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Issue 163 PDF
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The Collodion Artist
Why is Wet Plate Photography so Popular?
End frame: Cedars and rock circle, Merced River, Yosemite National Park, California, 1986 by William Neill
Simon Gulliver chooses one of his favourite images
Subscribers 4×4 Portfolios
Anthony Shaughnessy, Ian Smith, Leonardo Papèra & Phil Corley
A Look at the Resurgence of Wet Plate
The Hiking Collodionist
Tales of Abruzzo
Mountains
Floral Portraits
Exhibition at Joe Cornish Gallery
Karl Mortimer
Featured Photographer
Sally Mann
Hold Still
A Fool’s Errand
The Futility of Looking for Vision
Holding an Exhibition
Going Solo
Al Brydon
Revisited
Viewpoint Editor’s Letter editor@onlandscape.co.uk
Tim Parkin

If you were to only read the vast swath of printed photography magazines you would be forgiven for thinking that the world of photography was limited to digital photography. However, it is worth remembering that this perception is a distortion of reality, influenced by the advertising funding without which most magazines would be unable to function.

In reality, there is an obscure underbelly of photographic practice that (mostly) keeps itself to itself. This includes pinhole photography, film photography, polaroid and a whole swath of historical practices. These processes also have the opportunity for the photographer to ‘interfere’ with the process, something quite difficult with the obscurity of the innards of the digital camera. This opportunity allows the production of work that holds an echo of the artist's hand beyond there choice of location, composition and post-processing.

Neither better nor worse than conventional photography, after all, there is an infinite opportunity for expression within digital work, it would be sad if these approaches were ignored. Even if the photographer were not interested in exploring these modes of expression, it would be hard to gain nothing from an increased awareness of them. In this issue, we include three articles looking at wet plate photography, one of the earliest forms of photographic expression, and why it has become so popular over 150 years after it’s death.

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Tim Parkin

Content Issue One Hundred and Sixty Three
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Issue 163 PDF

In reality, there is an obscure underbelly of photographic practice that (mostly) keeps itself to itself. This includes pinhole photography, film photography, polaroid and a whole swath of historical practices. more

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The Collodion Artist

In a world of high iso, high megapixel, high dynamic range photography, why do so many artists use a medium that was out of date in the 19th Century? more

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End frame: Cedars and rock circle, Merced River, Yosemite National Park, California, 1986 by William Neill

It hints at something out of the natural order. Peaceful but somehow slightly unsettling. There are many of the usual components of a landscape photograph, trees and rocks and water but no foliage. more

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Subscribers 4×4 Portfolios

Our 4x4 feature is a set of 4 photography portfolios from our subscribers: Anthony Shaughnessy, Ian Smith, Leonardo Papèra & Phil Corley more

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A Look at the Resurgence of Wet Plate

We asked Alex Boyd, a well-practised collodionist himself, about what it was about the medium that attracted so many people more

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Tales of Abruzzo

I started photographing years ago, as it was just a passion that would allow me to bring home memories of what I was living. more

Rod Bennington ~ Iced Cherry
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Floral Portraits

in recent years I have become captivated by the more cultivated and tranquil charms of Thorp Perrow Arboretum, Bedale. more

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Karl Mortimer

Working my way through his website it appears that a more graphic emphasis is coming into his work – his use of the square format, the negative space in his compositions, and his macro minimals. more

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Sally Mann

I have now read her memoir, Hold Still, twice and am pretty sure I could re-read it several more times, never be bored and continue finding new depths and insights. more

Guy_Tal_Fools_Errand_2
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A Fool’s Errand

To artificially impose some consistent look in all your photographs, rather than to let such a look emerge naturally from the way you experience and express the world and yourself, may result in a style, perhaps even a style unique to you, but it will not be your personal style. more

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Holding an Exhibition

Knowing how much work is involved from conceiving an exhibition to the opening, would I do it again? I’ve already booked my next two. more

Al Brydon - Based on a False Story 2
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Al Brydon

You can only draw on your own life and experiences when creating something you feel is important enough to share with other people. I find myself thinking again that one of the most basic human needs is to be understood. more

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