Sometimes when I meet people who are not photographers, but who know that I am passionate about photography, I am asked one of two questions: What do you do with all the photos you take? or Do you not get fed up taking all those photos? I am sure that coming from non-photographers those are valid questions, but the last time I was asked one of them I was sitting with a cyclist, a road runner and a sea swimmer, respectively. That got me thinking, what is it about their pursuits that make them different to photography? None of these three people engage in their pursuits in a competitive way, they do what they do purely for enjoyment and for the various other benefits that these pursuits bring. And these are exactly the reasons I love photography and have chosen it as my favourite activity. It gets me outdoors, taking exercise, being observant of what is around me and engaging my creative side. Just as in non-competitive cycling, running or swimming, it is the process, the activity itself, that is important, rather than the outcome. Photography does differ from some other pursuits in that there is a desired outcome – a pleasing image – but for me that is not the most important aspect of photography. So, what is it that helps me maintain my interest in photography if it’s not the pursuit of a good image? I believe that if I am going to maintain my interest in photography for more than a short time, and not become disheartened at an inevitable lack of good images, it must be about something other than the image.   PERSONAL DEVELOPMENT When I dig deeper into what it is about photography that brings enjoyment and fulfilment, I believe that personal development comes top of the list. Photography has helped me to become more aware of the world I live in, more appreciative of the small things that exist all around me, more respectful of nature and the abundance it gives me throughout the year. Through photography I have tapped into my creative side and come to realise that creativity is ever expanding and can bring a great sense of accomplishment. When I am out with my camera, I engage my mind and my senses, I am constantly learning and discovering new things and I have a sense of purpose which is an important component of positive mental health. CONNECTION Photography has brought me a sense of connection - to myself, to others and to the world around me. Landscape photography of all types brings connection to nature, to the elements, to the vastness of the world on one hand and the mysterious working of the tiny, usually unseen, macro world on the other. Street and urban photography bring connection to others. We observe and experience humanity in all it’s forms, appreciate diversity of peoples, lands and cultures, and begin to see and embrace beauty in the ordinary and meaning in the midst of the mundane lives which most of us live. FINAL THOUGHTS Do I get fed up taking all those photos? The answer is a resounding No ! Photography is about so much more than just taking photographs, a statement with which anyone who loves photography will heartily agree. If you enjoyed this post and would like to read more on the topic, why not check out the following posts: Is Process or Product More Important in Photography? Do You Shoot for the Sale or Shoot for the Soul?

When I travel to a new location, particularly if it is in a different country, I love to capture the real essence of the place through my images. Rather than settle for snapshots of the local iconic landmarks I like to capture what the locals see, to become part of the routines of the place, to engage with people and with the landscape in a meaningful way. I also like to include examples of everyday human activity and images of the environment we create for ourselves. One of the main ways to achieve this aim is to do some planning before I travel. I like to learn about local customs, find out about interesting places to visit that are ‘off the beaten track’, learn some of the language and history of the location, learn about the people and how they live. With this information to guide me I then make a shot list. This shot list will give me some idea as to the type of images I want to make and help me to avoid making a lot of similar type images while neglecting important areas. The list is an attempt to include everything that makes a place what it is; the people, transport, daily activities, buildings, meeting places, physical features and that intangible something, the vibe that can be felt when you momentarily share a space that belongs to others. A typical shot list might include images of: Architecture Cultural events/special occasions Local people Everyday activities/morning routines Markets Food/clothes (may not be relevant in every country) Distinctive features of landscape Differences from my own place Off the beaten track The shot list will help us decide what to shoot, but the question remains, exactly how do we capture the essence of a place through our photographs? We can do this in several ways. Here are a few pointers: Plan your trip Spontaneity is important and nothing beats finding images that you didn’t expect to find but, as I said above, a little forward planning won’t go amiss. If we are to spend a short amount of time in a place, we need to make the most of that time by knowing where we want to go and what to look for. If we have a longer time to spend, a few initial ideas about the local area will give us something to build on as we immerse ourselves in the place, its people, its customs, its language and its food. Build a connection When we reach our destination, the first, and in my view vital, step is to build a connection with the place and its people. This is best done by spending time walking around the streets, parks, alleyways, without camera if possible, observing the local people going about their daily activities, greeting people in their language if you feel it’s appropriate. Get to know where the locals gather, where they eat, how they spend their time, what the routines of the place look like. Shop where the local people shop, try out different foods, use some of the language, engage with the people. Discover the place from your perspective, from your lived experience, and you will convey this through your images. By really getting to know the place you will begin to see stories emerge and that’s how you can tell these stories to your viewers. Capture a ‘local moment’ Local moments are all around us in the places we visit, we just need to be observant enough to see them. Conversations in the market, morning routines, people out and about doing the things they normally do, all have photographic potential to help us create the essence of the places we visit. I observed a great local moment on a recent visit to a small town in southern Portugal. One morning I was walking past the local primary school as the children were arriving. I saw two policemen fully engaged in conversation with three young boys, who were obviously delighted that the policemen had stopped to talk to them and were very interested in what they were saying. The boys’ parents were in the background, and it was not a scene I would have in any way dreamed of capturing on camera, but it did provide a nice memory of the place and the humanity of the policemen, who are also vigilant and tough on crime. Go where the locals go Often, as tourists, we tend to stick to the tourist areas of our location, even eating from a tourist menu! At least that’s what I used to do. Now I try to go where the locals go and find some out of the way places that serve simple, local food. I discover these places through walking, exploring, asking questions and being generally open to anything different, anything that will give me a flavour of the real place. And trying out local cuisine really does do that, especially when you visit a place recommended by a local!   Shopping in local markets gives you a great opportunity to meet the locals and engage in some conversation. Seek out cultural events or festivals While travelling abroad we often discover a local festival or cultural event that provides opportunities for photography. These can be colourful and entertaining while also giving us a glimpse of customs different to those we see at home. Many countries have annual or semi-annual festivals that we might be lucky enough to come across. These are a great way to become immersed in the culture of the place, Local markets provide similar opportunities and it is usually possible to find one or two busy markets to visit and capture some images. Avoid snapshots and clichéd images Most people on holiday take snapshots. I do this myself, mainly as reminders of the places I visit and to serve as memories when I look back on them. They are usually quick shots, taken without much thought, but they serve a purpose. Similarly with clichéd shots. They are usually taken of iconic landmarks associated with our travel location, and again are good to have for future reminiscing. For true photography purposes both these types of images are best avoided as we aim to go deeper into documenting our travel destinations. Avoiding these images involves paying close attention to composition, varying the perspective from which we shoot even though we may be capturing a well-photographed subject, and trying to make the best use of available light by getting to know how light behaves in the location at different times of the day. While we may be travelling with a smaller camera set-up than that which we use at home, or may exclusively use our phone camera, we can still apply the basic photography principles to ensure that we do justice to our travel photography results. Get off the beaten track There is a lot more to every place we visit than that which first meets the eye. Many places have run down areas, parts that are not mentioned in guidebooks or promotional brochures. These are the places less photographed. Places that are ignored by those wishing to promote their town or city as a tourist area, while they might be grittier, are part of the fabric of the place and therefore need to be included in our photos if we are to capture the real essence of the location. While I don’t advocate taking photos of humans who are living in less-than-ideal conditions purely for our own gratification, I do believe that there is a way to show how all human institutions can disadvantage some of their residents by lack of supports and resources in certain areas. Examples of decaying buildings, poor litter disposal, graffiti messages, can give us a glimpse from the outside as to how some members of the population really live. Go further We can often use the less attractive features of an environment – old buildings, graffiti, examples of decay - as well as the more attractive features in our photography. By including all parts of the environment in which we find ourselves we are being true to the whole community without making any kind of statement or judgement. Get creative! While we can get creative with our photography close to home, travelling does provide us with new inspiration and ideas for creative images. Even if we are visiting a relatively average tourist destination we can experiment with different perspectives, framing, creative use of light, and reflections, to name but a few ideas. Being in a place that is different from our own place adds to the interest and enjoyment of travel photography and helps us to appreciate the location we are visiting. FINAL THOUGHTS These are just some of the ideas that have helped me to capture the essence of a place that I visit. I find that doing photography in this way is a lot more fulfilling than simply searching for the next iconic landmark. It gives me connection, a sense that my photography has purpose, and a reason to get out every day with my camera.

Exploring the rural landscape can bring many amazing photographic opportunities. With its abundance of natural features, random shapes, vibrant colours and diversity of life forms; with its interesting buildings, its animals and wildlife, the countryside has something different around every corner. Compared to urban landscape photography, with its busy streets, diversity of architecture, and numerous interesting features, many people, when they hear the term rural landscape, think of endless hedges and fields, devoid of people or interesting subjects, without much potential for photography. But nothing could be further from the truth. Although I now live in the city, I grew up in the Irish countryside and I have a great love for the rural landscape in all seasons. Whenever I travel into the countryside to visit friends or family, or when I take a vacation in one of the many beautiful rural areas in Ireland, I always bring my camera with me and carve out some time for photography. I have been doing rural landscape photography for many years and I know it has rich potential for making interesting images. In this post I hope to give you some ideas to improve your own rural landscape photography. Things to consider: SUBJECT I mentioned earlier in this post that some photographers may think of rural photography as being devoid of interesting subjects, particularly when compared to urban landscapes or to more iconic locations with their epic features. Yet when we begin to think of possible subjects in rural landscapes the list is endless. Here are some examples of what we can photograph: Rolling hills Tranquil lakes Rivers Bridges Barns Abandoned houses Lone trees Unique gates and fences Rural villages – churches, quaint dwellings, old ruins, cemeteries. Country lanes People/animals/machinery   Rural landscape photography is not about photographing epic subjects or scenes. It is about seeing photographic potential, even beauty, in the ordinary. COMPOSITION As in all types of photography, composition plays a big part in achieving compelling images in rural locations. I have often stopped at a beautiful scene while travelling, grabbed my camera or phone, and taken a quick image. These photographs may have been nice to look at given the scenic view, but they would not be considered to be good photographs in composition terms. A good view does not equal a good image so we need to pay attention to composition, sometimes sacrificing the bigger scene and opting for a closer view with a well defined subject and some supporting elements. Including an interesting foreground, a strong leading line, a strategic placement of elements in the frame or a unique perspective are some ways to elevate rural landscape photography beyond simply being images of a pretty scene.   FOCAL LENGTH Unlike some forms of photography, you do not need expensive cameras and lenses to do photography in rural locations. Having said that, focal length is significant in rural landscape photography as the range of subjects requires different approaches. For some images a short telephoto or even prime lens may be the lens of choice to capture a closer image or part of a wider scene, while a longer focal length will be required to pick out details in a scene or to focus on distant subjects. Macro lenses will also have their place, so in truth, whatever your preference or style of photography your personal choice of lens can be used in rural landscape photography. I usually keep my Tamron 18-200mm with me when travelling by car. It’s not the fastest or the sharpest lens but it does give options for all scenarios in rural locations and it is perfect to allow me to experiment and enjoy taking pictures of all sorts of subjects from all perspectives. STORYTELLING Many photographers consider storytelling to be an important part of photography. UK photographer James Popsys is a strong advocate for storytelling through photography, emphasizing that photographs should be about something, not merely of something. I took this photo on the outskirts of Fenagh, an historic rural village in Co. Leitrim, Ireland. It is not a photo of just any church, it is a photo about this church. The church is the ‘new’ (built in 1787) St. Catherine’s Church of Ireland Church. There is a rich history to the area as this church replaced an earlier church that stood on the grounds of Fenagh Abbey, a monastery said to have been built in the 5th century. While photographing the church I was conscious of their historical significance and of the mark of generations of people who entered this historic site. Being at this site also provided an opportunity to reflect on olden times and on the homes and families who were part of this community through the ages.   Photos of old, abandoned buildings which are dotted around the rural landscape also give an opportunity to reflect on the story behind the image. They suggest a story of the people who lived there, of what life was like at the time they lived there, of the reasons for the former home being left to fall into disrepair. These buildings, although no longer in use, are part of our history and were once important features of the rural landscape. This old house is situated at the side of what is now a busy country road. As I tried to take the image from a difficult viewpoint I wondered who had lived there, what the area had been like when they lived in the house, what their lives had been like and why the house came to be abandoned.   In some ways rural landscape photography may be one of the photography genres that best lends itself to storytelling.   FINAL THOUGHTS Rural landscapes have a lot to offer photographers. They do have lots of fields and hedges, but they also have people and animals and buildings, rivers and lakes, plants and insects, and of course many opportunities to veer off the beaten path. Rural landscapes are often home to old ruins, remains of castles, even restored old buildings that have a rich history to tell. Quaint villages are often part of the fabric of rural landscapes, where you will find an abundance of photographic opportunities, from period architecture to modern amenities. Shapes and textures can easily be found on walls, gates and buildings, while photographs of everyday life in these rural villages make for great storytelling images. *** I hope this post has given you some ideas to help enhance your rural landscape photography and perhaps to discover photographic potential that you did not know existed. You might also like this recent YouTube video from landscape photographer Henry Turner: We need to bring back point and shoots. ( youtube.com )   Although the main topic of the video relates to what can be achieved by using a simple point and shoot camera, the content showcases Henry’s local area and gives examples of the potential which most rural areas offer for landscape photography.   See here for my gallery of rural landscape images.

Rural landscapes offer rich potential for photography. Here are some images I took during recent visits to rural locations. You might like to read my post Ideas for Enhancing Your Rural Landscape Photography here.

You can’t change the wind, but you can adjust your sails Living in Ireland, an island constantly at the mercy of Atlantic weather fronts, I am used to dull grey days, flat light and rain! I often envy those photographers who seem to be fairly certain that they can rise early to a stunning sunrise or who are constantly treated to an amazingly colourful sunset. Yet if I waited for those conditions I would seldom be out with my camera, so I have learned to make the most of grey days and I have a number of strategies at the ready to make the most of those less desirable photography conditions. 1        MINDSET I think mindset is one of the first considerations. It’s important to accept what we can’t change, and none of us can change the weather. But you can use conditions to your advantage. Dull, grey days can produce moody, atmospheric images. Setting a subject against the background of a dark, dramatic sky can produce a successful image and often suits the scene better than capturing the same subject on a bright day. Explore, experiment, employ some creative techniques, and you will meet the challenge of grey days. 2        TRY B&W I love black and white photography and while it does benefit from the contrast provided by good light conditions, the act of removing colour from an image is also a great way to make the most of more dreary conditions. I like to think in black and white on a dull day so that I am still looking for good contrast, as not all scenes will make for good black and white images. Some photographers like to capture their image in colour then convert to black and white. I often do this although I prefer to use the monochrome setting on my camera so that I can see the image in black and white at the time of capture. 3        GET CLOSER                                                                            I like to do close-up photography at any time, so I often take advantage of dull days to photograph macro or close-up images. Dull conditions often favour macro as there are no harsh shadows to contend with and the cloudy sky provides a kind of softbox to enhance our macro images. When the sky is dull and featureless another option is to leave it out altogether. This can be a time to focus on smaller details in the environment rather than on wider vistas. Leaves, tree bark, human-made environmental features, buildings, parts of objects, all make good subjects at any time, and they are well suited to grey days. 4        KEEP IT SIMPLE   So called 'bad' weather, such as light rain, fog and mist, tends to simplify the landscape through reducing visibility. Subjects become isolated from their background; smaller details become blurred and stronger details become more prominent. The landscape becomes naturally de-cluttered, and this can produce unusual, often mysterious images. I love to capture a tree, a lamp post, a pole or even a lone person in the mist. Elements of the environment such as fences, bridges and paths can take on a spooky feel when captured on a foggy day, compared to what they would normally have. Dark, dramatic skies can appear menacing and can often form the main part of an otherwise simple scene. If you like minimalist photography then overcast weather, with its soft light and low contrast, can allow you to produce simple images. Subjects at the coast such as piers, posts, groynes and boulders work well for this type of photography. 5        SLOW DOWN This point is closely related to the one above in that by using an ND filter and a long exposure you can produce beautiful fine art images. I love to view this type of image but have yet to be successful in producing them myself, so this is an area which holds a lot of potential growth for me and which I am looking forward to developing further. 6        LOOK FOR REFLECTIONS The aftermath of a rain shower can be a great opportunity to find some interesting reflections. Surfaces such as parked cars, puddles and wet roads can throw up the potential for successful images, while raindrops often reflect the colours around them and make great abstract photography subjects. 7        EMBRACE THE CONDITIONS As I said at the outset, if I had to wait for ideal photography conditions I wouldn’t get out with my camera very often. Instead of bemoaning the conditions I believe that the secret to enjoying photography, even on grey days, is to embrace the conditions as they are and see the positives and potential they offer. Instead of feeling that I am having to make do with second best I have learned to adjust my sails. I try to match my photography to the conditions that I have to work with and enjoy the results I can produce. FINAL THOUGHTS Dull weather can be mysterious, dramatic, moody, atmospheric and full of character, which is not always true of sunny days. Sometimes, the results of grey day photography are better than those of sunny day photography and that is something to be celebrated. So, next time you are treated to a grey day, get out with your camera and try out some of the techniques mentioned above. You won’t be disappointed!

When I look at the work of other photographers, I often think that my images are far from perfect. I can have a poor exposure, a badly composed image, no well-defined subject or even (perish the thought!) a blurry image. So, I could say that I am constantly trying to perfect my images. But is that really the case, and is it perfection I’m looking for or should I be happy with progress? I pondered this question on a recent photo walk, and I hope my conclusions will be of benefit if you are asking yourself the same question. Perfection or progress: which should you choose? I was standing in the spot where I had taken this photograph a few weeks earlier. I like the image, it was my favourite image of that morning, but on this occasion, I was wondering if I could improve on it. The light was better, I had a better lens with me, and I was more prepared to line up my composition correctly. But there was no bird on the tree. I waited to see if a bird would come but to no avail. So even though some of the elements of a good photograph were present there was no subject and I couldn’t get a better image. Initially I was disappointed. I wanted to come away with an even better image than last time. Then I asked myself, what’s wrong with the image I have? Is it perfection I’m looking for? I don’t honestly think it is. I don’t believe I will ever achieve perfection in photography and I’m not sure that anyone does. Sure, sometimes an image will be as close to perfect as you can get it, and that’s worth striving for, but in my opinion a better goal is progress. Striving for progress will ensure that I’ll always have something to work towards. I’ll always have a challenge to overcome, a problem to solve or a discovery to make. I’ll always have something to keep me interested and motivated; something to keep me learning and improving. Perfection is an end product, and even if we do reach it, we can go no further. Continual progress is the journey that affirms us and keeps us striving to do better. It is what motivates us, challenges us and keeps photography interesting. Perfection or progress? Which should you choose?

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