Long-form articles focused on creativity and the artistic side of photography.
With its beautiful colors, intricate patterns, and graceful flamingos, Lake Magadi has been a highlight of my 30-year journey as a nature photographer. It felt like a final exam of sorts: a technical challenge requiring abstract compositions and quick captures of giant flocks of birds within a limited time. But it was so much more than that.
In this article, I’d like to dive into what composite photography is, since we are seeing it more often, with very few photographers being transparent or honest about using compositing techniques in their work. There is nothing wrong with composites. I truly believe it is not less work or effort, nor easier than “traditional” photography. What is wrong is lying or denying you’re doing it.
The photos I was capturing were certainly different, but I have learned over the years that different just to be different doesn’t mean a photo is good. I was sharing some of the photos that I was happy with, though I knew I wasn’t quite there yet. The entire process of learning and using this lens was such a great reminder to give things time and patience, not give up, and continue to push to learn how to use the gear for great photography.
What I photograph and how I photograph reflect a lot about who I am in real life, that much I am sure of. I can’t say this for everyone, but for me the easiest way to be creative about photography has been to look at it as a medium to express myself.
For me the key word is “project.” Projects are highly flexible, allow me to stretch my wings, and make me a better photographer. I prefer to drive to all the destinations I go to for photography. I have two long-term personal projects that I work on whenever I am on the road. The subject matter for each project — rocks and trees, and derelict buildings — is generally found serendipitously.
Cole Thompson discusses his vision approach to photography, using examples from his various photographic series over the years.
Perception is not limited to just the visual sense, but rather it is a way of interacting with the world around us. Murray Livingston suggests that engaging a perceptive agency that is out-of-sight requires surrendering ourselves to a conversation with nature and being open to what lies beyond our horizons. He explores the concept of periphery in photography, which refers to the edges or margins of a photograph; this is important because it forces the viewer to imagine what lies beyond the frame and can become an ethical question of what the photographer reveals or conceals.
This excerpt is about Artificial Intelligence (AI) and its impact on photography. AI systems are designed to examine millions of images to generate new images based on keywords and text prompts. There are many ways that photographers are using AI, such as generating AI images and sharing them on social media, taking their own photographs and uploading them as inspiration for the AI system to make changes, or using AI as a conceptual starting place for a sequence of images based on a theme. The article also touches on the copyright implications of AI-generated images, as there is still uncertainty surrounding whether or not AI-generated images meet the standard for copyright.
Francesco reflects on what it means to have discipline, the importance of structure, and how it all correlates to photographic practices.
After years of photographing wildlife on land, and learning more about conservation and storytelling through photography, Ashleigh Scully decided to try her hand at underwater photography. Though it came with a multitude of challenges – unexpected and otherwise – she found joy in starting something new, venturing down a new path with her work.
This article is a sample of the quality content you will find in Nature Vision Magazine.
