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Camera_Obscura_no17 - Landscape Photography

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N o .1 7 

D e c  em b  er 2  0 1 

 0 

Landscape photography 

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0

T e a m 

C oor d i nat or  :  S e bast i an V ai d ase bast i anv ai d a@c ame r aobsc ur a.r o

 S e n i o r  E d i t

 o r  :  M a r i u s 

 I o a n  G r o z a

 m a r i u s i o a n

 g r o z a@ c a m

 e r a o b s c u r a

. r o

J uni or  E d i t or  :  Al i n Bar bi r al i nbar bi r @c ame r aobsc ur a.r o

Co ve r  b y C hi p  P hi l li ps

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Featured Photographers

Adrian Petrişor

“Landscape photography“ 

Simon Reay Interview 

6

Sorin RechiţanInterview 

10

Cornel FlorianPortfolio

27

Mihai MoiceanuPortfolio

41

70

Michael Kenna Portfolio

Voicu Bojan: Michael Kenna,the landscape tamer 

88

Septimiu Bizo & Şerban Schiau

Peru Project 110

Chip Phillips Interview  

Marc AdamusPortfolio

53

17

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  Editor’s Note

Landscape Photography is about some of the most amazing images in the world. Portraying theworld, with its sunset and sunrises, with its majestic mountains and peaks, roaring rivers and veiledwaterfalls, they never seize to inspire and awe. Whether we look back at the black and white contrastsin the images of Ansel Adams or the incredible colors of Galen Rowell, landscape is one of the mostapproached topics in photography, probably second only to man. So there’s no wonder why we chose

this topic for our December edition. We are just as amazed as you are by the beauty of our world andwe want to share with you a small glimpse of all these marvels. So we thank the photographers whomade all this possible by bringing these images to life and sharing them with us. And we invite you tosit back and relax, as we unfold, page by page, the uniqueness of Earth’s landscapes.

Camera Obscura Team

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Interviews

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 www.simonreay.com

Simon Reay

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Simon Reay Interview 

Some of you may know him as Discovery Channel’s Director of Photography on Born Survivor/Man Vs Wild. Simon Reay’s work

is broader though – including documentary, commercials anddrama - and in all this work he endeavors to offer the audiencea rst person perspective as they view. This year he receivedan Emmy nomination for Cinematography on Man Vs Wildand for this Landscape edition he agreed to be interviewed byCamera Obscura. Although he is a motion picture cameramanhe loves “stills” (as he puts it) photography as well. We believethat his experience and thoughts are extremely valuable for anyphotographer or cameraman be it professional or amateur.

Simon Reay Inside Air Vent Poland 2009

CO – For our readers, could you dene your position as a director of  photography?... What does a director of photography do, in general lines? 

SR – A director of photography is a cameraman. My role on Man V’s Wildis to blend the photography with the content and not make it appear toodominant. On a show like this it’s important that the camera doesn’tlead. Bear is the driving force in the programme and dictates the story, sovisually the camera should never jump ahead of him and preempt whathe is about to do or see. This way of shooting often means sacricingsome potentially great shots for the integrity of the show - but I like that.

CO – How did it all start for you? When did you start in this area? 

SR – I started doing this genre of lming about 6-7 years ago. As formy entire career I started operating in 1994 so there was a good 10years before I started getting into this kind of work. It certainly wasn’tsomething I have deliberately pursued, I like being active, I like gettingdirty and muddy so I suppose the transition into this kind of lming feltvery natural. But it’s something I like doing because I have a camera withme. I would never (or at least at this moment in time) go out and do

anything I do in my work as a social activity, whether it’s climbing, caving,diving or anything like that – I love it because there is a camera with meand a story to tell.

CO – So you always see things “through the lens”?...

SR – Yes, I do. I guess there is a slight comfort in that I can forget whatis happening around me and concentrate on the scene. What I bringto the projects I shoot is the ability to work in a variety of environmentshowever hard and concentrate on listening and watching what is

happening around me and delivering the pictures.

CO – Have you had this ability from the beginning? Or you developed it? 

SR – Oh, no. I developed it and I’m still developing it. The environment,regardless of whether you’ve been there before or not, is alwayschanging. The temperatures vary and the conditions vary, so you’realways developing your skills. You also have to develop the camera skills

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as well, making sure the kit is correctly specied for the situation. Thisis something you slowly develop over time but you can never fully knowit all. I have never completed a job thinking “yes, I am completely happywith that”, because there are always bits that I’d change for next time.

CO – In terms of equipment, do you happen to break a lot of camerasduring shootings? 

SR – No not at all. Actually, I’ve broken very little considering that we’vebeen making this show for 5 years. The thing that gets punished most isthe lters – I’ve gone through plenty of them. One time our underwaterhousing leaked and saltwater soaked the camera. We had no choice butto try and x it so stayed up all night on a boat with my camera assistantDan Etheridge painstakingly removing and cleaning every circuit boardand then trying to remember how it all went back together. To ouramazement it worked! CO – Is it difcult to refrain yourself from giving directions while shooting? 

Do you tend to guide the person you’re shooting? 

SR – Bear and I have worked together for so long that he knows whereI’m going to be and vice versa. We have wonderful shorthand nowwhere communication requires no words. He can turn to deliver a lineof dialogue and he’ll instinctively know where I’m likely to be. Maybe inthe early years I might have said to him something like “move to the lefta bit” but not now, the great thing about this show is the ability to bespontaneous and not too perfect.

CO – What is great about the show with Bear is that it feels very natural.You actually feel you’re there and you don’t see the directing part. Surely there is a script, but as a viewer, I don’t see it.

SR – That’s very kind of you, the photography is designed so that theviewers feel they are next to Bear. I think audiences are very aware thatthere is a cameraman with Bear but not so much that it feels like thecamera is a character in the show. He’ll never refer to me by name. You

may see a hand or a foot occasionally but you’ll never see me - thatis very deliberate and important. It’s about the audience’s relationshipwith Bear not mine. So I generally shoot with a very subjective feel, thereare objective views as well when we back off and observe him from adistance to provide a sense of scale but 90% of the show is spent by hisside. This really sums up what my job is all about, attempting to transferthat emotion, that feeling to the audience. I don’t always manage to doit every time but it’s partly what brings me back time and again.

CO – Any  moments when you thought that you can’t do a certain thing,or that you won’t do it? 

SR – There was a moment in Guatemala when I had to jump from a cliff into the bottom of a waterfall. Bear went rst to test it and as soon as helanded I suddenly realized how far it was. In that moment I had a mentalblock, I didn’t want to jump. It was a very human moment. Even thoughI’ve done jumps like this numerous times before I just couldn’t shake thedoubt. I did it in the end.

CO – What about the equipment you’re shooting with? Is it very important,or it’s just something to get the job done? 

SR – When I rst started out I loved the tactile nature of the equipment,now it’s much more about staying up to date with technology and usingthe right piece of kit for a specic job. I guess I’ve just grown up.I don’t own any of the equipment I use for Man V’s Wild; Instead I’ve optedto build a good relationship with Axis Films/On Sight a hire companybased near London. They are truly dedicated to making sure we have

the correct items for each environment and have come to expect a wellused kit when it returns. The kit we’re now using has been continuouslyperfected and adapted to exactly what we need. The Varicam 2700 andHVX171 make up the predominant camera package which are both partof the extremely robust Panasonic P2 family.

CO – What would you say it’s your biggest reward in this job? Any pro’s or con’s? 

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SR – Easy, for the viewer to watch the show and be unaware of whatI’ve done. I like the idea of the photography just happening in thebackground and not trying too hard to be noticed.

CO – Did you have any special training for the kind of shooting you do? 

SR – Just as a boy climbing trees and getting muddy.

CO – You received an Emmy nomination this year. What was it for?  

SR – It was an Emmy nomination for cinematography in a reality show.

CO – How did you feel about it? 

SR – It felt amazing. I am always ultra critical of what I do, so it wasa huge compliment that someone thought it was worthy of an award.After all, it’s an Emmy! And the magnitude of that really hit me when I

went to the ceremony and saw the scale of the event itself.

CO – Do you also like photography? 

SR – Yes I love it, but I still mainly shoot on lm with an Olympus OM4.My father is a very keen photographer and he’s using a Nikon D3. Hegave me his old D100 recently which I really like but I still nd digitalto be disappointing as far as latitude goes, compared to negatives ortransparencies. I adore 35mm transparencies but it’s getting harder andmore expensive to do nowadays. The world seems to be drifting away

from them and that’s so sad. However, in the end it doesn’t matter whatkind of camera you’re holding. A great photo is a great photo!

CO – I believe this nostalgia is easier to be understood by those who worked on analog cameras and on lm. Digital has its advantages (immediateresults), but with the old cameras, there was also that thrill of waiting for the lm to be developed, so you could see the photos. 

SR – Exactly! That’s exactly right. Nowadays, everyone takes a photo andthey immediately look at the screen to check it. Gone are the days of waiting to see your gems or disasters! But don’t get me wrong, I’mnot opposed to progress; in fact, it has made photography even moreaccessible.

CO – Any future projects? 

SR – We’re just about to start shooting for season 6 of Man V’s Wild. Asfor the rest, we’ll see.

CO – What would you advice someone who would like to start working inthis area? 

SR  – In the end, I think it all comes down to having true belief andpassion in what you do. And if you have that true belief you’ll nd yourway naturally. Keenness and enthusiasm is a good starting place but weall need a bit of luck at some point. If you know this is the career for you,

forge ahead and nd your way. Don’t procrastinate! I’ve seen this onseveral occasions from people with such great potential. Bear once saidto me “don’t regret things you’ve done, regret the things you haven’tdone”.

Nice quote to end this interview. Thank you Simon, for your time andinvolvement.Keep up the great work and we’ll keep watching your work.

Keep in touch,

Camera Obscura Magazine

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© Sorin Rechiţanwww.rechitansorin.ro

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Sorin Rechiţan Interview

CO – When did you begin doing photography? Have you begun on lm or in the digital „era”? 

SR – More than certainly I inherited this passion from my mother. She wasthe one that gave me my rst camera back in 1993 (a Cmena 8 rangenderthat kind of forces you to get acquainted with the technical issues). Thencame a time marked by frustrations in photography, unavoidable to anyself-taught. I was dreaming about the quality in the images seen in GalenRowell’s and Frans Lanting’s work. I also remember, with a smile on myface, that on my rst photo tour when I used a polarizing lter, I wasdisappointed by the modest saturation of the colors, because it was verydifferent from what I was supposed to get. What I didn’t know thoughwas the fact that the lter had to be spinned to get the effect.JMy rstdigital camera I bought in 2007 though I didn’t give up shooting on lm.

CO – In your images, one central element is the scenery. Another one isthe mountain. Are your photos a normal effect of the places you visit or areason to visit those places? 

SR  – Nature and photography are two passions that in my case mixtogether perfectly. I don’t go on any trip, no matter how short, withoutmy camera. Most of the times, the travels are approached thinking of photography, considering the type of landscape, the weather, the accessthere, etc. Nevertheless, I’ve had many mountain photo tours when, dueto bad weather, I took no photo. J

CO – The themes you approach in photography often require a certainequipement. What is it in your case? I mean, what is it absolutely necessary in this type of photography? 

SR – It’s been long discussed and probably will go on for a long timewhat is the best equipment for the landscape photography. Personally, I

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appreciate a lot more the comfort in use and the versatility of the zoomlenses, whose optic quality these days comes close to the prime lenses.In most of the cases, a wide lens (16-35mm) and a zoom (70-200mm or70-400mm) is enough. Also, a good teleconvertor and a macro ring willperfectly ll the photo kit, without affecting the quality of images or theweight.

CO – Just how important is the photo gear compared to the photographer’s“eye”, the imagination and the effort to get to a certain place? Because

many nd an excuse in the lack of equipment… 

SR – Of course, creativity, style, originality and vision precede in valuethe technical aspects in the nal result. Landscape photography offersa certain amount of originality to a frame, due to the uniqueness of themoment. No one has ever seen two identical photos of the Sphinx inBucegi Mountains or Bâlea Lake in Făgăraş. Finding the perfect photolocations, the places and subjects already established is one of the main

concerns for landscape photographers, next to the technical issues suchas choosing the focal length, the exposure, etc.Beyond the artistic value of a frame, the technical part has its shareof importance, being an important criterion of choice. What is mostimportant though is that the technique is used for the creative andartistic part and no to dilute it.

CO – What is it for you most important in a photograph? The framing, thesubject, the lighting?  

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SR – A successful image is, most of the times, the result of all these threeelements. Once the digital appeared, the competition in photography hasincreased in proportion to those passionate about this eld. Therefore,ignoring or being supercial about any of these elements can mean adecrease in the image’s value.

CO – Seen “from outside”, especially by someone who’s not passionateabout mountains, landscape photography can seem very easy or, on thecontrary, almost impossible to achieve. What is actually the reality? 

SR – I’m not saying that one type of photography is more difcult than another…each one has its own characteristics. Yet, I met many persons thatunderestimate landscape and nature photography, completely ignoringsome facts such as the moments of waiting, when the photographerhas to overcome the weather conditions and focus on the photographydimension, and on many occasions even giving up his/her own safety.

CO – Have you ever been in a situation when you had to say “enough” or 

“I didn’t get what I wanted, but for now this is as good as it gets”? Becauselandscape photography, especially in the mountains, is quite different from other types of photography. For example, it differs a lot from thecommercial one, where you can control (a lot easier) the conditions.What kind of technical problems do you have when shooting in themountains, especially during winter, when the weather can be very bad? What would you recommend to those who set out to do this kind of images?  

SR – Even if we refuse to set ourselves some limits as human beings, lifeand reality take care of that for us. And in landscape photography, thereare certain signals that must be interpreted and acted accordingly. It wouldbe absurd to stay in the mountains during the night, on a bad weather,on a rough terrain. Or to ignore the signs that tell you an avalanche mightcome, just to reach a summit, no matter how interesting the perspectivemight be. The risk can be managed at some degree, but safety mustalways come rst. Besides the mountain gear, chosen according to theseason, I recommend to those passionate about landscape photography,using a waterproof bag (preferably with a cover), using small silicon

envelopes as a moisture absorbent and bringing more batteries for thecamera, as the cold always depletes them faster.

CO – How can you learn this “outdoor” or landscape photography? What would be the steps to follow?  

SR – “Practice makes perfect”. J Of course, accompanied by a minimumset of knowledge, that can be found in abundance on the Internet andother dedicated sources. The digital has made learning a lot easier,offering the possibility to check the results right on the spot and correcting

the parameters used. Besides, recently has appeared in our country thepossibility to participate in paid outdoor photography workshops, whichis a solution chosen by many passionate.

CO – What should be in a landscape image to impress? “Exotic” places,highly saturated colors, contrasts?... Or is it something else? 

SR – A great photographer once said a while ago: if I knew the recipe

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for a great photo, I would make one every time. Personally, I think thatthe appreciation of a photo is a very subjective action. I am very muchamused by the animosity created by the local websites and forums,while they aggressively promote the value of one frame against another.Judging a photo shouldn’t be regarded as a competition. And there areno precise criteria of judging. What is for some a valuable photo, forothers might be a cliché considering the location of the image, the styleor even the technique. Many beginners try to copy the style of someworld renowned photographers, wrongly interpreting the concept of visual and photographical culture. And this informational basis shouldbear a very important role in carving the auto critical spirit.

CO – Any photography projects in the near future? 

SR – Like most of the people passionate about photography, it is notthe inspirational crisis in choosing a photo destination that gives mea headache, rather the lack of time for these travels. I do hope thoughthat next year I will be able to achieve an older dream and go to Nepal.A backup option would be an expedition in the Peruvian Andes. And thechoice depends a lot upon nding a team member. J

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© Chip Phillipswww.chipphillipsphotography.com

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Chip Phillips Interview

CO - First things rst. How did you start with photography? And morespecic, landscape photography.

CP - I became interested in photography after getting my dads PentaxSpotmatic lm camera refurbished. I had no idea that you could haveso much creative control over the outcome before experimenting withthis camera and all of its lenses. I was pretty much hooked shortly after,and purchased my rst Dslr. It was actually my wife who asked my dadfor that camera too! And, she never actually ended up using it herself.I have been an avid backpacker, and outdoorsman my entire life, so theprogression to landscape photography came pretty naturally, especiallyafter seeing some of Galen Rowells’ work for the rst time (http://www.mountainlight.com/ ).

CO - What is it that you like about outdoor photography? Is it the freedomthat it gives you, or the places that you get to see? Or is there somethingelse? 

CP - I really enjoy the freedom of outdoor photography, and the placesI get to see, yes. I feel like it has denitely gotten me out much, much,more and to more remote places. I just wouldn’t have visited some of the areas I have if it weren’t for photography. Staying for the good lighttoo. I never really used to be a morning person, but now it is prettymuch a usual part of my life to be out before light, and tromping downtrails after dark.

CO - What’s the most important aspect in this kind of photography? Theequipment, the subject, the light, the idea?...

CP - I would say the most important aspect is light. Great photographscan be made when the light isn’t spectacular for sure though. How you

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use the light that you have is very important, and I am constantly strivingto create images in any kind of light. I think the “idea” kind of goes handin hand with this concept too. The right idea coupled with the right light,and you can usually create successful images.

CO - What do you need to get started in the business of landscape photography? 

CP - I think the most important thing that you need to start a business

in landscape photography (and any career in the arts, or other eldstoo) is passion. If you have a passion for what you do, whatever it is,you are half way there. There are tons of other aspects too-such asmarketing yourself, and getting your work out there, but passion in themain starting point. Drive too. It takes a lot of work to make a careerout of art. I am a musician, so I have much experience with this concept.

CO - How long do you prepare before an outdoor shooting? In terms of 

researching the area, in terms of equipment, searching for the best light…

CP - I am constantly researching areas, and taking notes. Seasonal notesare very important. If you see an image with brilliant wildowers, make anote of where it was shot, and what date for future reference. That kindof stuff is really important. Flickr is a great resource for nding out allkinds of seasonal info. Also, the forums on naturephotographers.net arevery useful. I’ll return to the same area many, many times. Visit duringdifferent seasons as well. When you really get to know an area in all it’scolors, it helps in creating special images of the place. You’ll often nd afavorite season this way too.

 

CO - You play a lot with lines and shapes in your photos. Is that something you do on purpose (I mean intentionally), or it has become natural? Inother words, do you search for these lines or you simply see them? 

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CP - I do search for lines, shape, and form when attempting to create animage. It comes more natural than at rst, but it is denitely somethingI look for. I’ll try and take different approaches too, because you neverreally know what is going to work until you are back at home. I try anexperiment with different comps as much as possible.

CO - You have some pretty stunning colors. Are they all natural, or 

enhanced with lters? Or post processed? 

CP - I see things in a bit more color than most I think. If you stop and reallylook at a colorful nature scene, you will realize that it is very saturated inreal life. Sometimes the reds in a colorful sunset are so saturated thatthey almost burn your eyes. I do use lters, no color lters though. Justpolarizers, and graduated neutral density lters. I do a lot of lter workand blending to try and re-create the dynamic range of the scene that

the eye can see. Software has come a long way, even in the short time Ihave been involved in outdoor photography. It’s now very realistic to beable capture a lot of dynamic range through bracketing exposures, usinggrad lters, and blending techniques in post.

CO - What is the message you’re sending with your images?  

CP - I don’t photograph to capture the scene as realistically as possiblemost of the time. My approach is to try and create something unique

with the conditions (the natural subject and light) I am given. So, themessage isn’t to portray nature in a documentary sense, and this ispretty obvious I think. More to create something unique that strikes areaction from the viewer, and causes them to stop and look for a while.

CO - When do you know you’ve achieved the desired image? What does it need to have so that you like it? 

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CP - I think time plays the biggest role here. If I still like it a lot after acouple of months, it’s a keeper. Also, positive feedback from others isimportant.

CO - What’s your advice for a beginning photographer in landscape photography? 

CP - My advice it to constantly strive to create better images. Usethe internet to look at other peoples work, and research processingtechniques. Take a workshop with a photographer who’s work youadmire. If you truly have the passion, it will most likely come naturally.I am still looking at images from other photographers on a daily basis,and trying out new techniques in the eld and in processing all thetime. There is always more to learn. Then, get your work out there for

critique. Flickr, and naturephotographers.net are two great resources forthis, Photo.net is also a good one. Not only will you get feedback, butyour images will be out there and available if editors are looking-andthey do look on all those sites for publications. I am part of a group of six northwest landscape photographers, photocascadia.com, and we areconstantly putting up useful tips and tricks on our blog.

CO - Future photography projects?...

CP - Photo Cascadia is starting to develop into quite a project. Also, I’m

booking more and more workshops. We have been talking about a largeworkshop with all six of us through the group too. I plan on visiting morenew places this year. I have never been to Death Valley, so that is onthe calendar, and a trip to Jasper National Park is coming up. I have alsostarted making custom video tutorials, and plan on offering more. Theseare videos where I narrate an edit of a client’s image. They will makenotes of some specics that they would like me to cover, and I includethose, and apply them to the client’s image in the video.

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Portfolios

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© Cornel Florianwww.photo.net/photos/pu

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© Mihai Moiceanuwww.phototour.ro; www.cameramm.ro

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© Marc Adamuswww.marcadamus.com

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  Adrian Petrişor: “Landscape photography“

  Landscapes are certainly in the top favorites in photography.Though, they are as difcult to achieve as they are admired. As the say-ing tells us “not every camera owner is a photographer”, the same ap-plies here, because not everyone who sees an incredible scene can also

capture it, and show it to the world. And to understand why landscapephotography is one of the most difcult categories, we asked AdrianPetrişor to briey tell us what exactly it involves. We’ll nd out what goeson throughout a day, starting early in the morning (often times, veryearly) and till late in the night (also a sort of morning).

I’m drawn to landscape photography because I love nature andit is the place I feel great, and this is essential in photography in orderto have high quality results…to feel at ease in the environment you’reshooting. An ideal shooting day for me would be in a beautiful loca-

tion, where there’s a lot to photograph, and the “accommodation” is withnecessity in a tent. Why in a tent? Because a shooting day for me startsbefore the sunrise, and if I’m in a hostel or something similar, the bed istoo soft and comfortable to get out of it, so I need ten times more willto get up. So, according to season, I know what time the sun rises and Iset my watch to ring in advance, so that I have enough time to get ready.The tent is once again useful, because it eases your wake the momentyou get out of the sleeping bag, especially at 5 o’clock in the morning.Besides, you can easily place the tent near the shooting location you’vespotted before. As the light is still dim, I don’t bother too much withthe shooting, instead I look for the frames and subjects I will approach

once the sun appears and brings dynamicity along, shades and espe-cially chromatics. At sunrise, I especially like to shoot with the sun in my

face, and if I also have some fog on one side , than it’s excellent, for itlters the light and creates an even nicer atmosphere for the image. Thegear used for such moments must include an ND (neutral density) lter,which allows you to properly expose the image, thus having details in all

places. During the summer, the window in time when the light is best forshooting is pretty limited, 2-3 hours at sunrise and 3-4 hours at sunset.That is, compared to a late autumn, when the light is gentler, allowingyou to shoot throughout the entire day. A shooting day ends when youstart to feel pity for your sensor and decide you’ve punished it enoughwith the long night exposures and the ideal choice becomes sitting bythe camp re with your friends, who will most certainly fail to wake up(again) in the morning, after a couple of hours of sleep. As for the shoot-ing equipment, I use a Canon 450D with two lenses: a 15-85mm and a70-200mm L f/4 and the always present polarizing lter, which almost

never comes off the wide lens. And frankly, I couldn’t manage without it,because it is of huge help with the strong light, giving a nice effect to thesky and a tasteful chromatics. After all, in landscape photography youneed a good light, since it does everything; you also need some sharplenses that can give perfect details, a steady tripod, and lots of patience,a bit of luck and denitely a lot of passion for what you do As for thequestion “when do you know that you’re achieved the desired photo?”…well, in my case, I look at the LCD screen and I see a photo that is not acommon one, that has something special and I like to watch. I love thecolor in landscape photography, but I also appreciate black and white,that I personally nd ideal for minimalist landscapes.

Adrian Petrişor (adypetrisor.blogspot.com)

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Michael Kenna always works on several projects at a time, projectsthat stretch for years, and when they are ripe enough, he closes them in analbum. Only by doing this, leaving them out of hand, abandoning them,inviting them to walk around the world, the images get that autonomycapable to reect the author’s intentions and interpretations.

His last approach is the one connected to the lace factory CalaisLace. Looking at the images, I’d say that this project is an incursion fromoutside to inside, from the body towards the soul, from noise to completesilence.

This lace, fragile step, from outside to inside is a symbolic one, thathelps the author temporarily suspend the whole for the detail. Nothing islost on the way, and we nd in his images the same discretion, the sameprecision, the same atmosphere, the same well-tempered romance. Andthis is because Michael Kenna does everything with a determination,humbleness and last but not least, with a deep love for photographythat only some are blessed with, those that have everything and areready to give all back, transforming everything they touch into sense andmeaning.

Voicu Bojan (www.diafragma9.ro )

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© Michael Kennawww.michaelkenna.net

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Photography Project

 

Septimiu Bizo & Şerban Schiau : Peru

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p Ş

We have recently returned from Peru, where we stood for almosta month. We managed to select a couple of images for you to see, alongwith some rst impressions.

Peru is an interesting country, with stunning scenery, with a greatvariety, from the coast of Pacic to the desert, the Altiplano and thepeaks of the Andes rising higher than 6000 meters, the Titicaca Lake andthe Peruvian Amazon.We ew from Cluj Napoca to Madrid, and then to Caracas and Lima. InCaracas, because we couldn’t get our bags transferred there, the airportpersonnel took their ten percent “fee” from our bags and, probablyothers’. Lima as a city is pretty sad, especially in this time of year, whenit is permanently covered by a fog called “garua”. The monotony of thecapital is interrupted by the hellish trafc and constant noise from thestreets. We didn’t linger to much in Lima, so we left for the coast of thePacic, towards Paracas, a place abundant in birds and other animals,

attracted by the microscopic beings brought here by the Humbolt currentfrom Antarctica that also attract the sardines, the favorite food for birds,dolphins, sea lions and whales.

We visited Arequipa, a beautiful city, built from white bricks of volcanic tuff, surrounded by 6000 meters volcanoes and from here,through passes as high as 4910 meters, we arrived in the Colca Canyon,near Chivay. Here, we witnessed the royal show offered by the condors.We also saw Nazca, with its’ weird lines and drawings that cross thedesert. Then, towards the east, we arrived at Lake Titicaca, at 3812 metershigh, where for 3 days we lived with the local folks, a bit peculiar, native

from the aymara tribes.Of course, the main attraction in Peru was Machu Picchu, a

wonder of the world, and as everyone of us wanted to see that as soonas possible, we headed from Puno to Cusco, considered by the Incas the“center of the Earth”. We wanted to arrive there for the Sun Celebration– Inti Raymi, the greatest event of the year, when hundreds of thousandsof people come to see Inka.

From Cusco, after a couple of tenths of km, you get to see the Incacities of Pisac or Ollantaytambo and then, by train, the Aquas Caliente,the starting point for Machu Picchu. Sadly though, as is the case formany brilliant civilizations of the world, as high the peak was, as dramaticthe fall of the empire. Same happened with the people of Peru.

Here, I found people mostly frowned, waiting for tips (propina, asit is called in Spanish, a word known even by the kids aged 3 or 4). Thelocals were dressed in beautiful costumes, often accompanied by a lamaor alpaca, invite you to take their picture and then they ask for money.

It seems that, after the peak years of the Inca civilization, there

came nothing but regress, as our guide Estanislao said, when he presentedhis people and placed them in three categories: the pre-Incas, the Incasand the Inca-pable.We also arrived in the Peruvian Amazon, somewhere at the border withBrazil and Bolivia, traveling from the desert area to the forest of clouds,descending from 3300 meters to 500 in about 240 km, on dirt roads,full of mud, cut deep into the mountains, with hundreds of meters deepprecipices. The jungle was also very impressive. Yet, enough talking, aswe invite you to see images from those places that we hope you’ll like.

Septimiu Bizo (www.scamitravel.com)Şerban Schiau (www.trekearth.com/members/camis/ )

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Our Partners

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“Great photography is about depth of feeling, not depth of eld.”

Peter Adams

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Camera Obscura wishes you:

“Happy New Year”