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Paul Gallagher Landscape Photographer The Ashes Series - part 2 of 1 2 3

by Paul Gallagher Published 01/06/2011

It is difficult to allocate definitive descriptions to the work of Paul Gallagher and Peter Eastway. Peter tends towards more panoramic vistas with a much heavier element of image manipulation to inject additional drama; Paul is more understated and more frequently uses a portrait format, perhaps because of his more favoured use of 5x4-inch format, which does not generally lend itself to letterbox panoramas. Paul rarely moves much beyond a polarising filter, a grad filter and a bit of dodging and burning; if you follow Peter's web tutorials you will immediately note that he has a much bolder digital approach.

Perhaps it is also a sunshine thing, I remember discussing the work of Jane Conner-ziser and Marylin Sholin with Jane herself and pondering the difference between the palettes they each employs. Marylin uses much bolder colours which Jane feels are more able to sit comfortably on the walls in Marylin's Florida homes, which tend to be white-walled, airy and brightly lit with abundant sunshine.

While both Paul and Peter use large-format Epsons to make their prints, their camera gear is quite different. Paul's is well known to our readers and comprises silver gelatine 5x4 for monochrome and (more recently at least) a Nikon D700 with his presently favoured 24mm Tilt/Shift Nikkor. Peter employs a Phase One camera, mainly the 645AF with 28mm, 75-150mm and 300mm lenses. For '35mm' DSLR work he uses a Canon 1Ds Mark III with the full range of lenses and frequent use of pan stitching to create his wide, letterbox images. He too is a fan of shift/tilt lenses but, as a magazine editor, he frequently employs gear he is reviewing.

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• Paul Gallagher Landscape Photographer The Ashes Series page 2
  
• Paul Gallagher Landscape Photographer The Ashes Series page 3
  

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