Magazine

An Explosion of Colors

Tutorial by Ruben Perez (fris)
Published by Yvette Depaepe, the 29th of October 2025

Do you think high-speed photography is too difficult, requires too much technical knowledge or maybe too many devices that you know nothing about? Believe it or not, you can easily shoot fast-moving liquids in your own home once you know the secret. And you will be surprised to hear how these paint drops exploded right in front of the camera, so read on!

Canon 7D . Sigma 150mm macro f/2.8 . f/16
I believe most photographers like high-speed photography and pictures of colliding drops. This was unfamiliar territory for me until recently, and that's why I decided to make this photograph. The best part of this kind of photography is that there are tons of possibilities and color combinations, so it's a fun challenge to try to come up with an innovative, creative idea that stands out among the many liquid drop photos on the internet. This time I wanted to make sure that the colors did not mix together so each individual drop could be seen easily. As a result, I deciden to use loud bass sounds from a stereo speaker to vibrate paint drops and make them jumps off the surface, as though they were exploding.

"The swimming cap would serve as a membrane, so when I applied sound, it would vibrate and make the paint drops jump."

I found an old speaker that my dad had lying around, disassembled it and covered it with a black swimming cap. The swimming cap would serve as a membrane, so when I applied sound, it would vibrate and make the paint drops jump. I placed two 20×20" (50×50 cm) homemade methacrylate (plexiglass) light diffusers on both sides of the speaker, as close as possible, and two flashes on each side. You could ask: Why four flashes? Well, simply because in order to freeze this fast motion, you need to set your flashes to very low power, in this case it was 1/32 second. By having such low power, the flash is shorter and that's what freezes the motion. Also, I should point out that the entire set was black — the background as well as the swimming cap — so the light would not reflect off any of the surfaces. For that reason, I needed four flashes to produce enough light. I intentionally used black fabric for the background so the colors would stand out.

So in summary, I used a black cloth for the background, an audio system connected to a speaker, a black swimming cap covering the speaker, homemade light diffusers on each side of the speaker and two flashes on each side of the speaker, all four flashes set to 1/32 second power. The studio (our garage) had to be pitch-black with no ambient light leaking in from anywhere. That way I could control the light, ensuring that the only light came from the flashes.

"I suggest that you experiment with the regulation of the timing device; by adjusting the timing, you will cause the paint to jump higher or lower right before the picture is taken."

The camera was set to bulb mode. To activate the flashes, I used an electronic timing device called StopShot, and I used a microphone as a sensor. The microphone activates the flashes when the music starts. I set up the StopShot so that the flashes would fire 60 milliseconds after the microphone detected the sound. I suggest that you experiment with the regulation of the timing device; by adjusting the timing, you will cause the paint to jump higher or lower right before the picture is taken.

Once everything was prepared, I placed a few drops of acrylic paint on top of the swimming cap that covered the speaker and got ready to take the picture. I had the shooting cable in one hand with the camera set to bulb mode. My other hand was poised and ready to press the play button on the stereo system. I activated the camera first and then hit the play button. The bass sound started and the cap on the speaker vibrated, making the paint jump. The microphone detected the sound, and a quick 60 milliseconds later, the flashes fired. I then closed the shutter on the camera; the picture was done.

Just a heads-up: A major inconvenience is that after each photo, like it or not, you have to thoroughly clean the black cap, which can be very boring.

Post Processing

The post-processing for all of my pictures is very simple. For this image, I only made a few adjustments in Photoshop.

1) First of all, I used the Crop tool to crop away some of the top of the image since there was a lot of empty space. It created a much tighter and more impressive composition.

2) I applied a Levels adjustment layer, and paying attention to the histogram, I moved the sliders to increase the overall contrast.

3) I then added a Curves adjustment layer and created a subtle S-shaped curve to, again, tweak the contrast.

4) Next I applied a Hue/Saturation adjustment layer and played with the Saturation of the colors until they all were more vivid.

5) Using the Clone Stamp tool, I removed a few small paint spatters that were distracting.

6) At the end I sharpened the image using two separate layers. I applied the Unsharp Mask filter in the first layer, setting Amount to 100%, Radius to 0.6 pixels and Threshold to 1 level. I then applied another Unsharp Mask filter in the second layer, setting Amount to 14%, Radius to 36 pixels and Threshold to 1 level.

Biography

I’m from Spain. When I bought my first camera, I became instantly hooked on macro photography. I’m basically self-taught, but I have attended a couple of courses. I enjoy experimenting with new lighting techniques in order to achieve new perspectives that create different effects for this type of image.

Write

Jürgen Muß - Clarity of form, recurring lines and surfaces.

by Yvette Depaepe
Published the 27^th of October 2025

Jürgen Muß is an excellent architectural photographer. He is fascinated by the clarity of form, as well as by recurring lines and surfaces. Materials such as glass, steel and concrete also capture his interest. He loves experimenting with these shapes and materials in his photography. Jürgen's aim is to make the invisible between the lines and the quiet behind the obvious tangible. Read this interview to learn more about the artist behind his images. Enjoy!

‘FaçadeUncommonView’

My name is Jürgen Muß. I am married and live in Rohlstorf in the state of Schleswig-Holstein. After spending thirty years in Hamburg, I moved to the countryside. We now live 26 kilometres from the Baltic Sea in a house with a large garden, which is both a great joy and a lot of work!
I studied Communication Design at the Folkwang University of the Arts in Essen.
During my studies, I also attended fine arts courses focusing on photography and painting, and participated in my first group exhibitions.
After graduating, I worked as an art director and editorial designer in Berlin, Düsseldorf and Hamburg. As my studies at Folkwang were very artistic, it was initially difficult for me to gain a foothold in advertising with such a background.
Alongside my work, I continued to paint and take photographs, mostly abstract paintings. I preferred to work at night, often painting through to the morning. In the late 1980s, I moved from Berlin to Hamburg. This magnificent city, with its vast harbour that only reveals its true beauty at night when illuminated, has always inspired me as a photographer.
At some point, I had to choose between painting at night and photography; both were impossible in terms of time. After about forty years, I transitioned from painted images to light images. My curiosity to discover my world through photography was, and still is, immense.
Now retired, I can fully enjoy my time as a photographer and sculptor. To provide a manual counterbalance to photography, I also create abstract wooden sculptures.

When and how did you begin your journey in photography?
My first photographic experiments took place during my studies, when I was still using analogue cameras. With my own black-and-white darkroom and my first semi-automatic analogue SLR camera — a Minolta SRT 303B — I photographed everything that came before my lens. I still own that camera today. I love it dearly.

For many of us, photography is either a hobby or a way of life. How would you describe your relationship with photography?
For me, photography is a way of life. I photograph with passion, driven by inspiration, happiness, creativity, curiosity and longing. I am ready to take photos at any time of day or night. Often, I don't return home until the early hours of the morning, when I sit down at my desk and begin my first review, and sometimes even the first edit, of truly special images.

‘BeachHouse’

‘Dockland_II’

‘NightWorking’

What has been the most important experience so far that has influenced your journey in photography?
It was realizing that photography knows no time. It exists in the twilight, the glow of dawn and the deep stillness of night. The most important thing was surrendering to this timelessness and being ready to step outside whenever the light calls. In those moments, I experience a sense of quiet happiness and well-being from being alone with my camera. Photography becomes a kind of meditation; a gentle peace that moves in harmony with the rhythm of light.

You have your own style. What draws you to architecture photography?
I am a city person and have always lived in cities, so I have been confronted with architecture my whole life and have become increasingly fascinated by it. When I was younger, I was drawn to Baroque architecture, with its dramatic opulence, ornate details and monumental forms. While I still enjoy visiting cities like Rome, Paris, Barcelona, Vienna and Florence, my view of architecture has changed profoundly. Now, I am fascinated by the clarity of form and recurring lines and surfaces. Materials such as glass, steel and concrete also capture my interest. I now find it far more exciting to experiment with these shapes and materials in my photography.

‘ModernFacade’

Which is more important to you: the mood or story behind your images, or technical perfection?
All of my images, whether architectural or landscape, probably reveal that mood is more important to me than perfect technique. A colleague once wrote of my photographs: 'Your photos always possess a soothing drama.' That sums it up quite well. However, I do pay attention to technique. I use professional, high-quality equipment and edit my photos on a Mac. I pay great attention to ensuring that my images are neither blurred nor shaky.

‘Leuphana_IV’

‘ModernTimes’

What is your relationship with your subject matter beyond merely observing it?
Do you carefully prepare the locations where you intend to take photographs?
I don't have a deeply personal relationship with my architectural subjects. Of course, I am fascinated and often impressed by many buildings. However, even inconspicuous structures can offer interesting photographic opportunities. My preparation varies. Sometimes I take a spontaneous approach and see what awaits me, while at other times I scout locations myself, noting light directions and observing where sunlight falls. When I'm taking photos near the Elbe or in Hamburg's harbour, I always check the tide tables. I was recently in Düsseldorf briefly without my camera and took a few nice architectural shots with my phone, but that's the exception as I don't enjoy taking photos with a phone.

Describe your overall photographic vision.
'Vision' is a big word, and yet it best describes what drives me. My photography does not follow a strict plan or an overarching concept. It grows out of the moment and the encounter with what lies before me. I don't just want to show what is; I want to make the invisible between the lines and the quiet behind the obvious tangible.

Could you tell us more about your creative process, from initial idea to final product?
My ideas often come from careful observation, particularly on city breaks, when I act as my own location scout. I usually take reference shots on my phone to help me remember locations that I find helpful in large or unfamiliar cities. I don’t plan everything down to the last detail. I prefer to let the existing circumstances guide and challenge me. This makes the process more exciting for me personally.
Then there is the light, the position of the sun and the interplay of shadows to consider. I have an app that shows the exact position of the sun and moon, including shadow lengths. However, in architectural photography, that level of calculation feels excessive and I hardly ever use it. In landscape photography, however, it can be useful, for example when trying to capture a sunrise or sunset and needing to know exactly where the sun will appear.
When I return to my small studio after a trip, I start by reviewing the locations and subjects. From there, I decide how to proceed.

Where do you look for inspiration, and what inspires you the most?
When I browse social media, inspiration is everywhere. I’m constantly amazed by the variety and quality of the photographs on Instagram. I explore different platforms out of interest and am a member of several communities, such as 1x.com, Fotocommunity and Facebook groups like Imagination, The Universe of Colour Photography and International Architecture Photography. Music and museum visits can also inspire me.

In your opinion, what are the main features of a successful architecture photographer?
Firstly, the obvious: mastery of the camera in manual mode. They should have a feel for light, colour and composition. They should also be sensitive to different weather conditions, such as fog, rain, clouds, sunshine and snow. The ability to handle backlight skillfully is also essential. Twilight and, above all, the golden and blue hours are essential. It is crucial to guide the viewer’s gaze intentionally, as are ND and polarizing filters.

Many people believe that gear is not very important when you are passionate about photography. However, could you please tell us what equipment you use (camera, lenses, lighting, tripod, etc.)?
I know it's the person behind the camera who takes a good photo, not the expensive equipment. A talented photographer can take better photos with a phone than an untrained photographer can with the most spectacular equipment.
Nevertheless, I have always enjoyed investing in good tools. I continue to work with DSLR cameras and am sure that switching to mirrorless would not necessarily improve my photos.

My equipment includes:
Analogue cameras: Nikon F801, Minolta SRT 303b, Polaroid SX 70
Digital cameras: Nikon D850, D750, D5500
Wide-angle lenses: Samyang 10 mm, Tamron 15–30 mm, Sigma 24 mm, Sigma 35 mm, Sigma 50 mm, Nikon 50 mm
Telephoto lenses: Nikon 60 mm, Tamron 90 mm, Tamron 70–200 mm, Nikon 70–200 mm, Sigma 150–600 mm
Tripods: Manfrotto, Rollei, Benro
Filter system: Haida 100 × 150 mm

Which photo is your favourite? Please tell us the story behind it.
I don't think I have a single "best" photo. There are always three or so that keep changing as my favourites. They don't have to be technically perfect; they just have to speak to me the most at the time. Currently, it's the photo Leuphana_III.

‘Leuphana_III’

Years ago, when I was still living in Hamburg, I briefly noticed this university building, but I soon forgot about it. In July of this year, before sunrise, I went out to photograph Hamburg’s HafenCity, and then I spontaneously decided to drive to Lüneburg. The building immediately captivated me, even though I didn't know at first that it had been designed by the famous architect Daniel Libeskind. How do Libeskind and the small town of Lüneburg fit together? The answer: Libeskind held a professorship there until 2016. The building is a revelation to me.

Which photographers or mentors have influenced you and your photography, and who are your favourites?
Although one could certainly learn much from studying famous photographers and imitating their photos, I’ve never tried to do that. However, that approach has never interested me. When I see a good photo, I ask myself what I like about it. Would I have taken it the same way or differently?

Now that we are almost at the end of this interview, could you please tell us about any photographic projects you would like to be involved in?
I am driven by the desire to find photographic subjects for which, to my knowledge, no good photograph exists yet, ideally none at all. Such opportunities are becoming increasingly rare. Leuphana University and the Westfield building in Hamburg’s Harbour City were two such lucky breaks for me. I was among the first to photograph it. I plan to head north towards Denmark soon, in search of new architectural subjects. I’m certain I’ll find them.

Is there anything else you would like to add, and what are your thoughts on using 1x.com as a home base for your work?
1x.com is a special place for me. It's a platform where quality counts and where you can measure yourself against other artists while finding inspiration. Photography is taken seriously here — not as a passing gesture, but as a form of expression and art. I appreciate the diversity, the respect for others' work, and the exchange. It's motivating to be part of a community that loves light as much as I do.