Inside this issue
I’ve finally landed back at On Landscape head office in the depths of the East Riding of Yorkshire and things are slowly getting back to what passes for normal around these parts. I’m now at the stage of looking at the photographs taken over these last few weeks and starting to think about whether I’ve produced anything of worth - there’s that see sawing of thinking I’ve got loads of great pictures and then getting bored of them in short order. Hopefully in a few more weeks I’ll have been able to reassess them without the familiarity of the locations still in my head. There is no time to rest though as I’m straight off to London to talk with Charlie Waite about his “Year of the Print” which runs for the next week until Saturday at the Mall galleries (a report on this in the next issue).
This month we’re also very proud to announce a collaboration with Triplekite publishing to produce a publication (Land|Sea) covering some of our most inspirational photographers. The book has been in the planning for a few months but it has finally come out from under wraps and we’ve had a chat with Dav Thomas about it in this issue. Triplekite have confirmed they'll be appearing at the On Landscape Conference in November at the Rheged too so start saving your pennies! The conference is selling quickly now and the more attendees, the more we'll be able to offer (news about that in future issues).
Our main article this month is “Quiet Imagery” by Hans Strand. The article talks about his changing approach to photography over the years and the way his personal experiences have moderated his work.
Since I’ve returned and started post processing images from Iceland and Scotland I’ve started using a few new techniques I’ve learned from watching fashion re-touching and this issue I’m sharing one of these with you in our Grouped Masks article. There is also a look at the use of shutter speed and polarisation in the photographing of flowing water this issue and we end that article with another example of grouped masks.
Finally we’re happy to include Wirral photographer Marianthi Lainas as our featured photographer.
Don't forget we've got a webinar with David Ward and Joe Cornish on Monday the 31st of March too - places are filling up and it looks set to be one of our most popular yet,
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 72 more
The older I am getting ( now 58 ) the more I tend to love less spectacular and quiet imagery. When I was young, mountains where the hot stuff on the menu and I made long hikes in the Swedish national parks in the High North. My strategies were all in the direction of catching the mountains in the most dramatic light as possible. I still like images of grand landscapes, but more so when they are interpreted in more
Although On Landscape was always intended as a ‘virtual’ magazine for various reasons - cost being an important one but print quality and the possible advantages of video and interactive content being others – the idea of seeing great photography printed well is still one which we think is incredibly important. Seeing photography on a screen is something that is working better and better, especially when people are using tablets such as the Ipad with retina display, more
In the days before digital photography, I knew a passionate, avid and talented amateur photographer who, despite spending most of his free time out in the landscape photographing, rarely processed his film or printed his images. Why would this have been we might ask? Was the photographer like the host or hostess who pre‐visualises and then prepares a delicious supper party menu for the delight of their guests but who themselves eats little of their own feast? Was it in more
We’ve written about using masks in Photoshop before now (see links) and we’re still of the opinion that, combined with curves and hue/saturation adjustments, masks are the key building blocks of post production. Quite often it’s difficult to make the right mask selection though and we’d like to introduce a technique that allows a more fine grained control combining different masks together; and also over the way colour, tone and saturation can be adjusted together. First of more
I think it would be safe to say that the vast majority of us have taken photographs of water flowing over rocks in a river at some point or other. The way water dances over stones, the way the bubbles dart back and forth and surface foam lazily traces paths through our waterways is enough to keep a photographer in action for most of a decent sized compact flash card. I was recently in Glencoe, Scotland and saw a particularly more