One day, I found a dancing star in the forest

With my backpack loaded with equipment, I entered the forest. Generally, there, I would be taking a picture of the cry deer. However, this time my goal was different: to take a picture of the dog’s teeth-violet (Dens-careis) So that the elegant shape and colored nuances of this beautiful flower are exposed.

This photoshoot, in fact, was my decline plan for the day. My other outings were canceled at the last minute. In the handicides, I am glad that it was, because the picture of the dog’s teeth-violet turned into an inspirational experience. This gave me a new understanding of the subject, and eventually, my perspective to photography as a whole.

Initial approach: goes

I soon found many dog ​​teeth-English in these forests, but this did not mean that my job as a photographer was over. If anything, the process had just started.

For the first hours of shooting, I dedicated myself to find the most direct angle to take a picture of this beautiful flower. I went carefully, searching for the angles that will enhance the contrast with the stem synuocity, the delicateness of the petals and the blurred background of the forest. I used a tripod to ensure maximum stability and accurate attention, carefully controlled every detail. I took a series of images, which slightly separates the angle, depth of the region and exposure. As a result of each shot careful evaluation, the attempt to translate the purpose beauty around me in an image.

As I mentally reviewed the shots, I knew that I would get technically valid photos that are capable of showing the appearance of dog teeth-violet. Nevertheless, as I worked, there is a subtle dissatisfaction – the distance between the images that I was creating the accuracy of the images and feelings that the flowers that progressively developed into me. It felt as if I am only occupying the surface, unable to penetrate the deep essence.

The photos were “right”, but they looked dull me.

Reflected Stagnation: Nitzhe’s shadow among petals

At a certain point, I felt the need to stop. The pursuit of technical perfection was fruitless. I put the camera down, and, what to do uncertain, I decided to keep a face next to a small group of dog teeth violet. From this close-up perspective, my gaze settled on the details that were first removed by me: the minor waves of the petals, the delicate down on the stem, and the way light filtered through it.

I still stayed for several minutes, just observing. It was a slow, contemplative work, which was free from urgency to take a picture. In that silent moment, a quote of Nietzsche I read the year ago came back to me with surprisingly: “You must have chaos in that you should give birth to a dance star.”

Unlike the specific negative meaning of the term “chaos” for Nietzsche, chaos holds a different meaning. It represents the origin of formation, fertile ground from which a new creation, a better order, may be generated. Anarchy, therefore, the order is not neglected – it can also be considered an initial position for it.

I used to consider a dog-ding-ullanghan with new eyes. They were no longer to move the objects to my camera sensor, but living institutions, the carriers of an unexpected significant force in their apparent fragility. The curious bend of the stem, solitary place on a petal, their simple and unpredictable elegance in wild shape: everything appeared as an expression of that “dancing star” developed by the philosopher. I confirmed the personality in the heart of the forest in those flowers.

Change: To interpret recording

That moment of break and reflection marked a significant turn in my day. My attitude changed. I was no longer interested in documenting the purposeful appearance of the dog’s right-witted-volet, but in converting each shot into a visual interpretation of the “dancing star”, I stopped looking for technical perfection to focus on the feeling and sensation that the flowers expressed to me.

My technical choice began to reflect this new approach. Instead of chasing the maximum sharpness on the flower itself, I started playing with the shallow depth of the area to separate the subject, which created a sense of intimacy.

I looked for the pictures that felt raw, close to the lens with leaves and grass. I imagined those flowers as Ballerina on Tipto, spinning and grace.

The feelings I felt at that moment became a driving force behind my photography. I felt the flower in capacity for the same feelings that the forest makes me feel – a calm feeling of peace, peace and even isolation. It translates into a search for images that separate individual flowers, surround them with negative location and use defuses to soften the light and emphasize their solitude. In addition, the vitality of development and spring explosion inspired me to look for compositions with a sense of movement upwards.

The Dancing Star – New photographic directions

The desire to represent this vision of a dog’s teeth-violet as a “dancing star” directed my stylistic options in an unexpected manner. I abandoned the stiffness of frontal and symmetrical compositions to embrace more dynamic and unusual angles, seeking attitudes suggesting movement. I went very close to the flowers, was working freehand or posting a camera directly on the ground. If it were useful, I would have dug further.

Energy dance became a central element of my visual study. I aims to represent the vitality of the flower using light and depth of the region. I was no longer looking for breeding of a loyal, textbook-style, but rather aiming for a transformation and interpretation beyond the appearance.

Pointing to the versatility of beauty, the shadow of the flower emerged in my images through the use of selective focus and soft lighting. I tried to catch that moment between flowers and fall. Organized Anarchy became a guiding principle in my compositions.

As I continued to take a picture of the dog’s teeth viral, I began integrating uncertain elements in this scene, creating conversation between the main theme and the surrounding environment. Now I was not searching for the “right” flower, which was free from scars with vivid, symmetrical petals. Instead, the disturbances and imperfection of these flowers – the vested elements of the wild nature – became an integral part of my vision.

My day in Woods, which began with a documentary-style flower photography, evolved into a reflective experience. Nietzsche, referring to the poetic memory of that phrase, and considering the beauty of flowers, I used with new techniques to catch them – aiming to go beyond simple documents and go to a personal interpretation and vision.

And in this way I not only started looking at the dog’s teeth-violet, but also saw my full approach to photography in a new way.