PermaJet ambassador and award-winning portrait photographer and make-up artist Malou Reedorf grew up with a camera in her hand and is a natural-born storyteller. Here she talks about inspiration, emotion and why printing is so important…
How did you first get into photography?
Photography has always been a part of my life. My whole family are professional photographers, from my mom, dad, brother, my brothers’ father and all the uncles. When I was younger I was in front of the camera and as I got older, I moved behind it. I would help my father in the darkroom and entertain customers when they were in the studio. I participated in all the photography conventions and was the one handing over the trophy for ‘Best photographer of the year’ from the age of five. So, it’s hard to pinpoint when exactly I got into photography. It’s always been there, holding my family together. My grand passion really came when I discovered make-up as a tool for creativity – it was here I started participating in competitions and winning them.
What inspires you?
The world as an adventure inspires me, both the happy sides and the dark. I find beauty in decay and pastel colours, the rough and the natural beauty. I tend to get my inspiration from many places and I try to get as many experiences as possible, good as well as scary. I believe that we as photographers work the same way as philosophers and authors – you have to experience the good and bad things the world contains to make meaningful pictures.
My greatest inspiration comes from my models and locations, especially from the special qualities they possess. I try, however, not to limit myself and make it a challenge to discover new inspirations, such as a song, clothing or a pattern. The world is full of inspirations from the moment you open your eyes to the moment you close them. Sometimes, I find that there’s too much inspiration for an artist to handle!
What do you think makes a good photo?
It needs to tell a story or convey an emotion. It doesn’t have to be the same emotion, however – I’m happy when the viewer sees and feels one thing, even though I see another. I’m old school, so I don’t always appreciate the idea that rules are made to be broken. I very much believe in the rules of photography and how to compose a picture, and I live by that when I function as a competition judge.
What’s your favourite piece of kit for portrait work?
I love to experiment. I love working with one softbox to achieve simple but powerful lighting, and a spot to create heavy shadows and a strong direction of light. When I shoot outside, I usually just use a reflex screen. I also experiment with coloured filters for the light, which can make for some interesting portraits. I almost always use my Nikon D800 with a 105mm lens.
You’re very creative with your post-processing - how big a part does Photoshop play in your work?
Photoshop plays a big role. It gives me the tools to be extra creative and really bring forth the picture I have in my mind. I don’t see it as a ‘manipulation’ of a picture, but rather as a tool for me to realise a beautiful picture. I never put much weight on keeping pictures natural - I find it much more interesting to create a new reality.
What advice do you have for aspiring photographers?
My biggest advice is really to not listen to ‘trolls’, especially when you post something online. Instead, find a photographer that you admire and get some feedback from them instead. Another piece of advice is to keep feeding your creativity and keep exploring new techniques and models. A good way to do this is to become a member of a photography club where you can develop your skills together and go on field trips.
What do you think is important about printing your work?
Printing is everything. In my world, if it’s not printed it only partly exists. You add another dimension when you print your work. You get to add texture by finding the right paper and you get to find the right shade with choosing your ink. There’s so much that gets lost when you only have it on the screen. You don’t spend nearly as much time looking at it, and all the small details get lost. When you print a picture, the image becomes real and tangible, something you can truly admire. You put so much work into making a picture, and it’s not fair to you, the picture or the client or model if the picture only lives in cyberspace. This is why I only print for my clients - if they want digital files, that is ok, so long as they also have a printed version they can appreciate.
Nikon photographer Kirill Umrikhin recently explored a sparsely populated and largely unexplored part of the world - The Commander Islands. Travelling via yacht, Kirill and his team evaded several storms to reach the islands and become the first documented group to kite surf the waters of the Bering Sea. Kirill also saw some amazing wildlife, including beaked whales and orcas, rare seabirds and over a quarter of a million seals…
Why did you choose the Commander Islands for your Special Project?
I was born with a thirst for adventure, so when the opportunity to pursue a dream project came about, I knew I wanted to visit somewhere off the grid that very few people had been to before.
Growing up in Russia, I had heard about the Commander Islands – one of the most unique and unexplored territories of our country. There were three things about this location that interested me most. First was its history – the islands were discovered by Commander Vitus Bering, whose ship wrecked on the uninhabited Bering Island in 1741. In 1825, the Aleut people were transferred to the island by the Russian-America Company to develop the island’s seal trade. Today, approximately 800 people live in the small village of Nikolskoe.
Second, was its wildlife. The islands are a haven for many species of animals, including 350,000 seals, orcas and rare seabirds.
Finally, was the opportunity for action sports – nobody has ever kite surfed here, so it gave me a chance to shoot something no one has captured before.
How much planning did you have to do for a trip such as this?
Finding a remote and unexplored location is great, but it means there is very little information available to help you plan. Whereas some might have been put off, this made me want to visit the Commander Islands even more!
I contacted local travel advisors and the Komandorsky Nature Reserve, who were incredibly helpful in getting as much information as possible for me in advance. I also needed a boat, so was put in touch with a captain based in Kamatcha who had visited the islands four times before. We had a crew of seven in total, all full of excitement (and with similar levels of apprehension) for the journey we were about to make.
What challenges did you face during your trip?
The weather on the Commander Islands is extremely temperamental – you can be enjoying the sunshine one minute and then suddenly you’re facing torrential raining. We had no idea what to expect when we arrived, but we ended up being incredibly lucky. In fact, many of the locals told us it was the best summer they had ever seen.
With the weather somewhat on our side, it was other, perhaps more unexpected challenges that we had to manage. Living conditions were harsh – it was extremely cold on the boat and most of us experienced sea sickness during the trip. Another problem was getting close to the island’s fascinating wildlife. Photographing from a boat can be difficult, as you need to be careful not to damage your equipment while trying to keep the camera as still as possible. Luckily, I had the robust camera line-up of the Nikon D850, Nikon D5 and the new mirrorless Z 7, which made my life a lot easier.
What did you learn from your project?
It sounds like a cliché, but with photography trips like this you have to expect the unexpected. We had limited time on the islands, so the environment dictated what we were able to capture each day.
As a sports and action photographer, what initially attracted me to the Commander Islands was the potential for kite surfing on waters no one had ever surfed before, but it turned into something more than that – a look through the lens at a lost world in which some incredible people and animals call home. Photographing people and wildlife has opened my eyes to a side of photography I had never really focused on before but feel inspired to capture more of in the future.
What equipment did you use throughout your trip?
The Nikon D5, Nikon D850 and the new Z 7 mirrorless system meant that whatever the shot or situation, I had the camera body to match. It’s no surprise that my trusty D5 was perfect for the extreme kite surfing shots – in my opinion, this camera is unbreakable.
The D850’s 45.4MP of image quality was my go-to for the wildlife shots. In fact, I used an underwater camera protector to help me capture the emotions and details of the animals from both above and below the water surface. There isn’t much this camera can’t do.
This was also the first opportunity I had to put the new mirrorless Z 7 system to the test, but the similar ergonomics to DSLRs meant it was intuitive to use. It was also incredibly lightweight and quiet - great when you’re a travelling adventure photographer.
Lens-wise, while I took a mixture of fisheye, zoom and prime lenses, my go-to is always the AF-S Nikkor 400mm f/2.8E FL ED VR - its super-fast f/2.8 aperture means it never lets me down.
What advice would you give to other photographers looking to carry out a similar project?
While preparation is key to success (especially when travelling to remote and potentially dangerous areas of the world), you also need to be flexible. While you may have an idea of how you want things to unfold, when you’re working in such an unknown landscape, nature and wildlife will dictate your trip for you. I’d also advise bringing a diverse range of camera bodies and lenses, so that whatever the setup, you know you have the right combination to capture it in the best way possible.
Anyone who has been inspired by my journey to the Commander Islands can find out more here.
Music photographer Danny Clifford has spent 40 years amassing a unique archive of iconic images of the world’s biggest rock stars. Here he sheds light on the early years of his fascinating career, his most memorable shoots and why printing is his secret weapon…
How did you first get into photographing famous musicians?
I first got my hands on a Kodak Instamatic camera when my grandmother gave me one when I was about 8. Very quickly photography became my passion. I photographed everything that moved. In fact, I photographed anything that didn’t move as well. I spent almost every day taking photos and every night processing my films and printing them. A few years later, when I was about 13 or 14, one of my best friends said he had bought tickets to go to a gig in London. The band in question were called Yes. I swiftly bought a ticket as well and we all headed into London on a bus.
I had my current camera with me - it was a Pentax SP500. We arrived at The Rainbow Theatre, Finsbury Park and I actually hid the body under my shirt and a lens down my trousers. In we went and as soon as the band came on and the lights went down I snuck down to the front and shot as many pictures as I could. That was the start for me. I must say, the photos were pretty awful, but I mastered the exposure beautifully. So, my first attempt was pretty lousy, but well exposed! I then knew what I had to do next time to get better shots.
We hear you were known to sneak backstage - have you ever been asked to leave a venue?
In those early days I couldn’t ever get a photo pass. One problem was that I was a child and still at school. Others being that I wasn’t actually shooting for anyone in particular, no magazines or newspapers. So, each time I would buy a ticket, or in some cases without a ticket and just smuggle myself in with my camera. I often found myself sneaking in backstage and wandering around areas that I really shouldn’t have been.
So, it became quite a common occurrence for me being rather forcibly ejected from backstage areas and front of house areas and literally being thrown out into the street. In my very early days this was a challenge for me each time I went to a gig. I did find it very funny at the time. After some success photographing some rather huge artists, I started to be allowed photo passes and was actually invited to shoot concerts and ended up on tour with many of them.
Who’s your favourite rock star to work with?
It’s so hard for me to figure out which of the artists were my favourites to work with. There were and are so many. For lots of different reasons I can’t pinpoint just one. For example, I had such great times when, in 1978, I became Bob Dylan’s official photographer and toured with him. I also had great times with Queen and The Who, especially Keith Moon who was a great friend of mine. I loved working with Amy Winehouse. I suppose the most fun consistently would have to be Status Quo. It’s all been great fun, barring a few little situations. Favourite rock star to work with? Nearly all of them!
And what’s been your least favourite experience?
I suppose one of my least favourite experiences would have been a moment in a villa, somewhere in Ibiza in the early hours of the morning, with Pete Doherty. It’s a long story, but briefly, I flew to meet up with Pete and his band Babyshambles in Ibiza.
It was all very tense as Kate Moss had got herself into a little bit of trouble with the press a few days before in London. I was with the band at their gig in San Antonio, Ibiza. Then we all left in a minibus and headed off to the exotic Manumission Villa, somewhere on the island. Once we arrived, I was alone with Pete in a lounge area. I knew Pete very well as I had been touring with them for about a year by then. Pete was putting on CDs and getting a little more manic and hyper all of the time.
Then I spotted a CD, Never Mind The Bollocks by the Sex Pistols. Suddenly Pete thought he was Sid Vicious. He turned to me and said, “Put your camera down”. I said “Why?” and he suddenly squared up to me. I carefully put my cameras down, without taking my eyes off him. I said, “Okay, you want a fight then?” He said, “Yes”. I stood and waited, while Pete looked at me.
To be honest, I wouldn’t have been very receptive if he had made a move to start the fight. I suspect he might have well regretted it. Anyway, I lifted the mood a bit and then persuaded Pete to pose for me while we did some portraits. We spent about half an hour taking photos. Suddenly, I could see through the window that the sun was starting to come up. So, I carried on taking photos then decided to get out of the Villa. I walked out and managed to get a lift out of the villa down to the nearest town, where I got a taxi to the airport and caught a flight back to London.
Your most memorable photoshoot?
Now this is a difficult one to answer. There have been so many memorable photo shoots. It could be the first photo shoot with Madness back in 1979 or portrait shoots with Bob Dylan. Shoots with Shane MacGowan and Liam Gallagher in Tokyo were pretty interesting, too. I suppose one of the most memorable would have to be the first time I met and photographed Freddie Mercury in 1976. We had a lovely chat and great photo shoot.
Who do you wish you could’ve photographed but never got the chance to?
There were a few people that I would have loved to have photographed. One would have been Elvis Presley and another would have been John Lennon. I missed John Lennon by about a week. I was living in New York in 1980 and we flew back to London in the beginning of December.
I was going back to NY in the middle of December and among other things, I was going to meet up with John and Yoko for a shoot at their home. I was asleep in the UK on December 8th 1980 when my girlfriend, Lyn (now my wife), called me and said that John Lennon had been murdered in NYC. Like most of the rest of the world, I was stunned and very upset, and after all these years I’m still very upset about it.
Why did you leave it so long to promote/publish your work?
I left it for a very long time to actually start to publish and exhibit my work, mainly because I‘ve just been far too busy. I’m shooting on a daily basis and haven’t had a chance to actually think about it. But, after plenty of pressure from my wife and children, I actually thought now might be the time. Nobody outside of the music business really knows me. I joked recently with a journalist that I feel like the most famous photographer that nobody has heard of.
Do you print your own work?
Yes, we print all of our own images. We like to keep control of the images and we like to make sure that they’re printed in the best possible way.
What’s the secret to a good print?
Well, at last, an easy question to answer! I think it’s reasonably important to have a good quality printer. But, what you print onto is critically important. I use, what I consider to be, the world’s best paper. PermaJet is without doubt the finest I have found and believe me I’ve looked around. I’ve tried and tested most of the paper out there, but the range and quality of PermaJet paper is amazing and that’s the reason why I’ve used their paper for over 15 years.
It’s one thing looking at a photo on a computer screen, online or on a phone, and another looking at a print. We sell lots of photographs worldwide online at www.dannyclifford.com. Photos of Bob Dylan, Pink Floyd, Queen, Eric Clapton, Rolling Stones, Frank Sinatra, Amy Winehouse, Oasis, George Michael, Elton John, Leonard Cohen, James Brown, Status Quo and many more. The print prices range from £200 to £20,000. So, the image and print have to be perfect with no if’s and but’s. When it comes to achieving a stunning print, PermaJet paper is my secret weapon.
Danny Clifford is a world-renowned music photographer and PermaJet ambassador who’s been shooting iconic ‘fly on the wall’ images for over 40 years. Clients include Bob Dylan, The Who, Status Quo, Queen and Eric Clapton. See more of his amazing images here.
An interview with Damian McGillicuddyRead More
Nikon photographer Tomas Sentpetery has been busy exploring the hidden underground worlds beneath some of Europe’s most popular tourist destinations. Step inside his fascinating ‘Look Deeper’ project…
What was your motivations behind the project?
As a travel photographer, I’m always aspiring to adventure into the unknown in search of new experiences. However, as the world gets smaller and travel is far more accessible, it is becoming increasingly difficult to produce unique travel photography. The ‘Look Deeper’ project came about through a collaboration with Nikon Europe to highlight that there are plenty of new discoveries still to be made in popular European travel destinations - if you know where to look! I travelled to five countries, capturing locations both above and below the ground from new perspectives. I wanted my image series to reveal the contrasting worlds that can be found in these locations and to encourage fellow travel photographers to go out and discover hidden worlds everywhere.
What techniques and camera equipment did you use on the shoots?
For the underground shots I used the Nikon D850 combined with three lenses – the AF-S Nikkor 14-24mm f/2.8G ED, the AF-S Nikkor 24-70mm f/2.8G ED and the AF-S Nikkor 20mm f/1.8G ED. The low-light performance and versatility of this kit is exceptional and the D850’s ISO range also meant I was able to capture colour and detail when little natural light was available, while still delivering crisp, sharp images.
When shooting above ground, I chose to shoot with the Nikon D7500 as it is lightweight and easy to carry - something I was really grateful for during long days on my feet. I particularly enjoyed using it with the AF-S DX Nikkor 18-300mm f/3.5-6.3G ED VR because of its focal reach and compactness. However, I also used the AF-S DX Nikkor 10-24mm f/3.5-4.5G ED and AF-S DX Nikkor 16-80mm f/2.8-4E VR as they are both great travel lenses.
The tilting touchscreen monitor on the D7500 allowed me to focus and shoot from any angle. This was particularly useful when shooting St Mary’s Basilica in Krakow. In order to capture the reflection of the basilica in the puddles as well as the basilica itself in one shot, I had to get very low to the ground, so having the tilted screen meant I could be certain I’d found the best position.
What were the biggest challenges you faced during the project and how did you overcome these?
I encountered a number of challenges during the project, both technical and physical. On the technical front, working with limited space and low light were the biggest drawbacks of shooting underground, so I had to be really creative with my lighting and positioning. The use of a tripod and a fast lens was essential when shooting in dark conditions. In confined spaces that didn’t allow for a tripod, the Nikon D850 was excellent at handling low-light situations, so I could go to a high ISO of 4000-5000 and still get really good results, particular when combined with the AF-S Nikkor 20mm f/1.8G ED.
On various locations I used an off-camera flash or two. I also used a headtorch when shooting in the Mail Rail tunnels below London to heighten the eerie atmosphere and create an almost supernatural light. This allowed me to capture striking imagery from, what seemed at first glance, a very plain canvas. Having the right kit was also crucial in enabling me to make the most of the light that was available.
However, for other physical challenges, I had to rely on my stamina and forward planning to ensure I captured the best shots. As a landscape and travel photographer, I am constantly encountering these types of challenges so made sure to draw on my past experiences to anticipate and prepare for every eventuality. Throughout the project, I woke up early to capture the sunrise and then make sure I was positioned correctly for sunset to maximise the optimal light conditions. I found using an app to make sure I knew the correct local times for sunrise and sunset was invaluable.
Having plenty of food and water to hand was key to keeping up my energy when walking between multiple shoot locations. I’d be on my feet all day at several destinations from sunrise to sunset which was very tiring! Waiting for the perfect weather conditions to clear to allow me to capture the perfect shots was both emotionally and physically testing. Unfortunately, the weather isn’t something anyone can control and can be incredibly frustrating when it’s not playing ball. A lot of patience and perseverance was crucial.
What were the main highlights from the project?
The Wieliczka Salt Mines, which were continuously mined from the 13th century until 2007, were an absolute highlight for me. I loved the look and atmosphere of the interior and the feeling of walking through hundreds of years of history - the best way to describe it is like an underground town. The grand rooms and strange statues carved out of the salt rock create a magical quality, which you can’t quite believe was created from human hands. Out of all the places I visited during the project, it had the biggest impact on me and looks incredible in photos.
The Barrio de Cuevas (or the Neighbourhood of Caves) in Guadix in Spain also had a profound effect on me, especially meeting the people who still make the caves their homes to this day. Above ground, I would have to say Amalfi was my favourite location. You can’t help but be drawn in by its stunning beauty. I even revisited it because I loved it so much.
What has working on this project taught you and how can other travel photographers learn from your experience?
The main takeaway from this project for me is not to overlook what lies under the surface. Often these places offer the most to discover. The project has certainly encouraged me to continue to discover the hidden depths of popular tourist destinations and explore the unique perspective that the contrast between the above and subterranean worlds can provide.
I hope the image series will encourage travel photographers to think differently about how they can photograph typical travel destinations. Anyone who has been inspired by my journey can find out more info on the ‘Look Deeper’ webpage here.
Tomas Sentpetery is a Slovakian-born, London-based wedding and portrait photographer with a penchant for travel and adventure. See more of his work here.
Fujifilm ambassador and professional landscape photographer Chris Upton talks to us about his favourite locations, the picture-taking process and photographic heroes…
Why choose landscapes?
In my youth I spent a lot of time walking in the Peak District and Lake District. They’re beautiful parts of the world and I guess I wanted to try and record those wonderful experiences. One particular occasion comes to mind when I was at Watendlath in the Lake District. It was a cold autumn day and I was shooting the farmhouse from across the tarn. The fells rose dramatically behind the farm as wisps of wood smoke appeared from the chimney. My black & white print captured not only what I’d seen but also what I was feeling and I realised then that this was the key to successful landscape photography.
What are the key ingredients to a stunning landscape?
The most important ingredient is light. The best light is usually around sunrise and sunset and shooting at these times can make a massive difference to your images without it costing you a penny. Interesting weather can also provide perfect conditions for capturing stunning images. So, the next time you see a forecast for mist, fog, snow or even rain, get out there with your camera – just make sure you protect it from the elements!
Carefully crafted composition is also key. Be clear on what you’re trying to communicate - where do you want the viewer to look? Is there a focal point? Ensure that your shot has depth by having a clear foreground, midground and background. Decide on the proportion of sky to land (or sea) depending on the conditions.
Simplify your landscapes by excluding anything that detracts from your main message and crop your images in post-processing to add impact. Adding movement into a landscape with water, clouds, trees or grasses blowing in the wind brings some dynamism and creativity to a picture. Use different shutter speeds to vary the effect. And don’t limit yourself to only using a wide-angle lens in the landscape - a 70-200mm focal length is a superb tool for isolating detail or compressing perspective.
Finally, don’t forget your tripod. They’re critical in not only ensuring shake-free images (just remember to turn your image stabilisation off) but also help massively in slowing you down enabling the fine-tuning of your composition.
Where are your favourite places to shoot in the UK?
We’re blessed with so many beautiful locations in this country but I guess my favourite has to be the Lake District. It has everything from dramatic mountains to wooded valleys and beautiful tarns, all in a relatively small area and easily accessible.
While Scotland has all the majesty, drama and incredible beauty I’d also have to say the Peak District because it’s fairly local to me. I initially found it harder to shoot here because images don’t always present themselves and you have to search more for compositions. But whether it be the harsh gritstone in the north or the gentle rolling limestone dales in the south it’s a great place to shoot.
It’s easy to be seduced by the magnificent landscapes in our National Parks but don’t forget your local area. It’s really important to know of good locations that you can visit quickly when the conditions are right, be that your local park, canal, river or countryside.
Do you have a favourite shot of your own?
One of my favourite images was shot in the Peak District just a few weeks ago. The weather forecast looked promising for a great sunrise and, full of optimism, I drove into Derbyshire only to find myself in thick fog. I arrived in the dark and climbed up the hill, still in thick mist. I waited and waited, it got lighter, the sun rose (apparently), but still there was very little visibility. But then the mist started to clear slightly and I was presented with an inversion in the valley with the peak of Parkhouse Hill poking through the mist. It was an absolutely glorious morning that made getting up at 4.30am well worthwhile.
What’s the best landscape photography advice you’ve ever been given?
Photography is all about emotion, whatever the genre, and the trick is to try and capture that emotion in your image. When we’re out in the landscape our senses are heightened and it’s important to take a moment to imbibe the atmosphere, to appreciate the scene for what it is. That feeling can be communicated in the picture through composition, exposure and movement. The saying, ‘Shoot what you feel, not what you see’ is so important in landscape photography.
Do you have any landscape photography heroes?
There are lots of landscape photographers I admire, some famous, some not, and it’s really important to look at the work of other photographers, not to copy but to draw inspiration. A few of the more well-known would be Charlie Waite, Joe Cornish, David Noton, Art Wolfe and Elia Locardi.
You run tours and workshops – what question are you asked the most?
The one question that comes up all the time, apart from what gear do you use, is ‘How do you see a picture?’ Many struggle with this as it’s a non-technical question and the one thing your camera can’t do for you.
Vision is the difference between taking pictures and making a photograph. The good news is that you can learn to develop your photographic eye. We start the process in the field by talking about what caught our eye - was it light, shade, pattern, shape or colour? We talk about how we feel and then run through various compositional tips to emphasise those key elements while eliminating anything which detracts from the main message.
The more we do this the more natural it becomes, but seeing is a skill and like any skill it gets easier the more you practice. It was Dorothea Lange who said, ‘A camera is a tool for learning how to see without a camera’.
How do you approach the picture-taking process?
The start point for me is always to be clear on the message I’m trying to communicate. Am I telling a bigger story using a wider view or a more intimate one with tighter framing? I then concentrate on the composition and move around handholding my camera to find the optimum position before setting up the tripod. I’ll look for ways to lead the viewer to the main subject and check for balance within the composition, especially the relationship between the land or sea and the sky. A foreground can really help in a landscape photograph so long as it’s interesting and adds something to the image. Is the image better suited to a landscape or portrait format? How high or low do I need to be? Is there anything cutting through the horizon? Then I check around the frame edges to see if there are any distractions such as highlights or objects cut in half.
The next stage is to determine the depth-of-field I require, selecting the appropriate aperture and focus point. I consider whether I need to freeze or blur moving objects and then I decide what, if any, filtration is required before checking my exposure by using the histogram and releasing the shutter using the 2-second timer or cable release. Finally, I review and refine the settings if required.
What are your landscape photography gear requirements?
The choice of gear for landscape photography is a personal one that depends on budget and your preferred style of shooting. I’ve achieved great results using a Fujifilm X100F with its fixed 23mm (35mm equivalent) lens as well as using a much bigger selection of gear. However, for many, the kit will include a body, wide-angle, standard and telephoto zoom lenses. Robust construction and weather resistance are also critical factors and perhaps the biggest consideration will be weight depending on how far you’ll need to carry your gear. Filters, batteries, cable release and, of course, a sturdy tripod complete the kit list.
Chris’ favourite gear for stunning landscapes - we asked Chris to choose the camera and lenses he favours for shooting his scenic masterpieces…
Camera: Fujifilm X-T3
My favourite camera is my Fujifilm X-T3. I love the compact style and design, the lighter weight and build quality. But it’s the intuitive, user-friendly interface that makes these cameras such a joy to use with all the main features and controls available on the outside of the camera without the need to dive into menus. All of that means nothing if the image quality doesn’t match up, but with Fujifilm there’s a beautiful, filmic feel to the images producing stunning results whether you’re shooting RAW or JPEGs. Find out more here.
Lens: Fujifilm XF16-55mm f/2.8 R LM WR
My workhorse lens is my Fujifilm 16-55mm (24-70mm equivalent). This lens is so fast with its constant f/2.8 aperture, sharp throughout and delivers excellent contrast and colour. It’s not the lightest or smallest lens, nor is it the cheapest, but the weather sealing is very useful for landscape photography and the image quality is simply stunning. Find out more here.
Lens: Fujifilm XF 50-140mm f/2.8 R LM OIS WR
The other ‘red badge’ lens that I own is the Fujifilm XF 50-140mm. With its 70-200mm equivalent focal length, it’s perfect for pulling in detail and compressing perspective. The lens is also weather resistant, has image stabilisation and delivers superb image quality. Find out more here.
Chris Upton is an award-winning travel and landscape photographer, and a Fujifilm X Series ambassador. He lectures, runs photography tours and offers 1-2-1 tuition. See more of Chris’ landscape work here.
Fotospeed photographer Doug Chinnery talks us through his journey from traditional landscape photography to ICM and multiple exposure, as well as his advice for experimenting with abstract imagery and the importance of seeing your image in print.
On the early days and those first steps into abstract…
I started young thanks to my parents. I was given one of those Bakelite Kodak Brownies as a youngster – around 7 or 8. Then when I was about 12 years old my stepdad gave me a twin lens reflex Russian Rolleiflex rip-off camera called a Lubitel. He taught me all about apertures, shutter speeds, and the fundamentals of photography with that camera. From then on, I never looked back. I went from the early days taking snaps, through to becoming a more ‘serious’ landscape photographer where I built a reputation.
Like most photographers, I have made a journey with my photography. I think some move a certain distance down a path, soon find a point they are comfortable with and settle there. I found that I was constantly restless and always searching for other ways to express myself creatively. This feeling lasted for decades. Then I came across the work of Chris Friel and his images changed my whole perception of what a camera could do. Since then I have been on a totally different course, seeing my work become gradually more abstract and informed by artists more than photographers. My work is now almost entirely abstract and I feel I have found what I have been searching for all of my life.
On not restricting yourself in the name of creativity…
I purposefully don’t label myself because I want people to see in my images whatever they want to see. I think this is one of the important things about abstract work – it leaves so much space for the mind to wander, to write its own stories. Certainly, the majority of my images are made in the landscape, but there is often no sense of perspective or scale, nor are there recognisable features. I think it would take a huge stretch of the imagination to see my work now as ‘landscape’. I am more interested in shapes, form, colour, contrast, patterns… in stimulating the mind and creating places for the imagination to run free.
On finding inspiration…
I’m always looking for new locations, but I’m equally excited to return to familiar places. I can make images almost anywhere, in almost any light and weather… I decry this need some seem to have for golden hours and certain seasons. I work with details so it’s easy for me to exclude that which might cause others issues. I can work in scrap yards, on industrial estates, in charming French villages, on a remote beach, scruffy areas of wasteland, in vibrant cities, hidden woodlands, and summer meadows or in my kitchen. I see images everywhere I go. I feel very blessed in this.
On looking for something that is not necessarily there…
Sometimes I see the full potential of the location before I begin. Sometimes, with multiple-exposure images, I sense there’s potential but I have to experiment with the camera, often for 30 minutes or more, and see what happens. Sometimes I get something I think is working and then it needs finishing off on the computer and it’s not until I get back to the studio that I know if I really have something. Often, I go out and work and come back with nothing. Above all else, I tend to look for colour and try to capture colours that inspire me – often accompanied by beautiful light or strong shapes.
On his advice for experimenting with the abstract…
I think the most important thing is to let go. Don’t be constrained by the ‘rules’ of classic photography that are imposed upon us by the photography police. Forget it all. Be prepared to do whatever you want to make images work. Move the camera, keep it still. Forget the rule-of-thirds, or use it. Do whatever you want. And look at art for inspiration. Go to the abstract impressionists, for example. See how they used shapes, colours and textures. They were rule breakers and created some astounding works that shook up the art world. Pinterest is a great website for searching for art and inspiration.
On the biggest lesson he’s learnt during his career…
I have learnt that to make good work is hard work. Don’t expect to go on a couple of workshops with a photographer you admire and then just be able to make images like them. They will have worked and worked and worked – for years and years – to do what they do. So many photographers focus on gear and technique. They need to get over this. Yes, we do need to know our gear (and have gear that can do what we need it to do) and we need to know some techniques, but these are the least important things. The most important thing is to go out with the camera and make images. To fail and fail and fail. And not give up. Then go out and fail again. Forge your own creative path – we all have a creative ability inside us. Cultivate it and gradually your work will show what is inside and will be unique. It is so exciting to gradually see your own creative path emerging.
On getting the most from your images…
I tend to shoot in small sets with the aim of producing a collection to go on my website – ideally, I’m looking to produce a minimum of five images from a location that sit well together and ideally about nine, maybe 12 on a very good day. I’m a very selective editor so try and keep my Lightroom catalogue as trim as possible. I also usually don’t process my images for several weeks, or sometimes months, after shooting. This allows me to be more objective in how good they actually are.
On the significance of print…
I like to say that art needs an artefact, something physical. To think that something beautiful is just ones and zeros on a hard drive is really quite sad, especially when you see just how beautiful they are printed on fine art papers. To me, an image isn’t finished until it’s printed. To hold something tangible in your hands that you shot in the field with care, then lovingly processed and prepared for print, is a magical thing.
On having a paper designed for his work…
I was so privileged to be able to work along with the technical guys at Fotospeed and have a paper designed to my own specification. I think for all photographers it is a real dream. It took quite some time and they were very patient with me as we fine-tuned the specification but the result, Cotton Etching 305, is just about the perfect paper. It’s heavyweight, the base is white, and it has a high cotton content but it’s made in such a way that it doesn’t shed the cotton fibres. I also wanted a matt paper which was capable of producing deep, rich blacks. Valda Bailey and I have our own print service for photographers and artists on our website and we now use Cotton Etching 305 almost exclusively for most of our clients’ prints.
What is the landscape photographer’s role in climate change? How can images help us to reconnect with our world? Fotospeed photographer Joe Cornish talks about the perceptions and realities of landscape photography.
On creating images that reflect the realities of the landscape…
I studied fine art at Reading University back in the 1970s. We were encouraged to use photography to record our work (painting, drawing, sculpture, alternative media), but the moment I started looking through a film SLR it felt like much more than simply recording things. Once I figured out how to process film properly, I knew it was what I wanted to do.
The personal statement for my Finals show focused on the energy in nature through pattern, gesture and symbols. Nearly 40 years later these preoccupations remain, and have developed to embrace the cycles of life and death, flowering and decay. I’m also concerned with human domination of the earth’s environment, seeking out wilderness which remain free of it, as well as landscapes which epitomise this domination.
I intend to make photographs that are immersive, that feel physically connected to the light, textures, colours and tones that we experience in the real world. My motivation to make pictures this way is because I see photography as a search for beauty and meaning based in the experience of real life.
On which landscapes are important to him in demonstrating the coexistence of man and nature…
I can genuinely find interest in all landscapes - even ugly ones - but the most important to me are the wilder places close to home. Absolute wilderness is my benchmark of what is beautiful and real, and so the wild margins that prevail in the north of England and elsewhere in the UK are a reminder that nature can still redeem things once rampant exploitation recedes. These places give me hope that wild nature inevitably adapts and returns, however grim the circumstances. The wildlife reserves that now occupy abandoned industrial wastelands at Teesside, close to where I live, are an example of this. I find inspiration in the contrast that can exist between an abundance of self-seeded wildflowers in the foreground and an industrial or urban backdrop.
On the paradox of an indifferent universe and our dependence on the earth…
The landscape is fundamentally indifferent to us, and it helps to learn a certain reciprocal detachment when studying it. This indifference forces us to be philosophical, to accept our impotence in shaping events. Perhaps counter-intuitively a detached, analytical approach allows us to be more effective as artists. This might seem at odds with living in a culture where our emotional response to everything is emphasised above all else.
Yet if landscape is the earth, air and water that’s all around us, we are utterly dependent on it. Perhaps because it usually appears passive we have yet to really accept just how dependent we are on its balance and cycles. In my lifetime as a landscape photographer there have been notable changes in the weather, and these weather patterns reflect a warming climate that could ultimately prove catastrophic if human societies fail to change course.
On the relationship between the landscape, the digital world, and print…
The physicality of the print appeals to human instinct – to our need to touch and hold. While an on-screen image has utility, the print has more permanent meaning and represents a moment in the creative process, a commitment to the image and the way it looks. Its permanence gives it an additional value and beauty that an on-screen image can never have.
Photography’s illusory connection to real life is its strength, but also a problem; the relationship between the landscape and the image must be understood as incomplete and (metaphorically speaking) highly filtered. The photograph is not the landscape, it is simply a considered, selective and partial representation of it. My pictures inevitably reflect my prejudices, preferences and aesthetic judgement. The print is likely to tell the sophisticated viewer as much about the photographer as it does about the landscape. The camera may be a machine, but with a RAW file as the ‘score’, the photographer is undoubtedly still a very human, and therefore subjective, ‘performer’.
On balancing the contradictions of being a landscape photographer…
As someone who has done more than their fair share of travelling, my carbon footprint is heavy and I feel ashamed of my transparent hypocrisy; but without travelling, how do we bear witness? In addition to the climate crisis, I see all too much evidence of another diabolical by-product of our civilisation - plastic waste accumulating in the high tide line. It seems we are now waking up to the disastrous consequences of this type of pollution, and here at least there is scope for optimism, thanks to awareness raised by the BBC’s Blue Planet II, and many environmental campaigners. However depressing is the news on the environment, the resilience of nature and its ability to return with abundance each spring is inspiring.
On how photography can help appreciation of the environment…
Photography is a medium which encourages me to go outside, to walk, see and engage with our world. It can be a positive, therapeutic pursuit for those whose lives have become too inward-looking, because it does the opposite.
Photography has already played a key role in both scientific understanding and an aesthetic appreciation of the world, and a political one too when used in campaigns to protect cherished landscapes from industrialisation. Wildlife photographers would no doubt point to the enormous inspiration and advocacy that great wildlife photography has given, especially in recent decades.
On creating meaningful landscape images…
What makes a photograph timeless and meaningful is often the result of a passion for a theme that has encouraged the photographer to go further and deeper into nuances of interpretation. Admittedly, luck and circumstance play a role in photography, but the lucky photographer is usually the one who has worked that bit harder, spent a bit longer, researched a bit more than the rest of us. Like beauty, perhaps meaning is in the eye of the beholder, so what is symbolic, powerful and significant to one person is shallow and pretentious to another. But there seems little doubt that the relatively few who are able to consistently produce genuinely meaningful work have a burning commitment, especially to their photography, and expressing their world, intellectually and emotionally.
So, improving your landscape photography is, in a practical sense, mostly a matter of devoting more time to its study. In this context, no time spent outside with a camera is wasted time - it should feel valuable to be there, whether or not it’s a successful session photographically (and in my case it often isn’t!). Without a true appreciation for nature it’s hard to find the willpower to stick with the time-consuming task of being in the landscape.
In summary, the landscape photographer seeking to make meaningful landscape images probably needs to spend more time practicing their photography; to engage their minds and hearts totally in what they are doing; to be tireless in their research; and to have a deep philosophical and emotional commitment to this great theme.
And did I say they should spend more time in the landscape practicing their photography?
Joe Cornish has been a professional photographer since 1983, living in North Yorkshire since 1993. He is an honorary Fellow of the Royal Photographic Society, currently Chair of its Fellowship Board, and a Fotospeed Signature Photographer. You can find out more about Joe’s Signature paper, Platinum Cotton 305, here.
Vincent Peal is clearly a man who is deeply moved by the plight of outsiders. His portfolio includes photos of the homeless, drug addicts, transgender women, the disabled and protestors, and each image has been taken with the upmost care and respect. If his images could be ever considered sensationalist, that is solely due to the nature of who he photographs.
With the refugee crisis once again in the news, Louise Carey sits down with Vincent to discuss both his images of the Calais jungle and his thoughts on this political hot potato...
How would you describe your work to someone that’s never seen it before?
Wherever I go, I want my work to bear witness to what I’ve seen. I went to the Calais jungle as I wanted to see exactly what was going on for myself. The press came to Calais at first, to see what was happening, but after a few days they left and just stopped covering it. The French newspapers said that everything was very calm and that nothing was happening. However, when I arrived I saw just how terrible it was – it was 2 hours away from my home and it was absolute war. There was burning and rioting, but the press just wasn’t reporting it. I knew that I wanted to document it all in order to show the reality of life for the refugees living in Calais at the time. It was incredibly difficult to see everything that was going on, but I’m a photographer – documenting these atrocities is my job.
What do you want to achieve with your photographs?
I want to be able to open people’s minds. The sad reality of the world is that terrible things happen to people every single day. But I want to be able to show people that helping marginalised people is worthwhile. They may live differently, but they’re interesting and beautiful. Everything looks the same here – the cars, the people and the fashion. But the refugees are people from a different culture, with new ideas and experiences that we can learn from. I think we just need to be more open in general.
What are your thoughts on refugees coming to Europe?
It almost feels like an impossible situation. In my home country of Belgium I saw a TV report talking about people’s attitudes to refugees versus our own native homeless population. For some reason, I think people tend to be more giving towards the refugees, but our homeless need support too. I would like to help everyone, but it’s difficult. Can we accept everybody? I would like to, but can we actually do it? I don’t know.
When you’re shooting situations like the Calais jungle do you ever feel ethically compromised?
Yes. Sometimes when you’re a photographer you feel like you’re a peeping Tom. But this is my work, and I want to show real life. In WWII, there were a lot of Jewish people in the camps in Germany. But there were also a lot of journalists documenting it and showing what was happening. I feel that when I took these pictures I was showing that the Calais Jungle exists. The French press didn’t report it, so it was like they were denying its existence – just like some people try to say the Holocaust didn’t happen. But we have pictures from these journalists that prove that it did take place.
Has anyone ever asked you not to take their photo?
Of course. I do sometimes get people saying that they don’t want their photo taken. However, if that happens then I just say ‘Ok, no problem’, because I respect their wishes. Sometimes I’ll ask someone if I can take their picture, but if they say no then it’s not a problem for me.
What is the most difficult image you’ve ever taken?
One day I was at home with my girlfriend and we were at the window smoking a cigarette. Suddenly she screamed, and I turned my head to see a guy standing naked on top of the roof of the house opposite. He stepped off the roof and fell to the ground. He’d committed suicide because he wasn’t able to pay his rent, he didn’t have the right papers to stay in Belgium and he was completely alone. For almost two weeks afterwards the sound of the body hitting the ground was in my head. On that evening, I decided to go down and take a picture because I wanted to show that even in Belgium people are sad and disappointed, and suicide becomes an option for them.
That must have been very hard to see - why did you take that photo?
Taking the picture helped me to work through the trauma of what I’d witnessed. A lot of people are surprised that I did so, but I always say ‘Yes, why not?’. We know that there are problems like this in Brussels, and I feel that it’s my job to take pictures to show the world that these issues exist, even though doing so is difficult. I always try to talk to the people living on the street, to the people in Calais, and ask them what’s happening with them and where they come from. I like talking to people with different experiences, and feel that it’s very important for opening my mind.
Do you have any advice for documentary photographers who are just starting out?
Don’t think too much about the technical side of photography. Keep going and try to get close to who you’re photographing. I often work with a small camera, because that requires me to interact with my subject. Love and respect the people you want to take pictures of, because they feel it, and that’s how you’ll get amazing shots.
Vincent Peal is an award-winning documentary photographer who has captured hard-hitting images in locations such as New York, Paris and Berlin. See more of his work here.
Passionate about capturing all of the intricate details that nature crafts so beautifully, Alberto Ghizzi Panizza is an international award-winning photographer and a member of the Nikon School. We caught up with him to discover how he captures such amazing macro images...
How did you first get into photography?
I started to take pictures when I was a child. My father was an amateur photographer and he bought me my first film camera. However, my real passion developed when I purchased my first digital camera in 1998. It only had 0.06 megapixels but it meant I could take pictures of everything I wanted to without worrying about the developing costs. After years of using compact cameras, for example the Nikon Coolpix 990, I finally invested in my first digital reflex in 2004 – a Nikon D100. It was love at first sight, and from this point, I have been lucky enough to turn my passion into a career.
What made you interested in capturing close-ups of insects?
Throughout my 20 years as a photographer, I’ve embraced all forms of the art, from weddings and wildlife to landscape and astrophotography. However, macro photography is my true passion. I have always been fascinated in nature and the world around me. In fact, one of my favourite hobbies is heading down to the meadows at dawn, as at this time of day, the fields are alive with interesting subjects to snap; from dew drops through to unusual little insects. I find macro photography offers me the opportunity to showcase extraordinary levels of detail the naked eye just can’t see – a hidden world waiting to be discovered.
What equipment do you use for your macro shots?
There are a lot of equipment combinations you can use for macro pictures. Body-wise, the new Nikon D850 is a game-changer. Its resolution and speed are like nothing I’ve ever experienced before. Plus, as the first Nikon camera that can take focus shift images without any mechanical movements, it’s perfect for macro photographers where every little movement and vibration is a potential problem.
Having used them for over 12 years, I’m a huge fan of Nikon’s Micro lenses. While their precise and long focusing ring allows you to easily concentrate on the subject, each lens has its own unique way of working. Favourites include the AF-S DX Micro 40mm f/2.8G, AF-S VR Micro 105mm f/2.8G IF-ED, AF-S Micro 60mm f/2.8 G ED and the AF-S DX Micro 85mm f/3.5G ED VR.
What’s a typical insect macro shoot like?
Macro photography requires plenty of patience and attempts before that perfect picture can happen. There are lots of factors you need to consider if you want an extremely sharp and detailed image, especially when shooting a moving subject like an insect. To combat vibrations which can cause your images to blur, you need a trusty tripod, and depending on which camera you use, you may need to use a cable release or remote controller to manage those vibrations caused by clicking the release button.
You also need the support of good macro lenses that will help you take a picture without going too close to the subject and disturbing it.
How do you find suitable locations?
It takes lots of research to know where and when certain insects will be visible, but I find the best time to go out is at dawn on a cloudy and fresh day where there is minimal wind. Insects are cold and numb from the night so in the early morning, it’s easy to find them resting on a flower or a shrub. In wet lands we can also find them covered in dew drops as they wait to dry themselves before the day begins. At sunrise and in the following minutes, the light is warm and well diffused, which offers the perfect moment to take pictures.
What’s the best shot you’ve ever taken?
Funnily, some of my favourite pictures are ones I took very close to my home in Parma, Italy, despite having travelled several countries of the world. There are two images that mean a lot to me. One is called 'Take my Hand' where two small damselflies seem to hold each other’s hand. This picture has become one of my most recognised. The second is titled “daisy reflections”, where dew drops on a blade of grass reflect a daisy in the background. This was my first successful photo trying out this technique, and I have used it many times since, including in a recent Nikon project called ‘The Beauty of Rust’, which explored the hidden wonders of rust up-close.
What’s your favourite story from your time photographing wildlife?
This has to be in Manitoba, Canada, where I captured an image of a polar bear which looks like he is praying. I was tens of meters away from him when I took the picture, lying on the ground with my Nikon to try and get a more impactful image. The bear woke up and looked me in the eye. At that moment, I felt the blood freezing through my veins, snapped lots of pictures and quickly got back in the car (in fear of my life!). The bear seems to be praying, but I believe he is rubbing his hands admiring the beautiful prey in front of him... me.
Focusing on macro, one image I had always wanted to capture was one of my beloved damselfly with drops of dew on its head. I tried for years, but the images never turned out right. Two years ago, I finally managed to create one I was pretty pleased with, but this year, thanks to the speed of the D850 and its automatic staking focus, I managed to capture several, including one of a pair of damselflies side by side with a drop of dew between their heads. A very interesting picture that I had never been able to capture before. I hope to snap many more in the future!
What would be your typical settings for a macro insect photo?
Settings tend to vary depending on what lens you use. Longer lenses, like the AF Micro 200mm f/4D IF-ED, have a greater working distance with the subject, whereas with shorter lenses, such as the AF-S DX Micro 40mm f/2.8G, you need to be closer. Assessing this distance to capture an image at an effective reproduction ratio is key.
When taking pictures of moving creatures with a single shot, it’s important to ensure the sensor of the camera is parallel with the subject to get it all in focus. This can be difficult when capturing very small, multidimensional objects, so I would suggest focus stacking. This technique involves taking a progression or sequence of shots from the nearest to the farthest point of the subject and then blending them together in post-production to create a crisp result.
What’s your favourite piece of gear?
Alongside the Nikon D850, Nikon D810 and Micro lenses, I find that extension tubes are key if you want to increase the magnification capabilities of your macro lens, especially to go beyond the limit of the 1:1 reproduction ratio. Another useful accessory is a macro flash, such as the R1C1 kit, which allows you to freeze the moment with a very balanced light.
Do you have any tips for budding macro photographers?
To take successful macro images, a good knowledge of your equipment and how it works is essential. Understanding the depth of field and how aperture, focal length and focus work in tandem is the first important thing to master.
I would also encourage all budding macro photographers to get out there and experiment. Explore an area at dawn where you know there will be interesting insects or beautiful flowers you can capture. It’s an old age saying, but practice really does make perfect.
Alberto Ghizzi Panizza is an Italian photographer specialising in wildlife and landscapes. His clients include The Discovery Channel, Men's Health and Panorama. See more of his work here.
Often caught roaming around city suburbs to catch glimpses of urban wildlife, Sam Hobson is an award-winning conservation photographer. We caught up with him to discover more about his unconventional work capturing shots of UK wildlife...
How did you get into wildlife photography?
My first venture into wildlife photography wasn’t exactly conventional. I grew up in a busy city and had a passion for wildlife and the outdoors from an early age, but unfortunately I didn’t have much in the way of disposable income, or access to any decent camera kit. I didn’t want to let that stop me though, so I did as much as possible to learn about photography and how to get close to the animals in my neighbourhood.
Once I got my first camera (a hand-me-down Nikon SLR with a 20mm lens) I developed my knowledge of field-craft and my local environment. This allowed me to experiment with a different style of wildlife photography, which was getting close and personal without using long lenses. These early lessons helped me develop a style that has stayed with me ever since.
What made you interested in photographing urban foxes?
When I started working professionally, I was very much focused on developing the story behind each project and image. I had plans to explore an idea on the UK’s perception and relationship with foxes but I became weighed down in research. I eventually decided to put off beginning the project until my ideas were more solid.
Then I stumbled across a location in Bristol. For once, I decided to forget about the story and just take photos for fun, not getting too bogged down on where the image could lead and who might want to buy it. This was when my interest in photographing foxes really grew. It made me realise that with wildlife photography, you have to be an opportunist and shoot when the moment presents itself. Just like that, urban foxes became my magnum opus.
Can you explain the process behind photographing the foxes at night?
Don’t be a bull in a china shop. Don’t go in to a shoot with big lenses and bright flashes chasing foxes all over the place, because they’ll disappear and then know to avoid you next time. Instead, observe and think of them as individuals. You’ll soon work out which foxes are bolder than others and who might make good subjects.
After you’ve found a location, spend the first few visits letting the foxes get to know you. Once they become accustomed to you, you can then introduce the camera. This can take a day or even a week (it depends on the animals), but it’s really important to establish that connection first.
Once you find a fox happy to be photographed, consider using a mid-length zoom lens like the 70-200mm f/2.8E FL ED VR. In urban locations, there’s often enough ambient light to photograph at night, even with a full-frame, hand-held camera like the Nikon D750, paired with a lens like this which has a quick burst mode. Know your equipment and push it to its limits, using the highest ISO that will still produce a high quality image.
Another technique is to use a tripod or place the camera on a wall (perhaps with a battery grip) to change the vantage point. Set up everything manually beforehand, testing exposure and focus and working out where the fox needs to be in the frame. When you’re ready, move away from the equipment to encourage an inquisitive fox to investigate. When the fox is in frame, use a remote release to capture from a distance. If you keep your ISO high, you only need a very low-powered flash burst, which means the fox will not scare as easily. I tend to use an external flash to reduce disturbance and prevent red-eye.
How close were you able to get to the foxes?
I was able to get pretty close, but that only came from putting in the time to get to know them beforehand. The more wildlife photography you do, the more you understand animal behaviour. This is the difference between good and bad wildlife photographers – those who can sense an animal’s willingness and don’t just get the kit out straight away. Of course, you don’t want to miss opportunities, but I always find the best shots come with patience (and perhaps remote releases!).
How did you figure out where the best places to photograph the foxes were?
Keeping your eyes and ears open when you’re not out with your camera is the best way to get to know your local wildlife. You could be walking home from work one evening and spot an area that could be home to urban foxes. Mentally logging all these little moments and coming back at the right time is key.
And don’t forget to speak to people. Everyone has a story about an encounter with a fox, and they can provide goldmines of information.
What’s the best shot that you never got?
The limitations of photographing at night means missed opportunities are quite common, unfortunately. No matter what kit you have, sometimes there just isn’t enough light to facilitate a fast shutter speed, so my main struggle is capturing fox action, like play-fighting for example. If you find foxes that are happy to come out in the day time, make the most of it and photograph as much as possible.
What’s your favourite story from your time photographing wildlife?
I love the planning stages – getting to know the animals and then using their personalities and behaviours to help develop an idea. Also, in a world of emails, taking two hours out of your day to slow down and get back to nature is awesome.
What would be your typical settings for a fox photo?
My main setting is to push the ISO as high as possible and the aperture as wide as it can go. Even if you’re on a sixth of a second, the fastest shutter speed you can achieve within those settings is key. Once you’ve got that, it’s just a case of observing the animal.
Of course, there are moments when foxes freeze suddenly, whether they hear a car drive past or detect a person walking close-by. Use your senses to predict when they’ll do that. If I’m focusing on a fox walking across the street and I hear footsteps, I’m ready to capture that moment.
What’s your favourite piece of gear?
The Nikon D750 is just great. With a tilt-screen monitor, compact body, full frame and unrivalled ISO, it’s the perfect body for the work I do. That combined with my Nikon 17-35mm f/2.8D ED-IF is my ideal set up, as you can focus nice and close and include plenty of background as context.
The 200-400mm f/4G ED VR II is the perfect lens for capturing mammals that are keeping their distance. It’s sharp and versatile, so you can quickly zoom out if the foxes start to get a little nosier.
It’s good to use a fast all-rounder, and for that, I would recommend the 70-200mm f/2.8G ED VR II. With this lens, you can crank open the aperture as wide as possible and let in tons of light, which is great for when you’re working at night.
Do you have any tips for budding wildlife photographers?
Don’t be a jack of all trades. If you’re trying to get noticed, taking ten great pictures of something local to you will stand you in better stead than ten random pictures. Young photographers often think they must build a portfolio and photograph a wide range of animals, but this can lead to a mediocre set of images. Instead, really focus on a subject and get to know it until you have the best possible pictures you can achieve.
Don’t focus on what other people are doing either. Although it’s nice (and important) to take inspiration, don’t compare your work with theirs. Original imagery comes from your own story.
Sam Hobson is a professional wildlife photographer, based in Bristol, UK. He's won numerous awards in major competitions including Wildlife Photographer of the Year, Bird Photographer of the Year and British Wildlife Photography Awards. See more here.
From derelict asylums to dilapidated gothic castles, award-winning artist Gina Soden has explored hidden abandoned buildings across Europe, creating an incredible portfolio of work. We caught up with her to find out the secret to her success…
How would you describe your work to someone that’s never seen it before?
I photograph abandoned buildings across Europe. They’re all quite grand in style and I try to focus on composition, with straight lines, symmetry and leading lines. I’m also really quite obsessed with texture. If I can combine all of those elements then I’m perfectly happy.
Why are you interested in decaying environments?
I’m not really quite sure where the obsession came from. It was definitely more to do with the adventure side of it when I first started out. The locations themselves were so interesting with their stories and histories, and being rebellious and sneaking into them was also a big draw. However, now it’s all about the photography.
How do you get into the houses?
The majority of buildings have their windows and doors open because there’s not enough money to spend on securing them. I never break in, so if I can’t get into a building then I just leave it. It’s not worth the risk, so I just rely on doors and windows being open.
Urban Exploration has a thriving community. Did you start off by going into the buildings with other people?
I started doing it by myself because I found a local abandoned dairy farm. I didn’t really realise that it was a real thing until I started googling a bit and found a forum with lots of like-minded people. I actually found my boyfriend through that forum and I still drag him along on shoots now. It was all about the experience at the start, with the exploring and the parties, but I luckily made a career out of it.
I’m so impressed that you went in by yourself to that dairy farm!
I still actually go into the buildings by myself. Recently I flew to Prague and then I drove to parts of Germany alone and that was amazing – although it was probably the wrong time of year for it because it was freezing!
What’s the most difficult place that you’ve shot?
At the time this was incredibly difficult, although with my experience now I’d probably find it easier. It was an asylum in London and the problem was that there was 24-hour security, cameras and sensors that would set off an alarm if you walked past them. What I occasionally had to do was crawl on my hands and knees through a tunnel for a few feet and then stand up. It was a tunnel network, so I had no idea where I was, so I had to use a tunnel map. It was really quite disorientating! I finally got to the end and I had to crawl up through the floorboards to access the wards. I actually heard the security walking above me at one point and he was shouting, “hello! I know you’re down there!” and it was such a thrilling feeling. I was so scared at the time, but I look back on it now and laugh because it was just ridiculous.
There was another point where we wanted to get to the east side of the asylum. But to get there we had to go through the tunnel and come up to the main hall, crawl through a window into the wards and then back down into the tunnel again. The security guards were always walking through that section, which made it such a great adventure.
Did you ever have the James Bond theme playing in your head at these moments?
Haha, not really! It was more just hearing my heart thumping in my ears! I wasn’t afraid of getting caught; I just didn’t want the adventure to be over. I do this full time now, but I feel like I come across less and less security, but maybe that’s because I’m choosing places where there aren’t any. I’m not doing that deliberately; I think it’s just that I’m going to locations that no one cares about. I found that especially in Italy and Germany there’s a lot less security generally.
Who owns these places?
A lot of them are owned by foreign investors, who have control over the land but just don’t do anything with them. I’ve rarely come across an owner, but when I have it’s been quite a scary experience. If you do want to get into this I’d advise you to just be careful, especially in the UK. Occasionally I come across locations that are impossible to get in so I’ll seek permission, and luckily because a big chunk of my portfolio is made up of images that I’ve been commissioned to take or sought permission for, I can send them my CV and usually it’s okay. Sometimes I’d rather do that, because it makes my work a bit easier.
Have you ever had any trouble where someone’s recognised a building in one of your photos as their house?
I don’t want to jinx it, but that’s never happened – touch wood! If I’m shooting the kind of place where I think that could happen then I’ll seek permission first. It really depends on the location. I used to shoot a lot of houses where belongings had been left behind, but I don’t really do that anymore. It felt like I was trespassing, but in a much more significant way than, say if I was shooting a swimming pool owned by a town council.
Do you ever look into why these buildings were abandoned?
Sometimes I do if it adds to the story of the location, but most of the time it’s because they can’t afford to renovate it or the person that lives there dies and then there are arguments between the family members and they can’t decide what to do with it so the place gets left abandoned. However, sometimes I like my viewers to make up their own minds.
Do you ever try to have a message or deeper meaning into your work?
I do sometimes, but, like I said before, I mostly like my viewers to form their own opinions. But, that has started to come across my mind recently and I think I’d like to delve deeper into that. Why do we have so many abandoned buildings? Why do we have so many housing shortages? All the recent stories about refugees have really made me start to think about the fact that I’ve slept in a lot of these buildings, so I know other people can quite safely. I think we’re now just so obsessed with red tape, bureaucracy and health and safety, which really does annoy me. I’d like to think that one day my work could inspire people to start a project and help others out. I’d like to be the Leonardo de Caprio of housing shortages!
What’s been your favourite place to shoot?
It’s probably a castle in Belgium. It was used first as a family home and then as a boarding school. It’s my piece called ‘Blue Orphanage’. It was a gothic castle that was absolutely incredible with huge sweeping staircases, 60ft clock tower and massive gardens. Getting there was really interesting, as you had to either scramble up a big hill, or trek along a long path through enchanted woods until you arrived at a drawbridge. It felt like a fairy tale. It was such a cool place to shoot, it had so much decay and it was just amazing. But unfortunately it’s being demolished, which is so disappointing. But because it’s being demolished it almost makes me even more fond of it, because I captured that building at that specific time. I probably won’t see a building like it again because it was so unique.
What do you think makes a good Urban Exploration shot?
I think one of the most important things is composition. There should be strong lines to lead your eye into the frame, or if there isn’t, then there should be a striking object of interest in the foreground. Try and avoid using too heavy HDR, because it can be distracting and take away from the location. People are so obsessed now about technology and what equipment you’re using, when it should really be about the place. If you want to shoot old buildings like this then it’s worth looking into symmetry. The architects back then weren’t so interested in glass and concrete, it was more about interesting features on the wall.
Do you have any advice for photographers that are just starting out?
Generally, I’d say try not to shoot anything and everything. Try shooting a few things and see what you enjoy. I think people can start out and get overwhelmed. Try not to get too obsessed with social media likes, just enjoy what you’re doing. While the gear is important in some aspects, finding a subject that you really enjoy shooting and fine-tuning your skill is key. Look for advice from other people and don’t be disheartened by any criticism – it’s the only way you can move forward sometimes. If you want to get into urban exploration then make sure you use your common sense. If possible, try to go with someone else and don’t think you’ll get into every location because it’s not always possible.
Gina Soden is a London-based fine art photographer who specialises in abandoned structures and locations throughout Europe. See more of her work here.
From rank amateur to acclaimed pro in just four years, Jason Miller has combined his love of music and photography with impressive results. Having notched up over 500 gigs and festivals, we thought it was time we found out Jason’s secrets…
Why live music?
Having grown up playing in a hair metal band and working in the music industry for more than a decade, I’ve always loved music and going to concerts. When I quit the music business, I wanted to stay connected to the industry, so I started writing a music blog. This led to my first photo pass and concert shoot. It’s all about the music for me and every show I shoot is my opportunity to showcase an artist to the world through my unique perspective.
Describe your first live music photos?
I was writing concert reviews for a weekly newspaper and got offered to cover Mötley Crüe (an all-time favorite band of mine). I’d never picked up a DSLR in my entire life, but that day I went out and bought a Nikon D3200. I stayed up all night learning how to shoot with this camera by giving myself a crash course. On the day of the show, my shots were awful. After that experience, I vowed to master concert photography.
How did you improve?
I’m completely self-taught. While Nikon cameras are easy to use as they cater for all levels, I learned a tremendous amount from the Nikon tutorials, as well as expert tips and tricks and also from following Jared Polan. Immersing yourself in photographic communities is a great way to learn very quickly, as you can share your experiences with one another. Beyond that, I practiced with the DSLR every chance I got and did a tremendous amount of experimentation and research until I felt comfortable shooting in manual.
What are you trying to capture and what makes a good gig photo?
The general rule for concert photographers is that you’re allowed to shoot the artist for the first three songs, but only without flash. A DSLR is particularly beneficial in these low-light circumstances, offering the combination of a higher ISO, larger aperture and slower shutter speed to let more light in. My D810 is great for this. The first thing I try to do is capture a story within those three songs, along with the energy of the crowd and the general atmosphere. I’m looking to do two things - capture the moment for the crowd to relive later, and share the experience for those who couldn’t make it. I’m more focused on capturing that one standout image.
How many gigs/concerts/festivals have you photographed?
I’ve probably shot around 500 gigs and concerts since I began in 2012. I’ve also done quite a few festivals, but I really like the smaller theater and club shows.
What have been the highlights?
The highlights have been many, including Guns N' Roses in Vegas, Roger Waters at AT&T Park, AC/DC twice in one year, Kiss, Sam Smith kicking off his first US tour in Boston, Metallica on Super Bowl eve, and my all-time favourite band The Cult multiple times. I could go on forever - I have so many great moments.
Any lowlights? Broken cameras, beer showers, stage divers etc…
I had a crowd surfer fall on my head while shooting Taking Back Sunday. Another time, the singer of Yak reached off the stage and hit my DSLR with the head of his guitar. I also got covered in fake blood and God knows what else while shooting GWAR. Beer, spit, water, vodka, whiskey, sweat; you name it, it’s been on my camera and me more than once.
What are the challenges of live music photography?
The challenges are many - unpredictable lights, unpredictable movements, little to no light, shooting in a crowded photo pit (or no pit at all), stage divers, artists who don’t particularly like photographers, and having the right gear in place with the right settings for the right show. You often need to be able to capture those split-second moments, with harsh lighting. These perfect moments are so fleeting that you need reliable equipment, like the D810, so you’re prepared to capture them when they present themselves.
What skills (photographic or otherwise) does a live music photographer need?
I think the most important skill is being able to shoot effectively in full manual. The only thing that I set to auto is the AF, since it’s virtually impossible to focus manually on a singer or guitar player flying through the air doing an epic leg kick. DSLRs have lots of AF points, so utilise these and press the shutter halfway to find your desired focus. It’s also essential to anticipate the lights that are constantly changing while focusing on composition.
Has being a marketing manager helped your photography in any way?
Absolutely. The fact that I can capture the visuals, write the story, market the content and optimise it to be found on the web, gives me an edge. In addition, being a photographer on a marketing team can be incredibly helpful for content creation. I use my DSLR at work almost daily to capture team photos, stock photography alternatives, video interviews, product shots etc. It adds an entirely new level of originality and unleashes the constraints on creativity that would be in place if I had to rely on others to interpret my vision. I think being an expert in only one thing in today’s professional world is limiting for anyone.
What advice would you give you to a budding live music photographer?
Find a DLSR that you love and get a couple of starter lenses (Nikon’s 50mm f/1.8G lens is a beauty, and a kit zoom lens is fine for starters). Then get out of auto immediately. Take a class on composition and lighting then go and experiment. I would also advise making friends with some local bands and go and practice shooting them - just remember the ‘no flash’ rule unless you have permission in the location you’re shooting. Once you get the hang of things, then I recommend finding a music publication or blog to shoot for so you can request your first photo pass and take the next step.
Jason Miller is a marketer and global content marketing leader at LinkedIn by day, and a rock ‘n’ roll photographer by night. Check out his blog here.
From Ned Stark's gruesome death to the infamous Red Wedding and Jon Snow's resurrection, stills photographer Helen Sloan has documented every moment of HBO's massively popular TV show. The best job ever? Certainly sounds like it...Read More