Thursday, August 16, 2018

Snag In The Finnish Lapland #mystock #tree #nature #mountain #photography

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PetaPixel: Shooting Top-Down Light-Painting Photos Using a Drone

There are a couple of different ways to use drones for light-painting. Some people will attach LumeCubes to their drone and paint an environment with them or will fly a drone around the sky or an object and have the drones lights creating images in the sky. However, there is another way to use them that isn’t widely used yet: using the drone’s camera to capture light-painting from above.

Drones are becoming more and more popular these days and it’s not too expensive to buy one and play with its possibilities.

Note: Always be aware of your surroundings when flying a drone and make sure that the area you are in allows drones in it. This includes following FAA regulations and noting the current airspace you are in. With top-down drone light-painting, this generally shouldn’t be an issue but you should be aware.

In order to do top-down drone light-painting, I recommend having an assistant to get the drone in the right spot and monitor your position to make sure you are centered and focused as well as you can be. Or you can focus it yourself and just have them press the shutter if you’re more comfortable.

Let’s talk about the pros and cons of shooting with the DJI Mavic Pro:


  1. Tripod mode (this helps keeps the drone as steady as it can be) it also helps to make minute corrections to better align your picture
  2. Unique Perspective
  3. Creates new shapes and possibilities


  1. Need an assistant
  2. Most drones don’t have a controllable aperture
  3. Shutter can only stay open for 8 seconds max
  4. Pictures aren’t as clear as they could be because of drone movement
  5. If there is any wind at all it will affect your picture so you will only get it so clear

So how do you do this type of photography? I’ll do my best to break it down.

  1. Find a spot that it’s ok to fly drones [Editor’s note: You need a Part 107 waiver from the FAA to fly at night]. Fly this drone up to 30-50 ft.
  2. Have your model (if you want to use one) lie on the ground and center the drone on top of him or her about 30-50 feet up in the air.
  3. Focus on your subject or the ground by zooming in with your drone and doing your best to get a clear shot.
  4. Now take your tube or blades or whatever you want to use and get ready to light-paint. Your drone operator will have to count down for you when you need to start painting as you only have 8 seconds, if not less!

I personally like to use models for this type of light painting but you totally don’t have to if you just want fun shapes. I find models just enhance the picture and provide interest.

When making shapes you have to think a little differently about how they are created as you are using a different plane of perspective. Don’t be afraid to use your space! Go up and down and all around and see what you can do. I find tubes or tube-like objects work best (at least so far) so that’s what I would recommend.

The most important thing with this style is that the sky is (literally?) the limit! Or maybe your battery life. There is so much you can do with perspective it’s bonkers, so go wild!

About the author: Russell Klimas is a photographer working on the art of aerial drone light-painting. The opinions expressed in this article are solely those of the author. You can find more of Klimas’ work on his website. This article was also published here.

from PetaPixel

PetaPixel: Photos of Utopian Sustainable Spaces in Singapore

PetaPixel: Backyard Adventures: Rethinking the Art of the Travel Photo

is one of the most photographed regions in Norway. Its images have flooded social media in the last couple of years — certainly both you and I have seen them. And at some point, both you and I have been dreaming of visiting either Lofoten or other places we have seen in the form of breathtaking imagery.

I have finally made it to my dream location in June 2018, and it was exactly as I have seen on photographs. I made sure I stopped in all the places recommended by other photographers and pressed the shutter button so many times I am amazed it still works. After some days of driving around the islands, my travel companion and I moved on to a neighboring archipelago – Vesterålen. And we were both a bit disappointed.

The mountains did not rise directly from the sea as we expected, and there were more flatlands and occasional crop fields. It did not feel right though not to appreciate the beautiful nature there. It is, after all, a magnificent place. When the trip came to an end, and I was browsing through my photographs from the comfort of my sofa back at home, I discovered, to my big surprise, that I hated most of them.

I have already seen most of the pictures I have taken during my travel through archipelagos in the north — in the form of books, postcards or online photos. Sure, they were my own take on the region, but how many unique images can you find from the same viewpoints, anyway? Some might argue that a hundred different photographers can take a hundred different snapshots of the same object, but when you multiply the numbers, the chances are that you will get a lot of similar images. Just browse through Instagram, focusing on one location.

These few photographs from my trip that I liked were mostly details or landscapes taken out of the context of the location. They were more anonymous – they could have been created in Norway or any other country. In the sea of scenic Lofoten landscapes I have seen, only the weird ones, not exactly about Lofoten itself, caught my eye. And my conclusion was the same as the one Roland Barthes wrote before me: “In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The ‘anything whatever’ then becomes the sophisticated acme of value.”

That seems so accurate, especially now, when images are so easily distributed online, but it also appears as a way too obvious conclusion in this case. There was something more going on in the background.

The pictures I liked were able to capture the feeling I had while being there – the quiet loneliness of ethereal nature, the sense of freedom. That is, in fact, my favorite feeling. It makes me aware that I belong in that exact place in the exact time I am shooting. Similar feeling to the one I get wandering around my so familiar backyard, just with a little bit more thrill of the new location. And that made me look at the pictures taken around my house and compare them to the ones from the trip. The ones taken back at home were unique – they were more “me” than the ones from the Lofoten expedition. Fortunately, there aren’t millions of tourists traveling to my backyard every year taking the same postcard photos again and again.

Some might say I am lucky, I live in the picturesque countryside, in the south of Norway, with surrounding crop fields, forests, and lakes. But for me it is one of the most boring landscapes there is, no dramatic mountains, no stormy seas. Here I have to create my adventures. I have to work hard to notice something worth documenting, in a landscape I pass by every day. But when I finally manage to find something worth pressing the shutter button for, then I feel like I belong there with my camera, in that exact moment.

All the photographs you see on this page were taken on my own backyard. Sure, they are no dramatic postcards from some dream location, but at least they depict my unique voice. I have not shot them in a place I have seen before on Instagram, but they aren’t just ordinary moments either. They show moments I have been chasing through my backyard with a camera countless times, to get that one perfect photo. I have probably traveled the same distance through my backyard, as I have to Lofoten and back.

My point here is that sometimes we forget where we come from and why we travel. Do we take our journeys to see what we have already seen so many times in images taken by other photographers? Do we wander so far to create the same picture we can buy on a postcard in a souvenir shop? Sure, I am also guilty here, I have often before traveled to get that one photo that already existed. It was easy. But maybe if we treat our backyards as the most thrilling destinations, and treat the great viewpoints as our backyard, we could see things differently. I surely will think about that next time I step outside, whether I will travel to the other side of the globe or just the end of my garden.

About the author: Marta Anna Løvberg is a Polish photographer who has been living and working in Norway since 2008. The opinions expressed in this article are solely those of the author. You can find more of Løvberg’s work on her website and Instagram. This article was also published here.

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