Photography nature and in particular the mountain was, in the wide world of images, my first love. Bring a camera with me when hiking in mountains, valleys and woods is how to combine pleasure with pleasure. Always nothing gratifies me and gives me feelings like cathartic to go to mountains, photography allows me to take home a piece of those moments, a fragment of those feelings without actually prey on the nature of its riches. It 's like going hunting without hurting anyone or go for mushrooms, leaving everything in place. The nature photographer has the unique privilege to go to a place, enrich, and leave the place as he found it, depleted in any way.
The photograph in the mountains encloses many aspects, from macro photography of a flower or an insect to photograph the hides of animals. Naturally, however, essential that the photographer feels in the mountains is to capture the magnificent landscapes that can be seen only in these places, the relentless succession of peaks and ridges, rock pinnacles and snowy pyramids which can be seen from the top of a high mountain, the articulation of a path to a green valley dotted with trees and huts. These and thousands of other situations.
what is the problem? The problem is that in almost any case you can not deliver the breadth of a landscape within the confines of a photograph without a notebook the "breath". A frame size without appeal to the world that goes beyond its borders. The remove from reality that it creates in the mind of the viewer. Obviously there are frames and the 3:2 is better than 4:3 and 16:9 is even better. But even the rectangular format, such as the old, in fact, "Overview" of some film cameras, it is still too narrow, in my view for many landscapes. Because the beauty of a landscape in the mountains is just that the boundaries are elusive and the view extends everywhere take advantage of just such a lack limits, accustomed as we are, the city's creatures, not knowing what the longer horizon. Our eyes caught between buildings and concrete, the immensity of the sky relegated to a few slots left free by the vertical growth of our urban jungle.
therefore not enough to have a wide spintissimo the limits of the Fish-Eye and even the most stretched of photo sizes, we need another solution. At the time of the film were invented special cameras that turned automatically in sync on a tripod while the film turned inside its housing. The result was perfect but the method was inconvenient and expensive. Also in this field, however, the advent of digital technology has caused a revolution. Now through the use of numerous software (I will use a dozen) can be combined into one single digital photo panorama exactly the size that we please. Achieve a perfect result is not always easy because there are problems with parallax, exposure and so on, but, finally, the landscapes regain their "comprehensive" and look at the reality that you are "unrolled" in the face as both two-dimensional , gives the viewer the same vision that had the photographer (or at least you get closer than ever).
phases to be addressed once we returned home from the excursion is about to begin post-production are defined: Aligning, Equalizing, Overlapping, Warping, blending, stitching, and finally rendering. A process according to the software can be more or less automated. Some programs are fast anltri lenses, some easy, someone else very complex. But nobody is perfect and the best solution is to integrate more than one, depending on the views to be obtained by exploiting the positive aspects of each one of them. The substance is then that "panoramizzare" in a professional way remains a manual process in some way (and it gives satisfaction) and the computer is essential as it is only a useful tool in the hands of creativity.
In some cases, for example when I'm on top of a mountain and you may not have much time to stay there all I do is take pictures in every direction, only at a later time when I'm at home, uniting them, will choose the framing, the viewing angle, the subject of the landscape. The photographer of landscapes then, somehow, the only requirement, once you find a place worthy of "map" pictures of the area. The creative aspect will come later, comfortably in front when the computer will choose what enters the area photographed in the famous "edge of the frame" and what not.
The freedom of action is greatest. Nothing prevents, for example to dial a full 360 degrees. Usually I always do it from the top of the mountains, more than any other place that allows the eye to wander just for all the three hundred sixty degrees. But I'm not a lover of landscapes too long. Sure they have a descriptive value, "didactic" we might say, in the sense that let you see everything you could really see if you were there, it really is to transfer the entire visual of a place in a single image. From the artistic point of view but in a landscape so long is missing an essential aspect of creativity of the photographer and the 'appeal' of a photographic image, ie the shot. The ability of a photographer is in large part in that, to find the shot that makes the subject more interesting for the viewer, distributing "weights" in the image correctly. In a 360 degree the ability to distribute and enjoyable subjects in the frame in the frame is included because it is less 'whole' and therefore is even less pleased that you are looking at a picture with a BALANCE an apt and original cut. Finding the right length of a landscape is therefore a question of balance between the need to end the frame boundaries of frames too small to have the great impression of a landscape and while away the need to preserve as much as possible ' existence of a "cut" to support an artistic approach to the image thus going beyond the mere representation of places. The views of the exhibition viewing angles between 72 and 300 degrees.
should not forget that the "Panoramizzazione" or more generally the possibility to combine software is a series of digital photos arrangements which only a means to creativity and the horizontal panorama of a landscape is just the most obvious uses. Nothing prevents, for example, to create a vertical panorama, perhaps to photograph a giant tree is too large to fit in a photo or why not take a "macro-pano" by combining a series of close-up pictures that allow, for example, to map in a single image, the long single file of thousands of small ants that travel the busy road between the nest and a food source. These are just examples, among other things, always within the nature photography, use the "Stitching" as the British call this technique in a way a bit different. But possible applications are endless. This exhibition is just one approach to the world of panoramic images, and then, apart from a pair of vertical stitching, has only breathtaking landscape classics. It might be fun later realize an exhibition that highlights the most original and artistic approaches to this technique.
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