Last week, the "Countering CCP Drones" Act was folded into a bill by the US House of Representatives that sets out policy directives for defence, meaning there is a very real threat of DJI products being banned in the USA.

I asked spoke to Adam Welsh, DJI's Head of Global Policy, to get a sense of how things got here, and where they go next for DJI customers.

Where things stand in congress...

I started by checking we agreed on the facts.  "The Countering CCP Drones Act is a horrible name," notes Welsh. "We are not affiliated with the CCP, the Communist Party, or anything else, but that's sort of the hyperbolic name of the act was put forward by Representative Elise Stefanik"

The congresswoman is well-known to drone users for her anti-drone (or at least anti-Chinese drone) stance, and I have written about her before.

The question now is just how likely the ban on DJI drones is to pass into law.

As we know, Stafanik's banning law was attached to as Welsh puts it, "a must-pass piece of legislation" – the National Defense Authorization Act – which is an authorization for an appropriations bill."

Ultimately that means it has to pass some time before next year's appropriations round (which set the budgets for 2025), so there is a deadline, but it could still be months. Adam Welsh explains: "The way this works is the Senate Armed Services Committee is marking up its own version. And it's not a very transparent process.

"So they've done their markup, but they have not released a draft yet. So we do not know whether it's in the Senate version or not until after the Senate version is finally released as a draft."

"They'll basically go to what's called 'conference,' where the two versions of the bill are compared and they debate the differences. So, what it does is, if it has made it into the Senate version, it will make it much, much harder for that to be removed, particularly if the language is exactly the same."

In other words, DJI fans can hope that the Senate either (ideally) does not include the language at all or proposes different language to the amendment, which would lead to a debate:

"If there's a difference in language sometimes they decide this is too difficult for us to negotiate drop it and it falls out."

When will we know about the law?

Obviously all DJI users – and perhaps all drone users in America – want to know when the next development will happen. Traditionally October is about the time an appropriations bill aims for, which is still some time away.

Welsh appears to share my concern that being aggressive toward China for the voters means there is more risk of the ban being passed, and said: "The election atmospherics don't help at all – nobody's going to want to stand up and say this is just bad policy, right? When it could be used in an attack against them out in the election."

But, he did point out that appropriations don't always happen as soon as they can, and there is a less political period after the election. "It's possible it could pass before but being realistic all of those legislators are going to want to be out electioneering and so it may well not pass until that November to January lame duck period."

In other words, it could be a long wait, but perhaps people will be thinking less about voters when they're scrutinizing the legislation in the upper house. 

Where things stand for DJI products

"A US ban wouldn't impact any of your European or UK readers obviously" said Welsh. Of our American readers, he told me very openly "They have every reason to be worried."

Since drones are a given, I ask if it'll impact DJI's other lines: "In terms of handheld cameras and other things, it's unclear whether it would impact those or not." It's notable that DJI genuinely don't know – the legislation is drafted so clumsily as not to make this clear, with 'drone' in the heading but not the very limited text.

Welsh continues "So it's unclear if it would be covered, but our drone products, enterprise and consumer, would be added to what's called the FCC covered list, and that would make it impossible for us to get the certifications we need to release new products into the US."

And existing DJI owners?

Clarifying DJI's current understanding of the proposed law, Welsh says, "So, say, for example, when there's a Mavic 4 or a new Matrice, you could be flying it in the UK; we just wouldn't be able to launch it in the US".

I try to stop thinking about the fact someone said 'Mavic 4' and remember we're here to talk about the prospect of no DJI in America.

It is Welsh's understanding that DJI would be able to continue to sell their existing fleet of products that have already been licensed. "Now it is possible that they could make it retroactive" he notes, but the language isn't definite on that and "The one thing we can say with certainty is that it would stop us from bringing new products to the market."

America the backwater!

When you're talking about a law which might not pass, it's a bit too easy to get drawn down the what-ifs and forget it might not happen, but Welsh did point out how silly the US could look:

"We would be in a ludicrous position if we had new advanced products that are being released across Europe, South America, Middle East, Africa, everywhere else, and you just had this sort of weird backwater in the US, which is supposedly the technological capital of the world, where you were either flying like a Mavic 3 from multiple years ago, or buying an American product that costs five times as much."

What does it mean for R&D?

It's a big market, and – were it to happen – not selling drones must have an impact on the rest of the world.

Welsh pointed out that while DJI crafts the best tech it can and puts it out there, the market has the ability to surprise, and that feeds the development cycle. He told me that the DJI Mini series drones had been picked up on by law enforcers as a way of getting into buildings.

"The police started using our Minis to go into houses and things like that, to look for shooters up on the landing and all these other things, things we would never consider doing, but we learned a lot from that. So anytime we are not able to test new products in a big market like the US, it's not great for us. Really not great for our users either."

Are DJI drones spying on Americans for China?

Since I've got DJI's Head of Global Policy, I feel it's only right to ask the crucial question. Most people who understand the tech know the answer already, I thought I'd ask!

"No, no, they're not. Honestly, our fundamental principle is that your data is just not our business. We just don't make money off data." That part of the answer is probably key. Welsh goes on to lay out in detail all the aspects that do use data, with an impressive level of detail.

"We have, you know, a geolocation piece of data that allows us to download maps to the app. But that's a straight pass through to our map provider, which is MapTiler, and we don't even save that data. It's randomized within five to 10 kilometers. We don't even know your exact location when you download the maps. It's a randomized location within that 5 to 10km area."

He also adds that "If you have opted to share data, you can delete it all."

What about the other accusations about DJI?

I also bring up the other accusations about DJI drones being used to abuse human rights within China. Welsh replies, matter-of-factly, "So there are allegations that our products were being used by the Xinjiang Public Security Bureau. We have, in all of our contracts, with all of our resellers, stipulations that they're not allowed to sell to any sanctioned entity, and that includes, like, even if there's not a U.S. nexus to the sale."

"We do look for red flags, and if we catch anybody making a sale that we don't approve of, or is out of the contractual obligations, we get rid of that reseller."

I speculate that it is difficult to control a drone once it has been sold and Welsh runs with it: "Yeah. I mean we only have control up to a point – it's very hard for us to stop our products getting places. As the Russia-Ukraine war broke out, we suspended sales to both sides, right? Frank, our founder, has always had a really strong belief a force for good, it’s definitely not for our products to be used for combat purposes.  We are, and want to be seen, as a technology company that serves to build a better world by continuously promoting human advancement.”

Is lobbying a factor?

Welsh doesn't deny that DJI spend a good deal lobbying, though also notes "It's very clear that our competitors have put a lot of effort behind lobbying to remove us from the market. It's clear at the state level and it's clear at the federal level as well."

Tellingly, Welsh suggests that DJI isn't getting much back and forth when engaging with politicians – "We ask people to engage with us and say, if I really think there's a security issue. Tell us what the mitigations you want to see are, right? And nobody comes forward."

"There's no back and forth or legitimate give and take in those conversations, unfortunately... I do think that, unfortunately, our competitors have been quite successful in shaping the image that DJI has on Capitol Hill."

Should DJI have seen this coming?

I wonder if, in retrospect, DJI wished it'd done things differently in putting its case with US lawmakers.

"Yes, I do believe we should have gone in with more at an earlier stage. But DJI is a company that loves to put money into R&D. I think that nothing would make people at headquarters happier than if they could remove my job function and hire more people to do fun stuff with tech.

"That's the beauty of the company. That's why it's the company that it is."

The zero-sum game

One of the things that bothers me especially is that there are few obvious alternative drones to DJI in the market, and they definitely don't plug all the gaps DJI would leave. Talking a bit about how military and commercial-focused firms are seemingly pushing for laws to ban DJI – protectionism – leads to an interesting point about the size of the drone world.

"Unfortunately, right now it's a zero-sum game where everybody's they're trying to push us out of the market so they can have the market to themselves. They haven't been able to compete with us on quality. And they haven't been able to compete with us on price, certainly, because once you've got scale, like we have, we're able to be profitable at a much lower price point."

Still, Adam – and DJI – see the market as in growth (unlike the problem that GoPro faced when it hit the 'Total Addressable Market'). That said, it was interesting that the examples he gave were also enterprise and beyond visual line of sight control (remote, from a desk). 

"All of this needs new laws, and that really is where a huge efficiency boom is waiting... DJI used to work on regulatory policy such as BLVOS, semi-autonomous, one-to-many, those sorts of things. And now, frankly, we are spending all our time fighting these bans. It's not what we want to be doing and I think it's just detrimental to the whole industry."

So another very legitimate worry for DJI is that it is being shut out of the development of the rules and regulations for this massive area of the drone market in a globally significant area (but yes, not the only country in the world!)

It's not over yet

To fight the ban a number of drone service and training companies have formed the Drone Advocacy Alliance. DJI is a partner, but the DAA is brand agnostic. It advocates for open markets and competition.

Welsh explains, “The DAA website is somewhere your readers can go to learn more about legislation that is trying to limit choice in the marketplace. US readers can contact their legislators through the website to make their feelings know – either via email or phone call. Emails are good, phone calls are better, but if you can actually meet your Senator or Representative in person – that is best. But please remember, be polite and tell them why a ban on DJI would be bad for you or your business.”

That seems a nice point to sign off. There are other worries on the legal agenda for sure, but speaking to DJI has left me feeling a little more optimistic about the situation.

It's good to know, for example, that for now the company expects to keep selling existing products (and it was very nice to hear the words Mavic and 4 spoken consecutively, even if just as an example).

Check our guide to the best DJI drones available, or our guide to the best camera drones where DJI's market dominance is telling too.

Wildlife photography is considered one of the most challenging genres, and not only from a technical point of view. It requires extensive research, long-distance travel to often remote locations and the ability to adapt to different climates. Most importantly, it also means taking adequate safety measures when tracking down the animals. Capturing the essence of wild creatures and conveying a sense of proximity in one frame is what brings exotic wildlife close to the viewer. This can only be achieved by respecting your subjects’ boundaries. However, this brings many challenges. 

Argentinian wildlife photographer Guadalupe Laiz aims to strike a balance between getting close enough to shoot the perfect image and respect for the animals she works with. She spends months in the wildlife’s natural habitat, allowing her to take the viewer on an intense journey that not only reveals the beauty of these animals but also the difficulties they face in the modern world.

Guadalupe is passionate about educating and partnering with non-profit organisations. While raising awareness, she worked on her latest publication ‘Among the Living’. In our conversation, she explains how she unexpectedly became an award-winning wildlife photographer and, more recently, an educator.

Interview

This project, which I shot over the past two years, is all about connection: my connection to animals and the art form of photography; the horses’ connection to each other and the land; and our collective connection to the land and our planet.

My connection to animals, which has developed continuously throughout my life as an escape from the challenges of living with Autism Spectrum Disorder, has often focused on exotic species – zebras, lions, giraffes and others – but I have a very genuine love for the UK’s floral and fauna, and for horses.

I first spent time in the presence of horses during childhood days out at Fritton Lake in Suffolk, where I would spend 10 minutes on the back of a friendly pony. We would ride along the same route every time I visited, but the thrill of being back in the saddle each summer holiday would leave me beaming from ear to ear.

Those summer holidays and those experiences with animals and the natural world were a welcome – but all too short – escape from the difficult days I faced in mainstream education, where instead of being surrounded by beauty, I was surrounded by darkness.

The bullies, who capitalized on my emotional fragility and social difficulties, would bully with a relentless determination. I would be exposed to this torrent of darkness day after day, for month after month, until I couldn’t take it any more and refused to leave the safety of my bedroom for well over seven days.

The school’s response was to activate a part-time timetable – I would spend half of the week in the darkness of school, and one day in the sunshine. The sunshine shone in the form of a placement with horses, where I would spend my day feeding, grooming and smiling with horses and ponies, and then a placement at the amazing Clinks Care Farm. 

The other days were spent in the safety of my home. One day, my mum suggested I take her small compact camera into the garden and attempt to photograph the bees and butterflies – and I became bitten by the photography bug.

I guess I have come full circle with this project, photographing the animals that offered me the escape I so desperately needed during those dark days in 2012. It has been so special to explore their lives, in the fields of Suffolk, the mountains of North Wales and amongst the trees of the New Forest over the past 24 months. In many ways, it has been as much a journey of self-healing and self-exploration as it has been about photographing the horses.

There is nothing more special than witnessing these ponies thriving in the wild, therefore it is worth noting that I kept a safe and respectful distance at all times. I photographed them exclusively on Nikon’s Z 9, combined with Nikon Z 24-120mm f/4 S, Z 100-400mm f/4.5-5.6 VR S and Z 70-200mm f/2.8 VR S lenses.

Wild Horses

Alfie Bowen’s second book, Wild Horses, is published by ACC Art Books. Orders of the exclusive edition also come with a signed print. 

For Nick Hanson, the greatest sense of purpose comes when carrying his camera on a shoot in the wilderness. Based in the UK he’s a regular visitor to Wales, the Peak District and the Isle of Skye, where he runs workshops alongside a team of other professional photographers.

Nick wasn’t always a full-time pro, but a lucky workshop encounter on Skye enabled him to join the fold and become a teacher of sublime and scenic photography. He’s driven by a desire to exceed his expectations, rather than anyone else’s, believing that you can always find your own take on a landscape – even when it’s appeared on social media hundreds of times before.

Nick’s images are characterized by moody elements, strong contrasts between light and shade, and an eagerness to show the landscape in all its drama. We learn about his Canon kit, camera settings, and creative outlook…

A longer version of this interview originally appeared in Issue 213 of Photo Plus magazine. Click the link below to see our latest special subscription deal!

The RODE Interview Pro is designed for those situations where you’re talking to people who aren’t wearing microphones, and where it’s not practical to fit them. For everything from vox pops on the street to ad hoc Q&A sessions at events, a handheld mic is often the best and simplest and quickest solution. Best of all, it makes you look like a proper broadcaster!

The characteristic mic-on-a-stick design is typical of broadcast/interview mics. It lets you quickly position the mic for whoever is speaking and swap speakers easily. What could be more intuitive than aiming a mic at whoever is speaking?

The Interview PRO uses a ‘broadcast grade’ omnidirectional condenser capsule so that it picks up sound from all around and it doesn’t matter if you haven’t got  the mic at exactly the right angle. Many of the best microphones use cardioid and directional pickup patterns, but if you accidentally go ‘off axis’ they sound levels will drop.

In fact, most of the best wireless mics are omnidirectional. This is because you can't always 'aim' your mic, but you can place it so that the sound you want is the most prominent.

A broadcast/interview mic like the Wireless PRO is specifically designed for all sorts of environments with people who may or may not be mic-trained. It has an internal shock mount to reduce handling noise and an internal pop filter to reduce ‘plosive’ sounds from speakers too close to the mic. There’s also foam wind shield for outdoor use which will help with plosives too.

What’s special about the Interview Pro is that it’s wireless. There are no cables to trip over or limit your working range. However, the only way to connect it to a camera or other recording device is via one of RODE’s series IV wireless receivers, as supplied with the Wireless ME, for example, or the Wireless PRO kits. 

This means it makes most sense to users who already have a RODE wireless setup – otherwise, that’s another investment you’ll need to make.

The Interview PRO does, however, offer up to 40 hours on-board recording with up to 25 hours use from its rechargeable battery, so it can be used as a standalone field recorder. If all you want is the audio for a podcast, for example, or a voiceover, it’s entirely self-contained. 

RODE Interview PRO: Specifications

RODE Interview Pro: Price and availability

At the time of writing in May 2024, the RODE Interview PRO is on pre-order, but with delivery also expected in May, it's probably available as you read this.

The Interview PRO will go on sale at a price of $249 / £249 (about AU$373). That sounds a lot compared to on-camera directional mics, but it's pretty fair value for a professional mic in this market. Just be aware that if you don't currently use compatible RODE wireless receivers, you face an additional expense or a severe curtailment of this mic's usefulness.

RODE Interview PRO: Build and handling

The Interview PRO is a delight to handle and use. It feels solid, but not particularly heavy, and it has a prominent Record button which glows red while you’re recording internally. There’s also a Mute button you can press to stop audio recording if you need to. Those are the only controls, so there’s nothing else to learn.

There is a somewhat odd-looking protruding connector on the base, which presumably connects with RODE’s RS-1 charging base, but you can also charge the Wireless PRO via its supplied USB cable, which is perhaps what most users would do.

The USB socket is not immediately visible. You have to unscrew the lower part of the barrel and pull downwards to reveal it. This socket is only for charging and for transferring onboard recordings to the free RODE Central desktop app, where you can also check the mic’s settings and firmware version. 

You can’t use the Interview PRO as a USB mic, which seems a shame because it comes with an RM3 angled stand for mounting on a mini-tripod or arm (not supplied), which does make it feel like it could be a useful desktop mic.

The foam windshield is useful to have, though I found it a bit of a wrestling match to get it over the mic grille and once it’s on it’s a bit loose.

RODE Interview PRO: Performance

The omnidirectional pattern of the Interview Pro is designed specifically for its intended use, but it does pick up sound from all directions, so mic distance does become quite important, especially in a boomy or noisy environment. 

In principle, the 32-bit float on-board recording can handle a wide range of audio levels, but in practice, if you want to be heard clearly where there is background noise, it’s best to keep it 3-5 inches from the speaker’s mouth.

The sound is bright and clear, but does change a lot with mic distance – this is a point not always made with microphones. The audio quality of the capsule is important, but not as important as the user’s mic skills, placement, and distance.

You soon get a feel for the perfect distance with the Interview Pro, and the simple freedom and flexibility of a handheld mic is a joy compared to the faff, clips, and cabling of regular lavs or wireless mic transmitters.

RODE does say the Interview PRO’s internal shock mount cuts down on handling noise. So it may, but it’s still best not to slide your hand over the surface while filming, and to avoid any knocks or taps because you will hear them.

RODE quotes a maximum wireless range of 200mm, but that's with a direct line of sight. My experience with the RODE Wireless PRO suggests that once you're more than a few meters away from the receiver you'd better not turn your back as you talk in case you get drop-out. To be absolutely safe, you can hit the Record button on the mic for on-board recording too.

On paper, the 32-bit float recording sounds like a great idea. In practice, I think mic placement is the real key since that's what's going to control your audio/background noise ratio.

RODE Interview PRO: Verdict

I love the Interview PRO for its design, build quality, finish, and handling. I’ve also spent enough time with wireless mics, clip-on transmitters, and lavalier mics to appreciate the utterly intuitive simplicity of operation this kind of microphone provides. But while the omnidirectional pickup pattern is perfect – essential, even – for working quickly with your subjects in the field, it’s not ideal for voice isolation or that podcast 'radio' voice, and you need to get the mic distance right to keep voices louder than noisy backgrounds. But this is all part of the skill of interviewing, and not really a limitation of this mic. 

I do wish, though, that RODE had added an analog output, or digital output, for users who don’t want to buy into its wireless ecosystem. The Interview Pro is almost too good a mic to be painted into a corner like this. The alternative would be to get something like the RODE Reporter, but that’s an XLR mic, which brings its own connectivity requirements, and is not an easy option for mirrorless shooters.

Artificial intelligence is one of the biggest factors for photographers in 2024, which inspired most trends of the past year. We have seen a number of perfectly generated images, mostly themed around human-like subjects and depicting utopian scenarios, which left a lasting impression. This year, a symbolic response to this movement is emerging from the classic photographic genre.

The biggest trend now is likely to be the creation of so-called hyper-realistic photographs that mimic the aesthetics of AI-generated images. This approach involves using ultra-high-definition techniques to create hyper-realistic images of the subject and incorporating significant elements found in generated images. This could, for example, mimic the liquid texture of skin. The trend may divide opinions but it allows photographers to re-examine the medium and use new techniques in light, composition and image processing. 

This approach will also be noticeable in another trend in 2024, in this case, minimalism. The use of negative space to abstract the reality around us is a creative approach that follows a ‘less is more’ philosophy. However, this doesn’t necessarily mean that creating images with a minimalistic theme requires any less effort or planning from the photographer. In fact, the opposite is true; the approach to the scene must be carefully considered to depict it in a minimalist way. Composition rules such as the rule of thirds, new perspectives, soft light and black-and-white techniques come into play. 

The rise of social media brought lots of aesthetic photos, with no messages behind them but, this year, photography is finding its voice again. This trend could be a reaction to the overwhelming amount of content-free photographs. They say a picture is worth a thousand words, so it is all the better to see that this power is being recognised and thought-provoking imagery is back.

Technology never stands still, with virtual reality and augmented reality technologies bringing in 360° photography. This tech is popular in advertising and wedding photography, where moments from the special day can be re-experienced or the product can be viewed from all angles.

Pro perspectives

Tell action stories

“I think the most relevant techniques in sports photography in 2024 will continue the evolution of storytelling. Audiences are compelled by the range of human emotion that sport traverses and sports photographers will be there to capture it.” - Finn O’Hara, Sports Photographer of the Year 2023, International Photography Awards

Change perspective

“I’ve always enjoyed getting the wider picture, with a preference for multiple-shot panoramas. However, more recently, I’ve also been taking shots of more intimate views, close-ups and experimenting with using a smaller depth of field to isolate the subject.” - Mik Dogherty, UK Landscape Photographer of the Year 2023 

Frame authentic

“I’m a commercial-minded photographer and the vast majority of brands want to align themselves with values such as authenticity and craftsmanship. Every action creates an equal and opposite reaction so, despite the rise of AI, genuine moments of real human interaction will, perversely, become more powerful and sought after. Real will become the new sign of luxury.” - Jon Enoch, Food Photographer of the Year 2023, Pink Lady Awards

Blur motion

“Blurred motion photography is continuing to trend as we enter into 2024. Using a low shutter speed brings a dynamic element to the photo, showcasing movement in a static snapshot. This technique is great for busy street scenes by blurring the movement of people and creating a surreal effect. It’s also become widely used in seascape and waterscape photography, as well as in sports photography, when the photographer has opted not to freeze the movement.” - Mario Tarantino, Minimalism Photographer of the Year 2023, ReFocus Awards 

AI: opportunity or threat?

AI divides the world of photography, but how do we make the most of it?

It is clear that artificial intelligence will continue to gain momentum throughout 2024. On one hand, this is exciting for photographers who are likely to see new opportunities arise as AI technology develops, but on the other, it is difficult to predict exactly how these developments will impact the photography industry. One thing is certain, photography will always find a way to adapt and capitalise on new technology. 

There are a few potential outcomes to consider. It is possible that AI technology will soon reach its peak and the industry will distance itself from it. Alternatively, new art movements may be created as photographers explore the unique possibilities offered by AI – not just to generate but to enhance their own imagery. It is clear that the industry will adapt to AI in some capacity, whether that’s to streamline existing workflows or to create new and innovative forms of art.

“With the breakthroughs in its development, AI has and will continue to impact the photography industry. AI-assisted post-production has greatly simplified photo editing as well as allowing for increased artistic expression. Not only is AI making its presence felt in post-production methods and workflows, but it is also becoming a recognised art form at the same level as photography or any other. This can be noticed in the many prestigious photo competitions nowadays that also have a specific AI category.” - Mario Tarantino

“I think we’re going back to basics and there will be a reaction away from AI and the fake.” - Jon Enoch

"My photo series, ‘Relaxation zone’, documents places that look simple but are anything but straightforward. I found all these places in Katowice, a city in Poland with over 300,000 residents. 

The Silesian metropolis, of which the city is a part, is inhabited by two million people. Historically, this area was connected with heavy industry, such as copper mining and stone quarrying.

In the middle of this city, spaces have been transformed into resting places with the ‘furniture’ being made from whatever was available, from things that might be considered redundant, and created with a unique sense of aesthetics. At first glance, they look ugly but they are intriguing too. We often wonder how one could even function here. To grasp that, we need to understand the creators’ perspective and put ourselves in their shoes.

Each of these photos tells a story of a specific person or family. It shows their social status, interests and sometimes aspirations. Have a closer look at the details, they tell us much about the economic, political and cultural transformations that have occurred in Poland in recent years.

I captured the first ‘Relaxation zones’ in 2018 as stand-alone works but I kept stumbling upon such places. I looked back at my work and saw a pattern, a connection between those settings – that’s how the idea of creating a series came to be. I kept working on that project and, at this point, it features over 60 locations from Katowice and nearby cities.

There is no point in searching for people in these photos – I have excluded humans on purpose. Firstly, I do not intend to stigmatise anybody. I want to avoid creating awkward situations, caused by somebody misunderstanding what I’m trying to convey. Especially because, at times, the exhibitions are located fairly close to where the photo was taken. Secondly, the artefacts should speak for themselves – I want the viewer to look for them and be inclined to reflect. As for me, the details are by far the most exciting aspect. I sometimes go back to revisit those places – it’s like checking in on an old friend and asking ‘What’s up?’

The name of this series is a reaction to the strange, yet increasingly popular way of describing certain areas, such as ‘Parking zone’, ‘Passenger zone’… and ‘Relaxation zone’. When it is being displayed in galleries, I enjoy observing the guests during the exhibition – at times, I even eavesdrop. When I do, I often hear: “We had a table like this 10 years ago”, or “Look! Your mother has the same sofa”. That’s fascinating – the fact that viewers do not detach, but instead identify themselves with what they see".

"While I’m very fortunate to work as a professional landscape photographer, it’s also really important to challenge yourself and find those personal projects that get your creative juices flowing. Being able to combine my photography with my love of being in wild and remote places, whether that be on a beach or in the mountains, is my perfect combination. With that in mind, I’ve been working on a series of images over the past couple of years that represent these wild places, where the weather often becomes an integral part of the image and contributes to the emotion that I felt whilst being there. 

Most of the images in this series are long exposures, ranging from 30 seconds to eight minutes. I use long exposure to remove unnecessary detail from the water and the sky. That allows me to create strong, simple compositions free of distractions. These images were all taken in challenging weather conditions, whether that was a blizzard in Senja, storms in Lofoten or gale-force winds in Iceland, while the image from Harris in the Outer Hebrides was taken on a much more ‘normal’ Scottish day, which was simply cold and wet! As you can see, I’m drawn to those colder and more rugged locations.

The biggest challenge in a project like this is keeping the gear as dry as possible, particularly the front of the filters that I almost always use, along with ensuring my own safety, especially when balancing on the rocks with big waves coming in with the storm, as they did in Uttakleiv in Lofoten. 

When I was in Iceland recently, the main road that runs around the country, called Route One, had been closed for a 200km section for nearly two days due to gale-force winds. After being stuck for 36 hours at Vestrahorn, I managed to get to Diamond Beach, and I was the only person there. I had to sleep in the back of the car as it rocked and rolled, and I cooked my dinner in the nearby gents’ toilets. But the dawn light was amazing and it was a true privilege to experience the rawness of nature.

In terms of kit, I like to keep it relatively simple and light, preferring to use a couple of lenses that I know really well and know how they’ll perform. I use a Nikon Z 7, often paired with the Z 24-70mm f/4 S zoom and a PC-E 24mm f/3.5 tilt-shift lens, which I absolutely love for its optical quality. I also use the Z 14-24mm f/2.8 S ultra-wide zoom when I need something wider as it’s also fabulous. The weather-sealing is top class, it’s never let me down over all the years I’ve used it, along with my previous Nikon gear. When this setup is paired with my LEE ND filters, I’m able to capture my signature long-exposure images. 

I think this is one of those series that won’t be finished for quite some time, as it’s not every day you get the right combination of weather, tides and light. Of course, this is part of the attraction in going for something that is both challenging to achieve and very satisfying when you get the feeling that you’ve captured something a bit special".  

About John Miskelly

Follow John Miskelly on Instagram, Facebook and his website 

Finn O’Hara submitted his photograph, titled ‘Mikaël Kingsbury, Olympic Freestyle Skier’, to the prestigious International Photography Awards, an annual competition that attracts entries from top professionals, amateurs and students worldwide. 

His skiing photograph was originally a commission from a client, however, Finn saw its potential and decided to follow his instincts. “I took it another step further by creating an image that I couldn’t take during the pandemic. I had imagined what it would be like if we had a skier flying through a cloud of coloured smoke, and how incredible that would look,” says Finn. 

Constrained by the pandemic, time and money, he decided to photograph skier Mikaël Kingsbury in a studio in Canada where he was based. The photographer’s point of view is crucial to showcasing movement in sport and action photography. “The skier is on his back on a waist-high platform so he can articulate his skis, poles and body. I’m on a 12ft-high platform above him, shooting directly down. He’s looking at a monitor that shows him what I’m shooting so that he can get his body positioning correct,” says Finn. 

Fast gear

Finn used a PhaseOne IQ3 100MP medium format camera with a Schneider Kreuznach LS 55mm lens to capture this shot, adjusting his camera settings to 100 ISO, f/11 and setting the shutter speed to 1/320sec. The combination of aperture and a fast shutter speed enabled him to freeze the movement. Since the photo was taken in a studio, artificial lighting played a big role in creating the shot. 

“Our lighting system is powered by five ProPhoto Pro-10 power packs. I took shots of the mountains to give the skier context, and then photographed green smoke from several smoke bombs but turned them red in post,” he explains. In post-production, Finn worked closely with a retoucher to seamlessly combine the elements that he had captured in the camera into one photograph.

• The best photography lighting kits for studio, location and video

Finn's most used kit 

“The most used items in my camera kit are my Canon R5 and RF 28-70mm f/2L lens. With reliable autofocus and respectable ISO, they allow me to be flexible. I love my travel tripod with Gitzo carbon fibre legs and Manfrotto 410 geared head – it’s versatile and solid. But the tools I most rely on are my SanDisk memory cards and field SSD drives. I need them for every photo I take and they never let me down.”

When photographing in snowy conditions, Finn uses a hard shell backpack made by ThinkTank. He says, "It’s not only rugged but it’s waterproof too. Water can silently ruin camera equipment, so by having a waterproof and shockproof case, I never worry about my equipment.”

Pro Advice

Get ready for the perfect moment

1. Visualize the image 

“Think ahead and visualise your photo days ahead of time and circle back to those visualisations at the end of the day. Compare those visualisations to what you captured. Boom! You’re developing your mind’s eye.”

2. Speed up workflow

“I use a few custom button functions to make my workflow easier. I use back button focus which helps a lot when shooting high-speed sports. It allows me to be more reactionary to constantly changing subjects. I also have assigned a custom button on the back that resets the focus point back to the centre of the viewfinder.”

3. Embrace the unexpected

“Selecting an aperture of f/8 helps to keep the action sharp within the frame. Indeed, the popular saying ‘f/8 and be there’ still holds up. Don’t be overly concerned by the tech and technique, instead, pay close attention to where you are and who or what you are photographing.”

4. Follow a one-shot mentality

“When shooting athletes with strobes, I never shoot in burst mode. This is partially because when I shoot with a PhaseOne system, there is no option for burst mode, so I have to take my images one shot at a time. Athletes can only repeat their performance for so long, so I really have to nail it first time. Even when shooting athletes with the Canon R5 and a strobe, I still like shooting with the one-shot mentality. It keeps myself, the athlete and my client focused on what we really want, rather than just spraying the camera and hoping I get something.”

The RODE Interview PRO is a handheld wireless microphone fully compatible with RODE’s existing series IV wireless products, such as the RODE Wireless Pro. It comes with a “professional grade” condenser capsule for broadcast-quality audio with “rich and detailed” voice reproduction.

Launched at NAB 2024, it’s a handheld mic designed not just for broadcast use but also podcasting and run and gun style presentations. It has an omnidirectional polar pattern to make it more forgiving in interviews or presentations where precise mic placement is more difficult.  

The capsule has an internal shock mounting to reduce any handling noise and an internal pop filter reduces plosives in speech. The new mic also comes with a wind shield for outdoor recording.

The Interview PRO uses RODE’s GainAssist technology to automatically adjust the mic level while transmitting to the receiver to minimise the risk of clipping, but the mic also features on-board 32-bit recording, with 32GB internal memory and more than 40 hours of potential recording time. Internal recording can be started and stopped with a dedicated button and guarantees users a ‘clean’ audio backup – it also lets the Interview Pro double as a field recorder.

With a maximum range of 200m (with line of sight), the Interview Pro could be the ideal addition to an existing wireless RODE setup for interviewers and podcasting on location. RODE already makes some of the best wireless microphones, and the Interview Pro is also compatible with RODE’s audio production devices, including the RØDECaster Pro II, RØDECaster Duo and Streamer X.

The RØDE Interview Pro will be available from early May 2024 at a price of $249 (about £200 / AU$384)

RODE Phone Cage

RODE’s new Phone Cage can work directly with MagSafe iPhones or any MagSafe-compatible phone or case. The magnetic attachment makes attaching a phone quick and simple, and with 33 mounting threads and 5 cold shoe slots, there’s ample scope for adding lights, mics and other accessories. 

The Phone Cage can be used as a grip, but you can attach additional handles as required to the mounting points and you can also mount the cage on a tripod. It’s set up for both landscape and portrait orientations.

The RODE Phone Cage will be on sale from late April 2024 and will cost $120 (about £96 / AU$185)

RODE Magnetic Mount

The new RODE Magnetic Mount also uses the MagSafe magnetic attachment, but offers a very different approach to mounting accessories, including three removable magnetic arms. There’s a short and a long cold shoe arm and a long arm with a 1/4-inch tripod thread, which can also be used with a handle or a desktop arm.

Designed to be lightweight and compact, the RODE Magnetic Mount will be available from late April 2024 at a price of $90 (about £72 / AU$139).

Cave photography calls for a varied range of skills, with stamina, endurance and an ability to operate in confined spaces near the top of the list. 

As it’s a subject many of us will be in the dark about, what could be better than taking a deep dive into the discipline from a leading practitioner? 

Exploration and adventure photographer Sam Davis is based in Powys in Wales and has been caving since childhood. 

A love of the great outdoors and hunger for travel led him to become a photographer and two of his passions will take centre stage at The Photography & Video Show this month. 

• Standard entry tickets to The Photography & Video Show 2024 start from £14.95 and are valid for any one day of the event; pros and students can pre-register fro free entry. To save 20% on your tickets use the code DCWTPS24 before March 14.  Click here to buy your tickets

See Sam Davis’s talk at The Photography Show

’Illuminating the Underworld’ with Sam Davis takes place on the Behind the Lens stage at The Photography & Video Show on Sunday March 17  at 2.45pm. The talk is free to attend. 

Standard entry tickets to The Photography & Video Show 2024 start from £14.95 and are valid for any one day of the event; students and pros can get in for free if they pre-register. Click here to get your tickets

Subscribe today!

This interview appears in the April 2024 issue of Digital Camera magazine, on sale from 1 March. Click the link below to see our latest special subscription deal!

You can buy limited back issues of Digital Camera magazine in print at our Magazines Direct secure store.

Alternatively, there is a range of different digital options available, including:

• Apple app (for iPad or iPhone)
• Zinio app (multi-platform app for desktop or smartphone)
• PocketMags (multi-platform app for desktop or smartphone)
• Readly (digital magazine subscription service)

Denise Maxwell returns to the NEC in Birmingham 16 and 17 March to give talks at The Photography & Video Show about how to make money from photography and photographing big events. 

A regular visitor to the show, first as a punter and then as a speaker, Maxwell has enjoyed a successful and rewarding photographic journey. 

Focusing on more than one genre, Maxwell just loves taking photos – and inspiring and teaching others to do the same. 

And she will appear at the Show with a new title – she was recently awarded a Doctor of Arts by the University of Wolverhampton. 

We sat down with Maxwell to discover more about 
her career to date, and to get a taste of her upcoming speaking engagements in March. 

• Standard entry tickets to The Photography & Video Show 2024 start from £14.95 and are valid for any one day of the event; students and professionals can get in for free. To save 20% on your tickets use the code DCWTPS24 before March 14 -  Click here to buy your tickets

See Denise Maxwell at The Photography Show 2024 

• ‘How DO you make money from photography?’ with Dr Denise Maxwell takes place at The Photography & Video Show on 16 and 17 March at 11.50am. 

Tickets cost £10 per person, and are on sale now on the show website. 

• ‘Event photography: Mastering big events through the lens‘ with Dr Denise Maxwell takes place on the Behind the Lens stage on 16 March at 2.15pm. This talk is free. 

Standard entry tickets to The Photography & Video Show 2024 start from £14.95 and are valid for any one day of the event. Click here to buy your tickets. To save 20% on your ticket use the code DCWTPS24 before March 14

Subscribe today!

This interview appears in the February 2024 issue of Digital Camera magazine, on sale from 1 March. Click the link below to see our latest special subscription deal!

You can buy limited back issues of Digital Camera magazine in print at our Magazines Direct secure store.

Alternatively, there is a range of different digital options available, including:

• Apple app (for iPad or iPhone)
• Zinio app (multi-platform app for desktop or smartphone)
• PocketMags (multi-platform app for desktop or smartphone)
• Readly (digital magazine subscription service)

Sean Tucker will appear at The Photography & Video Show in Birmingham, England, on 16 March to discuss his book The Meaning in the Making, an exploration of the importance of creativity. The book draws on Tucker’s career, as well as insights from his psychology degree. 

Rather than specializing in one photographic genre, Tucker produces work across the spectrum, taking in portraiture, still-life, product photography and street photography.

While you can get a good flavor of Tucker’s work on his YouTube channel, which offers many highly polished informative tutorials, equipment discussions and much more, we sat down with him to get a taste of what to expect in his upcoming talk. 

Standard entry tickets to The Photography & Video Show 2024 start from £14.95 and are valid for any one day of the event. Click here to buy your tickets. 

Sean Tucker‘s talks at The Photography & Video Show

'The Meaning in the Making' with Sean Tucker takes place on the Behind the Lens stage on 16 March at 15:45. 

'Thomas Heaton & Sean Tucker: In conversation' takes place on the Behind the Lens stage on 16 March at 13:00. 

Both talks are free. 

Standard entry tickets to The Photography & Video Show 2024 start from £14.95 and are valid for any one day of the event. Click here to buy your tickets.

Subscribe today!

This interview appears in the March 2024 issue of Digital Camera magazine, on sale from March 01. Click the link below to see our latest special subscription deal!

You can buy limited back issues of Digital Camera magazine in print at our Magazines Direct secure store.

Alternatively, there is a range of different digital options available, including:

• Apple app (for iPad or iPhone)
• Zinio app (multi-platform app for desktop or smartphone)
• PocketMags (multi-platform app for desktop or smartphone)
• Readly (digital magazine subscription service)

Kim Grant is one of the featured speakers at The Photography & Video Show, taking place March 16-19 at the NEC in Birmingham England.

For Kim Grant, there’s no place like home. The nurse turned landscape photographer lives in a seaside village on the scenic Moray coast in northeast Scotland. There is a calming assurance in her voice that is both clear and rhythmical, a reflection, I think, of life’s gentle pace in her home surroundings: she looks and sounds relaxed. 

“Have you been out this morning?” I ask when we both get our video link up and running. “For a walk, yes, but not with the camera,” she replies. Except for five years in Aberdeenshire, Kim has lived all her life in Moray and recently returned to her home village of Burghead. 

Her affection for the place runs deep: “It’s a wonderful place to live and to do photography because you’ve got it all here, the seaside and woodlands, farmland and rivers. You’ve got everything really, apart from mountains, but I’m not really into mountain photography.”

And yet, this summer Kim surprised thousands of followers on her YouTube channel by announcing that she had fallen out of love with traditional landscape photography. More than that, she added: “If I’m completely honest, I find it boring now.” 

However, she continues to see herself as a landscape photographer; the difference is that Kim’s new work is more intricate, less obvious, and triggered by an emotional connection to her subject rather than a snap response to a spectacular view. But to fall out of love with traditional landscape photography means she must have been in love to begin with, so I start by asking her the obvious question…  

This interview first appeared in N-Photo magazine. Scarlet is a headline speaker at The Photography & Video Show. You can find out about his talks at the Show website, and you can get 20% off tickets with our exclusive discount code.

You might be interested in the best Nikon cameras along with the best Nikon lenses – and particularly the best Nikon Z lenses designed for its mirrorless cameras. 

Gurvir Johal is one of the featured speakers at The Photography & Video Show next month, taking place March 16-19 at the NEC in Birmingham England.

It’s the start of another week at the height of summer, and I’m expecting acclaimed Asian wedding photographer Gurvir Johal to be run off his feet when we speak. As it turns out, that’s putting it mildly. Gurvir’s schedule leaves me reeling: 

“I’m in France tomorrow for a wedding on Wednesday and Thursday. I’m home Friday; it’s my son’s birthday on Saturday, he’s going to be two, so as soon as I land in Gatwick on Friday I’ve got to get back to Birmingham and cover a wedding – a good friend snapped his Achilles heel, so I’m covering as many of his jobs as possible. I’m hoping by August he’ll be back to normal, so I’m covering Friday’s gig for him, son’s birthday on Saturday, wedding again on Sunday.” 

Very early on in my career, I used to jump in the car in the driver’s seat or the front seat, and photograph everybody saying goodbye from that perspective. I remember early in my career there were very few weddings where the family dynamics weren’t similar to mine. It got emotional for me when you’re hearing the dad, the mum and the brother and siblings saying goodbye to their sister, and the words exchanged between them. It’s difficult for you to be cold as stone all the way through. It really does pull on your emotions.

This interview first appeared in N-Photo magazine. Gurvir is a headline speaker at The Photography & Video Show. You can find out about his talks at the Show website, and you can get 20% off tickets with our exclusive discount code.

You might be interested in the best Nikon cameras along with the best Nikon lenses – and particularly the best Nikon Z lenses designed for its mirrorless cameras. 

There’s no such thing as bad weather, so the saying goes – only the wrong clothing. While most of us would be happy to put up with some discomfort en route to capturing a scintillating scenic view, going outdoors specifically to take photos of appalling weather conditions is surely not a major motivation. However, this was the raison d’etre of the French photographer Christophe Jacrot for his latest book, Lost in the Beauty of Bad Weather.

So what motivates Christophe to document “the rain, the snow, the wind [and] the cinematic emotions they conceal”, as he expresses it in the book’s introduction? We speak to him to find out.

Lost in the Beauty of Bad Weather by Christophe Jacrot is published by teNeues and is priced at £55/$85.

Joel Meyerowitz: A Question of Color is the new eponymously titled book from the legendary street photographer, co-written (if not co-titled) with Robert Shore. It chronicles Meyerowitz's early exploration of color film. 

Joel Meyerowitz has been shooting street photography before the term was coined, establishing himself as an icon of the genre. He has been documenting life in the US for over 58 years, influencing many of the styles seen by modern artists and photographers. 

His work has been exhibited in over 350 museums and galleries all around the world, and in 2017 was awarded a place in the Leica Hall of Fame while being dubbed "The magician of color". But how did Meyerowitz get this moniker at a time when color photography was preserved for holiday snappers? 

The book showcases Meyerowitz's first foray into color film photography, a journey of exploration through experimental images. The book delves into the industry-changing introduction of colored film, and how that impacted not only Meyerowitz's work but the social and photographic landscape in the US. 

At a time when the only 'serious' photography was in black-and-white, Meyerowitz started to experiment with both. When going out to take photographs he would take two cameras, one with black and white monochrome film, and one with the recently introduced color.

He would capture a scene with both film stocks, often not knowing which one was which. Once developed, Meyerowitz was left with two copies to choose from. He could not understand the resistance to taking color photography seriously, asking "But why? When the world is in color?"

This attitude led to Meyerowitz being recognized, along with Saul Leiter and William Eggleston, as one of the great color photographers.

Along with the beautiful photographs, there is also a conversation between Joel Meyerowitz and Robert Shore, an author of several books on contemporary art and photography. This conversation provides us with a detailed insight with a written personal account of Meyerowitz’s practice and life at the time, as told to Shore. 

Joel Meyerowitz: A Question of Color is published by Thames & Hudson and is scheduled for release on November 13 2023 in the UK and Australia, and on January 09 2024 in the USA. The book includes 194 images and will be priced at $25 / £20 / AU$47.75. It can be preordered at Amazon US as well as Amazon UK. 

You might be interested in the best books on photography, along with the best coffee table books on photography. You can also check out where Meyerowitz ranks among the 50 best photographers ever. 

Dafydd Jones has been photographing the great and good at play for five decades, his break being commissioned by Tina Brown, former fêted editor of Tatler magazine. 

His collection of photographs from the 1980s has appeared in several books, including Oxford: The Last Hurrah. 

More recently, he turned his lens to our contemporary obsession with smartphones in his 2019 book Screen Time. 

With a new volume of photos having just been published, we sat down with Jones to discover more about his candid photography and what has changed since he attended high society events in the early 1980s.

England: The Last Hurrah by Dafydd Jones is published by ACC Art Books (ISBN: 978-1-78884-219-8) and is on sale now, priced £30/$40.

Shooters is a great way of meeting up with like-minded people who enjoy taking photographs. 

Powered by social media, Shooters runs events (‘meet-ups’) in places including the UK, the US and Europe. 

It was founded by Mike Will, a former professional ice hockey player and photography enthusiast, now a full-time photographer, content creator and director. 

Having seen his ‘From Beginner to $1 Million Shoot (vlog)’ YouTube video earlier this year, we were keen to find out more about Will’s photography journey, why he founded Shooters and what attendees can expect… 

Want to get involved with Shooters?

Find out about forthcoming events and meet-ups by following Shooters on Instagram: @uk.shooters and @uk.portraits 

Mike also posts about all Shooters-related events on his own personal Instagram page: @m.visuals

He might have been shooting the stars since he was seven years old, but Josh Dury is adamant that astrophotography is for everyone – you really don’t need to be an astronomer. 

In fact, the advances made in camera technology over the past decade mean that capturing high-resolution images with low noise – the holy grail for astrophotographers – has never been so straightforward. 

All you need, says Dury, is a camera that can handle digital noise well, a wide-angle lens that will let in plenty of light via a large aperture and a solid platform to shoot from. 

So read on to explore the essentials that this astro pro takes on every voyage… 

Inside astrophotographer Josh Dury’s camera bag

1: Sony Alpha 7S II 

“For me, the camera that’s best suited to landscape astrophotography due to its low-light capabilities.”

2: Sigma 14mm F1.8 DG HSM Art 

“A wide-angle lens that gathers plenty of light, which is essential for shooting at a good signal-to-noise ratio.” 

3: Canon EOS 5D Mark III 

“This is a versatile camera and is very good for landscape astrophotography. It usually acts as my second camera body when required.” 

4: Canon EF 35mm f/2 IS USM 

“A great lens for shooting panoramas – I used it for the night shot of Durdle Door that’s on my website.” 

4: Sigma 150-600mm F5-6.3 DG OS HSM | C

“The ‘moon bazooka’ is very good for capturing distance shots of the moon, and can be doubled with an extender.”

F-Stop Tilopa V3 

“This camera backpack has sturdy tripod straps on the side and is padded on the inside with good dividers that protect my kit really well.” 

5: Slik Video Grande II tripod 

“Aluminum-based and durable, which I use low to the ground to minimize any environmental effects.”

6: RGBS LCD Shutter Release 

“This camera remote has an LED is very handy for inputting information – capture duration, interval, image count – in the dark.” 

7: LE Pro head torch 

“With two settings – a normal torch light and a red light function – this is essential for night shoots.” 

Josh Dury’s go-to apps for astro

BBC Weather and Met Office 

(App Store & Google Play)

“Use these to average weather forecasts – the more forecasts you can use, the better.”

The Moon 

(App Store & Google Play)

“Essential for planning around moon phases.” 

PhotoPills 

(App Store & Google Play)

“Very good for planning Milky Way shoots.”

Aurora 

(App Store & Google Play)

“The sun is getting stronger: use this to see how strong the aurora is.”

• The best lenses for astrophotography
• Best star tracker camera mounts for astrophotography
• Best astrophotography software
• The best camera for astrophotography: tools, lenses and tools
• The best telescopes for astrophotography
• The best CCD cameras for astrophotography

Van Meene's photographs embrace an aesthetic of their own, appearing contemporary while at the same time, seemingly being from a different era. Influenced by 17th Century paintings, her work captivates the viewer, while embracing her own visual language. 

In each photograph, her aim is to capture the precious momentum of youth, which is characterized by openness, uncertainty, and dreams for the future. Her use of natural light, sensitivity towards the models and absolute attention to detail all help to create an eye-catching interplay. The girls’ facial expressions are particularly striking. At times, her subjects seem to be lost in their own thoughts, while at others, they almost appear to be challenging the viewer. Occasionally, some of her subjects even have their eyes closed, but through her skillful staging, each photo seems to stop time within itself.

Van Meene has been working with some models for years, and as they find their way into adulthood and evolve, so does her photographic work. In her latest series, she goes one step further, including an element of fire in her work for the first time.

Work courtesy of: James Freeman Gallery, London; Galerie Fontana, Amsterdam; Yancey Richardson, New York

Interview

“There are people in my photographs, but they’re not ‘portraits’ as such. It’s more like a translation of someone I see”

• A photographer's life: Carol Highsmith is documenting America for posterity
• Photographer tells story of capturing shy ‘spotty’ leopard
• Can shooting in natural light be this simple?
• Natural light vs flash – which is better?

Street photography is all about providing candid insights into everyday situations, so being in the right place at the right time is extremely important. Often, it is assumed that these shots are unplanned and document a coincidental moment and though this may be true in many cases, it is not a necessary prerequisite. Photographer Jignesh Chavda illustrates this with his shot taken in Ahmedabad, India.

“At the time, it was the rainy season. I had planned to capture this moment with my camera a long time before but the right moment did not happen due to the rain,” he says. Jignesh’s work documents everyday life, capturing the essence of humanity in a series of candid moments. “Art doesn’t come to you, so you need to go to it,” he says. “I always look for complex frames with multiple layers that tell an interesting story or have a strong message.” This approach is evident in his work.

Jignesh’s shot offers the viewer an abstract perspective on everyday life. “There are three small novellas in progress in the shot and I like the way they are separated from each other so that each has a voice,” he says. The industrial scaffolding where the people are working contrasts with the plain white background. In post-processing, the colors were reduced and levels, curves and cropping were adjusted in Photoshop.

Tech details

Camera: Sony Alpha 7 III

Lens: Zeiss Batis 85mm f/1.8 

Aperture: f/11

Shutter speed: 1/250sec 

ISO: 800

• Urban street photographer reveals his candid capture secrets
• Photographer tells story of his shot of wallabies fighting on the beach
• Survey shows Sony A7 III is favorite camera for pro photographers
• Zeiss hasn't left the photo business… but hasn't launched a lens in 4 years

Will Burrard-Lucas followed a lead that an incredibly rare African black leopard was in the area. “I deployed my camera traps and managed to photograph the stunning creature as well as several regular ‘spotty’ leopards that shared the same territory,” says Will. 

In the wilderness, everything is foreign and it’s a challenge to find special techniques to achieve aesthetically pleasing composition and lighting. “The only way to achieve this sort of photograph is to use camera traps such as the ‘Camtraptions’ system that I developed. These are deployed for many weeks or months and automatically trigger when an animal passes by. The other half is knowing where to put the cameras. Working with people who live alongside the animals improves my chances – and it is thanks to their help that I am able to capture images like this,” says Will.

“One of the most difficult images I tried was to expose a leopard with stars in the sky at night. This required a long exposure time for the stars and a flash to expose the foreground. On this night, the leopard came past while the moon was still above the horizon, resulting in a ghostly image. Leopards are elusive, shy, and at one with the night. For me, this is an image that captures the essence of this ghost-like creature,” he adds. 

More images can be found in Will’s book, The Black Leopard. Prints are available with 20 percent of the proceeds going to conservation organizations via the Escarpment initiative. 

• Best trail cameras
• Best cellular trail cameras
• Urban street photographer reveals his candid capture secrets
• A photographer's life: Carol Highsmith is documenting America for posterity
• Photographer tells story of his amazing shot of wallabies fighting on the beach

Taking on a wedding is a big responsibility. After all, if you mess it up, you can't ask all the guests to come back for a reshoot! As photographers we're commonly asked by friends and family members to shoot their weddings, but there's a few things you should know before agreeing to shoot the big day!

We recently caught up with award-winning photographer, Vanessa Joy, who has been a pro wedding photographer for over 20 years. She focuses her business in the Austin, Texas and New Jersey / New York City areas, alongside her partnerships as a Canon Explorer of Light and Profoto Legend of Light. For over a decade she’s been helping photographers take their craft to the next level.

• Elevate your wedding game with the best cameras for wedding photography

Vanessa tells us her story, her top tips for wedding photography, as well as the camera set-up she uses, including her favorite cameras and lenses. To see more of her lovely images and check out her workshops, be sure to visit her website.

"My mother was a photographer so I grew up with a camera in my hand, but it was only when I started developing my own film in high school that I fell in love it. I became a wedding and portrait photographer right out of high school and loved the high intensity and challenge. 

"I first worked for another photographer for about five years before going solo. I thought I needed to have a ‘real job’ instead of just being a photographer, so I became a Spanish teacher. This was short-lived and I followed my passion for photography just a few years later.

"When I first started, the challenge was the craft itself. Striving to learn more, correct my mistakes, and create images that my clients were happy with. Then it was about marketing, and keeping up with social media, and now it’s about standing out from the crowd. Even smartphones produce quality images, so it’s hard for clients to sometimes know the difference between good and great photos. So, now my goal is to also weave in an experience that they’ll love and remember.

"I’ve recently gone back to my film roots and picked up the Canon A-1 camera that was once my mom’s, and the Canon SLR on which I first learned and my journey in photography began. It might not be the same as working under red lights and getting my hands wet, but it’s a great way to slow down the creative process and remember why I fell in love with it to begin with."

1. Canon EOS R3

"The EOS R3 may only have a top resolution of 24MP, but its super-fast top burst rate of 30fps makes it a favourite among sports and news photographers. My old Canon DSLR was a Canon EOS-1D X series which I always loved, so the EOS R3 is a natural upgrade. I love the mirrorless format of this camera, the durability, and its speed. I usually use the R3 to shoot the second half of wedding receptions as I love how it performs in low light."

2. Canon EOS R5

"Canon’s EOS R5 is one of my all-time favorite cameras. The autofocus system is unparalleled and its eye detection is brilliant. The full-frame 45MP imaging sensor delivers incredible prints that can be blown up and printed large, while still maintaining loads of detail. With megapixels aplenty I have the option to crop in a little, too. It also features sensor-based image stabilization, so camera shake is a thing of the past, and it performs great in low light and at high ISOs, too."

3. Canon RF 28-70mm f/2L USM

"My Canon RF 28-70mm f/2L USM is one lens to rule them all! It’s perhaps no surprise that this lens is glued to my camera for the majority of the wedding, unless I need a different lens for something specific. With a versatile zoom range of 28-70mm and a super-wide maximum aperture of f/2 throughout, it does the job of three prime lenses and has replaced my 24mm, 35mm and 50mm lenses."

4. Canon EF 135mm f/2L 

"This is one of the most understated lenses in the EF lineup; it has a telephoto focal length, ideal for taking candid shots from a distance, or tight portraits. I use the Canon EF-EOS R mount adaptor so I can continue to use it with my newer mirrorless Canon cameras. Canon has recently announced a new RF version with wider f/1.8 maximum aperture and optical image stabilization and I can’t wait to get my hands on one!"

• Read more: Canon RF 135mm f/1.8L IS USM review

5. Canon Selphy CP1300

"Ever since I started my own photography business about 14 years ago, I’ve always done same-day edits at weddings and even printed albums. I carry Canon’s Selphy CP1300 to print on location, and I use the additional battery so I don’t have to worry about finding an electrical outlet. It has variety of paper options, though I usually print off eight 2x3-inch photos on the day to give them a small photo album. The image quality is really good, too!"

6. Profoto B10

"The Profoto B10 is my go-to flash when I want to have both power and portability. With lots of modifier options, such as softboxes and umbrellas, I’m able to use this on the wedding day for a variety of situations like family photos and shots at night. It’s easy to set up on light stands and position it where I need the light to fall, for sidelit or backlit, portraits and so on. I fire it remotely using a flash trigger attached to my Canon EOS R3 or EOS R5 cameras."

Summer has arrived early in Kuusamo, a small town in Finland’s northeast, close to the Russian border. Here the winters are long and bitterly cold, but the attractions of snow-covered trees, frozen lakes and the Northern Lights make it a popular destination for landscape photographers from the world over.

It’s 20:00 on June 01 when I speak to Eeva Mäkinen, who is sitting outside, listening to the local birdsong near the lakeside where she lives. “It’s a beautiful evening here,” she says, happily. “The summer came around one and a half weeks early. Usually this time of the year we might still have some ice on the lakes, but now as I’m sitting on our own lake shore, the trees have leaves already and it’s really summery, 20 degrees!” (68°F)

Nature is your first love. Was photography also an interest for you as a child, or did that develop later on?  

I think photography came a little bit later. I was always interested in photos, but I grew up in a place where there are a lot of famous bird photographers, and when I was a kid they made a big impact on me, but I didn’t think it would be possible for someone like me to actually do a similar thing.

Of course, I don’t now do the same thing, although I was always interested in nature photography, but it was surprising how everything turned out. 

You also work as a tour guide. Are they photo-related? 

Yes. We only do one or two tours in a year because that’s not our main thing. Me and my boyfriend, we really love connecting with like-minded people and taking them to places that we find special. So, that’s like a special event once or twice in a year, we take people with us. We don’t want to do it more because then it becomes too touristy, if you know what I mean.

It’s important to find your niche, so what is the main focus of your photography?  

It’s definitely more landscapes than animals or birds. It’s for fun if I shoot birds or animals – there’s a woodpecker next to me now! When we moved here, my dream was to start doing a little bit more bird and animal photography, so we are building a place where I will have the capacity to shoot close to home and observe nature closer, because every time you’re traveling somewhere, it’s harder to do so. It helps to really know the place, and know the environment that you’re shooting. 

You’ve said previously that fall is your favorite season; is that because it’s quite brief? 

Yes, exactly. It’s really, really, short, but the colors are amazing and there are no mosquitoes, which is nice! I love that kind of temperature when it’s not so warm any more. I love camping and hiking, so that goes well with landscape photography. Also, autumn is definitely the best season for hiking and everything looks beautiful. 

What is your core camera gear that you take when you go out to shoot your landscapes? 

During the winter, the gear I have is a little bit different than in summer. During the winter, I always have a wide-angle lens with me; during the summer and autumn, I hardly ever use that. I rather use a 70-200mm or even a 35mm and 85mm, and I always have the basic 24-70mm in my backpack. I don’t know if this is the same for everyone, but I have seasons where I like certain lenses. 

In spring I wouldn’t go anywhere without my macro lens, because now all the small details are coming up and it’s really beautiful. At the moment, I like the prime lenses, 35mm and 85mm. And the 70-200mm – so those four lenses are my favorites at the moment for this season.

But in the winter you favor using the wide-angle lens? 

Yes, wide-angle, and of course the 70-200mm is always with me. During the winter, I don’t really go anywhere without the wide-angle because I really love night skies. They’re beautiful here, and you never can know what you will see. 

The light differences between midsummer and midwinter are extreme where you live, so how does it affect your shooting?  

When I was starting to learn about my own gear and the light, it took a while before I realized what kind of light situations I like, and what kind of light I really want to go for. I was trying so many different things and, at the end of the day, I decided some things weren’t for me. 

For example, I’m not a big fan of sunsets, which is weird for a landscape photographer. But I notice the light is so much softer in the morning, so I always prefer the mornings and the night-time. Also, the light here changes so fast that you only have two weeks of similar light, and then it changes again. 

I write all the little details that I have noticed; like during the winter if I’m shooting at night-time, what side of the moon is the best and the height of the moon. For example, when shooting snowy trees, I think the moon should be 30 percent to 50 percent, but you need to have it at a certain angle to get good light through the trees. 

That’s astonishing. It must have taken you years of observation to work that out? 

Of course, I’ve made lots of experiments and mistakes. When I was younger, I was camping a lot during the winter – I still do – but I didn’t take into consideration so many variables when I was trying to create something similar that I did the previous year. Then I realized this doesn’t happen because something else is different. 

So, in effect, because of the way the light changes, it’s almost impossible to repeat a shot?  

Yes, exactly. Or at least, I think it’s like that, because I have tried to repeat different things. For example, in February you have a three-day window for a certain size of the moon, and if it’s cloudy at that time, you can’t get the shot!  

So you must study the weather forecast and the moon phases very closely?  

Yes, every day, although not the moon during the summer. When we take our guests on a photo tour, it is always planned for a certain moon phase in the winter. 

You use the Z series now as well as the D850. Do you prefer one system over the other?   

I only use the Z series now, because I have learned to use it and it is so much lighter. It’s made things easier, especially when hiking and ski-hiking, and you can pack a little bit less weight. Also, when you’re really tired and you should take the last photo, I find it a bit easier for your mind to take the lighter camera.

Are you likely to get rid of your D850 as a result of the benefits the Z series brings?   

Maybe at some point. I still use it in situations like the winter, when there are a lot of Northern Lights; then I might be taking time-lapse on that camera. But I haven’t decided yet whether I want to go full-on with the Z or still keep it. I don’t know yet. 

One of your clients is Arctic Blue Gin. Is that a product that required you to find a suitable location?   

Yeah – for example, now I’ve been shooting again after last summer, autumn, and winter. Obviously, we have four seasons in a year, and I shoot all its four products every season. So, I basically carried four bottles of gin in my backpack for the past year – without opening them! 

It must be very tempting when the backpack gets too heavy, not to open the gin!   

True. But when it is so cold during winter then it’s not so sensible to open a bottle, but I think autumn is a little bit tempting because you have all the blueberries on the ground. But I’ve never thought about it that way.

It’s really fun, I love the colors they use and that they ask me to use around the shape. For example, in winter I took photos with the Northern Lights and another photographer asked me, “Do you really do this without double exposures or Photoshopping, or anything like that?”

My goal is always to try to create everything as natural as it can be. That photo also came with the moonlight because I knew what type of moonlight I can do with the Northern Lights and the bottle in a natural way. And I made it!  

With all your low-light and winter photography, you must be very familiar with tripods?

Kind of! I don’t like tripods that much because they’re usually heavy, especially when you go hiking. I’ve tried taking the smaller Gorillapod with me because it’s more compact. Of course, during the winter and at night I use it, but I would say I hardly ever use it in any other situation. 

So you prefer to increase your ISO to maintain your shutter speed? 

During a low-light situation, like at dawn, I’d rather do that than take the tripod. Of course, during the night it is totally different, and you’re usually sat in one place instead of walking and observing different surroundings. It’s a little bit easier then to use it as well.

I like your philosophy, to get everything right in camera. Has that always been the case?   

Yep! Once I tried adding this natural-looking steam for a product to try to create some mood, and I hated it. It wasn’t my thing at all. I’d rather wake up at three in the morning and wait for one week to get the fog and the sun in a perfect way and to get the photo in a natural way, rather than try to create it in Photoshop or Lightroom.

When it comes to photograph the Nordic winters, what’s the best advice that you would give to others? 

The advice is obvious – to always have enough clothes, and enough food and enough hot drinks to keep your energy levels up. So often it is always the last photo that you don’t take because you’re too cold or you’re too tired, or you don’t have the energy and you want to go home and you don’t want to wait. And then the last photo is usually something spectacular, like an amazing aurora, or amazing light! That always happens, and instead people give up a little too early and go to sleep.  

You can find out about Eeva's photo tours at her website.

Reptiles have populated this planet for millions of years and yet they still have a certain mystique about them. The green tree python stands out with its luscious green color and offers much more than just a significant first impression. With such a strong subject, the photographer must act strategically to achieve a balanced end result.

Joshua Sommerfeldt’s portfolio includes many exotic species but he is particularly fond of photographing snakes. “They are one of the most misunderstood animals,” he says. “I want to show people that snakes are actually amazing and don’t deserve their negative reputation. Negative interactions with humans are rare and most would rather flee than fight." he adds.

“I captured this animal in a low-light area so using a tripod or flash wasn’t an option. Fortunately, the Canon EOS RP copes well with high ISO. I was able to increase the ISO and the stabilization of the Sigma 150mm F2.8 EX DG OS HSM APO Macro lens allowed me to shoot handheld,” he says. The exposure was 1/13sec at f/8, with an ISO of 2500.

Joshua shot with a small aperture to create a greater depth of field. The image doesn’t feel cluttered and instead focuses on specific details to draw in the viewer’s eye. Perspective is also crucial and the macro lens allows a closer viewpoint that creates exciting insights. 

When post-processing, it is important to highlight certain features but not overload the photo. To achieve a harmonious and interesting interaction, Joshua used Capture One to enhance the colors and contrast, then he removed distracting background elements in Photoshop to maintain the focus on the snake. 

• Photographer tells story of his amazing shot of wallabies fighting on the beach

The inaugural new So.co Music Photographer of the Year Awards kicked off early last month and has gained mass popularity among music photographers and industry fanatics worldwide. With a judging panel that includes photographer Scarlet Page and McFly bass player, Dougie Poynter. 

The Awards has announced that David Hogan is the recipient of the prestigious  ‘So.co Legend of the Year Award’ for his incredible photographic legacy and contributions over the last 40-plus years towards music and press photography, and creating the high standard it has reached today. 

•  How to get started in live music photography

Music Photography is often an under-appreciated genre within the creative industry, especially so when it comes to recognizing achievements in the form of competitions and awards. But thankfully - with the introduction of the Abbey Road Studios Music Photography Awards launched just last year, and now the inaugural So.co Music Photographer of the Year Awards - music photographers are finally the ones in the limelight, highlighting their artistry and devotion to the craft. 

I had the opportunity to interview the brilliant (and super chatty!) Dave Hogan, or 'Hogie' as he is affectionately known by most, on what it meant to be the recipient of such a prominent title as So.co's first-ever Legend of the Year Award in 2023. 

With a forty-year career as one of the biggest names in the music and press industry, Dave has toured with the Rolling Stones multiple times, and worked closely with the likes of Boy George, Madonna, U2, David Bowie, and Taylor Swift to name just a few, photographing every event from the BAFTAs to The Brits, and achieving worldwide distribution with some of the world's most iconic images. 

Dave Hogan: the interview

The interview begins as Dave virtually shows me around his home studio with high wooden beams and a fancy desk setup. He’s so full of energy, and his passion for the craft already shines through in the first few minutes of speaking with him. 

We get into talking about one of Dave's most famous images he's ever captured, of Madonna and Britney Spears stealing a kiss on stage in 2003. Dave recalls:

"I remember it really well because actually, it was the day I proposed to my second wife, we’re divorced now, but still really good friends. Anyway, we were going to New York and I had access to watch the dress rehearsals. 

"On that particular day, I’d managed to get plum, right in the center, and I knew something was going to happen. I Didn't know what, and that’s the thing - you get tipped off a little bit, like okay, she’s gonna do something special, well everything with Madonna is something special, but you’ve got to be alert."  

"What happened was Madonna was doing her bit, Britney Spears was there, and Christina Aguilera. You’ve got three really quite major female artists that are doing their sort of walking down the runway, almost as a bridal sequence, and Madonna gets to the end of the walkway and the first person she kisses is Britney, and as she turns her head, she kisses Christina on the other side." 

"My camera had buffered, and then I think most of the other photographer's cameras had buffered. So the picture was Britney and Madonna, but I’m sure Christina’s PR would be going “Didn’t she kiss you as well?”

"That split moment is a technical difficulty, as in the old days before burst mode came in, you couldn’t just press the button and shoot fifty shots, it was like [b-zzing, b-shinng] as it would be buffering. So that moment was immortalized with Madona and it was probably one of the most talked about pictures I think I’d done in years."

"I mean there were a couple of other people who got it, I wasn’t the only person but because I got it in The Sun, which was almost like the shot window to the world, other people would then call up, but there were probably four or five other photographers who got the shot too - but it’s about who delivers it quickly on the wire, and what exposure you get from doing that."

Photographers all after the same iconic shots, like a pack of lions feasting on the same prey, appears to be a common theme in Press photography - except it's gotten much easier in the digital age with time being the crucial factor, explains Dave:

"It’s like Chris Rock getting slapped by Will Smith, there’s a bank of photographers that are on 600mm lenses. Hopefully, you’re going to be alert to actually get that magic moment, and everybody will get it from a certain angle. If you’re working through AP or Reuters or whatever, and you get it, then it’s gone around the world instantly, you know?"

The first time that Dave photographed Madonna was when Boy George introduced him to her in a nightclub in 1983, during the time when she was starring in the movie Desperately Seeking Susan. 

"I was in this New York nightclub with him [Boy George] and there was this famous quote. He understood photography, understood the power of having somebody on side with him, and he had a birthday party at one of the clubs where there were beds - and we were all having afternoon tea. And that was one of those times where he was quite good with words. So he'd say, "I'd rather have a cup of tea than sex". Then, you know, you've instantly got a great headline with a good picture that goes with it."

"So he [Boy George] was introducing me to people. And he just said this woman [Madonna] is going to be big, you need to photograph her. So I did. And I certainly don't think it got used at the time because it wasn't the right time. But from that moment on, when somebody that you trust and respect, and you know, people like Simon Cowell or whatever, says This band is gonna be big, you just do what you can do. Right? And it may not be for six months, but you know that if you have that caliber of management and PR around you, then they will deliver. And so that's the philosophy I've always had."

This was all during a time without any social media or major digital technology, and as Dave insightfully explains, you had to put yourself out there and offer something special to earn those big opportunities. 

"The only way you could get your band talked about was by flying the journalist and the photographer to Los Angeles, to New York to whatever. Now, everybody's got an iPhone. Everybody's on Twitter, social media, so I had the glory days, because, you know, it was like, you know, if you had a camera, you were invited there, because you could give them what they wanted."

"It wasn't the case that you went to New York, and would just party, create the pictures, and go out. It involved doing the job, and I'd open up a photographic lab to process the film, and be wiring pictures all night. Then when the office opened in the morning, there was a good set of pictures ready for them to use. And the lucky thing was, nobody else would spend that money to do it. So you would always be the first with them."

"I'd go to a five-star hotel that would be paid for by the record company. It was nice to be there, but I'd have a pair of crocodile clips and I'd be trying to get my wire machine through the technology so that I could actually get a picture and the wire aligned back to London without it cutting off. So technology was the one thing that would cause me stress. Taking a picture is a piece of [ censored], you know? It was dead easy. But transmitting that picture back was the hard part. You could be the world's greatest photographer, but if you missed the deadline that's it."

Speaking of stress, Dave understands that things might be easier now in the world of technology, but in other areas, music photography is an increasingly difficult profession for the next generation to get into or make a living from. 

"I really try not to be an old fart, because there's a lot of really great, great talented photographers out there, that can outshoot me. And I know that they can outshoot me. I'm just very lucky that I get my VIP access position. I so love the young up-and-coming photographers, because I just watch them and I think that was me, that was me probably 20/30 years ago. And it's great that people are so passionate about what they do."

I myself started photographing gigs at the age of 14 and had to sneak in my bridge camera to venues by hiding it under my armpit in a baggy jumper, and ten years later as I describe to Dave, it's still just as difficult for new music photographers, having to contribute on a volunteer basis for free to music press in exchange for photo passes just to get a foot in the door. 

"People used to say to me, How'd you get in there? So well, a lot of the time magazines and local papers, they haven't got the budget, haven’t got this or that. But it's great if you're enthusiastic and you offer something new to it, don't go there with the first thing going, "how much am I going to get paid?" Because they've got no budget, there is no budget anymore. It's the opportunities that arise when you make your own opportunities."

"Suddenly you see the band, the band like that picture, and then the band may say, 'Oh, could you come and do some more stuff for us?'. But if you haven’t bothered getting out of bed or going down there and giving it a go, you're always going to be sitting there. And I'm a great believer in, you know, giving people a chance given these things. And it's really important to give the next generation the same chance that I was given."

"If you do a photography course, nowadays, and you can barely get under a couple of 100 quid for the shift, plus you've still got to have 10 grand's worth of camera gear, and you've got to have a computer, you've got to have probably transport or, you know, there's certain things you've got to have nowadays before you can even submit a picture. It's all changed."

"You've got to adapt, and they're [the media] adapting in their way. So you either whinge and moan, and the last thing anybody wants is another whingey Moany photographer, because there's enough of them out there. Every day, I wake up, and I'm excited, just to visually see things, whether I snap it on my iPhone, or I'm photographing Madonna and Britney, or Rolling Stones, I love it. I think it's because I'm dyslexic. It's almost like my snapshot diving."

Dave's son is a lawyer, and has just had his first child, a baby girl! As a new grandfather, Dave resents the idea of being "an old fart", as he calls it, and hopes to embrace new technology as much as possible. 

"Because I'm dyslexic, I don't really follow A to B to C instructions. And I don't think a lot of creative photographers that I know do either. There's some people that will have read the manual. And we all go to film premieres, and we'll just ask certain people, 'what does this do?' We know that they will have read it, you know, but I'm not going to change the way I am now, I love to be up to date with what's going on but I have to have somebody show me, and then I’ll understand it."

"I was talking to him [Dave's son] about having a career where it takes you away, and it takes you around the world. And he just said dad, it's what you did. And I was going, Yeah, well, you're the same with your lawyer career, you know, nobody gets into great positions by finishing at five o'clock every night. You've got to give a little bit extra. And you've got to be passionate about things. And if you're passionate, you know, the other things will come along with it. That's what I believe in."

Wondering what gear Dave typically shoots with? He's a Nikon guy. 

"When I work a big event, I'll have three cameras with me. There's one around me neck, one down here one there," he says pointing to his chest and shoulder. "And even though I'm shooting on my main camera, which is the [Nikon] D6 I'll have a second D6, and then I'll have a Nikon Z six or whatever."

"I'll make sure I've got a few frames on each camera, just in case because you know, a card could corrupt or this could go wrong, you don't know technology sometimes, something could go wrong. And it doesn't matter. Nobody's gonna go, 'Oh, that's okay', they're just gonna think you're [censored].

• You heard it here folks, the best camera for music photography used by Dave Hogan himself are two Nikon D6's, and the Nikon Z6 as a backup just in case! 

On receiving the news of being So.co's first ever Legend of the Year for 2023, Dave said he was speechless.

"It is the greatest recognition of going out night after night, and doing things that I love. But if somebody comes to you and says, we're gonna give you an award for this, that's what's so special. Honestly, it is the best award that's ever happened to me in my life." 

"I've won a few awards back in the 90s, but to be honoured by the first So.co Legend Award, other than having three kids, it is the best experience I've ever had because it validates those times where you've had to let somebody down. Or you've made them a last minute call saying that you can't be there, because that's what I've done."

"For 40 years. I've put this job first. Saying 'I'll make it up later', and it's difficult, but that's why I'm still doing it. And I still get so excited about things that are coming up. I love all aspects of taking pictures, and a recognition of this kind is the best that could ever happen this year."

Just before the Zoom interview drew to a close, Dave offered some fantastic last minute advice for newcomers to the genre of music photography, and his final words of wisdom were:

"Persevere. Ask. Go to your local paper. Go and suggest things. Because everybody wants content nowadays, and if you're providing content, then you'll get used. And then suddenly, out of the blue of all those things you did such as the odd concert, the odd gig. or the odd picture, somebody will say 'can we hire you for this?'".

"But they're not going to hire you until you got the experience. So it's a cat and mouse thing. Get out there. Take pictures. And if you can't, you know, if you can't get into a big concert, then go to your local concerts."

"Strive for the best, you know, because you will get better. Take lots of pictures, and then I'd be ruthless in your editing before showing 2000 Pictures to people who are gonna get bored after the first 10. Get your mates to choose your best 10 pictures out of that, and then somebody else, and suddenly you've got a great set of pictures."

He also suggested that all photographers in the pit should have a group hug at the end of every festival, and his love for new and emerging photographers and level of respect he has for the younger generations was a breath of fresh air. 

Be sure to visit Dave's website for more information on his fantastic portfolio and extensive career, and keep up to date with the So.co Music Photographer of the Year Awards which will be announcing its final winners on March 27, 2023, at an awards ceremony in London. 

• You may also want to take a look at the best camera settings for live music photography, as well as 5 essential tips for editing live music photos, by expert Christie Goodwin, and be sure to get your live music images ready for the Abbey Road Studios Music Photography Awards in 2023.  

• Take a look at our Interviews with iconic Bowie and Queen photographer, Denis O' Regan, as well as renowned Music photographer Jennifer McCord.

Wildlife photography is a genre that offers unique perspectives into animals and their behaviour, but it’s also one where situations change unexpectedly. British photographer Michael Eastwell knows this only too well as he travels to all corners of the world, capturing the planet’s animals and wildlife in all their natural wonder and beauty.

“I travelled to this location for three sunrises in a row intending to capture some stereotypically Australian shots of kangaroos or wallabies on the beach. What
I didn’t expect was this ferocious exchange between two males on the final morning I was there. 

"The species pictured are agile wallabies, or sandy wallabies, which are often mistaken for kangaroos. Whilst they appear similar and are part of the same family, the greatest difference is that they are considerably smaller than fully-grown kangaroos,” Michael says. 

Shooting directly against the sun at Cape Hillsborough, Queensland, Michael managed to capture the two main characters perfectly. The right camera settings were crucial for achieving this specific aesthetic result.

He works with a Sony A7R IV and uses the Sony FE 24-105 f/4 G OSS lens. Michael says: "Using a low ISO and an aperture of f/9, I managed to keep the shutter speed high enough (1/1600sec) to capture all the action in crisp detail,”. 

Michael always shoots in RAW as he wants to be able to extract as much detail and information from the photo in the editing process. “Using Capture One Pro, the main adjustments I made to this photo were the tone and selective area refinements to emphasize the sun hitting the back of the wallabies and to separate them from the surrounding environment. To accentuate the wallabies, I added a vignette to try and pull the viewer further into the centre of the frame,” Michael explains.

• 10 ultimate locations for wildlife photographers
• Best camera for wildlife photography
• Common wildlife photography mistakes (and how to avoid them

It’s hard to believe that LA-based, Cincinatti-born photographer, Ave Pildas is 83 years old. Within a few seconds of our phone call, he prompts the switch to video so we can chat face-to-face. Living in LA, Ave is blessed with blue skies, sun, and "high's of 57°F" so while he sits happily in a hoodie and a cap, I'm wrapped in two jumpers and a blanket.

Ave has recently released his first documentary, Ave’s America, with ex-student, friend and filmmaker Patrick Taulére – which is what we're here to chat about. The documentary follows Ave on shoots in LA where he is still drawn to the quirky, colorful and non-conforming people that line the city streets some 50 years after arriving. From the touristy Hollywood Boulevard to the notorious Skid Row, an area synonymous with homelessness and poverty, Ave’s approach to people and taking a good photo is always driven by communication and understanding.

• These are the best cameras for street photography for capturing candid portraits, beautiful streets and the unexpected

Ave's photography career began in the jazz clubs of Cincinnati and Ohio, rather than the streets. It was here where he was first introduced to Eric Kloss, a blind saxophone player who not only taught Ave how to play [sax] over the phone but introduced him to the people who would kickstart his life as a photographer. 

With some understanding of the musicality of jazz and having built up a rapport with the venues, Ave, a self-confessed failed musician, started shooting the likes of Nina Simone, John Coltrane, Paul Desmond and Cannonball Adderley. 

Shooting in near darkness with moving musicians wasn’t always a success. “Sometimes it didn’t work and I wouldn’t get anything,” he recalls, but his method of pre-focusing and waiting until the musician came into the shot captured some of his most iconic early photos, many of which are featured in Ave’s America. Ave held onto his so-called failed negatives all this time and today's modern film scanners are able to reveal so much more than he could in a darkroom back then. 

When Ave landed in LA in the early 1970s, he was instantly drawn to the eccentric and unusual characters who fled to the city. Using a black and white Pentax 35mm SLR, a converted Zeiss or Leica lens (he can’t quite remember which) and a tripod, Ave would set up the shot and wait until the right people or person came into view. Sometimes people would walk straight through the shot, but other times, people would bend down to observe the camera creating beautiful unplanned, interactive portraits.

Much of Ave’s work takes the form of an ongoing series with several projects spanning 30 or 40 years. He describes one of his oldest series, Animal Antics, as “street photography but generally not with people,” where he explores the relationship between humans and animals in relationship to how we use them for clothing and food.

Throughout our interview, I notice how quick-witted and on-the-ball Ave is. Not that I expected anything less; the documentary made it clear enough that age isn’t a hindrance for him. Ave's responses are instant and full of detail, he keeps up with modern trends and crazes and I sense that part of the reason he’s held onto his youth is because of photography and the circles he finds himself in.

“I don't have very many friends my age and what I do have here is dying off. A lot of my students became colleagues so I have lots of friends who are 20 or 30 years younger than I am."

When I ask him what he has planned for the rest of the day he tells me he’s off to the “organic market to buy lettuces” and in the afternoon he’ll go to the gym – an activity he tries to do three times a week. Along with walking his two Dobermans, it’s clear to see why Ave’s mind, body and soul have remained in good health. 

Back when Ave first started taking photos on the streets, social media and mobile phones didn’t exist and people’s attitude to having their photographs taken was different. People didn’t shy away from a camera in the same way they do today, out of fear of an unflattering photo finding its way onto the internet. Not everyone feels so shy though, and many of Ave’s more recent photos include people playing up to the camera dressed in Halloween costumes and thriving on the attention.

Ave’s latest project is a documentation of Santa Monica Pier in California, a popular hotspot among buskers and street performers. “Some of them pay a fee to the city and others are just doing wild performances; they're the ones who are often chased off by police,” he tells me and I sense, that he is all for the rebellion. "I’ve realized it’ll probably take me a couple of years to get a good body of work” he continues, but considering the length of some of his other projects, that’s nothing to put Ave off. 

To have a career that’s lasted for more than sixty years and still have that passion to continue exploring, meeting new people and capturing new places is truly inspiring. Ave’s America is just a snapshot of the life of a photographer who has made a name for himself by being approachable, empathetic and completely non-judgemental of the people he’s photographing.

As we near the end of the call, Ave confesses that sometimes when he looks back on old photos he can’t understand why some didn’t make the cut. “I’ve forgotten what the criteria was now so sometimes I look at a photo I took 10, 20, or 30 years ago and think “oh that’s a good picture” so it gets another lease of life. 

There is no doubt Ave recognizes how lucky he is to be in this profession, but his success is well deserved. “I feel really blessed that I can continue to do what I do and I wish everybody could do that”.

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In his long and distinguished career, nature photographer Paul Nicklen has captured images that have been hugely significant in keeping awareness of conservation at the front of people’s minds. 

Photography has become far more democratized since Nicklen first picked up his camera, with the technical advances of digital cameras and the internet and social media making it easier than ever for photographers to connect with their viewers.

And it’s this connectivity that Nicklen has turned to for his Masters of Photography online course, which has just launched – spread over 50 lessons, budding or established nature photographers alike can learn from one of the top professionals working in the conservation space.

We caught up with Nicklen to discover more about the course, why he decided to participate in it, and what his prospective students will learn…

“After doing more than 500 public lectures around the world, I’ve met thousands of photographers who want to make a difference to help our dying planet but they needed guidance. I realised that the power of visual storytelling is needed now more than ever,” he says.

“After shifting my focus from National Geographic to SeaLegacy, I’m more inspired than ever to galvanise a movement of environmental warriors with their cameras. We need people to shoot powerful, impactful and meaningful photos with the goal of telling important stories. With the Masters of Photography course, I get to do a tell-all to thousands of people. I hope it inspires them.”

Telling stories is the key component in achieving ‘conservation wins’, as Nicklen describes them. Citing a recent example, he mentions sending a story-based email from SeaLegacy that inspired 6,000 people to write to Justin Trudeau, the Canadian Prime Minister. The following day, 104 species of shark were given protected status. Many organisations were involved, but “you need powerful visuals to start those conversations,” says Nicklen.

A picture on its own isn’t enough, he adds: “I learned how to shoot decent pictures at a young age – I followed the work of my heroes, Tom Mangelsen, Art Wolfe and others – but I didn’t know how to tell a story. I didn’t know how to make a storytelling image or put together images that told a story.

“Back in 1997, Flip Nicklin offered to mentor me and I moved down to his house in the US. He taught me how to break through a brick wall of what it means to tell a story with a camera.

“It sounds so simple, but it really is very difficult, especially when you’re trying to get into the hallowed pages of National Geographic magazine, which was every young photographer’s dream. I didn’t realise how far away I was from that.

“I was pushing the limits of what the human body could endure, diving into sea ice in hypothermic conditions, but I was not telling a story. I was actually feeling a little deflated about just shooting pretty pictures in magazines and it was through that two-year mentorship with Flip and then later on a mentorship with Joel Sartore, who was another one of my iconic heroes at National Geographic, that I really fell into that family of great storytellers and got to learn from them.

“Then in 2001 I got my chance when Ken Oberstein, the director of photography at National Geographic, gave me a chance on an Atlantic salmon story, about fish farming and wild Atlantic salmon around the world, which was my first big assignment.

“And it was so difficult. They gave me a big budget – I could go anywhere I wanted to in the world, and it was a two-year journey of trying different phases, different chapters, of that expedition and coming back and failing and getting feedback from my peers like Joel Sartore and Burt Box; Burt was my editor at that time. And everybody kept telling me how disappointed they were with my work and that I wasn’t really capturing it, and adding to the pressure I had on myself, I was driving myself crazy.

“For two years I did nothing but eat and sleep. I had 600 contacts in 10 countries around the world for this assignment and all the scientists and other photographers and fishermen, and the story was supposed to be 16 pages in National Geographic and it ended up being 24 pages and I won first place at World Press Photo.

“It was the first time I said to myself ‘OK, I can do this’; I’m building the confidence I need to pull this off. It made sense that when you string together a series of photographs and you work with a great writer and you have powerful captions, that all of a sudden that story can effectively reach tens of millions of people and it can really wake people up.”

And humankind does need to wake up, says Nicklen. The planet is not in a good state right now.

Above: trailer for Paul Nicklen's new video course

“I’m a biologist and have worked as a scientist but I am not a world expert,” he says. “But when scientists tell me that we’ve already lost 70 per cent of our biodiversity in ice, that the polar regions, the Arctic in particular, is going to be ice-free in the summer months in the next few years… when you see BBC video shots of 100,000 walrus stacked up on land falling off cliffs when it should be out on the sea ice… 

“When you see that the majority of major fish populations have collapsed or are collapsing, when you see that we are taking hundreds of millions of sharks out of the oceans every year, you see ocean acidification, coral reefs dying, as we are out there on the front lines, you feel so deflated sometimes, and you feel that the more down and out you get, the more depressed you get about the state of our planet – and the only antidote to that is to take action.

“If you stay inactive and this stress builds up, that’s where I think we have climate anxiety and climate depression… We have the whole younger generation terrified about the future of our planet but they’re paralysed. In the Masters of Photography course I’m also trying to teach that the antidote to that paralysis, fear and depression is action – as soon as you pick up your camera and you get active, and you start to be a part of a win, then nothing feels better than that.

“I’ve taken bad photographs, I’ve taken good photographs, I’ve taken powerful photographs, I’ve taken photographs that have won awards – but all of that pales in comparison to having a major conservation win, because of visual storytelling. You helped to galvanize a movement, you worked with a great team of storytellers and that just is where I’m trying to steer the photographic population.”

And a great way of helping to effect this change would be to sign up for Nicklen’s Masters of Photography course. The first 15 episodes are available to early-bird buyers now, with more to follow in early 2023. Click here for a flavor of the course. 

As Nicklen says, this the “first and only time” that he will be sharing tips, tricks and insights from his 20-year career. So it’s no surprise that he threw himself into the making of his Masters of Photography course.

He says that one of his main motivations for doing it was to free people from any nagging doubts they might have regarding their abilities to become successful visual storytellers, especially as this is something that Nicklen had to overcome.

“When I was young, I had all the little voices telling me that I was going to fail,” Nicklen recalls. “My dad said, ‘You’re never going to make it – sell your gear and stay with your government job. What are you thinking?’ All my peers said, ‘Don’t do it, you’re not a photographer.’ 

“As I’m going up through the ranks slowly, I had everybody saying I wasn’t good enough, I even had mentors saying that I was going to fall flat on my face, that I wasn’t going to make it to National Geographic, and that I should just give up on the dream. These little voices wear you down emotionally. 

“So I thought that if I can help set a lot of these photographers free, help them to believe in themselves, then it’s better for them and for the planet. 

“This course is supposed to inspire people – I want them to realise that stories are all around them; they’re in their backyard. 

“They don’t all have to head to Africa to take the same picture of the same lion and then ask, ‘Now what?’ That would be setting themselves up for failure.”

Although Nicklen does reference cameras and equipment in the course, participants shouldn’t expect a lot of technique tips – instead, he would rather focus on the photographer’s mindset rather than recommending a suitable tripod height.

“On this course, I really get into left brain/ right brain,” he says. “Everybody has a left mathematical/ analytical brain and I’m trying to teach people to get stuff like ‘Which f-stop and what ISO?’ out of the way as quickly as they can – learn your gear, go sit in the bathroom, turn the lights off and do it that way.

“Instead, get into your right brain and get lost, get creative, just go on a journey. When I’ve done shooting an amazing scene, I am so numb, I am so weak and I almost don’t know where I am. Artistically I’m lost and that’s when I know I’m in the zone and from that I don’t even remember what I’ve shot until I go through the editing process.

“So we do a lot of that kind of thing, I really teach people a lot to set themselves free – again, get left brain/ right brain, don’t get too hunkered down on the technical side.”

In the course description, Nicklen’s ‘20-60-20 rule’ is cited as one of his cornerstone techniques. He explains that is something he developed for himself from the beginning of his first assignment for National Geographic, and recommends that other photographers should try it.

For the first 20% of his time at his chosen location, Nicklen will familiarise himself with his subject, allowing it to see him and smell him and get used to the camera, but without putting any pressure on himself or the animal. Once the familiarity has been established, Nicklen switches into the 60% period, which accounts for most of his shooting time; this is where he calls on his tool set of artistic styles.

Finally, when he feels he has captured enough photos, he moves into a 20% stage, where he tries out techniques he knows might not always work – things like 30-second handheld exposures and “wild split-images”, as he calls them – but where something might just be successful. This experimentation is worth it, he says, because it enables him to learn something and grow as an artist.

And it was from one of these 20% stages that Nicklen landed a National Geographic magazine front cover, for his photo of a spirit bear.

“The assignment was over and heading into an inlet, we hadn’t seen spirit bears for a long time,” he explains. “My assistant, Jed, saw this spirit bear walking out of the forest and the light was so low I was just watching it and not even shooting it.

“I looked over at my captain, who was a doctor, and he’d just bought the latest camera which was good in low light, so I grabbed it out of his hand and grabbed a few shots and all of a sudden it’s in my body of work. Psychologically, it wasn’t something that I had really worked for, and I had so many images that I liked more, but in the editing process it ended up staying in and sticking around.

“It’s the one picture of a spirit bear that I sell as a fine artist, the one picture that is on the cover of National Geographic and it’s the one that people gravitate to.”

The media landscape has evolved a lot since Nicklen started his journey as a nature photographer, and the adoption of digital technology means there has never been such a wide variety of outlets for visual storytellers to tell their stories. But does Nicklen think that the next generation of nature photographers will be as passionate as the previous one?

“I think the fire is there, they just don’t know how to direct it,” he replies. “Also, you get the fire burning in them, the desire to make a difference, then they’ve got the little voices telling them that they’re doing it all wrong.

“Again, I think that this course really helps to separate all that noise, all the mistakes that I made, and it will really help people coming through to focus and to think about what to do and where to go.

“Nowadays you need to be a Swiss army knife: you need to be able to write, you need to be able to blog, you need to be able to shoot, to edit video, to edit stills, to do an interview… you don’t need to be the best at all that stuff, but once you’re a Swiss army knife of stills, then any scientific or non-profit organisation out there is going to want to have you on their team.

“The world has changed – for me there was a funnel to get to National Geographic, just to shoot pictures and shoot stories, but all these mediums have changed now, just in the last 10 years, and it’s more exciting than ever.

“If you’re willing to put in the time to become a Swiss army knife then you no longer have to be the next big name in photography; you could just be a 22-year old who’s figured out all these high-tech gadgets and platforms and from there you’ll be value-added to a great [conservation] programme.

“I think it’s a great time to enter the conservation space, to get in the game. People are all very much value-added right now, and I want to teach people that they are needed and that they can become value-added.”

We started our conversation discussing the power of photographs, and what visual storytelling can achieve. Anyone who takes Nicklen’s Masters of Photography course will be fully aware of that power, and with participants being able to draw inspiration from Nicklen’s expert insights, practical know-how and creative guidance, more conservation wins are sure to come in the future.

“We need people to realise that taking pictures isn’t just fun and joyful and it’s not going to Africa and sitting in vehicles – it is being out there striving for the most powerful, most evocative image that you can shoot that will ultimately drive change.”

Sign up to Paul Nicklen’s course today

For early bird access to Paul Nicklen's Masters of Photography course, go to the Masters of Photography website. 

Three pricing tiers are available:

Masterclass: $199 – the initial 15 episodes and following 35 episodes, plus unlimited access and access to a private Facebook group

Gold Access Masterclass: $249 – as per previous tier, plus bonus and behind-the-scenes episodes, plus a recording of the live 'Ask Me Anything' with Paul

Platinum Access Masterclass: $499 – as per previous tier, plus entry to a draw for a portfolio review with Paul, plus live access to 'Ask Me Anything' with Paul

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Wildlife photography is a rich and rewarding genre that gets you out into nature through all of the seasons. It often requires grit, bags of patience, skills honed over many years and the right camera equipment too – think the best camera for wildlife photography and the best telephoto lenses.

We recently caught up with Sharon Vanadia, an Italian wildlife photographer and doctor of environmental biology, working in biology, biodiversity and ecosystem management. She holds numerous photographic-naturalistic workshops and tours around the world and often works with her colleague Michele Bavassano to organize tours, workshops and editing-production courses. 

She tells us her story, how she got into wildlife photography and videography as well as the essential pieces of camera equipment in her kit bag that make her photos possible. To see more of her lovely work, check out her Instagram.

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"I caught the photography bug when I was about 14 years old, although it’s only recently that I’ve been able to turn my two greatest passions in life – photography and conservation – into a full-time job.

"I’m from Rome, which is where I graduated in biology, specializing in biodiversity and the management of ecosystems in 2021. Behind all of my photos, there are often many years of hard work and research to get me to the point where I can take the final image you see."

"Mother Nature is unpredictable and it’s often the case that I venture out on a photo session for many, many hours only to return empty-handed. However, I’m determined and I love the challenges that wildlife photography brings – it’s what spurs me on to keep trying until I catch what I’m looking for. When you’re taking pictures of wild animals, you never get bored as something unpredictable will happen when you least expect it.

"I like to keep my editing very light because I want the images to remain as realistic and accurate as possible. When I edit the Raw files, I mainly focus on emphasizing lights, shadows, contrasts and colours already present naturally without changing the conditions in which I took the photograph.

"Through my photos, I hope to show the beauty that our planet offers us, so as to be able to sensitize people about the respect that each of us must have for nature and animals."

1. Canon EOS 5D Mark IV

"This was my first professional camera body. I used it in all conditions – in the sun, in the rain, in the mud – and it has always given me great results. Even though I use it much less now after upgrading to the EOS R6, I always carry it with me as my backup body. I love the rendering of the Raw files and the quality of the images, especially for the management of colors in photo editing software."

2. Canon EOS R6

"I use this EOS R6 mirrorless body the most now. Once you’ve tried eye detection AF, it’s hard to go back! The EOS R6’s animal face and eye detection is amazing for locking on to and tracking an animal’s eye to make sure it’s pin-sharp, and it never lets me down, meaning I can concentrate on other important things like settings and composition. The silent shooting also really makes a difference for taking photos of wild animals."

3. Canon EF 500mm f/4L IS USM

"The EF 500mm f/4L IS USM is a new addition to my kit bag. I previously used zoom lenses, which I love, but the yield of fixed lenses is much higher. I especially like the bokeh effect of this lens and the way the subject stands out against the background blur. Today, I use it on both the Canon 5D Mark IV, and the Canon EOS R6 via an EF-EOS R adapter."

4. Canon RF 100mm F2.8L Macro IS USM

"This lens is another recent addition, which I bought specifically for my latest trip to Costa Rica, for incredible close-ups of colourful frogs and snakes. I can’t wait to go back to take more macro photos with this lens! The blur given at the widest f/2.8 aperture and the sharpness of the subjects in the foreground are both excellent."

5. Tamron SP 150-600mm f/5-6.3 Di VC USD G2

"I took my first wildlife photos with this lens and it holds a special place in my heart because I’ve taken so many memorable photos with it. It’s a versatile and light lens, suitable for many wildlife scenarios. I love zoom lenses, because you never know whether the animals will be near or far, or what movements they will make, and I can zoom in or out quickly as necessary."

6. Rode VideoMic NTG

"In recent years, in addition to wildlife photography, I have also become very passionate about video recording. Animals and nature are amazing, and sometimes recording videos enables you to capture incredible moments and behaviors. Thanks to this microphone, I have the possibility of recording sounds as well, especially birdsong or the background sounds of nature."

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With more than three decades in the food industry, and twenty years as a head chef at some of Europe’s top five-star restaurants, John Philippe Baudey (also called JP) has a love for food that few can match. 

Twelve years ago he suffered a heart attack, after which he retired from cheffing. He jokingly says that it’s the best thing that could have happened, because it was then that he chose to turn his passion for fine dining into a new vocation as a food photographer. We sat down with JP to find out how he got into photography and the essential camera kit that he can't live without. 

• These are the best cameras for food photography

"Growing up in sunny southwest France near Toulouse, a horn of plenty for French cuisine, I’ve been surrounded by food from a young age. After a baccalaureate in hospitality, I started a career in cheffing all around Europe. In 2003, a series of events put me on the track towards what I do today.

"I was leading the kitchens of a five-star hotel in the Republic of Ireland when a photographer came to shoot the interiors and some of my food. However, the images looked like they were from a 1960s recipe book and very dated. Having seen brighter and more minimal food photos in a recent magazine article, I ran to the nearest camera shop to buy my first camera, a Canon EOS 300. For the next seven years, I practiced photography at the same time as working.

"On November 21 2010 I had the luckiest day of my life, as I survived a heart attack. This gave me the revelation to focus on my passion for photography, and my life changed forever. For a few years I balanced cooking and photography, but put down my knives for good in 2014.

"Working in hospitality for years gave me a knowledge of food, the terminology and how good-quality produce should look, which has been an invaluable insight for my photography. I’m now living the dream, having managed to unite both of my passions.

"For any aspiring amateur photographers, I just want to say that my story proves that anything is possible."

To see more of JP's beautiful food photos you can visit his Instagram, and there is more information available at his website.

01. Canon EOS 5DS R

"I have two Canon EOS 5DS R bodies and to call them my workhorse DSLRs would be an understatement – they are battle horses. My two EOS 5DS Rs have endured a lot in the kitchens, with the heat, cold and steam, and on outside shoots. I’ve even dropped them a couple of times and one even ended up in a river. But they lived to tell the tale. The 51.6MP resolution is amazing and makes the food look as mouth-watering as possible."

02. Canon EF 24-70mm f/2.8L II USM

"The Canon EF 24-70mm f/2.8L II USM has a versatile focal range of 24mm wide-angle to 70mm short telephoto, so it’s permanently mounted to one of my EOS 5DS R bodies. It’s fast, great in low light, super-sharp and has minimal distortion, and it means I don’t miss the moment if I don’t have the correct prime lens mounted on my other DSLR."

03. Canon EF 100mm f/2.8L Macro IS USM

"The Canon EF 100mm f/2.8L Macro IS USM is a fast macro lens capable of great 1:1 close-up images and is ideal for capturing all of the details of food, especially smaller dishes and plates. It’s also great as a portrait lens, so it’s very flexible. Because it’s a short telephoto lens, it appears a little zoomed in, and I like the compression it adds for food photos."

04. Canon EF 50mm f/1.2L USM

"For a long time this lens stayed in my bag unused, then I realized the power of it, its consistency and natural rendition. I usually set the aperture between f/1.2 and f/2.8, which is brilliant for working in darker scenarios, but it also adds a very shallow depth of field, so I can artistically draw the attention to the most important detail on the plate."

05. Canon EF 70-200mm f/2.8L

"A telephoto lens may seem like an odd choice for food, but it does have its place in my kit bag. It’s ideal for close-ups and also if I need to shoot a table or a specific item in the middle of a busy background. When you’re in a kitchen, farm or factory, you might not be able to get as close to your subject as you’d like, so this is a great lens for these scenarios."

06. Tamron 85mm f/1.8 VC USD

"My photography isn’t exclusive to food – I also often photograph the people behind the food, such as the chefs, butchers and bartenders. My favorite lens for portraiture has to be my Tamron 85mm f/1.8 VC USD. The maximum aperture of f/1.8 is brilliant in low light and the Vibration Control stabilization is fantastic, too, allowing me to take dramatic, moody low-light portraits."

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Keith Cooper is a commercial photographer specializing in industrial and architectural photography, and enjoys exploring buildings and looking around factories in his spare time. His personal love of black-and-white and landscape photography guides much of his vision, and he strongly believes that printing your work helps you to understand it better. 

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We sat down with Keith, who regularly shoots for professional clients such as Canon, Epson and X-Rite, testing new equipment, to find out how he shoots and the equipment that makes his job possible. You can find more about Keith's work on his official website.

"My past careers in geology, engineering and academic research were driven by a fascination in how things work, so as a pro photographer I was always going to lean to the more technical side.

"My first camera was the Canon EOS-1Ds and its larger sensor just made it easier to shoot wide with lenses like the Canon EF 14mm f/2.8L II USM. A love of large prints and my testing work with printer manufacturers pushed me to my current 50Mp Canon EOS 5DS body.

"The wider you shoot, the more you’ll get in the image, but the trade-off must be careful composition and camera positioning. The additional control over image geometry and composition makes tilt-shift lenses essential for my work.

"Industrial photography led to an interest in macro photography, where I love the fact that most commissions start with, “I don’t know if you can photograph this but…”

"Commercially, my job is to help clients convey their message visually – that’s where the more creative process comes in. From my point of view, this is underpinned by my detailed understanding of what my gear will enable me to do. 

"The majority of working photographers don’t get the chance to experiment or simply ‘play’ with new kit, unfortunately for them.

"Our business model also specifically gives me time to write articles and reviews. Canon recently lent me all of its new tilt-shift lenses – okay, I had to give them back eventually, but writing reviews makes me go out and experiment, with the added bonus of not having to match a client’s brief."

01. Canon EOS 5DS

"My work often needs large, detailed images. The 50Mp EOS 5DS DSLR gives me the resolution I’m after, whether for fine architectural structures, industrial machines, or small macro detail. Raw files that have enough detail for huge prints are important, even if the client only (initially) wants 1500-pixel JPEGs. The 5DS is solidly built, but I keep my 21Mp EOS-1DS Mark III as a backup and for less hospitable environments like quarries, foundries or construction sites."
See our guide to the highest-resolution cameras available today

02. Canon TS-E 24mm f/3.5L II

"A good quality 24mm prime lens in its own right, this tilt-shift lens enables me to use shift for the correction of converging verticals, or taking multiple shots for stitching. Tilt enables me to run the plane of focus exactly where I want, whether that’s wall, floor or ceiling. Mastering tilt-shift lenses has been a vital part of my photography journey; there are lots of things that you simply can’t do in software."

03. Canon TS-E 17mm f/4L

"The TS-E 17mm perspective-control lens captures parts of a massive field of view when shifted, as well as being a good ultra-wide lens on its own. While the 17mm is often my lens of choice for architectural work, the ultra-wide view needs a lot more care in composition – and precise leveling of your camera is even more important. That said, I enjoy using it and the 24mm handheld on occasions."
See our guide to the best tilt-shift lenses

04. Canon EF 24-70mm f/2.8L USM

"The 24-70mm is still my go-to general purpose lens, whether for architectural detail, or portrait work of people in hard hats and hi-vis jackets on location. The lens is not the latest version, but like many Canon lenses, still works well after 15 years. I’ll likely replace it with a high-megapixel pro mirrorless camera that surpasses my 5DS, and an RF mount 24-70mm f/2.8."

05. Canon MP-E 65mm f/2.8 1-5x Macro lens

"The MP-E 65mm – a specialized macro lens with 1-5x magnification – produces excellent macro images for catalogues and, at a high resolution, large posters for trade shows. Using this lens for precise macro work, enables me to explore the world of barely visible detail. Unlike most I shoot electronic components and mechanical items, not insects, and use a stackshot controller for precise focus stacking."

06. Peli 1535 Air Case

"Technical photography means that I often want more gear and accessories than can fit in a soft bag. I can reconfigure the inner dividers in the Peli Air Case, enabling me to carry all the gear I need for whatever job I’m doing – including camera and lenses as well as filters, cleaning brushes, a ColorChecker Passport and ‘that’ lens I didn’t realise I’d needed until I was on location."
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Based in Lincolnshire, but originally from Northumberland, Matty Graham is a professional photographer, film-maker and content creator, which he combines with working as an educator; running workshops and photo walks. He’s a content creator for Pixel-Click and has worked in the magazine industry for over 15 years. Matty explains that his favorite landscape locations are in his home country of Northumberland.

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We sat down with Matty, who regularly shoots for professional clients and also works as a videographer for Jonny Smith's The Late Brake Show, to find out how he shoots and the equipment that makes his job possible. You can find more about Matty's work on his official website.

"I used to be the editor of a photography magazine, but was made redundant back in 2016 when it was merged with another magazine. Losing your job can be soul-crushing, but luckily for me it was actually a blessing in disguise as it gave me the freedom to go freelance. Today video and still images are my currency.

"My Canon journey goes back 20 years to the EOS 3000 film DSLR and stretches right up to the 5D Mark IV, taking in no less than 12 models in between, such as the 10D, 40D, 7D and 6D to name but a few.

"On assignment, no two days are the same. The jobs vary wildly from shooting music videos with grime artists, to working with charities to produce videos that will help improve the quality of life for children who struggle to communicate.

"Embracing video has enabled me to tell stories in a more dynamic medium, but the principles of producing movies were learned with photography and are totally transferable. Along with the videos, I’m a professional landscape photographer and have worked with tourism boards in Norway and the Faroe Islands to showcase the beauty of their country. 

"I’m drawn to remote Nordic territories where the landscapes are wild and the Northern Lights sparkle overhead. Switching from video production to stills photography often means my equipment has to be versatile and portable, along with reliable and ergonomic."

01. Canon EOS 5D Mark IV

"My go to camera is the 5D Mark IV, which at the time represented a major step forward for video in the 5D line, and the combination of 4K video as well as the touch-sensitive screen makes it easy to capture great video on the move. What’s more, the slow-motion mode helps increase production values and vary pace with the footage. Of course it performs amazingly well for stills too, with a good level of dynamic range captured in its Raw files."

02. Sigma 50mm f/1.4 DG HSM Art lens

"Sigma’s ‘nifty’ 50mm is one the sharpest lenses I’ve ever used and its standard focal length is useful for both stills and video. I love shooting video at the maximum f/1.4 aperture as the shallow depth of field adds a more cinematic feel. It’s an incredibly tough lens and can certainly handle what I throw at it daily whatever the location, making it a good choice for professionals."

03. SmallRig 5D Mk IV cage

"This cage is a must for video shooters, because it not only adds an additional level of protection around the camera, should the worst happen, but it also enables you to add extra kit, such as external microphones, monitors and even LED lights to its various mounting points. It’s lightweight at just 230g, but durable and this model is custom built specifically for the 5D Mark IV. I love any gear that makes my professional shoots easier, and this rig does exactly that!"
See best camera rigs

04. Peli iM2500 Storm case

"I own a simply ridiculous amount of camera bags but my main storage space, is this Peli hard case. This is because it offers the ultimate in protection and as I make my living from my kit, I need to look after it and usually carry as much kit as I can to a location just in case I need a specific lens. I bought the case as a shell and purchased some customizable foam, so I could set up the lay out to my liking and fit the kit in tightly."
See best hard cases for cameras

05. NiSi V7 filter system

"I like to shoot a lot of long exposure landscapes and my last filter system, which I won’t mention, fell apart on a shoot! So I decided I needed a more reliable one and settled on NiSi gear. I’ve been using NiSi kit for about three years; the build quality is superb and the colors are very natural with the 10-stop filter. All of my filters sit in the NiSi protective carry case and the filter holder includes a built-in circular polarizer filter, which can be practically fine-tuned via a wheel on the filter ring."

06. Canon TC-80N3 remote release cable

"This cable release is pretty old now, but is still a fantastic design that enables me to not only trigger the camera remotely, but also has interval, long exposure, and an exposure count mode. The LCD screen includes a light so it can be used at night and the battery lasts for years. I’ve owned this cable for over ten years now and it’s showing its age, but has lasted me terribly well."
See best camera remotes & cable releases

Read more:

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In Kyoto, is the debut book by travel and street photographer Taro Moberly. It transports you to the cultural heart of Japan and sprinkled through its pages are snapshots of clashing cultures, the contrast between urban and traditional Kyoto and the serenity of its infamous bamboo forests. 

Growing up in California, Taro's interests shifted from one thing to the next. When he moved to Kyoto, Japan in 2015 he began documenting his adventures using a Fujifilm X100 but only as a way to keep family and friends back home updated. Soon his hobby and way of communication turned into something much bigger and his new-found passion made him want to improve. 

• These are the best Fujifilm cameras including the x-series mirrorless range and medium format GFX.

Taro's photos capture all of Kyoto's distinct dimensions, from its towering bamboo forests transport to its prewar machiya (traditional townhouses) to the Kyoto Municipal Subway that links this diverse city. Throughout In Kyoto, Taro has included traditional Japanese poems about Kyoto written in both Japanese and English once again cementing his affinity for his culturally rich new home. 

To find out a little bit more about why he loves Kyoto, what publishing his first photo book feels like and what he has planned for the future we had a quick chat with Taro. 

What made you choose Japan as your new home?

My mother is from Japan, and I used to visit my family here during school breaks when I was growing up. Because of this it always felt kind of like a second home, and a place that I have been drawn to.

Do you see yourself living anywhere else in the future?

That’s the million-dollar question! Japan is an incredibly liveable and safe country and I absolutely love it here. That said there’s so much more of the world that I would love to see and explore, including back home in the US. We’ll see what the future holds and what opportunities arise.

What is it about Japanese culture that draws you in?

There’s so much! There’s so much to the culture that makes Japan the country that it is. I think the biggest thing for me though is the mixing and contrast you see between modern, urban Japan and the embracing of traditions that have been around for centuries. It’s very apparent here in Kyoto, which is kind of the cultural capital of Japan. Walk five minutes from downtown and you’ll find yourself in a traditional district where the streets are lined with old-style Japanese townhouses called Machiya. You’ll see modern sports cars driving alongside hand-pulled rickshaws. Businessmen dressed in suits next to women wearing traditional kimonos. It’s very cool to see.

How has your life changed since the move and what do you miss the most about California?

I think the biggest thing is how much more open to differences in culture I am now than I was before living abroad. By immersing yourself in a culture that is so drastically different from your own you get an opportunity not just learn about your new surroundings and way of life, but also examine the culture of your own home. There’s so much that you take for granted about life at home that you never really think about until you experience something so different, and through that you realize that there’s no true right or wrong way to live your life.

What do you like to shoot the most, people or places?

That’s a tricky one! But ultimately I’d say that it’s the people that really make the place what it is. While it’s great to get those empty shots with no one around, it’s the photos of the people that really tell the story and give the place it’s character.

Have you had a photobook published before and how does it feel to see this project complete?

This is my first one! It feels great to see it come to fruition. In this age of the internet and social media, so much of the work we create is short-lived. People will see your work on social media and remember it for as long as it takes for them to swipe onto the next image. A physical book, on the other hand, is something permanent and something tangible. It’s something you can appreciate for much longer than you can if it were just on the internet, and it’s an honor to be able to share my photography in this format.

What's next for you?

As a result of the pandemic I, like many others, have been venturing more into the outdoors and enjoying all of the vast beauty that nature has to offer, and I have been enjoying the challenge of taking my photography into the wilderness more and more. It’s definitely a departure from shooting in the city streets, but as a photographer I think it’s important to not limit myself and to always challenge myself with something new.

What equipment do you shoot with?

I have been using various Fujifilm cameras since I first used an x100 shortly after moving to Japan. They’re intuitive to use, the lenses are small and lightweight, the bodies are strong and robust, and the photos look great. Can’t complain.

If you could work with one photographer, dead or alive who would it be and why?

Saul Leiter has been very influential for me, especially when it comes to street photography, so he would be my pick. The way his images can capture beauty in what some might consider undesirable moments - people walking in the rain under an umbrella, being out in a frigid snowstorm, subjects obscured by mist or condensation on windows. To me, his work is unforgettable and is a huge inspiration.

In Kyoto will be available to buy in Autumn 2022 directly from Trope Publishing for $39.

Check out more of Taro's work on Instagram

Famous for his official work as the photographer for David Bowie, The Rolling Stones, Pink Floyd, The Who, Bob Marley, and Queen, Denis O'Regan is undoubtedly one of the world's best and most legendary music photographers.

Regan has had an unbelievable career, photographing not only rock legends but also world tours, Live Aid, the Concert For Diana, and was even appointed as the first-ever Artist In Residence at the Royal Albert Hall in 2021.

•  How to get started in live music photography

The Irish-born photographer will soon be turning 69 and, to celebrate, he has begun hosting an online exhibition that will last 69 days, live up until January 01 2023, and hopes to raise funds in the process for the Great Ormond Street Hospital (GOSH), of which the late Queen Elizabeth II was the patron. 

The online exhibition and sales campaign showcases nine of Regan's classic and most exemplary works and six previously unreleased and never-before-seen shots, totaling fifteen images that can be purchased as fine art giclée limited edition prints through Regan's London-based veteran gallerist, West Contemporary Editions. 

The exhibition will donate 10% of the income and sale price of each of the Project 69 photographs to GOSH, and West Contemporary Editions has also agreed to match this percentage for O’Regan’s work sold during this campaign period.

Each of the images on the exhibition site is currently priced at £1,440 ($1,667 / AU$2,580 approximately) at a quoted paper size of 16x20 and printed on Photo Rag 308gsm Fine Art Paper, but the price can go up to a whopping £9,000 ($10,416 / AU$16,111) at a print size of 40x60. Each print will also feature a signature and numbering, and include a certificate of authenticity.

A celebration of Denis O'Regan's career as he reaches his 69th birthday, the exhibition and project also symbolizes a retrospective lifetime of culturally significant works – as well as being a personal nod to David Bowie, a long-term O’Regan collaborator, who was aged 69 upon his untimely passing.

The year 1969 itself is additionally a significant one for music culture, being the year of Woodstock, the release of the studio album Let It Bleed by The Rolling Stones, and when Abbey Road by The Beatles was released.

I had the chance to have a quick Q&A with Denis all about the 69 Days project, what it means to be turning 69, his earlier days of shooting for the NME, and his best advice for newcomers to music photography and the daunting process of securing your first photo pass...

Do you believe that music photography as a practice has changed or evolved over the last say 20/30 years, from your own experience?

"Photography for me changed in 1989 when Photoshop first came out. It’s unfortunate that I hadn’t seen it coming – I wouldn’t have binned so many images, including thousands from the Bowie / Stones / Queen tours that might have been badly exposed or slightly out of focus. I was already using Apple Macs, which Photoshop was written for.

I’d used a Minolta, the first professional autofocus camera, during 1987 / 1988 and my first digital mission with Nikon was Paul McCartney's 1999 show at The Cavern in Liverpool. I was commissioned by Paul and had exclusive access. I uploaded color images late at night after the show, which featured the next morning on every UK newspaper’s front page. I did this by creating a mini-site from which images could be downloaded with a code. This must have been a record on more than one level.

I’ve shot digitally for the last 20 years and love its flexibility – any image can be color or black and white. Low light sensitivity opens up a whole new world totally inaccessible with film, and of course, it’s inexpensive due to reusable cards. My film 40 years ago cost me £1 an image to buy and process, along with a contact sheet. That was expensive for someone in their early twenties, but now I sell prints and books of those images for thousands."

Throughout your career, what has been the most challenging aspect of being a music photographer, and what did you learn from it?

"Access to artists was a challenge from day one because I had no business contacts or friends in the music business. My only access would have to be live shows until I had enough byline credits to secure photo passes. Working with music paper NME, especially during 1978, gave me huge access, both onstage and off.

I didn’t go to college, instead working in the city of London for a couple of years before punk came along. The main lesson that I learned is to know your goal, your destination – then you can take advantage of opportunities when they present themselves, as long as you recognize them as such. I loved to travel and take photographs. I was a fan of rock music, so I wanted to tour with bands. My ultimate goals were David Bowie, Queen, The Rolling Stones and Paul McCartney. 

My first big tour was eight weeks in Europe with The Stones, then eight months with David Bowie the following year. The other thing to recognize if you’re interested in working with a band or anyone you’ll spend a lot of time with, is when "a chat" is in fact a job interview. Bands assume your photography is up to scratch, but will you get along for long periods of time?"

What gear do you shoot with, and what is the one thing in your kit bag that you could not live without?

"I use a Nikon D5 / Nikon D6 and 'the zooms': 14-24mm f/2.8 fisheye, 24-70mm f/2.8, and 70-200mm f/2.8. I also have small specific lenses like the 50mm f/1.4. The 14-24mm is my most loved lens for close-action photography, often onstage with a stadium audience as the backdrop."

• You heard it here folks, the best lenses for music photography used by Denis O'Regan himself are the Nikon AF-S 14-24mm f/2.8, the Nikon AF-S 24-70mm f/2.8E ED VR, as well as the Nikon AF-S 70-200mm f/2.8E FL ED VR zoom lens, and a nifty Nikon AF-S 50mm f/1.4G ED prime lens.

How would you describe your experience and relationship when photographing David Bowie? 

"Wonderful. I was still in my twenties and expected "the enigma", someone who would keep me at arm’s length and let me know when I could take a picture. In fact, he was warm, engaging, and enthusiastic. Before the tour, I’d proposed to the producers that we publish a book, and David warmed to that idea, constantly suggesting moments that should be captured, and inviting me to outings and dinners so that I could vary the photographs from the usual backstage, stage, travel, hotel shots. 

Even so, it wasn’t until we traveled to Bangkok, Singapore and Hong Kong that we really spent time in interesting and inspirational places. It also ensured that I spent a lot of downtime with David."

When shooting live music in venues, have you ever had to abide by the ‘first three songs' policy before being granted access to all areas?

"Yes! The first instance of ‘first three numbers’ for me was Abba at Wembley Arena in 1977. The pit there was huge and the stage low. All the band would see was an array of photographers, so they imposed the restriction. Other bands then thought that would be the cool thing to do, and off it went. It also restricted the number of images in circulation, most of which would show the artist at their best at the opening of a show, not sweat-soaked 90 minutes later at the end. 

Plus all photographers would end up with a similar selection of photographs. Bands became aware that photographers syndicated these images worldwide. Germany and Japan were big markets with color music magazines that didn’t exist in the UK, which was ruled by black-and-white music papers. A lot of younger photographers today imagine the 'three song rule' was introduced a lot later. In fact, in the late Seventies, it was this very restriction that to me opened up the idea of working with bands, guaranteeing total access, better angles, and exclusive images. 

It also gave them approval and control over a huge library of exclusive content for syndication throughout the tour. I of course secured a huge archive of exclusive content. Before that, I traveled abroad to shoot shows so that my pictures could be differentiated, possibly with more access to the show. That worked well and was a direct stepping stone to touring, mainly brought about by the rule introduced over 40 years ago."

What was the process like in having to select only nine classic images that represent your extensive career as one of the world’s best music photographers? 

"Very difficult. It doesn’t even include punk, grunge or new romantics images, even though some of my favorites are Iggy Pop, Ramones, Billy Idol, The Clash and Blondie, and I toured the world with Duran Duran and Spandau Ballet. I also shot numerous Coachella and Download festivals, Glastonbury, Live Aid and The Concert For Diana, all as an official photographer."

Do you have any advice for newcomers to the field of music and tour photography, or those working in the music industry in general?

"Get out there and shoot! When I began there was no internet, mobile phones, or low-cost airlines. One trip to Stockholm to shoot one show would cost over £1,000 in travel and film, and this was 40 years ago. Knowing who was playing where or who represented them was a Sherlock Holmes exercise.  

So catch a plane to Iceland and photograph its incredible scenery or travel through Japan – an incredibly diverse country of mountains, temples and hi-tech cities. There could be a band playing and you might meet a suitable model. Who knows? If you have a passion, photograph it. There’s always a way. You then need to apply the business side of making it pay."

Finally, what does the upcoming exhibition and the symbolism of turning 69 mean to you as a creative? And how does it feel to be able to raise funds for the Great Ormond Street Hospital Children’s Charity, through the medium of photography?

"69 means getting old! But I don’t feel it. My son is only 16, and I’ve still got my hair, so I’m still having a lot of fun, but now I look back and produce limited edition books and prints from my archive and help my son to become a racing driver. I’ve also given hundreds of talks about my life and career. 

I always think of David Bowie of course, because he was 69 when we lost him, and his first big hit was 1969. Whenever possible I’ve worked for children’s charities or occasionally cancer, which took both my parents. My mother was only 47. I’m delighted and honored to be working with GOSH, whose work with children is of course legendary."

A big thank you to Denis for taking the time to speak with us, and if you can afford to do so then please consider purchasing a limited edition print from the Project 69 online global exhibition via West Contemporary Editions, and support an excellent charity in the process. And make sure to visit Denis' website for more information on his life and career.

• You may also want to take a look at the best camera settings for live music photography, as well as 5 essential tips for editing live music photos, by expert Christie Goodwin, Our Interview with Music photographer Jennifer McCord, and be sure to get your live music images ready for the Abbey Road Studios Music Photography Awards in 2023.  

For more than forty years, Steve McCurry has traveled the world capturing the people and places he’s visited. From refugee camps in Afghanistan to the jungles of Uganda and the streets of India, McCurry’s compassion for his subjects is unwavering.

Steve McCurry: The Pursuit of Color is a documentary directed and produced by Steve’s long-term friend; filmmaker Denis Delestrac. McCurry has dedicated four decades to telling other people’s stories but The Pursuit of Color is the story of his extraordinary life – the beginnings, the hardships faced, and how his career took off. 

From an early age, McCurry knew he wanted to travel, but didn’t know how. He left home at 19 and headed on his first of many trips to India, the place that sparked his desire to see the world at the age of 12. Starting from scratch, McCurry had to find his own path and resources but he was completely free.

“I felt like I had all the time in the world. Everything was fresh and new. It’s very exciting to go out and photograph something for the first time. One of my first foreign trips was to Mexico. I enjoyed being able to walk around and photograph without any deadlines, any assignments or any pressure; the world was a blank canvas.”

Even those unfamiliar with McCurry will know the portrait Afghan Girl. The powerful photo of refugee Sharbat Gula was made in 1984 when Steve was tasked by National Geographic to document the refugee crisis on the Afghanistan border. In The Pursuit of Color, he explains his process and the photo’s enduring significance.

“I still think it’s an important picture and we’ve stayed in touch for the last 20 years. We speak every couple of weeks and I’ve always tried to be at her side and help her in anyway way we can. Her and her family are living in Italy now because of the unrest in Afghanistan.”

In both The Pursuit of Color and on Instagram, McCurry uses the phrase “make a photo” instead of “take a photo”. Within the photography community, whether you make or take a photo is an ongoing debate – one that McCurry first encountered when he studied cinematography at Pennsylvania State University.

“This argument of making or taking goes back 50 years, I remember talking about it in college in 1972” he recalls. He uses an example of someone snapping a quick photo of the Eiffel Tower as taking a photo but someone who is looking at the light and composition as making one. “A snapshot of a cottage is pure representation of the thing you’re photographing, perhaps making refers to more considered composition.”

While McCurry's recent work has focused on the positive power of humanity in series like The Power of Play and Reading, McCurry’s career truly started in the mountains of Pakistan and Afghanistan where he was hired by Afghan troops to document the war about to start with Russia. Witnessing suffering in his early days during time spent in war zones led to an interest in the human condition and the consequences of war.

“You just have to find someplace inside yourself and realize that the purpose of it is to shed light on a situation and hopefully people will be more informed about the world we live in. Maybe it can create positive change, so it's good to get it out there. Everybody deals with it in their own way.”

Although camera technology has advanced massively since he owned his first camera, a Miranda, McCurry has remained at the forefront: “I never missed a beat really, going from film to digital for me was sort of seamless.” 

Smartphones have undeniably made photography more accessible and McCurry, an adopter of new tech, is here for it. 

“To be able to document our lives, friends, family events and vacations so easily is great. I think having a record of our lives is really valuable, I’m a big fan, I’ve got 140,000 photos on my phone!”

Steve has no plans of slowing down despite now having a young daughter. Balancing work in this field and a family is challenging but Steve has found a way to make it work.  “We all travel together, last year we went to Italy, Spain, Portugal and Iceland so it’s great I love traveling with them."

It’s hard to imagine McCurry doing anything other than photography. Seeing the world through his eyes is exciting, colorful, emotive, and sometimes challenging. The Pursuit of Color explores his motivations and desires surrounding the principles of photography, but it’s the unique opportunities presented to him through his work that he enjoys the most; “The best part of my job is to be able to wander and explore the world that we live in, to go to places I have dreamed about and meet interesting people. Also to have the opportunity to document vanishing cultures”

A career in image-making was inevitable for McCurry, “It has always been about the story for me, and film is another medium to convey a story about a particular time and place”. The art of storytelling transcends the medium that carries it, and the stories that McCurry makes in front of the camera are as captivating as his story behind it. 

McCurry: The Pursuit of Colour is available on Dogwoof on Demand on 19 October.

After the years of the pandemic – where photographers were often forced to exist and shoot inside, and taken away from many of their natural projects and assignments – it feels freeing to finally be exploring those again. No more so were the effects of isolation felt than with landscape photographers.

Colin Prior is a professional landscape photographer who is inspired by the natural world. “As a landscape photographer, you have to follow the seasons. That’s why the subject is so satisfying – you’re tapping into the environment and adapting to the seasons, in the same way, our ancestors did. Essentially, we’re applying the same logic in hunting and gathering images!”

Colin will be appearing at The Photography Show tomorrow, and it's an opportunity to hear in person from one of landscape photography's most dedicated and passionate advocates,  as he describes his adventures, experiences, inspirations, and photography philosophy.

Tickets are still available to see Colin Prior at The Photography Show in Birmingham, UK on Saturday, September 17 from 15:30-16:45.

You may also like the best professional cameras and the best cameras for landscape photography. Find out more about The Photography Show.

Panasonic cameras use a variant of older ‘contrast detect’ autofocus, which uses to-and-fro focus checks to zero in on the point of focus. Newer phase detect AF can travel straight to the correct point of focus. Panasonic has stuck with contrast AF and its own highly developed DFD (Depth from Defocus) AF tech with mixed results and mixed reactions, especially from the video community.

Panasonic makes some great cameras. The Lumix S5 is one of the best full frame cameras around right now and terrific value as a hybrid stills/video shooter. The Lumix GH6 has quickly established itself as one of the best filmmaking cameras, and Panasonic cameras have always figured highly amongst the best cameras for vlogging and even the best cameras for beginners. Yet all along Panasonic's been dogged by misgivings about its unique DFD autofocus technology.

But in this interview with Panasonic from Imaging Resource, there are signs that Panasonic may be coming round to the idea of PDAF (phase detect autofocus. After emphasising the continued performance advances in its DFD system, especially in the Lumix GH6, Panasonic goes on to say:

“It is a fact that PDAF is one of the elements to improve the AF performance of LUMIX for the future.”

“However, PDAF alone does not improve AF performance, and factors other than PDAF are required to determine “which to focus on”. With PDAF as an AF detection system in mind, we will continue to make every effort to improve the total performance of AF.”

“We are positively studying PDAF for future products. We know that PDAF will enhance the total AF quality, so that’s why we’re actively studying it. We haven’t decided yet though.”

You can read the full Panasonic interview at Imaging Resource.

So what’s the problem with Panasonic’s DFD system?

This video glosses over the technicalities somewhat, but does explain the differences between conventional contrast AF and its DFD system – though it does still talk about 'detection cycles'

That depends on who you speak to. For stills photographers, the single-shot performance is very good indeed with the latest cameras and largely indistinguishable from phase-detect AF performance. However, for burst shooting, many will say its subject tracking is less effective – though what appears in the viewfinder may not reflect the captured images, which may show a much higher ‘hit rate’.

The real problem is with video, where may users complain of ‘pulsing’ as the AF system continually and rapidly refocuses in real time. Not everyone will have this issue as it depends on how and what you film. It’s most likely to be an issue if your subject is moving and if you are using subject tracking to follow them around the frame. It’s of most concern to solo shooters who have to trust on the AF to keep them in focus while they’re filming themselves or presenting to camera.

Digital Camera World Editor James Artaius has this to say:

"While DFD is great for stills, when it comes to video – Panasonic's target market – it falls far short for me. Invariably when filming solo content it will, at some point, pulse or hunt, even if it's just me in the frame against a static background. Everything from hair to shelf ornaments to trees /leaves to text on books will throw it off, if only for a moment – but as soon as focus drops out, you have to shoot another take. When shooting more than one person in a frame, the problem is amplified – and throw any kind of movement into either scenario, you're asking for trouble! For whatever reason, anecdotally, full frame cameras like the S5 behave better than Micro Four Thirds bodies like the GH6, but as well behaved as they are I have never once had them behave perfectly."

So much has been said about Panasonic’s DFD AF system that Panasonic may eventually need to replace it just to restore some trust to the brand. Whether or not its latest DFD AF tech is as good as PDAF is perhaps less important than the perception it might not be!

Read more:

• Best cameras for video
• Best cameras for vlogging
• Best cinema cameras

Based out of Zurich, Switzerland, Justin Hession has taken his photography all around the world. Having starting photography in Australia in the Nineties, when film was still king, he moved to India to teach photography before working as a staff photographer at a major newspaper and then landing in Zurich, where he shoots commercial portraits. 

We recently sat down with Justin to find out how he got into photography, the types of portraits he likes to take and the essential camera kit that he couldn't live without. 

• Read more: Best cameras for portrait photography

"I picked up a camera for the first time in my 20s, when I went backpacking. After getting a taste for it, I decided to study photography when I got back to Australia. I was into sports and adventure photography, so to end up in portraiture 20 years later still surprises me. 

"I guess it was the challenge of working with people. I always liked having people in my images and the more I learned, the more I found satisfaction in needing to control and shape them.

"I also like the versatility of shooting on location – on a typical shoot, I never know what I will find. I arrive early, scope out the surroundings, visualize the lighting and start the shoot nice and relaxed. Shoots vary wildly depending on whether they’re indoors or outdoors. My main portrait jobs are usually very quick as I only have 30 minutes to shoot, so arriving early, setting up and finding good locations is key to a smooth photo shoot.

"In my career, I have seen the transformation from film to digital and have been shooting with Canon for 30 years. These modern cameras totally blow my mind. The ISO, autofocus, lens sharpness, image stabilization… When people ask me what the best camera is, I always say, 'Anything with a screen on it.' 

"I have used the mirrorless Canon EOS R5 a few times on TV sets where silence is required during live broadcasts. The autofocus is amazing. With the way I currently shoot, I don’t see a need to upgrade yet. My photography is usually very slow and speed is not required."

01. Canon EOS 5D Mark IV

"The Canon EOS 5D Mark IV is my go-to camera. It’s a robust workhorse, versatile and delivers almost everything I need. I’ve been shooting with Canon since the film days and have never been happier. The 30MP file size, ISO quality and the array of different functions combined with the reliability enable me to concentrate on the subject and not worry about the quality of my equipment."

02. Canon EOS 5DS R

"For jobs I can’t do with my EOS 5D Mark IV, I turn to the EOS 5DS R for its larger 50MP sensor. The extra file size gives my clients the room to crop and enlarge to almost any size they wish. When ISO is not critical and I’m shooting off a tripod, I turn to the 5DS R. All pros should also have a spare camera body in case anything goes wrong on a shoot, so the 5DS R comes everywhere with me."

03. Canon EF 24-70mm f/2.8L II USM

"This is a great low-light fast lens and it’s incredibly versatile. I use it for portraiture, editorial and interior photography. For its price, it’s incredible value and worth the investment. The amazing sharpness and minimal distortion, even at 24mm, gives me confidence in using it for my portrait jobs."

04. Canon EF 70-200mm f/2.8L IS III USM

"This lens is a faultless piece of equipment and I couldn’t imagine doing a job without it. The combination of having a zoom and great image quality makes it a very practical optic. Carrying prime lenses has never been an option for my mobile work."

05. Canon EF 11-24mm f/4L USM

"Although I don’t use it all the time, when I do it has absolutely saved me when I’ve needed an extreme wide-angle field of view – especially in those tight interiors with very limited room, such as bathrooms and small bedrooms. The ultra-wide angle is great for playing around with new perspectives and is also very useful for large group photos with little space."

06. Elinchrom Ranger Quadra

"I couldn’t imagine going to a job where I can’t control the lighting. The Quadra is a workhorse – I’ve been using it for over 10 years. It’s so reliable, lightweight and tough, and the lighting quality together with Elinchrom softboxes is fantastic. The wireless EL-Skyport pairs with Canon cameras, plus it’s a portable system that needs no power source."

To see more of Justin's awesome portraiture, check out his Instagram.

Read more:

Best Canon cameras
Best Canon lenses
Best professional cameras

London-based self taught Emmanuel Cole has been attending the infamous Notting Hill Carnival since he was a teenager but for last the five years (not including the years that it wasn't on due to Covid) he has been an integral part to its documentation. 

Notting Hill is one of the world's largest street festivals, attracting roughly 2.5 million visitors to the two-day event. It started in 1966 in the Notting Hill area of Kensington over the bank holiday weekend, and to this day, it includes a vibrant parade, multiple stages with traditional dub sound systems and food stalls.

Having missed two years of carnival due to the pandemic, this year's event promised to be one of the biggest events yet, and Emmanuel was back in the centre of it all, ready to capture the moment with his camera. We caught up with him to discuss the buzz of carnival, his journey into photography and how social media has helped and hindered.

What does Notting Hill represent for you?

NHC is one of the few events in London that celebrates African and Caribbean culture, so as a Nigerian, it has always meant a lot to me to be a part of it. It also gives Londoners from all corners of the city a unique opportunity to come together and celebrate in the streets of West London.

Before taking photos, did you attend Notting Hill as a punter?

My first carnival experience that I can remember was in my early teens. My uncle who lived in Shepherds Bush took me, my brother and sister. We saw the parade, ate great food and listened to a lot of music that I was into at the time. In my early 20s I attended a few times before bringing my camera along. Also, my mum told me recently that went to NHC in 1990 when she was pregnant with me, so I’ve been attending the carnival for longer than I even knew.

Do you ever feel like you missed out because you didn't study photography?

I felt like that was the case early on. I went to college and was supposed to graduate and study photography at university, however some things were happening in my life at home that destabilized me and I never made it to university. Looking back now, I wouldn’t change a thing and I am just thankful for how my career panned out.

What benefits do you think there are to being a self-taught photographer? 

I’m glad I’m self taught. Photographers that stand out to me are ones who have found their unique viewpoint of the world. I’m not sure if I would have found mine as soon as I did if I'd gone to university. Coming from a council estate in East London I loved my neighborhood and now I gravitate towards photographing working class and black communities. 

Which photographers do you admire?

The photographer I admire the most is my close friend Shane Vincent (@vincentchapters). We met through instagram in 2013 and since then I’ve learnt a lot from him and his way of looking at life. As far as the old school shooters, I’d say Vivian Maier, Trent Parke, Bruce Davidson, Gordon Parks, Jeff Mermelstein and Alex Webb are my favorites. There’s something special about all of these individuals and flicking through their work always inspires me.

Can you remember the moment you realized that photography is the path you wanted to take?

Funny enough I do. I’d say it was when I started purchasing photography magazines in 2010 from WHSmith. One of those magazines being Digital Camera. Reading the magazine would normally shine a light on someone I had never heard of and show me amazing photos I’d never seen. Some of the images blew my mind and often had me wondering how on earth it was shot. It gave me this adrenaline and way of dreaming that I never knew I would get through imagery and from then on I knew photography was the career I wanted to pursue.

Do you have a favorite photo from the last 5 years shooting Notting Hill?

There’s a shot I took of three young people on top of a bus stop that I love the most. Mainly because of the anticipation that was required. I had a 35mm prime on my camera and had turned the corner onto Kensal rise and all of a sudden I saw them climbing the bus stop. I quickly bent down, changed to my 85mm prime and waited for the moment. I shot a whole series from the bus stop moment but chose to share the one I felt was the best.

Has Instagram helped to launch your career?

I feel like the art industry is not easily accessible, especially for someone with my background. Instagram gave me a platform and allowed me to reach people all over the world. All I needed to do was to create good images and the app did the rest.

Do you think Instagram is still a good platform for photographers or do you think it needs to revert to "the old Instagram?"

I think Instagram is terrible for photographers nowadays. It's a shame but the app is more focused on trying to replicate TikTok and also flooding people with content they didn’t ask to see. It’s long left its original way of working. There used to be numerous photography communities which is how I met a lot of talented photographers in London and all over the world, but that time is long gone now.

Dog photography is a fun pursuit among pet owners and animal lovers, but it's also an inherently challenging one. Dogs don't stay still for long, which means your focusing and composition need to be lightning-fast.

Of course, some of the best professional cameras (like the Nikon Z9, the Canon EOS R5 and plenty more besides) now feature unbelievable animal Eye Detection AF, which helps to get subjects sharp. But nothing beats having the right skills and tricks when it comes to capturing fun, characterful and technically good dog photos.

We recently caught up with the award-winning 'dogtographer' Kaylee Greer, who is appearing at The Photography Show this year to share her secrets for capturing the best dog photos ever. Let's see what Kaylee had to say.

1. Get Low. Changing up your perspective from the expected, run-of-the-mill ‘looking down at a dog from standing height’ shot, suddenly immerses you into your pet’s world and becomes something completely impactful and remarkable. So get down on your dog’s eye level and watch the magic happen.
   
   
2. Use fun and interesting sounds. Sounds keep your dog engaged and nail some super soul-meltingly, heart-explodingly endearing expressions in your imagery. Think of sounds your pup has never heard before like a kazoo or duck call. (And here’s my tip on top of a tip -  with great sounds come great responsibility. Use these sounds sparingly and only when you need them to keep them novel and interesting to your dog. Overuse of sounds, like rapidly squeaking a dog toy non stop for 10 minutes, can quickly go from being fun for your dog to being stressful and overwhelming. In other words, ‘Ye shall squeak only when there is an absolute and undeniable need to squeak.’ If you follow that golden rule, you’ll be in brilliant shape!
   
   
3. Put your dog up on something. And by ‘something’, I mean a log, a rock, a bench, maybe even the arm of your couch if he’s small enough. These elements allow you to get your dog up off the ground (where he’s very distracted and busy with important things to do like pee on the world and eat cool sticks) and helps him focus on your camera with more intention while holding his stay just a little bit longer than if he were ground level. This gives you a few more seconds to wipe the dog drool off your lens and really nail a fur-covered photo masterpiece.

You can catch Kaylee's talk at The Photography Show in Birmingham, UK on Monday September 19, 15:30-16:45. Find out more about the Canon EOS R5's animal eye autofocus and how to capture dog photography in action.

Award-winning photographer and entrepreneur Chase Jarvis is one of the most influential photographers of the past 20 years – and he will be among the headliners at The Photography Show 2022, taking place at Birmingham's NEC on 17, 18 & 20 September. The three-day show will have hundreds of talks and demonstrations, with Chase Jarvis headlining the Super Stage on Saturday September 17, at 1.15pm BST.

• Get tickets for The Photography Show now

His expansive portfolio ranges from shooting advertising campaigns for mega-brands including Apple, Nike and Red Bull, working with athletes including Tony Hawk and Serena Williams, and collaborating with global icons including Lady Gaga and Richard Branson. 

The founder of online community CreativeLive, Chase will inspire attendees at The Photography Show to harness their creativity, delving into his wealth of experience as a photographer, entrepreneur and creator. 

In the meantime, find out more about Chase and his career to date as he answers five quick questions ahead of his headline appearance… 

Five quick questions with Chase Jarvis    

1. You shoot varied and diverse images including sport, lifestyle and street scenes – plus landscapes, still life and Polaroids. How do you maintain consistency so an audience can still identify with your work?

It's important to develop your own personal style through repetition and volume. If your personal style is well developed and you know who you are and what kind of photos you want to make, then it becomes second nature. You could only ever do you. 

2. How does your weekly podcast influence you as a person and a photographer?

It started out selfishly to learn and be inspired by people outside the photo industry like Brené Brown, Richard Branson, Jared Leto, Tim Ferriss, etc. 

Building a community of people from different disciplines has profoundly affected my work because it avoids the echo chamber that the photography industry can be. 

3. How does storytelling vary from a single image in photography to being able to have more time to develop a narrative with moving images? 

When I'm forced in photography to make an entire narrative in one frame, it's complex and I'm always wishing I had moving pictures. 

And the opposite is also true. When shooting moving images, I've got things like time and audio to consider. The grass is always greener as each has its own constraints. 

4. On extreme assignments (eg mountains), where keeping equipment to a minimum is vital, what are the three essential pieces of kit you absolutely cannot do without – perhaps a favorite lens? 

It depends on what I'm shooting, but a fantastic base kit is two Nikon D5 bodies, a 14-24mm f/2.8, a 24-70mm f/2.8 and a 70-200mm f/2.8.

5. With so many people taking up photography and videography now, how can photographers and videographers stay fresh and pioneering? 

There's only one you. Focus on making pictures that only you can make. 

General entry tickets to The Photography Show and The Video Show are now available, and visitors can choose to add Super Stage tickets to their event itinerary for £12 per session.

More about The Photography Show 2022

• Tickets go on sale for The Photography Show and Video Show
• Super Stage line-up announced for The Photography Show
• I'm a recent university graduate,  here's why I'm excited for TPS 2022

Christy Bowe has been a member of the White House Press Corps since 1995, having covered two-term Presidents Clinton and George W. Bush as well as President Barack Obama.

Her career as a female press photographer has placed her at the center stage of severe historical happenings, including the horrors of 9/11, and photographing three historical impeachments as well.

Christy is also the founder of ImageCatcher News Services, covering the Washington DC area for 30 years, and her work can be found in many prominent publications. Now Christy aims her Nikon lenses at the 46th US President, Joe Biden.

• Looking for the best Nikon portrait lenses?

We had a chance to interview Nikon-shooter Christy Bowe all about her fascinating career as a female member of the official White House Press Corps. As explained in her latest photo book, Eyes That Speak: One Woman News Photographer’s Journey with History Makers, Christy documents her experiences photographing American Leaders, and political tensions, from January 1993 through to January 2021. 

Having photographed eight US presidential inaugurations and photographing royalty such as Princess Diana, it's safe to say that Christy has had one of the most thrilling careers that a photographer could ever hope to achieve. She has a distinct passion for being where the action is and recording history as it happens.

What would you say has been the highlight of your career working as a White House photographer over the last two decades?

It has been three decades, but who’s counting?! I think seeing more women coming into this field is great. I would say one of the most significant events I have covered was the first Presidential Inauguration of Barack Obama.

How did you initially get into this line of work and industry, and do you feel that female-identifying photographers are given equal chances and opportunities to be hired in this particular field of photography and journalistic media?

I have always had a penchant for going towards where the action is so getting into photographing the news was a nice fit for me. I began with landscape photography and then drifted toward photographing people and was intrigued with the concept of having a picture portray the essence of the subject.

I had my first real exposure to that while photographing a Pro Choice Rally as I talk about in my book Eyes That Speak. After being allowed up onto the press truck with the official media, I was hooked and never looked back. I do think that women are proving themselves to be very competent and there certainly are more women in our line of work today than when I started out.

What camera equipment do you use to shoot with? Do you have a go-to setup or favorite type of lens that you would always use?

I have been using Nikon for years beginning with an F and going digital in 2001. For the past six years I have been using the Nikon D5 with a Nikon 24-70mm f/2.8 and a Nikon 70-200mm f/2.8 lenses. When needed I use a Nikon 80-400mm f/4 lens. I now use a Nikon Z9 mirrorless camera and it is awesome.

Have you at all struggled in your career to remain diplomatically impartial in how you portray your subjects, especially if there were any individuals that you may not have been particularly fond of? 

Yes. When that happens I have to concentrate on the technical aspects of my job. I always try to get different emotions so the editors can decide what they want to use.

Do you have any tips for those looking to shoot political portraits or those beginning their careers as a photojournalist? What were some hurdles you had to overcome to get to where you are now?

Stringing for a wire service or newspaper is a good way to learn the ropes in the business. I am still trying to overcome the hurdles and always will. The biggest one being access. It continues to be a challenge to gain access to events and even more so since Covid. Fewer media are allowed in to cover events now and I hope that will not be a permanent situation.

What is your favorite image (or the one you are most proud of) captured during your career as a Member of the White House Press Corps? 

I generally like the candid pictures the best. The one of President Clinton and Bush walking through the columns at the White House and President Bush in his cowboy hat at dawn are two of my favs. A couple others were  Michelle Obama with her daughter fixing her hair and President Obama high fiving a bunch of kids. Both of these pics were taken at the White House Easter Egg Roll.

You can now purchase Christy's book Eyes That Speak on Amazon priced at $49.95.

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Before Fleet Street swapped its grand newspaper offices for investment banks and luxury hotels, it was the legendary home to hundreds of photographers and journalists keeping the nation updated with the major news stories of the day. This was the pre-digital age before cameras had monitor screens and instant playback to check focusing and exposure, or to discover if the subject really had blinked at the decisive moment. 

 • Looking for the best camera for sports photography?

By today’s standards, photographers shot ‘blind’ and a roll of film was entrusted to the printer working in his dark cavern of wet and dry benches, with trays of developer and fixer and constant running water. Unlike today, the photographer was often the last person to see the print, even though he or she was the first to find the picture.

Chris Smith remembers these days fondly. He was in his early twenties when he first came to Fleet Street in 1959, traveling down from Hartlepool to join the Daily Herald. The noisy old road was the dream destination for many young provincial photographers and the young Smith was no exception: “I always wanted to go to Fleet Street, which for newspaper people was the Mecca of journalism,” he recalls. 

By the time he retired in 2000, his status as one of the most admired and decorated sports photographers in the history of British newspapers was beyond dispute. From the now-defunct Herald he moved to The Observer and then onto The Sunday Times, where he remained for 24 glorious years.

For most of his working life, sport was Chris Smith’s primary focus: from rugby and football World Cups to golf majors and the Olympics, derbies and Grand Nationals, and the biggest boxing bouts ever staged. Smith only began photographing sport in Hartlepool because the staff photographers on his local newspaper “didn’t like getting wet on a Saturday”, and while he no longer misses the weekend grind, he admits, “I certainly did at the time when I retired.”

During his esteemed career, Smith was named British Sports Photographer of the Year on four occasions and twice-winner of the individual Sports Picture of the Year prize. Now, as he approaches his eightieth birthday, the chance to reflect on 50 years in sports photography and the greatest personalities encountered has been given added impetus by the staging of a major retrospective of his work at the National Heritage Centre for Horseracing and Sporting Art in Newmarket, Suffolk. 

The title of the exhibition, ‘Gods of Sport’, hints at the reverence and respect he felt for many of his subjects, particularly Muhammad Ali. It should come as no surprise to learn that many of his fellow photographers feel the same way about Smith.

Let’s turn the clock back. You were just 16 when you started at the Hartlepool Mail. What sort of work were you doing back then?

It was actually a small circulation evening paper, which used to sell about 30,000 copies. I worked there as a junior, mixing chemicals for the darkroom and the other photographers, doing printing, sweeping the floor, keeping the place clean. The best thing was if I wasn’t doing anything, which wasn’t very often, they would send me out and put an entry into the diary that said: ‘Looking for pictures.’ So I could wander out and just snap what took my fancy. It was an industrial town with docks, trawlers coming in and out, steelworks, so I could wander around the docks taking interesting pictures. It was a marvellous brief with a 1914 or 1912 Zeiss plate camera.

Was sport among the pictures you looked for?

I got into sport because the other photographers didn’t like doing it, they didn’t like getting wet on a Saturday. I was quite keen as a kid – I played football, rugby and cricket – and seemed to have an aptitude for it, so they were more than willing to let me go to football as much as I wanted on a Saturday. So that started my sports side, but I did everything else that you do on a local paper: dog shows, flower shows, all of that stuff.

How long were you at the Hartlepool Mail?

I was there until I got called up for two year’s national service at 19. When I finished that I went back to the paper. I always wanted to go to Fleet Street, which for newspaper people was the Mecca of journalism, and I got a job on the Daily Herald, which later closed and relaunched as The Sun. It had some truly great photographers there, including Terry Fincher and Ron Burn. Terry went on to the Daily Express, but I was with him for a while on the Herald.

What year did you join the Herald?

I must have been 21 or 22, so 1959 I guess. I was there for about six or seven years, then freelanced after that. I always admired the Observer. I had a contract there and I started to do most of the paper’s sport. I was there for about seven years. Then The Sunday Times asked me to join them and I worked there for 24 years.

Photographing Muhammad Ali with The Beatles in 1964 (photo on page 23) was fairly early in your career – how did you get to be there?

The Beatles were about to start their first tour of the States and I said to the picture editor (of the Daily Herald), “What about covering it?” The Daily Express with Harry Benson seemed to have the inside track, so we decided to take them on, and I got sent out there. I photographed them in New York where they did The Ed Sullivan Show. But I always wanted to photograph Cassius Clay, as he was known then, because he was making waves in the world of boxing. So I took off down to Miami to see him training for his fight with Sonny Liston. 

I was in the gym one day when the doors opened and in walked The Beatles. I think it was as much a surprise to me as it was to Clay. The Beatles had gone down to Miami to play a concert. It was a right bun fight in the gym with the four Beatles and Clay. Terry O’Neill was there and I said to him, “It’s a bit of a corny picture really,” but Terry rather generously said, “Well, you may say it’s a corny picture but out of all those that have been taken that’s the best one. It’s got the five most recognisable faces on the planet in one picture!” I suppose it’s not quite as exaggerated as it sounds. It’s a picture that’s now fairly significant.

Muhammad Ali always described himself as ‘The Greatest’, but in your opinion was he the greatest sports star you have photographed?

He must be the greatest sports personality, yes, because in his age of boxing he was truly a wonder. His hand speed, the co-ordination he had was great. He had this unbreakable will, not just as a sportsman, but also when he took on the American government with that statement, “I got no trouble with them dead Cong.” He was determined not to be conscripted. He was just an extraordinary person all round.

You worked through a golden era of sports photography. Who among your contemporaries did you look up to and admire?

Well, there was the great Gerry Cranham in the UK. Gerry was a huge influence. He just looked and treated it slightly differently to everyone else. I came along about the same time as Gerry, a little bit behind him, and he was a great influence, and Ed Lacey too. And of course you had Sports Illustrated, with people like George Silk. You’d always look at their work to see what they were up to. Not just sports either, but photography generally.

How did you try to set your pictures apart from other sports photographs?

What I always tried to do was something other than the obvious sports picture. With golf, for example, it’s too easy just to do the top of the back swing and then the follow through, close-up. A lot of the time it could have been taken in the back garden for all you’d know. I’d rather show the location and show a bit of the background.

In a way, not being too fanciful, but if you look at Henri Cartier-Bresson’s work, you don’t need a caption for those pictures, they tell you everything. Really good pictures don’t need many words, or any words at all. There’s a picture in the exhibition of Greg Norman at The Open in Turnberry, with Ailsa Craig – this great rock off the Ayrshire coast – in the background. Well you don’t need to ask where it is, you just know where it is, so that kind of thing I liked to do.

One of your famous pictures, the men’s 100m final at the 1980 Moscow Olympics (on page 19), is a side-on view, close to the starting blocks, and the gun has just fired. There is incredible physicality and tension in the body of Alan Wells, the eventual winner. Why did you shoot from this position?

The track in Moscow had a pit around it, which was great for photographers because you could get down to ground level. I thought, ‘I don’t want to go to the finish, everybody’s at the finish’, and often as you frame head-on, the athletes dip going into the finish so you often get the top of a head. The image was shot on an 85mm and it’s been pulled up quite a bit. I think AP (Associated Press) or one of the Russian agencies processed it, so I haven’t a clue what it was developed in.

It’s a small part of the negative as I actually shot landscape as Wells came flying out of the box. I was focused on Alan and a lot of the left-hand side is way off focus, it wouldn’t be much below f/4, so not a lot of depth. I was working on the gun, so by the time I reacted, they reacted. It seemed to have coincided, it’s one frame, that’s it, but it does capture this explosion of Alan Wells. It was a very satisfying picture to take.

What sort of shutter speed would you have used?

A thousandth of a second.

In another of your pictures, Barry McGuigan is slumped on the stool in the ring in Las Vegas with a haunting, vacant expression (page 29).

That’s one of my favourites. I’d been in Mexico covering the World Cup. The final was on a Sunday, so it was too late for a Sunday newspaper. I was always going to do the McGuigan fight, but the day of the fight it was 112 degrees Fahrenheit (44°C) in the ring. The air temperature was like a furnace. You couldn’t move without oozing sweat, and Barry of course comes from Clones in Ireland so he’s certainly not used to those temperatures. Barry’s style was always aggressive – he was always going forward, wearing an opponent down. He was just out of his element in that fight, poor man, he just was.

When in the fight did you get this picture?

Halfway through the fight it was obvious he was struggling. And coming back from the thirteenth round I was in the opposite corner and spotted – between the corner men moving around trying to sharpen him up – this face, this expression. I had a 35mm and an 85mm on two cameras, totally inadequate to photograph his face, not that I got much chance. But I thought, ‘There’s the picture’ so I put on a 180mm for when he finished the 14th round and he was sitting in the corner. I managed to get about two frames, and one of these corner men is twisting the lobe of his ear just to sharpen him up. The expression, or lack of expression, in his eyes is just heartbreaking. He finished up going to hospital because he was so dehydrated. I met him later on and he called it “The picture of me with the dead eyes,” which it was.

You said that was one of your favourite photos, but what is your all-time favourite sports photograph taken by you?

That’s a tough one. There’s one I always look at and come back to – it’s a football match. It’s a European Cup final in Rome, Liverpool versus Roma [pictured right]. But it’s not of the football, it’s the crowd. Before the game the Roma fans, all of these Ultras I’d never seen before, were setting off fireworks and smoke grenades and flares, and I thought, ‘how extraordinary.’ If you used a long lens, say a 400mm, you couldn’t see much because all the smoke was going, so I put on a 35mm, jumped over the barrier and went into the crowd. It looks more like a crazy political rally than a football match. It’s one that I’ve always liked, it’s just something you didn’t expect from a football match.

You were very much wedded to your 400mm lens in your working days.

Yes, 400mm was the standard lens, that was the first thing you packed.

What else did you take? Was it a lot of gear, or did you like to keep it to a minimum?

I used to carry as little as possible, partly because if you were doing a skiing event or golf where you had to hike around a course, there might be two rounds in a day. So there would be a monopod with the 400mm, and in the later days when they were better, a zoom or two: 24-70mm, 70-200mm, a couple of camera bodies and lots of stuff packed into your pockets. But I saw it in the States where you go to something like the Masters and the Sports Illustrated guys got their students to carry the cameras. ‘Camera Caddies’ they used to call them. The photographer would take the picture, go off to the next hole and give his student the camera to carry, which would have a 400mm on a monopod, or a 600mm, and the student would get to the next tee, and the photographer would take over. Bizarre!

Were you a Nikon user all the way through your press career?

Nikon all the time. Funnily enough, since I’ve stopped professionally I have tried the little Sony RX10, which is tiny, but I found it too tiny. It gave amazing results, but I want something a little bit bigger than that. The Sony a6300 would have been brilliant but the pancake lens I bought with it is a bit duff. It’s just to stick in my pocket and look for things as I go. I feel absolutely naked if I go out without a camera. The idea of going out without a camera gives me the shakes! What if I find someone or see something really important?

Do you not use your mobile phone to take pictures?

The terrible thing is I’m not very good with new technology. I’ve got an iPhone 6, which I got purely because on holiday you can use it as a modem to download BBC programmes and listen to Radio 4 on, but I’ve never cracked the camera. I shot a picture of my wife on the towpath the other day and it looked beautiful until I tried to enlarge it. I obviously haven’t got the right handle on it because it looks a bit grainy, but I know you can get remarkable results on the iPhone. I’m just helping with judging a cricket photography competition and one of the entrants is a really nice black and white image showing a lovely sky with silhouettes of kids playing cricket. I looked at the information and it said it was taken with an iPhone 6, and the quality looks stunning. So it is obviously doable, if I could only get my head around to do it. I’ll have to ask one of my kids!

© All images Chris Smith

Graeme Green is a British wildlife photographer and conservationist who, for the past three years, has been working with over 250 wildlife photographers and various charities across the globe to create a ‘New Big 5’. The idea is to change the stigma around the ‘big five’ associated with hunting lions, leopard, rhinoceros, elephant and Cape buffalo in Africa and instead create a new big five for photographers.

He tells us: “It’s our way of celebrating the amazing wildlife across the globe and photography is a powerful conservation tool too, exposing the brutal realities of animal cruelty, deforestation and habitat loss.

"When I started this project I wanted to create an inspiring new bucket list for travelers, wildlife lovers and photographers to see in their lifetime. Tourism funds many of the world’s conservation projects and the New Big 5 encourages travelers to visit the countries where these five animals live to support conservation efforts, learn about them and the threats they face.”

“We worked with 250 photographers and put out a vote for what species should be included in our New Big 5. The results were: elephant, tiger, gorilla, polar bear and lion. They’re some of the most charismatic and popular animals on the planet, but they’re only the tip of the iceberg.” 

“Hopefully our five animals can be ambassadors for all the world’s wildlife. From bees to blue whales, every creature is crucial to the balance of nature, to healthy ecosystems and to the future of earth.” 

The Big 5 term is still used in part of Africa, but many safari owners have banned staff from using it because it’s rooted in hunting, which wiped out the animals that they’re trying to protect. TV presenter and conservationist Chris Packham says: “For any photographers and wildlife lovers who want something else, here it is. It’s the perfect way to instigate a transition between something which is no longer ethically, morally or scientifically acceptable, and transforming people’s passion from something which is dead to something which is alive. If hunters were all shooting with cameras, that would be significant progress.”

My close-up photo (above) is one of my favourite lion photos I’ve taken. It’s from Mara Naboisho Conservancy in Kenya. When taking an animal portrait, like this, I focus on the eyes. It’s useful to not use too small a depth of field, as that can mean the eyes are in focus but the nose or muzzle isn’t. Shooting at f/10 creates a bit more depth of field so everything you want in the face to be in focus is. I also had to get down low, lying flat on the back of the vehicle with a compartment opened, to get as close to eye level as possible, which works much better than looking down on an animal’s head.

For the elephant, I went wider using a 24-105mm lens for this photo. It’s a really versatile lens that I find works in a lot of different situations for wildlife and travel photography, both getting in close to a subject and opening out for wider scenes. With wildlife, a lot of people shoot as close in on the animal as possible, but there’s a lot to be said for composing wider and setting the animal in their landscape – in this case a quiet moment, just a lone elephant in Ruaha National Park, Tanzania, reaching for high leaves on a baobab tree. 

Graeme went on to say, “Hopefully, the New Big 5 can be a small part in a transition to a future without trophy hunting. Yet I’m aware there are far greater threats to the world’s wildlife, including habitat loss, the illegal wildlife trade and climate change. The real mission is to use this New Big 5 idea to get people talking about wildlife. Change is possible if we all play our part. South Africa recently banned canned lion hunts after years of campaigning. The New Big 5 project has worked to highlight solutions, from bright ideas to conservancies, from cutting edge technology to re-wilding.” 

Check out more images on his Instagram, or find out more about the New Big 5 project on his website.

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There are 7.8 billion people living on Planet Earth, so when American photographer Doug Menuez outlines his area of interest as “humanity”, he’s not short of subject matter. 

In his 40 years as a photojournalist, documentary photographer and director, Menuez has captured a diverse cross-section of humanity, from leaders and luminaries, including President Clinton, Mother Teresa, and Jane Goodall, to A-list actors such as Robert Redford and Cate Blanchett, through to scientists, astronauts, and drug dealers.

From the mid-1980s, Menuez spent three years documenting Steve Jobs and his team at NeXT, and 15 years documenting the digital revolution, many of his images collected together in his book Fearless Genius. Menuez’s photos have appeared in Time, LIFE, Newsweek, The Washington Post and many more publications. Assignments to capture stories, including the AIDS crisis, presidential campaigns, Super Bowls, the Ethiopian famine and the Oakland drug wars, have taken him around the world, from the North Pole to the Sahara, Vietnam to Mexico.

His work has helped raise money for orphans in Uganda and victims of the San Francisco earthquake. He has worked on ad campaigns and commercial projects for global brands, such as Leica, Coca Cola and Microsoft.

It’s a far cry from the life that might have been: Menuez was a blues musician in his early years, quitting the rising band to make the leap into photojournalism. 

Here, he talks to Graeme Green about meeting Steve Jobs, escaping gunfire, NFTs and his latest projects.

Your work is incredibly varied. When people ask what kind of photographer
you are, what do you say?

I’m interested in human beings, what they do and why they do them. That leads to telling stories about human beings and their lives, and creating connections between subcultures and larger cultures. It’s really about the human experience and shared humanity. 

It’s driven by something I realised I did early on, which is figuring out who I am and my place in the world. It’s curiosity about where we are, why we’re here… that sort of existential crisis. So, I picked up a camera.

You spent some time with Steve Jobs. What was he like to work with?

He was inspired and incredibly passionate. He was constantly learning, and a great leader. If he believed in an idea, he could convince everybody to follow him to Mars. We tend to put him as either this iconic ‘genius’ or a ‘jerk’. But Steve was complicated. He could be incredibly sweet and thoughtful, but primarily what he was about was solving the mission. 

He had a flaw where he could cross the line and attack you personally, but this was about getting you to do something he wanted, like getting an engineer to do something they thought was impossible. He was driven by a need to trust. In start-ups, any decision could wreck a company. There’s so much money and pressure. He wanted people who would stand up to him and fight back.

Could you see where our lives were going in terms of a technology revolution?

In some cases, yes. I had engineers sit me down and show me something they were working on. In New York, none of my editors at magazines thought they would need or own a computer. The people in Silicon Valley could see the potential of applications they were creating to change people’s lives. 

Steve gave me a glimpse into a world of potential change and a world that was to come. My friends thought I was nuts wanting to photograph people staring into computer screens when I could be covering conflicts in Africa. But once I saw what these people were going to do, that kept me hooked. 

What characterised that late 1990s period and the people you met in Silicon Valley? 

The people I documented back then were idealists. They really did have an impulse to improve human life. When Wall Street got involved, short-term thinking took over and there was a shift to an unsustainable gold rush that took away a lot of that noble cause. It became really corrupted. 

I’m looking to this next generation to see if they’re going to have that idealism and fight for this dream to improve our lives. The problem is, can they even get funding for hard science problems, like climate change? It’s hard to get funding for anything apart from apps and games right now. 

You have photographed US presidents, including Bill Clinton and George Bush Senior. Is that a high-pressure situation? 

Yes. You have the Secret Service there, a lot of preparation and clearance, and you feel the weight of history. I’m always amazed when I interact with someone who is making history. You just have to put the terror and fear of what can go wrong away and lock it up.

I loved meeting the Bushes. Politically, I’m a progressive and a staunch Democrat, but in my line of work, you get to see people at a human level, aside from the politics. 

I had an idea to shoot George Bush looking out of the window. The editorial team and the Secret Service were getting nervous about the idea of moving him. No one would help. So he said “Lift me up, Doug”, and I lifted the former President, put him in the wheelchair and wheeled him into position. 

He was humble about it and said, “You’re getting very artsy, aren’t you, Doug?” Barbara leaned over and kissed him at the last minute, which made for a great photograph.

You also met Mother Teresa. What was your encounter with her like?

I was only 22 when I met her. This was her first visit to the US. I saw the scrum of media in front of the church waiting for a press conference. I thought: what can I find that would be unique and different to tell the story? 

Somebody nearby was waiting at the foot of a chapel, 200 yards from where all the press were, so I sneaked into the church and looked through the curtains as she was praying in a pew. I took some pictures, then waited. As she came down the stairs, she gave me a beautiful smile and some kids ran up to her. That was my moment. It was different from what everyone else got and it ran on the cover of The Washington Post.

It reinforced the idea that you have to get beyond the obvious. You need to keep looking for ideas behind the scenes you’re assigned to.

Of all the famous actors you have photographed, which is the one that has made the greatest impression on you?

Charlize Theron. We were in the Democratic Republic of Congo, standing in the mud. She was in her bare feet and she asked me to come over to her. She’d had a beautiful pedicure with a lovely caramel nail polish. Her bare feet were getting ruined by the rain and mud. She’d just come from the Oscars, and she thought this was hilarious. 

She was tough as nails. I just thought of her as an actor and a kamikaze crazy dedicated to the cause. But she turned out to be the real deal. She was running a rape crisis centre in the eastern DR Congo and working on education and AIDS education in South Africa. When you spend three days with somebody in the jungle, you see what they’re made of and she struck me as a tremendous human being. 

What impact did covering the 1989 San Francisco earthquake have on you? 

When you go into these crises, you could react emotionally, but you control that. You know you have a job to do and I just did it. I rushed to get a helicopter and spent two days flying, circling the disaster scene. I was getting assignments from Time magazine and USA Today. But later, I did get out on the streets and saw beautiful neighbourhoods with collapsed houses and people digging through the rubble and it was heartbreaking.

Years later, I couldn’t shoot that anymore. I was doing forest fires or whatever, shooting the survivors. It got to the point I didn’t want to invade their privacy anymore. I wanted to do documentary work where I could engage with my subjects in an equitable way. 

Your photography and books have helped raise money, including for the victims of the San Francisco earthquake and AIDS orphans in Uganda. Is it satisfying to work on projects that make a clear difference? 

With the earthquake, we raised more than $500,000. We all want to make a photo that’s going to improve the world or change the world. Every photojournalist and documentary photographer I know believes that by bringing their camera into a difficult situation, they might be able to bring light to injustice. I’ve covered famine and poverty, it’s part of giving people the facts, but almost nothing ever changes. So, it’s a great satisfaction to do a project that raises money and you can give the money directly to those in need.

Have you had any close calls on international assignments? 

I covered an expedition to the North Pole back in 1994. At the end of the Cold War, a friend of mine leased a Russian icebreaker and I got an assignment to cover it. Because it’s an atomic ship, there’s security, including armed guards, one of them with a shotgun.

One day, they were laughing and dragged me out onto a decrepit cargo helicopter. There were women on board and a pilot, all drinking clear liquid, which turned out to be de-icing fluid. We went off on a crazy excursion, got lost in an Arctic storm and landed on the ice. All of a sudden, the fog cleared and the ship was bearing down on us. We took off, just as the icebreaker nearly hit. We could have died. 

The next day, we all went out across a glacier and landed on Novaya Zemlya, a highly radioactive nuclear testing ground for the Soviets. We landed near a group of Inuit reindeer herders. The two armed guards wanted to shoot a reindeer and demanded I bring vodka. We ended up negotiating with the herders. The guys shot one of the reindeer with a rifle the Inuit had loaned to them. They skinned the reindeer on the tundra. One of the guys put the bloody reindeer on his shoulder and we started hiking back to the helicopter.

Suddenly, I started hearing shots. The Inuit thought the Russians were stealing the rifle they had lent them, whereas they’d left it out on the tundra. They ran, threw the deer on the helicopter, bullets pinging off the helicopter. They dragged me in and we flew away. 

We landed in another part of the island, right in an old Russian gulag with a barbed-wire fence. There was a human skull next to the fence. They set up a barbecue to cook the reindeer in this abandoned gulag. It was an insane experience.

Has your work changed over the years? 

I haven’t changed much. I’m still fascinated by the same thing I was when I started – people and the world around me. 

We moved to a little town, Kingston, in upstate New York a few years ago. So much has changed there. There are so many artists, people moving up from New York City. One issue with that is real estate developers follow and you get gentrification. We’re in a diverse community with a wide economic disparity.
I was curious about this town, so I would meet people, photograph them and interview them. It’s grown into a really satisfying project. It’s like going full circle to being a kid and shooting photos near where I lived.

What else are you working on currently? 

I started directing more last year, doing short films. We’re hoping to do a TV series on Silicon Valley, based on my Fearless Genius book.

You’ve looked at tech innovations before. What are your thoughts on NFTs? 

It’s a growing market. There will be ups and downs, but I’m positive it will stay. I know a lot of people in the art world look down their noses at it as wacky digital art. But we’re already seeing classic photojournalist images and fine art selling. It’s moving and changing, I’m just trying to figure out how to get into it. 

Do you have any regrets about quitting your blues band? 

If you’d asked me a couple of years ago, I’d have said, ‘No way’, but I’m starting to have regrets. I’d have liked to have done both music and photography, but I felt I had to focus. It takes effort to do music, you have to practice. I’ve had a full life so I can’t say I regret the past, but I want to start playing music again.

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Shooting for more than a decade as a professional portrait photographer, Russ shoots in his cool Splash Point Photo studio on the north coast of Wales. He’s won and is regularly commended on competition sites like Viewbug, PhotoCrowd and Gurushots, which has lead to his work being displayed and exhibited all around the world, in Spain, Greece and India to name but a few. 

We recently sat down with Russ to find out how he got into photography, the types of portraits he likes to take and the essential camera kit that he couldn't live without. To see more of his awesome portrait pictures check out his Instagram.

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"I moved to North Wales four years ago, which has led to a change in my kit bag somewhat. I used to shoot a lot of corporate photography, so it used to be full of Speedlites and batteries, whereas these days it’s all about the studio space.

"Part of the space at my studio, Splash Point Photo, is a pool – how I wished I had my mirrorless EOS R5 back then! I dragged the shutter using strobes, but allowed in light from under the water, and some window light, too. My head was pushed against the ceiling while I tried to focus with my Canon EOS 5D Mark III; whereas with eye detect and the flip screen of the EOS R5, it gives me much more freedom."

"I used to look at photographers using screens and mumble to myself, and now I realized that I’ve been missing out! I was hesitant to jump ship early on, but now that Canon has ironed out the kinks in its full-frame mirrorless with the EOS R5 and R6, the new models really show a fantastic advancement.

"I also shoot models against my neon wall. It’s another custom part of my studio. It can be tricky to work with, as all of the neon signs have a different light output, so shooting Raw is essential – you can then balance the lighting levels in post. The wall also provides some unique photo ops that people travel far and wide to make the most of. I use Luxceo light wands, which are waterproof too, so they can be dunked in the pool as well."

01. Canon EOS R5

"The step up from Canon EOS DSLR to mirrorless takes a small adjustment period, but I started to lose faith in my 5D Mark III DSLR when I found it back focusing a little too much, which would result in soft focus. Even in simple conditions, I felt I was often fighting with it to focus more, but then again it is a decade-old piece of tech. I find the hit rate on my EOS R5 to easily be 10x what I was getting with my old kit, so it was definitely worth the investment."

02. Canon EF 17-40mm f/4L USM

"I love committing the sin of a wide-angle portrait! I’d go as far as to say that the 17-40mm is my favourite lens for creativity. If your image is lacking that certain something and doesn’t have enough drama, even with good lighting, then slap a wide-angle lens on and get some creative angles. Lenses are merely tools, and rules are made to be broken!"

03. Canon EF 24-70mm f/2.8L II USM

"This lens is a workhorse, and should be an essential part of anyone’s kit in my opinion. I’ve used it a lot photographing live music, so that fast f/2.8 aperture is massive, but it’s such a versatile piece of kit that can only be overlooked if you’re a stickler for primes. The only thing it lacks is that true telephoto range that I want sometimes."

04. Canon EF 70-200mm f/2.8L IS II USM

"This replaced my Canon EF 100-400mm f/4.5-5.6L IS II USM lens as the aperture range wasn’t quite right – I needed something faster. The EF 70-200mm f/2.8L is also fantastic in the studio! You can’t underestimate how using different lenses as tools, rather than solely for the necessity of space, can help change your image."

05. Canon EF 85mm f/1.8 USM

"85mm is generally perceived as the ideal focal length for portraits by many photographers. No surprise then that it’s my go-to lens when I’m aiming for amazing bokeh. It gives a bit of fringing, but it’s workable and you can’t complain for its budget price. I have a habit of breaking it out when using the neon wall in my studio to blur the neon signs beautifully."

06. Canon EF 50mm f/1.8 II

"This 50mm is tiny, it’s light, it’s cheap… There’s no reason not to get one. There’s been a few occasions when my workhorse has been in for repair, and I’ve been able to use my nifty fifty to get the job done. One day you may have a malfunction, and it’ll be there to save the day! As Canon shooters, we’re really lucky to have that kind of speed in our pocket for so little money."

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In today's digital landscape, there are hundreds (and thousands) of emerging photographers looking to break into the industry and make a name for themselves. What makes some creatives more successful than others comes down to their attitude and skills, and also a certain amount of luck.

It's always interesting to find out how up-and-coming photographers found their way in, and how they're shaping and riding the industry in general. We've been chatting to entertainment and portrait photographer Zusha Goldin. While Zusha is relatively new in the entertainment industry, he has a few collections of celebrities and business executives under his belt, and he recently had a big opportunity to Photograph TikTok's major influencer, Charli D'Amelio.

From shooting for free to honing your craft, Zusha shares of his some quick top tips below for photographers wanting to follow a similar career.

Hey Zusha. Where in the world are you and what are you working on?

Hey, nice to meet you! I grew up in Brooklyn, NY, and moved to LA in early 2020. I'm currently working on a mental health art series, and I also currently have multiple projects that I cannot talk about, but I'm excited to be able to share them in the coming months.

Tell us about your journey in photography. What made you start shooting professionally?

It was nearing the end of high school. I was 18 years old. I began to ponder what type of life I wanted to live seriously. I weighed my options. Remembering that I had an affinity for photography, my brain opted to pursue the thing I was most passionate about. I purchased my first camera, and it's all history from there...

How would you describe your images and style?

I enjoy capturing the essence of the people I'm photographing. I love telling stories through my art, and everybody has a story.

What was your first camera, and what kit do you shoot with now?

My first camera was a Sony A6000 with a 35mm lens. I now use a Sony A7III with a Sony FE 50mm f/1.8, and a Sony FE 24-70mm f2.8 G Master Lens.

What photographers or creators are you inspired by?

I love so many photographers' work but here are some names: Luke Fontana, Sid Avery, Nechama Leitner, Annie Lebovitz and Richard Avedon.

Do you spend a lot of time editing your work and are presets involved?

I spend hours editing each photo shoot. I don't have or use any presets... yet!

How do you plan and prepare for your portrait shoots? 

It depends on what exact type of shoot. I always try to show up in the best possible mood and think that the onus of how the shoot comes out lies solely on the photographer. They kinda set the mood, and I'm a believer that failing to plan is planning to fail – it's one of my favorite quotes which my brother-in-law Isroel always says. And so, I choose to show up being as prepared as I can as opposed to just winging it.

How do you get the most from your models?

I recently discovered this amazing photographer named David Suh who has these brilliant videos showing people how to pose. One of the videos I recently watched was where he mentioned that there are no male and female poses, there are only masculine and feminine poses. I really resonated with that. I get the most from my models by becoming friends with them in the sense that I'm self-aware about the photo shoot and really working to create a healthy, safe and fun environment on set.

What are your top five most-used photography items (cameras and lenses)?

My Sony A7III, my Sony FE 24-70mm F2.8 GM, my two DB800 strobes, and my scrim/reflector. Oh, and the sun. Our glorious star is my favorite light.

What advice would you give to photographers wanting to turn professional?

1. Create a portfolio by shooting for free at the beginning.
2. Learn and perfect your craft as much as you can.
3. Create a personal brand presence on all social media platforms and share your work and personality consistently.
4. Network LIKE CRAZY. Find 10 target customers or key people you could get to know and connect with them online and in person. 
5. DON'T be afraid to charge your worth. As creatives, we don't know how to sell ourselves. We're the first people to undervalue our work. Learn to get comfortable charging. You need to pay rent!

Where would you like to be in five years?

I want to have already photographed Brad Pitt, Julia Roberts, Emilia Clarke, Kit Harrington, all the Marvel cast, Lana Del Rey, and the list goes on... I would love to have already photographed work for Vogue, GQ, Marie Claire, etc, etc. I hope to start my own magazine in the near distant future. I'm very excited about what's to come!

Lastly, share something that'd surprise us!

I'll share three (because I love making lists).

• I'm the youngest of 10!
• I have one leg shorter than the other #legdiscreptancy 
• I strongly dislike cilantro.

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