We already know what a long exposure is and why this technique is so awesome. And we know the camera gear and equipment we need. In this week's chapter, we'll talk about how to actually use that gear to take a long exposure.
I'll show you how I take a long exposure with my Sony a6500 step by step. The controls on your camera might have a different name, but the process should be pretty similar. If you have any questions, leave a comment or contact me.
Read MoreI've grown used to destructive criticism. I've got a lot of it since I quit my job 10 months ago to pursue a career as a professional artist.
I usually dismiss it and carry on.
One day, Person A -let's call them that way- was trying to discourage me and asked a question:
"You say photography is your job... Do you work 8 hours a day then?".
They weren't looking for an answer, but to diminish what I was doing. Those are the ways of destructive criticism.
I couldn't dismiss it this time, though.
It was true: I wasn't putting the hours. I was definitely getting out and making images, but starting a photography business requires so much more than that.
From that day on, I've been working 12+ hours a day on my photography, 7 days a week.
Even though some people will try to ridicule what you do, the way you take their words is up to you. Use them to your advantage if you can; discard and forget them if you cannot.
Camera and Lens: Sony a6500 + 16-70mm f/4 Carl Zeiss
Settings: ISO 320, 17mm, f/8, 64 seconds
A few weeks ago, during a trip to A Coruña, I visited the beach of Sabon where I wanted to create an image to show the contrast between the beach and the chimney of the power station.
This place is familiar to me. Years ago, I used to work just a few hundred feet from there, and some times during lunch time I'd go to that beach to take a walk.
The idea behind this image was to make believe the viewer that they are looking at yet another image of the ocean breaking against the rocks, and realize a little bit later about the "small" detail on the top right of the frame: a chimney from a power plant.
Photography requires -almost- no technical skills anymore. Modern cameras are able to perfectly expose a scene most of the time.
That alone doesn't make good images, though.
What is it, then? What's the difference between greatness and mediocrity in photography?
Talent -as in a naturally given ability to appreciate beauty- plays a role in this.
A lack of talent can be overcome, though, by anyone who possesses what I believe is the key to great art: passion.
While technical skills and talent can give a photographer a head start, only passion will bring them beyond the point where photographers without it can't go.
Camera and Lens: Bronica SQ-Ai, Zenzanon PS 80mm f/2.8
Film stock: Ilford HP5
Speed: 800
Developer: Ilfotec HC
This unreleased image is part of my project America Untitled that is being exhibited this month.
I made this image on a very, very cold day in Michigan City, Indiana. The beaches along the shore of Lake Michigan looked like anything but sand beaches where people get tan or children play, and all the equipment used during the summer by visitors and staff were like out-of-place artifacts.
This lifeguard tower stood out to me, and I think it made for a compelling image.
Today has been a busy day, Mondays always are.
I didn't have any time to write anything profound for today, so I just came up with a new weekly thing called Monday Random Thoughts, Links and Updates, and this is volume number 1.
Read MoreAn image of Mt Hood from the archives for today. I really can't wait to visit this beautiful place again.
This was a lovely evening spent at Larch Mountain watching the Moon rising above Mt Hood. I made several exposures with my Bronica, you can see some of them on the Mt Hood National Forest page of my archive.
I also have a short video about this evening that you can watch here:
During the last few days, I've been trying **IGTV** (Instagram TV) as a possible (and yet another one) outlet to share my work.
When it first launched a few months ago, I was very skeptical. I still am, but after playing with it for a bit I can see its huge potential.
So far, I’ve released 4 videos on my IGTV channel and I’m liking what I’m seeing.
Read MoreEvery once in a while, I have an idea for a project and work on it for a few hours or days. Then I realize that those images (or videos) I created don't really fit in with the rest of my work, and discard them. Well, not happening anymore.
Introducing The X Projects, a jumble where any weird, odd and probably wrong idea I have will find its place to live forever and ever.
Read MoreAnother video where I show all 12 shots from a roll of Ilford HP5, this time roll number #219. Taken with the Bronica SQ-Ai, shot and developed at ASA 800 (+1 push stop) with Rodinal (1+50).
Read MoreCamera and Lens: Sony a6500 + 16-70mm f/4 Carl Zeiss
Settings: ISO 100, 32mm, f/9.0, 246 seconds
I made this image during my recent trip to Foz, Lugo. In this region of Spain, cruceiros (calvary)) are everywhere.
I wouldn't have paid attention to this one if it weren't for the tree that was right behind it. I noticed that the wind was moving the leaves and I thought that could make for a good image.
This is the result of a 4-minute-long exposure. I like it.
I believe images are meant to be hung on a wall, and I wanted mine to fulfill that destiny. My semi-nomadic lifestyle didn’t allow me to do this for a long time, until I figured out a way to do it using drop shipping services.
Read MoreCamera and Lens: Sony a6500 + 16-70mm f/4 Carl Zeiss
Settings: ISO 500, 16mm, f/8.0, 1/640sec
I woke up really early to be at the Castro (a 2,000-year-old fort) for sunrise. This is a very popular spot and it gets crowded during the day. At that time though, I was the only one there.
It's a beautiful place. It feels surreal to see all these structures and think that people lived (and fought) here thousands of years ago.
An hour and a half after sunrise (I was already on the way to the car), the fog started to roll in. It was then when I made the best images there, and this is one of them.
After struggling on my hike in Somiedo a few months ago, I decided that it was enough. I had had a terrible winter: I didn't exercise and I ate and drank way too much; I had gotten fat and out of shape.
So I challenged myself and set some goals.
Climbing to Pena Trevinca was one of them. The highest peak in Galicia raises to 2,127 meters (7,000 feet) above sea level. That might not sound like much, but it would be a nearly impossible task for fat Adrian to achieve.
Read MoreThe adventure continues! This time, I visit the Grand Canyon National Park for the first time.
Even after seeing the Redwoods and being at places like Death Valley and the Canadian Rockies, this place made me feel really, really small. An impressive sight, worth a visit.
Open the post to watch the video.
Read MoreThis is the second chapter of a series about Long Exposure Photography. A new post is published every Wednesday.
Camera gear matters. And when it comes to Long Exposure Photography, it matters even more.
Whatever camera we use (it could be a phone or a 8x10 large format camera), we need to be able to control the shutter speed and increase it for extended periods of time.
The greater control you have, the better.
Now, there are still ways to shoot long exposures even if we can't control the shutter speed. We'll talk about those too.
Read MoreCamera and Lens: Bronica SQ-Ai, Zenzanon PS 80mm f/2.8
Film stock: Ilford HP5+
Exposure: 800
Developer: Ilfotec HC
I wasn't expecting to find a tower like this in Grand Canyon National Park. I loved the way it looked, and the birds flying around gave it an almost creepy feeling to it.
I knew I had to make an image.
Camera and Lens: Sony a6500 and 16-70mm f/4 Carl Zeiss
Settings: ISO 400, 17mm, f/8, 1/2000sec
I walked around this field for a while, trying to take advantage of the fog. I wanted to isolate one of the trees, but the mist wasn't thick enough.
On my way back to the car, I saw this tree. It wasn't isolated as I wanted it to be, but the fog made the trees in the background be much more faint, and the branches and leaves from the trees next to the wall were framing it.
So I took the shot.
In this video (and contact sheet), I show all 12 shots from Roll #218. Taken with the Bronica SQ-Ai on Ilford HP5 film, shot and developed at ASA 400 (box speed) with Rodinal (1+50).
Read More
You might know that I've recently set up a new darkroom after leaving all my equipment in the US. As part of this new setup, I got some **Rodinal** to try as my new developer. And I made a mistake.
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