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The Izola native Sanja Tošić belongs to the younger generation of contemporary artists from the Slovenian coast. She is a young author, who has attracted attention because of the way she undertakes the exploration of visual creation in her characteristically intriguing manner. Sanja has used the photographic medium as a registering point for the images she generates. The thirty-year-old bachelorette of fine arts had her artistic breakthrough in the USA, where one of her works on exhibition was offered for use by renowned hip-hop performer, Future, for the cover of his newest album, Dirty Sprite 2. In 2015 the same photo was featured on a comic cover by Marvel: All-New Inhumans 1 Hip Hop Variant Future DS 2, designed by Marco D’Alfonso. In 2016, Sanja created photographs for Canon Europe, for their #UNLEASHPRINT campaign, with her photos being exhibited at the DRUPA 2016 Canon stand itself. Sanja dedicates her artistic attention to Nude figures, portraits and the exploration of liquid dynamics – jets, and drops of liquid color. She also works as an art teacher in a public school in Izola. She wants to save the world for no good reason, at least a few times a week. You can check more of her work on Instagram @artsanjatosic and on her website www.sanjatosic.com
Autumn Leaves Silky Smooth Canon 60D 135mm F/25 1/250 ISO100
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Micromatic Red Flares Invasion - Restasis Canon 60D 84mm F/11 1/50 ISO200
Lifted ILCE-7R 90mm F/9 1/60 ISO50
Auron ILCE-7R 55mm F/16 1/125 ISO250
The Rise of Magica Ultraviolet Color Drop ILCE-7R 90mm F/16 1/80 ISO250
Intensive Hysteria Psychotika: Deep Journey in Square Space Canon 60D 75mm F/14 1/80 ISO200
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Surfing-Downunder Nikon D800 10.5mm F/7.6 1/250 ISO100
Born in the province of Naples, Mauro Cirigliano has always been fascinated by photography since he was a child. He still remembers the many disposable cameras that he bought to shoot whatever he liked. He immediately felt a strong interest in the world of landscape and nature. Following this direction with passion, today he has found what moves him the most- night sky photography! Finding himself in the dark of the night, under a sea of stars has now become his greatest passion. His goal is to explore the most fascinating and dark corners of the planet. He also likes to bring home new emotions and feelings to share them with anyone who wants to join the journey.
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Golden Dunes Nikon D750 15mm F/3.5 7x15 seconds ISO6400 2 Rows - Up and Down
Revelling in the Night Sky
For over 32 years now, Ajay Talwar has been photographing the night sky and he says that the excitement and thrill of planning the images, that combine celestial and terrestrial objects, hasn’t waned a bit. Ajay travels with all his astrophotography gear all across India, especially the Himalayas, photographing the starlit skies. India is an enormous country of natural and cultural diversity. Through his TWAN (The World At Night) contribution, Ajay hopes to photograph many of India’s heritage under the starry sky. Shivika Garg from Chiiz talks with him and gets to know the tricks of the trade. Here are the extracts:
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200mm Earth’s Shadow Composite Canon REBEL XSi 200mm LHS: F/8 1/250 ISO200 Centre: F/4 1/2.5 ISO800 RHS: F/5.6 1/640 ISO400
How did you get into astrophotography and what do you like the most about it? At first, it was a single photo which had recorded a large globular cluster containing a million of stars. The globular cluster is called Omega Centauri, in Centaurus constellation. I had exposed an entire film roll that night in 1987. The slide film had 36 frames, but just a couple of frames had stars visible in them. The shop where I got the film developed had almost thrown the film in the bin. There was but one frame, which was loaded with stars, Omega Centauri cluster was clearly visible! That was my impetus for astrophotography. It is also the sense of achieving the difficult, because the genre of astrophotography, especially deep- sky work, was not normally taken up by those interested in photography. Astrophotography is quite technical but gives you the satisfaction of shooting something not every photographer does. As I shifted to digital astrophotography, the technical part seemed to get easier, as I was able to review the results instantaneously and improve upon my techniques. My focus then shifted to shooting ‘artsy pictures’, i.e., pictures with elements of the night sky along with elements of the earth such as natural wonders, scenic places, ancient monuments. I was invited to become a member of The World At Night (TWAN) from India. From then on my interest increased in the earth & sky photography. India is filled with ancient, natural and technical wonders. I would like to photograph them all under the stars and celestial bodies. While shooting the deep sky, what are the things you keep in mind? What is the creative process behind it? There are various kinds of deep-sky objects to be photographed in the sky. The main thing to keep in mind while shooting deep sky objects is to match the field of view of the camera and telescope combination to the object being photographed so that the object fills up the field of view considerably but does not overflow on the sides. Traditionally deep sky astrophotography is done using heavy and stable mountings located permanently at observatories or other locations. These days astrophotographers are increasingly using portable equipment to shoot the deep sky. These are known as portable trackers, which run on batteries. These light portable equipment can be carried too far off and remote regions such as a long trek in the
Himalaya. Using focal length lenses such as 100mm to 200mm, you can capture long exposure tracked photos of Milky Way, individual nebulae, etc. Some of the trackers have multiple settings such as half the sidereal rate of motion, which can be effectively used for deep sky objects against the horizon and Earth. How difficult is it for regular photographers to pursue astrophotography and deep sky photography? Deep sky photographers come from a background of being either amateur astronomers or from a background of photographers. To photograph deep- sky objects, a good mount is as important as the imaging camera and lens or camera and telescope combination. To shoot deep sky objects we need to use longer focal lengths. We also need to shoot long exposures. The importance of a good mount cannot be stressed enough. Further the mount needs to be capable of tracking the objects across the sky. These conditions are quite stringent on the mounting. Those with a background of amateur astronomy are familiar and understand the importance of the mounting in deep sky photography. Many of the regular photographers are overwhelmed with the stringent conditions that deep sky astrophotography needs with respect to mount, noise-free low light cameras and fast lenses. There is a fair bit of investment required for astrophotography equipment. Astrophotographers also need to travel to long distances carrying their equipment in order to find dark skies where light pollution is nonexistent and where the view of the deep sky objects is devoid of dust, pollution and clouds. While you can take up nightscape photography easily with lightweight equipment, deep sky photography is more involved. What are the common mistakes in astrophotography that you see other photographers doing? Getting the composition right for astrophotography is difficult, mainly because there is hardly any visibility from the viewfinder at a dark location. The only way to
frame the scene is by shooting a test frame. Some of the common astrophotographers’ composition mistakes that I see are that there is no prominent subject in the sky image, there are electric poles, towers jutting half in the frame, or even half a tree jutting in the frame. Unseen electric and telephone wires always appear in your frame when you come back and see your images on the large screen. Bright lights shining in the image or forming halos when they are out of the frame. Some of the technical mistakes that I commonly see in astrophotos are heavy noise, out of focus stars, saturated white stars and star trails devoid of colors. Sometimes, I see that the tripod has shaken and bright stars are trailed. This is because the image stabilizer is switched on while shooting a nightscape on a tripod. You need to turn off the stabilizer for long exposure astrophotos. I see a lot of star trail images with long and irregular gaps between exposures, which look bad in the final star trail image. Post processing mistakes are also quite common. Sometimes the image is dark and nothing much can be seen except a few stars. Many people selectively brighten the Milky Way and not the entire sky portion, which becomes readily apparent. Tungsten white balance, which makes the image look extremely blue is another common mistake. Overexposed deep sky objects, test frames incorporated in star trails, no contrast or excessive contrast and color in the image are some of the common mistakes. There is also the sacrilege of joining two separate images together, one shot using a long focal length such as an image of the moon using 400mm lens and another shot using a wide angle lens, such as a mountain vista using a 28mm lens and then join the two together to form one composite, really bad!
Shivika Garg shivika@chiiz.com A girl who loves to travel , Shiviki is either trekking or reading books when she is not working. A movie buff, she believes that life comes with a box of crayons. She tries to color hers with bright colors and is always quipped with a disarming smile. She dreams of traveling the whole world and believes in making her dreams come true.
Titas Ghosh, also known as ‘@snapshotdatabase’ on Instagram, is based out of Kolkata, India. He was drawn towards photography, more specifically towards macro photography, while studying zoology for his graduation, where he had to study and document small insects. He started with a small point and shoot camera and moved to a DSLR camera later on. His immediate equipments to shoot with are a Canon 70D and a Tamron 90mm macro lens.
Lychee Shield Bug Canon 600D 90mm F/8 1/400 ISO800
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Blue Banded Bee Before Landing Canon 70D 90mm F/4 1/250 ISO100
Dragonfly Canon 600D 90mm F/4.5 1/250 ISO1000
Jumping Spider Canon 70D 90mm F/5 1/200 ISO400
Grasshopper Canon 600D 90mm F/7.5 1/250 ISO800
Thomas Ruf was born in Bern, Switzerland and currently lives and works near Basel. Thomas Ruf has been practicing photography since 1977. He is one of those photographers who saw the transition from analog to digital. As an engineer with his own company, Thomas Ruf has extensive computer science skills that he puts to use during image editing. Carefully balanced image details, colors and tonal values​​ characterize the image style of Thomas Ruf. This picture style facilitates the free combination of pictures in series. You can see more of his work on his website www.thomas-ruf.ch
Climbing Snail Pentax K-3 100mm F/3.2 1/250 ISO400
Mushroom Trio Pentax K-3 100mm F/13 1.6 ISO320
Freshly Hatched Dovetail Butterfly Pentax K-3 100mm F/2.8 1/640 ISO1250
Mushroom Family Talk Pentax K-3 100mm F/4.5 1/8 ISO100
Magical Fly Agaric Pentax K-3 65mm F/7.1 1/30 ISO200
Sérgio Conceição was born in 1984 in Elvas, Portugal. His passion for photography began in 2000 through a social communication course. Since then, he has been contributing mostly towards the field of reportage photography. In his free time, he enjoys nature and by the end of 2010 he had already developed a taste for landscape photography. His origins in Elvas, Portugal and his childhood along the Guadiana River meant that the junction between the water and the landscape resulted in his photography of choice. In 2018, he started capturing the stars for the first time and found it to be addictive. He believes that nothing is better than enjoying every day, everything that nature gives us.
Milky Way in Medieval Castle Canon 6D 14mm F/1.8 15 ISO6400
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Pico Ruivo Canon R 14mm F/2 20 ISO6400
21st January’s Moon Eclipse Canon R 35mm F/4 ISO200
Nilgiri Laughing Thrush Nikon D500 600mm F/7.1 1/400 ISO320
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Holidays DJI FC220 4.7mm F/2.2 1/13 ISO100
Mahmutlar, Turkey DJI FC220 4.7mm F/2.2 1/1250 ISO100
National Space Centre, Nur-Sultan, Kazakhstan Hasselblad L1D-20c 10mm F/3.5 1 ISO100
Vaibhav Pardeshi Bhopal, India
74 CHIIZ GALLERY
CHIIZ GALLERY To get published, upload your photos on chiiz.com
The Bloody Blue Moon Nikon D5200 52mm F/10 13 ISO400
TASVEER Photography Contest
Rangaprasad Pondicherry, India
Sampa Guha Majumdar0 Kolkata, India
Holi in Barsana Nikon D810 27mm F/5.6 1/250 ISO800
Yogesh Rana New Delhi, India
Ratnajit Choudhury Assam, India
Close to Action Canon 70D 16mm F/7.1 1/400 ISO100
Desert Walk Canon 7D Mark II 42mm F/5.6 1/320 ISO100
Alimohamad Karami Hamedan, Iran
Aliasgar Bharmal Guwahati, India
One Happy Family Nikon D800 500mm F/6.3 1/2500 ISO800
Glass-coated String Canon 700D 55mm F/5.6 1/60 ISO200
Amit Kanwar Jammu, India
Nowruz LG G5 2mm F/2.8 1/120 ISO50
Waiting at the Gates Nikon D750 78mm F/9 1/640 ISO400
Partha Chakraborty Maynaguri, India
Healthy Breakfast Canon 600D 55mm F/22 1/125 ISO400
Jevgenijs Scolokovs Riga, Latvia
The Nature Against the Man Sigma DP2 quattro 30mm F/3.5 1/1250 ISO100
Sasanka Kakati New Delhi, India
Reality in the Eyes iPhone SE 4mm F/2.2 1/262 ISO250
I IT H Y D E R A B A D
Photography Contest
Mithail Afrige Chowdhury Dhaka, Bangladesh
Flood Relief Nikon D610 24mm F/6.3 1/200 ISO1250
Pankaj Prahalad Narshana Matunga, India
Rachit Gupta Allahabad, India
Faith Nikon D5200 18mm F/3.5 1/10 ISO1600
Saurabh Sirohiya Kolkata, India
The Nature Against the Man Sigma DP2 quattro 30mm F/3.5 1/1250 ISO100
Feeling Jealous of Big Face Nikon D7200 14mm F/5 1/160 ISO125
Black Experience I Canon 1DS Mark III 45mm F/5.6 1/40 ISO1600
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