Read more at source.
Read more at source.
Falke's technique requires a lot of daylight, as the f-stop is rather tight, controlling the amount of light that enters the lens. This is necessary to achieve sharpness throughout the mirrored picture and the background. The shutter speed also needs to be very fast due to factors such as the constantly moving mirror and wind. Moreover, holding the mirror with one hand and a heavy Nikon D850 camera with the other, while focusing on two images at once, presents a significant challenge.
Falke's journey with this technique has evolved over time. Initially, he tried to avoid showing his hand in the images. However, he soon realized that the mirror and his hand were not just passive elements, but active actors in the image. This realization led to the inclusion of his hand in the series, adding an additional layer of narrative to the visuals.
Falke's approach to his photography is largely unplanned. He does not plan around the position of the sun or any other factors. Instead, everything is based on location, and every photograph in the series is found rather than scripted. This spontaneous approach adds an element of unpredictability and excitement to his work.
I realized soon that the mirror was an actor in the image, not just the reflection in it, says Falke. Then came my hand, which I tried to avoid showing at first, but it became an important part of the series. It became the story: A handheld mirror, my mirror, creates unusual visuals in familiar places.
