journal
When I was looking for options to travel from California to the Midwest, one stood out: the train. I love trains, the route was absolutely gorgeous, and it was much cheaper than flying. What was the catch, then? Time.
This was a long trip, as we spent 56 hours on a train. If you add the almost 4 hours we waited at the train station, then the whole trip was a whopping 60 hours.
And yet, I'm so glad I did it. Something I will never forget.
The summer is here. Usually, this is the season when my photography slows down the most. This time is even worse, as I'm back in Indiana and I don't have a car to move around.
It is during these times, when I'm not out taking photos as often as I'd like to, that I start to think about camera gear. Perhaps, hoping for that spark of creativity I'm lacking.
I'm also thinking about my cameras and lenses because I did quite a bit of traveling during the last month, and carrying all of it isn't fun. The picture above shows all the gear I brought with me; it's also all the gear I own, for both stills and video. That's the downside of not having a permanent home, I have to bring everything with me when I move.
Believe it or not, all that gear still meet my requirement, the only rule I can't break when it comes to camera equipment: it all has to fit in my camera bag.
The struggle is real, though. Should I downsize? Which lens should I get rid of? Should I just get rid of everything and go compact? Or should I buy a bigger camera bag?
As the summers unfolds, these questions remain in my head. But there's no right answer to the wrong question. What I'm looking for, what we all are looking for, is out there, somewhere. I can't wait to go get it.
I'm 40 years old. At this point, it's almost a tradition for me to be somewhere beautiful to do some photography on my birthday. This time, in San Francisco. And what a surprise the city had for me.
I spent a couple of days in beautiful Point Reyes, California, and this is what I saw and did there.
Usually, my photography trips are pretty chaotic, as I adapt to the conditions and go with the light. But I have a bit of a system to choose where to go, and when. At the end of the day, though, it's all about getting out.
Hello from San Francisco, where I was hoping to catch a moody, foggy day. Instead, I got a sunny, clear and very bright time at the Bay. Because not every day is foggy.
A much needed time outside with my camera.
I recently lost another of my tripod feet. Instead of replacing with an original, expensive one, I decided to make a foot using a cork from a bottle of wine.
I had already done this with another of the legs, and it works really good! Haven't lost it in several weeks of intense use, and if I ever do, it will very easy and cheap to replace again.
Digital cameras have made photography much easier, faster, and accessible to everyone. But not everyone thinks this is necessarily good. Let's talk about why photography can be too easy, why it probably shouldn't, and how to keep it engaging enough that we don't get bored in the long term.
Rain, wind, cold, and mountains. The perfect cocktail for some moody photography.
The latest issue of my newsletter is out: aows #41, on timing over location and subject.
This time, I talk about the recent blizzard we had here, and the concept I touched in the video: why many times the when is more important than the what in photography.
You can read all the newsletter's past issues and subscribe here: aows newsletter.
The winter was over; or so I thought. A rare spring blizzard hit the mountains of Galicia, in NW Spain, and being just an hour away, I couldn't miss it. Because in photography, timing always trumps location and subject. An incredible couple of days spent in the snow, a time I used to make tons of images.
Life is full of choices. Each of them takes us further down the road, never to find the same intersection again.
We all want to do a lot of things with and in our lifes. But that's not possible.
I'd love to have my own place, one I can call home; I'd also love to keep traveling, never really settling down.
I'd love to have the experience of having a kid; I'd also love to do the things I couldn't do if I had one.
Our lifes are finite, so we must choose. Some of these decisions scare us to the point of paralyzing us.
"The reason why fantasies of the future are so much more pleasant than doing them in the present, it’s because we get to hang on all of them. It is the choosing that is painful, choosing what we will do and what we don’t that most avoid doing."
-- from a podcast I listened to, whose name I forgot to write down :(
When I quit my job to become a full-time photographer, I had a fantasy: I'd travel the world, visit all continents, make images everywhere.
I wasn't so naive to think I'd travel so much, but I was expecting to go to many more places than I have ended up going to so far. In part because of the pandemic, which was a choice none of us wanted to take but were forced to.
Even though I'm still young enough to keep traveling for years to come, every time I decide to go somewhere, I'm also deciding not to go somewhere else. One decision at a time, I'm carving a path; one with many destinations, but one that will skip most of them.
I did not understand that one future comes at the exclusion of all others.
I had wanted two kids.
I had wanted to travel the world.
I had wanted to be the one to hold my mother’s hand at the end.
Everybody pretends that you only die once. But that’s not true. You can die to a thousand possible futures in the course of a single, stupid life.
-- No Cure for Being Human, Kate Bowler
Whether we want it or not, we must choose. We will miss on many, many things; we will get to do just a few, to experience a handful of them.
That's why it's so important to focus on what we do get to do, on what we do get to experience. And to share it with those people whose path didn't take them the same route.
A regular Saturday morning turned magical thanks to photography.
Why do we photograph? Read my newsletter issue "On purpose in photography"
I live for moments like these.
The act of taking photos can be seen as a way to remember things we don't want to forget, or to share those moments with others. The danger is: photography can take us away from the present moment, trading the experience we are having now for one in the future.
This is a very real concern and sometimes, the best thing we can do is to put the camera away and enjoy -- this is especially true for fleeting moments that don't last long.
But photography can be used as a tool to enrich the experience. In our search for beauty, we pay more attention, we increase its meaning, and we can feel even more present than before. Many times, photography can even be what creates those meaningful moments to begin with!
It is important, then, to know when to capture the moment, and to know when to simply take it all in. And if possible, find the real magic, somewhere in between.
We are driven by emotions — we make images when we see something that makes us feel in a certain way, and we try to recreate those feelings in the viewer through our work.
Art should touch and move the audience: the last thing we want is to leave people indifferent.
There’s a tricky balance in play here, though: on one hand, we need to feel something to make good images; on the other hand, we must be careful not to attach those feelings to the photograph.
This happens especially with images that were hard to make. Perhaps, we had to hike several miles to reach the location, wait several hours for the conditions to be just right, or we might have made the whole process more challenging on purpose, adding constraints to our workflow.
Whatever it is, those images will feel different. More rewarding to make, but harder to look at for what they are. It’s not easy to know how others are going to perceive what we capture, or how we will feel in a few months or years about the image.
This is ok. This is normal. This is part of the process, and it happens to all of us. But it’s important to be aware that this is happening.
It’s important to develop a sense of looking at our own work from a distance. We should try to see it from the perspective of someone else. We can also ask for feedback.
In the end, though, only time will give us the required perspective. Letting our photos marinate for a few weeks, months, or even years, so we can see them for what they are, once our attachment to them has faded away a little bit.
I talk from my personal experience here: the way I do it is by focusing on the mood, the atmosphere, instead of a specific subject or location. It’s all about the fog, the snow, the clouds, the stillness of the water in a long exposure, the lone figure in the vastness of the landscape, the small facing the big…
We can also evoke wonder by creating mystery: think deep shadows, and night photography. This can even make the viewer feel a bit uncomfortable, as their imagination runs wild.
Contrast can dramatically change the feeling of an image: high contrast is the equivalent of being loud, while low contrast is more gentle and subtle.
Let’s not forget about the way we present and show our work: photography is much more than showing a single image. For example, the audience comes along with me in my videos, and the photographs I show in them will feel very differently than the ones I share by themselves. The movie offers a context that will frame the work in a very different light.
Books let us use captions and descriptions. Use that extra information to reveal things about the image that are not obvious by just looking at it. Music can transform visual work as well.
No matter what, don’t forget: your work is to make the viewer feel something — and that includes your future self.
Recently, I listened to an interview where a landscape photographer was expressing their love for the struggle to make an image: the harder the process, the more rewarding it becomes for them.
This photographer was talking about hiking, but I see this happening in photography in many other ways. Another photographer mentioned using a tripod for every shot solely because of the same reason: to make the process slower and more challenging.
Indeed, we require some degree of hardship to stay engaged in the process and be able to see beauty where others miss to see it. But this is tricky, as it presents a danger: our emotional attachment to the images we make.
Because they were hard to make, because we are so proud of them, because they were a challenge we were able to overcome, we see them through a distorted lens.
They might work along with some context -- think a book with text explaining the conditions the image was made in, or a movie where we show all we had to go through.
But they might not work by themselves. A detached audience might not see in them what we see, because they lack the backstory and the emotions we felt while making it.
This discrepancy between our subjective relationship to our own work, and the response of others to it, is a gap we need to be aware of.
Images can and should convey emotions and feelings, but those must be expressed as much as possible in the image itself. This is true even if our photography has an audience of one, us, because time tends to make everything fade away. If our photographs don't speak to anyone else but us now, they might not speak to us either in the future, once all of those feelings are buried deeper within us.
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