Laguna Inca Coya

Water and vegetation at Laguna Inka Coya

Around the Laguna Inka Coya, dry slopes meet flat green zones. In the oblique view you can follow a watercourse between the plants. The contrast to the largely open landscape turns a small area of ​​water into a clear motif in the larger space.

Green traces in the dry surroundings

At Laguna Inka Coya, a piece of riparian vegetation is enough to spatially contain the small body of water. A pure color detail would largely hide this contrast to the dry surroundings.

In a lagoon, the color differences in the water are clearly visible from above. Light and dark areas can be related to the background, the lighting or the depth. Without additional measurement, the color initially remains an observation. It can be described particularly well at a clear boundary line, for example at the transition to sand or rock. For a sequence of images, it is worth looking at the entire water surface and then at such a transition in a narrower section.

Preserve open land in the picture

A meadow may look almost empty in a small preview. The larger view shows paths, individual shadows or transitions to neighboring properties. As a foreground, it creates distance before the view reaches the houses or the next slope. This distance is often an important part of the composition in landscape photos. If it is pruned too much, the development will appear denser. A deliberately wider section, on the other hand, shows what space the open land actually takes up.

The distance in the composition of the image

The position of the horizon determines how much space the landscape receives. If it is high in the image, more details can be seen on the ground. A lower horizon gives greater weight to the sky and weather. Both options can accurately describe a place if the connection to the main motif remains recognizable. When comparing two aerial photos, it is worth taking a look at the foreground. Often it is an inconspicuous piece of land at the bottom edge of the picture that conveys a sense of the vastness.

The distribution of blue tones

If you browse through the 34 aerial photos, you can stay at shot 16 and shot 2 for a comparison. In the first excerpt, shades of blue play a smaller role. In the second shot, blue areas take up more space. Blue can extend over a large contiguous area or only appear in individual parts. What also counts for the effect is whether these areas extend to the edge of the picture or surround the main subject.

For Shot 1 and Shot 34, the same day is noted in the image files, March 12, 2022. The recording times recorded are approximately 12 minutes apart. The exposure time was 1/800 second for the first of the images mentioned and 1/1000 second for the second.

In the Aerial Videos section there are 3 clips for this article. An example is “Laguna Inka Coya in Chile”. Its preview leads directly to the video in the aerial photographer's Adobe Stock portfolio.

Show the proportions of the landscape

For a series of natural history images, an observable form is the best starting point. Where does a surface end, what structure continues next to it, and how much environment do you need to tell the two apart? The questions can be followed directly from the photo. Statements about origin, depth or age, however, require additional sources. An aerial photographer can capture the visible traces and draw attention to a detail. In the later caption you can then clearly explain what can be seen in the photo and what comes from the technical classification.

Related motifs in the aerial photo archive

If you are looking for related motifs, you can start with Lagunas Escondidas de Baltinache. The Lagunas Escondidas de Baltinache appear like colored inclusions in the bright surface of the Atacama. It's worth taking a second look at Atacama Desert. The Atacama is surprisingly colorful in these aerial photos.