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Issue 142 PDF
Browse On Landscape on your Tablet, iPad or Desktop
Large Format Camera Accessories
The Supporting Cast
Endframe: Sleepy Hollow – Epping Autumn two by Nigel Morton
Scott Rae chooses one of his favourite images
Subscribers 4×4 Portfolios
Cathryn Baldock, Derrick Golland, Lee Rolfe & Yiann Stevens Cegarra
Thomas Peck’s Critiques
Lacerations & Gashes – the result of capturing the Sun
Saltwick Bay
It’s Not Over, Until It’s Over
Chris Gilbert
Featured Photographer
FotoFest 2017
Fotospeed Talks
Compositional Controversies
Part 6: Depth and Flow
In Praise of Film Pinhole Photography
Getting hooked
sponsored by ..
In this last week the National Trust (and the National Trust for Scotland) have been embroiled in a bit of a war with organisations that want to, or already are, using the names of locations to promote products or running activities on their lands for profit. The particular case being Hilltrek who have an outdoor jacket called “Glencoe DV Jacket”. The National Trust for Scotland sent a legal letter saying that they had trademarked “Glencoe” and telling them to cease and desist trading “or else”. The NTS said they were doing so “in the interests of the local community”. The backlash across much of the press and social media has been swift and furious. In the same week, a private blog quoted the National Trust as ‘actively pursuing’ several landscape photographers for damages as they had taken photographs on the Trust’s Snowdonia estates without permission and were using these photographs as stock images. The commoditisation of public lands is something that is inevitable in the world we live in but the level to which organisations are allowed to squeeze the public needs constant monitoring. Should we have to pay in order to use one of our photographs in a calendar that we sell locally? Should there be a significant fee for anyone running a commercial group activity in land that has been given to the NT “for the benefit of the nation”? Should organisations be able to trademarks names or even views of the landscape? We’d love to hear from your own experiences or views whether you’re in the UK and abroad. Drop us a line on marketing@onlandscape.co.uk
Tim Parkin
Issue 142 PDF
Click here to download issue 142 (high quality, 112Mb) Click here to download issue 142 (smaller download, 54Mb) more
Large Format Camera Accessories
Once you’ve bought your large format camera, it’s time to look at the ‘extras’ that you’ll need in order to take pictures. more
Endframe: Sleepy Hollow – Epping Autumn two by Nigel Morton
Nigel's images just blew me away, across the board. It wasn't just one single image, it was his entire Flickr portfolio that led to this visceral reaction, but in particular, Sleepy Hollow that really sucked me in. more
Subscribers 4×4 Portfolios
Our 4x4 feature is a set of 4 landscape photography portfolios from our subscribers: Cathryn Baldock, Derrick Golland, Lee Rolfe & Yiann Stevens Cegarra more
Thomas Peck’s Critiques
The results of long exposures to the passage of the sun are quite extraordinary. The images all have a deep gash where the sun has burned a hole in the paper. more
Saltwick Bay
It was the middle of December, temperatures were close to zero, what better time than to go to the beach, right? more
Chris Gilbert
His workshops are perennially popular and he is also one of five landscape photographers behind the Peak Photography Gallery in Bakewell. more
FotoFest 2017
Fotospeed are delighted to bring together 4 world-renowned photographers for a day of talks on Sunday 10th September 2017, The Edge, University of Bath. more
Compositional Controversies
It would be irresponsible not to address these two ideas, Depth, and Flow in any series that aspires to illuminate photographic composition. These are certainly not Rules of Composition in the conventional sense. But are they Considerations? You bet. more
In Praise of Film Pinhole Photography
Film pinhole photography has been prominent in this recent resurgence; the lensless “look”, when recorded on film, has attracted many to this relatively cheap form of photography. more