Drones have become incredibly powerful image-making tools in just a few years, and for landscape photographers, they offer the ability to reach perspectives that would not have been possible before. If you would like to see how a drone can improve your landscape shots, check out this helpful video tutorial that features an experienced landscape photographer showing how he uses the DJI Mavic 3 Pro in his work. 

Coming to you from Nigel Danson, this neat video takes a look at the DJI Mavic 3 Pro for landscape photography and offers some helpful tips for working with a drone in the genre. Perhaps the best bit of advice I could give a new drone user when it comes to landscape photography is to not forget to rotate the camera up and down. It can be easy to keep the camera tilted about 20 degrees down so you can get a normal perspective simply from a higher point, but pointing the camera straight down can often yield equally interesting shots that show off geometry of the land that would not be visible otherwise. Check out the video above for the full rundown from Danson. 

And if you really want to dive into landscape photography, check out “Photographing The World 1: Landscape Photography and Post-Processing with Elia Locardi.” 

A photographer inspired by nature weaves women into the landscape using natural elements like grass, water, and plants.

Jeanne Simmons tells PetaPixel she had a “recurring impulse” to weave women into the grass and finally followed through on her vision and it ended up changing her life.

“Grass Cocoon set me on a trajectory of exploring my relationship with the natural world, expressing my reverence for it, and affirming my connection to it,” she says.

“I developed an ephemeral approach that involved integrating my models into the landscape, adorning them with sculptural elements, and capturing the moment through photography.”

“With my work, I attempt to convey my belief that we belong in nature, that we are part of the very fabric of nature,” she continues.

“This work is my personal antidote to what I perceive to be the tragic alienation between much of humanity and the Earth upon which we are dependent.”

Creating an Earthly Photo

Simmons is inspired by the materials she encounters during walks with her dogs. Plants that many may not even notice spark the photographer’s imagination.

“Once I have identified a site and a particular material, I inevitably begin the collection process, foraging for and harvesting my materials,” she says.

“Sometimes I create the necessary sculptural components for a project in my studio and transport them to my site on the day of the shoot.”

“Other times I forage on-site, and create and document the piece all in one day, building the piece directly on my model’s body,” she says.

“Once my models are situated and wearing whatever accouterments I have created for them, the actual shoot goes very quickly. I’m shooting for perhaps a half an hour to an hour, depending on the elements and the level of comfort or discomfort that my model might be experiencing.”

“There are of course an abundance of variables to manage when preparing for a shoot outside, sometimes requiring me to study the tides, the location of the sun, the weather, et cetera, all of which add to the fun and feeling of engagement that I love so well,” she adds.

Simmons’s models are “regular people” who live in her community. They don’t wear makeup and she doesn’t alter them in Photoshop afterward staying true to the organic themes of her images.

All she brings along to her photo shoots is her camera, her iPhone, a couple of tripods, and a reflector.

“So far I have used entirely natural lighting. My skills are still somewhat rudimentary. After a lifetime of identifying with tools like hammers, drills, chisels, and shovels. I still feel a bit clumsy with a camera,” she adds.

New to Photography

Simmons was previously a sculptor with “virtually no photography skills whatsoever” and began capturing photos using an iPhone 5.

“When I began making this body of work, I had no idea where it was leading me,” she explains.

“I later purchased a Fuji X-T3 and took an online photography class at the School of Visual Arts in NYC. I’m still trying to catch up with myself, from a photographic perspective.”

Simmons lives on the edge of the Olympic Peninsula in Washington surrounded by a temperate rainforest with her husband and daughter.

You can see more of Simmons’s work by visiting her Instagram page and website.

Image credits: All photos by Jeanne Simmons.

The “New Photography” series at the Museum of Modern Art (MoMA) has received criticism in recent editions for being too conceptual and lacking cohesiveness. However, the latest installment brings a refreshing change, putting an end to the losing streak. For the first time in the series’ history, “New Photography” focuses on photographers with ties to Lagos, Nigeria, also known as Èkó in the Yoruba language. This shift in geographic perspective is a significant milestone, as African art, especially African photography, has rarely been given prominence at MoMA.

Curated by Oluremi C. Onabanjo, the exhibition challenges conventional notions of documenting a city and its people through photography. Instead of featuring a large group of artists as in previous editions, Onabanjo selects only seven artists, allowing for a more in-depth exploration of their practices. Each artist finds innovative ways to pay homage to the citizens and history of Lagos, blending conceptual approaches with more traditional techniques. The common thread among all the artists is a fascination with the medium of photography itself—its purpose, audience, and revelatory potential.

Among the featured artists, Logo Oluwamuyiwa stands out with his captivating black-and-white photographs of Lagos. He employs oblique angles and distorted perspectives to provide a fresh view of the city. In his work “Oil Wonders II” (2018), an upside-down shot reveals two standing figures with only their sandaled feet visible at the bottom. Above them, a reflective puddle exposes their upper bodies. Oluwamuyiwa’s prints, vinyl wallpapers, and films redefine our perception of Lagos, challenging us to see it from unconventional angles.

Karl Ohiri‘s project, Lagos Studios Archives, collects damaged studio portraits that reflect the passage of time. The scanned and re-photographed images display bruises and discoloration, showcasing their own haunting beauty. Kelani Abass also incorporates family photographs from the past, repurposing them in her own work through letterpress techniques.

In this groundbreaking “New Photography” show, MoMA finally breaks free from its previous shortcomings, offering an engaging and cohesive exploration of Lagos’s vibrant artistic talent. By shining a spotlight on these photographers, the exhibition not only celebrates their individual contributions but also creates a platform for African photography to thrive within the art world.

Head to the MoMA’s website for more information.

MoMA
11 W 53rd St.
New York, NY 10019