Peter Eastway writes an almost weekly newsletter from his Better Photography website ( These are some of the more recent posts.

Bhutan - Myth - Book 1

February 20, 2022

Phobjikha Valley Scene 2Phobjikha Valley Scene 2Bhutan

Phobjikha Valley, Bhutan. From the book Myth | Bhutan by Peter Eastway

I am a very happy photographer just now! Geoff from Momento Pro rang me up a few days ago to say my three-volume book-set on Bhutan was finally finished. Covid mucked up his production schedules something serious last year and I was happy to wait. It's predominantly a personal project and while I'd love to sell a few copies (limited editions of 45), I realise at $3995 it's not for everyone.

Some readers will have their interest piqued at the price - how good must this book be to charge such a high price? Other's will think Eastway is into pyramid sales or something odd and to stay well away! Let me explain the reality.

These large format books are actually exhibition prints of my work bound together. The pages measure 390x390 mm, or 390x780 mm when the photographs are presented across a 'double page spread'. Those are big prints. And because you are viewing the photographs up close, the impact is incredibly powerful. I love the printed page!

But it gets better. Each page has been individually hand-printed using an Epson printer with archival pigment inks and cotton rag paper. They are not mass-produced on an offset press or an Indigo printer which, no matter how good they are, simply can't match an exhibition quality print from a modern Epson printer. And Geoff, apart from being a stickler for detail, uses Les Walkling's printer profiles so each page has exactly the reproduction values I want. If there are any problems with the photographs, I have to own them as the reproduction is second to none.

A couple of days ago, I showed one of the books to a friend who has decades of experience in photography, publishing and exhibitions. He rang me back a few hours later to say he was still thinking about the book I'd shown him because he was blown away by the quality and the impact. That's a great compliment for the standard of work produced by Momento Pro. And, I like to think, my ability to produce a good photograph or two.

If you'd like to see a short video of me turning the pages of the Myth - Bhutan book, click on the Read More link and visit the Better Photography website for a detailed view - including the final reproduction of the image presented at the beginning of this blog.

Read More

Pilbara Storm

February 06, 2022

Pilbara StormPilbara Storm

Low resolution GIF file which shows a series of layer adjustments. See below to open up a spectacular full resolution file on our website.

Landscape photography is straightforward on the one hand and highly complex on another. Our cameras can easily capture the landscape in front of us, but it is the 'ideas' we have that make the final photograph.

On this occasion, I was in the Pilbara, Western Australia on one of the early ND5 excursions with Tony Hewitt, Christian Fletcher, Michael Fletcher and Les Walkling. We were on our way to Marble Bar, known as the hottest town in Australia. That day, or maybe it was the day after, we found a large orange road marker (plastic witch's hat) which had melted like wax into an igneous blob! The locals told us to say it was 48C because, if it got over 50C, there was usually a television report. So, 48C was a safe bet!

Either way, it was hot and in the mid afternoon, I was quite comfortably cocooned in our 4WD with the air conditioning unit running full blast.
As we drove towards the Marble Bar turn-off, we watched a wet season thunderstorm grow and develop. The road seemed to be skirting around the edge of the weather cell and in the distance we could see some willy-willies forming – small tornados of red dust climbing into the black sky above. It was a photographic feast we could not resist.

We found a side road that led to a slightly raised vantage point above the Pilbara plain. Thunder rolled ominously as we walked around the flanks of a small hill in the stifling heat, but heat was the furthest thing from our minds as we watched Nature unfurl a remarkable display of fury.
Lightning ripped through the cloud mass, starting spot fires on the grassy plain, and the willy-willies merged into a minor dust storm, picking up red earth in its path. It felt like we were on the edge of a huge amphitheatre. They say that travelling in the North West during the wet season isn’t necessarily a good idea because of the heat and the wet, but after this experience, that little gem of advice has been relegated to the dust bin.

As amazing as that experience was, I didn't feel the straight captures adequately recorded our experience. After stitching together seven or eight frames, I went to work in Photoshop, using layers to interpret the image - and this is what I mean about 'ideas'. You can find all the techniques to do what I have done in many places - they are not complicated. The trick is using those techniques to implement your ideas - and this is where instruction like my Landscape Photography MasterClass can help. For this image, not only do I show the techniques, rather how the techniques work together to create the final image.

If you're already a subscriber, the Landscape Photography MasterClass has been recently updated with over 20 new movies. If you haven't yet subscribed, why not take advantage of the special offer below and get 40% off - plus you can pay for it over 10 months and there's always a money-back guarantee if it's not for you. Click here for details and a showcase of the contents.

And the full resolution file of the photo above? Visit the and then click on the image to open up a full resolution version to enjoy! It is sooo much better than the little image above!


Remembering Travels Past

December 12, 2021

Cleric on the move, Yazd, IranCleric on the move, Yazd, Iran

Cleric on the move, Yazd, Iran
Fujifilm X-T3, Fujinon XF8-16mmF2.8 R LM WR, f4.5 @ 1/1900 second, ISO 160

Watching television over the weekend, I tuned in on a documentary following some bloke in a business shirt travelling through Iran to Russia. When I first tuned in, I thought I recognised one of the locations - and indeed I did. I've had two great trips to Iran with Nuran Zorlu and I still remember the wonderful warmth and hospitality of the Iranian people we met. I really hope the current political issues get sorted out quickly and we can travel there again.

So, looking for a photo to discuss this week, I reviewed my edits of Iran. I have 189 images in my 'Iran Edits' folder, courtesy of my down time during lockdown. Some photos are simple edits of paper and wall surfaces with a view to using them as textures, but most of the files are processed out of Capture One or Lightroom with a few adjustment layers or adjustment brushes. They are 'preliminary edits'. The next step is to design them into a book and once I've worked out which photos I'm going to use, then I'll do the final edits.

The image above of a cleric walking through a mosque courtyard in Yazd caught my eye. I have processed two versions. Once I found the location and set up the photo, I spent maybe 15 minutes waiting for different people to walk by. When they did, I pressed the shutter multiple times to best capture their walking stance. I like this one better compositionally  because the cleric is walking into the space, whereas in the other version, he is past the centre line. Why process both? The sweep of his cape looks better in the second shot, so if I'm feeling keen, I could move the cleric back a bit - but that involves quite a bit of work.

Processing the image involved perspective correction and although you may look at the edges of the arch and think they are not quite square, chances are that's correct because this building is probably a thousand years old and it might not be vertical in reality! I'm not excusing my excellent technique, I'm just explaining that there are other vertical lines in the photo that also needed consideration and what you see is my best compromise!

In terms of tonal control, the preliminary edit in my folder was too light. While it had lots of great detail in the shadows, the colour and tone appeared washed out and so a curves adjustment layer was added in. The resulting darkening also blocked up the shadows, but as it's mainly brickwork, I don't need all the detail and I'm happy with the hint remaining. 

Finally, there were a couple of tourists on the other side of the quadrangle, so I arranged for their removal, politely of course! That is one of the great things about the digital workflow and travel photography. I no longer worry about problems in the background because I know most of the time they can be solved in post-production. Photography, as always, is a process of capture followed by post-production.


Compositional Strength With Scale

November 29, 2021

Remote Village, BhutanRemote Village, Bhutan

Remote village, Bhutan.
Phase One XF 150MP, Schneider Kreuznach LS 240mm. f4.5 @ 1/400 second, ISO 160

Composition is a difficult subject to master. To be honest, it's not like mathematics or geography where an exact point can be known, rather it's like literature and religion where there are many different opinions. However, as with literature and religion, there are some fundamentals that most people agree with and the same can be said for composition.

While the photo above might appear to use the 'rule of thirds', that wasn't what I was thinking.

Before you decide on your framing or cropping, you need to determine what it is you want to say. What caught my eye wasn't just the wonderful little village in the distance, rather its sense of isolation within a huge mountainous wilderness. The tiny village is dwarfed by the forests and the little trails to and from the village are spidery lines crossing a texture-rich tapestry.

The purpose of this photo was to show the scale of the village within the landscape. Scale is a useful compositional tool because humans generally love to view contrasts of scale. Two people the same size might not be as interesting as a dwarf and a giant.

Once my purpose was decided, then I looked around at how best to communicate this. If I placed the village higher up in the frame or to the left, other areas in the scene would be revealed that made the village look less isolated, less perched in the middle of no-where. Sometimes when I'm on location, I have an idea, but not the time to consider it fully. So I will often frame an image more widely, with the intention of cropping it later on in post-production. And this image was cropped to a 2:1 ratio to fit into a book I was producing.

Only once I knew what I wanted to say with the photo did I determine the 'correct' cropping  - and yes, it is roughly on the rule of thirds. Perhaps that helps the composition, but the village wasn't placed there to follow a compositional rule - it was placed there to help communicate the idea - the sense of scale.

What Does The AIPP Closing Mean?

November 14, 2021

On the road to Ushguli, GeorgiaOn the road to Ushguli, Georgia

On the road to Ushguli, Georgia. Which has nothing to do with the AIPP, but since I'm not travelling at the moment, I'm enjoying my time processing photos from past trips. I also have a photo tour planned for Georgia and Armenia towards the end of 2022, COVID conditions allowing. These towers are wonderful to photograph and are dotted all around the hills. More to come in the not too distant future!

Last week, the Australian Institute of Professional Photography (AIPP) appointed an administrator, abandoned the Australian Professional Photography Awards (APPA), froze its Facebook page and closed its doors. The end of an era. What happened?

The following thoughts are mine alone. I have been very closely involved with the AIPP for 40 years, spending time as national treasurer, chairman of the Australian Professional Photography Awards and editor of The Working Pro/AIPP Journal. I was the Australian Professional Photographer of the Year twice, I’ve won the Ilford Trophy for the highest scoring print and I think a couple of years ago, I earned the lowest scoring print as well - with a 68!

For me, there were two primary reasons for membership, both selfish.

The first was for the friends I made. Visiting APPA or a conference once or twice a year was a great opportunity to catch up, share ideas and grow as a photographer. I have met many lifelong friends through the AIPP because of our shared passion for photography. The second was entering the annual awards. Note, I said entering, not attending, not winning, although they too were enjoyable. However, it was the process of putting together my best four photographs every year, thinking about what the judges might say, improving the images to satisfy any criticism. It was this process over 40 years that has guided and established me as a photographer.

And they were professional awards. This isn’t meant to make them sound better than amateur awards – because these days they are not. Rather, professional awards make an assumption that you are producing work for sale or for the satisfaction of a client. It’s a different mindset, but one that is incredibly important. Or used to be.

When I joined the AIPP, it was all about education. We learnt how to take better photographs and how to earn a living. Then the internet and digital photography arrived (around the same time) and professional photography changed forever. The secret stuff we used to do in the darkroom was now available to everyone – including our clients – in Lightroom! The profession and its environment fundamentally changed.

While financially I lament this, artistically I embrace it wholeheartedly – as do many AIPP members. We’re photographers first, business people second and the digital realm has expanded our creative horizons exponentially. I don’t think there has been a better time in history to be involved in photography.

Future image making may rely more on ideas and technology, perhaps the ability to recognise what you like rather than create it. It’s neither better nor worse, just different. And with YouTube and social media, there is perhaps less of a need for a large organisation like the AIPP. And that in a nutshell is why the AIPP has closed.

While there are many of us passionate about the AIPP, we weren’t passionate enough to go back on the Board to help make it work (there were no new nominations for the Board last year). We weren’t passionate enough to enter more prints into APPA this year. And try as hard as they did, our Board couldn’t find the right mix of buttons and switches to keep the AIPP going. They are not to blame. At least they stood up and did as much as they could – my thanks to all the directors and volunteers that made the AIPP what it was.

No doubt you’ll be reading a lot of comments about the AIPP on social media. The ones I like speak of the good times, the friends made, the positives. Reading between the lines, the negative posts generally say more about the person making the comment than the AIPP. Sure, there are some former members who have every right to be disaffected by the AIPP, based on the unethical behaviour of a very few past office bearers. I know this too, from personal experience. However, most criticisms seem rather self-indulgent. I mean, no one forces you to stay a member of an organisation you don’t like. Why not just walk away, rather than poison it for everyone else? 

So, will I miss the AIPP. Certainly. Will I start up a new organisation? No – I think that’s a job for a younger generation, but I’d certainly enjoy being a member. If nothing else, I think COVID has shown how highly valued social contact is.

Will it be a professional-only organisation? Maybe, maybe not. Many people think being professional is ‘better’ than being an amateur, or that a professional standard is higher, but that’s no longer the case. It’s the purpose behind the photography that is different, one being commercial, the other being wonderfully personal. Many of us practice both.

Not all professionals will agree with my sentiments. Mind you, nor will all enthusiasts! But that’s okay because it’s just an opinion and, since we all have this wonderful passion for photography, hopefully we can still be friends!


St Andrews @ South Georgia

November 07, 2021

King Penguins, South GeorgiaKing Penguins, South Georgia

King Penguins, South Georgia

As many readers will remember, around seven years ago I featured in one of a series of television documentaries about professional photographers working in different locations all around the world. Called Tales by Light (and still available on Netflix), my episode was based in Antarctica and South Georgia.

In the production, I said, "If I could only go to one more place, one more time, it would be back to South Georgia".

And since then I have been lucky enough to return several times. Whether you shoot nature, landscape or art, South Georgia is a photographer's utopia. What I loved about this location at St Andrews was the overlook from where I could create a composition that gives the impression that the King Penguin colony goes on forever - as in fact it does!

The reason for mentioning this and running the photo again is that South Georgia Heritage Trust and Friends of South Georgia Island are taking part in Giving Tuesday on November 30th. This day of global giving inspires people to support the causes that mean the most to them.

"Our work on South Georgia is dedicated to protecting this hugely important ecosystem, the species that call it home, and its rich cultural heritage. Right now, we are raising funds for a critical survey of the former whaling station at Stromness. This study will inform major environmental and heritage conservation work that we will be undertaking over the next five years.

"We work in partnership to support other science and technology initiatives to make informed decisions about conservation. We are working to protect globally endangered Albatross species in conjunction with RSPB and British Antarctic Survey (BAS). Just this month, BAS research we support is also clearly showing a strong recovery and return of Humpback whales to the waters of South Georgia and Antarctica. The return of some whale species to almost pre-whaling levels marks a profound shift in the human story of South Georgia Island.

"It’s been almost two years since visitors have come to the Island. As we welcome visitors returning to South Georgia, hopefully next year, we also hope you can help us on Giving Tuesday. If you have visited South Georgia previously, could you consider sharing with us your most memorable photo of the Island and tell us why that is?

"Please Email: [email protected] with your photo and a wee description. We'll also be happy to answer questions sent to that address. Submissions may be shared on SGHT, FOSGI, and third party social media and websites, in the run-up to Giving Tuesday, on the day, and beyond, to show why our work, your support and South Georgia is so special…and hopefully it will encourage others to give too.

"And on Giving Tuesday, or any other day, if you can consider making a donation to support our work, we would be very grateful indeed."

Donate - South Georgia Heritage Trust (
Donate - Friends of South Georgia Island (



What Is It?

October 31, 2021

Clean Skin Creek, Northern AustraliaClean Skin Creek, Northern Australia

Clean Skin Creek, Northern Australia
Phase One XF 100Mp, Schneider 110mm lens, f2.8 @ 1/2000 second, ISO 200

I'm not sure about you, but I'm in a state of indecision! In Sydney, we're coming out of lock down and when you read this (1 November), many restrictions for both NSW and Victoria will be removed, allowing us to travel once again. We can also travel overseas and we're letting Kiwis come to Australia without quarantine, but it may be some time before that is reciprocated. So there's talk of travel and, as a travel and landscape photographer who loves taking photo tours around the world, I have smiles from ear to ear!

So why the indecision? Because as I write this, it's not completely clear what is going to happen or when. Sure, the borders will open, but will people want to travel? How long before confidence returns? When will Western Australia open up? Or will we see yet another mutation and a new COVID variant arrive?

I'm figuring you're probably feeling much the same, trying to work out what's what in the world, so I thought I'd add to your tasks by presenting this photo.

What is it?

This is an aerial of a tidal sand flat on the northern coast. To me, it could be a huge droplet of oil, spreading global warming across the globe.

The location is right on the WA/NT border and it was taken on a post-workshop flight with Tony Hewitt, Christian Fletcher and Drew Altdoerffer from Phase One. On Google Maps it looked really interesting, but you can never tell because the large tides can completely change the aerial patterns, and it's not always possible to guess when that Google Map photo was taken. What we found was quite different to what I was expecting.

And naturally, the original photo didn't look like this, much flatter, less colour, but the shapes were there with the tidal pulse moving inexorably inland. I struggled for a couple of years with this photo, loving the inside patterns, but disliking the lightly toned surroundings. It was only having the time to sit down and review my work over this COVID period that I finally came up with a solution that made me happy: darken the surroundings.

It seems so simple now. And I think it works much better.

So, while we're looking forward to our post-COVID freedom, perhaps part of my indecision comes from the positives of being forced to stay at home? No one likes being forced to do anything, but on the other hand, if the glass is half full instead of half empty, then who is to complain?

Keep an eye out for my photo workshops next year - we'll run a few promo pieces at the end of the emails for your viewing pleasure!


The Value of Reference Points

October 24, 2021

Long Reef WharfLong Reef Wharf2m00s, Automated Frame Average

Long Reef, NSW.
Phase One XT 150MP with 32mm Rodagon lens, 1 minute @ f11, ISO 50

Reference points are ideas. And ideas are fundamental to photography. Over the years (decades) of interviewing photographers for Better Photography magazine, I'd ask two questions. The first was how much time they spent in promotion and advertising (it was more than 50% for successful photographers) and the second was, where do your ideas come from?

There's no single answer, of course. Gay Campbell called her ideas 'cosmic Fedexes' - ideas or dreams which she would carefully write down in a journal, waiting for another time. My iPhone has a bunch of apps on it with lots of different ideas. Or references points.

Reference Point 1: Christian Fletcher published a book 10 years ago and if memory serves me correctly (let's hope it was Christian's photo and not Tony Hewitt's), it was on the cover. But it matters not: the photo was of an old wharf or wharf posts in the middle of a beach with waves washing around it. The light was beautiful, composition strong. I filed it away in my memory banks.

Reference Point 2: Most afternoons, Kathie and I walk around Long Reef headland with the dogs. There's a point where the walk comes down to the beach and a ramp extends down to the sand. However, usually there's so much sand, the waves never reach the wharf, except with a high tide and a large swell. But every time I walked past the ramp, I'd think of that reference point.

Last week, after nearly 10 years of walking around the headland, the stars aligned and while there wasn't quite as much water around the ramp as I wanted (and even then, I had to wait for the set waves), I managed to shoot a few photos. Did they look like Christian's photo? Hell no! No point copying something that has already been beautifully done. Besides, it's a completely different location and no one looking at this photo would think of Christian's shot, but the reference point was there for me.

I have a little more thinking to do with this image - and three or four other frames. I'm not sure if the colour grading is completely resolved and I find myself still fiddling with the saturation and balance. I'll print a test and pin it up on the wall in my office, so when Christian Fletcher calls up to tell me how good life is in Western Australia, I can tune out to his monotone and concentrate on my photo!

When I go on photo tours, photographers often ask how it is that I usually know what to photograph, while they feel they are struggling to work it out? One of the answers is having a database of reference points that can act as a catalyst for your photography.

And building up that database takes time, so start now!


Cappella della Madonna di Vitaleta

October 19, 2021

Italy, 2002. Canon EOS 1Ds, Canon 28-135mm lens @ 135mm
1/250 second @ f8, ISO 800, hand-held, no filter

When we arrived in Italy for a two-month holiday with our young family, there were two photographs that seemed to be everywhere we looked. One was a stand of trees in an undulating field near Montalcino, the other a small chapel sitting alone in a field on a hill, and they were on the covers of guidebooks and posters promoting travel within Italy.

Eventually I found them both, having asked every Italian I met if he or she could give me a clue (Google and Google Maps weren’t around to help me in 2002).

At the time, we were staying in Orvieto and it was around a 90-minute drive to Cappella di Vitaleta. I visited it three times, researching the best time of day and hoping for suitable light.

It never happened.

The weather simply wouldn’t co-operate, so I had to resort to a second-best exposure with poor illumination.

On my final trip, the wind was so strong I couldn’t set up my tripod outside the car, so I positioned the car on the road and sat in the back seat with the window down and waited. Every few minutes, the wind would drop, the car would stop shaking and I’d press the shutter button. I spent half an hour with a zoom lens exploring different compositions.

Most of the photos I had seen were of the chapel alone with the small cluster of trees around it, but in reality, just to the right was a large farm building. What I had imagined based on the photographs I had seen was a lone chapel in a vast field, but looking back on the photographs I had seen, I could understand how the framing and composition had fooled me (or perhaps, more correctly, how I had interpreted the scene).

My solution was to remove the farm building. The first time I processed the print was in 2002 using an early version of Photoshop. I used the clone tool to remove the farm building and adjusted the colours to be more inviting. The drab light had really only left me with varying tones of grey, but I could see the potential for colour in the trees below and the surrounding field.

This is one of the first images in which I explored The New Tradition. Not only could I process the file shortly after taking it (that night with a nice glass of red), I could transform my camera’s capture into something that better represented my thoughts and feelings about the location.

And some 10 years later, I reprocessed the file. This is not something I normally do because once an image is processed, I find it boring to revisit it. However, I needed a larger version of the file for a client and, looking at my original technique, felt I had to finesse it further. Yet another positive for The New Tradition.

Need a good read? Like to learn something more about photography? Interested in new ideas? Why not purchase a copy of my book, The New Tradition, which is full of great tales and ideas. It has 100 photographs and accompanying stories guaranteed to enthrall you - and you can save $30 on the purchase price right now - use coupon code TNT30. Check out more on the website


Different Ways

October 17, 2021

Glasshouse Rocks, NaroomaGlasshouse Rocks, Narooma

Glasshouse Rocks, Narooma
Cambo Actus DB-2, Phase One IQ4 150MP, 600mm Nikkor, f11 @ 1/4 second, ISO 50

I've just put together a little promotional video for the Narooma workshop I'm presenting (COVID hopefully) with Len Metcalf next year (3-7 May 2022) and the headings I've used are 'two teachers, two styles, one workshop'. When it comes to photography, Len and I are at polar opposites although we're both heading towards the same thing! Our backgrounds, our education, our approach are wonderfully different and as you view the photos in the video, you'll see what I mean.

Here's the link:

At present, Len is into sepia tones and squares, but he strays into other areas from time to time. His first or second photo is a multiple exposure, a subtle ICM (Intentional Camera Movement) I am thinking, but it takes the photo away from 'just being a literal rendition' into something more interpretative. At least it is for me. However, Len's Narooma photos are not all monochrome...

Far from it. Len has taken some interesting tangents into strong colour and almost abstract compositions. Compare this approach with mine, where I feel my photos are much more literal in their framing and composition, but my 'other worldliness' comes from the use of colour and tone.

I think the movie shows that there is more than one way to take photographs. We don't have to practise what another photographer does to appreciate and enjoy it. Difference is great. Inspirations and ideas can be long lasting.

The photo above, also taken on our last Narooma workshop, such as comes from my love affair with telephoto landscapes. I've been influenced by a number of American photographers (such as David Muench and Johsel Namking) who have used long lenses with large format cameras to create beautiful captures. While most sensible photographers were using a mirrorless or DSLR with a telephoto on this morning, I was working with a Cambo Actus DB-2 and an old, large format 600mm Nikkor lens. It requires a 450 mm monorail and bellows and if there's any wind, the camera is next to useless because the fastest shutter speed available is 1/125 second on the Copal-3 shutter (too much camera shake - everything is magnified with a telephoto and a high resolution sensor). But we were lucky in the pre-dawn light and I was able to find a 'different' view of the Glasshouse Rocks.

Different ways. I think that's what we're all looking for - different ways that make what we create, in some small way, our own.

Good. Different. Maybe I need to go to the supermarket...

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