I often use the Editor’s letter to invite you, our readers, to send us your images or article ideas for potential publication in the magazine. Each month we are pleased that so many do and, since LPM was first launched, many hundreds of you have had your first image published, your first article commissioned, or your first portfolio showcased.
Landscape Photography Magazine exists to support and promote your craft and we have a variety of sections in the magazine that accommodate the good images, as well as the exceptional images, in colour and in monochrome.
The mention of colour brings me nicely to the subject of this month’s letter. How many of you will remember the Fujifilm Velvia film and its vibrant colour palette, especially designed for landscape photography? Its colours were rich, vibrant, yet truly representative of nature. How could anyone not love them?
Each month, the majority of images we receive look glorious, with their colours superbly displayed. Yet, some of us have a definite tendency to ‘oversaturate’ our images. In some cases, this can be due to incorrectly calibrated computer screens. In others, an intentional boost of the processing software saturation slider.
So, how much colour is too much? It is very easy to start pushing a slider, but it is much harder to judge when to stop. While oversaturated images might impress viewers temporarily, it has always been my belief that an image with vibrant, yet natural colour will be viewed and appreciated for much longer. My advice? If in doubt, take your time, revisit the image until you are happy and seek the honest opinion of someone you trust.
Dimitri Vasileiou, Editor of LPM email@example.com
Taking inspiration from the masters is a good way to build up an aesthetic appreciation, but Alister Benn argues you should make time to try new things and see what works, that way you can create your own aesthetic
Building a relationship with the landscape is essential for a landscape photographer. Rafael Rojas says that the best way to get that connection is to get out of your car and get yourself into the landscape
Alain Briot looks at the art of putting together three photographs to form a single piece of work. He discusses their benefits and introduces the different types that he will discuss in more detail in his later articles
Planning and pre-visualising are both important steps to capturing beautiful landscape images. However, as Adam Burton explains, there can be no better feeling than simply being open to what the landscape is offering at any given time
Travelling through Sweden on Nordic skis is a photographic adventure of a lifetime. Sleeping in mountain huts, seeing the Northern Lights and coming through a blizzard are just some of the experiences Lizzie Shepherd encountered