photographer essentials

Photo @ladzinski / As we are seeing posted all over the social feeds, understandably so, tonight was the #SuperMoon #LunarEclipse. If you were lucky enough to see it I’m sure you would agree that it was absolutely incredible. This photo here is an in-camera #DoubleExposure, which is essentially photographing two photos onto a single frame, all in camera. It’s an old film trick and in cases like this the perfect way to create an unusually cool effect. This was shot this evening at the top of #LoganPass in #GlacierNationalPark Montana while here on assignment. Wherever you may be, I hope you got to enjoy this rare and beautiful occasion this evening! by natgeo

I’m Sarah - a 22 year old amateur photographer and final year medical student. Born and brought up on a tiny island just south of mainland Europe, called Malta, photography is my means of bringing to life a world of thoughts, dreams and emotions that otherwise only exist in my mind. It nurtures my artistic side which is constantly seeking to create. Combined with my insatiable thirst for adventure, knowledge and new experiences, photography is also my means of artistically documenting my travels, allowing me to immortalize scenes and moments which inspire me.

Nature and music are perhaps my two biggest sources of inspiration. I love to think, wander, experiment and debate. I happily take photographs of various genres - essentially whatever it takes to materialize my ideas, whichever inspirational scene presents itself.

There are times when I’m creating scenes from scratch, with a specific image perfectly sketched out in my mind; other times I’m out searching for them, especially thriving on serendipity and unplanned encounters. Whatever the case, I love to make the most of natural available light and capture something meaningful. I also love to play with colour which I find absolutely fascinating. My gear consists of my trusty Canon 600D and three prime lenses - a 100mm Macro, 40mm STM and 24mm STM - which are evidently a vital part of my life.

leerans said: I’m currently obsessed w/ the rules governing how/where beings in paintings can move - we know that people in paintings in Hogwarts can move all over Hogwarts, and indeed exist independently of their physical frame (the Fat Lady took refuge when her canvas was ripped to shreds, Sir Cadogan follows people around like a big nerd), and we know that at least SOME paintings can move between portraits of them indifferent locations (former Hogwarts heads going to the Ministry of Magic/St. Mungo’s/Grimmauld Place) BUT, we never get any explanation of any of this??? Do the paintings have to be done in tandem?? is it a specific kind of enchantment?? These beings are presumably sentient, but, what about Real People?? are they like ghosts, whose consciousness just never left Earth, or are they instead just a very clever reproduction - and how do photographs figure in here? Essentially every moving photograph shows the possibility for independent thought AND reflect the personality of the person they depict, but that means in creating a photo you’re essentially cloning the consciousness of its subject in a weird way??? OR are photographs NOT sentient?? Also, what about mixed media art?? Is there no contemporary art in the wizarding world???

(so i feel asleep early last night and missed this but!!): I’ve always wondered about this!! When Dumbledore died, his portrait just appeared what seemed like overnight in the Headmaster’s office. Did someone paint it? Is it like an obituary where they have one at the ready once you start getting to a certain age/lead a certain dangerous lifestyle? Did it just automatically appear from thin air once Snape avada’d him?

Also, clearly it’s only for portraits that have this level on complexity; photographs are considerably more limited, usually only repeating small movements (they’re basically gifs!) 

Also also, while it’s clear subjects of portraits can travel into other portraits, apparently even some weirdly enchanted portraits (like the one of Ariana in Aberforth’s bar) can act as weird portal things? 

I think it’s because I’ve been watching Star Trek so much recently but I think the portraits probably serve as a close approximation to the Real Life version much in the same way that holograms on Star Trek do? Like, maybe through spells you can try to get the subject’s personality into the portrait as much as possible, and how they would react to a given situation and even give advice, but they’re not the same person.

The more I think about it, the more I wish this was a real art class in Hogwarts. (Or maybe there’s a wizarding art school??? Maybe it would be where you learned about magical mixed media.)

Chris Floyd: “The whole time you’re shooting you’ve got people around you, hovering on your shoulder, nervous people, edgy people, people with clipboards, people with 3 mobile phones. There’s not a lot of laughing. If you let the ominous vibe pervade then it’ll kill you. My way of dealing with this is to be tranquilisingly mellow and laissez fairish about all of it as if it is just about the least important thing in the whole wide world. ‘It will be what it will be and what it will be is great. Hey,  just come and stand over here…..’

I talk for a bit. Just some small talk, an observation on the ridiculousness of the situation. The idea that we have to conjure up some notion of intimacy, photographic intimacy, from this essentially fake arrangement.

The people behind me, I can feel them thinking, ‘Why isn’t he taking pictures? Doesn’t he realise we have to go right now.

Here’s why. I don’t want the subject’s memory of me to be of a human body with a plastic, metal and glass head. I want them to see that this body has a face and a voice and eyes with a colour too. I want them to understand that they are having an encounter, a conversation, with a real live human being. Then they forget about the job, their job and my job, and together we can make something that’s worth making.”