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Technical Basics: Mountain Photography

by Editor Miro Susta 

Whether among the lower peaks of Carpathians and Rocky Mountains or among the majestic Andes, Alps and the giants of Himalayas, mountains landscapes show nature at its most dramatic and inspirational way.


'The Himalayan Dusk' by Manish Lakhani

For photographers the mountains have a vertical component that gives much more freedom to compose than usual. Their unpredictable weather and risky paths add to the excitement that should be conveyed in photographs.


'Bergwetter' by Franz Schumacher

Whether you are hiking round precipitous paths where jagged peaks and glaciers come into view or you are down in the valley looking up at the face of a mountain bathed in late afternoon or early morning sunlight, mountains scenery is endlessly changing.


'Yellow road' by Adhemar Duro

For the photographer the mountains photography is a complex creation made up of landscape, daytime, season and weather condition. To manage it successfully, certain guidelines may help.


'Hunter in the fog BW' by Vito Guarino

The most important is to select a viewpoint which fit to the mountain area and photographer location either from valley below or from the top.
Some popular tourist roads are offering beautiful scenic points, this should not be ignored by photographer.
Let’s take a specific example. Steingletcher (Stein Glacier) in Swiss Alps of Uri. The excellent scale of the glacier and the Alps Mountains becomes fully evident if the photograph is taken just below the main ridge.


'Alpine Glacier' by Miro Susta

In this case the camera altitude position is at 2,150 m a.s.l. and the glacier altitude from 2,200 to 3500m a.s.l. (Eggstock peak).

The following panorama photo was taken with 160mm lens, an excellent use of telelens.


'The Tatra Mountains' by Krzysztof Mierzejewski

Very popular are mountain photos taken from the base, i.e. from lower levels, especially from lakes. For breath taking mountain pictures there is nothing better than mountain landscape photos taken from the lake level.


'Lofoten' by Lior Yaakobi

The possible choices for reflections are endless, most images show a combination of dramatic sky and mountains. 
Below are some selected photographs showing the beauty of reflections of mountains in calm sea waters.


'Autumn Kurkurek' by Alexander Taranin



'Torres del Paine' by Vladimir Driga



'…dreamscape' by Raymond Hoffmann



'Tranquillity' by Þorsteinn H. Ingibergsson

Human shapes can help to bring some life to the scenes, either as a snapshot with people climbing/running around, or as a photo with your own companion.


'Where the sky ends' by Vito Guarino



'Higher' by Tristan Shu



'Back to the House' by Roman Lipinsky © czeladnik



'Where do you go' by Ronni Santoso

The size ratio between mountain and front/background elements can be controlled by selecting the focal length.


'Burning mountains over the frozen valley' by Peter Svoboda, MQEP

A 150mm or longer telelens compresses the perspective, makes the distant mountain loom much larger over middle- and foreground.

An example is the following photo of Mt. Illimani in Bolivian Andes which shows the towering snow covered triple-peaked Illimani (6,438m a.s.l.), it was taken from an elevation of 4,000m a.s.l. with 195mm lens.


'Majestic Andes' by Miro Susta

The photo composition has an acceptable combination of blue sky with white mountains in the background, details with rock formations and high situated village houses in the middle ground and the upper part of La Paz city in the foreground, enhancing the depth and makes the photo more diversified
I would expect the camera to capture at least part of it from the base, but it would be a disappointment to photograph at least part of the Andes from deeper ground.

A wide-angle lens may be necessary for mountain photography, but not further than absolutely necessary, as the mountains may appear to be only an upland.
Below are some more excellent examples of mountain photos taken with a wide angle lens (35 mm and wider for full format).


'Alpine Horizons' by Daniel Řeřricha (17-35MM)



'A fairytale land by the sea' by Yan L (14-24mm)



'ephemeral desert' by Marco Barone



'Winter evening in mountains' by Ralf Eisenhut (25mm)

The light has a particularly transforming effect in mountains photography. The midday light makes the three-dimensional quality of the mountains flat and undramatic.

During the early morning or late afternoon, as the angled light rays throw ridges into deep shadows, rock faces into reliefs, and generally etch the landscape with contrasting tone and colours.


'The first rays of the sun' by Magda Chudzik



'Minaret Lake: First Light' by Yan Zhang

Early morning and especially very late afternoon-early evening hours when mountain tops can glow orange to red are the most preferable in mountains photography.


'Burning peak' by Peter Svoboda, MQEP



'Chaltén Skyline' by Bene Santos

But mountain photography is not only the best weather photography. What is indeed the best weather for any outdoor photography? It is not easy to answer this delicate question.


'Golden Peak' by Tomas Sereda

When we are capturing photographs in the mountains, we assume that there is a lot of sun, blue sky and maybe a few white clouds. But this is not guaranteed, especially not in the mountains with their own microclimate.


'Lightnings' by Peter Svoboda, MQEP

Mountains can create clouds in a unique way, low valley fog in the early morning, rain and storm and also magic a lot of snow. But these particular conditions often offer great motives for wonderful mountain photo.


'Alpine Sunset' by Lorenzo Rieg

Here few tips for better mountain photo.

·        Less is often more. Even though nature is overwhelming in all directions, instead of photographing everything, you should focus your attention on individual points and consciously limit yourself.
Try to capture emotions.

·       Change the position from which you are photographing more often.  Climb on rocks, lie down on the ground or squat down. Of course, you should always pay attention to your safety!

·        Make pictures more interesting through many layers. Use foreground, middle and background.

·        Preferably use the manual focus. Do not only take wide-angle pictures. Detail shots can also be enchanting.

·        Use a tripod and create exposure series from which you can later create HDR images.


'Midi D’Ossau' by martin zalba

I hope you have enjoyed reading this article and viewing the photographs. Many thanks to all photographers who contributed with their photo work.

[email protected] 

A beautiful choice of images!! Thanks a lot Miro to be a part of it.
You are most welcome Vito.
An insight into multiple exposure photography

by Editor Swapnil Deshpande 

'multi house' by Roberto Marini


A simple definition of multiple exposure photography is superimposition of two images overlaid on each other to create an artistic feel or to represent a time bound event on the same frame.

example phases of sun or moon during an eclipse


'Twelve Apostles of the Earth' by Zoran Dujic LightHunter


For many of us photographers it can be a difficult job to convey the mood, story or the geographical sense in one single image. Conceptual images wherein one might want to show the thought processes within a portrait or silhouette of a person in an aerial image cannot be made using the conventional method of photography.

Historically the impressionist kinds of images have made the use of this technique in myriad ways possible. In film days rewinding the film and exposing it number of times had been a common norm to create impressionism in the image, the most common example in this case, showing the same man in different location in the room in different pose. In digital era it became quite easy to see the result immediately and once the cameras, after 2012 started to have a built-in multiple exposure mode it became a vogue for photographers to use it as a style to create images with concepts.

Multiple exposure also can be created in a software like PS or gimp which uses overlaying different frames and playing with the blend modes and masking. Many types of montages can be created during editing and conceptual art is made in single frame.

In the following passages we will go through some technicalities and some of the masterpieces in 1x gallery.


'the stage fright of the cellist' by Roswitha Schleicher-Schwarz



'Double exposure experiment' by Alexey Levshakov

Most major camera manufacturers have the feature of multiple exposures built in with the option of two to ten exposures and a choice of overlay modes that are additive, medium, clear and dark. Nikon and canon both can have shortcut buttons to enter the mode and select the overlay mode and let the camera create a multiple exposed image then and there.

A brief explanation of overlay modes

Additive will add the images simply along with the exposures. Negative exposure compensation will be needed so end result will not be too bright. Generally continuous burst shots of birds or athletes are made using additive overlay mode.

Average overlay mode is more or less similar but exposure is automatically adjusted so negative exposure compensation is not needed. Layering of mountains or creating double or triple forms of subject is effectively made in this overlay mode.

In Bright or dark overlay mode, the brightness or darkness to be added are compared at same position in image and then brightness or darkness as per the overlay mode will be selected in the image.

Conceptual images in which the external form of a physical form is preserved and the inside is substituted depending on theme or concepts are made by using this overlay mode. It is essential that the background is clear for such images to be successful.


'Symphony White' by Inna karpova



'energy' by milan malovrh



'Back' by Carla DLM



'multiple' by Manuela Deigert



'here, there and everywhere' by Lucie Bressy



'echoing in motion' by milan malovrh



'Bougainville' by Hilda Champion



'Singapore bay' by Carmine Chiriacó



'cities !' by swapnil.


As shown in the above images, the use of multiple exposure photography is far and wide and can be applied in any genre from portraits to architecture and landscapes to wildlife and sports. The use of multiple exposures allows the photographer to show a world that can be imagined but not visualized as a reality. This is where the beauty of multiple exposure photography lies and wherein it simply transcends the photographer to an artist. It creates a platform where one can imagine and portray with the tools and is not fenced by the doctrines of traditional art forms.

 Another simpler way of approaching this style is creating single exposures in camera or using the same image by duplicating it as layers in Photoshop and changing the blend modes in the layer palette. You can reduce opacity or use a masking brush and paint on the image by either erasing parts of the image or partially hiding/revealing them as per needs of the image. A similar method can also be used when depth of field is needed and has to be increased to keep everything sharp or reduce it to maintain a sweet bokeh, which is optically not possible for a lens. In addition to this use of multiple layers and distorting them using Photoshop filters is also a trend in architectural multiple exposure work.


'Monocrome from Romania' by Double Exposure by Damian Walker



'the tent' by Roswitha Schleicher-Schwarz



'scaling game' by Thomas Vanoost



'Cinqueterre' by Hans-Wolfgang Hawerkamp



'Sewing Threads' by Hans-Wolfgang Hawerkamp


Whatever method you use, it is important to mention that, in my view, the technical definition of photography is nowhere distorted. The purists can argue on this point that realities are distorted when representing such work, but I feel such images are not meant to be shown as a documentary image or a scientific proof. As long as light falls on the sensor and the image is captured after exposure, we remain within the limits of art photography.

As can be noted, painting and photography have been considered sister art forms. Where painting teaches you to ‘show’ the world and photography teaches you to ‘see’ the world and both cross paths at the bridge of impressionism. Multiple exposure styling just made it easier for us photographers to ‘see’ the world and then ‘show’ it to the world as we ‘saw’ it!

Enjoy below more beautiful multiple exposure work by 1x photographers!

'Waiting for the Ampelmännchen' by Heike Willers



'o.t.' by pe be



'1196 passage' by anduci



'Windows' by Massimo Della Latta



'Inner child' by Aryana Golchin



'...she may be the song that Summer...' by Charlaine Gerber



'leeds civic hall' by aRRO



'the wait' by Thomas Vanoost



'The three goddesses.' by Colin Dixon


Muchas gracias por este excelente artículo. Impresionantes imágenes. Felicidades.
Thank you very much for the interesting article.
Thanks so much Swapnil and Yvette!! Congrats to all
Thanks Yvette and congratulations to all.
. Special and beautiful selection of artworks and an interesting and educational article. Thank you very much, dear Swapnil !! .
Piet Haaksma: Photographer of the week

by Yvette Depaepe 

Piet Haaksma's portfolio is impressive and full of dreamlike landscapes and beautiful nature images.  His pictures always show how beautiful nature can be. 
Piet likes to apply
Vincent Munier's favourite motto: "I don't photograph what I see, I photograph what I feel".
His work shows emptiness and peace, which is his own photographic style that developed over the years.  Enjoy this trip into his 'silent' world and read more about the artist behind the images.

'To the light..........'

Dear Piet, briefly tell us about yourself, your hobbies and other jobs.
I am 68 years old. Together with my wife, I live in the small city of Sneek in the north of The Netherlands. We have two daughters.
For more than 25 years we had our own bakery shop in Sneek. Now we are both enjoying our pension, so I have much more time for my hobby: photography.
Photography is my hobby since I was 20 years old. However, due to the hustle and bustle of having our own bakery, there was not enough time for it. Approximately 10 years ago, I picked up where I left off, however now with digital instead of analogue photography and Lightroom instead of the dark room.

'Seep time during sunset …......'

Which are your most important experiences that has influenced your art?
I started out with nature photography; this is still one of my favourites. However, joining a local photo club, I also got interested in all different kinds of photography.

'Oil in water'

What first attracted you to photography?
At first, I developed my own pictures, made with my first occasion analogue camera, in the dark room. To develop these pictures, I also bought second hand dark room equipment.
During the development of my pictures, it was always very exciting not knowing how the end result of the pictures would be.

Describe your overall photographic vision.
My pictures are telling the story of how beautiful nature can be. I love being alone with the nature surrounding me. I like to observe the beauty of nature and I try to take the right pictures, so I can enjoy these moments again when I am home, by viewing the pictures I made.
It always takes some time to get the pictures as I printed them in my mind. Therefore, this kind of work / hobby is the opposite of the hard-working life in the bakery.
My most important motto is: By taking pictures, at that moment, you are always there yourself. So, the most important picture is planted in your memory with all the information you need! "Admiration" and "wonder" are maybe the best words to describe this.

'I like you a lot...........'

You have your very own style and your work is very diversified.  Can you explain why this is?
Many reactions on my pictures are describing emptiness and peace, apparently this has become my photographic style, without thinking about it myself. It's the photographic development every photographer experiences.
The technics I use in nature photography, like the composition, can also be used in all other kinds of photography.

'Golden sunrise …....'

What is more important to you, the mood/story behind your images or the technical perfection?
These subjects are a unity for me. The one is an addition to the other and I always try to achieve technical perfection, which of course does not always work, it is usually a compromise.

What generally is your relationship to your subject matter beyond being an observer?
I always find it beautiful to be in nature, with the camera added, I am even more forced to see whether there is still a nice photo in it.

'drowned forest ...............'

Do you prepare carefully the locations where you are intending to photograph?
We have many great locations for photography in the Netherlands. Therefore, I am not very selective in planning my photo opportunities. However, some of the locations are very familiar to me and therefore, I know what type of images I still want to make there. E.g. typical light conditions, time of year, misty conditions… I am very keen on the weather forecast to be able to go there during the optimal conditions.


'Sunny start to the day …....'

What gear do you use (camera, lenses, bag)?
Body: Nikon D810

Standard lens Nikon 28-300 mm
Wide angle lens Nikon 16-35 mm
Macro lens Sigma 150 mm
Fish Eye lens Samyang 8 mm
Drone: DJI Mavic Pro 2

I also use a filter set and a carbon tripod.

What software do you use to process your images?

Luminar 4
Nik Collection
Aurora HDR


'Landscape of sand'

Can you tell us something more about your work flow?
All my photos are made in RAW format.
Lightroom is my standard program for storage and editing, for all other editing I use Photoshop in combination with the plug-ins Nik Collection, Luminar 4 and Aurora HD.
Each photo needs a different treatment, depending on the end result I am looking for.

'The latest autumn colors …...........'

What is your most important advice to a beginner in Photography and how do you get started?
I have always been inspired by looking at photo work from other photographers on sites such as, but I can also imagine that you will not do so in order to develop your own style.
Allow yourself the time at a location and you will see that you will only see the “photos” after a while, so don't be too satisfied with a photo taken, look at it critically and try to get more images from other points of view at the location.


'Hepatica nobilis flower'

Who are your favourite photographers and more importantly, how has your appreciation of their work affected how you approach your own photography?
My first introduction to photo workshops and travelling was with Geurt Besselink, a leading nature photographer from the Netherlands, and I am still part of a photo group led by Geurt. It is an important learning experience for me on how to look at composition in nature.

Also the work of Vincent MunierMarsel van Oosten, Peter Svoboda, Vincent Munier, Milan Malovrh, Nel Talen, Thierry Dufour and Lars van de Goor are inspiring to me, knowing that I have not mentioned many more.

Is there any specific photo taken by another photographer that has inspired you a lot and why?
I was once given a lecture by Vincent Munier. His photographic style is minimalistic and has a great preference for cold areas. He prefers to work in snow and in mist conditions. It is impressive to see under what extreme conditions he is taking his photographs, usually alone and often at extremely low temperatures.

 A nice motto that I like to share:
"I don't photograph what I see, I photograph what I feel" - Vincent Munier.

'misty morning in the forest ….'

Describe your favourite photograph taken by you and why it is special to you?


'the blue forest …....'

This is a picture of the Haller forest in Belgium in which one morning all elements came together. To be there on that moment in these circumstances is like being in a different world.
The Haller forest is known for the growth of the blue / purple forest hyacinths in the spring.
When this comes together with the sprouting of the young green leaves of the beech trees and you are also lucky that mist is formed in the forest, then everything falls in place.
There were many photographers present that morning, but it was completely silent, probably because everyone realized this was a unique moment.

Is there anything else you wish to add and what do you think about 1X as a home base for your work?
Years ago, I discovered and found a holy grail for all kinds of photos.
Beautiful photos and the idea of publishing there myself, was out of my reach.
I was really overjoyed when published a picture of me for the first time and it is still an honour for me every time a photo is published. is a beautiful photo platform.
The same feeling happened to me when Yvette asked me for an interview.

'do not disturb...........Damselfy'


'lovely couple.......'






Dear Piet, Very impressive and beautiful gallery. Ny compliments
Thanks Arnon.
Thanks Arnon.
Mooi Piet, echt om trots op te zijn!
Dank je wel Emile.
Dag Piet, Prachtige portfolio van fotografische plekjes van (vooral) Nederlandse bodem. Ik blijf je volgen en er van leren!!!
Dank voor je reactie. gr. Piet
Prachtige fotografie en mooi artikel!Proficiat,Piet.
Dank je Jimmy, ben er vereerd mee. gr.
Great article, with perfect photos!
Thank you Szabo.
Piet wat een mooi portfolio laat je hier zien. Gefeliciteerd, helemaal terecht Fotograaf van de week! Gr. Nel
Dan je wel Nel.
Piet's work is of rare beauty, his images are splendid. A big thank you Piet for having mentioned me in your favorite photographers is an honor for me. Thank you Yvette for this magnificent interview !!!
merci Thierry ;-)
Thank you Thierry, your macro photos are top class and inspiring for me and other photographers ....
Proficiat met het mooie interview ,Piet. Gr,Sas
Dank je wel Saskia,
Piet, gefeliteerd dat je "photographer of the week" bent! Leuk interview. En een prachtig portfolio heb je zonder twijfel. Gr. Frans
Dank je wel Frans en hopelijk tot ziens. gr. Piet
Congratulations, Piet! Thanks for your fine collaboration... Beautiful work! Cheers, Yvette
Dank je wel Yvette, bijzonder eervol.!
Zsolt Andras Szabo: Majesty of mountain nature in a special light

by Editor Marius Cinteză

“I approach landscape photography as a creative art form. For me photography is all about the way of transmitting a vision, an impression, and not about the strict reality.” - Zsolt Andras Szabo

Zsolt Andras Szabo is an appreciated Romanian photographer and a dentist by profession. He is drawn into the mountain landscape photography who brought it to a particular form of fine art. His works reveal extreme care for excellent composition and vibrant emotion by using multiple plans overlapping and light emphasis. The interest for mountain nature appeared early in the childhood times and influenced his future passion for photography, constantly developed by self-effort and practice and inspired by the paintings from J.R.R Tolkien books or Marc Adamus photographs. His mission is to offer the viewers with a different perspective over the mountain scenery because he's of the opinion that the biggest value of a photograph is in the part that the author adds on top of what the camera is able to capture.

I invite you to discover more about Zsolt and his remarkable mountain landscape works in the interview below!

'Winter's claw'

Zsolt, first I would like to thank you so much for taking your time to answer my questions! To begin, please introduce yourself shortly and tell us more about you, your hobbies or other jobs/projects you are involved in!
Thank you for your interest in my photographs! I currently live in Cluj Napoca city (Romania), I am a dentist as an original profession, and photography is for me a form of artistic expression. My only hobby and my interest focuses on the landscape genre. Or maybe a little more than a hobby…


For many of us the photography is either a hobby or a way of life. How would you define your relationship with the photography?

I’ve never made any effort to earn money out of photography, and probably I never will, and that makes me an amateur basically. But, that don’t keep me from taking photos just like the pros, or to consider it my way of life, especially if I consider the amount of my time and my thoughts what it takes. I love my profession and I love photography to remain for me only an artistic activity, this way I manage to keep it with very low levels of creativity compromise.

'Rear window'


What would be the most important experience so far that has influenced your steps in photography?
I was always a visual type, and my influences came from many directions. First time I saw cliffs and mountains in my childhood and first time I saw paintings made after Tolkien’s books, those were really shocking moments for me (it was before the LOTR movies). But still, I didn’t believe that kind of visual expressiveness can be introduced in photography until I saw the works of Marc Adamus, who I consider even now after 13 years and several shifts of trends by far the biggest figure of landscape photography.


When have you realized that you would like to follow a career in photography?

I have never had a career in photography. I’m in photography since around 2002-2003, and without this much information, inspiring photographers and digital cameras evolution the process was real slow. I didn’t know at that time anybody around me, neither indirectly, who was a landscape photographer. It was around 2011-2013 when landscape photography began to be more “in fashion” among other genres and also when I reached a level where I could teach photography in workshops. I don’t like and don’t believe in photography workshops, and I examined closely the situation how can I follow my artistic pursues with less compromise: keeping my original profession, or to switch to professional photography. I’ve chosen the former, and still I believe it was a good decision.



How do you maintain and grow your passion for photography?
I don’t believe that is possible nor necessary, at least for the artistic part. If the interest is decreasing, there is nothing more to do. Maybe only as a profession or a way to earn money, but definitely not as a form of art. Passion keeps it alive, and you cannot control.

'The Gorilla'

Can you please describe in a few words your photographer philosophy and mission?

To my eyes the biggest value of a photograph is in the part that the author adds to it; it is not definitely there in the landscape, but it is what the photographer is observing and is able to show to the viewers (I don’t mean manipulation, of course). Unfortunately, it cannot be easily seen and the viewer have to develop a certain level of understanding in this respect. Nowadays the fact that people are looking at images on smartphones make things for us, the photographers, much more difficult, because at that size the essence is not visible. Furthermore, I believe that the world doesn’t need a millionth picture of certain places in Dolomites, Iceland, Lofoten, Patagonia, etc. My mission is to show that not only the location is what makes a good image and to offer a different view than usual of that location.

'the passage'

Zsolt, you have self-educated into photography and never attended photography lessons or courses. How important is the self-effort to become a better photographer day by day?

Self-effort is a decisive factor and it cannot be replaced or compensated by lessons or workshops. Hard working is actually just as important as the talent, because there will be no remarkable result if any of them is missing.


Landscape photography is a preferred genre among many photographers today. What do you think that makes your works different?

I believe my photographs are different because while wandering in nature and photographing I try to record my impressions about it (not literally the landscape itself), and only when I feel that there is something to show, something to tell about. If I succeed in this, it already means that it will be different. From many taken pictures, I only show what I consider that it is capable to convey something to other people. What draws me to landscape photography is the landscape itself, the way of life it takes and the good times spent wandering in the mountains.


Zsolt, you are of the opinion that to shot extraordinary landscape photography does not necessarily mean to travel thousands of kilometres for “iconic”, over-photographed locations. What do you think is the contribution of a photographer to a make special, impactful works of the landscape around him?

To make a meaningful landscape photograph, one must develop a certain relationship with the photographed location, and actually must express this relationship in the photograph. Visiting a location offered for granted by other photographers, and hopping out of the car to snap a shot will not make you a valuable photographer on long term. An expert will immediately notice this just by looking on the photo. Still it can easily earn appreciations in social media, but it has no value. This relationship will very likely develop along with the joy of exploring and excitement of discovering new locations, especially if you must work hard to get there, and obviously, if you spend more time there. Everybody has more chance to take a valuable photo in a location closer to the place they live than in an expensive, distant travelling.


Where do you look for to find inspiration for the stories you want to convey by your photo works?

The works of great photographers around the world still inspire me, but this influence is perhaps decreasing with time and experience accumulated. Still I spend a great amount of time daily on social media and photographic platforms to explore new images. But the places I like are the main inspiration for me, more and more, I just need to manage to spend there as much time as possible.

What do you think are the top three secret ingredients for a remarkable landscape photography?
1. An ability to observe and to convey through a photograph without effort what the landscape “speaks” to you, a skill that can be developed by an enormous amount of work, along with technical perfection.
2. Learning how to get to the right place in the right time. What that means - it depends, can be different for every person.
3. Understanding light and learn to render light in a photograph. This will decide very much the level you can reach.


You are of the opinion that the post processing is an important step that every photographer should take into account before presenting the final result to the viewers. Can you please tell us something more about your workflow for landscape photography?

I don’t think it is possible to create a valuable landscape photograph without a certain amount of post-processing. My workflow consists of two main phases: raw processing in Camera Raw and finishing in Photoshop, roughly I would say the first one is about 1/3 of my processing.
I begin in Camera Raw and check if the photo is technically acceptable, adjust lens correction, sharpness. Then I try to recover the details as much as possible, adjust contrast and saturation levels and white balance - at these settings always keeping in mind that all of them will be fine-tuned later on selectively. Finally, I open it in Photoshop and fix everything I don’t like, trying to move away from what the camera sees and get closer to what my eyes have seen. I use layers and luminosity masks for optimal selective working. In the end I use to enhance very slightly what I liked the most in that particular phenomena or location.

'Dark shine'

Your “Monochrome” series is absolutely stunning by mood, light and minimal composition! Can you please share the story behind this project?

Thank you! The “Monochrome Landscapes” is one of my continuously developed projects but for me the colour photography will always be on the first place. Basically, I can say that in this project I include those photographs where I managed to have a composition I like very much but I wasn’t lucky enough to catch it with a special kind of interesting colourful light. But not all of them will make it, because monochrome photographs need as well a different but special kind of light. Here I focused on the role of light in composition, stripped it to the basics in the lack of colours.


What do you think are the main challenges of landscape photography?

To get in the right place at the right time, because special light, mood and nature phenomenon last only a few moments and they are useless if you are not in an interesting place or if you are not entirely prepared. This meaning much more time needed for evolution compared to other photography genres, because you have only a few seconds of chance to improve and continue. You have to develop a certain kind of attention when you look in the camera, to be careful to every details that you usually observe only at home on a big monitor. Also you need to pay attention to the composition in the harshest photographing conditions including wind, frost, blizzard, and physically tired of hiking. No wonder I came to the conclusion that landscape photography is the most difficult genre (I mean only if you want to do it at an artistic level).

'Egg shore'

Many are of the opinion that the gear is not very important when the passion for photography is strong. However, can you please share with us what is the gear do you use (camera, lenses, tripod,etc.)?

I definitely agree that. For example, in Romania almost half of the really good landscape photographers uses entry level cameras and lenses. Gear only can make it more easy and doesn’t have any other main role.
I don’t prefer any brand over the other, and I use to switch brands in 6-7 years time, using what is most adequate for my type of work. Currently I use a Nikon D810 with only two lenses to keep weight at minimal (Nikon 16-35/4 and 70-200/4) and a small Gitzo tripod.

“Thin air” is one of your most remarkable work art. Please tell us the story behind it.

'Thin air'

While it is not really a personal favourite to me, I must agree that it is one of the most remarkable. I was really surprised to see how popular it became, especially among the top class photographers and experts. I would not guess it when I took and processed it. I live in an area with very low photographic potential, and this image was taken in a location very far from being spectacular, actually in the forest of the neighbour village. The fact that it was so appreciated is for me a proof that objectivity among experts do exist and that many people can see the approach behind the location, it reinforces my philosophy that not the location is what makes a great photograph.

'Hidden forest'

Who are your favourite photographers or mentors whose works have influenced you and your photography?

I would say that paintings from J.R.R. Tolkien books and Marc Adamus photo works influenced me.

'Silent woods'


Now, since we almost reached the end of this interview, I would kindly ask you to share with us your future plans or photographic projects you would like to involve in.
Not so much besides to continue what I already do.  I have a whole series printed in large sized fine art quality and I should organize an exhibition for it. But I have no clear plans, only ideas. I will keep on checking back to my favourite locations in Romania’s mountains. This year I also plan to explore new locations, not so photographed places from Norway and Caucasus.

'Irresistible force'


'The fissure'






'Just sand'




Splendid works, congratulations . Thank you so much Szabo, Thank you so much Yvette!
And thanks to Marius for leading this article! Glad with your appreciation, Alessandro!
L'm sorry, thank you very much Marius!
Thank you very much!
Alessandro, no worries! Thank you for your appreciation! Have a great day!
so beautiful images
Beautiful work Zsolt, many compliments! Very nice selection of pictures and intersting reading as well :)
Thank you very much, Peter! Best regards!
Many thanks, Peter! Have a great day! :-)
Congrats! :)
great collection of much remarkable images. Congratulations Zsolt and thank you so much dear Yvette
My pleasure, Hans-Wolfgang. All honour goes to Zsolt and to Marius who led this great interview. Have a fine weekend, dear friend!
Many thanks!
Splendid work expressing the majesty of mountain nature, Zsolt. Congratulations for being a 'Featured Photographer'. Thanks for your kind collaboration and thanks to Marius for leading this fine and interesting interview. Cheers, Yvette
Thank you, Yvette! It was my pleasure to work with Zsolt for this material revealing his amazing works!
Thanks a lot!
Piet's work is of rare beauty, his images are splendid. A big thank you Piet for having mentioned me in your favorite photographers is an honor for me. Thank you Yvette for this magnificent interview !!!
merci Thierry ;-)
Thank you Thierry, your macro photos are top class and inspiring for me and other photographers ....
Proficiat met het mooie interview ,Piet. Gr,Sas
Dank je wel Saskia,
Piet, gefeliteerd dat je "photographer of the week" bent! Leuk interview. En een prachtig portfolio heb je zonder twijfel. Gr. Frans
Dank je wel Frans en hopelijk tot ziens. gr. Piet
Congratulations, Piet! Thanks for your fine collaboration... Beautiful work! Cheers, Yvette
Dank je wel Yvette, bijzonder eervol.!
Blooming in cold

by Editor David H Yang  

This exquisite frozen beauty created by Pedro Uranga  triggered my curiosity to know more about how it was made.  Pedro was so kind to answer a few questions to inspire us.


'Blooming in cold.-3-' by Pedro Uranga


This is a very complex, unique photo. How exactly did you shoot this, and what did you do to get the final result, Pedro?
I always had a lot of contact with nature and I love photographing its beauty.
One cold winter day, while trying to photograph some frozen leaves by the river, I came up 
with the idea of doing something similar at home with flowers and that was the beginning of it all.

How did you proceed to realize your idea?
First, I took a white plastic bucket, then I composed the scene of the flowers inside the bucket and finally I added a little bit of water avoiding the flowers to float.
Right after, I immediately put the bucket into the freezer.
Once frozen, I filled the bucket with cold water until it covered the flowers and froze it again.
Finally, I took the bucket out of the freezer and put it outside to be able to take pictures with natural light while it was being defrosted.

What was going through your mind while taking pictures?
I was very excited.  I was looking to capture the shapes of the petals, the colours, the textures and all the beauty of the flowers seen through the thin layer of ice.

What equipment did you use to achieve this picture?
I used my Nikon D750 and my Nikon17/35 F2/8 lens.

Which programs did you use to edit and process this beautiful image?
I used Camera Raw and Adobe Photoshop.  There was not a lot of processing involved.  I used Camera
Raw and Adobe Photoshop.

Thanks a lot for the interesting information about the making of 'Blooming in cold', Pedro!



Oso ondo Pedro. Asko gustatu zait esandakoa. Zorionak. Ondo izan. Thank you very much Yvette for this great work. Warm regards.
Thank you all for your kind comments.
Thank you very much Pedro for your inspirational explanation and great photograph, and to Yvette for bringing us this very interesting story.
My pleasure, Wayne! This new 'tutorial' project is interesting and working well ;-)
The process of evolving this clean, unique image is very instructive and inspiring to me,The use of the editing tool has also remained a familiar piece of software that has contributed to its brilliant results,Thanks to you dear David for this report and Bravo on yours my friend Pedro.
Thank you Pedro.
Very interestinng and educative. Maybe I will try it one day. Thank you Pedro and David for letting us know how to create this photo magic.
Very inspiring to know how you ended with such a beautiful result, Pedro! Thanks for your fine collaboration. Cheers, Yvette
Proficiat met het mooie interview ,Piet. Gr,Sas
Dank je wel Saskia,
Piet, gefeliteerd dat je "photographer of the week" bent! Leuk interview. En een prachtig portfolio heb je zonder twijfel. Gr. Frans
Dank je wel Frans en hopelijk tot ziens. gr. Piet
Congratulations, Piet! Thanks for your fine collaboration... Beautiful work! Cheers, Yvette
Dank je wel Yvette, bijzonder eervol.!