Practical Philosophies

If you want to put your own creative expression into your photographs then you need to have creative control of the camera. The key to moving beyond the automatic modes and learning more about your equipment is to start with a baseline.

I believe that all photography is art. As with all arts the medium in which it is expressed changes the ability of the artist to express themselves. 120 years ago another photographer named Peter Henry Emerson struggled with the truth about art and photography, and overlooked the beauty of his own work.

Watching the last gasps of light reach across mountain tops inspired me to appreciate the serenity and charm of soft light. Gently gently, even under heavy clouds and grey skies there is joy in that light which lacks contrast.

A photographer has two lives, one out there in the big world taking photos and the other back in the real world trying to do something with them. The life of every individual photograph, however, is defined by what happens long after the shutter has gone silent.

Travel photography is the antithesis of a commercial studio. You have no control over the available light and your models are not the kind of people who sign consent forms. Shooting in the field presents challenges that you may not find in a studio, and hence requires a way of thinking that goes beyond the studio.

The most recurring theme for a travel photographer is to seek to understand something about your subject before you photograph it. The first step is towards understanding is physically getting closer to your subject.

As travellers we have a decision to make, whether we want to take the time to immerse ourselves in new experiences or just tick destinations off a list. Photography is no different.

Landscape photography is a specialisation on its own. A demanding travel schedule puts limits on what you can practically achieve with landscapes, but just one really good image can bring a unique context to your destination set.

The trouble with animals is they keep moving around, sometimes very very fast and often with a knack for blending into their surrounds. It helps to know a little about the wildlife first, but you also need a little extra speed to keep pace. The digital advantage of high ISO at high quality can make all the difference.

One way to improve your photography is to study the work of other photographers. Another way is to study your own. Rummaging through the collected works of master photographers is not an exercise in distilling the essence of someone else's work, but a chance to learn new ways to express yourself.