Intentional Camera Movement (ICM) as a technique in photography is not new but it does seem to have gained in popularity in recent years. No doubt digital technology is partly responsible for this popularity as it is relatively easy and inexpensive to take lots of shots, and this is a big part of doing ICM photography. ICM is about experimentation, trial and error, finding out what works through discovery and practise. When I first tried ICM photography I gave up easily as I felt that my failure rate was too high. Yet I kept going back to ICM, taking a few ICM images each time I went out on a regular shoot, learning more about it from those who are experts in the field, and now I really enjoy this aspect of photography and my success rate is increasing all the time. So, why have I grown to love ICM photography? There are a few reasons, which I’ll outline in the hope that you might find inspiration to try some ICM photography for yourself. #1. Each ICM image is unique. If you stand in the same spot as another photographer in standard photography, chances are that you will both end up with similar images. In ICM photography that is not the case. No two photographers will end up with anything that resembles the other’s image. In fact, if one photographer were to take two ICM images in quick succession, using the same settings, they would also look very different. The speed and quality of movements play a major role in ICM photography, and these are hard to repeat exactly, resulting in a unique image each time. Obviously, unique does not always mean great but it does mean that when you produce an image that pleases you it will be unique to you and not likely to be replicated by anyone else. This is one of many ICM images I have created in my local woodland. Sometimes I include people in the distance. Trees make great subjects for ICM and help us to produce endless variations of our images. #2. ICM helps you to develop your creativity. While you can develop creatively in standard photography, ICM takes creativity a little further in that each image is a result of your creative vision. Since there are no rules in ICM there are no limits either to the artistic results you can produce. There are a lot of different creative approaches in ICM photography and many photographers experiment with all of them at different times. Some opt for an impressionist, often painterly, result, where the subject or setting is recognisable to some extent. Others prefer a more abstract image, where a real setting has been transformed into an artistic blend of colours, shapes, swirls, spirals or waves. Most often in these images the original subject or scene is no longer recognisable. Regardless of the results, the process involved in obtaining those results offers endless possibilities to get creative with your camera. In this image, the camera movement over a patch of flowers created swirls that are no longer recognisable as flowers. In both of the images above the subject is still recognisable. #3. ICM gives you a great sense of satisfaction when you produce an image that you really like. ICM photography is challenging, and the results are often disappointing. This is one of the reasons why there is great satisfaction when you succeed in creating an image that works for you. When you have a vision for what you want to create, and you have to work hard to realise that vision, it is particularly satisfying when that vision comes to fruition in the form of a pleasing image. For this image I had a vision that I wanted to create an ICM image of some people walking through a spooky woods. I found a suitable location then waited for the right subjects to walk into the scene. I particularly wanted some contrast in the clothes to match the background. #4. ICM provides challenge and growth in photography. ICM photography might appear to be easy. You might ask, ‘what can be difficult about standing in front of your subject and moving the camera as you shoot?’ Yet there is much more to ICM that this simplistic way of describing it. You must have a plan for the effect you want to create otherwise you will quickly tire of just making random movements. You must control shutter speed, aperture and ISO to get the right amount of movement and light. You must be intentional about the movements you make so that your final results align with what you set out to do. In post processing you have further opportunities to realise your creative vision. This setting of young trees provided a strong ICM subject, in my opinion. I like the thin lines and the muted tones. #5. ICM encourages you to see the world in a different way. You begin to observe people, places and objects with a view as to whether they might make a good ICM subject. ICM also encourages you to see photography itself in a new way as subjects that might seem uninteresting for regular photography suddenly have potential to make good ICM images. In this image a regular railing produced an ICM image because of the strong lines. As a regular image it would have been nothing special. Every location can reveal possibilities for ICM photography. Woodlands, coastal areas, streets, places of natural beauty all offer potential for ICM. Equally, a range of different subjects can be used to create captivating images. This huge creative potential is what makes ICM photography so interesting and enjoyable. FINAL THOUGHTS As I said at the outset, I almost gave up on ICM photography without giving it a proper chance. I'm glad I kept trying because it is now firmly a part of my photography toolkit and something I go back to regularly when I want to be more creative or just to spend time experimenting and enjoying what I can create. I have given you some of the reasons why I have grown to love ICM photography. If you are interested in ICM you may be able to add to this list. Below are some resources which might be of interest if you want to start or develop ICM photography. (443) Charlotte Bellamy creative photography - YouTube (443) Andy Gray - YouTube John Pettigrew Photography 12 Months of ICM Impressionography - A gallery dedicated to ICM photo-art, founded by Robert Clark. Watch out for my Basic Guide to ICM Photography coming soon!

Since I started back to photography five years ago, I have basically followed the same approach. I go out often with my camera. I walk around my location, observing what is around me. I immerse myself in my surroundings, try to connect with the environment in which I am photographing, and capture whatever it is I am drawn to. I take account of the light that’s available and set up the best composition that I can, but for the most part my photography is spontaneous, spur of the moment type photography. Recently, while watching YouTube videos from professional photographers, I have remarked on how different their approach can be to mine. I have often seen these photographers go to a location where I think I can see many potential images yet they report that they are struggling to get any good compositions. When they eventually find a composition they like they may spend a long time setting it up, often waiting for hours for light to appear or for something to move into the scene that will give it that little something extra. Obviously, I understand that my standards for my photography are not as high as standards are for professional photographers, but nonetheless I do wonder sometimes if I changed my approach, took less photographs and spent more time on each one, would it improve my photography? I challenged myself to find out. It was a dull, windy, morning in late December. On the previous day I had been photographing in the courtyard of the local demesne. I was hoping for a silhouette image of the old chimneys with a bird flying past, but I left without managing to get that. Today I was going to go there, set up my composition, and wait for a bird to get into position. I walked straight to my destination, almost without noticing the beautiful moon that was still in the sky, gently slipping away. I was determined to get my photo! I reached the courtyard, composed my image, and waited. A few birds flew past, too far away to capture. I was getting cold but I waited. Eventually, some birds obliged and flew into position. I got the images I wanted, and they were nothing special! I turned around and saw these trees silhouetted against the sky and I enjoyed trying to see what I could capture in much better light. This was my kind of photography – spontaneous, challenging, fun. I’m not saying that this is anything like the approach taken by a professional photographer but what I am saying is that if I were to take a more professional approach to photography and focus solely on the image, I may get better photographs, but that approach would also have some disadvantages for me. I asked the question, should I change my approach to photography ? I’m answering no for three main reasons. 1.    I would miss the spontaneous nature of my own approach, capturing images that appeal to me even though they may not appeal to anyone else. 2.    I would miss the ‘non-photography-related’ aspects of my photography outings – the beauty of nature that I notice around me, the feeling of peace and freedom from stress that is part of my outings with my camera, the enjoyment of finding something unique and beautiful and just capturing a moment. 3.    By changing my approach to photography I would be putting pressure on myself and raising my expectations for my photography beyond what I may be capable of achieving. In the process, I may lose the enjoyment that I currently derive from my hobby. In a recent video, photographer Ian Worth speaks about the importance of having an emotional connection to our photography. He suggests that if an image doesn’t resonate with you, if you are creating work with other motives in mind, this can lead to a disconnection that leaves your photos feeling a little soulless. I agree that having an emotional connection to our work is what’s really important. If I allow the place, the subject, and the experience to resonate with me I believe I will take a photograph that is more pleasing to me. FINAL THOUGHTS My brief consideration of a change of approach to my photography has clarified something in my mind: my emotional connection to my images comes from being spontaneous, photographing what I want to photograph, and from not putting pressure on myself to get the ‘perfect’ image. I am very happy with my approach to photography, and I intend to continue to improve as much as I can. More importantly, I intend to continue enjoying my photography, and I’ll leave the pursuit of the 'perfect' images to the professionals. On my walk home I noticed this reflection in a window and stopped to create some images. Reflections in a window Out For a Walk I had no intention of taking this photograph but as I passed these trees they looked as though they were heading off for a walk. Check out Ian Worth’s video here.

Updated 2023 This is a slight departure from my usual type of post, but something has prompted me to share this video from Scottish photographer Kim Grant. I have previously written posts about the connection between photography and wellbeing and I have an interest in promoting wellbeing through whatever works for each person. When I watched this video, I was struck by two things – the honesty shown by Kim Grant about her struggle with creativity and motivation, and the practical exercise she suggests to help anyone who is struggling in a similar way. The video was watched by 10K viewers in the first four days and has resonated with many people on YouTube and Instagram. Before I mention the video, I would like to give a short background to the photographer in question, Kim Grant. Kim is well known for her photography channel, Visualising Scotland , in which she has travelled all around Scotland taking beautiful photographs of iconic Scottish landmarks and well-known locations, as well as of hidden gems. During times of restrictions on travel Kim concentrated on photographing her own area, the stunningly beautiful Moray coast, and she diversified into close up images showcasing some of the geology of this coastline as well as becoming more creative with her photography by using the ICM (Intentional Camera Movement) approach. In 2023 Kim was the founder of Photographic Connections, an initiative which hopes to empower people to enhance their wellbeing through photography and creativity. As part of Photographic Connections Kim hosts photography wellbeing weekends, conducts interviews with other interesting photographers through a weekly podcast and collaborates with like minded creatives who are interested in mindful photography and using creative approaches. Kim’s photography appeals to me because I too love landscape photography, in particular coastal landscapes, I like to experiment with creative techniques such as ICM and I like to take a mindful approach to my photography. But most of all I like Kim‘s ethos with regard to photography. Kim uses her photography as a path to wellbeing, and she has often described how photography brings her closer to nature and more able to connect with herself and her environment. As an accomplished photographer and photography teacher, Kim inspires everyone, even beginner photographers, to go out, camera in hand, and immerse themselves in nature, enjoying the real benefits that photography can bring. She believes in encouraging others to enjoy the experience of taking photographs, even if they are not going to do anything with the final images. In this video Kim describes in an honest way how she has recently felt that her lust for life has diminished, how she has struggled with a lack of motivation, even to get out of bed at times, and how this has affected her creativity and her connection with herself and her environment. Kim shares a practical, effective technique to overcome this difficult time and to help others to re-connect with themselves, with life and with their creativity. This video has resonated with people all over the world and will appeal to anyone who needs a boost to overcome a temporary slump in motivation. The video is called, This is a Game Changer: Gaining a New Perspective as a Photographer. Watch it and judge for yourself. https://www.youtube.com/watch?v=9hGrtDpgSRk If the content of the video resonates with you, or if you know someone who might enjoy it, please feel free to share.

Every day brings a chance To kick off your shoes and dance - Oprah Winfrey. I love spring. It brings new life and an abundance of colour to the natural world around us. It symbolises hope, an end to the dark days of winter and a look forward in anticipation of more warmth and light to come. In a time when negativity is coming at us from every quarter, I think it is important to try to find some seeds of positivity to give us hope, no matter how small these might be. This could be in the form of the lone blade of green growing among the rocks, a tiny bud that heralds the end of winter, words of kindness or comfort from an unexpected source or the inspiration offered by an unknown creator. First primroses of the year I love to see new buds appear. It is heartening to see the number of people who are putting time, energy and love into creating beautiful things. Maybe now, more than ever, we need creative people and we need to support creative people in their endeavours. I am fortunate to live in a country that has produced its fair share of creativity, whether in the form of world class literature, music, poetry or, more recently, in the world of film. In recent times we have seen a country-wide resurgence in the number of craftsmen and craftswomen who are creating beautiful arts and crafts, exquisite jewellery and award-winning artisan foods of all descriptions. In all of these pursuits people are investing part of themselves, their own particular vision, in creations which enrich them as human beings as well as enriching the culture in which they work. In every culture it is the creators who carry on traditions, who respect ancestry, who appreciate the raw materials of their craft. It is creators who invest time and patience into their craft so that their end product will be something of which they can be proud. Whatever the art form might be, a creation is an expression of the inner voice of the creator, and photography as an art from is no exception. While photography can be about making money or gaining approval on social media, it can also, through the images we make and share, be a way of showing how we view the world, of expressing what is important to us. While photography certainly has technical aspects, as indeed do many crafts, it is also a creative process, a process which is really about the inner journey of the photographer; about paying attention to what is special in life and finding ways to present this experience to the world. In a world largely focused on creating wealth, with a resulting emphasis on power and greed, anything that helps us become more reflective, more attentive, more meditative, has to be lauded as an alternative. To spend time working a photography scene, waiting for the best light, planning so that we compose in the most effective way, involves a process which is very different to the snapshots taken with a mobile phone at every possible opportunity so that we can ‘share’ them immediately. This process involves time and thought and an investment of part of our selves as human beings. We may not create masterpieces but we can nonetheless consider ourselves to be involved in a creative process, a process that continues to give as we continue to learn and grow. In photography, as in most creative endeavours, it is the intent which is important. I need to ask myself, am I taking photographs to gain the approval of others or am I taking photographs to enrich the lives of others by sharing something in which I have invested part of myself? If the latter is my motive then my pursuit of photography will feed my creative desire and enhance my life by providing fuel for body, mind and spirit. I believe that creativity is good for us – for both the outer and the inner body. When we are creative we stretch ourselves as human beings. We develop our own ideas and begin to understand and trust ourselves more. Being creative helps us learn to appreciate our own capabilities. It helps us move beyond our own perceived limitations as to what we can achieve and it can lead to a real sense of satisfaction. It helps us to become more innovative thinkers and better problem solvers. It teaches us patience, tolerance, and, often, humility. Being creative involves investing time in our pursuit, allotting value to what we do, paying attention to the learning and the journey rather than the destination. Being creative slows us down, helps us realise what is important, and, whether it is creating a beautiful flower patch in our garden or painting the next masterpiece, being creative takes us on a journey away from the whirlwind nature of everyday life to a calmer, gentler space in which to grow as human beings. Research shows that spending time on what we enjoy actually benefits our mental health. https://psycnet.apa.org/record/2014-04641-001 To practice any art, no matter how well or how badly, is a way to make your soul grow. So do it. - Kurt Vonnegut Updated March, 2021

If you are a beginner in photography or if you would like to refresh your photography skills, then this Photography Basics course might be for you. Presented by photographer Chris Orange, an accomplished photographer who is very much in demand in his professional capacity, this free course is delivered over 7 sessions on YouTube, each session covering an important basic skill in photography. The course begins with an explanation of Aperture, Shutter Speed and ISO and continues with other technical aspects of photography such as Focus Modes, Metering Modes, and the use of Lenses and Filters. Chris continues by looking at the creative side of photography and shares his method for taking powerful images. He discusses techniques for good composition, how to use the best available light, storytelling through photography and photography mindset. In lesson 6 Chris presents a ‘how to’ lesson on the art of black and white photography and he finishes the course with a final lesson on understanding exposure. Lesson 6 of the course is entirely devoted to a discussion of black and white photography, in particular the effect produced by using different filters. It is a topic of interest to many photographers and something which can be difficult to get right. I learned a lot from this lesson and will apply some of this learning to my future black and white photography. *** Before you begin the course Chris presents his own credentials as a photographer, giving you an insight into his experience and the quality and diversity of his work. I highly recommend this course as the lessons are delivered in an easy to understand and accessible manner and they help the beginner photographer to make sense of difficult concepts and get started on their photography journey. However, these lessons are not just for beginners and many of the comments from participants are from those who have been doing photography for a while but who found that the lessons provided a welcome boost to their learning. You can check out the first video lesson here and follow the links to access further lessons.

Whenever I tell someone that I am interested in photography, invariably the next question will be, What type of photography do you do? Within the question there often appears to be a subconscious expectation that it’s best to confine ourselves to one type of photography; to specialise and become proficient in one genre rather than dabble in many genres. But I don't believe that it's a good idea to define our photography too narrowly. Maybe I read too much into the question, or maybe I have those subconscious beliefs about my own photography, but whatever it is I was interested to come across a video from photographer Roman Fox, in which he discusses this question in relation to his own work as a photographer. The video includes some lovely images shot in Malta. I hope the video will give you some food for thought as to why it’s not good to define our photography too narrowly. I recently made a decision to give myself the freedom to experiment in photography, to take my photography in lots of different directions, to just explore the world with my camera rather than confining myself to a specific genre. My enjoyment of photography has definitely increased as I discover the freedom involved in not defining my photography, just doing my photography my way! You can check out Roman Fox's video here.

It is now five years since I returned to photography after an absence of many years due to the pressures of work and daily life. It’s also five years since I started this blog to chart my journey back to photography and hopefully to share my learning and discoveries with others who might be on a similar journey. One of the questions I often ponder is how do I know I am improving at photography? After all, photography is very subjective and when looking at my own photos I wonder whether the photos that I like are actually any good from an objective viewpoint. While I don’t measure my success in photography in terms of whether my photos are ‘good’ in the opinion of others, I do want to feel that there are some criteria I can use to judge the extent of my progress. If you are at a similar stage, and are finding it difficult to judge your own progress, here are some criteria you could use to help you discover if your photography skills and your photography mindset are progressing as you would like them to. So, What Are the Signs That Your Photography is Improving? ·       You have stopped comparing yourself to other photographers and are focussed on your own work, trying to improve on what you are currently producing. I used to compare my work (usually unfavourably) to that of others and this had a detrimental effect on my self-esteem and my confidence. I have gradually begun to realise that comparisons are pointless and that the most important route to improvement is to study my own work and identify both good and bad aspects.   ·       You are interested in creating your own authentic work, making images that are pleasing to you.  We all need inspiration from others and that is good. We can pick up ideas that appeal to us and that we can make our own. By looking at the work of other photographers we begin to know what we like and dislike and this helps us to pursue our own path. Being inspired is a positive thing and we know we are improving at photography when we can take inspiration without either comparing or copying.   ·       You are your own best critic.  When you can look objectively at your own work, discern what is good about your images as well as what needs improvement, and start to keep only the best images for editing, you have made huge strides forward in terms of your photography progress.   ·       You have stopped being disappointed over missed opportunities.  You know that all is not lost when you miss a shot because opportunities will come again, and you’ll be better prepared to capture those moments. You’ll plan your time for visiting your location more accurately, arriving earlier or staying later, or you’ll have a better awareness of what the light is doing at different times. You’ll realise that small changes in planning or preparation will mean less disappointment, and you’ll begin to make these changes.   ·       You become competent at problem solving ‘in the field’. You can adjust perspective, choose composition options, move around to get a better angle, remove distractions, and generally try to get the best image in situ. This reduces disappointments and means you spend less time adjusting your image in an editing programme later.   ·       You are able to change settings easily and quickly. This comes from knowing your camera inside out. When you can quickly access the menu option to find you are looking for, when you can change aperture, shutter speed and ISO, and know what to use without thinking too much about them, when a lack of familiarity with your camera isn’t holding back your progress, you know you are improving at photography. Your camera is merely a tool to help you develop your creativity, but you do need to know it well or it will hinder your progress.   ·       You feel contentment and satisfaction with your work rather than always feeling that it lacks something. You begin to like your images and to know that even when you don’t there are improvements you can make to help you get better images on your next outing. You accept that everyone has down days and you start to appreciate those days when you come home with some real ‘keepers’.   ·       You are happy to make the most of the gear you have.                           You realise that there is no such thing as a perfect camera or a perfect lens. All cameras and lenses, regardless of their price range, have their limitations so you are willing to work with what you have until you begin to outgrow what it has to offer. GAS (gear acquisition syndrome) becomes a thing of the past! Yay! FINAL THOUGHTS As I said at the outset, it can be difficult to evaluate your own progress in photography. There is no test you can pass, no milestone you can reach, no yardstick you can use to discover whether you are improving at photography. Progress is subjective and multi-faceted. It involves not just technical improvements but also progress in how you think about your photography, how you see yourself as a photographer. I hope that some of the ideas above will help you to think about your own photography and enable you to see the progress that you have undoubtedly made.

Most photographers love frosty winter mornings, mornings when fog has shrouded the landscape in mystery or mornings when snow has transformed the landscape into a winter wonderland. These are the mornings when winter yields some wonderful landscape photography. But these types of winter mornings are not common in my part of the world. Instead, we get a lot of dull, grey mornings, when the light is poor, and everything seems flat and boring. So, what do we do on mornings like this? Here are a few tips for what to look for on dull, grey photography days, which can occur at any time, not just in winter. 1.    Look for a strong subject When the light is flat and boring, a strong subject can draw the viewer’s eye and provide an interesting focal point. This was taken just after a rain shower. The man's reflection in the rainwater puddles provided an interesting subject. 2.    Look for interesting colours, textures, pattern and shape Colour can be difficult to find on grey days, although when we look closely we often find little unexpected splashes of colour. Texture, too, can provide interest in our images, while including examples of strong shapes and patterns give us subjects that can compensate for dull conditions and lack of light. Just moments earlier, this building had looked grey and uninteresting but an unexpected burst of sunlight bathed it in light and colour. The unexpected can happen on any day! 3.    Look for contrast On grey days I frequently take the opportunity to do black and white photography. Good contrast can elevate an image from ordinary to compelling, often by adding mood, drama and atmosphere. The key is to look for compositions with good natural contrast. 4.    Look for compositions where you don’t have to include a lot of sky When the sky is grey and lacking in drama it is a good idea to get closer to your subject and avoid having too much sky in the frame. Alternatively, you could fill the frame and avoid including sky altogether. I often include a small section of sky in my photograph and try to recover detail in Lightroom. This can be as simple as selecting a sky mask, reducing the exposure and adding some dehaze. Subtle editing can make a huge difference to a dull sky. FINAL THOUGHTS I like to go out with my camera as often as I can. If I wait for ideal winter conditions, I might not get out very often, so I try to make the most of those very common dull, grey winter days. By going out with my camera and using the ideas mentioned here I often return with an image that I like, and which would not have been possible had I not seized the opportunity. Dull, grey days have their special moments, we just need to go out and look for them.

This has been quite a good year for my photography. I got to spend an extended amount of time in the beautiful Portuguese city of Vila Real de Santo Antonio, where I was able to immerse myself in the daily life of the city and capture some images at different times of the day and in different seasons. I made my annual trip to the west coast of Ireland where I managed to visit some new locations and try a different style of photography. Most of my photography is a blend of locations close to where I live, and photo shoots I make when I visit my daughter who lives a two hour drive away. The landscape is more rural than urban and provides some interesting variety for my photography. These are the images I have picked as my favourite photos of the year. They may not be to everyone’s taste but an important message I have heard many times this year is ‘shoot for yourself’. That’s what I have done and it has been my most enjoyable photography year yet. This was one of my first photographs of the year. I like the sense of movement as the girl walks into the scene. All of the interest is on the left but the fact that the girl is walking into the open space gives a feeling of mystery and I think it works here. I have photographed this house many times from many different perspectives. I like the way the light plays on the front of the house in this image. I made many variations of this image in Vila Real during my first visit in April. Every morning this corner was lit by the sun and I tried to capture an interesting subject in that beam of light. I think the viewer's eye is drawn to the street cleaner at work, which is what I intended. I like working with contrast and continue to look for opportunities to improve my end product. Meanwhile, I include this image because I happened to see the house bathed in light during a film shoot. This year I enjoyed experimenting with candid photography, aiming to capture a scene that tells a story. I think this one illustrates the typical comings and goings of a shopping mall. This was the year I tried to develop my street photography. These three images are memorable as I think they offer some visual interest. In the image on the left the boy and his grandad mirror each other as they both eat their ice cream, making eye contact as they do so. In the middle image I like the way the pigeons seem to be going for a walk in the park with the woman. In the image on the right I captured this tourist taking a picture of the statue of Phil Lynott, and managed to also capture his phone image. This was one of my first images from my new 30mm Olympus macro lens. Using this lens provided a bit of a learning curve but I will continue to work to improve my macro photography. There is something about this scene that I just like. I like to capture the same location in different seasons, as above and below. I think a combination of three elements in this image work to make it a success; the 'tree characters', the misty background and the human element added by the two people walking into the scene with their dog. I love a silhouette photograph. This image might have too many elements but I still think it makes a visual impact. Autumn provided a lot of colour this year. I like this composition even though the light wasn't great. It is a typical rural scene, something I love to capture. A frosty spider web hanging from a gate. It is imperfect yet it has a certain beauty. One of my favourite subjects. FINAL THOUGHTS Choosing some of my favourite images of the year has been a positive exercise, mainly because I realise that I do like many of my images and I could have chosen more favourites. This marks a progression in my photography from the days on which I thought none of my images were worthwhile. I recommend that you try this exercise for yourself.

I am prompted to write this post because of my amazing photography experience during autumn, which this year was particularly stunning in terms of colour. Winter photography seems dull and uninteresting in comparison, yet I still want to get out with my camera as often as possible and make some images. Many posts giving tips for winter photography will mention planning, wearing proper clothes and looking after your photography equipment, so I’m going to take these as a given. There will also be occasions during winter when there's frost, mist, even snow, and you can take advantage of those to capture some incredible woodland images. Most of the winter photography tips you’ll find online will cover these topics well. But what about on most winter days, when it’s grey and gloomy, or perhaps crisp and dry but without much colour or good light? The tips I am outlining in this post will address those occasions. They will be personal tips and suggestions, aimed at the regular person who loves going out in all seasons with a camera just as I do. I will try not to repeat what can be easily found with a quick online search. I am writing this post in conjunction with my photography outings and trying to match my tips with a lived experience of doing woodland photography in the winter. With each of the tips I include some of my own images. I hope you will be inspired to go out and try some winter woodland photography for yourself. 5 Tips for Winter Woodland Phtography #1 Go to your chosen woodland often and build a connection Landscape photographer Kim Grant talks often about the importance of building a deep connection with our subjects in landscape photography. For me, this is particularly important in woodland photography and especially so in winter when we meet our subjects in their rawest state. I often feel particularly drawn to winter trees as they hold their bare branches up to a cloudy sky. Whether it is shrouded in mist, glistening with frost or covered in snow, the same tree can yield numerous appealling images. A winter sky over the woodland is often dark and foreboding but it has the power to make you stop and look and connect with the dark moodiness. Or alternatively, the winter sky can be full of vibrant colour and character that you just want to photograph. #2 Find characters in the woodland I love to photograph bare trees, but they soon begin to look the same and don’t provide varied compositions. Look for trees that stand out from the crowd, trees with unique markings, twisted branches or unusual patterns. Use a shallow depth of field to focus on a tree and provide separation from everything around it. Spend time examining a tree. Get to know it well, give it a name. become familiar with the characteristics of the tree and what marks it out as unique. The Elephant #3 Make use of the unique winter light. Obviously, with shorter days in winter there is less available light, and as we know, photography depends on light. That’s why it’s vital to make the most of the light we do have. The most interesting light for woodland photography is early morning light. In some parts of the woodland the sun produces a warm, subdued light, it other areas it seems to burst through the trees, illuminating the woodland floor and creating wonderful sun streaks and long shadows. As the sun is lower in in the sky in winter it will hit your scene or subject from a lower angle. This gives a unique look to the composition. Occasionally I like to shoot into the sun to produce a sun star - just for fun! For a golden glow on your images visit the woods in late afternoon or early evening, just before sunset. #4 Use leading lines and natural framing to enhance your compositions. Woodlands often have numerous paths and tracks that can serve as leading lines in your compositions. As well as giving a sense of depth to your images, leading lines are well suited to winter images as they provide the interest that can make up for a lack of colour. A winding path meandering through a beautiful woodland can look great, and you can draw your viewer into the frame quicker by getting down low and having the path appear closer and wider. Foreground elements, such as rocks or fallen logs, can also be used to lead the viewer’s eye into the frame. Use overhanging branches to create a frame to lead the viewer’s eye into the scene. In winter, framing within our image can introduce mood and create a sense of magic as we take the viewer on a journey into our photograph. #5 Photograph the micro-environment. Bring a macro lens with you and get closer to the woodland floor. Photograph plants, leaves, insects, pinecones, tree bark and root systems. All types of forest vegetation make good close-up images. Look for interesting arrangements of objects, complementary colours, variety of shapes and patterns. If you go out after a rain shower the woodland floor often glistens, making macro images more stunning. FINAL THOUGHTS Spending time outdoors has great therapeutic benefits at any time of year, but this is particularly true in winter. When daylight hours are reduced it is important to try to get out often in the fresh air. Nothing fulfils this objective so much as a winter photography walk in a woodland, and your camera makes the perfect companion for your trip. I hope these tips help you to make the most of your winter woodland photography shoot. The following blog post may give you more ideas. Tips on How to Improve your Woodland & Forest Photography — Brad Carr Photography

I recently heard a photographer remark that he hadn’t been out taking photographs for some time due to bad weather, stating that it would be good to have optimal weather conditions all the time for photography. I can understand his sentiments. Some photographers find themselves to be very uninspired in certain weather conditions. They like to have good light and when this is unavailable they tend to despair of getting any decent photographs. And if you live in a climate that has very long dark evenings, a lot of rain or just constant grey skies, it can be difficult to feel inspired. Despite this, I do feel that as photographers we must embrace all weather conditions for photography if we are to continue to get out with our camera on the many days when the weather is less than optimal. I have come up with some reasons to support my belief. #1. A diversity of weather conditions challenges our photography skills and helps us to think more creatively. If we had ‘ideal' weather conditions all the time our photographs would all look the same. There would be no challenge, no need to think differently or accommodate seemingly adverse conditions. There would be uncertainty, mystery, compromise, variety, opportunities to develop creativity, resulting in huge rewards in terms of images, and would most photographers not take this over ‘perfect' every time? #2. ‘Good’ weather does not mean the same thing to every photographer. If we don’t experience all weather conditions we won’t know whether we actually prefer shooting in a woodland after a rain shower to capturing yet another ‘easy’ golden hour image. We won’t know how creative we can become on a frosty morning or experience the challenges of achieving proper exposure when photographing in snow. If we don’t embrace all weather conditions for photography we risk selling ourselves short, opting for easy over inspirational and settling for images that don’t stand out from the crowd or give us that ‘wow' factor. #3. If we don’t embrace all weather conditions, we may miss the best weather conditions. If we don’t go out on a dull, grey, overcast da we may miss that brief moment when the sun breaks through the clouds. If we don’t go out because it’s been raining all day and the light is poor we may miss the way rain water glistens on leaves and flowers and gives them a beautiful glow, perfect for macro photography. If we don’t go out because it’s too cold we may miss how the early morning frost makes patterns on the hedges or how the fog lingers among the trees, making for great abstract images. I have missed many potential photographs by staying at home when the weather is ‘bad’, and I know this because of the times that I embraced the weather conditions, went out with my camera, and was rewarded with some memorable images. FINAL THOUGHTS When we look out at grey skies, dark and gloomy conditions, or even harsh summer sunlight, I think we can all be tempted to decide that the conditions are not right for photography. But I would urge you to think again. Think about how those grey skies could add mood and atmosphere to an image, how a rain shower could leave behind beautiful hanging raindrops, how a clear blue sky and harsh sunlight might open up the possibility of getting interesting macro images, or provide great contrast between light and shadow for street images. Think about trying moody black and white images when there’s drama in a cloudy sky or creating a spooky woodland scene on a misty day. The possibilities are endless when we embrace all weather conditions. All we need is a little bit of imagination and proper clothing!

There is a saying in photography circles that the best camera is the one you have with you. For most people, most of the time, that camera will be on our phone. There are many who say that the top phone cameras can rival DSLRs and mirrorless cameras for image quality, while others believe that phone cameras still have a long way to go before they can produce images that can truly rival those of ‘real’ cameras. I have used my phone camera on many occasions for both street photography and general images of subjects that caught my eye, and I have been pleased with the results. I previously wrote a post on why I think phone cameras are good for street and urban photography. I am not a professional photographer therefore I don't have top of the range camera equipment. And while I agree that a phone camera is a good option in some forms of photography, my question is whether the phone camera can be used in landscape photography to take photos that can match those of entry level or mid-level cameras used by amateur photographers. Does a phone camera work for landscape photography? I set about finding out. THE VERDICT While the image quality of these photographs is not terrible, and while a more skillful photographer might have created better compositions regardless of the equipment used, I do see a few issues with using a phone camera for landscape photography. Firstly, the colours are often very saturated and tend to look unrealistic. In addition, phone camera images are difficult to edit as they are effectively already processed by the camera software. Unfortunately, the images are not all processed in the same way so the results can be unpredictable. Thirdly, there is obviously a limit as to how far the phone camera can zoom, which imposes restrictions on the composition from the outset. That being said, I did enjoy the process of capturing these images. I was still able to use photography skills such as surveying the scene and picking out my composition, trying to catch the best light and looking for an interesting perspective from which to shoot. Phone cameras tend to produce better quality images close-up, as seen above, which leads me to conclude that they are perfectly adequate for many types of photography. However, I have to conclude that, while they can offer an enjoyable photography experience, and often produce pleasing results, they don't quite rival a DSLR or mirrorless camera for traditional landscape photography. You might like to watch these recent videos on the topic from two well known YouTube photographers iPhone vs. DSLR 2023: Is Your Big Camera Obsolete? from landscape photographer Adam Karnacz of First Man Photography The iPhone Camera is Actually Rubbish from photographer and film maker Rick Bebbington The two photographers reach a slightly different conclusion about the adequacy of phone cameras for landscape photography. What do you think?