فوتوشاپ وب

بلاگ

  • 7 Best Spots to Take Amazing Neuschwanstein Castle Photos

    7 Best Spots to Take Amazing Neuschwanstein Castle Photos


    King Ludwig II erected his fascinating fortress in the state of Bavaria’s southern frontier in Germany. Due to its astonishing architecture and isolation from the outside world, Neuschwanstein Castle became a haven and has since come to represent the Romantic era worldwide. It has even played a significant role in several biopics about the king, and Disney used it as inspiration in making The Sleeping Beauty movie and Cinderella.

    Though its construction never ended after starting in 1868, Neuschwanstein is still visited by around 1.4 million people every year. The shy mad king made this castle to withdraw himself from the public. Yet, today, an immense number of people enter his private abode. Isn’t it a paradox?

    [table id=32 /]

    Felix

    Take a stroll around Neuschwanstein Castle, and you’ll never believe its elegance. It’s incredible when we think that the project had already been canceled when King Ludwig II died. The king lived in the fairytale castle only for 11 days, but each corner of this fairytale castle will speak of Ludwig’s character forever. This picture gallery will contain some exterior pictures of the castle and how and where to take them.

    Marienbücke

    Luis Fernando Felipe Alves

    Marienbücke is also called Bridge of Our Lady. In 1866, this bridge was beautifully constructed. It spans the river Pöllat across a rugged canyon. By far, Marienbücke is the most popular vantage point where you can take the best angles of the Neuschwanstein Castle from behind.

    The perfect time to capture the castle from there is during the winter. Shades of green from the pine trees pop through the blue and white colors that the Neuschwanstein Castle, snow, and sky exhibit. Given the Marienbrücke’s congestion, you should think carefully about moving up the path after crossing it.

    Your starting point should be in front of the fairytale castle to get there. From there, find the path connecting to the bridge. You can arrive there in 10 mins by foot and faster when you decide to take a bus.

    Take pictures with caution: On the left side of the Marienbücke, there is a spot where you can include the foreground of the Neuschwanstein Castle into the frame. However, before going there, weigh whether it is worth the risk. This particular side of the bridge is deemed to be dangerous. Years ago, a rockslide happened, and it took the people there five years to remove the boulder.

    Hohenschwangau

    f9photos

    Park your car around three o’clock in the afternoon in Hohenschwangau Castle, and you will get a nice shot of the main tower. Walking further will give you the chance to have a level shot. It would also be best to use a telephoto lens to take a photo from this area.

    To get there, find the path leading to Hohenschwangau forks off to the right behind Hotel Müller as you approach the ticket office. The ideal spot is immediately in front of the little gate leading to the courtyard.

    Tegelbergbahn

    kyolshin

    During your ride, you will get a fantastic view of both Hohenschwangau and Neuschwanstein castles. What is more desirable is the mountains from the background create a fairytale-scenic view. 2 kilometers away from the Neuschwanstein Castle, there you can find Tegelbergbahn— a cable car. You can request the driver to open the window for you to take more explicit photos.

    Tips from the locals: There is a downward-sloping hike in Tegelbergbahn where you can witness some beautiful views of the castle. Make sure that you will not do the visit during the winter season as the snow will cover all the pictures up.

    Most tourists flock to Antelope Canyon during summertime. Midday is the most crowded time. Tourists prefer to visit during this time so they can get more great stock photos. If you want to avoid the crowd and take your time taking pictures, you can visit earlier or later in the afternoon.

    Schwangau

    Jaromir Kavan

    Schwangau is the closest you can get to take an up-close photo of the castle. You can see the paintings and sculptures that beautify the castle’s facade. Examine the various details created by stage designer Christian Jank and King Ludwig himself as you stroll between the matched gatehouses with the Bavarian coat of arms.

    So close yet so far: Did you know that you can only take pictures of the castle’s exterior. Cameras are not allowed the moment you step inside.

    When you are on tour with so many tourists, taking great pictures can be challenging. One important piece of advice to get great shots is to look up. The canyons look lovely from that perspective. Also, if you are lucky, you can get gorgeous images of light beams shining down.

    From the Valley

    Cadlikai

    This viewpoint is far different from the previous ones mentioned. Aside from the Neuschwanstein Castle itself, you will also include in the frame the farmlands and the open field at the foot of the castle. You will notice how Neuschwanstein pops out like a gem amid the bushy Alpine in its surrounding.

    Forggensee

    Simon Dannhauer

    Forggensee is Bavaria’s fifth-largest lake. Every summer, take a two-hour or a short 55-minute tour around the southern end of the dazzling lake to explore it. During the summer, a cruise operates in the area giving you an avenue to take a snap of the tall towers as they erect on top of the mountain.

    How to get there: Note that the boat departs from the Füssen Harbor.

    Allgäu Hiking Trails

    Uwe Moser

    Get another angle of the castle by traversing the Allgäu Hiking Trails right after you visit Marienbücke. The trail is already a must-visit destination, yet it also offers activities from easy mountain hikes to strenuous ones.

    For a slightly different perspective of the Neuschwanstein Castle, merely cross the bridge and paw through some well-worn underbrush. Continue on the 120 kilometers of signposted hiking paths that wind through the surrounding hills, leading to nearby cities and destinations.

    Watch every step: the hiking paths are not as monitored as you expect them to be. Before proceeding to Allgäu Hiking Trails, check the weather first. Hiking paths together with the bridge are off-limits during lousy weather.

    Prepare Your Visits: A Guide To Taking Great Photos

    You might want to recreate some of the Neuschwanstein Castle stock photos found on the Internet. However, before doing so, you need to observe the following tips:

    On taking pictures

    Since many people are visiting in and out of Neuschwanstein, the management needs to post some regulations and rules to maintain the castle. Some of their limitations touch on the dos and don’ts in taking pictures.

    Here are the most vital things you should observe:

    Marvin samuel Tolentino Pineda

    Do not fly drones

    It would be best if you had a special permit before flying your drone above the whole property. Note that GPS does not also function around the area. You might lose your drone in the trees in spite of getting a permit.

    Lighting is not your friend

    Since King Ludwig built the castle to hide from the crowd, even the sunlight hardly penetrates the concrete of the building. Indeed, Neuschwanstein is already in an elevated area as it stands on top of a hill. It is still at the foot of another massive mountain. Thus, the lighting is somehow challenging. But the best time to take images is during the morning.

    Do not take photos inside

    Lovely scenery, and the outside of the castle is pretty rad. But on the tour thru the inside, you are not allowed to take any images and the guide is very persistent in telling people this.

    The outside is where it’s at, and the view from the bridge further up the hill is excellent. If you want to look (and not take photos) at the inside, make sure you go as part of an organized tour cause they sell out crazy fast.

    On going to the photo spots

    Nick Randle

    Aside from knowing the rules for taking photos within the castle, it is also essential to prepare yourself for each spot you visit. Because of this, we have listed some things you need to observe to avoid accidents and other untoward instances.

    A lot of hiking is involved

    Remember that Neuschwanstein castle is situated on top of a hill, and getting to the photo spots will require you some walking or hiking. Yet, we will not require you to wear hiking boots instead, some pair of mountain trainers will suffice. If you do mountain photography, you probably already have a pair ready. However, you should wear proper boots during the winter.

    You will not fit all places into a day

    Take it slowly, and enjoy your travel. Do not try to squeeze all spots in just a day because you cannot. You will end up exhausting yourself. 

    Do not forget to bring some snacks

    Although some shops and restaurants in Schwangau and near the castle, it is still best to bring some food. Pack up some drinks and snacks. There is no drive-through restaurants or convenience store halfway through your trip. Do not starve yourself. 

    Be careful in entering some secret spots

    A secret spot around the castle belongs to the descendants of last King in Bavaria. Before entering this place, you need to ensure that you have extreme hiking skills and experience. If you are unsure about yourself, stay on the pathways.

    The fairytale castle is waiting for you…

    Leonid Andronov

    Planning your trip wisely is critical in getting Neuschwanstein’s greatest images. Making hurried excursions to each location is avoided if you have everything planned, especially your lodging. Additionally, remember the following:

    • Reserve your tickets online for a guided tour beforehand
    • Arrive at the castle early
    • Study King Ludwig II’s biography to resonate more with the place
    • You can take the bus to the castle
    • The Neuschwanstein castle is open from 9 am to 6 pm daily
    • You can make the royalty-free photos as an inspo found in the search results
    • Research for more information about your Europe trip

    Lightroom Bundle Presets



    Source link

  • ADEX 2025 Voice of the Ocean Photo+Video+Art Competition Winners Announced

    ADEX 2025 Voice of the Ocean Photo+Video+Art Competition Winners Announced


    “Tentacles of Doom”: Best of Show, Cephalopods, PJ Aristorenas (Philippines) (Canon EOS 7D Mark II, Canon EF-S 60mm f/2.8 Macro, Nauticam housing, 2x Inon Z-330 strobes, f/16, 1/200s, ISO 250)

     

    Underwater360 Group, the organizers of the Asia Dive Expo (ADEX) have announced the winners of the show’s signature photo/video/art competition, ADEX Voice of the Ocean. The big winner was Filipino shooter PJ Aristorenas, whose stunning image “Tentacles of Doom” was crowned “Best of Show” during the live judging session held on the final day of the three-day show. PJ’s prizes included a Seacam camera housing worth $10,000, a 10-day dive package with Lembeh Resort and Murex Bangka, Sulawesi, Indonesia (worth $3,600), a Backscatter Hybrid Flash package (worth $1,260), a Shearwater Peregrine TX dive computer (worth $750), and an XDEEP NX ZEN 28 Ultralight Deluxe BCD (worth $825).

    This year’s ADEX Voice of the Ocean live judging event was emceed by DPG Manager Editor Ian Bongso-Seldrup and featured another illustrious panel of judges, who viewed 41 short-listed entries in five categories. This year’s panel comprised Tobias Friedrich, Franco Banfi, Berkley White, Erin Quigley, Kate Jonker, Nicolas Remy, Kay Burn Lim, and William Tan, with the ADEX Ocean Festival 2025 guests-of-honor David Doubilet and Jennifer Hayes serving as guest judges. Congratulations to the winners: PJ Aristorenas (Best of Show), Janssen Tan (Cephalopods), Yazid Shaari (Animal Behavior), Emmanuel Vaillant (Waterscapes), Laura Parker (Artwork), and Alfred Schaschl (Short Film).

    For more information, head over to the Voice of the Ocean page on the ADEX website or check out the contest page on UnderwaterCompetition.com.

     

    “Peekaboo!”: Winner, Cephalopods, Janssen Tan (Singapore) (OM System OM-5, Olympus 30mm f/3.5 Macro, AOI housing, 2x AOI UCS-Q1 strobes, f/8, 1/160s, ISO 200)   

     

    “Entwined in Blue”: Winner, Animal Behavior, Yazid Shaari (Libya) (Nikon Z9, Nikon Z 24–50mm f/4–6.3, Nauticam housing, Nauticam WWL-C, 2x Retra Flash Pro Max strobes, f/14, 1/100s, ISO 125)

     

    “The Last Rays Before the Rain”: Winner, Waterscapes, Emmanuel Vaillant (France) (Nikon D750, Tamron 24–70mm f/2.8, polarising filter, neutral density filter, graduated filter, f/11, 30s, ISO 400)   

     

    “Soft Magic Descending”: Winner, Artwork, Laura Parker (UK) (Acrylic and pencil on wood panel, 46x46cm)

     

    https://www.youtube.com/watch?v=BgTtUbZGHoA

    “Magic of the Macroverse”: Winner, Short Film, Alfred Schaschl (Austria) (Panasonic Lumix GH5S, Olympus M.Zuiko 60mm f/2.8 Macro, Isotta housing, 2x Backscatter Macro Wide 4300, 2x Backscatter Optical Snoots, Nauticam SMC-1, Nauticam SMC-2)

     





    Source link

  • Paradise Gardens Wedding Venue :: Kenyan Weddings Love Story

    Paradise Gardens Wedding Venue :: Kenyan Weddings Love Story


    Paradise Gardens Wedding Venue :: Kenyan Weddings Love Story

    Alice and Kevin’s wedding at Paradise Gardens Kiambu was the perfect day you would expect from this storybook couple. Their ceremony was a unique blend of cultures, individuals, and love. More than once, the photographers and videographers had to wipe tears from their eyes and take a deep breath to go on, touched by the outpouring of love and support from family and friends.

    Love was in the air, the Scrabble tiles, and now the images. We had a great time exploring old and new favorites in Paradise Gardens Kiambu with Alice and Kevin and capturing these images of a fun, loving couple who made us feel happy to be alive. Paradise Gardens Wedding Venue :: Kenyan Weddings Love Story

    • “The great marriages are partnerships. It can’t be a great marriage without being a partnership.” – Helen Mirren
    • “In terms of my marriage, you know, falling in love with my husband was by far the best thing that’s ever happened to me.” – Caroline Kennedy
    • “My husband has made me laugh. Wiped my tears. Hugged me tight. Watched me succeed. Seen me fail. Kept me strong. My husband is a promise that I will have a friend forever.” – Unknown
    • “Husband and wife relationships are like the relationship of Tom and Jerry. Though they are teasing and fighting, but can’t live without each other.” – Unknown
    • “My husband is my best friend, my greatest support, my biggest comfort, my strongest motivation, my truest smile, my deepest love, my favorite, my forever. He has me. Entirely.” – Unknown
    • “A husband and wife may disagree on many things but they must absolutely agree on this: to never, ever give up.” – Unknown
    • “There is no such cozy combination as man and wife.” – Menander





    Source link

  • The Ethics of Photo Editing: What You Need to Know in 2025

    The Ethics of Photo Editing: What You Need to Know in 2025


    With the recent and rapid advancement of AI technology, the conversation around ethical photo editing has never been more relevant. As tools evolve and photo editing becomes more accessible, it’s crucial to approach image manipulation responsibly. 

    In this post, explore the ethics of photo editing, Path’s stance on the issue, and actionable tips to ensure your edits maintain a moral high ground.

    Why ethical photo editing is important

    Photo editing is more than just enhancing an image—it shapes how people perceive reality. When editing is done unethically, it can:

    • Distort reality: Over-editing or misrepresentation can lead to misleading images, especially in advertising and journalism.
    • Exploit labor: Many affordable editing services outsource work to underpaid workers in poor conditions.
    • Violate rights: Improper handling of copyrighted materials or the unauthorized use of people’s likenesses can breach laws and ethical standards.

    At the end of the day, ethical photo editing means treating images—and the people behind them—with respect. 

    How to get ethical photo edits

    Work with ethical service providers

    When outsourcing photo editing, it’s important to partner with providers who treat their workers with respect and fairness. Look for companies that align with the following to ensure your edits contribute to positive change: 

    • Fair labor practices: Work with companies that treat employees well, providing fair wages and humane working conditions.
    • Transparent practices: Partner with providers that openly share their methods and values.
    • Focus on quality over speed: Avoid services that rely heavily on automation or exploit cheap labor to deliver quick results.

    At Path, we prioritize ethical practices, ensuring our team is supported and valued. We don’t just pay a liveable wage and comfortable working conditions—we proactively invest in our team and look for ways to invest in their learning and development as well as support their families and communities. 

    Maintain the integrity of the image

    Editing should enhance the original photo without compromising its authenticity. Edit the image so it stays true to the subject, rather than misrepresenting it. 

    When it comes to photos of people, this is especially important as we become increasingly aware of image manipulation and authenticity. And in the case of product photos, authenticity can mean the difference between a returned product and a happy customer. 

    When editing your photos, keep the following ethical guidelines in mind: 

    • Limit adjustments: Focus on subtle changes like cropping, adjusting brightness and contrast, fixing unnatural imperfections, or correcting color.
    • Avoid distortion: Refrain from altering key elements that misrepresent the subject. For example, don’t edit a product to appear different from how it looks in real life.
    • Stay honest: Particularly in portraits or headshots, edits should respect the individual’s natural appearance rather than imposing unrealistic beauty standards.

    Ethical editing includes respecting the legal and moral rights of others—so you’ll want to omit certain things from your photos. Using copyrighted material without permission is both unethical and illegal, and editing such material without consent further compounds the issue. Always make sure the images you use are either your own or licensed appropriately. You don’t want to unintentionally steal someone else’s work. 

    Remove identities

    Privacy is another key consideration. If your photos include identifiable individuals, you may want to obtain their written consent before sharing or publishing the images. In some cases, this is even legally required. 

    In cases where consent isn’t possible, removing or obscuring their identities is the responsible choice. Even if it’s not legally required, prioritizing privacy demonstrates respect for the people captured in your work.

    Be transparent

    Transparency also matters. If an image has been heavily edited, disclosing the extent of the edits is crucial, especially in contexts like journalism or advertising where the audience relies on the authenticity of the visual content.

    Avoid AI edits

    AI tools have made the photo editing process a lot faster and easier in many ways. But they also raise serious ethical concerns. 

    AI lacks the nuance and context of a human editor, often making decisions that compromise the image’s integrity or misrepresent the subject. Plus, relying on AI can lead to the devaluation of skilled human labor and diminish opportunities for professionals in the industry.

    When edits are done by hand, you know they’re executed with a certain level of care, artistry, and accountability that AI can’t replicate. While AI may be tempting for its convenience, ethical editing often requires the thoughtful touch of a skilled human editor to achieve the best results.

    Work with a virtual photo editing studio you can trust

    Our team of 300+ editors have edited more than 8 million images for 40,000+ businesses like yours. We do every edit by hand—no AI automation here. And with prices starting at just 25¢ per edit, it’s tough to beat. 

    Not to mention, working with Path can make you feel good about the work you do. We donate 5% of our profits to our non-profit organization, the Anisa Foundation. The Anisa Foundation helps people in our local community access life-changing—and sometimes life-saving—care and support.

    Find out how you can help us make a difference in the lives of the people in Gaibandha, Bangladesh.

    Ethical photo editing FAQs

    Is Photoshop ethical or unethical?

    Photoshop is a tool—its ethics depend on how you use it. Avoid deceptive edits that mislead viewers or misrepresent subjects.

    What is the code of ethics for photo editing?

    A general code includes respecting subjects, maintaining authenticity, and adhering to copyright laws.

    What is ethical editing?

    Ethical editing involves making truthful, respectful adjustments without misrepresenting the subject or violating laws.



    Source link

  • The Power of Mood


    Photography can be many things. For some, it’s about capturing scenes. For me, it’s about conveying emotions and suggesting narratives that resonate deeply, first with me and then with the viewers who might experience the image. I’m not so much after eyes as I am hearts and minds. Mood does that.

    The mood of a photograph is its emotional tone—a subtle yet powerful element that can transform a simple image into a compelling one that is more than visual but also visceral.

    Mood in photography refers to the overall feeling or atmosphere an image evokes in the viewer, ranging from joy and serenity to tension and melancholy. As broad as the gamut of human emotions is, so too is the possibility of touching them with a photograph. Mood is the intangible quality of a photograph, often created by a combination of many elements, a short list of which would include light and composition, the subject matter itself, and colour. But that is a very abbreviated list of how we can establish an emotional connection—to make photographs that are more expressive on the level that makes us sigh, laugh, cry, or feel wonder when we see them.

    For those who aim to tell stories with their images (and not all of us do), an image that successfully conveys a mood can evoke empathy, curiosity, or nostalgia, drawing the viewer into the story behind the photograph. Making them care. Investing them.

    Mood can also play a significant role in guiding the viewer’s perception and interpretation of an image. It acts as a lens through which a visual story is understood. It changes a photograph of something into a photograph about something more specific. For instance, a photograph of a deserted house might evoke feelings of loneliness or melancholy, suggesting themes of abandonment or loss. But the same scene captured with warm lighting and vibrant colours might create a nostalgic or serene mood, changing the narrative entirely. Through mood, photographers can steer the viewer’s emotional response and shape the story being told. Both hypothetical images I just mentioned are of the same thing, but they are about very different things. That’s the power of mood.

    Beyond storytelling and emotional engagement, understanding and pursuing mood can just make prettier photographs. Stronger images aesthetically. Images that stand out more because they have a distinct visual identity. Whether it’s the ethereal quality of a foggy landscape or the raw energy of a stormy sea, mood adds depth and character to photographs, making them more memorable and impactful.

    Mood is often what first captures the viewer’s attention—the hook that draws viewers in to explore the image further.

    Complicated images with a lot going on can take a while to figure out. The impact is spread out and sometimes doesn’t hit as powerfully. Mood is simple; it’s a feeling that requires no figuring out. Mood is seldom a puzzle.

    In portrait photography, mood can be used to reveal a subject’s unique personality or telegraph how they feel. It can connect us to a subject we might not otherwise care about. The landscape photographer relies on mood to transform ordinary scenes into extraordinary vistas, capturing the essence of a place—the feeling of it. Documentary photographers use mood to make us feel empathy about social issues. Any photographer wanting their audience to feel something would be foolish to assume that subject matter alone will provoke empathy when there are much more powerful tools available, among which might be choice of moment, point of view, or the brightness of an image.

    Mood brings emotional depth; it is the life of an image.

    For me, mood is often the why. It’s what draws me to make the photograph in the first place. And so it is perhaps a source of consternation or confusion when I look at the work of photographers new to this craft, and even back on years of my early work and see no mood. What power they might have had if only these photographers (and I) understood the possibilities. If only I had asked better questions than, “Which lens should I use?” or “What would a proper exposure be for this?”

    When you first start out, it’s probably helpful that your questions relate to focus, exposure, or lens choice. But I’m increasingly convinced those questions should never be separated from this better one: How do you want the image to feel? Because even where focus and exposure (and lens choice) are concerned, your choices about how can never be separated from your choices about why. If I can see it, I can feel it. So if you make an image darker, I will feel that darkness and its accompanying mood. If your focus is so shallow that the out-of-focus highlights become globes of light and colour and the rest of the scene softens, I will feel that too. Or if your focus is so shallow I can’t see enough detail to make sense of the story, I won’t feel the power of that story. Not a single decision we make—either in camera or with development—can’t be used to make an image that is as visceral as it is visual.

    Two questions that will change the way you make photographs: How do you want the image to feel? What would that look like?

    If you’re open to a quick exercise, answer these two questions for me:

    What do you love that conveys mood in an image?

    What makes your heart skip a beat?

    Many of the elements and choices that bring mood to an image are felt somewhat universally, but the ones we most like working with, the ones we most want to see in our images, are a matter of preference. I’d love to hear what those mood hooks are for you. My top three would have to be backlight, point of view, and the mystery that shadows create in an image. What are yours? You can drop those into the comments below.

    For the Love of the Photograph,
    David





    Source link

  • Second Underwater Awards Australasia Imaging Competition Launching in June 2025

    Second Underwater Awards Australasia Imaging Competition Launching in June 2025



    DPG is thrilled to announce the second edition of the Underwater Awards Australasia—the premier underwater imaging competition focused on the Australasian region. Like the hugely successful inaugural edition, the 2025 competition is a three-way collaboration between the long-established Underwater Australasia, DPG, and underwater imaging equipment and dive gear distributor UW Images.

    Like last year, the competition will culminate in an exhibition at the Go Diving Show ANZ in Sydney, Australia, in September. Once again, the exhibition will feature stunning metal prints of the finalist entries by Printing Partner PhotoMart, which will be available for purchase. Half the proceeds from print sales will go to Environmental Partners Australian Marine Conservation Society and Take 3 for the Sea.

    The prizes, worth more than A$50,000 in total, include dive trips with the world’s top resorts and liveaboards, as well as the latest underwater photo and video gear. Entrants compete for prizes in 9 categories, including the unique “Reels Showcase” video category. The top image or video among the category winners receives the distinction of “Best of Show.” This year’s prestigious judging panel comprises photo judges Tobias Friedrich, Jayne Jenkins, Matty Smith, Tanya Houppermans, Scott Portelli and William Tan; and video judges Philip Hamilton and Ross Long.

    The competition calls for passionate underwater shooters from around the world to submit their most captivating and compelling images and videos from the Australasian region. Shooters are invited to immerse themselves in the challenge of capturing the essence of this extraordinary realm, where every frame tells a story of the delicate balance and breathtaking beauty that characterises our oceans.

    The competition opens on June 1 and closes on July 20, 2025. Winners will be revealed during an awards ceremony at the Go Diving Show ANZ, September 6–7, and subsequently on UnderwaterCompetition.com. The results will be published by supporting media partners worldwide shortly thereafter. The entry fees are US$10 per image or video entered.

    Find out more at www.underwaterawards.com, and make sure to check out the 2024 winners.

     





    Source link

  • How to fly with film

    How to fly with film


    In this section of our three-part series about traveling with film, we’ll talk about the mode of travel most fraught with peril for film photographers: Flying. Back in the pre-digital days, flying with film was a no-brainer; you could pack your camera gear and buy all the film you needed at your destination (and perhaps get it developed there as well). Today, film is harder to find and airport security is tighter (and potentially more harmful to film), so airborne analog photographers have to do a bit more planning.

    (Note that the information in this article is specific to air travel in the United States. Other countries may—and likely will—have different regulations and procedures.)

    The primary problem facing film fans who fly

    Related: How to travel with film by land and sea

    Here’s the big problem for airborne film photographers: The scanners and X-ray machines used for luggage inspection produce light energy to which film is sensitive. These machines can potentially “fog” your film, causing dark spots or waves on the negatives (or light spots on slides) as if the film had been exposed to light. So the challenge when flying is to minimize or avoid situations that could potentially damage your film.

    Note that only undeveloped film is subject to damage. Developed negatives, slides, and prints are no longer light sensitive and cannot be damaged by airport security equipment. 

    Can you avoid X-rays altogether?

    Depending on your destination, it may be possible to avoid bringing film through the airport altogether. If you’re traveling to a big city, you might be able to buy your film locally. If you’re staying at a high-end hotel with a concierge, they may even be able to buy film for you (but beware of hefty prices and fees). You may also be able to mail-order film and have it sent directly to your lodgings; check with the property first to see if they can receive packages (and bring a couple of rolls in case your shipment is lost or delayed). Likewise, if you use mail-order film processing, consider sending the film off for development from your destination before you leave for home.

    Never put film in a ‘checked’ bag

    Do not put unexposed or undeveloped film in checked baggage, ever. The scanners used for checked baggage are more powerful than those used in carry-on luggage and will very likely fog your film. Film and loaded cameras should always be taken in carry-on luggage.

    A camera, passport and film.
    Always carry your film onboard with you. To avoid a potentially destructive zap from the X-ray or CT scanner, stow (preferably) unopened film in a clear plastic bag and ask for a “hand inspection” at security. Dan Bracaglia

    Related: Going back to film? Here’s what’s changed

    A related side note: When booking your airline tickets, beware of “Basic Economy” tickets, which do not always allow carry-on baggage beyond a small personal item. Buyers of these tickets often board last, when carry-on storage is full, and will sometimes be forced to check their baggage (for a hefty fee), where it could be subject to harmful scanning at stopovers. If you are traveling with film, make sure your air ticket allows you to bring carry-on luggage, and pack your film (and cameras) in a bag small enough to join you in the cabin.

    Film in carry-on baggage: Ask for a ‘hand inspection’

    The Transportation Security Administration (TSA) says that the X-ray machines it uses for carry-on baggage are safe for photographic film up to ISO 800*. We’ve had slower film scanned with no ill effects, but we also understand that the effects are cumulative and that multiple scans may cause fogging. (We asked TSA if we could run some test scans at our local airport; they politely denied our request, citing security concerns.)

    Fortunately, there is one good way to ensure your film will not be damaged: Ask for your film to be “hand inspected,” regardless of its speed.

    *Note that at some airports, TSA is introducing more powerful CT scanners for carry-on luggage, which can damage even slower-speed film.

    The PopPhoto guide to hand inspections

    First: We recommend being patient and polite with TSA agents. Remember that their first responsibility is security, not customer service—and also that they’re subject to a lot of vented frustrations from harried passengers. There’s no need to show fealty; simple politeness and civility will get you a long way.

    Film photography is popular enough that most TSA agents should be familiar with hand-scanning requests, but it does slow their workflow. When traveling with film, we always allow an extra ten to fifteen minutes to get through security (a margin we rarely need).

    We recommend carrying your film in a clear plastic zip-lock-style bag, with which TSA is familiar. Leave your rolls in their plastic canisters and/or sealed packaging whenever possible. We try to keep our cameras unloaded so they can pass through the X-ray machine, but loaded cameras can also be hand-scanned. Anything you’d like hand-inspected should be kept where it’s easily accessible; a backpack is preferable to a suitcase that must be unzipped.

    Before we put our luggage on the belt, we remove our film and loaded cameras, catch the eye of the nearest TSA agent, and say, “I have some film (and cameras) I’d like to have hand-inspected, please.” If asked if the film is under ISO 800 we either say no or (to avoid fibbing) tell them it’s going to be pushed and shot at a higher speed. (They may not know what this means but will generally accept it.) 

    Someone loading a film camera
    It’s best to hold off loading your cameras with film until you’ve reached your destination. Getty Images

    After walking through the scanners we try to stand somewhere conspicuous without blocking the flow of passengers. Film is usually checked by the same agents inspecting bags that have been pulled for secondary inspection, so there may be a wait. The inspection usually consists of swabbing the individual rolls, then putting the swab in a machine that checks for explosive residue. We’ve occasionally had requests to open boxes and always say yes (so long as they don’t pull your film out of the canister or unspool your 120 rolls, it’ll be fine). Once the machine gives the agent the green light, you’ll likely be sent on your way. 

    Going home: Have all film hand inspected

    Once your film has been shot, it’s still sensitive to light and can still be damaged by scanners, so be sure to have all of your film, shot or not, inspected by hand. We must reiterate: Do not put undeveloped film in checked bags. 

    If you’ve had your film developed while on vacation, there’s nothing to worry about—as we mentioned earlier, developed film, negatives, prints and slides are not light-sensitive. You can safely put them through the scanners or in your checked baggage.

    What about lead-lined film bags?

    Several manufacturers offer lead-lined film bags that claim to protect the film from X-rays. (We do not know if these bags protect against CT scanners.) We haven’t tried one in recent years, but if the bags do block X-rays, they will likely show up as a large dark blob on the security scan, which is likely to trigger a secondary inspection. We find it easier to simply request a hand inspection and avoid the inconvenience of having TSA unpack our bags.

    Advice for other countries

    While we’ve never had a request for hand-scanning denied in the US, we have been refused in Europe, and we don’t know if this was down to security procedures or a language barrier. For this reason, if you do travel with analog cameras overseas, consider bringing a slower-speed film, which is most likely to survive scanning with no ill effects. That said, we understand that some European countries are also introducing CT scanners for hand luggage, which is much more likely to fog film. 

    Ultimately, it’s best to check the official website for the security agency of the country to which you are traveling. If they don’t have a clear-cut policy covering film, you might want to consider traveling with a digital camera or making provisions to mail your film home before you leave.





    Source link

  • The Best Photography Locations in Senja Island

    The Best Photography Locations in Senja Island


    You may not have heard of Norway’s second largest island, Senja Island. This underrated must-visit travel destination spans 600 square miles of land area. It is situated above the Arctic Circle and is home to ragged mountains and fishing villages.

    With a population of fewer than 8,000 people along the eastern coast, the Senja municipality will most probably be excluded from your list of must-see places in Arctic Norway. There aren’t many tour groups covering this area. You can say that this island with its friendly southern coast is yet to be discovered. 

    If you are planning to explore the area, check out these photography locations in Senja Island you should definitely visit as a photographer.

    [table id=33 /]

    Senja National Scenic Route

    Senja National Scenic Route
    Aleksander Englund

    What better way to appreciate a new place is by seeing and experiencing it through a road trip? Visiting Senja Island and capturing amazing pictures is possible by taking a trip along Senja National Scenic Route or the National Tourist Route.

    There are 18 different routes that are portions of highways and railways. When taking this route you can take amazing pictures of Senja’s outer coastline. You should definitely watch out for the stunning views, picnic-worthy spots, and spectacular beaches that are picturesque.

    Tungeneset Viewpoint

    Kamchatka

    Traveling through the National Scenic Route, you can witness two picture-worthy viewpoints of Senja Island. One of which is the Tungeneset Viewpoint. Tungeneset is considered a photographer’s haven, and it’s considered Senja’s most photographed site.

    Here in the Tungeneset rest area, you can take snaps of the jagged Oksen Peaks or the Okshorn Peaks. You can also take snaps of the cliffs and the small pools on the rocky surfaces.

    You can also enjoy walking along the rocky edges and taking amazing pictures of the mountain that meets the sea. If you are lucky and it is low tide, you can take pictures of rock cauldrons that are filled with seawater.

    If you happen to visit Tungeneset Viewpoint during poor weather, you can still enjoy the famous Oksen Peaks and take amazing pictures. A tourist-friendly wooden walkway makes it easier for tourists to appreciate and marvel at the amazing view of so many mountains and the open sea.

    Bergsbotn Platform

    Inger Eriksen

    The other must-see site along the National Tourist Route is the Bergsbotn Platform. This platform is 44 meters long. Here you can capture the beauty of Bergsfjord town and its surroundings.

    If you like the thrill of heights, the view from the top is truly worth it to capture through your camera. The platform is made of wood but the view remains unbothered because the sides are made of see-through material.

    Ersfjord Beach

    Inger Eriksen

    Senja is home to the open sea and an enjoyable coastal stretch. The Ersfjordstranda Northern Norway hides several sandy beaches for both Norwegian hikers and foreign tourists. If you are looking for a white sand beach, you can get your treat by checking out Ersfjord Beach or Ersfjordstranda Beach.

    You can easily find photographers spending a lot of their time on this Arctic beach because of its clear skies, spectacular view, and chilling water. The Ersfjord Beach is a great spot for sightseeing, walking, relaxing, and having a photography break approximately halfway along your trip.

    Beach at Bøvær

    Claudio Beduschi

    The beach at Bøvær is another one of Senja’s must-see sights. Though, the road leading to Bøvær Beach can be extremely terrifying, narrow, and winding. But, reaching the spot can make the trip worthwhile because of the spectacular scenery.

    Bøvær is one of Senja’s amazing beaches. As a photographer, you can enjoy taking pictures of the beach’s long shoreline, as well as the white and sandy beach.

    After taking gorgeous pictures of Bøvær Beach, you can rest and relax at the Crow Caste. The Crow Castle or Kråkeslottet is a renovated wooden fisherman’s house located beside the lighthouse. You can enjoy and take pictures of the cultural programs while you are at it.

    Husøy at Fishing Sites

    Ernest Kung

    Husøy or “house island”  is Senja’s active fishing community. It is a small island found at the heart of Øyfjord. There is not much to do in this fishing village, but there is so much to see. You should get your camera ready when you plan to visit the picturesque fishing village, Husøy. 

    It doesn’t matter when you plan to visit Husøy because this small fishing village looks fantastic all year round. If you are planning to roam the site, be mindful that most stores close during mid-day which is an influence of the Spanish armada in 1588.

    With its remote location, you may think that this site is a living museum. However, it is home to a number of residents who make this village alive and beautiful.

    Red Cabins in Gryllefjord

    Perszing1982

    If you are looking for dramatic shots, you should visit Gryllefjord village. The fjord and the open ocean can give your pictures a dramatic feel. The red cabins in the fishing village Gryllefjord are found along the Norwegian coastline and are certainly a feast to behold.

    In the summertime, if you are considering a more extensive tour of Northern Norway, you should take a car ferry. A car ferry links Gryllefjord with the Andes at the northernmost tip of the Vesterålen archipelago.

    Sea Eagle Safari

    Jiri Hrebicek

    Aside from taking gorgeous scenic pictures, you may also be interested in taking pictures of wildlife while you are visiting Senja, Norway. You can join fishing trips by riding a small boat towards Hekkingen Island. This is the sure way you can capture amazing pictures of white-tailed sea eagles in action.

    Ånderdalen National Park in Senja’s Southern Coast

    Matze Friedrich

    If you fancy taking pictures of the outdoors with primeval forest and Norwegian coastal landscape, you will enjoy Anderdalen National Park. This wonderful place is 134 square kilometers in area. 

    The national park is accessible to hikers and bikers. Fishing is a fun activity during the summer. During wintertime, you can enjoy dog sledding and ski touring. 

    This small national park is home to different animals like the moose, reindeer, and red fox. You can take pictures of the amazing landscape, luscious forest filled with trees as old as 600 years old, and forest animals.

    Town of Finnsnes

    You can easily reach Senja, Norway by passing through Finnsnes. This town is found on the mainland. Shops, accommodations, and restaurants abound here. If you want to take pictures showing the busy side of Senja, you should stop over at the town of Finnsnes.

    If you are feeling nostalgic and you want to taste a bit of Senja history, you can visit the Lenvik Church which was built in 1130 in Bjorelvnes. Its architectural design and simplicity can make an amazing photographic composition.

    Hamn I Senja

    Lars Almeroth

    Hamn I Senja is a sheltered port in Senja, Norway. This place used to be a trading post and an old nickel mine. It is positioned south of Sugarloaf Mountain and the Atlantic Ocean to the west.

    You can capture amazing pictures of 98 islets of Bergsfjord that are clustered together up north of Hamn I Senja. The view is simply breathtaking and worth capturing through your camera’s lenses.

    Northern Lights and The Midnight Sun in Senja, Norway

    Winter is a great time to visit Senja, Norway. Seeing and taking pictures of the northern lights is a non-negotiable when visiting Northern Norway. The island of Senja experiences polar nights during winter which makes it the best place to chase some northern lights.

    Polar night can be experienced from the end of November until mid-January. Aside from witnessing the northern lights, it is also fun to go husky sledding and take amazing pictures with the white scenery and adorable huskies.

    Now, if you want to experience the midnight sun for once in your life, you should consider a visit around the months of May and July. It is when the sun never sets and Senja is also breathtaking during this time. 
    Hiking is a fun activity that you can do while still seeing the sun shine bright at any time of the day. While you are at it, you should bring your camera with you. If you spot an amazing landscape or intriguing wildlife, take that picture!

    Backdrop

    Activities and Photography in Senja, Norway

    There is no doubt that Senja, Norway has several spectacular views and must-experience adventures to keep its tourists entertained and enchanted. Aside from the view, Senja, Norway also offers amazing activities that any tourist would like to participate in.

    Senja challenging hikes are coupled with rewarding views on this small island. There are so many hikable mountains on the island. One of them is the Sukkertoppen Mountain which is a challenging and popular hike route for many.

    Nick Fox

    If you are looking for a gentler hike, then you may want to consider Husfjellet mountain. It is easy to climb and you can enjoy a fantastic view while you are on top. You can bring out your camera and take pictures of the spectacular view.

    Aside from hiking, you may also travel around the island on a bicycle. As a cyclist, you can take advantage of the Norwegian coastline. The route forms part of the European Cycle Route 1. Cycling on the road gives you a more advantageous way of taking excellent pictures. You can easily go to remote areas that offer equally picturesque villages.

    On Visiting Senja Island

    Dodi Sandradi

    Senja is famous among Norwegian tourists because of its gorgeous oceans and beaches, rugged mountain ranges, biking and hiking trails, and must-see fishing villages. This is Arctic Norway which is nestled between Tromsø Islands, Vesterålen Islands, and Lofoten Islands.

    As a photographer, you want to be able to manage your own time and enjoy the island at your own convenience. Thus, going around the island in your own car is best. Rentable cars are a good option. Bring your camera and gear so you won’t regret taking a trip to Senja, Norway.

    Lightroom Bundle Presets



    Source link

  • Kenya Adventure Elopement Photographer :: Africa Safari Wedding

    Kenya Adventure Elopement Photographer :: Africa Safari Wedding


    Kenya Adventure Elopement Photographer :: Africa Safari Wedding

    You know it’s going to be a great engagement sitting when the couple is on time, in the right location, wearing coordinated clothing, and brings along with them a file folder full of ideas-including an ampersand that Sindura custom-created and made by hand to execute a shot she had in mind. What more can your photographers ask for? It was a beautiful evening in Lewa Wildlife Conservancy and created these incredible images. That’s what we consider FUN! We hope you enjoy these romantic images that capture Sindura and Chris’ personalities along with the surroundings of one of their favorite places to hang out.

    We loved exploring every nook and cranny of the Lewa Wildlife Conservancy, it is the perfect Wild Bush wedding destination that brings together the natural beauty of the Landscape Valley with the elegance and service one would want for a perfect engagement, proposal, or wedding.  We love working at Lewa Wildlife Conservancy because there is so much variety in the environment and so many fabulous locations to capture the romance and beauty of weddings held here and take advantage of the amazing light at the end of the day, with a sunset that made us feel like we had gone on vacation…  Thank you again for allowing us to use our creativity for you!

    From the amazing day we spent at Sirikoi Lodge Camp Lewa Wildlife Conservancy for Sindhura and Christopher’s surprise secret proposal engagement session and dinner through their storybook, we have had so much fun with this enthusiastic, appreciative couple.  Their excitement was contagious and we were proud to share the day with so many vendor friends.   Thank you so much you guys—it was even more perfect than we ever imagined.”

    Kenya Adventure Elopement Photographer :: Africa Safari Wedding





    Source link

  • The Problem with Mood


    I do a little moonlighting for a small computer and imaging company that rhymes with Snapple. They are under the mistaken impression that my nearly 40 years behind the camera means I know what I’m talking about. Still, I like the challenge. One of my first tasks as their Creative Storytelling Specialist (yeah, I don’t know what that means, either) was to help the engineers understand mood as it relates to picture-making.

    So to get a head start, I did some poking around the internet in hopes that people with greater minds than I had already articulated the idea of mood. Mostly what I found was the advice to “put more mood in your photographs,” as if I were being told to add more salt to every recipe. Not helpful.

    The problem with mood is it’s not really one thing. Add mood? What kind of mood? If mood is about emotional connection then surely we can be more specific about which emotions. But before we disregard the advice entirely, it’s worth acknowledging that it comes from a good place, a recognition of the power of mood.

    The desire for more mood in our photographs—not unlike the desire for more salt—is a desire for more flavour. Only in this case, the flavour is emotion. It’s a desire to move beyond the pursuit of perfection in our images toward something a little more poetic. Poetry is about feelings; unless you’re working as a forensic photographer, feelings are probably something you hope to stir with your photographs. And that requires interpretation. It requires making choices that sway an emotion one way or the other. It requires taking some risks because almost every choice that leads to more emotion in our images is a choice that deviates from the playbook we were all given with our first cameras. It’s a move away from average and towards more flavour. Pass the salt, please.

    So back to my early efforts to articulate mood as a powerful tool (more like a toolbox, really) in photographic expression. Once I got over the confusion about why so little insightful information was out there, here are the first three realizations I had.

    You Can Learn Mood

    Mood isn’t the result of secret techniques, or even advanced techniques. It’s more a result of refined sensibilities. Maybe it’s also a matter of priority. It’s in looking for it, chasing it. It’s in recognizing it when you see it and knowing which choices can amplify those emotions through the image. And those are all present as visual cues that we can see and learn from. You can learn this.

    Set the camera aside for a moment and think about a photograph that you love—one that stirs something in you. Maybe one of the iconic images that made so many of us feel the power of the photograph and want to pick up the camera ourselves so we could find that power and beauty. What makes you feel the way you do about that photograph? Is it only the subject matter?

    I love bears, but not every picture of a bear makes me feel anything. Some make me feel bored. They lack mood. But the ones I love? It’s more than a bear. Bear in great light, perhaps. What kind of light is it, and what did the photographer do with it? Maybe it’s a bear in a great moment. Maybe it’s the camera placement or a story implied by other elements in the frame. Maybe—probably—it’s all that. Whatever it is, you feel it because of something you see. And if it’s something you can see, it’s something you can learn.

    In short, don’t spend more time studying your technical tools than you spend figuring out your mood tools.

    Light Is Everything

    The first thing we look to when we chase mood is light. And so it should be. Light is so often the first thing that hooks us. We feel something about light that resonates with us. We feel differently about backlight than about front-lit scenes. We feel differently about softer light than light that’s more direct and makes harsh shadows. We respond to the shadows and reflections created by light. Where light is concerned, what we seem not to respond to is, well, boring light. Average light. That’s not to say you can’t make expressive photographs in boring light, but it won’t be light to which we respond but something else. A different hook. So if light is so powerful, why do photographers insist on painting with anything but light that has the power of an emotional hook? If you want mood, look to the light. 

    It’s Not All About Light

    At the same time, it’s not all about light. There’s a reason photographers use different focal lengths, and it’s not just to “get more reach” or get more in the frame. It’s because different lenses feel differently. They interpret a scene differently. So do the places in which we put the camera. And the weather. And our choice of moment. Of course light isn’t truly everything. All our choices, all the elements, are everything.

    And that’s the problem with “put more mood into your photographs.” It’s every decision we make—or it can be. But here’s the other problem with mood: there are no rules. There are hooks, elements and choices that we do or don’t respond to, but there’s no playbook. Not really. And so it comes down to having a sensitivity to those hooks, taking risks, and knowing what stirs the OMGILT (Oh my God, I love that!). Many things stir emotion in our images—and nearly infinite combinations of them—but you won’t love to use them all. You won’t love the same colours I do. You won’t be as excited by the same focal lengths or perspectives nor drawn to the same subjects or stories.

    Your Turn. There’s a Prize.

    Are you up for an exercise? How about if I put a prize on the line? In the comments on my blog, tell me about that photograph I asked you to imagine a few paragraphs ago. Describe it. Tell me why you feel the way you do about it. It’s probably not just one thing, but many. What gives that photograph its mood, or what makes you feel the way you do about it? Don’t hold back. I’ll draw one person’s name from the comments below for a free enrollment in my next course, which may or may not be available very soon and is all about mood and making photographs that elicit a more powerful emotional response. Who’s in?

    Update: The lucky winner is Jon Lloyd. Jon, I’ll send you an email about your free enrollment in my Shoot What it Feels Like course. Thanks for playing!

    For the Love of the Photograph,
    David





    Source link