CANON PRO TIPS MATTY GRAHAM

We talk with Canon pro photographer Matty Graham who certainly knows a thing or two about shooting scenery in the winter months

All images: Matty Graham

Faroe Islands: The waves were raging, so Matty used a NiSi 10-stop ND filter with his Canon 5D Mk IV and EF 17-40mm lens to smooth the motion into a blur and capture movement in the clouds

A  pro photographer for over 15 years, Matty Graham started out as a journalist before adding cameras and lenses to the pen and paper tool kit. Working across multiple genres, Matty’s true love is landscapes and he feels a magnetic pull towards northern destinations… 

Every pro landscaper has an in-built compass that attracts them to certain scenes and continents. Many UK shooters will head south, exploring Europe’s Mediterranean gems, while others are drawn to the light of African lands. East and West also provide a multitude of lush scenes, but for photojournalist Matty Graham, the needle pointing north has always been the winner.

The Northumbrian native added the photography string to his bow more than a decade ago – a move that opened new doors and opportunities to travel, discover new landscapes, and build an impressive portfolio that has seen his work featured in publications and on websites around the globe.

Faroe Islands: Including elements, such as these colourful houses, helped add scale. Shooting Raw gave Matty greater tolerance to edit the image in post and make the most of the colours

Working on magazines must have helped your photography journey ?

It did. Initially I worked on car magazines and everyday would be spent in the company of amazing and inspiring photographers – possibly the best apprenticeship one could ask for. This taught me how to shape a good photo into something more special and coverworthy – all against the photojournalist’s old foe of timescales, looming deadlines and budgets. I’ve nothing against classroom-based learning, but for me personally, there’s no substitute for learning on the job. What’s more, my first Canon (an EOS 3000) was back in the days of film and my understanding boss let me push a few rolls through on the magazine’s account every month. 

What made you make the jump to full-time photography?

By the time I was made redundant from editing magazines, I was already finding photography far more fun than sitting in meetings, arguing about marketing and advertising budgets. My favourite pleasures were sourcing cover images and selecting openers for features and this taught me how to shoot with an editorial-friendly approach – something that has served me well in freelance life. A great image in a frame doesn’t always make a great shot for a magazine – remember, designers need room for headlines or text and most magazines have a prominent gutter where the pages are joined, so I knew to leave space for copy and avoid placing focal points in danger areas. I already had a good contact book, plus knowledge of the best kit to use, so I hit the ground running and haven’t looked back since.