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WHAT IS(en)Visionography
(en)Visionography is a new name forphotography, or more precisely for neart photography, a name that reects the
things that changed in photography in thenew digital era and that made it dierentfrom traditional photography.
(en)Visionography is in essenceThe New Fine Art Photography.
The concept of (en)Visionography is fullydened and analyzed in the book FromBasics to Fine Art by Julia Anna Gospo-darou and Joel Tjintjelaar .
There are three principal things thatdefne (en)Visionography and they are:
1. Vision comes before reality in creatinga photograph. Reality is only the startingpoint and the canvas that the artist willuse to create his vision on.
2. The vision of the artist can be createdby using the camera and processing tools
and no tool or technique is forbidden, asfar as it helps the nal image express thevision of the artist.
3. (en)Visionography is not only aboutB&W photography, but B&W photogra-
phy, by removing the color and workingonly with tones of gray, distances itselffrom reality and comes closer to interpret-ing that reality through art.
WHAT IS AN(en)Visionographer
The photographer creating in this manner,creating (en)Visionography and not onlyphotography, becomes an (en)Visionog-
rapher and he is less and less dependenton the limitations of his camera or on thereality he sees to create his images, hisart. Eventually he only depends in creat-ing his (en)Visionography on the repre-
sentation he gives to the scene in front ofhim and is only guided by his imaginationand creative skills.
HOW TO CREATE
(en)Visionography This process usually starts with a thought,an idea, an impression or a feeling andthis triggers every step the artist makestill transforming the initial impulse into animage that (re)presents it. The thoughtleads to nding an image that is suitedto his vision and to capturing it in thecamera, but from then to the nal resultthe image still has to go through dier -
ent phases of transformation to nallymatch the artist’s inner world, to becomea visual representation of it, and this is atransformation that is accomplished byusing processing tools in molding the im-
age into an object representing the vision,into (en)Visionography . This process ismore a need than a conscious decisionand leads to creating an object of art.
Making art releases emotional and intel-lectual tensions and gives an answer tothe existentialist quests or its creator. It iswhat the artist searches for in essence,nding answers for his questions aboutthe world and creating a world of himself.
THE GROUP(en)Visionography
– THE NEW FINE ARTPHOTOGRAPHY
The aim of creating the group (en)Vision-ography – The New Fine Art Photographywas to give a space to the artists creatingbased on the concept of (en)Visionogra-
phy , the artists creating a dierent typeof photography, the photography that isbased on Vision and whose end goal isto recreate in images the soul and thepersonal, unique world of the artist. Thispublication shows the photography worksof this group and it is meant to be its rstexhibition. In its rst phase it is a virtualexhibition, also one that will be immor -talized through a printed version of thispublication. We aim in the near future for
this exhibition to become a real one, tobe recreated in a physical space and forthese works to reach the audience alsoas printed photographs hanging on thewalls of an exhibition space.
A warm thank you to all the artists forparticipating!
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This is the fourth image in my series Fluid
Time , series that is a story about the archi-tecture of Chicago , where I aim to presentthe way it impacted me, the way it mademe feel. I'm using as tool to present my
impressions the characteristics of the blurthat the tilt-shift lens can create in an imagewhen fully tilted, also the the technique of
daylight long exposure.
The idea I had in mind when working on thisseries was to look at architecture and see itas a parallel reality, as a dream and a gatetowards our subconscious world, towardsour hidden desires and aspirations.
What I want to convey with my study,through this image and the entire story Ipresent in the series, is that time, space, re-
ality itself, are only conventions. Living insidethem can be just as easy as living outside
them and the reality of living outside themcan be just as real as the one of relating
to them. Dreaming can be reality just as
imagination can be reality as well.
For me, this is a way of looking at photog-raphy in a different way, seeing it as (en)Visionography, a name I give to my entirework, rather than as traditional photogra-phy.
Does world need to have a clear mate-rial shape to be real? I do not think so and
this image and the series is an attempt atshowing this concept by melting togetherreality and dream by means of an image.
The practical tool that I used to express thisidea is the the tilt-shift blur, a techniqueone would not expect to nd in an archi-tectural photograph, which is traditionallyabout detail and sharpness. By creating
this contradiction, I aim to put the viewerin the position to ask himself questions and
to nd new ways of looking at architecturalphotography, new ways of interpreting animage. I offer him a different ne art lan-guage, my language. Using a tool that is
unusual for a certain purpose is my way ofsending the viewer to a different world, aworld where other rules reign, as is the worldof dreams.
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When I took this photograph, I alreadyknew how this photo was going to looklike, for about 75%. As always I wanted to
elaborate on the concept, as visualisedin the series Visual Acoustics - Silence and
Light , that shadows, in the words of legend-ary architect Louis Kahn , create silence andevoke awe and mystery. Shadows therefore
always play an important part in my archi-tectural photographs since it’s a way of notonly creating silence and evoke mysteryand awe but at the same time will removethe visual noise that is very typical for an ur-ban setting. Architectural photographs and
minimalism seemingly don’t go together butthey can go together if you ‘remove thevisual noise in an urban setting’ by addingand emphasising the shadows in targeted
parts in an architectural image.
What was new in this image of the Pan-
theon in Rome was that I added the humanelement to it in the form of motion blur of acrowd. I knew beforehand that motion blur
of crowds would be an additional featurein this photograph of a very popular and
crowded touristic hot spot in Rome , but ofcourse you never know how it will actuallyturn out. A very nice surprise to me was how
the clouds turned out: even though I usedan exposure time of more than 6 minutes,which in most cases would be enough tocreate very subtle, ethereal looking, longstreaks of clouds and a lot of motion in the
sky, that however didn’t happen, since theclouds were very static that day and therewas almost no movement. But what hap-pened, and what I didn’t anticipate, wasthat the clouds mimicked the ghost likeappearance of the motion blur from thecrowds. The motion blur from the crowd
represent the presence of human beings,regardless of time, in a timeless way: notvery dened or detailed, but as blurry as
any random impression in time. The ghost-like clouds could represent the gate keep-ers of this building that has withstood timefor many centuries. But I prefer to leave
that interpretation and all the rest up to theimagination of the viewer. I merely intend-ed to evoke a feeling of mystery, timeless-ness, awe and beauty with this image.
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Yokohama city is located just 30km separat-ed from center of metropolis Tokyo , whichmay be one of the big commercial cities inJapan and have international and moderncityscape. Particularly at Minatomirai districtin Yokohama city, a lot of high-rise as well
as structurally beautiful buildings functionedas commercial facilities are located; manycitizens irrespective of age or sex love tocome for leisure and also as a part of theirlife.
Especially, Yokohama Landmark Tower ,constructed in 1990, is a super high-risebuilding and constitutes the core of thedistrict. The height is 296.33m and is much
higher than any other architecture near it.From the aspect of photography-relatedexplanation, it’s absolutely very popularphotogenic motif for general photogra-phers; there have been a lot of relatedphotographs already published.
Therefore, for such the popular and struc-turally outstanding architecture, I stronglywould like to challenge to take ne art im-age from characteristic and original com-position that may not have been taken andseen ever before such as a composition of
hybrid distance view consisting of doubleobjects of close and long-distance view
images. When I walked around the district,
very fortunately I have found out a suitablelocation naturally which is a nameless cor-ner at Sakuragi-Cho station.
I might express an interesting minimums byselected eld angle unifying efcient disap-pearance of neighboring structures utilizing
the property of super high-rise building andsuitable adjacent eave and piers.
VISION: I originally came to Westfriedhof underground station in Munich due to thewonderful visual style of the station, however the scene I found made me think ofsomething other than an architectural image. This scene, and the quiet atmosphere that
I felt here, brought to my mind how we all have to deal with the things that are outside ofour control, despite all of our efforts with the things that we feel we can control. We strive
to work, to learn, to apply ourselves, to improve, to love and to be good, but behind allof this is the patient waiting that is needed in order for our dreams to be realised.
VISION: Kranhaus building is locatedat the RheinauPort in Cologne .The structures riseabove the river asthe new symbol ofthe city and canbe seen from faraway. This is my
vision of architecturalphotography,a journey into a
parallel world whereeach denition
and material losesits meaning andeverything becomesorphan of its formand original color.
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This Image was a bit tricky to shoot becauseI was not allowed to shoot with a tripod,I had only about a minute to take it and
there was a rehersal on the stage, so thehall was not illuminated at all, with otherwords it was really dark in there. To get a
satisying result that also denes the pure
size of the room, I made 4 (x3) vertical shotsat iso 1600 and stitched them afterwards.
I absolutely admire the interior work of San-
tiago Calatrava on the City of Arts and Sci-
ence in Valencia . All rooms/spaces inside
are in my oppinion an unique and amazingwork of interior design.
They all have really elegant, quiet andpeaceful atmosphere and are lled with
daylight or awesome lightdesign.
My vision was it, to shoot these spaces,
because of their incredible architecturalbeauty and to capture them with all of theirstrong “symmetrical perfection” Calatrava and his team created them.
VISION: For this image I have decided to gather together my passion for panoramic images and attraction for long exposure photographies. I wanted to work
with lines and strongs angles, in a panoramic format. For this kind of image I always use a panoramic head to get the best image quality and great print size.
In this case I have stitched 3 images together and also wanted to emphasis the power of imagination and passion which has no limits.
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The difculty of photographing an iconic is
that there are millions of photographs takenalready, the challenge lies in trying to nd a
different point of view as well as process itin such a way that is new. This was both the
challenge and my vision for this image ofthe Millenium bridge in London .
I was lucky that on the day the cloudsmoved in the same direction as the bridge,this allowed me to give the image direc-tion both via the cloud movement as wellas light. I feel that both by capturing and
processing this image in this manner gavesome soul to an inanimate object.
I am a passionate B&W photographer rst
and foremost, seeing the world in shadesof grey. Colour does not speak to me, the
colour spectrum is like a sold out footballstadium full of distracting noise with eachperson shouting for attention. I feel at home
in monochrome, where I can bring harmo-ny to the images I see in my mind’s eye.
I enjoy photographing the world around
me, from street photography to more ab-stract landscapes and architectural imag-es, using light, shade and form to construct
VISION: Photographing the Brisbane River skyline during a winter sunrise I noticed a natural gradient appearing on Waterfront Place as the rst rays of
sunlight were striking its curved glass facade. I like the timeless feel of the image created by the contrast of the skyline’s buildings against the neutral
sky. I achieved this panorama through stitching 3 x 90 second exposures, with some dodging and burning to bring out the reections in the river and the
highlights and shadows cast on the various buildings awaiting another glorious winter’s day.
VISION: Early this year, the island in which I live was subjected to some ferocious storms and very high tides and water surges. I was out shooting the large waves
when a man ran onto the sea front to do his ‘neknomination’ . When processing the image, I was struck at how insignicant the gure was and how little attention
he gave to the danger he was in. I have tried to show what small respect we give Mother Nature, and how, with her power, she will win in the end.
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This image intends to show that architec-ture and music share a common culturallineage. The image consists in abstract art
forms based on rhythm, proportion and har-mony. The same characteristics that please
the eye also please the ear. Musical terms
such as rhythm, texture, harmony, propor-tion, dynamics, and articulation refer bothto architecture and to music.
In architecture and music rhythm is referredto the regular or coordinated repetition oflines, gures, or forms which are considered
as a measure for organizing forms andspaces in architecture.
The comparison between architecture& music will reveal that, the architecturaldesign process has the same components& elements as in music, which are consistingof: A-Designer ; B-User ; C- Architectural work .
The combination of forms was meant torecreate a whole where all the parts in-teract harmoniously with each other, just
like in a musical composition. Architectural
shapes are revealed and formed by light.
The harmony in the images is represented
by the use of light. I try to design space andto convey balance in the relationship ofbuildings in terms of shapes, patterns andtextures.
The viewer is invited to explore the shapesand repetition of lines in the same way likelistening to a musical composition/ master-piece.
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The CMA-CGM tower is the tallest tower inthe city of Marseille (147m). Designed by
architect Zaha Hadid , it is in the business dis-trict Euroméditerranée where other facilities.
The construction of the tower CMA-CGM is one of the results of Euroméditerranée program which is to restructure completelyseveral neighborhoods adjacent to the port
of Marseille . It is the rst major work on the
site of Euroméditerranée .
The tower’s disparate volumes (generatedfrom gradual centripetal vectors) gentlyconverge towards each other and then
bend apart to create an elegant “metalliccurving arc that slowly lifts and acceleratesskywards into a dramatic vertical geometry.
The unique design strategy of the new CMA
CGM Headquarters divides the overallvolume into smaller fragments and reas-sembles them in a way that maintains the
integral uniformity of the tower.
Seen from above the building remindsme of Diamond, symbol of the femininityof Zaha Hadid’s architecture. It’s also the
Jewel of the city.
This picture is part of a series of shots I called“The Massilia Triad” representing the 3 tow-ers of Marseille (CMA CGM, Allianz, and
Grand Pavois) , all build to develop a formerindustrial area of the city.
VISION: This is one of my favourite buildings and one Iwill be returning to in the future. I wanted to capture
an image using the shapes of the glass roof without toomany other distracting elements, so I have carefullyselected the areas of detail below the “hood” and keptthe rest hidden from view.
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“Telenn harp”
www.arrets-sur-images.com
Amazing combination of engineeringand design, a truly architectural andtechnical achievement, the Terenez bridge, 515 m long, is a cable-stayedbridge, with a fan cable arrangementand a curved deck.
2 pylons, each supporting 72 shrouds
who will wear a curved deck of 12000
tons. My photographic choice was fo-cused on the height of one pylon (100meters height), and more precisely onthe metal anchor box (115 tons) thatsupports 72 shrouds. To check the ten-sion of each shroud, a test consisted inmaking them vibrating like the strings ofa harp... then, by measuring the vibra-tion produced, we deduce the tension(83 tons to 280 tons). My vision is one
of a giant 144 strings harp. The burst of
strings emphasizes this feeling.
THIERRYKERGROAC’H
PHOTOGRAPHER
TELENNHARP
VISION: Vision was to show the mercurial shiny look of this dynamic place, Dubai Marina .
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This image is from a new science centrein Edinburgh , Scotland . After shooting
the external of building I came across thissecluded part of the building which housesthe spiral stair case with the shell around itlooking like a kidney bean.
I knew straight away this was a cool angleand would be something unusual to shoot(which is what I like to look for).
As always I shoot with the black and whitesetting in camera and with the fast cloudmovement it got a 30 second exposure withthe Firecrest lter and knew there and then
its my kind of shot. After trying a few differ-ent angles lying on the ground I saw this,the door with a little light shining in downthe walls leading my eye up over the aquagreen colour cladding shell and the darkshadow of the smooth outer stair case wallwith the clouds rolling past.
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City in the Dark
waheedakhtar.net
VISION: I have beento this place manytimes and alwayswanted to capturethe building onright (InternationalBusiness Tower) . Ithas beautiful triangleshape at top andalways wonderedthis would lookbeautiful if capturedfrom specic angle. I
am using wide anglelens for all my shots(till I get my T/S Lens).
I took a round ofthis whole buildingand this is the bestangle I found wherethe top of buildinghas some similarityto “Bat Man” head.
The curved shapebuilding (right) andstraight building (left)I think worked wellhere.
VISION: The left building is newly opened and named “Harucus” claimed to be the highest building in Japan . Located in Abeno,
VISION: The world around us is strained.Our lives are often pushed in onedirection or another, and we sometimeshave little control over it. It is hard to
go against the current and to nd time
to stop. This is a darker piece, where I
worked with only a few elements. My
main goal was to highlight the arrowthat goes against the current of theclouds. The rest is here to support the
VISION: I want to show the bright details at the left side where the light comesfrom and also the contrast. The sky was very dark and also golden at this
moment. A thunderstorm is coming closer and closer. After 3 minutes the
thunderstorm comes over me So I had made my exposure to the right time
VISION: The Temple of Afea (490 BC) still standingproud on top of a hill at Aegina island, Greece , asthe centuries pass by. Hurt by time, but not fallen, still
reminds us the glory of the past. This glory, is what I
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VISION: In the silentmorning of Jakarta , Icame to this place totake a picture. When
I saw this bridge Ifelt that the curve
makes somethingabout the vision ofthe horizon. I shot
with a long exposureto make the beachfeel calm and soft.
When sunset timewill come, a lot ofcouple will be inthis place to seethe sunset. LocationAncol, Jakarta .
VISION: This is an image of the MacArthur Bridge in Detroit, Michigan USA. It is a
long exposure and my vision was to have the bridge disappearing into a fog.
Although it was a clear day when I took this image, post processing using layersmasks and layering into a very high key frame achieved the desired result.
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Praha XXIII
www.facebook.com/roblfcphotos
VISION: This timeless photo of Charles Bridge in Prague
represents bridge in totally oposite way it usually lookslike - without tourists and crowd. fog, mist and sher-man on the river create eerie atmosphere in the centerof the city instead of the chaos on the bridge...
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Shortly before shooting, I had in mind theidea of a conceptual picture, very strippedand graphics, but purely a photographywithout drawing or adding of any otherelements. The long exposure was needed
to smooth the water as well as a shoottaken early in the morning to get the exactamount of light and a soft lateral light.
The juxtaposition and the «choc» of mate-rial, matte wood and shiny material thescales are made of, offered an interestingcontrast to my eyes.
The juxtaposition of three elements only and
no more: water, wood, aluminum gave araw, simple and modern aspect asI wanted it to be. The square format
straightened the impression of somethinggraphics and highlighted the bridge diago-nal. The choice of placing the camera very
closed to this ensemble and taking a shot«up to down» helped me to emphasize the
impression of abyss.The choice of the title
came to me spontaneously, I could easilyimagine someone going down in the deep,into the abyss.
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VISION: I am inspired bythe environment I livein. My intention was to
show a modern worldwith soulless people init.the word “soulless” canbe perceived differentlyand it’s the viewer whodecides what it meansaccording to theirexperience.
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I just discovered two years ago that a
new modern architectural complex wasachieved in Lausanne near my hometown,the EPFL Rollex Center . The story behind the
construction challenge and the VISION ofthe architect enchanted me instantly. I live
in the East of France , a real poor region interm of modern architecture, so I rided mymotocycle till Lausanne and tried to catchthe essence of the architect VISION . It’s
hard for me to explain in english, but whenyou’re there, the structure seems to be verylight and give the feeling to oat over the
ground.
So I wanted to make people think this is aship which is ying in the sky and I planed to
let people see that in my image by clos-ing the sky into one frame (the hole in thestructure) to remind a porthole (spaceshipwindow).
And last but not least, the sky frame remindthe shape of an eye, if you copy the image,reverse it (vertically) and paste it beside theoriginal you can see two eyes watching youand giving you... THE VISION!
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VISION: The sceneI envisioned wasa peaceful placewhere nothingdisturbs your innerspace. In reason of
strong wind and non-solid surface I did nottake a long exposureof the scene toavoid the possibleblur and ratherchoose for a verydark post processingto eliminate anydistraction fromthe quietness andpeaceful scene.
VISION: I always knew that desertnights can be cold. But after spending
quite a bit of time on the dunes of theNamib waiting for the sun to come up Icould hardly press the shutter becausemy ngers were so stiff. But somehow I
managed. I wanted to create a “nightand day” image where the rst rays
illuminate the Eastern slope of the duneswhile the opposite side was still in deepshadow.
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VISION: I have takenthis image in Kiama,
South Coast NewSouth Wales . Kiama
was the site of twostrong volcanicows called the
Gerringong Volcanic which came outof SaddlebackMountain , now acollapsed volcanicvent. There are
wonderful rockformations on the cliffheadlands. I thoughtthis place has givenme very good feelingalthough I foundsomething differentand difcult in this
images. The rock
formation and thestrong nature of thisimage have shapedmy vision genuinely.
VISION: I am one of those millions of people that when I see an exotic and unreal landscapepicture, I feel great admiration. In order to photograph this kind of landscapes, someone needs
good equipment and plenty of time to spend. My vision was to create such kind of landscape
picture, where the mystery and the “out-world“ sense are dominant. I chose to do this picture
black and white because I think that it gives the picture more dynamic.
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My second visit to Japan last 2012 proved
to be a more challenging one than the rst.
Having been living in a tropical country,staying outdoors for hours on winter is notnecessarily a joy to be in. What made it
worse was the strong winds which dropped
the temperature a few more degrees.Heavy clouds covered Mt. Fuji and it can-not be seen. However, anticipating Mt. Fuji to show up will make you forget the physi-cal conditions and I had to wait for hours tohave an opportunity for a good shot.
At last luck came to me after having asoothing hot ramen. This is because clouds
began to clear.
It is like the grand entrance of the biggeststar of a show. I was ready and nervous
at the same time. Finally, here comes my
chance. It was a sight I could never forget.
Clouds were circling around it like an el-egant dress of a dancer. I was not sure how
long it will last and so I had no time for verylong exposures. I panicked actually.
After a few minutes, the theatre curtainsstarted covering Mt. Fuji once again... until
the next performance she said. The experi-ence was rather, spiritual... and I was fortu-nate enough to capture it.
VISION: This image is one of those that you have a 10 minute window to catch the image I had inmind. After several journeys all with no look. First time tide not high enough, second time I ended
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up having a heated argument with a couple of bird photographers. Third and the best, as I was
set up a bus turned up full of people and proceeded to start a baptism right next to where I wastaking my image. Fourth time lucky. My vision is to try try and try again.
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VISION: I prefer todepict a slightlysurreal and calming
presence with myphotography, thesetrees really do reside(not live) in thewater,slowly dyingand being overtakenby the rising tidewaters , I have triedto capture this senseof loneliness andserenity in the image.
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I grew up with science and have beenbelieving in it. So I’m not a believer in God or after life. But when the tragic earthquake
happened on March 11, 2011 in Japan ,
I had to confront so many painful visions.Life was really fragile in these visions and itwas not easily acceptable. Instead of ac-cepting it, I began, maybe instinctively, toseek a different answer through external orinternal visions.
The vision acceptable to me is transcend-ing death. Some people call it “heaven” and some people call it “God” .
Unfortunately, in my worldview, I cannoteasily accept words related to religious.
Because of that, searching visions is moredifcult for me. But So I began to believe
what life or nature has a different modalitywhich cannot be broken by death.
I don’t know if life can show me the answerI’m looking for. Or maybe the visions don’t
exist and they are only products of myimagination. But I cannot stop searching
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VISION: I chose a minimalist approach as myobjective was to highlight the power of nature in
an almost surreal way, and I believe Iceland wasthe perfect destination for such projects.
VISION: I wanted to create a calm and dark scene with thewater highlighted to show that it is the source of life, and likelife there are many choices and pathways we can take.
VISION: A shot I did in February. We had around 2.5 meters of snow up in the mountains from where I live and for two months we only had two days of sun. I was
up there both times My vision and goal for the shots was to capture the vast amount of snow, play of shadows and the sculpture like trees as a work of nature.
VISION: By creatingthis work, I wanted toshow our emotions,because how oftenwe ourselves arestruggling with theproblems as the treestruggling alone witha strong wind andrushing water.
VISION: Taken shortly before sunset at my local beach, Christies
Beach, South Australia . The lumps are actually sandbags that the
surf-life savers use to get their boats into and out of the water. I am
prone to the odd spot of day-dreaming whilst walking down hereand have often thought to myself that the sandbags could almostbe alive. With this image, I wanted to give these sandbags a lifelike
quality, as if they could be a pod of stingrays or sea-creatures wehad never seen before, swimming off into the sunset. I deliberately
kept the sky quite subdued and the water much lighter hopefully
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There is a Shinto Shrine in the sea along thewest coast of Hokkaido, Japan , that wasphotographed by Michael Kenna , andpublished in his book “Hokkaido” . Being a
big fan of Kenna and being from Hokkaido ,
I wanted to visit the shrine and pay homageduring my last visit in Japan . I did take some
nice photos of the shrine, however, myfavorite image turned out to be a scene myfriend and I came across en route; a dozenor so stones, perhaps pylons, jutting out of
the sea and a ock of birds just resting upon
them.
Immediately recognizing the potential ofthe scenery, we jumped out of the car, set
up our gear, and spent the next hour or sophotographing the birds. They remained
remarkably still during exposure, which, in
this case, was around 2 minutes using aHasselblad 203FE with a Carl Zeiss Planar-F
110mm F2 lens at F16 and a Hoya ND400 + ND8 lters stacked. The “vision” for the im-age was zen/minimalism, but there is hardly
any post-processing here; just subtle re-touching of the stones and birds to get theright contrast. The sea and sky were pretty
much left untouched as they came out ofthe scanner.
VISION: When I made this p icture, myvision was to show solitude and simplicityelements of the object. Through this
picture I also would like to convey thata mangrove tree is not only used tokeep the coast from abration, but theshape of the mangrove tree also has itsown beauty. Therefore, the mangrove
cultivation needs to be expanded at allcoast areas.
VISION: The morning of making this shot I planned to go to mylocal beach as the skies were looking very interesting and verychangeable. I had pre visualised in my minds eye the type of
image that I wanted to capture on the short drive to the coast, thatof the sun’s rays through stormy clouds over the sea I knew I had
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of the sun s rays through stormy clouds over the sea. I knew I had
to work fast as on arrival, no sooner than I had set up my camerato capture, this spectacular natural light show unfolded before mewith rays of light dipping in and out of the stormy rain clouds, I wasnot expecting the rays to light up the land around the coast likethey did as seen here. RAW image capture in Adobe RGB colourand post processed in Silver Efex Pro 2 and Adobe Lightroom 5 .
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I took it in a very special place that comesvery high on my list of locations that I like toshoot the most: Newfoundland .
This photograph is one of a wooden pier in
the Twillingate area, a small town on theNorth Shore of the island. It is very often that
icebergs oat down from Labrador and
wash up there, but that particular year Iwas not lucky enough to see any... Fortu-nately, there is more than enough materialto compensate, and shing piers certainly
account for that.
With this image I wanted to show some-thing that was very much out of this world,and still familiar enough that we could seeourselves in it. I wanted to convey the feel-ing that life seems often to offer us very little
choice but to follow one single path, andthough, if you look more closely to it, thereare different ways. A boat could come up
and sweep you off the path that was set toyou, and take you away to clearer skies.
Last time I was in Newfoundland was twoyears ago... Seems to me it’s time to think of
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VISION: My vision for
this image was see-ing the storm cloudsapproaching fromthe left was to makea minimal long expo-sure of the rocks andsea, then wait thestorm clouds to be inposition, then obtain-ing a second image,overlay this on theLE image, giving theeffect of the rocksand clouds mirroringeach other. Image
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VISION: The visionhere was to highlightthe harmoniousrhythm of naturethat we fail toperceive with oureyes. The carefulblending of a verylong exposureshot capturing startrails and a shorterexposure for therocks/ water depicts
nature as withdrawnand immersed inblissful solitude.
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VISION: On the
same day as I gotin the mailbox mynew HITECH Filter ,I managed to gobefore sunset to tryto do a bunch oftest photos with mynew darling (HiTech) When I came to theplace, the conditionsfor photographywere amazing.
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In most of my recent work, the goal hasbeen to construct an imaginary placethat’s suitable for my own temporary men-tal escape. I’m usually concerned with how
best to portray a quiet, serene, and medita-tive environment. I created “Fields Of Fairy” during a recent trip out west, where we
experienced thick fog for about a week ina rural part of NW Oregon . Fog fascinates
me because I don’t get much of it backhome in NYC and I knew there was a greatimage to be made, so we spent the weekdriving around taking many shots. We nally
came across this eld of trees that gave me
a perfect canvas.
I conceptualized an idealistic world that
was free of distractions, giving me relief
from my racing thoughts - a place thatwould allow me to take a focused journey
of self-analysis and reection.
I felt like the centered composition and lightbetween the trees was important to con-vey a sense of traveling down a mysterious,
solitary path in a slow and methodical waywith an intuitive knowing that there existsa bright, albeit unknown future ahead. In
many ways, this parallels my own journey in
photography. I still don’t know what my nal
purpose is, but I instinctively feel like I’m onthe right path. I will continue taking this jour-ney because someday, I might just gure
out what’s behind that bright light betweenthe trees.
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VISION: You maythink that the wholepoint of photomanipulation is thephoto you see in
the end. Usually,I just have a raw
idea of what I needto express andafter that, I’m just
with a ow of my
unconsciousness.
The truth is that thewhole point liesduring the processof making it. When
the photo is done,it’s liberating. With
this particular one,I came up to onethought, apparentlyvery important forme - we all needto grow up rst in
order to reach themountains, but still,keep the innocenceof a child.
VISION: This photo is part of theseries “a moment lost” , a seriesof selfportraits showing myfeelings, my kind of being partof the world. Solitude, con-templation, tranquility are keyelements of this work. Solitude
as a positive counterpart ofloneliness, completely restingin myself, silence, moments ofamazement about the beautyof nature. This has been real-
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Mostly of my work is inspired by the things
that surround me. I shoot from the heart
and I’m very much addicted with simple
and ordinary things. On some occasions,when traveling if I cannot take my profes-sional camera with me I use my phone(which can be very handy) or my Holga .
Later on I see what I have and then thewhole game of creation starts in the postproduction.
Sometimes I leave the image as it is “un-
touched”! This image is a composition ofthree images I took on my way to Seville
airport last summer. The solitude of the treeand the simplicity of the building and thebirds ying in the distance were basically
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Each year there is an explosion of Dande-
lion’s (a common weed), if you see one inyour garden, before long you’ll see hun-dreds.
Their method of spreading seed is simplebut effective, each ower head turns to
seeds, each seed is attached to a very lightfeathery structure, one wisp of wind andthe whole seed head gets blown away, tooat on the breeze until the seed reaches
the ground, to there by start the next batchof life.
Seeing this particular Dandelion on theroadside verge by my house had me imag-ining the universe at it’s very beginning,exploding into life through the ‘big bang’ ,and the material that is cast out into thedarkness coalesces into the universe as weknow it. And thus my vision for this image
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VISION: I like to show “my world” as simple as possible with gray tones and to me the image should emanate tranquillity, timelessness and nity.
This is the rst time I captured a still life with simple but beautiful objects (garlic and gs)? My vision: the garlic and gs sprouted from the dark soil
(out of “nothing” or darkness). They grow and become attractive living objects with all their beauty and shortcomings (just like people…). After a
ephemeral existence they degrade and vanish into “nothing” (or darkness) again; repetitive and timeless…
photography we have shapes, forms,lines, textures and luminosity to work with.
All have a role to play in this creation.
Fortunately the ‘pose’ of the two owers,
one larger, one smaller - one with it’s petal(arm) around the other in a protectiveembrace tweaks our emotions and let’s usknow the end is approaching. But yet they
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VISION: To preservethe moment insuch a way as to
help my subjectssee, hopefully in aunique and specialmanner, how theywere and to helpthem remember howthey felt at the timethe photograph wastaken have been myprimary objectives
each time I takea photograph. I
wanted to highlight
the seemingtranquility andsilent condence
of the swimmer inthis photograph,oblivious to thefrenzy of splashingwater and shoutingthrong as he came insecond.