Doug Steakley Talks About Landscape Photography Opportunities In China

Douglas Steakley made his name as a professional photographer with distinct images from his home patch, the Monterey Peninsula. A number of books feature his work and guide others to to fine art opportunities in the Big Sur and along the Pacific Coast of California. Many images have been used to help promote conservation in these areas and in 2003, Doug received the Ansel Adams Award from The Sierra Club for his conservation photography.

Doug enjoys travel and has amassed a vast collection of images. Many of these are available through the premier Getty - Lonely Planet Images collection.

Doug is currently Treasurer on the Board of Trustees of The Center For Photographic Art in Carmel, California.

A full list of awards and accolades can be seen by following the link below and visiting Doug's Bio page.

Fordie: I know you have led a number of photo workshops to Africa, Mexico and other locations. Perhaps you could describe those workshops for us.

Doug: It’s true that I have been leading photography workshops to a variety of locations for many years. I lead about ten to twelve workshops a year and these range from one day trips along the Big Sur coast to several weeks in Africa.

I enjoy teaching very much and tend to divide the time between focusing on the more technical aspects of the camera and on the more ephemeral aspects of photography such as good composition and perfect exposure.

I have found that all aspiring photographers tend to go through similar phases of learning and I try to become familiar with each individual’s needs and how they want to expand their skills.

Mastering photography is a bit like learning to speak a foreign language, which reminds me of being in Mexico a few years ago taking one on one Spanish classes. It took the instructor a few brief minutes to ascertain how much Spanish I already knew and what I needed to learn next. In a similar manner I work with each person at their current skill level and try to gently point out what will be next for them.

Fordie: China is quite a different destination for photographers. How will you draw on your past workshop experience to help others in this strange and unique setting?

Doug: I love going to new and different destinations. One of the problems I face with returning to places like Yosemite and Big Sur is that I have been to these areas so often that I no longer have fresh eyes and it’s easy for me to turn away from images that I have already taken. However in a new location, there is a freshness and excitement, which is visually stimulating.

Since this will be my first visit to mainland China I will be exploring and searching for images along with the participants in the tour, and instead of me pointing out locations and taking people there at the right time of day, we will work together to find good vantage points and the best light.

I have learned to walk around in the middle of the day with a compass and try to visualize what certain areas will look like when the sun is low or when the weather becomes cloudy and more interesting. I do not look for a lot of these locations, I would rather find a few that are excellent and then take my time creating good composition and taking advantage of interesting light than rushing around to collect a lot of shots that may not be as strong.

Fordie: I know you enjoy photographing landscapes so how are you able to communicate the skills needed for outstanding landscape images to a diverse group of photographers?

Doug: Fortunately there are elements that most outstanding landscape images share in common and these can be applied to any location. I just finished designing an online class in Landscape Photography that lasts for eight weeks and each week encompasses a different aspect or different type of landscape photography.

There are landscapes taken with a very wide angle lens that are sweeping and inclusive and there are more intimate landscapes taken with mid range lenses that require a personal vision and way of seeing.

There are landscapes taken at night or twilight and then there are very close up views of a subject that can be seen as a microcosm of the larger scene. Even though there are a variety of ways of approaching and photographing the landscape, most of the basic elements should be the result of conscious, intentional choices that can be discussed and taught.

Once again I expect that in a group of photographers there will be diversity in how each person approaches and photographs the same scene, so I will try to be sure that everyone receives coaching and encouragement. I have always been amazed in my workshops how a group of people can photograph more or less the same scene at the same time and end up with images that are surprising different from the others.

Doug’s two primary destinations in China are the city of Hangzhou and Yellow Mountain (Huang Shan). Hangzhou is quite flat, being very near the sea, and Huang Shan is of course mountainous.

Fordie: The connection between Hangzhou and Huang Shan is that each offers iconic views that for centuries have inspired painters and poets. What impact does this reputation have on you as a photographer?

Doug: I feel that there is always a huge upside going to places that are well known and have inspired others. In the United States I am continually drawn to our national parks even though they have been painted and photographed numerous times.

Fortunately the visual experience and stimulation from visiting these iconic locations far outweighs the vague familiarity they may have in my mind’s eye. There is, after all, a reason that these locations draw so many visitors each year and since they are new to me I am able to see and photograph in them without being overly concerned that someone else may have already captured the same image. Also the lighting and weather conditions always vary and hopefully create a fresh look to my photographs.

Fordie: Given the continual interpretation of these landscapes by other artists, do you feel pressure to ind a new interpretation? How do you approach other well-known and documented locations?

Doug: I think that going to well-known and areas always presents problems for those of us who have looked at other artists’ work and been affected by it. Strong images have power and
it’s hard to avoid trying to duplicate or mimic them.

When I go through my images after a trip, whether it is to Yosemite or an international location, I am always on the lookout for photographs that are familiar because I have seen something like them before. Although they might be well done, if they are too derivative then I prefer to delete them and not show them on my website or in galleries. So while I do enjoy looking at other work before I visit a location I try not to study it too carefully so I will not emulate it while I am there.

Fordie: Can you tell us about your working day? What sorts of light do you prefer, and are there times of the day that best suit you? How much does the weather influence your images?

Doug:
The working day is very contingent upon the weather but when I am on location it always begins before first light. Just before and after sunset are always important times for photographers because of the soft light which also comes from the side instead of being overhead.

In some locations such as winter in Yosemite there is often an early morning mist that quickly dissipates as the temperature warms up and the sun comes out. It is important to be on location and set up so this special early morning light is not missed.

Sunsets also can bring a warm side light but even without the sun, the fading, horizontal light is special. It is the daylight hours that are most contingent upon the weather.

If the skies remain cloudy or if there are storms or clearing storms then it’s possible to shoot all day. But if the sun is bright and the sky clear then I use these hours for scouting locations that can be returned to at a later time.

One of my favorite types of light I call “liquid light” and it’s during or after a rain when colors are saturated and there is moisture or mist in air. This moisture does show up in photographs and adds another dimension or depth to images that is not there when the air is dry. When these moist conditions are present I try to be there and shoot continuously.

Fordie: Your focus at home has been very much on conservation. How can photography help with conservation efforts in China?

Doug: While it’s true that I have done a lot of photography for various conservation groups such as The Nature Conservancy and The Big Sur Land Trust, I am not familiar with conservation efforts in China. In general terms, however, strong photographic images are always a valuable tool to help various groups and even governments realize the importance of preserving natural treasures.

Now that I have made quite a few trips to east Africa I have become increasingly aware of the very serious problems of poaching that continues to be rampant, even in national parks. The populations of elephants, lions, rhinos and other animals have been decimated in the past few decades and this continues today. Over 100 elephants are poached in Africa every day and in 2010 over 300 rhinos were poached in Zimbabwe alone.

I now incorporate these and other statistics in my digital presentations and any writing that I do about Africa. If I became aware of similar problems in China I am sure that I would try to draw attention to the situation there also. China is directly responsible for much of the poaching that occurs now in Africa and I would be very interested in listening to what Chinese people might have to say about this situation.

Fordie: Where else would you like to visit in China?

Doug: I am very interested in the more remote areas of China where old customs, clothing and architecture still survive and are the norm. I would like to go Mongolia or any region where there are hill tribe people living as they have for centuries. Over the years I have gone trekking in many remote locations from Ladakh to Irian Jaya and am always intrigued by local customs and how these merge with universal human needs and desires, such as family and community.