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Issue 182 PDF
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Graduated Filter Test – Part Four
Usability, Water Shedding and Final Scores
End frame: A Sudden Squall, The Stirling Falls, Milford Sound, New Zealand by Jem Southam
Lloyd Edwards chooses one of his favourite images
Subscribers 4×4 Portfolios
Daniel Wheeler, Ian Bramham, Jason Robert Jones & Kate Zari Roberts
Time and Photography
Taking a look at the role Time plays in the still image
Dispatches from the collapse
Our abject lack of preparation for what is to come
Romain Tornay
Featured Photographer
Multiple Exposure, Layers, Textures ….. and all that Jazz
Different approaches to image making
A Day at the Seaside
Framing abstracts rather than conventional views
A Thousand Words
The Challenge of Naming a Picture
Viewpoint Editor’s Letter editor@onlandscape.co.uk
Tim Parkin

In this week's issue, we look at an aspect of photography that gets a lot of (probably far too much) attention. Cheryl Hamer and Glenys Garnett present multiple and long exposure work with one big difference. One takes them in camera and one combines them in Photoshop.

It’s fascinating as an exercise in the way that an approach to photography can mediate the work produced and has little relevance in terms of which is right and which is wrong. Cheryl and Glenys turn this dichotomy into a conversation instead of a confrontation.

It comes up again and again in photography. Is this or that ‘real’ photography. The answer is always either “it depends” or “just get on with it you idiot”. The more important questions are how the way you work helps or hinders your ability to produce the work you want to. That’s the heart of the matter.

Click here to download issue 182 (high quality, 178Mb)

Click here to download issue 182 (smaller download, 106Mb)

Tim Parkin

Content Issue One Hundred and Eighty Two
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Issue 182 PDF

Click here to download issue 182 (high quality, 178Mb) Click here to download issue 182 (smaller download, 106Mb) more

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Graduated Filter Test – Part Four

Our Graduated filter system tests are nearly at an end (or at least at a point where I’m happy to commit to some conclusions as someone has just reminded me about vignetting tests and a final video in the field). more

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End frame: A Sudden Squall, The Stirling Falls, Milford Sound, New Zealand by Jem Southam

In the blink of an eye, the elements in this part of the world regularly shift the sublime to the extreme. The weather here, in all of its variations, is a constant revelation. more

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Subscribers 4×4 Portfolios

This issue our 4x4 landscape photography portfolio feature is from subscribers: Daniel Wheeler, Ian Bramham, Jason Robert Jones & Kate Zari Roberts more

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Time and Photography

A strong fascination with the concept of time has permeated my work from the very beginning and indeed now, in retrospect, I realise it might well be the reason why I chose photography as a medium of personal expression and investigation of the world I live in. more

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Dispatches from the collapse

When I created the images in the series, Dispatches from the collapse, hope was far from my mind. Rather, I imagined the pieces as relics found in a drawer in an abandoned house, decades from now. more

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Romain Tornay

For Romain Tornay it was the stories that he read from an early age that inspired him to travel to and experience the same environments that had so fascinated him. more

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Multiple Exposure, Layers, Textures ….. and all that Jazz

Cheryl Hamer and Glenys Garnett are landscape photographers who ‘come at’ their landscapes from a slightly different perspective; here they explore both their differences and their similarities and how the march of technology continues to aid and abet their creativity. more

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A Day at the Seaside

One day at the seaside in difficult conditions; using techniques that I knew about but had never tried in combination like this, framing abstracts rather than conventional views. more

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A Thousand Words

We may be visual artists, but surely, we cannot deny the power of words. Indeed, photographers who treat words carelessly run the risk of doing their images a grave disservice. more

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