Long-form articles focused on creativity and the artistic side of photography.
I’ve spent most of my life caught up in the hustle and bustle of city life. The forest is my go-to escape when I need a break from the daily grind. I love being alone in nature, soaking in its
One of the most complex challenges is getting the subjects that I want to portray in that landscape to be in that dark sector where the flash will illuminate. When they are insects or small animals (amphibians or reptiles), it is not difficult since I can create the frame, leaving the subject in that darkness. But with more active mammals or birds, the challenge is more complex and I often use barriers for those cases.
One freezing winter afternoon, I took advantage of my time to look again at the book Genesis by Sebastiao Salgado. I stopped at his photographs of the black-browed albatross (Thalassarche melanophrys) and was mentally stuck there for months. Without realizing it, that afternoon my trip to the Falkland Islands had begun. After a year and a half, I was able to be there, among these wonderful birds that I admire so much.
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.
Enjoy this article? Nature Vision Magazine offers even more in-depth explorations of nature photography, with exclusive content, stunning imagery, and insights from leading professionals. Subscribe today for a richer experience!
