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Lofoten - Flakstadøya (2327)

Splash!

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After I almost lost my tripod shortly before — only 5 minutes before it was standing with one leg where the surf shot through the gap * — I was able to take this beautiful motif with me.

For me it is one of the pictures that express a lot about the coast of Lofoten. Again and again one has rocks in all possible forms lying on the shore of the North Sea. Always you have a more or less strong surf, which makes it so interesting to stand on the shore and look at it.

With the rising tide, as we had it in the days on site, the surf on the rocks changes again and again, first it crashes against him, later it shoots over him.


* By the way, we had learned right at the beginning of the course never to leave our camera alone on the tripod, e.g. to change a lens. If the camera was on the tripod, then always one hand on the tripod. I had just reached for my camera here when the tripod was washed away behind my back. So the damage was only a tripod head and not the whole camera with lens!

Lofoten - Flakstadøya (2131)

Dynamic waves

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The really beautiful thing about the Lofoten are the wide fjords. Again and again, one sees on the other fjord shore some great snow-covered mountain ridges, most of the times still with a great light in the sky above. One has to search a little in order to find an interesting foreground that one can always put in a different light.

Here it is the surf that meets a rocky coast and fascinated me. So completely different from the soft colors and/or moods of the last pictures but just as typical for the Lofoten.

Lofoten - Flakstadøya (1991)

Lofoten light at its best

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This was not on the workshop agenda, we were never out that early. Even before the morning meeting for a little theory and the following departure to possible motives I just came back from breakfast to my little camping hut, when this light captivated me. Over the beach of Ramberg a purple sky stretched out. Even the snow on the beach had taken on this great color and a band of clouds shone all the more strongly in violet.

The sun hadn’t risen yet — it should even take another hour until sunrise — but the clouds were already illuminated. For a quarter to half an hour this light mood remained, before it slowly became brighter and the clouds took on a more yellowish color. Once again I was at the right place at the right time!

Lofoten - Flakstadøya (1978)

Lofoten — Abstract Light

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A little different image from me. As I walked across the beach and was always looking for an interesting foreground for my motif, my view was almost vertical down to this little stream running across the dark sand. Here different layers of sand mix and create abstract patterns. The light sand is also more coarse-grained.

The motive gets additional details by the evening light of the Lofoten. Here too it is »Lofoten light on the ground!«

Lofoten - Flakstadøya (1984)

Lofoten light on the ground

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I have always wished for Lofoten light in the clouds and on the mountain tops. But that I would also get it on the ground I had not expected. With the small stream in the foreground, the motif has become even more interesting, it does not necessarily have to be rocks and surf that make the foreground interesting!

During the course we had to submit 2–3 pictures every evening for feedback — of course this motif was included that evening and got positive feedback from the masters.

Lofoten - Vestvågøya (1251)

Foreground matters — Vestvågøya

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»Foreground matters« that we got from Hans Strand on the first morning of the photo course! The beaches of Lofoten on Flakstadøya and Vestvågøya invite you to do so, because you almost always find great mountains on the other side of the motif and in the foreground there are often rocks in the surf.

After I did not see any sun on clowds or mountain tops for days, my excitement became even bigger when we came here to the beach and the colorful cloud hung over the mountain formation. There were also enough rocks in the foreground, only to set the water in the right light and find the right position for the tripod was most difficult. But so right at the beginning a wonderful motive was taken.

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