Thoughts about Post Processing
Visual information processing is the reasoning skill that enables us to process and interpret meaning from our eyes. The way we perceive plays a big role in our everyday life. more
4×4 Portfolio
This issue's landscape photography 4x4 portfolio features Kathleen Donohoe, Priamo Melo, Linda Bembridge and David Cundy. more
Brian Kerr
For this issue we've been talking to Brian Kerr, Dumfries born and now Cumbria based photographer with a passion for the hills. Can you tell me a little about your education, childhood passions, early exposure to photography and vocation? It’s fair to say that along with the majority of the population in the 1970s, our family only had instamatic-type cameras; expensive SLRs were something that other people had. I do remember borrowing my Dad’s Polaroid but I can’t have been more