We recently interviewed Janine to learn more about her process and discover how we, too, might find ways to pursue our passion in photography.

Featured Artist Interview with Janine Pendleton

What inspired you to create these photos?

I find exquisite beauty in decay. No two places are every the same. Each broken window and blemish is part of the story of the location and its evolution. The feeling I get when I am walking around these places is unlike anything else. Surrounded by ruins and dwelling in silence and shadows, it is like a form of mindfulness for me. I am both relaxed and focussed on my work, but utterly content in every way.

What is the biggest challenge in the creation of these photos?

A major challenge is the process of researching online, to plan a trip and to create the route map. It can take many hours of computer work to prepare for a road trip. First is a kind of info dump, I collect location co-ordinates and information and place them onto my map. I scour articles, news reports, registries as well as satellite maps to find potentially interesting locations to shoot. I then rank them, so I can pick out my essential locations and colour code them. The dispersion and arrangement of these form the basis of the route plan, then it all sort of comes together after this point. When I land the goal is to zig zag along the route hitting as many of the essential locations as possible, padding out the route with any other locations as time permits.

What cameras, lenses and lighting gear were used to create the photos of abandoned places?

I have been shooting Sony since my photographer journey began in 2015. I started out with a Sony A77 mk2 and a Tokina 11-16mm f2.8 lens. Eventually, my trusted and beloved friend earned its retirement, after many years of adventures. Currently, I shoot with a Sony a7 II and Sony FE 12-24 mm f/4 G lens.

I use natural light in almost all my photos of abandoned places, opting for a tripod and long exposures. In some cases, where there are pressures that necessitate shooting quickly I often opt for hand shooting.

Do you have a favorite photo from the series? If so, what is it and why?

My favourite photos depict nature reclaiming lost places. Greenhouses, forgotten by their owners and overrun by un-checked plant growth are always my favourites. I also love lost cars in the forest, especially those which involve exquisite moss textures and trees growing out of them.

For photographers looking to create impactful images like this, could you share your process of coming up with your concepts and ideas?

Many of these spaces are immensely large, and the scale of them is often hard to convey with a single photo. A wide angle lens helps with this, to capture as much of the space as possible in the frame.

[Related Reading: Sea Captain Captures Nat Geo Worthy Travel and Landscape Portraits | Featured Artist Interview with Zay Yar Lin]

What are you currently working on? What’s next?

Currently I am planning trips to Poland, Lebanon and Namibia. Also, I am starting to shoot film photography alongside my digital photography. I have started using my grandfather’s Zenit E and Helios-44 lens, and I am very excited about expanding my art to include film.

Find Janine Pendleton Online: Website | Locations Gallery | Instagram

Tufnell initially planned on doing his own take on Andy Warhol’s “Campbell’s Soup Cans” but ultimately decided he needed to narrow his scope, experimenting with other kinds of food before settling on chicken soup. See the videos and photos below to get a closer look at Tufnell’s project, and don’t miss our interview for additional insight into Tufnell’s creative process.

Video: Chicken Soup Is Not Good for the Soul

Here’s our interview with artist Sam Tufnell.

Sam Tufnell Interview

1. What was the biggest challenge in creating this series?

Of all the series I’ve worked on, this was the most challenging as it combined multiple mediums.  The first step was making the actual sculpture from soup, which involved a more traditional process of casting and mold making.

Next, I began photographing the work which eventually led to me creating a video time lapse of individual stills. To speed up the process, I would heat up the space into the 90’s so by the time the shoot was complete it felt a lot like I had actually been in the soup kitchen. Mentally the most exhausting part was switching gears from sculpture to photography to digital editing but physically it was all those sweaty hours behind the camera smelling like chicken grease.

2. What cameras, lenses, and lighting gear (or lighting setups) were used to create the videos?

I used a medium format Pentax 64z with a 55 mm lens and an intervalometer. The artwork was all photographed within a lighted white cube display that is used for marketing small objects like jewelry, etc.

3. Do you have a favorite from the series? If so, which one, and why?

At the moment, I’m quite fond of the Mona Lisa. It’s my least favorite of DaVinci’s work and would have never gained notoriety if it had not been so famously stolen from the Louvre. Metaphorically, I managed to pull off another heist of the piece, however rather than trying to sell it on the black market, I opted for its destruction.

4. For artists looking to create impactful videos like this, could you share your process of coming up with your concepts and ideas?

Photo courtesy of Sam Tufnell

Photo courtesy of Sam Tufnell

I think it’s always important to be true to the mediums you are working with. Ideas are naturally adaptive, but materials need to be willed into different forms. Artists are not originators; we are a link between old and new technologies and ideas.  For every concept there is a suitable material and process for its expression.

5. What are you currently working on? What’s next?

Currently I am working on a series of self-portrait sculptures that I plan on turning into a new series of video and photography.  Using some of the same principles I used for ‘Chicken Soup is Not Good For Your Soul’, the sculptures will all destroy themselves and be presented as a time lapse.

About Sam Tufnell: Website | Instagram

Tufnell has previously shown his work in solo exhibitions at FiveMyles and IV Gallery in Los Angeles. Currently, his public installation Gnome Mountain is on display in High Falls, NY and he has participated in numerous group exhibitions and art fairs including Volta in 2020, Cornell Art Museum in Florida, Cube Art Fair’s New York edition and Spring/Break Art Fair.

Over those years of hunting, Ray’s managed to get some glass plate negatives that date as far back as the 1890s! Thanks to this constant search he now owns an amazing archive of original photos of Old New York, a set of beautiful black and white photos that are not available anywhere else.

Ray personally digitizes each photo and painstakingly retouches them, (Restoration style), pixel by pixel, giving us glorious glimpses of the New York City of yore. The basement of his Brooklyn home is filled with stunning prints of New York, not available anywhere else.

We had the chance to speak briefly with Ray and felt it was worth sharing his incredible work. Not just his images, but the work he’s put into restoring these otherwise lost and forgotten pieces of history!

What Gave You The Idea and Inspiration To Start This Project?

“I have been a professional photographer for over 30 years but for the last 10 focusing on my original camera negative archive that I accumulated over the last 25 years.  I starting collecting photographs when I was 10 years old (my first image was a shot of the Bowery Boys). Then switching to original camera negatives after becoming a photographer and stumbling upon many at the flea markets that used to spring up in the empty parking lots that used to litter 6th Avenue between 14 & 34th Streets in Manhattan.

The inspiration to do this happened once business slowed from photography turning digital. I was walking around my studio, which is filled with negatives, and realizing the photography market is saturated with modern travel, food, and portrait photography and many people are yearning to look at the past, a simpler time.”

[Related Reading: Meet Juho Leppenan of Camera Rescue in Finland & His Paradise of Vintage Camera Equipment]

Which Image Are You Most Proud Of And Why?  On Average, How Long Does Each Photo Take To Finish?

I am quite proud of quite a few images after working on them for 40+ hours. One of Frank Sinatra, some NYC trolleys c.1915, and one shot of a group of English maids from 1890.  It was a labor-intensive process to restore each of these.

[Related Reading: See Some of the Oldest Photographs in the History of Photography]

Have You Ever Tracked Down Any Of The Original Shooters?

No, I haven’t tried to track down the photographers although occasionally it is on the negative sleeve. I spend so much time retouching and identifying the actual locations of the NYC city scenes there isn’t much time left in the day.

Any Rough Estimate On The Total Number Of Negatives You’ve Acquired Over The Years?

I don’t have an actual number of the number of negatives in my collection but I’d say 10,000 plus or minus.

Where Did you Learn Your Restoration And Retouching Techniques?

NYU and SVA had many continuing education courses in Photoshop that I would attend to help me learn the program.

Every image has a story, how he found it, how he worked on it, what was captured, what that particular New York streetscape looks like now, and so much more. You can view more of Ray’s collection on his official website along with some additional restoration and personal projects he’s done over his career.

*Content shared with permission

In his project, aptly titled “Passport Photos,” Siedentopf turns the genre on its head and introduces a unique twist to the otherwise lackluster portraits.

According to Siedentopf, “‘Passport Photos’ looks at one of the most mundane and unexciting types of photography. Heavily restricted and regulated, the official passport photo requirements include that the subject needs to face the camera straight on, needs a clear background without shadow, no fashion covering hair, no glare on glasses, no smile. It seems almost impossible for any kind of self ­expression. The series tries to challenge these official rules by testing all the things you could be doing while you are taking your official document photo.”

Siedentopf, a Namibian-German visual artist based in London, uses the margins outside of the official passport crop to make his creative mark. His subjects often decide how they’d like to be photographed, and their requests are nothing short of unusual. As you’ll notice in the images below, pretty much anything goes. While the official portrait reveals business as usual, the story that unfolds in the full frame is much more revealing and memorable.

Gallery of Unique Passport Photos

Image by Max Siedentopf

Image by Max Siedentopf

Image by Max Siedentopf

Image by Max Siedentopf

Image by Max Siedentopf

Image by Max Siedentopf

Image by Max Siedentopf

Image by Max Siedentopf

Image by Max Siedentopf

Image by Max Siedentopf

Image by Max Siedentopf

Image by Max Siedentopf

Image by Max Siedentopf

Image by Max Siedentopf

You can find more of Max’s work via the links below:

Max Siedentopf: Website | Instagram

All of the images were used with the artist’s permission.

We recently interviewed Lanie to discuss the inspiration for her latest project and how she came to create this series of cinematic images, each loaded with powerful visual metaphors. Here is the transcript from our interview:

The series is currently on view at Planthouse Gallery (in New York) where visitors can view 14 images and draw their own conclusions on the imagery. Each image will remain on display through October 23. 

1. What was the biggest challenge in creating these photos?

I have been photographing the lives of others for more than a decade, and, in my recent series and photobook, “The Angel In The House,” I turned my lens on the domestic lives of women. Artistically, I was fascinated by how people’s physical spaces reveal the dynamics in human relationships. On a personal level, I was looking for answers to my own struggles as the ambivalent angel, trying to balance life as a mother and my aspirations as an artist and professional. I really wanted this series to be authentic, and that led me to invite my subjects to become my collaborators in a process that I call “photo improv.”

The biggest challenge in creating photos in this way and the most meaningful part was building the trust required to create each visual metaphor. Over many cups of coffee, glasses of wine, phone calls, emails, and texts, my collaborators and I engaged in deep conversations, often over several months, about our lives. I dug into the ways in which they arranged their physical spaces, the objects they hold dear, the cluttered bookshelves, the children’s rooms. Slowly the prompt for the picture emerged. Then, working together, we turned their home or garden or rooftop or backyard into a stage, moving set pieces, adding props, selecting wardrobe. My collaborators became actors acting out their own lives, hoping to reveal some truth about their lives and relationships. What was revealed was always something none of us could have planned, or scripted.

While every Angel has her own unique and nuanced story, collectively what was revealed was clear: the angel in the house is still very much alive– in fact, she hasn’t much budged. As the pandemic experience has made all too clear, women continue to play an outsized role holding our families and communities together.

2. Do you have a favorite photo from the series? If so, which one, and why?

After delving so deeply into my collaborators’ lives, I have a bit of a crush on each one of them. So, asking if I have a favorite photo is like asking if I have a favorite child! But, while I don’t have a favorite, here’s one story that might help explain why making this series has been such a special experience for me.

Sarah and I began talking about collaborating on a photo soon after her mother passed away and her father, Bob, who had Parkinson’s Disease and could no longer live independently, moved into Sarah’s home in Maine. It wasn’t easy. Sarah and her husband converted their daughters’ playroom into a bedroom for Bob, and their living room became his library. But the girls were having a difficult time: they didn’t fully understand why their grandfather’s antique maps, old books, and model ships had suddenly invaded their space, and, more poignantly, why he demanded so much of their mother’s time.

As Sarah and I brainstormed the photo we might create together, we knew we would have a stunning set but were never sure we could get her wary daughters, or the recalcitrant Bob, to participate. Luckily, we were completely wrong. The lights, the camera, the excitement of this theater game won over all “the actors.” A couple of weeks after I returned to New York City, Bob texted me: “Lanie, how about you come back and take another picture? We all felt like movie stars.”

3. For photographers looking to create impactful images like this, could you share your process of coming up with your concepts and ideas?

My camera gives me a way in, a way to connect meaningfully with other human beings. It also gives me a way out, a way to work through personal struggles and things I don’t understand.

For instance, my series Lifted Up in New York City emerged as I wrestled with faith in God, and From the Ashes of Rwanda began with my discomfort with the paradigm of white America coming to save Black Africa.

Most recently, The Angel in the House began with my personal regret that, despite my best intentions and opportunities, I somehow hadn’t heeded Virginia Woolf’s directive to “kill the angel in the house.” Citing a popular Victorian poem by Coventry Patmore, an homage to the ideal woman as virtuous, devoted to her domestic duties and her husband’s pleasure, and docile despite her misery, loneliness, and abuse, Woolf urged women to defy that calling in order to be set free to write, to create, to realize our human potential.

Well, I somehow missed that message. By that I mean I thought I could do it all — be a mother and a wife, but also fulfill my ambitions as an artist, a working woman, and a good friend. But I found it impossible. Knowing I wasn’t alone in these struggles, I picked up my camera, seeking to connect with other households. I was hoping to find answers not only for myself but also for my daughters and my son. I was also looking for kinship.

4. What cameras, lenses, and lighting gear (or lighting setups) were used to create the photos?

In shooting “The Angel in the House” series, I’ve used a variety of Nikon 35mm cameras, wide-angle lenses (from 20-24mm), and a mix of speedlights, reflectors, and available light.

5. What are you currently working on? What’s next?

Currently, a solo exhibition of The Angel in the House photo series is on view at Planthouse Gallery, through October 24, where 14 images from the series are displayed, along with several smaller prints, “details of life” which are extracted from the bigger images. A limited-edition photobook, The Angel In The House, accompanies the exhibition and is available for purchase at the gallery or online. The book is also on display at the pop-up art shop books@840Madison, curated by 10×10 Photobooks and Miyako Yoshinaga Gallery.

In 2022, The Angel in the House will travel to the Van Vleck House, Montclair, NJ, for an exhibition and art talk co-sponsored by Montclair Art Museum. From there, the show will move to Books and Books in Miami.

About Lanie McNulty: Website | Instagram

Lanie McNulty is a New York-based artist and social activist. Her photography series include “Lifted Up in New York City,” “From the Ashes of Rwanda,” and “The Angel in the House.” Working in other media, she has created a series of tapestries called “Say a Little Prayer for U.S.”

In her recent photography work, McNulty has developed a collaborative process for creating staged, narrative images. She calls this process: “photo improv.” McNulty’s work has been included in solo and group exhibitions at Planthouse Gallery, BravinLee Programs, the All Things Project, UpstART Gallery, Umbrella Arts, and the Bronx Presidential Gallery. Her work is included in the permanent collections of the Beinecke Rare Book and Manuscript Library, Yale University, the Hirsch Library at the Museum of Fine Arts Houston, the University of Victoria Library, the Miriam and Ira D. Wallach Collection at New York Public Library, and several private collections.

In 2009, McNulty was awarded the Bronx Borough President’s Citation for Outstanding Contribution by an Artist and the International Art Movement’s Encounter ‘09 Award. She has been interviewed about her work as an artist and activist on “Tastemakers with Pauline Brown,” “That Black Girl Radio Show,” and the International Art Movement’s “I am IAM” podcast.

McNulty studied photography at the International Center of Photography. She holds degrees from Dartmouth College, Harvard University, and Bank Street College of Education. In addition to her work as an artist, she is actively engaged with Galvanize Action­, working to engage and empower moderate women in the battleground states to vote for progress. McNulty lives in Harlem with her husband, Paul McNulty. They have three children.

Creating these images is no simple task. Vitor has to plan ahead and perfectly time his exposures. Once he’s set up his camera and exposure then he and his team have to get to work lighting up the landmarks using fireworks (don’t try this at home), to create the streaks of light we see in his images. Sometimes he’ll be able to capture everything in one shot, but often he has to capture the subjects in small chunks and then composite the image together in Photoshop later.

“I use a neutral density filter to find the perfect balance between the brightness of the sparkles and the natural light by twilight, so it’s a fine and limited balance, only a few minutes each day.”

We got the chance to briefly speak with Vitor and ask him a few questions about this wonderful series of images, check out his responses below;

[Related Reading: How to Light Paint Flowers Using Simple Tools]

We’d love to know how you first got into photography/videography?

As a child and teenager, I liked drawing and painting, especially with a nankin pen and watercolor. I started photographing on film when I was 16 and soon got really into the pace of this medium, much faster than drawing or painting. When I got my first DSLR in 2006, my relationship with photography grew stronger and faster. At this time I started experimenting with long exposure, often in the streets and metro of Montreal, where I was living for a few months. I don’t think I premeditated, but in long exposure and later on, with light painting, I was going back to the watery brushes of a watercolor painting, and I really liked the ideas that kind of image evokes: the fade of memory, the dream realm, the shape and colors of thoughts, our emotional body…

[Related Reading: Light Paint with ANY Camera in 4 Minutes!]

What Gear/software do you use to create these images? ND Filters/Camera/lens/tripod etc?

Canon 5D Mark IV, 24-70mm f 2.8 and 70-200mm f 2.8, Lee ND 06 filter, Manfrotto tripod, a 3m rod (originally for mounting backdrops in external locations), fireworks of the kind that produces long sparkles attached to the tip of the rod.

Are there any BTS shots of you creating these?

Absolutely! Check out the video below to see the behind the scenes

What keeps you motivated to keep shooting and creating?

What most inspires me is to discover new places, natural landscapes, culturally rich cities… learning about humankind and its relationship to Nature is what most drives me towards seeking for the next project, the next photo, the next connection, and also the next climb as I’m an avid rock climber, another great way to be in contact with Gaia. I like collecting ideas turned into images, they can be either from observing natural things occurring or from creating images that are the result of directing models, performances, digital tools, and a mix of techniques.

What s the best advice (business or technical) you’ve received?

In business, a piece of advice I still have to go back to often is to offer what people actually want to hire/consume. That is to say, whatever you are doing can be of great value to you, but is it also valuable to others? I think that can also apply to the way I do art: I seek imprinting value in it that goes beyond my personal taste, but which is very much coming from my personal world views.

Do you have any tips/advice for someone looking to get into this genre?

Experiment, try to combine techniques, try different settings to each idea, you’ll only know what works and what doesn’t by doing it over and over. Don’t expect to have it right on the second attempt, and when you finally do it, know that you have to look into the next level of whatever it is you chose to do.

Which image are you most proud of and why?

To point out one single image is really hard, but there’s one image of the series Impermanent Sculptures that I particularly like for all the challenges I had to bring it to life, and the fact that it came out as one of the best in the series adds up to it: Memories of an Ancient Time is that image. I was with a group of friends in a beach by the town of Trancoso, Brazil. I had taken sparkle and also sky fireworks on a quest for an interesting scenario to create an Impermanent Sculpture until I found this rock formation by the sea and decided that was it. When scouting for locations it’s always a combination of intuition and luck, coz at one point when the light is fading, I can’t get to choose much longer.

To create this image I had the help of a friend to trigger the fireworks that I mounted on the sand pointing at a very low angle, the idea was to get the sparkles coming from the sky but it had to be close to the ground, otherwise, it wouldn’t even be in the frame. Predicting the trajectory of the fireworks like that was a bet, and also I had to put the camera on the timer at the right time, get myself far from it, and hope that the capture would be a success. It turned out close to what I had imagined, and the final composition with the sparkles that I drew with the rod on the ground created these figures that remind me of the Three Kings, thus, Memories from an Ancient Time.

View more of Vitor’s work below and on his pages here;

• Website
• Instagram
• Twitter

*Content shared with permission

This is where artist and underwater fine-art photographer, Christy Lee Rogers differs & stands out from the crowd. If you’re not familiar with her work, get ready for a ride! Why? Because not only is her underwater work absolutely breathtaking, but a lot of it isn’t even captured with her underwater alongside her subjects. In fact, Christy often creates her masterpieces from above!

“I think what I do differently than most underwater photographers is that I am shooting from above the water and I’m using (the) refraction of lights, so you get this sort of bending (effect).”

Recently CNN has compared Christy Lee Rogers‘ contemporary photography to paintings by 19th Century painters like Caravaggio and more. Her work has an almost dream-like feel to it with colors that just draw you in and personally I have to agree.

Christy beat 274,000 entries to win the Sony World Open Photographer of the Year and since then Apple commissioned her to make 12 photographs and a film which they released on New Year’s Eve and Lavazza (who previously commissioned photographers like Annie Liebovitz and David LaChapelle) commissioned her for the cover of their calendar.

I had the chance recently to speak with Christy and ask her for some insight into her current (and past) projects, what inspires her, and what she strives to create, so let’s dive into that conversation and let you enjoy some more samples of her work below.

What Gave You The Idea and Inspiration to Start This Project?

This collection “Human” began as a project about gravity and flight and transformed along the way into something more universal, more human.  It was shot before Covid and finished in the days of lockdown.  That time had a profound effect on me, as it did with most, and needed to be expressed.  So I took that opportunity to dive into the depths of what I felt it was to be human.   Vulnerable and yet hopeful. Somehow I have not been able to deviate from that concept; it has stuck with me.

[Related Reading: Hasselblad Launches A New Underwater Housing Solution From Aquatech For The X1D II 50C]

What Can You Tell Us About the Process? (BTS?)

The process is very raw and organic.  In some ways, it’s freeing and in other ways it’s painful.  Putting together an image that should not exist in reality has both sides.  Planning starts with notebooks of inspiration and concepts, notes about life and existence.  From there I will choose a main theme that really resonates with what I need to express and want to experiment with.  Models, pools, costumes, and fabrics are then gathered to fit with that concept, then I write out the shot lists.  On the day of the shoots, everything is more organic and we all let go and go with what comes.  We experiment.

Which Image Are You Most Proud Of and Why?

They’re all my babies and each one has its place in my heart.  In many ways, it is more of the collection coalescing into these feelings that make me feel like I’ve said what I wanted to say.  And when the image can help someone or when somebody writes to me saying they were in tears of emotion viewing the work; that’s when I feel a sense of peace.

On Average, How Long Does Each Photo Take To Finish? (From Concept to Execution to Retouching)

A collection of about 25 images will usually take me from start to finish about a year to complete.  I think I do spend a lot of time on them, making sure that each one is perfect in the emotion they convey, in its title, colors, and cropping.  It seems that each year I become more of a perfectionist and the process becomes more intense.

[Related Reading: Incredible Images From The Underwater Photographer of The Year 2021 Competition]

Where Did You Learn Your Shooting and Retouching Techniques?

I did study filmmaking in college and took a photography class in high school, but most of my photography skills were self-taught along the way.  Trial and error were the best learning experiences.  Experimentation is the backbone of what I’m doing with water and light, so making mistakes has been about half of what I do.  And I wouldn’t change a thing.  Not knowing the rules allowed me to see things I would have never seen.

On Christy’s New Project – Human

Like most during this period, Rogers has spent much time close to home. Fueled by the events around the world she’s taken this opportunity to dive into her latest underwater collection, Human.

Drama, movement, and light come to life in swirls of color, set against the darkness of night in Rogers’ depiction of the strength and opposing vulnerability of humanity. With many public exhibitions closed indefinitely, she decided to release this collection online, one image a month, with complimentary outdoor installations around the world.  The first being in London on the streets of the design district, with 20-foot outdoor images posted along the walkways.

The name human was selected to presuppose a coming together of humanity into a modern renaissance, kindled by adversity and tribulation, and flowering into unforeseen new realities. If art was a passageway into the soul and something more profound within ourselves, she reminds us of our own vulnerabilities within a landscape of hope and magic.  In Rogers’ unique way, she urges us to look beyond the finite boundaries of what’s in front of us and to see between the spaces into a new future.

All of her works are photographed in water, using the refraction of light to create painterly images, and often compared with Baroque and Renaissance paintings.  The water within the images flows life to all areas, taking on bold curving forms and transforming everyday people into angelic creatures, seemly from some other place. In these works, Rogers hypothesizes the idea that if photons of light are without mass and only perceived because of the eyes, then there must be other things around us that we can not perceive as of yet.

Christy also says:  “My purpose behind the work is to question and find understanding in the craziness, tragedy, vulnerability, beauty and power of mankind.”  She’s in the middle of releasing her new series, Human, which you can see here:  www.christyleerogers.com/human

[Related Reading: Removing Water from Underwater Images is Now Possible with Sea-Thru!]

Sirens

A Conversation With Angels

View more of Christy’s work here;

• Website
• Instagram
• Facebook

*Content shared with permission

These curious bugs are the most active from May to July during their mating season, where the males first create the flashes of light with the females generating responses. These exchanges create the “twinkling effect” that everyone thinks of when they hear about these little creatures, and during this time, creates an incredible continuous glow across the whole area.

 

View this post on Instagram

 

A post shared by Daniel Kordan (@danielkordan)

[Related Reading: Nikon Z7 Full-Frame Mirrorless Camera Review]

“Fireflies are very sensitive. They need clean water nearby, warm humid air (but not rain), and no lights, Not a single photo can show how beautiful it is—shimmering and blinking forest full of little stars.”

According to his Instagram post, Daniel used a 58 mm nikkor 1.4, 24-70 mm 2.8 + Nikon Z 7 to capture Each shot on an interval timer at 2.8, iso 4000, 30 s for a total of around 200-400 shots, 2-3 hours of recording. Processing together in free starstax software. As you can see, the end results were nothing short of breathtaking!

Have you ever been able to witness an event like this yourself? Have you captured any great images like this? Be sure to check out all of Daniel’s work, (links below), and share your images & stories in the comments below.

View more of Daniel’s incredible work here;

• Instagram
• Website
• Print Shop

*Content Shared With Permission