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The variety of Kenya – The Leica digital camera Weblog

Jürgen Wettke and Richard Konecky met throughout a photograph journey to Iceland. A ardour for aerial images was the ingredient they shared in widespread. Fascinated by the range of Kenya’s buildings, colors and distinctive mild, the 2 aerial photographers set off on a journey to the distant areas of the East African nation.

How did you get into images and what position does it play in your life?
JW: I’ve been taking pictures since I used to be given a digital camera once I was 13 years outdated. Images performs an essential position for me. It’s the artistic and stress-free facet of my life, as I’ve so much to do with details and figures at work.

RK: I first received into images as an adolescent, when an uncle, who was in aerial reconnaissance throughout World Conflict II, helped to arrange a darkroom within the basement of our residence. I continued as a self-taught photographer via highschool, faculty and legislation faculty, after which making a residing received in the best way. It was not till I retired ten years in the past, that I rediscovered images with a Leica M9. As we speak it performs a serious position in my life. I manage journeys everywhere in the world to pursue my photographic curiosity. I additionally proceed to attend workshops in varied forms of images. I’ve made many fantastic pals via images.

This isn’t your first aerial images challenge. What’s it that fascinates you about this style?
JW: The angle, colors and visibility of buildings are fully totally different from these seen from the bottom, and all the time supply shocking outcomes.

RK: My first aerial challenge was a short tour throughout a workshop in Iceland (the place I met Jürgen). I’m fascinated by the angle one will get from above, and the chance it gives for the abstraction of panorama. I additionally discover hanging out of an open-doored helicopter to be thrilling and inspirational.

What do you assume are the most important challenges in aerial images?
JW: The ‘eye’ for the precise perspective, since you often solely have a brief time frame to search out ‘the second’ for the set off. Fashionable expertise solely modifications that barely.

RK: For me, the most important problem was to get tack-sharp pictures in a transferring, shaking helicopter.

How did you deal with this on this challenge?
JW: Expertise helps so much. Information of digital camera expertise is a prerequisite. Missed moments are tough to repeat, even on helicopter flights.

RK: By concentrating on method, realizing the digital camera nicely and taking pictures at a excessive shutter velocity. Even so, there have been many misses.

Why did you select Kenya of all locations? What’s particular about that nation? And on what foundation did you establish the particular places?
JW: Discussions with skilled photographers and nation consultants assist to decide on the precise locations. We’re on the lookout for landscapes which are inaccessible, sparsely populated and supply distinctive colors and buildings. The north of Kenya, in addition to Namibia and Iceland, supply such a panorama construction. There are, nonetheless, many extra locations, that happen to me.

RK: On this journey, Kenya selected me. Jürgen and I had beforehand mentioned our widespread curiosity in aerial landscapes in Africa, after his prior journey to Namibia. We each are taken by the distinctiveness of its buildings, types and hues. When he urged a visit to Northern Kenya, I jumped at it; significantly the chance to fly over and {photograph} distant, inaccessible landscapes.

What tools did you utilize for the challenge and why did you select these cameras and lenses?
JW: We selected the Leica S and Richard additionally had a Leica M physique and lenses readily available.

RK: Proper. I used a Leica S (007) primarily with the Summarit-S 70 f/2.5 ASPH. and the APO-Tele-Elmar-S 180mm f/3.5 lenses. I needed to make use of a medium format sensor, and the perfect lenses accessible to make the sharpest pictures doable. I typically wish to crop my pictures to extend the sense of abstraction, and this digital camera with these lenses made that doable. I additionally used a Leica M10 with a APO-Summicron-M 50 f/2 and a Summilux-M 75 f/1.4. This mixture did maintain its personal and produced good, usable recordsdata. No different aids (gimbals and so forth.) had been used.

Did the helicopter have particular gadgets for taking pictures?
JW: Sure, three seats within the second row and sliding doorways, so we received a lot of the pictures with open doorways. The lenses had been between us, as altering them is harmful in a helicopter.

RK: Simply the sliding doorways as Jürgen talked about, which had been essential for getting unobstructed pictures; plus having area between us for our gear and for altering lenses.

In your opinion, what are the principle variations between aerial images, which you do with an air-plane or helicopter, and drone images?
JW: I’ve tried all of the choices. Drones have an infinite value benefit, however are usually not allowed in most locations or are topic to monumental restrictions. Drones for medium format are nonetheless very heavy, regardless of the carbon design. Propeller machines have the drawback of perspective. Normally solely facet views could be photographed nicely. Verticals require opening the doorways – not superb on the speeds of the plane. Helicopters are costly however in case you plan the route nicely and have an excellent pilot, they’re excellent.

RK: I haven’t performed any drone images. It might appear to lack the immediacy and connection that one has when taking pictures from a helicopter; it might be extra technical and fewer soulful to my thoughts.

You might have printed the outcomes of this journey in a photograph e-book. The place will the e-book be accessible?
JW: The e-book was self-published. It’s accessible worldwide solely via Leica Shops and sellers, and in Leica Galleries. The abstract of 1’s personal photographic work within the type of a e-book and/or a movie, is all the time a pleasure. We hope to contribute to the rising consciousness that it’s worthwhile to protect these distinctive landscapes for future generations.

Jürgen Wettke is a German panorama and areal photographer. Along with his profession because the chief in a global consulting agency, and his professorship on the College of Düsseldorf’s Medical Faculty, he has been a passionate photographer since he was a boy. A number of of his photograph books have been printed by teNeues: The Artwork of the Wadden Sea, The Namib Desert and just lately Iceland – Nature of the North.

Richard Konecky is a lawyer and photographer, born in New York and presently residing in San Francisco. His photographic work consists of casual and environmental portraiture, panorama, macro, summary and aerial images. He took his first aerial pictures throughout an earlier challenge in Iceland, and was struck by the modified perspective and geometry of the panorama seen from the air.

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