Maxim Zinchuk ᱨᱮᱱᱟᱜ Flying in Dreams ᱢᱩᱬᱩᱛ ᱠᱟᱹᱢᱤ: ᱟᱠᱟ�skᱟᱲ ᱪᱤᱛᱟᱹᱨᱛᱮ ᱛᱚᱞᱟ ᱫᱚ ᱯᱷᱚᱴᱚᱜᱨᱟᱯᱷᱤ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2022 A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾
ᱨᱩᱯᱟᱯᱷᱚᱴᱚᱜᱨᱟᱯᱷᱤ· 2022
Flying in Dreams ᱢᱩᱬᱩᱛ ᱠᱟᱹᱢᱤ: ᱟᱠᱟ�skᱟᱲ ᱪᱤᱛᱟᱹᱨᱛᱮ ᱛᱚᱞᱟ
Maxim Zinchuk ᱞᱮᱠᱟᱛᱮ
ᱜᱟᱦᱟᱠ: Maxim Zinchuk Photography
ᱯᱷᱚᱴᱚᱜᱨᱟᱯᱷᱤ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ
ᱡᱟᱸᱪ ᱟᱠᱟᱱ ᱮᱣᱟᱨᱰ ᱡᱤᱛᱠᱟᱨ
#139240 ᱞᱟᱜᱤᱫ ᱮᱣᱟᱨᱰ ᱦᱟᱞᱚᱛ ᱡᱟᱸᱪᱰᱤᱡᱟᱭᱤᱱ
Flying in Dreams ᱢᱩᱬᱩᱛ ᱠᱟᱹᱢᱤ: ᱟᱠᱟ�skᱟᱲ ᱪᱤᱛᱟᱹᱨᱛᱮ ᱛᱚᱞᱟ ᱵᱟᱵᱚᱛ ᱛᱮ
Book Text: ᱚᱛᱱᱚᱜ ᱨᱮ ᱩᱰᱟᱹᱣ ᱫᱚ ᱟᱠᱟᱲ ᱪᱤᱛᱟᱹᱨ (ᱞᱮᱣᱤᱴᱮᱥᱚᱱ ᱯᱷᱚᱴᱚᱜᱽᱨᱟᱯᱷᱤ) ᱠᱚᱡᱟᱣ ᱛᱮ ᱛᱮᱭᱟᱨ ᱠᱟᱱ ᱢᱤᱫᱴᱟᱹᱝ ᱪᱤᱛᱟᱹᱨ ᱥᱟᱨᱮᱡ ᱠᱟᱱᱟ ᱾ ᱱᱚᱣᱟ ᱥᱟᱨᱮᱡ ᱨᱮ ᱯᱩᱸᱰ ᱞᱤᱡᱟᱹ ᱠᱩᱨᱤ ᱜᱟᱴᱮᱠᱚ ᱚᱛ ᱪᱮᱛᱟᱱ ᱨᱮ ᱩᱰᱟᱹᱣ ᱠᱟᱛᱮ ᱫᱟᱲᱠᱟᱣ ᱫᱟᱨᱥᱟᱣ ᱠᱟᱱᱟ ᱾ ᱡᱚᱛᱚ ᱪᱤᱛᱟᱹᱨ ᱫᱚ ᱢᱤᱫ ᱠᱚᱬᱮ ᱠᱷᱚᱱ ᱟᱛᱟᱹ ᱠᱟᱱ ᱵᱟᱨ ᱟᱨᱵᱟᱝ ᱮᱱᱮᱢ ᱯᱷᱨᱮᱢ ᱠᱷᱚᱱ ᱛᱮᱭᱟᱨ ᱠᱟᱱᱟ, ᱚᱠᱟ ᱨᱮ ᱢᱤᱫ ᱛᱮ ᱡᱤᱭᱟᱹ ᱢᱮᱱᱟᱜ ᱟᱨ ᱮᱴᱟᱜ ᱛᱮ ᱵᱟᱝ ᱾ ᱡᱤᱭᱟᱹ ᱵᱟᱝ ᱢᱮᱱᱟᱜ ᱯᱷᱨᱮᱢ ᱫᱚ ᱚᱱᱟ ᱴᱮᱠᱟᱱ ᱚᱪᱚ ᱠᱟᱱ ᱴᱮᱠᱟᱣ ᱠᱚ ᱚᱪᱚᱜ ᱞᱟᱹᱜᱤᱛ ᱵᱮᱵᱷᱟᱨ ᱠᱟᱱᱟ ᱾ ᱱᱚᱣᱟ ᱥᱟᱨᱮᱡ ᱫᱚ ᱡᱟᱭᱜᱟ ᱯᱟᱱᱛᱮ, ᱞᱤᱡᱟᱹ ᱛᱮᱭᱟᱨ, ᱴᱮᱠᱟᱣ ᱟᱨ ᱡᱤᱱᱤᱥ ᱠᱚ ᱡᱚᱡᱚᱢ, ᱢᱟᱨᱥᱟᱞ ᱥᱟᱡᱟᱣ, ᱪᱤᱛᱟᱹᱨ ᱟᱨ ᱰᱤᱡᱤᱴᱟᱞ ᱮᱰᱤᱴᱤᱝ ᱢᱟᱱᱛᱮ ᱛᱮᱭᱟᱨ ᱠᱟᱱᱟ ᱾ ᱱᱚᱣᱟ ᱨᱮᱭᱟᱜ ᱢᱚᱬᱮ ᱫᱚ ᱜᱮᱲᱟ ᱩᱢᱮᱨ ᱨᱮᱭᱟᱜ ᱚᱛᱱᱚᱜ ᱠᱚᱣᱟᱜ ᱥᱩᱫᱷ ᱛᱟᱦᱮᱸᱱ ᱩᱫᱩᱜ ᱞᱟᱹᱜᱤᱛ ᱠᱟᱱᱟ ᱾
ᱢᱟᱱᱟᱱ
A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ
Flying in Dreams ᱢᱩᱬᱩᱛ ᱠᱟᱹᱢᱤ: ᱟᱠᱟ�skᱟᱲ ᱪᱤᱛᱟᱹᱨᱛᱮ ᱛᱚᱞᱟ ᱫᱚ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱥᱩᱱᱫᱚᱨ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Flying in Dreams ᱢᱩᱬᱩᱛ ᱠᱟᱹᱢᱤ: ᱟᱠᱟ�skᱟᱲ ᱪᱤᱛᱟᱹᱨᱛᱮ ᱛᱚᱞᱟ ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾
ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ
ᱯᱨᱮᱥ ᱠᱤᱴ
ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾
- ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ
- In the "Flying in Dreams" series, the photographer is using the levitation photography technique to create a surreal effect and perform the main idea. As a rule, the creative process involves composing two or more shots of a scene taken from the same angle: with and without a subject. The image without a subject is used to mask out all unnecessary elements that were used to support a subject in a certain pose. Images compositing is an integral part of this method.
- ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ
- Canon EOS 5D Mark III, Canon EF 24-70 mm F2.8 lens, Canon Speedlite 600EX II, tripod, PC with Adobe Photoshop
- ᱴᱮᱜ ᱠᱚ
- levitation, photography, levitation photography, dreams, flying in dreams
- ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ
- The creative process included such stages as location scouting, making outfits, poses and props planning, lighting setup, shooting, and post-processing.
- ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ
- Levitation photography requires more preparation and post-processing than just documentary photography. It’s necessary to carefully execute the shoot for easier editing and better results. "Although working with kids was fun, posing, and their support was energy- and time-consuming", said Maxim Zinchuk.
- ᱜᱚᱵᱮᱥᱚᱱᱟ
- The research was made during the preparation stage. It involved landscape scouting and evaluating the readiness of children to perform in certain settings. A shooting place had to be easily accessible and safe to everyone involved in the process.
- ᱯᱨᱮᱨᱚᱱᱟ
- People always dream. Dreams make us move forward. Where they will lead us to depend on our imagination and the efforts we enclose. In childhood, these dreams are usually purer and brighter. That is why the photographer uses children's characters in white outfits in his series. The idea is perfectly complemented by the words of William Shakespeare: "all things that are, are with more spirit chased than enjoyed".
- ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ
- This work was made in 2016-2017 in Ontario, Canada. Published on social media and personal website of the photographer.
- ᱠᱟᱹᱢᱤ ᱦᱚᱨ
- Good planning and right communication are key to a smooth workflow during a levitation photography shoot. Having a plan for every single photoshoot was helpful in terms of overcoming unforeseen situations.
- ᱯᱮᱴᱮᱱᱴ ᱠᱚ
- Copyrights belong to Maxim Zinchuk, 2016-2017.
- ᱴᱤᱢ ᱥᱮᱫᱟᱭ ᱠᱚ
- Photographer: Maxim Zinchuk; photographer assist, clothing design: Nargiza Usmanova; models: Rada and Nazar.
- ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ
- Image #1-5 Photographer Maxim Zinchuk, Flying in Dreams, 2016-2017
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ᱥᱟᱹᱜᱟᱹᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ
ᱢᱤᱫ ᱞᱮᱠᱟ ᱠᱮᱴᱮᱜᱚᱨᱤ ᱠᱷᱚᱱ ᱟᱨᱦᱚᱸ ᱯᱩᱨᱥᱠᱟᱨ ᱧᱟᱢᱟᱠᱟᱱ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱧᱮᱞ ᱢᱮ, ᱡᱚᱜᱭᱟᱛᱟ ᱧᱮᱞ ᱛᱮ ᱵᱟᱪᱷᱟᱣ ᱟᱠᱟᱱᱟ᱾