Posted on 29th October, 2014
In this article in my 'Behind the Shot' series, I'll tell you about an unusual image I took in Iceland.
The image shows the ice shards on the bank of a shallow, ice-covered lake very close to Kirkjufell (Icelandic: Church Mountain). I visited Kirkjufell in 2013, while scouting locations for my 'Winter Paradise' workshop. The mountain is situated a short distance from the quiet town of Grundarfjörður, in the north of Snæfellsnes peninsula in west Iceland....
Posted on 23rd October, 2014
On this article I'll invite you to join me for one of the most amazing nights of my life: a night that began in preparing for sleep after a hard day of shooting in the bitter cold, and finished with a light-show unlike I'd ever seen before.
It wasn't easy spending a week shooting in the Mývatn district of northern Iceland. It was early February this year and I was working hard scouting locations for my 'Winter Paradise' workshop. Shooting,...
Posted on 7th September, 2014
In this article I'll take you to the Snæfellsnes peninsula in western Iceland, to talk about an image I'm very happy about. It wasn't easy getting the shot to look as it does now, but I think the outcome justifies all the hard work, and I hope you'll agree.
This picture was taken on my second visit to Kirkjufell ('Church Mountain' in Icelandic, also called 'Pyramid Mountain' for obvious reasons. The mountain is conveniently situated right outside...
Posted on 26th August, 2014
'Dark Matter' is a personal favorite, shot during my 'Land of Ice' photographic workshop held in January 2013. One of the most popular photography locations in Iceland is Breiðamerkursandur - the ice beach, pitch-black and covered in countless pieces of ice which disconnected from Breiðamerkurjökull glacier, dropped to the famous Jökulsárlón glacial lagoon, carried by the small stream connecting the lagoon to the ocean and deposited back...
Posted on 20th August, 2014
In the world of photography we often work hard to obtain a shallow depth of field. When we take portraits and wish to separate the subject from the background, we use bulky lenses with large apertures just to get that magical 3D effect we're striving for. In the world of macro photography, as demonstrated in a previous article, things are entirely different.
As I’ve mentioned before, depth of field (DOF) depends almost entirely on two factors: aperture value and magnification....
Posted on 14th August, 2014
Up until now, I've stated that when we shoot wildlife macro, many considerations have to be made as to image detail and background, in addition to making sure we shoot from a natural and personal point of view and maintain a balanced composition and sufficient depth of field. All of these considerations are important indeed, but none of them would matter without the ability to actually find a subject and be able to shoot it the way we want to. This article is devoted to the task of locating...
Posted on 7th August, 2014
A lot has already been said about composition. Every aspiring photographer knows about the rule of thirds, about the appeal of diagonal lines and about the rule of lead room. I can't fully discuss composition in one or two articles, nor do I think it's necessary in a specialized series about macro. Yet I do plan to mention a few points, emphasize and exemplify the application of compositional rules to macro, and, in addition – talk about elements which are more prominent in macro...
Posted on 1st August, 2014
As I’ve mentioned before, macro photography has many qualities that stem from the fact that we shoot from close distances. Some of these features are positive, such as the ability to control background. But mostly they are problematic, causing a variety of difficulties and challenges to deal with in the field, in addition to artistic decisions.
I wish to dedicate much attention and discussion to what I view as the main technical problem of macro photography – Depth of Field (DOF)....
Posted on 29th July, 2014
My personal view of art in general is that one has to possess both technical and emotional capabilities to master it. The technical aspect comes first. When you start learning, you first need to take control and gather an understanding of the technical sides of your field – otherwise, you will never become a good artist. Once you master the technique - once it gets in your blood - only then can you put it aside and concentrate on the emotional side – the truly important side....
Posted on 26th July, 2014
We are nearing the end of the "what" section of this series. We've mentioned detail and background as critical aspects we look for in a macro shot, and now I'd like to talk about two important non-technical issues.
The first issue I'll discuss is point of view (POV) – and I plan to do this using a seemingly odd comparison. Let's leave the nature world briefly and step in the domain of children portraiture. As every photographer knows, the first and most followed "rule" in...