Peter Beard: The Diary of Excess
Introduction
Peter Beard (1938–2020, New York, USA) was one of the most unconventional figures in twentieth-century photography — a photographer, diarist and collage artist whose work blurred the boundaries between documentation and personal mythology.
Raised in New York, Beard developed an early fascination with Africa after reading Out of Africa by Isak Dinesen. This fascination became a lifelong obsession. After studying art history at Yale, he traveled to Kenya in the early 1960s and eventually settled there, dividing his time between Africa and New York.
Beard’s work is inseparable from his life. He photographed wildlife, landscapes and people — particularly in Kenya — while also documenting his own experiences through handwritten diaries, drawings and collages. His photographs were often physically altered, covered with ink, paint, blood or found materials, turning them into hybrid objects rather than traditional prints.
His early photographic work, particularly his documentation of elephant populations in Kenya’s Tsavo National Park, brought attention to the ecological consequences of overpopulation and environmental mismanagement. His book The End of the Game (1965) remains one of the most important photographic works addressing wildlife conservation.
Over the decades Beard became a central figure in both artistic and social circles, moving between the worlds of photography, fashion and celebrity culture. Yet his work retained a raw, personal quality that set him apart from more conventional photographers.
Camera Gear Used by Peter Beard
Cameras
Nikon F – Peter Beard used Nikon 35mm cameras, particularly the Nikon F system, during much of his early work in Africa. These cameras were widely used by photographers working in demanding environments due to their durability and reliability.
The portability of 35mm cameras allowed Beard to move freely while documenting wildlife and life in Kenya.
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| Nikon F |
Medium format cameras (Hasselblad and similar systems) – Beard also worked extensively with medium format cameras, which provided higher image quality and larger negatives.
These cameras were often used for more composed images, particularly those that would later be incorporated into his large-scale prints and collages.
Polaroid cameras – Instant photography played an important role in Beard’s creative process. He used Polaroid cameras to produce images that could be immediately incorporated into his diaries and mixed-media works.
The immediacy of Polaroid allowed him to merge photography with drawing and writing in real time.
Lenses
Standard and short telephoto lenses (50mm–105mm range) – Beard’s work often focused on subjects at a moderate distance, particularly wildlife and portraits. Standard and short telephoto lenses allowed him to capture detail while maintaining a natural perspective.
Unlike photographers focused on technical precision, Beard’s lens choices were pragmatic rather than stylistic. The final image was often only the starting point for further artistic intervention.
Film
35mm color and black-and-white film – Beard used both color and black-and-white film throughout his career, depending on the project.
Color film was particularly important in his later work, especially when combined with collage elements that emphasized texture and contrast.
Polaroid instant film – A key part of his workflow, Polaroid film allowed Beard to create unique, one-of-a-kind images that could be physically manipulated immediately after exposure.
Here's an article on the 10 best films used by legendary photographers.
Technique & Style
Peter Beard’s photography cannot be separated from his broader artistic practice.
His images often begin as documentary photographs — wildlife, landscapes, portraits — but are later transformed through collage. He would draw directly onto prints, add handwritten notes, incorporate found objects and even use unconventional materials such as blood to alter the surface of the image.
This process turns the photograph into a personal artifact, part diary, part artwork.
Themes of life, death and decay run throughout his work. His photographs of elephant carcasses in Tsavo, for example, are both documentary records and symbolic reflections on ecological imbalance.
Beard’s compositions themselves are often straightforward, but the final works are complex, layered and highly personal.
How to Imitate His Style in Post-Processing
Peter Beard’s style is difficult to replicate digitally because it is deeply physical, but certain approaches can approximate the look.
Combine photography with mixed media
Add handwritten text, drawings or textures over images.
Use layered compositions
Overlay multiple images or elements to create visual complexity.
Embrace imperfection
Scratches, stains and irregularities are part of the aesthetic.
Experiment with color and contrast
Beard’s images often combine natural tones with strong visual disruptions.
Print and rework physically if possible
The most authentic approach involves printing images and altering them by hand.
How to Shoot Like Peter Beard
Photograph your life as well as your subjects
Beard’s work is deeply autobiographical.
Work across mediums
Combine photography with drawing, writing and collage.
Focus on themes rather than single images
His projects often explore ideas such as nature, decay and memory.
Embrace spontaneity
Not every image needs to be technically perfect.
Use photography as a starting point
The final artwork may evolve far beyond the original photograph.
Legacy
Peter Beard occupies a unique position in photographic history.
He was not only a photographer but also a diarist and conceptual artist who expanded the possibilities of what a photograph could be. His work influenced both fine art photography and fashion imagery, bridging worlds that are often kept separate.
His photographs and collages are held in major collections, and his books — particularly The End of the Game — remain influential.
Beard’s life and work continue to inspire photographers who see the medium not just as a tool for documentation, but as a form of personal expression.
Books by and Featuring Peter Beard
The End of the Game (1965) – Beard’s most important work, documenting wildlife and environmental issues in Kenya.
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| check it on Taschen |
Eyelids of Morning (1978) – A photographic diary combining images and text.
Longing for Darkness (1990) – A collection of his diaries, photographs and collages.
Peter Beard (2006, Taschen) – A comprehensive monograph covering his life and work.
Conclusion
Peter Beard’s photography challenges conventional definitions of the medium. His images are not simply records of the world but components of a larger artistic process that includes writing, drawing and collage.
Using Nikon cameras, medium format systems and Polaroid film, he created a body of work that is as much about experience and memory as it is about visual representation.
His legacy lies in showing that photography can be deeply personal, physical and expressive — far beyond the limits of the printed image.