LIQUID ART www.liquidart.com
Issue No. 01
November 2018
Aqueous Series
BY
MARK MAWSON page 6&7
How To Capture Unseen BY
MARKUS REUGEL
page 4&5
ABOUT US The definition of the high speed photography has two different meanings. The first means taking the photo to appear like a frozen shot for the motion. However, it requires high sensitivity sensor and camera shutter. The second meaning refers to the ability to take shots for a motion as sequenced images. In this collection, we will concern about the first meaning of high speed photography and how to use this technique to take inspired shots for liquid motion effects. Photographing water in movement requires a significant amount of patience and a few important things—some you might even find in your very own home—to help you nail that perfectly-timed, split-second shot. High-Quality Camera: Water splash photography obviously needs a camera that can be configured to shoot in milliseconds. Lower quality cameras like smartphones and most compact digital cameras will, at best, will give you shots of water in movement but the overall image would usually be blurry. What you’ll need is a high-quality camera, like DSLRs and mirrorless cameras, that at least allow you to adjust and speed up the shutter speed to be able to really freeze the moment. Macro Lens: Any professional camera lens will do, but if you really want to produce the best results, it would be a good idea to use a true macro lens. Aside from allowing you to shoot from a shorter working distance, it delivers those sharp close-up shots of water droplets that look picture-perfect or even computergenerated. Camera Timer or Remote Shutter: In addition to using faster shutter speeds, you can achieve sharper images by delaying the shutter—automatically after a few seconds with a built-in camera timer or manually with a remote shutter—to minimize internal vibrations. Light Source: Just like every other photography style, water splash photography requires ample lighting that will properly expose the water. More often than not, you’ll need at least one light source that you can manipulate, such as an external flash, softbox, or another continuous light source. You may even want to
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include a reflector or a second light source, which you can strategically place on the other side of your first light source, to create a softer, more natural light that adds depth and dimension to the subject. Plain Backdrop or Surface: You’ll also need a plain-colored backdrop or surface to ensure that your viewers will focus more on the splash or the individual droplets. A dark background is usually preferred so that the water can truly stand out, especially when shooting with additional light sources. Camera Tripod: Aside from a shutter release, you’ll definitely need a tripod so you won’t have to hold your camera. After all, you’ll already be using both hands for the shutter and whatever it is you will be dropping into the water to create the splash. Liquid, Container, and Any Object: Don’t forget the most important elements in your shot! For controlled settings, you’ll need your preferred container (glass or bowl), choice of liquid (water and/or colored liquids), and an item that you will drop into the liquid (any object or more water) to create the drip or splash. On the other hand, you won’t need much when shooting in a more natural setting, especially if there’s already an existing outdoor water source. You’ll just need an object that is big or small enough to create your desired splash effect when thrown into the water.
Liquid Art Editor
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MARKUS REUGELS How To Capture Unseen By Le
Mole
Page 5
Markus Reugels
is a German photographer passionate of macro photography who captures unique liquid forms which he generates only with the help of water and colored ink. Using his imagination, and no photo manipulation at all, the artist freezes beautiful images of “liquid art”, images the human eye fails to notice otherwise. Luckily for high speed photography and for the talent of Markus that amazingly vivid color explosions and abstract shapes come to life! If you enjoyed our series of pictures of falling water drops, than this one will blow your mind, because Markus’s imagery displays more creative and colorful forms than ever. Mole Empire got in touch with Markus to get to know more about his creativity and talent. Markus discovered photography out of the desire to take nice family photos, but he soon turned to macro photography. He’s also the father of 2 kids and in his day job he does parquet layers. Here’s how the artist explains his beginnings in water drop photography and how he discovered it: When I bought my first DSLR, I have spend lots of time in internet communities to read about the technique behind a DSLR camera. At first I thought the camera makes amazing pictures. But without the flash in Auto Mode, the pictures were crap, so I must understand the Settings of ISO, Aperture and Shutter speed. To learn from other pictures I always take a look at the gallery of other photographer, and in one thread I found some simple water drops. I found these pictures so fascinating that I wanted to try it by my own. This was now nearly 3 years ago and since then I went further with the genre. It brings a lot of fun to show the hidden world in a life of a colliding water drop. In this type of photography, timing is essential! The right color and lighting are things to consider. However, the most amazing thing is that the photos are not manipulated at all. Markus explains what difficulties he faces when working in this way. The biggest obstacle is to understand the fluid dynamic. This is very important to adjust the timing in the right direction. Some people think that such pictures are made only by the technical device, but this is not true. A timing device is only the key to reach such pictures.
Most of my work is very complex and not able without a timing device. But the most important thing is the right light and color combination and at least the composition of the whole picture. All must fit together, and then you get an big picture. I always start a series with a picture in my head, but it’s very rare that I get near this. There are too many factors which will influence the result (like water temperature, viscosity of the water, drop size, fall height, etc.). Even when I use the same settings like in the last series, the water comes with different shapes. It’s like a lucky bag, you must take what you get. When I see the shapes I can adjust the settings to get near the image in my head. Through his imagery, Markus wants to re-focus the viewer’s attention on some small moments that often pass unnoticed in our busy lives, such as the hidden beauty in a small water drop or the shape that the camera can capture in a millisecond. The author’s series is also a reminder on the importance of water and the awareness towards the planet. With photography you can show small inconspicuous things we don’t recognize or are not able to see with our eyes. So I can show a hidden world full of wonders and beautiful shapes. The shapes are live only for a split second, but in this time the simple drop of water formed a very complex and beautiful formation. To share this moments with the world is important for me. After all, water is the elixir of live, without it, we can’t live. We must take more care of our home ” The World “. For this, I have made a series with a falling water drop and in this drop I capture a map of the world. So the drop looks like a little world. Very complex but so fragile. Maybe I can open some eyes for the small wonders around us. We must see things more like a child. To balance the technical aspects of the high speed pictures I love to work with old m42 lenses, and capture flowers or insects . This is photography in pure culture.
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MARK MAWSON AQueous Series By Emma
Lucas
Mark Mawson
is a London based photographer with more than 25 years of experience in capturing a full spectrum of people and places. He held his first camera at the age of eight and has been passionate about photography and lighting ever since. Mark has worked in London as well as travelling extensively around the world shooting for clients Mark specialises in shooting still life, fashion & people underwater. His well known ‘Aqueous’ series of liquids started out as a fun, personal project but has since. He said: “I think you have to find what you really like doing and enjoy it and your own style will evolve subconsciously from that.” We got the opportunity to have a chat with Mark and to learn a bit more about his work with photographing liquids and underwater, what it was like to have his work featured at The Queen’s Diamond Jubilee Concert, and of any future plans he has. Read on to gain a full insight into his thoughts!
Page 7 Production Paradise: Why did you choose to go into liquid and underwater photography? What interests you about that particular subject? Mark Mawson: I had the idea for my ‘Aqueous’ liquid work after watching milk being poured into coffee. I was fascinated by the shapes it created as the milk and coffee blended together. I had seen lots of ink and water shots but wanted to try something different. I really enjoy creating beautiful, colourful and interesting shapes with the liquids. They resemble sea creatures or alien landscapes and I like the way the viewer forms their own interpretation of what they look like. I started doing underwater work after I did one shoot which worked so well that I decided to specialise in it. I was doing a series of images with a stunt woman. The first shot involved chaining her to a concrete block on the bottom of the sea as if she had been dumped off a boat. The way the water acted with the hair and fabric of the dress was beautiful. I really enjoy the peaceful atmosphere it creates. Production Paradise: Are there any difficulties you face when photographing liquids or underwater? Mark Mawson: The difficulties with the liquid work are that I can’t replicate each image exactly the same. Because of the organic nature of the flowing liquids, each shot is unique and there is sometimes some trial and error to get the exact effect I want. The difficulties with underwater work are more complex. Obviously safety of the model and crew are very important and that takes up a lot of time during the shoot. Moving around underwater is much slower than it would be in a studio, so setting up equipment underwater takes much longer and also positioning the
model is more time consuming and complex. There is also the communication underwater, which can be done using underwater microphones and speakers or it has to wait til we surface to give any direction. Production Paradise: You have used the ‘Aqueous’ technique with many clients for various campaigns. Is it challenging to achieve the effect, or would you say you’re an expert now? Mark Mawson: It is always challenging as I want to make it better than the last time. I have to vary the liquids I use depending on the effect I’m after and I know what consistencies will give different results. I’d like to think I’m an expert at it! Production Paradise: What has been your most memorable shoot? Could you give us a background story? Mark Mawson: Each shoot is memorable for different reasons. The video shoot that was projected onto Buckingham Palace was definitely a memorable one, just because of the scale of it and how it would be used. It was originally shot Elton John to use in his Las Vegas gigs. Production Paradise: What have you found most useful about being a Production Paradise member? Mark Mawson: Being a Production Paradise member helps me keep my name and images out there and lets people find me who otherwise, maybe, wouldn’t. Production Paradise: Is there another artistic technique you would like to experiment with, or a particular client you would like to work with in the future? Mark Mawson: There are so many clients I would like to work with. I would like to shoot to images for many drinks brands. I’d also like to shoot more fashion and beauty campaigns underwater.
“WHENEVER POSSIBLE I TRY TO GIVE MY WORK A CINEMATIC LOOK. I SPEND A LOT OF TIME PLANNING MY SHOOTS AND IF IT’S PART OF A SERIES, I TRY TO PUSH THE IDEA FURTHER TO MAKE IT STAND OUT FROM THE PREVIOUS SERIES.” Mark Mawson
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