| 俄文版《摄影家》2008年8月刊发表了我九张沙漠的片子。这是其中的采访录。 今天放到色坛，希望对大家有所帮助，也期望大家的指正。 ———————————————————— Question = Evgeniy Zubenko, Editor-in-chief , Photographer magazine Answer = Eugene Xie (Quinster), Landscape Photographer EZ: Have your first desert pictures been made spontaneously during a trip to the realm of sand or you carefully planned the voyage photographically to chase the opportunity to make the stunning pictures of dunes ? How many desert places have you visited so far? What attracts you being in the desert besides photography? EX: My first visit to desert wilderness was in 1992 when I moved to California. I was instantly attracted by the serenity and vastness of the desert landscape. I then bought my first SLR and love of desert photography came next. I have mostly limited my travel and photography to American Southwest which includes California, Arizona, Nevada, Utah, New Mexico and part of Colorado. American Southwest offers some of the most stunning landscapes in the world and it never stops to amaze me. EZ: Since sand formations are not solid I suppose that dunes always change their structures. Before getting to the certain place of the certain desert do you study the so-called current map of dunes to plan your compositions beforehand? Or you prefer to arrive and to plan composition of images right on location? EX: Interestingly, on a big scale sand dunes don’t change their formation that much. However, wind does change sand patterns or ripples or micro features. My preferred mode of operation is to just be there and see what attracts my eyes. EZ: I suppose photographing dunes is one of the top task for a landscape photographer since it involves absolute understanding and “feeling” of a composition. Because a photographer can take thousands of different images of dunes occupying different locations, it may be assumed that favorable author’s works reveal his preferences in geometry, his artistic vision of color and light combination, even his character to some extent. What do you think about it and what is your philosophical and artistic vision of dune and dune photographs? Please share your thoughts after getting there and having a total freedom for placing your camera anywhere targeted to any wave of sand? EX: Wind and water are nature’s greatest artists and sculptors. Water’s sculpture is more permanent and durable than wind’s artwork. Wind’s art is almost always unfinished. Wind will mercilessly destroy its own work for the pursuit of perfection. It’s truly a privilege to be able to witness and interpret the precious moment, the art of wind. Standing at the same spot one can never find the same sand dune. I have been to deserts many times and each trip gave me a completely new experience. I had no preconceived idea what I would see but simply let my eyes and mind wander. EZ: What time is the most suitable for taking pictures in the desert? Are there golden hours like in the other landscape photography ? Is it possible to capture shots in the midday? Does the color of a sand burn out if you shot the dunes during the day? How much time do you usually need to scout in the dunes looking for the perfect composition? When do you start it ? What stages does the dune photo-hunting usually consist of? In case it requires much more time than golden hours allow, will you wait for the whole day to return tomorrow in the very morning to the selected place for capturing ? EX: Yes, there are golden hours for sand dune photography and probably more so. The pristine light of the early morning and late afternoon brings out the color, texture and shadow of the sand patterns. I typically arrive two to three hours ahead and scout the location for a perfect shot. It will depend on the location whether this is going to be a morning or afternoon shot. At the meantime you always scout for the next photo session whether it will be tomorrow or in a different season when the light angle and intensity is different. EZ: How long do you usually stay in the certain desert region? What is the inner indicator which tells you: “OK, I have made all the possible shots I planned and it is right time to leave”? EX: For me, this is dictated more by my schedule. I typically stay in the deserts one week at a time. Sometimes if I do not have the feel for a good shot, I would just pack up and go somewhere else. But most of times I would stay there and simply just to enjoy the serenity of nature. EZ: How often does the weather change in the desert? What kind of changes you should always be prepared to? How to survive in the desert in case your car suddenly breaks? What technical units (beside photo equipment) and provision do you always take with you? EX: In American Southwest temperature drops considerably at night. One should be prepared for cold, heat and wind. I always keep plenty of food and water (one more week’s supply), blanket and emergency supplies (flashlight etc.) just in case of car breakdown. Always let your family and/or friends know where you are headed so they could get help when needed. EZ: Do you conquer the most isolated areas in the heart of deserts or choose only boundary areas so that to be able to quickly go away in case something unpredicted happens ? What other potential dangerous situations may occur with a photographer in the desert? EX: If you are well prepared deserts are not dangerous at all. Some of the most beautiful areas in American Southwest can only be reached by foot. Therefore a detailed topology map and a handheld GPS are most useful and almost indispensable. EZ: I suppose during scouting a human always leave deep traces in the sand and so if you want to capture virgin dunes you should target the camera at opposite direction or should wait until the wind clears the sand off the traces. How much time does it usually need to do this sort of refining? EX: Yes, there are numerous footprints in some of the popular sand dune destinations. It is almost heartbreaking to see nature’s (wind’s) supreme art ruined by human presence. I found myself to be an admirer of wind’s perseverance in never ending pursuit of excellence. I look at forecast very diligently and sometimes will head to the dunes immediately after a sandstorm in desert region. Or other times I will venture into farther into the dunes to avoid footprints. While it is unavoidable to leave footprints, one should always be mindful where you walk and be more considerate of your fellow photographers. EZ: How to create photos, illustrating the play of wind with the sand. How strong a wind should be so that to be able to photograph the haze of sand? Is there a place for a luck here (like the rainbow which can not be predicted for sure) or such scenes are possible to evaluate and therefore to capture without too much efforts and time? If a wind is too strong is it a risky thing for a life? How do you protect your eyes and a camera actually? EX: I have encountered a couple severe sand storms but was never brave enough to take out the camera and shoot. Perhaps my luck wasn’t good enough because visibility during a sandstorm was not good and I was busy looking for a shelter. A light breeze is probably the best condition for creating such a haze effect you mentioned. EZ: Do you try your desert pictures to tell the viewers some stories? What is your own interpretation when you look at these stunning pictures? What kind of allegories they provoke? Perhaps they something ephemeral like absolute order, or even love? Please share your imagination….. EX: I believe we all trying to tell something, perhaps a story, or perhaps our feeling, through our photographs. Some say dune photography must reveal the vastness of the desert, I beg to differ. Photography is about the art of seeing. I love to work with the more abstract elements in the natural world, and to focus on the subsidiary qualities of the landscape rather than the purely representational whole. The Racetrack picture, the one of two rocks with tracks and entitled “Follow”, tells a love story. The White Sand 2, entitled “Tranquility”, reveals my inner thoughts. The blue represents “calm” while the orange in the far depicts the suppressed restless in my thoughts, the contradiction between calm and restless. EZ: What equipment do you use? Please give us a list (lenses, fliters, tripod, others… ). What have you chosen this exact camera? Have you tried to capture dunes on film too or only digitally? Is shooting in Raw has more significant advantages over shooting in jpg? To your opinion what is the most crucial parameter of the shot of a dune? EX: Nowadays I most often use Canon 5D digital camera. Occasionally I use Canon EOS-3 film camera and Mamiya 645 medium format camera. I chose Canon EOS 5D for its full frame sensor and picture quality. My most frequently used lenses are: 28-70 mm/f2.8 L, 17-40 mm/f4 L, 70-200 mm/f2.8L IS. I carry a set of Singh Ray GND (graduated neutral density) filters. I shoot RAW exclusively as it offers great flexibility in photo processing, such as white balance and exposure without loosing image details. EZ: How does the color of a sand vary and what does it depend on? Which deserts gives you the most interesting dunes structure and color? EX: Different sand has different colors in themselves. Silica is almost colorless. Gypsum and sandstone sand are white and red, respectively. Light really brings out the color of the sand. For example, the warm light of early morning and late afternoon cast a warm golden glow on the white sand. But white sand photos taken with the remaining light after sunset transmits a translucent, almost angel like pure white. The Mesquite dunes in Death Valley National Park are most beautiful in its structure, geometry and lines, whereas the Sand Spring Dunes in Monument Valley are absolutely stunning for its auburn red color. EZ: How do you vary most crucial shooting parameters? Do you change aperture, shutter speed, focal distance? How many different shots you need to do to be sure that you have the best possible? While it is true I shoot more than old film days, I try to refrain myself from snapping digital photographs. Careful planning, scouting, framing and decision making are still essential in digital photography. I bracket (exposure) most of my shots, the same habit when shooting film. EZ: How often do you use filters photographing in sands and which ones you apply in the dunes and in which situations? EX: I occasionally use graduated neutral density filters (GND) to balance the exposure between sky and foreground sand patterns during sunset and sunrise hours. EZ: Some of your photos have a very artistic and contrast combination of perfect forms and perfect play of shadows. How you achieve such mysterious geometry? To what should a photographer pay the most attention trying to measure the lightning conditions for such outstanding deep shadows? Light does all the magic. Low angle light brings out the shadow and lines of sand dunes. Composition is the key to sand dune photography. Simplicity and abstract are my preferred composition. EZ: What kind of wildlife it is possible to meet in sands? EX: There is not that much wildlife in sand dune area. But it is possible to encounter coyotes and rattlesnakes. EZ: What is you dream shot of the dunes? Did you meet your dream picture in other photographers’ portfolios? EX: I can’t think of a dream shot of sand dunes. To me the fun and thrill is to go out there and see what nature has in store for us NOW. EZ: Is there a way for a slight digital manipulation? What do you usually change on your way from the RAW image to the final work? EX: There are always ways to manipulate photographs either digital or film. I guess this really depends on what photographers want to express. If necessary I am open to adjusting white balance or tone or color when importing RAW files to Photoshop. EZ: Please remember some 2-3 most interesting stories which happened to you during photographing in a desert? Maybe one most funny, one most dangerous and the last one from which you achieved a significant photography experience? EX: I visited White Sand National Monument the day after Christmas in 2006. That year the off-season monsoons left numerous ponds at the base of sand dunes. It was quite a thrilling experience finding my way out of the sand in the dark. I just couldn't resist the urge to stay a little longer and a little longer... The light was disappearing fast and it was getting really cold after dark. Although I used a GPS to track my footsteps, all those "ponds" formed a maze I almost could not get out of. At one point I was getting desperate. This was one of the more scary incidents of my photography trips. EZ: What would you advise to the readers who may dream of photographing such outstanding pictures? EX: Just take your camera, go out there and shoot. Have fun and be safe! |
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| 由quinster张贴 @ 2008-11-14 09:01:29 (65) |
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编后随笔：
为什么我们需要寻找‘美’？
因为她可以唤醒我们心底的‘爱’。
http://blog.wenxuecity.com/blogview.php?date=200811&postID=22134&page=1#mark
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