Wildlife Photography: Insects and Plants

An online talk by Nigel Hicks, given live on 21st April 2021

Wildlife Photography: Insects and Plants is the title for my April 2021 online photography talk. A recording of the talk has now been posted on You Tube, and you can watch it right here. Just click on the image below.

A world of macrophotography

The Wildlife Photography: Insects and Plants talk introduced many of the techniques needed for insect and plant photography, focussing most especially on the areas of overlap. This particularly applies to the area of close-up, or macrophotography, the skills needed for the photography of small subjects.

Obviously, this does not apply to the photography of entire or larger plants, but is important in the photography of flowers, particularly the smaller wild flowers commonly seen in the UK’s woodlands and pastures.

The essential problem – especially when photographing insects – is that the subject is usally so very small. You might be tempted to try to shoot using a telephoto lens, but you quickly find that such a lens has a minimum focussing distance that is just too long. It won’t allow you to come close enough to get an insect or small flower large enough in the final image.

There are two solutions to this problem:

  1. To use a dedicated telephoto lens that is specifcally designed to have a very short minimum focussing distance. This the classic macro lens.
  2. Or you can use an extension tube. This is a very small piece of kit, simply a ring containing no lens, that you insert between the back of a standard telephoto lens and the camera body. This lengthens the focussing distance between the back of the lens and the camera’s sensor, allowing the light rights to be focussed correctly.

The first is an extremely versatile, high quality piece of equipment, while the latter is much cheaper and smaller to carry around, quickly converting an ordinary telephoto lens into one that works at close-up distances.

Welcome to the world of macrophotography, as applied to wildlife photography: insects and plants.

Wildlife Photography: Insects and Plants

Too close for comfort

So now we can get close to our subject to make it large in our final image. But close enough for us may well be a bit too close for many insects. As you shuffle in with your macro kit it is very easy to frighten off such sensitive animals as butterflies and damselflies, thus completely defeating the object of the exercise. Needless to say, this problem doesn’t apply to flowers, so here we can come in as close as we need to!

So how do we solve the problem of insect shyness? Firstly, there’s the way you approach them, with a couple of does and don’ts:

  1. Never put your shadow across the subject;
  2. Tread very lightly – the slightest vibration through the ground will disturb the insect, especially one that is on the ground;
  3. Absolutely don’t brush against any part of the plant that your subject is resting on;
  4. Don’t rush, just move very slowly. There are times when an insect can seem to accept your presence, but don’t bet on it!

Secondly, there’s the equipment, the right choice of which can help you keep your distance. If using a macro lens, don’t try using one with a focal length of less than 100mm when shooting out in the field. Macro lenses of shorter focal lengths will entail you having to come in just too close for a timid insect to tolerate. Even a 100mm lens is pushing it, and a 150mm lens might be better.

If using an extension tube, you might normally couple it with a 100mm telephoto lens (or equivalent zoom lens). However, if this is making you come in too close then consider coupling it with a longer focal length lens, such as a 200mm or even 300mm lens. Doing this will enable you to stay a reasonable distance from your subject (as much as a metre if using a 300mm lens), helping to soothe its nerves.

If your lens has a hood, think about not using it. Having one of these on the front of your lens greatly shortens the lens-subject distance, thus increasing the problem.

As ever, there is a trade-off. The longer the focal length of your lens and the further you are from the subject, the lower your magnification. If a high magnification is essential to you then you may need to persist with the much closer view.

Keeping it sharp

One of the biggest challenges of macro photography is that of depth of field – the amount of an image that is sharp. As you come in really close to a subject the depth of field becomes really tiny – often less than a centimetre. So focussing is critical. A couple of steps to help this include:

  1. Keep your lens aperture really narrow – no less than f/11, and preferably f/16 or f/22. This will maximise your depth of field (though it will still be tiny!);
  2. Set the lens up so that it is at right-angles to the main surface of your subject (such as a butterfly’s wings), thus maximising your chances of having everything sharp from the head to the tips of the wings.
Wildlife Photography: Insects and Plants

Photography on the move

Given that any insect subjects will be constantly on the move, you will need to be too. Don’t try using a tripod – just setting one up will be enough to frighten off your subject. So hand-hold your camera.

So this means having to use a shutter speed fast enough to have no camera shake, which of course creates a conflict with the need to keep the lens aperture really narrow. A narrow lens aperture inevitable means a slow shutter speed (for any given ISO setting) as the amount of light reaching the sensor must remain in balance. To have a fast shutter speed you will need to open the lens aperture to allow in more light. This conflict is a difficult one to solve, but here are a couple of methods:

  1. Put up the camera’s ISO. This makes the sensor more sensitive, and so will need less light to be correctly exposed. The problem with this is that as your ISO goes up so image quality deteriorates. However, with the latest generation of cameras this is much less of a problem than it used to be. So if you have a newer model this is a worthwhile approach;
  2. Use a flashgun. Firing a flash will allow you to use a somewhat slower shutter speed than would otherwise be possible. With it firing to balance with the ambient light, it will also put in some fill-in light on your subject, helping to remove any awkward shadows, particularly on a sunny day.

A bit of flash

A bit of fill-in flash is a highly useful tool for insect photography, but I really don’t recommend it for plants – it can all too often put harsh shadows in around the plant, and may cause white flowers to burn out.

It has to be done with a good quality flashgun, however. Because your subject is very close, the gun must be able automatically to quench its power output down to quite low levels in order to avoid blasting the subject with far too much light. You will often need some manual override too, so you can turn it down even more if necessary.

Furthermore, it is usually better not to fire the flash directly at the subject, but to bounce it off a reflector (attached to the top of the flashgun), thus softening the light.

If your camera body has in in-built pop-up flash, resist the temptation to use it for this technique. It is not sufficiently versatile, it can’t be fired indirectly, and because the subject is so close to the end of the lens it may well put a shadow from the lens across the subject.

Wildlife Photography: Insects and Plants

What about the plants?

Most of what I’ve said so far has concentrated on insects. So what about the plants?

There is plenty of overlap in techniques. For small flowers, macrophotography techniques and equipment apply, though of course not the part of about them possibly running or flying away! Also I do not recommend the use of a flashgun, although occasionally it can be useful.

You may be much more likely to use a tripod with plant photography, thus making sure you can use a narrow lens aperture (ie a high f-number) while keeping low shutter speeds and ISO. It also ensures that you keep exactly to the chosen composition, something that is hard to achieve if shooting hand-held.

Of course, a low shutter speed only works if there is no wind to blow the plant around, and many are the occasions when I have had to wait a long time for a lull in the wind to give me a motionless plant!

A wide-angle alternative

One method that applies only to plant photography is wide-angle photography. Of course, the main method of coming in close relies on macrophotography, which is perfect for showing close-up details of the plant. However, it is useless if you want also to show the plant’s environment.

This is where the wide-angle technique comes in. Bringing a wide-angle lens in as close to a plant as its minimum focussing distance will allow, can result in a reasonably close view of the subject plant, while at the same time showing a good chunk of environment in the background.

You won’t be able to come as close to the plant as a macro technique will allow, and for it to work at all your wide-angle lens must have a quite a short minimum focussing distance, something that not all such lenses have.

When it works it is really very effective.

Wildlife Photography: Insects and Plants

A final word

Some of these macro techniques are not easy – particularly the photography of insects on the move – and initially success is hard to achieve. But with practice and a lot of failed images success will slowly come. It is worth it because the results can be quite stunning.

I hope you’ve enjoyed this summary of my Wildlife Photography: Insects and Plants talk, and I hope you will/have enjoy/ed watching it.

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Wildlife Photography: Mammals and Birds

My March online photography talk, Wildlife Photography: Mammals and Birds, went ahead on the 24th, and you can now watch a recording of the entire talk here.

To watch the talk just click on the screen below:

Preparing to succeed

In talking about Wildlife Photography: Mammals and Birds I first set out the fact that most of what goes into successfully capturing wildlife images has little to do with the equipment you use. Much of the success lies in the preparation, which includes such some of the following points:

  • Understand the behaviour of the animals you intend to photograph;
  • Know what are the best locations/habitats, times of day and times of year in which to find your subjects;
  • Learn how to stalk carefully, or how to use a hide;
  • Decide whether to work wholly with wild wildlife or accept the inclusion of captive animals;
  • When photographing wild wildlife, research locations where your subject wildlife has become used to the human presence, and so is more approachable than might usually be the case;
  • Have huge amounts of patience and persistence, coupled with an ability to act quickly but calmly and smoothly when things suddenly start to happen;
  • Have a willingness to get out of bed very early and/or stay out quite late, since most wildlife activity usually happens around dawn/sunrise and dusk/sunset.
Puffin in flight. Wildlife Photography: Mammals and Birds.

Deciding what to photograph

Why take wildlife photos? There are of course many reasons, including such ideas as:

  • Simply ticking species lists;
  • Capturing artistically and/or technically perfect images that individually showcase the beauty of the wildlife around us;
  • Putting together a set of images that collectively tell a story about some wildlife or perhaps a conservation programme.

Whatever the photographic motivation, I would always urge photographers not to blindly follow wildlife fads and fashions (of which there are many). You should always think laterally and shoot a wide range of species, not just the cute, cuddly and famous, but also the ignored, forgotten and ugly. They all deserve and often need to be photographed (for the conservation publicity), and not just because a magazine or TV documentary has popularised it.

Cheetahs on the lookout for breakfast. Wildlife Photography: Mammals and Birds.

Psychology and choice

In subconsciously empathising with wildlife, we are programmed to be more attracted to those animals that in some way look at least a little like us: in other words the higher mammals with flattish faces and forward-facing eyes (abbreviated to 4FE).

These encompass most especially the big cats and apes, but also monkeys, horses and dogs, plus a few others. Think meerkats, orangutans and lions as examples. On top of this, babies of almost any species trump just about everything – cute, cuddly and vulnerable, pleading eyes crying out for protection and care will sway human emotions every time.

Of course, birds rarely if ever fit the 4FE idea, but the cute baby consideration still applies, and the adults of a few species do just happen to have cute, appealing faces – think puffins for example.

So these subconscious considerations can have a major impact on what we choose to photograph. While it is inevitable that you will be drawn to photograph these much of the time, I would always advocate that lateral thinking mentioned above. With this, you can ensure you also include those animals that don’t fit those empathetic or cute criteria, but which nevertheless deserve to be photographed.

Grey Seal pup. Wildlife Photography: Mammals and Birds.

The equipment and how to use it

Once you’ve done all your preparation, you finally get to use the camera equipment. Camera equipment designed for wildlife photography can be hugely expensive, so don’t be too mesmerised by the glossy adverts for all the kit you ‘need’. Instead, follow these the important points:

  • The camera must be able to work well in poor light conditions typical at dusk and dawn. This essentially means being able to produce good images even when shooting with a high ISO (over 400);
  • Focussing (a combination of the lens and camera working together) needs to be fast, crisp and accurate, and be able to continue working well in low light conditions, when contrast between your subject and the background might well be quite low;
  • A telephoto lens will inevitably be needed, but not necessarily a massively powerful one. The bigger lenses can be very awkward to handle in the field, and it can be annoyingly difficult to find your subject in the camera’s viewfinder, let alone getting it to focus. A smaller lens may restrict certain types of photography, but it can make much of your life easier without cramping your photography overall;
  • Whatever type of lens you have, it must have good optics. Without this, even well-focussed images can come out not as sharp as you would like. This may not be as important if you’re photographing purely for your own enjoyment, but it is critical if you’re intending to get your work published;
  • Although a lot of wildlife photography is carried out with the camera hand-held, you still need to have a good, sturdy tripod, especially for when working in a hide;
  • A flashgun may not get used all that often, but it’s useful to have one to hand, for those occasions when you’re shooting in really poor light and your subject is within the firing range of the flash.
Flamingoes at Lak Nakuru National Park, Kenya. Wildlife Photography: Mammals and Birds.

The shoot itself

So, finally you get to take some photos, something that can be both exciting and frustrating. The latter results from the many photos you’ll inevitably get of disappearing backsides, tree branches where a fraction of a second before a bird had been sitting, or pictures that seem to be well composed but which are blurred due to a failure of focus. But the excitement and buzz that comes when everything works makes it all worthwhile!

Little tips to bear in mind include:

  • Do not disturb or frighten your subjects. Not only is the stress bad for the animals, but it will result in failure for your photography;
  • When photographing a portrait, try to shoot while the animal is looking at you, giving the sense of interaction;
  • Always focus on an animal’s eyes: we are programmed to look at these, so if they are even slightly blurred the image will not work;
  • Make sure the animal’s eyes are open in the final picture(s). Closed eyes (even if just in a blink) usually ruin a shot, so don’t be shy to take a series of shots in quick succession if necessary;
  • Ensure that your backgrounds are blurred so the animal will stand out clearly from that background – especially important when an animal is a similar colour to the background. This is usually easily achieved when shooting with a telephoto lens;
  • If photographing two or more animals interacting, carefully judge the moment(s) to shoot in order to make the most of the inter-animal interaction. Don’t be afraid to take a series of shots in quick succession;
  • When photographing movement/action make sure your lens is set to track the animal(s), continually adjusting focus. This is one area where lens quality is critical. You’ll often need to shoot with bursts of rapid continuous shooting.

Yet another list, but hopefully these pointers will set you on the road towards successful wildlife photography!

A wildlife photography course

I hope you have enjoyed reading this blog, and watching the recording of my talk, Wildlife Photography: Mammals and Birds. To learn more about how to actually do wildlife photography in a real life situation, you could join one of my wildlife photography courses. The next one is scheduled for 24th April 2021, and will take place on Exmoor, southwest England. Click on the link to find out more and to sign up.

Philippine Tarsier.

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March 2021 Nigel Hicks Photography News

Looking forward to a post-Covid world

March 2021 Nigel Hicks Photography News. Windsurfing at Bigbury-on-Sea, Devon.
Windsurfing at Bigbury-on-Sea, Devon, Great Britain.

Moving towards a better spring

Welcome to the March 2021 Nigel Hicks Photography news!

With an official roadmap now pointing a way out of Covid lockdown, coupled with the growing success of the vaccination programme, I’m ever more hopeful that my plans for most of what I intend to do this year will be possible.

Coupled with a lot of work online aimed at keeping things going despite lockdown, it has been quite a busy time here, ranging from my ongoing online talks to the development of a new online shop.

So I hope you’ll enjoy reading this newsletter. Below is a list of what you’ll find here this month. Click on any of them to go to the relevant section.

A new Farne Islands photo gallery

February’s talk: Low Light Photography, the recording

Upcoming March online talk: Wildlife Photography, Mammals and Birds

This spring’s photography courses

A tour to Iceland this autumn

Farne Islands: a new wildlife photo gallery

March 2021 Nigel Hicks Photography News. Puffins greeting, Farne Islands.

Back in the dim and distant past, namely the summer of 2019, I was able to undertake a great photo shoot in the Farne Islands, off Northumberland’s coast.

The visit coincided with the height of the breeding season, so the islands were a raucous scene of thousands of seabirds, ranging from kittiwakes to puffins to guillemots and razobills.

I finally processed the stills images from that trip during this lockdown, and there is now a gallery of sample images on the website. I’m hoping you might enjoy seeing this latest batch of wildlife photography. Just click on the link below to see the images.

The bulk of the photos are now making their way into a number of photo libraries. I’m also hoping to be able to use some of the images in a new book project in the next year or two.

Watch February’s talk online: Low Light Photography

March 2021 Nigel Hicks Photography news. Low Light Photography talk.

My February online talk about Low Light Photography, went ahead on the 24th, with an audience of over 40 people, and seemed to go down very well.

Not surprisingly, the talk covered photographic techniques primarily for shooting between sunset and sunrise: in other words, when the sun is very close to or below the horizon.

Subject matter ranged from landscape photography at dawn, sunrise, sunset and dusk, as well as photography of urban skylines at dusk, combining the ambient blue dusk light with the manmade warmer lighting.

Also covered was night sky photography, which included photography of the moon, the stars as either pinpricks of light or long-exposure trails, and the Northern Lights.

The talk can now be watched online on You Tube, on my website or on my blog. Click on any of the links below.

Wildlife Photography: Mammals and Birds

March’s online photography talk
March 2021 Nigel Hicks Photography news. Cheetahs in the Maasai Mara, Kenya.

This month’s online photography talk is already rushing up towards us, scheduled for:


Wed 24th March, 8pm


As you can see, I’ll be talking about wildlife photography, specifically as it relates to photography of mammals and birds; in other words the (mostly) relatively large stuff!

As usual, the talk is free to attend. You just need to register to be sent the link. Registration is open for this talk, as well as the subsequent three talks.

To get more details and to sign up, click on the link below, and then fill in and submit the short form.

You will see on the registration page that there is now a Donation button, so if you feel like making a contribution towards my costs for running these talks by all means feel free: it would be hugely appreciated.

I’ll look forward to seeing you online on 24th March!

Spring Workshops

Provided things continue to improve, then it looks very much as though only one of my spring photography workshops will have to be postponed. That fate belongs to the Low Light Photography course, scheduled originally for 21st March.

I’ve now postponed that event to 7th November, so there’ll be a lot more news on that much later!

So, my first workshop of 2021 will now be South Devon Coast Photography, scheduled for 17th April.

An outline of the planned list of spring workshops is shown below.

The cost for all courses this year is £95 per person, the same as for 2020.

Refunds and deferrments

Rest assured that, if you are booked onto a course that has to be postponed or cancelled, then as with last year, you will have a full range of options, namely:

  • To accept the new date (for a postponed course);
  • To transfer to another course of your choosing;
  • Simply to defer your booking to an as-yet undefined future event;
  • Have a full refund.

Hopefully, things won’t come to this, but I want to put your mind at rest, that you will not lose any money you’ve paid.

See an outline of this spring’s courses below.

South Devon Coast Photography

Bigbury, Burgh Island and Bantham

17th April 2021, 1.30-8.30pm

Photography of some of South Devon’s most beautiful coastline; the beaches, cliffs and river estuary of Bigbury, Burgh Island and Bantham.  Finishing at sunset

Wildlife Photography

Dunster and Lynmouth, Somerset and Devon

24th April 2021, 10am-5pm

A day of wildlife photography on Exmoor, stalking deer in countryside near Dunster, followed by Dippers at Lynmouth.

Travel and architectural photography

Bath

16th May 2021, 10am-5pm

A day spent photographing the magnificent Georgian architecture of Bath, in this combined architectural and travel photography course.

Exmoor in Spring

Tarr Steps, Winsford Hill and Valley of Rocks (Lynton)

22nd May 2021, 2-9pm

An afternoon and evening spent photographing some of the beautiful rivers, woodlands, moors and coastal views, along with one of Exmoor’s most famous prehistoric sites. Finishing with the coastal views at the Valley of Rocks, for a glorious sunset.

Dartmoor in Spring

Dartmeet and Bench Tor

29th May 2021, 1.30-8.30pm

An afternoon and evening spent doing landscape photography in the ancient woodlands along the banks of the River Dart, followed by the rocks and open moors of Bench Tor.

To get full details and to sign up for any of these courses, just click on the link below.

A special note about the Jurassic Coast course, scheduled for October: The first workshop in the autumn will be the Jurassic Coast course, in Lyme Regis and Charmouth. Originally scheduled for 2nd October, I’ve had to reschedule it for 9th October, due to a mistake I made with the tides!

March 2021 Nigel Hicks Photography news. A photography course on Burgh Island.

An autumn photography tour to Iceland

March 2021 Nigel Hicks Photography news. Iceland photography tour.

I’m still intending to run this autumn’s Iceland photography tour, unless Covid restrictions have other ideas!

The dates for the tour are;

18-24th Sept 2021


The itinerary is planned to cover mainly northern Iceland, taking in several major waterfalls, volcanoes and the central mountain ranges, as well as a whale-watching trip.

Admittedly, the way things stand at present the tour cannot happen, but if the roadmap works out well then things should change rapidly in the coming few months.

Already, Iceland (as with Cyprus) has lifted restrictions for arriving travellers who can prove they’ve been vaccinated. Further steps needed to make the trip viable include an increase in the number of flights running between Reykjavik and the UK, and relaxation of quarantine rules upon returning to the UK. I’m optimistic that these issues will improve over the summer.

So, if you fancy awarding yourself an overseas photography break to celebrate an escape from Covid, then of course I would love you to sign up. When making a booking the only payment you need to make at this stage is to pay a £100 deposit, returnable if the tour does have to be shelved.

For the full details, including itinerary and pricing click on the link below.

Books about southwest England

Our books about southwest England are of course still out there, still available. Click on the link below to find out more.

Books about southwest England

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Focus: the third critical component in successful photography

An online photography talk about the critical role of good focussing in great photography

Focus: the third critical component in successful photography was the subject of my first online photography talk of 2021. I have called it the third critical component because focus forms a holy trinity with composition and lighting. All three must come together for any photograph to have a chance of being successful, dare I say even great. If any one of these three elements is substandard in any photo then that image will be a failure.

Watch this talk here

This talk was recorded, and so you can watch it here now. Just click on the embedded link below. The talk is 40 minutes long, and I really hope you enjoy it.

What does this talk contain?

It may seem blindingly obvious, of course, to say that the main subject of a photo needs to be sharply in focus for that photo to be a success. However, correct focussing goes well beyond just this limited definition.

There are many other issues to consider, such as:

  • Does the entire image need to be sharp, not just the main subject, as is often the case with landscape photography?
  • Or would it be better, for example, to have the background blurred, enabling the sharply in-focus subject to ‘pop out’ of the picture, such as is common in portrait or wildlife photography?
  • Perhaps you need to have just one small part of the photo sharp (containing the main subject) and everything else blurred, ensuring that attention is directed just to this area of the frame;
  • What about blurred motion as the main subject? Does this need to be sharply in-focus even though it is blurred anyway as a result of movement?
Focus: the third critical component

Techniques and technologies

What all the above points cover is the subject of depth of field, and the need to control this in order to control just how much of any photo is sharp.

Depth of field is the amount of an image that is in focus from its nearest point (to the photographer) to its furthest point. This can be varied in a number of ways, primarily:

  • A wide-angle lens naturally has a bigger depth of field than a telephoto lens;
  • A narrow lens aperture (ie a high f-number, eg f/16) creates a bigger depth of field than a wide open aperture (ie a low f-number, eg f/5.6).

So, if you use a wide-angle lens shut down to a narrow aperture you will have a big depth of field, potentially ranging from shortly in front of the camera all the way to the horizon. This is commonly used in landscape photography, though also in other photographic genres.

On the other hand, if you use a telephoto lens with a wide-open aperture you will have a very small depth of field, perhaps a metre or less. This is a technique commonly used in portrait and wildlife photography to ensure the face really ‘pops out’ from its background and commands the viewer’s attention.

As the subject-to-camera distance decreases, perhaps once it is less than about 10 metres, then the depth of field starts to decrease for any lens and any lens aperture. Finally, when you get down to macro photography, such as of butterflies, the depth of field even at a very narrow lens aperture is quite tiny, usually no more than about 1 cm or thereabouts.

Focus: the third critical component

Further content

During the talk I show a range of images that illustrate the above points about depth of field. The final third of my talk covers some practical examples, in which I have deliberately taken sets of photos at different lens apertures and focussing distances, to illustrate how changing these, along with lens focal-lengths, can have a dramatic impact on the type of image that results.

The final section looks at the problems of macro photography and the tiny depth of field available here. In particular I introduce the technique of focus-stacking: taking a series shots focussed at different points, and then blending them together in the computer post-photography.

Overall, the talk gives a tour of the techniques and skills of good focussing, taking it well beyond the simple process of just getting the subject sharp. Instead, the aim should be to control the depth of field in an image through appropriate use of lens focal length and aperture to produce an image that works for the particular subject and its surroundings.

Focus: the third critical component

Find out more about my talks

I hope you enjoy watching this talk. If you’d like to find out more about my talks click on the links below, where you’ll be able to watch recordings of earlier talks, and sign up for some of my upcoming talks.

Each of my talks takes place on a Wednesday evening, once a month, and are free to attend.

I’ll look forward to seeing you online.

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Goals in Photography

The first talk in Nigel’s new series of online photography talks

I held the first of my new online photography talks on 23rd September, the inauguration of a planned ongoing series of free talks that anyone can attend. This first talk, entitled Goals in Photography, saw me explore some of the photography I’ve done during my lengthy career as a professional photographer. Images shown included some of my personal favourites, as well as images that have marked important points in my career, and/or illustrated and explained some of the goals that I constantly strive to achieve with my photography.

Mt Everest, one image in Nigel Hicks's Goals in Photography talk.
Mt Everest seen from the North Face Base Camp; Tibet, China.

Watch a video of the talk now

The talk was recorded and can now be watched on both You Tube and right here, lasting about 34 minutes.

To watch the talk just click on the link below:

Naturally, I really hope you will enjoy the talk. Feel free to leave any comments or queries in the comments section of this blog. I’ll do my best to answer anything you’d like to ask.

Young boy with bubble gum and toy guny, one image in Nigel Hicks's Goals in Photography talk.

Programme of upcoming talks

This Goals in Photography talk was hugely successful, with about 40 people taking part. There will now be three more talks before Christmas, which will be:

14th October – Composition

11th November – Light

9th December – Landscape photography

All the talks will be free to attend. All I ask is that you register in advance so that I know to send you the link to enable you to join.

To find out more and to register for any or all of the talks click on the button below.

Golden Snub-nosed monkey, one image in Nigel Hicks's Goals in Photography talk.
Golden snub-nosed monkey.

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