Why Every Photographer Should Embrace Unplanned Exploration: Insights from Kyle McDougall
Welcome to this edition of [book spotlight]. Today, we uncover the layers of 'An American Mile,' by Kyle McDougall. We'd love to read your comments below about these insights and ideas behind the artist's work.
When you stumble across Kyle McDougall’s work, you can’t help but feel the quiet pull of solitude and time standing still. His photography is a window into forgotten towns, open landscapes, and the stories they whisper. Originally from Ontario, Canada, Kyle has a deep fascination with rural environments—something that has only grown stronger since he moved to the UK. His lens captures more than just scenery; it captures history, silence, and the slow passage of time, revealing layers of beauty often overlooked in the modern rush.
In our conversation with Kyle, we explore his journey from cinematographer to full-time photographer, where his passion for film and the unexplored landscapes of the American Southwest led him to create his first monograph, An American Mile. From documenting the vast deserts to uncovering stories hidden in the Slate Landscapes of North Wales, Kyle’s work continues to evolve, capturing the quiet but powerful interplay between nature and human impact.
Inspiration Behind the Journey: What initially drew you to the American West, and how did your experiences during the year-long road trip in 2017 influence your photographic vision and style for “An American Mile”?
A big part of the American West's appeal is the solitude in its vast, empty spaces. Being from Canada, I’m certainly used to rural and remote areas, but the desert is different. It’s wide open, often with the landscape stretching as far as the eye can see. There’s an appeal in that to me. I find it incredibly peaceful and comfortable, whereas in Canada, especially the area I’m from with its dense forests, it can sometimes feel a bit chaotic—not necessarily in a negative way; it’s just very different.
I think vision and style are often largely influenced by subjects and landscapes, and for me, it was something that just happened naturally. My approach to photographing the desert hasn’t fully translated to other locations, like here in the UK, specifically regarding film choices, time of day, etc. That’s what actually inspired me to start shooting in black and white more since moving to England—my old go-to approach of Kodak Portra 400 and mid-day light doesn’t work here.
Exploration and Discovery: How does the element of exploration and having no set plan impact the way you capture your photographs? Can you share a memorable experience from your travels that significantly shaped a particular image or series in the book?
The longer I do this, the more I realise how instrumental the ‘road’ is in my photography practice. My big appeal is jumping in the car, heading to rural areas, and exploring back roads and quiet places. There’s a bit of a thrill not knowing exactly what you’ll find and connecting with people you meet along the way. For example, I recently made a trip through Wales, from North to South, and by chance, ended up on a twenty-mile stretch of road that took me through an old mining area deep in the hills. It was completely unexpected and exactly the type of discovery that I often search for.
As for An American Mile, one of the most memorable experiences was near the beginning of the trip, before we got to the West, as I was getting back into film. We did a few nights outside of Portland, Oregon, and while we were there, I decided to buy an old Yashica Mat 124G, 6x6 TLR on a whim. The next morning, I woke up early and drove into the mountains near Mt. Hood. I ran a few rolls of film through that camera, and without even seeing the images, I was hooked. It was a refreshing practice after two years of growing tired of my previous work. That’s what sparked things and set me down a path of discovery, influenced by the excitement of using film again and being introduced to a wide range of artists and genres that were completely new to me.
Curatorial Process: With thousands of miles traveled and countless photographs taken, how did you go about curating and selecting the 101 images featured in “An American Mile”? What criteria or themes guided your choices?
I’m fortunate that I was able to work on the book with a publisher. We did the image selection together, and they did the image sequencing, with us going back and forth through multiple revisions. It was hugely beneficial, not only to be able to have help narrowing down the body of work but also just to have someone who is detached from the images and has far more experience than me do the sequencing. I learned a lot, and it was a great reminder about the importance of collaboration and getting outside of the bubble that is easy to create as an artist. We used many images that I probably wouldn’t have selected on my own, but they ended up working great and surprised me.
Artistic Collaboration: Can you talk about your collaboration with Noah Waldeck and Kyler Zeleny in the creation of this book? How did their contributions in curation, sequencing, and essay writing enhance the overall narrative and presentation of your work?
As mentioned, working with Noah at Subjectively Objective had a huge impact on the final presentation of the book—both from an image sequencing and design standpoint. Kyler’s contribution in writing an essay added another layer of depth to the book. Just like it was important to collaborate on image curation, having another photographer whose work I respect and admire craft an essay about the road and the West brought another unique element to the book that I wouldn’t have been able to contribute.
Photographic Techniques: Your images often capture the vast, open landscapes of the American West. What specific photographic techniques and equipment did you use to achieve the desired aesthetic and mood in your images?
Most of the work was shot on film, the majority of it Portra 400 in both 35mm and 120 formats. The process was quite simple: rating the film a stop slower and then going for a bit of a high-key look—bright and with open shadows, which also happens naturally in the desert as so much light is reflected. It was a style that revealed itself on its own when I first started making the work, and I just stuck with it. There wasn’t too much thought behind it, rather just following intuition.
Cultural and Environmental Reflections: Through your lens, how do you see the intersection of natural beauty and human impact in the American West? How does your work address themes of solitude, discovery, and the changing environment?
It’s one of the things that interests me quite a bit and that I seek out often, even today. I’m always intrigued by the fact that regardless of where you go, humans have shaped and impacted the landscape in both subtle and extreme ways. It’s not something that I thought too much about while making the work in the American West, but it’s a theme that emerged throughout the process. Honestly, much of the photography was driven by intuition and curiosity. It was only afterwards that I started to think more deeply about it.
Nowadays, with my current project in North Wales, my approach is much different. I’m consciously seeking out specific subjects in the landscape with a solid narrative already in mind.
I think a balance of the two is a good place to be. Maintain curiosity, follow intuition, and have a rough idea of what you’re after and why.
Personal and Artistic Growth: Reflecting on the process of creating “An American Mile,” how do you think this project has contributed to your growth both as a photographer and as an individual? What have you learned about yourself through this journey?
The project was a big turning point for me. A few months before starting it, I was at quite a low point with my photography career; I was just feeling burnt out and generally unsatisfied. What I’d been focusing on for years no longer interested me. The American West reignited things for me and set me down a path that I couldn’t have imagined.
I’m at a place right now where I’m enjoying photography more than ever, and my work looks very different than it did in the past. The biggest lesson I learned from the entire journey is that it’s ok to change, and you don’t have to stick with one style or interest for your entire career.
When I first started making images in the American West, it was such a departure from my old work that I thought no one would like it, but it didn’t matter because I was enjoying the process of photography for the first time in years.
To my surprise, the work was well received and snowballed into everything I’m doing now. So yeah, I think, first and foremost, you have to stay true to yourself. Shoot what interests you, and follow your curiosity, regardless of how much people may or may not like it. Ultimately, what matters most is an authentic voice and maintaining creative energy, which can only be done if you’re focused on what fuels you.
Crowdfunding and Community Support: Why did you choose to go the crowdfunding route for this book? How important has community support been in bringing this project to life, and what does it mean to you to share your work with a broader audience?
Crowdfunding appealed to me as it’s a way to gauge interest in a project and help with production costs. I was fairly confident that people would be interested in the book, but you still never know for sure, and it would be a bit nerve-racking to fund the production beforehand and hope that people would want it. I’m very grateful for the support people showed for the project; it wouldn’t have happened without them. The community support was instrumental in bringing this to life.
Community is such a huge part of photography for me, and it’s amazing to be able to share projects and images with a wide audience, both online and in book form. Not only that but the friendships and connections made throughout the process are so important. As much as I love image-making, there’s so much more that comes with this craft for which I feel grateful. Being able to connect with people worldwide and talk about photography and the creative process is up there at the top.
To discover more about this intriguing body of work and how you can acquire your own copy, you can find and purchase the book here. (Kyle’s Website)
Kyle McDougall
Kyle McDougall is a documentary and landscape photographer hailing from Ontario, Canada, now based in the United Kingdom. His work delves deep into rural landscapes, quiet spaces, and the influence of time and history on environments. After starting his career in the outdoor television industry as a cinematographer and editor, Kyle shifted to photography full-time in 2017, focusing on long-term projects. His debut monograph, An American Mile, documents a five-year journey through small towns in the American Southwest. In addition to his personal projects, Kyle shares creative and educational content on his YouTube channel. (Website, Instagram, YouTube)
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