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Issue 220 PDF
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End frame: Gateway to the Moors II, North York Moors by Joe Cornish
Michael Cummins chooses one of his favourite pictures
The Birth of Landscape Painting
Art and Composition
The Landscape of Memory
The lens of recollection
Keeper Images
A Quest to Characterise Their Connection to Self
What You Really See
Human vision and the digital photograph
Simon Baxter
Featured Photographer
Not According to Plan…
The story behind Poverty Flats
What is that extra ingredient?
Is it beauty or message or both?

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Viewpoint Editor’s Letter editor@onlandscape.co.uk
Tim Parkin

Well, I think we’re morally allowed to mention Christmas now, unlike the shops which start ever earlier (September!!)! We’re preparing for a quiet time up in Scotland with a fairly strict lockdown in place and keeping things low risk with our families. We have a treat lined up for you in the next issue though, because we will have Joe Cornish as our Guest Editor.

Joe has picked a general theme of Science and Photography and we have some interesting editorial and interviews lined up for you. Included in the Christmas issue will also include the final results of our travel tripod tests. As a teaser, here’s a photo we took during the first snows in Glencoe this week!

Click here to download issue 220 (high quality, 127Mb)

Click here to download issue 220 (smaller download, 65Mb)

Tim Parkin

Content Issue Two Hundred and Twenty
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Issue 220 PDF

Click here to download issue 220 (high quality, 127Mb) Click here to download issue 220 (smaller download, 65Mb) more

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End frame: Gateway to the Moors II, North York Moors by Joe Cornish

The golden light on the weathered, wooden finger-post sign, the positioning of the very top of the post against a darker background, the angles of the ‘fingers’ themselves and the intriguing, yet to be discovered, places with unknown names etched in timber and only a few miles away, by pleasant foot, in various directions. more

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The Birth of Landscape Painting

A few issues back, Joe Cornish, David Ward and I started a chat about the origins of landscape and composition in art. The goal was to provide a foundation for a series of articles on composition in landscape photography but, as seems usual when I start researching things, I got sucked down the Rabbit Hole and got stuck researching some of the origins of landscape painting. What I found was interesting enough (to me at least) that I thought more

Joe Cornish - Lost fjord Greenland
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The Landscape of Memory

In the photographer’s actual experience surrounded by the light, colour, texture and space of reality, there is simply the moment; a living space/time continuum. more

Curiosity - Latourell Falls, Columbia River Gorge, Oregon
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Keeper Images

Often going back to view them several times more before moving on to the next issue. Many of these keepers were as fresh on the fifth or tenth view as the original view. Prompting me to dig deeper and find out why these keepers stay so well preserved across so many viewings. more

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What You Really See

I believe a deeper understanding of human vision, and the way it interacts with colour management can help us unlock the potential in our images, as we edit, view and print. more

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Simon Baxter

You could say that including Simon Baxter as a featured photographer is thanks for saving me from a long stay in London when the Beast from the East shut down all travel north of Yorkshire. But then again, he seemed happy with the cup of coffee and a bit of cake, so perhaps it's more likely because his photography has a consistent and creative vision of the world which he explores and shares so well through his YouTube videos more

Poverty Flats
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Not According to Plan…

That day at Poverty Flats had been one of my least productive in terms of photography but actually my experiences informed all the images that I subsequently made in the desert southwest and beyond. more

Clevedon Pier. The intention was to produce an attractive image using long exposure
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What is that extra ingredient?

I’ve thought about this a lot and asked myself how this relates to the way I take photographs. Do I try to express feelings and emotions when I take a shot? The answer is sometimes yes, but often no. more

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