Inside this issue
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It is an exciting few weeks for the Editorial team and as you read this I will be in Iceland catching up on some Winter photography (I hope !). I completed my exhibition and you will find an article on the final preparations for the opening in the current edition of the magazine. On my return from Iceland I travel to Scotland for the Paul Wakefield workshop and Adrian Hollister’s Open Studio at the Image Studio at Mellon Charles. A busy month on the road.
We held a very well received webinar with a David Ward Q & A which has prompted us to consider doing more with this medium and so we will be hosting an image critique webinar where David and Joe will talk about 3 images of the others work on line. ‘Critique’ may be the wrong choice of words but expect a lively debate on composition and why the images really works from these two photographers with their differing image styles. You can register here:
By the time the next issue comes out we will have been at The Photography Show with Paula on the Linhof Studio stand at E50/51 where Andrew Nadolski and / or David Tolcher will be on hand to answer your questions or for a chat. We would love to see as many of you as we can so please stop by and say hello. Linhof Studio and OnLandscape are launching a new ‘OnLandscape’ filter kit in either LEE 100mm or Seven5 with a selection of filters that we think are essential in the field despite the stunning DR performance of modern digital cameras and software. This edition contains an article revisiting filter use.
A reminder again about the conference in November, bookings are going well so please consider signing up if you haven’t already booked. Click here for more information.
This edition of the magazine has some exciting new images from Joe from a recent trip to Yosemite. I have written an article on hunting out an image at Dalt Quarry in Borrowdale articulating some of the conscious and subconscious decisions that we make when scouting a location. We finalise the trilogy of articles on the A7R with an ‘in the field’ report from Scotland by David Tolcher. This remains an interesting camera which Joe has also been working with for Sony over the last few weeks. Along with our regulars I hope that you enjoy this edition of the magazine.
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. Click here to download issue 70 more
Hello and welcome to On Landscape webinar, a question and answer session with David Ward. more
Like many landscape photographers coming from a film background the use of graduated ND filters was second nature and the only way to shoot transparency film. To squash a dynamic range involving foreground and sky into 3.4 stops you get of Velvia 50 was a challenge that needed a certain amount of skill in positioning and selection of ‘grads’. For me, since the introduction of the D700 in particular and its huge usable dynamic range my filter use on digital more
It really is difficult to elicit any sympathy, or argue that life is hard when part of one's portfolio of tasks, labours and responsibilities involves travelling to California to lead a photographic workshop in Yosemite valley. David Ward and I have co-led tours, mainly for Light and Land, for many years and when Charlie Waite suggested “in the footsteps of Ansel Adams”, negotiation was unnecessary. We politely accepted. All photos taken with the Phase IQ280 or Fuji X-E1 more
So I left you in the last article just as I was starting to print the photographs for the exhibition but hadn’t quite decided which images were going to be printed. I’d made some rough choices but was still not completely convinced I had anything more than a group of favourites. Final Choices Before I made my final choices, myself and my wife Charlotte visited David and Angie Unsworth in the Lake District to get kitted out for a more
The act of finding and constructing a composition is one that struggles to be pinned down. The way each photographer manages this is often quite different and to generalise about the ‘best’ way is a pointless task. However, a single photographer can describe how they go about approaching a particular area and then possibly document the way that a potential composition reveals itself. There are then all of the framing decisions about edges, corners and flow that can be more
The first two articles looked at the A7R and some wide angle options available to the landscape photographer. I had the opportunity to take the camera and lenses to Scotland in the first week of February for some Winter landscape work. Jon Brock and I have been going to the Kings House on Rannoch Moor for more than 10years for a week sometime in January. We have had some great trips in true Winter conditions but the last 2 more
Can you tell me a little about your education, childhood passions, early exposure to photography and vocation ? My early interest in photography was the usual, my uncle gave me a camera when I was 12, it was a twin lens reflex Ensign and I took mainly family and domestic photographs. However, I became completely absorbed in photography during my time as an Art student in the 60’s studying Fine Art more