AUTUMN / 2014/3.
nature photo magazine
®
ONLINE PHOTO MAGAZINE
TRAVEL | WILDLIFE | LANDSCAPE | PEOPLE-CULTURE | TEST
NIKON D810 | Tested in the field STAR TRAILS | Photo school NORWAY - AUTUMN | Photo adventure
I AM A MODERN MASTERPIECE
See how this original image was created at youtube.com/iamnikon. Image Š Miss Aniela
I AM THE NEW NIKON D810. I am the ultimate in high-resolution versatility. Thanks to my new 36.3 MP FX-format sensor, EXPEED 4 image processor and ISO 64-12800 range, I master any light situation. I never let a subject escape with my burst mode up to 7 fps or my multi-format Full HD Movie recording at 60p. I am nothing but masterpieces. europe-nikon.com
WELCOME Dear Reader, Here we are with the 2014/3 autumn issue of our magazine. Autumn, one of the most beautiful seasons of nature photography, has come again. Deciduous trees and bushes are about to become colourful again, and even the tundra on the North takes on colour. Misty and foggy periods appear at dawn, providing one of the most popular photo themes for nature photographers to capture. To give but a flavour of our current issue: We would like to invite our readers to one of the most beautiful land of Norway, the Geiranger Fjord and the national parks of its region through the photos of Anikó Imre and Tamás Imre. We continue to present photobags in the ‚Shopping Guide’ column, having reporter bags on the agenda. We give expert advice to help the decision of future customers. We guide you around the centre of the Bavarian Forest (Bayerische Wald) National Park which provides exceptionally good opportunities for beginners to practice animal photography. We have tested Nikon’s newest full frame cutting-edge D810 camera on the field. I took the camera for a field-test for a whole week in Turkey where I could try the new machine out in all sorts of extreme conditions. In our ‚Photo School’ column we give some tips and ideas to star movement photography through the pictures and thoughts of Tamás Imre. We introduce nature photographer Gergő Sőtér in the ‚Portfolio’ column. The photographer dedicated his life primarily to big game photography, now we can have a taste of that through his pictures. In our ‚Tips and Tricks’ column nature photographers Árpád Krivánszky and László Suhayda give some advice to the readers in their article, ‚Photography in Autumn Lights’. Our photographer colleague Dániel Selmeczi gives some help to compile the travel set for diving photographers. It is not an easy job if you consider how many things you have to take on a plane. Our colleague László Szilágyi continues the presentation of Adobe Lightroom picture processing program. His article, ‚Presentation of Our Pictures in the Video World’ helps users to familiarize themselves with the services of the software.
Photo: © Tamás Imre Canon EOS-1Ds Mark II, EF 70-200mm f/2.8 IS USM f/13 1/13sec ISO 100
Please receive our 18th issue with love – now in IPAD, iPhone and ANDROID version too! Tamás Imre Editor-in-chief
Photo adventure - Among The natural beauties of Norway 06
TIPS & TRICKS - AUTUMN LIGHTS
32
Spring, summer, autumn and winter, then over and over again, so boring, like a hamster wheel! No, it’s certainly not for a nature photographer as nature makes everything exciting. Because of the different microclimatic conditions the same land looks completely different year by year in the same season. Foliage is coloured differently, the rising sun illuminates the land differently, even compared with the previous day.
SHOPPING GUIDE - SIDE BAGS
44
In the previous issue I gave detailed information about photo backpacks, now I would like to help choosing bags for travel photographers and photo reporters, so we had a close look at shoulder bags. The most important thing is, in this case too, the safe storage and delivery of our equipment. Let’s have a look around the market and see what is worth buying.
PORTFOLIO - GERGŐ SÖTÉR
50
I was born in April 1950, in Budapest. I learned the love of nature from my father who used to take me on his hikings since I was five. I took my first photos at the birth of my elder daughter in 1976; I also started nature photography at that time. I was a member of Nimród Photo Club from 1980 to 1994.
© Tamás Imre
PHOTO SCHOOL - START TRAILS
64
TESTED IN THE FIELD - NIKON D810
72
LIFE UNDERWATER TRAVELLING AS A DIVER IN TODAY’S WORLD
LIGHTROOM 5 PRESENTATION OF OUR PICTURES IN THE WORLD OF VIDOES
The current subject of our Photo School series is a less known photo method – although admired by many people - the photography of star movement. This kind of photography is cultivated by not too many photographers, since the time of exposure does not suit to the normal lifestyle of most of us, it is at night, ’in the empire of darkness’.
INTERESTING PLACES FAIRY TALE FOREST IN GERMANY BAYERISCHER WALD
84
94
98
Photo adventure AMONG THE NATURAL BEAUTIES OF NORWAY
A fascinating trip among the natural beauties of Norway. The fjords divided into narrow stripes by the ocean and their palegreen stretches of water, the snow-capped peaks, the giant jagged granite walls, the incredible waterfalls, the fantastic world of autumn colours and the musk-oxen makes this country attractive for nature photographers. My friends and I visited four national parks and one of the most beautiful fjords in a week. There were plenty of things to admire, explore and photograph in the middle part of Norway.
Canon EOS-1Ds Mark II, EF 24-70mm f/2.8 f/16 1/13 sec ISO 200
After a flight, we started our adventure from Oslo towards the inner part of Norway, up to the twon of Dombås. Here we turned towards Hjerkinn. On the plateau between the mountain ranges we were welcomed by an awful wind and a coldness of -5 °C. We arrived at our hotel by the River Driva late in the evening, in a crisp and cold weather. Next morning we discussed our trip with a musk-ox expert, then we met our guide, Jens Erixon at the entrance of the Dovrefjell National Park. Jens gave us a few minutes long, improvised presentation about the national park. We learned from him that the Dovre is the national symbol of Norway. „United and faithful until Dovre falls” - as the National Assembly worded in 1814. We also learned that musk-oxen are very dangerous beasts. He asked us that without a guide we always must keep a distance of 200 metres. It is a warning sign if they start to growl and stamp with their forelimbs while keeping their heads down. Unfortunately not everybody takes it seriously, so it had happened some time that a nature photographer got into trouble during a shooting of the musk-ox! Of course, we were not worried much, as the expertise of Jens was reassuring for us. We entered the National Park and watched the endless mountains through binoculars. Luckily we spotted an musk-ox family of six. Everybody put his equipment together and we set off the tundra which was spiced with characteristic bushes and rocks. There you have to walk, there is no chance for driving in Dovre. We progressed very slowly equipped with heavy, big telephoto lenses and tripods. We reached the suitable distance in about an hour and guided by Jens we could photograph the oxen in two smaller groups. They did not seem that wild as we had been told. But suddenly the behaviour of one of them changed in a second.
Canon EOS-1D Mark II N, Sigma EX 120-300mm f/2.8 f/8.0 1/500 sec ISO 400
Canon EOS-1Ds Mark II, EF 180mm Macro f/18 0.8 sec ISO 100
Canon EOS-1Ds Mark II, EF 24-70mm
m f/2.8 f/32 1/8 sec ISO 100
Canon EOS-1Ds Mark II, EF 24-70mm f/2.8 f/20 5/10 sec ISO 100
Canon EOS 40D, Sigma EX 120-300mm f/2.8 f/8 1/125 sec ISO 400
Canon EOS-1Ds Mark II, EF 24-70mm f/2.8 f/22 3.2 sec ISO 100
Canon EOS-1Ds Mark II, EF 70-200mm f/2.8 IS USM f/9 1/30 sec ISO 100
He felt that we were too close to him and he moved towards us. Our guide ordered the whole group to get up and back off. Then the musk-ox calmed down and stopped attacking. The experienced excitement got the adrenalin going in each of us. We said thank you to our photo subjects for participation and walked back to our cars. After the quite successful safari everybody could photograph freely the different parts of the National Park, we stayed there until sunset. The next morning we drove to the Rondane National Park. The specialty of the park is the indescribably unique ‘ice age’ land. The ground is covered by the pale-yellowish-white ‘carpet’ dominated by reindeer lichen and heather. Stepping on it you feel like walking on a fluffy, soft duvet. We found thousands of photo themes in this special land. We were out all day, doing this and that and kept shooting even in the evening lights. After each of us consumed a sufficient amount of digital pixels in the Rondane and Dovrefjell National Park, during our evening discussion I told my photographer mates that the surprise of our tour was just coming now. We are going to the ice and snow-covered heights of the Geiranger Fjord and to the ice world of the Jostedal Glacier. At dawn we set off our adventurous trip, during which the feeling of admiration and astonishment kpet changing in us. The abundance of the almost incredible natural phenomena and the snow and ice-covered slopes were reflected on the watersurface of the glacier lakes. The varied patterns and lines provided nature photo themes we had never seen before. During our trip our friends kept asking through the walkie-talkie that „let’s stop here!” Unfortunately the request could not be granted every time, otherwise we would have never reached our original photo destination.
Canon EOS-1Ds Mark II, EF 180mm Macro f/5.6 1/80 sec ISO 100
Canon EOS-1Ds Mark II, EF 16-35mm f/2.8 f/20 1/4 sec ISO 250
After some short stops we arrived to the Geiranger Fjord which is known as the most beautiful fjord of Norway. The fjord is extremely steep, you can drive on a serpentine road on its sides. The mountain along the bank hit the height of about 1600 meter, and above 1000 meter they are snow-capped. There are numerous photo themes: plenty of waterfalls all over in the surrounding mountains. After everybody discovered and photographed the inner areas of the fjord, I took the group tp Dalsnib, at a height of 1476 meter. We took the more than 600 m difference in level through a onelane, gravelled serpentine road. There are no rails, so nothing prevent the driver if the car slips, therefore we progressed up nice and slowly, and stopped if someone came from the opposite direction. We hardly could have room by the edge of the chasm. Finally we arrived and welcomed by snow, ice and a panorama of 360°. We adored this magnificient and ancient sight which make Norway unique. We even climbed onto the ledges for the sake of a better composition. The countless natural beauties provided so many photo themes that we stayed there for hours and postponed the discovery of Jostedal glacier for the next day. On our way back we stopped several times to photograph the River Otta, which was running with frightening speed between the gorges. We got back to our hotel at 2 am, fell into bed being exhausted and fell asleep in a moment. After breakfast we set off to explore the Jostedal Glacier. We could drive up to the entrance of the National Park.
Canon EOS-1Ds Mark II, EF 24-70mm f/2.8 f/25 5/10 sec ISO 100
Canon EOS-1Ds Mark II, EF 70-200mm f/2.8 IS USM f/7.1 1/80 sec ISO 250
Canon EOS-1Ds Mark II, EF 24-70mm f
f/2.8 f/18 1 sec ISO 100
Canon EOS-1Ds Mark II, EF 70-200mm f/2.8 IS USM f/18 1.6 sec ISO 100
Canon EOS-1Ds Mark II, EF 70-200mm f/2.8 IS USM f/18 6/10 sec ISO 100
Nikon D300, EF 70-200mm f/2.8 IS USM f/16 1/160 sec ISO 200
Not far from the parking lot several waterfalls provide a magnificient sight. From the bottom we could see the giant glacier, the biggest contiguous glacier field of Europe. From there you can go only on foot which seemed to be quite a long walk for us, it took about an hour in full field gear, with a difference in level of 400 meter. Arriving to the glacier I spotted an interesting play of colours. The glacier was not entirely white, its colour included navyblue and thousands of shades of white. How is it possible? Because the ice of the glaciers has a capillary structure and non-crystalline, so it does not absorb all the colour waves of light completely, like the transparent crystalline ice, but it reflects blue. No need to say that the colours, lines, compositions and forms provided the most interesting photo theme for me during the whole photo tour. We had fantastic experiences. I feel that we could participate in awesome journey which was a life-changing experience for most of us and formed our approach to nature. I can only hope that we could triggered off something in our Readers too which can change their image of Norway. Instead of its seemingly cold and grim land, this country shows a totally different face in autumn.
Text: Tamás Imre Images: Anikó Imre és Tamás Imre EFIAP fine-art photographers
Canon EOS-1Ds Mark II, EF 16-35mm f/2.8 f/22 1/6 s
Planning Destination: North-Europe, Norway Accessibility: Take Road 6 North from Oslo Airport, then turn left onto Road 15. What to photograph: In autumn mainly landscapes, glaciers and musk-oxens.
What wide70-20 much
sec  ISO 100
t to take with you: -angle lens 16-35 mm, and telephoto lens zoom 00 mm, tripod, memory cards and batteries as h as you can.
Evening modd - Lรกszlรณ Suhayda
Canon EOS 5D Mark III, EF16-35mm f/2.8L USM f/7,1 84 sec ISO 1600
Tips and tricks
PHOTOGRAPHY IN AUTUMN LIGHTS
Spring, summer, autumn and winter, then over and over again, so boring, like a hamster wheel! No, it’s certainly not for a nature photographer as nature makes everything exciting. Because of the different microclimatic conditions the same land looks completely different year by year in the same season. Foliage is coloured differently, the rising sun illuminates the land differently, even compared with the previous day. The density and colour of the mist or the fog changes and enchants your well-known, favourite scene differently, and covers the farther details to a different extent. Animals or birds can emerge from the fog which you have not seen before. You can encounter with different, dew-covered species of the insect world if you wake up early enough and are lucky.
Article’s sponsor
We have presented several tips and tricks in the previous issues of the Magazine, it would be a repitition to bring them up again. So instead of that, we chose to explain some special photo themes or situations and draw attention to the importance of the visual atmosphere. Let’s start with landscape photography. The misty sunrises, foggy periods and special light conditions can make even our home or its close environment enchantingly beautiful, particularly at dawn or in morning backlight. In backlight take care of the sparkles and the contrasts to avoid overexposure or blackened parts. With digital technology it can be instantly checked on the LCD screen or with the help of a histogram if needed. The nature of lands near water is that the reflection of the watersurface almost doubles the lightness of the scene. This atmosphere can be sensed in the picture only if you slightly overexpose it, carefully avoid the risk of blown-out highlights, especially if the image of the Sun is also reflected on the water surface. To capture whirling, colourful leaves in a stream requires several seconds of exposure time, so you should photograph at low ISO sensitivity in low light or use a neutral grey filter. During the autumn it is worth experimenting with night landscapes too. The stars in the sky after an exposure longer than 30 sec will not be point lights but draw shorter or longer stripes. If you are lucky and there are no fast-moving clouds, it can result in a spectacular design. But what can we do with the blackened parts of the surface if the the moon does not illuminates the land? Weel, then we have to take care of the illumination. If we direct the light of the lamp on one place, we can highlight interesting details by a spotlight or we can move the lamp smoothly during a long exposure to illuminate every close parts of the land. Don’t lose heart, even if only your umpteenth attempt is successful. You can also photograph in rain, if you take care of the protection of your equipment against humidity.
Suhayda László
Lรกszlรณ Suhayda
Canon EOS 5D Mark III, EF16-35mm f/2.8L USM f/10 1/125 sec ISO 3200
Coprinopsis picacea - ร rpรกd Krivรกnszky
Canon EOS 5D Mark II, EF 80-200 mm f/2,8L f/4 1/64 sec ISO 400
Sternbergia colchiciflora - ร rpรกd Krivรกnszky
Canon EOS 5D Mark II, EF 80-200 mm f/2,8L + converter f/3,5 1/640 sec ISO 640
Foggy sunrise - Lรกszlรณ Suhayda
Canon EOS 5D Mark III, EF28-300mm f/3.5-5.6L IS USM f/8 1/2500 sec ISO 1600
Neighbours - Lรกszlรณ Suhayda
Canon EOS 5D Mark III, EF100mm f/2.8L Macro IS USM f/10 1/50 s ISO 800
Dawn - ร rpรกd Krivรกnszky
Canon EOS 5D Mark II EF 80-200 mm f/2,8L f/16 1/64 sec ISO 400
Guardian of the web - Lรกszlรณ Suhayda
Canon EOS 5D Mark III, EF180mm f/3.5L Macro USM f/8 1/640 sec ISO 800
Twister - ร rpรกd Krivรกnszky
Canon EOS 5D Mark II, EF 80-200 mm f/2,8L f/16 10 sec ISO 100
Forest - ร rpรกd Krivรกnszky
Canon EOS 5D Mark II, EF 28-105mm f/3,5-4,5 + softening filter f/14 1/12 sec ISO 640
Macro lovers can also get something out of the autumn. As night and dawns getting colder and colder reptiles such as lizards try to settle at warm places, but they are slow-moving so can be photographed more easily than at other times. With a cautious movement, you can capture them in different poses, using different depth-of-fields. Early in the morning good-eyed photographers can capture dew-covered spiders, butterflies, dragonflies and many different species of insects. Lower light and lower contrasts are favourable, as in contrasted light the sparkle of the tiny waterdrops can spoil your photo. You can photograph mushroom in great numbers but less flowers and only in the first half of the season. For the small sized ones, even the beanbag is too high, so you have to place the camera on the ground (putting plastic foil, handkerchiefs underneath). Choose the proper aperture to provide a calm foreground and background. It can be exciting if you have specimens of the same species in the sharp and the blurred part of the picture. If you want more than the always renewing and changing face of the usual scene, then find new places where you have not been before, go for a one-day hike or a photo tour of several days. Have many exciting photo themes and nice lights!
Text and images: Árpád Krivánszky és László Suhayda
Shopping Guide RIPORTER TÁSKÁK DSLR FELHASZNÁLÓKNAK In the previous issue I gave detailed information about photo backpacks, now I would like to help choosing bags for travel photographers and photo reporters, so we had a close look at shoulder bags. The most important thing is, in this case too, the safe storage and delivery of our equipment. Let’s have a look around the market and see what is worth buying.
WHAT KIND OF SHOULDER BAG SHOULD I CHOOSE? If you are travel a lot and want to take out your equipment quickly, I suggest to use a shoulder bag. The most important aspects are the followings. It should have enough removable inserts to separate the inner sections as each photographer has different equipments. The strap should be wide enough, so it would not hurt our shoulders. It is worth watching the safety fasteners as well, the point is that the different supplement should not be taken out at once in order to prevent theft. Similarly to what I suggested on backpacks, it is worth choosing models which are prepared for different weather conditions, I mean rain, dust and severe cold and it should be durable. At report or travel photography we have to use flash or flaashes many times, so it is also crucial to choose a bag suitable for the height of the flash. It can fit into a much smaller compartment if the height is suitable, otherwise it can occupy even a big room of a 70-200 mm lens. Another important aspect is the size of the bag. Flight companies usually allow a 30x40x50 cm handbag on board, so you have to keep the siize within this parameter to avoid bad surprises at the airport.
WHICH ONE SHALL I CHOOSE?
Kata D-Light Lite-443
Kata Pro-Light Report IT-30
WHICH TYPE IS THE MOST SUITABLE FOR ME? You do not have to choose the biggest one even if it is true that it is comfortably spacious, but it can strains your spine on one side and might cause severe backache after one or two days. I suggest to go for a model in which besides two bodies and two or three lenses a flash can fit in as well. If it proves to be too heavy, then choose a model in which a camera body, two lenses and a flash can fit, and if necessary you can hang the other camera and lens around your neck. It is permitted by flight companies too, so a second camera and lens can be around your neck and after departure you can put it into the bag, in case if it exceeded the weight limit. Shoulder bags usually have at least two or sometimes four external pockets in which you can put filters, memory cards, cleansing wipes and brushes (e.g. LENSPEN) to reduce chaos in our bag. Go for the well-tried brands, I recommend three of them now: Kata, Lowepro and Vanguard.
KATA – RECOMMENDED MODELS: The best saving option out of the Kata series is Kata D-Light Lite-443 which is suitable for a DSLR body and two lenses. It is enough for smaller jobs, I recommend it for amateur photographers. You can store media cards or batteries in the handy cover pocket. The very reasonable price, about 80 EUR makes it attractive. The bigger Kata Pro-Light Report IT30 is specifically designed for photo reporters. It can carry two DSLRs, even with a 70-200 mm lense, and further four lenses and still has space for a flash. The bag is tall, so besides the adjustable flash it can carry a 15,4� laptop too, in addition to its favourable features. Its pricetag of 150 EUR is quite reasonable.
Lowepro Stealth Reporter D550 AW
LOWEPRO RECOMMENDED MODELS: This brand is a name among photographers, so I recommend the best one: Lowepro Stealth Reporter D550 AW photo bag. As it name suggests, it is designed for professional users, the bag provides a super fast access to the equipment. By opening the waterproof zipper on the top of the bag, we have access to the camera instantly. Further pro supplement is the removable memory card case which can carry even 12 cards. There are removable cases for different accessories, cords, adapters and other smaller objects. If you are on the way, the hidden passport pocket comes in handy and the padded dividers protect their content fro possible damages. To protect your spine you can set the even weight distribution by an adjustable strap. AW means that it include an All Weather
Cover with which you can cover the whole bag instantly if needed to protect the equipment. It comes with a padded 14� notebook divider and can carry two Pro DSLR camera, 5 or 6 lenses and a flash. Considering all of these, its price is quite reasonable, you can get it for about 150 EUR.
VANGUARD RECOMMENDED MODELS: My third suggestion is the Vanguard XSENIOR family, 30, 36 and 41 model numbers. It is a very professional shoulder bag for photographers who travel frequently in all weather conditions. Their price ranges between 200 to 280 EUR. The model 30 is suitable for a DSLR camera and four lenses, the 36 version can carry two DSLRs and six lenses. The biggest one the model 41: it can hold two cameras and even eight lenses, however, it is a significant weight if you fill it
Vanguard XSENIOR 36
Vanguard XSENIOR 30
up. Therefore it can be also used as a backpack. Each members of the family has safety straps and tripod fasteners. If you take it onboard you can attach it to your handbag. It is not cheap but a very practical photo bag family. Finally, I would like to highlight the Quobio 36 and 41 shoulder bags out of the Quovi family, the winner of the 2013 TIPA Award, which stand out of the crowd with their height. They carry a DSLR camera and four or five lenses, and the flashes can be put in standing which is often very important for a photo journalist. They are priced at about 150 EUR.
TO SUMMARIZE Shoulder bags a bit cheaper than backpacks, however, no reason for saving here as a better piece can be our faithful company even for 10 or 15 years! It is for those who travel a lot
and want professional equipment including the photo bag. If you think ahead long term, you should sacrifice time and money to select a proper bag, since drops and smaller accidents can happen to anyone and it really does matter what protects your equipment. Entrance level: Do not buy cheap shoulder bags as they are not water-resistent and do not protect your equipment, so you will replace them sooner or later. Advanced level: Lowepro, Kata, Vanguard 100-280 EUR Have a nice browse!
Text: Tamรกs Imre EFIAP
GERGŐ SÖTÉR
I was born in April 1950, in Budapest. I learned the love of nature from my father who used to take me on his hikings since I was five. I took my first photos at the birth of my elder daughter in 1976; I also started nature photography at that time. I was a member of Nimród Photo Club from 1980 to 1994. I took part in their photo contests titled ’Encounter with Nature’ and won several prizes. I am a member of Foto Natura Association since 1998. My favourite photo scenes: Gerecse, Buda Hills (big games), Fóti Hills, Esztergom Region (flowers), Pilis (bird watch). Sometimes I visit the Hortobágy to photograph waterfowls.
ACHIEVEMENTS AND AWARDS 1988: I won a prize with my picture titled ’Fighting Stags’ (Gemenc) in Sofia, Bulgaria. 1999: I received the award of the City of Veszprém for my photo titled ’The Gate of Soul’. 2000: My anniversary solo exhibition in Újpest. 2005: My solo exhibition in Dobó Gallery, Esztergom. 2010: A joint exhibition titled ’Nature in Pictures’ with István Láng, Tamás Pálfalvi and János Szekeres in Esztergom.
Portfolio
Damp mood
Riml
light
Sta
art
Bat
ttle
Autumn
n mood
Bell
October
Bath
Branches
Small
family
Photo school
STAR TRAIL PHOTOGRAPHY The current subject of our Photo School series is a less known photo method – although admired by many people - the photography of star movement. This kind of photography is cultivated by not too many photographers, since the time of exposure does not suit to the normal lifestyle of most of us, it is at night, ’in the empire of darkness’.
Article’s sponsor:
Canon EOS 7D, EF8-15mm f/4L FISHEYE USM
f/4 724 sec ISO 100
The photography of start movement requires much care and persistence. Most of the beginner photographers only have a taste of this wonderful genre but they soon realise that it is not that easy as they thought. The first steps were made in the film era. Out in the scene we determined the quantity of light to the given aperture by an external light meter and after the calculation of the suitable time, we exposed straight away. To be honest, it not always brought good result as our picture often became underexposed and dark. Why? The special characteristic of reversal film was its contradictory behaviour to the light reciprocity law which is called the Schwarzschild-effect. In practice it meant that after an exposure time longer than 5 minutes the picture started to darken on the film material, so we had to add plus one light value to the final illumination. The point is that with a Fuji Velvia with ISO 50 sensitivity we could make even several hours of exposure and the result was a dazzling star movement in the final photo. This phenomenon derives from the rotation of the Earth. Setting the camera on a tripod in ‘Bulb’ mode we could make continuous exposure with the help of a remote release cord. It resulted in a sharp picture of the photo subject and a blurred, ‘star movement’ exposure above that. It is much simpler with today’s digital cameras. The usage of a DSLR camera is recommended. Set the mode dial to ‘Bulb’ which can be found at ‘M’ manual mode in beginner and medium category cameras, then – depending on the applied lens – set f/2 or f/4 and the ISO sensitivity between ISO 100 and ISO 400 which will determine the length of the desired star movement.
Bahama
Canon EOS 5D Mark III, EF8-15mm f/4L FISHEYE USM
f/4 8 sec ISO 1600
Canon EOS 5D Mark III, EF16-35mm f/2.8L USM
f/2.8 782 sec ISO 50
Nik f/4 1
kon 1V1, Nikon Nikon adapter Sigma 4/100-300 1/400 ISO 200
The lower the ISO is, the longer exposure required, so the movement of the stars will be longer. Usually a 5 minutes exposure at ISO 400 should be good, but it depends on how close you are to the period after sunset, how dark is the environment, etc. You should photograph from a tripod, you cannot even touch the camera by hand during exposure. You can check the taken picture on the rear LCD and don’t worry if you find it dark, just make a longer exposure or raise ISO sensitivity. It is important to mention that do not exceed a maximum of 30 minutes exposure, as longer exposure can damage the digital sensor and the warranty does not cover that. Below you can read ten important tips and tricks to avoid faults.
10 TIPS AND TRICKS TO STAR MOVEMENT PHOTOGRAPHY 1. Plan the exposure in advance if possible and select the scene and the subject. 2. Switch off noise reduction and photograph in RAW format. 3. Cities or street lamps should be miles away from the environment of the photo theme to avoid ‘light pollution.’ 4. The higher light intensity of the lens, e.g. f/2,8, the more stars will be seen in your picture. 5. Take a stable tripod with you and tighten up each screw properly before exposure. 6. Use a shutter release cable in all cases as infra or radio remotes are not suitable for such long exposure time.
7. Do not stand close to the camera as you can bump into it in the darkness or your movement can result in blurred pictures if the ground is not stable. 8. Switch off autofocus and set sharpness close to infinite, so you will get good result. 9. Do not make too long exposures, but rather more 5 or 10 minutes long ones and compile the star movement by a software. 10. Do not use any light sources during exposure (e.g. headlamp, mobile phone), as it can shine into your picture and spoil the result. Only go to a photo scene or maybe to a faraway country if you are confident in all the above tricks. It is worth attending a special workshop which deals with this topic. The quality of light, the right exposure, the landscape composition, the relation of the background and the foreground, the weather conditions, the perfect knowledge of the equipment, the mental preparation and failure tolerance are all equally important. Only those photographers can make good pictures who are persistent and perfectly aware of all the mentioned factors. Star movement photography is a great fun, but you have to photograph well after sunset, sometimes all night long, while other people are sleeping, and the result is only a single picture after many hours of struggle! But trust me, it’s worth your while!
Text and images: TamĂĄs ImreEFIAP
Bahama
Canon EOS 7D, EF8-15mm f/4L FISHEYE USM
f/4 83 sec ISO 400
Tested in the field NIKON D810
First impression: Nikon Ltd presented its new, highresolution masterpiece, D810 in the ‘Mai Manó Hungarian House of Photography’ on 26 June 2014. The presentation by Gergő Kaszás and the demo test camera showed convincing picture quality and several important innovations. I sent a request to Nikon that I would like to get the camera for a longer test when the final commercial version would be launched.
NIKON D810, Nikkor 24-120mm f4 G AF-S ED VR
f/5.6 1/640 sec ISO 1250
THE TIME HAS COME I received the brand new camera on 29 August 2014, and it came with an AF-S Nikkor 24-120mm f/4G ED VR lens. Since I took it to Turkey for travel photography, I did not have to use any other lens. Of course, there are both advantages and disadvantages of doing that way, but I did not feel too much motivation to try the camera out with more lenses during the one-week usage. The new D810, annouced in June, has replaced Nikon’s top category FX-sensored D800. The engineers of Nikon have built such innovations in the camera body again, that currently this camera is the new, state-ofthe-art leader of digital sensored machines by which Nikon surpassed itself.
TECHNOLOGICAL INNOVATIONS Before the field test, let’s have a look at the four most important innovations of the camera. The body inherited the 51-point AF system of Nikon D4s Multi-CAM 3500FX, thus it is the first time we can use the group AF system in the full-frame, high-resolution category. The camera’s brand new FX format sensor provides a resolution of 36.3 Megapixel, and in addition, its new EXPEED 4 image processor is much faster than its predecessor, so the speed of shooting has been enhanced significantly compared to the relatively ‘slow’ D800. D810 is able to perform a photo series speed of even 5-7 image/sec. It is sufficient both for nature action and sports photography. Another serious development has been done regarding the extension of ISO sensitivity and picture quality enhancement. First among DSLR cameras, the ISO range of D810 starts at ISO 64, which results in much brighter, clearer and sharper pictures at strong light. The other end of the basic sensitivity range is ISO 12 800, however, you can extend the range even from ISO 32 up to ISO 51 200.
NIKON D810, Nikkor 24-120mm f4 G AF-S ED VR
f/7.1 1/400 sec ISO 640
NIKON D810, Nikkor 24-120mm f4 G AF-S ED VR
f/7.1 1/160 sec ISO 320
I have to mention the innovation in the shutter of Nikon D810, namely the noise can be heard at the time of exposure. So far, exposures with a professional Nikon camera have been characterised by a strong ‘Nikon’ noise which was similar to a serious click. It might have given the image of confidence and authority to its user, but it was not a real advantage at sports and dance events or in the theatre. Not to mention nature photography, when we hide from our photo subjects invisibly but after a serious series of shooting animals run away in panic because of the rattling noise. To prevent the noise, so far we have put a sound barrier jacket on our cameras. There is no need for that with Nikon D810, it exposes nice and silently, doing the job almost unnoticably as the shutter noise has been reduced significantly. Finally, the most pleasant innovation I have to mention is the spot specular light function among the light metering modes. The point is that in the light metering mode our camera expose on only spceular lights in the whole picture field. It is a very creative function, silhouettes and other exciting compositions can be exposed almost flawlessly. Such creative pictures has been done so far but successful results required much experience and technical knowledge, but now by the change of the light metering mode even lessexperienced photographers can do the required light metering quickly and easily.
THE TEST I tried the camera out for two days at home to become so familiar with it that in the field I could use the functions even blindfolded. There is no significant change compared to its predecessor, I found almost everything in the usual place.
NIKON D810, Nikkor 24-120mm f4 G AF-S ED VR
f/5.6 1/80 sec ISO 1250
NIKON D810, Nikkor 24-120mm f4 G AF-S ED VR
f/7.1 1/160 sec ISO 640
Arriving at Turkey I primarily photographed people, small towns and landscapes. It did not matter what theme I chose regarding focusing I really liked group focus and I used it almost every time. I could set focus precisely, so I can recommend it to every travel photographer, practically I had no blurred pictures at all. I had to increase ISO sensitivity a maximum of ISO 3200, but I received acceptable results rich in details even at that value. Between ISO 64 and ISO 800 I got such picture quality which includes incredibly great dynamics. In my opinion, acccording to the tests and in real life too, the picture quality of Nikon D810 is unique in the DSLR segment. Thanks to the silent exposure and the modesty of the 24-120 lens no one was disturbed by me being in their life spaces and shooting, even a beautiful Turkish girl allowed herself to be photographed if she was a real model in her whole life. It is a camera body designed for extreme conditions. Nikon D810 was particularly designed for travel, studio and nature photography, its massive frame was made out of magnesium alloy, its cover provides strong protection against dust, shock and extreme weather conditions.
TO SUMMARIZE Nikon D810 has become the best in the DSLR category. It is a recommended buy to all Nikon users. We would like to say thank you to Nikon Ltd for the long test opportunity.
Tester: Tamรกs Imre EFIAP
Life underwater TRAVELLING AS A DIVER IN TODAY’S WORLD
We can get to all of the world’s diving spots in one and a half day with the help of the extended aviation network, but what should we pack and how should we travel today? Unfortunately, recession hit the airline industry as well in the recent years, so the management of the companies studied how they could increase income. It was an obvious idea that they started to control and limit the weight and size of the luggage more strictly. For a few years it was no problem as you could pack a complete diving gear with some clothes and basic personal stuff in a 20 kg luggage for a two weeks tour, even if it was not easy.
But I know that it seems to be incredible for many people at first. How is it possible? The first problem is the diving bag. Almost every diver tops off his equipment with a goodquality bag with a nice and big ‘diver’ inscription, plenty of pockets and, of course, the most important thing: it should have wheels too! At that very moment we lose 25% of the weight allowance thanks to a completely empty bag! These bags usually weigh 4-4.5 or even 6 kg. So we are at a serious disadvantage right at the beginning of packing. Another problem is that these bags are very conspiciuous! Everybody has heard of different nightmares what happens with the luggage while it arrives to its destination, needless to say more. That’s why I travel with a simple bag for about 10 years. It has no frame and wheels, and no inscription either. It is a big sports bag, looks like a sausage, with a long zip in the middle. Obviously that’s not the most comfortable solution if you are on a long way and does not seem to be safe either. Nevertheless, I cannot recall any break or damage from my trips which would have been caused by the lack of frames. You can also save some weight by shower gels, shampoos, hair conditioners, etc. Usually everybody takes that kind of stuff in 500 ml bottles, and then carries back home 70 % of the liquids at the end of the tour. Almost everything can be purchased in much smaller packages, so you can save even 2 kg by them. In addition, every proper accomodation provides towels and they change them frequently, so I used to take only a very small, ‘emergency’ towel.
Bahama
Although Hungarian travellers rarely use this opportunity, but every resort has a laundry, so you can renew your wardrobe at the half time of the tour. It can be a significant weight-reducing factor on long tours of several weeks. Some basic medicine, plasters, thermometer, mosquito repellent, small led lamp, multi-tool can fit in as well. And here we are at the most important package set, the diving equipment. Producers also recognized the problem caused by the austerity measures of the airline companies, so they started to promote travel BCs, light weight pressure reducers, differently designed bags which have not been out in the diving market before. New and much lighter hoses have appeared which can reduce the weight of our reductant easily by 1 kg. Swimfins are varied too, weight difference can be even 2 kg depending on their type. Packing that way, the weight of my latest luggage was only 19 kg for a 20-days tour. Labelling the luggage is also important for several reasons. I though for a few years that there cannot be any problem in the modern bar-coded luggage management system, since my name and the destination can be identified through the system. But what happens if the luggage barcode breaks off? Then usually that luggage goes to the ‘foreverlost luggage’ storeroom. Since there is no name and anything else on it and they are not allowed to open the luggage, it cannot be identified. After I realized this a few years ago, I started to label my luggage with my name and other personal information. In spite of all that effort, it happened once that my luggage did not arrived at the destination and was lost in the system too. After a great deal of investigation I found out that every identification label broke off my luggage, thus they could not pass it through the transit station.
Eventually, after about 10 days of delay and many desperate phone calls, my luggage had arrived. It is also helps if you take a picture of your luggage by your phone before you check it in; it worked for me. I also decided to equip it with a more robust name label. My another nightmare is that another passenger mixes up my luggage and takes it away. Usually you can say goodbye to that luggage forever, or there is a good chance that you receive a similar black bag full of useless things. That’s why it is worth marking it with some conspiciuous sign around the handle to avoid such mistakes. Unfortunately, locking and wrapping the luggage in cling film is absolutely pointless. If someone wants to take something out of our bag, he will get it anyway, seeing the lock only makes him more curious about the content. On my trips in North-America I experienced that a high percentage of the baggage arrives without locks. So a simple cable tie is enough, although it only prevent the zip from opening. The size limit of the baggage varies widely at the different airlines, so get information before booking, otherwise you can leave a large sum at the airport before departure! A few examples: on scheduled flights on the economy class the ticket price usually includes the check-in of one piece of 20 kg baggage (low-cost airlines and business classes might differ from it). Recently, due to the difference between the American and European units of measurement, many airline companies modified the limit to 23 kg. In some cases, usually on the Transatlantic flights 2x23 kg is included in the ticket price, but be careful, it does not mean 1x40 kg but 2 pieces of baggage maximum 23 kg each. Normally the maximum weight of a hold luggage to be checked in is 32 kg. Being a diver you can get some benefit at some of the airlines. There are companies which offer 10 kg extra weight allowance or a discount sports package price. Make sure to book it all in advance, as at the airport there is little chance of modification.
Bahama
HAND BAGGAGE Here are the most painful things as for the underwater photo equipment. No one wants to check in his expensive and very fragile photo equipment as a hold luggage to give a chance of damage or loss. Therefore we want to keep it at hand, however, if you consider the weight of a DSLR camera and its accessories, it is well above 10 kg at best. The regulation of hang baggage also varies at the different airlines, as for weight it ranges between 7 to 12 kg, and as for size the limit is about 50x40x25 cm. On the economy class a hand luggage and a personal bag, such as a laptop bag is allowed. So these are the conditions if you want to keep your photo equipment with you. The only thing you can save on is the bag. I used to travel the world with a surefire PELI bag for
years but since the check-in control of the airlines has become stricter, it became more and more conspiciuous, it was ‘written on’ it that it must be heavy. It is becoming a custom that they check the weight of the hand lugagge at the check-in desk and label it if it allowed to take onboard. You have to try packing in a bag which provides suitable protection but does not weigh 5 kg empty. My experience is that every crucial photo equipment should be packed in one place. It is because that in case of a delay or loss of luggage you can still use your camera when you want it. Even if not the whole equipment, but a working camera should be able to be set up out of your hand luggage.
Text and images: Dániel Selmeczi
Adobe Lightroom 5
PRESENTATION OF OUR PICTURES IN THE WORLD OF VIDOES Probably we are not wrong if we state that at some point every amateur or professional photographer has pondered about the way he could show his work to the world. The most common answer to that is the own website, picture sharing site an/or community pages. However, video sharing sites are often left out of the options despite the unquestionable popularity of YouTube. So, let’s see what should we do if we want to reach the big community of YouTube users. Lightroom is basically designed for photographers, so it is optimatized for picture processing. However, you can find in it some video editing options as well. First of all, Lightroom can export your pictures to Slideshow or video format, let’s learn how to do that. Making a Slideshow consists of three main stages: 1. selection of the pictures 2. setting parameters 3. export We do not deal with the first step too much in this article as in the first part of our series we have already explained the options of keywording, quick collection and searches. At this stage you only have to collect the pictures of the slideshow in a quick collection and click on the collection to see only the required pictures, then click on the slideshow option at the right side of the header. During the setting of parameters we have plenty of option, let’s skim through them quickly. Be careful with the first option at the Option panel. The ‘Zoom to Fill Frame’ option enlarges the image to fill the whole screen but precious part can be lost by this. If you switch on this function always check every picture one by one and adjust them by moving with the mouse if necessary. The ‘Stroke Border’ option simply puts a frame around our pictures in the desired colour and thickness, while the ‘Cast Shadow’ makes a shadow effect as if the picture would stand out of the plane.
Playback panel
Export window Layout panel Backdrop & Options panel
The settings of the Layout panel moves the edges of your pictures from the edges of the video. You can give the extent in pixels with the help of the slides. This option is useful if you want shadow effect around your pics, since in that case you need more space. The Overlays panel makes possible to add artworks, watermarks, stars of rating or simple text to the slideshow. It is important to know that the text or artwork set here will be seen throughout the whole slideshow, not just in the selected picture. You can customize the background of the pictures on the ‘Backdrop’ panel. Of course, it is only relevant if anything can be seen out of the background. There are three options: Color Wash, Background Color and Background Image. The order of these layers is similar to Photoshop. Color Wash covers the picture, picture covers the Background Color. The intensity of the given backgrounds can be customized by the
Opacity slides. On the Tiles panel you can set an Intro screen and an Ending screen. The former places a blank slide at the beginning, the latter at the end of the slideshow, in which you can insert the Identity Plate. Finally, the most important thing before exporting is the Playback panel, the soul of the slideshow. Here you can set the rhythm and the soundtrack of the slideshow. You can select soundtrack by allowing the audio option with the Select Music button. The Fit to Music button sets the speed of your slideshow the way that the pictures would fill the length of the soundtrack at an even rhythm. After you clicked on it, it is worth checking beside the Slides how long the image will be shown. If it is less than 2 or 3 seconds, than the slideshow will be too quick, and if it is more than 8 or 10 seconds, it might be a bit boring. Of course, theory and practice
Titles panel
Overlays panel
can differ, but normally in a funky slideshow pictures are shown for 3 or 5 second, while in a slow show for 5 or 10 seconds with even 2 or 4 seconds of transition. Of course, there is an option to play the slideshow manually instead of the preprogrammed timing. To do this you only have to allow the Manual Slide Show option, then you can move the slides by the arrow buttons. The ‘Random Order’ and the ‘Repeat’ option probably does not require much explanation. The two options of the Export stage, which closes the whole process, can be found at the bottom left section. The ‘Export PDF’ button creates a PDF file in which the slideshow will be embedded. In this format the slideshow cannot be uploaded to video-sharing sites, PDF is not designed for that. The advantage of this format is that it can be saved on a pendrive and can be played on any computer aon as the required Adobe Reader software is widely used. In the contrary, the
exported video format might can be played on any computer without the installation of Codec, but unfortunately it does not always work. But if you want to piblish the completed slideshow on video-sharing sites, you can create the required video file by clicking on the ‘Export Video’ button. You can select from different resolutions, however, I strongly recommend to choose the best 1080 p option. Never use a resolution less than 720 p, as it spoils the richness of details of your pictures. After the selection of ‘Preset’, Lightroom exports a H.264 coded MPEG4 file which can be uploaded practically to any video-sharing site, even onto Facebook. Use the opportunity and make your pictures more popular!
Text: László Szilágyi
Interesting places FAIRY TALE FOREST IN GERMANY Bayerischer Wald (Bavarian Forest) One of the national pride of the Germans is the Bayerischer Wald, a forest in Bavaria incredibly rich in intact natural beauties. Mountains covered with thick forests, crystall-clear streams, lands covered by enchanting carpets of moss and the real harmony and tranquility of nature make the trip through the Bavarian woods of Germany unforgettable.
Canon EOS1VHs, Sigma EX 300-800mm f/5.6
f/5.6 1/125 sec FUJI Velvia 50
Our destination was the Bavarian Forest, a hidden treasure in the heart of Europe, near the border of the Czech Republic and Germany. By now only little traces have left out of these forests of special wildlife, one of them is the German National Park’s area of 13,000 hectar and further 200,000 hectar over the border in the Czech Republic. The aim of the park is to maintain this unique environment and vegetation in its original, natural form, so they have not touched a single tree trunk in the most protected parts of the forest since a century. That is how they protect the biological unit of the woods, since the decay of dead plants and animals plays an important role in the food chain of the wildlife of the park. The precious moss carpet covering the ground and the plants living on the stones give a real fairy tale atmosphere to the forest. Thanks to the varied flora, the Bavarian Forest is a real magic forest which shows different face in each season, thus tempting its visitors for new explorations over and again. But we came in September because by that time the mammals and birds of prey of the park finish moulting. The region is inhabited by big predators which had lived in great numbers here in the past but now they can only survive with human support: wolves, lynxes and brown bears. We can find these animals in an extended fenced territory within the huge area of the park. Here they can feel free, so besides the protection of the fauna and nature, an ideal touristic sight was created. However, watching and photographing them still requires patience and persistence and can be realised by big telephoto lenses. We looked for an accommodation near the entrance of the national park as a starting point for our photo tours. This is important because of the early rises. We started our first-day adventure with getting up at 5.30, in darkness. Canon EOS 7D, EF300mm f/2.8L IS USM f/3.5 1/800 sec ISO 640
Canon EOS 5D Mark III, EF300mm f/2.8L IS USM
f/3.2 1/400 sec ISO 800
Bahama
Canon EOS 5D Mark III, EF300mm f/2.8L IS USM f/3.2 1/400 sec ISO 800
Canon EOS 5D Mark III, EF300mm f/2.8L IS USM f/3.2 1/200 sec ISO 800
Canon EOS-1Ds Mark II, EF24-105mm f/4 IS USM f/8 1/13 sec ISO 400
Canon EOS 300D DIGITAL, EF300mm f/2.8L USM +1.4x f/5.6 1/100 sec ISO 200
Canon EOS-1D Mark II N, EF300mm f/2.8L USM +2x f/8 1/5 sec ISO 320
Canon EOS 5D Mark III, EF300mm f/2.8L IS USM
f/3.2 1/250 sec ISO 1600
Nik f/4 1
kon 1V1, Nikon Nikon adapter Sigma 4/100-300 1/400Â ISO 200
After a quick breakfast we took our photo equipment, tripod, lenses, cameras and drove to the central parking area, then after about 20-25 minutes walk we occupied the photo stands discovered the previous day and wait for the events. Photographers come here year by year to capture the life of the wolf packs, because they can be photographed here uniquely well. We mounted the cameras and lenses on our tripods but we could not see a single wolf in the field. It was good news, as they probably could smelled us but they had not started their morning movement yet. This enhanced our chances to take good pictures. At the crack of dawn the leader of the pack started to howl and for his call the members of the family emerged from their hides. The photo stands were in a safe place and we knew that we were safe too, but it was still frightening to hear wolves howling from a distance of only 30-80 meters from us in the darkness of the forest. They sniffed in the air as they were waiting for the feeding car. We were waiting for the ideal opportunity patiently, and when the wolves came closer our cameras were cracking like machine guns. Unfortunately it started to rain, it seems that you can expect it any time due to the condensation of humidity. Despite the unfavourable wheather condition we had a look around the national park which resulted in a whole day photo tour. During this time we could capture wild boars, wild cats and birds of prey and later we agreed that we will look for lynxes in the evening and choose the best place for shooting.
Canon EOS-1Ds Mark II, EF 70-200mm f/2.8 IS USM
f/4 1/13 sec ISO 500
Bumping into photo groups everywhere we kept asking each other what can be seen and where and what animals were moving at the given time. Lynxes can be photographed basically from three points. We were out until 8 pm, it was pitch dark but we could not see the predator. Never mind, we try it again next morning. Getting up and packing at 5.30 again, setting up our cameras and waiting in one of the hides but the lynx just did not want to show up. I though I have a look from the other hide, it might be hiding somewhere around there. After about ten minutes walk I got there but no sign of the big cat. I have to say that we needed a great deal of patience and persistence for a few wellcaptured photos, although theoretically it seems to be an easy job. It was about eight when the feeding car appeared, and our photo subject emerged too, showed himself sitting on a very nice cliff and, for our greatest pleasure, we could take quite good pictures of him. We returned to our place filled with very exciting experiences. This adventure happened to us back in 2003 and gave us such a deep impression, that we return to this field almost every year. It is a very training ground for the photography of big games and predators. I can recommend this beautiful reserve for everybody. This is the end of our story in the Bavarian Forest. Let our next trip be a surprise, and in the meantime we wish our readers memorable trips and nice lights to the photographers!
Text: Tamás Imre Images: Anikó Imre és Tamás Imre EFIAP fine-art photographers
Planning Destination: Western-Europe, Germany Accessibility: From Munich Airport to the Bavarian Forest via Grafenau on the Czech border. What to photograph: In autumn mainly mammals, landscapes and birds.
W w m t y
Canon EOS-1Ds Mark II, EF 70-200mm f/2.8 IS USM
Bahama
What to take with you: wide-angle lens 16-35 mm, and telephoto lens zoom mimimum 300 mm, but you might need converters too, tripod, memory cards and batteries as much as you can.
f/4.5 1/20 sec ISO 400
EDITORIAL Editor in Chief : Tamás Imre Tamás Imre
Anikó Imre
János Szekeres
Pál Teravágimov
Árpád Krivánszky
László Suhayda
Adrien Imre
Iván Éder
tamas.imre@naturephotomagazine.com
Editors: Anikó Imre Árpád Krivánszky János Szekeres László Suhayda Associate Editors: Adrien Imre Ágnes Kiss Bence Máté Dániel Selmeczi Iván Éder Martin Perhiniak Pál Teravágimov Copy Editor: Árpád Krivánszky Art Director: Anikó Imre Graphical Design: Martin Perhiniak Web Design: Yes I’m a Designer Web Product: Thomas Picture Translators: Péter Pál Tóth Advertising: Anikó Imre aniko.imre@naturephotomagazine.com
Nature Photo Magazine www.naturephotomagazine.com info@naturephotomagazine.com Publisher: Thomas Picture Publisher Ltd. Address: Hungary
Bence Máté
Ágnes Kiss
Budapest; 1143. Semsey Andor utca 25.
The content is the Publisher’s responsibility. All rights reserved © 2014 Thomas Picture Publisher Ltd. The Nature Photo Magazine assumes no responsibility for solicited or unsolicited contributions and materials.
Martin Perhiniak
Dániel Selmeczi
természetfotó magazin
®
ONLINE FOTÓMAGAZIN
© Imre Tamás
KÖVETKEZŐ SZÁM MEGJELENÉSE
2014. 12. 12.