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The variety of Kenya – The Leica digicam Weblog


Jürgen Wettke and Richard Konecky met throughout a photograph journey to Iceland. A ardour for aerial images was the component they shared in frequent. Fascinated by the variety of Kenya’s buildings, colors and distinctive gentle, the 2 aerial photographers set off on a journey to the distant areas of the East African nation.

How did you get into images and what position does it play in your life?
JW: I’ve been taking images since I used to be given a digicam after I was 13 years previous. Images performs an vital position for me. It’s the artistic and stress-free facet of my life, as I’ve rather a lot to do with details and figures at work.

RK: I first bought into images as an adolescent, when an uncle, who was in aerial reconnaissance throughout World Conflict II, helped to arrange a darkroom within the basement of our house. I continued as a self-taught photographer by way of highschool, faculty and legislation college, after which making a residing bought in the best way. It was not till I retired ten years in the past, that I rediscovered images with a Leica M9. In the present day it performs a serious position in my life. I arrange journeys everywhere in the world to pursue my photographic curiosity. I additionally proceed to attend workshops in numerous varieties of images. I’ve made many fantastic buddies by way of images.

This isn’t your first aerial images mission. What’s it that fascinates you about this style?
JW: The attitude, colors and visibility of buildings are fully completely different from these seen from the bottom, and all the time supply shocking outcomes.

RK: My first aerial mission was a quick tour throughout a workshop in Iceland (the place I met Jürgen). I’m fascinated by the attitude one will get from above, and the chance it gives for the abstraction of panorama. I additionally discover hanging out of an open-doored helicopter to be thrilling and inspirational.

What do you assume are the most important challenges in aerial images?
JW: The ‘eye’ for the best perspective, since you often solely have a brief time frame to seek out ‘the second’ for the set off. Fashionable know-how solely adjustments that barely.

RK: For me, the most important problem was to get tack-sharp pictures in a transferring, shaking helicopter.

How did you address this on this mission?
JW: Expertise helps rather a lot. Data of digicam know-how is a prerequisite. Missed moments are troublesome to repeat, even on helicopter flights.

RK: By concentrating on approach, understanding the digicam properly and capturing at a excessive shutter pace. Even so, there have been many misses.

Why did you select Kenya of all locations? What’s particular about that nation? And on what foundation did you establish the precise areas?
JW: Discussions with skilled photographers and nation specialists assist to decide on the best locations. We’re searching for landscapes which might be inaccessible, sparsely populated and supply distinctive colors and buildings. The north of Kenya, in addition to Namibia and Iceland, supply such a panorama construction. There are, nevertheless, many extra locations, that happen to me.

RK: On this journey, Kenya selected me. Jürgen and I had beforehand mentioned our frequent curiosity in aerial landscapes in Africa, after his prior journey to Namibia. We each are taken by the distinctiveness of its buildings, varieties and colors. When he instructed a visit to Northern Kenya, I jumped at it; significantly the chance to fly over and {photograph} distant, inaccessible landscapes.

What tools did you utilize for the mission and why did you select these cameras and lenses?
JW: We selected the Leica S and Richard additionally had a Leica M physique and lenses available.

RK: Proper. I used a Leica S (007) primarily with the Summarit-S 70 f/2.5 ASPH. and the APO-Tele-Elmar-S 180mm f/3.5 lenses. I wished to make use of a medium format sensor, and one of the best lenses out there to make the sharpest pictures doable. I typically prefer to crop my pictures to extend the sense of abstraction, and this digicam with these lenses made that doable. I additionally used a Leica M10 with a APO-Summicron-M 50 f/2 and a Summilux-M 75 f/1.4. This mix did maintain its personal and produced good, usable recordsdata. No different aids (gimbals and so forth.) have been used.

Did the helicopter have particular units for taking images?
JW: Sure, three seats within the second row and sliding doorways, so we bought a lot of the images with open doorways. The lenses have been between us, as altering them is harmful in a helicopter.

RK: Simply the sliding doorways as Jürgen talked about, which have been essential for getting unobstructed pictures; plus having area between us for our gear and for altering lenses.

In your opinion, what are the principle variations between aerial images, which you do with an air-plane or helicopter, and drone images?
JW: I’ve tried all of the choices. Drones have an unlimited price benefit, however usually are not allowed in most locations or are topic to huge restrictions. Drones for medium format are nonetheless very heavy, regardless of the carbon design. Propeller machines have the drawback of perspective. Often solely facet views will be photographed properly. Verticals require opening the doorways – not ultimate on the speeds of the plane. Helicopters are costly however in case you plan the route properly and have pilot, they’re excellent.

RK: I haven’t performed any drone images. It will appear to lack the immediacy and connection that one has when capturing from a helicopter; it might be extra technical and fewer soulful to my thoughts.

You’ve printed the outcomes of this journey in a photograph e book. The place will the e book be out there?
JW: The e book was self-published. It’s out there worldwide solely by way of Leica Shops and sellers, and in Leica Galleries. The abstract of 1’s personal photographic work within the type of a e book and/or a movie, is all the time a pleasure. We hope to contribute to the rising consciousness that it’s worthwhile to protect these distinctive landscapes for future generations.

Jürgen Wettke is a German panorama and areal photographer. Along with his profession because the chief in a global consulting agency, and his professorship on the College of Düsseldorf’s Medical College, he has been a passionate photographer since he was a boy. A number of of his picture books have been printed by teNeues: The Artwork of the Wadden Sea, The Namib Desert and just lately Iceland – Nature of the North.

Richard Konecky is a lawyer and photographer, born in New York and presently residing in San Francisco. His photographic work contains casual and environmental portraiture, panorama, macro, summary and aerial images. He took his first aerial images throughout an earlier mission in Iceland, and was struck by the modified perspective and geometry of the panorama seen from the air.

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