In the final part of my monochrome mornings series I took a different approach, mostly dictated by the weather. The morning was dull and dry, with very little wind. On a day like this, there would be no light and shadows, and no contrast provided by the morning sun. Instead, I would have to look for textures and natural contrast occurring within subjects, and between subjects in a frame. I took out my old but loved Nikon D5600, powered up the battery, and headed out with one lens, the Nikon 50mm prime, a lens which had largely gone unused in recent times. The results were mixed. Given that there was no natural sunlight the high contrast black and white of previous days was not possible out of camera. I settled for low contrast and enjoyed the challenge of looking for subjects that would offer some potential for making black and white images. The Results I like one or two of the images, but they were mostly just experiments. There was contrast here but the image is too cluttered for my liking. I prefer simplicity in black and white photography. This image works for me as it is a strong subject and the image is uncluttered. It would look better with some direct light hitting it, in my opinion, although the peeling paint does add a little contrast. There is some contrast here and the image is uncluttered. It is just an uninteresting composition. As with the second image, the subject lends itself to monochrome as the impression is given of something old. Even the cobwebs are visible when colour is stripped away. This scene may have looked better in colour. Do you agree? The patches of black where the paint remains add to the success of this monochrome image, and provide a little extra interest in an otherwise boring subject. The gate locks gave good opportunities for experimentation. The dark and light within the subject provide enough contrast for a decent monochrome image. The dark door and railing are simple contrasts against the textured white background. I like this image. The subject provides some interest although the contrast is not as strong as I had hoped. It could be improved with some editing. The 50mm focal length was hard to work with, having been used to a wide focal length. The subject range in the location didn’t lend itself to this type of photography so there were a few very similar compositions. I hope to repeat the exercise in a different location, and with a different focal length. Nonetheless, the experiment was worth trying, as experiments always are, and I have learned how to improve for my next outing. I hope you have enjoyed this short monochrome series. While black and white photography does not appeal to everyone, I do believe that it is worth trying because of what it teaches us about photography in general - about the way light behaves at different times of day and in different seasons, how geometry and texture are important elements in photography and the effect that stripping away colour can have on how we compose our image.

Although I enjoy all types of photography, if someone asked me what my favourite type is I would say woodland. Woodland photography offers much more than just great images. When I go into the woodland I feel at one with nature. I immerse myself in the sights and sounds around me and forget about the world outside. The Changing Character of the Woodland The woodland is constantly changing. At times it is filled with birdsong, rustling leaves and dappled sunlight; at others, mist gives it a quiet, atmospheric quality. After rain, every surface seems to glisten. It is also rich in colour, from the freshness of spring and summer flowers to the deep abundance of autumn. For me, the woodland remains both a feast for the senses and a balm for the soul. New Discoveries I live near a beautiful native Irish woodland. It contains many mature native trees, along with common and less familiar species introduced from different parts of the world. I have photographed this woodland for many years, in every season and all kinds of weather. Over time, I have come to know many of its distinctive trees and have used the setting for a wide range of images, including macro, abstract, ICM and traditional woodland landscapes. Recently, I have started exploring other local woodlands to bring more variety to my woodland images and avoid repeating familiar views. These discoveries have come at the right time for autumn, offering fresh possibilities and encouraging me to return with my camera over the coming months. Woodland photography offers many challenges and great potential. I'm excited to spend more time exploring these new woodland discoveries soon.

This is part three of my summer series of monochrome photography, shot during early mornings in my local area. For this part I concentrated on learning more about black and white photography – trying to discover what makes a suitable subject or scene for black and white photography, looking at examples of shape, form and angle to see how they are affected by being shot in black and white, finding good examples of contrast in the environment, and comparing subjects shot in black and white to being shot in colour to see if I can identify how to decide the best result. Part 3: Learning About Photography Through Black and White This part of the series has helped me to discover how I can improve and what steps I can take next to improve my black and white photography. My main takeaway is that I can find good subjects for black and white photography even when the light is flat, but at these times I have to look harder for natural contrast. I need to find examples of light subjects on a dark background or dark subjects against a light background. Alternatively, strong shapes, angles, textures and patterns can work well. In the final part of the series I go out on a dull morning where there is no sunlight hitting my subjects and experiment with finding contrast within subjects. Black and white photography is interesting, challenging and fun to do. Have you given black and white photography a try?

This is the second part of my summer series of monochrome photography, shot during early mornings in my local area. For this part of the series, I concentrated on trying something new to me – high contrast black and white. While the resulting images may not be fantastic, I learned a lot about black and white photography through the process, gaining some knowledge about what works and what doesn’t work. I experimented with different subjects, different angles, and with different qualities of light ranging from harsh to diffused on the same morning. I challenged myself to find all the high contrast images in nature. Here are some of the results. Part 2: Experimenting With High Contrast Black and White in Nature In part 3 of the series I will reflect on what I have learned and how to improve my black and white photography.

I decided to do a series of monochrome photography during the bright summer mornings. Firstly, monochrome works well in bright light as it accentuates light and shadow and gives a great opportunity to incorporate contrast into our photography. Secondly, monochrome photography teaches me about light and shadow, form and shape, aspects of subjects that can sometimes be hidden behind colour. I have divided my monochrome morning photography into four parts. In this, the first part, I simply set my camera to monochrome setting, took a prime lens, and used it to document what I saw in my neighbourhood on my morning walks. In part two I tried some high contrast black and white photography, something that I have not really done before. In part three I concentrated on learning more about black and white photography – trying to find suitable subjects and scenes, looking at different shapes to see how they are affected by being shot in black and white, and finding good examples of contrast in the environment. In the final part I went out on a dull morning when there were no shadows so I had to take a different approach. I have shot using a combination of natural and human made environments, and a range of focal lengths. Part 1: Monochrome Mornings in My Neighbourhood In part 2 of the series I will explore high contrast black and white.

I will always remember my first camera. I was around twelve years old, and, for some unknown reason, I had a strong desire to have a camera. I could picture myself going around with a camera in my hand observing the world and taking pictures of what I saw. Eventually, after much time spent admiring a camera in a local photography shop window, my father agreed to buy it for me. It was a Kodak film camera and the condition for getting it was that I would pay to have the films developed. I hastily agreed and willingly saved my pocket money to fund my new found hobby. I still remember some of the pictures taken with that camera, and one or two have survived in an old photo album. Fast forward a few years, and after struggling with an SLR I decided that compact cameras were the way to go. I owned a few as they got progressively better, then came a camera on my phone and the convenience was too hard to resist, even though the picture quality was poor in those early days. Although I maintained my interest in photography, I didn’t take it seriously again until 8 years ago, when I bought a DSLR. Since cameras were now digital, I reckoned I could afford to experiment and properly get to grips with this hobby at last. When I mentioned to a friend that I was taking up photography, she remarked that it's a costly hobby. Indeed, it can be. New cameras are constantly being released, and we're told they offer much more than simply capturing images. However, if you're new to photography and prefer using a dedicated camera instead of your phone's camera, it doesn't need to be costly. Like my very first camera, any camera that you can afford will give you hours of enjoyment and create many precious memories. Any camera will help you learn the basics of photography and allow you to take decent photos. Any camera will give you that ‘real photographer’ tactile experience of holding a camera to your eye, framing your subject and pressing a physical button to bring your vision to reality and have your own creation to admire and share if you wish. I mention this because those are the memories that stand out the most from my experiences with photography. None of those cameras were costly, yet they brought me joy, sparked my creativity, and sustained a hobby that continues to thrive today, all without the need for expensive cameras or lenses. For me, my recent holiday experience bears out the truth of this opinion. Since I was not going on a photography holiday, and my travelling companion was not a photographer, I decided to take a simple camera and lens set up for some casual photography. For my daily photography setup, I used an Olympus OM-D EM 10 Mark II paired with a Panasonic 20mm f1.7 lens. Both the camera and lens aren't new, and they can be purchased at a reasonable price on the used market. Each morning, I went out with camera and lens; no bag, no tripod and no expectations of what I would find. If I came back with something I liked, I was pleased, if I missed a shot, I didn’t mind. Each morning, I enjoyed the process of being out with the street cleaners and early workers, enjoying the quiet and peace before the town woke up and the day’s visitors arrived. I am pleased with many of the images, and any that are a disappointment were down to myself as photographer, not the camera or lens. A calm, enjoyable start to the day is what photography brought to my holiday. And it can be achieved with simple gear and a love for the process.

One of my most popular recent posts was Exploring the Colour Blue Through a Mini Photography Project. I don't know why it's so popular, but I sense that the subject strikes a chord with many photographers. Why are projects popular in photography? Engaging in a project provides your photography with direction, rather than just aimlessly searching for subjects to capture. Whether your project focuses on photographing a specific colour, photographing rowing boats, bridges, trees, or historic churches, it gives your photography a clear purpose. Engaging in a project prompts you to view things from a new perspective and to observe details you might usually overlook. It offers a wealth of themes and topics to investigate, ensuring your photography remains fresh and interesting. Engaging in a mini photography project offers numerous additional benefits. These projects are short-term and straightforward to finish. You can make them as simple or complex as desired, and they too provide excellent opportunities to enhance your creativity and observational skills. The mini project I've selected is straightforward - doors and windows. Given that they are everywhere, I need to refine my focus, so I aim to explore doors and windows that are intriguing in some manner. They may be fascinating because of their age, distinctive features, or their location. They will possess at least one element that distinguishes them from ordinary doors and windows, adding a layer of photographic interest. Here are some images: One of the downsides of this mini project might be poor composition as the subjects don't lend themselves to much variation. That's ok. What they do offer is diversity of age, style and location. They are all part of someone's past life. They were each designed specifically for their situation and they take their place in the history of their location. These windows and doors are part of a wider story, one which a little historical research can reveal. In the present day they offer interest, mystery and story, both to the photographer and to those who view them. This is just one idea for a mini project. You can use any subject that interests you to create a mini project of your own.

On a recent morning walk I visited Fernhill House & Gardens, a former family residence on 34 hectares of land, situated on the outskirts of Dublin city. The small estate dates back to around 1823 and it is now a Public Park, comprising heritage buildings, gardens, parkland, mature woodland, agricultural land, a number of walks and a recently completed woodland adventure playground. My intention was to have a fun morning of photography, with no pressure to come home with great images. I just wanted to have a relaxing walk and to take pictures of anything that drew my attention. To keep my photography really simple I took one prime lens. Here are some images from the morning: Even though I didn't capture any outstanding photos, I didn't mind because my goal was to enjoy using my camera, and I certainly did. Moreover, this trip has inspired me to explore more nearby locations and to revisit Fernhill with a selection of lenses to delve into the woodland and macro opportunities.

When I first started photography, I mainly focused on landscapes because I thought that was what most photographers did. My photographs were never the classic postcard landscapes. They were usually local scenes with water, trees, perhaps a distant mountain, or coastal views with cliffs, shoreline and, when I was lucky, crashing waves. I soon realised, however, that landscape photography depends on several things: choosing strong subjects, composing carefully, using available light well and, perhaps most importantly, having regular access to good locations. Unfortunately, living on the outskirts of a city made suitable landscape locations harder to reach, and my photography outings became increasingly infrequent. This realisation led me in a new direction. Living near an old estate and ancient woodland, I began looking for woodland compositions and photographing the estate buildings. I also became interested in urban landscapes and street photography. Even so, I still tended to choose ‘safe’ subjects—ones that were popular with other photographers and likely to appeal to viewers. Gradually, I began to question this mindset and focus on subjects that felt more personal to me. I became more curious about what others might overlook, looking for less obvious and less photographed subjects. When I do photograph familiar scenes, I try to find an angle, perspective or interpretation that others might miss, approaching the subject in a more creative and individual way. This approach may often lead me to subjects others see as too ordinary, or even boring, but the process itself is anything but dull. It can be interesting, challenging, creative, rewarding and fun. It allows me to photograph for myself rather than for approval or likes. It also gives me the freedom to be original, instead of creating my own version of a scene that has already been photographed hundreds of times. In this way, I can leave my own photographic footprints rather than follow in those of others. My current approach to photography feels right for me. It suits my circumstances, lets me find images close to home, and helps me grow creatively within my own abilities. Most importantly, it allows me to enjoy photography without constantly feeling that I am falling short of my potential.

Many photographers don’t like summer for photography, particularly landscape photography. I heard one photographer recently saying that compared to autumn, and even winter, summer is ‘too green’ with no variety of colour. You may or may not agree with this view, but summer does pose some legitimate challenges for photography. Harsh light is one problem. As the sun is high in the sky for most of the day in summer it makes colours look flat and washed out. Harsh light also creates dark shadows and the contrast between the bright light and deep shadows can be difficult to photograph. In summer, plants can look too green and thick to get a good depth, making them look very two dimensional, and skies can either look very blue or hazy, neither of which are great for photography. ‘Golden hour’, the time just after sunrise or just before sunset, occurs very early or very late in summer, times which are not conducive to getting out with a camera. If you prefer documentary or everyday photography over landscapes, you may find popular locations crowded with people. Are there any solutions for overcoming the challenges of summer for photography? I think there are. Overcoming the Challenges One way I have learned to enjoy summer photography is by approaching it with a positive mindset. For example, summer mornings are not always dominated by bright sunlight. Many bring a mix of cloud and sun, or a hazy brightness that creates soft, gentle morning light. Noticing these conditions helps you avoid assuming that summer light is always harsh and missing opportunities to go out with your camera. If crowded locations or events make photography difficult, look past the obvious scene and focus on the details others may overlook. At a beach, festival or busy gathering, many people will be doing similar things: watching, taking photographs, relaxing or spending time together. Look instead for interesting clothing, gestures, interactions and everyday summer activities. Treat the location as your canvas, then choose the details that best tell the story through your photographs. Very blue, cloudless summer skies may be perfect for many activities, but they can make photographs feel flat and uninteresting. Clouds often add mood, drama and depth, while empty skies can leave an image looking plain. One way to avoid this is to compose without the sky and focus instead on closer, more detailed subjects. The sky did not play a major part in these images. In many cases it is possible to exclude the sky altogether. The two figures wearing summer clothes and sun hats draw the viewer's attention to the summer theme. Alternatively, if the sky is a strong blue with a few soft clouds, try converting the image to black and white, where those clouds can become a more striking feature. The clouds were very thin on this occasion but they do illustrate the idea. I think the black and white version of this scene is more impactful than colour as the sky was very blue. A Summer Project One of the most effective ways I have found to deal with harsh summer light is to embrace it and turn summer itself into the focus of a project. This approach can make your photography more interesting by encouraging you to look for varied opportunities that suit the season, while working with its perceived limitations rather than against them. A project gives direction and purpose to our photography. I believe that working on a project makes me more deliberate in selecting subjects or scenes and in how I compose them to capture the best possible image. Although summer may present some challenges, it also offers numerous opportunities for photography, and undertaking a specific project enables us to take advantage of these opportunities. My Personal Project In May, I embarked on a personal project centred on various forms of summer photography. My aim is to complete the project by the end of summer and compile my photographs into a self-made book. No type of photography, location, weather condition, or focal length is excluded. The sole requirement is that the photos must capture an element of summer. Through this project, I aspire to document my daily life this summer—the places I explore, the people I meet, the ordinary and the extraordinary, the memorable moments that stand out, and the quiet instances when nothing seems to happen, yet a photograph beckons to be taken. The title of my project is Samhradh, the Irish word for summer. *** I hope that some of these ideas will help you to take your camera, go outside and enjoy all the photography that summer offers. You might be interested in this recent video from photographer Chris Harvey: Summer Photography Doesn't Have to Feel Like a Struggle

In a recent post, I mentioned that I sometimes find summer photography challenging. This year, I decided to respond by creating a project centred on summer images. After almost two months, the project has already brought several unexpected rewards. The biggest shift has been in my mindset: instead of feeling restricted by summer, I now see it as a season with many different qualities, all of which can be explored through photography. Summer is not only about vibrant greens, harsh light and low contrast. It also brings changing weather, outdoor activity, seasonal events and people spending more time outside. Longer days offer soft morning and evening light, strong contrast, dark shapes, rich greens and blues, and bright flowers that add colour and variety. Through this project, I have begun to welcome all these aspects of the season into my photography. I have called the project Samhradh, pronounced Sow as in cow, ruh, the Irish word for summer. The title gives the project an added dimension and helps me stay focused on making images that are distinctive and meaningful, rather than simply collecting random summer snapshots. This is a selection of images so far, some of which may make it into the final collection.

You might be interested in watching a recent video from UK based photographer Greg Howard (linked below) in which he discusses how the ‘surprise value’ is what makes our photography unique. Greg’s work inspires me to be more authentic as a photographer: to photograph what genuinely interests me rather than what I think others expect to see. In the video, Greg had just returned from Canada, where he had seen sights he had wanted to experience for years. Yet, when he reviewed his photographs, his favourites were not the dramatic vistas but ordinary subjects such as a car in a driveway, a bus or a road sign. Greg reflected on why these ordinary subjects appealed to him and realised their main attraction was their element of surprise. Although he photographed many beautiful landscapes, Greg felt that these iconic locations offered no 'thrill of discovery' because they had already been photographed so many times. For him, it is the unique and unexpected moments which create an emotional response rather than simply a visual one, and that is what he finds most compelling as a photographer. This way of thinking strongly resonates with me and reflects the direction my own photography has been taking for some time. Greg’s video and blog post helped me understand why I am drawn to random, ordinary subjects and why I find this kind of photography so rewarding. The comments on the video suggest that many photographers feel the same. These images may not be popular on Instagram or social media, but they are authentic, personal and uniquely your own. They offer the emotional connection that makes photography more meaningful and enjoyable. This coastal town near my home has a well photographed landmark called Bray Head. I have photographed it many times but I have never succeeded in capturing an image I like. In this image, the Head is the backdrop while my eye is drawn to the solitary figure walking on the beach. This image appeals to me. Old buildings always attract my attention. I am intrigued by the lack of windows. It is an image that prompts a lot of questions. This view of the sea and sky is one I never captured before but I like the way the rocks lead out to the distance beyond. If you areinterested in this topic you might like to watch Greg Howard's video here.