Susan Wright Photographer
Explain where your photography has taken you?
Wow, when I reflect on this, it truly amazes me! Photography has been an incredible gift, granting me the privilege to travel to some of the most fascinating and beautiful places in the world and the joy of connecting with extraordinary people along the way

Within Italy, I’ve explored every region, capturing the essence of its people and places. My work has introduced me to individuals from all walks of life—Prime Ministers, winemakers, chefs, artisans, musicians, designers, market vendors and so many more—all of whom have enriched my understanding of culture, humanity, and the beauty of diverse lifestyles.
The Times, Matteo Renzi, Italian PM
Beyond Italy, I’ve ventured extensively through the Mediterranean, the Adriatic, and Eastern Europe, immersing myself in their unique histories and traditions. Earlier in my career, I also traveled across North America, experiences that further shaped my perspective and deepened my love for storytelling through the lens.

Transumanza or cattle drive through the regions of Puglia and Molise in Italy – on the third day of the cattle drive, leaving the town of Santa Croce di Magliano to arrive at ‘Femmina Morta’ along the roads and tratturo in the Campobasso region of Molise.
You comment, “Learning my craft in the days of film, hand-held, light meters and dark rooms, provided a valuable foundation.” Discuss this further.
In the age of analog and film photography, creating images required a completely different approach. With medium format film costing roughly $1.00 per frame, every shot demanded precision and intention. Composing an image and determining the correct exposure often relied on a handheld light meter, leaving little room for error and requiring a deep understanding of both artistic and technical elements.
Chapel of the Madonna di Vitaleta near Siena in Tuscany, Italy. Taken with film.
Today, with the advent of digital photography, the process has become more accessible, and the disposable nature of pixels means many people take photographs without much thought for composition or technique. However, the foundation I gained from working with film—understanding how the camera perceives a scene differently from the human eye—has been invaluable. This knowledge allows me to interpret and craft images more intentionally, shaping the story I want to tell through the lens.
Ravello, panorama, Italy. Taken with film.
Without the discipline and foundation of analog photography, I wouldn’t have the same depth of understanding or appreciation for the art of creating meaningful images.
What were your briefs in Australia working for the State and Federal Government?
My travel assignments were primarily for the state and federal tourist boards, so I was shooting anything from a Jillaroo mustering cattle in outback Queensland to a surf carnival at an iconic Sydney beach.
Hinchinbrook Island Aerial, Queensland Australia. Taken with film.
I was shooting most of this work on medium format transparency film, so the look and feel was completely different to work that you would see today.
I mostly shot all images in colour due to the fact that the content was for promotional material in brochures and magazines. Most of the work I shot in monochrome was for personal pleasure. There is something so evocative about a portrait shot on analog b&w medium format film. A look and feel that digital can not replicate.
How did everything change when you went to Italy?
Yes, everything changed dramatically when I made the move to Italy—Il Bel Paese!

This transition coincided with the revolutionary shift to digital photography, a time of significant transformation both personally and professionally. The most profound change for me was experiencing Italy’s deep-rooted appreciation and support for the arts, which stands in stark contrast to the culture in Australia.

This nurturing environment allowed me to grow immensely in my artistic expression and develop greater confidence as both a woman and an artist. Italy embraced me with open arms, and I truly flourished—both personally and in my career, which thrived in ways I hadn’t imagined.
Why did you go to Italy?
I first went to Italy for a photographic conference in Orvieto, Umbria, and from that moment, doors began to open for me. I felt an overwhelming surge of artistic creativity while I was there, and I knew it was a sign to pursue my photographic career in this beautiful country. It’s no wonder that Italy has drawn countless artists, poets, musicians, and writers over the centuries, it’s a place brimming with creative energy.

Deep down, I knew this was an opportunity I couldn’t pass up, and my intuition proved right. The past 20 years have been incredibly rich with creative and personal experiences that have enriched my life in ways I could never have imagined. While the journey hasn’t always been easy—navigating cultural differences and the infamous Italian bureaucracy—it’s been deeply rewarding. I’m profoundly grateful for how this adventure has shaped me, both as an artist and as a person.

You work for some very big names in the travel industry. Can you tell us about this type of work? Has it changed with the development of the internet?
Working for clients like The New York Times, National Geographic, and Lonely Planet has been an incredible experience. What makes this work so rewarding is the depth and detail their writers bring to researching each location and story. As a result, the photo assignments go beyond the usual travel trends, exploring narratives that are far more original, compelling, and thought-provoking.

The industry has changed dramatically with the rise of the internet and social media, bringing both positive and negative shifts.
Gourmet Traveller, Venetian Lagoon
On the downside, social media has lowered the overall perception of quality in photography. The popularity of iPhone photography—essentially app-generated images—has contributed to a loss of image quality. Additionally, the rise of trends and imitation has diluted originality, with many copying the unique styles of innovative photographers rather than exploring their own artistic vision. Photography has often become less about creative expression and more about gaining followers, likes, and financial rewards. This obsession has even led to alarming behaviors—I’ve witnessed people take frightening risks just to capture a photo or selfie.
On the positive side, the transition to digital and social media significantly expanded my global reach. Early on, I leveraged my strong online presence to showcase my work to a broader audience, which undoubtedly boosted my career. Being based in Rome, speaking fluent Italian, and working with international clients as a local expert gave me a unique edge that proved invaluable.
Delicious Magazine, Rome
Comment on how you capture food in your photography.

When shooting food for a travel piece, the approach is vastly different from a controlled studio environment. My work often takes place on location during assignments, where I adapt to the setting and equipment constraints.
In Italy, working with chefs and restaurant staff is always a joy due to their passion for food, but shooting in restaurants comes with challenges. Lighting is often the biggest hurdle, as well as working discreetly during service hours, typically around lunch or just before dinner. Time is limited, so I make the most of the available backdrops and lighting—even if it means photographing food away from the restaurant table.

The presentation plays a crucial role, and while Michelin-starred restaurants often provide exceptional visuals, the rustic charm of a trattoria—with simple dishes set against timber and cotton—can be equally captivating.
For equipment, I rely on my 105mm f/1.2 lens for stunning food shots, and an 85mm or 50mm for overhead compositions. Wide-angle lenses distort too much, so I opt for longer focal lengths with as much height as possible. On assignment, I pack light: a reflector to bounce light and a portable LED light with a diffuser when needed, though natural ambient light is usually my preferred choice for capturing food’s true allure.
Chef Portrait
Are there any special events/ traditions that you would suggest and can tempt us with images?
There are soooo many, but I will suggest three that left a lasting impression on me…

Galicnik Wedding Festival in Macedonia – This two-day celebration, steeped in centuries-old traditions, draws visitors from across the globe to witness and take part in this vibrant cultural event, highlighted with elaborate costumes, folk dancing and sinking and traditional ceremonies. An experience I’ll never forget.

Molise Transumanza – a 4 day cattle drive from the region of Puglia to neighbouring Molise, moving livestock from winter to summer pastures. An ancient tradition that lives on in many regions of Italy today, known as the ‘Transumanza’.

Pentecost Sunday, Pantheon, Rome, Italy – The Pantheon is transformed into a vision of ethereal beauty during he Pentecost Sunday rose ceremony where millions of crimson rose petals cascade down from the 9 metre oculus above.

t is an experience so surreal and sublime. The ceremony which represents the descending holy spirit, leaves spectators speechless and in awe! Truly magical!

Take us to four very different places that have delighted you and why?
In my opinion travelling is the best education you can have. You may read many things about a place but it is only when you truly experience it and see things with your own eyes that you really know the truth of a place, the people and their culture.

This is possibly the greatest gift I have received through my work as a travel photographer and how this depth of experience has helped me to understand and appreciate different cultures.
Mostar, Bosnia and Herzegovina, is a picturesque gem nestled along the banks of the River Neretva. This charming town is incredibly photogenic, with its enchanting streets and captivating history. The iconic Stari Most Bridge, which was tragically destroyed during the war, has been meticulously rebuilt to its original design—a feat that feels almost magical, like something out of a fairytale.

Unlike many popular destinations, Mostar retains a relaxed and authentic vibe, making it easy to explore without feeling overwhelmed by crowds. Bosnia and Herzegovina as a whole is a fascinating country, offering breathtaking landscapes and a rich cultural tapestry that beckons travelers to discover its hidden treasures.
Kotor Bay, Montenegro – has truly breathtaking scenery! The area was once part of the Venetian Republic so this is evident in the exquisite architecture of the charming villages nestled on the picturesque bay. Dramatic mountain ranges and tranquil secluded waters make for a striking backdrop to these charming villages rich in history and culinary heritage.

South Tyrol, The Dolomites, Italy – This breathtaking region has long been one of my favourite destinations in Italy. Nestled along the Austrian border, it offers a stunning contrast of ancient, jagged granite peaks towering over lush green valleys, dense forests, historic villages, and serene alpine lakes. It’s a truly dreamy and captivating landscape.

The region’s food and wine are equally as inviting, and I’ve had some of my most unforgettable dining experiences here.

The Dolomites are spectacular year round throughout the seasons.
Torino or Turin, Italy – this is one of my favourite cities in Italy. It is often called the Paris of Italy due to the strong French influence in the architecture and cuisine. Located just on the border of France, Turin was home to the Italian Royal family, the Savoy Dynasty and this has left a rich legacy of exquisite architecture in both the city of Turin and surrounds.

Turin was where the Italian tradition of the aperitivo was born. There is nothing quite like the experience of sitting in the magnificent Piazza San Carlo sipping a bitter Vermouth or Campari, admiring the beautiful Baroque architecture and watching the elegantly dressed Torinese pass by.

Turin is also the gateway to the beautiful Le Langhe wine region.

Discuss the importance of how the photograph is taken either horizontally or vertically.
In my line of work, which is predominantly editorial photography, framing an image in either vertical or horizontal (or landscape and portrait) is crucial. When composing and framing an image there is always the page layout in mind. Editors in general like a wide variety of choice when creating a visual layout so having content shot in both formats is a must. Sometimes this would not be possible, but there are always ways to work around composition when framing your image and telling the story within the frame.

I tend to naturally shoot a scene in portrait mode with adequate negative space as I’m often thinking about a masthead on a front cover or text filling in the negative space.
How do you approach portrait and the sitter?

This depends on the client really. If I’m given a photo brief by the client I will be guided by the preferences of the photo editor or art director. If I have more creative input I would generally meet with the portrait subject to get a good feel for what I’d like to portray with the subject, the mood of the portrait and of course the setting and over story telling of the image.
I do prefer natural, ambient light although that is not always possible, so I’d use a diffused lighting situation with a soft box, either flash or LED lighting. I also prefer a very unobtrusive background that tends to disappear in the image to allow the subject’s true expression to engage the viewer.
How do you approach unknown people to photograph?
This is possibly one of the most rewarding components of my job as an editorial / travel photographer. You meet some fascinating people that make for compelling portraits!
On my travels in Italy I have seen so many fascinating characters that have perhaps lived extraordinary lives and it shows in their faces. If I have the chance I will approach these people firstly by starting up a conversation in Italian and see what happens from there. If the person is quite open I will ask if I can take a portrait. Although in Italian they say ‘make a photograph’ which is fare una foto.

Most times strangers that you meet are happy and quite flattered to be asked, but for sure this is something very spontaneous and fast. But often this is the best way to take portraits as the subject doesn’t have time to think about it too much and become self conscious. The authenticity shines through with this spontaneous approach to portraiture.
Florence Street Portrait
Tell us about the work you have done with different craftsmen. Eg. Weavers.

During the pandemic I had the time to work on some photo essays as I was not able to travel for work. I was living in Florence at the time and I had always wanted to photograph the ancient silk mill or the Antico Setificio Fiorentino.

One of the most rewarding subjects for me to photograph are the talented artisans in Italy. I am intrigued by their incredible talent, expertise and the centuries old traditions which they are keeping alive. I spent a few days at the Antico Setificio Fiorentino taking photographs and interviewing the talented weavers and their exquisite materials. It was absolutely fascinating and I was so grateful for the time I was allowed to create the photos and transcribe the interviews that were all done in Italian.

The photo essay and written essay was chosen for the ‘World Through a Lens’ series in the New York Times. This was one of the most rewarding photo shoots I’ve done, because I was able to really spend the time to research the history, take the photos and speak with the artisans.

It’s not always possible to have that gift of time to devote to one photo assignment. So I was extremely grateful and so thrilled to see the essay published.

Contact:
Susan Wright
Details:
Web – www.susanwrightphoto.com
Email – susan@susanwrightphoto.com
All images copyright Susan Wright – Please contact the copyright owner if you wish to share or publish any images.
Visit the online archive to license stock images: https://www.susanwrightphoto.com/archive
Deborah Blakeley, Melbourne, Australia
Interview by Deborah Blakeley, January 2025
Images on these pages are all rights reserved by Susan Wright
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