Camera_Obscura_no17 - Landscape Photography

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    No.17

    December201

    0

    Landscape photography

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    0

    Team

    Coordinator:SebastianVaidasebastianvaida@cameraobscura.ro

    SeniorEdit

    or:Marius

    IoanGroza

    mariusioan

    groza@cam

    eraobscura

    .ro

    JuniorEditor:AlinBarbiralinbarbir@cameraobscura.ro

    CoverbyChipPhillips

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    Featured Photographers

    Adrian Petrior

    Landscape photography

    Simon ReayInterview

    6

    Sorin RechianInterview

    10

    Cornel FlorianPortfolio

    27

    Mihai MoiceanuPortfolio

    41

    70

    Michael Kenna Portfolio

    Voicu Bojan: Michael Kenna,the landscape tamer

    88

    Septimiu Bizo & erban Schiau

    Peru Project110

    Chip PhillipsInterview

    Marc AdamusPortfolio

    53

    17

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    Editors Note

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

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

    Camera Obscura Team

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    Interviews

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    www.simonreay.com

    Simon Reay

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    Simon Reay Interview

    Some of you may know him as Discovery Channels Director ofPhotography on Born Survivor/Man Vs Wild. Simon Reays work

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

    Simon Reay Inside Air Vent Poland 2009

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

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

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

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

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

    CO So you always see things through the lens?...

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

    happening around me and delivering the pictures.

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

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

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

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

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

    Do you tend to guide the person youre shooting?

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

    CO What is great about the show with Bear is that it feels very natural.You actually feel youre there and you dont see the directing part. Surelythere is a script, but as a viewer, I dont see it.

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

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

    CO Anymoments when you thought that you cant do a certain thing,or that you wont do it?

    SR There was a moment in Guatemala when I had to jump from a cliffinto the bottom of a waterfall. Bear went rst to test it and as soon as helanded I suddenly realized how far it was. In that moment I had a mentalblock, I didnt want to jump. It was a very human moment. Even thoughIve done jumps like this numerous times before I just couldnt shake thedoubt. I did it in the end.

    CO What about the equipment youre shooting with? Is it very important,or its just something to get the job done?

    SR When I rst started out I loved the tactile nature of the equipment,now its much more about staying up to date with technology and usingthe right piece of kit for a specic job. I guess Ive just grown up.I dont own any of the equipment I use for Man Vs Wild; Instead Ive optedto build a good relationship with Axis Films/On Sight a hire companybased near London. They are truly dedicated to making sure we have

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

    CO What would you say its your biggest reward in this job? Any pros orcons?

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

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

    SR Just as a boy climbing trees and getting muddy.

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

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

    CO How did you feel about it?

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

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

    CO Do you also like photography?

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

    from them and thats so sad. However, in the end it doesnt matter whatkind of camera youre holding. A great photo is a great photo!

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

    SR Exactly! Thats exactly right. Nowadays, everyone takes a photo andthey immediately look at the screen to check it. Gone are the days ofwaiting to see your gems or disasters! But dont get me wrong, Imnot opposed to progress; in fact, it has made photography even moreaccessible.

    CO Any future projects?

    SR Were just about to start shooting for season 6 of Man Vs Wild. Asfor the rest, well see.

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

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

    forge ahead and nd your way. Dont procrastinate! Ive seen this onseveral occasions from people with such great potential. Bear once saidto me dont regret things youve done, regret the things you haventdone.

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

    Keep in touch,

    Camera Obscura Magazine

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    Sorin Rechianwww.rechitansorin.ro

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    Sorin Rechian Interview

    CO When did you begin doing photography? Have you begun on lm orin the digital era?

    SR More than certainly I inherited this passion from my mother. She wasthe one that gave me my rst camera back in 1993 (a Cmena 8 rangenderthat kind of forces you to get acquainted with the technical issues). Thencame a time marked by frustrations in photography, unavoidable to anyself-taught. I was dreaming about the quality in the images seen in GalenRowells and Frans Lantings work. I also remember, with a smile on myface, that on my rst photo tour when I used a polarizing lter, I wasdisappointed by the modest saturation of the colors, because it was verydifferent from what I was supposed to get. What I didnt know thoughwas the fact that the lter had to be spinned to get the effect.JMy rstdigital camera I bought in 2007 though I didnt give up shooting on lm.

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

    SR Nature and photography are two passions that in my case mixtogether perfectly. I dont go on any trip, no matter how short, withoutmy camera. Most of the times, the travels are approached thinking ofphotography, considering the type of landscape, the weather, the accessthere, etc. Nevertheless, Ive had many mountain photo tours when, dueto bad weather, I took no photo. J

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

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

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

    CO Just how important is the photo gear compared to the photographerseye, the imagination and the effort to get to a certain place? Because

    many nd an excuse in the lack of equipment

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

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

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

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    SR A successful image is, most of the times, the result of all these threeelements. Once the digital appeared, the competiti...