Fuerteventura Island Photo Essay by Lars Kemnitz

Today, we’re featuring a beautiful b&w photo essay from film photographer Lars Kemnitz. Scroll below to view the images and read more from Lars about visiting the island of Fuerteventura…

Analog cameras and films used: Canon AE-1 (Find at KEH Camera or on eBay) | Ilford Delta 100 (Find on Amazon)

Connect with Lars: Website | Instagram

Fuerteventura

By Lars Kemnitz

Escaping Winter

In recent years, the Canary island of Fuerteventura has become a winter retreat for my family and me each February. When the days at home are short and the lack of sunlight takes its toll, it’s always a relief to see the island’s barren landscape emerge as we approach Puerto del Rosario.

I remember flights that passed over snow-covered roofs in Paris, only to later glide past the peaks of the Moroccan High Atlas. The mood shifts instantly, and as soon as our feet touch the dusty red ground, something changes. Winter disappears, swept away by the constant wind that gives the island its name—Fuerteventura, “strong wind.”

Most days bring deep blue skies, but during a Calima—when Sahara dust is carried to the island—it feels like stepping into a dystopian film. The surreal atmosphere often reminds me of Blade Runner or Dune. I’ve always seen the island as a perfect setting for those kinds of stories. Over the years, I’ve tried to capture this strange beauty through photography—and sometimes with my old 8 mm camera.

A Return to Black-and-White

This time, the weather stayed remarkably fine. I had already decided to work only with black-and-white film. My choice was Ilford Delta 100, for its fine grain and subtle tones.

Originally, I had planned to use Film Ferrania P33 again, as I did for my photo book Mallorca: Off-Season, but it was unavailable. The island’s light can be harsh, so a low ISO film is best.

In the past, I’ve used an ND filter to allow for a wider aperture, but this time I chose not to, favoring greater depth of field and sharpness.

Seeing Through Light and Shadow

When I travel, I love exploring places on foot—looking closely at details, observing how the light falls. Especially with black-and-white film, I find the eye is drawn to different things. Light and shadow shape a scene in new ways.

From our holiday home, we could see a mountain—actually an old volcano crater, worn smooth by thousands of years of wind and weather. In the midday sun, it seemed flat and featureless. But in the evening light, it transformed. Dramatic shadows gave it dimension and presence.

Shooting here means learning how light defines the landscape. That’s why it’s rewarding to stay longer—or return in different seasons. We visited once in summer, and the island felt different again. Still, I prefer the winter light.

A Landscape Like No Other

Fuerteventura is a special place. Some see it as barren or uninspiring—almost desert-like, with no trees, only thorny bushes, sand, and stones in every size. And indeed, not much “happens” here. Away from the resorts, life moves slowly. Large parts of the island are uninhabited.

Many visitors come only for the beaches and don’t explore beyond them. That makes it easy to find yourself completely alone with nature.

Strange Details and Cinematic Moments

Even though I know the island well now, I always find new subjects. My perspective is probably very different from others. I see beauty in the landscape’s strangeness and its odd details.

Many scenes feel cinematic or surreal—like the abandoned boats, caravans, or cars scattered across the terrain. It’s not unusual to see construction projects stalled mid-way, leaving skeletal structures behind.

When new neighborhoods are planned, roads, sidewalks, and streetlights often come first—but sometimes, nothing follows. You’re left with streets to nowhere, lights standing like alien sculptures in fields of dust and stone. I often think of leaving a small item somewhere, just to see if it’s still there years later. Chances are, it would be.

Final Frames—for Now

I enjoy taking my time, choosing each frame carefully. That’s why I often end up with almost no outtakes on a roll. And as much as I admire the island’s colors, I loved stripping them away—focusing instead on light and shadow, on texture and composition. The results this time felt among the strongest I’ve made here.

When the scans arrived from the lab, I fell in love with them. They could well mark a last chapter—we’re planning a break from the island next year. But I’m sure I’ll return to Fuerteventura before too long. As always, I’ll find new angles, new moments to capture—just like every time before.

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