In this article, Hans Strand will explain his techniques for capturing just the right amount of motion blur for his style of waterscape photography, including the differences between shooting river rapids, lakes and seashores. And he explains his use of focus stacking to create beautiful water images with incredible detail.
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Stunning Waterscapes – Choosing the Right Amount of Blur Photography by Hans Strand
more at Zeiss
We call it the golden hour for a reason. Yes, sunrise and sunset are both beautiful and serene, but they also happen to provide the perfect amount of light and color to transform an ordinary photo into one worthy of record-breaking Instagram likes. We’re breaking down the ideal sunrise photography session based on location.
Snapping a Skyline Sunrise
Olympus User Gallery Contributor, Alan Glazier | Shot on an Olympus OM-D
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Sunrise Over Sand and Sea
Olympus User Gallery Contributor, Michael Garnier | OM-D E-M10 Mark II | M.Zuiko 14-42mm F3.5-5.6
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Olympus Visionary, Alex McClure | Shot with an Olympus OM-D Camera, M.Zuiko 7-14mm F2.8 PRO
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A Journalistic Sunrise
Olympus User Gallery Contributor, Michael Garnier | OM-D E-M10 Mark II | M.Zuiko 14-42mm F3.5-5.6 II R
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Sunrise Photography Tips that will get you more Likes
more details at Olympus
I guess you could call me an ‘obsessive photographer’, having been passionate and single-minded about photography for almost sixty years. I was brought up in the Sussex countryside, and loved roaming the woods and felds when I was a kid. So when I was given an Agfa Silette 35mm camera for my 21st birthday, I naturally went into the landscape for my images. It wasn’t long before I bought an enlarger as I wanted to make prints myself rather than have them processed elsewhere. Of course, it was all black and white then – colour was complex and expensive.
The craft of making pictures in a darkroom was a steep and challenging learning curve, but one that I found very exciting. To be able to transform an uninteresting ‘straight’ print into something expressive and special was very fulflling. I quickly learned to use tonal controls like burning and dodging where the whole mood and feel of a picture could be greatly enhanced.
Those darkroom skills stood me in good stead when I started making digital prints, as I apply similar principles and methods. I rarely do anything to an image that I couldn’t previously have done in the darkroom, except for removing unwanted intrusions or distractions. Digital processing of course makes things much easier, as there is very fne control over every aspect of the process – and it is usually reversible if things go wrong.
The sublime waves in Ray Collins’ photographs appear like towering mountain ranges rising up from the sea. Collins seems to freeze the water, capturing waves in the instant just before their imminent break, thus creating a unique interplay between shapes and contrasts. He sits or lies on his surfboard in wait of the perfect moment of rushing water.
Through immediate proximity to the subject, the Australian photographer creates a form of abstraction that leads us to forget that these are pictures of ocean waves. Although the water is clearly recognizable, the waves form portraits of themselves. Shafts of light shimmer in countless nuances, bordering the wave, flooding it with glistening light, or piercing it.
Ray Collins turned his passion into a profession. After getting his start in surf photography, he began to focus more and more on photographing the waves themselves. Collins quickly became an internationally in-demand photographer. His works have an unusual tension because they leave everything unresolved, capturing the second right before the tumultuous crash and spray. Collins says he is fascinated by “the moment before the moment, the anticipation.”
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… His work is characterized by a square frame, minimalistic approach, high order, and a peaceful, yet often sorrowful and melancholic atmosphere. The influence from minimalist photographers, such as Michael Kenna can be seen clearly in his waterscapes. George rarely tries to capture the moment and finds that by ignoring reality he can best convey his inner vision and underlying emotions. …
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Secret Waters and Minimal Landscapes by George Digalakis
more at Behance
Armé de son Nikon D810, Francesco Gola parcourt les côtes du monde entier contre vents et marées depuis presque 10 ans, pour saisir des images uniques que seuls les paysages mystérieux des bords de mer et d’océan peuvent offrir.
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Passion Littoral avec le photographe Francesco Gola
plus sur Le Mag