{"id":117829,"date":"2018-03-29T16:59:57","date_gmt":"2018-03-29T15:59:57","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=117829"},"modified":"2018-03-29T17:03:44","modified_gmt":"2018-03-29T16:03:44","slug":"spring-forward-interview-sandra-bartocha","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/spring-forward-interview-sandra-bartocha\/","title":{"rendered":"Spring forward: Interview with Sandra Bartocha"},"content":{"rendered":"\t\t
\n\t\t\t\"Sandra\t\t\t

Sandra\u2019s beautiful image of snowdrops against sun-reflected water wowed the judging panel of Wildlife Photographer of the Year 2011 Credit: Sandra Bartocha<\/p>\n\t\t<\/div>\n\t\t\n

There is probably no better example of the photographic potential to be realised from one\u2019s local area than the work of Sandra Bartocha. Nearly seven years after her breakthrough success as a category winner in the Wildlife Photographer of the Year competition, Sandra continues to make frequent trips to the shores of her local lake in Mecklenburg, northern Germany, where she took her prize-winning picture of snowdrops against the golden surface of sun-reflected water (see above).<\/p>\n

Much has happened since then: exhibitions, judging duties, the publication of LYS<\/em> \u2013 arguably one of the best nature photography books of the decade \u2013 workshops and yet more awards, but still Sandra returns to her local lake for inspiration, particularly during spring, her favourite time of the year. \u2018I think that everybody needs a place where he or she feels at home and where they are constantly returning,\u2019 she says. \u2018I have this little multi-visual show and people who grew up with me in my home town say it\u2019s funny because 80% of what\u2019s shown is taken at this one lake shore.\u2019<\/p>\n

It\u2019s February when we speak and although Sandra\u2019s schedule is taking her to the rugged shores of Lofoten in March, she is looking forward more to shooting the early spring flowers at home. \u2018From March you can find all kinds of different flowering periods because the limestone is facing west, so you always have light and you always have water in the background and you have all the spring flowers, so I return every year with the aim of producing images that I have not done before.\u2019<\/p>\n\t\t

\n\t\t\t\"Sandra\t\t\t

A triple exposure of a beech forest. The fog helps to create an interesting pattern in the overlay. Credit: Sandra Bartocha<\/p>\n\t\t<\/div>\n\t\t\n

Bubble bokeh<\/h2>\n

Another key component of Sandra\u2019s success in 2011 was her technique and choice of lens. Explaining how she took her prize-winning image, she said: \u2018I took an in-camera double exposure, with one sharp exposure and one much softer one, so the scene would appear as dreamy as it felt.\u2019 Her lens choice was unusual at the time, a Meyer Optik G\u00f6rlitz Trioplan 100mm f\/2.8 macro, also known as the \u2018soap bubble\u2019 lens because of the bokeh it generates. The combination of this 15-aperture blade prime lens, based on an early 20th century design, and Sandra\u2019s soft focus technique has inspired hundreds of plant photographers. Many have mimicked her style, some successfully, so does she feel flattered by this, or has it become an obstacle to her future path?<\/p>\n

\u2018On the one hand it is flattering,\u2019 she says, \u2018but on the other hand it\u2019s definitely an obstacle because I see people are getting tired of that style.\u2019 To support her observation, she cites the response of fellow judges to entries clearly influenced by the technique she popularised. \u2018I\u2019ve been on many competition juries judging plant categories and as soon as there\u2019s a flower with bokeh background they say, \u201cNo! We\u2019ve seen that.\u201d I\u2019m regretting it a bit because I still think that they have their value and they are still beautiful.\u2019 Fortunately, the views of her fellow competition judges have not put her off entirely, although she does admit to using the Trioplan 100mm \u2018just 2% of my time now\u2019. Sandra didn\u2019t feel she was inventing anything new at the time, she was simply finding a way to convey the emotions she felt while enjoying the outdoors and drawing inspiration from her surroundings. \u2018I never saw myself as a role model in any kind of photographic journey; it\u2019s more like I\u2019m happy to do it and I\u2019m still happy at the results, but my inner self is not progressing enough.\u2019<\/p>\n\t\t

\n\t\t\t\"Sandra\t\t\t

Sandra loves to create texture by blending multiple frames together. This image of a rowan tree comprises 10 exposures. Credit: Sandra Bartocha<\/p>\n\t\t<\/div>\n\t\t\n

An intimate journey<\/h2>\n

In 2016 Sandra and fellow photographer Werner Bollmann published LYS: An Intimate Journey to the Nort<\/em>h, the culmination of four years of dedicated coverage of the landscape and natural history of Scandinavia from the pastures of Jutland in the south to the frozen frontier of Svalbard in the Arctic. In total, Sandra and Werner spent around a year on and off the road, attempting to capture the essence of these landscapes in all their moods, in every season, up close and from afar. The book was widely acclaimed and the exhibition continues to tour across Europe. Shooting images for LYS<\/em> represented a challenge for Sandra as she had to adapt to a style that didn\u2019t immediately reflect her natural instincts. She explains: \u2018With LYS<\/em>, we tried to go away from the fancy stuff a bit, not playing around too much, not making double exposures and moving exposures (intentional camera movements), but to go back to the classic way of seeing the world and producing timeless pictures. I really liked that approach, to just go back to the core of what is out and to try to capture the essence of what\u2019s in front of you. I really do enjoy both ways of seeing the world, it\u2019s just that they don\u2019t fit together too well.\u2019<\/p>\n

After four years devoted to such a demanding project, and the logistical challenges of editing images for a book, exhibition and multimedia presentation, Sandra admits to struggling to find a new sense of purpose. \u2018I was in the midst of this project and I was very focused. Now it\u2019s finished, I\u2019m a bit lost,\u2019 she reflects. \u2018I know what I have to do, I know when I\u2019m out I can create nice pictures, but people seem to be repeating all the same stories, again and again. I just don\u2019t want to add to stuff that\u2019s been done before.\u2019<\/p>\n\t\t

\n\t\t\t\"Sandra\t\t\t

A coastal forest with strong backlight. By overexposing the scene slightly Sandra emphasised the shadows. Credit: Sandra Bartocha<\/p>\n\t\t<\/div>\n\t\t\n

Managing expectations<\/h2>\n

As much as Sandra likes being outside photographing early spring flowers for no other reason than to enjoy the moment, she is conscious of the expectation of others as they look to see what she will be showing next. \u2018I\u2019ve been invited to a landscape conference and I\u2019m currently preparing what I\u2019m going to talk about. Even this makes me think, what is it I\u2019m about right now? What do I stand for, what are my goals, what\u2019s most important? People still refer to me as a plant photographer \u2013 I enjoy it, but when I started it was not as popular as it is these days, and you can\u2019t relax on the status of the past; you have to get going and produce new stuff.\u2019<\/p>\n

All that said, Sandra says there has been another project taking shape and now perhaps she has the time to develop it further. She reveals: \u2018I wanted to do a book about the seasons. I\u2019ve been planning this for many years and I already have a foreword and some poems by people prepared. I have to find the time to edit the pictures and make it into a little book.\u2019 After the epic undertaking of LYS<\/em>, a \u2018little book\u2019 seems like a step in the right direction for the attainment of new goals. It\u2019s also easier to accommodate with her need of making regular returns to familiar locations, subjects and themes \u2013 her local lake, spring flowers and the seasonal changes on the woodland floor. \u2018It\u2019s just fascinating how the seasons play within a wood,\u2019 she says, \u2018With different undergrowth from time to time, it just changes so much. Nature photographers shoot during the spring and autumn because of the colours and then maybe in winter when there\u2019s snow, but summer is often neglected. It\u2019s absolutely fascinating to be in a forest in the summer because you understand why nothing is growing in a beech forest, for example, it\u2019s pitch dark in there.\u2019<\/p>\n\t\t

\n\t\t\t\"Sandra\t\t\t

It was the light dancing in the background that fascinated Sandra when she was shooting these liverleafs. Credit: Sandra Bartocha<\/p>\n\t\t<\/div>\n\t\t\n

Favourite flower<\/h2>\n

But there is spring to enjoy first and Sandra knows exactly which flower she will be looking out for by the lakeside in Mecklenburg: a little purple perennial called Liverwort. Common all over central and northern Europe, Sandra has photographed it hundreds of times already. \u2018It\u2019s my favourite flower,\u2019 she admits. \u2018It\u2019s so over-photographed but it\u2019s just so beautiful and elegant and for me it marks the start of spring. It\u2019s the first flower that appears in our forests, and I have to photograph it every year.\u2019<\/p>\n

It now seems a good time to ask her about the steps she follows when making one of her dream-like photographs, and for her advice to anyone who wants to improve their macro photography. \u2018I think first you need to find the right spot,\u2019 she replies. \u2018You have to find a spot where you can be flexible with light and with the background. Finding the right spot includes paying attention to which plant you are photographing. If you have a forest floor of anemones then look for the one that is intact, that\u2019s not beaten up, hit by the rain or nibbled by an insect. Then, of course, nothing beats getting down as much as you can, especially for macro work with very small subjects, getting really close and almost under the ground.\u2019<\/p>\n

So you\u2019ve got to be prepared to get dirty, then? I ask. She laughs: \u2018Yeah, you have to get dirty, that\u2019s for sure! So, wear clothes that make it easy for you to get dirty!\u2019 She continues: \u2018Then pay attention to the light and the composition. I\u2019m always seeing this in workshops: people are not paying attention to the smallest things, because with macro every millimetre you move changes the picture tremendously. Look for how the light is hitting the subject and how the composition is changing.\u2019<\/p>\n\t\t

\n\t\t\t\"Sandra\t\t\t

A triple exposure adds some mystique to this scene of wood anemones. Credit: Sandra Bartocha<\/p>\n\t\t<\/div>\n\t\t\n

Tripod? What tripod?<\/h2>\n

When it comes to making a list of the macro photographer\u2019s essential kit, a tripod is mentioned virtually in the same breath as a high-quality macro lens. But here again, Sandra is happy to break with convention. \u2018I\u2019m not using a tripod for this kind of work because it\u2019s too clumsy to change the composition,\u2019 she declares. \u2018Also, I\u2019m destroying more of the surroundings I\u2019m in because I\u2019m trying to adjust it, so I think I\u2019m much more flexible working without these things and especially with the high ISO capabilities now available. Even if it\u2019s getting dark you can boost the ISO to take the picture without any stabilisation.\u2019<\/p>\n

She makes an exception for landscapes, however, when she will use a tripod \u2018100%\u2019 of the time. But she is quick to acknowledge that there is more to macro photography than her own indomitable style.<\/p>\n

\u2018But, of course it depends on the direction you go with your macro work. If you want to do all this focus stacking then of course you need a tripod, but for my kind of photography where I\u2019m really focusing on the light and the emotion and limited depth of field, no tripod is needed and it\u2019s much easier to compose with a really nice background without [one].\u2019 In other words, find your location, subject and background, get down low, and get dirty.<\/p>\n

\n

Lens choices<\/h2>\n

Today, Sandra only occasionally uses her Meyer Optik G\u00f6rlitz Trioplan 100mm f\/2.8 macro lens. She is more likely to reach for the Micro-Nikkor 105mm f\/2.8 macro, the Nikkor 24-70mm f\/2.8 zoom, or one of three tilt-and-shift Nikkor lenses \u2013 24mm f\/3.5, 45mm f\/2.8 or 85mm f\/2.8 \u2013 with her recently acquired Nikon D850. \u2018The 85mm tilt and shift macro lens has a magnification factor of 1:2, so Sandra uses it for images of forest floors or stones, where she can move in close without compromising on sharpness. Her next favourite lens is the Nikkor 80-400mm f\/4.5-5.6 zoom. \u2018This is a very versatile zoom,\u2019 she explains. \u2018It\u2019s very good quality for the flexibility I get because I like the compression of 400mm, even for flower and macro work.\u2019<\/p>\n

\n

Sandra Bartocha was born and raised in Mecklenburg, Germany, and graduated in media studies and English from Potsdam University. She is vice president of the German Society of Nature Photographers (GDT) and editor-in-chief of their GDT magazine \u2013 Forum Naturfotografie<\/em>. Her book, LYS: An Intimate Journey to the North<\/em> (with Werner Bollmann) can be ordered here: www.lys-publishing.com\/en\/<\/a><\/h3>\n
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The dream-like plant images popularised by Sandra Bartocha are often copied but never bettered. 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