Taking photographs of flowers must be one of the easiest forms of photography. Right? Wrong! It is true to say that flowers are naturally beautiful as subjects. They are found in abundance, they sit still and wait for the photographer to fuss around with lenses and filters, they can be photographed in the wild, or inside as examples of still life photography, and they lend themselves to all types of creative approaches. For all these reasons flower photography is a very common and popular form of photography. Beautiful flower photographs are found on calendars, cards and notepaper, they brighten up any surface as wall hangings, they are found in abundance in photography books, magazines and exhibitions, and they are used as inspiration for many art projects. Yet is it true to say that flower photography is one of the easiest forms of photography? The very reasons that seem to make this a true statement might also apply to the very opposite view. Flowers are easy to find and photograph therefore it is easy to take sloppy, banal shots that are ‘just another flower photograph’. What anyone with a serious interest in flower photography must do is find different ways of framing flower shots; use different angles, different lighting, variations of background to make the photographs stand out from the crowd of flower photographs and have people stop and look and wonder ‘how was that done?’ rather than just see another nice flower photograph. For this reason I set myself a flower photography self-assignment. By doing a self-assigned flower photography project, I hope to discover what being a good flower photographer entails and how taking flower photographs can improve my overall photography skills. I want to try to put into practice some of the skills I have learned already and deepen my understanding of composition, of setting up a good shot, and of editing my flower images. I want to become more creative with my camera and try some new techniques. Photographing flowers will, hopefully, give me that opportunity. My local park was the location for my assignment, and I used a combination of my 30mm macro lens and my ‘nifty fifty’ with a variety of magnifying filters, and my Sigma 17-50mm f2.8. I took shots from different angles, focused on different parts of the flower, shot at a distance and also filled the frame with the flower in some shots. Afterwards I did some basic editing in Lightroom, adjusting the exposure, temperature, highlights and shadows, contrast and clarity to try to bring out the best in the shots. I discarded many of the shots but felt that the images below provided me with something to work on. 3 Lessons I Learned from My Flower Photography Project Firstly, I have learned that good flower photography isn’t easy. Flowers are naturally beautiful, and the camera can’t see as the eye can see so we can easily lose that beauty when trying to convert it into an image. Flower photography needs time, patience, a creative eye, imagination and a desire to capture and show the beauty of these small plants. Secondly, I have learned that flower photography, far from being mundane, is actually very enjoyable. It provides lots of opportunities for creativity, for honing skills and, because of the abundance of these photography subjects at certain times of year, for getting out and about and just taking photographs. Thirdly, I have begun to look at my achievements as a photographer rather than at my weaknesses. My initial attempts at flower photography resulted in simple snapshots. The subjects may have been beautiful but that didn't automatically translate into beautiful images. Then I realised that I needed to change my approach to flower photography if I was going to do justice to my beautiful subjects. It became an addictive activity and I am happy to spend hours taking lots of shots, discarding those that don’t appeal to me and working on those that do. One main advantage of flower photography is that it is easy to go back again and try a different approach, make improvements, look for better ways to capture beautiful flower images. There will always be flowers waiting patiently for a photographer to capture their beauty and show it off to the world!

I have been looking at the Google Analytics of my website over the last number of months and I notice that my most popular post has consistently been What is Expressive Photography and How Can it Change Your Photography Practice? This surprised me as I haven’t used the title in recent posts. However, I believe that the concept of expressive photography underpins all my photography practice, that it is at the heart of everything I do in photography, because essentially, I believe photography to be a response to what speaks to me in my environment. For me, expressive photography is about being open to the opportunities we are presented with and responding creativity to these opportunities. It is about enjoying photography for ourselves, rather than making images that will please others. Expressive photography is not a separate genre of photography, it is a way of photographing in any genre. It is expressing ourselves through our photography. Expressive photography is an emotional response. It represents our sensitivity and connection to the world around us, and how we want to convey that connection. We might decry the overuse of social media for photography yet so many people are practising expressive photography when they stop at a scene that catches their eye and take a picture that is their emotional response to what they've seen. When we do photography in this way our images become our creative response to what we are drawn to in the world. At times I will create an image of a landscape or of part of a landscape. At other times I may be drawn to photograph the beauty of flowers or the majestic trees in a forest. I may feel drawn to a place. I love to capture old things; objects that show how people lived before our time or places that have a story to tell. I often photograph certain subjects, such as trees in an ancient woodland or perspectives of old buildings, as an expression of this interest. I am drawn to water in its many forms, and I like to respond to that connection through the images I make. When close to water I don’t try to control the images I make, I let the water and my feelings on the occasion decide how to respond. It might just be a raindrop... ...or a reflection in a puddle! How a YouTube Video Enhanced My Comprehension of Expressive Photography Expressive photography involves our emotions, our mood, our unique way of seeing, and it seeks to articulate meaning through the subjects we choose to respond to and the images we choose to make. While I believe that expressing myself through my photographs is at the heart of all my photography, I have struggled to accurately define the term expressive photography. Recently, when watching a YouTube video from well known photographer Thomas Heaton, I heard something that clarified my understanding of what expressive photography means to me. On a photography trip to Scotland Thomas Heaton met Alister Benn, award winning landscape photographer and founder of Expressive Photography Limited. The resulting video, Learning How To Enjoy Photography No Matter What, includes a fascinating discussion on Alister Benn’s outlook on photography, how he defines expressive photography and what it means to his photography practice. During the discussion Alister Benn referred to the fact that many photographers judge the quality of time they have spent in the landscape by the photographs they make rather than on the experience. The discussion which followed really resonated with me and helped to enhance my understanding of what expressive photography means. When I practice expressive photography I don't have to judge my images, I just capture what draws my eye. Experimenting with different techniques has helped me to express myself through my photography. I particularly like abstract photography where there are no rules to follow, just my own creative ideas. Experimenting with macro or close-up photography is a great way to express yourself through photography as each image is unique. How you capture each image is an expression of your mood and your preference. FINAL THOUGHTS I strive to express myself through my photography, regardless of the genre. Whether it’s landscape or street photography, macro or ICM, I want my photography to be my way of speaking through my camera. I want my photography to reflect who I am, what I value, what interests me. When I do photography in this way it becomes more meaningful and creative and I have the freedom to allow my interests and my curiosity to decide what I will photograph, rather than the expectations of other people or of social media. Seeing my photography as an expressive pursuit gives me the opportunity to document my perspective on life and on the things I see, and that’s what I love to do. If you would like a deeper understanding of expressive photography you might like to check out Alister Benn's YouTube channel.

Updated May 2024 I recently came across the term expressive photography and was interested to know what it was. My understanding is that this is an approach to photography which, as well as being concerned with the technical and creative aspects of photography, also considers the personal journey of the photographer and how photography fits into and enhances this journey. The emphasis in expressive photography tends to be on making images of those things to which we are personally drawn, even if they were not the images others would make, because the motivation for making the images comes from within. We use many methods of self-expression in life – speech, writing, art and music, to name but some. Photography as a means of expression is followed by those who allow photography to help them along their own path of self-discovery. WHAT DOES EXPRESSIVE PHOTOGRAPHY INVOLVE? In expressive photography, the process of image making is more important than the outcome. Expressive photography involves being open to opportunities which arise rather than actively trying to control the process. Expressive photography is about living creatively and responding creatively to what surrounds us through the images we make. HOW CAN EXPRESSIVE PHOTOGRAPHY CHANGE YOUR PHOTOGRAPHY PRACTICE? One of the main strengths of this approach to photography, for an amateur photographer, is that you are taking photographs for yourself, not to please others or to impress a social media audience. The pressure to create a particular type of image is lifted and there is freedom to experiment and to do what you enjoy doing. I took this image on my way home from my morning walk. I saw the barrier reflected in the puddle and thought it made a nice image. I just had my phone with me so I didn’t have any decisions to make about which might be the best lens to use. I’m not sure if anyone else would like it, but the point is that on this occasion I was happy to capture this image. WHAT ARE THE MAIN CHARACTERISTICS OF EXPRESSIVE PHOTOGRAPHY? It is hard to get a definitive definition of expressive photography, and it may even mean different things to different people. Essentially it seems to focus on how you, as photographer, are feeling, and how you express these emotions through your photography, rather than concentrating too much on camera settings. The name suggests that in this type of photography you are asking the question, What do I want to express in the photographs I am taking? In this instance I just turned to my left and saw the double rainbow with the colours reflected in the puddle on the ground. When I saw the double rainbow, it sparked an emotional reaction that begged me to take the photograph. I took a few shots, some with my camera and others with my phone, to try and capture both the rainbow and its reflection, in an attempt to express what I felt on seeing the image. Expressive photography tends to put an emphasis on being present in the moment and engaging with the subject rather than with the camera. This is my interpretation of the term, and I am open to contradiction from those who are more familiar with the concept. Expressive photography will not appeal to everyone. Many photographers will believe that you need strict planning and control over the creation of images and that it is not useful to leave this to ‘chance’. I agree that we need to plan and I don't think lack of planning or structure is what expressive photography advocates. Rather, it makes space for the unexpected as well as the planned, and doesn't get too concerned if plans change. On the other hand, there are those who simply enjoy documenting aspects of their lives and showing their photos on social media and will have no desire to go any deeper with their photography, so for them expressive photography may sound like overkill. But there are those who strive to use photography as a means of self-expression, for whom technical correctness and external validation are not the main concerns, and who see the value of developing their knowledge of expressive photography and what it means to their photography. There are a few characteristics that define this approach to photography. Rather than being about the final image it is in a sense more about the relationship between photographer and image, about the personal and artistic development of the photographer through the medium of photography. # Having belief in yourself is important. This might sound simplistic but, in a world where there are lots of ‘guides’ telling us how we should do our photography, it can be hard to listen to the voice within and follow our own path. Yet if we want to use photography to express ourselves and our vision of the world then this step is a vital one. Yes, we do need to learn technical skills to the extent that knowing the correct camera settings becomes second nature. It is only then that the camera simply becomes a tool, and the rest comes from the mind of the photographer. # Having passion for your subject is key in expressive photography. If you have a real passion for the environments in which you make your images, you will be able to express yourself through these images. When you invest part of yourself – your energy and passion – you give an essential quality to your images that may be lacking if you concentrate only on technical excellence. I have always been passionate about the Irish landscape. I love to walk, explore, discover, and sometimes just sit and observe. I love the mountains and the hills, the valleys and lakes. Walking along lough shores in the evening is one of my many delights in life. I love the coast, especially hidden coves and out-of-the-way vast stretches of golden sand. I love the skies that cover us, often dark and intriguing but sometimes lit up in glorious light. I love trees, in every season. They are part of our living landscape, always changing, home to thousands of lifeforms, sometimes strong and majestic, sometimes thin and fragile. I particularly love autumn and winter landscapes, especially in a woodland, when a rugged beauty emerges. It might be a crisp autumn day with a carpet of colour on the woodland floor, or a foggy morning where trees are separated from their neighbours and make very clear subjects in an image. It might be a day when snow has covered the landscape with a winter blanket or simply a brief moment when a recent shower has left the landscape elements glistening. All these times can give us that feeling of connectedness and being at one with nature. In addition to landscape photography I also have a passion for street photography. I love the candid nature of this type of photography; capturing people as they go about their daily lives, seeing little things that others might miss and photographing scenes that draw my eye. I love the colours, smells, patterns and textures to be found in places different from the place in which I live and I try to convey my fascination in my images. # Closely related to passion is engagement with our subject and our environment. We discover this by noticing what it is that draws us. What is it that takes you off the beaten track, both literally and metaphorically? What is it that makes you stop and observe? Is it an unusual feature in the landscape? Is it the way light is playing with your subject or an unexpected burst of colour? Is it a particular cloud formation in the sky? Is it something intangible, something you can’t pin down, but you just feel drawn to stop and look? For me it is often the latter, a pull towards something that I want to investigate or just admire. Sometimes, as in the image below, what we are drawn to photograph makes no sense to anyone but ourselves. Sometimes the draw will result in an image, sometimes it won’t and on these occasions a final image doesn’t matter. The experience is what is important and is what gives an outing its meaning and richness. When we know that we are being drawn by our subject and begin to look for a composition it is then that we begin to make our choices. What will I include? What will I exclude from the frame? Where will I stand? Can I get a better perspective? These are decisions that all photographers are called to make but in expressive photography they are based more on our sense of engagement with our subject than with capturing a perfect image. And we make these choices based on what appeals to us, not on what would please others. # Following your instincts is key to success. Being spontaneous opens us up to embrace the unexpected. Make an image when you feel like making an image, don’t analyse whether it’s good or bad. You can always discard it later but at least give your gut instincts a chance to create something without judgement. Have the freedom to experiment, to try out new ways of doing things, ways that suit you. When you are making images for yourself, responding through photography to how you are on a particular day, you can do as you wish without anxiety that you are not doing it right. On this occasion, from a balcony overlooking a Portuguese skyline, I wanted to capture a bird flying overhead to give the scene that something extra, something to bring the scene alive. My patience finally paid off. # Know that there are no failures, only learning experiences. All your images will either turn out as expressions of how you were thinking and feeling at the time you made them, or as opportunities to learn more about your vision and how you want it to be reflected in your photography. Expressive photography is not about judgement or criticism or good or bad. It is about the image we create in this moment and why we create this image. It is our response to our environment through our photography. *** Is expressive photography for you? How do you view your photography? Do you go out to ‘capture’ an image, to get ‘great shots’ or do you go out to observe, to listen, to wait, to wonder, to feel? Do you chase the image, or do you allow the image to reveal itself to you? Do you experiment, do you enjoy finding your own ways of doing things? Do you do photography for you and no-one else? Do you have fun? Your answers to these questions will let you know if expressive photography is for you. FURTHER READING What Makes Your Photographs Uniquely Yours? How Do You Reveal Your Unique Voice As A Photographer?

(Stock image) I recently watched (and re-watched) this stunning video from photographer and film maker, Rick Bebbington. Rick calls it a Photo/Video diary of his recent trip to Antarctica, where he spent 11 days photographing and filming in the world's coldest place. During the course of the video Rick explains how the expedition completely changed how he thinks about his photography, his work and even his life. Rick's role on the expedition was to document the trip for the participants of the photography workshop which was being run by some well known photographers. The video includes some stunning film and photography of the amazing Antarctic landscape - mountains, icebergs, glaciers, as well as some iconic station buildings linked to previous expeditions - and, to his own surprise, some amazing close up images of the native wildlife. What really enhances the imagery is Rick's thought provoking commentary as he tracks the route taken by the group and offers some insights into the history of the places visited. As well as being an excellent photographer and film-maker, Rick is also a gifted storyteller, as witnessed in this video. If you would like to see some awe-inspiring images, breath-taking video footage, and thoughtful narration, all giving an insight into the beauty of Antarctica, you will enjoy this stunning video. You can watch Rick's video, Photography at the End of the Earth, here You can view Rick's images here

I have always been interested in macro photography, yet it was only some years ago, when I watched a TV documentary of a nature photographer lying on the ground to take macro images of the tiniest plants, that I became fascinated by this genre. I love to study close up images of insects and of nature’s tiny hidden gems. I constantly have my eyes opened by the small world that exists all around us but that we rarely stop to notice. While I enjoy looking at the macro images of others, it is not a genre I have rushed to get involved in, largely because of the cost of good macro equipment and the level of expertise required to make even decent macro images. Yet, what harm in giving it a try at a lower level! My initial foray into the world of macro was to purchase some macro lens filters for my 50mm Nikon lens. I had limited success with these and didn’t find it to be a satisfactory experience. Last year I decided to try the Olympus 30mm f/3.5 Macro lens. I bought it second hand, in excellent condition, from MPB, which meant that I paid a very inexpensive price for what was already an inexpensive lens when bought new. The lens is not perfect. It has difficulty focusing when it has to hunt across it’s full range, which can be frustrating. The images are not sharp all over and that's ok with me, although some photographers might want to do focus stacking to get edge to edge sharpness. But this lens does have a lot going for it and I have enjoyed using it. Here are some reasons why I love my 30mm macro lens: 1.   It helps me slow down The process of macro photography is much slower than many other types of photography. From finding a tiny subject, to getting close enough to line up a composition; from focusing accurately to eventually capturing the image, can take longer than you might realise so you have to be patient and be prepared to go slowly and deliberately if you want to be successful. I like this slower pace of macro photography and I enjoy the time it takes to find a subject before I even start to use the camera. 2.   It helps me become more observant Macro subjects are not always easy to find. Unlike regular landscape views they are not immediately visible and often move before you can capture their image! Therefore macro photography encourages us to become more observant. I have often spent a long time watching a butterfly, bee or other insect move around it’s patch until I get to know it’s routine and work out how long it will stay in one place until I capture an image. The time spent is often futile in terms of an image but worthwhile in terms of noticing what is happening around me and of becoming more patient. One of the joys of macro photography is that you often see something unexpected on your image! 3.   It introduces a challenge to my photography There is no doubt that macro photography can be frustrating. You spend time watching your subject, focusing your lens, and you are eventually ready to take the shot when the subject flies away. Or you line up a good close up view of a flower, you get your lens into focus and just as you press the shutter the wind blows and your result is a blurry image. These are just some of the frustrations of macro photography, as well as finding your compositions in the first place. They place challenges on you as a photographer, but challenges are good. They help you learn and grow and become a better photographer. And when you eventually capture that beautiful, in-focus macro image, it all seems worthwhile. 4.   It is enjoyable In my view, nothing is worthwhile in photography unless it’s enjoyable, and macro photography is enjoyable. It’s time consuming, often frustrating, tricky to get right and often ends in failure. But it often ends in success too and the journey involved in getting to a successful macro image is a most enjoyable one. Here are some of the images I have taken with the 30mm macro lens: The 30mm lens also doubles as a good standard walkabout lens. TO SUM UP... The 30mm macro lens is small, cheap, lightweight, and it produces sharp pictures. It performs well as a macro lens, capable of 2.5 times magnification, while also doubling as a good standard walkabout lens. If you have ever thought of doing macro photography and haven’t yet started, I highly recommend getting some macro filters or extension tubes, or investing in a macro lens that is within your budget, and giving macro a try. You might just love it!

Since I started writing my blog posts here on wildwillowways.com I have tried to keep the content personal and relevant to amateur photographers like me - those who do photography for enjoyment. I started by charting my initial journey into this exciting hobby, and continued by sharing my learning and my difficulties, my frustrations and how I overcame them. I have shared some insights and inspirations that I found through my own practice as well as from other photographers, and I have made connections, for myself and hopefully for others, between photography and wellbeing. I have always resisted the urge to label myself as one type of photographer. I don’t call myself exclusively a landscape photographer, although I enjoy photographing landscapes. I don’t call myself a street photographer, even though I enjoy that genre too. I love to experiment with different styles of photography and will often spend weeks concentrating on one aspect of photography to the exclusion of others, only to return to another style later. I have documented these changes as part of my overall journey as I believe that constant change in photography is what gives me most enjoyment. I have recently spent many hours either photographing flowers, doing macro photography, experimenting with ICM techniques or shooting in monochrome, and I have enjoyed each of these aspects of photography. Occasionally on my blog I have shared links to the work of other photographers whom I admire. I have learned a lot from these photographers, especially those who share their experience freely on YouTube. But following some of these photographers has often left me feeling downhearted, as I know that I’ll never produce images like they do, or visit the amazing locations they visit, or work with the camera equipment that they can afford. This is why I tend to be drawn to photographers who generally use inexpensive equipment, photograph locally, and do photography for enjoyment and pleasure rather than for monetary gain. I have more in common with their approach and have learned a lot from them. Yet these photographers often struggle to keep producing content on YouTube as they have fewer viewers and are therefore not promoted to the same extent. That's why it's good to support lesser known photographers. They may not have the wealth of resources that better known photographers have, but most of them put a lot of time and effort into creating good, useful, relatable content. I can relate to what they are trying to do – be authentic on a platform ruled by commercialism – and I like to share their channel links in the hope that someone will like what they produce and share further. Below are links to three recent videos that resonate with me. I hope that they will resonate with you too. I haven't got what it takes - Joshua Peg The truth about my mental health struggles - Chris Orange Landscape Photography - Shoot like an amateur - James R Burns

I am delighted to report that my ICM photography exhibition Moods of Marlay is now being featured on www.impressionography.org, a website which it's creator, Robert Clark, describes as, a collective haven for fellow creators to exhibit their masterpieces as guest artists. Originally created as a space to showcase his own work in the realm of ICM photography, Robert has generously extended the invitation to others who are interested in availing of a space to display their efforts of creative expression. No particular standard is required, each artist is simply asked to fulfil a few criteria to be included. If you are interested, you can view my exhibition here

In recent years photography has been my way to carve a personal, creative space in a busy, stressful world. Fortunately, I have found my photographic home in a beautiful woodland park at the foot of the Dublin mountains, a mere 10-minute walk from my home. It is a place where people come to meet, to walk, to talk, to be with nature or to enjoy some much-needed solitude. Marlay Park and Demesne is my woodland sanctuary, a place of beauty which constantly inspires me, nourishes me, fills my soul with wonder and provides me with a creative space in which to dream, to imagine, to create and to feel alive. All these images were created in this woodland and they each depict a different aspect of this beautiful photographic haven – its people, its tree ‘characters’, its vibrant colour, its myriad of patterns and shapes. This woodland is a place which constantly gives to the photographer. There is no end to the possibilities, to the potential for image making. This is a small sample of the many images I have created there. Image Gallery, Marlay Park, Dublin

I go out with my camera most mornings, and usually visit the same locations, so I tend to use my time to document my day and take photographs of things that catch my eye. Here are 20 things that caught my eye this month.

Becoming more observant is an essential skill in photography. Regardless of the type of photography you do, it is important to notice things around you, to notice things that others miss. By doing so you can add an extra dimension to your photographs. Improving your observational skills could make the difference between having mediocre photographs and being able to take your photography to the next level. So, what is involved in becoming more observant? What will help you to pay more attention to your surroundings and to what is unfolding around you? Becoming observant is not something that happens accidentally. We have to intentionally nurture the habit and gradually increase our observational skills. Here are some tips that might help. How to Develop the Art of Noticing ·      Practise being present in the moment: It is not always easy to stay focussed on the present moment. We can allow distractions to get in the way, not least our own thoughts. If you want to improve your attention skills, you must be intentional and focus your mind on the present so that you notice the little details in front of you. Try turning off your phone as you walk to avoid becoming distracted. Challenge yourself to find at least three interesting things. To improve your observation in street photography, do some people watching. Observe how people communicate. Notice their facial expressions, body language, gestures. By studying people, you will become better at noticing how they interact with others and with their environment, and this will leave you better equipped to tell their stories in your street photography. ·      Go out without a camera occasionally: When you go out with your camera you are usually intent on coming home with at least a few images. When you leave your camera at home you can spend time observing, immersing yourself in your surroundings, paying close attention to what is going on. Many professional photographers take opportunities to have scouting trips where they spend time getting a feel for a location and trying to source good compositions for a future outing. They usually make these trips without bringing a camera along. This gives more time for observation, reflection and paying attention to what the location offers. It is a practice we can all learn from. ·      Go down alleyways and less used paths. Be curious, look out for anything unusual or unexpected: Most photographers tend to stay on the beaten paths, whether that is the main thoroughfares in cities or the well-trodden routes in rural areas. While it is important to adhere to the Leave No Trace principles in the countryside, it is still possible to look around and get closer, to zero in on tiny details. Instead of looking straight ahead, look up, look down and take smaller paths that lead off from the main routes. It is in these lesser observed and lesser visited areas that we see the things that others fail to notice. In street photography we can go down side streets and alleyways (safety permitting!), into areas where the locals go, away from the tourist spots. It is in these areas that we capture the real essence of the place and its people and where we will hopefully capture more interesting and unique images. ·      Slow down: To help you to become more observant it is important to slow down. As you practise observing, don’t rush. Breathe deeply and walk mindfully. Take in your surroundings. Engage your senses. Become aware of the sounds, smells, textures around you. Become aware of colour, of light and shadow. Be intentional with the photographs you make. FINAL THOUGHTS Becoming more observant is not always easy. It takes time and commitment. Observation is a skill which can be learned and developed but we must make time to cultivate the habit of paying attention. Many of us are more likely to ignore what is around us as we concern ourselves with our own thoughts and schemes. But failing to pay attention leads us to miss out on inspiration and on developing our curiosity. The more you pay attention the more you’ll see and the more ideas you’ll have. Being present and paying attention will make life more enjoyable and interesting. It will constantly spark your curiosity and help you make new discoveries and develop new insights. When you develop the art of noticing it connects you more deeply with a location and keeps you wanting to return. As well as giving you a special, personal space, returning to a location often helps you to create more meaningful photographs there. Becoming more observant is an important skill in many areas of life and I believe it is a vital skill in helping us to become better photographers.

We all need something that can take us away from the stresses of everyday life, a way to clear our mind, get a better perspective, keep ourselves fit. For some people, running is their therapy, for others it is sea swimming, still others love to get out for a walk (with or without a dog!) to brush away the cobwebs. A friend of mine goes hillwalking every morning to get the day off to a good start, another does early morning yoga. Photo walking is my therapy, that is, walking with a camera or phone camera at hand, and it is something I try to do every day. Photo walking, like all walking, gets you moving, it gets you connecting with your surroundings and it gives you something to occupy your mind and stimulate your brain, taking you away from the stresses and strains of life into a creative and inspirational space. Two of my passions are walking and taking photographs, so when I combine them in a photo walk, I consider it to be a perfect balance of physical and mental health. A resident of St. Enda's Park, Rathfarnham, Co. Dublin Fernhill Park and Gardens, Stepaside, Co. Dublin I take my photo walks at different times. Sometimes I go out in the early morning, often capturing dew on the grass, the morning sky, the first signs of life for a new day. When I go out in the late afternoon, I might capture bustling scenes or catch the late evening light as it plays on a subject. As evening turns to night I have often gone out in search of a beautiful sunset or to make images in the soft evening light. On some occasions I will concentrate on a chosen theme, or take a particular lens with me. On some days that might be a telephoto lens so that I can look for some more distant images, while on other days I will try to capture close-up images or experiment with aperture or shutter speed. These walks differ from a deliberate photo shoot, where I will want to have a variety of lenses to choose from to make the most of the location. On photo walks, often I will just wander around, observing and shooting what grabs my attention, and many times that will be with my phone camera. Taking just one lens with me I like to experiment with aperture and shutter speed Images from Marlay Park, Rathfarnham, Co. Dublin On most days I like to walk close to home rather than drive to my location, but I do try to vary my walking routes. Some days I go to my local park and walk through the wooded area, other days I stroll along a riverbank or meander around a local neighbourhood in the morning and watch the day begin to unfold. I am also fortunate that I have several amazing walks within a short driving distance of my home which offer lots of photographic opportunities. These images were taken on a recent walk to Fernhill Gardens in Stepaside, Dublin, a beautiful location which has become a popular location for walks in nature. Fernhill Park and Gardens, Stepaside, Co. Dublin One of the reasons I love checking out locations near to me is that it gives me a chance to explore places which are literally on my doorstep or not far away. These places, such as local parks and gardens, river walks and beach locations are places which are home to so much natural beauty, and they call out to be enjoyed. I have put together 5 tips from my own photo walks which I find can make the experience more rewarding. 5 ways to make your photo walk more meaningful: Look for beauty all around (even in ordinary things). My main purpose in taking photo walks is to enjoy the experience. I don’t expect to capture great images, but I love to be aware of what draws me and try to find beauty in the ordinary things that I come across. They make for images that are special to me. Have a sense of purpose. I like to pick a theme to add a little variety to my photo walks. Some days I concentrate on taking sky photos, for example, sunrises or sunsets, or interesting cloudscapes. I will use trees or other elements of nature as my subject or I may choose a particular colour and try to find images to illustrate that colour. I have an interest in black and white photography and this gives me the opportunity to think in black and white and look for subjects with strong texture and shape and good tonal range, which will convert well into black and white. Tune in to your creativity. It is easy to feel that we are simply taking the same images all the time and become bored with the exercise, so I find that it is important to try to get creative, to make use of different techniques, to make each photo walk a unique experience. Try to vary your perspective and shoot from unusual angles, for example, squat down and shoot low or step onto something and shoot high. Even just tilting the camera up can show our subject from a view point that we don’t normally see. Try shooting unusual or unfamiliar subjects; sometimes just turning around and shooting what is behind you can give a different perspective. Absorb your surroundings. Photo walks are a great way to become mindful of your surroundings. In the busyness of our daily lives, we are at risk of becoming oblivious to all the variety of life that is around us, so take time to consciously stop and stare; listen and not just hear, see, and not just look. Since I began my photo walks, I have really come to know my neighbourhood and yet I always find something new to photograph. Vary your route. We can easily become bored of the same route, thinking that we have exhausted all the possibilities for photographs, but a bit of creative thinking can help us get the most out of our walk, even if the number of locations we can visit are limited. While always staying safe we can go in different directions, explore different neighbourhoods, see what a local park, riverbank, green space, hedgerow or built environment has to offer. Being open to exploring what is around me has given me numerous locations within a short distance of my home to which I can go and make images. St. Enda's Park, Rathfarnham, Co. Dublin Enjoy your photo walk images I love to assess my photos when I get home, see which ones I like most and share one or two of them on Instagram. I usually add a few hashtags to try to find some followers who are fellow photo walkers and who appreciate my photos as they are - an effort to share my images and highlight the value they bring to my life, with the hope that they will inspire others to do the same. St. Enda's Park, Rathfarnham, Co. Dublin Marlay Park, Rathfarnham, Co. Dublin Fernhill Park and Gardens, Stepaside, Co. Dublin Why not try a photo walk in your local area. You don't need any special equipment, just your phone camera will get you started. You really will reap the benefits.

When I write posts for this website my aim is to give value to my readers in some way. It might be a shared resource that gives inspiration, a tip that I have found useful or ideas in my posts that might hopefully be motivational to someone who reads them. My approach in trying to give value is to write purely from my own experience, which is that of someone who is passionate about photography as a hobby but who does not make a living from photography. As such, while I want to make the best images I can make, I don’t have an unlimited budget or a justification for buying expensive photography gear, and I think many of those interested in these posts may be in a similar position. I try to only buy something new when I find that there’s a gap in my equipment set-up, or for convenience, such as travelling with one lens rather than two. It is the latter scenario that got me thinking about trading my Olympus 14-42mm pancake lens and my 40-150mm telephoto in exchange for an Olympus 14-150mm or even a 12-200mm. I reckoned I could have the same focal distance without having to change lenses, which is a big plus when travelling. I priced the two lenses and the prices ranged from €600 to €1000 new, although they can be purchased used for slightly less money. During my time of indecision I came across this video from photographer Luke Taylor. After watching the video I realised that I had not fully discovered the potential of my 40-150mm lens so I decided to take it out for a day of monochrome landscape photography. Does the 40-150mm f4-5.6 live up to the review it gets from Luke Taylor? Have a look at the images below and decide for yourself. A Day of Monochrome Photography With the ‘Plastic Fantastic’ My Conclusion After my photography outing I again asked myself, Will I be trading the 40-150mm along with my 14-42mm for one lens to cover the same focal length? The answer is no. While this landscape did not provide many subjects for good landscape photography, overall I am pleased with the way the 40-150mm lens performed. It is lightweight and the picture quality is sufficient for my needs. My 14-42mm and 40-150mm cover the focal lengths that I need and the requirement to stop occasionally to change lenses is not enough to tempt me to spend €500+ for a heavier lens that may provide convenience only, not better picture quality or a better photography experience. I just need to spend more time with this 'plastic fantastic' to find out what it is really capable of.