PIOTR JECZEN | PHOTOGRAPHY
Madeira, Portugal, 2026
Vietnam, 2026
Dubai, United Arab Emirates, 2025
Crete, Greece, 2025
Portland Bill, on the Jurassic Coast, UK
Jurassic Coast, UK
wales, UK
about me
Photographer focused on seascapes and architecture, using long exposures and ND filters while traveling and exploring the world to capture calm, timeless, and atmospheric scenes.- - - -Piotr Jeczen is a Polish-born photographer, born in 1979 in Lublin, now based in the United Kingdom. Specialising in black and white seascapes, waterscapes, and architecture, his practice is defined by the slow, meditative discipline of long exposure photography — a technique that transforms restless water and shifting light into something suspended, almost otherworldly.His journey began at the age of sixteen, when a Zenit 12XP camera opened the door to what would become a lifelong obsession. From those first frames on the streets of Lublin's Old Town — where crumbling tenements and worn cobblestones first revealed to him the poetry hidden in decay — photography quietly took hold.
Over the years it grew from a hobby into something far more essential.
The transition to digital came in 2008 with a Nikon D70, followed by a Sigma 10-20mm ultra-wide angle lens that expanded both his field of view and his artistic ambitions. It was around this time that long exposure entered his work — a Hoya NDx400 neutral density filter, still in use today, became the tool through which he learned to bend time within a single frame.Piotr works exclusively with neutral density filters and processes his images from RAW files, applying careful adjustments to levels, contrast, and sharpening before converting to black and white. He deliberately avoids HDR techniques, preferring DRI — Dynamic Range Increase — for its more natural, painterly results.
Today he shoots with a Canon 5D Mark II, paired most often with a Canon EF 35mm f/2 — a lens whose intimacy and sharpness he keeps returning to. Alongside his primary kit, he experiments extensively with vintage M42 mount lenses, drawn to the character, imperfection, and unpredictability that older glass brings to a modern sensor.His work has appeared in magazines and calendars, recognition that continues to fuel his pursuit of craft. Yet for Piotr, equipment remains secondary. "A camera is only a tool," he says — nothing more than a means to seize the beauty of a moment in a single frame. What matters, above all else, is the emotional response a photograph can provoke in the person standing before it.
Recently, alongside his digital practice, he has begun exploring 35mm analogue photography — a return to slowness, grain, and the irreplaceable unpredictability of film.