Article/Tso Mei-Yun
Interviewee & images/ Huang Shih-Chieh, Nature Photographer
In an age when almost everyone carries a smartphone, taking photos has become as easy as breathing. From the food on the table to climbing Taipei 101, photography has become ubiquitous. As awareness of ecological conservation has grown, nature photography — which combines ecological observation with photographic documentation — has become increasingly popular. Whether in remote mountains or in neighborhood parks, it is common to see people carrying SLR cameras in search of their next subject. But if you have no background in photography and want to get started in nature photography, how do you take the first step? Do you need to buy expensive camera equipment? Do you have to travel to distant scenic locations to capture the perfect shot?
These questions are answered one by one by nature photographer Huang Shih-Chieh, who has been practicing nature photography for many years. In clear and accessible language, he shares his approach and practical tips for beginners, encouraging readers to make use of the tools already at hand and begin photographing nature in their own surroundings so they can experience the beauty of the natural world and share it with those who cannot be there in person.
Enjoy Every Moment and Take the Shot
The term “nature photography” is almost self-explanatory: it refers to photography in which the subject is the natural world. However, when many of us hear the term, the first thing that comes to mind is stunning images from National Geographic and expensive equipment fitted with massive telephoto lenses. Does it require a major financial investment, journeys to hard-toreach destinations, and professional-level photography skills just to capture those extraordinary moments in nature?
Photography gear continues to advance at a rapid pace. Even simple point-and-shoot cameras make it possible for anyone to take a photo with the click of a button. In recent decades, digital cameras that allow users to view images instantly have eliminated the expense of film processing, and smartphones with built-in cameras have made photography a commonplace part of life. Along with the growing awareness of environmental conservation, much has changed in nature photography.
Does it count as nature photography if you simply take a photo of a subject related to ecology? According to Huang, real nature photography means “faithfully and accurately recording a moment in nature.”
“The most distinctive feature of nature photography,” says Huang, “is its unpredictability.” Once, someone wanted to photograph a Hundred-pace Viper (Deinagkistrodon acutus) and asked Huang when it could be photographed. Huang replied humorously, “Let me get the Hundredpace Viper on the phone for you. We’ll schedule it for tomorrow at 8:30 a.m.!” This was, of course, a joke; nature photography is not studio photography and cannot be pre-arranged. If you want to photograph a Hundred-pace Viper, you first need to understand its habits and daily patterns. The rest is patience and luck.
What moves people so deeply about nature photography is how it crystallizes a single moment and preserves it. When a photographer bears witness to an indelible moment, the image allows viewers to experience the same pulse-pounding sense of awe. The fundamental requirement is truth; the necessary ethical mindset is goodness; and the final work must convey beauty. Only when all three elements—truth, goodness, and beauty—are present does the work rise to the level of art.
When they hear that nature photography requires truth, goodness, and beauty, many people beat a hasty retreat. However, Huang himself offers a highly accessible path into this art. His own story is an encouraging example of how anyone can get started.
Nature Photography Begins Where You Are
When Huang was younger, he lost three fingers on his right hand in a workplace accident. One of his toes was transplanted to serve as a new index finger. He operates the camera with one hand while pressing the “record” button on his cellphone with the other. This way, when the decisive moment arrives, he captures both compelling still images and video. When people hear how he accomplishes this, it is hard not to admire such dedication. It becomes difficult to argue that photography is too hard.
So where do you begin? Huang offers advice that sounds simple, almost too simple: “Start where you are.” He says that the ecology of the national parks is extraordinary, but beginners are better off building confidence by starting with simpler subjects. “If you cannot clearly photograph the mosquitoes and geckos in your own home, then it is not yet time to head into the wild to pursue more ambitious subjects.”
Drawing on his own experience, he began by photographing the potted plants on his balcony. It begins with observation: the direction of leaf veins as they grow, how their colors shift over time—from light to dark, from muted to vivid—and the small creatures that come and go. Life’s details are constantly surprising. Through photography, he learned not only to observe more closely, but also to notice subtle contrasts.
Although Huang has published many books, he began learning photography as a complete beginner, just like anyone else. He bought several books by Japanese nature photographers he admired and practiced by following the aperture, shutter speed, ISO, and other settings listed in those books. In addition to learning from books, he also recommends joining online communities as a way to learn. As the old saying goes, “When three walk together, there must be one who can be my teacher.” In an age of transparent online information and the added support of AI, anyone willing to put in the effort can learn almost anything.
Learning the Art of Waiting
In addition to observation, beginners must also cultivate another essential skill: patience. Nature photography does not involve prearranged scenes, so photographers must invest considerable time and patience. For animals, a human presence represents a significant disturbance. Sound, air movement, and scent can all unsettle them, so remaining still makes it easier for them to lower their guard.
Huang has spent extensive time in the field seeking out the plants, insects, and animals that interest him. Sometimes he may remain crouched in one spot for an entire day. “You sit there without moving, without disturbing them, and once they grow accustomed to your presence, they will often appear. That is when you may capture a truly distinctive image.” In just a few words, he captures the essence of nature photography.
Huang uses Reeves’s Muntjacs and Formosan Sambar Deer as examples. “When you come across signs of their presence, you can approach slowly and gradually. Use your camera’s zoom function to capture a few satisfactory images, then call it a day. Then leave the space to the animals who truly belong there. After all, humans already occupy too much of the natural world.”
But if you encounter a Formosan Black Bear, which can be dangerous, the most important principle is to remain calm. Do not panic or shout; instead, maintain visual contact while slowly backing away. Ensuring your own safety is the top priority. Huang emphasizes, “Nature photography begins with a deep affection for the natural world. Maintaining that reverence is its most fundamental principle.”
Close, but Respectful
As nature photography has developed, certain controversies have emerged. Some photographers, in pursuit of striking images, intervene in the scene. Huang believes that any seemingly minor human interference— even moving a branch out of the frame— runs counter to the fundamental principles of nature photography. It distorts the integrity of the natural environment. Such interference stems from a failure to understand nature and from the assumption that humans stand at the center of it.
Huang cites bird photography as an example. The number of bird photographers in Taiwan has increased dramatically, and problematic behavior has become increasingly common. On several occasions, he has received word of a bird sighting, only to find the base of the tree already crowded with large telephoto lenses. Some impatient photographers, hoping to provoke movement, throw stones or branches; others, assuming the bird is hungry, toss it bread. Huang finds such behavior both upsetting and disheartening. Faced with such scenes, he often chooses to pack up and leave.
“Nature photography requires respect for nature,” says Huang. “Wild animals should be allowed to live and survive in their natural state. We must not intrude upon their living space simply for the sake of a photograph.” He adds that the more we understand nature, the less likely we are to overstep our limits. This is not only a matter of respect, but also of self-preservation.
He uses hiking trails as an example. When people enter the wild, some prefer to leave the established paths and forge their own routes. However, hidden dangers often lie beyond the trail. For example, the Asian Giant Hornet (Vespa mandarinia), commonly referred to locally as the “earth hornet,” builds its nests underground, and the entrance is often difficult to detect. Step off the trail and onto a nest, and the consequences can be severe. Huang jokes that while taking photographs is important, you certainly do not want any image to be your last.
People often treat nature as something to be possessed—something Huang has witnessed firsthand during his frequent time in the field. On one occasion, while photographing in a national park, he noticed an elderly man carrying a tote bag with a Christmas Orchid (Calanthe triplicata) inside. This wild orchid, commonly found at low to mid elevations in Taiwan, resembles tiny dancing figures when in full bloom and is strikingly beautiful. Huang said to him, “Sir, you can’t dig up plants at will in a national park.” The man replied, “It’s fine—I live nearby.”
Huang reminds us that whether in a national park or on managed forest land, not a single plant should be removed. This reflects a basic understanding of and respect for nature. If we truly appreciate it, we should use our phones or cameras to capture its beauty and enjoy it later at home.
Does Landscape Photography Count as Nature Photography?
Flowers, grasses, trees, insects, and animals are the subjects most commonly associated with nature photography. Yet landscapes, too, form an integral part of it.
Huang cites his field surveys and photography in Taroko National Park as an example. He has photographed the area repeatedly, traveling from Dayuling to Xiulin Township and back again. Over the course of these journeys, he observed that around Ci'en, winter transforms the landscape entirely. When the leaves fall, bare tree trunks intertwined with mistletoe create a striking scene—utterly different from the lush vitality of summer, almost like another planet.
Landscapes that shift with the seasons reveal the rhythms of nature. They reflect ecological processes just as profoundly as photographs of plants or animals, and carry 0 equal ecological significance.
Sharing Today’s Nature with the Future
In The Secret Life of Walter Mitty, Sean Penn portrays a legendary photographer. In a scene set amid polar winds and drifting snow, he stands unmoving, his hair and beard thick with frost, all in order to wait for a single moment: the appearance of a Snow Leopard (Panthera uncia). When the animal finally comes into view, his expression blends joy with reverence. That humility is the very attitude nature photography demands.
Nature photography centers on the natural world and the countless forms of life within it. As Huang notes, you cannot schedule a photo session with a hundred-pace viper, but you can learn about its ecology. By arriving at the right place at the right time and waiting with humility, you may be rewarded with a remarkable image—one that brings quiet joy.
Huang emphasizes that although technology continues to advance at a rapid pace and has lowered the technical barriers to nature photography, its core spirit remains unchanged. Beyond documenting the beauty of the natural world and cultivating keen observation, the most important task is to convey the importance of ecological sustainability. In other words, it is a hope that future generations will continue to witness the many forms of life that share this land with us, so that people and nature may coexist in mutual flourishing.
Huang on Composition: The Rule of Thirds
