ENTRE CIELO Y MAR

Taking advantage of my father's visit to Mexico, where I was living at the time, we decided to travel together through Baja California.

I got my Nikonos underwater, with its respective lenses 28 and 35mm. And the Canon 60D, with a 14mm, 50mm, and 100-300mm. 4 expired rolls Fuji, and a lot of expectation of this adventure.

As a lover of the film, while I was on my shoulder with my Nikonos camera, I had to dose my anxiety to photograph absolutely all the sublime things that crossed my mind during the trip. I had only 4 rolls for a month, and very little experience with the Nikonos. What supposed sessions of photos of pure experimentation, in which they were very few near my expectations.

That's why I decided to take advantage of my digital Canon. I used it in most cases for night scenes. More specifically for long exposure.

From before leaving to Baja, I had in my head to use the digital camera for long exposure during the nights of the trip. Photographing those desert landscapes under the light of the night was one of my goals.

I did not have a tripod, which not only generated expectations for me, but also motivated me. Because as a result of that absence, I began to mentalize the photos I was going to be able to take, and the photos I was not going to be able to take.

I decided that this technical limitation, determine and limit my possibilities to make long exposure. It made me have to move even more, since I could not photograph from wherever I wanted. It depended on a stable surface. And then, all the long exposure photos are at ground level. My best tripod at that time.

Surely, that limitation that I thought I had in Mexico City, ended up being the determining factor that in all the nocturnal photos, the sky is the common denominator. All my possible frames involved heaven, always.

During the trip of almost a month, there were two swells. The first one was smooth, but it presented the landscape in activity, and it gave us an idea of how it was going to be presented the following week, for which a swell was predicted twice as big.

Exchanging surf and photo sessions, I was dosing both activities. Not surfing in a sunset to take pictures, while feeding my desire to experiment with the Nikonos, also allowed me to save energy to surf the next sunrise. And so I was flowing with the trip.

While I was photographing from the water, I had restlessness on the surface. That division between the sky and the sea. That place where the magic of the wave happens. Where all the energy of a swell comes in contact with the air, and forms the wall.

As the floor turned out to be my tripod in the long exposure photos, I would say that the surface of the water was also.

Between the sky and the sea, it was the place where I could find space to take these photos.

During the trip, I was not aware of all these associations. Being back in the DF (Mexico City), editing, selecting, and viewing the material, I managed to put together this project. Selecting and elaborating selection criteria.