For Guillaume Amat's “Open Fields” project he placed a mirrored stand in various landscapes, reflecting the opposing environment back within the image to create a double interpretation of the surrounding scene. These reflections contain dark figures against bright fields, homes in barren landscapes, bits of foliage contained within stretches of industry, and even a horse that pops into the frame.
Each image is taken with a 4×5 inch camera, the included mirror measuring 31.5 x 47.2 inches. Amat wanted to concentrate on the double interpretation of the landscape seen outside and within the mirror, working on the concept of territory as space.
Independent curator and writer Paul Wombell compared this series to the Greek myth of Orpheus and Eurydice saying, “With the use of the camera and a mirror Guillaume Amat has made photographic images that simultaneously look forward and backwards. They create a strange dreamlike landscape where buildings and figures float in the center of the picture and suggest that he has two sets of eyes, both at the front and back of his head. Orpheus would have been impressed.”
Amat lives and works in Paris where he mostly focuses on long-term projects to produce cohesive photographic narratives existing somewhere between documentary and poetry. (via vjeranski)
Kurt Budliger gives us practical tips for creating dynamic coastal seascapes
Sunrise light along the rocky coast of Acadia National Park, Maine, photographed with a 3-stop grad ND filter.
Our affinity for and connection to the sea has been deeply rooted in our art and culture for hundreds, if not thousands, of years. In the United States alone, there are more than 95,000 miles of coastline, with approximately 39% of the U.S. population living in a coastal county. And, of course, many millions more flock to the shore to recreate and vacation every year. It's no wonder coastal landscapes are some of the most published images in print media and extremely popular in contests and online photo-sharing sites. However, photographing in this dynamic and ever-changing environment can be tricky business. Fortunately, there are several tips and strategies that can get you well on your way to creating the stunning coastal landscapes you've always dreamed of.
This sunset image is a combination of...
Photographing the moon can be spectacular—a rising full moon looks very big and is often red. And combining a spectacular moonrise shot with landscapes or objects in close-up can give really great results.
For close ups you obviously need a long lens. 150-600+ is recommended. For my own shots I have used the Sony A7RII with the Sigma 150-600 with Sigma MC-11 adapter. Sony doesn’t have really long native e-mount lenses hence the choice for the Sigma. In this guide I’ll explain how you can plan and make shots of moonrises and moonsets.
When capturing photos, in general, the idea behind the photo is often as important as the execution of the shot. This is definitely the case when taking shots of a rising moon in combination with objects such as buildings and landscapes.
The moonrise (and moon set) happens very quick, so you don’t have much time to take your shot. Planning is crucial.
First, think of nice objects in your neighborhood that stand out above the tree line. Or look for higher vantage points to shoot from. Next, it’s important that you have a rough idea of where the moon is rising or setting. In this example we use my shot ‘Nine Fifty Five’ as an example in which the moon is rising next to a Church tower.
Readers are often asking what camera I use to capture my travel photos around the world – but the truth is that your gear is just the start of capturing great travel photos, the next steps are learning how to use your camera and learning what to look for to take a great shot.
Admittedly, I’m pretty amateur when it comes to photography. I haven’t taken any courses and everything I know I’ve learned by a process of trial and error – so this post will be most useful to you if you’re a beginner (like me!) and are about to head off overseas (because travel photos are the only photos I really take).
First up, my gear.
When I first started travelling I invested in a large DSLR camera because to me, they looked pretty professional/like I’d know what I’m doing. But the truth was that I had...
Be ready for anything by packing for a journey with the essentials
Getting off the beaten path can inspire your photography with new subjects, unexplored environments and pictorial challenges. The farther you travel, the more secluded the locations, the more scenic the vistas and the more unspoiled nature can be. The difficulty with extended expeditions is that you’re often far removed from your home base, and that can be limiting.
Prepare in advance, however, and these challenges can be easily overcome. From navigating a safe course to carrying all of your gear to making sure you have steady support for sharp shots, bringing along these indispensable tools of the trade will keep your load light while filling your photo adventure with remarkable experiences and wonderful imagery.
On an extended road trip, your vehicle will carry your gear between parking areas. From the parking area to the shooting location, however, you’ll have to carry the equipment yourself. When a minimal amount of gear is needed, Tamrac’s compact Expedition 3 photo backpack (9x6.25x13 inches, two pounds) will hold a D-SLR with up to a seven-inch lens and three to four additional lenses, plus accessories. The pack is fully padded and has a giant rain flap to protect the main compartment in case you get caught in bad weather. Other features include a QuickClip tripod attachment system, Tamrac’s signature Memory & Battery Pack Management System and a padded backpack harness for enhanced comfort.
Estimated Street Price: $60.