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Tampere
Finland

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One year with Sony Alpha cameras and ZEISS E-mount lenses. Developing my own photographic eye in a in a scratch book manner. Hunting the stream of inspiration and sharing it through a popular blog platform.
This is what 'Days of Zeiss' is all about.

Journal

 

 

The mammoths

Toni Ahvenainen

Sony A7 & ZEISS Batis 2/25 – f/2.0, 1/60sec, ISO500, raw Photograph by Toni Ahvenainen

Sony A7 & ZEISS Batis 2/25 – f/2.0, 1/60sec, ISO500, raw
Photograph by Toni Ahvenainen


I'm going to share one more picture from our excursion to museum of natural history. When we originally planned to go there I knew I would love to get some kind of interesting picture of Aura in the museum, but the only idea I had in my mind was a 'tourist- cliché' of Aura standing before mammoths of ice age (those furry elephants were the original reason we went there in the first place). I saw it already within my mind how boring this kind of picture would be and at the same time I was a bit nervous to go there because I knew that in principle the museum would provide many possibilities for interesting pictures but I didn't have any good one in my mind – and Aura's short-term concentration would not help it in anyway. So I was going for a picture but was without ideas which made it a bit challenging.

Now even if I had my doubts when going in, I finally came out with the picture that surprised me. In this picture Aura looking a static installation which shows this summer scene where there is water, bed of reeds, clouds and so on. Personally I'm very pleased with it because it exemplifies my own photographic eye in so many levels. First of all the composition rests on a perpendicular approach and the subject in positioned at the center. I know there are many sophisticated ways to make your composition, but for some reason centering the subject and approaching it from the perpendicular angle has always been very much 'my way' of organizing the image field.

Secondly, I also like the composition as it almost picture-inside-picture type of thing where there is another scene opening in front of Aura while we can still see some of the museum interior on top of the picture. Having this summer scene there where you can see underneath the water and on top of it at the same time, and still have a subject in front of it, makes it also a bit surreal just the way I like it – pushing the reality but never breaking the core idea of photography that photographs generally represent something that once were (yeah, I know the controversy of this idea, but it still separates photography from other arts and breaking it makes things uninteresting in my opinion).

Another small detail is the way I have photographed Aura. Not as she is, but using photographic means to show her as a black silhouette in front of the installation. It's pretty basic thing in photography, but adds some interest easily as viewer has to complete the picture in his mind.

But even after all these details the one thing that lifts this picture above the rest in my photography is the fact that I actually managed to capture our excursion to museum in another way than I originally imagined. This is much more interesting picture than what I had in my mind when going in and afterwards I've tried to reflect how did it happen. And how one could cross over the most obvious ideas and clichés which tend to spring into our minds from some cultural storeroom of bad and overused visual motifs. I can only describe my experience as looking around there and almost subconsciously connecting a certain visual motif (the silhouette) in my mind to this particular installation. Aura didn't left much time for me to crab this shot, but I'm happy that I got it. To me, pictures like these are worthwhile to wade through the piles of more common shots that might occasionally seem boring and uninspiring. The good one is there somewhere just waiting to surprise you, so keep on photographing and your eyes open!