Cap­tur­ing light and land

Tracey White­foot quit her job to pursue her pas­sion full-time, and to­day she runs a thriv­ing free­lance pho­tog­ra­phy busi­ness

NPhoto - - Over To You … -

I’ve been in­ter­ested in pho­tog­ra­phy since I was young, but it wasn’t un­til I quit my sales job in 2006 that I took it up full­time. It’s been hard work, and a very steep learn­ing curve, but I’ve built up a thriv­ing busi­ness as a com­mer­cial free­lance pho­tog­ra­pher in Not­ting­hamshire, in the UK.

In 2010, once the pres­sures of launch­ing my own busi­ness had eased off slightly, I started to take land­scape pho­tog­ra­phy se­ri­ously. Un­til then I had been shoot­ing on an Olym­pus, but I de­cided to take the plunge and change sys­tems. I did a lot of re­search and went with Nikon, be­cause the cam­eras felt more rugged, and I thought they would suit both sides of my pho­tog­ra­phy work. Many of the peo­ple I was in­spired by at the time also seemed to own Nikon kit. It’s a de­ci­sion I’ve never re­gret­ted, and I can’t imag­ine not shoot­ing with a Nikon cam­era now.

It’s fair to say that pho­tog­ra­phy in all forms is a mas­sive part of my life, and wher­ever I go my cam­era is never far away. I love cap­tur­ing spe­cial mo­ments of light and shar­ing them through Flickr, Face­book and Twit­ter.

Be­yond the tech­ni­cal

For me pho­tog­ra­phy is more of an emo­tional jour­ney than a tech­ni­cal one, al­though I have also had to go on a tech­ni­cal jour­ney to achieve the re­sults

I’ve al­ways been par­tic­u­larly drawn to sun­rise pho­tog­ra­phy, as I love that feel­ing of hav­ing the world to my­self

I wanted. I’ve al­ways been par­tic­u­larly drawn to sun­rise pho­tog­ra­phy [02][05], as I love that feel­ing of hav­ing the world to my­self as I wit­ness the start of a new day. Friends say I jump up and down like a big kid when the mo­ment is right, and that’s a fair de­scrip­tion, as that’s how land­scape pho­tog­ra­phy makes me feel!

I get as much sat­is­fac­tion from places on my doorstep as I do lo­ca­tions on the other side of the world. I be­lieve that as long as the con­di­tions, light­ing and at­mos­phere are right, you can take a good land­scape im­age any­where. A lot of my ear­lier land­scape work was cap­tured within 10 miles of my home.

I don’t think any­one can ever say that they know ev­ery­thing in pho­tog­ra­phy, and I find that my work is con­stantly evolv­ing, and that’s the way it should be. Over the last couple of years I’ve been in­creas­ingly in­ter­ested in cap­tur­ing the ex­tremes of win­ter weather, and have had very suc­cess­ful trips to Ice­land and Nor­way. I’d al­ways wanted to see and cap­ture the aurora bo­re­alis, and am happy to say that last year I got the chance, on a trip to Nor­way. Amaz­ingly, I saw the north­ern lights ev­ery sin­gle night dur­ing my week­long trip; it was an amaz­ing ex­pe­ri­ence in ev­ery re­spect, and al­though they’re chal­leng­ing to cap­ture, it’s some­thing that I would urge any pho­tog­ra­pher to try – with the right re­search and ex­per­i­men­ta­tion be­fore­hand.

Mov­ing for­ward in my own pho­to­graphic jour­ney, I would like to do more aerial pho­tog­ra­phy, as the way that the land­scape looks from the air has al­ways fas­ci­nated me. To this end I have booked a be­spoke ‘doors-off’ he­li­copter flight in New York later this month. I have also planned win­ter trips to Glen­coe and Skye, and a mo­torhome trip around the north coast of Scot­land in April. I look for­ward to what­ever th­ese trips have to of­fer.

01 tea in the clou ds Nikon D800, Nikon AF-S 16-35mm f/4G ED VR, 1/200 sec, f/9, ISO200

05 Eilean Do­nan Dawn

Nikon D800, Nikon AF-S 16-35mm f/4G ED VR, 30 secs, f/4, ISO400

05

04

04 eilean do­nan sun­set

Nikon D800, Nikon AF-S 24-70mm f/2.8G ED, 1/40 sec, f/13, ISO200

03 reflections Nikon D800, Nikon AF-S 24-70mm f/2.8G ED, 1/500 sec, f/6.3, ISO500

02 morn­ing light Nikon D800, Nikon AF-S 24-70mm f/2.8G ED, 1/500 sec, f/9, ISO250

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.