Nature Photo Magazine 2010/1 by Természetfotó Magazin

Nature photo magazine

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free online photo magazine

2010/1.

Kenya | Interesting places The Gem of the Red Sea | Sudan WARRIORS OF THE WILD | Photo adventures

welcome Dear Reader, It gives me great pleasure to present you with our latest edition. We are proud of our reading index as presently we have 45.500 readers who could read our articles and view our nature photos from 99 countries and five continents of the world. In our 2010/1 issue we inserted our articles about Africa into already existing columns with a title „Africa in focus”. Among others, we can share with you the wonderful natural world of Tansania and an unforgettable experience with the wild warriors of Serengeti by the photos of Anikó Imre and Tamás Imre. In the „Interesting places” we can get a taste of the wilderness of Kenya which is Africa’s most popular wild. In our exhibition column we introduce Irén Becker, a successful student of ours who photographs the people and atmosphere of Africa in Nigeria. In our „Life under water” column we can glance into the natural world of the Red Sea near Sudan. In our „Portfolio” column we can greet János Perényi who is a frequent traveller to Africa, however, we can also see wonderful pictures taken by him from other parts of the world. In relation to the Hungarian countryside you can read about the dunes of Kiskunság National Park under the title „Little Hungarian desert”. With the help of Bence Máté’s photos we can get to know the rollers (Coracias garrulus), the birds of Pusztaszer. Gergő Nagy, a young talent from Hungary speaks about his plans and achievements. We provide some help in our „Tips and tricks” column to the photography of spring plants. In the „Astrophotography” the giants of the universe has been brought to life by the writing and photos of Iván Éder. Béla Szabó let us fly to the Dolomites of Italy, which are the most famous cliffs of the the wonderful Europe. In terms of the elaboration we focus on the sharpening of the pictures: Martin Perhiniak shows in a video tutorial how to elaborate our photos. Our website has been developed into a dymanic page: as now we are able to publish our tests, news, exhibitions and other useful informations much more frequently. Please visit it regularly! Invitation PARTICIPATE IN education on nature photography: We are awaiting nature photo clubs and photographers to present their introducing portfolio. Getting enthusiastic about the success of our „Interesting places of the world” column we are also waiting for the registration of photographers who would share their photos selflessly on our website. We would like to present the most beautiful materials in the column of our magazine as well. Please send your introducing portfolio to info@naturephotomagazine.com Please receive our fourth issue with love, Tamás Imre Editor-in-Chief Cover: Gnu in backlight Photo: © Tamás Imre Canon EOS 1D Mark II N, EF 600mm f/4L IS USM 1/1600sec f/6,3 ISO 500

Canon EOS 1Ds Mark III, EF 300mm f/2,8L IS USM 1/1000sec f/5 ISO 400

Tanzania - Warriors of the wild 6 Anikó Imre and Tamás Imre

portfolio - jános perényi

He was born in Budapest in 1955. His affection to nature and biology started when he was a young schoolboy, and this appointed the direction of his studies. He learned at the faculty of biology at the Ferenc Rakóczi II High School and later he was admitted to the Faculty of Veterinary Science of a university.

Life Underwater - Sudan

interesting places - Dolomites

The Dolomites (Dolomit in Italian; Dolomiten in German; Dolomitis in Friluian) are a section of the Alps located in Northern Italy between the Provinces of Trento, Veneto and Trentino. The Dolomites has been declared natural heritage of the UNESCO in 2009.

young talent: gergő Nagy

I was 15 years old, when I took a camera in my hands for the first time. But I can’t remember exactly why I had a smack at it. I vaguely remember that I was turning over a National Geographic issue I guess, when came an idea that I want to take photos and record the beauty of nature. Especially that mankind is to spoil more and more of it.

Máté Bence - blue daw

The man-made bird hovel made of woods is mounted on an electric pylon is located for some meters from the road on the top of the levee. Now it is the fourth year that a couple of beautiful plummage roller have chosen the hovel to breed their young. The young rollers took their flight succesfully each year.

interesting places masai mara - kenya fülöpháza photo school Colours of our photos astro photography The giants of the Universe tips and tricks early spring flowers photo editing sharpening photos exhibition SAHEL SAVANNA PEOPLE

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Photo adventures east-Africa (Tanzania)

Serengeti, Africa. Hearing this words most nature photographers’ heart sank and leap. We can see even with our closed eyes the big cats stalking for their preys in the vast savannas under the blazing sun. Lions, cheetahs and leopards get their food needed for life in a dramatic fight every day. They are nothing but the warriors of the wild.

Can © Anikó Imre

Canon EOS 40D, EF 300mm F/2,8L IS USM 1/2000sec f/7,1 ISO 400

warriors of the wild

of gnus, during about two weeks even 400 thousand of them may calve at the same time. It is because During out East-African expedition this way predators are not able to kill we wanted to show beautiful as much calves as it would jeopardise atmosphere of Tanzania disproving the preservation of the species. the image of the unbearable heat in Before the adventure it is worth Africa. Although travelling to Africa to make one or two things clear. is worth in almost every season, Safari cars are special Land choosing the right time is not an Rover jeeps usually seats nine easy task. It partly depends on which passengers. In a car of this type part of the continent we want to take three or four photographers are photos. We chose Tanzania and the able to shoot, more people would beginning of the year, the time of the be uncomfortable. We should not herbivores’ migration. Particularly think that in Africa we can approach because that time is calving season animals as close as we wish.

There are situations where a 300 mm telephoto lens will do, but we often might need (especially in case of birds) bigger teles and converters. Ask for permission, if possible, to get off the roads. Near the Equator there is big fluctuations in temperature. In the rainy season we might need warmer clothes. During the day the temperature is 20 to 25 C° but by the evening it can drop to 0 to 5 C°. It can start raining any time from December to March, sometimes heavy showers can occur.

Planning Location: East-Africa, Tanzania Accessibility: From Nairobi (Kenya) or from the Arusha airport What can you photograph? Birds, mammals, reptiles and landscapes What to take with us? Wide-angle lens, a minimum 300 mm telephoto lens with a 1.4 x telecoverter if possible, tripod, ND screen, memory cards and battery as much as we can. Accommodation: We can find good quality accommodation at the Ngorongoro Crater

non EOS 1D Mark II N, EF 600mm F/4L IS USM 1/320sec f/5.6 ISO 500

The best time to go: From December to March (rainy season). However, you can find good photo themes all year round.

Canon EOS 1D Mark II N, EF 600mm F/4L IS USM 1/1250sec f/10 ISO 400

Therefore we must take waterproof covers in order to save our equipments. In African national parks taking photos is only allowed from safari jeeps, (of course, there are some exceptions) and in 90 per cent of the cases it is not permitted to leave the cars. So how can we take photos if we cannot get off the cars? The best thing to do to take empty bean bags with us and after filling we can use them as support on the windscreens and at the top of the jeep. This solution works up to a

300 mm tele but what about a bigger focal length? I can suggest to take a tripod (Gitzo) and fix it inside the car (preferably near the window) with a stable video head (Manfrotto). We should put our equipment in a Lowepro backpack (the bigger the better) or a in a type in which a 600 mm telephoto lens fits comfortably. During our flight we must take it on board a handbags, even if we have to pay for the overweight. (At the check-in officers are usually are indulgent as our handbag contains only photo equipment).

Take at least two camera if we can as in a good situation we will have no time for changing lens and if one of the breaks down we will not have any chance for service out there. Take as much memory cards as we can and even a smaller laptop would do a good job. We can choose out of several national parks in Tanzania, the main point is for the photographer to decide what he wants to shoot. Elephants, gnus, zebras and giraffes are everywhere in the parks but predators can be shot mainly in the Ngorongoro wild reserve and in the Serengeti National Reserve.

The former does not require a professional guide since we are not allowed to get off the roads anyway, but in case of the latter a skilled guide or a tracker counts almost as much as the skills and knowledge of the photographer himself.Â The Ngorongoro Crater rightly a world famous wild reserve, belongs to the Seven Wonders of the World. The crater and its surrounding area is a home for countless wild animals with a breathtakingly beautiful landscape in the background. Volcanos, mountains, plains, lakes and forests give variety to this splendid land. At the edge of the crater - where most of the lodges can be found - the height is up to 2300 meters therefore the temperature is rather low in the evenings. Lush forests rich in plants, creepers, shrieking monkeys can be found here, hidden in the early morning mist. The steep slope of the crater does not prevent animals from moving, however many of them stays at the foot of the crater where food and water are plenty. The plateau of the crater is at about 1700 meters height, which is ideal for the photographer as it is not too hot there and animals are more active than in other parts of Africa. The lions of the plateau form rightly famous groups, many National Geographic films has been shot here yet. The speciality of the place is the strictly protected black rhinoceros. We could spot here the first lion attack during our safari of which I still think with full of deep emotions as the great drama of the nature was a lasting experience to me. Four lions were hanging around a herd of African buffalos, then seperating two of them forced them into a water jump. Three lions from the front and one from the side started to surround the prey. They attacked the most vulnerable parts of the buffalo: its nose, its genitals and its back legs. They had managed to bite his legs in the fearful mess so the buffalo could not run away from them. The other buffalo was protected its mate fiercely so the lions pulled back. The unlucky animal was dragging itself along, struggling with pain. It could not stand on its back feet as they were broken and bleeding.

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

1/50sec f/8 ISO 400

Diaporama: Anikó and Tamás Imre

The mighty animal gave it up gradually and died. The workers of the national park were also there taking care of that the photographers did not disturb the outcome of the attack. We were lucky as the prey was only 30 meters far from us. We managed to take interesting but also upstting pictures of the event. Our other photo scene was the Serengeti National Reserve which is the biggest wild in Africa. it is a vast hilly savanna almost melting into the horizon. Enormous wildebeest herds migrate on the ancient route. More than 1.5 million wildebeest takes part in the migration every year. They calve at the same time at the beginning of the year: nearly 700 thousand mammals - gnus, zebras and Thomson’s gazelles give birth to their calves. This season is the Canaan of predators, the food is so plentiful that even bigger packs are provided for by the herbivors. Right on our first day in Serengeti we witnessed how a cheetah family gets its food supply. The female cheetah and three of its kittens were hunting on the plain. It was getting dark when the mother picked out a Thomson’s gazelle. The unguarded animal far from the herd was calmly grazing. The cheetah took their creeping position and - like cats - slowly but firmly approached their prey. It took about ten minutes to them to reach the suitable distance then in the twinkling of an eye the female cheetah started to chase the gazelle and after a 8-10 seconds brought it down. The kittens who could not wait for their mother’s successful hunt - ran to the animal which was still alive and started to practice how to kill it. Finally one of the male kittens killed the prey. We were immensely lucky as the whole scene happened only 10 to 70 meters from us. We just kept shooting and watching the action almost in ecstasy. This kind of dramas happen every day on the Serengeti plain. Big cats sometimes look cruel, however they kill clean and fast and without them the ecosystem would lose its balance. We have compiled - after nine months of hard work - a slide panorama out of the material made, which received the highest honours on the 2009 FIAP World AV diaporama competition winning FIAP’s golden medal and the best in show award. I would like to say thank you to my wife for her persistence and two of my photographer friends who bore up patiently the often long wait for the predators action. Without them this material could not be completed.

Australia World AVFest 2009

TOP of Festival

Narrative: Tamás Imre Photos: Anikó Imre and Tamás Imre

Interesting places

Masai mara National Reserve (Kenya)

Canon EOS 1D Mark III, EF 400mm f/4L DO IS USM 1/640sec f/13 ISO 640

Canon EOS 1D Mark III, EF 500mm F/4L IS USM 1/800sec f/9 ISO 640

Canon EOS 1D Mark III, EF 400mm F/4 DO IS USM 1/400sec f/5.6 ISO 640

Among Kenya’s fifty-five national parks Masai Mara is Africa’s most famous nature reserve. We cannot see so much animals at one place than in the classic open grasslands of Masai Mara, spotted with akacia groves. It is no accident that Masai

Mara is called the Mecca of nature photographers since all of the five big games of Africa can be found here: lions, leopards, elephants, African buffalos and rhinoceroses. Besides the extremely great numbers of lions we can also spot

other predators such as cheetahs, hyenas and jackals. Herbivors can be seen all over the place: gnus, zebras, Thomson’s and Grant’ gazelles, impalas, topis and giraffes. Hippopotami and crocodiles are found in large

Canon EOS 1D Mark III, EF 500mm F/4L IS USM 1/250sec f/8 ISO 800

Canon EOS 40D, EF 500mm F/4L IS USM 1/500sec f/8 ISO 500

groups in the Mara and Talek rivers. If we are lucky we could witness such action scenes as lions preying on or a cheetah bringing down a Thompsonâ&#x20AC;&#x2122;s gazella for its young after a long chase. Among birds the most significant

ones are the vultures, marabous, secretary birds, ostriches, crowned cranes and hornbills. In addition, numerous songbird species can also be photographed. The Great Migration in Masai Mara is one of the most impressive natural events

worldwide. Every year from August to October 1.5 million wildebeests, 360.000 Thomsonâ&#x20AC;&#x2122;s gazelles, and 200.000 zebras migrates from the Serengeti Plateau (which is in a joint ecosystem with Mara) searching for lush pastures.

Canon EOS 5D Mark II, EF 24-105mm f/4L IS USM 1/1250sec f/8 ISO 1000

Canon EOS 1D Mark III, EF 400mm F/4 DO IS USM 1/500sec f/13 ISO 500

Canon EOS 1D Mark III, EF 500mm F/4L IS USM 1/640sec f/10 ISO 800

The most exciting part of the migration is when the animals cross the river Mara. Crocodiles in the water and lions in the bush on the far bank of the river stalking for the exhausted animals and the drama often happens before our very eyes.Â Photographs can be shot in the

national reserve almost exclusively from jeeps. You can take a photos through the windscreens or through the sunroof, at the top of the car. The best device to increase stability is a beanbag (the bigger the better).Â They say that it is easy to take photos in Africa since animals

Canon EOS 1D Mark III,

got used to the tourist cars and everything is close. It is usually true, however some themes are very far therefore often an 500 mm focal length is not enough and we are not allowed to leave the signed roads. Do not leave your cleaning set home as dust always gets into

Planning Location: Masai Mara is situated in the South-Western part of Kenya, 270 km from Nairobi westwards, alongside the Tanzanian border. Its area is 1530 km2. Accessibility: The park only seems relatively close to the capital city. Due to the quality of the roads and the permanent building, it takes about six hours to get there by car. From Nairobi it takes about 40 minutes to get to the national park by a small plane. What can you photograph? Besides the African big cats (lion, leopard, cheetah) we can see numerous herbivores (antelope and gazelle species, gnu, zebra, giraffe, elephant) often very close. some 450 native bird species can be easily photographed as well. What to take with us? We will need 500 and/or 300 tele the most. Instead of these most theme can be shot by a 100-400 mm zoom lens as well. Wideangle lens and macros are rarely used.

, EF 500mm F/4L IS USM 1/1000sec f/10 ISO 800

the open cars from the dirt roads of the national park. About 100 to 150 GB photos can be expected during our trip! Make sure that you have sufficient memory cards for the daily photography and save it to any data storage in the evenings. Although the

success of our trip depends on the experience of our local guide, we should never forget that the crew of nature films shot in Kenya usually spend months in the areas where we can get to for two weeks at the most.

Narrative and photo: János Perényi

Accommodation: We can choose from several lodges and camps equipped with luxury tents. Prefer the ones in the inner area of the park, near the river. The best time to go: Gnu migration lasts from August to October, but this is also the peak period for tourists. November-December and April-May are rainy seasons however animals are more active this time and there are relatively less tourists, therefore prices are lower too.

f/11 1/125 s Fujichrome Velvia 50

Interesting places Little Hungarian desertLand of dunes around Fülöpháza Perhaps the most exciting dune region is located on 1992 hectares between the river Danube and the river Tisza, nearby Fülöpháza. This reminds us in several aspect to the deserts and half deserts of distant lands. Man can associate desert only with heat, though deserts on the borders of Mongolia and China are situated in the temperate zone on the 40-46th parallel of latitudes. This location is similar to the that of Southern Great Hungarian Plane and Vajdaság (Vojvodina, Serbia). Little rainfall and overgrazing have an important role in the formation of deserts, or half desert circumstances. The ancient Danube also has formed the dunes depositing hundreds of meters thick alluvium here. After the Danube went into its recent bed, wind became the main factor in forming the countryside. Dunes rise over the ground for some ten meters, situated in north-western and south-eastern direction according to the prevailing winds. Due to overgrazing vegetationless sandhills wandering has been multiplied in this county until the 16th and 17th centuries, called ’running sand’ in the local dialect. Driving back grazing and reforestation of the Hungarian Great Plain had a common effect on the local vegetation, it fixed sand surface until the last mid-century. Until now only two wandering sandhills remained and their area is strictly protected. Not only this two dunes, but all sandhills offer a lot of various photo topic to photographers. The typical formation of a desert, half-desert dunes, heaps of sand, wind flags - can be seen and photographed at these two places mentioned above. We should not forget however, that we need the permission of the National Park of Kiskunság and we might be allowed to enter the area in the companion of a guide. Unfortunately, visitors having no permission or uninvited people like to walk about the surface of the sand. Fortunately however, a moderately strong wind can rake over the surface of the territory from time to time. The transmission line in the neighbourhood also limits the chance to take a good photo, we cannot create a perfect landscape picture from each direction. The smaller structures can be beautiful as well, especially, when the sun is in a rising or setting position in the sky, and there is a scrubber light.

It is worth to check the histogram and overexpose the photo a bit, when we realize that exposure meter fails due to too much light reflected by the sand. The areas of the piles of sand full of perennial tufted grasses (especially Festuca vaginata) and feather grass are very nice, especially in May. We do not need a permission to visit them on tourists or teaching trails. The wavy surface with its feathery needle grasses in the wind with the blue sky background or with a flock of white clouds

chasing each other in the sky can be nice on a photo, even when the sun is in high position (polarising filter). Juniper bushes, and groups of trees makes the land checkered. We can emphasize them on our photo composition manoeuvreing for a good position or with zooming. Wind softens when evening is coming and we often have a chance to take a photo of some feather grasss in orangereddish light. As the sun light became more and more pale, we can compose it behind the flower

photo subject in its last minutes before sunset. If we want to see a round and not octagonal sun again on the photo then we have to use absolutely large aperture. It is advisable to use light reflector from the direction of the lens. The eastern lick territories of the piles of sand region have photo topics in store for photographers. This area is favourable to macro photographists, too. The local selection of species of moss and lichen is astonishingly rich. Moreover, there are a large number

ky okina 3,5-4,5/35-70 mm hrome Velvia 50

Planning Location: Great Hungarian Plane, Lowlands between the rivers Danube and Theis, piles of sand around Fülöpháza to the north and south at the 20th km of road No. 52 by-passing Solt and Kecskemét cities. Accessibility: We can reach it on a well-built public road No. 52. After the 20th km, we have to go to the south to the researcher center. From here we have to go on foot on a teaching trail built up called „Báránypirosító”, and later on following the red tourist signals which goes acroos the mound county also to the south and to the north. We can enter the strictly protected area located on the north when having permission, and we can go on the assigned path. What can you photograph? Principally landscape and plants, and also insects and lizards. What to take with us? Wide angle lens, wide angle tele zoom, macro len sor teleobjective lens with lens intermediate, tripod, polarizing filters graduated ND filters, light reflectors, diffusors, remote cords. Also tour shoes, breathing clothes, enough water, refreshment and practically photo rucksack. Accommodation: There are many kinds of accomodation in the area of Fülöpháza and its surroundings, for instance rooms in a forest school or even a luxury rider’s farm, but we have to get a line on these. It is worth to book rooms in advance. The best time to go: All year round, but the best in in the spring, especially in May.

of floral plants for instance a stonecrop (Sedum hillbrandtii), Fumana procumbens, dwarf everlast (Helichrysum arenarium), a globe thistle (Echinops ruthenicus), Dianthus diutinus and Dianthus serotinus. Dawn is especially profitable here, when dew makes its billion pearl-like drops glitter on leafs and petals. Photographists, who are really into climbing, jumping and or flying creatures can also find nice photo themes. For example, antlions usually cannot be seen by the spectator,

however we can find its traces, their sand pit traps digged by their larva. The lucky photographist however can take photo of a dragonfly-sized Neuroptera specimen of antlion adults hunting or clinging to the vegetation at sunset. Grasshoppers, locusts, spiders are crawling in this territory. The most terrific of them is the wolf spider. The most bizarre shaped is the nosed grasshopper. If there is a prey somewhere, there are even hunters there: Several common spadefoots, European green toads, European tree frog

can be found here. European green lizards, Balkan wall lizards, and sand lizards are flashing here on the hot sand, hungry for prey. Skylarks are singing in the air which vibrates from the heat, golden oriole fluting in the woods. Light is blinking aloft on the colorful wings of an European bee-eater and the European roller. In the distance a sparrow hawk is chasing for little song-birds. Narrative: Árpád Krivánszky Photos: Árpád Krivánszky and László Suhayda

János Perényi He was born in Budapest in 1955. His affection to nature and biology started when he was a young schoolboy, and this appointed the direction of his studies. He learned at the faculty of biology at the Ferenc Rakóczi II High School and later he was admitted to the Faculty of Veterinary Science of a university. He started to take photos at this time. First he took black and white photos, and coloured slide films. After graduating at the university, he had a break in photography, he took only family photos. In the beginning he had veterinary practice and later he was the executive of a veterinary medicine trade company for 15 years. Today he is an editor of publications, reviews and specialist’ books. He has started to deal with nature photography again just recently. He has a full-time job, he does nature photography in his spare time. He participated in the ’Forrásvíz’ Nature Photography Course led by János Vizúr and Csaba Forrásy Csaba in 2004, and later on in their master’s course. He is a member of ’Nimród’ Association of Hungarian Nature Photographists, where the advices of his clubmates. Club evenings have furhter improved his skills and his photographical view. He made friends with other photographists here on the joint tours. The ’Nimród’ photography club elected him as a chairman in 1997. He is a founding member of the Canon Pro Club. Bird behaviour photography is his favourite subject, but he also takes photos of other animals with pleasure, for example wild mammals. His favourite phtography sights are the ’Lake Tisza’ and the ’Hortobágy’. However, he is interested in other topics, for instance portraits, or social and landscape photography. During his photo tours, he has visited many countries of the world. He was in Africa several times and nowadays he leads professional photo tours to Kenya and Tansania. His photos succeeded on various photo competitions. His photos can be found in exhibitions since 2005 and are selected for the „Hungarian Nature Photographist of the Year” competition every year. Some of his photos was a category winner in Bird category in 2006 and in Mammal category in 2008. He also won ’The most creative Nature Photo’ award in 2006. He won prizes with his diaporamas, too (in 2006, 2008 and 2009) in Hungary and abroad. Find more photos of him on his website www.perenyijanos.hu

Portfolio

Canon EOS-1D Mark III, Canon 2.8/300mm IS, 1/20 s, f/29, ISO 125. Nature Photographer of the 2009 â&#x20AC;&#x201C; Highly recommended

Canon EOS 5D Mark II, Canon 4/5

500mm IS, 1/800 s, f/6.3, ISO 1250

Canon EOS 40D, Canon 4/500

0mm IS, 1/100 s, f/7.1, ISO 800

Canon EOS 7D, Sigma 5.6/300-800 mm, 1/800 s, f/6.3, ISO 1600

Canon EOS 7D, Sigma 5.6/300-800 mm, 1/1000 s, f/6.3, ISO 800

Canon EOS 350D, Sigma 5.6/300-800 mm, Canon Extender 1.4 II, 1/15 s, f/8, ISO 1600 Nature Photographer of 2006 – 2st prize in Mammals category, ZOOM Magazine special prize: “Most creative nature photo of the year”

Canon EOS-1D Mark III, Sigma 5.6/300-800 mm, 1/25 s, f/8, ISO 640 Nature Photographer of 2008 – 1st prize in Mammals category

Canon EOS-1D Mark II, Canon 2.8/16-35 mm 1/640 s, f/10, ISO 200 Nature Photographer of 2006 – 1st prize in Birds category

Canon EOS 30D, Sigma 5.6/300-800 mm 1/1000 s, f/11, ISO 500 Nature Photographer of 2007 – Highly recommended

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Canon EOS3, EF

Photo school

Colours of our photos In terms of the atmosphere and refined appearence of our photos the effect of the appearing colours is just as much important as the form and arrangement of the picture’s elements, about which we formerly has written. A colourful picture makes a completely different impression than a picture consisting of identical or very similar colours, or a black and white photo without colours, appearing in different shades of grey. Photography is a rather new art, however, painters have been studying colours and their effects much longer before. The bibliography of colours is very rich and far-reaching and is worth our while since the different colours have a mutual influence resulting in contrasts, harmonies and disharmonies, all of them raising impressions in the viewer of the photo. Disharmony - the proximity of repulsing colours causing uneasy feelings - should be avoided (except in cases where raising disharmonic feelings is our very aim). On the contrary, there are colours which „get on well” together, expressing harmony and raising positive emotions in the viewer. Opposite colours make colour contrasts and - by boosting each other’s effects - can make our photo more exciting and interesting. In addition, effects can differ in many ways: there are „cold” and „warm” colours, dark or light tones, pastel and vivid shades. Similarly to other effects it is worth the photographer while to plan the appearence of the colours as well. By changing the colour of the background or of the enviroment, we can make a very different, sometimes much more impressive photo. Studying the literature of colours the photographer knows what to watch for in the open field, which situations and colour schemes are the most beneficial. Having this skill the photographer can consciously find, see and successfully utilise the potential of the colours.

Colour boundary I came across with this cold-warm colour contrast on a bend of a lakeside path in Plitvice with an interesting colour scheme. Down on the right-hand side the „cold” blueish-greenish colour of the water shows and the left-hand side is dominated by the wooded hillside „warm”, yellowish-reddish colour. Thanks to the lucky coincidence of the circumstances - with some positioning - I managed to take the shot in a way that the slanting trunk and the branches of the tree made a dividing line between the two opposite colours.

Landscape in black and white

f/16 1/60sec ISO 100

I took this photo of a snow-bound landscape from a hill around the lake of Velence, near the village of Pázmánd. Nature photographers (usually rightly) complain about the lack of colours in winter, forgetting that black and white are also colours, in addition they can make the strongest contrast together, which is well worth to use. Even the paler shades of grey stand out in sharp contrast to the homogeneous whiteness of the snow which strengthens the effect of every contour - furrows, lines, wavy lines branch structures and recurring patterns faithfully serving the photographers efforts to draw the attention of his viewers to this details.

Nature’s “poster”

I spotted this late blooming geranium (crane’s bill) among the yellow leaves of a maple tree when I was walking in the autumn forest. This flower has become interesting because of its surroundings as violet and yellow are complementary colours, making a strong contrast together. Green colour joins into this collective making the photo even more bright and loud, almost poster-like.

A colour sneaks in I chose the time of an early autumn sunrise to make this landscape which represents the church of Kóka and its surroundings in the early morning mist. Along with the sharpness, the mist softens the brightness of the appearing colours too. The ranges of the land, the church, the contours of the trees appear in different shapes of a blunt grey in this pale light of dawn. The reddish colour of the disc of the sun only appears as a gentle counterpoint in the flat field since its faint light looming through the misty air is not strong enough to colour the land. Fog sometimes can take the colour of the environment on. In a golden yellow autumn forest fog can get a yellowish shade giving the picture a special atmosphere.

Strong colour contrast The end of September time is characterised by a much lower sun stand and rather changed lighting conditions. During this time I spotted this late blooming sunflower field. The yellow colour of the field makes a strong colour contrast with the blueness of the autumn sky which is made exciting by the well-shaped white clouds.

Monochrome effects Basically nothing else but different shades of green appears in this photo representing the bay of Bázsa on the Tihany penninsula. The trees, the shrubs, the crops are green, perhaps a bit colder in the shadow and a bit warmer, more yellowish in the sunlit streaks. Even the tiny leaves of the oleasters are greenish-white. The monochrome effect usually makes the atmosphere of the photo more special, in this case it emphasises the freshness and youthful character of the land.

f/8 1/4sec ISO 125

A hard winter with cold colours I take this shot of these rimy branches in a very cold wintertime. I positioned myself where the sky could be the background without any disturbing details. The whiteness of the hoarfrost in itself can represent the cold atmosphere of the winter, however it is also strengthened by the low position of the winter sun and by the gleaming „cold” blue colour of the sky as a result of a clear, mistless air. © László Suhayda Canon T90, FD 1,4/50 mm

f/11 1/500sec Fujichrome Velvia 50

Everything is light! Is everything light? Surely in this picture! There are great potentials in an unusual shot of a bright theme against a bright background (or a dark one against a background dark in tone). The unusual setting was made possible by the fact that a thin blanket of snow had covered the living space of the crocus reticulatus. The white contours of the petals pleasantly stand out against a little yellowish surface of the snow. You should be very careful to securing appropriate contrasts in order to make the main theme separated from the background and avoid shading into it. © László Suhayda EOS 5D Mark II, EF 3,5/180 mm macro f/5 1/800sec ISO 200

Two in one Two completely different and special colour scheme has been alloyed in this photo taken near Dobogókő, in the Pilis. The near edge of the cliff with a tree trunk and its roots and the fallen colourful leaves appear with beautiful, powerful and warn colours, while the foggy background with a sense of cold characterised by less sharp, softened colours. The striking contrast is boosted even more by the strong colour contrast.

Narrative and photos: László Suhayda - Árpád Krivánszky

Life Underwater

The Gem of the Red Sea

When it comes to diving in the Red Sea, it is usually Egypt that first comes to our mind: it is easily approachable and the sea there is excellent for diving. However, there is a country far from the crowed of the bazaars and the thousands of diving ships; and this is Sudan. The biggest country of Africa is the scene of constant political battles and based on the news broadcast, people tend to associate Sudan with starving, refugee camps, terrorism and genocide. But it is not well-known that further from the battle scenes, at the Sudan coast of the Red Sea there is a real paradise for the visiting divers.

Video by: Â© Zsolt Sasdi

Red Sea

The Red Sea is a seawater inlet of the Indian Ocean. Its name is derived from a special algae species that colours the sea-bed red. Its area is 450 thousand km2 with a length of about 1900 km and a width of 300 km. The deepest part of it is 3039 m, while its average depth is 500 m. It is bordered by 8 countries, namely Egypt, Israel, Jordan, Sudan, Eritrea, Yemen, Saudi-Arabia and Djibouti.

Letâ&#x20AC;&#x2122;s dive

We begin our adventures at Port Sudan, where there is only one flight arriving from Cairo once a week. After a twohour flight we got into a wonderful land which is rarely visited by tourists. The lack of infrastructure and commerce due to rare tourism is observable immediately. There is no chance to assist the divers onshore and while diving; the only option is the sea safari. The 40-meter long all inclusive Cassiopea is our floating hotel and diving base for the next week.

Shaab Rumi

If I had to name an underwater itinerary that is worth travelling, it would be Shaab Rumi. It is undoubtedly one of the most spectacular diving locations in the Red Sea. The reef situated in about 48 km far from Port Sudan surrounds a wonderful lagoon that we can reach through a narrow strait that was exploded by Cousteau. The outer reef surrounding the diving locations of Shaab Rumi includes an area that makes this place very special. It was Cousteau who built his futuristic world, the Precontinent II outside the lagoon in 1963, about 100 m from the entrance. During his expedition, he studied if a group of divers could survive underwater for several weeks in a specially equipped village. Still, Rumiâ&#x20AC;&#x2122;s most exciting diving place is its southernmost part where there is a balcony-like entrance to the open sea surrounded by huge rocks on three sides. Its distinctive feature is that around it we can see barracudas, tuna, batfish and most importantly hammerhead sharks. Floating in the water above the plateau, there are sharks gathering around. I counted about 15 beasts around me, but I never knew how many of them could have been behind me. The scenery was beautiful that I have only seen in wild nature films before. My primary plan was to catch the hammerhead sharks, but at that moment I was astonished by the grey ones. I was just turning my head to and fro not knowing which direction they are coming from.

Meanwhile huge perches were provoking the bigger ones bravely confronting them. After a long stare, leaving the greys behind, we headed to the northern plateau. After some strokes we ran into a school of approximately 80-90 barracudas. Running out of oxygen, after the safety stop we discussed our experience on the surface. Between the two dives, familiar fins emerged about 200 m away from the ship and were approaching towards us. From their special shapes we knew that a school of dolphins had arrived at the lagoon; so everybody jumped into the water without hesitation…

Precontinent II.

We planned the dive at Precontinent II that is situated to the west of Shaab Rumi by afternoon. In 1963, Cousteau lived 10-12 m under water for several weeks with his 30-member research team to keep a record of his experience and later reveal it to the world. A big part of the institute has been moved but the remains still show an interesting sight. The first building of the village was named sea urchin as it is composed of a central part and there are several long hands stretching towards the sky. In June 15, 5 of the divers partaking in this experiment dived underwater to occupy their home where they should have lived till June 23. This historic experiment was recorded in the film entitled The World Without Sun that got the Oscar award for its special beauty. The dome of the one-time flying object’s garage became now the home of several tiny fish and corals. Swimming into its centre at the top of the dome, a half meter long oxygen pole indicates the trail of the visiting divers. Away from the dome in the sand, there is the garage of the underwater train commemorating history and Cousteau. There are coral poles surrounding it in which thousands of fish are looking for its food. From a photographer point of view, the cages left behind, the wires holding the pieces together and the ruins of the research institute provide a great photo theme. Lower at about 30-40 meters we can find some shark cages, although the visibility hardly reached 8-10 meters. It was getting darker when we got to the surface and unlike in Sudan, the setting sun’s golden light was reflecting on the surface of the water. We spent the night in the shadow of the wind next to Precontinent so that we can participate in another shark adventure the next day in the light of the rising sun. Whenever we dived at Rumi, it showed different faces. The reef housing nature’s weird creatures was astonishing. The next day at six a.m. when the bells were tinkling, everyone was getting ready for the next sortie in ten minutes.

5 minutes after the dive we discovered the forerunners of the hammerhead sharks and in a short period of time the others arrived too shadowing the water above us. 20-25 hammerheads were circling around not paying attention to us, staring at the divers 10 meters below them. I have seen similar things only in videos before shot in Malpelo and Cocos that the divers are hardly recognisable in the crowed of sharks. Now these super predators were moving above us. After about 15 minutes they disappeared from our sight and everybody started to look for their partners happily in the water to head toward the reef. When we got above the plateau, the usual grey sharks were still swimming around the camp, so we were gazing at them a little sulkily as they were circling about.

Angarosh

I woke to a clashing noise near my ears. One of the guides was tinkling the bells, although it was only 6.30 a.m. A disadvantage of sea safaris is that we have to wake up early in the morning. After this, nobody could sleep more, so in about half an hour everybody was ready. But I got a good compensation as I landed on the head of a hammerhead shark and then I was swimming towards the plateau with two others. Floating right above the plateau I recognized a grey shark too and when I swam back another three hammerheads paid their duty at the site. At noon we had some rest to prepare for the next dive. In the afternoon, we jumped into the water at the same diving location as in the morning, but the difference was that this time we landed on some grey sharks. Above the plateau, a huge school of about 100 barracudas was circling around. Now, in the light of the noon sun the corals were brighter and more colourful than in the morning. Right below me, there was a red bush and a little further violet corals were shining in the water. Star corals of different shapes and colours are growing here and there are thorn corals too flourishing in the pit. In front of me, there were crown corals stretching their tentacles as if they were competing whose colour is the brightest. This view was crowned by colourful and medley fish bustling like butterflies in the meadow. I caught myself smiling and I was completely lost in the details of the scenery. But I didnâ&#x20AC;&#x2122;t have much time as a long body was passing by above me pointing its sharp nose at me. A shark! â&#x20AC;&#x201C; I shouted. Although the smallest I have ever seen. It was hardly a meter long and reminded me of a cheeky pike. It just turned around and disappeared. Then back to the ship, eating, drinking, and shisha...

Sanganeb The next day our journey continued. On the horizon, a weird figure emerged in the open sea which reminded us to the miniaturized silhouette of the Eiffel tower. We were explained that this is the Sanganeb lighthouse: an atoll situated on the edge of the coral reef. There are only a couple of Sudanese people in charge in the lighthouse and they change staff only every 3-4 months so visitors are always welcome. According to the local people we can expect a lot of hammerhead sharks close to the reef. In the sea, it is like some eastern cathedral had sunk in the sea and now marvellous creepers are growing above its ruins. Among the reefs I have visited so far, Sanganeb is the number one. The view was astonishing; the tightly growing coral was stretching all over like flourishing plants in the jungle. The brownish yellow corals were spreading like big ferns. We were playing hide and seek in the trails and were peeking at the sharks swimming between the coral gardens. The streets of the imaginary village were going down in an almost vertical slope. About 30 bluish black fish appeared among the immense number of fish playing in between the ruins of the sunken city like bugs and birds. I named them `dumb fish` as they looked really stupid. Some members of the school were swirling around us with great excitement. We decided to continue swimming along the cleft. The coral species were wonderful everywhere. We passed a lot of fish some out of which were staring at me like I was a frightening predator and were drawing back into their cave. The barracudas continued their round strenuously when we saw a huge grey figure behind them and another one too. Sharks! â&#x20AC;&#x201C; I shouted. When they appeared, the barracudas were shrinking back. On our way, I came across the rope of our ship signalling the end of our dive. I would have liked to sit on a cliff lingering there for a long time, but due to the lack of gill I could not choose, but go up. I was smiling recalling the hide-and-seek and the dump fish.

Umbria

Unfortunately the weekend was coming very fast which also meant that we were approaching Umbria where we planned our last dive. We got to know that Umbria is a big Italian ship lying at the bottom of the sea 10 km away from Port Sudan. Even the top of its two masts is visible at low tide and not less than 18 thousand tons of ammunition and explosives are lying inside the ship. That is why it was forbidden for a long time to dive near the ruins. Originally, the ship was headed to Eritrea with its freight and anchored at Sudan when Italy went to war with us. The Sudanese occupied the ship and wanted the Italians to leave it but then suddenly they were notified that the Umbria is sinking. The Italians managed to bend the side walls eluding the guards. The ship could have been easily saved, but the Italians claimed that there are time-bombs on board so they could not choose, but let it sink. That is why, today the ship is lying in 25 m deep at the bottom of the sea, approximately at an angle of 45, and the hulk can be seen from the surface. The inside of the ship is housing about half milliard of Maria Theresa thalers, but if Umbria exploded, the whole east coast of Port Sudan would be flooded. When we got there, I saw that the upper pole that was not under water was coloured white by the birds` excrement. It was low tide, so the silhouette of the hulk was easily recognizable despite the waving. We started diving on the right side that was overgrown by coral. There was a school of barracudas near the top of one of the masts. Around the ship, there were only butterfly fish and tiny red fish swimming. We swam across a side door to the next room and then to an almost completely dark bathroom. On returning, we crossed another room where long beams were hanging from the ceiling. We pushed ourselves through a little window and swam out of the ship. As it was a huge ship, I cannot tell exactly how we got from one end to the other. We peeked into every room and storage place and we entered every place where we could. The third dive was like returning to an old friend. The legendary Hans Haas told once that Umbria is the most amazing shipwreck in the world. We could see why he told so. The only problem is that it is impossible to see everything even during 4-5 dives.

Narrative and photo: Dรกniel Selmeczi www.selmeczidaniel.com

Astro photography The giants of the Universe Not only humans, but stars are social beings. They are scattered across the universe unevenly. They form groups called galaxies. Our central star, the Sun is also a member of a big galaxy, which can be seen by ourselves with our unaided eye, if we look up at the sky. Our own galaxy, the Milky Way can be studied from inside. Since its shape is similar to a disc, if we look up to the direction at the right angles of the plain of the a disc, we see rather a few stars. However, if we see to the direction of the plain of the disc, we see very many stars. Their dense and fusing light composes the silvery looming called Milky Way.

The Andromeda Nebula is our nearest neighboring galaxy, it can be found approximately 2.5 million light-years away to our Milky Way Galaxy. Canon EOS 5D MarkII, 300/1200 Newtonian (4/1200 tele), 180 min, ISO 200

The Triangulum Galaxy is 2.9 million light-years away from us, this is the second near extragalactic neighbour. Its spiral pattern can be seen remarkably, since the viewing angle is almost perpendicular to the disc of the galaxy. Canon EOS 350D, 130/780 TMB apo (6/780 tele), 210 min, ISO 800

The galaxy named NGC 4565 is an edge-on spiral galaxy. In this case we see the disc of the the galaxy from its cutting edge. This aspect geometry causes similar appearance when we capture a part of the strip of our Milky Way with a wide-angle or fish-eye lens under dark sky. Canon EOS 5D MarkII, 300/1370 Newtonian (4,6/1370 tele), 150 min, ISO 800

In case of Whirlpool galaxy we can witness the situation when a spiral galaxy is going to consume its neighbour, the two galaxies are merging together. The phenomena is not very fast, it can last for some million years. Canon EOS 350D, 300/1370 Newtonian (4.6/1370 tele), 150 min, ISO 800

It may be surprising, but all the stars visible in the night sky are residents of the Milky Way Galaxy. Altogether more than 100 billion stars belong to it. Even more surprising, that outside the Milky Way, still in the observable part of the Universe, there are a similar number of different galaxies. All of these are separately home of many-many billion stars. The galaxies have an extra large size, the diameter of their disk is on an average of 100 thousand lightyears. The distance between them is also a huge number, more million light-years. Consequently, even our nearest neigjbour, the Andromeda Galaxy is very far, about 2.5 million light-years to us. The most ulterior galaxies known are 5,000 times farther on, the distance from us is about 13 billion light-years. Lightyear is a rarely used measurement in everyday life. This is a distance unit which is covered by the light during a year with the speed of 300,000 km per second. A curiosity: The light comes round the globe 7.5 times under one second. These are astonishingly huge numbers, barely imaginable. Let us think it over, in fact how big we are in the Universe? It is weird to think that when observing a galaxy in fact we look into the bygone as we make a time travel. The light reaching our eyes have set off many years ago which matches the number of the light years, the distance of the galaxy from Earth. Accordingly, the present state of the galaxy observed is in fact the state of the galaxy 2.5 million years before. In case of the farthest stars their observed light reflects their state 13 billion years earlier. It is worth to compare these numbers with the date of the formation of Earth 4.5 billion years before, and the dawn of man (i.e. Homo sapiens) which was only about 160 thousand years ago. Stars are orbitting around the center of their host galaxy, where we can usually find a supermassive object so-called black hole. Due to their internal dynamics, i.e., the gravity controlled material motion,, galaxies take different shapes. Their morphological shape, their structure, i.e., the grand design, can be spiral, barred-spiral (spoke, roughly spider-like), elliptical or irregular.

The Leo â&#x20AC;&#x201C; Trio can be seen in the constellation Leo. All of them is a spiral type galaxy, but their viewing angles are different. Due to their post, they shape a smiling face with a fly in the ointment formed by a foreground star of our Milky Way Galaxy. Canon EOS 350D, 130/780 TMB apo (6/780 tele), 300 min, ISO 800

The Markarian Chain consists of many beautiful galaxies with various forms and morphological types. These are the members of the Virgo galaxy cluster of about 2,000 galaxies, which is 60-70 million light-years from us. Canon EOS 350D, 130/780 TMB apo (6/780 tele), 230 min, ISO 800

Since the galaxies are moving in the space, even they are forming clusters, interaction can happen between them. This lead to various, exciting forms. For instance, it is the case when the enormous gravitational field of a bigger galaxy takes away a part of the material of an another galaxy or changes the structure of that. They can even crash: it is the fate that will in store for the couple of Milky Way and Andromeda when they will collide in 2 billion years. Since galaxies are very far and faint celestial objects, we need a telescope to study them. There is one exception, since the close Andromeda galaxy can be seen by the unaided eye as a tiny, slightly elongated fuzzy spot in a clear, dark, moonless night sky. It is more easy to watch them by binoculars or astronomical telescope. We can find dozens of galaxies by even a starter amateur astronomical telescope. By all means photographing galaxies requires dark sky. The action needs long exposure, since they are so pale and we have to work 3-5 minutes’ time according to their surface brightness (brilliance) and other circumstances at high ISO setting. The longer exposition needs the correction of the movement of the sky, therefore we need an astronomical mount equipped with clockdrive system. Since the apparent size of galaxies is so small, we need a long focal length lens, but beware, the pics can be easily blurry and streaky. When we use an optic with longer focal length, parallel with the increased focus and resolution the precise tracking became more difficult. But do not get exasperated since we can record very many sky objects with even a 135mm lens. Of course, the most detailed picture can be taken with astronomical telescope. We have to be aware of the exact position of the celestial objects, therefore we need some kowledge on sky, and we have to get an astronomical map (finder chart). The most appropriate time to hunt for the giants of the Universe are the months of spring on the Northern Hemisphere

Narrative and photo: Iván Éder Translation: Péter Pál Tóth

tips and tricks Photographing early spring flowers In winter, a nature photographist usually suffers from the lack of photographic themes, what is more he does not really keen on going out in the wintry weather. When nature awakes photographists swarm out at last with the first generation of insects with great enthusiasm and full of pep. Only a few flowers bloom at the end of the winter, at the beginning of spring. Therefore, their habitat became a pilgrim place of nature photographists from year to year. To record the first flowers peaking through the snow is also an almost obligatory ritual. The situation of a photographer is not an easy one at all. This topic is overphotographed, during the years many good photos were taken of these flowers, and the next photo has to draw up with them. The good photo equipment is not enough to achieve this goal. Even the right selection of a perfect flower, nicest of its kind is not enough. Both are essential. The flowers â&#x20AC;&#x2122;photographed to deathâ&#x20AC;&#x2122; have to be recorded in a unique way, as it was rarely seen or even never before. Those photos may make a hit which are taken amongst special light circumstances from unique, interesting aspect and unusual view. We have to note that it is worth to utilise the possibilities provided by the lenses of different angles. So many lens angles there are so many perspectives exist, so many different photos can be taken having various effects. Let us change view and perspective, make experiment! It is also worth to search for flowers grown at an interesting, unusual position. Of course, the relaxed bakground is still essential. We have to do our best to create this (to select the right perspective, the right distance of the topic from its surroundings, to select the right aperture, shade background etc.) Contrary to popular belief not direct, high contrast light is an advantage to flower photography, but pale, overcast poor-lighted weather. There is diffuse light this time. Photographers of flowers generally use all kinds of tools (diffusor, light reflector) to affect light.

Hepatica (Liverleaf)

f/8 1/60sec Fujichrome Velvia 50

The tops of flowers lightning out from the dark background are nice not only in symmetrical order, but also in a way when the sceen is nice and corresponds to a kind of psychological order both for the human eyes and to the soul of the spectator. This group of liverleaves (Hepatica tribola) showed me such a psychological order. I like them very much viewed from above, but dead fallen leaves and the ground under them provided an ugly background. To take the picture, I have shadowed the area under the flowers and modulated lighting with light reflectors the way that light could reach the flowers but could not the area under them. This way the disturbing details of the surroundings became underexposed, and cannot be seen on the picture.

Playing with sharpness

f/2,8 1/2000sec ISO 200

Awe-inspiring sight can be a photo which is composed by pale, faded impressions of a painter-artist. However, even in this case it was important that at least one of the detail of the flower should have been sharp. To take a photo of the inner side of the pulsatilla I have schosen a wide-angle lens and I have taken the photo from a very short distance using lens intermediate ring. I have managed to emphasize the nice details of the inner side of the flower using little depth-of-field and setting sharpness to the yellow androecium. Moreover the surroundings of the flower had a good impact with its pastel tint and picturesqueness. The shadowy or diffuse lightning is especially important in case of blue flowers since strong direct light effects very ugly colors.

Pulsatilla in back-lighting The hairy-stalked pulsatilla is an emblematic flower of the early spring. It seems to offer itself to be registered in back-lighting which silhouettes with its sparkling the graceful flower. A single flower with closing petal fits perfectly to a standing picture, and back-lighting was provided by the setting sun. I have used light reflectors from the side and from above to solve the problem that shadowy areas sometimes does not contain details. Back-lighting silhouette light is so dim that we cannot predict the exact desired exposition even with spot metering. Since overexposed and burned out details can ruin the photo, it is recommended to select the right expostion after a few trial. Dark blackground can be an advantage, since before light background we would loose the beauty of sparkling. © László Suhayda Canon T90, FD 4L/300 mm

f/8 1/30sec Fujichrome Velvia 50

Let us decorate! Flowers are photographed sidewards nearly in line with ground in general, to gain a relaxed background. If the adequate background cannot be provided, in that case we can create a flower photo from an unusual perspective, too. I have photographed this bunch of winter aconite from upside down, just like a tourist. The flowers flourished richly, the blossoms stretching upwards abuted, standing on a long stalk. The light was high, therefore I have originated a smooth, shadowless, still strong lighting with a diffusor. Flowers are standing so densely as patterns of a wallpaper (without empty or high-packed places) that light which came from upwards and enlighted properly the upper parts couldn’t reach the bottom parts. The stalk and the root of the plants were in relative darkness therefpre these parts cannot be seen between the petals. These cannot deteriorate with their tangle the photos. We have to use proper small aperture to take similar photos and to get appropriate sharpness on the whole picture.

More than just a bud We have to utilise the design possibilities in photography. When I was searching for the topic at the locality of the multicolour saffran, after raining, I have found a bud lodged strongly between the many others stretching upwards. Water drops stopped on this bud, not less than three pieces. The surrounding world appears reduced in size and head down in these water dropps as they function as very tiny magnifying glasses. The repetition of this triple motif sthrenghtens the composition. To brake the monotony of this motif, the sun light appeared too as a star in the left handside waterdrop. A fairly good photo would not have been taken adequately if there was only a bud, and were not very special motif, water drops and sparkling.

Multicoloured saffron in a strange position This flower affected me with its artificial looking symmetry. It is also seemed to offer itself to be photographed in a standing position. It has grown in a little mound, therefore there were no distorbing object before and behind it. I could take a photo of big depthof-field with a nice homogeneous background. The geometrical effect of the flower which derived from its symmetry was enhanced further by the great depth-of-field and the nearly extreme homogeneity of the surroundings and also by the cold bluish tint of lightning.

Narrative: László Suhayda - Árpád Krivánszky Photos: László Suhayda

Digital image editing Sharpening our photos In this issue we will learn how to properly sharpen our photos. Last time I made a tutorial video to show the necessary steps and I did the same now for it is better to show then to write about it for these are a little bit complicated techniques. Adobe Photoshop and Adobe Photoshop Lightroom can efficiently improve the sharpness of our photos, but not all photographs can be saved from blurriness. Most of the photos with serious motion blur or lens blur in them canâ&#x20AC;&#x2122;t be sharpened correctly. It is a waste of time to hassle with these. On the other hand fairly sharp photos can be converted into super sharp photos with these applications. There are two sharpening workflows. The standard is to sharpen our photos only at the

end of the editing (after retouch, tonal adjustments and resize) and the other concept is to sharpen in several steps during the editing. In my opinion it is enough to sharpen our photos once if we know the correct amount and technique. It is more important to know the medium we are sharpening for. The technique and amount of sharpening is different whether we are going to present the photo on screen (in a web photo gallery for instance) or we print it out. We need to use more sharpening for print than screen, or we can say we have to over-sharpen a bit our photos for print. Lightroom also gives an option to choose from whether we are exporting

our photos for screen or printing on matte or glossy paper. Image editing applications always raises the contrast of photos to simulate sharpness. We have to be careful though not to sharpen parts of the photo, which are blurry due to depth of field or motion blur. This way we can save our photos form unnecessary color and luminance noise showing up in these parts. We have to mask our adjustments. We find a masking option under Detail (Develop module) in Lightroom, and should use smart filter masks attached to smart objects in Photoshop to be able to mask the sharpening. This way we can not only orient the sharpening into particular parts of the photo but we can also change the amount of it later easily. I show these and much more in the tutorial video on the other page. Narrative, video and photo: Martin Perhiniak

In this video Martin Perhiniak presents the sharpening of photos in Adobe Photoshop and Adobe Photoshop Lightroom.

Interesting places

The Land of the Rock Towers The Dolomites, Northern Italy

Canon EOS 5D Mark II EF 24-70 mm 1/30sec f/4, ISO 500, tripod

The name „Dolomites” is derived from the famous French mineralogist Déodat Gratet de Dolomieu who was the first to describe the rock, dolomite, a type of carbonate rock which is responsible for the characteristic shapes and colour of these mountains; previously they were called the „pale mountains,” and it was only in the early nineteenth century that the name was Frenchified. The coral reefs found in the one-time shallow sea stretching through in the area of the Dolomites were the predecessors of today`s mountain. The landscape that was formed 65 milliard years ago must have been an enormous plateau which is indicated by the peaks` almost similar height of 3000 m. A characteristic of the dolomite is that it chemically hardly weathers, but physically does. This is the reason for the formation of this kind of landscape, the deep valleys, the sharp ridges and the steep slopes covered with detritus. There are rapid flowing mountain brooks flowing down the valley forming lakes at some places. The special shapes, scalloped, enormous pillars and cliffs forming grotesque figures, deep abysses provide diverse pictures.

Canon EOS 5D Mark II EF 24-70 mm 1,6sec f/6, ISO 200, tripod

Canon EOS 5D Mark II EF 24-70 mm 1/100sec f/10, ISO 200, tripod

Canon EOS 5D Mark II EF 24-70 mm 1/50sec f/8, ISO 200, tripod, HDR, ND filter One of the miracles of the Dolomites is their playful colours due to the magnesium content of the rocks that reacts in different ways to the light effects.

colours at sunsets and sunrises. This phenomenon is called the AlpenglĂźh that is the glow of the rock tops providing a superb photo theme for the photographers.

This way the mountain is sometimes reddish brown, whitish grey or bluish purple. The mountain peaks wear pink or reddish purple

The highest point of the Dolomites is Marmaloda which is 3344 m high covered by huge glaciers. The most often photographed place is the

Canon EOS 5D Mark II EF 24-70 mm 1/10

Canon EOS 5D Mark II EF Tre Cime di Lavaredo (Drei Zinnen) with its 2999 m height. The highest pass that can be approached by car is the Pordo pass at 2250 m. The land has an excellent roadsystem, but we have to take the traffic into consideration as the serpentine roads and the pass may slow it down. The good hiking routes were established during the

00sec f/7, ISO 200, tripod, Sunset filter

Canon EOS 5D Mark II EF 70-200 mm 1/400sec f/6,3, ISO 200, tripod, Polarizing filter

Planning Location: Northern Italy, the area between the provinces of Trento, Veneto and Trentino Accessibility: You can get everywhere on good quality roads. Due to the many serpentine roads and passes the traffic is slow. There are excellent hiking routes and at most places you can use the ski lift too. What can you photograph? Mainly landscape and plants.

EF 24-70 mm 1/40sec f/7, ISO 200, tripod, graduated ND, Polar filter First World War when Italian and reach the peaks. As the area is a Austrian troops were fighting for significant tourist destination, the land claim. you can find several quality accommodations. Some of the via ferrata were created at that time. At this I am planning a workshop at this place, built up ladders and ropes location at autumn. help you get along. The less determined can make Narrative and photo: BĂŠla SzabĂł use of the numerous ski lifts to

What to take with us? A fisheye optic lens, a 16-35mm wide-angle lens, a 24-70 mm wide-angle zoom lens, a 80-200mm telephoto lens, a tripod, ND2x, ND4x, ND8x, ND graduated filters, and a remote release. Appropriate waterproof hiking boots and breathable clothes are necessary. A photo backpack is also recommended. Accommodation: There are numerous opportunities, but it is worth enquiring. It is better to book a room in advance. In the rest-houses the space is limited so it is highly advisory to take sleeping bags. The best time to go: The whole year. In winter there are certain places that are inaccessible. After the summer season from September many of the ski lifts stop.

Young talent

gergĹ&#x2018; Nagy

Nikon D80 Sigma 180mm macro

1/6sec f/16 ISO 100

The interview was made by Adrien Imre. How long have you been doing nature photography? I was 15 years old, when I took a camera in my hands for the first time. But I can’t remember exactly why I had a smack at it. I vaguely remember that I was turning over a National Geographic issue I guess, when came an idea that I want to take photos and record the beauty of nature. Especially that mankind is to spoil more and more of it. This kind of artistic pictures cannot be taken without being a talent. I understand that you studied photography, haven’t you? My talent - if I have some -is the heir of my grandma, who was a skilled photographer. Nevertheless I have learnt what I know exclusively in my own way, from books, magazines and from the photographers who helped me with their advices. Probably this will be the same in the future. Would you talk about your favourite places to the readers? Where I was going out the most that was the mountains of Börzsöny, firstly just because that is the nearest place to me. But the more I see of Hungary and of the world the more I recognize that I have no favourite places, because every place have its own beauty. I could probably answer this question better ten years later, when I will have visited more places. Ireland was a real experience, though.

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

Nikon D80, 70

Which topics do you prefer out of the daily renewing and diverse world of nature? I guess, I prefer the ones which are not easy to notice. I believe that the tiniest thing has as as much function in the life as the biggest one. So I like to take photos of the most apparent things and even the biggest ones. High quality photos need high quality equipment. How do you record the light? Actually I have a Nikon D80. Amongst the lenses I have a Nikon

70-200mm/2.8, a 200mm/4 macro, a 105mm VR macro and an 1835mm wide angle lens. Beyond that I have an FM2 analogue camera too, using with and old 50mm/1.8 lens. How serious do you take nature photography? Have you ever had a thought that you could make a living as a photographer in the future? This is what I really want to do and I am working hard with my whole spirit to make it come true.

Is there any place or topic which seems to be beyond your reach? If your dreams come true, where would you prefer to travel the most? There is no such a thing as impossible to me. If I really want to get somewhere, then I will get there even if I had to hitchhike to do this. SouthAmerica, New-Zealand, New-Caledonia and many more places are among my destinations.

0-200mm f/2.8, 1/400sec f/4 ISO 100

Nikon D80, 200mm macro, 1/60sec f/5 ISO 100

Nikon D80, 105 VR macro, 1/250sec f/3 ISO 100 Would you list us a few successes of yours as a nature photographer? I am proud of the most that I won the “Junior Nature Photographer of the Year 2007” award. In addition to this, I have participated with several pictures in different competitions. To what extent are you motivated by the spirit of adventures? Have you had any experience that you would like to share with our readers?

This kind of spirit is a really big motivation for me. A trip with its everchanging circumstances that is the spirit of adventures itself and it’s quite hard to give it up. One of my biggest experiences was right away in my first long trip to Ireland, where a family had accommodated me for a few days. It was an outstanding experience that I - a hitchhiker - was helped in everything. They gave me back the trust in people. I don’t know how to thank you them this at all. I hope someday I could give someone the same experience.

Please share your contacts and your website with the public, in order to delight us with your pictures. My photos are at www.lightandnature.hu You can also read of my future plans and trips on my blog (www. lightandnature.hu/blog) or you can get news of me on Facebook (www.facebook.com/gergelynagy89) or on Twitter (www.twitter.com/lightandnature).

exhibition IRÉN BECKER

SAHEL SAVANNA PEOPLE AND CULTURE When I first visited Nigeria - nearly ten years ago -, the beauty of the continent irresistibly fascinated me. Getting acquainted with another, unfamiliar world, culture, and presenting it to others with the help of photography, is a daunting challenge. I have spent more and more time behind the camera taking shots, so I could pass on my experiences in an authentic way. My favorite themes are people, emotions, and the magically glowing lights. When I take shots of people in their own, real world, I try to convey my own impressions with respect and empathy, making sure, I am not offending human dignity. I have grown up with distorting stereotypes: the black continent was exclusively the scene of starvation, illness and poverty. However, while living there, I have discovered, that Africa is much more than that. It has many more faces and facets, which I would like to make visible with the help of my photography. The photos exhibited were taken in the northern region of Nigeria - in Hausa language it is called Arewa -, in a dry grassy area, and in the Sahel strip along the southern fringe of the Sahara. These areas captured me with their beauty beyond words. I have found these landscapes without borders spellbinding. These areas are less developed, than other parts of the country. Many times it is hard to approach the villages on the trackless roads. Tourists usually do not disturb the everyday life of the locals, who thus were able to remain in their original cultural environment. Religion runs deep in the communities, most of the locals are Muslim, and some are Christians. They come from different tribes, and they are proud of their own traditions. They are known for receiving their few foreign visitors with extreme kindness, care and hospitality. Their beauty and elegance is most natural, they are brave when it comes to choosing colors, their subtle taste helps them dressing up in style. Photography for them is a game and a new experience. Even if at the beginning some of them were shy and more refrained, in a short while they would join me curiously. I have been asked many times, how I gain their trust for my project. The answer is simple: I politely ask them if I can take their shot. If the situation allows, I even chat with them. This is the big secret. When I visit a village, I ask permission from the chief, which has always been granted so far. After I have secured the permission, the locals receive me as their own. I have become richer with extraordinary experiences. I am truly happy that I could get to know these people and could enjoy their trust. It is quite amazing, that despite the cruel circumstances they live in, they carry on their everyday lives with quiet satisfaction, heartfelt smiles and great dignity. I know them as extremely kind, open and hopeful people. I would like to continue my work, to discover parts of Nigeria I have not seen before. So far I was able to record only a small fraction of this fascinating, multicolored world, which is so much different than ours. Irén Becker

Ágnes Kiss and Bence Máté

Blue daw in front of the stand The man-made bird hovel made of woods is mounted on an electric pylon is located for some meters from the road on the top of the levee.Now it is the fourth year that a couple of beautiful plummage roller have chosen the hovel to breed their young. The young rollers took their flight succesfully each year.

To watch rollers, we are now in the Kiskunság National Park Landscape Protection Area, where there have been a significant increase in the population of this specially protected birds recently. It is due to the comprehensive scheme of the bird protection. Within the frame of this several hovel were placed onto the area to help to strenghten the roller population. Naturally, this bird is a specially protected one in Hungary and the conservation value of a roller is HUF 500.000. The roller is a migrant specie, it arrives to Hungary from Africa at the end of April and at the beginning of May, and starts immediately to find a nesting place. They struggle hard with each other for a man-made hovel when there are not enough natural nesting place, for example cavities in trees picked by woodpecker species for instance green woodpecker. The European Starling which is laying and incubating eggs can became the main target of a roller. It is not rare that a roller hoicks and kills the young starlings. The cock is hunting in the grassy area alone through long days. He can capture insects (beetles, , grasshoppers, crickets, and locusts) and also racers, frogs, lizards, rarely mouse or even vole. The layer is dependent on the cock all this time. He tries to attract her making every effort to the selected nesting place. After the cock delivers the gift, they mate. The pair are nesting by turns. After the young birds were hatched both parents are feeding them. The mobile lurk provides an exciting possibility to take photos of the blue-feathered bird smoothly and also to study its biological secrets of mating, nesting and young raising on the side of the levee of the ’Dong’ brooklet. The parents raised five young succesfully in one of the nesting hovel outplaced by Bence in 2009.

Narrative: Ágnes Kiss Photo: Bence Máté

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Editors: Anikó Imre Árpád Krivánszky Béla Szabó János Szekeres László Suhayda Associate Editors: Adrien Imre Ágnes Kiss Bence Máté Dániel Selmeczi Iván Éder Martin Perhiniak Copy Editor: Árpád Krivánszky Art Director: Anikó Imre Graphical Design: Martin Perhiniak Web Design: FX designport Web Product: Thomas Picture Translators: Balázs Biró János Kóbor Péter Pál Tóth Advertising: Anikó Imre aniko.imre@naturephotomagazine.com

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Bence Máté

Ágnes Kiss

Publisher: Thomas Picture Publisher Ltd. Address: Hungary Budapest 1576 Pf. 3 All rights reserved © 2009 Thomas Picture Publisher Ltd. The Nature Photo Magazine assumes no responsibility for solicited or unsolicited contributions and materials.

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