Do I Have a Style?

May 14

The Way I See It

People sometimes ask me why my photos look the way they do or reply with “it doesn’t look real”. I think what they’re really asking is: why does this look different from what I usually see in real life?

I’ve spent years trying to find a way to capture Newfoundland that feels honest, but captures what I feel or envision. That does not always include capturing the scene how it is seen with the eye.

I consider myself a fine art photographer first and foremost. The camera is my brush, a tool for creating something new or unusual, not just for recording what’s in front of me. That tends to be the job of a Photo Journalist. Capturing a scene exactly as the eye sees it is secondary for my approach. Although I do create plenty of images that are close to what the eye is seeing. My focus is more often on mood, emotion, and interpretation than on literal representation. More times than not I want to create what the eye can’t see. A touch of ethereal blended with the familiar.

*Joe Batt’s Arm Fogo Island Newfoundland*

A Few Influences

Like most photographers, I’ve learned from others. Not directly but through inspiration. I’m inspired by Peter Lik and his Fine Art Photography style, Marc Adamus editing style which is a big influence on modern landscape photography, Michael Kenna for his minimalist images. Their work has mostly helped me figure out what to include in my photography, learn from that and create something unique to me.

Why My Work Looks the Way It Does

Most Landscape Photographers dream of perfect skies. Unfortunately that is not typical for Newfoundland. It can often be foggy, windy, and grey. But there’s something beautiful in that too. I try to work with these conditions and lean into the atmosphere and mood of the landscape. Plus that is Newfoundland in a nutshell.

One thing you might notice in my photos is how still everything feels. That’s often the result of using long exposures, sometimes just a few seconds, sometimes much more. I use them not just as a technical trick, but as a way to remove distractions. Sometimes the waves are not big enough to be interesting so I will soften them with a long exposure leaving just the essential shapes and light behind.

*SS Charcot Conception Harbour Newfoundland.*

It’s a way of simplifying a scene without stripping it of feeling. It helps draw the eye to what matters and supports the kind of minimalist composition I’m drawn to. I want my images to feel calm, spacious, and quiet, the way it feels to actually be there.

You’ll notice I don’t often shoot during the brightest part of the day. I prefer softer, more dramatic light — early mornings, late evenings, or those in-between weather days that give a scene a bit of mystery. I want the viewer to feel something, not just see something.

Editing with Intent

Yes, I edit my photos, but with an intent to amplify the atmosphere and mood in the scene. I adjust light, contrast, and tone to guide your eye, to highlight what made me stop and take the photo in the first place.

*Spillars Cove Twillingate Island Newfoundland.*

Composition: Keeping It Simple

Newfoundland has so much natural drama that I find myself drawn to quiet, simple compositions. A small fishing stage against a big sky. A stretch of coast with nothing else around. These kinds of images leave room for people to feel something and that’s often more powerful than a frame packed with detail.

To get those shots, I often return to locations again and again. Sometimes I don’t even take the camera out. But when everything lines up light, mood and atmosphere, I try to make it count.