on landscape The online magazine for landscape photographers
Issue 156 PDF
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End Frame: “Calm, San Gimignano, Tuscany” by Charlie Waite
Phil Brown chooses one of his favourite images
Subscribers 4×4 Portfolios
Jason Geeves, Juan Ramón Suarez, Paul Gotts & Paul Radford
Of Wood and Water
Forthcoming Solo Exhibition
Birgit Potthoff
Featured Photographer
Two New Speakers for Conference
Dialogue with Photography
#Connected2018
Talks & Exhibition at Patchings Art Centre
The More Things Change
Tough Love on Visual Literacy and Proactive Creativity
Successful Definitions
An evolution in practical terms & in ideas
Aligning the Moral Compass
Our responsibility to post processing & image sharing
A Celebration of Contemporary Landscape Photography
Vision 9 Exhibition at ‘Gallery Oxo’, April 11-15th 2018
Viewpoint Editor’s Letter editor@onlandscape.co.uk
Tim Parkin

I think that putting on an exhibition is one of the most revealing things that you can do with your photography. Not only does it force you to consider your images as a group, all related to one another in some way, but it also forces you to hone your images into prints. This particular step is the point at which you get a chance to really work out just what the image should look like, and then learn to live with it on its own and alongside its chosen colleagues. The monitor can be a very forgiving medium and many flaws in tone, texture, flow, etc can hide beneath the suffuse lustre of the computer screen.

In many ways, the actual exhibition itself possibly isn’t the most important part of the process. Unless you are there to engage with most visitors, you will only get generic feedback from the gallery owner and the possibility of a few sales (which are unlikely to balance the cost of putting on the exhibition in the first place). Don’t let this dissuade you though - find your own location to put on a show of some sort, even if it’s the local library, restaurant or shop (or even your own house/shed if you have enough space!). It *is* possible to be a photographer and never exhibit in the real world and there is nothing wrong with this. But I think as a photographer you owe it to yourself to try to use the exhibition framework to help hone your craft.

We’ve mentioned a few exhibitions in this issue and if you’re able, we’d highly recommend paying them a visit.

Early Bird Tickets for Meeting of Minds Conference

Don’t forget early bird tickets expire on the 1st May and we’ve now announced our final two speakers, Thomas Joshua Cooper and Paul Hill, whom you can read about here.

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Tim Parkin

Content Issue One Hundred and Fifty Six
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Issue 156 PDF

I think that putting on an exhibition is one of the most revealing things that you can do with your photography. more

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End Frame: “Calm, San Gimignano, Tuscany” by Charlie Waite

It exudes serenity, at one with the world; in fact, it is the epitome of mindfulness. more

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Subscribers 4×4 Portfolios

Our 4x4 feature is a set of 4 landscape photography portfolios from our subscribers: Jason Geeves, Juan Ramón Suarez, Paul Gotts & Paul Radford more

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Of Wood and Water

These personal interpretations of wood and water, made over the past 3 years, form the basis for the images selected for display at The Joe Cornish Galleries. more

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Birgit Potthoff

I want to take the viewer on a trip into a small frozen world, previously unseen by humans, on a journey to a fairytale-like universe of light, shapes and colours. more

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Two New Speakers for Conference

If you’ve been looking closely, the On Landscape photography conference, “Meeting of Minds”, it is still a couple of speakers short. That’s because we’ve been chatting with a few people about the possibility of talking at the conference and we’ve only just completed the process. more

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#Connected2018

The collaborative, community based and fully open #Connected exhibition this year moves into its 11th year of bringing photographers of all levels from enthusiast to professional together to celebrate the creativity and photographic talent of the wider photography community. more

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The More Things Change

In order for photographs to be considered truly creative, it is not enough for the photographer to passively recognise a visually appealing, or otherwise expressive, composition when coming into contact with it. more

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Successful Definitions

True creative fulfilment is found in the process, not the prize, however shiny that might seem. more

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Aligning the Moral Compass

Our responsibility should probably carry over to our post processing and image sharing as well. The ramifications of what we share and how it impacts others has to be considered if we care about the places we photograph. more

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A Celebration of Contemporary Landscape Photography

If you love landscape photography – or indeed simply love the colours, mood, light and contours of our beautiful world – then this exhibition is well worth a visit. more

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