A Northern Hawk Owl (Surnia ulula) glancing at me while hunting in the cold weather of northern Maine.
A young fox kit (Vulpes vulpes Linn) venturing out of its den to investigate me.
Martin Culpepper started young, becoming interested in photography at age 11, when he first picked up his mom’s Nikon D200 DSLR and took it out on a wildlife-spotting expedition. In his words, he became “instantly hooked,” and in the years since, he has amassed an impressive portfolio of striking animal studies.
We caught up with Martin recently, between expeditions, to talk about his approach to wildlife photography, how he achieves such intimate connections with his subjects and his choice of gear.
A long-held passion for wildlife preceded Martin’s interest in photography, he says: “Even when I could barely walk, I had an obsession with watching wildlife, nature documentaries, and carried a big animal Encyclopedia around the house on my shoulders.”
A trio of wood ducks (Aix sponsa) floating on a small pond in the early spring.
But it was a childhood encounter with a pod of dolphins that really jump-started his passion for photography.
“I was on a whale-watching trip off the coast of northern Massachusetts. After a few hours at sea, we encountered a huge pod of Atlantic white-sided dolphins. I ran around on the boat with my phone and took videos of the animals. Later, I noticed I had captured a frame where a mother dolphin and her baby surfaced next to the boat. I was already into wildlife, but this experience cemented my interest in capturing it on camera.”
While it was a dolphin encounter that got him started, Martin’s favorite animals to photograph are owls because “they have the perfect blend of predictability and elusiveness—locating them is a challenge, but unlike predatory mammals, they’re not near-impossible to find.”
A Northern Hawk Owl (Surnia ulula) glancing at me while hunting in the cold weather of northern Maine.
Locating wildlife in its natural environment is, of course, a big part of the challenge of nature photography. Martin’s approach comes from a tip he once received from another wildlife photographer, and combines careful attention to his surroundings with movement:
“Intentionally moving yourself through the environment is a lot more effective at making good images than sitting in one spot but always take the time to look around you.”
Eye to Eye
Many of Martin’s most striking images are characterized by direct eye contact with his subjects. In keeping with his principled approach to the well-being of the wildlife that he encounters, this connection is achieved naturally, not by using any tricks.
“I find that images where the subject is looking into the camera lead to viewers having a deeper connection with the animal. The approach that I take is to spend a lot of time with an animal and learn about their behavior and habits. By doing this, I can pick up on signs indicating that the animal is about to look in my direction without having to disturb it.”
A least tern (Sternula antillarum) resting from hunting on a late July evening with car headlights in the background.
In addition to a familiarity with animals, capturing great images of wildlife also demands mastery of the technical aspects of photography. We asked Martin for his tips, and—if money were no object—his dream kit:
“I always try to keep my shutter speed as high as the lighting will allow, but the Vibration Reduction with my Z9 [with the Mount Adapter FTZ] and AF-S NIKKOR 500mm f/5.6E PF ED VR is excellent and allows me to shoot at shutter speeds of 1/10sec or lower. My dream setup would be my Z9 or a Z6III plus the NIKKOR Z 400mm f/2.8 TC VR S with its built-in teleconverter. That would be an excellent mix between low light capability and zoom.”
A red tailed hawk (Urotriorchis macrourus) hunting in a cemetery on a warm summer evening.
Responsibilities to Wildlife
To Martin, protecting wildlife is equally important as getting great images. In addition to responsible behavior towards wild animals in the field, he believes that photographers have a broader responsibility to educate the public about the importance of conservation.
“I think photographers have a responsibility to put the animals’ well-being first. This means learning about your subjects’ ecology, taking into account how many people have been photographing the animal and how frequently, learning to read its body language, and so on, and then using that knowledge to guide your own behavior. This will allow you to photograph the animal without jeopardizing its health or survival.
Ultimately, humans and animals are part of the same ecosystem … but we’ve already done massive damage, and if we continue to do so, it will have huge impacts on our own quality of life and even survival as a species.”
One of my favorite uses for wide-angle lenses is to showcase a point-of-view shot that invites the audience into the moment. With Ember engaging directly with my camera, it creates an immersive experience that makes people feel like they're right there with her. Using these kinds of shots helps bridge the gap between the viewer and the subject.
Capturing the magic of golden hour in this mountain scene was all about timing but also reminded me to get creative with the lighting I currently had at that moment. The warm light amplifies the vibrant greens in the meadow, and I chose to use the wide-angle lens that embraces the full grandeur of the landscape.
Madi Clark’s photography journey began in childhood when she received a camera for Christmas. She was immediately hooked:
“I carried it everywhere. From camping trips to days at the zoo where I’d photograph all the animals big and small.”
With encouragement from her artist father, Madi learned the basics of color theory, lighting and composition and never looked back. “It wasn’t just about taking pictures,” she says, “it was about learning to see the world through a different lens, quite literally. It’s transformed how I experience special memories and day-to-day moments.”
One of my favorite uses for wide-angle lenses is to showcase a point-of-view shot that invites the audience into the moment. With Ember engaging directly with my camera, it creates an immersive experience that makes people feel like they’re right there with her. Using these kinds of shots helps bridge the gap between the viewer and the subject.
Madi has her creative partner, Ember, in tow on all her expeditions. Ember is a 6-year-old Australian Shepherd whose vibrant personality shines through in every photo that they share. Asked for the secret to their social media success, Madi cites three core elements:
“The art of visual storytelling, authentic writing that captures our genuine experiences, and the natural connection between Ember and me.”
Madi sees authenticity as the key to making content that resonates with their audience:
“From the way we showcase Utah’s landscapes through quality images to the honest stories we tell about our life together. My priority remains simple: create beautiful, meaningful content that captures real moments while ensuring Ember’s well-being always comes first.”
These two shots of Ember demonstrate the storytelling power of different focal lengths. The wider shot places her within the mountain meadow landscape, while the tighter portrait focuses on her expression and personality. Together, they show how lens choice can dramatically shape the narrative of a single moment.
The NIKKOR Z 24mm f/1.8 S lens proves its versatility here. Shot at a wider aperture, it creates this intimate portrait while still capturing the environmental context. The close proximity to Ember combined with the lens’s ability to pull in background elements creates an engaging personal perspective.
Madi’s main camera is the compact, mirrorless, APS-C size/DX format Nikon Z 30. She explains what makes it perfect for her needs:
“Given the challenging environments I tend to find myself in, durability and reliability are essential. My equipment needs to be as adventurous as I am—that means weather-sealed bodies and lenses that can handle everything from desert dust to mountain mist. Beyond ruggedness, I also need a camera that delivers exceptional image quality and fast autofocus.
The Z 30 gets the job done exceptionally well. It’s weather-resistant, and I love how compact it is—when you’re trekking through the wilderness, every ounce matters, and the crop factor of the sensor gives me extra reach with telephoto lenses, which is incredibly valuable for wildlife photography.”
The Z 30’s eye-detection autofocus locks onto an animal’s eye and tracks it even when they’re moving.
Asked which features she relies on most for her photography, Madi highlights the Z 30’s speed and suite of autofocus features, among others:
“The eye-detection autofocus is invaluable when I’m photographing animals. It locks onto an animal’s eye and tracks it even when they’re moving, which is essential for getting those crisp, engaging wildlife portraits. Also, the high-speed continuous shooting mode has saved me when capturing fast-moving subjects, whether it’s wildlife or Ember running around on our adventures.
I also really appreciate the Z 30’s customizable function buttons, which I’ve set up for quick access to my most-used settings. When you’re tracking wildlife or working in changing light conditions, you often don’t have time to dive into menus. Having instant access to ISO, focus modes, and exposure compensation means I can be quick to capture moments that happen in an instant.”
When lighting is constantly changing during golden hour, I like getting creative with angles and height. In this case, I walked by what looked like some ordinary wildflowers next to the trail, but the moment I pulled out my camera and flipped open the screen, I was able to see how the light was hitting these wildflowers and how the backlighting illuminated each petal from behind, revealing delicate details and creating that ethereal glow.
In addition to its powerful photo features, Madi also relies on the Z 30’s wireless connectivity, using the SnapBridge app not only to export images to her phone and laptop but also as a remote control.
“When I’m out photographing, I can set up my camera on a tripod, compose the shot through the app screen on my phone, and capture myself authentically interacting with Ember in the landscape. This eliminates the need to run back and forth to the camera, which saves time and helps me create more natural-looking content without compromising image quality.”
Using foreground elements for framing is one of my favorite techniques. It creates depth and draws the viewer into the scene, making them feel as if they’re peering through a natural window. The layering helps translate that ‘you are here’ feeling I experienced in the moment.
How does Madi preserve the fun of photography now that it’s become her full-time career?
“It’s an interesting challenge because photography is woven naturally into almost everything I do outdoors, so maintaining the joy in photography is crucial for staying creative. Wildlife photography has become my creative sanctuary—when I’m photographing animals, I’m completely immersed in the experience, and it reminds me why I fell in love with photography in the first place. I’ve also learned that sometimes it’s okay to experience a beautiful moment without reaching for my camera. Understanding when to capture and when to simply be present has made me a better photographer overall.”
Madi describes each photograph as “a moment of complete presence and connection,” and her passion for photography has also deepened her relationship with nature:
“I want to tell stories through images that might inspire others to see the natural world as worth protecting and exploring. This mindset of always being ready to capture something extraordinary has made me more aware, more patient, and ultimately more grateful for where I live and the opportunities I have.”
Z f, NIKKOR Z 14-24mm f/2.8 S at 24mm focal length, f/2.8, 4 sec, ISO 2000.
I’ve chased the aurora many times, but nothing could have prepared me for the fantastic display on the night of May 10, 2024. At first I was worried that the ridge to the north of my location, or the tree line to the northeast might block the lights, but the aurora was so intense that it occupied the entire sky. Several shots from that night were actually taken looking south!
Astrophotographer Julia Icenogle on Why She Made the Move
Z f, NIKKOR Z 14-24mm f/2.8 S at 24mm focal length, f/2.8, 4 sec, ISO 2000.
I’ve chased the aurora many times, but nothing could have prepared me for the fantastic display on the night of May 10, 2024. At first I was worried that the ridge to the north of my location, or the tree line to the northeast might block the lights, but the aurora was so intense that it occupied the entire sky. Several shots from that night were actually taken looking south!
Julia Icenogle is an astrophotographer and illustrator based in Seattle, Washington. She started her photographic career with a DSLR, then was using an APS-C size (crop sensor) mirrorless camera before making the switch from another brand to Nikon full-frame cameras with the Z f and Z 7II. After a busy season which took in the spring total solar eclipse, a major solar storm and plenty of expeditions to capture the Milky Way, Julia sat down with us to talk about her approach to astrophotography and what she needs from her camera gear.
Julia explains what first drew her to the art of astrophotography, and why she keeps at it, despite the unique challenges.
I’ve been interested in astronomy and photography since I was a kid, but it took a couple of decades before I realized I could combine the two. My first night photo was taken on a Nikon D5000, and it is an objectively terrible image, but seeing the stars appear on the LCD screen for the first time felt like a kind of magic. That was it—there was no turning back, and that’s what keeps me going.
You have to be pretty enthusiastic about astrophotography to do it, because it can be very challenging. Clouds may drift in at the exact moment the Milky Way is in the perfect alignment. Your focus could be off. An airplane might somehow manage to find its way into every shot, and fatigue from hours of being up all night can lead to dumb user errors. But occasionally you’ll get something amazing.
Z f, NIKKOR Z 100-400mm f/4.5-5.6 VR S + Z Teleconverter TC-1.4X at 560mm focal length, f/8, 1/250 sec, ISO 400. The eclipse in spring this year was pretty much my first time using the Z f. With every hour it seemed less likely that we’d see anything because of cloud cover. When totality started, and the eclipsed sun finally emerged, I frantically got the camera aligned and began shooting at various shutter speeds, getting as many images as I could while staring in awe at the sky. Just a few miles down the road, people didn’t see a thing.
The solar eclipse earlier this year is a good example. Despite years of historical weather data suggesting that Real County, Texas would have a good probability of clear skies, things were not looking great in the days leading up to the eclipse. With the forecast worsening, I considered packing up camp and driving all night to Arkansas, the next nearest spot with a better outlook. In the end I decided to stay put and take my chances. On the morning of the eclipse, a thick cloud cover rolled in as predicted. Following local folklore, we whistled for more wind to clear the sky, which must have worked, because about halfway through totality the eclipsed sun emerged in all its glory!
Z f, NIKKOR Z 35mm f/1.8 S, f/2, 13 sec., ISO 3200.
Lost Lake is a popular spot for astrophotographers. On perfectly windless nights, the lake becomes a mirror for Mt. Hood. This is a single exposure.
Z f for Astrophotography
In addition to the image quality benefits of the Z f’s full-frame sensor compared to my previous APS-C format cameras, the manual dials are very handy for night photography. When you’re looking down at a screen to change exposure settings, you can easily blow out your night vision, so being able to change settings by touch is fantastic. My previous cameras had a similar control layout, so when the Z f was announced, it was a lot easier to contemplate making the switch back to Nikon, and also upgrade to full-frame.
The manual dials are also useful during time-sensitive events like a solar eclipse. You’re watching the most amazing phenomenon and you’ve only got a minute, and you know that if you mess up, it’ll be years until you get another chance. In a situation like that I don’t want to be distracted staring at settings on a little screen for even a second. During the eclipse I wanted to get a variety of exposure times in order to capture prominences and the inner, middle, and outer corona. I was able to do that quickly by touch, just by turning the shutter speed dial a notch or two in either direction.
Z f, NIKKOR Z 14-24mm f/2.8 S at 24mm focal length, f/2.8, 117 sec., ISO 640.
I’ve met some wonderful friends through astrophotography, and often the camaraderie is the main factor that keeps us motivated to get out to shoot. On a cloudy night, I had an idea for an interesting shot. My friend volunteered to drive up and down this mountain road during a long exposure and had the brilliant idea to open the sunroof with all the interior lights on for an interesting effect.
With so many possible variables that can affect a shoot, Julia spends a lot of time planning her expeditions. How does she approach a typical shoot?
I spend an embarrassingly long time searching satellite views on Google Maps for possible dark sky locations with no light pollution. The topographical maps on the Gaia GPS app help to determine if a mountain or landmark will be blocking the view. I’ll also check to make sure that the area I’m considering will be accessible at night and isn’t on private land. I scout locations during the day if I can, but sometimes I don’t have any option except to show up and hope for the best.
I use the PhotoPills app to check Milky Way core alignment, another app called Astrospheric to check the sky conditions, and yet another called Windy to double check the weather forecast. I also stay alert for notifications about potential Aurora activity and if I get pinged that it’s looking good, I’ll drop everything and go do that instead.
Z f, NIKKOR Z 14-24mm f/2.8 S at 14mm focal length, f/2.8, 10 sec., ISO 2500.
The summer solstice this year took place just a day before the full moon. I was backpacking in the Wild Sky Wilderness. It never got truly dark that night, so the Milky Way wasn’t visible, but the moon did light up Baring Mountain dramatically, making it worth the effort.
The camera settings required for successful night photography are completely different to other kinds of subjects. With shutter speeds often running into several seconds, high ISO sensitivities and very little light, getting clean, sharp images takes practice. How does Julia approach the challenge?
For the purposes of focus and composition I set my lens aperture wide open, and I usually focus manually on Jupiter or some other bright star or planet about a third of the way into the frame. If there’s still some ambient light, I might turn focus peaking on, which helps. Starlight View mode in the Z f is great for twilight and moonlight, and it’s very useful if I arrive at my location after sunset, when I’m composing shots in near-darkness. I shoot in manual exposure mode with the lens aperture either still wide open or slightly stopped down, and usually start with an ISO setting of between 2000-3200. When it comes to the shutter speed, I let PhotoPills do the math to determine how long of an exposure I can get away with for my camera and specific lens before stars turn from dots to lines. I don’t like looking at the LCD screen if I can help it because it can cast too much light, so I usually turn the LCD off and use the viewfinder, unless the camera is positioned at an awkward angle.
Z 7II, NIKKOR Z 35mm f/1.8 S, exposure for the sky is f/1.8, 6 sec, ISO 2000; exposure for the foreground is f/1.8, 4 sec., ISO 125. This photo was from my new Z 7II’s first backpacking adventure in the Alpine Lakes Wilderness. This photo is stacked for focus and exposure. I shot the glacier lilies in the foreground about an hour after sunset, and then waited in the dark for the Milky Way core to align over the mountain.
Back when I was still considering making the switch to full-frame, I borrowed a friend’s Z 7 and did some side-by-side comparisons against my APS-C gear, and it was so much better. When I was shooting on APS-C, I learned a lot of strategies to reduce noise using third-party apps and image stacking and so on, but with the Z f, I’m finding that I don’t need to do any of that. I’ve just been capturing single exposures and adjusting in Adobe Photoshop Lightroom. I recently added a Z 7II to my collection as well, which has also been great for low-light photography. For lenses, I’m still building out my Nikon mirrorless kit, but I’ve been extremely impressed by the results I’m getting from the NIKKOR Z 14-28mm f/2.8 S and the NIKKOR Z 35mm f/1.8 S lenses. My dream lens would be a super-telephoto pancake for moon shots which I could take backpacking, but I know that’s impossible!
Having a day job as a Postal Worker in Canada, Jeffrey Ofori works outside, which is great because he’s a flower photographer, though it can be distracting to come upon lovely gardens as he’s delivering mail. But to say Jeffrey is just a flower photographer might not be accurate either, because he loves all genres of photography.
A Daisy just starting to bloom.
Inspiration from Cinematography
My inspiration comes from—believe it or not—cinematography and color grading, [like] when you’re watching a movie or documentary and there are certain scenes that really draw you in and portray a mood or feeling. I combine that experience with all-inspiring mother nature, and when you bring it down to the macro level, a whole other world opens up.
This cinematic moodiness is brought out by altering the hues or colors of the image palette in his images. And it’s created a unique and visible style when you’re scrolling through your Instagram feed and come upon Jeffrey’s images. You instantly know who created them.
I aim for the cinematic moody feel for my flowers when editing. I always go for that vibe. It’s hard for me to take just a picture of a flower and leave it as is, there are a few instances when I barely edit the photo leaving the flower and its natural color and beauty. For the most part I like to have the flower or petals be the main focal point rather than the background and I want the flowers to tell a story.
Jeffrey normally knows in his head how the final image will look before he’s even brought the image into Adobe Lightroom. He says: “When I capture an image, a lot of the time I already know how it will look in post.” He adds: “I tend to have a calming feeling when I look at my final images. I like to give them names, which are sometimes quirky, sometimes serious. Most of the images that stand out to me though, are the ones that I name.”
I’m a huge fan of cinematography, color grading and color theory.
I’ve created my own custom presets that I work with to get the feel I’m looking to achieve. A lot of the time I shoot underexposed with the white balance set to Cloudy, I also always use a polarizer filter to block out the harsh midday sunlight, and I tend to stick to the Golden hours.
Another aspect to his style is that to the viewer, these flowers almost resemble dancers in a way—their petals are dainty, and in the perfect position relative to the rest of the flower. We’d even call Jeffrey’s images “ethereal” which is exactly what he wants his viewer to think. Jeffrey is adept at using texture, depth-of-field, and composition along with his own color style to create macro images of flowers that look as if they’re paintings not photographs.
“I want the [viewer] to bring their own story to what they see and feel when they come across my art. It brings me joy when I hear or read the emotional feedback from people, it’s a humbling experience,” he explains.
The “Blue Ribbon” image (below), which is my most popular and favorite flower it is an African Daisy just starting to bloom and it’s only an inch tall and the petals flow like poured water. With the right Nikon Micro lens these are the kind of results you can get.
An African Daisy just starting to bloom.
No Flowers Were Harmed in the Making of These Images
I don’t manipulate the flowers themselves by adding or subtracting petals but rather I adjust the textures and tones. Like capturing people, every flower is different.
Jeffrey finds many of his subjects in neighborhood gardens and greenhouses. And because he always takes his camera with him, when the inspiration strikes, he’s ready.
I would say 99% of my flower photography is outdoors. I work with what I’m given. I capture flowers as they are in nature. The most I would do is move a leaf out of the way but I don’t cut or reposition the flowers in any way.” The other 1% of the time I capture indoors with store bought flowers but it is very rare, don’t get me wrong, indoor still life flowers are just as beautiful. I just like to shoot flowers in their natural elements and surroundings.
A Dahlia just starting to bloom.
Embracing Nature
A shallow depth of field is probably most important to Jeffrey, he explains, especially close-up. It allows him to manually pinpoint his focus on a certain part of the flower rather than the flower being photographed completely in focus—to turn an image of a flower into a beautiful landscape that fills the frame.
As for color, I change it to how I see it. I’ll use different hues and shades to make you look twice. Most people know what the natural color of the flower looks like, what I aim to do as an artist is make you feel how a flower looks.
I consider myself an artist and the camera is my brush. When I use the quote “a rose is a rose is a rose” what I’m trying to interpret to the viewer is that it’s okay to use your creativity and not follow the norm, dare to be different and become your own. Macro photography is a world within a world where we walk past little things everyday that go unnoticed. If we just take the time and slow down, we can really embrace what nature has to offer. “We are here for experiences not appearances.”
Echeveria Runyonii, completely altered colors.
Jeffrey has quickly gained a following on Instagram, having only joined the social media platform in early 2021. He understands the importance of engaging with followers, interacting with them. Along with regular posts, he replies to many of the comments he receives. “I appreciate that most of my work can be recognized based on my style,” he says.
Stay Connected
Get fresh inspirational content delivered straight to your inbox.
