The 500px Photographer Spotlight invites you to dive into the minds and methods of the incredible photographers who shape our community. Discover the unique journeys, creative insights, and inspiring stories behind the stunning photos we love.
Meet Graeme Ian Hall
A UK-born photographer who relocated to Australia with their partner in 2018. Photography has always been a significant part of their life, a passion sparked by a grandfather who had a darkroom. Graeme comes from a family of creatives who are often found behind the camera. For years, they delayed pursuing their passion for photography, initially citing career growth, but eventually admitting to a fear of vulnerability. Graeme has since faced that fear and developed a rich collection of stunning photos. Their work has been featured in The Guardian, and they’re currently developing a Portfolio focusing on the mountains of South East Queensland, a project they hope to eventually develop into a book.
Lets start at the beginning, what was your very first camera, and what kind of photos did you take with it?
My first “camera” was actually a non-functioning SLR that my grandad passed on to me. It didn’t take photos, but it sparked something. Later, I bought a Praktica point-and-shoot because that’s the brand he swore by. The images were nothing special – just snapshots of everyday life – but they taught me to notice moments.
Over the years I drifted through a Kodak digital, a Samsung compact, and eventually into smartphones. Looking back, I realise my excuses about “no time” were really about hesitation. Buying my Sony A6400 was the turning point. That camera forced me to commit, and it opened the door to building a portfolio.
This was the first photo I took with a dedicated camera – marking my first step from casual snapshots into the world of photography
As you’ve developed your skills as a photographer, do you think the way you started still shapes the way you shoot today?
Definitely. I’ve kept what I call a “beginner’s mindset.” There’s always more to learn — new light, new perspectives, new ways of seeing.
I also shoot in two very different ways. When I’m on my own, usually at golden or blue hour, I plan deliberately: scouting, checking weather, setting up. I can lose hours chasing “just one more shot.” But when I’m hiking with others, my partner Chris, family, or friends, I shoot more loosely – grabbing frames as I go, not worrying if they’ll all work out. Later, I enjoy looking back and finding surprises in those images, sometimes in the whole frame, sometimes hidden in a small crop.
Going forward, I want to merge those two approaches – using hikes as scouting, then returning with purpose, while still leaving space for the unexpected.
This photo of Tacking Point Lighthouse is a good example of my deliberate side – researching locations, checking the forecast, being there early, and waiting for the moment when the light and water lined up perfectly.
While this photo from Red Bluff is an example of my spontaneous side – I noticed a weather change so grabbed the camera and just headed straight to the coast and snapped this pretty much instantly.
How does travel, and your adventures to new places ignite and inspire your creative spirit?
Travel feeds my curiosity as much as my photography. I love food, culture, and exploring new places, and photography is only recently becoming woven into those journeys.
On a recent trip to Europe, Chris and I spent five days hiking in the Dolomites. The landscapes were breathtaking, and those hikes pushed both my legs and my creativity.
While in the UK, I also took time to shoot with my dad, at South Shields, Bamburgh Castle, and Hadrian’s Wall. Those photos are less about perfection and more about memory — moments where my family teased me to “hurry up” while I stopped for a shot.
Looking ahead, I’d love to head to Scotland and Wales next time I am in the UK, which I didn’t explore enough while I lived there. My dream list includes Patagonia, Norway, Bhutan and Iceland for their drama and light. Closer to home, I wish I’d done more in Victoria’s Grampians before moving north — but Queensland’s mountains are keeping me busy for now.
This shot of Fiordland in New Zealand captures why travel matters to me — the sense of scale, atmosphere, and discovery you can’t always find close to home
Do you see your landscapes as documentation, art, or both?
I don’t think I’ve ever fully understood what art is, or whether it can even be defined. For me, photography is about trying to capture how I feel in a place. My hope is that when someone looks at my photo, they feel something just as strongly – maybe the same thing I felt, maybe something different. If it makes them feel, then perhaps it has become art.
This seascape felt more like a painting with mist than documenting a coastline – for me, it’s art if it makes you feel something
What’s the most physically demanding trek you’ve done for a single shot?
The Italian Dolomites were the most demanding – 70 km over five days. On Day 4, we made it to Tre Cime. By then the heat, the crowds, and a long circuit had taken their toll. I should have gone straight for the shot at Cadini di Misurina, but I left it until after the full hike. Still, the images remind me why it was worth it – even if I did miss golden hour.
Cadini di Misurina, Dolomites — even outside golden hour, patience can reveal the raw drama of the peaks.
Mentally, the Cathedral Ranges in Victoria were tougher: a 4 hour drive in the middle of the night for astro (that didn’t quite work out), chasing a sunrise that also didn’t deliver, then driving back home. The results weren’t what I’d hoped, but the lesson was invaluable.
Beyond just the iconic landmarks or picturesque scenery, how do you manage to capture the feeling of a place, making your viewers experience it rather than just see a postcard-perfect image?
For me it’s about mood and atmosphere, not just the view. At Mount Ngungun, I wanted to add a touch of enchantment to the scene so it truly reflected the feeling inside, so I poured water into an empty rock pool to catch the reflection of the sky. It’s a small detail, but it transformed the scene into something more magical.
Living in Australia, I’m also spoiled by the dramatic skies. Storms, fiery sunsets, shifting clouds – they bring landscapes alive. I often feel nature is the real artist, and I’m just the one standing in the right spot to let it speak.
This photo from Mount Ngungun wasn’t about the classic postcard summit view -I wanted magic, so I used a small rock pool to catch the sky’s reflection.
Have you ever arrived at a “bucket list” spot, filled with anticipation, only to find yourself completely underwhelmed by the reality of the experience or setting?
I try not to be disappointed. The Dolomites didn’t let me down — Seceda and Tre Cime were stunning – but the sheer number of tourists made it hard to capture the solitude I usually seek in landscapes. At the same time, I discovered places I hadn’t expected to fall in love with, like the snaking ridge of Ponta Lastoi de Formin – it’s on the return list so I can capture it from the formidable Bastione de Mondeval. In the end, the “hidden” spots impressed me even more than the icons.
Light and shadow over the valley between Mondeval and Lastoi de Formin – next time, I’ll chase this view from Bastione de Mondeval.
What’s the most unforgettable encounter you’ve had while shooting?
Not long after buying a second-hand Sony 70–350mm, I went to Mount Ngungun in the Glasshouse Mountains to test it out. The day seemed like a write-off – the sky was flat, the colours dull, and then rain moved in. I packed up, felt resigned, when suddenly the rain stopped. I turned around to see the scenery transformed and the brightest double rainbow I’ve ever witnessed arching over the peaks. I’ve never unpacked my gear faster, and I managed to capture it just before it disappeared.
This was the double rainbow I almost missed after packing up in the rain – the photo that came out of nowhere.
What’s the wildest thing you’ve done to protect your gear out in the elements, and did it work?
Probably less “wild” and more “comical.” I once tried to shoot in the rain and wind while juggling an umbrella in one hand and a tripod in the other. By the time I’d finished, it was pitch black and I had zero usable shots. Lesson learned.
Do you have a recent shoot or project you would like to share or promote?
Right now, my plan is to build a portfolio of the mountains of South East Queensland, capturing how they transform with the light and seasons. It’s part of a longer-term goal to publish a book celebrating these landscapes. If any SEQ photographers are interested in collaborating or exploring together, I’d love to connect.
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