Storing telescopes, mounts, tripods and cameras inside their home, the couple takes out all the heavy equipment to their backyard to try and capture an element in our universe not seen by the naked eye. This method of photography is called astrophotography — it goes beyond landscape photography to use a combination of lenses, computers and telescopes to capture a moment in deep space.
“You can go out in the summer and set up a tripod and a camera and a wide angle lens and do a long exposure … and get to see the stars in the Milky Way in the core and some beautiful details of the sky,” Marcus explained. “I would say the biggest difference between that and deep space astrophotography is with deep space astrophotography, you’re looking way closer in on a target.”
To do that, Marcus and Miles must understand and keep track of what is happening in the sky above and when. Then given those parameters, they pick a target or two for the night, set up their equipment to get it polar aligned and then take long-exposure pictures for as long as possible — often lasting throughout the whole night.
The idea is to capture a series of long-exposure images, which invite more light into the lens, to gather as much visual data as possible. Marcus and Miles’ equipment keeps them on the target throughout the night as the subject moves across the sky. The series of photos, which will be later layered on top of each other, add more detail to the image.
As one might imagine, this hobby isn’t best served by partial commitment.
“If you meet anybody in the astro[photography] community, they’re going to talk about the time that they spent on this,” said Marcus with a smile.
On top of the time it takes to capture the images overnight, it takes about an hour to set up the equipment and a little bit less than that to take it down. While a lot of technology helps Marcus and Miles, they still must constantly check on the equipment throughout the night.
“We got up to the observatory property last Friday night at about 7:00 and we left the next morning at 7:30. So, we were there for 12 and a half hours,” said Marcus.
Marcus and Miles often take the deep space photos from just their backyard, but they also have connected with a person who has an observatory near Florissant, about 11 miles west of Pikes Peak. There they have access to power to operate their equipment, and it’s under a dark sky protected area and at high elevation. These conditions give Marcus and Miles an even better chance of capturing the beauty of the stars above.
“When I go to a dark sky and I look up and I see these things, these stars, these brighter stars, it’s like I reaffirm that they’re still there as am I. Me and the universe, we’re on the same terms,” said Marcus.
When Marcus returns to inside her home, she then has the immense task of stacking the images and pulling out the beauty from them. A single image can look like a smattering of stars, but as she is able to put several images together, nebulas, galaxies and other targets really start to take shape.
A group of photos taken by photographer Wang Chen portray tranquil sceneries, and bring people to feel the beauty of nature from the bottom of the hearts.
Wang Chen, vice-chairman of China Photographers Association, has won the Golden Statue Award for China Photography for three times. He has published nearly 30 photography books, and among them, one of his environmental friendly-themed series about the earth has won the United States” Benny Award.
The close race for the overall winner title of the funniest wildlife photo of 2022 was awarded to the above image of a lion cub losing its grip on a tree trunk and entitled ‘Not so cat-like reflexes.”
The shot by photographer Jennifer Hadley also won the Creatures of the Land category.
The Wildlife Photography Awards competition, “the funniest and most popular photography competition in the world” according to the organizers, also unveiled five additional category winners and 10 Highly Commended Entries.
This year’s winning photos were chosen by a jury of experts from more than 5,000 entries from 85 countries around the world.
MORE FROM FORBESThe Funniest Animal Photos: 20 Finalists Of Comedy Wildlife Photography Awards 2022By Cecilia Rodriguez
Hadley managed to capture the winning image as a three-month old lion cub was trying to descend from a tree..well, it didn’t go the cub planned.
“It was probably his first time in a tree,” Hadley said. “And he decided to just go for it. Happily, as cats do, he righted himself just in time, landed on all fours and ran off with his siblings.”
Hadley’s reward for her winning shot: a safari in the Masai Mara, Kenya, with Alex Walker’s Serian plus a unique handmade trophy from the Wonder Workshop in Tanzania.
MORE FROM FORBES10 Funny Wild Animals Photos: A Tease Preview From Comedy Wildlife Photography AwardsBy Cecilia Rodriguez
The Comedy Wildlife Photography Awards was founded in 2015 by Paul Joynson Hicks and Tom Sullam, both professional photographers and passionate conservationists. The competition is global, online and free to enter.
“In addition to providing some lighthearted relief and joy, the competition aims to highlight the extremely important message of wildlife conservation in an engaging and positive way,” the organizers explain.
The competition champions the work of charity partner Whitley Fund for Nature (WFN), a British non-profit organization that supports conservation leaders working in their home countries across the global south.
Over 29 years, it has channeled £20 million to more than 200 conservationists in 80 countries.
The hippo looks like he’s about to snack on a whole heron, while the bird seems completely oblivious. Maybe it knew that, in fact, the hippo is actually just yawning.
These two gentoo penguins were hanging out on the beach when one shook himself off and gave his mate the snub.
This owlet peeking from a pipe looked directly at the young photographer and seemed to wink before retreating inside. “It felt like he wanted to say I CU boy,” said Singh.
A couple of grey triggerfish smile magnificently for the camera. But even if they look funny, these fish can be quite aggressive. In this case, they didn’t attempt to bite the photographer but his camera housing endured some scratches.
A red squirrel jumps during a rainstorm, hence the drops flying around it.
Most individuals in this group of meerkats, including the adults, were in a playful mood. There’s no aggression between individuals in the photo but, rather, an interaction that reminds us of humans when one friend pretends to strangle another.
One morning in a local park in Florida, before the two owlets fledged one tried to squeeze into the nest hole with Mom — perhaps to see the outside world for the first time. The moment lasted only a few seconds as Mom didn’t seem very happy with the arrangement.
A duckling walking/waddling across a turtle-covered log at the Juanita wetlands. The duckling fell off after a few turtle crossings.
Few artists boast a style and subject matter so singular that three separate specialists would use the same word to describe them: “strange.” Yet that’s exactly what happened when Smithsonian magazineasked a trio of scholars about Dora Maar, a 20th-century French photographer and painter whose oeuvre in many ways defies explanation. Almost all of her artworks capture a certain uncanniness in their surroundings, bringing to light the strange in the mundane.
One of Maar’s most famous works—the 1936 photograph Père Ubu—is a perfect example of this phenomenon. It’s the kind of art that requires repeat viewings, all of which yield something new. There’s something inscrutable about the subject’s scaly body, its one slightly open eye, its barely outstretched claws and its ear flaps clouded by shadows. The viewer is left to question whether the figure is alien or something found in nature; they want to know more, but at the same time, they’re slightly disgusted, says Andrea Nelson, an associate curator at the National Gallery of Art (NGA) in Washington, D.C. Donors gifted a print of the Surrealist image to the museum in 2021.
“It’s compelling but repellent at the same time,” Nelson says. “You don’t quite know what it is, and you’re trying to figure it out. It’s surprising, it’s mysterious, it’s completely bizarre and it’s grotesque. It still maintains that power.”
The same could be said of Maar herself. Born Henrietta Théodora Markovitch in Paris in 1907, the artist split her childhood between Argentina and France. From a young age, she was determined to be an artist, studying everything from decorative arts to painting to photography and attending prominent Paris schools like the Académie Julian and the École Technique de Photographie et de Cinématographie (Technical School for Photography and Cinematography). At one point, Maar even trained with French Cubist painter André Lhote.
As her abilities grew, Maar began a career as a commercial photographer and later a painter, winning renown in her own right. Today, however, most mentions of the artist reference her mainly in relation to her most famous lover: Pablo Picasso, who featured her in the 1937 portrait series Weeping Woman. Her “career and accomplishments were overshadowed during her lifetime by the details of her affair” with Picasso, notes Encyclopedia Britannica.
Maar’s own work was both influenced by and had a real influence on Surrealism, a cultural movement that rejected rationalism in favor of art and literature informed by dreams and the unconscious mind. In fact, Père Ubu is “one of the most iconic artworks of the movement,” Nelson says. But it doesn’t really resemble prominent Surrealist works, nor does it look like Maar’s other art. The artist’s photographs tend to be either beautiful in an almost supernatural way or heartbreakingly realistic, capturing the realities of poverty. As the Morgan Library and Museum points out, Père Ubu stands out from the rest of Maar’s work precisely because of its “repellent qualities.”
Even when the portrait was displayed at the “London International Surrealist Exhibition”in 1936, it stood out from the stylized world of Maar’s fellow Surrealists.
“Ubu … would have acted as a small, sharp puncture in the exhibition’s exuberant display of the Surrealist imaginary, asserting its connection with the world beyond the gallery,” writes photographic historian Ian Walker in the catalog for a 2019 Maar retrospective co-organized by Paris’ Centre Pompidou, London’s Tate Modern and Los Angeles’ J. Paul Getty Museum. “For these images were based in the documentary nature of photography while also exploiting the medium’s Surrealist potential.”
What adds meaning to the snapshot is its title, which references Alfred Jarry’s 1896 Absurdist play, Ubu Roi. The drama’s main character, Père Ubu, is a greedy figure who does whatever it takes—including killing members of the Polish royal family—to achieve his goals. But Maar’s Père Ubu is hard to reconcile with that description. Is this an innocent creature or one primed to commit harm? With a “sagging belly and bulbous nose” that mirror the distasteful appearance of the play’s title character, the portrait conveys the “vulgarity and slothfulness” of its namesake, according to Walker.
Jarry’s creation is “savage and malicious, truly threatening as well as ridiculous,” the historian adds. “Maar’s Ubu lacks that overt savagery, but in its place is an ominous stillness, as we are pitilessly observed by the creature’s black, depthless eye, like that of a shark or reptile, while its claws … might also be about to metamorphose into Ubu’s sinister ‘nearole-incisors.’”
The photograph raises a more pressing surface-level question, too: What exactly does it depict? The subject is hypothesized to be an armadillo fetus, but definitive proof is hard to come by, as Maar would never confirm its identity.
Interestingly, the catalog for a Paris Surrealist exhibition where the image was displayed classifies it as an “interpreted found object.”
“It is evidently the thing that is depicted in the photograph that is the [‘object’]: a neutral term that serves to disguise whatever was its original nature,” Walker writes. “It is also significant that it is described not simply as ‘found’ but also ‘interpreted’—an acknowledgment perhaps that Maar’s photograph not only documents the thing but also re-presents and transforms it.”
Emma Lewis, a former assistant curator at Tate Modern, offers a more concrete answer, citing a visitor to the major Maar retrospective, which she co-curated. The individual was so interested in the photo that they asked a senior veterinarian from the London Zoo about the creature. The vet identified the subject as an infant or fetal armadillo based on its claws and underdeveloped osteoderms, or bony deposits. Exactly where the artist would have encountered this animal is unknown.
From Ubu’s otherworldly likeness to 29 rue d’Astorg, in which a glamorously dressed, nearly headless figure sits in a cavernous room, to a snapshot of a model with a cutout star covering her head, Maar’s art evokes a sense of uneasiness, strangeness even, amid beauty.
Yet the word “strange” carries a certain connotation that doesn’t fully reflect the scope of Maar’s work. Rather than being whimsical or fanciful, the artist’s photographs are tinged with darkness, Lewis says, a Gothic quality often characterized by stylistic experimentation.
“She contributed to making the everyday strange,” the curator adds.
Maar’s commercial work helped her craft this unusual style. In 1931, she opened a photography studio with set designer Pierre Kéfer, working on commission for fashion houses like Chanel and designers such as Elsa Schiaparelli and Jeanne Lanvin. She often employed a collage technique, overlaying images “from her own work, including both street and landscape photography,” instead of using newspapers or magazines, per Tate Modern.
“These commissions had good budgets a lot of the time. They had good circulation, and they reached interesting audiences,” Lewis says. “Every image that we see by Maar is either about her pushing what she can do with staging, light and composition or her taking the components of the image and cutting and pasting and reworking that within her studio.”
A key example of Maar’s collage technique is a 1935 photo titled The Years Lie in Wait for You. In it, a woman clasps the bottom half of her face with her manicured hands, which are visible but almost hidden behind a superimposed image of a spiderweb. Thought to be a face cream advertisement, the work was never published, notes Lewis in Photography, A Feminist History: Gender Rights and Gender Roles on Both Sides of the Camera.
Maar enjoyed great commercial success with her studio, adding an experimental lens to many of her commissions. She could, “at roughly the same time, produce high-end fashion photographs, artful advertising pictures, flattering studio portraits, figure studies, soft-core pornography, … gritty street scenes, documentary shots, politically inflected images, rigorous formal compositions, and the complex, disturbing, and beautifully crafted Surrealist photomontages that are her most memorable creations,” wrote art critic Richard Kalina for Art in Americain 2020.
Though the vision of independent womanhood conveyed by 1920s and ’30s advertisements was “largely an alluring commercial fiction … Maar and her friends actually lived such lives,” Kalina added. “And they put their exceptional autonomy to use” by documenting social inequality and advocating for political reform. Maar was a left-wing political activist involved with revolutionary groups, and her politics were “inextricable from her work as an artist,” Lewis says.
Today, Maar’s work is often referenced only or primarily in connection with Picasso, whom she met in the mid-1930s, when she was in her late 20s and the famed Cubist painter was in his mid-50s.
“So often the first sentence you read about [muses] is that they were the muse of Pablo Picasso” or a similarly prominent man, says Nelson. “But in the case of Dora Maar, she was a really successful and interesting photographer for years and years before she … even met Pablo Picasso.”
Aside from her collage work, Maar was known for using the camera to document reality and capture street life. Through her style and gaze, she was able to transform what she saw into something altogether different.
Many of Maar’s snapshots have never or rarely been seen by the public. The 2019 retrospective, which featured more than 200 works by the artist, highlighted some of these little-known photographs. And earlier this year, Paris auction house Artcurial placed roughly 750 photographs from Maar’s estate, the majority of which had previously been unpublished, up for sale.
Spanning the late 1920s to the end of the 1940s, the images included uncharacteristically informal photos of Picasso, a behind-the-scenes look at the creation of his 1937 painting Guernica and self-portraits of Maar, as well as vignettes from major European cities, like a bookseller in Paris, a series of blind musicians in Barcelona and beggars in London.
“We have essentially retained from [Maar] to this day the strangeness of some of her compositions or collages, which bring their own score to the Surrealist movement,” says Bruno Jaubert, director of Artcurial’s Impressionist and Modern Art Department. “But it is also, to another extent, her way of capturing reality that goes beyond Surrealist aesthetics.”
While Maar’s work did not experience a major stylistic shift in the collection’s roughly 30-year span, Jaubert says her eye became more trained and refined.
“[The cache] shows a maturity in the look that immediately reveals a scene, a presence without seeking decorative effect,” he notes.
Throughout her life, Maar found herself caught between painting and photography, never able to choose just one. For years, particularly during her relationship with Picasso, she focused on painting, in love with the art form she had first taken up as a teenager. It was only toward the end of her life that she inhabited fully once more the world of photography.
“We don’t know that she ever stopped photographing, per se, but certainly in her later years, she returned to darkroom experimentation,” Lewis says. Maar died in 1997 at age 89.
The artist’s shift from painting to photography and back again wasn’t unusual for the time. As Nelson argued in the 2021 NGA exhibition “The New Woman Behind the Camera,” photography became a way for women to make money and express themselves creatively during the 20th century. Many followed a path like Maar’s, studying art in a traditional setting before pursuing photography in the 1920s and ’30s, as the medium was growing and changing.
For Maar, photography was a way to carve her own path in a business sense. She certainly wasn’t alone in that.
“For some women, photography was a very viable career where you could actually see yourself making your own money, earning your own income and becoming independent,” Nelson says.
When Nelson curated the NGA exhibition, she knew she wanted to include Père Ubu. Yet she had a difficult time determining where to place the photograph. It was such a strong composition, so different from the other pieces in the exhibition’s “Avant-Garde Experiments” room, that it didn’t quite work next to anything else.
Eventually, Nelson came up with a compromise: putting the photograph next to the room’s wall text. There, it wouldn’t overshadow other works but rather help start a conversation. It could only exist as Maar likely intended it to—on its own.
Travel enthusiasts, who crave a holistic astronomy experience to give voice to their curiosity about the vast skies beyond our stratosphere, can gain an integrated astronomy experience through Astro Tourism, a trend that has seen an increasing number of travellers who are keen to get to experience activities such as stargazing, sun observations, stargazing parties with friends, experiential science activities and much more. The spike in Astro Tourism could be a result of the post pandemic world where many people are looking for less crowded and nature driven experiences or the offer of a sense of discovery as when you look up at the sky, you may see a big white moon or two bright stars that never twinkle but when you look at them through the telescope, the moon suddenly has massive features (craters, flat grey surfaces, highlands, etc.) of varied colours and the two bright stars are no longer stars – one is Jupiter, a big disc with a giant red dot on it (which in itself is a storm three times the size of the Earth) and the other is Saturn, with many rings around it.
You literally cannot believe your eyes and you realise that the universe is so much more complex than what you see, with so much left to discover hence, a number of resorts and hotel chains are now offering stargazing as one of the activities for their guests to treat them to a flashback to their childhood. For a large number of people, the last time they looked at the skies and enjoyed the stars was when they were kids and ever since they turned into adults, they moved to a city and neither got the opportunity nor the time to experience the cosmos but looking up at the skies lets them relive their childhood.
In an interview with HT Lifestyle, Paul Savio, CEO and Co-Founder of Starscapes, revealed that Astro Tourism is seeing a spurt for three reasons:
(1) With higher disposable incomes and a more liberal view of living a wholesome life, people are on the lookout for new and exciting experiences that are beyond the usual offerings available. Anything new piques a huge interest, and today people are more willing to try them out than before.
(2) Millennials have, due to access to the internet in their formative years, a much more global exposure to life and career than previous generations. As parents, this demographic is open to encouraging their kids to look at radical career options, and therefore get exposed to such experiences that could kindle an interest in the kids becoming astrophysicists, aerospace engineers or even astronauts.
(3) Space is in the news, with NASA going back to the moon (Artemis), India sending humans to space (Gaganyaan) and space tourism kicking off with private enterprise (SpaceX, Virgin Galactic, Blue Origin). So it is currently top of mind.
He shared, “Lots of people, especially in metros, are beginning to step out to nearby dark sky locations to get a glimpse of the starry sky. Apart from the usual suspects (Ladakh, Spiti, Kodaikanal, Kutch, Coorg, Jaisalmer, etc.), myriad sites exist within 2 hours of all metros which can give a great dark sky experience. However, daytime astronomy as a concept is slowly picking up too.”
According to Neeraj Ladia, CEO of Space Arcade, there is a lot of interest in Astro tourism all over India. He said, “One major reason is social media. More and more people are showing people where they can travel. Places which were accessible for very few people earlier, like mountaineering and trekking, are now common among people. There are videos, reels on social media accounts where there is a lot of conversation around offbeat activities such as astro tourism. People have become more aware of these kinds of things. Astro tourism has gained more popularity post lockdown mainly because people want to be closer to nature and want to do something new and offbeat. Similarly, like wildlife photography/nature photography, people are developing an interest in astro photography too.”
Talking about some of the common activities under astro tourism, Paul Savio highlighted stargazing, sun observation, astrophotography (where you learn how to photograph the night sky and even deep sky objects using different cameras and mounts), astro tours (trips to dark sky locations for an enhanced night sky experience), workshops and activities to understand different phenomena associated with astrophysics and space exploration.
For a person who has never experienced astro tourism, Neeraj Ladia suggested stargazing as one of the most exciting activities to do. Secondly, he recommended, “If it is a starry clear night, guided telescope view of planets and deep sky objects along with an astrophotography session can be quite exciting. With astro tourism, people have an opportunity to see and learn the names of the stars and constellations. They can also go much deeper into understanding these concepts.”
Paul Savio concluded, “Astro Tourism is the sunrise segment of the experiential tourism industry. Massive interest is being shown by luxury resorts across India to incorporate astro-experiences in the bouquet of offerings for their guests. Today, the customer base is overwhelmingly of people who are looking for a new experience and not necessarily an astronomy experience. We expect this to flip in the next 3 years – people will travel with an intent to have an astronomy experience. This will be driven by the springing up of dark sky parks (the astronomy equivalent of national parks) and other dark sky places equipped to service this interest.”
The world comes into focus when Maryann Cheung looks through her viewfinder.
The Hillsborough photographer sees elements of small-town charm in her work, material she might not have noticed without a tightly framed slice of life to emphasize subtle, simple scenes.
“If you look at her photos, you can tell she has an incredible talent to bring out the best in what we have here,” said Laurie Jutzi of Hillsborough. “It’s a real gift, and for a struggling town template decaying like others all over New England, her work has been an inspiration for those to see what they really have here and are so lucky to be near.”
Jutzi nominated Cheung for the Monitor’s Hometown Hero series. She described a local woman who had photography in the back of her mind for years, yet only immersed herself in the art two years ago. At age 60.
Circumstances dictated that it was time for Cheung to pursue something that she knew she’d love. Covid had hit, and Cheung’s husband contracted the illness and spent five weeks in the hospital, near other patients who later died.
“When something like that happens, you know life is short,” Cheung said. “I thought that sounded like the right time to do it.”
Cheung remains in the midst of an awakening, a two-year process thus far that’s given her a keener appreciation, a reminder to stop and smell the flowers.
“For years, I tried (photography) at a younger age, but I was a working mother,” Cheung said. “Recently this served as a wake-up call. I was so happy and grateful for my husband’s return home from the hospital, but if you remember, those were dark times. I had to do something, and one thing I wanted to do was photography.”
Her late father had given her a Minolta, her husband a tripod. That was many years ago.
“My father gave me a great one and it sat on my shelf for 30 years,” Cheung said. “And now I use it and now I am a photographer. I wish dad had seen that.”
He would have seen scenes that elicited warmth through simplicity. The little girl with a determined look pulling a rope attached to a goat at this year’s hometown parade.
The darkened silhouette of a squirrel eating a nut while crouched on a tree branch. The water skiers helping the town to celebrate its 250th birthday.
On her website, Cheung explains that “I photograph where I live, capturing and sharing the beauty of the landscape and those that live here.”
Cheung, in fact, has become part of this intriguing landscape herself.
“When I am pulled over and I’m shooting, they beep their horns and wave to me and give me tips and they message me about themselves,” Cheung said.
Her photographs of the town’s 250th tribute this summer are included in the 88-page souvenir program book. In fact, her photos are everywhere in town, and she never charges a dime for the use of any of them.
Her work will be displayed at the Hillsborough Historical Society, depicting various stages of the pandemic.
“She shares her images on Facebook and has a huge following,” Jutzi wrote in her nominating email to the Monitor. “She reminds everyone of what a wonderful place we live in and the simple pleasures of daily life in a smallish NH town.”
Once, shortly after moving from Keene to Hillsborough in 1992, Cheung and her husband opened a Chinese restaurant in town and owned it for 20 years. They sold it seven years ago.
“The restaurant was very successful,” Cheung said. “When we opened it, it was the recession, and people were still waiting outside the door. But it was time to move on to other things. Enough was enough. It was lots of work and we felt we had nothing else to bring it.”
Cheung is a caregiver for a family member. That’s a job. Photography is something else entirely. She submits her photos to the town’s Facebook postings and her work is featured in her own personal journal.
She continues to learn about the aesthetic beauty that her town offers, saying, “I take photos of downtown at night. I got home that first time and (the photos were) not great, but they looked so different than what I had actually seen.
She continued: “We walk around and take things for granted, especially at night. You don’t notice anything, and then you see that our little park looks so very nice.”
’Tis the season ye merry photographers. No idea what the statistics are, but I have a pretty good idea there is no time like the holidays for shooting tons of pictures. Back in the day, I’d wager more rolls of film were used between now and New Years than during the whole rest of the year.
Certainly no different in this day of cellphones and gigabytes.
But not around my house. I’ve become a bit of a curmudgeon when it comes to shooting Thanksgiving and Christmas festivities. Rebelliousness is not usually part of my nature, but come the holidays, with the expectation being that Greg’s a photographer, I don’t snap a lot of shots. Does the cobbler make shoes on Christmas Eve?
I’m not saying I’m proud of it, but the fact is, the holidays are one time when I enjoy myself more without a camera around my neck or my phone in camera mode. This is crazy, because what better time to document the joy and love of family and friends than when they’re gathered for the holidays?
So, don’t do as I do, do as I recommend.
CANDID, NOT POSEDIn all honesty how many shots fill your photo albums of people smiling at the camera, posing with a just-opened present or with a carving knife poised over the ham? Most of them? Too many photographers think a photograph is something you stop real life for.
Here’s the main idea to keep in mind for this holiday season: Get most of your photos of people doing what they are doing. Shoot pictures when grandma is opening the Christmas present or reacting to it. Get that shot of dad and the big bird while he’s carving it or the activity in the kitchen during the cooking.
Even when it comes to the most delightful of us — the children — we tend to stop them from their normal activity to get a picture. Let them play! Years of professional photography has taught me that kids can ignore a camera like no one else. They notice it, but VERY quickly forget about it. That’s when your best shots happen.
So, don’t stop life to photograph it.
IF POSED, MAKE IT FUN
Now there’s posed and then there’s boring, stiff, stare-at-the-camera POSED.
During the holidays most of us are around people we know pretty well. Use your knowledge of them to pose them meaningfully. If Uncle Frank is bored to tears with family gatherings, say “C’mon, Frank! Show us how you’re really feeling.” If your mom is protective of her kitchen while cooking, maybe you can coax her into a pose by the kitchen door, arms crossed and chef’s knife in hand. It’s posed, but has some playfulness to it and says something.
Pose fun, if that makes any sense.
TAKE IN THE ENVIRONMENT
Generally, people don’t get nearly close enough to their subjects in photography — a topic of many columns. But during the holidays be sure to step back and take in the environment. Allow a sense of place to come through.
This sense of place can be literal, such as in what house is the event happening. I look through old family pictures and there are so many where I have no idea where they were taken. A wall is a wall is a wall. Step back and take in more of the room on a few or even a couple shots of the exterior.
Sense of place can also be more symbolic or atmospheric. This can involve including the decorations and the food in your photographs. Keep an eye out for making these things the actual subject of pictures. If the lights on the house are Griswold-esque, it might be worth a shot.
TIME, PLACE AND NAMES!
Don’t make the mistake of thinking your memory will always be so fresh. File your images with the date.
I am currently digitizing nearly 100 years of Lehman family film. It’s frustrating to look at photos and try to figure out when and where they were taken by how old they look. Or the model of car in the background. Or the style of clothes, the hair and the furniture. Save them in a dated folder!
Also, I have whole albums of wonderful black and whites from generations gone by and very little idea of who, what, where and when. Take a little time and attach some names, even if it’s in a notebook that you can photograph and include with the pics.
Shoot, have fun and preserve memories. It is a photograph’s greatest gift!
The OM System (aka Olympus cameras) just released the flagship OM-1 camera, a major upgrade from the beloved Olympus E-M1 series.
The OM-1 has a similar layout to the E-M1 series but it packs a super fast stacked sensor for high-speed stills shooting at up to 10 FPS mechanical and a blazing 120 FPS electronic. An updated sensor brings better low light performance and subject detection autofocus algorithms that can detect cars, planes, animals, and humans.
This model also has hand-held high-res shooting (you can take 50 MP images out of a burst of 16 frames) and the Live-ND filter, which simulates a neutral-density filter. In addition, computational photography for handheld shooting emulates some tripod-based long exposure shooting (for example, a blurred waterfall). The pro line lenses have a high-quality build, integrated lens hoods, smooth zoom and focus rings, and round bokeh visualization (background blur).
The OM-1’s lens options make it ideal for birders and wildlife watchers. The new 150-400mm F4.5 TC1.25x IS PRO gives you a lightweight 300-800mm range and an integrated teleconverter up to 1000mm handheld. Tom tested this lens/camera combo and had a blast photographing birds in his neighbourhood without his arms getting too tired. For more: OM Systems
Tip: The best lenses include the Olympus 12-100mm F/4 IS PRO (24-200mm), 12-24mm f/2.8 II PRO (24-80mm f/2.8 equivalent), 40-150mm F/2.8 PRO (80-300mm pro zoom), 7-14mm PRO (wide-angle zoom), 300mm F/4 IS PRO (600mm F4 equivalent), 150-400mm F4.5 TC1.25x IS PRO (300-800mm f/4.5).
It is no secret that I’m addicted to nature photography, which I practice on an almost daily basis regardless of weather conditions. In fact bad conditions sometime produce some neat images. I love “shooting” sunrises; they usually are the thing that gets me going in the morning. With sunrises, or sunsets, the secret to getting good ones is to be out there before they occur. Sometimes the best sky color is before the sun rises or after it sets, and you need to be in a good position before that happens. After sunrise, I head to a likely wildlife scene.
Lately I have been sitting along the Feeder Road off Route 77 near a marsh where geese and ducks come to rest in the morning. No hunting is allowed on this marsh, so many of the waterfowl naturally pick it for a safe haven. This was my favorite spot last week as I aimed to get good flight shots of geese coming in. Lighting and wind need to be from the right angle, and the birds are fast, so you have to be on the ball. It is very satisfying to catch that goose image, tack sharp, as he cups and drops into the marsh.
I used to do a lot of waterfowl hunting and the incoming geese always seemed to be the most exciting to watch. That’s still true today as I hunt them with my camera. Their distance calling tunes me in to their arrival and even when they are about to take off. I take way too many pictures of them in flight, but that’s necessary to catch the birds’ most flattering positions, which involves how the light is hitting them, their wing positions and their angle to the camera.
One shot I’m always trying to capture is their flying upside-down (yes, you read that right!). Sometimes when a flock is coming in to land they come in from a high altitude and are in a hurry to get to their chosen landing spot. To do this they “slip” sideways as they drop from the sky, and even flip over on their backs, which cuts wind resistance and helps them drop more quickly. Now, this maneuver takes only a split second, and they do it individually, not as a group. Thus it can be very difficult to catch this move. The best way is to just click away as you see birds in the flock doing this and hope you catch one upside-down.
When the birds are ready to leave the marsh, their body positioning and type of call usually prompt me to get ready. I try to catch them both flying and running on the water as they get airborne. Again, it is a matter of taking a lot of shots to catch it just right.
A lot of other things went on as I waited for various groups of geese to arrive. One morning a pair of trumpeter swans flew over me from a side that I don’t eyeball that much, and by the time I saw them I could only get angling-away images, not very flattering to the swans. A few mornings later, now peeking at the southeast side of my position more often, I caught the pair coming towards me. Getting ready, I kept focusing on them as they approached, and hit the “trigger” a number of times as they passed low and right in front of me. Each time I did, the thought “got it” clicked in my mind, and the end result was about six great, tack-sharp, well-exposed and flattering shots. As they continued on their way I took a deep breath — I often hold my breath as I shoot, probably a habit from my long range woodchuck hunting days that gave me a more accurate shot. A quick review of the shots proved I hit the nail right on the head, and my day was made even if the geese and ducks didn’t cooperate.
Other creatures often show themselves while I’m waiting out a particular set up like this. A mink will scramble in front of me, never giving a good shot because it is so quick in its sudden appearance and disappearance. Then there’s the great blue heron that has not flown south yet, offering some close “fishing” poses to me. Although not as plentiful as the incoming geese in this marsh, some mallards, pintails, teal and an occasional wood duck come in, elevating the excitement for me.
When the geese do start arriving there seems to be numerous groups coming in, one after another, which keeps me on the ball and breathless as I concentrate on various groups, trying to pick ones with good background, or doing quick maneuvers and coming in at the right angles.
Nature’s creatures are not the only things that keep me entertained while I’m in this area. The seasonal road is traveled by both vehicles and hikers looking to see nature or photograph it, and sometimes it’s pretty funny watching the wildlife outmaneuver these people. I can often predict what’s going to happen. Someone stops quickly and jumps out of their vehicle, camera in hand for a picture, only to find the creature has disappeared. Or, they walk or drive by never seeing the wildlife right off the road, because they don’t know how to look for it.
Nature photography can be addictive but that is OK because it makes you more appreciative of what’s out there.
I have a list of folks to whom I send my nature images. If you’re interested in seeing what I see, send me your email address and a request and I’ll add you to the list.
Doug Domedion, outdoorsman and nature photographer, resides in Medina. Contact him at 585-798-4022 or firstname.lastname@example.org.