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the

Photographing Fall Colors – Where is the Vividness That I Saw


Many times I've gone out to photograph the beautiful colors that blanket the trees in Fall. My mind and inner vision is completely lit up with these glowing embers that dance in the wind on the trees. At this moment and place nothing seems more wondrous and somehow these colors seems to permeate deep into my collective thoughts where vivid memories live.

You may wonder why the need for all these flowery thoughts. Its because  when I get home, what I see from the camera is nowhere near as spectacular as how I felt at the time. I do shoot in RAW format and I know that this format from the camera tends to be a little muted but even increasing the vibrancy, it still doesn’t come close to the mind's snapshot.

I think that photographing the wondrous colors of fall is actually a hard thing to accomplish if you want to achieve the vision you had at the moment the shutter clicked.

I believe there are 2 main reasons for this.
First is that the reds, oranges and yellow of the leaves are highly saturated & luminous and beyond the ability of the camera's color gamut to capture. The color space of sRGB and Adobe RGB just don’t extend far enough to record these highly saturated and bright colors.

Second the leaves normally have small moments in the wind and they appear to shimmer, thereby giving them the appearance in the mind's memory of being brighter.

When I took the above photograph the yellows on these 2 trees did appear this bright. They glowed in the afternoon sun and were even brighter, almost like a candle flame, but upon reviewing the camera's result it was duller and more greenish-yellow. The image below is from camera with white balance on birch tree set to neutral white 5300K.


You may find my modified version (1st photo) a bit gaudy but it does reflect how I felt about this scene. I darkened the sky to increase contrast between the 2 yellow tees. I also, for the greenish yellow leaves, shifted the hue to be more yellow and then increased lightness and saturation as much as I could and still retain detail. The grass was also darkened and made cooler, more blue-green, to again increase contrast with the yellow tops.

In the photograph below the sun peeked out near sunset just after the rain had gone by and lit up this singular tree. Again the camera made those leaves less bright and more orange. Once again I increased lightness and saturation towards yellow for the bright leaves. I also added a purplish tint to clouds, (complementary color of yellow) to increase color contrast. I extracted the yellow leaves and increased layer size by 10 pixels and then added a slight blur of about 2 and set this layer to overlay. A pseudo Orton effect to give a glowing effect.




In the next image below, the colors, except for a little vibrancy, remain mostly as captured. I did change the sky from a bright blue to a duller and less saturated version with clouds. The original blue negative space was too dominating and took viewers vision away from the tree colors.



Many of the good fall photographs have lots of cooler and darker tones surrounding bright trees that help make those fall colors more prominent within the scene.

If you have good photo-editing tools don't be afraid to play around and change anything to suit your needs and vision. After all, it's how you saw it at least in your mind.


Niels Henriksen




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Book Review – Serengeti – The Eternal Beginning

I was excited to get the opportunity to review a photography book that wasn't technical in nature. It gave me a chance to read for once and not have to think about the technical merits about the subject material being discussed.

At first I thought it might just be a pure photography book, nothing but pictures and little text. When it arrived I realized that there was a fair amount of story that surrounded the photos. The story about the Serengeti was very interesting and unique and an important part of the book.


Book Title: Serengeti – The Eternal Beginning
Author: Boyd Norton
ISBN: 978-1-55591-593-3
Publisher: Fulcrum Publishing
Hard cover - 265 pages

The Review
One of the first things that struck me about the book was the experience and depth that the author 'Boyd Norton' had with this area of Africa. While its not exactly clear, it appears that he has spent more than 25 years visiting and getting to know this area intimately about the life and its nuances in the Serengeti.

The book is not only about Serengeti as its title suggests but also includes the Maswa Game Reserve, Ngorongoro conservation area, Loliondo Game controlled area and the Masai Mara National Reserve. As with most geographical features, country boundaries do not define its scope.

This geographical area defines the coverage, for the most part of the 'Great Migration' that we are all familiar with. Where thousands upon thousand of larger African animals such as wildebeests are seen to run for thousands of miles in search of food as the weather patterns change. While the predators lie in wait for the dinner train to run by.

The author discusses the parks earliest beginnings when there wasn’t a park but only early explorers and big game hunters. The early problems all countries seem to have when they want to control activities within an area with competing demands from indigenous groups, expanding farming base and other users of the resources.

This is not only a book about the big and small animals that are found here but about the life of the people who have lived here for aeons. It’s interesting to read how the locals, weather patterns and what was a perfect balance of nature all worked together to create a faultless ecosystem. Especially when you think of this place as the dawn of human kind some 3-4 million year ago.

The author’s writings give a life to photos that are not apparent directly from the photos. As an example, he discusses how certain rock outcrops called Gol Kopjes seems to have extra gravity that applies only to the big cats. In that whenever they arrive on these outcrops the local rock gravity immediately pulls them flat on the rock and holds them for hours.

The book covers the Great Migration when it seems most of the life in the Serengeti is on the move and about the carnivores who patiently wait for their turn at the Great Feast or migration as we call it.

The next chapter is about the lions which is a fascinating subculture all unto itself. Who gets to lead, who eats and who gets to live with the group.

The 4th chapter is about Ngorongoro which is the remains of a huge volcano called a caldera, like a giant cauldron. In this crater life is different due to its unique ecosystem.

The next chapter deals with creatures both large and small and how like any balanced system they each depend on each other for survival. From control of foliage to providing food for the predators. If your visit is to only see the big game animals then you are missing so much more about the life in the Serengeti.

The next chapters deal each with the other more famous of the big African animals such as the Rhino, Leopard, Cheetah and Elephant and how they live and communicate. There are personal stories around each encounter with the wilds of Africa and this is what makes this book more exciting than just a lot of photos.

There is Anna who can talk Rhino talk and the perception that they are stupid is really outdated. There are also the Acadia trees who can communicate when the giraffes arrive for dinner.


Recommended Audience

This book doesn’t tell you how to use your camera or take better photographs, which I'm glad as sometimes we just need stories that surround images we are seeing. Inspiration rarely comes from a technical how-to-manual.

I now know that if I were to go on an African photo safari I would not expect or want a 1 or 2 day quick tour and photo-op around the park. The book has conveyed to me that there is just so much more to see and experience that it can only be fully appreciated if you take the time to watch and wait. When there, live in the flow of the Serengeti's life.

If not for yourself then this would make a great gift for any friend who has been talking about going on an excursion to see those big game animals of Africa. A time before man, at least modern man, has had an impact on the natural world.

Link to:
Boyd Norton`s Wilderness Photography website with info on supporting the Serengeti.


I have provided an amazon link for the book, below.


Niels Henriksen


Disclaimer:
Other than receiving a book to review, which will be given away, I did not or will not receive any remunerations, gifts or any considerations for this review from the publisher, author or anyone affiliated with this book.



Update:
Thanks to a comment from Mike I realized that I hadn't fully reviewed the book by also commenting on the photographs within the book.

I found every photo crisp and clear and representative of the its natural environment.

The photos are taken as found and therefore the lighting is natural and not staged. Nor are the images manipulated to give extra punch as I am prone to do. All are color prints with no B&W.

Since most of the animals by nature's design want to blend in with their surrounding there is not always a lot of high contrast, but they all stand out in the photos. The photos are all of the caliber that you would find in the National Geographic magazine.

The front cover image is representative of the quality of images whether they are up close or distant landscapes contained within the book.






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The Making of a Fine-Art Print 'Man, Lantern and Orange Wall'


I am once again in San Miguel de Allende and for the last 2 weeks I've been like a young boy running around in a large candy shop. It feels great to be back and there have been so many favourite places to visit and most importantly eat some great food.  I have managed to photograph some new scenes and these will be the subject of future articles.

Last year I photographed the image below from the section of the Casa Mission on Cerrada de Pila Seca which is only a walking street that runs behind Cafe Monet. I was initially struck by the strong primary colors, the lantern and its shadow and the texture on the wall, but when I printed it, it seemed to lack something to give it extra punch. Some extra texture.

Man, Lantern and Orange wall   12” x 16.5”

Final image with texture added


I tried several generic textures that I had on file, mostly splatter type patterns but none provided the effect that I wanted. Not that I knew what I wanted but I felt that when I saw it, it would feel right.

From the article title you may wonder about the man. If you look closely at the image you should be able to see a man walking in amongst tall bare trees and their branches. It is subtle and that's what I wanted but it's there in the image. Only by accident, I decided to try other B&W images that were actual images. I came across one image with a man walking amongst tall trees and when I overlaid on colorful wall image it worked for me.

In the detailed close-up below the man becomes clearly visible.



The print I made is 12” by 16.5” and to all I showed the print, no one could see the man. In fact, several people showed other areas that they thought was man, which became an added twist to the print.


The overlay photograph is shown below.



A fine-art photograph is about what inspires you. It not about what others are doing with their art or what people think is right or wrong.

Don't be intimated with experimenting or concerned that others don't get it. If you like the results and it provides meaning for you then it's a perfect piece of art work.  With so many people on the planet you can be sure that there will be some that find your work inspirational.

When I printed my final proof photograph which I keep around to ensure that my impressions don't change, one was immediately spoken for.

This photograph is printed on 300 gram, 13” x 19:, Ilford pearl paper. Usually, I tend to print on textured fine-art matte/watercolor paper but this image called for more vibrancy in the colours.

My prints are limited within a series and these are normally sets to 5. If I do another series they will be different in some form, either paper selection and other tonal attributes or printed larger. But any future series will  be sold  at a price that is higher by a reasonable margin than the highest price for the previous series.

2 prints, unframed,  are currently available at the
Orange Gallery   near the Parkdale market in Ottawa


It's just a coincident that the major color of this print and the art gallery are the same.



Niels Henriksen





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Using the Camera GPS to find the Sunken Church In San Miguel


I've now been in San Miguel de Allende for almost 6 weeks, about half way through our winter stay here. I have been enjoying all flavours and experiences that this city has to offer. I've even experienced some of the standard tourist events such as fighting with the Aztec gods (Montezuma of course). This laid me low for a few days but unfortunately after a few days when I thought I was getting better I developed a secondary infection that required visiting the doctor and getting medication. Now after 2 weeks I'm finally starting to get the spring back in my step and venturing back out. This does curtail your photography.


But back to the GPS item. Several weeks ago my friend Mike took me out to see the sunken church on the large shallow lake south-east of San Miguel.  The lake is really a reservoir and during the dry season, winter here, the church becomes fully visible.  The ground is still too mucky to be able to walk all the way out, but you can get close enough for some good shots.


If you look closely you can see some cacti growing out of the top portion of the church spire and therefore the church is not completely sunken.

What was really surprising when we first arrived was that we saw pelicans, which to many may not be unusual near water but this is at an elevation of 6,000ft and and 550 km from the nearest ocean.


I've been using on-camera GPS for almost 3 years, at least capturing the meta data with the image but I've never had to really use the info as until now I've always known exactly where I was. Not this time as this was new territory, so when I tried to use the Nikon format to enter into Google maps it took a while to find a site that would convert correctly.

Nikon gives a format such as:
Longitude:  20,52.1567N
Latitude:     100,50.1574W
Altitude:     1853m

Nikon is not DDD, MMM, SSS (Degrees, Minutes , Seconds but in format of DDD, MMM.MMMM)

Whereas Google maps required decimal degrees only in format DDD.DDDDD.

After some web searching I did find one site that would provide conversion in the Nikon format.

Nikon GPS Converter

In the Google map below the green arrow shows where I took the photo of the church above and the red arrow the top of church spire above the water.  This Google map (satellite view) was taken when the area was flooded. It is a bit strange to see that where you were standing is now underwater. A little north east of red arrow is a round ring. This is visible in the last photo of this article.


Towards the hill on the south-east in the map above is another church, not sunken but still abandoned.

Most of the foliage,except for the cacti at this time of year, is brown. This make a colour image rather drab. But converting to B&W and adding some contrast can make the photo stand out more.

In the image below the green cacti with a blue sky does make a colour version work better.


Below is the map and the green arrow shows where I was standing taking the photo above with the cacti.


As you can see the camera GPS is very accurate in capturing within feet where you where standing at the time when photograph is taken.
Another version of the sunken church where you can see the round ring that shows up beside the spire in the Google water map.

  Church with ring structure

Niels Henriksen




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An Explosion of Colors at the El Señor de la Conquista Festival in San Miguel de Allende

The one thing I enjoy most about San Miguel de Allende is that you'er busy. I'm taking photographs everyday, meeting old and new friends and enjoying lots of events. There are many artist shows opening every week and then there's the special film showing and theater plays. The downside, at least for my blog readers, is the problem with actually getting down and writing a new article.


I was working on a theme and then on Friday the 2nd of March there was the 'El Señor de la Conquista' Festival in San Miguel de Allende in and around the center square called 'el Jardin'.


There were 5 different groups from local towns nearby each with their own style of dress and costumes. Withh such a display of colors and action it was not hard to keep photographing as they almost performed continuously for 10 hours. There was a small break in the afternoon as they started around 10:00am and continued until 9:00pm.



Even the people resting provided good photographic opportunities.



It's easy to see from the next photo how much these dancers enjoyed and were engrossed with their performances.



During breaks they laid their headdress on the ground.



The music playing and drums resonated over the whole town all day long and if you wanted a quiet spot you almost had to head out of town.


Great costumes and action.


Even fathers and sons participated.

San Miguel is first an historic town with stunning architecture but the festivals which almost happen every weekend during some months add that extra spice and color to your stay here.

Niels Henriksen




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Any Fans of the Photographic Artwork of Niels Henriksen


That is certainty a self serving title and its fraught with many definitions of term 'fans' but it is also a chance for me to understand something about my readership.
This blog is just a few members shy of 1200 subscribers. I'm very grateful that so many find the photographs and articles enjoyable. There are also those who arrive by way of search engines, but from this total group I wonder how many committed fans of my photography I have.


Taken in San Miguel de Allende

I take many photographs, photo-edit them and then display these on the web just like millions of others do. But as a photographer the biggest pleasure is actually seeing the photo printed on photographic paper and how the texture and tone of the paper support the artistic vision.
But out of the entire collection of photographs I capture per year, only about 5 -10 actually have that extra quality or uniqueness that compels me to print large, frame and mount on a wall for display.

These fine-art photographs, as I describe them, go through a process of printing them on heavy mate papers (approx 300gsm). Depending on the detail and tonal qualities of the photograph I will print smaller versions (8”x10') on a series from 4-8 different papers to determine which paper best suits the image. After several weeks of just looking at them in different light settings I will select a paper for the final version.






In this image I combined 2 photographs to make the composite above as I wanted the boy to appear that he was searching for his princess.


Each of these fine-art prints are printed in a small edition series, currently 5, and then titled, numbered and signed and then made available for sale either through my Art web site ' Niels Henriksen Artworks' and through galleries.

As part of my marketing strategy, periodically (approx 18months), I increase my prices to reflect the larger, albeit still small, demand for my photographic prints.

Prior to this increase in November, I am offering to readers of 'My Camera World' a 25% discount on the current price for a period of 7 days after print is posted on this blog.

Guarantee
All prints purchased from me come with an unconditional full refund guarantee.  If you don't like it for any reason you get a full refund.
This makes purchasing a print from me completely risk free.
Each print comes with with a Certificate of Provenance. See example below






Over the next 2 weeks I will post an article about each of these prints that articulate my vision and story behind the photographs.

I hope that some of you will see a photograph that you enjoy and will sequentially purchase.  I think it's  important as a photographer and artist that we also collect other artists work and if not mine then someones else's. I am starting to have a decent collection of artworks already and will continue to collect new pieces every year.

By collecting several pieces I can then rotate them on the walls in my house and experience the same joy as when they were first hung.

Niels Henriksen




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White House up in the Clouds

Opportunity, timing and position are well know cornerstones in capturing fleeting moments. Sometimes it's even a suggestion.




While sitting on the patio in San Miguel de Allende my wife suggested that I photograph a white house on the cliff-side that was surrounded by clouds.

When I first looked up it didn't look that interesting but after getting the camera out and setting it up, the above cloud formation moved in creating a striking visual effect. The columns and rounded domes of the house are re-enforced by similar but looser structures in the cloud.

 original image out of camera

The original image looks interesting but is a little flat and static.
The changes I made were to add clarity +87 to increase contrast of clouds and house, increase highlights +60 to make the clouds and house even brighter and reduce both luminance and saturation of the blues and cyans in camera RAW.

In Photoshop, I decreased the saturation and luminance of the greens and oranges to keep mainly 2 dominant colors of white and blue.

Adding contrast to the clouds almost make them appear to explode around the house.

Niels Henriksen




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Ruling in the Braidwood Case Continues Uncertainty Over Access to No-Cost Preventive Screenings

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“What Would They Say?” spoken word video named finalist in international award competition

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The Snake House, Amsterdam

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Squarespace – The Pros

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DALLAS, January




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This is Our Lane - Too: Joint Statement on the Maternal Health Crisis from the Association of Black Cardiologists, American College of Cardiology and American Heart Association

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Fintech uses Design but not in the way it should

  I was honoured to be invited last Friday (4th Nov 2022) to speak at the Singapore Fintech Festival’s Talent Pavilion organised by our partner WSG (Workforce Singapore). I shared why Fintech needs Design. But before I get into that, let me share a few...

The post Fintech uses Design but not in the way it should appeared first on Design Sojourn. Please click above if you cannot see this post.




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Why Technology Alone Can’t Solve Problems: The Importance of Human-Centred Design

In an era where technology is rapidly advancing, it is tempting to view it as a universal remedy for a myriad of challenges. However, while technology has immense potential, it cannot solve problems by itself. The effectiveness of technology as a solution is influenced by...

The post Why Technology Alone Can’t Solve Problems: The Importance of Human-Centred Design appeared first on Design Sojourn. Please click above if you cannot see this post.




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The Wayfinding Handbook

The book describes everything you need to know to get started as graphic designer in the world of environmental graphic design. The writer David Gibson is a highly respected wayfinding designer and principal of graphic design firm Two Twelve, New York

A manual for students, teachers, professionals, and clients.

This is exactly what this book is about, easy readable and recognizable for everybody to read and learn wayfinding design. I have read this book with great pleasure and using it as a reference manual in my daily activities.

Information Design for Public Places

In the first chapter the book describes the history of wayfinding and the spectrum of projects, which you will learn about the different areas wayfinding designers work in. There are several great examples of wayfinding projects shown and Gibson takes it deeper into the structure of projects and where the wayfinding designers fits in. Every chapter features a page written by people from the industry, making this book great fun to read and you will get different perspectives on the topics.

Design Process

As wayfinding designer there are many different kind of signs needed in a project, from small toilet signs to large boxed letters on the roof of the building. To enhance the wayfinding system all signs need to interact which each other in order to let them work together effectively. The book describes many different type of signs and explains about strategic planning and information graphic design. With several examples on how to document a wayfinding system this part really stands out in the book.

Wayfinding design

In the section wayfinding design, Gibson talks about typography, layout, symbols, color, materials and media. This section is a great learning experience to create signage & wayfinding design. With an very interesting page from Jonathan Hoefler on type design, legibility, purpose and wayfinding design these chapters will make you want to create wayfinding design!

Practical tips

The last section of the book takes you into how wayfinding projects are initiated and what the requirements should be in order to select a wayfinding designer. I especially enjoyed the part about documentation and fabrication, one of the most essential parts of creating a good manual for a wayfinding project.

Conclusion

Personally I enjoyed reading this book very much, it is easy to read, recognizable, short stories but with an edge to keep it clean and simple. Each chapter starts with a small introduction and a line about Learn About, where you quickly see what to expect from this section in the book. As said above the different insights from other people in the industry makes this book a great reference guide into wayfinding design. What I love about this book that it is written for everybody. If you are into environmental graphic design, signage/wayfinding than this is the book for you!

The Wayfinding Handbook is a complete guide to the discipline, from planning and design to practical considerations, such as setting up teams and managing projects.

Information

  • Publisher: A Princeton Architectural Press publication
  • Language: English
  • ISBN 9781568987699
  • In print (publication date 3/1/2009)

Buy The Wayfinding Handbook

Get started in wayfinding and read the handboek.

Buy at Amazon




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The current state of Design Conferences

Opinion: Sander Baumann

Every design organization faces a similar issue in 2020/2021. Physical events and conferences are restricted due the corona pandemic. Basically every organization from small to large have transformed into virtual events.

Larger design conferences such as The Next Web did a 2-day live event on Hopin. Hopin is a virtual venue with multiple interactive areas that are optimized for connecting and engaging. You can join different rooms and stages depending on your interests. Other platforms such as Creative Mornings went all in on virtual events.

The events in our wayfinding community also transformed to virtual events. From podcasts, Zoom chats to full day virtual conferences.

The purpose of conferences (pre-corona)

Over the years I had the pleasure of going places for design conferences. Either as participant or a speaker, I went to conferences about typography, technology, wayfinding or design in general.

Conferences bring together the curious like-minded designers in one place. The conferences usually have a mix of speakers, workshops and meetups on small and large stages. In my opinion a unique experience to meet people at conferences which let to business and friendships.

The psychology of going to conferences (pre-corona)

When looking at the experience when going to a conference you enter a mind-set focused on maximizing time and effort out of a conference. When you make the choice going to a physical conference this usually results in creating free time of enjoy a conference. Ranging from 1 to multiple days of physical conferences allows you to connect to peers, have time to reflect on things you heard or learned during these times.

In my opinion physical conferences offer the opportunity to really connect to like-minded people to get new insights or perspectives on the multidisciplinary fields of design.

The now: Virtual events and conferences

Over the last years I have attended anything from virtual meetups to online talks and one day virtual conferences. Also tried many of the available platforms, such as Zoom, Teams, Meetup, Hopin, etc.

Without leaving the house or studio I was able to enjoy the conferences in a virtual way. Although at the start of the pandemic this was a great way to connect to peers and to share thoughts, ideas and reconnect again. Over time I have noticed a lower attention span during the virtual conferences. Even with Hopin, I caught myself being distracted and started doing other things again.

Attention span

During the challenging covid times the (wayfinding) design industry also changed and shifted a bit more towards digital services. Regarding the time spend on physical conferences vs. the time spend on virtual conferences I noticed that virtual conferences does not really excite me in the same way as physical events.

The virtual events are squeezed into the tight schedule and I seem to jump from working with clients to conferences in an instance. This let me to think about how I perceive the information and what my key motivation would be for attending either virtual or physical events.

Main takeaway

Virtual events/conferences are here to stay. I believe a hybrid mix of physical and virtual events will push forward in our design community. On the one hand, virtual events are convenient to keep up with peers in the network. On the other hand meeting in person makes the memory.

The road to a physical conference and spending time with peers in a venue is in my opinion a great way to absorb information in a lively ambiance where you can be free to enjoy content and people.

For future physical conferences, I can imagine it to be more an experiential experience. A mix of meeting in person and connecting digitally would make the best out of both worlds. Physical conferences would take place lets say once a year and periodically supported with virtual events.

Support your design organization

If you want to learn more about wayfinding, information design, typography and design in general. Please take a look at the following design organizations as they have regularly virtual talks/events at the moment.

The future is bright and I look forward meeting you soon at an upcoming virtual or physical event.




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The voyage begins

  • Where are you?
  • Where are you heading?

The human mind observes and stores the journey as a mind-map. Distances, locations and time may be remembered differently than as they appear to be in reality. Signs, landmarks and directions are interpreted as signals and helps to guide along the way.

We use our personal knowledge, look at inference for common patterns and use previous experiences to find destinations. This article explores a history of navigation and view a on the general understanding of ways in which we all tend to navigate in terra incognita.

Early wayfinding polynesian navigators

Between 500 - 700 BC explorers began sailing the sea and started their travels towards finding new land. Sea is not as big as a barrier if you know where you are heading to and able to find your way back… Interesting enough early sea explorers didn't have maps, compasses, clocks or sextents to navigate. The new land was yet to discover and no information on how to get there, or return home, was available.

The discovery of the Polynesian islands by, from origin, Asian inhabitants tells a story on how they found those islands in the middle of the South Pacific. Voyages would take up to months and they sailed over 2000 km to discover new land, but how did they navigate? And how can we learn from their knowledge in the ancient way of getting around?

The Polynesians traveled over vast expanses of open ocean across the Pacific. In order to locate directions they memorized at various times of day and year the important facts of their surroundings. The traditional Polynesian navigation methods included memorizing the motion of stars; rise and set of the sun on the horizon; the direction, size and speed of ocean waves; gathering of clouds that cluster at specific locations; direction of winds and the following of wildlife of the ocean such as birds and fish.

Understanding how these explorers used their senses and ways of memorizing their surroundings can help us understanding how to design effective wayfinding systems today and tomorrow.

The hand method used by Nainoa Thompson to find the altitude of the Polaris. Journal of the Polynesian Society

The traditional navigation by the Polynesian is also called non-instrument navigation — which means finding your way without the usage of modern tools. Instead, looking at the characteristic patterns in the surroundings they could build a mental map and used that to navigate. Those 'fingerprints' on the open ocean could well be referenced as todays 'landmarks'. History describes how the navigators kept a mental log of their journey, maintaining a sense of distance from where they started along their way. The structure that the navigators used in ancient history is similar as we apply in wayfinding strategy today.

  • Planning, what is the strategy?
  • Setting the course, which way to go?
  • Holding the course, how far we need to travel?
  • Finding land, are we there yet?
  • Returning home, which way to head back?

Although the traditional Polynesian ways to navigate is almost extinct. The wayfinders of Polynesia traveled over one fifth of the surface of the planet and largest culture sphere in human history.

Navigation is not about you, or your mind, or what you can do. It's not about the sun and stars. It's really about everything. Shortly Bertelman, navigator

Holistic approach to wayfinding

Important steps in developing a wayfinding strategy is to look beyond a specific environment, space or building. Wayfinding doesn't start or stop at specific places. A wayfinding system comprises communications that may involve multiple media to help people navigate an environment. This emphasizes the importance of the whole and the interdependence of its parts, also referred as the Holistic Approach.

The Holistic Approach defines a wayfinding process that is researched and analyzed for the needs of the user. The objectives may include virtual and physical communication tools such as websites, signs, information systems, organizational goals, increasing customer satisfaction, placemaking or media support. Overall goal of the Holistic Approach includes to provide a better user-experience. Taking time to research the objectives will ensure the resulting wayfinding system goals are managed for optimal results. The boundaries between the abstract digital world and the real physical world starts to blur and the way that we experience wayfinding is starting to change.

Key takeaway

Wayfinding could well be put into a wider objective, today we live in a global economy and as a result we should re-think how we communicate. Wayfinding can act as stepping stone to connect people, movement and places efficiently. Taking wayfinding beyond 'signs with arrows' and an integrated communication system will emerge.

The concept is relative simple — show the right message at the right time. Make use of integrated communication systems to allow the user to have seamless journeys and engaging discoveries.


References

  • Dragons, Memory & Navigating the Globe Using Only Your Wits Link




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The hidden costs of getting lost in a Hospital

Why people get lost

Navigating through hospitals can be a challenging task and stressful experience for patients, visitors, and even staff. With the increasing complexity of hospital layouts and diverse user needs, there is a growing demand for effective and accessible wayfinding solutions.

Misinformation and not up-to-date information are among the most common issues why people get lost. The lack of quality information across platforms allows for disorientation, a feeling of getting lost, and not knowing which source to trust. Some of the issues include:

  • Getting lost, high stress levels
  • Not on time for an appointment
  • Unable to orientate/navigate
  • Information not correct/up-to-date
  • No holistic wayfinding approach

Costs of Getting Lost

Wayfinding issues lead to significant costs due to staff time spent on assisting lost individuals, delays in patient care, and missed appointments.

A Deloitte report showed that medical staff spends on average 4,500 hours in giving directions every year. That is a considerable amount of time wasted just on giving directions.

Lost patients and visitors disrupt hospital schedules and workflows, leading to inefficiencies and increased workload.

Navigational difficulties heighten stress and dissatisfaction among patients. Efficient wayfinding is crucial for patient safety, especially in emergency situations.

Three Main Reasons Why People Get Lost in Hospitals

  1. Complex Hospital Layouts: Hospitals often have intricate, sometimes maze-like structures with long corridors which look similar and multiple wings, making navigation challenging for patients, visitors, and even staff.

  2. Inadequate Signage and Wayfinding Systems: Traditional signage and wayfinding tools are frequently insufficient, leading to confusion and difficulty in locating destinations within the hospital.

  3. Lack of Pre-Visit Information and Real-Time Guidance: The absence of effective pre-visit directions and real-time navigational assistance exacerbates the confusion, especially for first-time visitors.

Assessment of the Costs of Getting Lost in Hospitals

  • Financial Impact: Wayfinding issues can cost hospitals significantly, with studies showing expenses up to $500,000 annually at due to staff assisting lost individuals and other related inefficiencies. Missed appointments due to navigational difficulties add to this burden, with the NHS losing almost £1 billion annually.

  • Operational and Staff Impact: Staff spend substantial time assisting lost patients, leading to lost productivity and increased workload. This can result in staff burnout and compromised patient care.

  • Patient Experience and Safety: Patients experiencing stress and confusion due to poor navigation can have longer hospital stays and increased health risks.

In summary, inefficient hospital wayfinding systems lead to significant financial costs, operational challenges, and negative impacts on patient experience and safety.

Case for wayfinding

Wayfinding is a multidisciplinary design profession, combining cognitive behavior, information design, and user experience. It enhances the process of finding your way to a destination in a familiar or unfamiliar setting by using cues from the environment.

The goal of wayfinding is to create a unique and seamless journey by showing the right information at the right time. A comprehensive and bespoke wayfinding system where patients and visitors can orientate, navigate, and locate destinations in a building or environment.

Holistic wayfinding approach

A holistic wayfinding approach that reduces stress and costs while creating a seamless journey experience in hospitals should include:

  • Integrated Digital and Physical Signage: Combining clear, large physical signs with digital solutions (like interactive maps and mobile apps) ensures accessibility and real-time guidance for all users​​​​.
  • Personalized Navigation Assistance: Utilizing technology such as QR codes, WiFi triangulation, or beacons for real-time, personalized navigation can cater to individual needs and reduce the likelihood of getting lost​​​​.
  • Pre-visit and On-site Information: Providing detailed pre-visit directions and on-site information desks or volunteers can help orient visitors upon arrival and throughout their visit, addressing wayfinding issues effectively​​.

This approach combines technology, human assistance, and clear physical markers to create an environment where patients and visitors can navigate hospital spaces more confidently and efficiently.

Design for today and plan for the Future

Our vision for Wayfinding is an integrated information platform that creates an on-demand and personalized user experience. Our approach seeks to improve people’s understanding of the built environment by implementing identity, urban design, and wayfinding strategies.

Key takeaways

  • People first — User-centered information tools
  • Integrated — Holistic design approach
  • Vision and research — Solving wayfinding problems
  • From the place for the place — A unique experience
  • Seamless — Extendable and flexible
  • Digital — Personalized experiences
  • Build design resources — Ensure legacy
  • Invest once and wisely — High quality delivers a ROI



Let's work together

More on hospital wayfinding, contact us →



Every day, our work helps thousands of people navigate hospitals. We are experts in placemaking and wayfinding.




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