“We are in a tension between the speed of history – which happens very, very fast – and progress, which happens very, very slowly.”

Having pursued his studies in business administration, Radomir Jakubowski now organizes workshops and photography tours, allowing photographers who are interested in nature and wildlife to share in his trove of experiences. He published a book entitled ‘Die Fotoschule in Bildern’ (The Photography School in Pictures) in 2013, which he co-authored with Sandra Bartocha and Werner Bollmann.

As cofounder of the GDT youth group (‘Gesellschaft deutscher Tierfotografen,’ or Society of German Wildlife Photographers), he is not solely tracking down rare and spectacular scenes; he often finds enjoyment just in the shapes, contours, and colors of nature. “Proximity to nature is very important to me, just as it is to enjoy every moment of it. I think my pictures reflect this mission, as they are not the result of compositions created on a computer. My pictures are what they are, pictures of nature and wildlife – I don’t add anything to them or subtract anything from them,” he explains. His work covers a broad range, from wildlife and landscape photography right down to the macro shots. He often travels to the mountainous regions of northern and central Europe.

Mackevision juggles a large volume of projects, carried out at the many individual work stations at the company’s various sites. As a result, various different color and monitor profiles come into play. “We’re capable of switching between various projects at a single work station without wasting any time. We don’t have to recalibrate the monitors at our post-production stations each time we begin a new project,” explains Lead Photoshop Artist Stephan Poettgen. “And since the monitors can calibrate themselves, they automatically prevent errors in color reproduction. Us artists basically don’t need to do anything in terms of color management, so we can focus entirely on our work,” he adds.

“We’ve been offering innovative, premium quality, and reliable data-based visualization solutions for 20 years now. In order to be able to do so, we emphasize professionalism and insist on meeting the highest standards – this also applies to our partners,” says Mr. Schempp.
The graphic monitors in the ColorEdge CG series are truly unique, thanks to a combination of high-end monitor technology, fully developed ColorNavigator software, and integrated sensors to increase productivity. It’s no wonder that Mackevision, with its 200+ EIZO CG monitors, will continue to choose EIZO in the future.

Born in 1987, he was first introduced to photography when he was 11 years old. His father explained to him the basics of photography using an old Pentax camera. “To be honest, I was always afraid of spending as much time on one picture as my father did,” he reveals with a sheepish grin. “I now need much, much longer for a shot.” But it all really started with his first digital point-and-shoot camera: “I was 15 and could finally take as many pictures as I wanted and not pay through the nose for developing them. I focused on nature and wildlife rather quickly and was especially interested in small details. My interest transformed into a fascination, which in turn became a passion of mine.”

Having pursued his studies in business administration, Radomir Jakubowski now organizes workshops and photography tours, allowing photographers who are interested in nature and wildlife to share in his trove of experiences. He published a book entitled ‘Die Fotoschule in Bildern’ (The Photography School in Pictures) in 2013, which he co-authored with Sandra Bartocha and Werner Bollmann.

As cofounder of the GDT youth group (‘Gesellschaft deutscher Tierfotografen,’ or Society of German Wildlife Photographers), he is not solely tracking down rare and spectacular scenes; he often finds enjoyment just in the shapes, contours, and colors of nature. “Proximity to nature is very important to me, just as it is to enjoy every moment of it. I think my pictures reflect this mission, as they are not the result of compositions created on a computer. My pictures are what they are, pictures of nature and wildlife – I don’t add anything to them or subtract anything from them,” he explains. His work covers a broad range, from wildlife and landscape photography right down to the macro shots. He often travels to the mountainous regions of northern and central Europe.

Mr. Jakubowski needs the technology to work perfectly for his pictures to be successful. It is no wonder that the photographer places great emphasis on the quality of his photography equipment, which is why he currently uses two ColorEdge CG248-4K monitors. “I have been using graphics monitors with hardware calibration for some time now. But 4K displays are a cut above the rest. The detail is magnificent. I’m blown away by the quality,” raptures the full-fledged GDT member. It is also no wonder. With a resolution of 185 ppi, both of his 24-inch monitors provide an amazingly sharp picture that includes even the smallest of details. Mr. Jakubowski considers the built-in calibration sensor of the ColorEdge CG series to be a great advantage: “I always hated fumbling around with an external colorimeter and as a result often neglected this process. That no longer happens to me now. I can just configure my monitors to calibrate themselves in set intervals. One of the great things about the software is that you can create different profiles and change them very easily. Simply right-clicking the ColorNavigator icon in the task bar gives you the option to decide which color profile is enabled on which monitor. This is a really cool feature.” Radomir Jakubowski has been the EIZO ColorEdge ambassador since 2015 and his expertise is contributing to the further development of EIZO graphics monitors.

“When you spend so much time getting everything perfect, you have to go all the way. Image processing is one of the most important steps in my photography, as that is where you have most control over the creative possibilities.”

Marsel van Oosten is a professional nature photographer from The Netherlands. His images are most known for his graphic approach to composition. In his work he tries to simplify, to get rid of the extraneous: Simplicity is the ultimate sophistication.

His images are featured in galleries and museums, and are used worldwide in advertising, design, and magazines such as National Geographic.

In addition to winning the overall title International Nature Photographer of the Year two times in a row, as well as the overall title Travel Photographer of the Year, his awards include First Prizes in the European Wildlife Photographer of the Year awards, the Travel Photographer of the Year awards, and the Wildlife Photographer of the Year awards.

Can you tell us a little bit about yourself?

I am a professional nature photographer from The Netherlands. Together with my wife Daniella we run Squiver, a company that organises specialised wildlife and landscape photography tours for small groups of all experience levels to spectacular locations worldwide. My images are most known for my graphic approach to composition. In my work I try to simplify, to get rid of the extrane-ous: Simplicity is the ultimate sophistication.

My first career was in advertising, where I worked as an art director for 15 years. Photography started as a hobby and a way to escape from life in the fast lane. The hobby eventually got totally out of control, to the point where I decid-ed to turn my hobby into a full time job. I like to create, to be surrounded by nature, and to travel – in this job I can combine all that.

What is important in your work?

The most important thing for me is to have fun. Life is too short to do things that don’t make you happy. So for my photography I always choose subjects and locations that inspire me, and that fit my photographic style. As a so-called aestheticist, I focus on beauty in my art more than anything else, and I have a very clear view on what I like and what I don’t. More often than not, the overall look or setting is more important to me than the actual subject. Hopefully, my work will not only entertain a lot of people, but also create a sense of aware-ness about the natural world and that it’s important to protect is.

Is it true that you’re a perfectionist?

Very much so, yes. As a nature photographer you have very little control over your subjects and the conditions, so I try to control as many of the remaining factors. The difference between a good photograph and a great photograph is often in the details. Whether it’s the way I prepare for a project, how I photo-graph, or how I process my images – excellence is in the details.

How does EIZO fit in there?

When you spend so much time getting everything perfect, you have to go all the way. Image processing is one of the most important steps in my photography, as that is where you have most control over the creative possibilities. When I’m processing, I want to be 100% certain that I’m looking at the closest possible representation of my original raw file, so I work on the best monitors money can buy – those from EIZO. Not only do I need to see at least 99% AdobeRGB, I need to be able to rely on consistent results. Calibration and colour manage-ment can be a pain with most monitors, but with EIZO’s self calibration it’s a piece of cake and the results are accurate.

Why did you choose the CG247X?

My first EIZO monitor was a CG245W. I’ve been using it since 2011, and it’s still going strong. Recently, we’ve opened a new office in South Africa, so I needed a monitor there as well. The current trend is that monitors are getting bigger and bigger, but I’ve never felt the need for one. Actually, I much prefer to work on these ‘smaller’ monitors.

The vast majority of my images end up online, so a lot of the processing I do is on images between 800-1600 pixels. If you open an 800 pixel image on a 4K monitor, you’re basically looking at a stamp. It’s impossible to see what you’re doing, so you have no control over the end result. The native resolution of the CG247X is only 1920×1200, but exactly the right size for that kind of work. A 1600 pixel image will almost fill the screen, so I can very precisely retouch and sharpen it at 100%. At the same time, the screen is big enough to see both my image and all the tools I need, so no cramped workspace.

The thing I love most about this line of monitors, is the built-in calibration de-vice. I’ve used different external calibration devices on other monitors before, and without exception it has been a time consuming and irritating process with disappointing results, even varying results. With my EIZO monitors it’s a matter of a few clicks, wait a couple of minutes, and you’re done.