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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'
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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
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.
'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
'It starts to rain' by Teruhiko Tsuchida
'Mystery of Venice' by Wael Onsy
'on the way home' by Roswitha Schleicher-Schwarz
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![]() | John-Mei Zhong PRO Thank you Yvette for this very inspiring article with well-selected photos, extremely helpful. |
![]() | Eiji Yamamoto PRO 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! |
![]() | Jane Lyons PRO Thanks, Yvette. Brilliant work! |
![]() | Yvette Depaepe CREW Thank you, dear Jane! |
![]() | Michel Romaggi CREW Thank you Yvette for this very interesting article well illustrated by great photos |
![]() | Yvette Depaepe CREW Thanks, Michel ;-) |
![]() | Souvik Banerjee CREW Superb curation of the images to present the magazine with great insight into composition and innovation of framing and moments. |
![]() | Yvette Depaepe CREW Many thanks, Souvik! :-) |
![]() | YANGYING PRO Great article and great imagery, Thanks🔆🔆🔆 |
![]() | Yvette Depaepe CREW Thanks, my friend ;-) |
![]() | garyholman PRO Such a beautiful! and interesting selection of images. Congratulations! and thank you! Yvette. |
![]() | Yvette Depaepe CREW 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. |
![]() | Yvette Depaepe CREW Thanks for your appreciation, Pier Luigi. Many thanks also in the name of the authors of the selected images. Cheers, Yvette |
![]() | Pang Teng Lin PRO Thank you for sharing. Amazing work. Congratulations |
![]() | Yvette Depaepe CREW Thanks a lot, dear friend! |
![]() | Qinyuan Wu PRO Fantastic article and image. Very inspring... |
![]() | Yvette Depaepe CREW Thanks a lot, my friend! |
![]() | Steven Fudge PRO Great article and great imagery, thanks. |
![]() | Yvette Depaepe CREW Many thanks, dear Steven! |
![]() | Ruslan Bolgov PRO Perfect selection! |
![]() | Yvette Depaepe CREW Many thanks, Ruslan! |
![]() | Miro Susta CREW Mystery in photography, very interesting subject. Interesting reading excellent explanatory photographs, well written and presented dear Yvette, accept my THANK YOU.
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![]() | Yvette Depaepe CREW 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! |
![]() | Yvette Depaepe CREW Deserved, Paolo. Thanks for your appreciation, my friend. |
![]() | Anita Singh PRO Very very beautiful images , one can keep seeing them mesmerized, excellent article Yvette , Thanks for sharing |
![]() | Yvette Depaepe CREW Many thanks, Anita ;-) |
![]() | Gabriela Pantu PRO 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 |
![]() | Yvette Depaepe CREW 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 :-)) |
![]() | Yvette Depaepe CREW My pleasure, Luc. Glad you like the article. Cheers, Yvette |
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.
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![]() | Gabriela Pantu PRO Congratulations, amazing pictures! |
![]() | Samanta Krivec PRO Wonderful photos, thanks very much |
![]() | garyholman PRO Beautiful! photos with stunning colours. Congratulations! to the winners and all who contributed. |
![]() | Kathryn King PRO All absolutely fabulous photos, I enjoyed each one. |
![]() | Miro Susta CREW Wonderful photographs, excellent quality, lovely colors, superb selection dear Yvette and congratulations to all winners 🏆🥇🏆 |
![]() | Susan PRO Gorgeous images ! |
![]() | Josefina Melo PRO Great works congratulations to all !! |
![]() | Superb pictures ! Congratulations to all photographers !!! |
![]() | Magnificas obras! Enhorabuena a todos y en especial a las ganadoras! |
![]() | Subhajit Das PRO Great work. Congratulations to all authors!! |
![]() | Anita Singh PRO All the images are so beautiful , hearty congratulations to all the winners and all the participants |
![]() | Anita Singh PRO All the images are so beautiful , congratulations to all the winners andpartipants |
![]() | Hadi Malijani PRO Thank you from the bottom of my heart and I am very happy for this. |
![]() | Pang Teng Lin PRO 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. |
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.
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![]() | Gabriela Pantu PRO 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 !!! |
![]() | garyholman PRO Very unique images and interesting interview. Congratulations! Andreas. Thank you! also to Yvette and Michel. |
![]() | Miro Susta CREW 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. |
![]() | Anita Singh PRO Very interesting and absolutely amazing series, congratulations Andreas |
![]() | Caroline Bomers PRO 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! |
![]() | Subhajit Das PRO Excellent work. Congratulations! |
![]() | Marcel Ahrens PRO Herzlichen Glückwunsch Andreas, wirklich interessanter Artikel und natürlich auch super Arbeiten und Fotos von dir 👍🏻 |
![]() | Bole Kuljic PRO Excellent work as well as topic.Congratulations. |
![]() | Rut Casanellas PRO Amazing work 🩷
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![]() | Very interesting work and information, beautiful images! congratulations. |
![]() | Rana Jabeen PRO 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. |
![]() | Yvette Depaepe CREW our pleasure, dear Rana! |
![]() | Very nice work. Congratulations... |
![]() | Excellent |
by Yvette Depaepe
Published the 21st of February 2025
A visual anthology is a collection of images, artwork, or visual content, often brought together to explore a specific theme, idea, or narrative. It could be a compilation of photographs that are captured from different perspectives or moments around a theme to present a coherent story or message.
The anthology might focus on a particular subject (e.g., nature, urban landscapes, social issues, or a specific event), a visual style (like surrealism or minimalism).
Are you thinking about creating one? Or exploring a certain visual theme?
This is exactly what we are looking for to publish or feature one of your exhibitions.
Many of you have beautiful exhibitions but no introductory text or information.
It is easy to add to your existing exhibitions to make them more attractive.
As an example, here is an exhibition titled : 'Colourful Black and White Photography'.
A short presentation text about the visual theme: 'Yes, pure BLACK AND WHITE PHOTOGRAPHY can indeed have a "colourful" effect, even though it may not directly include colour in the traditional sense. In black and white photography, the contrast, composition, and texture can create a sense of vibrancy and dynamism that evokes the emotional intensity and richness typically associated with colour.
Essentially, BLACK AND WHITE PHOTOGRAPHY uses its own set of visual tools (contrast, texture, light, and composition) to create the emotional and visual impact that colour can achieve. While it’s not literal colour, it’s still a "colourful" experience because of its ability to evoke feelings, depth, and intensity. no presentation text but a poetic quotes under each image'.
Not a must but a great add, are the poetic quotes under each image.
See the complete exhibition here: [72] Colourful Black and White by Yvette Depaepe
To trigger your curiosity and especially your creativity, here are some images out of this exhibition.
My beautiful flat land...
"With a sky so low that canals get lost, with a sky so low that it brings humility. With a sky so grey that canals hang themself, with a sky so grey that it must be forgiven. With the wind in the north that rips it apart, with the wind in the north, listen to it cracking... This flat land that is mine (Translation: "Mon Plat Pays" by Jacques Brel)."
A crystal view from my window …
"Keep creating new windows from which to look at the world !!! Make people dreaming... One shot taken from inside the bedroom (the window), one shot from a small canal in Damme blended together. "
Eternal Sunrise …
"The grand show is eternal. It is always sunrise somewhere, the dew is never dried all at once, a shower is forever falling, vapor is ever rising. Eternal sunrise, eternal dawn and gloaming, on seas and continents and islands, each in its turn, as the round earth rolls." ~John Muir~
Harvest Mood
" . . it is impossible you should take true root but by the fair weather that you make yourself; it is needful that you frame the season of your own harvest.” ~William Shakespeare~
FOLLOW YOUR INNER MOOD …
Don't hide the madness
The Art of Frozen Time
We don't remember days, but mom”We don't remember days, butr momentts.Taking pictures is savoring life intensely every hundredth of a second..."
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![]() | Thanks a lot for this article, dear Yvette ! The pictures are superb, great and so beautiful work !!! |
![]() | MingLun Tsai PRO Exquisite skills and brilliant work, Thank You. |
![]() | Yvette Depaepe CREW Thanks a lot, MingLun Tsai! |
![]() | Eiji Yamamoto PRO Thank you so much for the very poetic and inspiring article with great photo works! |
![]() | Yvette Depaepe CREW Many thanks, deear Eiji ;-) |
![]() | Gabriela Pantu PRO Gorgeous visual antology, dear Yvette, so poetic, so emotional.The pictures are superb.Thank you for the article and for sharing <3 <3 |
![]() | Yvette Depaepe CREW My pleasure, Gabriela. And most of all, I hope to stimulate our members to achieve their exhibitions ;-) |
![]() | Richard Bland PRO Always 1st Class |
![]() | Yvette Depaepe CREW Many thanks, my dear friend! |
![]() | Thank You, Yvette Depaepe! I love your Antology! |
![]() | Yvette Depaepe CREW Thanks Jorge ;-) |
![]() | Miro Susta CREW Agree with you Yvette it is very important to introduce in short form any published or otherwise spread works/activities. I call it summary, short but informative, actually in the form as you described it here,
By the way you have added few wonderful photos from your fabulous black-and-white portfolio. Thank you and have a beautiful weekend. |
![]() | Yvette Depaepe CREW Thank you very much, dear Miro! |