Nature Photo Magazine 2010/3

Nature photo magazine

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Autumn landscape, fog and mist | Tips and tricks China, Silk Road | People-cultures Photography of big game | Photo school

2010/3.

welcome Dear Reader,

Welcome to our 2010/3. autumn issue. „Here comes the autumn, here it is again” – and now we have arranged our bunch of articles and present them to you.

Our popular columns continue with the following contents. Anikó Imre and Tamás Imre provide valuable information about landscape photography and filtering through the autumn landscapes of Scandinavia.

The Interesting Places column takes us to Hortobágy and our guest photographer Gergő Nagy introduce us to the Land of Giants, in Ireland.

Fine art photographer János Eifert guide our readers to the Silk Road of China in the People, Cultures, Cities series.

In the Portfolio, we welcome János Gyurom who is a lover of photographing games and birds in autumn and winter.

Our Photo School column provides help for big game photography by János Szekeres who has been walking the forests of Hungary for these royal stags for 30 years.

The Tips and Tricks column gives advices for the photography of autumn lands by Béla Szabó. Co-authors Árpád Krivánszky and László Suhayda guide us to the world of vapour and fog.

In our Underwater World column Dániel Selmeczi has published the second part of his article on Central America which dazzles us with wonderful underwater pictures of the Cocos Islands.

Our series of articles on diaporama in which we present the Wings Platinum 4 software and reveal the secret of what makes diaporama much more than a simple slide-show.

As for processing, this time Márton Perhiniák introduces the public to Adobe Lightroom noise reduction technology, showing tricks by a video tutorial.

Through Bence Máté’s pictures and Ágnes Kis’s text we can glance into the life of the hoopoes of Soltvadkert.

Our website has been developed into a dynamic site which allows us to provide news, exhibition and other useful information much more frequently. Please, visit us regularly at www.termeszetfotomagazin.hu PARTICIPATE IN our educational project on nature photography at our EYE OF NATURE website where photographers can share pictures and comments.

We welcome the portfolios of nature photography clubs and photographers.

We are also awaiting the registration of nature photographers who are willing to share their photo scenes with others selflessly. The most beautiful sets will be published in the printed version of the magazine too.

Please send your portfolio and photos to info@naturephotomagazine.com Please receive our sixth issue with love.

Cover: Golden lake Photo: © Tamás Imre Canon EOS 1D Mark II, EF 24-70mm f/2,8 USM 1/80 sec, f/16, ISO 100

Tamás Imre Editor-in-Chief

Photo school - Photography of big g

Adventure tour - Scandinavia

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Finland, Sweden and Norway. Above all, the names of these countries are mentioned in European photography circles if it comes to autumn landscape photography. However, photographers from southern and eastern countries might say: brr, too cold there, isn’t it?

Our latest adventure is a bit different than the previous ones as we don’t offer descriptions of landscapes but some help for landscape photography.

portfolio - jános gyurom

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He lives together with the ever-changing, wonderful nature since his childhood. “Binoculars or cameras, each of them are keys to nature and each opens different hidden doors and the image, which can be seen behind these doors, changes according to door we enter”, the father of Hungarian nature photography and film-making Zoltán Tildy said.

interesting places - Ireland

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I don’t know why I chose Ireland as my destination. I just wanted to disappear for a while. Just to get away to a foreign country with a single backpack. I just wanted to walk out of the everyday life. Of course, photography wasn’t my least concern either. So I decided to go to Ireland as it is relatively near and its beautiful land inhabited by Celtic legends, and I won’t starve to death even if I don’t pack food for a week.

game

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©János Szekeres - Evening

cocos - the green island

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In Cocos Island - in contrast with Malpelo – cliffs can be barely seen since the vegetation covers everything. As we were heading to our first station Chaten Bay, we could spot several waterfalls as we passed the island. Someone else was touched by this sight too, as the opening scene of Jurassic park was shot there. I felt like I was in the last Paradise.

Bence Máté - Hoopoes

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This summer has not been too favourable for birds.

Countless attempts of brooding have been failed or delayed due to the frequently rainy and cold weather. However, a hoopoe couple - in the small, hidden woods of Soltvadkert – was lucky. These strange looking birds, for some reason, have been using for brooding a conrete ring (which was left behind by farmers ten years ago) for several years.

interesting places hortobágy Tips and tricks

autumn landscape Fog and mist People-cities-cultures china, silk road book review Macro photography diaporama

wings platinum 4 /II digital image editing Lightroom 3 - noise

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Canon EOS 1Ds Mark II, EF 16-35mm f/2,8 USM

0,4 sec f/22 ISO 100

Photo adventures

Landscape photograpy in Scandinavia Finland, Sweden and Norway. Above all, the names of these countries are mentioned in European photography circles if it comes to autumn landscape photography. However, photographers from southern and eastern countries might say: brr, too cold there, isn’t it?

Our latest adventure is a bit different than the previous ones as we don’t offer descriptions of landscapes but some help for landscape photography.

Why Scandinavia? - some of you may ask. Don’t we or our neighbouring countries have an autumn which is beautiful enough? It’s not that simple. Of course, we can find places in many countries where we can take nice photographs of colours, moods and landscapes. However, in northern countries things are a bit different as the cold weather usually comes suddenly and bites the leaves of the trees and bushes, that gives colour to them quickly and in a great variety. In addition, if you are willing to go a bit farther for some nice scenes, then you might be able to charm your pictures with the colourful mixture of lichens and other plants stretching on the ground. They rightly say: “the wonderful North”. So if you look for something different in autumn colours then you should head to the North. The flora is different, there are more bushes there and the white trunks and golden leaves of the wonderful birches make the trip to Finland, Sweden, Norway or even to North-America, to Canada more attractive.

But let’s not go that far, let’s stay in Europe instead. Before we set off, we should consider the circumstances of the field and prepare the appropriate clothing. Landscape photography requires lots of reflection and contemplation which of course, costs significant time.

I would suggest the following equipments. The most important is a stable stand, a 3D panoramic tripod head or a stronger spherical head, the point is that it must have a level. If the head does not include this, than it is worth buying a level which can be attached to the hot shoe. There is nothing more disappointing than a landscape shot with a slanted horizon.

Don’t forget your remote cable either, it is very useful at longer exposures and essential for making a blurless picture. The best solution if we have digital shell equipped with a full sensor, e.g. an EOS 5D MarkII or a Canon 1Ds MarkIII, Nikon D3s or Nikon D700. These shells have 24x36 mm CMOS sensors, so the pictures shot in a special prespective shows what we used to expect from our old non-digital camera. In addition to this, we can make much more detailed pictures with the help of their high resolution.

Canon EOS 1Ds Mark II, EF 24-70mm f/2,8 USM

30 sec f/13 ISO 320

Our lense can be f/2,8 16-35 mm, or if we have an APS-C format camera then a 10-20 mm lens is a good choice, it can be Canon, Nikon or Sigma. For a basic lens f/2,8 24-70 mm will do, but don’t leave your f/2,8 70-200 mm lens at home, and even a 1,4x and 2x could do a good service when photographing landscape details. If you have a lens with image stabilization then you must switch this function off when using a tripod. .

Many think that’s all what you need. Certainly not!

You need a good quality Hoya polarizing filter, Cokin (Singh-Ray Filter USA) ND8 graduated filter, full Cokin (Singh-Ray Filter USA) or B+W ND8 filter, Cokin (Singh-Ray Filter USA) graduated tabacco filter

and a Hoya red enhancer filter. For a Cokin (SinghRay Filter USA) you also need a filtercase and an adapter ring. You mustn’t forget your raincoat at home, you can cover with it not just yourself but your equipment too during an autumn shower, and in addition, the best lights are after rain.

We can use our filters as follows. The polarizing filter must always be upon the lens, the Cokin (Singh-Ray Filter USA) adapter should be screwed into it. Here I mention that Cokin sells thin filtercases specially made for for landscape photography. You need this if you take photos with an ultra-wide angle lens as in this case the edges of the filtercase might cause vignetting.

Canon EOS 1Ds Mark II, EF 16-35mm f/2,8 USM

We can also find the Vari-N-Duo filter in the USA Singh-Ray Filter family which combines the filters well for the actual lighting conditions. Graduated ND filters to be used for darkening the brightness of the sky, they are essential for making balanced lights. To slow down the exposure you need ND8 filter, we can photograph special, “blurred” effects with the help of it. I suggest the graduated tabacco for stormy, dramatic sky, while Hoya’s red enhancer is specially made for autumn colours.

The red enhancer is made out of didymium glass which is a filter with very special light transmission features. This glass has been specially constructed for strengthening the saturation of orange, red

0,6 sec f/22 ISO 100

and brown themes and the colour contrast. It is able to do this without making significant effect on the other colours, that’s why it is so popular in landscape photography. B+W Warm Tone Polarizing Filters can be useful too. It is a combined couple of filters including a polarizing and a 81B warming filter as well. Representing the warm tones of autumn lands and using a polarizing filter at the same time can result in beautiful, richly coloured autumn pictures.

After the description of photo equipments, let’s go to shoot. However, it does matter when: in the best lighting conditions, of course! You might

Canon EOS 1Ds Mark II, EF 16-35mm f/2,8 USM

1,6 sec f/22 ISO 100

Planning Scene: Scandinavia Accessibility: Oslo or Stockholm Airport.

Photo themes: Landscapes, macro-themes, mammals.

Equipment: Besides the equipment detailed in the article memory cards and batteries, as much as you can.

Accomodation: In Scandinavia you can find good quality accomodation in wooden houses by the road.

The best time to go: from September to the end of October.

have already read it in magazines and heard on presentations or from your photographer friends a thousand times that you should go photographing in the early morning or evening lights. Early morning or the evening is good because the light at that times is horizontal. It means that the light is almost parallel with the horizon which gives a nice 3D effect to the land. In addition, the light at dawn or at dusk is rich in red tones, has reddish, orangish or pinkish shades, depending on the actual conditions of the day. We can take the most interesting pictures on cloudy days because at that times the morning and evening rays of the sun dance in front of our camera lens and colour the clouds too.

Canon EOS 1Ds Mark II, EF 24-70mm f/2,8 USM 0,4 sec f/22 ISO 100

Take pictures in diffused lighting, since the Sun, as main lightsource, emits strong and hard light which casts shadows sharp and deep. The brilliant combination of diffuse lights and warm tones is the best opportunity for the most excellent photography.

But don’t forget the opportunities provided by the lights before sunrise and after sunset. During that time (in about a 30 minutes period before sunrise and after sunset) the land is bathed in soft, colourful shades of light which provide a very favourable chance for long exposure photography. These soft, gentle and warm lights are the ingredients of a real artistic photography, and these are the most attractive for human eyes. Enchantingly beautiful landscape photos can be taken in such conditions.

I would recommend the following regions for photography in Scandinavia. Norway: Hardangervidda National Park, Jotunheimen NP, Rondane NP, Femundsmarka NP, Dovre NP, Forollhogna NP, Øvre Pasvik NP. Sweden: Fulufjället NP, Abisko NP, Färnebofjärden NP. Finland: Lemmenjoki NP, Fulufjället NP, Sånfjället NP. Of course, you can take nice pictures outside the national parks too, but untouched nature and the lack of any nuisances (e.g. pylons) is rather guaranteed here.

Attention! In the above mentioned national parks you can mostly move on foot or by bike, you have to leave your car in an outside carpark.

I hope that I was able to arouse your interest in autumn landscape photography. Don’t worry if you cannot manage to take the desired photo at the first time as landscape photography requires persistence and certainly lots of early wake ups.

Text: Tamás Imre Photos: Anikó Imre and Tamás Imre photographers

Interesting places Hortobágy National Park awakens by birdsong

„Hortobágy, is the giant king of plains.

The ancient calmness sits around here musing in silence like a hundred years old man who’s thinking deeply about the busy days of life with a silent heart.”

(Sándor Petőfi)

Canon EOS 1D Mark II N, EF 600mm f/4 L IS USM

1/1250 sec f/11 ISO 500

Canon EOS 1D Mark II N, EF 600mm f/4 L IS USM

1/3200 sec f/5,6 ISO 400

Cranes give “groo-groo” trumpet-like sounds over the Hortobágy from September to the end of November every year. Cranes come from the North, mostly from Russia and Scandinavia and cross Hungary on the way to their wintering place. During their migration Hortobágy National Park is one of their most significant rest area. The National Park was inscribed on UNESCO’s World Heritage List in 1999.

95 per cent of the cranes (Grus grus) crossing the Carpathian Basin head to Hortobágy where they have a long rest and set off again only at the time of the first snow or frost.

Until the beginning of 1900s this wading bird, which inhabits in the impenetrable reeds of Hungary, was highly respected by Hungarians. To such an extent that there were servants at noblemen’s estates whose job was taming of cranes. Cranes had high reputation among common people too.

The crane had already played a significant role in the life of the different ancient cultures. The Egyptians, just like the Greeks, the Romans and then the mogul princes of India all kept domesticated cranes, and this hobby is mentioned by Chinese sources too.

The role of the crane in the belief system of the ancient and medieval people is significant too. It was the symbol of vigilance in the Greek-Roman mythology, the crane was thought to be a guard of the resting birds, standing on one foot and holding a stone in its other foot in order to stay up. In the Middle Ages cranes had a widespread religious and symbolic meaning: as a migratory bird and as a snake killer was the symbol of Christ.

The fish lakes of Hortobágy is one of the most important rest area of the cranes. Here they can spend the night safely. In the last few decades the lakes provided overnight stay for about 80,000 to 100,000 birds.

Canon EOS 1D Mark II N, EF 600mm f/4 L IS USM + 2.0x 1/160 sec f/11 ISO 500

Of course, it does not mean that we can see huge flocks of birds all the time but is not rare that even 40,000 cranes rest on a bigger lake. If you have ever seen a flock of cranes flying in the clear sky at sunset and heard their typical „croo” voice as it comes nearer, then you are likely to say that it was an unforgettable life experience. Masses of fowlers and photographers occupy the area of national park at such times,

waiting on the cranes. When they fly in the evening and at dawn you can experience such cacophony that you will even hear in your dreams.

The experience is so fascinating that me and my photographer friends come back to watch and hear the cranes over again for 15 years. The area is partly free to visit, visitors can walk along a study trail to learn the history of

the lakes. Disturbing the cranes is forbidden, they are quite shy birds anyway. We can spend the night in the protected natural reserve only if we keep a proper distance.

If you are new to the area, it is worth choosing the way between Tiszacsege and Balmazújváros.

There are purpose-built birdwatching towers there, from which you can see the birds and have a better chance to photograph the flocks flying in.

Canon EOS 1D Mark II N, EF 600mm f/4 L IS USM 1/8000 sec f/7,1 ISO 500

The big fish lake of Hortobågy is a good choice too where you can enter (in exchange for a visitor’s ticket) and watch the birds along a study trail. But it works only when the lake is drained otherwise the cranes spend the night on the lakes of the nearby farms where you need to ask for a permission to enter.

What equipment is needed for photographing cranes is a frequently asked question.

Of course, it well effects the quality of the processed pictures too, so you have to decide in advance what is your aim. If you want to photograph flocks of birds flying into the disc of the Sun, then a 70-200 mm lens or even a simpler f/5,6 300 mm telephoto lens will do. However, if you want to photograph a single bird or a family in a nice environment then a hide tent is essential. You always must ask permission from

the local authorities for setting up your tent to avoid getting into an embarrassing situation, e.g. photographing in a protected area.

As for the equipment, you can use bigger telephoto lenses here. I do not tell the type, but the rule is simple: the bigger, the better.

The best solution to join an organised workshop or contact a local firm specialised for photo tourism.

Canon EO

Canon EOS 7D Mark II, EF 600mm f/4 L IS USM 1/2500 sec f/8 ISO 200

EOS 5D Mark II, EF 300mm f/2,8 USM 1/400 sec f/4 ISO 800

Planning Scene: Hortobágy, Hungary.

Accessibility: From Budapest Airport by car on M3 motorway, then turn off at the exit to Balmazújváros.

What to photograph: Birds and lands.

What to take with us: Wide-angle lens 24-70 mm (for landscapes), 300 mm telephoto lens, lehetőség szerint 1,4x teleconverter; tripod; ND graduated filter; memory cards, camouflage net, hide tent.

Accomodation: Near Balmazújváros or in Hortobágy village we can find accomodation of medium quality.

Best time: From September to November

They can obtain the necessary permissions for you in advance and they also know the movements of the birds better, so you might be more successful with a smaller lens. I organise such tours in region myself.

We, Hungarians can be rightly proud to have so many cranes resting here during their migration.

And if we live in harmony with the nature, then we can watch this wonderful sight for long, as in the morning and at dusk ten-thousands of these splendid birds fly in a V-shape – almost covering the sky - in light-purple and orange colours and with a big noise. These pictures have been made for letting more and more people know about this beautiful natural spectacle of Hungary.

Text: Tamás Imre Photos: Anikó Imre and Tamás Imre photographers

János Gyurom He lives together with the ever-changing, wonderful nature since his childhood. “Binoculars or cameras, each of them are keys to nature and each opens different hidden doors and the image, which can be seen behind these doors, changes according to door we enter”, the father of Hungarian nature photography and filmmaking Zoltán Tildy said.

János Gyurom has entered these “hidden doors” for three decades.

Now as a hunter with binoculars, then as a photographer.

By today, he realised that it was not possible to pursue both professions successfully and responsibly. His hometown Pápa and its surrounding countryside, the Bakony mountain offer daily joys of discovery for a nature photographer. He was enchanted by the colourfulness of the nature and the wildlife. During his hikings a camera had become his best companion and through its lens he offers a glimpse into nature’s perpetual revival. These experiences are arranged by his attitude and his pictures talk about the relation between nature and man, and about the photographer himself.

In his words: “I want to give hints of thoughts to the viewer through my photos to make them recognise nature’s vulnerability behind the beauty of the sight and highlight the necessity of joining forces to save our environment. A good nature photographer can do a lot in changing attitudes. However, it is not easy to do and it requires tireless persistence. Nature photography has become the part of my life in the last few years. The love and respect of nature urges me to do more and more for saving the wildlife. My photos are aimed at presenting this wonderful world which is only at arm’s length but still consists of exotic beauties, beautiful landscapes, interesting colours and shapes. I represent them by artistic means to anyone who likes nature and the beauty of the world around us. I want to make make the viewer understand that nature is not only the world of the well-known big games but it can be found in our immediate vicinity too.

I trust that people, after seeing my pictures, would walk in the nature with more love and attention.”

János Gyurom is a member of one of the most reputable Hungarian photo community, the Bakony Photo Club.

As he says, “It is nice to belong to a community where my work is acknowledged and respected.”

Nature-lovers could have seen his works in 39 individual exhibitions so far and he has received several domestic and international awards. One of his highest honours is the Golden Diploma of the Association of Romanian Fine Art Photographers.

He is a member of the Hungarian Ornithological and Environmental Association (MME) where he does some monitoring job too. Recently he has built an observation tower (at a cost of no little money) from which he can pursue nature photography “comfortably”. I think that his confession tells it all: “Waiting and watching in a forest noisy with birdsong where you can barely hear the fading peal of remote bells, or to watch the changing pastels of the awakening nature: It is a joy!

Waiting on a stag coming out of the woods to the glade or a fox emerging from its burrow: It is exciting!

Watching the behaviour of birds at night: It is a mistery!

Spending the night in a hide at a lakeside: It is an advanture!

Admiring the birds circling above the forests of the Bakony with gay abandon: It is freedom!

Recording all of these in a picture to be able to relive the colours, the lights, the experiences: THIS IS NATURE PHOTOGRAPHY! For more information please visit www.gyuromfoto.hu Béla Szabó

Portfolio

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photo school

photography of big game Now let’s have a closer look at a tiny but all the more exciting section of nature photography. At the end of the summer, in August and in September when the heatwaves have already gone and at dawn and at dusk the air turns cool with an ethereal mist above the lands, big games take a fancy to more intense movements. At such times the well-known voice of the stag can be heard: the troating begins. Of course, by this time we have already discussed our intention of taking pictures with the professional hunters and asked for different permissions which allows us to move around the area. You should never miss to do this if you want to maintain a long-term, good relationship with hunters.

If we are lucky, they might even give some pieces of advice and provide valuable information for us. It is really worth to take their advice as they are experts on their hunting-ground. However, apart from their suggestions, it is also a good idea to have our own look at the photo scene in advance to be fully aware of some important things such as the prevailing winds, the movement of the sun etc., to determine the best time for the best lighting conditions or to choose the most advantageous view.If we are previously wellprepared then nothing can catch us unawares.

Taking photos up from a high-stand - due to the higher visual angle - is only suitable in exceptional cases.

As for me, I would suggest two ways of big game photography: we can take pictures by stalking or out of a hide. I would recommend the latter because when being on the move we have to fight with the excellent senses of the game which are much better than ours. If you stalk, then do it after rain as at such a time you can walk more quietly on the forest ground.

Canon EOS 60D, 500mm 1/8sec f/5,6 400 ISO

Do not forget that stalking consist of series of small hidings. Slow and quiet motion is favourable with stopping from time to time to search the field through binoculars. If you are lucky, you can snap a picture of the wanted game. You should use a monopod or a light tripod and should not take big and heavy telephoto lenses as it will hamper you in your movement. A 2.8/300 mm telephoto lens will do, maybe completed with a teleconverter.

Nikon D2X, 500mm 1/80sec f/4,8 ISO 400

Pentax 1/180sec f/11 ISO 800

Nikon D1X, 4-300mm 1/200sec f/5,6 ISO 400

Canon EOS 60D, 313mm 1/250sec f/5,6 400 ISO

Canon EOS 60D, 161mm 1/30sec f/5,6 400 ISO

Camouflage

Clothing should be suitable for the field and should not make unnecessary noises. Wear flexible shoes of which sole is made out of soft and thick rubber to soften the noises of your steps.

As I said, I prefer photography out of a hide. A wisely built hiding tent can provide an excellent photographic experience. Silence is a must, as the slightest noise can scare the game away. Regular feeding is a good idea too.

By this method, we can lure the games to a place where we can take the best photos of them. It is important to be familiar with our equipment and to use them properly.

In action photography there is no time for trying out different settings, we have to practise them thoroughly well in advance.

Permanent concentration is also important, otherwise you might miss the often unrepeatable moments which take place very quickly.

Arrange everything in your tent well in advance and organise the different photo equipment, water and sandwiches to be at hand. Open the Velcro of your bag.

It is important to sit comfortably as you have to stay for hours or even for a day.

Use high speed lenses, e.g. 4/500 or 4/600 mm and a very stable stand so you could take pictures at dawn or at dusk longer. It is worth to keep a shorter 2.8/70-200 mm zoom lens, besides your fixed telephoto lens, on a reserve stand.

Sometimes extenders can do a good service as they extend the focal length of your telephoto lenses. Charge your batteries and make sure there is free space on your memory cards. Be aware of the biology and ethology of the animals you want to take pictures of, it also requires some preliminary research. We can find plenty of resources on the Internet or in different hunting books.

Tips: Photograph the animals at their best, in a nice and elegant situation. There are some rules worth keeping in mind. Always shoot from eye level or from ground level.

Let the eyes of the animal be seen. Limbs should not be covered. Pay attention to the background. The rule of golden section does apply here too. Do not forget: equipment is not all. The photographer’s personality, creativity or knowledge adds much more to the picture.

And of course, you need good luck too.

I wish you nice lights and action-packed photos.

Text and photos: Árpád Szekeres

Fuji FinePix S2 Pro, 70-200 mm f9,5, 1/500, ISO 160

tips and tricks autumn landscapes

Here comes the autumn, here it is again Nature photographers’ favourite season, autumn is slowly coming nearer. At that times many of them grab their camera and set off to capture the colourful nature and the atmosphere of the season.

However, it is not always easy to represent in the pictures the original sight on the scene. I would like to give some pieces of advice for photographers how to find more joy in the season.

The most important to choose the appropriate file format. I would suggest RAW to anybody in order to make the most of the saved material. Elaborating a successful picture subsequently requires lots of work but it is worth.

Carrying a tripod is essential. Firstly, it makes you consider more carefully when choosing the scene instead of “shooting at random”. On the other hand the autumn season often dim, at such times a stable stand does a good service.

Do not leave your filters home. You might need the polarizing and the grey filters. It is worth taking with you the whole set of the latter ones. I like using sunset filters too, you can take very pleasant, warm tone pictures with them.

As for the lenses, wide-angle lenses and telephoto lenses are equally useful to shoot our autumn pictures. If you find an exciting theme, look at it through different lenses. Not always your first idea is the best.

Don’t worry if you are not an experienced hiker, parks and arboretums are excellent scenes too. And they have a big advantage as we can find a great diversity of species in a relatively small area, so we can catch several different autumn moods.

Unfortunately, I have a bad news for the ones who get up late, the Sun rises in the morning during the autumn too. But the good news is that much later than in summer. The early morning mist remains longer too, and foggy mornings or days are also much more frequent.

© Tamás Imre Canon EOS 1Ds Mark II, EF 70-200mm f/2,8 USM 10 sec f/13 ISO 100

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At such times grab your camera and go out to shoot.

Skilled photographers know that the mist or fog shows its best in half or full backlight. If the fog is thin, use a telephoto lens which thickens the view and strengthens the effects of the water in the air.

Water, lakesides or riversides provide rewarding themes. The intense colours of the autumn make reflections on the water surface. To make such pictures we need a calm, windless weather.

We can create a special atmosphere if we photograph leaves drifting in a river. Here choosing the right exposure is very important in order to make the blur enjoyable and – at the same time the theme visible. The display of our camera help a lot. We can check the effects of our shots. Take your time to make attempts. Relatively slow rivers are the most suitable for taking such pictures. The points, where the water swirls or runs around a stone, can be very exciting.

Autumn has its characteristic flowers, include them into your landscape if possible. Even if the country is not in its full colourfulness yet, you can suggest the atmosphere of the season by them.

It is possible that orthodox nature photographers stone me to death for this but I suggest not to represent the sight in a slavish way but try to record an atmosphere. Processing is an essential part of creating an atmosphere. I can completely accept that we should not insert elements subsequently, but we should get rid of the nuisances during the processing. In the past, there were tricks even in the darkroom through which the author could make the FINAL PICTURE. I don’t understand why a lot of people call this process what we now do on a computer “forgery”.

Finally, another useful advice. If you find a good scene, make a note and record the date too. It might be worth coming back next year, or to have a look at its atmosphere in another season. Unfortunately, nature does not pamper us with its colourfulness every year. But we can console ourselves with the thought that there will be autumn next year too.

Text and photos: Béla Szabó www.belafoto.hu

Canon Eos 5D f32, 1/4, ISO 125, 70-200 mm

Interesting places

On the land of giants and legends

Nikon D80, 18-35mm/3.5-4.5 8sec f/16 ISO 100

Nikon D80, 70-200mm/2.8 1/200sec f/2.8 ISO 250

I don’t know why I chose Ireland as my destination. I just wanted to disappear for a while. Just to get away to a foreign country with a single backpack. I just wanted to walk out of the everyday life. Of course, photography wasn’t my least concern either. So I decided to go to Ireland as it is relatively near and its beautiful land inhabited by Celtic legends, and I won’t starve to death even if I don’t pack food for a week.

The idea was followed by action. My low-cost plane took off with trembling wings like a fat iron bird. It was a night trip. The lighting network of the cities were gliding below me like organic circuits. I arrived at Dublin Airport at half past eleven. My plan was to get from Dublin to Derry by bus and from there to walk or hitchhike to the Giants Causeway which was my main destination.

The first bus departed at four in the morning so I had to spend a not really comfortable night on a bench at Dublin Airport while the cleaning staff endlessly circled around me with a tractor-sized cleaning machine.

So it happened that I’d been sleeping nearly all the way to Derry. By the time I recovered my senses the sun had risen (behind the clouds). The first thing occured to me that everything was green. But really everything. Around me vibrant green hills gently sloping all over as far as the eye can reach. I could see British-style houses and their emerald green gardens and hedges in the villages. Another thing occured to me was the large flocks of crows, ravens and jackdaws everywhere. .

After getting off in Derry, I started the walking and hitch-hiking part of my journey. In the suburbs I was surrounded by lovely gardens.

I have seen ancient trees beside several houses.

I learned later that trees are highly valued and appreciated as in the past 90 per cent of Ireland’s forests had been cut down by the English.

I had to realise at the beginning that the Irish did not use to walk, neither to hitch-hike.

I haven’t seen any pedestrians (there were nice pavements everywhere though), but everybody was laughing at me behind the wheels. Drivers during my whole walking - kept flashing, hooting or making signs at me with a wide grin.

Nikon D80, 18-35mm/3.5-4.5 8sec f/16 ISO 100

I don’t know it was a sign of appreciation or they simply took me for a fool. One thing is sure, they did not appreciate hitch-hiking at all. I had to keep my hand stretched for a long time when a very kind old gentleman gave me a lift to Coleraine. On the way he told me stories about the past conflicts in Ireland and what had been blown up and where.

The simpliest way of hitch-hiking is to sit

down at the side of a not too busy road.

People stop or slow down immediately and keep asking if you are OK. From this point it is easy to ask for a lift.

After Coleraine I continued my trip on foot to the Giants Causeway. I passed beautiful rocky shores, scenic seaports like Portrush and I met nice people everywhere. Everybody said hello, some

stroke up a conversation, even invited me for tea at Even the weather was on although the famously un Irish weather came into it The clouds were always ch moving above me making contrast with the motionl slopes. Practically, any fea seasons could occur in on

and a couple t the seaside. my side, npredictable ts own. hanging and g a strong less, green ature of the four ne day. But I was

Nikon D80, 70-200mm/2.8 1/30sec f/18 ISO 100

quite lucky as I had more sunshine than rain which was no trifling matter. On the second day I reached my destination, the Giants Causeway.

The sight is fascinating, even if it was packed with tourists. I had seen lots of pictures of this place but on the spot it is much more imposing, bordered with the sea on one side and with huge cliffs on the other.

Nikon D80, 18-35mm/3.5-4.5 1/6sec f/16 ISO 100

The Giants Causeway actually consists of fortythousand hexagonal basalt columns reaching into the sea. When I spotted it, I could understand why it was called the Giants Causeway. According to the legend, the Irish giant Finn MacCool had built the road as he wanted to go across to Scotland to beat the Scottish giant Benandonner. By the time he got there, his rival was sleeping. Because he saw that his rival was much bigger than him, he sneaked back to Ireland. But his visit did not pass unnoticed. After the Scottish giant woke up, he realised that Finn had been there and he started to chase him on the road across the sea. When Finn heard Bennandor approaching, he asked his wife to help somehow.

The clever wife dressed him up as a baby and put him into a cradle. When Benandonner arrived in a tearing rush the wife told him not to make noise, saying that

Finn’s kid was sleeping. The Scot saw how big the kid was and he imagined how big the kid’s father must had been. So he rushed back to Scotland in great fear and left the road ruined behind him.

The scientific explanation is much more boring. 60 million years ago volcanic activity was significant on this part of Ireland. The melted rock broke through the limestone surface, creating extended lava fields. The uniform cooling created a grid of hexagonal cracks as it can be seen on dry lake beds. Then the cracks made their way deeper and deeper shaping this formation of hexagonal columns.

I have never looked at man-made buildings with such admiration than this wonder of nature. I spent there a few days, even in the evenings when there were no tourists around. That was the time when I could really

Nikon D80, 18-35mm/3.5-4.5 5sec f/20 ISO 100

feel for the legend. I almost expected the giants to emerge. I had reached my final destination, so I was not in a rush. I walked the Causeway Coast Way which is a footpath on the top of the cliffs along the seaside.

The sea far below me washing against the cliffs was a fascinating view. Sometimes I was just sitting at the edge of the cliffs and watching the sea. On clearer days, I could even see the coasts of Scotland on the horizon. I slowly walked along the sea to Ballintoy where I stayed in a hostel (until this point I slept in a tent) and I bumped into fellow Hungarians living in Ireland.

Then I headed home. I also had a lot of nice experience on my way back, it would take long to tell all the stories. To name but a few: watching gannets fishing, or curious robins following me on my way. Or the legends and the historical sights, the tales of the many

ruins and castles which were on my way. For instance, the Dunluce Castle which is sited dramatically close to the edge of a headland, abandoned for centuries since that time when, during a storm, the whole kitchen next to the cliff face collapsed into the sea with the dinner and the kitchen staff of seven. And my encounters with locals. It was one of my life’s best experiences when a family accomodated me for a few days but that’s another story. I can warmly recommend visiting Ireland to anyone. It won’t be disappointment to you. If the weather is nice, you must spend as much time outdoor as you can, if the weather is bad, then go into a pub! I you decide to visit not just the major tourist attractions in high season, then you will discover that Ireland’s legends are still alive among its green hills. Slán leat!

Text and photos: Gergő Nagy

tips and tricks Photography of misty and foggy themes The autumn is coming which might reminds the photographer about the rainy and foggy weather rather than the splendid autumn colours of nature. The latter almost offer itself to be photographed while the other two not really. Although we can take interesting pictures with a special atmosphere in rain, but the wet weather makes an almost hostile environment for the photographer and for his equipment as well.

So I prefer the fog!

© Tamás Imre Canon EOS 1Ds Mark II, EF 70-200mm f/2,8 USM 1/60 sec f/20 ISO 100

We can encounter with mist and fog in other seasons too, but it is much more frequent in autumn.

Mist and fog appear in great variety. Its strength ranges from a thin, barely visible haze to a white, thick fog which can cover the fields as a blanket, or it can also appear in smaller patches. It perhaps the most exciting when it is floating just above the ground in a thin layer and not able to cover the field and the vegetation completely, so the tops of trees, bushes or

building are showing. That’s why this half covering, half revealing fog is so mysterious.

When the weather is not foggy, we can still hunt for patches or layers of fog on the deeper and wetter lands at dawn.

The mist or fog reduces the sharpness of the picture and softens its colours. The strength of these effects mostly depends on the thickness of the mist

or fog. Normally, it is rather a disadvantage than a favour to the photo, but it also can be favourable at certain themes. It is worth utilizing these advantages consciously and planned.

Even an average photo theme can result in excellent pictures in the mist, especially in backlight. The image of the near objects softens less, while the distant ones softens more which helps to highlight the main theme and bring out the

Canon EOS 5D Mark II EF 4/500 mm IS USM +1,4x perspectives. The thicker fog, from a certain distance, can completely cover the background objects, so you can take nice pictures even of themes with a chaotic background what you could not do in other circumstances.

We can make different effects by changing lenses. In case of a wideangle lens the close objects will be colourful, sharp and highlighted, while the remote ones more faded.

If you apply a telephoto lens to

the shell, the picture will be more evenly faded. You can take nice and soft, almost monochrome picture with gentle tones in a medium fog with a basic lens, or in thin mist with telephoto lens.

Perhaps the most impressive foggy pictures are made in backlight.

At a higher solar position there is no colouring, while in the case of pictures made in the morning the light of the rising Sun spreads around the mist and makes

© László Suhayda

f/10 1/800 s ISO 400

a beautiful orangish-reddish colouring. In thicker fog you should use lenses with smaller focal length, while in a thin mist a telephoto lens does a good service.

In backlight you should be careful with the light meter as this type of light can “cheat” the light meter, so normally you need a slight overexposure. But make sure that there will be no burned spots because of the correction. You need much more consideration if the sun disc itself is in the picture too.

© Árpád Krivánszky Canon EOS 30D, EF 2,8L/80-200 mm f/5,6 1/50 s ISO 125

© Árpád Krivánszky Canon EOS 30D, EF 2,8L/80-200 mm f/16 1/640 s ISO 400

© László Suhayda Canon EOS 5D Mark II EF 2,8/70-200 USM f/6,3 1/500s ISO 400

article’s sponsor:

© László Suhayda Canon EOS 5D Mark II EF 2,8/70-200 USM f/9 1/200 s ISO 800

It is often an unsolvable problem because of the sharp contrast, even with the application of a graduated filter.

Nice beams of light can also appear in backlight pictures, for instance in a foggy forest where the light finds its way between the trunks.

In a hilly or mountainous country we have the chance to overview the foggy lands from a lookout point, from where we can take nice series of pictures with gently graduated tones of the land below us. It makes the landscapes exciting if we can get over the blanket of fog. On our way we can come across the border of fog where the fog layer slightly covers the Sun but starts to let the light shine through. In a windless weather we can spend even hours in the enchanting lights, while when it’s windy the borderline of fog changes quickly.

In a misty, foggy weather we can find interesting photo themes in cities or in villages too.

There is another less tangible feature of foggy pictures, their mysteriousness.

When the viewer does not know exactly, only can guess what hides behind the veil of mist and this guessing, musing makes him think and contemplate and requires his imagination. And a picture which has been watched for longer, leaves deeper marks in the mind of a visitor of a photo website or an exhibition, or on a reader of a photo book or magazine.

As we mentioned before, pictures made in a misty, foggy weather – either in backlight or not – are much softer compared to photos taken in other conditions, therefore they often require more interference (contrasting, sharpening) during the subsequent processing than usual.

Text and photos: László Suhayda - Árpád Krivánszky

People, cities, cultures China, silk road

A big trip on the land of Uyghurs You may well think that a nature photographer, when he works up the experiences of his travels, arranges, selects and presents his pictures as a “photographer scientist� who studies the relationship between man and nature. But now, please dispense with that since these pictures published here are not objective descriptions but pictures of a big love.

Although mountains, rivers, deserts, cities and villages and its people are pictured here, all of them conjures up the face of a very beautiful Uyghur girl (who actually does not appear in the pictures) but whose attraction, love and passion is expressed through the landscapes and genres. How has this passion - a passion which attracts and calls me back to China over and over again - begun?

Bayanbulak Grassland Canon EOS 300D, EF-S18-55 mm 1/400 sec, f/7,1 ISO 100

River Kaidu with Tienshan mountain’s snowy peaks in the background Canon EOS 300D, EF-S18-55 mm 1/250 sec, f/6,3 ISO 100

I had a call from the Chinese Photographers Association in July 2006 asking whether I wanted to go to photograph in Xinjiang.

In 2002, I already participated in a similar event so I promptly said yes. I had another call in September or October 2006 and I went happily again. As a member of an international team - to which they tried to recruit the best photographers of the world, including the Chinese, of course - we travelled all over the northern and southern Silk Routes in Xinjiang region, following Marco Polo’s footsteps. I could experience a wonderful trip, travelling about 10 thousand kilometers by car, 12 thousand by plane and often on foot.

The Silk Road, as is well-known, played an important role in spreading the ancient Chinese civilization to the West, as a bridge to the commercial and cultural exchange between China and the West. We call Silky Road the way which was travelled by an imperial delegate Zhang Qian of the Western Han-dynasty who took a journey from Changan - the then capital of the Chinese kingdom - to the West.

It was a continental route stretched to Rome with a Northern and a Southern branch. The Southern route was running from Dunhuang through the Yangguan Bastion, along the Kunlun mountain range, crossing the Congling Ridge to Dayuezhi (today north-east of Afghanistan) to Anxi (today Iran) and Tiaozhi (Arabian Penninsula). The Northern route started at Dunghuan through the Yumen Bastion, along the Tienshan Mountain range and the Congling Ridge through Dawan and Kanju (both in Central-Asia) to a southwesterly direction to that point where it met the Southern route.

Turpan - Grape Valley Canon EOS 300D, EF-S18-55 mm

1/100 sec, f/5 ISO 1600

Canon EOS 300D, EF-S18-55 mm

Old woman, Turpan 1/500 sec, f/8 ISO 200

Mother with child (Kashgar, Gaotai district) 1/100 sec, f/4 ISO 100 Canon EOS 300D, EF-S18-55 mm

My journey - as I previously mentioned - led through China’s biggest region Xinjiang where, following Marco Polo’s footsteps, I photographed the area bordered by the Tienshan Mountain, the Taklamakan Desert and the Tarim Basin.

The Uyghur capital, Ürümqi was my starting point from which I have touched Kasgár (Kashi, Kashgar, Qäshqär), Atush, Tumshuk, Xianglonghu, Kucsa (Ku Che, Kuqa), Baluntai, Bayanbulak grassland, Korla (Kuerle), Gongnaisi, Turpan, Changji , Miquan, Sanshiutan and Heizvilig. Meeting the Uyghur, Tajik, Mongol, Azerbaijani and Han people of China, I have encountered a different image of China. It had surprised me the most that th people living here were able to build prosperous cities and rich agriculture in spite of the hard geographical and climatic conditions. The underground irrigation system through which they can supply water from the melting snowcaps of the Tienshan to enormous areas, is unique in the world. Let alone their music

and dance! I learn Uyghur and Mongol dances a bit myself. It is a wonderful region with interesting and lovely people. It is no exaggeration to say that here the history of the world is present.

My pictures may show that I have recognised not only the clichés in their ethnically diverse and very sympathetic world rich in natural beauties, but the man in his world or the man himself. I tried to do this in the simpliest and clearest visual language and - avoiding the aesthetical trap of stunning pictures - I wanted to reveal the naked reality.

Vineyard valley between Flaming Mountains and underground wells

(Putaogou, Turpan, Xinjiang, China)

The red sandstone mountainside north of the Turpan Basin looks flaming in the sunshine, that is the origin of its name. In nice weather it absorbs the

Balikun Pasture

Canon EOS 300D, EF-S18-55 mm

scorching heat of the summer sun and can get hot up to 80 °C. After sunset then it emits the absorbed heat. In the western side of the Flaming Mountains erosion scooped a half kilometer wide and 8 kilometers long valley which is a real oasis for the people of Turpan during the summer heat. Among the numerous varieties of grape cultivated on the 220 hectare vineyard the seedless white and rose are the most popular.The special, full of flavour grapes which have very high concentrations of sugar are traditionally processed by drying into delicious raisins.

Since the vineyards are in oases surrounded by desert, no need for using chemicals and spraying, so they can produce organic fruits which are much in demand on the world market.

The Karez, an irrigation system of underground wells built in Xinjiang region two thousand years ago, is considered as one of the three great architectural

1/400 sec, f/7,1 ISO 100

wonder of China along with the Great Wall and the Great Canal. The water comes from the annual melting of the snowcaps of Tienshan Mountain.

The Karez System consists of wells, underground channels, ground canals, and small reservoirs, which use the natural slope of the terrain to sustain the water flow and guide the water right to the plants.

The average length of the catchwater drains is 3 meters, however the longest ones can be up to 30 meters. The number of Karez systems in the area is about 1,000 and the total length of the canals is about 3,000 km in length and supplies more than 600 million cubic meters water a year. These underground irrigation systems water more than 80 percent of the fields of the Turpan oasis. (to be continued)

Text and photo: JĂĄnos Eifert

book review Macro photography and photography with telephoto lens Zoltán Enczi and Tamás Imre have just published a new book titled „Makrofotózás és Teleobjektíves fényképezés” (Macro photography and photography with telephoto lenses) in a series called „A digitális fotózás műhelytitkai” (The workshop secrets of digital photography).

The book is aimed at providing further training and orientation for nature photographers at a beginner or advanced level.

The two experts draw our attention to subjects like choosing the right cameras and lenses, and the usage of well-tried sets and the newest technology and methods. With the help of this new specialist book we can find out how to make a nice, aesthetic nature photo, the tricks of hide tents and stalking big games, professional macro photography etc.

The book also explains lots of different rules and answers many ethical questions too.

We would like to offer a little taste of this book. Nature photography has a long tradition in Hungary, but the past results can hardly be compared with the present popularity. We can rightly say that nature photography now have become an everyday hobby for nature lovers. But how did it all begin?

In the filmstrip age nature photography was a sort of fancy hobby in Hungary, only real freaks were able to make valuable pictures, and it was still the fact about 10 years ago which is not a long time at all. Good quality cameras and lenses were a rarity and it was almost impossible to get the necessary equipment, so professional or hobby photography was available only for limited number of people.

At the end of the 90s and around the turn of the millennium a new era began. There was no more craving for inaccessible lenses.

We could get hold of (and take pictures w better and better quality. As a result, mo were established and nature photograph countrywide. Plenty of specialist magazi published by which anyone could deepe enrich his skills. Therefore more and mor nature photographer appeared on the sc photographers are very successful at inte The rapid development of digital photog through which unknown names - who h talents to the world before - appeared on is unstoppable, more and more beautifu pictures are published about the natural world.

The most interesting part of the book is w steps of the beginners, pointing out one with pricy equipment but a simple comp screwed into it enables us to take excelle

Today’s nature photo exhibitions, nature living world around us through fantastic and suitable hunter or fowler knowledge moments for a nature photographer.

A dewy field at dawn provides countless photographers, and if it is combined wit mental harmony and a sense of beauty, t Finally, nature photography requires a good piece of persistence, skill and knowledge, but once you have tasted this wonderful experience, it won’t let you go again. The book has been published in Hungarian and in Romanian language as well.

Look for it in the bookstores or order with a special discount at DIGITCAM’s specialty shops (only HUF 2150).

Price: HUF 2990 If you feel like learning photography more profoundly, contact Nature Photo Magazine’s Photo School at www.fotooktatas.hu website.

with) shells and lenses of ore and more photo clubs hy courses were launched ines and books have been en his knowledge and re talented and artistic cene, and today Hungarian ernational competitions too. graphy was another revolution have not been able to show their n the scene. The development ul and more and more special l wonders of Hungary and the

when the authors help the first e can take nice pictures not only pact camera with a convex lens ent macro photos.

e films and magazines show the c pictures. A well-set hide tent e can present unforgettable

s rewarding themes for macro th appropriate preparations, the success is guaranteed.

Life underwater central america: The Green Island: Cocos

In Cocos Island - in contrast with Malpelo – cliffs can be barely seen since the vegetation covers everything. As we were heading to our first station Chaten Bay, we could spot several waterfalls as we passed the island. Someone else was touched by this sight too, as the opening scene of Jurassic park was shot there. I felt like I was in the last Paradise.

We were lucky, despite the island’s 7000 mm annual rainfall, it did not rain that day, so we could enjoy the sight in sunshine.

Our first dive was at Manuelita. The good news the water was warmer and the thermocline was at a deeper level, the bad news that our main targets, the hammerheads would be deeper too. After diving I experienced a visual distance of about 25-30 meters, and I spotted one or two whitetip reef sharks what we barely saw last week but here they were everywhere.

They were lying on each other in the sand or swam in the stream in a lazy way. I was hiding behind a reef and watching where the sharks came from and in the last minute I just shot and the close picture was ready. We sank deeper watching the flock of small yellow barber fish, they signed that there was a cleaning station there. This little station was important in our coming dives as the hammerheads used to come back to this station at the reefs after “patrolling” the open water.

We can get the nearest to these shy animals if we hide behind a near cliff and wait patiently without motion and bubbles if possible while the flock of sometimes hundreds of species arrives. Patience and held back breath fruited well: a flock of ten sharks had emerged and one of them already applied for the service provided by the barber fish.

Night hunt

Our first night dive was very exciting because of the hunting whitetip reef sharks! Hunting would be OK but they do it in bands of 80 or 100. My friend SUI expressed some reservations about the circumstances of the dive since getting into hundreds of hunting sharks at night sounded a bit crazy. But we had to stick to only one important rule: stay a minimum of one meter above the bedrock to let the shark move undisturbed. The scene was Manuelita Coral Garden, the inner side of a little reef island. This place was incredible, we could observe hammerheads in the morning and hunting reef sharks at night. It was darkening when we dived into the 28 degrees water.

At first sight we saw a few sharks wandering about but scarcely. As it was getting darker they started to assemble into a big group. All the fish around tried to find a safe place for night with more or less success. It was interesting that the sharks were led by a quite battered black jack. At first I didn’t know why but we soon learnt how they could work together.

We realized that the sharks are not very good hunters and they could only spot their prey if it emitted vibration that is moved. So if the black jack had suddenly pounced, all of the sharks followed it and tried to catch the prey. It was a strange sight as dozens of sharks swirled around a small reef, they bit each other and the cliff creaked and groaned. We could not see the prey, only the big swirl. We could witness sharks locating a fish and chasing it but when the fish stopped the sharks passed it nicely. It shows nature’s ability to adapt that the sharks have learned how to hunt in the light of divers’ lamps. The bigger the light was, the bigger action took place.

A hammerhead band

A south-westerly wind forced us to move the other side of the island. From there our first destination was the famous dirty rock, which is a little, bare island north-east of the main island and about two miles away. This small island is situated in the way of the prevailing streams. I had already learnt in the past few years that if there was a stream, there were big fish too, and it proved to be true again. We could witness the best hammerhead action of the recent weeks. But unfortunately in 40 depth ten minutes goes very quickly.

According to plan we got round the island where there was no stream and we crossed a small channel. During our rise we saw a flock of giant jack fish, in an almost countless quantity.

When I arrived to the channel, I had to experience what a real stream was. It caught me and hurled me at once so I had to act if I didn’t want to go to the Galapagos. The whitetip reef sharks swam up and down dully and dozens of marbled electric rays jet flied beside me while I was holding on the edge of a reef tightly struggling for my life.

When I lost my hold I found myself at the other side of the cliff and the stream suddenly ceased. Below the safety station young blacktip reef sharks were our playmates. This diving spot had become one of our favourite one, we came back here every day.

Alcyon, perhaps the most famous diving spot of the island was discovered by Cousteau during an expedition led by him in 1986. It is a cliff top at about 20 meters depth and situated the farthest from the islands. There is no mainland within 600 km, let alone the streams mentioned above. I checked my radio locator just in case and dived along the rope. There was a medium stream and I reached the top of the underwater mount where I could see hammerheads everywhere. I looked for a suitable reef at the edge where I could meet the flocks of hammerheads face to face. They were coming after a few minutes and very close. It is an incredible feeling when this strange creature swims around you at arm’s length. We were waiting to see if we would lucky to witness the army of hammerheads covering the underwater sky. But sadly the big flock kept away from us. Maybe the stream was not strong enough or the few moments spent down was not sufficient but that’s never is. During the ascension a few silky sharks paid their respects to us.

The 7th day of the dive tour had gone quickly. We had two main themes left, the silvertip reef sharks and the red-lipped batfish which only indigenous to Cocos Islands. The silvertip reef shark arrives to the cleaning station at late afternoon every day near to the shore. We did not have any job just to choose the appropriate site and wait. It appeared after a few minutes. It came majestically and completely ignored us. After another few minutes a baby silvertop, about 60 cm long had emerged then the whole family. At this place we could see the batfish too which only slightly differed from its Malpelo peers.

Diving to 200 meters depth Only one exciting adventure left, diving by a submarine.

A day before the end of the tour Argos, a service ship of Deep See submarine with a BBC film crew on board, sailed into Cocos.

Our dive was certified for 220 meters which is the level of the fault line of Cocos Islands. This submarine was a three-seated vehicle constructed for scientific purposes.

It has a speciality that the crew sits in a complete sphere, so you can have almost 360 degrees view. During the orientation a deep water shark species mentioned which had been observed only a few times at 300 meters depth. So we hoped for a special encounter.

It was a fascinating experience when the waves swept over the sphere and we started to submerge without bottles. It was half-light at a100 meters depth and when we reached the bedrock at 160 meters it was almost total darkness. We switched the outer light on and set off to discover the places barely seen by man. Our first stop was a reef at about 170 meters where we were shocked by the diversity of species. We saw special reef fish, big crabs, unknown perches and we could observe the well-camouflaged frog fish in hunting.

I have never ever had such wonderful experience, it was like I was walking on the Moon. But unfortunately our pilot Schmulik had to break the bad news: we were late so we could get any deeper as planned otherwise we would reach the surface in darkness which is not allowed. So we had to return from 220 meters depth and start ascending.

We got back to the surface in the light of sunset after three and a half hour.

This journey felt like a few minutes. It was a life changing experience even if we could not meet the rare shark.

The next day was the last three dives of the tour: Alcyon, Dirty Rock and Manuelita, the best. I spent the last two dives at the submarine as I wanted to shoot some pictures from outside during submersion. Then we weighed anchor quickly and return.

Our sixteen days on the SeaHunter’s board at the world’s most fascinating diving places went fantastic with the help of an incredibly professional service team. One thing is sure, we’ll be back to enter the last diving paradise of the Earth again.

Text and photos: Dániel Selmeczi www.selmeczidaniel.com

Let’s make a diaporama!

wings platinum 4 / II In the previous article the revived genre of diaporama making was introduced. We hope that many of you have tried to prepare your first multimedia performance using a suitable application.

In this second article of the series we are stepping to the next level. We not only throw together the diaporama but we try to incorporate some composition in it. An important primary condition of diaporama making is deliberateness. We can achieve earlier and greater success if we specifically prepare our photographs in a defined topic. In case we want to prepare a diaporama from our existing images – for instance with the title of “My favourite pictures” – it will probably be no more than a simple slideshow with music. Do not rest content with this elementary level.

The first step of making a diaporama is the finding out an idea, a scheme. A diaporama is like a movie or a musical composition. Ideally, it has an introduction, a story and an ending. Musical elements, like a refrain, can also be included in a diaporama. In this case we do not need to repeat the images as well, we just have to get back to the style of the previous refrain by using similar shifts or effects, i.e. we should use the previous settings with images similar to those used with the previous refrain. Wings Platinum 4 offers an interesting solution to eliminate the need of constructing a 20-30 minutes long part in the software again. An image group can be duplicated on the time band by selecting the images and copying them to a clipboard with the key combination Ctrl+C then inserting them to the desired place with the key combination Ctrl+V. At that point, the images are the same as those specified for the previous refrain. To exchange an image pull a new image from the gallery to the image placed on the previous time band. In this case the settings remain the same but the image will be exchanged to the new one in our diaporama.

Images

In view of the diaporama’s similarity to pieces of music or movies, we can apply the established cinematographic tools such as the screenplay during the preparatory phase. If we take diaporama making seriously, a detailed screenplay or a list of ideas containing changes, moods, picture styles and their relationships should be compiled. We should keep in mind that diaporama is not one picture but the series of images, enabling the application of numerous original tools. Let’s see some examples: photographs taken using a camera stand of an open door, a half-open door and a closed door, which are projected one after the other,

representing the closing of a door. We can also create captivating effect by alternating the mirror images and the original images of a person or an object. Or let’s just think of the motion of water.

Through photographing gentle waves of water and alternating 2 or 3 phases, the waving of water can be demonstrated. The mine of ideas is, of course, inexhaustible if we use a software that provides wide-ranging possibilities. The software Wings Platinum 4 mentioned in the previous article is just like this.

The selection of music is a very important task. It may be even more challenging to find the music

Fade

suiting well with the diaporama and our ideas than making all the pictures you want to include. To be able to select the appropriate accompanying music, you need to listen to lots of music. You have found the right music when you can see the images in your mind’s eyes appearing to the music’s rhythm.

During the actual editing work, when all the images and the accompanying audio are available, you only have to concentrate on the using of the software.

We hope that many of you have read the previous part of our series of articles that mentioned the highly versatile yet free multimedia and diaporama editing software, AVStumpfl Wings Platinum 4 BASIC.

If you have not read it yet, we hope that now we aroused your interest.

In order to be able to make attractive diaporamas, you should examine the features provided by Wings Platinum as well as the works created by famous diaporama artists. You could also visit diaporama shows, conferences and of course you have to practice steadily.

Our next article will be on the formats to save and export the completed diaporama, the typical mistakes and difficulties and the technical knowledge required to be able to prepare a successful show.

Text: László Szilágyi

Settings

Before

digital image editing

Lightroom 3 noise reduction

Digital noise is the by-product of amplifying the sensor information so that less light (less information) is needed to get a proper exposure. The more you amplify the signal, the less light is needed.

When digital noise is introduced

into your image, unwanted color spots appear, especially in darker areas and in places with smooth tones.

In Lightroom 3 there is a new way to separately target and correct colour and luminance noise in your photographs. The developers of the application completely rebuilt the noise reduction engine in this version and now it works more effectively and precisely. It is now using the ISO settings of images for applying the best and most nondestructive noise reduction.

The most usual effect of applying noise reduction is that we blur the image and lose details and sharpness. With Lightroom 3 we have a Detail value for both Luminance and Colour noise

after reduction, which helps maintaining sharpness and details. You can press and hold Alt/Option key while changing these values to see the actual information that you modify.

It is always a balancing act between applying sharpness and noise reduction. You need to find the best options by looking at the 100% view (Actual pixel size) to be able to see the changes that you apply. You can easily check before and after version by turning the whole Detail panel on and off.

If you use RAW files than this process will be called input sharpening, where your task is to get to a point where you see nice and sharp details without any noise on your screen.

At the end of the whole editing process you can apply another specialised sharpening for the desired print size and paper to get the best result.

Text and video: Perhiniรกk Mรกrton Photo: Tamรกs Imre

Before

In this video Martin Perhiniak shows noise reduction in Adobe Lightroom 3.

after

Ágnes Kiss and Bence Máté

The Hoopoe © Máté Bence

article’s sponsor:

This summer has not been too favourable for birds. Countless attempts of brooding have been failed or delayed due to the frequently rainy and cold weather.

However, a hoopoe couple - in the small, hidden woods of Soltvadkert – was lucky. These strange looking birds, for some reason, have been using for brooding a conrete ring (which was left behind by farmers ten years ago) for several years. By chance, the ring was put down on its side with a large hole on it. The birds took advantage of the hole and moved in. And the concrete

nest passed the test: it has not been damaged even by the heavy rains and stormy winds and the couple could manage to make its chicks leave the nest successfully this year again.

Hoopoes normally like open fields but they often settle near man, on a farm or in a garden. They brood in the hollow of a tree, in holes of the ground or a cliff. Hoopoes can be recognised easily from miles by their fan-shaped crest which can be moved up and down depending on the bird’s mood.

If the hoopoe is excited, it makes the feathers stand on end, when flying or in rest, the crest slicks down to the back of their head.

An interesting watching took place in Soltvadkert a few years ago.

A hoopoe couple occupied the concrete ring. The hen had laid its eggs properly when a newcomer couple laid siege to the nest. The newcomers were so persisitent that they managed to expel the brooding couple. Then they threw two eggs out of the nest, and the new hen started to brood over the rest four eggs straight away.

Hoopoes have single-coloured milky blue eggs, the hen broods over 4-6 eggs while the male feeds her. After the chicks hatched out, the hen stays in the nest for another 10-14 days, then she joins her mate to feed the young.

The chicks are in the nest for 2225 days, during this time they are complety depend on their parents.

Hoopoes are not famous for their tidyness. The parents do not clean the piled up faeces out of the nest, so there is a permanent, bad smell inside.

The female also has an uropygial gland which is able to produce a very foul-smelling liquid. This is a well-developed anti-predator defence.

The diet of the hoopoe is mostly composed of insects, although small reptiles and frogs as well as some plant matter such as seeds and berries are sometimes taken as well. It is a solitary forager which typically feeds on the ground.

The hoopoe got his Latin (Upupa epops) and English (Hoopoe) name after its rich „opp-oop-oop” voice.

The hoopoe is a migratory bird, it appears in Hungary in March and spends the spring and summer here, then flies back to its wintering place, Africa in September.

It is a protected species in Hungary, its conservation value is HUF 50,000. It is an interesting thing that the Hoopoe was chosen as the national bird of the Israel in 2008.

Text: Ágnes Kiss Photo: Bence Máté

editorial Editor in Chief : Tamás Imre Tamás Imre

Anikó Imre

János Szekeres

Béla Szabó

Árpád Krivánszky

László Suhayda

Adrien Imre

Iván Éder

tamas.imre@naturephotomagazine.com

Editors: Anikó Imre

Árpád Krivánszky

Béla Szabó

János Szekeres László Suhayda Associate Editors: Adrien Imre

Ágnes Kiss

Bence Máté

Dániel Selmeczi Iván Éder

János Eifert Martin Perhiniak Copy Editor:

Árpád Krivánszky Art Director: Anikó Imre Graphical Design: Martin Perhiniak Web Design: FX designport Web Product: Thomas Picture Translators: Péter Pál Tóth Advertising: Anikó Imre aniko.imre@naturephotomagazine.com

Nature Photo Magazine www.naturephotomagazine.com info@naturephotomagazine.com

Bence Máté

Ágnes Kiss

Publisher: Thomas Picture Publisher Ltd. Address: Hungary Budapest 1576 Pf. 3 All rights reserved © 2010 Thomas Picture Publisher Ltd. The Nature Photo Magazine assumes no responsibility for solicited or unsolicited contributions and materials.

Martin Perhiniak

Dániel Selmeczi

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November 31, 2010 © Anikó Imre and Tamás Imre