Almost Weekly Photo

Colours of Iran

Bakery, Kashan, IranFujifilm X-T3, Fujinon XF8-16mm f2.8 R LM WR…

Where Do You Crop?

Wangdue Phodrang, BhutanPhase One XF 150MP, 240mm Schneider Krueznach, f5.6…

BP100 - Human Canvas

Art Wolfe is one of the world's best known wildlife…

These days, there’s something magic about a book, the weight of its covers, the feel of the paper as you turn the pages, the excitement and surprise as you look at amazing photograph after amazing photograph.

We know our previous winners who received a book were really impressed, so this remains our vision each year: to create a landscape photography publication that is so beautiful, every serious landscape photographer in the world will want to be involved. And with our elite judging panel of established and esteemed judges, the International Landscape Photographer of the Year awards book will have a distinctive authority. 

The International Landscape Photographer of the Year Awards has teamed up with a limited run printer who has the craft and dedication to produce a book that matches our vision. In Australia, we’re working with Momento Pro, a printing company that is directed by Libby Jeffery and Geoff Hunt, two people with the same passion for photography and publishing that we have for landscapes. 

We are delighted with the 2019 edition of the book, once again superbly printed for us proudly by Momento Pro.

  • If you reside in Australia, you can purchase a copy directly from Momento Pro, click here to be directed to Momento Pro's website.

  • For all overseas orders, we will take care of your order and mail to you once printed by Momento Pro, click here to be directed to our website.

  • If you haven't ordered a book for the previous years, you might like to start a collection - 2014 to 2018 editions are also available to order!

Peter Hill is pretty damn good at infrared photography. And it's a skill that's allowed him to produce some stunning black and white images.

Writes Peter in the current issue of Better Photography magazine, in an article called 'The Invisible World', “My primary technique is to keep my eye on the light and my mind open. My aim is to capture the IR light and the contrast it creates. If I don’t like the light, the IR camera stays in the bag.

“Composition is a necessary second issue, but you need to keep in mind the potential for what IR can do. For example, I like backlighting a composition with a tree branch or trunk between the sun and the sensor. The more I hold true to this technique, the more I’m finding that compositions will present themselves, if only for a few fleeting moments. And this is where shooting with a converted camera really comes into its own. Most of my images are simply not possible if I had to resort to an IR filter on the lens.

“I have also found that shooting black and white IR requires far more attention to light, exposure and composition, than traditional black and white photography. It really makes you think about how you capture those aspects, how you visualise the outcome.”

“One subject I try to avoid is people, unless I’m actively looking for the zombie effect, which is what IR does to faces and eyes. Deep, black, evil eyes!”

You can read more about Peter Hill's approach to infrared photography, along with the cameras he uses, by subscribing to Better Photography magazine online. You'll find details on the www.betterphotographyeducation.com website.

Click here to subscribe.

Have you ever struggled with a photograph, knowing what you want to achieve, but not quite seeing it on your computer monitor, no matter how hard you try?

The process from the capture of an image to its completion as a print can be short and sweet, or long and laborious. Often it has less to do with the photographer's abilities in Lightroom or Photoshop and more to do with what he or she thinks the final outcome should be. You know what you want, but the finished result eludes you. What's the answer?

Practice. Now, I know you didn't want to read this, but it's the truth. The more we practise, the more we problem-solve and the more skills we develop.

Practice is one solution, learning skills from another can help too. In the current issue of Better Photography, we've published the steps taken to produce 'Under Coronet Peak'. Not only do we show you the post-production, we discuss the capture and the raw processing, plus the output to print. It's interesting how in the process, decisions can be made and unmade as we live with the image, listening to what it has to say. Sounds a bit odd, but the more I process my work, the more I realise that practice and time are the necessary ingredients.

So, when editing our images, why do we make these changes? Because we believe the changes produce a better looking photograph.

Why do we think the photograph looks better? Because in our memories, we have a database of 'good' photographs and paintings that demonstrate to us certain techniques and approaches that we like and these memories inspire us to produce images that look similar.

And this is what many photographers get wrong when they start learning post-production. They want to know how to apply a curve adjustment layer or brush. This is a good question, but it's only a part of the question.

A better question is, how do I make this photograph stronger? How can I lighten up the foreground so the viewer can see all the
wonderful detail more easily? How can I make the river stand out from the rest of the landscape, because I want viewers to take
notice of the river? Or the cloud. Or the person.

The more images we process to completion, the better equipped we are to process tomorrow's work.

You can read more about this image in Better Photography by subscribing to Better Photography magazine online. You'll find details on the www.betterphotographyeducation.com website.

Click here to subscribe.

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