This was my first walk of the year with my camera. The morning was cold and bright and the overnight frost still lingered in places. The sun was making periodic appearances creating a contrast between light and shade. Otherwise, the light was soft and diffused, perfect for photography. My walk took me to my local park and woodland – Marlay Demesne - where I knew I would get at least a few photographs. Marlay Park is approximately 300 acres of suburban public park located about 9 km from Dublin city centre and at the foothills of the Dublin mountains. Marlay House was built in 1794, replacing an earlier 17th century house. The house has been restored and is open for guided tours. Marlay House looks out over the demesne which includes a Victorian cottage (Laurelmere Cottage), a lake, boathouse and viewing platform. As well as a substantial wooded area, with many species of trees and plants, Marlay Park contains many of the features of 18th century parks, including a boundary wall, ornate gates, pillars and railings, bridges and waterfalls, as well as a walled garden. The central position in the walled garden is given over to a Regency ornamental garden, while the garden also includes an orangery, arbour, water fountain and restored bothies. This is my regular photography location, a location for all seasons. On this occasion I took my 17-50mm lens with me, as a change from a prime. I started off with a wide shot from just inside the courtyard looking back on the house. I then moved back into the courtyard and used the archway as a frame to frame the house. I continued into the Regency Walled Gardens, where the sun was creating soft shadows. I took some images of the orangery, the arbour and the restored bothies, before making my way to the house, which is in the garden but backs out into the park and serves as the location for a busy and popular tearoom. I continued my walk through the park, stopping to admire the frost covered paths and open spaces, before making my way through the woodland. I took a photograph of the miniature railway, some pictures of the Victorian Laurelmere cottage and its views, as well as some close-up window shots.  I can't walk in my local park without going into the beautiful woodland. By this time the winter sun was more consistent and I had changed lens to my 18-200mm for variation in focal length. Some people don't like the dappled shadow effect but I like it, especially in winter. I used the zoom lens to take 3 different perspectives of the café at the upper end of the park. I finished with a black and white image taken low to the kerb. The line leads on but the next part of the journey is for another day. I hope you like my selection of images. Why not go out for a New Year walk with your camera today.

Recently, I have noticed a change in emphasis among many YouTube photographers. Instead of bringing us, via their video channels, to exotic locations with dramatic landscapes and breath-taking subjects, there has been more focus on photographing close to home, and even a focus on how to produce good images in what are called 'mundane' settings. There may be many reasons for this change of emphasis. It could be a response to the reality for many who watch these videos – many people just don’t have the means or opportunity to travel to iconic locations to do photography. Sure, people like to see these places through the eyes of a good photographer, but most people want ideas on how to improve their own photography, what to shoot and how to compose a good image for themselves, and they need to do this in places that are accessible. For many people this will be their own local town, village or suburb, or somewhere within easy travelling distance. Many videos are now being tailored to meet those changing needs. Another reason for the change of emphasis may be a throw back to the Covid pandemic when many photographers realised that travelling for photography could not be taken for granted and they found themselves having to re-structure their business plan. Or, indeed, it might just be that these types of videos do well in terms of the YouTube algorithm so they are becoming more popular. I have watched a few such videos and tried to extract information that is relevant to me, in my current situation. For at least two years now I have been working on making images that I like in my own so-called mundane location, and I have identified 5 suggestions that have helped me to do that. I believe that these are actionable steps so I hope they will be useful to someone in a similar position. Dig Deeper It is easy to believe that our local area has very little photographic potential compared to the more epic locations we could visit, with their dramatic landscapes, iconic landmarks and interesting choice of subjects. That’s why we have to look a little more deeply at our own location. We might be so familiar with our everyday surroundings that we initially think that there’s nothing worthwhile to photograph, so we must look beyond the familiar and see our location with new eyes. This will mean being more observant, more open-minded to new opportunities, more experimental with our photography. It will mean seeing the familiar in a new way, seeing potential where previously you saw none, taking the risk of doing something differently. I live in a suburban location which is also close to small villages, farms and rural settings. Initially, I didn’t believe there was much to photograph in many of the rural areas I might pass through, but recently I have begun to look more deeply, stop my car and take a walk, view these areas as areas of potential rather than as places with nothing to offer photographically. I have been pleased with many of the images I have taken and I know that there are many more yet to be revealed. These are not images that will have universal appeal but they are unique to me, I have enjoyed taking them, and they have presented me with photographic opportunities that I would miss if I persisted in having a closed mind. Follow The Light Light is at the heart of photography. I recall times when I was travelling and visiting new locations, hoping for great photographic opportunities only to discover that I had a short window in the early morning or late evening when I got good photography light, and an otherwise day of harsh sun and no light variation. In your own location you can observe all the different types of light, see how the light plays with your subject and experiment with all the available forms of light at various times of day and through the different seasons. The accessibility of your local area is an advantage in this regard and it can allow you to photograph a subject under all conditions. I created these images recently when I was out for an early morning walk. My attention was drawn to the way in which the  sun was casting shadows on a wall, so I took out my phone to see what I could create.   In the images below, the light is the star of the show in the photograph. The location in each is an ordinary lakeside stopping point but the light changes a normally flat, boring landscape into something special. Get Creative Although we might consider familiarity with a location to be a disadvantage when it comes to photography, it can also be an advantage. Familiarity means that you know your location well; you have a connection with it’s natural and human-made features. When you have intimate knowledge of your location it allows you the opportunity to become more creative and inventive with your photography. You can zone in on small details that others miss, shoot from unique perspectives, try some abstract photography or ICM, discover subjects that you might not normally consider as image-worthy or focus on subjects that draw your attention even though they may not have universal appeal or be ‘Instagram-able’.   These approaches will help you to have an individual slant on your photography, which can give you a connection to your images and ensure that they are meaningful to you. When your focus is not on capturing grand vistas and epic subjects, you are freed to concentrate on intimate details and unique moments that often translate into captivating images. Go Macro Macro photography is not for everyone but it is a genre that works well in any local area. Macro subjects are everywhere and you can often spend enjoyable hours focusing on the tiny world that exists all around us. Macro does not have to be difficult. Most phone cameras have good macro capability and it is easy to find macro subjects. What is required is an open mind, a bit of creative thinking and a willingness to get out of your comfort zone and see what opportunities open up for you. Even if you are not interested in real macro, there is a lot of photographic interest in the intimate landscape that is all around us. Challenge Yourself When all else fails – take on a challenge. I wrote this post a few years ago, but the challenge posed by Thomas Heaton is still relevant. A challenge helps us to push our creative boundaries, it helps us to change a fixed mindset, such as thinking that there’s nothing to photograph, and it requires us to make choices and decisions that help to improve our overall skills as a photographer. A challenge could be as simple as shooting a certain colour or it could be something more complicated such as challenging yourself to come home with 10/20/30 images that you would not normally capture. I have taken challenges around my local area and they always help me to see my area differently; to see potential, opportunity, and possibility, rather than to focus on what’s lacking. FINAL THOUGHTS Most of us who enjoy photography also want to gain experience and improve our skills. To do this we need to go out regularly with our camera and take pictures. We will take most of our pictures in places that are convenient to get to, and this means that most of the time we will shoot in our local area. Familiarity might lead us to believe that there is nothing to photograph where we live, that our locality is boring and monotonous. However, if we take some simple steps, like those outlined above, we can change this mindset and begin to discover photographic potential all around us, wherever we live. I hope you will find these steps useful. If any of them particularly resonate with you why not share your experience below.

Sometimes I see beauty in how the morning light casts its shadows Jimmy West is a photographer based in Sweden. In his YouTube channel he regularly discusses the importance of finding photographs wherever you are and he gives lots of tips and examples from his own work to illustrate how this can be done. His approach is echoed by others that I currently follow on YouTube, as it is a way of photography that I am drawn to. As part of his effort to build a community of like-minded photographers, Jimmy recently launched a project entitled Mellanrummet  - The Spaces In Between . In Jimmy’s own words, “Mellanrummet is about the little things. The overlooked details, everyday places and moments we often pass without a second thought. But with the right light, scene, or perspective, these seemingly ordinary subjects can truly stand out.” In his project Jimmy is giving his audience a chance to showcase photography that reflects this theme; a chance for each person to share what Mellenrummet means to them. It provides an opportunity for each of us who would like to participate to show how we see beauty in the unnoticed and translate this beauty into an image. The first issue of The Spaces In Between  has now been completed, and the gallery of work is open for all to see at https://www.jimmywest.work   I have contributed some photography to the second issue , which is now ongoing. If you are interested in this approach to photography, you might like to check out Jimmy’s YouTube channel. In one of his latest videos Jimmy features three other photographers who adopt this approach to photography and whose work I regularly follow. You can view it here. This may not depict beauty in the normal sense, but to me it tells a poignant story, and sometimes that is where the success of a photograph lies. This project really resonates with me because I see it as a way of connecting photographers who take a similar approach to photography, a way to celebrate how we can see beauty in the most ordinary subjects, and a way to enjoy viewing, and being inspired by, the work of other like-minded photographers. I hope you will take a moment to browse the gallery and celebrate the work of photographers from all parts of the world who connect to the theme of Mellanrummet - The Spaces In Between.

Over the last few months, I have not been out with my camera on a regular basis. There are a few reasons for this. I used to go out in the early morning when the light was soft and I felt that I would have the best chance of getting some good images. But since getting a puppy in early February that routine has had to take a backseat. The last few months have involved early morning dog walking and training, and although the dog is now in a routine, he does not yet wait patiently for me to take a photograph! Maybe some day! My other photography time was early evening, but evenings are now following a similar pattern to mornings. A result of not getting out regularly was that I began to lose motivation to go out at other times, giving all the usual excuses such as harsh light, dull conditions, nothing to photograph, and so on. And, as I mentioned in a recent post, I began to lose confidence and started thinking that I was no longer making progress in photography. I hope to get back to more regular photo outings soon, but in the meantime, I want to continue to improve my photography and get in lots of practice so that I don’t lose motivation and forget the skills I have worked hard to learn. My solution is to adopt the daily photography habit . This involves always carrying a camera with me and taking lots of photographs wherever I happen to be. There are several advantages to taking this approach. It will help me to get lots of practice, improve my skills and develop creatively, all areas that fall back when I don’t go out regularly with a camera. It will encourage me to be constantly on the lookout for potential images, thereby developing my observation skills and my ability to notice small details or see beauty in the mundane. When I am constantly taking photographs many of them will be experimental shots. I am not looking for perfection. I can use these occasions as opportunities to learn about myself as a photographer and about the type of images I like to make. These will not be photographs to show to others; they will be for myself, to critique and learn about my mistakes. I can also celebrate my successes and use these as building blocks from which to move forward. A daily photography practice will introduce variety into my photography, where I will no longer be focusing on a particular genre, but rather seeing where my attention is drawn, and finding potential in the ordinary, everyday things that are all around me. A daily photography habit will give me an opportunity to experiment, to discover new subjects that I enjoy photographing and to develop my photographic eye. When I always carry a camera with me, I will not miss those opportunities that I might otherwise have missed and I will be building towards 10,000 hours of photography, the number of hours at which, it is commonly believed, we become competent in any activity.   FINAL THOUGHTS   I love photography. I love all the genres I have tried. I love experimenting and discovering new ways to do things. I love mastering my camera settings and using new-found skills to create better compositions. For me, it is important to continue this journey that I have started. That’s why for me, a daily photography habit is the answer.

Winter is often considered to be the least popular season for photography. Many photographers avoid the colder months, thinking the season offers limited opportunities for good photography. Light is often poor, skies can be constantly dull and grey, and in many locations weather conditions are not conducive to being out with a camera. Yet, winter presents unique chances to capture scenes that other seasons cannot match. Embracing winter for photography can often lead to stunning, memorable images that stand out among the year's captures. Why Winter Offers Unique Photo Opportunities As photographers, most of us are familiar with the obvious photo opportunities that winter brings. Snow transforms familiar landscapes into new worlds, ice forms intricate patterns all around us, and the low sun casts long, soft shadows. Winter days often feature overcast skies, providing soft, even light and reducing harsh shadows and highlights. The subdued colours of winter create calm, peaceful images, where browns, greys and whites dominate. These changes in winter create a new and interesting canvas for photographers, emphasising simplicity and tranquillity. Tips for Composing Winter Photos Winter’s simplicity calls for thoughtful composition to create strong images. Use Leading Lines Paths, fences, hedges or tree lines covered in snow, enveloped in mist or simply standing in colourless, quiet surroundings, guide the viewer’s eye through the photo. Look for Contrast, Reflections, Shadows and Silhouettes Dark objects against snow or bright skies create striking contrasts that draw a viewer's attention. The low sun with its muted light creates long shadows and beautiful reflections, while shooting into the sun gives us stunning silhouettes. Include Human Elements A lone figure walking through a winter landscape adds scale and narrative. Experiment with Black and White Winter scenes often work well in black and white, emphasizing texture and form over colour. Embracing Winter Improves Your Photography Skills Shooting in winter pushes photographers to adapt and think creatively. The season’s challenges teach patience, attention to detail, and new techniques. Winter also encourages slowing down. The quiet, still environment invites reflection and careful observation, which often leads to more thoughtful compositions. Have you embraced winter for photography? You might also like this post Exploring the Creative Possibilities for Winter Photography

Do you remember why you first picked up a camera? Did you want to use it to travel and capture iconic locations? Did you want to use it to document your daily life and that of your family and friends? Did you intend to use it to share your images on social media? Did you intend it to be your daily companion, to capture whatever caught your eye? Did you pick up a camera to learn a new skill and express yourself in new ways? Or did you first pick up a camera to give yourself a creative pastime, something to help you de-stress, enjoy the outdoors and escape from the busyness of daily living? Maybe your purpose in picking up a camera for the first time was a combination of these reasons. Yet many people lose sight of their original intention and find themselves under pressure to take photographs for others, to produce images that will do well on social media, match the work of photographers on YouTube or meet the standards of those whose work we see online. Many have given up photography for these reasons. If that has happened to you, I challenge you, at the start of a new year, to re-claim the joy of photography. How do you do this? The joy of photography comes from: Photographing for yourself . It comes from making the images you want to make, expressing your own unique voice through your photography. If something looks ugly and you are drawn to take that photograph, take the photograph. If it's just something ordinary and you like the way the light is shining on it, take the photograph. The joy of photography comes from: Not comparing your work to the best work of others you see online. Those who post online often take bad photos and mediocre photos but they don't post them. Even professional photographers take hundreds of less than perfect photographs but these don't make it onto their portfolio, their online gallery or into their photography books. Your photos may not be perfect, but they are yours. Be proud of them. The joy of photography comes from: Resisting the temptation to think that a new camera will make you a better photographer. Take out the camera you have and give it some love. Learn something new about your camera, something you didn't realise before. Use different lenses, different focal lengths, different picture profiles. Experiment. Try some close-up photography. Try true macro. Use your phone camera if you don't have a close-up or macro lens. Just try something different and don't expect perfection. Enjoy the fun and challenge of doing things differently. Try something close-up, or abstract, or both.  If you usually shoot in colour, try black and white occasionally,. Finally, the joy of photography comes from: Slowing down and seeing photography as a mindful, enjoyable pursuit, that makes no demands, has no expectations, and can bring much pleasure and joy. * If you have lost the joy of photography, for whatever reason, I hope you will re-discover it this year.

Why is a photography project beneficial? Many photographers, both professional and amateur, regularly have an ongoing photography project. Their reasons for doing a project will vary, according to their needs and requirements. In my last post I outlined some of the benefits I have gained from doing a photography project. To recap, doing a project has given direction and purpose to my photography, helped me stay motivated when inspiration waned, and encouraged me to review and present my work. A project provides interest and variation and gives an opportunity to encapsulate all the aspects of photography that interest us as photographers. Doing a project doesn’t have to be difficult, nor does it need to take a lot of  time. It can be a short, snappy project lasting a week or two or it can be an ongoing project of many months’ duration. The choice is yours and both options are worth trying. The five steps outlined below will help you get started on a photography project and hopefully provide you with a simple path to achieving a successful outcome. 5 STEPS TO ACHIEVING A SUCCESSFUL PHOTOGRAPHY PROJECT STEP 1 Decide on your topic/idea A quick search online will provide plenty of ideas for photography project topics, but if you want to have something more personal to yourself it’s a good idea to look at your recent photography to see what type of subjects you are being drawn to. If any of these have potential to become a project you will have the advantage of starting off with something of personal interest. However, if your own work doesn't reveal any possibilities there is a vast collection of project titles to choose from and it will usually be possible to find something to suit you. This route has its advantages also, as the project you’ll be working on will be new and fresh and offer interesting, untapped photographic opportunities. My current project arose from a personal interest in photographing old and decaying subjects. I was continuously being drawn to photographing derelict buildings, decaying objects or items that portrayed a sense of ‘past their best’ but which still had a lot of character and texture.  They give me a sense of nostalgia and I have discovered that there is great potential to expand what I photograph while staying within the parameters of the project title. A recent trend in my photography is to photograph everyday places and to try to show beauty in the mundane. It offers the potential to become a major project so I am keeping this in mind. I am currently mulling over some potential titles. This brings me to the second point in this step and that is to give your project at least a working title. Naming your project helps you to focus on the direction you want to take and to maintain ongoing focus. STEP 2 Ask yourself, is it achievable? This is an important step as it will largely determine the success of the project. You should ask yourself questions such as: Is it practical? Is it actionable? For example, a topic that involves a lot of travel may not be possible for some people therefore it will not be either practical nor actionable. On the other hand, if you choose a topic that offers potential in any location, you raise the chances of achieving success. Obviously, the question of whether a topic is practical and actionable will vary according to individual circumstances, but it is something worth considering before embarking on a project. In my own case, I am basing my project on locations close to me, locations that I visit regularly and also on finding subjects when I travel to less frequently visited locations. My subjects will manifest themselves in all locations so I believe that my topic is a practical one and also that it is actionable wherever I am. STEP 3 Set limitations Setting limitations on your project is important as it gives you parameters within which to work and helps you to maintain a strict focus. This can avoid getting lost in an unwieldy project and losing interest. Limitations can be set in relation to location, subject and time initially, although you may want to set other limitations also. Location Proximity to where you live will be a consideration if you are not in a position to travel, but you might also choose, for the purpose of your project, to limit yourself to your immediate vicinity. Alternatively, your project might be more wide-ranging and easy to incorporate into any location, therefore location might not be a limiting factor for you. Subject Again, there are different approaches to subject in a project. For some photographers, location is limited to certain areas but the subject can be fluid, whereas for others, the project centres on variations of one subject, for example a project photographing castles. Time A photographer might limit themselves regarding time of day or season. Blue hour photography is a common topic for projects. An additional limitation that you might consider is setting a specific timeframe in which to complete your project. As I mentioned earlier, it is easy to get lost in a project that seems never ending. It begins to lose momentum and you can quickly lose interest. I think it’s important to set an initial timeframe. This can be changed as the project develops but it gives you some parameters within which to work and sets up an expectation of completion, which helps keep you motivated. I also believe that projects should be ‘rounded off’ in some way, but I’ll discuss that later. Below are a few examples to illustrate what I mean:   In the photography book, This Pleasant Land , photographer Ian Sargeant set himself a project of taking a photo every day in the Scottish Highlands, the area in which he lives. In his project entitled ‘Close to Home’ we can see that the subject varied but Sargeant limited himself in relation to location. Nicholas J.R. Whit took a different approach. His project ‘Black Dot’ was to photograph bothies throughout the UK. In this project Whit limited himself regarding the subject but not the location. UK based photographer and YouTuber, Mike Chudley , has described a recent ongoing project in which he photographs the English coastline, where he lives, each morning at sunset. He is flexible regarding his subject matter, loosely limited in relation to location - he will concentrate on coastal areas within reasonable driving distance of his home - but he has set a limitation with regard to timing in that he intends to complete the project during the summer and early autumn while the mornings are bright. Another UK photographer, Craig Roberts , has an ongoing project which he calls Seats . The subject is limited but the location is flexible. Anthony Epes , a photographer from California now living in Spain, had an ongoing project, which he presented in book form, entitled Cities at Dawn . He used different city locations but restricted himself to time of day - all of the photographs were taken in pre-dawn and early morning hours. UK photographer Simon Roberts took an approach during the pandemic lockdown in which all of these limitations were in place. He walked the short distance from his home to the coast every morning for a month and each morning he took a photograph of the sea. He then presented his finished project. * Last year I produced a book project based on images from my local woodland demesne. Only the location was constant, subject varied throughout the project and I worked within a vague timeframe. I see further potential projects in this location by limiting myself to one subject type, e.g. flowers or trees, or confining myself to one season, e.g. shooting only in autumn. Another small project I did was called Cats in the City. I was spending 10 days in a city in Portugal, where there are lots of cats. My project was limited to this one location, concentrated on a single subject and was to be completed within the 10 day timeframe. There was a real sense of completion at the end. Even if you don’t want to put strict limitations on your project, and want to keep it open-ended and flexible in terms of subject and location, it is worth considering placing some time limitation on your project, even if only as a guideline for yourself and an incentive to completion. My current project, ‘Old and Decaying’ was started in November last year. I intend to keep it ongoing until the end of the summer, adding to it as I visit different locations and see potential subjects. The timeframe is flexible but I do have an end date in mind. This is an image I was drawn to that could be used in my 'Old and Decaying' project. STEP 4 Review and Curate Reviewing your images regularly helps with your final selection for presentation. I tend to save my images by month/year then transfer those with potential to a dedicated project folder. It means that I have easy access to these particular images when I refer to them on a blog post, and they are also readily available when it comes to the final step of presenting my completed project. The curation process of selecting and organising images is not something I enjoy doing but I have come to realise it’s importance to the overall success of a project, and by going through the process I will know my images, know what I like and why, and have my best final selection to choose from. STEP 5 Presentation For many of us, our project may just be a private endeavour, something different that we enjoy doing, something that helps us stay motivated and interested in our photography. And there’s nothing wrong with that. However, I believe that we should also present our project to others, at least occasionally. There are a few reasons for this. Number one is that it gives an added layer of interest if we know that someone else may view our work. Number two is that it encourages us to reach the best standard that we can reach, and reason number three is that if we commit to ourselves that we will present our project then we are more likely to go through the steps outlined above and see it through to completion. Presentation rounds off the project, rather than leaving an unfinished project sitting somewhere on our hard drive, and brings a sense of achievement and satisfaction. How and where will you present your project? The first thing to think about in relation to presentation is how do we want our project to be viewed. Will it be viewed online or in print form? Will it be presented in colour, monochrome, or a combination of both? Will you use a uniform style or allow each subject to be the deciding factor in how it is  presented? Next there is the question of where to present your project. It could be presented on social media, on a website, in book form, as a calendar or as a series of prints for your wall. The intended audience may just be family and friends or it may be a wider audience of viewers. You might even be lucky enough to have your photos exhibited in a local gallery. Many photographers in small communities start off by having their work displayed in their local coffee shop or community centre or library. This helps get their name known locally, as was the case for my friend whose work was chosen for inclusion in a local library exhibition and who now sells prints and postcards of her unique photography subjects in several outlets. There are many options for presentation and if you want to go down that route you will find the one that is right for your project. FINAL THOUGHTS As I mentioned earlier, I often find that ideas for new projects reveal themselves naturally as a result of the images I am taking. I am currently putting together a set of images for a new project based on ordinary subjects in ordinary locations and attempting to reveal the beauty therein. I believe this will be a more substantial project. I already have the idea and working title as well as a collection of images. I intend to present this collection in book form as it is a very satisfying feeling to see my completed project in print. Embarking on a photography project has many advantages. It is a great way to stay motivated and interested, it gives you an incentive to get out with your camera often to see what images you can find to add to your project and it helps to keep you enjoying your photography journey in a very tangible way. Why not try a photography project for yourself?

Fairgrounds tend to be mainly associated with summer time, when they are filled with hustle and bustle, screams and laughter, thrills and spills. I almost never photograph fairgrounds in summer, and if I do, it’s in early morning when the funfair is closed. But winter is different. While some fairgrounds may open for the winter holiday season, many of them lie empty and silent, a complete contrast to how funfairs are meant to be. But empty fairgrounds make ideal subjects for photography. They are full of shapes, colours, patterns and different structures. By their very nature they aim to be eye catching, so even when abandoned for the season they retain their attraction, adding to their potential as photography subjects. On two recent winter mornings I strolled around an empty fairground on the lookout for potential images. I embraced the vibrant colours of the different parts of the fairground but I also tried to embrace the weather conditions which were dull and bleak, and place the fairground in that context. The use of black and white was effective to create this effect, as was shooting into the early morning winter sun on day two, creating silhouettes reaching up to the winter sky. Although my photography sessions were somewhat rushed during these times, I still enjoyed the outings. I felt that, in a way, I was capturing a winter fairground narrative—a tale of silence and emptiness now, yet one that also held the potential for fun and laughter at another time. Here are some of the images I captured. I think monochrome works well for this image. I like the way the sun catches the seats of the big wheel although I could have done more with the editing. There is something about this image that appeals to me. I think it's the combination of different shapes and the colour palette of various shades of blue/grey. The shapes and colours work well together, in my opinion. Final Thoughts Although an empty fairground does have great potential for photography, I found it somewhat challenging to discover good compositions. I tried to be creative rather than just take snapshots. As well as some establishing shots I took some close-up, detailed images and some abstract ones. However, I felt somewhat outside of my comfort zone and was not sure that any of them really succeeded. Maybe there was too much choice and I wasn’t able to isolate a subject, but I experimented with different ideas and ended up with a few images I was pleased with. My key takeaway is that it's always beneficial to challenge yourself in photography, to step outside your comfort zone and try something new, even if it proves difficult.

Mid-winter light can be many things. It can be bright and beautiful, lighting up the sky at sunrise or sunset with an array of vibrant colours. It can be soft and diffused or even dull and bleak. But Mid-Winter light is sometimes none of these things. It is often just there, low in the sky and subdued, as if it is waiting for something to occur. It is at these times that we can embrace the stillness, accept the light as it is, and be content to photograph the quiet landscape. Here are some images I created during mid-winter this year. The last four images were taken with my phone camera - it was the camera I had with me. Although winter doesn't occur at the same time for everyone, I hope you have the chance to appreciate the beauty of winter light whenever and wherever you experience it.

Winter is probably the season that gives us the most variety in weather conditions here in Ireland. It is often said that we could experience four seasons in one day! A winter's day could be wet and windy, or just wet all day long. On the other hand, it could be cold, crisp and dry, with some beautiful winter sun. Winter could bring frosty mornings where the landscape is transformed into a winter wonderland and even tiny details take on a magical look. Sometimes , we awaken on winter mornings to see the landscape shrouded in mist, where the day takes on an eerie feeling as our familiar landmarks disappear before our eyes. And then there is that most beautiful of winter mornings, when the landscape has been transformed by a blanket of snow. Each of these weather conditions has it's own beauty and creates its own ambiance, and each one has something to offer the photographer. Below are some suggestions to help you explore the creative possibilities of winter photography. Embrace the weather. Winter is not generally considered to be the best season for photography and it can be hard to motivate yourself to get out with a camera on a cold, wet winter's day. But not all winter's days are like this. There are some bright frosty mornings that promise amazing sunrises and they call us to bring along a camera and see what we can capture. Winter morning sun can throw a new perspective on a familiar everyday scene, and experimenting with exposure can reveal lots of possibilities. Fog can bring challenges for photography in that compositions are difficult to find in foggy scenes, but embracing the challenges will improve our photography skills and also encourage us to take a different approach, such as aiming to capture mood and respond to emotion. Irish days of sunshine and showers often produce dramatic skies, thunder clouds and rainbows, in between sun bursts. Embracing the weather conditions, whatever they are, will turn perceived difficulties into photographic opportunities. Capture emotion, mood and atmosphere. Winter often brings a range of emotions with it. There can be the loneliness caused by longer, darker evenings, a dip in energy as a result of reduced hours of daylight, or even nostalgia for times past. When doing winter photography it helps to tune in to the emotions that are evoked by winter scenes and the mood created. We can capture the winter mood and atmosphere with images of bare trees, foggy scenes, abandoned, lonely buildings, wet roads, a lone light in an otherwise dark house. This image of an abandoned picnic table conveys a lonely feeling, a feeling of loss of the vitality of summer when it would have been buzzing with activity. Search for beauty in the tiny winter world. The tiny world offers numerous opportunities for photography, ranging from frost covered leaves to tiny droplets suspended on a web or clinging to a leaf. Ice patterns, winter berries and snowflakes all show the beauty of the miniature world that we often overlook. Photograph tree characters. When the trees have shed their leaves in winter we are given a great opportunity to photograph their structure. The branches are more defined and allow us to see them at their most basic. Often they are standing tall holding bare branches to the sky, at other times we will see trees gnarled together weaving wonderful tree patterns. They are all shapes and sizes, growing tall and strong or small and spindly. We can photograph the size, shape, form, character and inter-dependence of trees in their native habitat and allow them to create magical images. Quality of Winter Light. In winter, the sun rises later in the morning and sets earlier in the evening, meaning that we don't have to get up so early to capture those beautiful sunrises or spend all evening waiting for sunset. Winter sun is at a lower angle than summer sun so it is more diffused and creates softer, warmer light and extended golden hours. Unlike the harsh midday sun that we see in summer, you could almost photograph all day long in winter as the light never gets too harsh. The low angle light creates long shadows and is great for backlighting. This effect can create dramatic silhouettes by underexposing the image while shooting into the sun, an effect I like to play with. Conclusion Rather than being a 'bad' season for photography, winter is in fact one of the seasons which offers photographers the best opportunities. Why not get outside with your camera and take full advantage of the opportunities winter has to offer - warmer light, deeper shadows, variable weather and beautiful details. It might just become your favourite photography season.

This series of posts, Photos from My Photography Walk , is a series in which I hope to showcase some of my images taken during a morning walk. The photographs will not be part of a theme, just images of random subjects that happened to catch my eye on that morning, with a short commentary on what drew me to them. The series will challenge me to present photos that I might not normally show, but they are part of my photography journey and an important aspect of my progress. On each of my regular photography walks I take one of several familiar routes close to my home. I start in my immediate neighbourhood and proceed either to one of the local parks, to a small woodland area or along a river bank. My photographs range from 'ordinary' subjects, to woodland images, to anything interesting or unusual that crosses my path. I love to capture the way light falls on a subject, interesting weather conditions such as fog or mist, raindrops after a shower or a splash of colour contrast. Generally, I go out without any preconceived ideas and am happy to see what the morning brings. I want to showcase my location in all its ordinariness. Here are 12 Photos from My Photography Walk Since it was a wet, dark morning, in my first images of the day I was drawn to vehicles coming towards me with their lights shining on the wet roads. I liked the balance and contrast in this image - the red and white of the pillar and the stop sign diagonally opposite each other, the contrasting colours of yellow and black on the right and the white car providing interest in the background. Many dark coloured cars came past but I waited for white as I think white stands out more in this image. I tend to photograph leading lines a lot and on this occasion, in the absence of good light, I focused on the wet surface and the scattering of leaves that lead the eye further into the image to land on the figure coming towards us. As the morning brightened I came upon this random scene. I just like the placement of the objects and the flashes of light in the background add a little interest. to the scene. I waited for a white car and a red car to drive into the frame to add balance. I couldn't get the scene into the right perspective and not cut through the cars with the posts. At least I can see the mistake. This is a shop in the courtyard area of the local park. Since there was no light shining on it I chose a tight crop and I edited to give a vintage look. I like the lines, shapes and contrasting colours here. Although the image is rather dull, I do like the reflection of the outer landscape that we see through the window. For this image, I moved around until I got all the bollards standing alone with no overlap. By taking random pictures on my photography walks I am able to work on composition techniques and learn how to spot and avoid simple mistakes. FINAL THOUGHTS By putting together this random set of images, and adding notes on my thought process as I was taking them, I will begin to become more aware of why I take certain images and what I can learn from them. It gives me greater motivation to take my camera with me as often as possible and improve my shutter count, my skills and my enjoyment of photography.

How Fog Changes Everything for Photographers When I awaken to a foggy morning I am immediately motivated to get out with my camera. Fog changes the world around us. It softens harsh light and reduces contrast, which can make ordinary scenes look magical. Fog hides details and creates a unique atmosphere that invites photographers to slow down and embrace the changed world around them. Photographing in fog is less about capturing every detail and more about conveying atmosphere, mood and feeling. The challenge is learning how to adjust your approach to make the most of this short-lived weather. Composition Techniques That Help to Highlight Fog’s Mood Fog changes how you compose images. Here are some ideas to make the most of it: Look for strong shapes and silhouettes : Fog simplifies the scene, so bold shapes, such as trees, buildings and structures, or people, will stand out. Use leading lines that disappear into the mist : Roads, fences, or rivers that fade away create depth and invite viewers into the scene. Capture layers of fog : Look for hills, trees, or objects at different distances. The fog creates natural layers that add dimension. Focus on minimalism : Fog removes distractions. Embrace empty space and simple compositions to create a peaceful mood. Include a single subject : A lone figure or object in fog can tell a powerful story of solitude or mystery. Below are some examples of these techniques: My Foggy Photography Shoot I was visiting family in early November and was delighted to awaken to a foggy morning as there was a picturesque lake close by. I don't encounter these conditions often so I hoped to embrace the limited visibility and make some unique images. I focused on a single subject, a small pier, visible through the fog. The background shrouded in fog gave the image an eerie, haunted look. As I moved on, I took a moment to stop to photograph the road as a leading line directing the viewer's eye to the old cottage in the fog. I think it works as a composition as it leads the viewer's eye along the road to settle on the cottage and overhanging tree. Later, I returned to the ruins of an old abbey that I have photographed in different conditions. Unfortunately, by this time the fog was beginning to dissipate although there was still some atmosphere. My photography experience on this morning taught me to slow down, observe carefully, and let the fog guide my creative choices. Final Thoughts: Embracing the Atmosphere Through Your Images Fog invites photographers to capture more than just a scene; it asks us to capture a mood. Instead of sharpness we are encouraged to focus on a lack of clarity. We embrace mystery and atmosphere. The fog creates a sense of eerie silence, of solitude, of change happening around us. The compositions above are by no means great compositions. They are an attempt to make the most of the fleeting conditions I found on that morning. A foggy morning gives us an opportunity to experiment with our photography in an attempt to find even one decent image. As I drove around the lake the conditions continually changed and in some places there was hardly any fog. That's just the way it was and my goal on that morning was not to find perfect compositions but rather to capture a feeling, a mood, an atmosphere, and to enjoy foggy morning photography while it lasted.