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Magazine
The making of 'Interstellar' by Alfonso Novillo

Tutorial by Alfonso Novillo
Edited and published by Yvette Depaepe, the 5th of March 2025
Nikon D7000  .  Tokina 11-16mm f/2.8  .  f/8

Ever since I was very young, I have had passion for photography, specifically architectural photography, which I have been drawn to since I got my first analog camera. I enjoy going out with my camera and my laptop every chance I get, especially when I have the opportunity to shoot in a big city environment.
I am fortunate to live in Madrid. The city has grown in recent years, which has given me access to all kinds of new structures throughout the city, from breathtaking skyscrapers to modern, colorful buildings.

"I most enjoy photographing buildings in the last hours of the day when the majestic light enhances the features of the structure best. That's the photograph I am constantly searching for."


When I photograph buildings in a big city, I keep in mind that although the buildings are always there, standing motionless and seemingly uninspiring at first glance, I only need to spend time searching for their best angles in whatever light is available at the time to create a unique image. I find that it's best if I am shooting on a cloudy day, but if I am there in the morning on a sunny day, I use a neutral density filter. This way I can take a long exposure and use the hard sunlight to my advantage since it illuminates the buildings beautifully, especially for black and white images. I most enjoy photographing buildings in the last hours of the day when the majestic light enhances the features of the structure best. That's the photograph I am constantly searching for.

The day I took this photograph, I had decided to try out my wide-angle lens. I always like to include a close-up when I make a picture like this, either a low angle or a frontal shot. Doing so brings the subject to life and highlights intriguing features. I was unlucky with the weather; it was a completely sunny day, so for this photo I used a tripod and a variable neutral density filter to reduce glare and reflections. I looked for a good angle while also trying to include an unusual element in the composition, and I was lucky to find this lamppost near the building. I knew I would have to work on the image in post-processing since it wasn't a cloudy day, but as I was shooting, I planned to convert the photo to black and white anyway.

"The idea to include the 10-foot (3-meter) tall lamppost in the foreground, however insignificant, not only helped me create an interesting composition, but it also counterbalanced the very tall tower that stood 515 feet (157 meters) high."


I set the camera to Manual mode to take this shot, and I lowered the ISO to the camera's lowest setting to avoid noise and also to be able to shoot at an aperture of f/11. This 43-story tower, called Torre Picasso, is one of Madrid's giants, and because it is so tall, a larger aperture could have caused sharpness issues. The idea to include the 10-foot (3-meter) tall lamppost in the foreground, however insignificant, not only helped me create an interesting composition, but it also counterbalanced the very tall tower that stood 515 feet (157 meters) high.

I had been researching this type of architectural black and white photography on the internet. The photographs I discovered really impressed me, so I decided to try this style of post-processing. I was very pleased with the result, and since then I have focused on shooting and processing more images like this.

The idea for the title of the photograph was purely anecdotal. Once the post-processing was complete, the image resembled a spaceship taking off, and in turn, that reminded me of a newly released movie with the same title.
 
Post Processing
The image was processed in Adobe Camera Raw (ACR), Photoshop and four plugins: Nik Silver Efex Pro 2, Nik Color Efex Pro, Topaz DeNoise 5 and Topaz Detail 3.

My goal in post-processing is to produce a dramatic black and white image.

1) I first opened the RAW file in ACR and made basic adjustments, which always makes it much easier to process images in the later steps.
Exposure: +15
Brightness: +80
Contrast: +25
Lights: –15
Shadows: –10

This is the resulting image that I exported to Photoshop.



2) In Photoshop, I opened the image in Nik Silver Efex Pro 2 plugin. I usually apply the first two presets: 000 Neutral and 001 Underexposed (EV –1). In this case, I used the Neutral preset and then under Global Adjustments, I decreased Brightness (–8) and increased Contrast (+4). It is very important to add Control Points: I tend to use a total of 9 points (3 at the top of the photo, 3 in the middle and 3 at the bottom). It's also very important to increase the Brightness and the Contrast in those Control Points using values between +10 and +30, but do not adjust the Structure settings at this stage because it might spoil the final result.



3) Returning to Photoshop, I then worked on the sky. The original photo had no clouds, so I created some using the Brush in Normal mode. I selected the sky using the Quick Selection tool and then darkened it so it was completely black. Using a white Brush at 80% Opacity, I then painted in the clouds. To make them appear more realistic and more dramatic, and to create a long-exposure effect, I applied a couple blur filters. Here I used the Radial Blur filter, Amount set to 80%, Blur Method set to Zoom and Quality set to Best. I then applied the Gaussian Blur filter, Amount set to 20%, to slightly soften the clouds.



4) Nearing the end of processing, I opened the image in Silver Efex Pro again, this time to give it more definition. In the Neutral preset and using Control Points, I set Structure somewhere between +10 and +30, and I also increased Contrast to +22 and Brightness to +20.



5) This next step is very important: applying a softening effect to the overall image. I opened the image in Color Efex Pro 3 and applied the Glamour Glow filter, Glow set to 30%, mainly to eliminate imperfections and contour lines.



6) Now I needed to turn on the streetlights and then brighten and strengthen the light emitted from them. Many times you have to generate the light in streetlights because they're not usually lit in the daytime when you are shooting. I selected the lights and using a Brush, white and gray in this case, set to Normal mode and 50% Opacity, I intensified the effect for the lights. I then applied a slight Motion Blur filter, just to be a bit more creative.



7) I exported the image to Topaz DeNoise 5 plugin to removed the noise in the photo.



8) Next, Topaz Detail 3 plugin was used to sharpen the image.

9) Back in Photoshop, I needed to correct the neutral values and give more clarity to the image. So I applied a Selective Color adjustment layer and removed Black (–12) from the Whites.



10) Finally, to give the black and white image a very slight blue tone, I applied a Photo Filter adjustment layer and selected Blue from the drop-down menu. Density was set to a very low 6%.



11) At this point I decided to make a minor perspective correction, but I normally do this at the beginning of post-processing. Here again is the final result.

 

Tips
When you are shooting, do the best you can, be relaxed and comfortable at all times and never despair. If you are not quite happy with your results in-camera, you can always adjust your photos in post-processing.
 
Biography
I was born in Madrid, Spain, and have always lived there. I began to study photography at age 13 at a vocational school, and I graduated in the photo imaging industry. Since then I have been in contact with the world of photography, although I started with analog and did join the digital photography world very late. When I bought my first DSLR, I began to squeeze the most out of this art form. It really excites me, but so far, only as an amateur photographer.
Write
Thanks a lot for sharing your techniques ! Great and interesting article ! Excellent work !!!!
Inspiring , thank you very much for sharing your thought processes and editing processes
Beautifully Done, inspirational indeed! This article is very insightful, thank you sharing your work.
Great work. Very inspiring!!
Thank you so much for sharing your techniques! Very inspiring and helpful article!
Grandísimo trabajo Alfonso.! y gran artículo también. Ehorabuena!
Superb image, dear Alfonso, great perspective and composition.Thank you for sharing the way of editing.Thank you, dear Yvette, for bringing it to us! <3
My pleasure as always, dear Gabriela !
Dear Alfonso..your image is truly spectacular! Thank you for sharing the complete procedure from inception to final result including step by step guide on processing. It is very informative and inspiring...Thanks Yvette for publication..
Thanks, Rana ... Great to share such an excellent and extensive tutorial.
Anita Singh - Wildlife's soulful stories and raw emotions

by Yvette Depaepe
Published the 3rd of March 2025

 

Anita Singh is a passionate wildlife photographer with a keen eye for capturing the raw beauty of nature. Her deep-rooted love of the wild drives her to create work that shows the intricate and powerful connections between animals and their natural habitats. Over the years, she has honed her skills in documenting the untamed world, bringing to life the vibrancy and essence of the wild. Her photographs are not just images, but stories that reflect her deep respect and admiration for the animal kingdom. Through Anita's lens, she hopes to inspire others to appreciate and protect the natural world.
Travel with me through her wildlife kingdom and discover more about the person behind her photographs.
 

 

'Peaceful pause'

 


Dear Anita, first of all I would like to thank you for taking the time to answer this questionnaire! To begin with, please introduce yourself and tell us more about yourself, your hobbies or other projects you are involved in!

I am Dr Anita Singh, a hobby photographer living in Lucknow, the capital of Uttar Pradesh, India. My journey began as a pathologist, but my heart found a new beat in photography, so from microscope lens I shifted to camera lens. Through this lens I paint stories of wildlife, landscapes and people, winning awards and gracing magazine pages was incidental but very motivating.Travelling, near and far, is my passion, along with my camera and books as my faithful companions.Every click has brought harmony to my life. My life's canvas is woven with the threads of creativity, exploration and a deep love of the visual and written arts.
Retirement has given me the opportunity to devote more time and energy to this passion for photography and travel.Photography has become an integral part of my retired life, bringing joy, fulfilment and a continued pursuit of artistic growth.

 

'Sunrise'


When and how did your photographic journey begin?

My journey with photography began in my teens, inspired by my father - a renowned wildlife photographer of his time, whose passion for nature painted my early dreams. Life's many twists and turns - demanding careers, the joys and challenges of marriage and a host of other responsibilities - kept me away from my camera. But as things settled down, a long dormant spark rekindled, inviting me to return to the art of capturing moments and reconnecting with the beauty around me. I started again in earnest in my late fifties.

 

'How do you do ?'

 

For many of us, photography is either a hobby or a way of life. How would you define your relationship to photography?
I love photography with all my heart - it started out as a cherished hobby, but over time it has become a way of life. With each shutter release, new perspectives and hidden stories emerge, transforming ordinary moments into extraordinary memories. With my camera as my constant companion, I engage in a deeply personal dialogue with the world around me. Forests, savannahs, lakes and rivers are my canvas, where I capture fleeting emotions, celebrate the beauty in everyday scenes and continually rediscover the magic woven into each day.
 

 

'Meditative'

 

'March past'

 


What would you say has been the most important experience that has influenced your steps in photography?
When I bought my first DSLR and started shooting in raw, it was a turning point. Diving into Photoshop with this new toolset felt like opening Pandora's box - suddenly every piece of information captured in those raw files was at my fingertips, waiting to be transformed into a visual masterpiece. This revelation unlocked a world of possibilities, turning every photo into an opportunity to explore and express the true depth of the scene in front of me as I saw it when I clicked, or sometimes to use the information to create some images in an artistic way.

 

'Free riders'

 

'Anticipation of way ahead'

 

 

You have a very unique style. Why are you so drawn to wildlife photography?
I am a passionate wildlife photographer with a keen eye for capturing the raw beauty of nature. My deep-rooted love of the wild drives me to create work that shows the intricate and powerful connections between animals and their natural habitats. Over the years I have honed my skills in documenting the untamed world, bringing to life the vibrancy and essence of the wild. My photographs are not just images, but stories that reflect my deep respect and admiration for the animal kingdom. Through my lens I hope to inspire others to appreciate and protect the natural world.

 

'Safe haven'

 

What is more important to you, the mood/story behind your images or the technical perfection?
In general, what is your relationship to your subject matter, beyond that of an observer?
Do you carefully prepare the locations you want to photograph?

For me, the story and mood behind an image always takes precedence over technical perfection. With wildlife photography, it's the raw emotion and unfolding narrative that really captivates me - after all, a good DSLR can capture technical details, but it's the heart of the moment that speaks volumes. I'm not driven to chase after every new, expensive piece of equipment because my focus is on connecting with my subject on an emotional level. Whether it's the exhilaration of seeing prey escape by a hair's breadth or the bittersweet sadness of seeing a hunter's arduous pursuit come to nothing, each scene resonates with me deeply. I also take care to choose a variety of locations, allowing me to immerse myself in nature's vast biodiversity and capture its many stories up close.

 

Describe your overall photographic vision.
My photographic vision is defined by a deep commitment to capturing the soulful stories and emotions woven into each moment. Drawing on a lifelong passion for wildlife and nature, I seek to reveal the intimate interplay between my subjects and their surroundings. Rather than chasing technical perfection, I rely on the expressive potential of a well-timed shot - using my camera as a means of documenting the raw, spontaneous drama of nature. Each location I choose is a new stage for exploring different ecosystems, inviting me to transform fleeting moments into enduring stories that resonate on a personal and universal level.

 

'Serene Sip'

 

What do you think are the key characteristics of a successful wildlife photographer?
To me, a truly successful wildlife photographer is someone who can capture a fleeting moment that tells a rich, compelling story. This photographer captures not only the vivid details of an animal's habitat, but also the raw, authentic emotions present in nature. Their work allows viewers to connect deeply with the wild, experiencing the beauty and complexity of life in every frame.

 

'Love in the air'

 


Could you please tell us more about your workflow from idea to final product?
My workflow starts with capturing the image in the best possible light and from the ideal angle. As wildlife is by nature unpredictable and rarely under complete control, I have to stay alert, act quickly and anticipate the action. Once I have secured a great shot, I carefully select the best one before transferring it to Photoshop. While the editing process often reflects the mood of the moment, I consistently apply essential adjustments such as colour correction, removal of colour casts, noise reduction and removal of distractions. Because many wild animals naturally blend into their surroundings, I adjust exposure, shadows and other elements to make them stand out and ensure that the viewer can truly appreciate the animal in its habitat. I also spend a lot of time refining the colours to either enhance or subdue them, and where I see artistic potential, I experiment with black and white, low-key or high-key styles. Ultimately, I am always exploring the endless creative possibilities.

 

'Reflection'

 

'The chase'

 

Where do you find inspiration and what inspires you most?
With the vast resources available on the internet, I am constantly exploring wildlife photography and drawing inspiration from platforms such as 1x, Instagram and YouTube. These platforms allow me to discover incredible work from photographers around the world, helping me to refine my perspective and skills. In addition to photography, I have a deep passion for wildlife documentaries and make it a point to watch as many as possible, regardless of the platform - be it National Geographic, Animal Planet or Animal World. Documentaries featuring iconic figures such as David Attenborough and Jane Goodall are particularly inspiring, as they not only show the beauty of nature, but also highlight the importance of conservation. Their work fuels my passion, broadens my understanding of wildlife behaviour and reinforces my commitment to capturing nature in its purest form.

 

'Cuddly gang'

 

Many people think that the equipment is not very important when the passion for photography is strong. But can you please tell us what equipment you use (camera, lenses, lighting, tripod, etc.)?
While quality equipment is essential for capturing a clean, sharp image, it's only one aspect of creating a powerful photograph. The real magic lies in the story, the mood and the interplay of colour and light. My passion is rooted in capturing the emotion and narrative behind each shot, combining technical skill with heartfelt storytelling to create images that resonate with the viewer.
I use a Nikon D750 full frame DSLR along with a Tamron 150-600mm and a Nikon 24-120mm lens. I prefer to work hand-held rather than using a tripod, as I believe it allows me to capture those unexpected moments when animals and birds suddenly change direction. For the same reason I keep my equipment to a minimum.

 

'Focused'

 

'Meal time'

 

What is your favourite photo? Please tell us the story behind it.
It is almost impossible to choose a favourite photo as I am attached to so many of my shots. However, one image stands out - a moment captured after we had spent more than six hours following a pair of determined, hungry cheetah brothers. We followed them as they walked for miles, silently observing and stalking their prey. More often than not, the animal would sense their presence and flee. On this day, they almost caught a topi deer; the chase ended with the deer escaping, leaving the cheetahs dejected, exhausted and still hungry. The scene captured a bittersweet story: exhilaration for the deer and a poignant sense of loss for the cheetahs.

 

'Attack'

 

'Wild refreshment'

 

 

'Brothers'

 

 

Who are your favourite photographers or mentors whose work has influenced you and your photography?
My earliest inspiration in wildlife photography was my father. Watching his work up close sparked my passion and motivated me to pursue the field. He mentored me in my early years, giving me invaluable tips that have stayed with me and guided me as I restarted my photographic journey. I also researched various wildlife photographers online, absorbing their work and learning from their techniques - not to copy, but to be inspired. I particularly love exploring the work of wildlife photographers on 1x, where I find deep inspiration and continuous learning.

 

Now that we have almost reached the end of this interview, I would like to ask you to tell us about any plans or photographic projects you would like to be involved in.
I'm very excited about the projects that lie ahead. One of my main goals is to explore remote wildlife habitats and document the unseen moments of animal behaviour in their natural environment. I hope to work with conservation groups to create photo essays that highlight the challenges and triumphs of wildlife, ultimately raising awareness of conservation efforts.
I'm also considering a long-term project - a book of photographs that weaves together these immersive experiences with the stories of the animals I encounter. In addition, I plan to host workshops to share techniques and insights with aspiring photographers, fostering a community that values storytelling and conservation through images.
Each of these projects is a step towards not only capturing beautiful moments, but also making a meaningful impact on wildlife awareness and conservation.

 

Is there anything else you would like to add and what do you think of 1X as a home base for your work?
I would like to express my sincere gratitude to 1x for providing me with a home base that has provided both exposure and invaluable learning opportunities. Your platform has truly enriched my photographic journey and I am truly honoured to have the opportunity to showcase my work through this esteemed interview. Thank you dear Yvette for this wonderful platform and your support.
 

 

'Yawn'

 

 

'The fun and frolic'

 

 

'Silhouette'

Write
Great article ! Congratulations for these superb pictures !!!
Thank you so much
Wonderful! interview and fabulous! images. Congratulations! Anita.
Thank you so much Garyholman
Spectacular wildlife stories, superb visuals, dear Anita.Love the way you approach nature.Thank you for sharing your thoughts, so inspiring.Thank you, dear Yvette, for this wonderful interview!<3<3
Thank you so much dear Gabriela for your kind words
Bellissima storia vissuta complimenti bel lavoro
Thank you so much
Wonderful work!
Thank you so much
Great work. Many Congratulations!!
Thank you so much
WOW! I don't have words to describe how fascinating your wildlife photos are, Anita - love it - keep it up Anita and Yvette as well for such a nice article.
Thank you so much Sunil
great photo
Thank you
An admirable, enviable and extraordinary work. Congratulations, Anita and also to Ivette for showing it to us.
Thanks for your appreciation, Eduardo!
Thank you so much Eduardo for your kind words
What a beautiful showcasing of your tremendous work, Anita. Well done !!
Thank you so much Rajesh
very beautiful
Thank you
Very impressive photos. Thank you for bringing us such beautiful photos.
Thank you so much
asela PRO
AMAZING thanks!
Thank you
Stunning images ! Many congrats, Anita, and thanks to Yvette for sharing....
Thanks for your appreciation, Cristiano!
Thank you so much Cristiano
Stunning images wonderful work, congrats Anita. Thank very much Yvette !!!
Thank you so much dear Thierry
Wonderful works that convey the gravity of life in wild animals!
Thank you so much
Love your work...my compliments for a wonderful interview Dear Anita..Thanks for sharing Yvette
Thank you so much dear Rana
My pleasure, Rana ...
a much interesting interview and a fantastic collection od great photography, thanks a lot dear Anita. As always many thanks to Yvette
Thank you so much dear Hans
And as always, a big thanks for your appreciation, Hans-Wolfgang!
Beautiful set of images and a great interview Anita!!
Thank you so much
Beatiful work and very interesting and inspiring interview!
Thank you so much
Thank you very much for an interesting and pleasant interview.
Thank you so much
How to convey mystery in your images

 

by Yvette Depaepe
Published the 28th of February 2025 

 

Let's start with a quote from ~Richard Dawkins~ 
'Mysteries do not lose their poetry when solved. Quite the contrary; the solution often turns out more beautiful than the puzzle and, in any case, when you have solved one mystery you uncover others, perhaps to inspire greater poetry.'

 

'The cage' by Marc Apers

 


Mystery in photography is an intriguing concept that invites the viewer to explore the unknown and engage with the image in a deeper way. It’s about leaving space for imagination and often presents a sense of suspense, ambiguity, or curiosity.

How can we evoke mystery in our photographs?

 

OBSCURED SUBJECTS OR HIDDEN FACES
Photographs where a subject is partially hidden or their face is obscured can evoke a sense of intrigue. The viewer is left wondering about their identity, their emotions, or what might happen next. For example, a person standing with their back to the camera or a figure blurred by a mist can create a sense of distance, prompting questions about who they are or why they are there.

 

'The widow' by kenp

 

 

'My Love' by Dasha_and_Mari

 

 

'Night Road' by Patrick Foto

 

 

'Fly to you 2' by Terry F

 

 

UNUSUAL LIGHTING
Light plays a significant role in creating mystery. Photographers often use harsh shadows or soft, diffused light to obscure parts of the scene. A beam of light cutting through a dark space or partial illumination creates focus, but leaves the rest of the image in the dark, inviting the viewer to explore what might lie beyond what’s visible.

 

'Elves Woods' by Kirill Volkov

 

 

'Day blush' by Yvette Depaepe

 

 

'Last Light of Autumn' by Paolo Lazzarotti

 

 

'Angel' by Alex Saberi

 

DREAMLIKE OR SURREAL ELEMENTS
Surrealism often overlaps with mystery in photography. A dreamlike quality can be achieved through techniques like double exposure, motion blur, or unusual color grading. This makes the scene feel disconnected from reality, leaving room for multiple interpretations or feelings of confusion and curiosity.

 

'Irresistible' by José Ignacio Gil Blanco

 

 

'Learn to fly' by Pink Sword

 

 

'Full Moon Mystery' by Hosam.Karara

 

 

'lost in the forest of sciccors' by Hari Suiistiawan

 

 

REFLECTIONS AND MIRRORS
Mirrors or reflective surfaces can introduce a mysterious element to a photo. A reflection might show a different angle or reveal something unexpected, creating a visual puzzle for the viewer to solve. It’s a way of layering information within a single frame and encouraging curiosity about what is real and what is reflected.
 

 

'Shattered Reflection' by Ruslan Bolgov

 

 

'Altar' by Luc Vangindertael (laGrange)

 

 

'Mirror, mirror ….' by Els Baltjes

 

 

'snapshots of my thoughts' by larazanarini

 

 

BLACK AND WHITE PHOTOGRAPHY
Stripping away color can heighten contrast, reduce distractions, and add a timeless or melancholic tone that encourages the viewer to look deeper into the details of the composition.
 

 

'Let's find some place to get lost …' by Yvette Depaepe

 

 

'Hopefulness' by Marc Huybrighs

 

 

'Woman passing by...' by Teruhiko Tsuchida

 

 

'Birds' by Jacqueline van Bijnen

 

 

UNFINISHED STORIES
Mystery can also be conveyed by leaving the narrative incomplete. A photo that captures a single moment in a larger story can encourage the viewer to imagine what led up to that moment and what might happen next. This can be achieved by showing just part of a scene or including only fragments of a larger event.

 

by Teruhiko Tsuchida

 

 

Untitled by Jay Satriani

 

 

'Unfinished symfony' by Ben Goossens

 

 

'Unfinished Talks' by Leszek Paradowski

 

 

UNUSUAL ANGLES AND PERSPECTIVES
Shooting from unexpected angles or viewpoints—like from above, through a window, or at an oblique angle—creates a sense of disorientation or mystery. These perspectives often make familiar scenes look unfamiliar and encourage the viewer to engage more deeply with the composition.
 

 

'Winter' by Jure Kravanja

 

 

Untitled by Nicolas Schumacher

 

 

'Beehive Buildings' by Jesús M. Garcia

 

 

'sun salutation' by Christine Frick

 

SOFT FOCUS OR BLURRED MOTION
By intentionally blurring parts of the image or creating motion blur, photographers can obscure details and create a sense of mystery. The lack of clarity makes the viewer focus on the emotions or the atmosphere of the scene rather than the literal details.

'It starts to rain' by Teruhiko Tsuchida

 

 

'Mystery of Venice' by Wael Onsy

 

 

'on the way home' by Roswitha Schleicher-Schwarz

 

Write
Thanks a lot for this interesting article ! Congratulations for this cretaive and so beautiful work !!!
Thank you Yvette for this very inspiring article with well-selected photos, extremely helpful.
So beautiful and creative! Thank you so much for this very inspiring and imaginative article with great photography works!!
Susi PRO
A very interesting articule and a great selection of images!
Thanks, Yvette. Brilliant work!
Thank you, dear Jane!
Thank you Yvette for this very interesting article well illustrated by great photos
Thanks, Michel ;-)
Superb curation of the images to present the magazine with great insight into composition and innovation of framing and moments.
Many thanks, Souvik! :-)
Great article and great imagery, Thanks🔆🔆🔆
Thanks, my friend ;-)
Such a beautiful! and interesting selection of images. Congratulations! and thank you! Yvette.
My pleasure, Gary! Thanks for your appreciation. Cheers, Yvette
A truly fascinating article that offers numerous thought-provoking insights. The topic is explored thoroughly, sparking curiosity and inspiring creativity. I sincerely appreciate this valuable piece, beautifully enhanced with stunning photos. My gratitude also extends to the photographers for their contributions.
Thanks for your appreciation, Pier Luigi. Many thanks also in the name of the authors of the selected images. Cheers, Yvette
Thank you for sharing. Amazing work. Congratulations
Thanks a lot, dear friend!
Fantastic article and image. Very inspring...
Thanks a lot, my friend!
Great article and great imagery, thanks.
Many thanks, dear Steven!
Perfect selection!
Many thanks, Ruslan!
Mystery in photography, very interesting subject. Interesting reading excellent explanatory photographs, well written and presented dear Yvette, accept my THANK YOU.
It was delightful for me to write about 'mystery' in photography, Miro. Thanks for your neverlasting appreciation ;-)
So very glad to be featured here in this interesting article!
Deserved, Paolo. Thanks for your appreciation, my friend.
Very very beautiful images , one can keep seeing them mesmerized, excellent article Yvette , Thanks for sharing
Many thanks, Anita ;-)
I absolutely love this article and the brilliant pictures - mesmerizing, captivating, emotional, you feel part of the magic.Thank you dear Yvette for this treat. <3
Thnks for your lovely comment and appreciation, Gabriela!
Such a beautiful selection ...... I recognise lots of my favourites, recent and from long ago. Thank you for this fine article and for letting me in :-))
My pleasure, Luc. Glad you like the article. Cheers, Yvette
Results Contest - The Power of Colour in photography

by Yvette Depaepe
Published the 26th of February 2025

 

'The Power of Colour in Photography'
The psychology of colours can be the key to take your images from good to extraordinary.
In the world of photography, capturing the essence of a moment isn’t just about the subjects or the composition. It’s also about the colours that weave through the frame, creating a visual tapestry that can evoke emotions, set the mood, and leave a lasting impact.


The winners with the most votes are: 

1st place : Tatyana Skorokhod

2nd place : Samanta Krivec
3rd place : Hadi Malijani

Congratulations to the winners and honourable mentions and thanks to all the participants in the contest 'The Power of Colour in photography' 

 


The currently running theme is 'Urban Photography'
Cityscapes or street photography ... Make your choice.
Urban photography is broad.
Is it the grand architecture and cityscapes, the people, the weird quirky moments, or the quiet scenes. It's all of that!

This contest will end on Sunday the 9th of March at midnight.
The sooner you upload your submission the more chance you have to gather the most votes.
If you haven't uploaded your photo yet, click here

Good luck to all the participants.

 

1st place by Tatyana Skorokhod

 
 
2nd place by Samanta Krivec

 
 
3rd place by Hadi Malijani

 
 
HONOURABLE MENTIONS
 
by Louie Luo

 
 
by Rolf Endermann

 
 
by Renate Reichert

 
 
by Ivo Belmans

 
 
by Hilda van der Lee

 
 
by Roberto Corinaldesi

 
 
by Piet Haaksma
 

You can see the names of the TOP 50
 here.  

The contests are open to everybody except to crew members.
Submitting images already published / awarded on 1x is allowed.

AI. GENERATED IMAGES ARE NOT ALLOWED.
Write
Congratulations wonderful photos!!
Congratulations, amazing pictures!
Wonderful photos, thanks very much
Beautiful! photos with stunning colours. Congratulations! to the winners and all who contributed.
All absolutely fabulous photos, I enjoyed each one.
Wonderful photographs, excellent quality, lovely colors, superb selection dear Yvette and congratulations to all winners 🏆🥇🏆
Susan PRO
Gorgeous images !
Great works congratulations to all !!
Superb pictures ! Congratulations to all photographers !!!
Magnificas obras! Enhorabuena a todos y en especial a las ganadoras!
Great work. Congratulations to all authors!!
All the images are so beautiful , hearty congratulations to all the winners and all the participants
All the images are so beautiful , congratulations to all the winners andpartipants
Thank you from the bottom of my heart and I am very happy for this.
Gorgeous work Congratulations to all winners.
Thank you very much, Yvette, for your great work! I am deeply touched by your attention! Congratulations to the other award winners and also to the honorable mentions.
Andreas Paeghe - The beauty of abandoned places


by Andreas Paehge in collaboration with Editor Michel Romaggi 
Edited and published by Yvette Depaepe, the 24th of February 2025

 

'Lost ...'

 

Dear Andreas, could you tell us a little about yourself and your photographic practice?
I am 60 years old, born in Bremen but living in the Ruhr area of Germany for the last 50 years.
My photographic journey began in 2011 when I bought my first digital camera (a Nikon D90). Fascinated by a colleague's blue hour pictures, this was my first area of photography. To get better results I changed my system to a Canon 5D Mark II with a wide angle lens.
After a short time I also became interested in architectural photography and long exposures. I also started to do post processing in Lightroom and Photoshop. Especially post-processing in Photoshop was a big challenge. What should I do, how and in what order to get the best results? Those were the main questions. Then, as luck would have it, something happened:
I saw a video that explained how to break down a Photoshop workflow into different steps.
I got in touch with Tony Kuypers Luminosity Panel to work with luminosity masks.
This was a game changer, especially working with luminosity masks. But it took me half a year to understand this technique. I'm still using both methods more or less for my photos. I would like to mention that I was also touched by the creation of 180° panoramas, which is a great way to "open up" spaces for a different view.
I'm also always interested in other genres of photography such as long time exposures or nature and animal photography.

 

'Villa Kloppstock'


How did you become interested in old buildings, especially abandoned ones?

It was in 2014 when my sister told me that she was in a small German Urbex group that explores lost buildings nearby, and I visited them for my first buildings. Then there was a two-year break, but lots of photos on social media got me interested again.
In general it is the decay of buildings, how nature takes them back in time, but also the history of these buildings that is sometimes very interesting. As an architectural photographer, it is also very obvious that the old master builders had the knowledge, but also the money, to create amazing buildings.
When you enter such a building, you are in a time capsule. You find old things like photos, books, furniture, industrial tools or machines and so on. Then you think about what it was like when people were there or did their work.
For most people it might be very difficult to be there, especially if it is a big industrial site where the wind makes a lot of noise with loose sheet metal, for example. But for me it's pure relaxation.
But you have to know that these are old buildings. There are a lot of dangers: holes, broken roofs, old stairs, etc. It takes a lot of experience to know where to go and why! Don't do it alone! Here are some rules I would like to emphasize:
Don't take anything but your photos. If a place is open, fine, otherwise take another. But the risk remains, which led to the rule not to go alone.

 

'Abandoned Villa C'

 


What do you want to photograph them for?
How and why do you choose them?

I try to show their beauty, even if they are abandoned, but also how the decomposition takes place or how nature captures them over time.
To choose them, I need a certain level of decay. I am not interested in a villa that was abandoned two weeks ago. The buildings that interest me are churches, palaces, castles, industrial sites, houses and mental hospitals or similar places.


'Abandoned Ballhaus Lego'
 


About your series of abandoned villas, how did you take the photographs?

Usually I go around first to see where I can find real points of interest. In most cases, I have seen other people's photos. Since I'm often interested in 180° panoramas, I look for photo points that are suitable for that.
Especially with panoramas, you need to make sure that you are in the exact centre of the room and that your tripod is exactly level with the horizon to avoid unbalanced photos in post-processing. The smaller the room, the more errors you'll get if you don't pay attention.
Since I'm bracketing, you need to think about how many shots you need to take to get the full dynamic. It could be 3 each, or 9 if the sun is shining and you still have dark areas in the room.
For 180° panoramas I take at least two rows of 45° each, sometimes three rows. This means you have up to 135 RAW files to work with.

 

'Abandoned Ballhaus Rouge'


MY EQUIPMENT:
I use a Canon R5 with an RF 15-35 lens most of the time. I use a lightweight pan head and a Sirui tripod. I also find it useful to use a Sirui levelling head. The ground can be very sloping. With the level head you don't have to worry about that. Then I take the jumps one jump at a time and all the lines I need.
THE SETTINGS:
Aperture 8-14 in most cases. To avoid too long exposures, I sometimes go up to 800 ISO if it is very dark. Then I took my brackets with all the lines in RAW format. I use the bracket function on my R5

 

'Ballhaus O'


THE POST-PROCESSING:
I have broken up my Photoshop workflow into different sections, as mentioned above. Some work is done in Lightroom first. This is where I select my RAW images, do some corrections such as lens correction, and export them.   Then I use Ptgui. In my opinion the most efficient and fastest program for panoramas. It also has the ability to merge my brackets into HDRs. The output is usually a large 16-bit TIFF file which I then use in Photoshop. Photomatix is also a very good program for creating the necessary HDR files with a natural aspect.

 

Then the work in Photoshop begins.

The workflow is divided into the following categories:

1. Perspective and cleanliness:

Align the image with Photoshop’s transformation tools and if necessary, eliminate noise. Topaz DeNoice gives me the best results for this. Sometimes I also merge different versions of the panorama files to get full dynamics.

2. Colour:

The colour adjustment is a very important step in my workflow. Sometimes I also work with split toning.

3. Contrast:

This is the most important stage where I work with Tony’s brightness panel to paint with light and shadows. This gives me the possibility to influence exactly the areas where I want to do it and I can paint with light or shadows wherever I want.

But I can also paint with dynamic or color in different areas of brightness of the image. At this stage, I do the most work. Sometimes I also use the tonal contrast of NIK tools.

4. Final:

In this step I do the finalization of the image. May be some additional color corrections and in some cases a vignette to bring the focus to a certain point inside the image.

 

'Villa Becker'

Many thanks for these most interesting informations, Andreas


See more on Andreas Paehge's portfolio.

Write
A unique collection, splendid pictures with amazing details.Congratulations for your art, Andreas, and thank you for sharing your thoughts.Thank you Michel and Yvette for bringing it to us <3
Interesting article and superb series ! Congrats for this excellent work !!!
Very unique images and interesting interview. Congratulations! Andreas. Thank you! also to Yvette and Michel.
Very interesting interview, educative workflow, beautiful pictures thank you and congratulations Andreas, and of course great thanks to Yvette and Michel for bringing it to us.
Very interesting and absolutely amazing series, congratulations Andreas
Fascinating unique images. Thank you for sharing your workflow and post-processing techniques. My compliments for the results: true masterpieces. A joy to see them!
Excellent work. Congratulations!
Herzlichen Glückwunsch Andreas, wirklich interessanter Artikel und natürlich auch super Arbeiten und Fotos von dir 👍🏻
Excellent work as well as topic.Congratulations.
Amazing work 🩷
Very interesting work and information, beautiful images! congratulations.
I like your unique style of work Andreas....Nice to hear your vision and work flow....My compliments for the feature Thank you Yvette and Michel.
our pleasure, dear Rana!
Very nice work. Congratulations...