Having a huge archive of photos is something I enjoyed even before the arrival of Covid19. Revisiting places and moments has always been a great way to spend an evening or two. Although the RAW images are still the same, it often happens…

In late September I spent two weeks exploring northern Norway. Since I had skipped Lofoten (for reasons I'm happy to explain to anyone interested over a beer or two) I HAD to stop by at the equally iconic (but tolerably so) island of Senja.

31st of December. Top-Of and Best-Of lists all over the social webs – you’ve probably seen enough of these. Still, this is the time to look back at the past year and so I thought I’d tell the story of my year with the help of a few shots…

A few days ago I stumbled upon this shot that I had initially started processing but then forgot about. I remember liking the shot a lot, but due to extensive noise I didn't really bother. The noise came from a hot sensor (high temperatures, extended use of live view mode and long exposure) and looked much like what I had to deal with in "A Desert's Sky".

It has not been long since I returned from a short trip to Asturias on the northern coast of Spain. The trip was not focused on photography and the weather did its best to make taking out my camera senseless, but I still managed to bring…

Today, after my last post's visit to Iceland's icy and well-known shores (check out: "Beached Jewel") I'm going to take you to one of South Africa's secluded gems. Hidden away and well protected by a long and bumpy dirt road lies a unique…

In my last post "Last Moments of Light" I tried to explain why I prefer shooting at little known locations far away from civilization. That's right, I do strive for a certain amount of uniqueness and adventure in my images but drawing the conclusion that I wouldn't stop for shooting an icon right next to the main road would be completely wrong.

I don't do black & white conversions very often. It's not that I don't like working in monochrome. I rather think that creating a truly shining b&w image is way harder than working in colour. All possible flaws become far more prominent when you reduce a photograph to it's minimum: contrast and texture.