There’s a certain magic to flipping through the pages of a well-curated photography magazine. It’s not just about the stunning images, though they are certainly the hook; it’s about the deep dives into the artist’s philosophy, the technical insights that spark new ideas, and the sense of connection to a vibrant community of passionate individuals. Outdoor Photography issue 317, now on sale, is precisely that kind of immersive experience. For me, someone who finds profound beauty woven into all art and believes the immense effort poured into these visual narratives is almost tactile, this issue delivered a rich tapestry of inspiration, pushing me to look closer at both the grand landscapes and the subtle stories found within.

The least we, as viewers, can do when holding such a carefully crafted publication is to fully immerse ourselves, letting their narratives unfold and truly touch our souls. What often deepens my appreciation even further is delving into the stories behind their creation, the hidden paths and inspirations. This echoes my enduring fascination with music – how the tales surrounding an album’s birth or a song’s journey can be just as captivating, sometimes even more so, than the finished notes themselves. This issue of Outdoor Photography excels at providing that multifaceted experience, presenting not just incredible shots but the very heart of the artists behind them.

Unearthing Vision: From Forests to Forgotten Places
One of the standout features is the interview with Ellie Davies, whose fascination with forests, folklore, and fairy tales is collated in her expansive new book, Into the Woods. Her work immediately resonated with me. I spent much of my own childhood in Aberdeen, often escaping into the wilder edges of the city, where granite bites the sky and the North Sea mutters. Like Davies, I found solace and wonder in nature, and her description of a “TV-free childhood” spent rambling in the woods brings back vivid memories of my own early days exploring the hidden corners of the North East of Scotland.

Davies’s approach to landscape photography is particularly compelling. She speaks of forests as “potent symbols in folklore, fairy tale and myth,” places of both enchantment and danger, and how they relate to “psychological states relating to the unconscious.” This philosophical depth is something I constantly seek in the photography I consume and create. Her willingness to make “interventions”—altering scenes, using found materials, or overlaying Hubble Telescope starscapes—challenges the rigid “authentic representation” dogma. This openness to creation, to allowing the viewer to “enter the space and understand or interpret it on their own terms,” is something I deeply admire. It speaks to the idea that a photograph is not just a record, but a carefully constructed narrative, a sentiment I carry from my own background in comic book storytelling where every panel, every line, contributes to a larger emotional arc. Her quiet yet profound exploration of her own relationship to the landscape, her history, and her understanding of how life bleeds into her work, is a beautiful example of the Authentic & Unvarnished Voice I champion.

Another fascinating piece is Niall Benvie’s exploration of urban dereliction. At first glance, “urbex” photography might seem far removed from “nature photography.” But Benvie eloquently argues that it’s “just another aspect of what we call nature photography.” He sees it as documenting “ineluctable natural processes that work to reclaim whatever we build,” showing “the process in its early stages.” This perspective is a brilliant example of Philosophical & Societal Undercurrents at play. It’s about seeing the beauty in decay, the subtle power of nature reasserting itself over human endeavour. This concept of finding wonder in the unexpected, of seeing the glow in the grit, strongly resonates with my own photographic journey, especially in my “Echoes of the Past” project, where I document the slow reclaim of forgotten spaces by time and nature. His practical advice on finding locations and navigating potentially tricky situations also offers valuable insights, grounding the philosophical in the real.

From Far Horizons to Familiar Coasts: A Diverse Palette
The interview with landscape and nature photographer Jack Lodge, whose stunning image graces the cover, offers a compelling look into a decade of full-time professional work. His reflections on building a career in such a competitive field provide both inspiration and practical insights. Dan Santillo’s essential guide to spring astrophotography immediately caught my eye, with its detailed advice on settings, techniques, and fieldcraft for shooting “otherworldly landscapes.” The idea of capturing the vastness of the cosmos, a “cosmic flip” to the intimate details found in other features, always sparks a profound sense of humility and wonder in me, much like looking up at the night sky over the quiet landscapes of my own childhood.

Brian Matthews’ tips for photographing Britain’s coastal wildlife also resonated deeply. Growing up surrounded by the wild North Sea coast, I have a profound connection to maritime landscapes. His guidance on capturing the rich variety of wildlife found off the UK coast is invaluable. It’s a reminder that incredible photographic opportunities often lie right on our doorstep, if we only take the time to observe and understand our local environment.

And then there’s Frank Gardner photographing hummingbirds in Tobago. As someone who finds beauty in all art, whether it’s grand landscapes or tiny details, the sheer vibrancy and delicate movement of these “wings of angels” are mesmerising. It’s a testament to the skill required to capture such fleeting moments, a challenge I often face when photographing elusive details in my own projects. The diversity of subjects – from sprawling landscapes to minute wildlife – highlights the breadth of what Outdoor Photography covers, ensuring there’s something to spark inspiration in every reader.

The Art of the Book and the Power of Purpose
Beyond the captivating features, the regular sections consistently deliver value. The “Newsroom” keeps me updated on the latest happenings, while “Out There” provides essential recommendations for new photography books and exhibitions. My eye for design means I always gravitate towards well-produced photobooks, and these sections are a great way to discover them. The “Lens test” on the OM System 8-25mm f/4 Pro and the “Gearing Up” section offer practical insights into equipment, something every photographer, from seasoned professional to enthusiastic amateur, appreciates.

What truly unifies the content of Outdoor Photography issue 317, much like the best photobooks, is its underlying Enthusiastic & Passionate Tone. There’s a palpable excitement and admiration for the work discussed, which is genuinely infectious. It doesn’t just inform; it inspires. This collective passion, from the featured photographers to the editorial team, draws you in and leaves you eager to grab your camera and explore the world around you.

This issue, much like the compelling narratives found in books by Stanley/Barker and Dewi Lewis, serves as a powerful reminder of why I fell in love with photography in the first place: it’s about seeing the world through different eyes, finding beauty in unexpected places, and connecting with the profound stories that nature and humanity tell. It’s an invitation to pause, to look closer, and to remember that even in the most familiar settings, there’s always something new to discover, something to capture, and something to inspire the soul.

Regards,

Alex