Abstracts: From fiction to real perception

July 9, 2013

Sabine Vogel is a free lancing photographer with a strong addiction to landscape shooting. She’s attracted by small details and discovers little worlds of patterns and textures. Isolating the main subject of a photograph is important to good photography – when it comes to creating abstracts, it is crucial. Abstracts are isolated from their original context and appear without any distraction. Sabine Vogel about her images, which develop from fiction to real perception:

Beautiful landscapes impress me over and over again. This is why I have to go out into nature and mountains – of course accompanied by a camera. I was fascinated by details early, so I focused a bit on searching them outdoors. In most cases these details are part of a bigger context, and most often, they feature a rich vibrancy. By viewing such abstracts I often have a certain impression of all details blurring to a new virtual image. Abstracts consist of colors, textures and shapes of the subject. The possible use of such images is very wide and ranges from discreet illustration to simple backgrounds.

Steinmauer - stone wall
This wall of small boulders on the “Ahorn” hill at Austrian Mayrhofen, Tyrol, attracted me. It was build next to a panoramic view point at 1’965m which provides an overview over the Zillertal. This harmonically colored stone wall looked very three-dimensional to me. I shifted perspective a bit to maintain the three-dimensional appearance, yet conveying the abstract nature of this subject.
Holzstapel - woodpile
 This wood pile showed up while hiking through the Swiss village Sent in the Unterengandin in Grisons. All wood sticks were layered beside a house wall in order to serve as firewood. I’m not sure if the formation of different wood sizes was a product of coincidence or intention, but the overall appearance seemed like a little work of art. All I had to do was to compose the right frame, turning the wood pile into an abstract image.
Trockenmauer - Dry wall

This dry wall in Arosa, Grisons Switzerland, is built from grey natural stones. It reflects a piece of traditional craftsmanship. The building of such a dry wall takes a good eye and lots of sure instinct. For a dry wall no mortar is used. The usage of different shapes and sizes of these natural stones creates a vivid but still calm and steady photograph. I was most impressed by the exact geometrical shape of this dry wall.

In the age of seven I owned my first camera, originating from the family’s collection. It was a Zeiss Ikon Box Tengor – most simple technology from ancient times. In the next 35 years, I had no chance to escape photography. After many more cameras and camera levels I arrived at Zeiss optics again. Currently I use a Sony alpha 65 in combination with the Sony Zeiss Vario-Sonnar DT 3,5-4,5/16-80 ZA T*. I always carry a camera, even on assignments in my first profession as a construction engineer. For this purpose, I prefer to use a smaller one, the Sony NEX 7 in combination with a Sony Zeisss Sonnar E 1,8/24 ZA T*.

Four years ago I turned my hobby into a free lancing profession. I’ve created the word “birdPIXX” – with a wink, it’s a combination of my last name and a reference to image production, internationally comprehensible.

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