Three years ago I started a personal project. I set out to photograph all the river crossings, ancient and modern, across the Tweed between Kelso and Berwick upon Tweled. 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 photograhers 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?
Nick Prior Photography has been invited to join Crossing Borders, a group representing artists and craft makers throughout the Borders.
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.