Category Archives: Uncategorized

Photo Essay: Cliff Jumper, Galle Fort, Sri Lanka

A run, a jump, and a dive into chest-deep water, more jumps from rocks lower down, and a climb back to the top of the ramparts of the Dutch Fort in Galle, Sri Lanka.

First, I thought it was a crazy idea to pay $ 20 for an attraction that would risk someone’s life for a photo. I have been doing this since I was 15, says Asanka, 26, who could almost be Bob Marley’s son. Other jobs are hard to come by, he says, while showing me his portfolio with the details of his jumps. And many people just try to sneak an image without paying.

Checking out the viewpoint and lighting, I took a number of portrait shots of Asanka and made an appointment for the next morning. No one had yet obstructed the jumper’s start-up track to the edge of the rampart. I had prepared myself to calculate the flight time and check the buffer depth of the camera.

The viewpoint was obvious, and after a quick test for focus and exposure, Asanka took off his slippers, sped up, and took off like an eagle. SR

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Altiplano Watercolors

When the sun goes behind the clouds, many photographers pack away their cameras. But there is no bad light if only one finds a subject to match. Soft light is perfect for landscape photography during an overcast day or after sunset looking east (which implies shooting at “sunset point” in the morning*). Soft light is also beautiful for portraits, except perhaps for very rugged men.

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The Sheltering Desert

From Ansel Adams and Eliot Porter to David Muench, many photographers have been attracted by the desert landscape.

The main reasons that I love the desert are its simplicity, quality of light due to low humidity in the air, and the ability to get away from the masses; if only you hike a mile. The absence of vegetation reveals the underlying geological structures; the bare bones of Earth laid out in front of us.

On a recent trip, we almost got trapped because of Covid-19 travel restrictions. For a second, I considered renting a campervan (aka RV) and hiding in The Sheltering Dessert. This is the title of a book by Henno Martin (1910-1998), a German professor of geology who, along with Hermann Korn and their dog named Otto, lived for two years in the Namib desert.

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Wy I Decided to Shoot Film Exclusively

I have recently abandoned digital photography and will sell all my digital cameras. Andreas Gurski shoots film and earns millions, so there must be convincing arguments.

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The End of the Dollar Sadhus

The Pashupatinath temple complex, located on the banks of the Bagmati River is on every visitor’s itinerary when stopping over in Kathmandu, either on the way to or from a trekking tour.

According to the legend, Shiva and his companion Parvati were so delighted with the place that they took the form of gazelles and enjoyed themselves in the hills by the river, thus the name Pahsipahti, which literally means “lord of the animals”.  Already in the 5th century the kings of Nepal took the holy place under their care and expanded the temple complex with the Shiva temple as the main sanctuary (access strictly restricted to Hindus), as well as numerous secondary temples, hostels, kitchens, hospices, and cremation sites (ghats). Nothing is more worth living for a Hindu than to die and be burned in this place, as it is said that anyone who is cremated here goes directly to Nirvana. The ghats upstream were formerly reserved for the higher casts, the lower casts had to use the ghats downstream of the bridge. Until a few years ago, pilgrims also took a bath in the river, but it is now so polluted that even the hard-boiled no longer dare to do that.

For the Hindus from Nepal, a trip to Pashupatinath may replace a trip to Varanasi in India. It is therefore also a place that attracts Sadhus, the holy men that are walking the earth, smoking marijuana and hashish to gain religious illumination and liberation from the reincarnation cycle. By default, they have no wishes, no friends, and no enemies. The Shiva followers paint three horizontal lines on the forehead, the Vishnu devotees paint three vertical stripes in white-red-white for the deities Ram, Sita, and Laxman. Others rub their body with ashes that represent their death to the worldly life.

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A Happy GAS-Free New Year

Now that I have survived the fireworks and its lingering fine-dust of strontium, barium, and sulfur, I wish you all a happy, GAS-free new year 2020.

Good health, good light* and good files.  SR

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GAS = Gear acquisition syndrome

*The bulb that we’re forced to use, number one, to me, most importantly, I always look orange. D. Trump

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What If I Could Keep only One? Mid Term Assessment of the Nikon Z7

Readers of this blog may have noticed that I followed the crowd and went mirrorless last November. Not in the sense of jumping ship to Sony (as seemingly all bloggers and youtubers these days), but adding the Z7 to the Nikon DSLR kit.

I was recently asked: what if I could keep, or better, carry only one? I am afraid that there is no simple answer, though I would be inclined toward the Z7 since I added the fabulous Nikon 24-70 f/2.8 S lens. Still, I refrained from the clickbait title “The End of the DSLR” for a good reason.

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The Color Balance of the Night Sky

Night sky over the Altiplano. Composite image of two exposures: One with and one without the star tracker. Nikon D850, 28 f/1.4 G at f/2, 30 seconds.

On a recent trip to the Altiplano of Bolivia and Chile I took along a star tracker. This was appropriate for a place, world famous for deep-sky astronomy, star gazing, and night-sky photography. The air is dry (at around 10% relative humidity), there is very little light pollution and the cold temperatures at altitudes above 4000 m prevent air stratification. In addition, the night-sky on the Southern hemisphere contains interesting objects, such as the Magellanic Clouds, and the Omega Centauri Cluster.

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The Last Sheet of Quickload (Part 1)

Linhof Technika with the last sheet of Quickload about to be exposed. Notice the envelope retracted from the holder.

On a view camera a sheet of film must be loaded into a holder. This can be done in the complete darkness of a proper dark-room, in some odd, windowless hotel bathroom, or using a film-changing tent. After the camera has been set up and focused, the holder is inserted into the camera, the dark slide removed from the holder, and the exposure is made. The dark slide is then reinserted, and the film holder removed from the camera.

The standard (Riteway, Fidelity, and Toyo, among others) film holders hold two sheets, one on each side of the pressure plate. The Grafmatic holders held six individual sheets but they were not very reliable. Consequently, one has/had to carry multiple film holders, extra sheet film, the changing tent, and an empty box to store the exposed film. This kind of nuisance kept me away from the view camera for some time.

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Rust

Cementerio de trenes, Uyuni, Bolivia

Do not store up for yourselves treasures on earth, where moth and rust destroy. Matthew 6:19.

Rust consists of hydrated iron oxides Fe2O3and iron oxide-hdroxide Fe(OH)3. With sufficient time, oxygen, and water, any object made of iron will convert entirely to rust and disintegrate, because the porous surface layer provides no protection to the underlying metal parts.

Rust is also a metaphor for more general forms of decay (such as in “Rust Belt”, denoting an area of the American Midwest that has experienced economic cutbacks) or it may be associated with (an image of) faded glory.

Having photographed an abandoned whaling station in South Georgia, the train cemetery in Uyuni, Bolivia, wracked cars, and rotten steel doors, yielded a body of work that merits its dedicated gallery; “Rust” in the Themes section.

Check it out here.  SR.

 

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Animitas

Case study 1: Animita, San Pedro de Atacama, Chile

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Animitas are abundant along Chilean highways. These shrines to the victims of car accidents are not graves but mark the spot where the body was separated from the soul.* It is believed that the souls may still wander around and therefore be able to interact with the visitors to these sites.

Animitas combine Christian symbols with secular memorials and other artefacts, in some case the wracked car. There are also animitas for marking other types of violent death, and for this reason the Catholic Church does not officially recognize animitas.

As animitas are often seen shoulder to shoulder, they indicate that it be very dangerous to travel on the roads in Chile and speed limits are taken as mere recommendations. Indeed, the WHO estimated death rate of 12.5 per 100 000 population per year is the highest rate among the OECD members; compare that to a rate of 2.7 in Switzerland.

I captured this small series of images around San Pedro de Atacama, where long steep grades allure drivers to speeding, while the break pads are overheating.

* The word animita comes from the Chilean word “anima”, that is, “soul” in English.

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Photoessay: Iceland from Above

River bed of the Tungnaa, Iceland.

Iceland has to offer the most abstract landscapes in Europe, short of some areas in the Italian Dolomites. The country has every photographic cliche and wonders you could want; mountains, waterfalls, river beds, glaciers, and lava fields. It’s a place of rugged beauty and extreme weather conditions, blessed with an amazing quality of light.

In August, golden light lasts for 4-5 hours* so that there is no rush. But it also means that you have to stay up late and get out early in the morning. At least photography doesn’t clash with dinner and breakfast.

There is direct sun but your prefer a cloud to create soft light? Just wait a few minutes. Dark clouds and rain add mystery to the landscape, while shortly after, they let some rays peak through to create a rainbow. There is good light almost anytime during the day.  Iceland is indeed a paradise for photographers.

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The Crackpot Index for Photographers

Bagan, Myanmar

Cliche image of an iconic place: sunset over the temples of Bagan, Myanmar. An image accounting for one point on the crackpot index. Therfore, one or two of these images are allowed in a portfolio.

There is this recurring discussion of what defines fine-art photography. Can the image of a lemon tart be art? Is photography an art form at all?

Easier than defining art is defining what is not. According to the philosopher Walter Benjamin, kitsch is, unlike art, a utilitarian object lacking all critical distance between object and observer; it offers instantaneous emotional gratification without intellectual effort.

I would rate a large amount of the current professional landscape work, published in magazines and catalogues as kitsch. Probably this due to art directors and editors having grown up with artificial flavor and visual over-saturation. Look at the tutorials of Phase One, a company catering for professionals: they are proud of the fact that a lake in Scotland, captured under a gray sky, can be made to look like the waters of Anse La Digue (Seychelles).  Bad enough that this might be required to be successful in the market place.

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The 2012 Ice Storm on Lake Geneva

Ice storm on lake geneva 2014, Switzerland

In Feb. 2012, strong Northeasterly winds, know as “bise”, blew down from the Western Swiss plateau to the basin of Lake Geneva. The wind reached force 6 with gusts of up to 80 km/h. Combined with air temperatures of -15 degree Celsius and the lake water close to freezing, the spray of the waves turned instantly into ice, before even hitting the shore or any object close by. Ice-covered cars parked near the waterfront quickly made headlines in the world press.

 

As the weather pattern persisted for almost 13 days, I was able to revisit the scene in the mornings on my way to work, which coincided with the magic light present just before sunrise. In the first two days, I merely explored the area, taking some images with the point-and-shoot. The winds made it impossible to set up a real camera, which would have transformed quickly into an ice sculpture itself. On the third attempt I was able to find some shelter, but had to go down on my knees to operate the large-format camera.

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Moonbow over Iguacu

Iquacu falls, Brazil

I never understood why waterfalls grab the hearts and minds of photographers. Go to any location that advertises a waterfall and it is guaranteed that there will be a large parking space, lots of cars, and buses with their engines idling*.

Many people, often out of shape, hike along a trail. The first action when the lookout point is reached is to pull out a camera and photograph the falls. In post-processing the images are cropped just above the pool, around which the fellow visitors had their picnic.

Waterfalls just do not photograph well. In nice, sunny weather the contrast exceeds the dynamic range of color film and of most digital sensors. Bright light also produces flair, which is a particular problem for the wet rocks and vegetation that typically surround the falls, and desaturates the color that may be present in the water. From a compositional point of view, the images are often unbalanced and there is no sense of scale, except if  one refrains from cropping off the picnickers. This experience, or prejudice, made me shy away from Iguacu when I first visited Brazil in 1997. Four years ago, however, I came back to Brazil and took a detour to the waterfalls.

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