Landscape photographer Yan Zhang argues that Patagonia remains an unparalleled testing ground for serious photographers, despite growing concerns about overcrowding and repetitive imagery in the region. His perspective comes in response to photographer Chandler Borries' article "Why I'm Not Going Back to Patagonia as a Photographer," which raised questions about creating original work in increasingly accessible remote locations.
Patagonia has undergone a dramatic transformation over the past decade, evolving from a remote wilderness into what Zhang describes as an annual photography pilgrimage destination. From March to May each year, photographers and workshop groups flood popular locations including the small town of El Chaltén in Argentina and the hiking trails of Torres del Paine National Park in Chile. Some prime shooting locations now experience significant crowding and intense competition for camera positions.
This surge in popularity has led to an abundance of repetitive and unoriginal Patagonia images flooding social media platforms like Instagram. Zhang attributes this phenomenon to herd mentality, where photographers simply follow crowds to replicate famous shots they've seen online. While he acknowledges that mimicking masters' work can be a valuable learning path for beginners, he emphasizes that serious photographers must maintain independent thinking to create truly original and personal work.
The key to discovering unique perspectives in Patagonia, according to Zhang, lies in effort and exploration beyond conventional boundaries. He criticizes photographers who complain about crowded landscapes and limited photo opportunities, suggesting they simply haven't hiked far enough or climbed high enough to discover unexplored terrain. "You didn't hike farther, you didn't climb higher," Zhang states, emphasizing that venturing into mountains and transcending conventional perspectives is essential for finding one's own vision of Patagonia.
Zhang's approach to photographing Patagonia differs significantly from typical tourists and workshop participants. He climbs to remote ridgelines, high alpine lakes, and both named and unnamed peaks, carrying heavy camera equipment through harsh weather conditions and difficult terrain. These elevated, hard-to-reach locations offer perspectives that few, if any, photographers have captured before.
The photographer often camps near ridges for days, patiently waiting for optimal lighting conditions while accepting the possibility that perfect conditions may never materialize. This uncertainty, Zhang explains, makes the eventual reward deeply meaningful. When favorable light does appear—sweeping across jagged peaks, setting the sky ablaze, or softly illuminating hidden lakes—it feels like receiving a precious gift.
Zhang views his resulting images not merely as photographs of Patagonia, but as visual records of personal journeys into the region's wildest corners. He believes Patagonia tests photographers on multiple levels: physical and mental resilience, inner compass for resisting repetition, ability to maintain personal vision, and willingness to seek solitude while others follow well-worn paths.
Despite the challenges and growing crowds, Zhang maintains that Patagonia offers infinite possibilities and inspiration for landscape photographers willing to put in the effort. The region continues to serve as a destination that challenges and refines his craft not just as a photographer, but as an artist, explorer, and human being. This multifaceted testing ground keeps drawing him back, reinforcing his belief that Patagonia remains the ultimate proving ground for serious landscape photographers in the modern era.
