I enjoy discovering new places for photography. Whether it's a woodland, coastal landscape, or country road, all offer fresh creative possibilities. At the beginning of the year, the wet and windy weather led me to explore nearby parks and estates for my photography outings, frequently discovering new local areas. Ireland is home to many large estates, which are historically believed to have covered more than 5% of the country. Some remain privately owned, while others are now public parks following state-led restoration and conservation. A number of these parks are just a short drive away from where I live, and Marlay Park, House and Demesne are within walking distance. I have outlined an ongoing project here. Another local estate that I recently visited for photography is St. Enda’s Park in Rathfarnham, Co. Dublin, which is a 50-acre parkland and home to an 18th century house. The house has an interesting and varied history. The residence housed several notable individuals, including two men involved in the suppression of Republicanism in Ireland, followed by a tenant responsible for policing during the 1916 Rising. In 1910, it became home to its most distinguished residents, Padraig Pearse, leader of the 1916 Rising, and his brother William. Pearse opened an Irish language school in the house in 1910. Following the execution of the Pearse brothers in 1916 the house was occupied by the British army. In 1968 the house came into state ownership, and it is now the home of the Pearse Museum which celebrates the life of Padraig Pearse and his brother William. St. Enda’s Park is a designated National Historic Park. There are many eighteenth and nineteenth century follies to be found on these attractive grounds, where a wild river valley and forested areas, as well as ancient trees and an abundance of varied wildlife, provide the backdrop to the historic mansion. Through this collection of images I attempt to capture the historical essence of St. Enda's Park.

I often take my camera with me on a walk or short outing. My purpose is two-fold. Firstly, I like to take every opportunity to take photographs. Secondly, I aim to constantly review my images and discover how to improve my photography. I recently took a Sunday morning stroll along the promenade of a local coastal town. Sundays have a different vibe as they are more leisure focused, and my walk took in scenes from all walks of life. Families were out together enjoying some spring sunshine on the beach, a group of young people were enjoying a picnic, swimmers braved the cold sea water, while others took to the sea in sailing boats. Many people just strolled along the promenade walking their dog or chatting to each other. Children played on the sand or paddled in the water, and the ice cream parlours had long queues as people waited to enjoy an ice cream by the sea. The welcome burst of spring sunshine enticed young and not so young to visit the coast and make the most of the day. When a location is busy it can be difficult to pick out good compositions. Most of the scenes, while enjoyable for the people involved, offered nothing exceptional for photography. I walked to the old pier and harbour where a few boats were heading out for a leisure sail. Here are a few images from the day. I was drawn to the colour here, as my starting photo. The light was very flat so this image turned out to be nothing special, I liked the similarities between these two men walking in front of me; the black clothes, white socks and trainers and the way they seemed to be walking in step. The swan heading in the opposite direction to the boats adds a bit of interest to the photograph. I didn't realise I had cut off the top of the railings. Rookie mistake! My favourite image of the morning. I like the way the couple seem to be interacting, which creates a sense of story. While I often like to isolate subjects and avoid a cluttered image, in this shot I think the additional objects serve as supporting subjects, which helps to create the story. While I enjoyed my morning of photography the images were disappointing, but that's all part of the photography process. It did give me the opportunity to identify my mistakes and see how I can improve.

When I think of meditation or mindfulness a few words come to mind: serenity, stillness, listening, being present, using our senses, focus, breath, calm, clarity, awareness, grounded, reflection When I am out with my camera I can experience many of the attributes of meditation and mindfulness. I am present in the moment, calm, listening and observing what is around me, engaging with my senses. My mind is clear and focused, my breathing is relaxed. I am aware of my surroundings and often experience a sense of gratitude, especially when photographing in nature. This sense of being mindful to all that is around me and all I am doing comes in a special way when I'm doing photography, and the experience is enhanced when I do black and white photography. Meditation takes me away from the reality of everyday life, even for a short while. I can let go of stress and worry and just be . In a way, black and white photography is the perfect complement to this way of being. Since we normally see the world in colour, black and white takes us away from the reality into a version of the world that we don't see. When I set my camera to monochrome, I strip away the colour and I am left with shape, pattern, light and shadows. Because colour is so strong and omni-present, it fills the frame all the time. With black and white I encounter the bare bones of an image. I start looking at the structure of my subject, I engage with contrast; with bright light and deep shadow. I seek simplicity because, in my opinion, clutter rarely works in black and white. In black and white, I am drawn by a feeling rather than by visual reality. I may not be drawn to the subject as a colour subject, but in black and white it's an emotional choice. In this scene I didn't just see a seat on a pavement of weeds, I saw light, shadow, shape, line and texture. CONCLUSION Black and white photography serves as a form of meditation because by stripping away colour we are left to concentrate on form, shape, pattern and texture. When the distraction of colour is removed we slow down, become more deliberate with our choices, focus more closely on light, shadow and composition. These choices may be emotional rather than rational, allowing us to connect more deeply with our subject. Black and white photography draws us into a more mindful state; observing the moment, being present, seeing without judgement. It allows us to find 'poetry in the everyday'. I suggest that you take your camera, set it to monochrome. and let black and white photography offer a fresh way of seeing and a new perspective, capturing the essence of a subject with emotional depth.

BACKGROUND I live close to a large suburban parkland which is home to a beautifully restored 18th century house. The house, which was originally a 17th century house called 'The Grange', was purchased in 1764 by David La Touche, a French Huguenot and first governor of the then newly established Bank of Ireland. La Touche refurbished and extended the house and renamed it Marlay House after his wife Elizabeth Marlay. After changing hands numerous times, the house and demesne was finally donated to Dublin County Council in 1972 and designated a People's Park. Marlay house is a central feature of the 300 acre recreational park which is now one of the most important outdoor music venues in Ireland, with well known Irish and international artists appearing here every summer. Due to its proximity to my home, Marlay Park has provided me with countless photographic opportunities over recent years. It's my favourite spot for woodland photography, offering a wealth of subjects for nature and macro shots. Additionally, its weekend market, numerous cultural events, and popularity among walkers and casual gatherings present great opportunities for people-watching and candid photography. THE PROJECT Last year I started a project specifically focusing on Marlay house, which has become an on-going project providing interest, inspiration and focus for my photography. Concentrating on a single subject turns it into a straightforward project, enabling me to practice my photography skills and experiment with various camera settings and lenses, while keeping a clear focus and having a final goal in mind. Being close to my home allows me to work on the project at times that suit me best and when the lighting and weather conditions are ideal. Initially, I set myself some parameters: I would complete the project within a year I would incorporate photos from each season, captured at various times of day and under different lighting conditions I would experiment with a range of focal lengths and shoot from various angles and perspectives To conclude, I would print some of my photos, either as wall prints or in a photo book, and showcase a selection as a slideshow on my website. THE METHODOLOGY Every time I visited the location, I evaluated the lighting conditions, considered the lenses I had, and determined if there were chances to capture new and unique images of my subject. On returning home, I edited the images I considered worth keeping and stored them in a specific 'Marlay House Project' folder. I now possess a substantial collection of images that I will eventually evaluate for their printing potential. Here is a brief collection of the images I have captured to date. FINAL THOUGHTS I hope that by outlining the steps in this simple project, I've inspired you to start one of your own. Beginning with a project centred on an easily accessible topic allows you to use different photography techniques and keeps things engaging and diverse. Why not consider undertaking a project like this yourself? You might like to read my previous post, Key Considerations for Launching a Photography Project

What’s the purpose of a photography project? A photography project is frequently recommended as a means to enhance our creativity, spark our interest, offer motivation, and give our photography a clear direction. Engaging in a project can push us beyond our comfort zone, thus improving our skills, and achieving a tangible result, like a photo book or exhibition, can give us a sense of fulfillment. A project can help move you out of your comfort zone and try new techniques. What are the key aspects of a photography project? ·      Purpose: Will the project centre on a theme, a subject, a story or a technique? What do you hope to achieve through doing the project? ·      Duration: Will it be a short, snappy project, e.g. shooting the colour yellow/red/blue; will it be a long-term project or a project of fixed duration? ·      Outcome: How will the project be presented? Photo book? Slideshow? Exhibition, either physical or online? Online gallery? Looking for examples of a certain colour can be an interesting short project and can look effective when presented. Considerations Your choice of project will generally be based on the key aspects outlined above. Purpose When deciding on the purpose of your project you will consider your objectives in doing the project and decide on the best way to realise those objectives. Will you photograph a subject in one location (e.g. a tree or woodland) over time, in varying conditions and using different focal lengths, or will you take a theme (e.g. abandoned buildings) and photograph various examples from many different locations. You might want to do a documentary-style project, so your approach might be to make a collection of images that tell a story, or you might prefer to focus on one aspect in a range of different subjects (e.g. light, colour or shape) and present your observations. Ultimately, your purpose for the project and your goals will determine the decisions you make. I included this image in a project on photographs that tell a story. Although there are no people present, to me the three chairs tell the story of three people meeting for a cup of coffee, the different colours representing their three different personalities. I can imagine them chatting together at the table. Duration While the timeline can change, it's helpful to set an initial duration. The length will depend on factors like subject accessibility, your availability, and your project's goal. For example, one recent project I undertook was to photograph a period house close to my home from a range of viewpoints, with different focal lengths, in various weather conditions and through all seasons. This will naturally take at least a year to complete. A project photographing examples of one colour will have a shorter duration, possibly just a day or two, while undertaking a project that involves travel from your home might be more complex and require a longer duration, as time and opportunity allows. Outcome How will you present your project to make your objectives clear to the audience? Will you compile your work in a photobook with an appropriate title, display it in an online gallery accompanied by relevant captions, or exhibit your project through a selection of prints? The final presentation doesn't need to be complicated. For my ongoing project, I print and paste photos into a project book as I take them. This affordable method keeps me motivated and results in a finished product to share with family and friends. I recently started a 'small town' project. It will include features that portray the character of a selection of small towns in Ireland. I have curated and printed a selection of images taken so far and will add more as the project develops. As this involves some travel it will continue to be ongoing for at least several months. Final Thoughts If you are considering a photography project I hope that these suggestions will be useful in helping you to get started and will aid you in completing a successful project.

Although I enjoy photography at all times of day, and I try to make the most of all weather conditions, I still get the most enjoyment from photography when I have some good light producing light and shadow effects. This kind of light isn't limited to golden hour or blue hour, although at other times, particularly when the light is harsh, we might need to work with the available light and adapt it to meet our photographic needs. During this photo session, I had some free time in the late morning, so I took my camera and headed out. Despite the sun being intermittent, it offered a great opportunity to observe the effects of light and shadow when it did appear. Here are some images from the morning. The images might not be perfect, but I had an enjoyable morning chasing light and shadow, and that's what truly matters to me!

It has been a winter of almost incessant rain, grey skies, flat light and dull, dreary conditions. It’s no surprise that these conditions have not been conducive to getting out with a (non weather sealed) camera. On this morning it seemed as though it was going to be more of the same. Seeing the overcast sky and sensing imminent rain showers, I went for a quick morning walk in the woodland without my camera. Unexpectedly, the clouds gave way to some sunshine so I decided to make the most of the conditions I was given by taking out my phone camera to see what pictures I could take. Unfortunately, the early morning winter light confused my phone camera and the dynamic range was more than it could handle at times. Nevertheless, I did enjoy my morning and I have a few images that will serve as memories of a brief respite from the rain this winter! And my takeaway from the morning is – always make the most of a photography opportunity.

Finding the motivation to go out with your camera can be challenging. Poor weather, a busy schedule, the difficulty of leaving the house, or uncertainty about what to photograph are common obstacles. However, we all know that when we do make the effort to venture out with our camera, we rarely regret it. So, how can you increase your motivation and get out more often to do photography? A recent video by UK-based photographer Andrew Banner, Nothing To Photograph? Just ONE WORD Will Change That, offers practical suggestions to help motivate us to head out with our cameras and highlights the significant benefits of doing so. Andrew Banner bases his advice on a challenge he undertook to photograph using the word ‘bleak’ as the theme of his work. He discovered that, even though his image wasn’t short-listed in the challenge, he still reaped the benefits of getting out taking pictures. For Andrew, the essence of the challenge was to experience being challenged, to have a purpose for his photography session, to think creatively, and, at the very least, to have a reason to go out and take photos. In the video, Andrew mentions one of the most frequent challenges photographers face: deciding what to photograph. This is something that resonates with me. I am often faced with this obstacle. and I end up going to a location and taking photos of anything that catches my eye. But without some focus for my photography the results can often be disappointing. Andrew Banner offers a solution to this dilemma. A word. He suggests that we just pick a word – even something random from a book – and use that word as our photography theme. ‘Direction’ is the word he chooses and he gives a range of options for using this one word in our photography – leading lines, street signs, roads running off into the distance, people walking in one direction, traffic, perspective – the list is endless. I took the word 'direction' and looked through some of my recent images for examples of its use. I could have shown many more examples so it is a word that has great potential for image making wherever you are. Each of the images above represents an interpretation of the word 'direction'. Andrew Banner concludes his video by saying, Having even the slimmest of concepts of what you’re looking for will help you determine where you go and what you might find when you get there. Most of the time our own thoughts are the biggest limitations. You can check out Andrew Banner's video here . I hope it gives you some motivation for those times when you find it difficult to get out with your camera, especially when you don’t know what to photograph.

I have come to believe that a way to help improve my photography is to ask myself the question, why did I take this photograph? Sometimes, the answer to this question is easy to see. It might be the way the light is falling on the subject... It might be that the subject itself is interesting... It might be weather conditions that we don't see often... Or it might be that the scene tells a story... Sometimes, I am simply drawn to the aesthetics of the scene or subject and want to take a photograph... But there are occasions when the answer to the question is not so straight forward. There may not be an obvious reason why I took the photograph and it is in trying to understand why I did that I learn something about myself as a photographer. Why did I take this photograph? I noticed these bins on the pavement near my home as I was walking my dog. I was struck by the three red bins, which are unusual in my neighbourhood, but I didn't take the picture initially. The next morning I saw that they were still there, and still drawing my attention, so I took the photo. I wouldn't normally photograph bins but it was the colour, the way they were placed together between two red lights, and the fact that there were three of them, adhering to the 'rule of thirds', that drew my attention, and I thought, why not ? In this image the number three also features. I also like the matching orange jackets, the different levels and the light and shadow adding depth to the image. I think it also tells a story - preparations for summer in a tourist town. This is an image taken with my phone camera on a morning walk. I liked the way the light was casting a bright spot on the wall in contrast to the darker areas. I decided to wait for a figure to walk into the light. It might be a cliché photo to most people but I get great pleasure from managing to capture this kind of image. One of the things I like about wandering along streets in cities and towns is that you just don't know what people will do. This man was walking along, doing nothing in particular, when he suddenly stopped and looked up, By doing this I thought he added interest and intrigue to the scene so I wanted to capture the image, deliberately not including what it was he had seen. In this image, although the men are overlapping each other as they walk, their shadows are separate. I think the addition of the shadows adds an extra dimension to the photo. I like the way the light was hitting the building and how the contrasting light and shadow make the geometrical shapes stand out. These are a few examples of ways to start understanding your motivations for taking different photographs, which can potentially enhance your photography skills. Ask yourself often, Why did I take this photograph?

Photography is probably more popular today than ever before. It is said that approximately 5 billion photos are taken worldwide every day, and 90% of these are taken with smartphones. For most people, these photos will be mainly snapshots of family and friends, places they visit and photos of special occasions. Of those that are more traditional photography images, many will be of beautiful vistas in epic locations, often taken during golden hour. Most ‘casual’ photographers are not too interested in learning about composition techniques or exposure and are happy to have a ready camera that makes all these decisions for them and produces a good image. For the small percentage of those who take photographs with a dedicated camera, or those who use smartphones for serious photography, and for every photographer who strives to improve their craft, aspects of photography such as having a properly exposed image, well framed and with a pleasing composition, will be important. These photographers will keep learning, practicing and continually trying to have technically perfect images. However, there is a another layer to creating great photography and it can be more difficult to achieve. That is the ability to communicate something to the viewer through your image, and evoke an emotional response. This is a skill that the very best photographers possess, and it is a degree of perfection that most of us can only strive for. Yet this is what makes photography unique, meaningful and exciting; this feeling you get when you have an emotional reaction to something and you want to take the photo to communicate this reaction, this feeling, to another. So, we could say that while it is very easy to take photographs today, and the number of people who do so is testament to that, it is also very difficult to take a good, not to mention a great, photograph; a photograph that has depth and meaning and that expresses your own unique vision. Creating images with depth and meaning is a skill that can’t be taught. It comes from the heart of each photographer. It involves an emotional connection to what we see, and it is something that the latest camera or the sharpest lens can’t give us. What helps us to create more meaningful photographs? My belief is that one of the ways in which we can improve our ability to make more meaningful images is by studying the work of the best photographers. These men and women achieved their greatness through combining mastery of their camera gear and their technical skill with a unique artistic vision. They have an ability to see beyond the ordinary, interpret what they see and capture their subject in a way that resonates with their viewers. In viewing their images, we may feel what they felt, we may feel something else, but we will have some reaction. The people who created these images have spent their lives dedicated to their craft, being observers of life, patiently waiting for unique moments and special subjects which bring depth and meaning to their images. Another technique that may help us to add depth and meaning to our images is to try to describe for ourselves what we were thinking or feeling when we made the image. Ask yourself, ‘What was it that prompted me to make that picture? As you do this more often you will begin to see a pattern emerging in your thought process. You will become more aware of what it is that moves you or excites you. You will begin to better understand yourself as a photographer. The sets of images below illustrate what I mean. They are unique images that are meaningful to me, and I am constantly working on achieving the good! I grew up in a small town in the Irish countryside. Although I didn’t live on a farm, we were surrounded by farmland. Farm buildings, farm machinery and farm animals were common features of the area, and the sights, sounds and smells of rural life are very familiar to me. Although I now live in the city, I constantly travel to the countryside to visit family. On this occasion I was travelling along a country road when I saw the sun shining on a snow-topped mountain. I stopped the car to admire the view and saw that I was being watched! I took the photo… Then another... The farm buildings and equipment, as well as the smells and sounds around me, brought a sense of nostalgia and urged me to take some photos to honour the feeling. Although they are not great photos, they do have a special meaning for me as they were created in response to what I was thinking and feeling at the time. *** The next set of images was taken in my local woodland. I had been trying to get a good image of this tree. I liked the way it stood in the woodland, strong and sturdy beside its 'neighbour'. I captured a few images in different seasons, but I never managed to create an image that I liked. This year the tree became a victim of the recent bad winter storm. It was damaged in the storm and became dangerous, so it had to be felled. My latest images were taken with a sense of sadness that this beautiful tree, which has stood in the woodland for hundreds of years, is soon to be no more. BEFORE AFTER You might like to check out these posts on a similar theme What is Expressive Photography and How Can it Change Your Photography Practice? How Expressive Photography Can Unlock Your Creativity in Any Situation

This question was posed recently on a YouTube video. I thought it was an interesting one to consider. As a question, it is linked to the answer to, Why did you start taking photographs in the first place?   or even, How would you feel if you couldn’t take photographs for a month? The question is asking about the essence of photography; what it means to each of us and how we would be if it wasn’t in our lives. My answer to the question, Would you still take photographs if no-one saw them? Is a resounding ‘Yes’. For me, photography is about so much more than the finished image. It is about how I feel when I go out with my camera to take photographs. It is about the feeling I get when I find a subject or scene that I like, work on getting the best composition, frame the subject in the best light and consider the best perspective from which to take the picture, all before I finally press the shutter button. During this time, I am fully engrossed in what I am doing, fully present in the moment and totally focused on capturing the best image that I can capture. I am not thinking of anything else. My daily life, with all its concerns and worries, is on hold for those few moments; I am not concerned about anything outside of this time. I am attentive and engaged in the photographic process. What would happen if I wasn’t able to create any photographs for a month, or two months? I believe I would be a lesser person, not because no-one would see my images, but because I would be less observant, less attentive to the world around me, less curious. When I am out taking photographs I am alive to the world; always watching, alert to changes in light, to perspective, and to the subtle nuances of my surroundings. Without photography, I would create less and consume more, probably from screens. Take away my creative outlet and my inner life slowly diminishes too. I think this answers my question, because having an audience is not the primary reason I do photography. I do not do photography for likes or praise or even just to show others. I do photography to maintain my creative wellbeing because creativity requires an outlet, and my creative outlet is photography. When I am out walking, even just walking the dog, I am always on the alert for potential images. They may be random subjects taken on my phone but they appeal to me in some way even though they are not worth sharing. It is the fulfilment of my creative desires that gives me most satisfaction. Would You Still Take Photographs if Nobody Saw Them?

Photo walks are often a good opportunity to capture some images but they can also prove disappointing when we come home with nothing special. I used to believe that just going out with my camera should result in decent images every time. All I needed was to have my camera at the ready and the photographic opportunities would present themselves. But that is not the case, especially when my photo walk takes me to places with which I am very familiar and it can be difficult to know what to shoot. One suggestion that often helps is to challenge myself to take a set number of photographs – five or ten depending on the amount of time I have – that meet certain criteria. Doing a challenge such as this can help me be more intentional about the images I take. I can place parameters on myself such as ensuring that: ·      My images have an interesting subject ·      I pay attention to composition, framing, exposure and light. ·      I take photographs in different places rather than many in the same place ·      My images are a personal response to what I see. If I adhere to these ground rules for myself I will hopefully return with images that are intentional and pleasing as photographs, rather than simple snapshots. 1. This was the first of my five images on this morning walk. I took this on my way to my local park. I have passed this location many times but didn't believe it warranted stopping to take a shot. I experimented with the effect of motion in the background with a sharp foreground, 2. Passing the river I decided to try some slow shutter photography. I experimented with a variety of shutter speeds hand held. 3a. The light was what attracted me here. It was a rare burst of light on this morning that had been dull and grey so I was fortunate to capture a break in the clouds. 3b. This is a close up near to where I took the previous image. I might be stretching my own parameters a bit by including two images from the same place so I'm naming it number 3b. 4. I came to a part of the woodland that I have photographed many times only to find that one of my favourite trees had been cut down. Sadly, I took some images before all evidence of its existence has been removed. The branches resemble a dinosaur! I took a few black and white images as an experiment so I'm including one of them. Taking the Five Photo Challenge in a familiar location encourages me to accept my surroundings and to become more observant in an attempt to seek out the hidden or less obvious photo opportunities that are all around me. It encourages me to look more deeply rather than assume that there is nothing left to photograph. Doing this challenge reminds me that no matter where I am, and regardless of how well I might know the location, there is always something new to photograph and many opportunities to experiment with different styles and approaches.. Will You Take the Five Photo Challenge?