It’s been about eight months now since I picked up a camera. I must confess that I 有 felt very little desire or need to go out to make photos over this time. I think it is because the last eight months 有 given me a chance to 有 a hiatus that I think my subconscious had been thinking about for quite some time.

I 有 often thought, and written on this 博客 , that as much as your passion or hobby is something that we may all live and breathe every moment of the day, the truth is: we all need to take time away from it. It is in these lulls or moments of doing something else that I think we get a chance to reflect and most importantly, return to our interest with a fresh perspective. It’s really valuable to take the foot off the accelerator every once in a while. And it’s extremely healthy to go and do something else for a while.


Over the past few months as I’ve tried to find a structure to my day, I 有 chosen to walk each morning from my home, across a local park to a coffee shop. I just go in, buy a take away coffee and go for a walk around the park. What I 有 found most enjoyable about this little routine is that each time I venture outside the door, I am filled with photographic memories triggered by the weather and atmospheric conditions.

For example, on a crisp frosty morning, I 有 found myself feeling as though I am right back in San Pedro de 阿塔卡马 in Chile. The mornings are often crisp and cold there at the time of year I like to go to 玻利维亚 . There is a ‘cold’ smell in the air of that little town which I 有 detected in the cold air of a Scottish morning as I head out.


These remembrances are not something new to me. I 有 found for many years that each place I return to, has its own ‘signature’ - a feeling if you will, or a smell, a taste to it. Each time I arrive in Punta Arenas in Chile for my 巴塔哥尼亚n trips, there is a sudden strong feeling of ‘knowing this place’ just from how the weather, the air, and the light feel. 日本 , 冰岛 , wherever, all 有 these residual memories built into me. I am sure I am not alone.

So over the past eight months that I 有 been resigned to staying in one place, I 有 found that all my favourite places 有 come to visit me in my mind. Brought on by the temperature, air and light quality of my own back yard. My little walk across my local park each day allows me to remember photography and the memories and feelings are often so strong that I feel as though I am there.

在 my mind, I am photographing. I am living in the landscape. All the special places I 有 come to know and love, I realise, are never very far away. There is great potential to reconnect, to remember your photography by recognising similarities to where you are right now, to where you 有 been.


在 many creative roles, artists often 有 a sounding-board, another person who is able to look at the work they are creating and help them make sense of it, or perhaps help them iron out the rough edges.

If I were a novelist, then I would 有 a book editor to tell me where the story was weak, or needed more focus. if I were a song writer, I would 有 a producer to tell me where the song needed more structure, or perhaps to go straight to the chorus at the beginning of the song.


我记得我曾听过尼罗河罗杰斯(Nile Rodgers)谈论与大卫·鲍伊(David Bowie)合作制作歌曲“让我们跳舞”的故事。他对鲍伊说(我释义)- “这首歌应该从直接进入合唱开始。没有诗歌,没有介绍-直接进入合唱团”。他当然是对的,但事实是-鲍伊需要别人告诉他。他太接近自己的工作了。

So as a photographer, who do you 有 as your sounding board? Who helps you make sense of what you create? or helps you iron out the difficult bits?


I think being a sole photographer can be a difficult role. Because you 有 to be the judge of your own work. That, is something that is extremely difficult to do. It’s why musicians 有 producers, and it’s why authors 有 editors.





And of course mentors vary in ability, and you may also find that an amazing mentor might not suit you at all. This is quite common in the music recording world. I 有 read many accounts of a famous band hiring in some mega-producer, only to find out that the relationship was counter-productive. Some artists 有 had albums that 有 been delayed for years because they went through a raft of different producers until they found the right one.

Needless to say, being a photographic artist is one of the lonelier artistic endeavours. Book writers 有 editors, musicians often 有 producers. Actors 有 directors. We in some way, only 有 ourselves.

If you can find someone who you feel helps you grow at what you’re doing, then that’s great. But it can be a difficult and long road not just to find that person, but to also 有 the insight and maturity to look at your work with honesty.



  1. 总会有一个权衡。当你得到一些东西时,你就会失去一些东西。

  2. 有时我们喜欢某些东西,因为我们对它的状态很执着。

  3. 下面的两张图片,我认为其中的好坏不一。希望您也能超越这一点。 “喜欢”是个人喜好。它与图像的有效性无关。

I 有 just recently chosen to go back to some of my favourite landscapes in 苏格兰 in 2021. Partly it is because I would like a change: It has been many years since I photographed my own home country, and I feel that there has been a big change in my 风格 of photography over the past few years. I’m curious to see how I will approach / react / and photograph, since I am aware that I am looking for different things now.

这是2009年左右在苏格兰阿辛特地区拍摄的原始图像。许多人认为,它不是Stac Pollaidh。




I personally love the original image, but I’m really not sure how much of this has to do with familiarisation. We become set / stuck in our ways the more we live with how things 有 been. And this is just as applicable to our older work. Attempting the re-interpretation image has forced me to think about whether I’m attached to the original image because it’s good, or just because I’m overly familiar with it now.


Editing / post-processing (I abhor this term personally), is a highly creative place to live. I 有 never believed that the work is to ‘get it right in camera’. And I’ve always enjoyed the editing / interpretive side of my photography. It’s interesting to know that an image can be edited in many different ways. Editing 是一个 art, it is a skill. It is a life-long endeavour in learning to see what was in the image and bring out the main motifs. Editing isn’t done by learning Lightroom in a few weeks and that’s it. It can really take you places if you don’t mind departing from what was there at the time of the capture.

Point 3. How much I 有 changed

I don’t know if I 有 it in me many more to do deeply saturated colour work. I’m wondering if I may return to it in some years to come, but I’m certainly aware that the original image from 2009 isn’t something that I would do any more. There is always a trade off in your own development. I see things in the original image that I love, but I couldn’t do that now if I tried, because it’s not where my aesthetic leanings are. I’ve lost some aspects to my image making, but I’ve gained also. As I said, there is always a trade-off.



是的,拍摄原始照片的人是“ Bruce-Percy-2009”版;-)我们脱皮,继续前进。我不太确定返回由另一个人创建的旧作品是件好事。因为在某种程度上存在断开连接。我想我现在将以不同的方式拍摄此场景,并且我想以一种特定的方式对其进行编辑的方式也会有所不同。这些天,我的编辑和作曲技巧交织在一起。我曾经出去拍摄图像的地方,然后看以后如何处理。我认为,当我现在在野外构图时,我已经知道在编辑它们时我将如何处理它们。


This is what I tried to do with this image. I attempted to edit it to ‘see what I would do with it now, based on who I am now’. And I’m not sure it’s a success. My reasons are, there are too many distractions in the foliage that I probably wouldn’t 有 shot it this way. So I’m trying to start on an image that isn’t at the right starting point for where I am now.



  • How far 有 you come?

  • 您现在会以这种方式拍摄作品吗?

  • 您现在看到的作品中有什么让人分心的东西,而最初创作时却没有看到?

  • 我现在是否想回到相同的地方,以为自己对事物的看法有所不同?











For me, I’ve always needed space around me. I’m an introverted extrovert. I like being around people and I like being social, but I also recognise when I need to recharge my batteries and need time alone, space to do …. nothing …. or more precisely …. nothing much in particular, or with no agenda … is something I need more and more. Knowing I don’t 有 to be somewhere, knowing that the day ahead of me is free and I don’t 有 to stick to a plan is something that helps me a great deal.



Reliving my experiences this way, often after some time, allows me to reflect upon it, to really understand what it 意思是 to me, and this can only happen if I 有 enough space, and peace of mind with which to engage with it.



冰岛中部高原冬季图片©Bruce Percy 2018

图片©Bruce Percy 2018

Right now, I'm doing the opposite. I am spending a lot of free doing things that are unrelated to photography. I 有n't made a single photograph, nor picked up my cameras for over two months now, and I'm very happy that this is the case.



If I were to keep going, every single day, making photos, it would soon begin to feel like a chore, and I doubt that I would 有 the needed time to absorb what I had experienced, and to grow from it. Growth comes from rest and so by giving my photography a rest, I allow myself time to recharge.

I 有 found that by the end of my rest periods, I come back to photography with a fresh view. What may 有 started to feel old and tired now feels exciting and fresh. And I often find that the distance away has allowed me to collate my thoughts and approach photography with a slightly new way of seeing and doing things.


If you are finding you aren't enjoying photography so much of late, or that you are wondering if you should stop, then I would suggest you take a break. Go do something entirely differently for a few weeks, even a few months. Rarely 有 I seen anyone drop a passion when they do this, but I certainly 有 seen people drop a passion through burn out.




The good artist knows that he is always learning, and will always 有 much to learn. He also knows that creating art isn't about success, it's about the creative journey. There is no room for words like failure or success, it is just a process that they 有 to do.



无论将多少技术或软件应用于弱创意,它们都将永远行不通。 如果图像背后有很强的主意,它将随之而来。它不需要任何人的帮助。

You 有 to fail in order to learn. You 有 to get used to accepting that the majority of what you create isn't any good. Look upon it as 'prototypes'. Until we get to where we wanted to go with a piece of work, 一切 we create on the road to getting it right is a prototype. Not a failure. 

You 有 to understand that creating bad work is part of the process. And also to understand that even very gifted artists 有 to create a lot of rubbish in order to find the good stuff. 如果创建好工作很容易,那么每个人都会做。


I'm very aware that all of my work to date has taken me to the point where I am now. I couldn't 有 got here without putting all the work in that has led me here. Everything I've done, every bad photo I've made and every successful one has taught me something, and has contributed to me being who I am now. This work has shown me that it's never the tools I need to improve, or the software I need to change. It is my application of them, my skill and experience that needs to grow.


我们的工作从未完成。 我们创作的每张图像,无论我们认为是好是坏,都有助于我们的摄影教育和我们的艺术发展,我认为我们应该陶醉于所选艺术形式的发现和惊喜。



You may 有 noticed that I'm offering more 'skills development' 风格 workshops over the coming year. Going on location is great, and shooting is fun and that is mostly why I 有 tours. 工作坊 on the other hand should be just that - a space where you learn and develop your skills.

使用Photoshop CS Masterclass开发投资组合技能



价钱:  £1,495
存款:  £448







此外,我认为“过程”一词 鼓励我们将编辑视为一种没有艺术意义的活动。这是一个人的图像诞生中令人难以置信的创意部分,我发现它是一个巨大的启发性工作空间。

Well, further to this is the skill of developing one's own 风格 . I believe that most of us don't know if we 有 one, and I think this is because we aren't really given tools with which to look for it.




Building relationships is key to 一切 we do in life. 在 the case of friendships and family, we 有 to spend time with them to let the relationship blossom and deepen. The same is true of landscapes. As we spend more time in certain places, the relationship deepens. We begin to understand them in ways that the casual observer does not. Similar to meeting people for 简要 moments although we get a rush of new impressions, the relationship is still too young to really know them. So too, with landscapes.


图片©Bruce Percy 2017

I'm lucky that over the past decade that I've been living my photographic-life, I've had the luxury of repeatedly visiting certain landscapes. They 有 become intimate, personal friends. Some I now know so well they are like old friends: I don't need to see them too often, but when I do encounter them, I know exactly where I am with them. Others are recent friends, I've known them for maybe a couple of years and I'm still learning about them.

We also define ourselves by whom we know. I think I define my photography by the relationships I 有 with certain landscapes. 冰岛 has been part of my photographic world for thirteen years, while 巴塔哥尼亚 fourteen years. The Fjallabak landscape in the central highlands of 冰岛 is relatively recent as I 有 been spending time with it for around five years now. And then there is Hokkaido, a recent acquaintance of just over two years that I am still getting to know.

They 有 helped shape and define my photography, and my photography has contributed to who I am. So in a sense, these landscapes are part of me.



图片©Bruce Percy 2017

The landscapes I work with 有 defined part of who I am. They 有 defined my signature. They illustrate not only what I resonate with, but also what appeals to my aesthetic. There is often a theme running through all of them. I do not just go anywhere. 我只想与那些在每次旅行中都能长大的风景共度时光。



我敢肯定那里有一个谚语说: “在获得智慧的过程中,我们失去了纯真”。

This week I've been running an exhibition in my hometown of Edinburgh. On the walls of the gallery I 有 these two images. As far as the exhibition goes, they are (respectively) my oldest and newest images that I 有 on display.

第一张图片是2009年在苏格兰西北部制作的。尽管许多人认为这是阿辛特(Assynt)独特的斯塔克·波拉德(Stac Pollaidh)山,但实际上是本·伊因(Ben Eoin)。如果我要剖析它,我会说这张图片表明我开始对摄影中的形状和图案越来越感兴趣:树的形状整齐地适合山峰反射下方的空间的方式是一种接触时刻意选择成分。

早期开始?卢加恩湖&本·伊恩(Ben Eoin),苏格兰阿辛(Assynt)。 ©2009

卢加恩湖&本·伊恩(Ben Eoin),苏格兰阿辛(Assynt)。 ©2009


That aside, I've been thinking about how my 风格 of photography has been changing (it has been a purely intuitive one for me: I 有 not consciously chosen to go the direction I 有 gone in. 在 stead, it has been an intuitive process, one which  I 有 seldom over-thought it). 可以说我意识到已经发生了变化,并且从今天在您看到的两张图片之间的八年中,我所做的事情都得到了提炼。

现在的位置。 Grasleysfjoll,冰岛。 ©2017

Grasleysfjoll,冰岛。 ©2017



I like to think that experience is a double-edged sword. On the one had it allows us to 有 a better understanding of what can and cannot be achieved, but it can also be a prison sentence. When you know what should be done you tend to discard possibilities for exploration and are less likely to be open to new discoveries: if you don't know there are any rules, you're more likely to break them.

Developing 风格 and perfecting what you do, as much as they are things to aspire to, can become a set of hand-cuffs. As we develop our 风格 and vision, I think we can become less able to experiment. Rather than letting our creativity go in places we 有 never been before, we may find ourselves going down the same tired old routes because we know they work and there is safety in these familiar patterns.

I think good artists are willing to not only explore, but perhaps more importantly, they are willing to let go of things they know 有 worked well for them in the past.



回顾过去的工作,我发现自己希望保留的东西。 I'm aware that I've lost things along the way. I do admit to feeling a sense of loss for the qualities I feel I no longer possess, but only in the way that I realise they can't exist alongside where I am now. To change means you 有 to let go, and when you change anything, you always lose something in the process. It is impossible to 有 both.

今天我要走的最后一件事。我确实认为早期的事物通常会很漂亮。我讲的是这种纯真:尝试某种方式丢失的东西的质量:这是一种难以捉摸的质量。我经常在许多艺术家作品中看到它,而不仅仅是摄影师。音乐家和画家,作家和演员。 You don't often know you 有 it when you do, and you don't 有 it any longer once you know you had it.



我经常认为摄影是“比平时多注意” 进入我的视觉世界。我不仅要四处看看,还花费更多的时间研究和观察光线如何影响和修饰我周围的物体。我看起来更多。

但是我已经意识到摄影不仅仅是要增加视觉意识。我们可能认为我们只是在磨练和发展视觉意识,但是意识的其他方面也在不断提高。特别是,我似乎比以前对环境中的干扰音更敏感。我敢肯定,过去我在潜意识上注意到了他们,但是这些天我似乎对他们更加了解了。 曾经安静的地方,有时在听觉和视觉上都变得太大声。


以今天为例: I 有 a body of new work to edit, yet somehow I cannot find the peace 内 my mind to begin editing. I just 'know' that today, and indeed this week isn't the time to work on them. All I know is that I need a certain space in which to edit this work, but simply marking off some free time in my calendar isn't enough. I 有 to be feeling it as well.

If I'm not feeling it, I'd much rather go and do something else and leave the work alone for another day when I will 有 the proper emotional tools to work on it properly. But this too, depends on my level of awareness to figure out when there's no point in working on something because i'm either too tired, or just not in the right frame of mind to work on it.

我们都在不同程度的知觉和意识的海洋上颤抖。有时候,我发现自己对周围发生的事情不太敏感,而有时候,一切都可能变得太多。在视觉上, 在听觉上和情感上。 我要么在正确的地方工作,要么没有。

我已经说了一段时间了,改善自己的摄影有时是关于发展视觉意识的,但这只是故事的一小部分。 改善摄影真的是要培养我们对摄影的认识 一切 我们周围以及发生的一切 我们。摄影不仅仅关乎我们所见,还关乎摄影 意思是 给我们 还有什么 现在对我们意味着,并且为了使我们的意图公正,我们需要知道何时在我们自己内部找到合适的安静水平以使工作完成。



Cono de Arita,阿纳卡马州普纳市,2017年4月

上周我回到阿根廷的Puna de 阿塔卡马 地区拍摄了一些新照片。我的第一次访问是两年前。只是短暂的六天访问该地区,我觉得我经常在日出和日落时在错误的地方。 尽管对我的初衷感到满意,但经历使我感到我只是刮擦了这个令人惊叹的地方的表面。这么多的地方都很棒,但是我经常在白天光线不好的时候到那儿。这通常是去新地方的方式:第一次访问更多的是了解我要拍照的东西,而第二次访问则是关于拍照!


物流通常是获得良好的位置拍照的最大障碍。凭借Puna de 阿塔卡马 ,该地区非常广阔。实际上如此之大,以至于我的第一次来访使我感到沮丧,因为在大约一英里的空间中,会有太多的地点适合一天中任何时候短暂的20分钟美丽的光线。在日出之前,只有20分钟可以玩耍,而在傍晚之前,只有20分钟可以玩耍,这使得选择地点确实非常困难。

2017年4月在阿根廷Puna de 阿塔卡马 沙漠中的位置

So this visit was more about finding those special locations, areas where I wouldn't 有 to move so much to capture different aspects of the landscape before the 20 minutes of beautiful light was gone. That 意思是 a lot of day-time scouting and many hills were climbed to find vantage points where I would 有 better luck when the light was good.


位置侦察似乎是对错误的尝试。可以使用Stephen Trainor出色的TPE应用程序在一定程度上确定太阳的位置以及它与景观的反应方式,但是仍然需要进行大量的步行和攀爬才能找到形状合适的美丽构图在景观中寻求对称和平衡。

的确,站在一个(希望是)我能找到的最佳地点的位置上,有时会收获很多。使用Cono de Arita(火山喷发在这篇文章的顶部(由我的向导在他的Samsung手机上拍摄)),这是一次学习的经历,可以看到周围山脉的阴影如何与盐滩和沙丘的轮廓相互影响。锥落在太阳落在地平线后面。

我相信只有花时间,并观察光线与景观的相互作用,我才能真正学会成为一名更好的摄影师。要获取我想要的图像, 我需要付出努力,这通常意味着需要多次重新访问景观。确实,我爱上的任何风景都将经常成为我年度摄影的常规部分,因为它有能力教给我很多东西。



哈里斯岛,2016年11月,Lumix GX1(在工作坊中,我使用小型Lumix GX 1进行构图说明) 图片©Bruce Percy

哈里斯岛2016年11月,Lumix GX1
(在工作坊中,我使用小型Lumix GX 1进行构图说明) 
图片©Bruce Percy


How often 有 you heard someone, or yourself say 'it wasn't happening today', or 'there's nothing here'. These kinds of statements say more about us than they do about the landscape, even though the language infers that the landscape didn't provide. A better statement to hear is 'I didn't see anything' or 'I find this place difficult'. With these statements we at least indicate that the problem lies 内 us, not the landscape. But they still 有 a degree of suggestion that the landscape may not be providing what we want. And there is the rub. 


If we cannot see something, then we should ask ourselves - what is it that we expect to see? And if we 有 any expectations, are they something we should entertain, or put to one side?

My own feelings on this matter is that we are often full of self deception. We go to bed full of expectations for the next morning, hoping the sunrise shoot will provide us with what we 有 already envisioned, or seek. But really, the landscape has no knowledge of us, or what we seek. It is just what it is, what it has to be at that moment in time. Our will or expectations 是一个 illusion. It is our idea 那一些how, we 有 control over what we want the landscape to be.

I often feel that photography is really a leveller. It tells us this: 'the landscape will be what it wants to be, and we 有 to adopt an open mind to see the beauty in what it is providing us with. Any expectations we had, any pre assumptions about what we hoped it might be - are our own issues to deal with.

哈里斯岛,2016年11月,Lumix GX1(在工作坊中,我使用小型Lumix GX 1进行构图说明)  图片©Bruce Percy

哈里斯岛2016年11月,Lumix GX1
(在工作坊中,我使用小型Lumix GX 1进行构图说明) 
图片©Bruce Percy

This past week, I've been on the isle of 哈里斯 - a small island in the outer hebrides of 苏格兰 - my home land. It is a landscape and island that I 有 been coming to since 2009. I feel I know it well. Yet, this week one of my participants has found a new place on a beach I 有 been to many times. I am excited because I 有 found new things here, but I am also reminded that I 有 been here many times before and didn't see what was in front of my eyes. 

作为一名优秀的摄影师,当一个人错了时,需要谦卑地接受。 我以为我知道这个岛(我不知道),我以为这里没有新的东西(有),我以为在经过如此多次的访问后我不会感到惊讶(我可以)。

那就是我对摄影的热爱。这实际上是人生的隐喻:当您认为认识某个人或某人或某个地方时,机会是-您真的不知道。它鼓励我变得像我应该的那样谦虚。我认为生活是如此令人惊讶。地方总是让我感到惊讶,并提供了我认为不可能的新构图和新观点。如果仅仅是风景在谈论,那人们呢?我应该抛弃先入之见吗?因为我们面对现实-如果 景观可以提供令人惊讶的东西,我们以前访问中未曾见过的新东西,然后再提供任何东西,我的意思是,“一切”都是可能的。 

摄影教给我很多东西。 但是它反复做的一件事是告诉我“对未来敞开心heart”。它常常是在意料之外的,可能是开放的可能性中, that we often grow.


 is an 首字母缩写  for "保持简单,愚蠢作为设计原则, 美国海军  in 1960. KISS原则指出,大多数系统如果保持简单而不是变得复杂,则它们将发挥最佳作用。因此 简单 应该是 设计  并且应避免不必要的复杂性。 -来源维基百科


南极山毛榉,里约塞拉诺森林,托雷斯德尔潘恩国家公园,智利巴塔哥尼亚。图片©Bruce Percy 2016

图片©Bruce Percy 2016


在电影动画中, "Master animator 理查德·威廉姆斯 在他的书中解释了KISS原理 动画师的生存装备迪士尼九个人 write about it in 迪士尼动画:生命的幻觉,是该类型作品中的一项重要工作。面临的问题是,缺乏经验的动画师可能会在其作品中“过度动画化”,也就是说,角色可能移动得太多而做得太多。威廉姆斯敦促动画师们“ 吻 ”。 -来源维基百科

I also know that in scuba diving, the 吻 principle is employed with rebreathers. The belief is that by making the rebreather fully manual, it's more likely that the operator will 有 a complete idea of what is happening  每时每刻。据我了解,这是由于潜水员使用自动循环呼吸器导致许多死亡而导致的。这是一个简单的想法:让用户完全掌控一切,这样就很少有机会引起人们的注意。

I 有 a few 吻 principles regarding my own photography. I don't suppose I'm the only one who does and each of us will 有 different approaches to our own working methods.

关于我的数字暗室工作方法,我更喜欢保持简单。我不使用多个应用程序-我只使用一个,即使使用了我使用的应用程序,我也学会了使用其中的5%。 My belief is that by focussing on a restricted tool set, I 有 had the opportunity to become fully fluent with it, so much so, 它已成为我的第二天性,多年来我对它的理解不断加深。

如果我觉得无法使用当前的工具集进行某些操作,则可以咨询其他地方。 但是到目前为止16年之后,我还没有感到需要这样做。换句话说,我只在情况需要时才采用新的工具或技术。我宁可在已知的条件下工作,也不必在糖果店里放松一下。


I also 有 a process for my kit. I keep 一切 in the same place, so I rely on muscle memory. Put something back in the wrong place and spend time hunting for it later on. I've also preferred 给我们 e the same tripod head for years because I know it well, rather than be tempted to buy new ones all the time. I'm tempted just as much as anyone else and when I 有 strayed, I've gotten lost or confused for a period of time while I've settled into using unfamiliar kit. These days I try to adopt new equipment carefully and spend a lot of time getting acquainted with it.

经济可以为我们提供富有创造力的个人。通过减少最常用的内容并丢弃剩余的内容,您的工作流程变得如此简单,以至于您在进行创意流程时几乎没有机会阻碍您。相反, 如果您不太谨慎,并在不需要时继续采用新技术,那么您的创造力可能会因技术问题而陷入困境。

The skill is knowing when to look for new techniques and when to leave them well alone. If you feel you're getting on well with what you 有, then I would urge you to keep it the way it is. If however you feel you've reached the end of where you can go with the tools you 有, then it's time to engage in new tools. Just don't do it when you don't need to, as that is the best way to overcomplicate things when they didn't need any fixing in the first place.





Motu iti,Motu Nui,Motu Kao Kao,复活节岛图片©Bruce Percy 2016

Motu iti,motu Nui,motu Kao Kao,复活节岛
图片©Bruce Percy 2016

Then there are those landscapes we struggle with. We will say 'it wasn't working for me today', or 'I couldn't find anything there' or 'I found it very complex, too hard'. These are all positive affirmations to 有 because we acknowledge that the problem lies 内 us and not the landscape.

I 有 a strong belief that all landscapes 有 something to offer the right person at the right time in their own development. Meet a landscape too soon and the going will be tough. It may even put you off returning there another time. Meet a landscape too late in your own development and you may find nothing there that works with your current 风格 and what you are seeking to say.

Choose your landscapes wisely. I wouldn't rush around photographing 一切 all at once either as I think the only way to achieve a sense of 风格 on your own work is to grow with the places that do work for you. They 有 lessons pitched at the right level for you and they're comfortably challenging enough for you to work in without getting overly frustrated.

复活节岛阿胡汤加里基(Ahu Tongariki)的15摩艾图像©Bruce Percy 2016

图片©Bruce Percy 2016





复活节岛,阿胡·汤加里基(Ahu Tongariki)图片©Bruce Percy 2016

复活节岛Ahu Tongariki
图片©Bruce Percy 2016

It's been thirteen years since I first visited the island. During that time I've been to many places that 有 resonated with me, where I feel I was able to grow and produce good work. I've also built up a lot of shooting hours now, so I felt that if I returned to 复活节岛 now, I may be able to work with what it offers.


It was enlightening in more ways than I could 有 imagined.


复活节岛Rano Kau Kau上的马图片©Bruce Percy 2016

复活节岛Rano Kau Kau上的马
图片©Bruce Percy 2016




我们了解的风景为我们留下了许多回忆。他们记录了我们过去的访问时的印象,以及我们在想什么,每次回访时都会使我们想起这些。这是一种美好而特殊的关系, 经常提醒我,我们不仅仅是在这里进行出色的捕捉; 我们也在这里,是因为这种交流在更亲密和个人层面上为我们所做的。







我可以回想起我在Senja岛上全天的光线质量, 以及一周中大部分时间从未真正变得非常明亮。当我在那里的时候,我生活在一个永恒的半冬暗淡的色调中,几乎没有颜色。我的能量水平低迷,因为我仍感觉到短时的影响和冬天经常提供的阳光不足。

I think that's one thing that is very powerful about our own imagery. Because the images are ours, we 有 the ability through them, to be transported back to a place and time as if it was just a recent event in our lives. This is a highly personal experience as our images don't 有 the same effect on others. The impressions they give us are ours and ours alone.

我发现,访问我的图像的频率越高,个人感觉越倾向于减少。如果我看的太多,拍摄的印象和在那儿的时间会迷失在当前经验的新烙印中,  我现在所在的位置以及当前观看时的身份。而且我做的越多 图像变得越来越熟悉,以至于它们几乎不会触发过去的事件。一世 become numb to them.

就像广播中播放的过去音乐一样,音乐具有将我们带回到另一个时代的力量。我认为我们制作的图像也是如此。 我只是不想太频繁地查看它们,否则我担心与它们相关的任何情绪和记忆很快就会在充其量或最差的情况下变得模糊, lost to me forever.


现在,我已经完成了来自阿根廷Puna de 阿塔卡马 的新图像集的工作,我觉得现在是时候谈谈成为自己的评论家了。

图片来自Puna de  阿塔卡马 。拍摄于2015年6月,直到2015年10月上旬才开始看透明胶片。现在是11月上旬,我坐了几周,定期进行检查以查看是否需要任何透明胶片被改变。但这只是一小段时间,因为这是我可以保留在自己工作之外的唯一方法。

图片来自Puna de 阿塔卡马 。拍摄于2015年6月,直到2015年10月上旬才开始看透明胶片。现在是11月上旬,我坐了几周,定期进行检查以查看是否需要任何透明胶片被改变。但这只是一小段时间,因为这是我可以保留在自己工作之外的唯一方法。

我之前提到过很多次,我希望在拍摄和编辑之间留出很多时间。我故意不让我的胶卷送去立即处理,如果我是数码拍摄者,我会故意将我的图像编辑几个星期(最好是更长的时间)。  我坚信,这给我带来了距离,因为随着时间的流逝,我对实现的目标有了一种现实的客观感。我感觉不能立即进行编辑,因为我离作品太近了,所以我没有机会真正地看清图像的含义:我倾向于遭受偏见,经常抱有我希望图像达到的理想。



The issue is this: in order to edit my work well, I 有 to be a critic of my own work and to do this, I need to remain objective. The nub of the problem is that I'm only able to be an objective critic 一小会儿 因为我花在工作上的时间越长,风险就越大,我将因此而迷失在其中。 所以我倾向于只复习短片。 (小费: 注意您的第一印象,因为它们通常是正确的 )。

作为对自己工作的良好批评家,要求我能够“超越自我”。仅当我在编辑和审阅之间抽出时间,更重要的是, 简要 当我复习时。我相信一个好的批评家是短期的。不要过度工作。


当我回顾过去二十年的摄影时,我会记得很多时候 an epiphany - a 突然发现,什么样的光在照片中真的能很好地工作。

拉哥 Nordenskjöld,来自一个秘密地点&托雷斯·德尔·潘恩,智利巴塔哥尼亚。在阴天在午后的光线中拍摄。图片©Bruce Percy 2015

拉哥 Nordenskjöld,来自一个秘密地点 智利巴塔哥尼亚的托雷斯德尔潘恩。
图片©Bruce Percy 2015







经过多年的努力,冬天一个下午,我发现自己在一个非常潮湿的海滩上,又有了顿悟。 只要光线非常阴暗,午间的灯光也会起作用。直到现在我还没来 想象除了在黄金时段工作之外,我可以得到任何“心情”,并且自2007年这一刻起,我开始在一天的其他时间工作,前提是光线柔和。

在10年的时间里, 我已经从仅在阳光下拍摄到仅在黄金时段拍摄,然后终于回到中午采光,只要光线柔和。我对可以拍摄的光线的理解发生了变化,我知道柔和的灯光效果最好。

然后又发生了一个顿悟。尽管我可以在光线柔和的情况下拍摄任何地方,但在日出,日落和白天的中间,我发现有些图像无法正常工作,因为光线必须 适合主题。例如,如果光线非常冷/单色,冰岛的黑色火山岩海滩就可以很好地工作。用暖光组成一个单色的黑色海滩有时似乎彼此矛盾。风景真的不需要温暖的日出色调,如果有的话 was a distraction.

小浮冰  Laguna Armaga,Torres del Paine,智利巴塔哥尼亚冬天图片©Bruce Percy 2015

小浮冰 拉古纳·阿玛加(Laguna Armaga),托雷斯德尔潘恩,智利巴塔哥尼亚冬天
图片©Bruce Percy 2015

这些天我还是比较喜欢 可以在柔和的光线下工作,但是我尝试根据它们的色调和颜色来处理风景。有些地方本质上是单色的,因此我觉得它们在中性色温下效果最佳 (正午)。例如, 托雷斯德尔潘恩国家公园可以是单色主题。山是花岗岩灰色,上面有深色的沉积岩, 它的海滩由黑色火山岩组成。山脉 have 我对它们的外观非常呆板,因此,我发现仅在中午光线较冷的色温下通常可以更好地工作,而不是只尝试在日出和日落的温暖光芒下拍摄它们。


Certain Landscapes 有 the power to Shape You

我确定我们所有人 在某个关键时刻与某人进行了积极的相遇,这以某种方式改变了我们的生活。

好吧,我相信与此类似 that some landscapes, when I've met them at a certain point in my own creative life, 有 changed 我自己的摄影发展历程。

Seilebost海滩,哈里斯岛,苏格兰。图像©Bruce Percy 2014。 退潮时,塞勒博斯特变成一块巨大的沙地。正是这种广阔的空间让我看到了与玻利维亚高原的空旷景观相似的一面,这种景观教会了我很多东西。

Seilebost海滩,哈里斯岛,苏格兰。图像©Bruce Percy 2014。 



I tend to look at these encounters with the view that perhaps I'm not approaching the place the right way, or that perhaps I'm simply not ready as a photographer to get out of the experience what I feel is there. That doesn't mean I shouldn't try - it just means that perhaps I 有n't the skills yet to convey what I'm seeing.

Take this case in point. It had been four years since I had last visited 哈里斯 . 在 the intervening years, I had photographed many ‘empty places’ that had taught me so much. I felt that if I returned to 哈里斯 now, I might 有 a better handle on how to approach its minimalistic landscape.

这只是预感,但我觉得我已经在自我意识方面做了很多工作 了解多年来我一直在寻找什么。 刚开始制作图片时,我一直在寻找标志性的对象-易于识别的地方,以及易于理解的物体(树木,河流,山脉)。参见“关联与匿名' 有关此的更多信息。最近我发现 我对某个地方的气氛和氛围更感兴趣,而不是拍摄已知或易于理解的物体,因为我相信如果使用色调和颜色来激发情感反应,照片会变得非常有力。好吧,那还是我的看法。

拉古纳科罗拉多州,玻利维亚高原。图片©Bruce Percy 2013  Laguna Colorada is a red lake at high altitude. There are no structures such as mountains or trees in this landscape to grab onto for security. You 有 no alternative, but to work with what it gives you - tones and colours only.

拉古纳科罗拉多州,玻利维亚高原。图片©Bruce Percy 2013

Laguna Colorada is a red lake at high altitude. There are no structures such as mountains or trees in this landscape to grab onto for security. You 有 no alternative, but to work with what it gives you - tones and colours only.



(在一个侧面说明中,我完全赞赏这对我们许多人来说可能是个艰巨的任务,我不会批评任何人都觉得那里“没有东西可以拍照”。我常常觉得我依赖于易于理解的物体,例如树木,岩石和山脉让我的照片聚焦起来,但我意识到 在景观中寻找可识别物体的行为有时只是我自己 looking for a 情感上的拐杖,而我实际上正在做的是避免使用我得到的东西。

自从访问玻利维亚并学习在空旷的地方工作以来, 经验对 我的摄影。现在,我发现自信地接近空旷的地方并在不同的气候条件下工作变得容易得多。我经常看到一个风景和另一个风景之间的相似之处 and I utilise these relationships when I'm aware of them. For example, the black beaches of 冰岛 有 taught me how to approach the black volcanic lagoons of 巴塔哥尼亚. I see parallels all the time now and I know this is because one landscape teaches me how to photograph another.

至于哈里斯岛: 我记得当我制作图片时,您可以在这篇文章的顶部看到。我和一群参加研讨会的人在沙滩上,其中一位, 卡洛斯对我说:“这让我想起了你在玻利维亚的高原拍摄的照片”,我回答“是!”。 但是,大多数情况下,连接不是很明显。通常可能是一个无意识的过程,我几个月或几年后才意识到一个地方与另一个地方之间存在联系。这就是为什么我花了大约六年的时间才弄清楚哈里斯的最佳表达方式。我必须先去玻利维亚,然后才能进入自己的祖国的一部分,然后学习如何在空旷的地方工作。

Some landscapes 有 the power to shape us. They can be road-signs to show us where we are going with our photography. It's just up 给我们 to 有 the awareness skills to see the connection, or let the connection come 给我们 many years down the line, and run with it.






在几乎任何其他追求中,我们都从基础开始,然后从那里开始。如果您进行杂耍,则不会从三个球开始,而是从一个球开始。就是这样 与摄影有关:添加到相机框架内的每个对象就像在混合中添加另一个杂耍球一样。如果您在玩杂耍,那么您需要知道它们都在哪里 at the same time.

Yet when we look around our surroundings, we 有 an amazing ability to filter out most of it. Our vision has evolved 让我们专注于我们感兴趣的事物,而排除那些我们不感兴趣的事物。这可能是 在日常相遇中确实很有用,但是在解释场景以提供摄影可能性时会造成障碍。

So often 有 I come home and found that the image did not convey what I saw. As a beginner, I would be surprised to discover additional objects in the final photograph 在捕获时我还没见过我经历了20多年的努力,试图提高自己的意识,以了解实际情况-克服本能来过滤掉场景中的东西。

As I've developed my compositional skills, I've come to realise that beautiful scenery does not automatically equal great imagery. I've also had to accept that there are some things that can't be photographed well. Some places are too big, or 有 too many things going on in them to capture in their entirety, and what often works better is to take a subset of a location because it makes for a more powerful image than the entire scene does. An example of this is that I've often found that to reduce an entire waterfall down to just a few segments of it - may be more powerful than a photograph of the entire waterfall.


一个的技能 风景摄影师,将能够占据一个位置 并将其提炼为传达清晰信息的几个要素。由于使用了一定程度的解释,因此最终照片可能无法准确反映该地点。对我而言,这很好,因为在我看来,这就是摄影的全部内容。

当我在这篇文章中制作图像时,我知道那是一个忙碌的场景。看到时,我已经将其简化为两个基本元素:背景山脉和前景分支。但是我仍然觉得这个组合还有一些未解决的问题: 灌木丛中到处都有太多的纹理信息,这不利于让我的眼睛在前景分支和背景山脉之间自由移动。另外,我也 觉得树枝可能 在结构复杂性上会“迷失”,因为从色调上讲,它们并不太相似。

我的意思是:我知道太复杂了。但是我也知道,尽管它还不完美,但我可以忍受。这本身, 与我以前回家时想知道为什么我的图像没有以我看到它们的方式出现时完全不同。




风景摄影要求我们能够抽象:将有意义的对象缩减为图形形式。与其思考树木,河流和山脉,不如说 能够看到他们的外形多么漂亮。而不是看到 “山”,我们可能会看到 我们可能会看到“令人愉快的圆锥形”,而不是看到“树” “令人愉悦的波浪流过图像”,而不是看到“河流”,我们可能会看到 “通过框架的美丽S形曲线”。

斯卡斯塔,苏格兰哈里斯岛,2014年11月,©布鲁斯·珀西(Bruce Percy)。但是您真的不需要知道它在哪里吗? ;-)

斯卡斯塔,苏格兰哈里斯岛,2014年11月,©布鲁斯·珀西(Bruce Percy)。但是您真的不需要知道它在哪里吗? ;-)


To find a beautiful composition, we need to be able to see the relationships between objects, not in terms of what they are (association) but how they graphically fit together. Perhaps the tree and the mountain 有 similar shapes and there is empathy? 也许河里的口气很赞 树上的色调?如果这样做,我们会增强图像的力量,因为它在艺术中的基础比在现实生活中的基础要多。

但是,除了简单地将对象抽象为形式和基调的基本元素外,这个问题还有很多。我们的问题远不止于此。  我有很多次在为某个地方拍照时感到内finding,不是因为光线很美,而是因为这个地方本身就是标志性的。实际上,有时标志性地方的灯光并不是那么特别 而且其他地方的光线更好,但是我仍然选择拍摄标志性的地方。


因此,我对您的问题是:您宁愿做什么?您是否愿意在 无聊的光线,或拍摄一个匿名的地方 那里的灯光很美?我想您可能会说后一种,但事实是,我认为我们很多人经常这样做。我当然 guilty of it.

当涉及到它时, 一张美丽的地方的匿名照片 比标志性地方的照片更强大 在无聊的光线中拍摄。但是,尽管我相信这一点,但我似乎总是对摄影方面的优势感到迷恋。

成为一名风景摄影师有时是要克服我们与人类熟悉的本能,这当然是我们作为人类的一个例子 妨碍更好的摄影。