Seth Macey: Outdoor adventures and creativity through a camera lens
- PhotoED Magazine
- Apr 29
- 9 min read
An interview with photoED Magazine
Seth Macey is an Ontario-based photographer and videographer specializing in creating images and videos of all things related to the outdoors.
He is also the co-host of The Photographer Mindset, a podcast for photographers looking for strategies to enhance their approaches to business, creativity, and mindfulness for creators looking to increase their mental resilience.
photoED Magazine spoke to Seth about his work.
photoED: How did you get started in photography? What keeps you motivated and inspired to keep at it?
SETH:
In high school, a friend with a camera decided to take on a 365-day challenge. The goal was to capture a creative image every single day for a year. At the time, I wasn’t particularly interested in photography, but I spent most of my summer days off from school hanging out with him and collaborating on ideas. We turned simple, everyday moments into images we thought were the absolute best and this sparked something in me. I became instantly hooked on the idea of creating something interesting out of nothing but ideas.
I was fortunate to discover my passion for photography ahead of the pressures of working in social media now. Back then, there wasn’t the same culture of validation over metrics, and practising photography felt very different. It was about creating interesting work without worrying as much about how it might be received by audiences online.
As for my motivation, I’ve learned to accept that inspiration comes in waves. There are peaks and valleys. It’s impossible to stay at a 100% motivation level all the time. However, I’ve found that having a curious mind is crucial. It leads to discovering hidden passions. The more things you find yourself drawn to, the more you’ll want to document them as a photographer. And when you do, you naturally strive to capture them in the most creative and meaningful way possible.
photoED: What do you love most about creating stories through photography?
Seth:
Visual storytelling provides me with the opportunity to inspire people and witness their reactions, whether it’s to something they’ve never seen before or something familiar, but presented in a fresh and unique way. I love when my visuals spark that sense of wonder in others.
I’m also really passionate about inspiring people to reconnect with the natural world. In our fast-paced society, it’s easy to overlook the beauty and complexity of nature, its fauna, flora, and the ecosystems we’re all a part of. Through my photography and videography, I aim to revitalize that connection. I want my work to remind people that we’re not just observers of nature but also active participants in it. There’s so much we can learn from the natural world, and I revel in the firm belief that this reminder is not only important, but it’s also necessary for us all.
photoED: Whose work has influenced yours?
Seth:
It’s funny, I’m a wildlife and nature photographer, but my favourite photographer of all time is Haris Nukem, who creates incredible, edgy studio portraits. Perhaps it’s unusual, but I think it’s important to look outside your own genre for inspiration. It gives you a fresh perspective.
Photographers in other genres can influence you in ways beyond your subject matter, like in how they edit and approach their craft. The influence doesn’t always have to come from the photo itself.
That said, when it comes to being influenced, I try to strike a balance. I stay up to date with photographers I admire and enjoy looking at their work, but I purposefully avoid letting them influence me too much. I want my photos to feel uniquely mine and original.
Of course, by naturally consuming great images from the community, certain aesthetics or techniques inevitably rub off on you, which I feel is a desirable effect. Even conversations with other photographers about their projects, or how they’re tackling challenges, can be influential in a more indirect way.
When I was starting out, following photographers was something I routinely did. I’d find images I loved and try to reverse-engineer edit their aesthetics using my own photos. It was a great way to understand what the pros were doing and how they achieved their final looks. This process really accelerated my learning of the editing process. While I’ve moved away from that approach now, it was an invaluable part of my growth as a photographer.
photoED: What makes a good photograph?
Seth:
At its simplest, I think a good photograph is one that makes someone stop and look at it. That said, this could be oversimplifying things. After all, something outrageous or shocking could grab attention without necessarily being “good.” So, perhaps a good photograph is one that makes someone feel something. Whether it’s fear, excitement, wonder, or curiosity, a good image should evoke a response.
For iconic locations that have been photographed countless times, I think a great photograph is one that breaks away from the status quo. It takes risks, offers a fresh perspective, and still manages to nail that emotional connection. On the other hand, a great photo doesn’t need to win awards or go viral. If even one person is genuinely enthralled by it, or if you’re proud of it yourself, you could argue that’s enough to call it a good photo.
From a technical standpoint, rules like the rule of thirds, leading lines, and other compositional guidelines exist for a reason. They’ve been proven to create strong, visually appealing images. But rules are also meant to be broken. Some of the most memorable photographs disregard these conventions entirely, but the photographers behind them knew how and when to break the rules in a way that served the image.
Ultimately, I think creating a good photograph comes down to understanding that you are a servant and messenger to the scene or subject. It’s about capturing it in a way that tells its story in the best possible way. When you approach photography with that mindset, you’re far more likely to create something good.
photoED: How has working in photography influenced you personally?
Seth:
First and foremost, I think curiosity is a feedback loop. You take pictures of things, become interested in them, learn more about them, leading to new interests, and the cycle continues. Photography has also taught me to be more mindful. Even when I don’t have a camera in hand, I find myself stopping to really look at things, noticing how they feel, look, and even smell. It’s made me more present and aware of the world around me, which I think is incredibly important for everyday life.
It’s also helped me connect with people. I’ve made so many friends who share a similar passion for photography, and that’s something I’m deeply grateful for. My favourite thing about social media is how easy it makes it to connect with like-minded people from all over the world. Without photography, I’m not sure I would have built such a strong and diverse community of friends.
Photography has also made me more explorative. I don’t think I would have been as naturally inclined to discover or travel to new places without the urge to photograph them. My camera has pushed me to venture out, experience new things, and see the world in ways I might not have otherwise.
photoED: How has working in social media influenced you and your photography?
Seth:
When I first started using social media, I thought having as many followers as possible was the key to “making it” as a photographer. I believed that success was tied to numbers and metrics, and I spent a lot of time chasing that validation. But over time, I began to understand how the attention economy works and how the platforms more recently have leaned towards rewarding formulaic, predictable content. To play the game of social media and acquire growth, you sometimes have to sacrifice creativity for what the algorithm favours and I really don’t like that.
That realization made me step back and reflect on why I got into photography and video in the first place. It wasn’t to follow trends or create for algorithms. It was to make the work I wanted, in the way I wanted. I realized that the algorithms don’t reward that kind of authenticity, and I had to decide what mattered more to me.
For a while, I focused on quantity over quality, thinking that constant posting was the way to grow. But as I became more aligned with my values, I shifted my approach. I didn’t abandon social media entirely. It’s still important to stay relevant and active, showcase your work to brands and companies, and stay connected with friends and the photography community. I feel my return on investment as a photographer can be maximized by improving my website, reaching out to clients, creating spec work to attract the right opportunities, and ultimately focusing on what I set out to do 15 years ago, which was to turn my creative visions into something I’m proud of.
photoED: How do you decide what to post on social media?
Seth:
If I like it, it goes on my feed. There’s a famous Rick Rubin quote that says, “The audience comes last,” which essentially means that, as artists, our primary purpose is to create work we’re proud of and the rest should take care of itself. I believe that when you’re truly devoted to and proud of your own work, that energy translates into the work itself. Viewers pick up on this, whether consciously or subconsciously.
That said, I do understand the importance of audience reception and retention, especially when working for a client or a brand. In those cases, you sometimes have to set aside your personal tastes and focus more on the marketing potential of the work you’re creating. For example, if you’re being paid by a business to produce social media content, the goal shifts. You’re creating content that needs to perform or achieve the desired outcome. It’s a different mindset.
On a personal level, though, I don’t care if a photo gets 10 likes as long as it represents my best work, and reflects my current abilities. I think it’s important to strive to create the best images you can, but also not to take yourself too seriously. Social media isn’t the be-all and end-all of being a photographer. In fact, some of the most “successful” photographers I know personally don’t even have social media accounts.
GEAR UP:
What camera and equipment do you most use now? What’s your favourite lens? Tell us about your experience using Tamron lenses?
SETH:
I shoot exclusively with a Sony A7III. It’s not the top-of-the-line Sony model, but it’s a fantastic camera that has served me well in a variety of harsh outdoor conditions. I firmly believe that while high-end gear has its place and justifies its price, you can achieve incredible results with middle-of-the-line equipment, or even a basic starter kit. I always encourage people to advance their gear as their skills grow. If you can learn to take amazing images with a basic kit, upgrading later will only enhance your foundational skills and allow you to flourish with the added features. Personally, I only upgrade when I hit a hard limit with my current gear, when the technical specs can no longer support or severely hinder what I’m trying to achieve.
My favourite lens is the Tamron 28-75mm F/2.8 Di III VXD G2. It’s incredibly versatile and never leaves my kit, no matter what I’m shooting or where I’m going. If I’m out in the forest photographing wildlife with my Tamron 150-500mm F/5-6.7 Di III VC VXD (my second-favourite lens), I always keep the 28-75mm F/2.8 G2 in my bag. It’s perfect for capturing something unexpected, like a unique patch of mushrooms on the forest floor or even a portrait of someone who’s joined me on the outing. I also love how well it performs in midday light. I’m not someone who strictly plans around golden hour, I like to shoot when I feel like it, and the 28-75mm F/2.8 G2 is reliable in all conditions. Primarily I use it for landscape images and non-wildlife nature shots.
When it comes to wildlife, I exclusively use the Tamron 150–500mm lens. That range is essential for maintaining a safe distance from large, potentially dangerous, or skittish animals. It performs beautifully in both cold and warm conditions, as do all of Tamron’s lenses. I also have to give an honourable mention to the Tamron 50–400mm F/4.5–6.3 Di III VC VXD It’s an incredibly versatile lens that allows me to zoom wide at 50mm for landscapes or lifestyle images and then quickly reach 400mm if wildlife suddenly appears.
Tamron lenses have been a huge part of my kit, and I’ve been consistently impressed by their performance, durability, and versatility. They’ve allowed me to adapt to a wide range of shooting scenarios without compromising on quality.
See more of Seth Macey’s work here, follow him on instagram @sethmacey
