Suriname's Embrace: The Journey Begins
Suriname’s is on the north east coast of south America, and it is a country full of beautiful nature, kind people and great food. During my trip here, I wanted to of to the lake called Brokopondo reservoir. This is a reservoir that was created by a dam that was build between 1961 and 1964. Normally, when a new reservoir is constructed, trees are cut down in the valley that will be submerged, to prevent complicating water activities. However, in this case the trees were not cut down to save money which in this case creates this very unique looking lake.
To travel there, you need a guide, a car, a boat and sleeping arrangements. Suriname is quite untamed and most of the country is not easily reachable. Once you are outside of Paramaribo you can’t really rely on proper infrastructure. Although, since the new development of logging in parts of Suriname’s dense jungle, some roads were properly done to support the big trucks.
Before we traveled to the Brokopondo reservoir, I was convinced that I would be able to create a unique image whilst out there. Upon arrival that suspicion got confirmed. The vastness of the lake with the amount of partial trees sticking out of the water was breathtaking. However, I also quickly realised that finding what I envisioned the centre piece of the artwork to be in a huge lake was also gonna be more difficult than expected.
Luckily the guide knew the area very well and said he had some photography experience. I always approach this more sceptically than reassuring, because lots of people say this. Although the experience was mainly with drones, at least he had some experience. After launching the boat onto the lake we set off into the vastness on our way to our first camping spot. With the wind in our face and sun high in the sky, we quickly realised, that if we wouldn’t be careful. We would fry alive out here as we were exposed to all the elements. Whilst we flew cross the water I scanned the area for a picture. With the sun too high in the sky and the trees too dense, I was doubtful that I would find something today. I was hoping for a better day with less density in trees tomorrow.
On day 2, I told the guide what I was looking for, he said that on day 3 we will come across a tree that might fit my vision. Even though this was reassuring me that we would find something at least slightly similar, I was a little bit worried that it might not fit my vision and that I might walk away without any photo. Therefore I kept me eyes peeled on the water as I kept searching for opportunities that might fit my vision. Unfortunately none became present on day 2. With the sun slowly setting, I was getting worried that we might not find it at all. We covered already lots of ground since we arrived that it was unlikely that we would find something utterly different the next day.
Upon the rise of the Day 3 arrived and we left our little island and had packed our little camp and started our journey home and along the way I was promised that I would be shown the tree. I felt slightly worried, because how likely would it be to spent 2 days on this lake and not see a single tree that fit my vision and then on the last day find the perfect tree? Additionally, in such an incredible landscape I had shot only 1 photo till this point and knew it was not my best. Therefore my eyes were straining to find at least one good shot. As I was about to accept faith, the captain slowed down the boat and said, that we would be arriving at place he had in mind soon. Little did I know, that the lake would suddenly open up and make space for a single tree that would stand high above the water line with a beautiful shape.
The Chase for Solitude: Why a Single Tree?
The landscape is incredible, lots of little tree stomps sticking out of the water, some cut down for their wood and some still up with all their branches. However, like with any forest, the trees were quite close to each other making the forest dense and too busy. The denseness, made it harder to find a group of stomps that were all still in good shape. Therefore I hoped for a singular tree somewhere that was still in good shape and slightly separated from the rest. This in combination with the water would make it feel otherworldly.
I personally like simplicity and reducing all noise from the main subject. It forces the viewer to focus on the main subject. However, this is often only possible when you can control the elements in the image, in this case I had to rely on the environment to present me a good minimal image.
When the tree presented itself, I already knew I had to centre it in the frame. We had to find an angle where most other trees would be removed from the foreground. Intentionally making the first thing to see be the tree, dead centre. In combination with a simple background, where you see some hills and clouds made the image not too minimal. It gave the image depth.
The Panoramic Frame: A Study in Minimalism and Isolation
Using the Hasselblad XPan was a deliberate choice. I wanted to accentuate the vastness of the lake, this could be achieved by adding width in which nothing would be present. I gives the subject breathing room and allows the viewer to interpret it as wide and vast. I wanted to make sure that the viewer was made aware of the sense of scale. However, with a sole tree and a vast lake there are little reference points. Although, I believe that there is enough present to interpret the vastness of the landscape that is rightfully so communicated with he wide frame of the Hasselblad XPan.
With any other camera, I often don’t necessarily recommend to centre the subject. In the case of the Hasselblad XPan and Fuji TX-1, the centre stage of the subject actually works, because of the width of the frame. Especially when trying to communicate isolation of the subject. In this case the centre stage of the subject allows the isolation of the subject to be amplified as the negative space dwarfs the subject and communicates a sense of scale.
Commitment to Film: The Point of No Return
Film is very expensive and when choosing and loading a roll of film, I intend to shoot it until I finish it. I personally almost see it as a bad habit when I don’t finish a roll of film. This might complicate a lot of stuff in some scenarios, but it requires me to pick my film with reason. In this scenario I hadn’t finished a roll of film yet and this meant for this shoot I was given that the photo would be on Portra 400 film. This isn’t necessarily a bad piece of film, but it is a bit high for a photo at mid day. Even though the ISO was too high to my liking, the extra sensitivity did allow me to go all in and use f22. I really like the quality of the 400 ISO film, but the grain is more noticeable than on the 160 ISO Portra film. IN hindsight I do think it adds to the image, because of the grain that is visually present, it gives the photo more texture as it is lacking many other elements, due to the simplicity of the photo.
I knew I wanted 1 photo of the scene, therefor checked the measured light multiple times, I recomposed multiple times and took a shot. I reached the point of no return as I had taken the shot and could only hope for the best.
Post-Production as Preservation: Color, Dust, and Memory
Once I got the image back I knew I had done the scene justice. After digitising it and converting it, I was happy. However, before I would be done with the image, I had some editing to do. There was loads of dust on the negative, and then had to slightly straighten the image.
Once the image was prepped, I wanted to adjust the colours. Kodak Portra is known for a more red tone and for this image I wanted to have a more blue-ish tone. Due to being restricted to the Kodak Portra film, I knew I had to accept the image to turn out more red-ish than I would have wanted. Therefore I adjusted the colours of the image and finalised it. I believe that “editing" is part of the act of creation, it is the final step in achieving your vision. I wasn’t trying to change the image, but to honor the scene as I saw it. I do truly believe that the slight cooler colours contribute to conveying the environment it was shot in.
The Final Image: A Reflection on Intent
From the first spark of an idea in a faraway country to holding the final image, this journey was one of patience, trust, and persistence. The lake’s vastness, the stubborn search for a single tree, the constraints of film, and the quiet precision of post-production all became part of the story. What began as a vague vision slowly took form, shaped by unpredictable conditions and moments of doubt, until the scene revealed itself in its purest form.
The final photograph is not just a record of what I saw, but a distillation of every decision made along the way. It is proof that in analogue photography, the process is inseparable from the result just like I highlighted in my fav Ilford xp2 image.
We all have moments where an idea feels impossible, yet something keeps us chasing it. Sometimes the environment conspires against us, and sometimes it offers exactly what we need at the last possible moment.
What was your most memorable moment of commitment to a vision in analogue photography, when you knew you couldn’t turn back? Share your story below.
