User Profile Fields Own View

Summary:

At the age of 15 he started taking pictures, now Florian Schulz frequently visits North America to photograph natural sites across the continent.

He is fascinated by encounters with wild animals, which often result in very special shots and memories. But his dedication goes beyond more photography as an art form.

The passion for his job made him actively support protection of endangered environments and species. For over 10 years he pursues the objective to establish "natural corridors" to connect separate habitats and enable animals to move around freely.

His conservation project is presented at schools, universities and was published as a book.

Summary:

Here with the last in our compositional series, Eberhard Schuy demonstrates the primary elements: Dark and Light Contrasts.

Of all the contrasts this one is fundamental to to with our world and defines what is photography too. On location in the Ardennes region in Belgium, what better place than a castle ruin to demonstrate these contrasts.

Thanks to the excellent weather and bright condtions we can easily find many motifs to examine the nuances of light and shadow. In the darkness of a dungeon, with leading light through our picture we are able to ascend into the real world.

A ray of light from a window gives us hope that even the classic tones of black and white photography can benefit from the application of these dark and light contrasts.

Summary:

Nature photographer Dietmar Nill sits down with FotoTV to discuss his early career and present position as a filmmaker of nature and wildlife videos.

Nill reflects on his first request from a client to film a water bat as it drinks, as the ideal moment and catalytic spark for him to begin venturing out into video filming of subjects well known to him. Seizing this moment as a perfect opportunity to further develop and hone his style, he began shooting with a digital camera and with a few clicks of the camera’s buttons became a filmmaker. It fascinated him so much that he has slowly began the transition a year ago to become a full time filmmaker, even though he still shots still photos with a camera for time lapse photography, landscape and sunset photos.

Nill had an idea to photograph bats at night so he had a photoelectric sensor built especially for him because there was no available light on his locations and one of the problems he faced was the trigger delay time of the cameras he was using.

So now he always uses a photoelectric sensor for making his photographs of the animals in the wild. In this respect, the animals are literally taking a photo of themselves because they trigger the sensor with their movement, something Nill describes as fascinating.

Nill’s photos start out as an idea and he works toward that idea regardless of how long it takes---even years, until he can actually create the photo, with everything in place, all materials and equipment, he sets out to make the ideal photograph. He was born with a talent, and that talent is he can build a relationship to the animals he photographs, knowing how to act around the animals and how the animals will react to him and what they will do, even before he takes the picture. He has a lot of experience and therefore recognizes their behavior, foreseeing what will take place in the next minute enabling him to be prepared to photograph or film the animal to create stunning images.

Summary:

Renowned documentary photographer Gerd Ludwig was in Zingst. We had a chance to talk to him about his craft and his current Exhibition: Peace on Earth and Earth to Pieces. 

We get some insight to his attraction and affinity for Russia, and his long association with Chernobyl.

Growing up in post-war Germany, Gerd first learned of Russia through the stories of his father's experiences there. He explains here the journey to be able to see Russia in the social critical eye-of-the-camera. He briefly mentions a current work in progress "Russia Never Sleeps" and his search for a publisher. 

In a nod to young photographers, he talks about how he came to work for National Geographic, and their preference for photographers which have a relationship to the subject.

In a second part he discusses some of the specific photos from the exhibition.