Anyone who has ever been on an adventure knows just how fickle plans can sometimes be. Being able to adapt at a moment’s notice is all part of the journey, but doing so behind a camera lens takes more than just a willingness to change course. It requires patience, skill and technique.
When the temperature was a sweltering 98 degrees last July in British Columbia, a day of mountaineering turned into a pack raft adventure when photographer Chris Kimmel, with friends Evan, Adam and Cole, decided to ditch the hiking boots for a cooler option.
We caught up with Chris to talk about this impromptu excursion down the Chehalis River in British Columbia, how it yielded some incredible photographs, and what he learned along the way.
Aurora Photos: How did you prepare for this excursion?
Chris Kimmel: This wasn’t what we initially set out to do that day, so I didn’t have all the right gear for photographing the water aspect of the trip – for example, my waterproof casing. I had to adapt and manage with what I had, and I was extra careful when getting my camera out while on the water. However, this prompted me to find different angles that I otherwise may not have gotten.
AP: How did the change of plans impact your photographs?
CK: The photos from the higher angles were some of my favorite shots because they required the most work. I had to scramble up the cliff face, bushwhack though the forest, search for a place to get a view, then hang myself over the cliff edge to get those shots. It would have been much easier for me to just stay on the shore or in the boat, but the results were worth it. It’s a unique perspective that gave me the opportunity to capture parts of the canyon I’d never seen before. At one point in the trip we were rafting down and passed two people climbing. I was able to capture the rafts and the climbers in the same shot. I love this depiction of the diverse opportunities available in our back yard. All you need to do is get out and explore!
AP: Do you typically use trips to motivate others to “get out and explore”?
CK: I love sharing my experiences and urging others to explore the world around us. I want to show people there are beautiful places that are close to urban areas, yet remote at the same time. One of the greatest things about getting outside is that you can adapt the adventure to your skill level. Our trip had a short hike in, followed by intermediate rapids and plenty of opportunity to hike the canyon or climb the surrounding cliffs. Every step of the way could be geared up or down depending on the adventurer’s skill and comfort level.
AP: How did you come to climb and rappel that section of the canyon?
CK: Visiting from Australia, Evan had his heart set on climbing a mountain that day. We brought the rope and harnesses along just in case we found an interesting route in the canyon. When Evan spotted this cliff face there was no stopping him from climbing it. Adam, Evan and I have climbed a number of peaks in the Coast Mountain Range together. Each climb seems to get more difficult so we always bring gear to set up an anchor and rappel just in case we get stuck or conditions get dicey. The climb and rappel off the canyon wall gave Evan a taste of the mountains for the day and Adam had some fun trying to catch Evan while battling the river currents below in his pack raft.
AP: What was your biggest takeaway from this experience?
CK: This was my first time paddling this section of the river. It’s an inspiring place and I know I’ll be back. Adam, Evan, Cole and I learned from one another as well. As we went down the river on the pack rafts, we would give each other tips for the rapids as we went through each one. One of the biggest takeaways on any adventure is what you learn from those you’re exploring with, or people you meet along the way.
AP: What inspires you most as a photographer?
CK: I love exploring and seeing new places. It helps you find out exactly what you are made of when you are faced with different challenges. I also enjoy seeing and learning from how others react to adversity. If I could give any advice to someone, whether they are simply looking for an adventure or furthering that by photographing their experiences, it would be to take any chance you get to travel. As days pass, opportunities to learn from and grow from experiences pass as well. It’s incredible to see new places and capture something that you’ve never captured before.
About Chris Kimmel
Chris Kimmel grew up just outside Vancouver, British Columbia. He is passionate about finding remote yet accessible environments that he can photograph and share with others in the hopes of helping others enjoy the great outdoors. He wants people to understand and see the beauty in the natural environment that surrounds us, and he captures that in his landscape and outdoor adventure photography. Chris has been published by National Geographic, Lonely Planet, BBC, Backpacker among many others.
Any worthy outdoor adventure must also be a quest. Whether physical, emotional or geographic, the art of exploration and discovering the unknown is what distinguishes historical importance. Being the first to ascend a newly formed frozen waterfall contains a lot of unknowns and, as a result, is quite a prize. This is exactly what Aurora contributor Kennan Harvey witnessed and photographed while he was visiting Banff National Park in Canada with his close friend and professional athlete Will Gadd.
After giving a talk at the postcard-perfect Chateau Lake Louise, Gadd walked out onto the ice and the snow-covered Lake Louise to the base of the frozen Lake Louise Falls which tumbles steeply down a side creek. Intending to just gather his thoughts for another motivational speech, he noticed a slender and elegant column of ice had recently formed along the right side of the 330-foot cascade. Being a local, he knew this was a rarity – and an opportunity that couldn’t be missed.
Harvey was also visiting the area, so Gadd asked him to go along the next day to photograph while he climbed the icicle. The resulting images appeared on media outlets and outdoor websites including Daily Mail, and one image from the series was even chosen as the official photograph to represent the 2014 Banff Mountain Film and Book Festival sponsored by National Geographic and The North Face.
We caught up with Harvey to hear about the images he produced and to find out more about his experience documenting one of his closest friends perform a very perilous climb.
What kind of gear and what technique did Gadd use to climb the ice?
Will used rigid boots with metal spikes (called crampons) attached to the soles. Gripping an ice tool in either hand – a hammer-like metal shaft with a down-sloping, sharp metal pick – he swung them above his head, very much like a carpenter hammering a nail, often several times until each pick was buried “securely” in the ice. The technique for incrementally moving upwards involves securing both ice tools for hand-holds and then kicking each cramponed foot into the ice to provide enough balance and purchase to stand up and reset each ice tool a little higher. Will also used a rope secured to a waist harness. Occasionally, he would stop and twist in a threaded ice screw with a carabiner, or a metal oval with a spring loaded gate, to attach the rope to the ice screws.
Was there anyone else or anything else supporting him?
At the other end of the rope his partner, or belayer, used a friction device to lock off the rope in the event of a fall. Assuming the ice screw is solid a climber only plummets twice the distance he or she is standing above the last ice screw. As compared to rock climbing, ice climbing falls include many more variables and are phobically avoided. During a successful ascent the rope is never weighted, however, as a “clean” ascent requires that Will holds on and climbs only with his own hands and strength.
How did Gadd originally approach the climb, and what role – besides photographing – did you play in helping him succeed?
The climb is about 100 meters tall, or two climbing rope lengths. The pillar was formed near the middle. I hiked around and rappelled down from the top, kicking the icicle to make sure it was strong enough to hold a climber.
Will is very experienced and although the climbing was not at his limit, he is always very cautious and careful and delicate. There is a saying that “there are no old and bold climbers.” Will has his eyes on the former and believes that the mental aspect of risk assessment is paramount!
Although equipped with ice screws for protection Will decided the slender pillar was not strong enough to use them for that section of the climb. So, as a result, he had to climb for a long length without any protection in case he fell. Essentially he was soloing.
Wow. So, clearly falling was a very real possibility. What else could potentially go wrong? What were you worried about most?
I needed to be very careful not to knock any ice down upon Will while leading but our biggest worry was that the pillar would break under Will’s weight. He climbed it like a rat steeling cheese from a trap.
How did you approach this situation from a photographer’s perspective?
I believe the essence of climbing is the grand outdoor environment so I looked for perspectives including the surrounding mountains and the powerfully sparkling sun which sharply defined the newly formed icicles.
What were some of the challenges you faced when trying to get these shots?
Ice climbing photography is cold, often wet, and vertical. It is important to become as intimately familiar as a blind person reading Braille with ropes and climbing equipment in order to be perfectly positioned and ready to react quickly when the perfect moment arises.
What kind of gear do you use and why?
I really appreciate the DX camera format as it has wider autofocus coverage which I find valuable when operating my camera with only one hand while dangling above an ice climber. I also used a prime, fisheye lens as a prime lens has less sun flare when shooting directly into the sun and the wide angle coverage was important to show the vast environment. Thin gloves made from Windstopper Goretex are also vital.
About Will Gadd & Kennan Harvey
Will Gadd is a multifaceted athlete – climber, paraglider pilot, kayaker and author who has been competing and exploring at the top level for almost 30 years.
Kennan Harvey is even older than Will! After a productive career of climbing and photographing remote granite spires around the world he now specializes in capturing the artistic passion of all outdoor adventurer’s, especially his ten year old daughter, beyond the reach and format of Instagram.
Gadd and Harvey have known each other for many years. In addition to being close friends, the duo often work together to capture the thrill of climbing for Gadd’s sponsors and fans.
Adventure photographer Rachid Dahnoun has never met a mountain he didn’t like. So when Backpacker contacted him to shoot a feature story about Dominica’s 115-mile Waitukubuli National Trail, he immediately jumped on board.
Dahnoun and writer Kelly Bastone spent 10 rainy days hiking and documenting the new long trail on the not-so-well-known Caribbean island, which was completed in 2011 as an effort to promote tourism. To date, the WNT has been the largest non-road infrastructure project ever attempted on Dominica. During the trip, Dahnoun and Bastone met the locals, explored the terrain and went on some incredible hikes. The feature recently ran in the March edition of Backpacker.Read the article here.
We sat down with Dahnoun to hear more about this assignment. Here’s what he had to say about his career, hiking the WNT, and his advice for aspiring adventure photographers.
What originally inspired you to become an adventure photographer?
Before starting college I took a NOLS (National Outdoors Leadership School) semester, and that was one of those mind-blowing trips. The entire semester was 3.5 months in the backcountry. We completed 3 weeks of winter touring and telemark skiing in the Wind River Range in Wyoming, a month backpacking in Canyonlands National Park, 2 weeks whitewater kayaking on the Green River in Utah, another week on the Dolores River in Colorado, rock climbing in the City of Rocks National Preserve in Idaho for 2 weeks, then Split Rock in Wyoming for another 2 weeks. I made some of the best friends of my life and I got to see some of the most beautiful and iconic places in the American West.
Afterwards, I moved to Baltimore for art college, took one photo elective class the beginning of my sophomore year and that changed everything. I immediately shifted my major to photography, and I couldn’t get enough. I focused on photo for the next 4 years, but as soon as I was done with my degree I couldn’t wait to move out of the city. Diploma in hand, I packed up everything in my truck and drove west. A friend from that NOLS semester found out I was moving and told me he was living in Lake Tahoe and had a spare room for rent. I figured I would spend one winter in Tahoe and then I’d try to be “responsible” with my life again. But that never really happened.Winter turned to summer, summer turned to winter and here we are 15 years later and I still love every minute of my life in the Sierra Nevada.
The first few years in Lake Tahoe I didn’t even pick up a camera. All I did was snowboard, climb and backpack, spending all of my time in the mountains. I loved photography, but I had no idea how to make a living doing it.After a while my camera started showing up in my backpack. I was going on all of these adventures with my friends who were semi-pro and pro athletes, and I decided to start documenting them. That started happening more and more and I found myself building a portfolio of images that I was really proud of.
Years later, a friend introduced me to Corey Rich, who offered me a contract with Aurora, which really set things off for me. All of a sudden, I started seeing my work in national and international publications and used commercially.That market presence compounded and I had other magazines and brands approach me individually for different projects and assignments. Within the year, I started to feel my career catapult and that’s when I believed I could really do this full time. There’s been a fire ever since to go after bigger projects and assignments and keep going on trips that no one else wants to go on. It’s been a wild ride, and Aurora and Corey were a big part of that, right at a key point of my work.
For the Backpacker assignment, you spent 10 rainy days hiking on some gnarly terrain. How do you prepare yourself physically and mentally for a long project like this?
The physical aspect is pretty straightforward. I live in the mountains and I try to get outside as much as I can. I’m always out snowboarding, hiking, biking and climbing depending on the season and I’m doing it at elevation (Lake Tahoe is 6,200 feet above sea level). That keeps me where I need to be so when the phone rings I’m ready to go to any part of the world and jump in with whichever athletes I need to follow.
Mentally, I’m adamant about doing as much research as possible about the location I’m traveling to. In this instance for Dominica, I read as many articles as I could. I researched a lot online and talked with the writer, Kelly Bastone, quite a bit because she had already done a lot of research herself. I also pulled images, made inspiration boards and picked out locations I hoped to see. That helped me get my head in the game for what kinds of pictures I could make and how that would facilitate the creation of a great photo story.
You did and saw a lot – from drinking traditional “bush rum” to visiting the “fumarole-ridden wasteland called the Valley of Desolation.” What was your favorite or most memorable moment(s) of the hike? What would you say is a must see / must do / must pack for a trip to Dominica?
The Valley of Desolation and Boiling Lake, which are world heritage sites, are absolutely stunning and are not to be missed. Honestly though, I think what I remember the most about the whole experience were the people. They were so kind and generous and they opened their doors to us every day we were on the island. Whether it was camping along the trail in a small village or staying in more developed areas, it didn’t seem to matter who we ran into, they were all so open and proud of their culture and wanted us to have the best experience possible. I thought that was just amazing. It’s rare to run into so many kind people in such a short period of time.
In the article, the author refers to you as a “mountain-climbing machine.” How was this hike/climb different from the others? How did the trail compare to what you’re used to in the Sierras?
The Sierras are a great training ground but the WNT was different because it is really steep, unforgivingly steep, and almost vertical in some places. Trails in the Sierras and anywhere else in the US are a lot more graded and they’re just built that way. But in Dominica, it’s a lot of straight up and down hiking in the rainforest and every step is wet and slippery. All around I would say the hiking is pretty difficult.
Were there any scary moments?
There was definitely one real scary moment on the trip. There was a lot of unseasonable rain when we were there and we had gone to check out Middleham Falls along the WNT on day 4.It had been raining heavily for days. When we arrived we couldn’t even see the falls because the spray was so thick and powerful. We realized we could be in a pretty dangerous situation with that much water moving and not knowing what was above us. We opted to get out of there quickly, but as soon as we turned around we saw another waterfall had broken off of the cliffs and cut us off. Now we were stuck between two massive waterfalls and possibly another wall of water above us. We knew we had to get out of there quickly, and made a human chain to get ourselves across the newer waterfall that hadn’t even been there 10 minutes before. Eventually, we were able to wade ourselves through the rapids and get to safe ground. It was one of those situations you get through, take a breath and say, “Okay, well that could have been a lot worse.”
Another scary moment, more of a personal one, are the snakes on Dominica.There are a lot of snakes, no poisonous snakes, but there are a ton of snakes on the island, and I hate snakes. It was day 10 and I still hadn’t seen one, but all I kept hearing about was how there were so many boa constrictors on the island. So there I was, hiking up this really steep hill and I went to take a step. I looked down and this huge boa constrictor was coiled up and hissing at me. I cried like a baby, fell backward, and tumbled back down the mountainside. I collected myself and our guide just started laughing at me, staring at the thing and saying, “that’s just a baby boa!” I said, “Okay, good, but it’s 6 feet long so that’s not encouraging.” I got back up, put the long lens on and begrudgingly made some frames of the boa for the photo story.
What were some of the most surprising things you learned about the WNT and/or Dominica?
There are no white sand beaches, which is very much in contrast to the rest of the Caribbean. But it’s also a testament to why Dominica is the way it is and why it’s more of an unknown, less visited, destination by tourists. In fact, it doesn’t have many beaches at all. What beaches it does have are beautiful, but they’re black sand beaches and most of the rim of the island is all just huge cliffs. It’s really rugged and that comes across in their tourism and branding; they call themselves “The Nature Island.” They’ve done a really good job figuring out which resources they have and which they don’t. If you’re looking for the Carnival Cruise stop, this isn’t going to be it.
What are the similarities and differences between Dominica’s view of conservation, wilderness, nature and enjoying the outdoors and ours?
They have a deep respect for their home and the conservation of it. Opinions weren’t as mixed as they are in the United States where people do and don’t believe in climate change. I’m fairly certain everyone on Dominica believes in climate change. They’ve had some huge hurricanes that have decimated the island over the years, so it is really at the forefront of everyone’s mind.The idea of conservation was ingrained with everyone I met.
You’ve been shooting for 13 years now. What’s your advice for someone looking to get into outdoor and adventure photography?
My number one piece of advice is to shoot what you love. If you’re not shooting what you love you certainly won’t be creating the best possible pictures that you can make. You’re never going to be able to tell a compelling story unless you have some sort of connection to the imagery you’re creating.
Also, a lot of people think that I’m outside every day on some new adventure but I also spend massive amounts of time on my computer, on the phone, in the office, marketing, networking, working on my portfolio, stock submissions, doing everything I need to do to keep a business going. In the end, you’re running a small business and you have to take that into account. A lot of times you’re going to be a one-man band for the beginning of your career. You’re easily going to spend the same amount of time in the office as you will out shooting, and I think that’s something that’s really important for people to understand.
Finally, have thick skin. There’s so much competition out there. There are so many different editors and marketing directors with different opinions on what kind of work they like, what kind of stories they like, even whether they like to communicate via email or not. You’re bound to run into the word “no” quite a bit especially in the beginning of your career. If someone tells you no, don’t let it bother you too much. Figure out how to push through. Communicate with them or show them a better body of work at a later date, or simply realize the relationship may not work and move on and find one that will.
About Rachid Dahnoun
Rachid Dahnoun combines his love of outdoor adventure with his artistic vision to create a touching photographic journal of the natural world. From breathtaking landscapes to gritty action photos, Dahnoun delivers compelling imagery to commercial clients, magazines and art galleries across the globe. His work has been featured with clients such as: National Geographic, ESPN, The Travel Channel, American Express, Microsoft, ARAMARK, AAA, Travel and Leisure, Expedia, Lowepro, SKI Magazine, the New York Times and many more.
Award-winning photojournalist Peter Essick has been traveling the globe documenting environmental issues for the past two decades. He’s also a frequent contributor to National Geographic, having shot more than 40 stories for the publication in the past 25 years. Last April, Peter was commissioned by the magazine to photograph a feature story about a pine beetle outbreak that has destroyed more than 60 million acres of forest from New Mexico to British Columbia. Pine beetles don’t typically exhibit this type of remarkable population growth. So what’s causing the crisis?
The author Hillary Rosner writes, “Rising temperatures and drought have stressed trees, leaving them unable to fight an invasion. Warmer weather also has boosted the beetles’ population and greatly expanded their range. They’re flourishing farther north and at higher elevations, invading pine trees, such as jack pine and whitebark, that had rarely seen them until a few years ago. Because these trees aren’t as good at defending themselves, a smaller band of beetles can overwhelm them. Three-quarters of the mature whitebark pines in Yellowstone National Park are now dead—a blow to grizzly bears, which eat the seeds in autumn, and to Clark’s nutcrackers, which cache the seeds for winter.”
The outbreak originated in the central region of British Columbia and moved through the mountain American Western states of Colorado, Wyoming, Idaho and Washington. Recently, the most active outbreak in the USA occurred in South Dakota. The beetles have also spread across the Rocky Mountains to Alberta during two large storms.
Essick visited all of these regions to photograph the story. In the Q&A below, we talk to him about the experience.
How exactly does the mountain pine beetle kill the forest?
It attacks the inner bark or phloem that feeds the tree. First, a female beetle bores through the bark, and if she likes the tree she sends out a scent signal for other beetles to come to the tree. Often hundreds of beetles will then bore into the tree within a 24 hour period. The tree puts out sap to try to stop the beetles boring, but usually the beetles can overcome the tree’s defenses. The beetles then begin to chew tunnels through the inner bark where the females each lay about 50 eggs. The eggs then turn to larvae within a week and stay inside the tree throughout winter. If it gets really cold the larvae will die, but because it has been warmer in the winter due to climate change, more larvae are surviving. In early summer, the larvae hatch and then fly to another tree repeating the cycle. In recent warmer years, as many as 10 beetles have been coming out of the tree for each one that entered. That is why there are now outbreaks of beetles that can fill entire forests.
How have the locals reacted?
The beetle is a native species and has always been a part of the forest, but now it is causing severe damage to whole forests so the locals don’t like it at all. Some have made a living out of salvage logging and carving the beetle kill wood, but overall it is bad for local economies based on logging or recreation.
In the town of Custer, South Dakota, some locals tried to think of something positive they could do for the community regarding the beetle. They thought of the burning man and came up with the idea to do the burning beetle to draw the community together and hopefully over the long run create a tourist draw.
What attempts have been made to manage the beetle population?
Nothing to date has been successful in controlling the outbreaks. Pheromone patches have been nailed to trees to fool the beetles, but have had limited success. There is an insecticide that can be sprayed on an individual tree, but the cost is about $50/tree for one year of protection. It also kills all other insects in the tree as well. In Alberta, they have been identifying newly attacked trees by helicopter and then going back in the winter and cutting down the trees and burning then hoping to stop or slow down the outbreak. This is very expensive and may or may not work in the long run.
What was it like traveling around the forest while tracking the beetles? What did you find most challenging about documenting this story?
I did a lot of driving through the western states looking for areas to photograph. The scientists are always interesting to talk to about their research.
The one challenge that was different about this story was doing macro photography of the beetles. The beetle is about the size of a grain of rice, so the photographer needs to use a special lens that can go to 3X to 4X life size to get a full frame photo of the beetle in its environment.
See a complete lightbox with all of the images from this story here.
View all of Peter’s work available for purchase through Aurora here.
Joel Addams is an adventure photographer who doesn’t shoot hardcore action, a travel photographer who gets up close and personal to his subjects. He’s an editorial and commercial photographer, a professor and a student, a curator and an artist. He is a multi-talented creator of imagery that uses emotion and mood to focus on details, like stones on a cairn, or on a more grand scale, like the magnitude of a mountain. His dream-like photos are imbued with a sense of calm and stillness, the moments influenced by his cinematography sentiments.
You can see more of his outdoor, lifestyle and travel images here.
Aurora Photos: Can you speak to the premise behind your course at the University of Utah, “Photography as Communication, Art and Catalyst”, and the fascination with the art of observing vs. seeing?
Joel Addams: I was given a unique opportunity to teach in the Honors College at the University of Utah. I taught in a fashion course that looked at photography in the 20th century as much more than pictures: as a method for social and political change, and a mode of fashion styling and propagation, as a personal expression. We looked at war photography, fashion photography, art photography, commercial photography, and everything in between. It was interesting for me to delve deeper into those areas. I probably learned more than the students, to be honest. It’s amazing how photography is such a part of the historical record, but more than that, is a mode of change as well.
[Au]: In 2014 you released the “Before I Burn” documentary about cornea extraction in Nepal. What brought you to this subject matter? How has being a still photographer informed your abilities as a filmmaker?
JA: I was in Nepal in 2006 when I was doing ophthalmology research at the Tilganga Eye Institute in graduate school. I was taken to the Pashupatinath Temple across the road to see the cremations and how the technicians worked. For “developed” countries, we are not used to the processes around death, but in Nepal and many other countries, the families prepare their relatives after they die, transport them to the temple for cremation, and perform most of the rites around the funeral. I was fascinated by the process around this, the visually interesting process and closeness of the family to their deceased loved ones. Then of course, following the corneas (just the thin clear outer portion of the eye) into surgeries and seeing the positive results was fascinating. I shot around this subject matter with the access of the hospital, and then wanted to film the process later on, starting a documentary in 2010 and finishing in 2013. Still photography was an excellent way to learn techniques of cinematography and the difficult process of learning how to tell a story visually. Filmmaking involves so much more to think about for documentary work with each portion of filmmaking its own world. Now I try to involve as many professionals as possible in my filmmaking.
[Au]: It appears you have a deep respect and appreciation for all concentrations of art, even curating your own personal collection. What do you look for when purchasing a new piece? How do these pieces mesh with your own work?
JA: I’ve met a lot of photographers and filmmakers who look to other media for inspiration. Writing, music, film, painting, sculpture are very inspirational to me. Several good friends of mine, Zachary Proctor, Lane Bennion, CJ Hales, are all professional painters and have really been inspirational in terms of career, artistic understanding, and new ways of seeing. I would say their friendships have been invaluable to photography and filmmaking for me. I collect paintings for so many reasons. Maybe I love it because it has a quality that is so different from a photograph. I don’t choose paintings: they choose me! I don’t have specific things I look for. I’m not sure I know how my tastes in paintings mesh with my own work, though I think over the years, we have sometimes influenced each other.
[Au]: What ignited your passion for the outdoors, and how has it broadened your creative perspective?
JA: My dad was brought up fishing the rivers around Pinedale, Wyoming and then he started backpacking the Wind Rivers – something that became rather sacred for my father. He never wanted to backpack anywhere else, actually. He started inviting me along around the age of ten, before we had any fancy outdoor clothing. We backpacked in jeans and t-shirts and external frame backpacks. I think we all enter photography from a love of something, and for so many of us, landscape photography is a beautiful entrance. Over the years, I have loved the exploration into other areas of photography, but will never pass up a good landscape. There is something really calm and fulfilling about being alone in the outdoors in good light. Don McCullin seems to have found a space in the landscape again after his many years of photographing war. It seems like a place we can all go to return to something.
[Au]: Given your experience in both photography and educating others through workshops, what are some life lessons that you want to share with budding photographers?
JA: People starting to photograph seriously should look at as many photographs and photographers as possible early on. It seems important to explore all the avenues of photography; they’re so different. In addition, I worry sometimes when photographers seem guided by the concept of “what sells”. They may move away from images they really enjoy, but may take longer to establish a clientele from that particular style. The happiest and most successful photographers seem to be true to themselves and eventually find markets for their photography. I remember that I was scoffed at very early on for exhibiting a large portrait of a man in Nepal, being told by another photographer “that will never sell.” I’m glad I didn’t listen to him.