Wooden letter tiles spelling the word 'German' on a table, representing the journey where I am improving my German through learning and daily practice.

4 Strong Reasons I’m Improving My German to Move Forward

by with No Comment Personal Reflections

4 Strong Reasons
I’m Improving My German to Move Forward

Every morning, I walk into a classroom, not with my camera, not with a drone, not with my DJ gear, but with a pen, a notebook, and a mindset on improving my German. I am not starting from scratch. I have lived in Switzerland for more than a decade. I know the basics, I understand a lot, and I can manage the essentials. But managing is not enough anymore. Right now, I am working hard to reach the B2 level. It is a solid base I need to get this project off the ground. But of course, this is only the beginning. Further improvement will follow, naturally, as my work grows.

Improving my German is not just a personal challenge. It is a strategic move, an essential part of the creative business I am building. It is not just about integration, though that is undoubtedly part of it. It is about access, credibility, and connection. It is about ensuring that when I present my work or explain my vision, I can do it fluently, precisely, and confidently in the local language.

This is a personal journey, but it is also deeply professional. Here are four fundamental reasons why I chose to improve my German now, and how this decision fits into the bigger picture I am shaping for my future.

1. Because I am building something serious

I am not just trying to survive or make it work. I am preparing to launch something I care deeply about. A creative business rooted in quality, vision, and long-term relationships. It brings together what I have built in recent years: photography, music, and a growing practice in videography, all shaped by a refined sense of storytelling. But I need to communicate appropriately to turn that into a real service that speaks to local clients with confidence.

Improving my German is not about passing a test. It is about being taken seriously when I propose a video for an architecture studio, when I explain the intention behind a photographic concept, or when I plan a DJ set for a museum or cultural space. This project needs a solid foundation. German is part of that foundation.

2. Because language is access

I have lived in Basel for years, and like many people who arrive without fluent German, I got by with English and some local basics. It works. Until it does not. There is a limit to how far you can go professionally without speaking your clients’ language. You start missing out on conversations. You get left out of informal networks. People hesitate to involve you in specific roles because they assume you will not understand the details.

I am improving my German to remove that barrier. I want to be involved. Not tolerated. Not translated. Involved. I want to understand every nuance of a brief, reply to emails without checking every word, and be able to hold a creative meeting without switching to English. That kind of access makes a real difference, especially when your work depends on clarity and trust.

3. Because discipline creates momentum

Studying German while managing everything else in my life is not easy. The course is intense. It takes up every morning and two afternoons per week. It drains energy, and there are days when I wish I could just focus entirely on my creative work. But there is something valuable in this discipline.

Showing up every day, even when I am tired, is building something inside me. A kind of internal rhythm. It reminds me that big things are built step by step. It is the same rhythm I want to apply to my work. Improve a little every day. Refine my skills. Stay sharp. Stay in motion. Improving my German is not a side activity. It is part of my professional momentum.

4. Because this future is mine to build

No one is going to build this for me. I know what I want to offer, how I want to work, and who I want to work with. Local architecture studios. Real estate professionals. Museums. Cultural spaces, just to mention a few examples.

If I want to be part of that world, I need to speak its language. Literally. That is why I am pushing myself now. Because I am not improvising. I am preparing. This is not just about language. It is about building a life and a business that are coherent, solid, and aligned with my values.

And yes, part of this process is also about integration. I have lived in Switzerland for many years, and I want to go deeper. I want to belong, not only professionally but also socially and culturally. Improving my German is part of that, and so is my decision to pursue Swiss citizenship in the future. This country is not just where I live. It is where I want to contribute.

Final thoughts

Improving my German is not a romantic decision. It is a demanding one. It pulls energy away from other areas, forcing me to pause some creative activities I would love to pursue right now. But that pause is strategic. It is part of something bigger.

Because when the moment comes, and I launch this project publicly, I want to be ready. Linguistically, mentally, and professionally. I want to arrive not asking for space, but offering something tangible. Something finished, intentional, and valuable.

Curious to know more about what I am building?


Let us start a conversation in the comments below.

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Architecture photography of Helsinki Dreispitz building in Basel – vertical concrete structure by Herzog & de Meuron - Alan Philip Muller - Architecture Photographer

17 Dynamic Years of Growth as an Architecture Photographer

by with No Comment PhotographyVideography

17 Dynamic Years of Growth as an Architecture Photographer

My visual journey began long before I ever considered holding a camera. I have always been naturally drawn to shapes, light, shadows, curves, and materials. This instinctive attention to visual elements has shaped the way I perceive the world and still influences how I compose each frame as an architecture photographer.

Years later, a former partner of mine was completing her thesis in architecture. Through that experience, I came into contact with contemporary architecture in a more structured and deliberate way. I began exploring the work of architects such as Frank Gehry, Zaha Hadid, Richard Meier, Daniel Libeskind, Herzog & de Meuron, Tadao Ando, and Santiago Calatrava. Each of them offered something unique that helped me see the built environment with new eyes. This perspective would later become essential in my work as an architecture photographer.

Frank Gehry’s bold deconstructivist forms often break free from traditional geometry. Zaha Hadid’s flowing, futuristic structures emphasize movement and transformation. Richard Meier’s clean lines and controlled use of white express clarity and order. Daniel Libeskind introduces tension, fragmentation, and historical depth into his projects. Herzog & de Meuron reinterpret materials and surfaces with remarkable sensitivity to context. Tadao Ando’s minimalist architecture creates meditative atmospheres through the interplay of natural light and concrete. Santiago Calatrava blends engineering and sculpture, creating dynamic structures inspired by organic movement and anatomical forms.

Photography eventually became the way I chose to respond to what I saw in these works. It allowed me to explore not only the surface of architecture, but also its rhythm, weight, proportions, and the mood it can create. As an architecture photographer, I focus on how space feels, how materials behave under different light conditions, and how buildings interact with their environment.

Over time, architecture became a recurring and meaningful subject in my photographic work. I began paying closer attention to how curves could soften a structure, how angles might suggest direction or tension, and how natural light could transform surfaces throughout the day. I began looking beyond the outline of a building, focusing instead on atmosphere, material presence, and spatial composition. This way of seeing has remained central to how I operate as an architecture photographer.

You can see this influence in some of the images I have captured:

  1. Architecture Photography Gallery
  2. Seville – Metropol Parasol
  3. Universität Basel Juristische Fakultät
  4. Herzog + De Meuron – St. Jakob Park (Stadium Complex)

While photography remains my primary focus, I have recently started to explore videography as a natural extension of my visual work. Working with motion enables me to incorporate time and movement in the way I approach a subject, offering a different layer of interpretation. I can demonstrate how people interact with space, how light travels across surfaces, and how architecture integrates with its surroundings in a seamless flow. This adds depth to my work as an architecture photographer, expanding into video.

In parallel, I have integrated the use of drones into my workflow, utilizing them for both aerial photography and video. Drones enable me to present otherwise inaccessible perspectives, especially when it comes to showing the relationship between a building and its site. Carefully planned interior movements can also be captured with stabilised flight, offering smooth transitions that maintain the architectural intent without unnecessary distortion.

What I aim to produce is not driven by trends or spectacle. My goal as an architecture photographer is to create visuals that are clear, coherent, and respectful of the subject. I rely on visual precision, consistency, and an honest reading of space. Every building deserves to be seen with care and understood in its context.

Looking ahead, I would genuinely like to collaborate with architecture studios, especially here in the Basel area. Working alongside professionals who design and shape the spaces we live in would allow me to continue learning and refining my perspective. At the same time, I believe that thoughtful visual content, both photographic and video, can help studios present their work more clearly and effectively, whether for publications, competitions, or client communication.

It is something I hope to explore further in the near future. And who knows, maybe something meaningful could come out of it.

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Landscape photography showing a blooming tree-lined avenue in Basel, viewed from a drone at sunset, blending spring colors with urban design.

3 Completed Works from a Remarkable Week of Full Commitment

by with No Comment DJingPersonal ReflectionsPhotographyVideography

3 Completed Works
from a Remarkable Week of Full Commitment

Some weeks don’t just pass; they shape you. This one was defined by effort, rhythm, and the quiet discipline required to complete meaningful creative work. The video, the photographs, and the DJ set each took time, care, and a precise kind of engagement. What emerged were three completed works that now stand on their own.

They weren’t rushed, and they weren’t decorative. These completed works are the result of focus, patience, and a need to close the circle. It was a week when things came together, where intentions became visible outcomes.

The Fasnacht Video: A City in Ritual

Three days of shooting. Dozens of hours of editing, color correction, and color grading. The Fasnacht video wasn’t built around spectacle. It was built around presence.

Every frame is grounded in observation. There is no commentary, no overlayed meaning, just light, sound, movement, and the city as it is. The edit became a meditative process. Color correction was about bringing out not just detail but also emotional resonance. As a completed work, this video holds a kind of stillness I couldn’t have predicted at the beginning.

Watch the Fasnacht video on my website

Stepping Back for Clarity: Three Photographs in Dialogue

On Saatchi Art, I’ve gathered three recent images into a collection titled “Stepping Back for Clarity”. All of them were made from above, where the distance of a drone shot allowed me to reframe familiar places with a different awareness.

  • The Line of Passion
  • A Brushstroke of Spring in Gold and Crimson
  • The Blooming Turn

Each image is a way of pausing, of breathing, of reconnecting with what’s underneath the surface. There’s motion and structure, but also the space to feel something. The process of composing and editing these photos was deliberate. These completed works weren’t spontaneous. They were built through attention and choice.

View the full collection on Saatchi Art

Inner Signal: A Sonic Reflection

The DJ set “Inner Signal” was born out of a desire to make space for thought, stillness, and tension held gently. There’s no rush to fill the air. Instead, the mix develops slowly, inviting the listener into a kind of shared tranquillity.

There’s ambient. There’s space. There’s silence. The work wasn’t difficult in a technical sense, but it required time and intention to shape. Of the completed works I finished this week, this was perhaps the one that asked for the quietest kind of attention.

Listen to Inner Signal on my DJing page

Looking Back: What This Week Taught Me

It’s easy to underestimate the energy required to bring something to completion. Not just to start a creative idea, but to carry it throughacross moments of doubt, distraction, or physical fatigue. Each of these completed works didn’t just happen. They were built over days of presence, choice, and attention to rhythm.

The Fasnacht video required a kind of quiet commitment to watching without interfering. The photographs in “Stepping Back for Clarity” pushed me to work with precision, even in moments when intuition led the way. And “Inner Signal” reminded me that slowing down can be its own form of resistance. In very different ways, these projects were about holding a direction without rushing to the end.

There were moments when it would have been easier to pause or leave things unfinished, but I knew the only way forward was to complete them with the deserved care.

I’m not saying these are perfect works. What I’m saying is that they are complete. And in the act of completing them, I also sharpened something in myself.

Completion isn’t just about finishing. It’s about staying with something long enough to let it become what it needs to be. This week was shaped by the effort to do precisely that.

These completed works are more than outcomes. They’re records of a process: staying focused, being present, and letting the work mature without interruption. And in a week like this one, that kind of completion felt more essential than ever.

Thanks for reading.

Alan

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How to Start DJing: An Old and new school dj console in one.

How to Start DJing Today: 30 Years of Real Experience and Honest Advice

by with No Comment DJing

How to Start DJing Today

30 Years of Real Experience and Honest Advice

For over three decades, I’ve been part of the DJ world. I’ve watched it shift, transform, and reinvent itself countless times. If you’re wondering how to start DJing, especially in today’s fast-paced scene, I hope this article brings you something worthwhile. No hype, no gimmicks. These are just honest thoughts from someone who’s been behind the decks long enough to know a few things… and still learning.

Back Then, It Was All About the Hunt

When I first stepped into this world in the early ‘90s, DJing wasn’t a trend. It was a calling. It started with records. Crate digging. Spending hours in stores hunting for that rare groove no one else had. Some records came with plain white labels — blank without artist or title, so you had to trust your ears.

That feeling of finding something raw and powerful is what drove me. If you’re asking how to start DJing, maybe that same curiosity is already alive in you. Back then, we didn’t have waveforms or sync buttons. It was just two turntables, a mixer, and your ears. You learned from mistakes, and every mix taught you something.

Then Came CDs… and Lighter Bags

When CDJs hit the scene, especially the Pioneer CDJ-100, I’ll be honest: it initially felt strange. Suddenly, I wasn’t hauling around four heavy bags of vinyl anymore. Just a tiny case of CDs and a head full of ideas. It was freeing, but it also came at a cost.

The sound? A bit colder. And while it wasn’t vinyl, Pioneer did something thoughtful in their more advanced and higher-end models released after the CDJ-100. They designed jog wheels that replicated the tactile feel of a record. The grooves and the resistance were little gestures to help people like me transition more naturally. For a while, many setups still had both turntables and CDJs. That mix of old and new let you keep your roots while exploring the future. It was a beautiful time to be a DJ.

So, if you’re beginning today, know that your tools might change. The key is to never lose your ears and your heart for the music.

The Laptop Era Changed Everything

When software like Traktor and Serato arrived, things really changed. Suddenly, you had your whole library in your backpack. The possibilities grew overnight.

At first, I was skeptical. Sync buttons? Wasn’t this cheating? But then I realized it gave me more time to prepare better, play broader, and express more. And I’ve come to respect that. Look, I learned beatmatching the hard way. I still think everyone should, but I won’t shame someone for using tools that help them stay creative and in control.

So, don’t feel guilty for using digital tools when you’re figuring out how to start DJing today. Just make sure you’re still listening, still selecting with intention, and still respecting the music.

What a DJ Used to Be… and What It Means Now

This is where things get personal. Back in the day, a DJ’s job was to find and play amazing tracks. That’s it. You were the bridge between great music and the people.

Over time, that changed. You weren’t just behind the decks anymore; you were expected to bring a crowd, be a promoter, and have a stylish look.

I’ve never felt entirely comfortable with that shift. I’ve simply never chased fame. I want the music to shine. There’s beauty in letting a track breathe, letting people feel it. The idea that you have to change tracks every 90 seconds or add ten FX layers to hold attention? That’s not DJing to me. That’s pure distraction.

If you’re starting out and feel like the scene’s moving too fast or asking too much, breathe. Ask yourself: Why do I want to DJ? Your answer will guide your path.

Gear Evolves, But Values Can Stay

Yes, we’ve gone from vinyl to CDs to USBs and laptops. And yes, the tools matter. But the heart of DJing is selection, connection, and flow. That stays the same.

I remember Traktor Final Scratch and the early controllers, and even now, with modern setups, I still value understanding the track. Learn its structure, how tension and release work, and when a track needs space versus when it needs a surprise.

So, if you want to know how to start DJing meaningfully, keep your ears sharp, your heart open, and your ego in check.

My Own Way of Doing Things

I’m not flashy. I don’t jump around the booth. I try to play great music, connect with the room, and let that be enough.

Yes, I’ve considered wearing a helmet or hiding my face. Not to seem mysterious but to remind people the DJ isn’t the focus; the music is.

That said, I know personal image has its place. But if you’re new here, please don’t feel you have to become someone else to belong. Your true self is enough. Just invest the time, dig deep, and lead with your passion.

So, how to start DJing, and what Should You Learn First?

Let’s keep this simple. If you’re starting out, focus on:

  • Beatmatching by ear — understand tempo, rhythm, and feel.
  • EQing — blend frequencies without clashing.
  • Phrasing — line up intros, breaks, and drops appropriately.
  • Looping — for creativity and tight transitions.
  • Track selection — trust your instincts, not just charts.
  • Storytelling — build a set that flows, not just bangs.
  • Critical listening — record your mixes, then listen back.
  • Respect — for the music, the artists, and the space you play in.

This list isn’t exhaustive. But it’s a start. You’ll grow your own style as you practice.

Find Your Place

Some DJs love the spotlight. Some love the shadows. I’ve always leaned toward small clubs, where 150 people listening deeply means more to me than 5,000 jumping to drops they’ve heard a thousand times or just staying still because they must record everything with their smartphones and create posts on social media just to say: “I am here, so I am important and cool.”

You might prefer something else. And that’s great. Try:

  • Playing online
  • Hosting radio shows
  • Organizing local parties
  • Joining an artist collective
  • Opening for others

Find your community. There’s space for every kind of DJ.

Chasing Likes vs. Chasing Purpose

Today, visibility can feel like everything. But what lasts is connection. I’d rather someone come up to me after a set and say, “That one track changed my night,” than rack up 10K likes.

So, while you navigate social media, branding, and promo, don’t lose your center. Don’t let metrics define your love for music.

If you’re stuck, go listen to music that inspired you years ago. Make a mix just for yourself. Remember that DJing is, first and foremost, about joy.

Final Words, From Me to You

If you’re still reading, thank you. That already says a lot about you.

So, how to start DJing? Here’s my version:

  • Follow your curiosity.
  • Respect the craft.
  • Keep learning.
  • Stay honest.

No matter how old the gear gets or how many trends pass by, music will always find its way. And so will you.

If this article resonates with you, check out:

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A clear side-by-side comparison of Photography vs Videography, showcasing a high-end mirrorless camera on one side and a professional video camera on the other

Photography vs Videography: Key Differences and Insights

by with No Comment PhotographyVideography

Photography vs Videography: 5 Key Differences You Must Know

Photography and videography share common principles, yet they are distinct disciplines requiring different skills, equipment, and creative approaches. Understanding their fundamental differences is crucial for anyone deciding between the two or transitioning from one to the other. This article provides an in-depth comparison based on industry-standard knowledge while integrating insights from my personal journey as a photographer exploring videography.

1. Photography vs Videography: Core Definitions

Photography

Photography is the process of capturing still images that preserve a single moment in time. It relies on composition, lighting, and framing to convey emotions, tell stories, or document reality in a visually compelling way.

Videography

Videography, on the other hand, involves capturing motion over time, often accompanied by sound. It requires not only mastery of composition and lighting but also an understanding of movement, sequencing, and pacing to create engaging visual narratives.

Photography vs Videography has always been a topic of debate, especially for those starting in the creative field. Each has its strengths, and choosing between the two depends on the type of storytelling one aims to achieve.

2. Key Technical Differences in Photography vs Videography

A. Camera Settings & Exposure Control

  • Photography: Shutter speed, aperture, and ISO are adjusted for a single exposure, allowing for precise control over motion blur and depth of field.
  • Videography: These settings must remain consistent across frames to maintain uniformity. Shutter speed follows the 180-degree rule, meaning it is typically set to double the frame rate to achieve natural motion blur.

Personal Experience: Coming from photography, I initially struggled with shutter speed adjustments in videography. In still photography, I instinctively controlled exposure settings, but in video mode, settings behave differently, often requiring me to work within constraints I wasn’t used to.

B. Motion and Composition

  • Photography: The composition is static, capturing a single decisive moment.
  • Videography: Composition must account for camera movement, subject motion, and scene transitions, requiring tools like gimbals or stabilizers for smooth shots.

Personal Experience: One of my biggest challenges was adapting to camera movements. In photography, I framed my shot and clicked. In videography, I needed to consider how movement would flow across multiple shots, which often made me second-guess my decisions and hesitate during shoots.

C. Lighting Techniques

  • Photography: Lighting can be adjusted per shot, and flash or strobes are commonly used for controlled exposure.
  • Videography: Requires continuous lighting, with adjustments needed mid-shot as scenes change. Night videography, in particular, demands higher ISO settings or artificial lighting to maintain visibility.

Personal Experience: While shooting at night, I faced real-time exposure challenges. I had to rapidly adjust my aperture and ISO while moving between well-lit areas and darker streets, something I had never encountered in photography.

D. Equipment and Gear

  • Photography: A DSLR or mirrorless camera, lenses, and sometimes a tripod.
  • Videography: To achieve professional-quality footage, additional tools like gimbals, external microphones, ND filters, and drones are necessary.

Personal Experience: My transition required significant investment. I purchased a drone, an action camera, and a gimbal for both my phone and camera. Each tool introduced new learning curves, making the process both exciting and overwhelming.

E. Post-Production Workflow

  • Photography: Editing involves color correction, retouching, and exposure adjustments, often using Lightroom or Photoshop.
  • Videography: Requires a structured editing workflow—including clip selection, sequencing, color grading, sound design, and transitions—using software like Premiere Pro or Final Cut Pro.

Personal Experience: In photography, my edits are quick and minimal. In videography, the complexity increases dramatically. Seeing professional editing timelines with hundreds of clips was intimidating, making me question whether I was approaching editing the right way.

Photography vs Videography also differs significantly in post-processing time, with videography requiring more effort and planning to achieve a cohesive final product.

3. Storytelling Differences: The Art of Narrative in Photography vs Videography

Photography: A single frame must tell an entire story, relying heavily on composition and timing.

Videography: Uses multiple shots to build a narrative, requiring skills in sequencing, pacing, and audio synchronization.

Personal Experience: This is where I struggle the most. In photography, I instinctively capture moments that tell a story in one image. In videography, I need to piece together multiple shots to create meaning, and I often find myself stuck on how to structure a sequence effectively.

4. Pros and Cons of Photography vs Videography

Photography Pros:

✅ Easier to learn and requires fewer tools.

✅ Faster editing and post-processing.

✅ Allows for capturing moments in a single frame.

✅ More flexibility in challenging lighting conditions.

Photography Cons:

❌ Limited storytelling capacity compared to video.

❌ Less immersive than motion visuals.

Videography Pros:

✅ Greater storytelling power through motion and sound.

✅ More engaging for viewers.

✅ Can be used effectively for marketing, events, and documentaries.

Videography Cons:

❌ Requires more time for planning, shooting, and editing.

❌ Managing lighting and motion is more complex.

5. Which One Should You Choose?

If you love capturing still moments and enjoy simplicity in editing, photography may be the right path for you. However, if you’re drawn to storytelling through movement and sound, videography is a powerful medium worth exploring. Some creatives, like myself, choose to master both, as they complement each other in many ways.

Final Thoughts on Photography vs Videography

Transitioning from photography to videography requires patience, practice, and a shift in mindset. While my photography background helped me grasp some fundamentals quickly, videography introduced a new level of complexity in movement, lighting, and post-production.

My advice for those making the transition is to embrace the learning curve—the challenges are real, but the creative possibilities make the effort worthwhile. Whether you choose one discipline or decide to pursue both, the key is to experiment and refine your storytelling approach over time.

By understanding these differences and learning from real-world experiences, you can make an informed decision on which path aligns best with your creative goals.

💬 What about you? Do you prefer capturing single moments or crafting visual stories through motion?

Let me know in the comments—I’d love to hear your thoughts!

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Asilhouette of a person in fron of a window and a transparent glass with paint strokes of different colors overlaying the image

Emotions or Meaning? A Personal Reflection.

by with No Comment Personal Reflections

Emotions or Meaning?

A Personal Reflection.

I’ve never really thought too much about what inspires me. When I mix music, capture a photo, or shoot a video, I don’t sit down and analyze why I’m doing it. I do it because something at that moment sparks a feeling, an instinct. It’s not about crafting a message or delivering a deep, hidden meaning—it’s about transmitting an emotion.

When I take a picture, it’s because I see something I find visually striking, something that makes me pause and appreciate. I don’t immediately think, “This represents a greater concept.” It’s just an urge to capture something beautiful, intriguing, or unexpected. Sometimes, much later, I look at the photo and realize it could represent something beyond what I initially saw. But that’s an afterthought, not the driving force.

The same applies to my DJ sets. Sure, I mix tracks that I love and fit well together, but the goal isn’t to showcase a message—it’s to create a mood, a space where people can feel what I feel at that moment. That’s why I don’t really resonate with the idea of meticulously planning an overarching theme or concept beforehand. I follow my instincts and emotions and let the result shape organically.

That’s not to say I don’t admire artists who work with deep meaning in mind. Some create incredible works with a straightforward narrative, where every detail is intentional. I just wonder—does meaning always have to be planned? Or can it emerge naturally from emotion?

Maybe some artists work the way I do, and the meaning only becomes apparent after the fact. Or perhaps I’m just someone who documents what moves me without overthinking it. And is that enough? Can something be art simply because it evokes a response, even if the creator wasn’t trying to say something specific?

I’d love to hear different perspectives. When you create—whether it’s music, visuals, or anything else—do you start with a meaning in mind, or do you let emotions guide you and figure out the meaning later?

Let’s talk about it.

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An array of diverse camera lenses meticulously arranged, showcasing the variety and sophistication of photography equipment and optical technology essential for photographers.

Traveling with a Camera: What I Always Bring with Me

by with No Comment Photography

Traveling with a Camera:

What I Always Bring with Me

When traveling with a camera, the excitement of capturing new scenes often clashes with a fundamental question: what do I bring, and what do I leave behind? Traveling light is essential, but leaving the wrong gear at home can mean missing the perfect shot. After years of experience (and a few mistakes), I’ve found my balance in preparing the ideal travel kit. Here’s what I always bring with me.

My Essential Setup

The heart of every photography trip is, of course, my camera, a Canon R6 MkII. As for lenses, my go-to kit includes:

  • 70-200mm Telephoto – Perfect for distant details, compressed portraits, and landscapes with depth.
  • 24-70mm Versatile Lens – A great all-rounder for most situations.
  • 15-35mm Wide-Angle – Essential for landscapes, architecture, and immersive interior shots.
  • (Optional) 50mm Prime—This lens is small, bright, and versatile. I sometimes bring it for more spontaneous shots.

Aside from lenses, I always pack:

  • (If Possible) DJI Drone(s) — I have one for every occasion! DJI Neo, DJI Mavic Mini, and a DJI Air 3.
  • ND Filters (Neutral Density) for long exposures in bright light.
  • Graduated ND Filters for balancing exposure in high-contrast scenes, such as landscapes with bright skies and dark foregrounds.
  • Big Stopper Filter (10 stops) for extreme effects on water and sky.
  • Tripod – A robust and steady one (Manfrotto). A must for night photography, landscapes, panoramas, and long exposures.
  • Chargers & Batteries – You can’t do much without them.
  • SD Cards – The more, the merrier!
  • Remote Controller – To handle long exposures without vibrations.

Choosing Gear Based on Destination

I don’t always bring everything. When traveling to a city, the wide-angle and 24-70mm are my main choices. If I’m heading into nature or on a dedicated photography trip, the telephoto lens becomes crucial. For long exposures, I know I can’t go without filters and a tripod, while if I expect to shoot macro or close-up details, the 100mm macro is a smart choice (even though I once regretted not bringing it!).

Mistakes and Lessons Learned

Even with the best planning, things can go wrong. Here are three situations where I ran into trouble:

  • Forgetting the filter adapter ring, forcing me to hold the filters manually in front of the lens.
  • Breaking my Big Stopper while traveling prevented me from taking the long exposures I had planned.
  • Choosing not to bring the 100mm macro, only to find the perfect subject that I couldn’t capture properly.

Every mistake teaches a lesson, and now I always prepare a checklist before leaving.

How I Protect My Gear

Transporting equipment is another critical aspect. My camera and lenses always stay with me in my carry-on backpack, while the tripod and secondary accessories go in checked luggage. I’ve considered using sealed hard cases for shipping my gear, but the risk of theft or loss makes me hesitate. Even with insurance, losing everything would mean compromising work, assignments, or personal projects. That’s why I prefer the compromise of keeping at least the essentials with me.

Conclusion

Traveling with a camera is always a balance between practicality and security. Bringing too much means unnecessary weight, but leaving the wrong gear behind can ruin the opportunity for an unforgettable shot. My advice? Plan ahead, research the destination, and learn from your mistakes. Because nothing is more frustrating than standing in front of the perfect scene without the right equipment.

👉 Want more photography insights? Subscribe to my blog to get exclusive content and updates.

👉 Explore more articles on photography, videography, and music on my website.

👉 Check out my latest projects and photo galleries!

#CameraGear #TravelPhotography #PhotographyEssentials #PackingForTravel #TravelGear #PhotographyTips #PhotoEquipment #BestTravelCamera #WhatToPack #PhotographySetup

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Shaping My Voice: Music, Photography, and Videography Team Up

by with No Comment DJingPhotographyVideography

Shaping My Voice

Music, Photography, and Videography Team Up

Creativity has always been about expression, but more than that, it’s about connection. Music, photography, and videography are the primary mediums through which I communicate my emotions, thoughts, and experiences. Each feeds into the other, creating a unique synergy that shapes my artistic voice.

The Soundtrack of Creation: Music as a Foundation

Music has always been at the heart of my creative journey. When I’m behind the decks, I’m not just mixing tracks—I’m weaving a narrative. Every beat, every transition, creates a rhythm that mirrors the emotional highs and lows of life itself. This rhythmic exploration is reflected in my photography and videography as well, where I use movement and composition to capture the same flow of energy and emotion.

Photography: Freezing Moments, Shaping Stories

In photography, I find myself capturing more than just an image. Each shot is an interpretation of the world around me, a pause in time that holds a specific emotion or feeling. Similar to the way I build a DJ set, photography is about choosing the right elements—lighting, composition, subject—each one working together to form a complete story. Like music, the scene I capture must resonate with me first before I can share it with others.

Videography: Bringing Sound and Vision Together

Videography adds another layer to this creative process. While photography captures still moments, videography introduces time and movement into the equation. It’s about combining imagery with sound to tell a complete story. Just like a DJ set, each frame, each sound, is carefully placed to evoke the feeling I experienced when creating it. The interplay between these elements creates an immersive experience, allowing the viewer to feel the emotion in a way that still images or sounds alone cannot.

The Interconnection of Creative Disciplines

What binds music, photography, and videography together is the desire to communicate—to connect. Whether I’m curating a DJ set, capturing a photograph, or shooting a video, each act is a means of expression, a way to share my internal world with others. My experience in one discipline influences the others, allowing me to create more cohesive and meaningful work. They are not separate entities but rather interconnected elements that work in harmony.

I’m continuously shaping my voice as an artist through all of these mediums. I look forward to sharing more of these creative explorations and the stories behind them, using the tools of music, photography, and videography to communicate in the most authentic way possible.

#CreativeJourney #MusicPhotographyVideography #ArtisticExpression #VisualStorytelling #DJingAndPhotography #VideoArt #CreativeFusion #ArtInMotion #PhotographyAndMusic #VideographyInspiration

Curious about my creative process? Explore more in my portfolio, and let’s connect through my art. 🌟🎥📸

Interested in collaborating or learning more? Reach out through my “Creative Projects” page! ✨🤝🎶,

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Grafiti on building facade - Dreispitz- Basel

My Journey Creating “Dreispitz: Not What You Might Think”

by with No Comment Videography

My Journey Creating

"Dreispitz: Not What You Might Think"

What if a place you thought you knew turned out to be completely different? That’s precisely what happened when I took my camera to Dreispitz. I expected an industrial zone—what I found was a place full of contrasts, history, and an unexpected creative pulse.

The Unexpected Discovery

When I walked into Dreispitz, I was ready to document an industrial landscape—factories, warehouses, and remnants of a functional past. But as I explored, I realized it was more than that. The mix of repurposed spaces, vibrant creative hubs, and untouched industrial relics gave the area a character I hadn’t anticipated.

Spending time there wasn’t just about capturing footage; it was about observing, absorbing, and letting the environment shape my perspective. This place challenged my assumptions, making me want to return—not just as a videographer but as someone eager to understand its transformation.  

The Setback That Changed Everything

After what I thought was a successful day of filming, I got home and began reviewing the footage—only to discover that, for some inexplicable reason, everything had been recorded in Full HD instead of 4K. The realization was frustrating.

I had two choices:

  1. Settle for lower-quality footage and try to make it work.
  2. Go back and reshoot everything—this time in 4K, the way I had envisioned it.

The decision was obvious. I had to go back. But rather than seeing it as a setback, I took it as an opportunity to approach Dreispitz with fresh eyes, refining my compositions and shots. In the end, that mistake forced me to rethink my visual storytelling, and I believe the final result was stronger because of it.  

The Challenges of Editing My First Full Video

Shooting was the easy part. The real challenge began when I sat down to edit.

This was my first fully edited video project, and I quickly learned that having good footage means nothing if you don’t know how to structure a narrative.

I spent hours experimenting—cutting scenes, adjusting pacing, fine-tuning color grading, and trying to make sense of the countless clips I had captured. At times, it felt overwhelming. Nothing seemed to flow the way I envisioned. But then came breakthroughs—small victories in refining the rhythm, balancing industrial grit with creative warmth, and making each transition feel intentional.

One of the biggest lessons I took from this project was patience. Editing isn’t just about technique; it’s about storytelling. Every decision—whether it was a cut, a color adjustment, or a change in pacing—had to serve the overall narrative.

What This Experience Taught Me

Beyond the technical skills, this project taught me to trust the process.

Dreispitz wasn’t just a location—it became a playground for my creativity. The setbacks, the challenges in post-production, and the satisfaction of seeing everything come together reminded me why I started exploring videography in the first place.

Would I do things differently next time? Absolutely. But that’s the beauty of learning—every project shapes the next.

🎥 Watch the Final Video!

If you haven’t seen the final video yet, you can watch it here:
📍 On my website
📍 On YouTube

Have you ever been surprised by a place you thought you knew? 

Drop a comment—I’d love to hear your experiences!

🔔Want to follow my creative journey? 

Subscribe for exclusive behind-the-scenes content and more → Join here!

#Dreispitz #BehindTheScenes #Videography #CreativeJourney #UrbanExploration

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Collection of vinyl records covers panoramic background

The Art of DJing

by with No Comment DJing

The Art of DJing

A Conversation Between Music and Emotion

For me, DJing is more than just playing tracks—it’s an artistic expression, like photography and videography. It’s a way to externalize my state of mind, to channel thoughts, emotions, and energy into sound. It’s a form of communication, a way to build a connection with those who share my love for music.

DJing is about selection, but it’s also about technique. It’s about creating a dialogue between songs, seamlessly blending them, letting them breathe, and giving each track the space it deserves. The beauty of DJing lies in its ability to weave frequencies together, let the music speak for itself, and shape a sonic experience that unfolds naturally.

A DJ set is not just a random selection of songs—it’s a journey. Sometimes, I start with a track that has a deep meaning for me, a message I want to convey. From there, I develop the set, following a sonic path that reflects my emotions. And yet, I love to introduce the unexpected, disrupt patterns, and surprise the audience. The final track is never a coincidence—it’s always a closing statement, whether it’s a farewell, a reflection, or an invitation to think beyond the music.

Of course, DJing is also about reading the room. I always aim to stay true to my artistic vision, but there’s an undeniable need to balance that with the energy of the space, the expectations of the crowd, and the venue itself. It’s a delicate compromise—a conversation between my idea of a DJ set and the audience’s reaction. Adjustments are inevitable, but the essence of my musical message remains intact.

Ultimately, DJing is about creating an experience that transcends sound. It’s about forming an almost intuitive connection with those on the dancefloor. It’s about guiding them through a story, making them feel something, and—if only for a moment—sharing a deep, unspoken understanding through music.

🎧 If you enjoy exploring music beyond the mainstream and want to stay updated on my latest DJ sets, insights, and projects, subscribe to my blog! Let’s continue this conversation together. 

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