visions, ideas and techniques on nature photography CREATIVE We report here a publication Macroforum site where the artist and photographer Angelo Mazzoleni , introduced his path in the field of nature photography. Here, again from the same site, an article on photographic techniques used.
By M Botticelli
FOCUS YOUR ANGELO MAZZOLENI
I was born in Florence, June 7, 1952 and spent part of his childhood in Tuscany, part of a mountain resort in Bergamo, where my father was a veterinarian: landscapes and other images have in common the presence of a natural reality untouched and naturally have great influence on my subsequent choices in all their various manifestations.
I dealt with over time: of art, history, literature and , amateur level, paleontology (the classic beginner's luck to discover a fossil genus which have been assigned new my name in the relevant scientific publications), and finally of course, photography .
Interest in the mystery of the past, for nature, but especially the search for the meaning of our origins is one of the distinguishing features and unifying the whole of my experience , both in artistic photography . During the course of my career as a painter and sculpture, now thirty years, I have di sviluppare una ricerca espressiva e sperimentale nel settore della fotografia generale creativa, poi ho intrappreso un percorso anche in ambito più specificamente naturalistico...
Amore per la natura a parte , il mio obiettivo forse ambizioso , era ed è quello di scoprire se sia possibile raggiungere risultati non solo creativi ma più propriamente artistici, anche in questa ultima tipologia .
Mi hanno sempre attratto in particolare le dimensioni , spesso ignorate, del fantastico micro macro and natural universe, but the my main intention is to represent them in a language different from the classic and documentary photographer . I tried and I try to tell that is the nature with creativity and imagination, without distorting the reality, interpreting it inside, in 'perspective of an artist or better still, a child who finds himself in a world still wonderfully pure, although more più minacciato dalle ombre dell’indifferenza , degli interessi economici e di una tecnologia umana spesso senza regole . Nel mondo esistono, per fortuna ancora integre, piccole oasi di semplice tranquillità, dove la vita degli esseri viventi trova il suo compimento in un intreccio di magiche e singolari relazioni e dove io spesso mi rifugio per contemplare e riprendere attimi della vita che scorre parallela intorno a noi . Qui sono nate spesso le mie piccole finestre sperimentali creative in a world that can still amaze those who know how to observe with the innocence that is visionary in all of us trying to grasp its essence.
Even when I do simple traditional photos, the photographs do not like static and repetitive or one-dimensional, rather than from any angle, I like to portray nature in the round and moving it for me the essence of nature and life are essentially movement and light.
Light is is the soul of a painting or a photograph is the soul of the world spirit .
Specifically, I believe that art should have a picture at the bottom of the same basic elements of a good painting : basic technique appropriate, a project, a content - valid message, profound and original , good composition and particularly the ability to convey emotions and thoughts beyond the appearance and reality, evoking inner suggestions to the viewer. Regardless of the technique used to create a picture for me is the final message that matters most.
Like all human expressions, photography is a language and to be valid, must be able to communicate with the world.
In my path of creative research, I left in photo documentary and environmental issues in the nature of the complaint and then drops to forms of symbolic expression, surreal or conceptual type interior and continues to seek new ways and experiment new techniques and implementing post-production well and content.
Photos should be assessed on the basis of the type in question and using the parameters for what within it is capable of expressing and not for the techniques used to achieve it. The techniques and the post are only the means, not the substance of a story. This to me is regardless of whether it is a photo-documentary scientific, creative, artistic or fully.
With these ideas and goals I've often having to invent new techniques and experiment with different solutions, even at the operational level.
Tenice AND EQUIPMENT
All nature photographers today are made by me were taken with Nikon digital SLR : The D80 is, for the most part, the D300. The objectives range from the Tamron 18-125mm Nikon 18-270mm, the Nikon 60mm macro and Sigma 180mm and the Sigma 10-20mm wide angle.
I used, in some cases, extension tubes, filters, polarizers or craft, including a simple wet glass of water drops, colored lights and so on. So, in specific circumstances, that the imagination suggested to me in relation to the type of photos and message che volevo esprimere.
In particolare merita un cenno a parte la tecnica della sovrapposizione immagini in interno camera che utilizzo ancora oggi spesso perché meglio di altre consente :
- di proporre , anche nella fotografia , stili e contenuti creativi : simbolici ,concettuali , surreali , ecc., potenzialmente con infinite possibilità di applicazione e di sviluppo e con accostamenti nuovi e dunque creando associazioni e metafore particolari
- In-room interior is possible, starting with an idea, find the appropriate persons on the ground its realization composing shots with this in mind from the outset and then allows you to plan and design better the final result,
- can, in seconds, try different combinations of solutions and immediately see
Finally my advice for those who want to get close to nature photography:
- learn and perfect a good basic technique, but without becoming caught then, obtain and objectives of decent machines and equipment, consistent with its financial resources.
- to develop research techniques and modes of original photographs and fancy treating above the light management, exposure correct and, if you choose the photo documentation, detail and the best definition, but not neglecting the composition and creativity that are the elements that make it unique ; each photo.
Behind every picture there should be a last project, an idea of \u200b\u200bthe overall framework of its thematic area or expression, just a short message to be left in the world.
Angelo Mazzoleni
