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Shout out! Long Exposure Work by Jonathan Povey

Welcome to this new series of posts, where I would like to give a 'shout out' to former students of mine.

Jonathan Povey will be the first photographer featured in this series.

I've met Jonathan at Vanarts, a local Vancouver school that teaches commercial digital photography in a 1 year full-time program. The school is fully accredited. In fact, was commissioned to put this program together back in 2007. After serving as the program director and lead instructor for just over 2 years, I resigned so that I could spend more time with my personal photography workshop business, Vancouver Photo Workshops. Running two businesses at the same time had me running around for more hours than the week could give me. Ask my wife and she hardy remembers me during that time....

But that's another story. Fact is, Vanarts runs a great program and I still get to teach my long exposure workshop over there. I really enjoy working with the students, it gives me a kick and great satisfaction seeing them progress from novice to professionals in a just one short year. Every year, a few students really stand out, and Jonathan Povey is one of those outstanding photographers.

Since graduating from Vanarts, Jonathan has followed his dream and is working hard on developing his business.

Check out some of Jonathan Povey's inspirational images below:


Well done Jonathan! I especially like the first 2 images of the row of beach huts. Jonathan told me that those were actually light painted. He shot at night, without the using ND filters, and used a strong flashlight to literally 'paint in' the beach huts. He returned twice to the same spot.

Before closing, I thought it would be interesting for you to look at the scene Jonathan shot in Brighton, Sussex. On his blog, he posted a 'regular' color shot of the scene.

This first image shows you how the old structure looked without the long exposure effects and black and white conversion:

In this second image, the effects of a very long exposure can be seen in the blurred water as well as clouds in the sky:

Finally the last image of this scene is the one I like the most. It shows the effects of exposure time in relation to blurring details in the image. I don't know what the actual exposure was here, but it is likely much shorter, leaving some details and texture in the waves especially.

Thanks for letting me share your photographs, Jonathan!

Keep up the great work!


Long Exposure Figure Photography!

Hello everyone,

so I finally had a chance to test out an idea and technique I've been thinking about for some time now: combining long exposures with photographing the human figure.

My friend Vince called me up earlier this week and proposed a shoot down on a 'clothing optinal' beach here in Vancouver. Better yet, he had 3 models already booked so I knew I could 'steal' one for my experiment.

So I did. Here is one of the shots from the day:

How did I get this image? It was actually really straight forward.

Camera is placed on a tripod and not moved throughout the entire shoot. I took several images of Kira at 'regular' exposures, 1/125 @F11. I shot her for about 25 minutes, moving through poses and sitting on several rocks.

She walked out and continued to work with Vince, and at that time I started my long exposure of the scene (I took 4 and 8 minute exposures), without moving the camera. Really would not have been feasible to ask her to stay still for that long...

Back at the studio, I took both images (the 'regular' shot and the long exposure) and loaded them into separate layers in Photoshop. Applied a mask to make Kira visible within the long exposure shot. Loaded into SilverFX Pro 2 for the black and white conversion. Done! 

Please let me know what you think by leaving your comments below and let me know if you'd like to see a short video of how I did this.

I'll certainly will use this technique again for some upcoming shoots. I think it has some real potential.


The work of Michael Levin!

Just returned to the studio after having had a quick chat with Michael Levin. He told me about his new video, which has been released just about a week ago:

KI: Michael Levin from Brad Kremer on Vimeo.

Michael's work has been a great inspiration for me for many years. I first met him in person while judging a photo contest together over on the sunshine coast (not far from Vancouver).

Among the many photographers out there utilizing long exposure techniques, few stand out to the extend that Michael's work does. I show and discuss his work frequently in my lectures and workshops (don't like to show only my own), and haven't come across a single student who wasn't blown away and inspired.

In my humble opinion, Michael's work shows an unusually strong sense of personal style. He is a true artist with the camera, rather than 'just' a technician. His work is about saying something with the camera. It's not about a particular technique or expensive equipment.

Many people evaluate photography on technical merit alone, Michael's work suggest a much closer look. Personally, when looking at images I want to be taken inside the mind of the photographer. I want to see and experience the world through her/his eyes. I want to appreciate unique personal styles. It's about conveying a feeling and trying to understand what the photographer wants to say with his/her camera. 

Michael's work makes me do and feel all of the above.

His video 'Ki' is the first I have seen which succeeds in being an artistic representation of an artist at work. It's not just a mere documentary. Brad Kremer brings his own voice and abundant creativity to the table.

Michael, you continue to inspire me. Thank you!


IPA - International Photography Awards!

Photography contests and exhibitions are a great way to gain exposure for your work. How good are your images if they are sitting on your hard drives only? You gotta' get them out for the world to see and, hopefully, appreciate! If you're proud of your photographic work then you should also put some decent efforts into getting it out there.

As much sense as this should make to everyone, it's still much easier said than done. Personally, I have missed many, many opportunities probably because my priorities were, falsly, set on shooting alone. It takes effort and time to gather your work and follow through with submitting it. 

2 weeks ago, my good friend and teaching partner David Ellingsen promptly reminded me that the deadline of IPA was fast approaching. I am so glad for this reminder as it made me get my act together and submit my work to these prestigious photography awards. FYI, the deadline has just been extended so if you're reading this chances are you'll still be able to submit your work.

There are a few real important and highly regarded photography awards each year, so if you missed IPA here are a few more you should be aware of

I've submitted my recent work on long exposures of the Canadian Prairies, but also decided to include some recent portraiture work I did as part of the 'Tattoo Project'. Finally, I included 2 of my fine-art black and white nudes for consideration. It sure felt like I needed to make up for years of missed opportunities, so my submission became much bigger than what I had initially anticipated.

I'll keep you updated on any feedback I get. If nothing else, it felt real good to make those submissions and get those pixel 'out of my computer and into the world for everyone to see'.

If you have submitted your work and gotten great feedback and exposure from somewhere not listed above, please feel free to add links in the comment section below.

Thank you!


The Color Moment!

This is strange. I am completely out of my personal comfort zone. Yes, I have actually done some color photography (and even worked up my courage to share it).

My good friend Arthur Meyerson is visiting Vancouver. Brought him up from Texas to do a couple of workshops and a 5 day photographic tour that will take us to the 'real' west coast of Canada, Tofino and the Pacific Rim National Park. Arthur has been up here in Vancouver annually for the past 5 years, teaching workshops, seminars, and photo tours with Vancouver Photo Workshops.

For those of you familiar with Arthur's work, you know he is all about color. In fact, I am not alone beliefing that he is one of the best color Photographers working today. Inspired by his visit I was looking at a few images I shot on my most recent trip to the Canadian Prairies. And then it happened. I decided that I really liked the color that was present in my original photographs.

I always shoot RAW and convert to black and white on the computer. I consider myself as a photographer who 'sees in black and white'. I've been working on refining that vision ever since I picked up my first camera. In the past friends and students have often pointed out that they liked at least some of my images in color, but I myself have never even considered not making the conversion to black and white.

Until today!

So here you go Arthur! Your inspiration has made me produce my first long exposure photographs in color. As you always tell your students, it's good for us to leave our comfort zones and try something new. I couldn't agree more. So here it is!

I am so glad I made this leap. And there may be more images to come.....gotta stay tuned for that. For now, I like these two images posted below. In fact, I like them so much that I decided to include them in a gallery exhibition themed 'The Color of Light', showing at PhotoHaus Gallery until May 13th, 2011.


I had the honour of meeting (and working) with acclaimed NYC Photographer Jay Maisel on numerous occasions. I remember Jay telling his students that for a color photograph to be successful, color has to be the essential ingredients. If the impact of the image would be the same in black and white, then why didn't you shoot it that way? Why did you choose to include color if it doesn't add to the significance of the photograph?

I hope you agree that the color in the above photographs adds to the impact of both scenes. The golden light of the setting sun makes me remember why I decided to wait for 3 hours before taking this shot...

As always I welcome your feedback. Please do let me know what you think.

Oh, and before I leave you today here is a quick snapshot of Arthur Meyerson posing with my wife Xenija in front of my images as displayed at PhotoHaus Gallery.



Long Exposures in the Canadian Prairies

Hello everyone,

I did this photography trip to Saskatchewan and Alberta last Fall. Drove over 4000Km in just 8 days in search of mostly old wooden grain elevators.

I started this series of photographs the summer prior, and finally had the opportunity to return and (almost) finish it.

The following images are a small preview of what will amount to a full exhibition of images.

I used digital capture and an old Polaroid camera loaded with Chocolate Polaroid film to capture these. The images below are samples from the digital capture. I will post some results from the Polaroid camera soon.

Exposure times varied from 10 minutes to up to an hour long.

Have a look at these and let me know what you think. Feedback is always appreciated!



Photo-Du-Jour: Tree on the way to Seattle!


Today, I picked and image I shot a few weeks ago while driving back to Vancouver from Seattle.

The weather that day had been miserable. Non-stop heavy rain made driving at highway speeds rather tiring, so I pulled off the road to stop and have some lunch. The rain suddenly stopped as I was driving up to this scene. Knowing that I will most likely only have a few minutes before the next down-pour would begin, I parked and setup my camera as quick as I could.

Exposure on this image was 181 seconds, and I really like the effect the long exposure had on the tree and its moving branches. It was a windy day, so the branches moved especially the ones furthest away from the trunk. I took 3 shots, before I thought to ask my wife to sit on the piece of driftwood washed up on the beach. This gave a needed element of tension in the composition – and introduced a ‘human element’ that added visual and emotional interest. Others may also call it the ‘counterpoint’ (my Friend Arthur Meyerson speaks about this concept very often).

The image was converted to BW from RAW using Lightroom 3. It was shot on my trusty Nikon D3.

This is another great example of how long exposures can yield very interesting images, as you explore the relationship between moving and non-moving elements within your composition. It’s a matter of delicate balance. If the whole tree had been moving, or if nothing had moved due to absence of wind, in both incidences the resulting image would have been far less successful.

This image always reminds me of the fact that any day can yield a good photograph. Any day. Even if you last expect it. Give it a try sometime.

Happy Shooting – and see you soon!


Photo-Du-Jour: Rocks @Martha's Vineyard 


This is one of the first images posted on this Blog that has been shot using large format film. I used my 4×5 Toyo viewcamera, the film was Fuji Across. I was traveling along the East Coast, on my way to Maine when I stopped at Marha’s Vineyard. A resort-type island getaway, this turned out to be one of the most picturesque locations I visit during my trip (if you had long exposure in mind that is). I spent 3 days on the island, shooting from dusk ’till down. For a small place, there seemed to be photographic opportunities everywhere.

The image above was made just after sunrise. Exposure time was about 20 minutes. Aperture was F11, using 13 stops of ND filters. Don’t quote me on these figures. I recorded all analogue exposre in a small notebook, but gotta’ say that I have gotten real used to having metadata readily available now that we are in teh digital age. Matching up frames with notes was never fun nor an exact science…

The tide came in rather quickly that morning, so once this exposure was finished, it was high time to move my tripod (and myself!). The 53mm ultra-widenagle lens was shifted down to give me the dramatic low angle pespective (the rocks in the foreground were actually fairly small, but the wideangle exagerates their dimensions very well).

The film was hand-processed, and scanned using an Imacon (now Hasselblad) virtual drum scanner. The resulting file is over 600 megabytes in size, printable at almost any size. When quality is your priority, well exposed, processed and scanned film still beats digital capture. this is especially true with long exposures, as film shows no artifacts or noise no matter how long you push your exposure time.

Once scanned, the image was edited in Adobe Photoshop. I’ve experimented with some sepia toning methods, and ended up with the above as the final version. I used an excellent Photoshop action put together by my friend Greg Gorman. You can download the action free from his website. Since my image was black and white already, I was mostly interested in the way it allowed me to apply a realistic looking sepia tone. If you haven’t tried Greg’s action, go ahead and do so today. You won’t regret it.


Long Exposures of German Lighthouses!

Hello everyone,

below are a few images from a recent shoot in Germany. I was visiting my family and friends back in Hamburg.

As most of you will likely understand, a ‘break’ or ‘vacation’ (as it is sometimes called) will ALWAYS include time for photography for me. In fact, I have been known to take ‘vacations’ so that I finally have time for my photography. You could almost call it work, but the difference is that I enjoy every second of it.

My wife already knows that those 5 minutes frequently turn into hours, especially when I am shooting my long exposures (and she is very understanding, at least up to a point).

Here is a small preview of what I have been working on this past photo trips:

I spent some time on an Island called Sylt. Lost of expansive beaches and sand, and, as it turns out, lots of lighthouses, too. This is how I selected this subject, and thought I work on a small series.

I am working digitally here, with my trusty D3 and 18mm prime lens. Shooting wide-angle like this really worked, especially when I was able to capture stormy clouds and all the drama that came with it. On this next image it would have been great to get a bit closer, but all i had was my 18mm. You work with what you have...

Finally, as I was getting ready to escape from the rain that was sure to start any minute, I couldn’t resist taking this last images which is a self portrait. I started the exposure and walked into my own frame to sit there for a few minutes.

I sat on the bench for about 3 minutes (total exposure was about 5 minutes). When I got up and walked over to my camera, it had just started to rain and the wind was blowing in strong gusts. In fact, the gusts were so strong, the tripod was about to be blown over if I hadn't caught it. Way to avoid what could have been a real expensive afternoon...

Let me know what you think – any and all comments are much appreciated!

BTW, I’ll be teaching a Long Exposure Workshops, Level 1 and Level 2, in Vancouver and Calgary this summer. Have a look by cliicking the links. Hope to see you there!


Photo-Du-Jour: New York City Golden Hour!


Another color photograph for your review:

This was shot from the “Top of the Rock”, which is the observation deck on the Rockefeller Center (on the 86th floor I belief). I went up there with my Nikon D3 and 24mm TS lens. This lens does both tilt and shift movements, which is extremely useful for creating images like this. I use this lens most often for architectural work, as the shift allows me to reduce the appearance of converging lines.

Due to the shift capabilities, this lens is also extremely useful for creating panoramas. You don’t actually have to move the camera, just shift the lens to the side and/or up and down.

The image above was shot at twilight at around 5pm. Interesting to know that the sky was heavily overcast and boring grey in appearance, but still the blue color came through in the final photograph. Saturation was increased in post, white balance was set at capture to sunny (which makes the tungsten lights in the office towers glow yellow).

I waited until the lights on the Empire State Building were turned on.

Exposure was 2 minutes, which can be seen by the mostly blurry smoke formation on the right side. I used a 3 stop ND filter and an f-stop of F11 @ISO 200 (which is the optimal ISO on the Nikon D3).

Tripods are strictly prohibited not only on this observation deck but probably on most all around the country. So I brought a Gorilla Pod with me. Incredible trick, as this gets you trough security without a hitch. Sure, it took only minutes until I was questioned while shooting, but after a polite explanation I was allowed to continue. Not that the security officer seemed to understand what I was trying to do – He left shaking his head and thought I was crazy standing out in the cold in the same spot for over an hour per image…

A tripod was not only necessary for the longish exposure time, but also for creating a seamless panorama where the camera does not more between single shots (only the lens shifts). Even if you do not have a shift lens and it still helps to rotate the camera on a tripod rather than handholding it (even when using a fast shutter speed).

The Gorilla pod was a lifesaver in this situation. Sure its not as sturdy as my Gitzo, but it does the job where I cannot bring anything bigger.

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