You get the telescope out to try and see more clearly but it doesn’t help. It’s the wrong way round. And they’re getting further away.
Has something just happened? Or is something about to happen? Or perhaps nothing ever happens up here in the waiting room on the roof of the known world.
Thoughts of home after the uncertainty of carefully picking your way up river past sandbars and shoals.
Cammo Estate is a dilapidated park on the western outskirts of Edinburgh. The house and stables are now in advanced state of collapse and the grounds are severely overgrown. Just the place then to go for some photographs. In this set I was aiming to capture some of the unreal dream-like qualities of the place…
It’s as though the bridge is being cast in front of your eyes, a trail of molten gold flowing along the raised track.
The story behind the image. There was something about the line of gravestones not just leading to the door but also taking you back in time as you walk along beside them.
Bamburgh, 2016: bringing myths to life – the story behind the image.
Piemme, Bologna, 2006: the story behind the image
It does seem I get inspired by bad weather. I just needed 50 seconds between squalls to get the long exposure shot, and I wasn’t getting them.
Over the years trees have featured prominently in the photographs I take. Here’s some of my favourites.
As we started walking round the grounds at Gosford House in East Lothian the light started to turn grey, Could we find any contrast worth talking about in the trees?
Going back through my pictures, I’ve been finding it far easier to identify interesting monochrome images to document rather than colour ones. Better? Or just different?
The story behind the image. By daylight the scene is nothing to write home about. But at night, nearly midnight, all those extraneous elements and colours just disappeared, and the atmosphere of the Venetian night took over.
“But it’s just a picture of a wall!” It’s also a picture of ambition moderated by pragmatism, of nostalgia, of seeing how things were, how things are now and how they got there.
The story behind the image. As soon as I saw the negative emerge from the developer I knew I’d got something worthwhile.
The story behind the image. It’s the sort of picture I’ve always longed to be able to make – technically and compositionally appealing.
Try this as an exercise. You’ve got three minutes. Describe your image and give me some idea of what motivated you. Intimidating? Impossible? Here’s how.
Michael Freeman on Creative Photography really doesn’t need more publicity. However this book published way back in 2016 definitely warrants more exposure. Freeman ranges widely across photography considering different approaches to being creative with your camera.
Level horizons are really just the tip of a critical iceberg. Here’s why you should consider going straight.
This year, a new camera has changed the way I take pictures. I’ll not break the habit of a lifetime – this won’t be a camera review – so this is all about how you see.
Three years ago I started a personal project. I set out to photograph all the crossings, ancient and modern, across the River Tweed between Kelso and Berwick upon Tweed. This is the story so far – and what happens next.
Its the middle the day in the middle of summer. The sun’s shining and you’re out with a bunch of friends intent on taking some photographs. And the light’s dreadful. What to do?
George Barr’s approach is to take 52 images from photographers both well- and less well-known. We come away with an armoury of potential approaches to reviewing our own or other peoples’ photography.
Aiming to take sharp pictures? Here’s a comprehensive list of things to watch out for to get that tack sharp image to wow your viewers.
How a photograph both frightened and excited me when I first saw it. Can photographs really have that sort of an impact?
How a black and white picture of Hebden Bridge by Denis Thorp in the Guardian in 1978 still influences how I take photographs today.
Many photographers have a preferred genre, their comfort zone. A place where creativity arrives without conscious effort. For me, it’s ultrawide landscapes
Finding someone else to help with editing our pictures and choose our collections can prove useful. It works in other fields; why not photography too?
It might seem a bit odd starting an article on trees with something that is most certainly not a tree. For me though, it’s a tree in all but name.
Is it realistic to expect a photographer to concern himself with his viewers expectation about the nature of photography?
Consider the use of monochrome to concentrate your viewers’ eyes on the real subjects of your photos.
I feel like something of a scratched record about this, banging on about photographic intentions yet again. But it’s important.
We all take disappointing pictures at times. To get out of the habit, we have to learn to see in a different, more conscious way.
Exploring the potential of panoramas? From wide angle landscapes to more intimate close-ups.
In this article I describe some of the aesthetic decisions I made when processing a raw image file to get to picture of Berwick Pier.
Surprisingly perhaps, you can improve your own pictures by learning how to critique other peoples’ images. Being specific about, and putting into words, what you do and don’t like will help when you come to create your own images.
When you start out it sometimes feels like other photographers are deliberately hiding the details of their craft from you. It takes a little time to realise that the most important feature of the camera is the viewfinder.
Do you need to tell people what your photograph is about? As ever it all depends on circumstances – what does your audience need to make the most of your images?
Being clear about your intentions for a photograph before you actually press the shutter button is the first step in creating images that say what you want them to say.
Working in monochrome means you can’t rely on colour contrasts to separate elements in your photographs. You have to use the light and capture differences in luminance to produce an image with impact.
One of the hardest lessons to learn when starting with photography is not how to fit everything relevant into your pictures, but how to leave everything else out. Here are three steps I follow when I’m trying to create images with impact.
How the obsession with camera hardware gets in the way of creating interesting photographs.
Well, that’s an easy question to answer isn’t it? Landscape is a picture of natural beauty somewhere in the countryside. Isn’t it? There, done. We’ve put that in its box, move on. But not so fast. That just raises more questions than it answers.
“Seeing Things” by Joel Meyerowitz was conceived as a “Kid’s Guide to Looking at Photographs”, but it works for older kids too. And why is this just a kids’ book? If you can get past the sub title on the cover page, this is a well written introduction to photographs that might just trigger a few of your own brain cells into action.
In a blink this book by Henry Carroll, apparently for beginners, with pages of detail on how to choose shutter speeds and apertures resolved in a flash how I should be taking photographs for maximum impact.