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Grand Palace, Bangkok, Thailand
Phi Phi Island, Thailand
Sri Mariammam Temple, Singapore
Victoria Harbour, Hong Kong
Interior of Jin Mao Tower, Shanghai, China
Pudong from the Bund, Shanhai, China
Modern Shanghai, China
Bulguska Buddhist Temple, Busan, South Korea
Haedong Yonggungsa Buddhist Temple, Busan, South Korea
Dancers, South Korea
Sumiyoshi Taisha Shinto Shrine, Osaka, Japan
Ema, Sumiyoshi Taisha Shinto Shrine, Osaka, Japan
Sorihashi Bridge, Sumiyoshi Taisha Shinto Shrine, Osaka, Japan
Sake Barrels, Sumiyoshi Taisha Shinto Shrine, Osaka, Japan
Lanterns at Asakusa Buddhist Shrine, Tokyo, Japan
Concert Pianist, Japan
The Blue Lagoon, Iceland
The Spa, Blue Lagoon, Iceland
The Society is pleased to announce that a presentation of photographs by the award-winning English landscape photographer Peter Watson has been selected as its 2014 on-line exhibition. Click this link to see the exhibition gallery.
Peter Watson is a long established and highly regarded professional landscape photographer. His interest in photography goes back to his teenage years when he first captured black & white images which were sold in a local art shop. This early success encouraged him to pursue his hobby more seriously. He become interested in landscapes and began to photograph in colour. In 1988 he became a professional photographer using a Tachihara large-format (5"x 4") view camera. He now uses mainly Mamiya medium format digital equipment.
Peter is a contributing photographer to several picture libraries and his work is internationally published and exhibited. He also undertakes commissions for clients, primarily architectural and travel photography. He holds practical photography workshops throughout the UK and has written several practical photography books including Light in the Landscape: A Photographer’s Year, Seasons of Landscape and Views Across the Landscape.
This exhibition consists of rural landscape images taken over the past twenty years. They depict a variety of different landscape locations and have all been personally selected by the photographer.
More examples of Peter Watson's work can be seen at www.peterwatson-photographer.com.
All images are protected by copyright © Peter Watson 2014.
Not sure if you understand the significance of the various colour spaces? Can you honestly say that you are clear about the differences between Adobe RGB (1998), sRGB, Apple RGB and Wide-gamut RGB? Well, colour is a complex matter and you could spend the rest of your life studying the science of the subject. In an effort to help, and with the assistance of Bruce Lindbloom, we have introduced a 3-D gamut viewer which displays a variety of commonly-used colour spaces. The viewer even allows you to compare two three-dimensional RGB working spaces by drawing one inside the other. The whole display can then be rotated in any direction, or zoomed in and out, to help you focus on those crucial areas of difference. At last it is possible to visualize clearly how switching, for example from Adobe RGB (1998) to sRGB, imposes significant changes upon your images.
It is possible to create beautiful abstract images using nothing more than colour, shape and texture. Areas of colour or texture can be used to define shapes and forms, and contrasting colours may create interesting boundary lines - whether real or implied. Images of this type may leave the viewer completely unaware of the real nature of the subject. This obliges the brain to examine the image more closely in an effort to reveal clues to the real identity of the subject. Most viewers find a subject devoid of real-world identity difficult to absorb in a practical or logical sense, and are consequently encouraged to react in a more emotional manner. Since they cannot relate to the subject through their everyday experience of the world, they respond by deciding how it makes them feel.
Truly abstract images evoke all sorts of reactions. Some people may dismiss them as having no meaning, or lose interest because they do not understand what they are seeing. However, others will allow their minds to wander over the possibilities and options and find their own perception of beauty or mystery within an image. An image has beauty if a viewer derives pleasure or joy from it. It may not matter whether the image is seen in landscape or portrait orientation, or even rotated through 180 degrees. If the resulting display gives viewers pleasure, it may be argued that it is inherently beautiful - at least to some viewers.