​This blog post doesn’t need much of a catchy introduction tbh. I sat down with a coffee and some Cameo Cremes, and thought about the parts of my photography practice that I'm unable to compromise on.

Put the people first.
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I’ve observed trauma and grieving for all sorts of things when photographing. To learn about the situation around you, you check your ego at the door and understand there’s something much bigger in the room than just you and your camera. 
Me telling someone’s story with my camera is not as important as the person who owns that story. Sometimes I have to put the camera down. And that’s ok. 

God I'm A Mess, 2016, Copyright HJ Milne.

Engage the spidey-senses.

Photographers spend a lot of brain power on intuition to figure out what is going on around them. My ADHD spidey-sense is perfect for photography. I’m hypersensitive to subtle emotional cues from other people which becomes amplified in groups, and my brain registers all incoming sensory data - even the random irrelevant stuff. This is exhausting in everyday life, but when I have a camera around my neck it gives me a superpower which navigates me towards decisive moments, helps me connect and empathise with subjects, and keeps me safe.
Acknowledging this superpower and *buzzword alert* leaning into it is important to me and is something I’m learning not to apologise for. 

I’m not above the rules just because I have a camera.

Ok, so this is an interesting point. There are times when I’ve curved the rules when working:

• I think the rule is illogical and/or overly bureaucratic.
• Risks to my safety are generally fairly minimal sort of 
• There is no negative impact (physically, emotionally, culturally) on others
• The reward is high (but combined with the above points)
• There is a rationale to it beyond likes on Instagram

Conversely, just because I see other photographers crossing the line or breaking rules, doesn’t mean I should (especially if my intuition is giving me Nope Vibes).

​Below are two examples of situations where I don’t break rules intentionally. Sometimes I make mistakes and I’m always learning.

On Marae
Following Tikanga is important to me for practical reasons and as a Treaty partner of Te Tiriti o Waitangi. Do I want to be invited back to take photos again? Yes. Will I learn more if I follow Tikanga? Yes. Do I think I’m special on a marae because I have a camera? Nope. 
One part of Tikanga that directly impacts on my work is where I can access (depending on my connection to the Marae). 
My photo tips for this situation:

• Wear a couple of camera bodies with different lenses 
• Walk around the accessible areas and plan out the best shots beforehand (I choreograph a ‘shot routine’ in my head)
• Be creative and don’t be lazy - use your skills to compose photos differently if you can’t be in the ideal spot
• Accept I might miss certain photos. That’s ok.

The most important part of this is to have a conversation. I have a kōrero with the client about where I can stand, photographing during karakia, who will be there, and what the songs are. And yes, if I know the waiata and if it’s appropriate to do so, I’ll join in!

Photographing disaster relief work
​A natural disaster introduces fresh new environmental risks and a boat-load of collective emotional trauma to a situation. It’s not the time to be a Hero With A Camera, or push back against health and safety. Sticking to the rules when photographing disaster relief work gives me clear parameters to work within. This means I can work efficiently using best photographic practices, and still have brain power available for talking and empathising with people in the affected community.
My photo tips for this situation: 

• Get as much data about the changing environment and impact of the disaster from the experts as possible. I attend briefings, ask questions, listen in (appropriately) to conversations around me, and access reputable media.
• Wear the right gear. Steel cap work boots, sunscreen, insect repellent, headgear . . . invest in the good stuff.
• Clean, organise, check camera gear regularly during the day. This stuff is my livelihood and I need to take care of it and know where everything is all the time – even when everything else feels chaotic.

All of this boils down to remembering why I take photos in the first place. If I took photos to be famous or to become a billionaire, then the above points would be negotiable. 
But that feels so wrong to me. I take photos because I want others to see how I see their stories and the world.
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There’s a certain grace in letting go of the perfect photo because your integrity says no, and just keeping a memory in your head instead.

Looking for an article about the latest cool new gadgets and gear that I have in my fancy and complex camera bag? Then jog on, because this is not that article.
​Read below to learn what I typically pack when photographing events, architecture, landscapes and streets. 

Disclaimer: I am not affiliated with any particular brands, and none of this content is a paid promotion.

I keep things minimal, second-hand, and very straightforward. This has multiple benefits:

• I know where everything is (most of the time)
• I respond very quickly to changing situations
• My back and shoulders stay mostly pain-free
• I save money and put less packaging into the environment
• Improvising with things around me results in increased creativity
• I rely on my skill (and upskilling) instead of gear

At events I need to be really responsive, agile, and tidy. I zoom around all over the place so I use my small bag with the following items:

​If I’m heading out to photograph cityscapes and people, architecture, landscapes or a particularly bespoke event, I’ll pack the following extras into my bigger Lowepro bag.

Carrying the right amount and type of gear is important for my posture and for producing the right photos for my clients. If you're getting started with photography, keep your kit in range with your budget, and work with the essentials before branching out and spending more on other gadgets. 

Final advice: never carry hair clips in your camera bag - see photo below. Thankfully the the lens was fine!​

Art Hole (Darkroom), 336 St Asaph Street, Christchurch
1-5 November 2022
10am - 2pm
Heather Milne presents an exhibition that tells stories about Christchurch’s inner city. This collection includes photographs from her 'March Fifteenth' and 'Pretty Munted' series, and individual works from the past five years.