15-Year-Old Boy Captures Stunning Landscape Photography
Fifteen-year old Jannik Obenhoff captures outstandingly beautiful landscape scenes of the German terrain in his spare time. Following a traditional style, Obenhoff’s composition is usually constructed of monumental mountains, a foggy setting and a seaside view. Obenhoff seamlessly conveys the peaceful and grandeur beauty of nature. The realistic and rustic portrayal is also simultaneously serene and profound. The perspective of each composition showcases the young artist’s blooming talent and natural artistry, which ironically displays years of experience and school he has not endured.
WHY U DO THAT?!? 😂 I'm legit in my hotel room staring at the ceiling trying not to "EEEEEEEEEE" in front of my fam 😁😁😂😙 (also, I was preparing to send "obv it's messy with some hairs hanging out" before I even read it 😍😍 #MESSYBUNS4LIFE)
Trying not to go “EEEEEEEEEE” huh? Try this on for size! >:D
Stiles let out a soft yawn, setting the kettle that was boiling back on the burner. It was late in the day; enough so the sun was starting to dip low enough to paint the sky a myriad of pinks, oranges, and purples. The skylight overhead provides exposure to the natural artistry, bathing the loft in its glow.
With deft hands Stiles grabs the two mugs of tea, maneuvering his way towards the fire escape with memorized ease. He knows where the coffee table is place and he knows how the couch is at a slight angle.
The window is open, curtains flowing with the wind filtering inside.
As Stiles was approaching he could finally catch a glance at Derek who was sitting on his mountain of pillows, eyes reading the thick book he got from the store on 5th.
Here he looks soft.
His feet are crossed and currently covering them were mismatched socks. He chose his thumbhole sweater to combat the slight spring chill in the air. As of recent Derek is letting his beard get thick and scruffy, covering his cheeks well. Currently his hair is up in his iconic bun, baby hairs and strays framing his face and the back of his neck, some strands sticking out from the bun itself.
Stiles can stop the smile that crosses his face.
“Put the book down bookworm.”
Derek looks up with an unimpressed look, bookmarking the page– “Stiles what did you do??” “Um, marked the page?” “You’re an idiot, you don’t fold the page! Use a bookmark!” –before sitting up.
Stiles sat on the window sill, handing over the boring mug for Derek. He gets the Jaws one every time.
“Thank you,” Derek says, blowing on the steaming liquid before taking a sip.
Stiles smiles, pushing his glasses up on his nose before letting his forehead rest on Derek’s. His free hand trails up Derek’s back and neck until his fingers are tangled in the contained inky hair on top of his head.
Derek’s small laugh is like music and the peppering of kisses he put all over Stiles’ face got him to laugh too.
“I love you,” Stiles says, teeth worrying at his lower lip.
Derek grins, “I love you too…come ’ere.”
Stiles ends up with himself between Derek’s legs on the fire escape, back pressing the other man’s front, both watching the sun set across the cityscape. It is in this moment they both know they wouldn’t trade this for the world.
Clouds above a waterfall in Skógafoss, Iceland. Hues of pinks, purples, reds and oranges that you may be lucky to see for a few minutes during a normal sunrise/sunset can explode for hours in an epic display of nature’s masterful artistry. (source)
The passage of time was announced by a bell in the townsquare, such as it was, which Maglor sent Celegorm to ring twice every day when
the stars were in the same place.
The stars hadn’t been visible, because it was raining, and
he’d sent Celegorm when he felt like it, when he woke and when he tired, and he
was thinking that perhaps it would be good for morale to make the days a little
longer, so the storm didn’t seem to drag on.
This was not an urgent question, and should not have
occupied more than a second of thought. But the urgent questions were too urgent, screaming for his attention
and clawing at his spine and hurting to think about, so he occupied himself
with the trivial ones. If he just got it right, rang the bells at the right
time and built something beautiful, the
urgent questions might slink away defeated. Or someone else might deal
with them. Maglor did not particularly care.
Halsey is just a vehicle for me. Ashley is how I take my coffee. Halsey
has a story to tell. I think you need to be able to
separate the two because the nature of artistry is so egotistical. If I
do a full day of interviews, the sun goes down and I just talked about
myself for six hours straight. That would drive any person crazy. You
detach. You depersonalize. It can be scary.
Halsey is just a vehicle for me. Ashley is how I take my coffee. Halsey has a story to tell. I think you need to be able to separate the two because the nature of artistry is so egotistical. If I do a full day of interviews, the sun goes down and I just talked about myself for six hours straight. That would drive any person crazy. You detach. You depersonalize. It can be scary.
Tell us a little about yourself. (We know there is more to people than being an animator.):
Well, I’m more nerd than anything else - a child of the internet, video games, and Saturday morning cartoons. I love all forms of media and I have an unending thirst for storytelling and entertainment. Animation in 3D is a perfect blend of engineering and artistry, so naturally I was drawn to it. For fun, I’m usually programming or playing games.
This is my Frozen animation reel. You can find more of my stuff on my Vimeo page.
Where do you work and how long have you been there?
Walt Disney Feature Animation. Almost 3 years now. I started working here on Wreck-It Ralph.
What are some of your past jobs?
Previous to Disney, I joined Rhythm&Hues in 2010 for their Animation Apprenticeship program. I got my start in film working on Hop and Alvin & the Chipmunks 3. Before that, I was in the commercial industry doing motion graphics, FX, and design work.
Where did you do to school?
Self taught up until AnimationMentor in 2008. From there, while at R+H, I continued my education with iAnimate and then Animation Collaborative. Collab was in-person, which meant I had to drive from LA to Emmeryville every Friday night for 15 weeks to take that class. Believe me, it was worth it.
What made you decide to be an animator?
Storytelling is my biggest drive. And no part of the process gets closer to telling stories with emotional beats than animation. Once the characters start moving, the story is alive.
What is your favorite part about being an animator?
The work is absolutely rewarding and extremely difficult. I thrive on challenges. I love solving problems and I have a fascination for acting. Animation is the perfect blend of technical and artistic expression.
What’s your favorite kind of animation?
I love going to the theater to see giant robots fighting - it’s my guilty pleasure. But my number one would be that perfect blend of cartoony and hyper-natural movement. Somewhere between Tangled and Cloudy with a Chance of Meatballs would be the sweet spot for me. But seriously, Pacific Rim is pure ambrosia.
What’s your software preference?
Maya is such a powerful tool if you learn how it works. And I mean, deeply. In the past 2 years, I’ve been teaching myself Mel and Python and learning the Maya API. I’m able to write tools to help the entire pipeline. Other studios tend to use proprietary software, so I’m not sure how customizable they can get. Maya is a fantastic framework to build upon.
What does your workflow look like?
It’s very reference heavy with a huge push toward caricatured physics and posing. I use ref for nuance and natural, proportional timing. But then everything else is pushed into the style of the character and film.
How do you prepare for a new shot?
I really try to understand the purpose of the shot first. What it means in the film and why the character is making the choices they are making. Once I understand things from the character’s point of view, acting choices tend to seem natural and easier to come by. It’s easier to know what is the right choice and wrong choice. Then I shoot a lot of ref, trying to get that nice timing and efficiency. Then it’s deep into blocking.
What is the aspect of animation that you struggled with the most and how did you move past that struggle?
I struggle a lot with the rigs. There tends to always be something I want to do that the rig doesn’t do naturally. So, I break the rig over and over again. Unfortunately, there isn’t an elegant way past this problem unless you remodel the character on the fly.
What are some of the ways you manage your time so that you can get everything done in time?
Sometimes, the shot is going to go longer than anticipated. It’s the nature of the beast. The best thing I can do is to keep the communication going between the supes and the producers about my predictions of when the shot is going to land.
What are some of the things you look for before you declare your shot complete?
I never declare my shot complete. That’s entirely up to the director and production. There is always soooo much more I would love to do to my shots before they are pushed downstream. I would love to take a fine-tooth comb to the whole thing and make sure all parts are moving in perfect concert; never starting or stopping at the same time, yet maintaining a relationship in movement and energy.
What’s your favorite animated movie, short, and game?
UGH, this is a tough question. There isn’t a king of the hill in my mind, but the top three would be: The Incredibles, Cloudy with a Chance of Meatballs, and Wreck-It Ralph. Shorts-wise, I love Burning Safari and Octopodi. Game: Bioshock Infinite, Mass Effect 2, Half Life 2, and WoW (still recovering).
What do you do when you get animator’s block?
Take a walk, get Starbucks. Ask friends what they think of the shot. Watch some movies, surf the internet, procrastinate, then suddenly get a flash of inspiration. That seems to do the trick.
What do you use to get inspired?
My life is filled with art, movies, and video games. I’m never short of inspiration.
What is your favorite experience as an animator?
Every time I final a shot where the director sees it and says, “Wow. That’s awesome. Let’s watch it again.”
What are your favorite animation resources that other animators might find useful?
You can get a ton of helpful scripts and tools from a place like creativecrash.com And animal reference from rhinohouse.com
How do you take your Chipotle Burrito?
Burrito Bowl with no rice or beans, extra veggies, carnitas, sour cream, cheese, guacamole. Smothered in chipotle tobasco.
If you could direct a project, what would it be?
A Disney-Animated spin-off Star Wars movie. I don’t even care what character it’s about. A guy can dream.
Do you have any advice for students and animators trying to find their break?
There was a time I was working at R+H and I just knew that I wasn’t going to have a good enough reel to get me a job after the contract. So I enrolled into an online school to keep learning and keep growing - at a rate faster than I could at work. People told me I was crazy because I was already working. But here’s the thing: You don’t ever get to a point where you “deserve a job because you worked hard.” At the end of the day, if your shots aren’t entertaining, or your execution is lacking polish, your entire reel is easily dismissed. It’s a subjective industry and very difficult to pinpoint what exactly people want to see. Work hard to make shots that are special and appealing. My advice would be to keep learning and keep animating. Oh, and an easy point to make: if you are still learning mechanics or even how to polish, stick to shots that are short. Like 6 seconds max. You’ll learn just as much in a 100 frames as you will in a 500 frame shot. And you won’t be stuck for months working on the same shot. Finish short shots and move on.
“Halsey is just a vehicle for me. Ashley is how I take my coffee. Halsey has a story to tell.
I think you need to be able to separate the two because the nature of artistry is so egotistical. If I do a full day of interviews, the sun goes down and I just talked about myself for six hours straight. That would drive any person crazy. You detach. You depersonalize. It can be scary.”