STORY BE­HIND THE STILL

Digital Photograper - - Contents -

Fabio An­tenore re­veals the con­cept be­hind his amaz­ingly at­mo­spheric glacier cave im­age, and the chal­lenges he over­came in cap­tur­ing it

PHO­TOG­RA­PHER: Fabio An­tenore WEB­SITE: fabioan­tenore.ch

LO­CA­TION: Vat­na­jökull glacier, ice­land

TYPE OF COM­MIS­SION: Com­mer­cial SHOT DE­TAILS: nikon d850 with Sigma Art 14mm f1.8 lens, 1/8s-8min at iSo 320-640

ABOUT THE SHOT: There are cer­tain lo­ca­tions at which it seems it would be im­pos­si­ble to shoot a bad im­age. How­ever, as in­cred­i­ble as th­ese places are, it re­quires the pho­tog­ra­pher’s cre­ativ­ity to pro­duce unique images, with last­ing im­pact. Here Fabio An­tenore wanted to take a more cre­ative shot of a well-pho­tographed lo­ca­tion.

“I took the im­age in Ice­land in the Vat­na­jökull glacier. My goal was to take a shot in a glacier cave that didn’t look the same as the nor­mal ones [taken by other pho­tog­ra­phers],” says Fabio. By in­cor­po­rat­ing the fig­ure in the shot, the frame is given a sense of scale, while cre­at­ing a con­trast of at­mos­phere. “My thought process when set­ting up the shot was that it just has to look beau­ti­ful!” Fabio re­counts. “It com­bined the beauty of na­ture with the sym­bol of hu­man beauty, a bride.”

By us­ing his wide-an­gle lens, Fabio made the most of the en­vi­ron­ment and the unique light­ing that the ice pro­duced. It was the light­ing that pre­sented Fabio with his great­est ob­sta­cle, how­ever. “The big­gest chal­lenge was the dy­namic range and the dark­ness of the sur­round­ings, in com­bi­na­tion with the light from the hole in the cave. The short­est ex­po­sure was around 1/8s and the long­est, 8min. I used lu­mi­nos­ity masks at the post-pro­cess­ing stage to com­bine th­ese.”

To achieve the images he en­vi­sions, Fabio is not afraid to use ex­ten­sive im­age edit­ing. “I did a lot pro­cess­ing. To shoot in a cave like this you have to take more than just one ex­po­sure – it was an ex­tra ex­po­sure for the bride, com­bined with mul­ti­ple shots for the rest of the im­age, to man­age the huge range of tones.”

Right THE BRIDE Fabio An­tenore, who runs pho­tog­ra­phy work­shops, man­aged th­ese chal­leng­ing con­di­tions by balanc­ing light, us­ing flash to lift the sub­ject’s face. Fabio was care­ful not to over­power the am­bi­ent nat­u­ral light

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