Tuesday, June 30, 2020

Ein Meer voller Plastik

10:18:00 PM

Stillleben aus Müll

Am laufenden Projekt „plastic ocean“ arbeitet Thirza Schaap, um das Bewusstsein für Umweltprobleme zu schärfen und sich auf einzelne Menschen oder Plastik durch ihre Kunstwerke zu konzentrieren – Fotografien, Skulpturen und Fotobilder. Dafür malt sie eigene Hintergründe und fotografiert sie anschließend mit ihren Objekten.

Wie ein dreidimensionales Gemälde, das durchs Fotografiertwerden zweidimensional wird. Sie arbeitet auch an einer Modelinie aus Meerestextilien, Regenschirmstoffen, die an Land gespült wurden, und Fischernetzen. Sie versucht, eine emotionale Reaktion des Publikums hervorzurufen, indem sie einen Widerspruch schafft. Ein Konflikt zwischen anfänglicher ästhetischer Anziehungskraft und nach einem zweiten Blick: Abstoßung und das Verstehen der tragischen Müllursachen.

Stillleben aus Müll

Überdenkt alle Eure Einkäufe, wählt nachhaltige Kleidung und überlegt Euch, ob Ihr sie wirklich, wirklich braucht, bevor Ihr etwas kauft. Das Gute daran, mit sich selbst zu beginnen, ist, dass man heute anfangen kann. Ihr könnt tun, was in Eurer Macht steht. In Eurem eigenen Rhythmus.

Die Verantwortung dafür liegt bei uns allen. Es gibt keinen Anlass, mit dem Finger aufeinander zu zeigen, aber wir müssen handeln. Selbst wenn man bei sich selbst anfängt, mit persönlicher Veränderung. Die täglichen Entscheidungen, indem man sich nicht für Einwegkunststoff beim Einkaufen entscheidet.

Thirza Schaap wurde im Norden der Niederlande in einer kleinen Stadt namens Barsingerhorn geboren und ist nach Lelystad gezogen, als sie erst drei Jahre alt war. Ihre Eltern waren Pionier*innen im neu gewonnenen Land. Das ehemalige Nordmeer wurde zum IJsselmeer – im mittleren Flevoland zu einer künstlichen Insel, umgeben von den Deichen. Sie ist damit aufgewachsen, auf die riesigen Basaltblöcke zu klettern, um das Wasser erreichen und darin schwimmen zu können.

Stillleben aus MüllStillleben aus Müll

Ich liebte das Wasser und den Wind in meinem Gesicht. Im Sommer machten wir uns auf den Weg nach Südfrankreich, trieben in einem großen Gummiboot dahin und trugen Taucherbrillen. Ich verbrachte volle sechs Wochen im Mittelmeer und stellte mir vor, ich könnte mit dem Fisch sprechen. Am Strand sammelte ich Schätze, Muscheln und Seeglasstücke in tiefgrünen und blauen Farben.

Im Alter von 13 Jahren hat sie angefangen zu fotografieren. Am Ende hat sie dann in der Werbung gearbeitet, was sich wie das Gegenteil von dem anfühlte, was sie nun macht. Sie hatte Glück und löste sich davon. Vor fast acht Jahren ist sie mit ihrer Familie nach Kapstadt gezogen. Sie hatten ein sehr geschäftiges, soziales Leben in Amsterdam, das haben sie in Kapstadt nicht mehr. Es war eine große Veränderung im Lebensstil, Thirza arbeitet nun viel und fühlt sich jetzt sehr befreit von allem.

Thirza hatte verschiedene Vorstellungen von Fotografie und Plastikverschmutzung, die unterschiedliche Teile ihres Verstandes ansprachen, aber sie konnte sie nicht ganz zu einem zusammenhängenden Konzept verbinden. Familienurlaube auf Bali und in Mexiko haben dann dazu beigetragen, das Konzept zusammenzubringen – dann hat es auf einmal geklickt.

Stillleben aus MüllStillleben aus Müll

Wenn ich im oder in der Nähe des Wassers bin, werde ich gleichzeitig still und inspiriert, die Sonne auf meiner Haut, der Ozean, der Wind, der sich genauso anfühlt, als wäre ich wieder sechs Jahre alt. Meine Kindheit hat mich dazu gebracht, die Natur zu lieben und den Ozean – das ist der Grund, warum ich tue, was ich tue. Aus Liebe zum Ozean.

Sie nahm Plastikmüll vom Strand mit, richtete ihn hübsch her, fotografierte ihn, brachte die Bilder in die Newsfeeds, Häuser und Büros der Menschen und förderte so den Umweltschutz. Als ihr Sohn 12 Jahre alt war, gönnten sie sich einen Urlaub auf Bali, aber es war schrecklich: Der Plastikmüll war überall zu sehen und leuchtete in den Reisfeldern. Dann passierte dasselbe, als sie Mexiko besuchten. Sie haben tragische Müllberge auf einer kleinen Insel in der Nähe von Isla Holbox gesehen. Das ist eine wirklich flache Insel und Thirza konnte sehen, wie der Müll vom Land direkt in den Ozean geweht wurde und es brach ihr das Herz.

Diese zwei Erlebnisse im Besonderen haben eine Frustration aufgebaut und die Erkenntnis geschaffen, was wir als Menschheit mit dem Kunststoff angerichtet haben. Jahre später, als Thirza von den Niederlanden nach Südafrika zog, wurde ihr klar, dass diese Erfahrungen den Ausgangspunkt für ihr Projekt bildeten.

Stillleben aus MüllStillleben aus Müll

Mein Leben war das, was viele Menschen leben. Sie arbeiten im Grunde deshalb so hart, um für all das bezahlen zu können, was sie für nötig halten. Sobald sie die Dinge aufgeben, die sie für nötig halten, stellen sie fest, dass heute ihr Leben nicht der nächste Urlaub oder der nächste Einkauf ist, von dem sie träumen. Wir sind alle wie kleine arbeitende Bienen. Als Konsumenten gedacht und arbeiten den größten Teil unseres Lebens daran, das Wirtschaftswachstum aufrechtzuerhalten.

Sie war von dem Ozeanplastik angezogen, das sie an den Stränden gefunden hat. Es sah aus, als wäre es lange gereist, um das Ufer zu erreichen. Die verblassten Farben und die weißen Salzreste – sie liebte sie und hasste sie gleichzeitig. Ursprünglich hieß dieses Projekt „Fang des Tages, nimm ihn mit und wirf ihn weg“ – das Thema war vorher und nachher.

Sie fotografierte, was sie am Strand gefunden hatte. Aber sie war unzufrieden damit, wie es aussah. Sie hätte nicht gedacht, dass es Menschen ansprechen würde, weil es einfach nur ekelhaft anzusehen war. Daher hätten sich die Leute damit nicht identifiziert, aber sie wollte ja erreichen, dass sich die Menschen persönlich verantwortlich fühlen. Also hat sie versucht, einen Weg zu finden, um diese konkurrierenden Ideale einem Publikum effektiv zu vermitteln.

Stillleben aus Müll

Dann fing ich aus irgendeinem Grund an, Kunststoffe zu mir nach Hause zu bringen und sie mit einem einfachen Hintergrund vom Strand zu isolieren. Als ich den Fokus des Projekts wechselte, wuchs es schnell. Mein Ansatz für das Projekt war es, mit Spannung zu spielen. Ich verführe die Betrachter*innen mit interessanten Formen und einer zarten Farbpalette.

Am Anfang hatte Thirza jeden Tag eine sehr ähnliche Routine. Zum Strand gehen, Plastik sammeln, die Stücke waschen, trocknen und fotografieren. Jetzt gibt es mehr Abwechslung. Sie spricht mit vielen Menschen über das Thema für Veröffentlichungen und Interviews und zeigt ihre Arbeiten in Ausstellungen. Sie fing auch an, Skulpturen zu bauen, die eine andere Arbeitsroutine haben.

Sie benutzt nicht mehr per se den täglichen Fang, sondern die Stücke, die sie in ihrem Lagerschuppen aufbewahrt. Am liebsten geht sie zu den einsamen und abgelegenen Stränden, denn dort findet sich die ganze Wahrheit. Nicht an den touristischen Stränden, die in der Saison gut gereinigt werden. Das einzige, was man dort sammeln kann, ist der Müll von gestern. Von den Besucher*innen, die ihren Müll nicht mitnehmen wollten, als sie gingen.

Stillleben aus MüllStillleben aus Müll

Wenn ich ihre Aufmerksamkeit gewonnen habe, lösen sich die Bilder auf und sie erkennen die abgebildeten Objekte als Müll. Sie können an der Abnutzung der Gegenstände erkennen, dass viele von ihnen seit Jahren im Meer sind, bevor sie am Strand landen. Ich möchte, dass die Arbeit zugänglich ist und die Menschen Drucke in ihrem Haus haben, um sich selbst daran zu erinnern. Sie sind schön; und tragen doch eine wichtige Botschaft.

Thirza wählt verschiedene Kunstwerke für verschiedene Ausstellungsorte aus. So zeigt sie etwa ihre Arbeiten auf dem Toronto Filmfestival und in verschiedenen Räumen der U-Bahn. So sehen es viele Menschen, aber immer nur für eine sehr kurze Zeit, deshalb wählt sie für solche Orte Werke aus, bei denen sich die Objekte leicht erkennen lassen – wie Flip-Flops und Zahnbürsten.

Sie verlässt niemals einen Strand ohne jede Menge Plastikflaschen oder Flaschenstücke. Jeder Tag am Strand ist anders, an manchen Tagen findet sie nur Plastiktüten, manchmal nur ganz kleine Stücke und an anderen Tagen ist alles voller Flaschen. Sie ist sich sicher, dass es von der Strömung und dem Wind abhängt, was an die Küste gespült wird, je nach Gewicht und Größe.

Stillleben aus MüllStillleben aus Müll

Kunststoffe sind nicht alle gleich recycelbar, denn sie enthalten unterschiedliche Chemikalien, um unterschiedliche Eigenschaften zu haben. Man kann nicht einfach alle verschiedenen Kunststoffe zusammenkippen und recyceln. Offensichtlich wäre es eine große Hilfe, wenn die Regierungen zumindest die Einwegkunststoffe in den Griff bekommen würden. Aber da das nicht schnell genug geht, sollten wir zunächst selbst handeln.

Ihr scheint, die Leute haben immer noch nicht das Gefühl, dass die Abfälle im Ozean in gewisser Weise ihnen gehören. Wenn sie in einer Stadt leben und der Müll, den sie rausbringen, nie irgendwo auftaucht, denken sie, sie tun das Richtige. Sie recyceln, also ist es gut, würden sie sagen. Aber weniger als 10 % des Mülls ist wirklich recycelbar.

Wasser ist Leben. Eine verschmutzte Umwelt und ein verschmutzter Ozean werden also enorme Konsequenzen für das Leben auf der Erde haben. Thirza möchte den Menschen sagen, dass sie verantwortungsbewusst handeln und jetzt handeln sollten! Ein guter Leitspruch, an den man sich erinnern sollte, ist: Liebe, was Du hast und kaufe nur das, was Du brauchst.

Stillleben aus Müll

Stillleben aus Müll

Ich lebe in Harmonie mit der Erde und lerne immer mehr, weniger Ressourcen zu nutzen. Und ich lerne, dass es Glück ist, ein einfaches und bescheidenes Leben zu führen. Reparieren, wiederverwenden und lieben, was ich habe. Es muss nicht perfekt sein, denn es ist ein Prozess. Wir sind auch nicht über Nacht zu Massenkonsumenten geworden, es war ein langer Weg. Es ist wie eine Sucht, die wir loswerden müssen.

Leider fürchtet Thirza, dass sie nie arbeitslos sein wird, da das Plastikproblem sie überleben wird – Plastik braucht 400 Jahre, um sich im Wasser zu zersetzen und sogar 800 Jahre im Boden. Nichtsdestotrotz gibt sie die Hoffnung nicht auf, eines Tages am Meer leben und wieder Muscheln statt Plastik sammeln zu können.


kwerfeldein – Magazin für Fotografie https://ift.tt/2BXnSRn

Sourced by Time Trap Photography sharing the best photography tips, news and tricks throughout the industry. Time Trap Photography is dedicated to freezing those special moments in life that can be revisited and admired for generations to come. - Shannon Bourque
Please visit our main site for booking availability and rates.



"Time


Receive valuable industry knowledge delivered free to your email each day.


"Time

Are Full Frame Cameras Better in Low Light?

2:02:00 PM

If you’ve been involved in photography for any time, you know there is a huge debate around full-frame cameras vs other sensor size cameras. Much like the Mac vs PC debate, or the iOS vs Android debate, this debate has shutterbugs riled up everywhere. Today, I am going to answer an important question from the debate, which is, are full-frame cameras better in low light? The answer is quite surprising.

full-frame-low-light-1

Continue reading to find out.

The short answer to this question is yes, full-frame cameras are better in low light. But, that is not an absolute statement, and it won’t hold true in all circumstances. There are many other factors responsible for creating a digital image, and without accounting for those factors, it wouldn’t be wise to declare full-frame cameras a clear winner in the low-light department.

What Makes Full Frame Cameras Better

Before concluding which cameras are better, we need to define the criteria by which we decide the winner. In other words, what does “better” signify when we call one camera system better than the other.

Since we’re talking about low light performance, we can narrow the criteria to image quality. The camera system that produces better image quality in low light can be considered better than the other. The technical term for quality, in the context of low-light performance, would be signal to noise ratio. The signal to noise ratio, or SNR for short, is a ratio that measures the amount of usable signal captured against the noise in the signal. The higher the ratio, the better the quality of the image.

full-frame-low-light-2

The maximum SNR for a sensor can be calculated with the following formula:

full-frame-low-light-3

Where FW represents the full-well capacity.

Considering this formula, one can deduce that the more light an individual pixel can capture, the better the SNR will be, and a better quality image will be produced.

Let’s consider some practicals.

A full-frame sensor is approximately 36mm by 24mm, which is approximately 864 square mm. An APS-C sensor is approximately 22.5 mm by 15 mm, which is approximately 337.5 square mm.

That means that a full-frame sensor is almost 2 times the size of an APS-C sensor. If the pixel density and the well-size remain constant, a full-frame sensor will gather approximately an additional stop of light—which is a significant difference. Considering this, we can safely conclude that full-frame cameras will perform better in low light under most circumstances.

But, we have to keep in mind that while a full-frame camera does gather more total light, the amount of light hitting the sensor per unit area is the same, which would infer that signal to noise ratio will be the same for systems. That being said, we need to keep the crop factor in mind as well.

Shooting the same scene with the same focal length on a full-frame camera and a crop sensor camera will produce significantly different fields of view. However, if you adjust the focal length to keep the exact same framing for both systems, the smaller sensor will capture less light to make the same image, which will make the image noisier.

Some photographers like to claim that manufacturers automatically adjust the internal ISO of a smaller sensor camera to compensate for the lack of light, signifying that the crop factor should be applied to the ISO as well when trying to find the equivalent ISO, but based on the logic I mentioned above, that is not true.

My analogy for comparing cameras (for their general performance) is that they see differently. By seeing, I refer to the field of view. Most of the differences in the camera systems can be traced back to that. For a thorough discussion on the subject (although slightly confusing), you should watch this video by Tony and Chelsea Northup on the subject.

Sensor Technology – An Important Distinction

Not all sensors are created equal, and the overall image quality is heavily affected by the sensor technology as well. So, if you compare the image quality of a full-frame camera from 10 years ago to a modern APS-C under similar low light conditions, you probably won’t find any differences, and the APS-C image might be a little bit better too.

full-frame-low-light-4

But, that isn’t a very fair comparison. Let’s quantify low light performance and compare more recent cameras. An easy way to do that is to use DXOMark’s Sports ISO, which measures low light sensor performance specifically.

Let us compare two full-frame cameras—the Nikon D850 and the Panasonic S1R. Their Sports ISO scores are 2660 and 3550 respectively. That means there is almost a 30% improvement in low light performance on the S1R. Given that the Nikon D850 did come out 2 years before the S1R, the difference can be acceptable.

But, if you add the Sony A7RIII to the mix, which also came out 2 years ago, things become interesting. That is because its Sports ISO score is 3523, which is identical to the S1R. This simple comparison shows how sensor technology can affect low light performance, regardless of the sensor size.

No Camera System is Perfect

Seasoned professionals know that no camera system is perfect. Every system has its compromises. The question is, which compromises are the most suitable to you. You shouldn’t compare sensor sizes just in terms of overall noise—the differences extend far beyond that.

Larger sensors offer more flexibility with depth-of-field. When you’re shooting with wide apertures, a large sensor will offer noticeably better image quality. But when you close down the aperture to get a better depth of field, the image quality advantage can disappear, or at least diminish to a large degree. Depending on what you shoot and how you shoot it, this might be an important consideration.

full-frame-low-light-5

One thing that you need to understand is that although full-frame cameras capture more light, an image taken with a full-frame camera and a crop-sensor camera will be exposed similarly. That means you won’t magically have brighter images just because you use a full-frame system. The reason behind that is the light captured per unit area of the sensor remains the same.

When you’re considering purchasing a camera, image quality should be one of the things you should consider, but it shouldn’t be your only priority. Full frame cameras generally cost much more, are bigger in size, are heavier, and even lenses designed for them are gigantic and expensive.

Also, keep in mind the lens availability of the camera system you’re looking to buy. If you can gain an additional stop of light with a faster lens on an APS-C camera, the image quality will be almost the same as a full-frame system.

So not only are you paying a lot more money, but you are investing in gear that is much heavier to operate and carry. It is a significant disadvantage, and unless you are a professional (or aiming to be a professional), the tradeoff is usually not worth it.

Not to mention that you need more (and faster) storage, and a better computer system to edit the images. The camera system itself needs significantly more power to process the extra information captured.

Think of the End Result before Deciding

So, are full-frame cameras better in low-light? Probably. But, does it matter? Maybe.

It all depends on what you’re shooting, how you’re shooting it, and what you’re shooting it for. If you’re going to be shooting only low light pictures, and you need to squeeze every bit of quality from each pixel, then a full-frame system will offer marginally better results, although at much higher costs. However, if you simply shoot as a hobby and view your pictures only on regular digital screens, it is likely you won’t even notice the difference in quality.

Conclusion

The full-frame sensor vs crop sensor debate isn’t going to be settled anytime soon. And that should not matter. Unless your professional work depends on it, you can weigh the pros and cons, and decide the system that works better for you.

However, I do hope that the comparison between full-frame and crop-frame cameras for their low light performance is clear to you now. To recap, a full-frame camera will offer marginally better performance in low light (and in general) for a disproportionally high cost.

If you need to capture the absolute best image no matter the cost, then a full-frame camera will be your best bet. Otherwise, a crop sensor body will do just fine. If you liked this article, then you’ll definitely enjoy reading more articles about low light photography. Don’t forget to leave a comment with your questions, and join the email list for a free photography course.

Let's block ads! (Why?)


Photodoto https://ift.tt/2VAK237

Sourced by Time Trap Photography sharing the best photography tips, news and tricks throughout the industry.
Time trap photography><br></a> <hr><a href=Time trap photography tweet
Sourced by the Time Trap Photography guys https://ift.tt/1LW7xnO
Time Trap Photography is dedicated to freezing those special moments in life that can be revisited and admired for generations to come.

Fuji Developing a Gargantuan 400TB Archival Drive

1:49:00 PM

Fuji is working on a huge magnetic tape drive for archival purposes.

But don’t hold your breath.

The 400TB beast isn’t expected to arrive until sometime close to 2030 and, even then, it’s not for us.

Even so, it does offer a glimpse into the advancements that storage technology is making and how that could trickle down into consumer and professional products over the coming years.

As PetaPixel points out, the two companies making tape drives these days are Sony and Fuji. While incredibly slow, you can put a lot of information on one hence why it is might be attractive for archival use. The standard is known as Linear-Tape Open with the current iteration being LTO-8 which can store 12TB of information.

The upcoming next-gen LT0-9 bumps that number up to 24TB. The website also quotes the site Blocks and Files which states that “current LTO formats all use magnetic tapes coated in Barium Ferrite (BaFe), but Fuji is proposing using Strontium Ferrite (SrFe) instead. Because SrFe is a smaller molecule with ‘superior properties’ to BaFe, this would allow for higher density storage on the same amount of tape.”

Interestingly, leaps in storage size are also often accompanied by jumps in file size as well. We’ve definitely seen that as more and more people are able to take high-quality photos and videos with something as simple as a smartphone.

What do you think of Fuji’s in-development 400TB archival drive? Does it sound like something you would want to have in your collection? What methods do you currently use to archive your photos? Let us know your thoughts in the comments section below.

Don’t forget to check out our other photography news articles here on Light Stalking by clicking this link.

[PetaPixel]

Let's block ads! (Why?)


Light Stalking https://ift.tt/2CXoaZd

Sourced by Time Trap Photography sharing the best photography tips, news and tricks throughout the industry. Time Trap Photography is dedicated to freezing those special moments in life that can be revisited and admired for generations to come. - Shannon Bourque
Please visit our main site for booking availability and rates.



"Time


Receive valuable industry knowledge delivered free to your email each day.


"Time

5 Tips To Urbex To Get You Started With Photographing Urban Decay

7:49:00 AM

Urban exploration, also known as urbex, is a popular subcategory of architectural photography and it features various kinds of ruins and urban decay.
Since many major cities around the world have abandoned industrial areas full of old factories, urbex has become an alternative to more traditional architectural photography.
The process of finding urban ruins and exploring them poses certain risks and it is popular mainly among young photographers and explorers who are looking for adventures and a really interesting series of photos.
The following tips will help you get prepared and stay safe while capturing some really great urbex shots of deserted buildings:

1. Research Your Urbex Location

Nowadays, thanks to the Internet and Google Maps, it’s quite easy to find any location if we have the correct address. However, getting the address and entering the building might be somewhat tricky.
The safest place to look for abandoned buildings are various urbex forums – many countries have their own local forums with useful information for anyone interested in urban exploration.
One of the largest urbex portals (Oblivion State) is very active and it’s getting updated every day so that is probably the best place to start from when it comes to urbex photography
Photo by Ashim D'Silva on Unsplash

2. Don’t Go Urban Exploring Alone

The most important thing when exploring abandoned buildings is safety. Since these buildings are often located somewhere on the outskirts and they aren’t supervised in any way, it’s advisable to ask a friend to join you. You have to make sure that someone can give you a hand or call the emergency services if something goes wrong.
Once you arrive at the building, don’t forget to respect its history and integrity. Photographers shouldn’t be vandals – it’s best to leave everything exactly the way you found it (no littering!) so that other urban explorers can enjoy it safely in the future.

Photo by Echo Grid on Unsplash

3. Don’t Break Anything

One thing that is absolutely prohibited in urbex is breaking doors or windows in order to enter the building or some locked-up rooms inside the building. Even without breaking anything, urbex is usually not the most legal activity, so it’s really important not to make it even more suspicious.
In case you can’t find any easy entrance to the building, you shouldn’t enter at all. However, this is usually not the case, since almost every abandoned building has some missing doors or windows.

Photo by Taton Moise on Unsplash

4. Try To Pack Light

Urbexing shouldn’t be something like a studio set up – instead of bringing all the equipment you have, you should think carefully about the stuff you really need. In the best case scenario, it should all fit into an average-sized backpack.
This is a list of the most basic photo equipment for the urbex aficionado:

  • A wide-angle lens; just like in architectural photography, you’ll need a lens that allows more of the scene to be included in the photograph
  • A flash; either on or off-camera
  • A tripod; this is a must especially if you’re planning to do long exposure photography
  • Lens wipes and regular wet wipes; there’s a lot of dust and dirt in abandoned places so you should be well prepared for such conditions
  • Spare batteries
Photo by Pixxel Worx on Pixabay

5. Know What To Shoot And How To Do It

Before you start shooting the building, it’s good to have a walk around in order to get some ideas in terms of best angles, most interesting details and lighting in general.
You’ll probably have to shoot it in low light, which means you should know well how to properly set a long shutter speed, a wide aperture, or a high ISO. All these settings depend on your equipment.
In case you’re using a tripod, you don’t have to worry too much about ISO since you can do longer exposures. This means that you can keep ISO relatively low (around 400) and avoid noise in your images. On the other hand, if you’re shooting handheld, you will need a wide aperture and a high ISO.
When it comes to flash, while it’s usually not necessary to use it if you’re shooting during the daytime or early evening, you can still include it in your photos if you want a more creative approach that combines natural and artificial light.
Finally, when it comes to post-processing of urbex photography, a great technique to try out is HDR. It usually looks amazing in these photographs since it enhances all those interesting textures and colors we can find inside abandoned buildings.

Photo by Lee Aik Soon on Unsplash

Despite the fact that urbex can be risky and dangerous, there is something truly exhilarating about exploring urban decay.
On a deeper level, it also allows us to see the power of nature against man-made structures. If given enough time, everything that we humans have made will crumble down and nature will reclaim its territory.
In a way, urbex is a unique homage to the neverending battle between nature and the built environment.

Well presented Jasenka and an excellent and interesting topic.

Agreed , thank you Jasenka .

Let's block ads! (Why?)


Light Stalking https://ift.tt/2MkIh3v

Sourced by Time Trap Photography sharing the best photography tips, news and tricks throughout the industry. Time Trap Photography is dedicated to freezing those special moments in life that can be revisited and admired for generations to come. - Shannon Bourque
Please visit our main site for booking availability and rates.



"Time


Receive valuable industry knowledge delivered free to your email each day.


"Time

5 Easy Ways To Make More Interesting Photos

5:49:00 AM

I think one of the top priorities of any photographer at any skill level is to be able to make interesting photos. Now, how one defines “interesting” can vary greatly if we’re talking strictly in terms of subject matter — what is interesting to one individual isn’t guaranteed to be interesting to another.

But there are a few things we can all do to make our photos more interesting no matter what the subject is.

The next time you grab your camera, keep in mind these 5 ideas for how to make more interesting photos every time you shoot.

1. Be Intentional

Intentionality takes some thought — you should have some idea of what you would like to shoot, how you want certain shots to look. Of course, there will always be factors beyond your control but the point here is to do away with the habit of firing away at everything and hoping to get an interesting photo.

The so-called “spray-and-pray” technique not only handcuffs you to luck, it also increases the total number of images you capture which, in turn, makes editing that much more unpleasant and increases the likelihood of a good photo getting buried in a pile of mediocre/bad ones.

Rather, be selective and follow your instincts.

happy man taking shot of landscape on balcony against
Photo by Andrea Piacquadio from Pexels

2. Be Prepared

The first step of photographic preparedness is always having a camera with you. Interesting photos are frequently made as a result of some unexpected occurrence. You can’t possibly capture everything, but if you’re not prepared you’ll miss out on just about everything.

You may not always be able to have your “main” camera with you — be it a DSLR, CSC, point-and-shoot or film camera. In this case, your mobile phone camera will serve admirably. These days there’s no reason to not have in your immediate possession a means of capturing a photo.

person in red hoodie taking a photo of wilderness
Photo by Sam Forson from Pexels

3. Break Composition Rules

You will get no argument from me that proven compositional guidelines tend to lead to satisfactory photos. The rule of thirds, for instance, just works.

But what if you want something more than satisfactory?

I guess you will have to break the rules — which is why you should know them well in the first place.

Sometimes a photo is far more interesting when it doesn’t conform to any of the prescribed composition rules that everyone plays by. Knowing exactly how and when to break the rules will come with time, experience and experimentation. 

There’s no time like the present to get started.

empty white business cards on wooden table
Photo by Karolina Grabowska from Pexels

4. Get Close And Change Perspective

It seems that so many of us start photographing things in much the same manner, shooting from a certain distance and certain perspective, imitating the tendencies we’ve observed in others.

But if you want to instantly up the ante on visual interest, all you’ve got to do is get close to your subject. Closer. Closer still.

Try to get close enough to fill the frame with your subject. Depending of what focal length you’re working with you may see some distortion the closer you get, which is typically unwanted for human subjects (faces in particular), but you might be okay with that. You’re going for interesting, after all.

Also, try changing your perspective. Shooting everything from your eye level can easily leave you with a bundle of shots that hold little interest for you and anyone else who would view them.

The remedy to this is fairly simple: shoot high, shoot low. A change in perspective can add plenty of interest to any photo.

low angle photo of four high rise curtain wall buildings
Photo by Philipp Birmes from Pexels

5. Get The Candid Shots

The concept of capturing candid moments is something that street photographers know well. These unplanned, unscripted, unpredictable moments are what street photographers are always after, as they usually the epitome of interesting.

Street photographers, however, don’t own exclusive rights to candid shots. Any time you’re photographing people (models, children, couples, families), always be prepared to capture candid moments.

It is important for a portrait photographer to know how to pose and direct their subjects, but it’s also important to remember the power of unposed photos that happen organically. 

Such photos may be the most interesting photos you make.

woman wearing black hoodie jacket
Photo by Tim Savage from Pexels

Final Thoughts

No doubt there are a lot more than 5 ways to make interesting photos. The ideas above are easy to apply to your own photography at any skill level; they give you room to expand and experiment and come up with more ways to create photos that will capture the interest of all who see them.

Further Reading

Let's block ads! (Why?)


Light Stalking https://ift.tt/38bCwAP

Sourced by Time Trap Photography sharing the best photography tips, news and tricks throughout the industry. Time Trap Photography is dedicated to freezing those special moments in life that can be revisited and admired for generations to come. - Shannon Bourque
Please visit our main site for booking availability and rates.



"Time


Receive valuable industry knowledge delivered free to your email each day.


"Time

30. Juni 2020

4:18:00 AM

Das Bild des Tages von: migulein


kwerfeldein – Magazin für Fotografie https://ift.tt/2ZqXtDX

Sourced by Time Trap Photography sharing the best photography tips, news and tricks throughout the industry. Time Trap Photography is dedicated to freezing those special moments in life that can be revisited and admired for generations to come. - Shannon Bourque
Please visit our main site for booking availability and rates.



"Time


Receive valuable industry knowledge delivered free to your email each day.


"Time

Monday, June 29, 2020

Der erste Eindruck: „Her out there“

10:18:00 PM

Im dritten Teil unserer Videoserie, in der ich gemeinsam mit Freund*innen Bücher ansehe, lernt Ihr den Bildband „Her out there“ von Marta Bevacqua kennen. Die gebürtige Italienerin lebt und arbeitet als Fotografin in Paris und ist besonders für ihre kreativen und einfühlsamen Frauenportraits bekannt.

Neben Martas Bildern seht Ihr im Video dieses Mal auch unsere Redakteurin und Korrektorin Aileen. Mit ihr spreche ich über die Kritik an jungen Frauen, die junge Frauen fotografieren, über Bildbände ohne Texte und die Gründe, sich ein Fotobuch zu kaufen. Viel Spaß mit dem Video.

Wenn Ihr noch etwas mehr über die Fotografin erfahren möchtet: Ein kurzes Interview mit Marta haben wir vor vier Jahren im Magazin veröffentlicht.

Informationen zum Buch

„Her out there“ von Marta Bevacqua
Einband: Hardcover
Seiten: 109
Maße: 17,8 x 23,5 cm
Verlag: New Heroes & Pioneers
Preis: 21,77 €


kwerfeldein – Magazin für Fotografie https://ift.tt/2ZlfVOa

Sourced by Time Trap Photography sharing the best photography tips, news and tricks throughout the industry. Time Trap Photography is dedicated to freezing those special moments in life that can be revisited and admired for generations to come. - Shannon Bourque
Please visit our main site for booking availability and rates.



"Time


Receive valuable industry knowledge delivered free to your email each day.


"Time

Stay Tuned To Our Weekly Digest!

8:49:00 AM

Here is your weekly wrap-up from Light Stalking – you'll find some nicely curated stuff from the general chit chat as well as some amazing shots from Tersha's latest challenge on Silhouettes! And as you've already guessed by now, we'll be mentioning some worth-seeing shots from the Feedback Forum as well!

Photo Of The Week – June 22nd, 2020

Photo by Graham Hart

mto kw sp iu zeljhhn wvhn xz

Words by Kent DuFault

There were many interesting pictures uploaded onto two different threads this week. The first was Photography Challenge #493 High Key and the second was Photography Challenge #492 Silhouettes.

However, I kept coming back to this beautiful picture by Graham.

The high key effect works really well and the image tells a great story.

I had a runnerup in the high key challenge and that was an image by Patrick. In his photo, he makes excellent use of a dynamic angle and implied motion. It’s clever and quite artistic.

I’ll post a link below.

Photo by Patrick

xu p q yhw fgd z gdh x zr a i v

What Are Our Members Up To?

Pour some great coffee and enjoy our favorite shots from the latest challenge!

Photo by Aurimas

unnamed file
When we talk about silhouettes, one can easily expect people being photographed with golden sunsets at their backs. Here, we have a powerful example which shows that not all silhouettes happen in that particular way.

Photo by Charmaine Joubert

unnamed file
Such an iconic and powerful shot!

Photo by Click

unnamed file
Shapes in photography are a great resource for storytelling. This is a moody silhouette created thanks to the proper choice of exposure.

Photo by Davidc

unnamed file
Even an ordinary scene can turn into something magical thanks to the use of narrow aperture value (f/11).

Photo by Graham Hart

unnamed file
I rarely say this, but this shot truly has something surreal in it.

Photo by Joseph M

unnamed file
The vibrant color of clouds and the silhouettes of trees created this bold scene with grunge vibes.

Photo by Dave Watkins

unnamed file
Nice and simple. Nothing to add to this quiet and beautiful shot. It reminds me of my favourite song by Pink Floyd (Echoes) – “Overhead the albatross hangs motionless upon the air”.

Photo by Preston

unnamed file
This photo definitely tells a story and it exhibits a certain cinematic quality.

Photo Petr Nowak

unnamed file
I can feel this dragging me up into the sky! Powerful.

What You Shouldn't Be Missing from The Light Stalking Community

Slavuta is having issues with a Tamron 28-300mm VC PZD lens for Canon, check out this tread to offer help.

Patrick shared this peaceful shot of a heron! Not that peaceful for the fish though.

unnamed file

And he also shared this unusual scene with us!

unnamed file

Graham posted this beautiful landscape and a lot of our fellow Light Stalkers gave him some nice feedback as well.

unnamed file

Dave shared a couple of solitary bees.

unnamed file
unnamed file

And last but not least, Tobie shared a very groovy looking butterfly with us!

unnamed file

We'd Love To Hear Your Thoughts

Our Feedback Forum received some nice photographs and it is clear that many of you have started building a solid photography style. This is the right place for all those people that want to grow fast as photographers. This is possible thanks to valuable and positive feedback, which is perhaps the best way to hack the learning curve.

Here you'll get your work critiqued by plenty of well-intended people, but you'll also have a chance to critique your peers. We truly believe in the power of criticism and feedback.

Many of our members have nurtured their own photographic knowledge by giving out elaborate critiques that go way beyond simple emoji based reactions or “nice shot” comments. Here are some of the most interesting shots shared during the last week:

The Shark Tank is a great place to learn and to discuss, so please read the instructions in order to get a better critique experience. Share your comments, opinions and doubts on any or all of the images above. We will be delighted to see some of your own images too. Don't be shy, critiques are given to photographs and not photographers.

We and many other members will be more than pleased to help you out; after all, we all are in love with photography. Feel free to participate in the newest challenge published by Tersha on another photography classic High-Key! Of course, please remember to join our friendly photography community if you haven't done it already.

Let's block ads! (Why?)


Light Stalking https://ift.tt/2YHF9a9

Sourced by Time Trap Photography sharing the best photography tips, news and tricks throughout the industry. Time Trap Photography is dedicated to freezing those special moments in life that can be revisited and admired for generations to come. - Shannon Bourque
Please visit our main site for booking availability and rates.



"Time


Receive valuable industry knowledge delivered free to your email each day.


"Time

Am I Ready to Start a Landscape Photography Business?

7:03:00 AM

Should I quit my job and start a full-time landscape photography business?

If you have ever asked yourself this question, you are not alone. Landscape photography usually starts out as a hobby. But after a while, lots of passionate photographers start wondering if they could make it as full-time professionals. So, here are some questions to help you decide whether or not a full-time landscape photography business is for you.

Landscape Photographer at work in Maui, Hawaii

Landscape Photographer at work in Maui, Hawaii

Am I a Good Enough Landscape Photographer?

One of the first things you should do is take a look at your portfolio. Are you good enough to a make a living doing this? That’s not an easy questions at answer, but it’s important.

Facebook and other social networking sites make it easy to get lots of accolades. That’s great motivation and it makes you feel good. But positive comments from people who care about your feelings aren’t enough. They aren’t a true indication of your talent. Real critiques and evaluations are hard to come by on social media. Do you think your friends and family would feel comfortable telling you the truth – even if it meant they might risk damaging their relationship with you? And beyond that – are they qualified to know the difference between a good photograph and a mediocre one?

One way to find out if you have the necessary talent is to compare your work with other professional landscape photographers. Be honest with yourself. How does your work match up with theirs? You don’t have to be the best out there. But your work should be competitive enough and you should be fluent enough with your photography skills to provide an attractive option to your customers.

Photography for Business or Pleasure?

Varina and I are both wilderness and landscape photographers. Other photographers are convinced that we have a dream job; and for all practical purposes, we do.

But, photographs alone don’t tell the whole story. The graphic below shows an estimate of our business needs – and the perception of others…

Time spend on Landscape Photography Business by Jay Patel

Time spend on Landscape Photography Business

In reality, taking photographs is a small part of our business. Other business activities dominate day-to-day activities. As a photographer, you will probably have to do these activities yourself… at least until you are making enough money to hire someone else.

Just as in any other profession, there is often a difference between what you really like to do, and what you can get paid to do. You might hope to be a landscape photographer, only to find that you can’t make enough money unless you shoot weddings, senior portraits, or products as well. You’ll have to make some tough decisions as you make a transition into full-time photography, so be prepared to face the facts of running a business.

Will Photography Business Kill my Passion?

So, let’s say you really are good enough to become a full time photographer – and you have the skills and patience required to run your own business. In that case, there’s one more thing you should consider. Will turning photography isn’t a money-making venture kill your passion for it?

Aside from the physical work, being a full-time photographer may take an emotional toll as well. It will take time to establish yourself and you might not be as successful as you’d hoped. It is very possible that selling prints, or filling workshops, or dealing with unruly wedding parties may make photography  feel like a chore. If you are struggling to keep a business running, will you be as excited about picking up your camera when the weekend comes around? Or will you be relieved to put the camera down?

For Varina and I, photography is a dream job… but it sure as heck isn’t easy. We have successfully navigated the turbulent waters of growing our business and we’ve settled into a fairly comfortable routine that works well for us. Despite the fact that there are days when photography feels like a chore, we still grab our cameras and head out into the wilderness every chance we get.

Is the Timing Right?

Sometimes life presents us with opportunities to take the road less traveled. I am not talking about your mom (and/or your friends) making a comment about how you have an eye for photography. Or even how many followers you have on social media. I am talking about life-changing events. For me, this occurred when I got laid off from my stable day job in October 2013. At this point, all of the planets lined up perfectly to take a plunge at starting the photography business.

Varina was already a full time photographer at this time. Because of this, we had all the financial and logistical aspects of the business in place. We had also accumulated a very good social media following and had been leading workshops for a few years. What we lacked was marketing and scale to make it a full time business. Here is what I said to my co-workers on my last day of work:

When I stop and think about working for another corporation, I realize that path would be taking me away from what I love… chasing dramatic light, seeing breathtaking locations, and capturing my experiences through photography. So, I am ready to watch the molten lava drop into the ocean, witness a baby osprey’s first flight, stand by thundering waterfalls, and have lunch on the shores of turquoise lakes. It’s time to go make interesting and amazing mistakes, embrace failure, and explore creativity. It will be a really fun ride.

This single decision transformed our quality of life and how we approach our photography business. Sure, getting started was tough. There was uncertainty and doubts about whether or not we would succeed. But the uncertainty and doubts were short-lived.

Landscape Photo from our first video course from Anna Bay, Australia by Jay Patel

Landscape Photo from our first Video Course, Australia, Jan 2014

While creating our first video course in Australia on a warm sunny day at a beach with beautiful turquoise water I realized… I AM AT WORK. I realized that I would call this place my office for the next two weeks. After that experience, my office moved to New Zealand where we photographed sea lions on the beach and witnessed the fantastic sunrise on Lake Pukaki. Our next work location was Nicaragua where we worked with a group of students to help the kids from a local neighborhood learn about photography. And, exactly one year later, we moved our office to Hawaii’s Big Island where I’m trying to find some molten lava to photograph.

Making a transition to a full time landscape photographer requires a leap of faith and a perfect timing. Getting laid off from my full time job and having an incredible foundation created by Varina Patel made it very easy for me to take that leap of faith.

Getting started can be daunting due to the fear and uncertainty that comes from starting your own landscape photography business. We were incredibly resourceful and very lucky. Our photography business has exceeded all of our expectations. We have created fantastic content and are in partnership with several big photography companies all over the world. We also have paid guest authors contributing to the success of Visual Wilderness. But best of all, being our own boss has allowed us to explore our creativity (and make few mistakes along the way) while giving us a chance to see some of the most beautiful places in the world.

Are you ready to let go of the security of your day job and take the plunge? Or have you done it already? We’d love to hear your stories and advice in the comments below.

About Author Jay Patel

I could startoff like this – “Seeds of Jay Patel’s appreciation for beautiful places were planted early in his childhood….” but it would get boring really fast. I will just sum it up and say that I am a Landscape and Wilderness Photographer who loves to capture dramatic light. My photographs have been published in various magazines, calendars and advertising materials throughout the world.
Patience is a virtue...unless you are chasing your dreams

Let's block ads! (Why?)


Visual Wilderness https://ift.tt/2YIicUD

Sourced by Time Trap Photography sharing the best photography tips, news and tricks throughout the industry. Time Trap Photography is dedicated to freezing those special moments in life that can be revisited and admired for generations to come. - Shannon Bourque
Please visit our main site for booking availability and rates.



"Time


Receive valuable industry knowledge delivered free to your email each day.


"Time

About Us

Time Trap Photography is dedicated to freezing those special moments in life that can be revisited and admired for generations to come. - Shannon Bourque

The lens in focus

“Life is like a camera. Just focus on what’s important and capture the good times, develop from the negatives and if things don’t work out, just take another shot.” — Unknown

TIME TRAP PHOTOGRAPHY COPYRIGHT 2016