Spectator sports are back on track, and with actual spectators in tow. It’s time to rediscover the joy of nailing the action and capturing definitive moments – or maybe trying something completely new if you’ve never been into sport photography before. Pretty much any DSLR or mirrorless body will suffice – but when it comes to a suitable lens, it pays to choose wisely. 

One thing that practically always holds true is that, if you’re not fortunate enough to have a media pass, you’ll be shooting sport from a spectators’ enclosure, and probably won’t be able to get as close to the action as you might like. 

True, with some sports you can use a wider, less-telephoto lens. And it is also true that professional photographers will shoot lens with long telephoto prime lenses with wide maximum apertures – often costing over $10,000 a piece. But for this guide, we have restricted ourselves to mid-priced zoom lenses that will give you the reach you need for most sporting occasions.

To cover the distance, super-telephoto lenses are the order of the day. Let’s see what’s on offer for different camera systems, with their various interchangeable mounts…

Best lens for sport photography: Canon

The Canon EF 100-400mm f/4.5-5.6L IS II USM has long been a favorite with Canon DSLR shooters, with the Mk II edition having a twist-ring zoom mechanism, rather than a push-pull arrangement. The RF 100-500mm for EOS R-series mirrorless cameras follows suit, also inheriting the smooth control ring.

Handling is refined, with a triple-mode, five-stop image stabilizer, a customizable control ring, and an autofocus-range limiter switch. 

Helped by the inclusion of six UD (Ultra-low Dispersion) elements, one Super UD element, and Air Sphere Coating, image quality is excellent. The image stabilizer lives up to its claims on EOS R and RP cameras, and its effectiveness is further boosted when combined with the in-body stabilizers of newer EOS R-series cameras.

See our full Canon RF 100-500mm review.

Tamron’s original 150-600mm was a good lens, but the newer G2 edition is a major upgrade. Two additional Low Dispersion elements are fitted and secondary nano-structure coatings are applied, along with better weather-seals and a fluorine coating on the front element. 

New and improved VC (Vibration Compensation) is rated at 4.5 stops, with three operating modes instead of just one. These include static and panning options, plus a mode for tracking erratically moving subjects, The autofocus system is faster,
and a new flex zoom lock can be engaged at any focal length.

Everything works well, especially the revamped autofocus and stabilization systems, and handling is very refined. Outright sharpness is a little lacking in the short to medium zoom sector.

Nearly a kilogram lighter than the Sigma 150-600mm Sports lens the Tamron is more comfortable for prolonged periods of handheld shooting. T

This Sigma Sports lens tips the scales at nearly 3kg. Sigma makes a smaller
and lighter Contemporary 150-600mm lens, but this one is better built. The barrel and hood are metal rather than plastic, and there’s a full set of weather seals. 

Optical highlights include two FLD (Fluorite Low Dispersion) elements and fluorine coatings on the front and rear elements. Advanced features include dual autofocus modes, one of which gives priority to manual override,
plus dual-mode stabilization for static and panning shots.

All aspects of image quality are excellent, throughout the entire zoom range. Autofocus is very fast, and the stabilizer works very well in both static and panning modes. It’s a fabulous super-telephoto zoom with suitably ‘sporty’ performance. Relatively big and heavy, especially compared with the Tamron 150-600mm, but this wins with superb performance and image quality, plus a rugged construction.

Best lens for sport photography: Sony

We’ve been impressed by the Sony FE 100-400mm f/4.5-5.6 G Master OSS super-tele zoom for E-mount mirrorless cameras, but the newer 200-600mm really boosts telephoto reach, with only a minimal narrowing of the aperture rating. It’s also considerably less expensive.

Handling is excellent, with a switchable triple-mode optical stabilizer, an autofocus range limiter, and customizable AF-on/AF-lock buttons. Unusually for this type of lens, the overall physical length remains fixed throughout the zoom range.

The Direct Drive Super Sonic Motor autofocus system is fast, accurate, and ultra-quiet. The optical stabilizer works best in conjunction with in-body stabilizers featured in recent Sony cameras, and sharpness is both scintillating and consistent.

Picking up the baton from Sony’s FE 100-400mm G Master, this lens has similarly refined handling and delivers scintillating performance and image quality.

A retooling of the already excellent DSLR lens, the Sigma 150-600mm f/5-6.3 DG DN OS Sports is the complete package for Sony and Leica L shooters. Pairing superb internal optics with an all-around excellent, weather-sealed build, this heavy-duty zoom lens is a big customer, but is really the only game in town for 150-600mm as far as users of the aforementioned mounts are concerned. 

Of course, that wouldn’t matter if the lens itself was no good. Fortunately, it’s excellent. The optical path is a little different from the DSLR version, including 25 elements arranged in 15 groups, and it produces impressive sharpness throughout the entirety of the zoom range. There’s some inevitable fall-off in the corners, but not enough to worry about, and it’s the sort of thing that will be hidden anyway when you’re shooting with a shallow depth of field. 

The autofocus is excellent, though you’ll need to make sure your camera is set up in the optimal way to take advantage of it. The build quality of the lens is also impressive – while no one is going to pretend this is a lightweight lens, it handles well, with tactile zoom and focus rings and a series of on-body controls for functions like AF speed, stabilization intensity, and in a new addition for the mirrorless version, Zoom Torque control to adjust the resistance of the zoom ring.

This is an all-around excellent lens that’s absolutely worth the money for E-mount and L-mount users.  See our full Sigma 150-600mm f/5-6.3 DG DN OS Sports review.

Best lens for sport photography: Nikon

Nikon has long made an Nikkor AF-S 80-400mm f/4.5-5.6G ED VR lens – but, while it delivers excellent image quality, the focal length is relatively limited, and it’s relatively pricey. This newer 200-500mm zoom is more affordable and packs in smart additional features. These include a constant-aperture design, and an electromagnetically controlled diaphragm that ensures greater exposure consistency in rapid-fire shooting. 

Uprated VR (Vibration Reduction) is good for 4.5 stops and adds a ‘Sport’ mode for improved stability while tracking moving subjects. 

In our lab tests it showed good levels of sharpness remain impressively consistent throughout the entire zoom range, and overall image quality is of a high standard. Autofocus and stabilization systems work quickly and effectively. 

The maximum focal length falls a little short compared with Nikon-mount Sigma and Tamron 150-600mm zooms but performance levels are very good.

Nikon very much sees this as the Z-mount successor to its popular AF-S 200-500mm f/5.6E ED VR F-mount super-telephoto lens for DSLRs. On sale from August 2023, we haven’t had a chance to test this impressive-looking lens as yet. However, as it is priced very sensibly – and with not obvious alternative for affordable sports photography for the Nikon Z mirrorless camera user – this lens is definitely worth waiting for, or even pre-ordering so you get it as soon as it gets in stock!

This Sigma Sports lens tips the scales at nearly 3kg. Sigma makes a smaller
and lighter Contemporary 150-600mm lens, but this one is better built. The barrel and hood are metal rather than plastic, and there’s a full set of weather seals. 

Optical highlights include two FLD (Fluorite Low Dispersion) elements and fluorine coatings on the front and rear elements. Advanced features include dual autofocus modes, one of which gives priority to manual override,
plus dual-mode stabilization for static and panning shots.

All aspects of image quality are excellent, throughout the entire zoom range. Autofocus is very fast, and the stabilizer works very well in both static and panning modes. It’s a fabulous super-telephoto zoom with suitably ‘sporty’ performance. Relatively big and heavy, especially compared with the Tamron 150-600mm, but this wins with superb performance and image quality, plus a rugged construction.

Tamron’s original 150-600mm was a good lens, but the newer G2 edition is a major upgrade. Two additional Low Dispersion elements are fitted and secondary nano-structure coatings are applied, along with better weather-seals and a fluorine coating on the front element. 

New and improved VC (Vibration Compensation) is rated at 4.5 stops, with three operating modes instead of just one. These include static and panning options, plus a mode for tracking erratically moving subjects, The autofocus system is faster,
and a new flex zoom lock can be engaged at any focal length.

Everything works well, especially the revamped autofocus and stabilization systems, and handling is very refined. Outright sharpness is a little lacking in the short to medium zoom sector.

Nearly a kilogram lighter than the Sigma 150-600mm Sports lens the Tamron is more comfortable for prolonged periods of handheld shooting. T

Best lens for sport photography: Fujifilm

There aren’t lots of options for supertelephoto lenses for the Fujifilm X-range of cameras – but this is the best all-round choice. Thanks to the sensor size, you effectively get  It comes with a string of letters after its name, denoting a physical aperture ring, a linear motor autofocus system, optical image stabilisation and a weather-resistant construction – ticking pretty much all of the boxes on a Fujifilm photographer’s wishlist.

The lens is beautifully engineered, with a high-precision feel to all its controls, and no hint of zoom creep. The optical path includes five ED (Extra-low Dispersion) elements, plus a Super ED element.

The autofocus system’s dual linear stepping motors enable very fast performance, and the five-stop stabiliser is highly effective. 

This high-performance zoom comes up trumps on Fujifilm X-series cameras, delivering excellent performance. The APS-C format boosts the maximum telephoto reach.

Best lens for sport photography: Pentax

Pentax designed this full-frame compatible lens at a time when the company only made APS-C format DSLRs (where it gives an effective focal range of 230-690mm). The decision has come good with the subsequent launch of Pentax’s K-1 full-frame DSLRs. 

There’s plentiful autofocus finery with both auto and manual priority ‘Quick Shift’ modes, plus an AF preset facility and four customizable buttons around the middle of the lens.

Other attractions include a tough, weather-sealed construction, HD coatings to reduce ghosting and flare, and a ‘super protect’ coating on the front element. 

Autofocus speed is a little pedestrian compared with other lenses on test. Sharpness drops off rather noticeably at the long end of the zoom range – a situation that isn’t helped by the lens’s reliance on in-camera stabilization.

It’s a high-tech lens that’s ideal for both APS-C and full-frame Pentax DSLRs, but it’s pretty pricey and sharpness could be better, especially towards the long end.

Best lens for sport photography: Micro Four Thirds

The Micro Four Thirds mount is used on Olympus, OM Systems cameras – and on some Panasonic and Blackmagic cameras too. 

Like the Fujinon 100-400mm lens, this Panasonic is designed for crop-sensor cameras, but this time of the Micro Four Thirds variety. As such, the size of the image sensor enables an even smaller, lighter construction, along with a 2x focal length multiplier that boosts the effective zoom range to a humungous 200-800mm.

Credentials include Leica backing, aspherical elements, and optical image stabilization, which can work in tandem with the in-body stabilizers of various MFT cameras. The optical path includes two ED (Extra-low Dispersion) elements, one aspherical ED element, and one Ultra ED element. 

In our tests, we found that the autofocus is fast and accurate
and image stabilization works well, although it lacks a switchable
panning mode. Optical performance is highly impressive all-round.

Weighing in at under a kilogram, the Panasonic is well-balanced on MFT bodies. Performance and image quality are impressive in all respects.

By Agrippina Fadel

Capturing a bird in flight or a predator on the hunt are some of the hardest feats in wildlife photography, yet Parkland photographer Lee Sussman loves those shots the most.

A Parkland Golf and Country Club resident for the past 11 years, Lee grew up in New Jersey and moved to Florida 40 years ago. A former financial advisor, he is now retired, giving him more time to enjoy South Florida nature.

While photography is a relatively new hobby for him, his stunning shots of Florida birds are already winning contests, being recognized by top wildlife photography publications, and even being featured in British newspapers The Sun and The Daily Star.

Lee’s photo of a Red-Tailed Hawk he took in Colorado last spring recently made the front cover of the Highlander magazine, and two of his shots won the Audubon “Florida’s Natural Beauty” photo contest this year. A shot of an Osprey with a fish in its talons took first place, and the photo of three green herons came second.

“It is nice to be recognized,” said Lee. “I see how my work has progressed in the past years, and seeing it in magazines is very cool.”

Photography caught his attention in seventh grade, but he didn’t pursue it seriously until his wife Linda gave him a good camera a few years back.

Lee’s friend, Jim Donnelly, a fellow writer at Talk Media, “showed him the ropes” and taught him how to use the camera and what to look for when taking photos.

He uses both the Canon R6 and the Canon R7 for his photography shoots.

Lee’s subjects are mostly colorful birds and creatures: from songbirds and ibises to alligators and river otters. “I just love the wildlife and the outdoors. I do landscapes too. My wife says I do lousy people, so I got to stick to the animals.” he laughed.

During the winter, Lee photographs wildlife in and around Parkland and often ventures out to Green Cay Wetlands, Loxahatchee National Wildlife Refuge, and Peaceful Waters Sanctuary. Some days, birds come to him: Lee has a bird feeder in the backyard.

The couple, who also own a home in Steamboat Springs, Colorado, spends a few months out of a year there, where Lee photographs different animals and birds. Bears and bald eagles soaring over the snow are regulars in his reel.

Still, Lee says Florida is one of the best places in the country to observe and photograph birds. The climate that allows the residents to enjoy the outdoors all year round, the incredible variety of native species, and all the migrating birds create a perfect environment for a curious and patient photographer.

“I love watching the birds and animals in nature. But it is a challenge, too. A lot of the pictures I take are not easy to get. Getting a bird perched on a tree is easy. Catching them in flight, attacking, or eating something is more difficult, and that is what I like most,” Lee said.

A few action shots show native birds as they hunt, which he is particularly proud of. Some examples include a hawk with a snake in its mouth, another, a hawk flying with a rabbit in its talons, and the recent shot of an egret struggling with a field mouse.

“A lot of it is luck and timing and being in the right place at the right moment,” Lee said.

Sometimes he captures animals in a funny or cute moment. His photo of two chipmunks shot in Colorado last summer, where one has its paw on the other’s head, makes it look like a chipmunk is “blessing” his friend. While photographing a bear trying to get into a garbage can, Lee realized the angle made it look like it was taking out the trash – hence another funny shot.

Lee hopes his photos of local wildlife can help bring nature closer to Parkland residents.

“People always ask me, “Where did you take this picture?” There are so many places in Parkland and around South Florida in a hundred-mile area that have amazing natural habitats,” he said.

Lee enjoys sharing the beauty of nature with others through his photographs.

“A lot of people don’t know about Green Cay or Loxahatchee, where you can see the birds and other wildlife. I like showing people what’s going on in nature around us that might be unseen to them otherwise,” he added.

When asked what the future holds, Lee said he will keep learning and improving his technique, always chasing that perfect shot. He is also working on a professional website.

After taking photos of most of the native wildlife in the area, Lee hopes one day to capture the elusive Florida panther. A huge fan of the Florida Panthers NHL team, that accomplishment would mean a lot to him for more reasons than one.

Send your news to Parkland’s #1 Award-Winning News Source, Parkland Talk. Don’t miss reading Tamarac Talk, Coral Springs Talk, Coconut Creek Talk, and Margate Talk. 

Author Profile

Agrippina Fadel

Agrippina Fadel grew up in Siberia and received her master’s in journalism from Tyumen State University. Agrippina is also a writer and editor at Draftsy.net. She has been a US resident for over ten years and speaks English and Russian.

Photography & Poetry Workshop at Norwalk Art Space on July 8 from 10am – 1pm.

Making and experiencing art helps us become whole.

A great way to do this is through photography and poetry, as both are incredibly accessible art forms. Led by Artist Chelsea Danburg and Korry Fellow Isabella Montenegro, this workshop is for ages 12 and up. Adults welcome! Please bring a printed photograph with you. It will be held in the main gallery and open to drop ins.

Learn more here

Feeling uninspired or like there is nothing worth photographing can be a very frustrating place to be in, and it is not always clear how to find your creative spark once again. The truth is that there is always something to photograph, but often, the problem is how we are approaching things. If you are struggling with your creativity right now, check out this fantastic video tutorial that shares a range of useful ideas and advice for getting back on track. 

Coming to you from T. Hopper, this insightful video discusses how to approach times when you are lacking inspiration. One of the best ways I have found to break out of a creative slump is to place limitations on myself. It does not really matter what the limitations are; they can be something as arbitrary as only shooting with a narrow aperture or a slow shutter speed. The idea is that by placing limitations on yourself, you engage the problem-solving part of your brain, and by coming to solutions, you find a new route to creative ideas that you might not have otherwise. Check out the video above for a lot of great advice and ideas from Hopper. 

Black and white photography has a unique ability to evoke a sense of drama and emotion. By eliminating color distractions, it allows photographers to focus on composition, contrast, and light to create powerful and captivating images. In this article, we’ll explore five essential tips to help you capture the drama in your black-and-white photographs and convey a compelling narrative. An assignment is at the end of the article.

1. Seek Contrast:

One of the key elements in creating dramatic black-and-white images is contrast. Look for scenes with a noticeable difference between light and dark areas. Strong contrasts can be found in various subjects, such as architecture, landscapes, or even portraits. Experiment with different lighting conditions, such as harsh shadows or bright highlights, to enhance the dramatic effect. Pay attention to the interplay between light and shadow, as it can add depth and intensity to your composition.

2. Emphasize Textures:

Textures play a vital role in black-and-white photography, as they can add a sense of depth and drama to your images. Seek out subjects with interesting textures—rough surfaces, weathered objects, or intricate patterns. Pay attention to how light falls on these textures and experiment with different angles to capture their full impact. By emphasizing textures, you can create visually engaging photographs that draw viewers into the scene.

3. Simplify Your Composition:

In black-and-white photography, simplicity is key. Remove any unnecessary elements that might distract from the main subject or message you want to convey. Strive for minimalist compositions that focus on a single subject or a strong point of interest. Consider using negative space to enhance the drama and create a sense of isolation or solitude. Remember, less is often more in black-and-white photography.

4. Utilize Strong Lines and Shapes:

Lines and shapes can add a dynamic element to your black-and-white images, helping to guide the viewer’s eye and create a sense of movement. Look for leading lines, such as roads, bridges, or architectural elements, that can draw attention to your main subject. Experiment with geometric shapes, such as triangles or circles, to add visual interest and drama. By incorporating strong lines and shapes, you can create a visually striking composition that captures the viewer’s attention.

5. Capture Emotion:

To truly convey drama in black and white photography, it’s essential to capture genuine emotions. Whether you’re photographing people, animals, or even inanimate objects, focus on capturing moments that evoke strong feelings. Pay attention to facial expressions, body language, and the overall mood of the scene. Black and white photography has a way of intensifying emotions, so strive to capture the essence of the moment and tell a compelling story through your images.

Mastering drama in black-and-white photography requires a thoughtful approach to composition, light, and subject matter. By seeking contrast, emphasizing textures, simplifying compositions, utilizing strong lines and shapes, and capturing genuine emotions, you can create powerful and captivating black and white

Assignment:

Put these tips into practice by embarking on a black-and-white photography assignment. Find a subject or scene that you believe has the potential for drama and emotion. Experiment with different lighting conditions, compositions, and angles to capture the essence of the moment. Remember to focus on contrast, textures, simplicity, lines and shapes, and the emotional impact of your chosen subject. Finally, review and select your best black-and-white images, and share them with others to elicit their reactions and interpretations.

A wildlife photographer’s stunning series of images capture the moment an animal “sees” him as their eyes meet his own.

Professional wildlife photographer and cinematographer Shaaz Jung shared a viral video showing the terrifying and mesmerizing moment a leopard locked eyes with him in the jungle.

Jung, who uses a Nikon Z8, has always been inspired by the idea that a photographer is never alone in the jungle and that you are always being watched by the animals there — whether you realize it or not.

The Jungle is Always Watching

In his powerful Jungle is Watching photo series, Jung shows the animals as they catch the sight of his camera lens and make direct eye contact with him.

“This series is inspired by the true essence of the jungle. Deep in its distant chambers, in a labyrinth of trees, the jungle is alive and always watching you,” Jung tells PetaPixel.

“I’ve spent years in the forest and there’s always that feeling when you know you’re being watched. It usually happens at dusk, when the jungle goes silent and you know you’re not alone.”

The photographer says that the moment an animal’s eyes meet his own is a breathtaking one.

“On most days I look around and see nothing, but once in a while when the wind dies and birds stop calling, you see something move in your peripheral vision and your eyes meet theirs,” Jung explains.

“That moment is second to none and epitomizes the true nature of the dense jungle. You may not always see them, but they’re always seeing you.”

‘The Darker The Jungle, The Wilder It is’

Jung has photographed most of his images in the jungles of South India. He notes that most of his greatest photography moments have taken place deep in the jungle.

However, these wild conditions can make it extremely challenging to shoot.

“The deeper you go into the forest, the thicker the canopy. The thicker the canopy, the darker the jungle. The darker the jungle, the wilder it is. Here is where I’ve found some of my most incredible photographic opportunities,” Jung says.

“The more challenging it is the more rewarding it becomes. Where the light is low and the jungle is dense. Where the green eyes of a black panther can be mistaken for a leaf and the tail of a leopard looks like a branch of a tree.

“Capturing fleeting glimpses of elusive animals under these conditions can be incredibly challenging but this is why I love it.”

Jung — who has over 1.7 million followers on Instagram — was raised in the jungles of South India where his parents were avid wildlife lovers and conservationists.

Using his father’s film cameras as a child, Jung developed a deep passion for photography and its ability to inspire and spark change.

He has spent his career documenting and photographing wildlife, primarily leopards. Jung also runs his own wildlife lodges in South India and East Africa where he leads photography expeditions.

More of Jung’s work can be seen on Instagram and his website.

Image credits: All photos by Shaaz Jung.

Anton Hammerl was a photojournalist. He was also my dear friend. A few days after he arrived in Libya in 2011 to document the country’s civil war, he was forcefully abducted with three other journalists by government militia loyal to Muammar Gaddafi.

He was captured on the front line near the city of Brega. When his colleagues were finally set free two months later, we discovered that he had been shot on the day of his capture. His body was left in the desert; his mortal remains are missing to this day.

Over the past 10 years, Anton’s family and friends have lobbied the British, South African and Libyan governments, as well as the UN Special Rapporteur on extrajudicial, summary or arbitrary executions, to launch an investigation into his disappearance. It has yielded no material results. So in 2019, I decided to travel to north Africa to understand the conflict, the circumstances of his capture and execution, and the absences that remain in our knowledge of what happened to him. The project was born of a series of questions: how do you tell a story when there’s no witness, no testimony, no evidence and no subject? And, moreover, how do you grieve in the absence of all of these things?

From the moment I entered Libya, I recognised the immensity of the challenge ahead. I knew straight away that it would be extremely difficult to carry out an independent and thorough investigation into the circumstances surrounding Anton’s disappearance in such a fragmented and volatile place. I had to come up with a different approach. I retraced Anton’s steps – the places he visited and the place where he met his end. I engaged with people affected by the conflict, from combatants – freedom fighters, ex-militia, Gaddafi loyalists and dissidents – to local residents. It felt like I was able to step into Anton’s shoes, even if only momentarily.

Over the course of years of research and several trips to Libya, Tunisia and Egypt, I assembled a small cast of characters I photographed, including combatants and civilians. Each reminded me of Anton, whether physically or in their mannerisms. The man in this image, whose identity I’ve kept secret, reminded me a lot of Anton. Although Anton was bald by the time he went to Libya, when I knew him as an 18-year-old he had long, flowing hair just like this man.

This photograph was taken in the desert between the city of Benghazi, on the northernmost coast of Libya, and Brega, an industrial city further down the coast where Anton was slain. The tree you see in the background grabbed me the first time I saw it: I was fascinated by how something could survive such harsh conditions, and how these living structures had survived wars and conflicts that so many people had not.

I was talking to the gentleman in front of the camera about the ethics of photography and the power dynamic between photographer and subject when, suddenly, he started rehearsing a scene of being shot in the head. He told me he would dodge bullets because of his athletic prowess and ability to bend backwards without falling.

I said it reminded me of the scene in The Matrix where Neo bends backwards to avoid bullets speeding towards him. Of course, the man in the photo had never seen it, but it felt like an uncanny moment: Anton had named one of his sons Neo.

Throughout this project, I had tried to keep a cool head, to remain rational. I didn’t realise that it was a way of me processing the bereavement. For so long I had suppressed it so I could complete the work. Only when the project was nominated in the Sony world photography awards and then won did it hit me. I stood in the room for the ceremony hearing people mutter Anton’s name – people who had never met him, and would never have the chance to – and I was overwhelmed with emotion.

Edgar Martins’ CV

Born: Évora, Portugal, 1977
Trained: Philosophy in Macau; BA in photography at University of the Arts London; MA in photography & fine art at the Royal College of Art
Influences: “The best influences are those you’re least aware of. They are like a Trojan horse. They colonise you. For me, I think Fernando Pessoa, John Stezaker, Patrick Tosani, Joseph Kosuth, Alfred Jarry, Janet Cardiff, Georges Perec and Haroon Mirza”
High point: “Winning photographer of the year at the 2023 Sony world photography awards, and being able to draw attention to the death of my friend, and the ongoing struggle of his family”
Low point: “The research I undertook for this project led me into some dark rabbit holes. At points I wondered whether I wasn’t doing myself irreparable harm engaging in the darker corners of the internet”
Top tip: “Focus on storytelling and don’t get bogged down with tech. And for those seeking to work on long term, self-structured personal projects, outside the sphere of influence and support from an institution, harness fundraising skills from an early age. They will serve you well!”

London, England

Nurse May Parsons, who administered the first Covid vaccine, poses in front of the Nightingale stained glass window at Westminster Abbey before the ceremony celebrating the health service’s 75th anniversary

Photograph: Jordan Pettitt/PA

Photography is a versatile and ever-evolving art form that offers countless possibilities for creative expression. As a photographer, embracing experimentation is a vital step in discovering your style, pushing your boundaries and unlocking new artistic horizons.

In this article, we will delve into the importance of embracing experimentation, provide practical tips for trying out different techniques and approaches and inspire you to embark on a journey of creative exploration.

Step out of your comfort zone

To truly embrace experimentation, you must be willing to step out of your comfort zone and challenge your established habits and routines. Try venturing into genres or subjects that are unfamiliar to you. If you primarily shoot landscapes, why not explore portraiture or street photography? By exploring new territories, you expose yourself to fresh perspectives and unexpected discoveries that can fuel your creative growth.

I’m a big believer in this. While I don’t necessarily go way out of my comfort zone or take on projects I am not physically (or financially) able to achieve, I still believe even stepping out, even just a little bit, can take you on a journey of discovery.

Play with different techniques

Experimentation allows you to play with various techniques and tools to expand your visual language. Consider trying out techniques such as long exposure, double exposure, light painting or intentional camera movement. Each technique introduces unique motion, light and texture elements that can add depth and interest to your images.

Challenge yourself to use different lenses or focal lengths to capture scenes from alternative perspectives. Explore unconventional compositions, experiment with framing and cropping or incorporate leading lines and symmetry to create visually dynamic images. The possibilities are endless, and through experimentation, you may stumble upon techniques that resonate with your artistic vision.

Embrace unconventional perspectives

Photography often involves viewing the world from a new perspective. Don’t hesitate to experiment with alternative angles, vantage points, or unconventional viewpoints. Get down low or climb up high to capture a scene from a different angle. This fresh perspective can breathe life into your images and reveal unique details or patterns that would otherwise go unnoticed.

For instance, most people will always capture a landscape horizontally instead of vertically. Portraits are relatively close up as opposed to taking a further away approach. Shoot with a wide angle for a distorted perspective on portraits. Try capturing a portrait as a flat lay or bugs eye view.

Explore editing techniques

Experimentation isn’t limited to the capture stage; it extends to post-processing as well. Explore different editing techniques, filters, and software tools to enhance and transform your images. Try out various color grading approaches, experiment with black-and-white conversions, or play with textures and overlays to add a distinct mood or atmosphere to your photographs. Through editing experimentation, you can develop a signature style and create images that truly reflect your artistic vision.

So many different editing software available these days to help you expand your repertoire too. Try adding Analogue Camera Effects with Nik Collection, or adding texture and layers in Luminar Neo or double-exposure in Photoshop.

Collaborate and seek inspiration

Embracing experimentation becomes even more rewarding when you collaborate with other photographers or artists. Engage in photo walks, join photography clubs or participate in workshops and meetups. Take these as opportunities to exchange ideas, share techniques and gain inspiration from fellow creatives. Collaborative experiences offer a fresh perspective, stimulate your creativity and push you to try new approaches.

Additionally, seek inspiration from photographers whose work you admire. Study their techniques, compositions and editing styles. Use them as a springboard for your experimentation. By blending inspiration from various sources, you can develop a unique style that reflects your vision.

I sometimes find I am a little braver when experimenting with other photographers than I might be alone in unfamiliar surroundings. Working with others and bouncing ideas off them can take you on a whole new adventure.

Final thoughts

Embracing experimentation can be a transformative journey that enables you to unlock your creative potential and find your unique photographic style. By stepping out of your comfort zone, playing with different techniques, embracing unconventional perspectives, exploring editing possibilities, and seeking inspiration from others, you open yourself up to new possibilities and breakthroughs.

Remember, experimentation is not about striving for perfection but rather about exploration, growth, and self-discovery. Allow yourself permission to play and to fail, that’s sometimes more educational than nailing it on the first try. It is through trial and error that you will uncover techniques, approaches, and visual elements that resonate with your artistic vision. So, let go of inhibitions, take risks and allow yourself to embark on an exciting and transformative creative journey through experimentation.

Happy shooting and exploring!

In case you missed it:

 A guide to finding your photography style: Part one

A guide to finding your photography style: Part two