Tell us the story behind your photo in the British Wildlife Photography Awards exhibition?
The photograph, Autumn Dancer, was taken in Glen Affric, home to one of the largest surviving remnants of Scotland’s ancient Caledonian Forest. While many photographers visit Glen Affric for its sweeping mountain views, I found myself drawn beneath the canopy instead. It was the quiet beauty of the woodland that captivated me—the pale trunks of silver birch, the curtains of hanging lichen and the rich autumn bracken all layered together to create what felt like a natural tapestry.
I spent several days exploring the forest, revisiting the same areas as the light changed. For me, this photograph represents the rewards of slowing down and allowing a landscape to reveal itself, rather than searching for the obvious viewpoint.
How did you go about getting that shot?
I don’t usually arrive with a photograph already planned. Instead, I spend time walking, observing and letting the landscape guide me. I often see trees as characters, and I compose woodland scenes much as I would a portrait. Whether of a single tree, a small group, or the relationship between them.
This scene gradually came together as I refined the composition, filling the frame with the rich tapestry of autumn colour. To me, it felt almost like a peacock displaying its full plumage, with every layer contributing to the overall harmony of the scene.
I waited for soft, overcast light, which revealed the subtle colours, textures and depth throughout the woodland. Woodland photography is often about patience rather than dramatic conditions, and this image is very much a product of slowing down and allowing the forest to reveal itself.
Did you use any particular equipment or software?
The image was photographed using a Sony a7R V with a Sony FE 24–105mm f/4 G OSS lens on a tripod. I edit my photographs in Adobe Lightroom Classic and Photoshop, although my aim is always to produce an image that remains faithful to the atmosphere I experienced rather than creating something that wasn’t there.
What would you like people to think about when they see your work?
I hope people simply pause.
Ancient woodlands are places that reward time and attention. If someone spends a little longer looking at the photograph and notices details they didn’t see at first, then I feel I’ve achieved something.
More than anything, I hope it encourages people to value and protect these remarkable landscapes.
What makes you stop and decide that a scene is worth photographing?
It’s usually a feeling before anything else.
I’m drawn to scenes where the light, textures, colours and shapes come together in a way that creates balance and atmosphere. Quite often they’re the places people walk straight past because they’re looking for something bigger.
How do you know when you’ve captured “the shot” and can stop shooting?
Eventually there comes a point where the photograph feels complete.
After making small adjustments to the composition, there’s a moment when I stop looking for improvements and simply enjoy being there. That’s usually when I know I’ve captured the image I was hoping for.
What has wildlife taught you about paying attention?
Patience.
Nature doesn’t work to our timetable. The more quietly you observe, the more you begin to notice—not only wildlife itself, but changing light, subtle details and connections throughout the landscape that are easy to miss when you’re rushing.
Photography has taught me not just to look, but to truly see.
What projects are you working on now or have coming up?
I’m continuing a long-term project documenting Scotland’s remaining ancient woodlands, particularly the Caledonian forests of the Highlands.
Alongside my personal photography, I run one-to-one and small-group photography workshops across Scotland, helping others slow down, develop their own creative vision and build a deeper connection with the landscape.
More recently, I’ve also begun combining my photography with immersive natural sound recordings and cinematic films, allowing people to experience these places in an even more engaging way.
Check out more of Duncan’s photography: