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The majority of my own photography over the last few years has been 'opportunity' driven. I've visited places either because other people we with me or because they are beautiful and 'remote'. It's been rare if never that I've worked in either a project or 'documentary' nature. My own 'doorstep' hasn't really had a look in.
However after talking to Karen Thurman who is featured in this issue, I was determined to get out more in my 'backyard'. The opportunity came this Friday as I was attending John Blakemore's book sequencing and making workshop. Sequencing a set of cherry picked 'best of' images didn't seem right and as I had a couple of Sigma lenses with which I needed to do some field testing I decided a 4am start and a walk out of the back of the house would be a good idea. What a wonderful time it was, the results of this, the Sigma lenses and the book making will be featured in a future issue but I urge you to read Karen's interview and get out on your doorstep as soon and as often as possible.
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Following on from helping the Wildlife Photographer of the Year competition with their judging, I was also asked to help judge the Environmental Photographer of the Year (alongside the excellent photographer Stephen Vaughan). It may not have the profile of some larger competitions but because entry is free it attracts a great deal of entries from around the world. Over ten thousand images were submitted this year from across 60 countries and I was very surprised at the amount more
Fay Godwin (17 February 1931 – 27 May 2005) The Markerstone: Harlech to London Road. Wales 1974 I don’t think I can say I have one all time favourite photograph. I have so many for different reasons and moods. But when faced with such a question to consider your ‘favourite’ photograph from another photographer, my initial recollection were not of what I expected; I suppose upon receiving the question I was reminded of the landscape greats, Adams, Western, Porter, and more
Abstract photography, which is how I would almost classify this lovely photograph by Michéla Griffith (click here to read previous articles by Michela), engages the viewer in a completely different way from other photographic genres. Unlike a landscape or a portrait there is a momentary hesitation, a second of uncertainty, as we ponder what it is that we are seeing. Abstraction demands engagement; the viewer must work to see and recognise. Why is this picture only almost an abstract? more
Tim Parkin: Hi Karen, where are you based then? Karen Thurman: Luton TP: Not a renowned landscape location KT: No, but one of our ‘On Your Doorstep’ locations. One of the ones we’ve already done. TP: And what do you find to photograph on your doorstep? KT: Same thing we photograph around all our ‘On Your Doorstep’ locations - parks, woodlands, etc. TP: Interesting as I was talking to Niall Benvie about his 20/20 imaging projects and conservation photography groups. He deals with more
Caroline Fraser’s images from New Zealand have made some think she hails from down under, so an interview with her is a good chance to clear this up (she lives in Sussex). more
While I was in the process of learning to photograph the landscape (and still am!) I was intrigued by a comment from a fellow photographer that when the light was soft and flat it was details weather. I fully understand that details work really well under soft lighting conditions but what was wrong with trying to shoot a vista in soft, flat light? The British Isles’ weather systems more
When we looked into moving house a few years ago, one of the criteria I had was that it had to have some outbuildings. I had all sorts of ambitious ideas about a large studio or gallery, even a teaching space where I could run processing workshops. Financial reality then set in and I set my sights a little lower, thinking in terms of a small studio-cum-gallery, but somewhere where, potentially, I could set up still life and macro scenes. Our new house more