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A Conversation with Dr. HJ Yang
by Editor HJ Yang
Edited and published by Yvette Depaepe, the 22nd of September 2025
‘Hope From Doubt’
William Patino is a world-renowned landscape photographer from Te Anau in New Zealand. He is widely considered to be the best landscape photographer in New Zealand today. He has won numerous awards and been published internationally and has taught thousands of enthusiastic photographers through his workshops and online tutorials.
Please visit his website www.williampatinophotography.com for all his work and programs.
In May 2025, I had the opportunity to visit him in Fiordland, New Zealand, and aboard the Flightless ship Pure Salt by helicopter from Te Anau. We spent several days together on the ship during our photo expedition, which was led by our mutual friend Marc Adamus.
Hello Will, it is a great honor and pleasure for me to visit you. Your unique programs and photographs have attracted and touched the hearts of many people all over the world, including many in our 1X community. Thank you for your contribution to the world of photography and for making this conversation possible.
How did you get into photography?
Firstly, HJ, thank you for your kind words and for interviewing me. It was a pleasure to share my corner of the world with you recently.
I started my photography journey back in late 2011. Initially, this stemmed from my passion for skateboarding as a youth. Videography and photography are part of the sport, and I was interested in videography throughout my teens. However, I eventually tried still photography and really enjoyed it. Browsing online, I came across some landscape photographs that immediately drew me in. I tried capturing a sunrise one morning and was completely hooked. I haven't stopped since.
Who influenced your photography when you started?
My primary inspiration is nature, and the sense of reverence and awe that we experience during those rare, fleeting moments of surprise. The element of the unknown constantly drives and inspires me. When it comes to influences, Marc Adamus (marcAdamus) has undoubtedly had a strong impact on my work. When I first saw his photographs in 2012, I was deeply moved by them in a way that is hard to explain. His photography expressed how I felt in nature and what I wanted to convey in my own images. It was not just about the aesthetics, but the feelings they evoked. I wanted to create the same feeling that I experienced.
Looking at his images taught me a lot about how he worked with light and composition in grand scenes. It was unlike anything I had seen before in my part of the world.
Years later, I feel honored to call him a friend. We have shared many fond memories of exploring the landscape together. Of course, it must be said that there are many other inspiring photographers out there, and I'm generally motivated by seeing people get out there and develop their art and craft. It’s refreshing to see people doing what they do and doing well. I’m also influenced by master artists who used paint as a medium, such as Albert Bierstadt and Thomas Cole, who were part of the Romanticist movement. For me, it's all about emotion and expression.
How did you come to create your unique photography program?
I have a large catalogue of online video courses which I started creating in late 2018. I noticed that there were lots of tutorials on processing, but hardly anything based in the field. Having taught myself through trial and error, I know how frustrating it can be for amateurs learning the craft, and I thought that many people could benefit from such videos. So, I decided to create video lessons showing various aspects of landscape photography, not just processing.
I continued to develop these tutorials, but once the borders to New Zealand closed during the pandemic in 2020, I began creating a larger catalogue. I haven’t stopped since, and I now also complement my online courses with an active YouTube channel.
What makes this program so successful?
I’m so busy running workshops, working as a photographer and filmmaker, and being a family man that I don’t have much time for anything else. I use a small agency in the US to help promote my online courses and take care of some of the other logistics. However, even with that support, you still need an effective product that people enjoy. Thankfully, this seems to be the case, and I think it’s because I don't hold anything back when teaching. I try to get straight to the point and cover all the necessary information. I just want things to be relatable and effective. It probably helps that I get to work in spectacular and inspiring locations, too.
Which aspect of your work do you enjoy the most: leading photo tours, running workshops, or delivering online courses?
When it came to the business side of things, I was mindful that if I made photography my career, I really didn’t want to lose my passion for it or the personal benefits it had brought me, such as providing me with an outlet. Teaching has enabled me to maintain a personal connection to my photography and keep it as an outlet. It’s not commercial, and I don't create for anyone else. If I had to do that, I think I would have burned out and lost my love for photography.
Two big perks of my job as an educator are seeing the joy on people's faces when they're moved by a landscape and seeing them light up when they create a special image. It’s incredibly rewarding, and I’m thankful for it. I get a lot of feedback from people online, too, so knowing that I’m potentially helping others on their photography journey is a real blessing and keeps me inspired. Photography has changed my life in many ways, and I am very grateful if I can help others on their photography journey.
Why do you think your photography is unique?
Others can decide for themselves whether it is or isn’t, but I think what really sets some landscape photographers apart is not necessarily the technical or creative elements, but rather having a deep, intimate connection with the land and subject with which they work. Consider Ansel Adams and Yosemite, or Guy Tal and Utah: there is something transcendent in their work that comes from spending thousands of hours in a place or studying a subject.
I live in Fiordland in the south-west of New Zealand. This region is where my heart lies; it’s my passion, and it's where I do most of my exploration and photography. It’s a unique part of the world with very distinct characteristics. I have a deep connection with the land here and strive to express that through my photography.
What is the most challenging part of your photo experience, and why?
I consider myself very fortunate to have experienced many breathtaking and elusive moments in nature. I have an inexplicable urge to capture such moments in photographs, but they are often unexpected and derive from a series of events that suddenly culminate in a moment of revelation. Experiencing this is the greatest joy, and nothing compares to it or provides greater inspiration. Being surprised by nature is the greatest joy.
The challenge I face is giving myself time to simply be in nature without too many preconceived ideas. I’m often not satisfied with my work, so naturally I want to plan trips or projects to raise the bar, but generally the harder we try, the further we push ourselves away from those special moments. So, it's about letting go and simply getting out there. This sounds simple, but it's quite complex — especially when you have a business to run and a family to spend time with. While we need goals in life to give us direction, I find that the best photography often stems from having no goals. This presents me with a mental challenge and can lead to me being very discontented with my work. Eventually, however, the next moment arises unexpectedly, and inspiration returns.
Tell me more about yourself. In what ways has your personal experience influenced your photography?
Having an outlet allows someone to open up and express something from within. For me, photography is both my calling and my vessel. I don't consciously decide to express personal experiences in my work, but I think this happens naturally and subtly over time. I discovered photography in my early 20s, and it completely changed the course of my life. It has had a profound impact on me in every way, especially spiritually. My spiritual life inspires my photography, and my photography strengthens my spiritual life.
How do you balance family life with your professional commitments?
I think this is tricky for anyone who is self-employed. I grew up in Australia, where I started my career, but I had to travel a lot for workshops to make a full-time career in photography a reality. Moving to New Zealand felt like an opportunity and allowed me to spend more time with my family. We moved here when my children were six months and three years old. They're now almost nine and eleven! We're based in a community we love, but also on the doorstep to Fiordland — the only place I've ever truly felt at home. This makes it easier for me to be home often and close to where I do most of my work. Family is my top priority, and I’m fortunate to have the support of an amazing wife who helps with my business and running the house. Together, we make it work, and we also try to volunteer in the community together. I try to make my career and schedule suit my family life, not the other way around.
How can current AI technology be adapted?
I don’t like the fact that AI-generated images and videos are becoming so prevalent on the internet. AI tools certainly have great advantages, and I don’t mind using them to help with autofocus, eye detection or processing, or to help me select an object in a scene. These are things that I would previously have done manually, but which can now be sped up. However, I don't use AI to add or subtract from a scene in my work. I prefer to keep it this way, as I’m more content with letting things go, trying again or accepting imperfections. I find greater fulfilment in creating photographs this way.
What effect do you think AI will have on photography, both as a practical skill and as an art form?
The thing about cameras is that there are photographs, and then there is photographic art. Unfortunately, AI is replacing photography and will continue to do so. This is similar to how photography replaced some aspects of painting. Early explorers would paint or sketch scenes for documentary purposes, but the invention of the camera changed that. However, painting is still around today because some people enjoy painting for its own sake. The same can be said for photography. It's not about needing an image; it's about the process of creating one.
I don’t think AI can truly have a place in the world of photographic art, because to me, art is not just about the final creation; it's also about the creator's intent and process. AI cannot replace the human experience of creating art, nor can it replace the experience of photography, painting, writing, and so on. Many people still paint despite the invention of the camera, and many people will still use a camera despite the fact that AI can produce similar photos. AI can replace outcomes, but not experiences, and I think that, for us humans, life is all about experiences.
What advice would you give to beginner photographers?
Just enjoy the process and have fun! It's as simple as that! Don't think of photography as having an end goal because it doesn't. It's endless. So just enjoy the process and the small, fleeting moments that nature provides.
Thank you very much, Will, my dear friend, for taking the time to do this interview and share your personal experiences with me. I am looking forward to joining your future photography program and seeing more of your wonderful, unique work. I wish you good luck in all your future endeavors.
‘The Disappearing Falls’
‘Moonrise’
‘D’Archiac’
‘Beauty And Chaos’
‘Above The Darkness’
About Editor Huijun (HJ) Yang, Ph.D.
In this series, Dr. HJ Yang, Scientist, Businessman and Nature Photographer, talked to some today’s world well known nature photographers, sharing with us not only their unique artistic magic images and photo programs, but also their personal life stories.
A Conversation with Dr. HJ Yang Series:
Daniel Kordan: World-renowned photographer and explorer
Marc Adamus: Visionary and Innovator of landscape photography
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 | Cristiano Giani PRO ...great landscaper, stunning images. Many congrats and thanks for sharing... |
 | Jane Lyons CREW Insightful interview and fabulous landscapes. Thank you very much, HJ. |
 | Francisco Villalpando PRO Wonderful photographs and very interesting interview, congratulations! |
by Editor Jacob (Jian) Xu
Edited and published by Yvette Depaepe, the 19th of September 2025
‘We are here waiting for you’ by Shenshen Dou
The word 'photography' comes from the Greek words 'phōs' (light) and 'graphé' (drawing), meaning 'drawing with light'. This etymology reveals a fundamental way of thinking: that light is the essence of photography. It's clear where this idea comes from. Without light, a photograph is meaningless. Light reveals form and colour, sets the mood and defines the atmosphere.
Understandably, most photographers focus primarily on mastering light, learning how to apply it best to highlight subjects, balance intensity and control direction.
However, light alone tells only half of the story. Shadow has equal power. It is shadows that give an image dimension, presence and balance. Without them, photographs often appear flat or lifeless. They create depth and space, sculpting and contouring the scene to hide or highlight elements.
By using shadows intentionally, a photographer can influence how an image is perceived, invite interpretation and add mystery. Sometimes, revealing less can be more powerful. Understanding how light and shadow interact, and learning to harness them purposefully, opens the door to more powerful photography.
Through a collection of photos, we will explore several approaches to using light and shadow, including well-known high-key and low-key techniques, strong contrast, subtle transitions and the emotive force of directional lighting. Each method has the potential to transform an image from mere documentation into something more poetic and evocative.
High Key & Low Key Imagery
High-key and low-key lighting lie at opposite ends of the tonal spectrum, evoking distinctly different feelings.
High-key photography is characterized by a predominance of bright tones and minimal shadows. Images in this style often appear clean, soft and ethereal. The tones convey joy, openness, simplicity and a dreamlike quality. Subjects are evenly illuminated, creating an overall effect of lightness in both tone and mood.
‘Tenderness’ by Chris Latham
‘Blue silence’ by Jose Beut
‘ZEBRAS’ by Juan Luis Duran
‘Lovely Morning Dance’ by Fauzan Maududdin
‘Cold Angel’ by Henrik Delfer
By contrast, low-key photography is centred on darkness and negative space. Deep shadows and controlled highlights dominate the composition, creating a sense of drama, intimacy or mystery. The mood is often more intense and introspective, encouraging viewers to take a closer look and interpret what is hidden from view. In low-key imagery, what is not shown can be as powerful as what is illuminated, leaving room for the viewer's imagination.
Both techniques demonstrate how tonal control can influence not only the appearance of an image, but also the emotional impact it has on the viewer. Importantly, shadow is not merely the absence of light. It is also a design element, a narrative device and a creative force.
‘Lovely Dawn’ by Marek Boguszak
‘Mom bear with cub’ by Xavier Ortega
‘Rivero’ by Jose C. Lobato
‘White queen in the dark night...’ by Thierry Dufour
Strong Contrast
Strong contrast is an eye-catching visual style that relies on pronounced differences between light and shadow. When used effectively, it simplifies the visual field and strengthens compositional clarity. Shapes become bold, subjects stand out powerfully against their backgrounds and the viewer's attention is drawn with precision.
Contrast can convey tension, movement or decisiveness. It can also isolate moments, enhance abstraction or impose order on chaos. In street photography, for example, strong contrast can capture fleeting gestures in hard midday light. In landscape photography, it can render dramatic skies or crisp silhouettes. Regardless of genre, high contrast enables light to create strong visual statements. Shadows play a central role in amplifying this impact, acting as the darkest reference point in an image.
‘Light illuminating the stairs’ by monkichi
‘Virtual capture’ by Giorgio Pizzocaro
‘In company’ by Yuan Su
‘Sand Dunes 3’ by Aidong Ning
Subtle Transitions
Whereas contrast is assertive, subtle transitions between light and shadow provide a gentler, more nuanced expression. Such gradations often occur in soft light, on overcast days, in shaded environments or in scenes lit by diffused window light.
Such transitions create a sense of atmosphere, depth and tranquillity. They suggest rather than declare, enabling viewers to linger, explore and absorb the tonal complexity of a scene. Rather than directing your attention to a single focal point, subtle light invites participation and draws you in.
In these images, the shadows are usually neither hard nor dramatic, yet they remain essential. Even the softest shadow gives shape and structure to a scene. In these photos, notice how the shadows reveal the contours of the subject with quiet elegance while directing the eye to other parts of the scene.
‘Waiting for love’ by Kalynsky
‘Confrontation’ by Jun Zuo
‘No.507’ by ADIREK M
‘On Wheat Fields’ by James Lu
Directionality & Emotion
The direction from which light enters a scene can dramatically shape its emotional tone and narrative power. Whether side, back or front lighting is used, it can emphasise texture, contour the subject or isolate elements from the background. A shaft of morning sunlight breaking through trees, for example, can evoke serenity. A backlit portrait might feel romantic, nostalgic or intimate.
Similarly, the shadow cast by directional lighting can extend this effect. Alternatively, the shadow can contrast with more diffusive shadows. Whether used to frame, obscure, balance or guide, shadows have the power to deepen meaning and lead the viewer through the image intentionally.
‘Morning Egret’ by Michael Zheng
‘Jacobs ladders’ by Hilda van der Lee
‘Thorns’ by Kovács Levente
‘The Japanese Tree’ by Javier de la Torre
‘After Snow Storm’ By Mei Xu
Conclusion
Light and shadow are more than just technical tools. They are the brushstrokes of photographic art. Light reveals and shadow conceals; together, they shape emotion, depth and meaning. The finest images are not defined by perfect exposure alone, but by how skillfully these elements are incorporated into the composition. A shadow can be as expressive as a highlight, directing the viewer's gaze, evoking memories, and prompting them to imagine what lies beyond the frame. In this way, photography transcends mere documentation to become something timeless — the art of shaping perception through the interplay of light and shadow.
‘Play in the rain’ by sherry ma
‘Composition in the nature’ by Mihai Jeic
‘In the evening’ by Eiji Yamamoto
‘zebra’ by Fengying Long
‘Peace and Quiet’ by Elizabeth Allen
‘The red umbrella’ by konglingming
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 | Lucie Gagnon CREW An excellent article and stunning photographs! Thank you! |
 | Yan Zhao PRO Nice and poetic! Thank you for sharing! |
 | Gabriela Pantu PRO Great article and stunning pictures to ilustrate it.Congratulations and thank you for sharing! |
 | Great topic for the magazine and excellent examples |
 | Heike Willers PRO Thank you fo sharing all these stunning images and interesting article! |
 | Jacob (Jian) Xu CREW Congratulations, and thank you to all the photographers whose beautiful and inspiring images that brought this story to life! |
 | Great article and stunning images ! Congratulations and thanks for sharing !!! |
 | A magnificent article with excellent images. Thanks for sharing. |
 | Michael Zheng PRO A very insightful article. Thank you for featuring my picture. |
 | Another very interesting and comprehensive article. Glad and honored to have one of my image included. Thank you so much Jacob and Yvette! |
 | Roberto Miniero PRO Thank you, great article, wonderful photos and deeply interesting theme ! |
 | Molly Fu PRO Light and shadow, excellent article, beautifully collected images…thanks Jacob and Yvette for this amazing article! |
 | carlo borgatelli PRO Very Interesting article, wonderful pictures |
 | Subhajit Das PRO Great work. Very interesting article. Congratulations!! |
| | Subhajit Das PRO |
| | Subhajit Das PRO Great work. Interesting article. Congratulations! |
| | Jane Lyons CREW A brilliant essay Jacob and your selection of photographs is wonderful. Thank you! |
 | sherry ma PRO The art of mastering light and shadow! What an excellent article! Thank you, Jacob and Yvette! I am honored to have one of my photo included in the article. |
 | monkichi PRO Thank you so much for including my photo. I am truly honored and grateful for this selection. |
 | Mei Xu PRO Thank Jian and Yvette for including my photo in this helpful article. Love all of these images. They are so beautiful. |
 | Jun Zuo PRO Great and very interesting article. I am honored that one of my pictures was included. Thank you very much, Jian and Yvette! |
 | Izabella Végh PRO Bellissimo articolo e molto utile. Le fotografie allegate sono splendide. Grazie per gli autori. |
 | konglingming PRO Excellent editor and work, it's an honor to have one selected for this issue of the magazine. Thank you |
 | Shenshen Dou PRO I am truly honored that one of my pictures been selected in this excellent article! Thanks Jacob and Yvette! |
 | Such beautiful and inspirering photos and text. Thanks for including one of mine photos. |
 | Thierry Dufour PRO Splendid images, thank you Jacob for selecting one of my macros and thank you Yvette for this superb edition. |
 | Eiji Yamamoto PRO Thank you so much for this wonderful and interesting article with beautiful and great photos! It's very inspiring! I am truly honored and glad that one of my photos was included. Thank you so much, dear Jacob and dear Yvette! |
 | Aidong Ning PRO Very interesting article and great collection of images! Glad and honored to have one of my images included. Thank you very much, Jacob and Yvette! |
 | Yvette Depaepe CREW Great and most interesting article about the importance of light and shadows in photography, Jian ... Outstanding choice of images too. Congratulations, my friend and bravo for all the authors. Cheers, Yvette |
 | Elizabeth Allen CREW A superb article and collection of inspiring images. I am honoured that one of my photos is included here. Sincere thanks, Jacob, and also Yvette. |
| Yvette Depaepe CREW A well deserved place in this gallery, Elizabeth! Cheers, Yvette |
By Editor Michel Romaggi in collaboration with the author Moucorn
Edited and published by Yvette Depaepe, the 17th of September 2025
‘Silver lining in the sky’
Dear Moucorn, thank you very much for answering my questions and sharing more information about your work, particularly your outstanding image titled Silver Lining in the Sky. Could you please tell us about the different steps that led to this brilliant result?
The shoot took place in Toranomon, Tokyo. It is a recently opened high-rise complex featuring a hotel, offices and commercial facilities. While many development projects were forced to delay or alter their plans due to the pandemic, this project managed to open as scheduled. The idea is to symbolize hope for a future beyond adversity by placing a person within the building. The building will be slightly abstracted using long exposure photography and composited with a portrait shot with the same composition.
On the day of the shoot, the temperature reached an abnormally high level, which is symbolic of this summer. I wanted to use this increasingly common abnormal weather, which causes anxiety about the future, as inspiration for my photography.
My camera: Sony α7IV, with a Sony FE 20mm F1.8G lens.
Settings for the building: ND1000 filter for a 10-stop reduction, f/22, 31sec, ISO 100
Settings for the person: f/20, 1/30sec, ISO 100
The post-processing plan is as follows:
1. Apply a vertical blur to the buildings to emphasize hope for the future.
2. Overlay reddish-brown tones centered on the figures to express the abnormal heatwave.
3. Leave elements of unease alongside hope in the sky and clouds. In other words, the main post-processing task is to composite three elements: a long-exposure photo of the buildings, a blurred version of that and a photo of the figures within the same composition. This is achieved by adjusting the areas preserved through masking.
4. The initial version, after post-processing, had a subdued colour palette that conveyed a sense of unease rather than hope for the future.
To refine it into the final version, I adjusted the layered colours, saturation, brightness and contrast, and applied a slight softening effect to the highlights.
You chose the category street photographs, but you applied a lot of post-processing to them. Could you tell us what you are trying to convey?
I often photograph buildings and structures alongside people. Massive architecture symbolizes technology, culture and the history of a place, so including people in the shot makes it easier to tell a story. With this piece, I wanted to convey the positive expectations for the future that the new skyscraper signifies, as well as the underlying anxiety behind them. To achieve this, I edited the image to align the vertical momentum, brilliance, sky tone and surrounding atmosphere with the intended message. I wrestled with the balance between hope and anxiety until the very end. Ultimately, I believe I leaned more towards hope.
'Strolling under the blazing sun'
'Miscommunication'
Regarding your titles, are they created before or after the shoot? In other words, are you trying to convey a particular emotion, or do you use your titles to interpret your images?
As I'm not a native English speaker, I always struggle with titles. For this piece, I had a predetermined shooting concept and wanted the title to relate to future expectations. I'm glad I found the phrase 'silver lining', which matches this work's message perfectly. Sometimes I take photos without much thought and later come up with interpretations and titles, but most of the time I prepare a shooting concept beforehand. Sometimes I include musical imagery in the concept, and when that works well, I'll use the musical piece's title directly.
‘Living in fantasy’
'Vague memory’
To conclude this enjoyable conversation, please introduce yourself and tell us how photography fits into your life.
My name as a photographer is Moucorn. I primarily support clients' business transformations, and I am not a professional photographer. For me, photography is a way of interpreting and expressing the world. I find joy in discovering stories in the world around me, interpreting them and recreating them to capture their essence. This experience has a positive influence on both my work and other areas of my life.
I would like to express my gratitude to the friend who appeared in Silver Lining in the Sky. Her natural and striking expression undoubtedly gave this piece tremendous power.
Thank you all for reading the commentary on my work and photography. It would be my greatest pleasure if you found it even slightly useful.
Thank you, dear Rio ...
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 | Jenny Cameron PRO Absolutley enjoyed this, thanks for sharing. |
 | moucorn PRO Thank you for reading the article Jenny! I'm glad you enjoyed it. |
 | Miro Susta CREW Dear Michel, thank you very much for the interesting, informative, and educational interview, as well as for the beautiful photos. |
 | Michel Romaggi CREW Thank you Miro . |
 | MingLun Tsai PRO Excellent article with beautiful images! Thanks for sharing. Congratulations! |
| moucorn PRO Thank you for reading the article MingLun! |
 | Nishida PRO おめでとうございます。やはりコンセプトやストーリーが大事なんですね。合成の過程も興味深く読ませて頂きました。 |
| moucorn PRO 西田さん、ありがとうございます！撮影時、加工時に考えていることをまとめてみました。 |
| | Eiji Yamamoto PRO Thank you so much for sharing your techniques and for such an interesting article! It's very inspiring! Congratulations! |
 | LILY PHOTOGRAPHY PRO 記事掲載、おめでとうございます！印象的なストリート写真の組み立て方がとても勉強になりました。といっても自分でできそうな所業ではないので、インスピレーション源として引き続き勉強させて頂きます。いつかお会いして直接お話しできることを願っています。 |
| moucorn PRO LILYさん、ありがとうございます！フォトパ展でRuaさんの大型作品拝見しましたー。きっとどこかでお会いできると思います！ |
 | Yuzo Fujii PRO Moucomさんマガジン登場おめでとうございます！素晴らしい快挙ですね～！Congratulation! |
| moucorn PRO 藤井さん、ありがとうございます！声が掛かるとは思っておらず驚きました。 |
by Jane Lyons
Edited and published by Yvette Depaepe, the 15th of September 2025
When photographing animals, whether domestic or wildlife, one of my main goals is to capture their essence and uniqueness in a technically strong portrait.
However, I know that there is still something missing: the artistry that elevates the subject from pure representation to fine art. It is this result that makes me feel accomplished and satisfied.
Capturing an animal to the standard required by National Geographic and producing a photograph that could be displayed in a gallery can be a subtle and seamless transition if good design and aesthetic choices are made in both the camera settings and the post-processing. To achieve a 'fine art' result, you need to know your subject well. The key is to capture its behaviour, idiosyncrasies, habits and personality.
by Antje Wenner-Braun
Techniques such as using different camera settings and movement, low-key methods, dark and minimalist backgrounds, rim lighting, and skilful composition of shape, line and texture can transform a photograph, creating a different mood and atmosphere.
In post-processing, an artful crop can transform a competent animal portrait into a work of art.
So can a black-and-white conversion.
While purists recoil at the thought of altering backgrounds, I find that creating a partial or blended background can enhance the essence of the animal. Developing the skill of creating an overall aesthetic that enhances the original light and colour is worthwhile.
Using natural grounds and foregrounds, as well as artful and natural props, signs, limbs and branches, while keeping the subject in its natural habitat and blending in texture, light and colour, adds lustre to the subject.
This is what a good portrait photographer does to capture the essence and personality of their subject.
How would Steve McCurry or Annie Leibovitz photograph and post-process an animal in the wild?
The answer seems to be elevating the natural artistry and beauty of the animal.
This is a quick search and small selection of examples I found in the 1x archives. I have included one of my own examples because it illustrates what I am talking about. Feel free to give your opinion by commenting below.
Artful crop
‘white horse’ by Bo Wang
'Flamingo in the last light' by Xavier Ortega
Blended background
‘Hell Bent’ by Jane Lyons
'Pelican meeting' by Xavier Ortega
Rim lighting
Untitled by Antonio Grambone
'Time to play' by Xavier Ortega
Camera movement
‘Time to catch fish’ by Phillip Chang 
'Duel' by Milan Malovrh
Artful crop, minimalistic background
‘Ostrich Protecting two Poor Chicken from the Wind’ by Piet Flour
'Whereabouts of that fish' by jealousy
Painterly background
‘Crazy Hair Day’ by Susan Beausang
'Fairy 'tail' by Yvette Depaepe
Artful prop
‘No Parking’ by Fion Wong
'Within the focus point' by Zoltan Gyori
Natural ground, blended background
‘The Rock Star’ by Alfred FornsBlack background
‘Roseate Spoonbill’ by garett chinn
'Agnus Dei' by Pedro Jarque Krebs
‘Flying Zebra’ by Wim van den Heever
'New born swan babies' by Wilma Wijers Smeets
A key point to bear in mind is to always show respect for animals and refrain from harming them for the sake of art.
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 | Ray Clark PRO Gorgeous shots! Perfect art. |
 | lovely photos and amazing shots...congratulations |
 | Beautiful inspiring works with excellent tekst |
| Jane Lyons CREW Thank you, Brigitte |
 | Rui Wang PRO What a stunning gallery of the Art!!! |
| Jane Lyons CREW Thanks, Rui |
| | Eiji Yamamoto PRO Thank you so much for a very interesting article with great photos! It's very inspiring! |
| Jane Lyons CREW Thank you very much, Eiji |
 | What an inspiring and delightful collection of photos in this article, I am awestruck by the beauty of all the images! Congratulations to all the featured photographers for their exceptional work!! 👏👏 |
| Jane Lyons CREW Thanks, Carolina |
 | Bogdan Timiras PRO Thank you for excellent text and thank you for super pctures! |
| Jane Lyons CREW Thank you, Bogdan |
 | Xavier Ortega PRO Thank you so much, Ivette and Jane Lyons, for this fabulous article. It's an honor to be part of the images. Congratulations to all the photographers. |
| Jane Lyons CREW Thank you, Xavier! |
 | Antonio Grambone PRO
I'm happy to be part of this selection. Congratulations to all the artists and to Jane Lyons for the article. |
| | Antonio Grambone PRO
I'm happy to be part of this selection. Congratulations to all the artists and to Jane Lyons for the article. |
| Jane Lyons CREW Thank you, Antonio! |
 | Caroline Bomers PRO Such a beautiful gallery and with respect towards the wildlife. Impressive art. Thanks for sharing this article. |
| Jane Lyons CREW Thank you, Caroline |
 | Piet Flour PRO splendid series with a lot of different visions |
| Jane Lyons CREW Thank you, Piet |
 | Beeindruckende Fotoarbeiten ……. |
| Jane Lyons CREW Thank you, Angelika! |
 | Ali Khataw CREW Beautiful work well choreographed into a beautiful presentation. Kudos to the editorial team! |
| Jane Lyons CREW Thanks you, Ali |
| Jane Lyons CREW |
 | Wonderful article!! I have a strong tendency towards objective photography but always love the more artistic representations of wildlife. Your words and photo collection really hit the mark for me! |
| Jane Lyons CREW Thanks very much, Christine! |
 | Bole Kuljic PRO Outstanding Yvette! Beautiful , educational. and inspirational. |
| Jane Lyons CREW Thank you, Bole |
 | Yanyan Gong PRO Thank you very much for this outstanding collection! |
| Jane Lyons CREW Thank you, Yanyan |
| | Cristiano Giani PRO Fantastic ! Love it....Thanks for sharing |
| Jane Lyons CREW Thank you, Chistiano |
 | Dazhi Cen PRO Amazing and vivid! |
| Jane Lyons CREW Thank you, Dash |
 | Giovanni Cavalli PRO Thank you very much for this article! |
| Jane Lyons CREW Thanks, Giovanni! |
 | GENNARO DI NOTO PRO A stunning gallery of Art works Congratulations!
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| Jane Lyons CREW Thank you very much, Gennaro |
| | Elizabeth Allen CREW A stunning and inspiring collection of images. Congratulations, Jane, and thanks to Yvette as always. |
| Jane Lyons CREW Thank you, Elizabeth! |
By Editor Colin Dixon
Edited and published by Yvette Depaepe, the 12th of September 2025
As we go into a period of Technological (Industrial) Revolution with AI technology which is going to change our lives and work for the future generations, I thought I would look at an event 200 years ago, another revolution from the past, Railways and Steam power.
The first Railways used were in mines where tracks were used to move coal, but these were carriages pulled by horses.
The oldest of these railways was the Middleton Railway in Leeds, England. Built in 1758 - it is the world's oldest working railway in continuous usage.
Richard Trevithick
Trevithick, a British inventor and engineer, was one of the pioneers of high-pressure steam engines. His steam engine was involved in the world's first locomotive-hauled railway. This journey took place on 21 February 1804 when Trevithick's unnamed steam locomotive hauled a train along the rail lines of the Penydarren Ironworks, in Merthyr Tydfil, Wales.
Unfortunately, his engines were too heavy for the tracks and railroad had to revert to horse drawn.
The Stephenson family
This problem was eventually solved by George Stevenson and his son Robert who recommended using malleable iron rails, even though he owned a share of the patent for the alternative cast iron rails. Working alongside a steam engineer, George Overton, who in 1820 received permission to build the world's first public railway to use steam locomotives.
Their first line was to connect collieries near Shildon with Darlington and Stockton in County Durham, England, to only carry coal at first. On 27th September 1825 the directors gave permission for a test run of the steam locomotive and coal waggons also carrying people. They gave permission for 300 passengers and it was driven by James Stephenson, George’s older brother.
But the train left carrying between 450 and 600 people, most travelling in empty coal waggons but some on top of waggons full of coal. It travelled at an average speed of 8 mph (13 km/h).
But train journeys had begun and in the following years revolutionised the world. As the networks grew around the UK and the world, goods could be moved quickly and people could now travel longer distances and in less time.
One of the first consequences of this was standardised time. Before the railways, clocks in different areas could be set to different times - a clock at a train station in London might read 2pm while, at the same time, a clock in an Edinburgh station might read 2.10pm. The railway companies introduced standardised time so that train timetables could be coordinated and trains departed and arrived on time.
This was not only a huge advance in the industrial revolution, making the movement of coal and goods quicker, cheaper and easier over larger distances. Trains and railways also affected the whole world in the movement of people over greater distances, for example in the USA. But we all live with the changes brought about by this invention in our every day lives. Many of us as photographers find trains and railways a huge inspiration and here are some of the subjects that inspire the creators here at 1X.
TRAINS
‘Wälderbähnle : Climbing the Ramp’ by Peter Ebel
‘Trainsets’ by Leif Løndal
‘The Train in Snow’ by Steve Zhang
‘TrainStation’ by Marcel Egger
‘The Horse Against The Iron’ by Vlad Paulet
PEOPLE WHO RUN THE RAILWAYS AND TRAINS
‘Railroad Bil’l by Richard Bland
‘Bucharest North railway station’ by Julien Oncete
‘machinist’ by Christoph Hessel
‘Proud train conductor’ by Marius Cinteza
TRAIN STATIONS
'Portugal World Most Beautiful Train Stations’ by Nancy Sun
‘Chicago Station 2’ by Carmine Chiriacò
‘Blue eyes’ by fotomarion
‘The little orange stairs’ by Wilma Wijers Smeets
‘Train station’ by Martin Steeb
‘Fragments Of Lost Time’ by Laura Mexia
‘Baker Street Station 4’ by Steven Zhou
THE CUSTOMERS (TRAVELLERS)
‘ghostly’ by Desislava Ignatova
‘The last prayer’ by Azim Khan Ronnie
‘Emotion of eyes’ by Fahad Ahmed
‘Farewell Spock’ by Jochen Bongaerts
‘CENTRAL STATION HUSTLE’ by Tom Baetsen – xlix.nl
‘The Express Train’ by Yuzo Fuji |
 | Martin Steeb PRO Interesting article with great images. Thanks for sharing, Colin and Yvette. Thank you very much for choosing one of my works. |
| | Amazing article, very interesting story and illustrated with wonderful photographs! |
| | Miro Susta CREW Very interesting article, wonderful photographs, thank you Colin and Yvette |
 | Rae Zhang PRO Wonderful images! |
| | carlo borgatelli PRO Beautiful images, thank you |
 | Growing up in India and traveling across its length and breadth, the Railways have always been an integral part of daily life. It's truly wonderful to see how trains tell stories across the world through such powerful imagery. Congratulations to all the featured photographers!
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| | Excellent article with beautiful images! Thanks for sharing. |
 | Colin Dixon CREW Thank you |
| | Yaping Zhang PRO 精湛的文章和精彩纷呈的照片！ |
| | Eiji Yamamoto PRO Thank you so much for a wonderful and interesting article with great photos! |
| Colin Dixon CREW Thank you Eiji |
 | fotomarion PRO Great article and a good composition with all the excellent captures. |
| | The old, the new and in between. Wonderful. |
| | What a compelling and wonderfully illustrated story. Congratulations to all the featured photographers! |
| Colin Dixon CREW Great artists of 1X Bravo |
 | Immagini molto interessanti. Rendono vivo il cosiddetto “non luogo “ |
| Colin Dixon CREW Grazie !!! |
 | Roland Weber PRO Cool. Really wonderful. Thanks for the story and the photos, Yvette and Colin.
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| Colin Dixon CREW Thank you Roland |
| | Jacob (Jian) Xu CREW Wonderful articles with great images! |
 | Richard Bland PRO Thank you so very much for including my shot of "Railroad Bill" in this article |
| Colin Dixon CREW Thank you Richard and a great picture |
 | Carmine Chiriacò CREW This is a very interesting article with excellent photos. Thank you so much for choosing one of my works, Colin. I am very pleased. Thank you very much, Yvette, too. |
| Colin Dixon CREW No problem Carmine and thank you . |
 | Excellent |
| Colin Dixon CREW Thank you |
 | Peter Ebel PRO Thanks Colin for putting the light on trains!
Yes, without the innovation in traveling by train there would not have been any standardization of time.
And this triggered even deeper thinking about time and unanswered questions left: Einstein's Theory of Relativity was to be laughed to change the way of thinking in Physics and more, all caused by trains. |
| Colin Dixon CREW :) Thanks Peter |