Moving in even tighter, cropping out most of the body, and focusing on your subject’s face brings you closer to feeling that eye-to-eye, soul-to-soul connection (Figure 4.8) with your subject. You can make out the texture of the Harbor seal’s fur, the length of its whiskers, the way its mouth

Here’s an example. I found this female cheetah and her cub one day in Kenya’s Masai Mara National Reserve. I got a decent shot of the two of them the first afternoon, but I felt I could do better. So, rather than run all over the park photographing different animals,

Another thing to remember when photographing wildlife is the old “push/pull.” Animals have personalities, and you want to show that. But you don’t want to be working really tight with long lenses all the time. You need to show their environment too—habitat says a lot. Back off and use wide-angle

Do you often meet a doctor who will cure your teeth, examine your heart, make you fingernails look fine and then help you with your childhood psychological trauma again, if you get to know that a person is a photographer, do you expect him to be good at everything? Landscapes,

I like to photograph portraits as much as the next person, but to really get a sense of your subject, try to capture behavior shots that tell more about its personality and life. Behavior encompasses basically everything your subject does, from eating to sleeping, courting, mating, raising its young, and

Nella serie Oscura staticità il corpo è una forma chiusa ed inaccessibile che la luce rivela senza violarne l’intimità. La rappresentazione di scorcio o di profilo riecheggia modelli cari alla tradizione della pittura occidentale, solo che in questo caso le donne ritratte non sono una bella forma da contemplare ma scrigni di