It’s 2026, and a new year is upon us. So first, let me say, Happy New Year to all. I hope the year ahead for you is filled with all the great things you deserve, and that you reach your goals in everything you are working towards. As photographers, we have plans for our art and goals for our adventures.

It’s Christmas Day, and as 2025 comes to an end, it’s the perfect time to look back on your year of journeys, the memories you created and the photographs you made. I hope that your year was one of discovery, not only of new locations but of yourself. As my ideas and plans for travel in 2026 are now at the forefront, I look back at what still seems fresh.

I’ve been using light painting in my automotive photography for over 10 years now, and it’s still an exhilarating opportunity when presented. The process is an excellent option for automotive photographers to add to their repertoire, if they haven’t already, as it offers a very unique way to showcase vehicles and can be very enticing to clients.

The purpose of car photography is to showcase a vehicle in a way that best represents everything it offers. Location is key, as well as lighting. Both of those go hand in hand with your subject. When on location, finding a spectacular location at just the right time is immensely satisfying.

I’ve been shooting for many years, and early in my photography, I was constantly reminded of the importance of using the lowest ISO possible. And to be fair, back in the early 2000s, ISO was something I needed to consider. Many early DSLR cameras weren’t handling noise all that well, so the ceiling was pretty limited before it reached what I would consider “unusable”.

As I look out of my home office window and see the first signs of snowfall on the ground, I realize that the long winter is ahead; it’s just getting started. For me, this is a challenging time to stay motivated with my photography. A significant factor for me is where I live.

It’s not very often I get the opportunity to photograph classic cars, and even more rare that I get an entire afternoon with two classic Ferraris. The automotive season for me was slim this year, with only a few photoshoots in 2025, and that’s fine. Even though the opportunities were minimal, I wasn’t pursuing automotive shoots myself.

In a city like Malaga, particularly Old Town, you are fortunate to encounter many narrow streets that create fascinating patterns of light and shadow throughout the day. Even midday, when the sun is high, awnings and building overhangs allow for intriguing compositions.

I’ve had the opportunity to travel regularly for some time now. I am very fortunate to have been able to do so. Over the years, through travel to many destinations, I believe my photography has improved. And that’s not just how the photos are presented, it’s the mentality I have going into these photographic situations.

After a few years of testing numerous film recipes, I feel I have a thorough understanding of how each setting influences the overall look. Many recipes have been very good, and I have been thoroughly impressed; on the other hand, some have produced looks that I would not consider bad but are far from my style.

Of all the cities across the Atlantic, Paris has been the one city that I have been to the most. It started in the first days of 2013, and this trip marks my fifth time in Paris. Oddly, despite numerous visits, I have few photos of the city, which prompted me to return to Paris.

In late June, I booked a direct, round-trip flight from Halifax to Amsterdam. As of the booking date, I had plans to spend a few days in Amsterdam, probably at the end of the trip, before returning to Halifax. I thought it would be convenient to be in my city of departure on the day I needed to fly home. However, my initial plan changed.