Why I 🖤 Optics: Kristopher Andres, Environmental Photographer

Kristopher Andres is a maestro of moody landscapes and adventure photography with a dash of ethereal. The Banff, Alberta, native has a knack for finding the perfect light, even in the darkest ice caves — and often losing cell signal. He’s been fortunate to work with top-tier publications and partner with brands that prefer their ads served with a side of wilderness.

When he’s not dangling off a cliff or hiking into the clouds, he teaches workshops, turning aspiring photographers into adventure-seekers with cameras. Equal parts artist and explorer, he tries to capture the wild in ways that make you want to pack a bag, grab a lens, and leave your comfort zone. Find him on Instagram, Facebook, and at OFFBEAT.

How did you first get into photography?

I've had a camera in hand for as long as I can remember—it was my outlet for channeling all my over-the-top energy growing up (because, truthfully, I was a handful). As a kid, I devoured every *National Geographic* I could find and dreamed of working for them one day. But life had other plans, and I ended up spending what felt like lifetimes in the corporate world. Photography was always there as a side hustle, but I never fully committed. That all changed in 2018 on a trip to Antarctica. One peaceful night on the top deck, staring at the stars and listening to the earth breathe, I knew I had to chase adventure full-time. From that moment, I promised to say yes to every door that opened toward my dream.  

Returning home, I discovered OFFBEAT and attended a Mongolia workshop with two photographers I was always so inspired by, Paul Zizka and Dave Brosha. Their mentorship changed everything. By 2022, I'd bought into the company I’d fallen in love with, left the corporate grind behind, and finally embraced photography as my full-time passion.

Your photos capture the world's natural beauty with an eye towards epic adventure. Where do you draw creative inspiration from?

From nature, as that is the ultimate artist, always pushing us toward adventure with her wild creativity. From her endless shades of blue in ice caves to her perfect leading lines and soft bokeh of light, she inspires me at every turn. I love connecting with the simplest details—by touch, sound, sight, or that deep feeling that sparks a grin or a tear. When I include a human element in my shots, it’s always to enhance nature’s beauty, never distract from it, blending seamlessly with the flow of trees, clouds, or mountains. Even with wildlife, I seek those perfect moments—like a cheetah framed by blades of grass—that feel effortlessly in sync with the natural world. 

How do you decide where to travel to shoot your photos? What gear do you typically pack?   

Ah, the eternal dilemma of a wandering photographer! I travel so much that I sometimes feel like my home is wherever my camera bag lands. Honestly, I’m *never* in one place long enough. In an ideal world, I’d spend a month soaking in every location, but reality often gives me a week—two if I’m lucky—before the next adventure calls.  

When choosing where to go, I always ask myself: Why? Is it just about the shot, or is there a deeper story? I crave places where culture, nature, and adventure collide. The gear checklist is another story—it’s like packing for a Swiss Army knife of creative possibilities. I always carry two camera bodies, my trusty 100-500mm lens (with a 2x extender for those hard-to-reach moments), a 50mm f/1.2, and a 15-35mm f/2.8. They’re my dream team. I also toss in a small off-camera strobe, an Insta360, and a few other nifty gadgets that make the magic happen. The bag usually tips the scales at 35 pounds, but on more ambitious hikes, it can creep up to 42 pounds. It’s a workout, but hey—it helps keep me in shape. 

What does a typical shoot look like? 

There’s really no such thing as “typical” in my world—it all depends on the shoot. One day, I might be hiking 20 kilometers through the mountains or squeezing into an ice cave to capture a hockey game (yes, that’s a thing!). Next, I’m channeling my inner explorer in full safari mode in Kenya. Every shoot is an adventure, and that’s exactly how I like it—unpredictable, challenging, and endlessly inspiring. 

If your budget was limitless, what would your ultimate shoot look like?

That’s a dangerous question—once you throw it out into the universe, who knows what might show up, haha! Picture this: Mongolian Eagle Hunters, camels, and a boatload of strobes at a remote lake with a waterfall. Camels posing, Eagles soaring, strobes flashing—my imagination might’ve just pulled a hamstring trying to keep up!  

What type of photo editing/manipulation tasks do you look to a plugin like Optics to help with? Do you use Optics in Photoshop only? Lightroom? Standalone? 

I use Optics in both Photoshop and Lightroom, depending on what the image calls for. For me, it usually starts with colour grading—I’m obsessed with colour and love pushing the boundaries. A good plugin needs to take me places I wouldn’t think to go and surprise me along the way. Optics delivers with its endless film stocks that can elevate an image to the next level—right past the stratosphere. Plus, it has that effortless, cozy feel, like your favorite coffee mug: reliable, simple, and always up for the job.

Which Optics effects do you like most — and why?

I’m a big fan of the film stocks—they bring such a timeless, cinematic quality to my images. Pair that with the selection masking, and I can dial in precisely the look I’m going for. The glows and light rays are showstoppers too, instantly adding that extra wow factor to make an image pop. And don’t get me started on the textures—whether it’s on wildlife or human subjects, they’re pure magic and always leave me grinning. The best part? The possibilities in Optics feel endless, and that creative freedom is what keeps me coming back. 

Before learning Optics, how did you create effects like glows and lens flares? Have you used other photo plugins? 

Oh, the struggle was real! Creating effects like lens flares, light rays, or glows used to drive me absolutely bonkers with other plugins. I’d spend hours tweaking layers, blending modes, and brushes, only to end up frustrated and tucking the image away, never to see the light of day. Let’s just say there were a lot of almosts before I finally found my groove with better tools and techniques.  

If you could have only one Optics effect, which would it be — and why?

Damn, that is so hard to pick as that film lab or the gels or the tints or the lens flare….. But it would have to be the black mist filters and effects. Endless possibilities in that realm of awesomeness! 

What are your top 3 reasons why photographers should use Optics?

Seamless Integration: Optics works effortlessly with Adobe, so there’s no need for complicated workarounds. You can move your work smoothly between platforms and keep everything organized in your catalog.  

Creative Powerhouse: With endless film stocks, glows, gels, mists, and more, Optics is like a one-stop shop for all things creative. It’s packed with tools to elevate your images to the next level.  

Top-Notch Tutorials: The tutorials are a game-changer. They’re clear, inspiring, and designed to help you get the most out of Optics, whether you’re just starting or fine-tuning your skills.  

What’s your best pro tip to artists new to Optics? 

Dive in and start experimenting! Play around with your images, explore the tools, and don’t be afraid to get creative. Watch the tutorials—they’re a goldmine—and take the time to really understand how to craft the effects you’re envisioning. The tools are all there; it’s just about putting in the work to unlock their full potential.  

What’s your favorite project or image you’ve ever worked on — and why?

I think it is the recent trip to Kenya, shooting the Tano Bora Cheetah brothers on the Maasai Mara was really a grounding trip, especially hearing the legendary stories of these last 2 remaining cheetah brothers out of the 5. Having images of them sharing some brotherly affection was really special. The images have come alive during the editing and the video has been on replay for me for a while now. Hopefully, they will find some traction as I am really proud of them.