The Excio Captivating Photography Journal Issue 8 by Excio

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Thank you for joining us on this exciting journey.

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WELCOME

Welcome to another exciting edition of our journal! In this issue, we continue our journey into the mesmerising world of photography, bringing you a diverse range of articles and features that will inspire, educate, and captivate.

We kick things off with an insightful interview with the talented Sarah-Jayne Shine. She shares her journey and unique perspectives on the art of photography, offering a glimpse into the mind of an artist who sees the world through a distinct and enchanting lens.

Next, we explore the unique perspectives and creative techniques that we can learn from children in the realm of abstract photography.

For those with an adventurous spirit, Peter Laurenson takes us on an adventure to photographic locations worth sweating for. Discover breathtaking spots that, while challenging to reach, offer unparalleled beauty and photographic opportunities that are well worth the effort.

Karen Miller then takes us to the pristine wilderness of the Auckland Islands. Her story showcases the untouched beauty of these remote islands, highlighting their unique landscapes and wildlife through stunning photographs.

In our article on capturing awe in photography, we delve into the techniques and mindsets needed to convey a sense of wonder and amazement through your images. Learn how to infuse your photos with emotions that resonate with viewers on a profound level.

We also present the Mindfulness Month challenge showcase, where we highlight the best submissions from our July challenge. See how photographers from our Excio community interpreted the theme of mindfulness, creating images that inspire peace, reflection, and presence.

We hope this issue not only entertains and inspires but also deepens your appreciation for the art of photography in its many forms.

Enjoy the visual journey, and as always, happy shooting!

ANA LYUBICH

Captivating Photography journal Issue 8 | Volume II | August/September 2024

Cover photo

By Debra Metcalfe

Publisher Excio

Website photographyjournal.org

Editorial enquiries hello@excio.io

Production Paper used in printing this journal comes from forests that are managed to meet the social, economic and ecological needs of present and future generations and is FSC (R) certified.

Reproduction of any material appearing in this journal in any form is forbidden without the prior consent of the publisher.

Dislaimer: Opinions of contributing authors do not necessarily reflect the opinion of the journal.

Discovering the art in everyday moments

A conversation with Sarah-Jayne Shine

WORDS AND IMAGES

SARAH-JAYNE SHINE lemonfacecreative.com

In this captivating interview, we delve into the life and creative journey of talented photographer and graphic designer, Sarah-Jayne Shine. Through her work, she captures the intricate details of everyday moments and the expansive beauty of landscapes.

We gain insight into her creative process, the themes she loves to explore, and her thoughts on the evolving role of AI in photography and design. Her story is one of creativity, perseverance, and an unending quest to capture the beauty of the world around her.

Sarah-Jayne, can you tell us about yourself and how you got started with photography?

I’m not entirely sure when or even how I got started with photography, but I can say I was the one behind the camera on family holidays, capturing moments and playing with composition from a young age. I was born and raised in England. I enjoyed art classes with photography components throughout my secondary school education. I immigrated with my family to New Zealand in 2002 at 17 and dabbled with photography again.

It wasn’t until my eldest son was born that my interest in photography really ignited. I think it was a mixture of connection with my little wee subject and, interestingly, I wanted to capture his ‘tininess’ – the minuscule fingernails, the thick eyelashes, etc. When I was in my early 20s, I wanted to become a photographer. Unfortunately, I was a solo parent which meant I needed an income…

photography would have to wait. As a creative person, I knew I needed to do something in the arts. I studied graphic design instead and that’s where my career started.

How does your background in design and brand strategy influence your approach to photography?

When I take pictures today, I’m always looking for clear space in my compositions. Places and spaces where I can add typography or graphics. My eye looks for interesting angles and positive/negative spaces first. The light and technical bits and pieces come after I have found the composition. I presume this is because of the hundreds of publications I have created through my career that have often needed better and more graphic designer-friendly images to help tell the story.

From a design perspective, what do you think about photographs?

When I’m working on the design of marketing materials and publications, I am usually provided with the imagery. If not, I go looking for the ‘perfect image’. It’s the image that often dictates the design for me. A great photo has power. It can emulate emotions, make the reader feel something, engage them, get them to take action.

What are the common themes or elements you like to explore in your photos?

I enjoy details. I will often be found taking pictures of herbs and spices in a hot pan or the way the light plays with my full wine glass, an aphid on the roses, or trying to capture the tiny scales of my Bearded Dragon, Boo. In stark contrast, I also like to capture the vastness of a landscape. I live in Horowhenua and I’m obsessed with the Tararua mountain range I see every day. I’m constantly trying to capture its beauty and essence –I’m still a work in progress when it comes to landscape photography.

What challenges have you faced (or are still facing) as an amateur photographer?

Besides the technical side of things with a camera, which I am still experimenting with as an amateur photographer, I do struggle at times to capture the scene in my head vs what my eye sees vs what is showing on the camera screen. I don’t know if that struggle will ever go away!

Can you talk about a project or photo series that you are particularly proud of?

I have a series of photos I took of a praying mantis hanging out on a dahlia in my kitchen. I had just finished pulling apart flowers and playing with the layout when this praying mantis showed up asking for its close-up. In general, I love any flower layout series that I create. They combine the designer and photographer in me. I can be my true and creative self and I think that shows in the images.

How do you see your photography evolving in the future?

I’m experimental - I’ll be inspired by something and want to try a new technique. I’m only going to continue to learn more and apply it to my everyday design and photography. I really want to look further into astrophotography and, in contrast, micro photography. I’m at both ends of the spectrum, I guess.

What are your thoughts on AI replacing designers and photographers? Do you use AI in your work?

It’s another tool. We can choose to use it, or not. I have used AI in Lightroom to help clean up the odd photo, but I haven’t dabbled in creating new images using AI. I’m not

sure - I’m still on the fence with it. I’m an observer… for now. I haven’t used AI in my design work. To be honest, I’ve been unimpressed with the results. Images need to create a connection with the viewer and I’m not sure AI has done that for me yet.

Any specific goals or projects you’re excited about?

Long-term, I’m off to Norway to capture the Aurora Borealis. It’s a bucket list trip! I’ve been chasing the Aurora Australis when we have been lucky enough to have it make an appearance this far north (lower North Island) and still have things to learn. In the short-term, I’m looking forward to spring. I have plans to visit more flower farms, find more local landscapes, and experiment with composition, capture more bees and find new angles.

Seeing abstract

How kids can teach us new photography perspectives

THE ART OF SEEING ACADEMY

As we all know, photography is ‘drawing with light’. However, since the invention of photography, the majority of photographers use it to depict reality—capturing what we see. While it has countless benefits, from connecting with nature through the viewfinder and capturing its pristine beauty to using photographs as evidence in court cases, only a few of us ever venture into the realm of abstract and creative photography. At ‘The Art of Seeing’ Academy workshops for kids, we encourage young photographers to let go of all the rules of photography and just free themselves and open up to experimentation. This is something that grown-up photographers should also do from time to time, even if abstract is not their favourite genre. photographyforkids.org

Abstract and creative photography is a gateway to exploring the world through a different lens. It encourages us to look beyond the obvious, find beauty in unexpected places, and express ourselves in innovative ways. This type of thinking not only enhances our photographic skills but also nurtures our overall cognitive and emotional development.

Engaging in abstract photography will inspire you to think outside the box. By focusing on abstract concepts, we learn to see patterns, shapes, and colours in a new light. It’s a fantastic way to exercise your imagination and creativity. Let’s have a look at some techniques you can try at home or in your backyard and some examples that young photographers captured at our workshops.

ICM photography

One exciting technique to explore is Intentional Camera Movement (ICM). This method involves moving the camera during the exposure to create

artistic blur effects. By experimenting with different movements, such as swirls, zigzags, or vertical panning, you can create unique and dynamic images. ICM encourages you to think creatively about motion and the passage of time, transforming everyday scenes into abstract masterpieces. If you haven’t tried it before, set your shutter speed to about 1 second, depending on your light conditions and the subject you are photographing. The most important criterion, however (if you don’t have neutral density filters), is that you find somewhere where the light is low enough to enable you to get a long enough shutter speed for ICM to work. Examples of when light will be sufficiently low will be in a forest on a cloudy day or a beach at dusk. At other times when the sun is up, you will struggle to get your shutter speed long enough. Experiment with slower/faster shutter speeds and the exposure triangle until you start getting the desired results. Then simply move your camera while you are taking the photo. If you have a tripod, start with it and slightly move your camera up or down while taking the photo.

ICM technique, photo by Finn Seiler, 13

Intentional Camera Movement (ICM) technique, photo by Denver Gilbert, 9

ICM technique, photo by Angus MacDonald, 9

ICM technique, photo by Anouk Hellendoorn, 9

Creative bokeh

Another fun technique is playing with creative bokeh. Bokeh refers to the out-of-focus areas in a photograph, typically created by the camera lens. By using shaped filters or adjusting the aperture, you can produce bokeh in various shapes, such as hearts, stars, or any custom design. This technique allows you to add a whimsical touch to your photos and explore the interaction between light and form.

To start, simply cut a circle shape with the same diameter as your lens from a bit of non-reflective paper or card. Then

cut out a tiny shape in the centre of the circle and fix the circle to your lens, e.g., with cellotape. First, test your skills at night—start by composing traffic or city lights and try adding an in-focus foreground element. If you’re not happy with your results, try a larger shape or a smaller angle lens. A good starting point is a 50mm or longer lens because wider angle lenses don’t work as well. Remember that as this is a really experimental technique, you may need to try a few different lenses until you find one that works for you. Set your camera to AV (aperture value) or M (manual) and shoot on your largest aperture value, which is the smallest f-stop number.

Square shaped bokeh, photo by Isabella Ibrahim, 11

Double exposure

Double exposure photography involves combining two different images into a single frame. This technique can be a fantastic way to merge your ideas and create surreal, dreamlike images. You may want to combine a portrait with a nature scene or overlay different textures to create a unique visual story. Double exposure encourages imaginative thinking and helps photographers understand the power of juxtaposition in art.

Only some digital cameras have the capability to do double exposures in camera. If you’re unsure whether your specific model will do a double exposure or not, just look at your manual (google it!).

But don’t worry if you have an older model of the camera and it doesn’t have an in-built double exposure option. Nowadays, the flexibility of editing software is where photographers and artists can really push the creative limits of double exposures. You can take two digital photos and lay them on top of each other. Through blending modes, transparencies and masking, you can create a double-exposed image.

Double exposure technique, photo by Emilia Yassinetsky, 12

Long exposure

The long exposure technique is another captivating method for you to experiment with. Chances are you have not only heard about long exposures but also tried it yourself, especially if you are a landscape photographer, but you can apply it to absolutely anything! By using a slower shutter speed, you can capture motion in a single frame, creating beautiful, flowing effects. This technique is perfect for photographing moving water, swaying trees, or even the trails of stars in the night sky. Long exposure

teaches us about the relationship between time and light in photography, and how you can manipulate these elements to create stunning, abstract images.

Photography is a powerful tool for broadening young horizons. With abstract and creative photography, we start to appreciate different perspectives and learn to value diversity in thought and expression. This experience fosters open-mindedness and adaptability, skills that are essential in today’s ever-changing world.

Long exposure technique, photograph by Liza Yassinetsky, 10

About ‘The Art of Seeing’ Academy

Abstract and creative nature photography offers a wonderful opportunity for young photographers to connect with nature, develop a valuable skill, and have a lot of fun in the process.

We believe in the power of creative thinking to open young eyes to the beauty and complexity of the natural world. By teaching them to think abstractly, we help them express what they see in their unique ways and encourage them to view the world through a creative lens.

If this sounds like something your child would enjoy, explore more opportunities to get involved at photographyforkids.org. Let’s inspire the next generation to capture the world with creativity and imagination!

Long exposure technique, photograph by Liza Yassinetsky, 10

Between Te Atua Mahuru and Maropea, Ruahine Range

Peter Laurenson takes us on a captivating journey through the Ruahine Range, highlighting some of the most stunning photographic locations worth the effort. Nestled between Te Atua Mahuru and Maropea, this region offers unparalleled above-the-bushline camping spots, pristine tarns, and expansive tussocky saddles. With the promise of unimpeded sunrises and sunsets, we join Peter as he delves into the breathtaking beauty and unique experiences that await in this remarkable landscape.

occasionalclimber.co.nz

If you pick a fine weather window, the Ruahine Range offers some magnificent above-the-bushline camping spots where you can enjoy unimpeded sunrises and sunsets. One such spot sits between two high points, Te Atua Mahuru (1,534m) and Maropea (1,511m), near the northern end of the range. In a broad, tussocky saddle are three tarns providing a water source, with plenty of soft flat space to pitch a tent or lay out a bivvy bag.

There’s a bit of sweating required to reach the tops, which sit 1,000 metres above the start point at the historic mill site at the end of Wakarara Road, lying west of Waipawa. If you’re in a 4WD vehicle, it’s possible to drive up the riverbed about three kilometres further, saving a good hour’s gravel bashing along the Makaroro.

Where Gold Creek joins the Makaroro, you have the option of following Sparrowhawk Track up to 1,370m Sparrowhawk Bivouac, nestled in the trees just below the bushline. This

hut is small and basic but allows you to avoid camping out, with the tops still only a few minutes’ stroll above the hut.

I enjoy a circuit much more than a there-and-back trip, and camping under the stars up high on a clear night is a magical experience. So I chose to carry on up Makaroro River for another two kilometres to join Colenso Spur Track. During the next hour, there was no point in trying to keep my boots dry, as I had to cross the river many times while keeping a watch for some indicator of the base of Colenso Spur. This was not as obvious as you might expect. A large DOC triangle sat quite high above the river in the trees. I only spotted it while trying to find the old stone memorial to William Colenso, the first Pākehā to cross the Ruahine Ranges in 1847. He made his first attempt, climbing up the spur named after him, in 1845. Back then, there was no trail, and Colenso survived his treacherous crossing attempt by eating cabbage tree tips and squeezing water from moss.

THE SUN RISING OVER HAWKES BAY TO THE EAST F8, 1/50 SEC, ISO 125, 221MM

It’s normal for the initial sections above rivers to be steep, but the base of Colenso Spur at about 500 metres is a small cliff. Above that, the gradient relents a bit, but two hands were often required during the first hour of climbing. I made steady progress as sweat poured like a river out of me. It was nice to emerge from the humid bush a couple of hours later beside an impressive bluff at 1,300 metres.

I sensed a sudden movement in my peripheral vision, then honed in on the sound of rattling stones as a large stag deftly plunged down the steep rocky slope. He dropped perhaps 500 vertical metres in what seemed like just one minute, then paused, looking directly back up at me. This was the Roar, so he was lucky the only shooting I ever do is with a camera. I had an unimpeded view and plenty of time to take several pictures before he resumed his descent into the trees.

I resumed my own upward progress to Te Atua Mahuru. From there, in slowly clearing cloud, I spotted a small tarn a little to the south. It turned out to be the middle of three

tarns nestled between Te Atua Mahuru and Maropea, and proved an ideal spot to bivvy. The tarn furthest south is by far the largest, but the middle tarn at 1,470 metres is best placed for photographers who like quick and easy ridge-top access for sunrise and sunset.

That evening was beautiful as the setting sun played on the still gradually clearing cloud. The next morning dawned crystal clear, revealing my route south to the top of the Sparrowhawk Track.

My route was mostly unpoled open tops, and visibility was perfect. To begin with, the going was easy as I passed over Maropea (1,511m) and then Orupu (1,475m). A hundred or so metre drop and a small eastward trudge saw me at Sparrowhawk Bivouac, where I’d hoped to top up my water supply. The tank was empty, but it was still nice to visit this charming little partially dirt-floored biv. South of the biv, just beyond Maropea (1,481m), lay a sparkling tarn where I was able to replenish my camelback before my descent.

A VIEW FROM THE BUNK ROOM OF SPARROWHAWK BIV, RUAHINE EASTERN TOPS F8, 1/50 SEC, ISO 125, 24MM

ENJOYING DUSK ABOVE MY BIVVY SITE (FAR RIGHT), WITH TE ATUA MAHURU BEHIND, RUAHINE EASTERN TOPS STITCH OF 2 LANDSCAPE IMAGES, F8, 1/320 SEC, ISO 125, 24MM

DAWN VIEW SOUTH PAST MAROPAREA, RUAHINE EASTERN TOPS STITCH OF 2 LANDSCAPE IMAGES, F7.1, 1/50 SEC, ISO 125, 24MM

DUSK VIEW NORTH ALONG THE RUAHINE RANGE FROM MY BIVVY SPOT JUST SOUTH OF TE ATUA MAHURU

STITCH OF 3 LANDSCAPE IMAGES, F7.1, 1/80 SEC, ISO 125, 244MM

Exploring the pristine wilderness of the Auckland Islands

IMAGES AND WORDS KAREN MILLER

Following our earlier journeys to the Subantarctic islands in the previous issues of the journal, for the next stop on my Subantarctic adventure, let me take you to the Auckland Islands. No, you won’t find them in the Hauraki Gulf. Instead, you will need to sail 460 km south of Bluff.

The three biggest islands are Enderby to the north, sized 710 hectares. The largest island is Auckland Island in the middle, covering 50,990 hectares. The southernmost island of the main three is Adams Island, with an area of 10,119 hectares. Carnley Harbour, covering 72 square kilometres in area, separates Adams and Auckland Islands.

The islands were formed from two ancient volcanoes between 25 and 20 million years ago. Carnley Harbour is a flooded caldera, with Adams Island forming the southern rim. Mt Dick on Adams Island has the highest point of all the Subantarctic Islands at 705 metres. The western side of the main Auckland Island consists of sheer cliffs, sometimes

up to 400 metres in height, while the eastern side has numerous inlets and bays, sloping down to sea level. The landscape was shaped by glaciers and so, in places, is mountainous and rugged. Enderby Island, however, is quite low-lying with a smoother, undulating, and peaty landscape. Sandy Bay is the only place you can land, as the rest of it is edged with cliffs.

There are many smaller islands in the group, and some of them manage to be predator-free and have flourishing birdlife. Unfortunately, Auckland Island is troubled with a wild pig population. Pigs were first released in 1807 to be a food source for shipwreck victims. More were released at a later date. The Department of Conservation is working to eradicate the descendants of these pigs, as they are decimating the herb fields and the ground-nesting bird populations. In the past, farming was attempted on Enderby Island, and it used to have cattle, goats, and rabbits. These were removed in 1991-1993, and it is now predator-free.

AUCKLAND ISLAND SHAG

This little fella was not at all fazed by twenty or so humans joining him for lunch. He was happy to pose on the cliff edge of Enderby Island, with the Southern Ocean as a backdrop.

We had two days in the Auckland Island area. We arrived in Carnley Harbour just before breakfast on Christmas Eve, to a gloomy, overcast day. It wasn’t a surprise not to see the sun, as there can be rain showers 331 days of the year. While we had breakfast, we were treated to the sight of thousands of sooty shearwaters forming murmurations just above the harbour waterline. It was a sight to behold.

Straight after breakfast, we began our adventure of the day. This was to be a cruise around part of Carnley Harbour, along the edge of Adams Island. Luckily, although it was a bit drizzly, it was not too windy, so it was safe to take the zodiacs out and still have our adventure.

Adams Island is pretty special, as it is New Zealand’s largest island to not have any introduced mammals on it. They say that the abundance of birdlife is close to what it would have been like in pre-human times. Due to this pristine environment, we weren’t actually allowed to set foot on the island.

Before we set off in the zodiacs, I layered up in four merino tops and thermals, a woolly hat and scarf, and a Gore-Tex wet weather jacket and pants. Seeing as the temperature was only eight degrees, the layers were needed to stay warm while speeding around the harbour.

Sadly though, the weather was not great for photography. I had my 180-600 mm lens on, which required a fast shutter speed due to the motion of the boat. So then I had to use a high ISO due to the gloomy light conditions.

All I can say is thank goodness for Lightroom’s denoise function, which helped to save some photos that would have otherwise been deleted.

We did manage some exciting bird sightings. I was pleased to achieve a bucket list capture of two Hoiho (yellow-eyed penguins) just chilling on the shore of Adams Island.

In the end, I gave up fighting to keep my camera dry. I put it away in my dry bag and decided to sit back and just enjoy the ride. It ended up being quite the adventure, as our guide opened up the throttle on the return to the ship. We were all hanging on to the ropes to keep from being bounced off into the harbour. It was great fun.

Due to the unfriendly weather, which got a lot wetter, we didn’t hang around any longer in that area. Instead, we set sail, heading north to Enderby Island. The next day was Christmas Day, and our team leader assured us the weather was going to be a lot better.

Merry Christmas, thank you, Santa, for blue skies and calm seas. We couldn’t have asked for a better present. Our adventure choices for Christmas Day were either a bush-bashing 12 km loop walk around the island, a zodiac cruise viewing a rockhopper penguin colony and an island visit after lunch, or an all-day exploration of Enderby Island at your own pace. Most of us chose the third option, with a Christmas packed lunch of a beef roll,

no butter, and a muesli bar or muffin. Being on a strictly biosecurity-controlled island, we were limited in what food items we could take onto it.

We took our turns being ferried across to the island on the zodiacs. It was a wet landing; we were landing on the edge of the beach into rock pools. So we all wore our supplied mud boots to keep our feet dry. We were dropped off at the edge of Sandy Bay, which has the primary breeding colony for the New Zealand sea lion, Pakeke. That was the part of the expedition I had not been looking forward to… walking across a beach full of hundreds of sea lions. I just kept reminding myself… you don’t run from the sea lions!

Looking out over Sandy Bay from the sea lion viewing platform, we had our designated area on the grass above the beach. But we still had to share it. A couple of beachmasters hovered on the edges to keep an eye on us.

Our guides led us around the Pakeke dozing near our dropoff point. They never even lifted their heads to see what we were up to, so that was cool. Our next step, at the check-in area, was to drop off our life jackets and change into our walking boots. Then we had to wait for the okay to cross an area of grass called Penguin Alley. This is an area that is kept marked off, as it is a favoured sea exit for the hoiho.

We had guides on the lookout, watching for the penguins. If any were spotted, then we had to wait for them to come off the beach and head up into the rata forest and their nests. Sometimes you could be waiting a while, as they are very shy and can take time to make up their minds whether they are coming or going. We didn’t mind, as they were very entertaining to watch.

HOIHO PENGUINS

Once through Penguin Alley, we headed for the viewing platform by the sea lion colony. They were also very entertaining, and I soon lost my fear of them. They are just overgrown puppy dogs. It is easy to tell the males from the females. The males are at least twice the size by weight and are dark brown, almost black, while the females are a lot smaller and are a light creamy grey.

The mature males turn up at the beach in October each year. Their plan is to find the best spot on the beach and wait for the pregnant females to turn up later and hopefully join them in their favoured possy. These males are known as beachmasters. They spend all their days

guarding their harem and fighting off any other males who might try to steal their girlfriends. Someone told me that during the breeding season, the males don’t get to feed as they won’t give up their sentry duty. They can go for a couple of months with no food.

The day of our visit was in the middle of the breeding season, and we were very lucky to witness three pups being born during our time observing. It’s not an easy beginning for a sea lion pup. Right from the start, they have to learn to defend themselves against the scavenging skuas. They are also at risk of being squashed by lumbering adult males interested in mating with their mums.

We were lucky to witness three births on the day we visited. Some one said that the number count of the pups on the beach, was up to one hundred.

After spending some time observing the beachmasters squabbling and the new mothers caring for their pups, our guides took us over to the boardwalk to explore the rest of the island. Like Campbell Island, Enderby has abundant endemic plant life. Our walk started off in the rata forest and followed a very gentle slope up to the plateau of the central island. I was lucky to be following a botanist, and it was intriguing watching her excitement as she stopped to admire the rarer plants. As for me, I had no idea what I was looking at, but I was able to appreciate the beautiful natural garden landscape.

Once we reached the plateau, we were in the middle of a southern royal albatross breeding colony. It was a very special privilege being able to watch them soaring all around us. On the odd occasion, we would come across

one nesting close to the boardwalk, quite happy to pose for the camera. The birdlife was generally unafraid of humans, and we had instances where a special bird would come close and hang around for several minutes at a time. While heading back to our pick-up point, I and a couple of others spent 20 minutes photographing a group of albatrosses having a family discussion. Did I really need 200 photos of that one group of birds? Um… maybe not, but it was a once-in-a-lifetime event to witness.

When we all got back to our ship, the Heritage Adventurer, we all agreed that it was the best Christmas Day ever. A perfect sunny day on a world heritage site, what more could you ask for?

A couple of other photographers and I spent quite some time observing this group of southern royal albatrosses gamming to each other. When we continued on our walk, we all had smiles on our faces.

A pretty little gentian, endemic to Enderby Island.

This pair of endemic banded dotterels were quite happy doing their own thing, no more than four metres away from me.

Endemic banded dotterel

An Auckland Island tomtit came to say hello when I was passing through the rata forest. Another bird that had no fear.

Capturing awe in photography

The wow effect

TEXT ANA LYUBICH

Awe is a profound emotion that can transform ordinary moments into extraordinary experiences. In photography, capturing awe not only creates visually stunning images but also evokes deep emotional responses from viewers. In our course, Unlock the secrets to captivating photography, we delve deep into the cycle of wonder and how to transform your photographs. In this article, we explore how awe enhances the captivating qualities of photographs and provide practical tips for you to capture that elusive wow effect.

In photography, we typically favour visual expectations - we prefer scenes and placements that seem familiar, such as putting objects in the centre of a scene. We find it pleasing when things that belong in the sky, such as birds, are high up as opposed to close to the ground. We prefer horizon lines that are typical of how we look at the world, and we find horizon lines that are unusually high or low unpleasant. Photographs that capture how we typically perceive the world bring us comfort and the aesthetic emotion, the feeling of beauty.

For a photograph to stir awe, it must suggest vast mystery. You need to evoke the feeling of wonder, of curiosity, and break the norms—capture something in a way that we don’t see every day, providing a new perspective and new light. One pathway is to hint at expansive causal forces. Another example is in repeating forms. Photographs of waves or mountains hint at large unifying forces—the tides of the ocean or the geological evolution of the Earth. But don’t just default to taking a quick photo of the mountain range and hope it will evoke a sense of wonder in viewers. Photograph something that will make people curious—a dark cave that not everyone notices straight away, wildlife that you would not normally expect to see there, unusual times of day, weather conditions, and so on. Also, avoid clichés. Many photographers tried to show the vastness

of our galaxy with a headlight torch pointing at the Milky Way, which worked wonders when the trend started but now is an expected photo, rarely evoking any strong emotions outside of “Oh cool!” and forgotten after just a few seconds of scrolling on Instagram.

In addition to inspiring curiosity and wonder in viewers, photographs evoking the feeling of awe can make viewers feel better—reduce anxiety, stress, and improve focus. Experiences of awe activate the vagus nerve, which wanders from the top of your spinal cord through your throat, heart, lungs, and digestive organs. Awe slows your heart rate, orients your attention toward others, and prompts you to explore and engage with the world. Awe opens our minds to the truth that we as individuals are part of something much larger than the self.

In one study, when travellers from 42 countries were stopped in Yosemite Valley and asked to draw a picture of themselves, the images they drew were considerably smaller than those drawn by participants at bustling and entertaining Fisherman’s Wharf (see below). Even the ego-related regions of the brain—are deactivated during awe.

(a and b) View of the Fisherman’s Wharf and view of Yosemite National Park. (c and d) Participants’ self-image drawing, randomly selected out of all drawn at the two locations. Source: Bai et al. (2017), Keltner, Awe (2023).

One example of awe-evoking photography is the work by Rose-Lynn Fisher, ‘The Anatomy of Tears’.

Rose-Lynn has ventured into a new direction in her visualisations, examining the visual nature of tears under the microscope for a number of years. This fascinating world in miniature, what you could consider ‘tearscapes’, is the outcome. The tears visualised are mostly the author’s own, with emotional conditions being necessary and concomitant contexts for these visualisations. The author essentially interrupted her emotions to capture the tears for visual examination. Several factors influenced what the images looked like: whether the tear was air-dried or compressed, the volume of tear fluid, chemicals the tear interacted with, the settings on the camera and microscope, and how Fisher processed and printed the photograph.

The viewer has a feeling of sitting in an elevated, drone-like position, looking in on someone’s inner turmoil that has been released for all to see. Some tears contained little of visual interest, others generated dozens of images. Like any landscape photographer, Fisher chose the elements—in this case, different patterns and textures within a single tear—she wanted to include in the frame.

However, to capture awe-inspiring photographs, you don’t need to go to that extent. Dacher Keltner, a psychologist

at the University of California, suggests that envisioning yourself or the world from a great distance is one of the most reliable ways to evoke awe. Keltner explains that awe is different from fear or an appreciation of beauty—though both can be present when awe is experienced. To find awe, Keltner says, we must look for “eight wonders of life”: nature, music, visual design, and moral beauty (when we witness people helping other people), as well as collective effervescence, spiritual experiences, epiphanies (when we learn something unexpected that changes our worldview), and, of course, life’s beginnings and endings.

No matter your style or favourite genre of photography, set aside some time to look through your photographs and think about what you can capture in a way that evokes awe. For example, you can capture life’s beginnings with wildlife, in nature, or in a landscape setting. For instance, capture an unusually formed or coloured decayed leaf in comparison with the green fresh growth in a forest setting. Think about capturing elements of a building that are often overlooked by passers-by. Love photographing people? Try capturing an emotional connection, gesture, or touching hands. Create a list and start exploring the world through the lens of awe.

To learn more about the emotion of awe and how it affects the qualities of captivating photographs, see our course page here

‘Laughing’ by Rose-Lynn Fisher

‘Microclimate’ by Rose-Lynn Fisher

Mindfulness Month challenge

July is Mindfulness Month, and every year we host the Mindfulness Month challenge with our Excio members. Participants receive a new prompt each day on a topic that inspires mindfulness practice, and then simply take and share a photo. While it sounds like a wellknown concept, the idea of connecting photography to mindfulness is, sadly, still not well understood.

What is mindfulness? Some ancient practices describe our usual state of mind and heart as ‘being asleep’. But there is another way of being, one that offers a quantum leap in the quality of life. This way of being involves a lasting shift in how we see and relate to life. In this state, our consciousness is filled with abundant goodwill and compassion for all beings—whoever they are and whatever they may have done. It is about ‘being awake’.

While there has been a surge of interest in exploring different practices to experience and learn this state of being, photographers have an advantage. We can

utilise our cameras and love for photography to stay ‘awake’. Exploring mindfulness and being present in the moment opens a door to wider transformation. After every Mindfulness Month challenge, we hear from our members that by thinking about daily themes and capturing photos reflecting those themes, they undergo transformation. This change affects how they experience life more generally and improves their skills and techniques in managing attention, focus, thoughts, and feelings.

On the following pages, we feature some of the entries from participants along with the daily themes. Think for yourself and try capturing a photograph in the way you see it. Practising mindfulness doesn’t have to stop at the end of July. It should ideally continue all year round. If you missed our challenge this time, don’t worry—we have Weekly Challenges where you are welcome to take part!

I CAN SEE BY NOELLE

BENNETT

I can see a person standing strong, supporting a friend who feels as though their world is falling apart. Because of that unwavering support, the friend begins to feel empowered to share their burden.

OBESERVATION BY

KELVIN WRIGHT

To photograph birds, I have to look closely to learn and anticipate their movements. But one of the things I love most about it is that the finished picture allows me to see so much that I cannot see without the aid of the camera: the intricate patterns of the feathers and the delicate ring around the eye; the brightness and color of the eyes; the tiny, strong beak; and the real sense of another consciousness behind the brown eyes.

OBSERVATION BY PENNY MILNER

Walking around the Wynyard Quarter, there’s a fence full of padlocks. I’m always drawn to the green one. I wonder who N + A are and what their story is.

Hare’s foot ink cap mushroom.

THE DELICACY OF NATURE BY DAMON MARSHALL

THE POWER OF TOUCH BY DAMON MARSHALL

HEALING IN NATURE BY PENNY

MILNER

I’ve always lived close to some form of water. Calming, moody, invigorating—a constant, joyous presence that puts life into perspective. Water can reflect it all, providing healing.

MORNING STILLNESS BY DAMON MARSHALL

I took this photo of the Wairoa River in Dargaville one foggy morning. It really captures the sentiment of that moment—it was eerily tranquil.

WATER’S TRANQUILITY BY DEBRA METCALFE

THE WARMTH OF THE SUN BY RUTH BOERE

QUIET CONTEMPLATION BY SANDY MCCLEARY

These King Penguins have mastered the art of waiting... for the egg to hatch.

taken at Bluff Cove in the Falkland Islands.

THE ART OF WAITING BY MIKE MILSOM

Photo

THE ART OF WAITING BY RUDOLPH KOTZE

SERENITY IN SOLITUDE BY KELVIN WRIGHT

QUIET CONTEMPLATION BY DAMON MARSHALL

THE VIEW OUT THE WINDOW BY ANN KILPATRICK

THE DELICACY OF NATURE BY SANDY MCCLEARY

A tiny insect’s balancing act on the delicate fronds of some moss.

I CAN FEEL... THE POWER BY RUTH BOERE

THE BEAUTY OF DECAY BY ANN KILPATRICK

THE GEOMETRY OF SHAPES BY DAFYDD DAVIES

CALMING COLOURS BY SANDY MCCLEARY

OBSERVATION BY DAFYDD

DAVIES

CALMING COLOUR BY KELVIN WRIGHT

ENERGISING COLOURS BY DAFYDD DAVIES

SOFT FOCUS BY DEBRA METCALFE

SOFT FOCUS BY JOY TRACEY

LETTING GO BY DAFYDD DAVIES

I CAN SEE... BY DAMON MARSHALL

I can see streaks of light shining through the darkness.

No matter what happened yesterday, today holds a fresh canvas of opportunity for us to paint our own picture.

THE JOY OF COLOUR BY DEBRA METCALFE

This lion at Wellington Zoo is doing what we often feel like—taking a nap and basking in the sun’s rays.

WARMTH OF THE SUN BY RUDOLPH KOTZE

I CAN HEAR BY KELVIN WRIGHT

We live about 1 km from the ocean beach. After a southerly wind, the sound of the waves is present all night. It sounds powerful, but also strangely comforting.

“Photography,

as a powerful medium of expression and communications, offers an infinite variety of perception, interpretation and execution.”

Ansel Adams

Photograph by Sarah-Jayne Shine