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Compositions Using the Golden Mean
Summary:
Master still-life photographer Eberhard Schuy is here with a new series addressing photographic elements. Elements of form, lines of composition, bright and dark, sharp and un-sharp. Here, the first in the series is a look at the Golden Mean. We get to examine the historic significance as the earliest mathematicians addressed this aesthetic principle as a geometric proof.
Eberhard Schuy then encourages us to trust our innate sense of composition. This "good feeling" will almost always result in the practical application of this compositional guideline used in both art as well as architecture. Not to be satisfied with one demonstration, Mr Schuy takes it one step further and also explains how the Golden Mean is the basis for another compositional guideline: the Golden Triangle.
Finally, a hands-on tip for Lightroom users. The user is directed to an on-board function that lets you overlay
adjustable masks that apply both, the Golden Mean and the Golden Triangle to your photos for evaluation purposes. Be sure to see the other related films in this series. You'll certainly learn a lot.
Bats and Owls
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.
Gerd Ludwig II
Summary:
Gerd Ludwig I
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.
Stefano Unterthiner
Summary:
Stefano Unterthiner is a wildlife photographer based out of Italy. Working professionally for over nine years, he is a dedicated advocate for the preservation of wildlife and today he discusses his career and several work projects with FotoTV.
For most of his career Unterthiner has been photographing the natural beauty of wildlife against pristine and remote landscapes, from the sub Antarctic king penguin to the brown bear. To understand an animal that he is photographing he learns to respect it. By studying a species and researching its characteristics Unterthiner has a better opportunity to capturing unique behavior in his photographs. For a new book project he photographed the brown bear for about 3 months from spring to summer in the northern forests of Europe. Following the life of the bear in its natural environment was a moving and educating experience for him.
Unterthiner is a traditional storyteller, but he feels that modern photography is going to fast, focusing more on the technical aspects as opposed to understanding the subject. His main interests are the conservation of wildlife and the conflict between man and wildlife and how they can live together in harmony on this planet. He also dedicates much of work his time to educate people about a cessation of unethical treatment of wildlife through his photography. His passion, perseverance and patience have given him more respect for the animals and the environment. He would like to become more involved with contemplative wildlife projects in the future.
How to Shoot Northern Lights
Summary:
Lucky for us geologist and physicist Hinrich Bäsemann is here to not only explain the occurrence of the phenomenal light show referred to as the Northern Lights but also to explain how to photograph them as well.
After a scientific explanation regarding the "what" of the lights and the "when" they are visible, he lays out what conditions are "most likely" to result in an occurrence. It isn't always a given you know! He gives tips on sources for weather, and sun activity to try and insure that your trip up north is worthwhile.
His great respect for nature and the honor he feels to be be working in this very unique part of the world are obvious in his enthusiastic descriptions of the landscape and his own long-year experience in trying to capture this wide spectral phenomenon.
A detailed description of the necessary equipment complete with tips on how to dress; how to acclimatise your equipment; how to handle memory chip cards, and how to apply your newly honed skills to gain further amazing images.It's good to have a Great Northern Guide to the lights! Enjoy!
Niall Benvie
Summary:
Scottish wildlife photographer, Niall Benvie, sits down with FotoTV to discuss his career as a wildlife photographer and nature conservationist. His close involvement with 2020Vision.org, "For a Wilder Britain" is testimony to his dedication to increase public awareness and teach the vital steps to restore and recreate the natural habitats of Britain. Through his photos, combined with words to give context to his pictures, Benvie creates images of immediacy that reflect on the loss and conservancy of natural elements, wild animals and human cultural activities, due to climate change and human encroachment.
Being a second-generation naturalist, Benvie followed in the footsteps of his father to become a farmer. It was this intimate relationship with nature that led him to become a full time wildlife photographer. Leading the call for action to preserve nature's most vital resources and free habitats, Benvie's photographs surpass just being for entertainment purposes, his images intend to educate on the important connection between the three primary life forces that exist on this planet; nature, animals and human kind.
Expose to the Right
Summary:
Hans Peter Schaub has been a photographer for many years, as well as a working editor for Nature Foto Magazin. Today, Schaub is back to share more insider tips and techniques with FotoTV viewers on his favorite subject, nature photography.
One main focal point of today's interview and demonstration is digital photography and how to correctly use the camera’s histogram to decisively control the exposure. This is done by viewing the histogram which represents the tonal value of the photo being taken and it also gives very clear information about the exposure of the image overall.
Schaub details the necessary steps to ensure proper use of the histogram function. Generally, as Schaub points out "One could assume, with enough experience and sensible presumptions, a digital camera is well capable of representing 6 aperture increments between the brightest and the darkest spots on the histogram."
As a rule Schaub keeps the histogram in view so that he may adjust the ridges or mountainous regions of the histogram, therefore ensuring correct exposure, essential when scaling an image either up or down. Most noticeable however, is scaling a smaller image up to result in a larger image. The loss of quality is greatly visible.
Schaub further goes on to demonstrate different situations how to correct or modify the histogram so the results are exactly what were intended. The histogram or the judging of the histogram has achieved special significance in the photography world for what has now been coined, 'Expose to the right.'
Theo Bosboom
Summary:
Theo Bosboom is a nature photographer from the Netherlands. His career in photography started in 2003 after a photo trip to southern Africa and Namibia. Deeply impressed by the wildlife and the wonderful landscapes there, and on looking at his pictures back home, he realized just what a powerful medium photography could be.
So he joined a local nature photography club in Nijmegen and was inspired by the work done there. He saw that it was possible to make great pictures not only in faraway places but also right on his own doorstep around Arnhem.
Theo’s main focus is on landscapes. But unlike most landscape photographers he makes great use of the telephoto lens. He uses it to pick out details and structures that then have strong graphic impact verging on the abstract.
At the other extreme Theo does a lot of macro-photography. "Here the great thing is", he says, "that it can be done anytime, any place and under any weather".
A major project over the last few years has been photographing in Iceland. On visiting there in 2006 he saw that it was "a dream for photographers" but that many people had of course already taken great photographs there. To find something new he decided to go back several times a year, often in winter, avoiding the tourists in spring and summer, and to explore away from the beaten track.
Thanks to the Gulf Stream Iceland has a relatively mild climate. So to Theo's surprise it was raining when he first arrived in winter and the vegetation was green. But luckily after a few days it began to snow and "it turned the landscape into a magical place". For example the Jökulsárlón Glacier is "very special in winter: It looks different every day".
Working in Iceland is hard because the weather can change very quickly. Blizzards and sudden ice on the roads can make travelling risky. Four-wheel drive is a must.
Early in 2010 Theo witnessed and photographed the eruption of the volcano Eyjafjallajokull that, with its dust and ash cloud, disrupted air traffic in most of Europe.
Iceland is a great place for bird photography. There are a many breeding species, some of them, like the photogenic puffin, very interesting. The harlequin duck, for example, cannot be found anywhere else in Europe. And one can get surprisingly close to the birds because they are not so shy as in more populated areas.
Theo gives advice in this video to potential visitors to Iceland. If you are planning a photo trip you will need at least ten day to right round the island. If you have less time take a closer look at just one area. And if you only have a weekend or so stay in the southeast near Reykjavik, in the so-called 'Golden Triangle'. It includes the Goðafoss waterfall, and other great but less well-known waterfall and it is one of the few areas in Iceland where there are trees. Driving further east there is good chance of spotting reindeer. The coastline is in some places quite spectacular and one should also visit some geothermal hot spots to get a feeling for the power that formed the earth.
Theo's website at www.theobosboom.com has a lot of his great Iceland images and Theo generously makes an offer to help you if you are planning a visit there. Just send him an email.
Under South African Skies
Summary:
There can hardly be anywhere offering a greater diversity of subjects for animal and landscape photographers than southern Africa. And world-renowned photographer Heinrich van den Berg has taken full advantage of this wealth.
He started taking photographs swhile on holidays with his family in the national parks of South Africa. This hobby eventually turned into a small family business. Now if they go on a photo trip together one will use a wide-angle lens and the other a telephoto. In this way each can concentrate on one type of shot and not have to worry about other kinds of photograph. "This kind of frees you up a lot", he says.
Heinrich grew up in the eastern coastal province of KwaZulu-Natal, which is very diverse with mountains, bush-veldt and coast. There are great mountain landscapes, with bird heights where one can photograph vultures and black eagles. The bush is particularly good for rhinos and cheetahs. And on the coast there are interesting animals such as the log-head turtle, and whales can be photographed from the beach. There are mangroves too with many smaller animals.
In the Kruger National Park Heinrich photographs amongst others the 'big five' (Lion, Leopard, Black Rhino, Elephant and Cape Buffalo).
The third area in which he works is the western part of the country with its deserts and semi-deserts. The best place here, he maintains, is the Kalahari Desert, in particular the Kgalagadi Transfrontier National Park. Here, he says, it is easy to get great photographs: The background is always out of focus, the colours are lovely and the light is beautiful. "It really is a dramatic place to photograph. In Namibia too there are many interesting kinds of animals like red-footed geckos or flamingos that one does not see in the wetter parts of the country.
The wildlife in the desert is very sparse and van den Berg has to drive around for a long time before finding something to photograph. But then it's really worthwhile. Alternatively he waits at an interesting looking place for something to happen. "Ninety nine percent of the time it's worth waiting, though".
On the danger aspect van den Berg says that it is very difficult to predict what animals are going to do. Especially leopards and hippo can change their mood very fast. Others, like the lion, are easier to 'read'. But one has always to be careful.
Initially Heinrich tried to capture animals full-frame. Now he often zooms back to get more of the environmen. This, he says, is as important as the animal itself. That way you can show the character of the animal better. The leopard, for example, is a very secretive animal. To show it sitting on a rock in an open area is not true to his nature. Much better would be a shot of the animal hiding in tree.
For the Animal Planet series on the Discovery Channel Heinrich made photographs of meerkats. Because these animals are the subject of a research project they are now habituated to humans and can be photographed at very close quarters. Heinrich used this opportunity to make photographs with a variety of wide-angle lenses and with flash lights, which didn't bother the animals at all.
You can follow Heinrich van den Berg on Facebook and find a short but excellent autobiographical sketch here.