Museums

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In many museums around the world photography is allowed, provided that no flash or tripod is used. I suspect that both restrictions are made for the convenience of other visitors rather than to prevent photographers from taking high-quality photos. I find this totally acceptable, as it would be extremely tedious to catalogue the museum’s collection anyway. Instead, I think it makes sense to capture the experience of visiting the museum, and for this task, modern cameras with their excellent low-light performance are more than adequate.

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During my visit to the Sforza castle in Milan, I did not even take my fastest lens, instead, I used Canon’s Canon 24-105mm f/4 L IS USM lens on a 1D X body, which gave me ability to zoom in on details of particularly striking exhibits and to capture candid shots of other visitors. In Stedelijk Museum in Amsterdam, I used my iPhone to take photos of tourists enjoying some of the most striking works.

I often use my camera in museums purely as a note-taking tool. I take snapshots of the works of art themselves and of the side panels that provide reference information (in the hope that some day, I will actually make time to review these notes and perhaps even make some use of them).

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Flowers and cannonballs

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Sforza castle is within an easy walk from the Duomo, in the heart of fashionable Milan. I wondered around in the inner court of the castle when waiting for my time slot to see Leonardo’s “Last Supper” at the Convent of Santa Maria delle Grazie, which is also located nearby. A couple of other tourists were also killing time for the same reason, sitting on benches by the colourful flower beds filled with poppies.  

The location of the castle in the middle of a modern metropolis is in sharp contrast to the deep moats, surrounding its high walls, the original purpose of which was clear – warfare. A man was throwing frisbee to his dog in the grass-covered moat, and I could not make up my mind what was more out-of-place – this peaceful scene or the stone cannonballs piled up in the moats. I think it’s the former; the calm of a modern city life and seemed like a superficial patina on the tough nature of the place.


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Waiting for the “Last supper”

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The only way to see Leonardo’s “Last supper” without making a reservation several weeks in advance (which I neglected to do) and without going on one of the overpriced city tours that include a visit to the Convent of Santa Maria delle Grazie (which were all booked anyway) is to show up at the ticket office at the opening time and buy a ticket for the first available time slot.

After I did that, I had a couple of hours to kill before my designated time. I spent them wondering around in the Sforza castle and its vicinity, taking pictures of random street corners and patterns along the way. Most of these sites are so obscure, that I actually forgot about taking the photos until I reviewed my files a couple of months later.

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Work in progress

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Amazing thing about Gothic cathedrals is that they take enormous amounts of time to construct and require restoration immediately after being built. The amount of detail in their stonework is so great that the restoration process never stops – it just moves around the perimeter of the building. I was told about this by a stone restoration worker, who took a break from his work on Lednice castle and came down from the scaffolding to ask me about my camera. It turned out that he was a photo enthusiast too. Too bad that we did not have a common language to speak, so we had to resort to a mixture of Czech, Russian, English and German – both of us understood different, non-intersecting subsets of these languages to various degrees.

During the recent trip to Milan, I had a chance to take some photos of the people working on the cathedral. Since my research is related to acoustics, I was particularly interested in the work of acousticians, who were sampling the sound of the organ by moving the microphone to various locations in the nave and recording several repeating notes and musical fragments.

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Stonework

AA5Q4986_05-21-2015-Edit.jpgWhen I climbed to the roof of the Duomo do Milano and looked through the layers of intricate gothic stone carvings at the streets below, all I could think was that it looked like lace. I had a similar impression of the Doge’s Palace in Venice and, most recently, of the Alhambra Palace in Granada. What distinguishes the gothic cathedral for me is that it looks like its elements are flying upward, as if in an explosion of vertical lines and tiny details. I tried to show this by using a wide lens (Canon 16-35mm f/2.8L, which distorts the image in favour of keeping the straight lines straight).

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In contrast, the carvings in Alhambra did not look particularly dynamic. Instead, repeating patterns lead the eye to infinity, which, in fact, is one of the techniques of the muslim art that conveys the infinity of the universe. For close-ups of these patters, I used a telephoto lens to visually compress the perspective.

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Summer heat

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I find that our perception of air temperature is not only subjective, but also relative, i.e. it depends on what we experienced recently. My recent trip to Europe was unusually long and included stays in Italy, Russia, Netherlands, so I had an opportunity to compare summer weather in these countries. Genoa in May seemed very hot. There were a couple of days when people flocked to the beach in the neighbouring Boccadasse, a Chinque Terre-like idyllic town, and the purple-coloured fountain in the middle Genoa looked like an oasis in the hot maze of the narrow streets. IMG_2788-Edit.jpg

Eighteen degrees (Celsius) in Amsterdam felt cold after hot and humid Voronezh, and it set a stage for the 45-degree heat of Madrid to be almost shocking. The good news about Spanish heat is that the humidity is low, which makes it tolerable. Also, further South, in Nerja, the temperature was much more comfortable 35 degrees, and the breeze from the sea made for exceptionally nice warm evenings – something that I miss in Victoria.

Weather is an important aspect of photographs, but I often forget to consciously convey it in the pictures. Most of our everyday activities are weather-independent, yet weather has a strong emotional resonance – perhaps, a remnant of prehistoric times. As I work through my photos, I will try to use the photos with distinct weather elements to paint a more personal picture of the various locations. This is quite challenging, though, as our sense of temperature is inherently non-visual, so the visual clues of summer heat are often subtle and indirect (sweat on the subject’s forehead, blueish shadow in harsh light, etc.)

Perhaps, it would make an interesting project to try to show different kinds of weather, from nice to nasty to dangerous in a single series of photos.

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Military presence

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An interesting feature of Milan, for me personally, was the very prominent presence of armed military personnel on the streets. They were part of “Operazione Strade sicure” – an ongoing initiative to use armed forces to preserving public order and to fight crime. This is certainly not typical of North America, and I thought it would be interesting to photograph the soldiers. After all, it would be a kind of “men at work” type of a photo series.

However, for some reason I found it awkward to take photos of the soldiers most of the time. I guess, this was some kind of self-censorship at work, where I was projecting my expectations of not being allowed to take pictures of security-related activities (e.g. near luggage-screening areas in airports, some bridges in US, etc.) To be fair, I have never seen any signs prohibiting photography of the Italian soldiers, and they gave an impression that they probably would not mind a photo opportunity.

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Avoiding cliché shots

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While enjoying the incredible views from the terraces of Duomo in Milan, my instinct was to snap some cliché images of the Gothic statues superimposed on the modern skyline, without any human element or significant emotional content. This is a typical reaction of a photographer to a famous (i.e. often-photographed) tourist attraction.

This time, however, I tried to be mindful and take photos that would be representative of my experience of that place and that moment – being tired after climbing hundreds of steps of a narrow spiral staircase, trying to imagine the thoughts of the artists, who created the countless sculptures that cover the cathedral, watching tourists enjoying a cool breeze on the rooftop or looking at their maps and planning visits to other sites…

I think that analyzing my subjective experience of a famous site produced a greater variety (and perhaps even quality) of shots than trying to reproduce iconic shots taken by someone else would have allowed.

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Duomo terraces in Milan

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Milan’s Duomo is an incredibly imposing Gothic cathedral. It took nearly six centuries to build, but the result is stunning. What impressed me the most is probably the attention to detail, even the details that would not be normally visible to the public.

I bought a two-day ticket, which allowed admission to various sites, including the terraces on the rooftop of the cathedral. From there, one can see small statues nested int the niches of the spires that face away from the streets below.

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I climbed to the terraces on my first day in Milan, because the weather was nice, and I did not want to miss the opportunity to shoot the skyline through the lace of the Gothic stonework. In retrospect, it was a good decision not to postpone the climb. Every evening afterwards, it rained during the hours with the best light.

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Aquarium: focus on people

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The reception at my conference in Genoa was held in the Aquarium, one of the largest in Europe. At that time, I realized that the most interesting photos of aquaria are actually images of the visitors, not the actual exhibits of fish, reptiles, etc. While the panorama of Genoa at sunset that I shot from the rooftop of the aquarium was impressive, I did not find many photogenic subject inside the exhibit itself.

A couple of weeks after, when we visited a much lower-profile “oceanarium” in Voronezh with my family, I shot almost exclusively my daughter enjoying the site, and the opportunities for interesting (from my, very subjective, perspective) shots were numerous.

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From the technical standpoint, flash photography is usually not allowed in aquaria, so a fast lens is a must. I used my Canon EF 35mm f/1.4L USM exclusively. It is wide enough to allow some flexibility for cropping, but does not distort the image as much as wider lenses do. In addition, it is light, compact, and has great bokeh, which makes it my favourite walk-around lens.

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