I have recently read a lot of views about the difference between taking and making a photograph. Opinions are divided, even among professional photographers, many of whom insist they ‘take’ a photograph despite the fact that a lot of work goes into achieving the final result. Personally, when I look at the work of many talented photographers, I believe that their images are created, or made, rather than just taken. The work of Simon Booth is one case in point. In a recent video he shows the process involved in creating a beautiful image of a simple flower, and I believe that this process is more than just 'taking a photograph.' I have no doubt that this argument will continually surface from time to time. There is also considerable debate about what actually constitutes a photograph and how it differs from a snapshot. If we go out with the intention of taking photographs, and pay attention to composition, subject, light and focal length, this does differentiate out images from shots captured randomly just because we happen to see something we like. Yet it is still hard to know when a shot becomes a photograph rather than a snapshot. One thing that helps me see my shots as photographs is when I try to tell a story through my images. My recent visit to an abandoned folk park is an example of this. The former tourist attraction was a huge draw to the South East of Ireland in the past with features such as a working windmill, herbal walk and an animal corner with some rare animal breeds. This place was once a hive of activity, showcasing farming methods over 200 years and giving a taste of the history, geology and culture of the surrounding area. Among the other attractions was a restored farmhouse with authentic open fire, an abundance of flora and fauna walks, an original schoolhouse, a tiny four-pew church and a genealogy centre. Also on the site are the remains of a forge and a thatched cottage. Due to a number of factors the exhibition has been closed for several years and after suffering some fire damage following a blaze in 2019 it has fallen into disrepair. The former exhibition site is open to the public for walks and there are allotments in use by local residents. My walk took me through the nature trails, along gurgling streams, past the remains of thatched buildings and up to the ruined windmill. All of my photos tell the story of this place - the perennial beauty of nature, tales of bygone days and a sense of nostalgia for something that could have remained as a reminder of our past but due to a combination of unfortunate events, financial and otherwise, is likely to remain permanently closed. In my view, storytelling through photography gives a purpose to our images and changes them from being simple snapshots to being intentional photographs. When storytelling through photography, there will be a desire to choose relevant subjects, to compose well and to show the subjects to their best advantage. On this occasion I was hampered by poor light but since I was just visiting the area for a short time I made the best of conditions. Although it is certainly possible to tell a story with just one image, I like to create a story through a set of related images, even if these images may vary greatly in their look. There is an added interest and purpose to a storytelling photography shoot which I enjoy. *** YOU MIGHT ALSO LIKE This video is from well-known photographer Mads Peter Iversen in which he asks the question Do You Take or Make a Photograph? and offers some interesting views on the topic. https://www.wildwillowways.com/post/do-you-take-a-photograph-or-make-a-photograph

It is a question that is regularly discussed in photography circles. It seems to be the most natural thing to say that we take a photograph, but is it the most accurate? Recently two professional YouTube photographers had a discussion on their separate channels on this very question. And they disagreed on their conclusions. James Popsys suggests that using the term ‘make a photograph’ rather than ‘take a photograph’ is a sign of insecurity on the part of photographers, who may be worried that people don’t credit their skill enough. In his view, these photographers feel that people assume that if they produce a good photograph they must have an excellent camera, and that no credit is given to all the effort that goes into producing a compelling image. By using the term ‘make’ these photographers are encouraging others to acknowledge the considerable effort involved in creating an image – planning, making decisions on subject, perspective, composition, camera settings, focal length, exposure and post-processing. It also acknowledges the amount of time involved in producing an image – possibly waiting for long periods or returning to a location multiple times to shoot in optimal light. For Popsys it's an argument that doesn't warrant the time spent on it. He is happy (and confident enough!) to simply say that he takes a photograph, and leave it at that. There were several comments in response to this video, giving a wide variety of views on the topic. As always in these types of photography debates, there is a lot of difference of opinion. In a separate video, photographer Thomas Heaton discusses the same question. His take on the argument is that it is all about being intentional with your photography, it is about really thinking about all the different elements of your composition. In Heaton’s view, spending time making decisions so that you get the composition you are looking for does suggest that you are ‘making’ an image rather than just ‘taking’ one. In the final analysis I would suggest that, while I wouldn’t argue the toss with anyone over which word to use, ‘make’ does sit best with me. I think using the term ‘make a photograph’ gives credit to the creative brain of the professional photographer; it acknowledges creativity and the role that this plays in determining the decisions involved in creating a captivating photograph. In that sense the photographer does more than take the photograph – he or she does really create or ‘make’ the photograph. In my own case, as an amateur, I do try to be intentional with my photography, I try to spend time making decisions to get a good composition, I strive to make my photographs rather than simply take them. I have waited a long time to get this close-up of the heron who regularly visits my garden. On this occasion I spent almost an hour trying to make a somewhat decent image (including waiting for the little bird to perch on the wire!). On other occasions I felt that I did take a photograph of the heron but none did justice to my subject. Here I did try to make a final image by waiting, and watching and trying different angles. I came away with at least six images that I felt were worth bringing into Lightroom. With this image, again I worked for a long time to get an image I was pleased with. I eventually concluded that I will need to return to this location with a different lens! I have numerous variations of the image which, to me, serves to point to the fact that effort does go into making an image, even if it does not go as planned. On the occasion below, I was travelling home when I noticed the sun going down over this lake. I could have got out of my car and taken a few photographs, but I did not feel that I had the best light so I waited around and took photographs from many different vantage points and in variations of light as the sun moved across the sky and disappeared behind the mountain. While I say that I took photographs I do feel that it would be more accurate to say that I spent some time at the location, and later in Lightroom, making the images. I used different lenses and focal lengths, smartphone as well as camera, and came away with more than thirty images. In Lightroom I experimented with enhancing the colours and playing with the shadows to create silhouettes, which I love. All this effort went towards achieving a look that I liked. To me, this process really is about making an image, but I won't argue with anyone who says I take photographs! Related posts – Why We Should Be More Intentional About Our Photography Is There a Difference Between a Snapshot and a Photograph? What is your view? Do you take a photograph or make a photograph? Leave a comment below.

It seems to me that there are two main camps when it comes to phone photography. There are those who are firmly in the ‘phone photography is not real photography’ camp and those who believe that our mobile cameras can produce images that are often as good as, if not better than, some DSLR or mirrorless cameras. I don’t fit myself firmly into either camp. I love the feel of the ‘real’ camera; I love its grip in my hand, I love changing lenses and getting different perspectives on my images and I love editing the raw images. Yet I don’t dismiss my phone camera. It is there when the big camera gets left behind, it has the ability to capture decent images, and it ensures that I can do photography at any time and in any place. On a recent walk in the countryside I discovered just how valuable this phone in my pocket can be. *** On a sunny Saturday morning I found myself with a 45 minute timeslot to fill while waiting for a friend. I decided to take a walk and explore the surrounding countryside. I set off down a pedestrian path along a main road but soon discovered a more interesting by-road, which I began to follow. As soon as I turned onto this road my senses were assaulted by the smells and sights of early summer – wild garlic, hedge blossom and meadows full of buttercups. I was immediately transported back to childhood days and I knew that, as well as enjoying the experience and the sensory walk, I would have to take some photos. I was very glad to have a reliable camera in my bag – namely, my phone camera. In my opinion, it can be a mistake to believe that all you can do with a phone camera is to grab some shots from the regular standing position, as this is so far from the truth. On this occasion, being able to use my phone for photography brought 5 main advantages: I didn’t lose an opportunity to capture some images in an unexpected location. There can always be an opportunity to do some editing afterwards. In this image I reduced the clarity and vibrancy for a more muted look. I could be spontaneous - I turned a corner and this tunnel of trees was in front of me. I love the way the light shone through. I was able to follow the light. I like the way half of this image is in shadow and half is in light. I had a chance to experiment and learn. In this image I shot the buttercup from below, a perspective not usually seen. Getting down low and shooting through the foreground gives a more unique perspective than shooting from the position of a standing adult. By using portrait mode I was able to blur the background. I had a memorable photography experience as well as having a memorable country walk. The abundance of green caught in the sunlight meant that there were images everywhere. My conclusion as to whether phone photography is real photography is this: if the phone camera helps you enjoy photography and capture images you might not otherwise capture, then it's real photography and that's good enough for me. What do you think?

Everyone makes mistakes. Even those who are taking photographs for years make mistakes occasionally, but to my mind there are a few mistakes that are so basic that I know I shouldn’t be making them. If you are serious about phone photography these are mistakes you won’t want to make either. I hope that writing them out will help me to be more aware of these common errors and that reading about them will help you if you are making the same mistakes. I love to have my phone for those unexpected photo opportunities but I need to be serious about phone photography just as with camera photography, and avoid making common mistakes 1. Not checking the horizon This mistake is so basic that I can't allow myself any excuses for continuing to make it. Unfortunately though, sometimes if I rush the shot, or if I am concentrating on some other part of the image, I totally fail to notice that my horizon is slanted. The best solution is obviously to take more care and make it a priority to check that my horizon is straight before I take the shot. To help with this I can turn on the grid in camera settings. Luckily, if I don’t manage to get it right in-camera, it is easy to straighten a horizon with any editing tool, and I need to remember to do this before I share my image. The other issue with capturing images that include a horizon is that there is general agreement among photographers that the best placing of the horizon is on one of the horizontal lines either a third of the way up from the bottom of the frame or a third of the way down from the top. This gives a more pleasing image than placing the horizon in the centre of the frame. It is an easy technique to get right, and having the grid overlay will help here also, but you need to look carefully at your landscape images and take your time to compose properly in order to ensure you get this basic principle correct. In the first image the horizon is slanted In this image the horizon looks better, though it is still too central in the frame By cropping slightly I have placed the horizon closer to the top of the image, which is more appealing to the eye In this image I placed the horizon closer to the bottom of the frame. There is a lot of negative space in the sky but I like the graduation in colour as the pink sunset creeps up into the blue sky, so for me it works 2. Not having a clearly defined subject I have been guilty of arriving at a location, seeing a beautiful scene in front of me, and just taking a picture. Rarely does this succeed. It might make for a good snapshot that will be admired by friends, but it will not make a good image in photography terms. In an image like this there will be nothing to draw the viewer’s eye, no subject to pull the viewer into the frame. Having learned this lesson from so many failures, now when I get to a location I scout around for a suitable subject on which to focus. This could be something in the foreground of my frame, something in the centre or something in the background, but if I know what my subject is, I will then begin to assess the supporting elements. Generally it is good to have one main subject with other elements in the scene supporting that subject, or, if you wish, you can concentrate on having just the subject in the frame and using either negative space or blurring the background (possible on some phones) to avoid unnecessary distractions. All these techniques will produce a better image than a photograph where all the elements are given equal weight, and nothing stands out as the main subject. The highest mountain was my subject here but I waited until the cloud tipped off the peak before I took the image. I think the viewer's eye is drawn to the mountain peak and the foreground helps draw the eye through the image In these images I made the element in the foreground my subject but it is only of interest placed alongside the supporting elements I made the hanging branches in the foreground of the image the subject here, although I used it to also draw attention to the beautiful winding river The flowers in the foreground were my subject here while the distant mountain, the clouds and the rocks in the sea are supporting elements In this image the person walking serves as the subject while the beach and clouds also provide interesting elements. The image may have looked empty without a specific subject The stone is my subject in this image, supported by the foam of the incoming waves 3. Not setting focus While we may have a subject in mind, it is also important to place the focus on that subject so that it becomes the most prominent element in the frame. On the smartphone camera we do this by pressing on the screen where we want the focus of our image to be. In the two examples below, I placed focus on the flower in the foreground in the first image, while in the second image I placed the focus on the background so that the background became sharp rather than the flower in the foreground. By getting used to setting focus like this we can ensure that our chosen subject is the sharpest part of our image. For purposes of demonstration I took these two images. It is easy to see how setting focus makes a difference. In the first image I set focus on the flower, while in the second image the background is in focus while the flower is not. By the simple act of pressing on the screen we can ensure that the part of the image which we want to have in focus will be in focus. A simple but effective technique 4. Using digital zoom This mistake was the easiest for me to remedy. I made this mistake all the time before I started to study photography. When I wanted to capture something in the distance I pinched the screen to zoom in on the subject, not realising that I was losing quality in the image by doing this. Now I just don’t use the digital zoom and if I want to capture something far away I either try to get closer, use the optical zoom or accept the limitations of the mobile camera and crop afterwards to bring my subject closer. The latest Samsung Galaxy offers 10x optical zoom on one of its telephoto lenses, while the latest iPhone gives 3x, so optical zoom is improving all the time on mobile phone cameras. The telephoto (2x) lens does allow us to get a closer image, with greater detail. It is even possible to see some detail on the cliff in the background This is the same image taken with the wide angle and telephoto lenses. The telephoto lens is a real alternative to digital zoom without loss of image quality 5. Blurred images Blurred images are often a result of taking a shot too quickly or not holding the camera steady. Many people hold the phone by the corners and extend their arms when taking a photo. From this position you often have to hold the phone with one hand while pressing the shutter button with the other, so the potential to take blurry images is high. Using a tripod is one solution to this but for most people carrying a tripod is not a realistic option so you can compromise by holding the phone so that it is gripped tightly, by keeping your elbows held close to your side when taking the shot, or by leaning against something such as a wall to steady yourself. Sometimes I place the phone on a solid surface to help avoid unintentional movement. After ruining a few shots, I began to take this mistake seriously so now I seldom have blurred images. One option for holding the phone is to turn it so that the left hand (if you are right-handed) holds the phone tightly on the opposite side to the lens. The right hand can then be used to press the shutter. Alternatively, you can use the volume up or down buttons to take the picture, which gives a real camera feel, although you need to take care not to cover the lens. This shot shows one option for holding the phone so you can avoid blurred images. For those who are right-handed, hold the phone in your left hand with two middle fingers firmly on the back of the phone while fore finger and thumb support from top of the phone. The little finger supports the bottom of the phone. The right hand is placed under the left and the thumb used to press the shutter. Alternatively, as mentioned above, the volume button can also be used from this position as a shutter button. This does not appear to be an intuitive way to hold the phone but when you use it for a while it gets easier to remember and it does improve the steadiness of the phone camera. 6. Taking the photo from the point of view of a standing adult This is probably not so much a mistake as a personal preference, although I have read so much about shooting from different viewpoints that I almost feel that it is a mistake to just stand and shoot. Regardless of how we view this issue, there is no doubt that to vary our viewpoint and position is a good composition guideline in any type of photography. So I am going to count it among the mistakes I might make and try to vary my shooting position as much as possible. Capturing a shot of this wildlife garden from a low angle gives a different feeling than taking the shot from a standing position *** I hope these tips will help you avoid some of the most common smartphone camera mistakes and improve your mobile photography. If you would like to take your phone photography further you might be interested in some resources which I have found useful: https://www.wildwillowways.com/post/6-go-to-resources-that-have-enhanced-my-smartphone-photography

I recently spent four days on the Connemara coast in the West of Ireland. It was partly a photography trip as I wanted to spend some time immersing myself in the beautiful coastal landscape that we find here. There are already hundreds of photos taken along this western seaboard, taken with expensive photographic equipment, and used for tourism brochures, advertisements, exhibitions or for private sale. I am not trying to reach anything near those standards. My aim was to go down to the coast each day, at different times and regardless of weather conditions, and simply photograph what caught my eye, what drew my attention, what seemed to speak to me. This is the type of photography that appeals to me. I like all types of landscape photography but there is something about the coast and being by the sea that I love, and that is what makes coastal landscapes my favourite for photography. Being by the sea really encourages me to observe, to explore, to connect with my environment and to take all kinds of photographs. While I do take wide vistas at the coast occasionally, I am more drawn to intimate scenes – close-ups of rocks, sand patterns and the ebb and flow of the sea all hold an attraction for me. Since I live on the eastern side of Ireland, where the sea is calm and quiet, I love to travel to the wild Atlantic coast whenever I can. On this occasion I stayed in Barna, a coastal village situated close to Galway along the coast road heading west. The village acts as a gateway to the Irish speaking Connemara Gaeltacht. Connemara is an area where modern meets traditional, where stone walls co-exist with contemporary buildings, where sheep graze on the roadside close to a village boasting an award-winning restaurant. The pace of life is slow. Drivers are courteous even though the volume of traffic has increased considerably over the last few years. These are some of the images I captured. *** While not exclusive to a coastal area, it was the juxtaposition of traditional and modern that drew my attention to this ruined cottage. It sits on the side of the road, sandwiched between modern apartments and a new housing development. It looks totally out of place today, yet it has a story to tell, a story of different times when life was simpler, if not easier, and of the people who lived out their lives under its thatched roof. As I struggled to get a picture of the whole cottage from across the street, due to the endless stream of traffic blocking a clear view, I was transported to a bygone era. I imagined the residents of the cottage over the years having no difficulty crossing the road, and wondered what the advent of cars meant for their lives. I’m sure they saw advantages and disadvantages in this modern development! A visit to Kylemore Abbey This is a slight diversion from the coastal landscape but while visiting Connemara we decided to take a trip inland to Kylemore Abbey, a Benedictine Abbey founded in 1920 in the beautiful Kylemore Castle. The castle itself was built in 1868. Kylemore Abbey is considered to be one of the most romantic castles in Ireland and there are many iconic images to be found on brochures and web pages. I just had to get my own pictures of this fairytale castle! After a return journey through the Connemara mountains it was back to the coast for my final images. *** On our last day we were treated to the spectacle of an incoming Atlantic storm. The sea went from relative calm to stormy in the space of a few minutes as the tide came roaring in. I tried to capture some of the incoming waves as they splashed on the rocks, and at times I did manage to capture the sea spray. While my images don’t do justice to what I saw, it was a great experience to watch as the waves jumped higher and higher before crashing on the rocks. Sometimes just watching is also an important part of photography, and viewing my images at home transports me back to that place and allows me to re-live the experience. Hopefully some of these images will give you an idea of why I love to photograph on the west coast of Ireland. I am already looking forward to my return.

James Popsys is a professional photographer based in the UK. In an interview with 99 Percent Lifestyle James talks about his photography and what inspires him to be a creator. He stresses the importance of vision in photography: “Since cameras are getting better all the time you only really need to master some basic techniques to take great photos now. More photos are produced now than ever before so if you want to be heard, you need to be different.” James says that taking photos of stuff doesn’t interest him, he wants to make photos about stuff. Whenever he critiques images that are sent to him, he judges a good photo to be one that is about something rather than of something. I have tried to put this idea into practice in my photography, as for the most part I agree that photos that are about something have more interest for the viewer and are more likely to draw the viewer’s attention than photos of something. However, sometimes the difference between a photo being of something and being about something can be very subtle and it can be difficult to make the distinction. I try to ask myself when I am taking the photo – What do I want the photo to be about? The two images below might explain how I interpret this question. The first image is an image of a bluebell woods. It is a standard, quick image that anyone who visits this woodland might take. I took this with my phone camera. The second image has the addition of the little girl walking down the path and she is captured at a point between the trees. The second image is about the bluebell woods. It tells a story of people in the woods who are not always there, so it is about something that happened at that moment on that day. The image above might appear to be just another photo of the bluebell woods, but on this occasion my intention was to capture the light coming through the trees. The image is about something. It tells the story of how the weather was at the time of capture, and how sunlight enhances and changes the feel of the image. IT'S ALL ABOUT INTENTION In the example below, the image might at first appear to be an image of a tree. However, my intention was to compose the image so that it emphasizes the way the tree leans over to frame the seating area on the opposite side of the water. It is about the tree creating a natural frame. This could be just an image of sunset. But it's not. It's an image about shape and colour and about the beauty created by nature. Photographs that are about something include an intent. If I simply press the shutter and take a picture then my photo will be a photo of the thing I have taken. If I have an intention regarding what I want to shoot then my final image is more likely to be about something. The difference may be subtle, but it is there. This is not just a random image of sticks in a hedge. It is an image about shape and an example of how shape is found all around us in nature. *** Do you agree with James Popsys that images should be about something rather than of something? What are your images about?

Composition is important in photography. A good composition will make the difference between a pleasing image and one that won’t attract the viewer’s eye. Usually we make the best compositions when we do some research about the location we are going to. By doing our research and planning we will know the best places for photography in the location. Another way to come away with some pleasing images is to take our time, think about what we are doing and use our knowledge of composition to the best advantage. While in every situation some knowledge of basic composition techniques is useful and will help us to naturally try to improve how our photos look, there will be times when it’s important to just seize the moment and shoot what you see. Shoot what you see might be necessary in some situations where there is no time to spend setting up the ideal composition. This was my situation recently when I visited a bluebell woodland. I was there unexpectedly, I wasn’t on my own, I’m not likely to return there anytime soon, and bluebell season is short, so I made the most of my time there by taking some unplanned shots. Often, trying to get some shots in a rush is not a good idea as the results can be varied, but in the circumstances I was happy to come away with some images that I liked and it’s why I would recommend that, on occasion, it’s good to shoot what you see. Here are some of the results.

The inclusion of the small boat in this image serves to draw the viewer's eye. I regularly travel to visit my daughter and her family, a five-hour round trip from my home. I usually stay for a few days, and I travel at different times of the day, in different seasons and in all sorts of weather conditions. On my travels I usually break my journey with a photography stop, and I have several favourite locations where I park up, drink a cup of coffee and wander around to see what photographs I might capture. On these occasions I don’t have the luxury of choosing the optimal photography conditions, and even if I do my best to plan for ideal conditions I am not guaranteed to get them, so I have to tailor my choice of image to suit the weather and the prevailing light. Sometimes I am disappointed with the weather or the flat light and I don’t feel enthusiastic about stopping for photography. Yet when I begin to accept the conditions I am given and see what I can make I can have an enjoyable photography experience. I have even taken photographs through raindrops on my car windscreen! (You can easily spot the raindrops!) Sometimes I can even be lucky and manage to get some good light at my chosen location, and these are the days that I come home with some images that I am happy with. But often, in the absence of good light and clement weather, I have to rely solely on composition to make a fairly decent image. One piece of advice that I turn to in these circumstances is the advice that we should always include a point of interest in our compositions, no matter how small that might be, so that we are providing an anchor that the viewer’s eye can attach to. This can make the difference between producing an image which is uninteresting and one which is more compelling for the viewer. Without the boat, this scene would have no interest. There is no real subject, nothing of particular interest. The inclusion of the boat adds colour, adds interest, and creates a story in the image. Including ‘something’ to simplify and enhance our image The image above offers no real point of interest, nowhere for the viewer's eye to rest. When looking at the above photograph, if I consider the image from the viewer’s point of view it forces me to ask the question, to what part of the image is the viewer’s eye drawn? If I can’t answer this question, I believe that the image is not effective. It provides no focal point, no real point of interest for the viewer. If I had taken this image further along the shore it would be uninteresting, simply another shoreline image. On the other hand, when I move the camera along and frame the shot to include the pier it gives me somewhere to look, it adds a focus point to the image. This simple addition can transform a boring image into an interesting one. In my view, the inclusion of the boat in the image above adds to the interest for the viewer, compared to the image purely of scenery. It provides an element of story. Simple versus minimal My understanding of minimalist photography is that it brings composition down to the barest essentials. There is a lot of negative space and nothing superfluous in the frame. In the opposite scenario, a photograph might have many elements, but it is the inclusion of one, often small, subject, designed to draw the eye, which gives the image its simplicity and aids in telling the story of the image. This subject might be something like a splash of colour that contrasts sharply with surrounding colours, or it might be a small object on which the focus is placed. I like to include objects like a boat, a small building, a lone tree, a gate, a rock or stone in the foreground, an animal or person in the distance. I like to find unusual subjects on which to focus, particularly subjects which we might not expect to see in this place. I walked along the canal bank until I found something that would add interest to the image. Even though it is only an old shed it can become a special element that draws attention in the photograph. On this occasion, the water was choppy and interesting to watch as it splashed against the lakeshore, but it would not translate to an interesting image. I think that the addition of the washed-up log provides some interest in the frame by providing context and telling the story of what was happening in the lake. Including the tree in the foreground means that it becomes the focal point for the viewer. In each of the images the inclusion of one thing changes how the viewer will see the image. https://www.instagram.com/p/CaUbGtjI1E2/?utm_medium=copy_link The photograph linked above from well-known Danish photographer, Mads Peter Iversen, really illustrates the point. The image is much more captivating by having the person in the frame. Bigfoot Conclusion In some ways, including objects in the image could be considered props in telling the story of the photograph. A bare landscape will not tell a story but when you include ‘something’ this can act as an aid to storytelling and understanding the photograph. The image becomes about something rather than of something. You will know you are improving as a photographer when you produce photographs that encourage the viewer to stop and look, to consider what the photograph is about and to spend time moving around the frame. I believe that the careful inclusion of certain elements into your landscape image can help to do this. This action can change a boring image into a compelling image by adding interest and purpose and including story. Do you agree with this statement, or do you find that you hardly notice the inclusion of a small subject in a landscape image? Next time you are out shooting, try adding a small subject to your landscape image to see if you like the difference it makes.

In my opinion, there are three main types of photographers. There is the professional photographer who makes a living, or a partial living, from photography. There is the ‘snap-happy’ photographer who takes lots of photographs, mainly with a phone camera, to share on social media. In between there is the photography enthusiast, the amateur who wants to do more than just post images on social media yet does not aim to become professional. I consider myself to be in this middle bracket. For me, photography is a passion, something that I love and that gives me great enjoyment. To get the most from this great hobby, I want to learn and improve and make the best images that I can make. It is for this reason that I want to learn more about composition. I want to learn what makes a good image, what draws a viewer to look at an image and see its strengths. I want to aim for more than a cursory glance and a quick ‘like’ on Instagram. I want the viewer to look at my image for longer than a few seconds, to move around the frame and see what it is I am trying to convey. Paying close attention to composition is one way to try and achieve this aim. What is Composition? Put simply, composition is the way in which we put together an image in the frame. It is how the subject is placed in relation to the other elements in the photograph. Learning how to properly compose an image is not easy. There are many considerations involved in creating a strong composition and we need to be aware of what these are and carry them with us when out making images. The goal of a strong composition is to create an impact with the image and have the viewer linger for a while and really look at the image. It should be clear from the composition what the subject of the image is. Without a clear subject the viewer won’t know what to focus on. The composition should also lead the eye around the image, and certain compositional techniques help us to accomplish this. A leading line such as a path serves to lead the viewer's eye through the image. It can point to the subject or lead on through the image creating a sense of mystery as to where it leads. Many of us, even if we are relatively new to photography, have heard of compositional tools such as the Rule of Thirds, Leading Lines, Including a Foreground, Midground and Background, and Natural Framing , to name a few. I wrote an earlier post in which I discussed some of these tools. These tools are commonly mentioned in articles about composition and if we include at least some of them we will ensure that we improve at composition. Recently I took a walk in my local park and woodland with the intention of focusing on 5 elements of composition. 1. KEEP IT SIMPLE. One of my most common mistakes has been to include too much in the frame. My images can often be too cluttered, and the viewer doesn’t know what to look at or focus on. I am learning to simplify my images, to isolate a subject and allow it to become a main focus in my image. Shooting in a woodland setting gives lots of opportunities to practise isolating a subject or subjects as woodlands are by nature chaotic places. I consider this image to be too cluttered, with too much going on and nowhere for the viewer to focus. The viewer's eye will go from side to side not knowing where to look. I took this image in the same location, yet simplified it somewhat. 2. CREATE BALANCE IN THE IMAGE. When I look at the images of other photographers, I like to feel that there is a sense of balance in the image, that there is equal visual weight on both sides of the frame. Yet this is something I can neglect in my own images. At times I have come home with images that have all the interest confined to one side of the image and they are not visually pleasing. One solution to this problem is not to rush when working on composition. Taking time to look through the viewfinder, check that there is equal visual weight on both sides of the image and if there is not, move the camera to look for an element that will balance the initial subject. In this image I think that the stone on one side of the frame balances the tuft of grass on the other, while the plant on top left is balanced by the greenery on the bottom right of the frame. 3. FOLLOW YOUR INSTINCTS - NOT RULES. When I first learned about the Rule of Thirds I followed it slavishly, fearing that if I produced an image with a subject placed centrally in the frame, I would be considered a bad photographer. I have now come to realise that the Rule of Thirds is not so much a rule to be followed as a guideline which makes the image more visually pleasing to the viewer. It is a tool to be used when required rather than slavishly adhered to. There are times when placing a subject centrally in the frame makes sense, so I have learned to follow my instincts rather than rules. This vibrant colour of this tree caught my eye as it stood out among the others. It made more sense to place it in the centre of the frame. 4. WORK THE SCENE. What is called ‘working the scene’ is an important aspect of getting a good composition. A mistake I have often made is to stop at a location, find a subject, and make my image without checking if I had the best composition possible at the location. I have started to check to see whether there is a better angle to shoot from or a better subject in the same location. I ask myself whether I am getting the best light, the best perspective, the best supporting elements or whether I could do better by waiting for an interesting cloud to pass over the scene or light to appear or whatever it might be that could turn an ‘ok’ composition into a good or even a great composition. One common mistake that I have become aware of is having overlapping elements in the image or not giving the subject or subjects breathing room within the frame. Sometimes all we need to do is move left or right, up or down a few inches and that can make a big difference to the composition. In the image below I moved around the trees until I was at an angle where I thought each tree could stand without having its branches partially covered by another tree. 5. CHECK THE FRAME FOR DISTRACTIONS. There is nothing that spoils an otherwise good composition more than a distraction, either within the frame or at the edges. While many distractions can be removed in post-processing, sometimes that can prove difficult and I believe it is better not to have them there in the first place. It can save a lot of trouble and disappointment if we just move a fraction to the right or to the left or adjust the angle that we are shooting at so as to avoid the distraction in the first place. The partial branch on the bottom left distracts from the three trees. A slight crop might make a better composition. The main subject is the beautiful yellow tree at the back, which stands out against the green. The trees left and right mirror each other and serve as supporting elements. Conclusion While it is important to learn from the best photographers by reading, watching videos and joining workshops, there is no substitute for getting out with your camera and practising composition techniques. Capture images of anything that catches your eye. Look for images in places where you previously didn’t see any. They are there if you look for them. Spend time planning your shot, checking the image in the frame, moving if necessary or waiting for a better moment. As you practise you will find that you are noticing compositions that others miss, and you will begin to elevate your photography to a new level. BONUS MATERIAL Below is a link to ‘The Only 4 Rules of Composition That You Need to Know’. In this video , professional landscape photographer, Nigel Danson, sets out 4 composition ‘rules’ which he believes are the most important guidelines to follow. These are the techniques he tries to incorporate in his images and what he looks for when asked to evaluate an image. I hope you enjoy watching it and that it helps to improve your photography. If you like this post, please share it or leave a comment below.

Spring is a special season for nature photography. It may lack the amazing contrast in colour that is the distinctive feature of autumn photography, but spring has a magic restorative power for photographers. WHAT DO I MEAN BY THIS? If you have ever gone out with your camera on a bright spring morning to be met with beautiful birdsong, fragrant aromas or a burst of colourful blossom, you’ll know what I mean. It’s not that you’ll always come home with fantastic images from a spring photography shoot - conditions are often less than ideal - but you will have an amazing photography experience if you allow yourself to be captivated by this emerging season. In some ways I find that photography is simply a reason to get out into nature in spring. To be part of the re-awakening of the natural world after the long winter is a truly restorative experience. Simply by being part of all that is going on around us can leave us feeling re-energised and renewed. HOW DO WE HARNESS THIS RESTORATIVE POWER? We do this by being present, by engaging all our senses, by being aware of the sights, sounds, smells and sense of awakening that is all around us on our spring photography outings. What’s important is not capturing wonderful images; it’s about having a wonderful experience. It’s about being fully alive, fully present in each moment and allowing our camera to be part of that experience. I like to go out to my local woodland in the early morning before the hustle and bustle of the day begins or in the evening around sunset when nature is settling down at the end of another day. This is usually when I get the best light - soft light that gives a golden glow to every subject. It is when I am alone with nature, but not lonely. It is when I can feel at one with the universe and grateful for each day. It is when I enjoy photography best and I return content with whatever images I capture. *** Have you harnessed the restorative power of nature photography this spring? It’s not too late to do so.

I recently went on a photography shoot with some friends. Afterwards we sat down for coffee and a chat about what we had just done. We talked about the day’s photos and how much we had enjoyed our day out in a local woodland park, each of us engrossed in what we were trying to capture. Our discussion came around to what we considered to be the best things about photography. We had an interesting conversation as we teased out what we really enjoyed about doing photography and what we thought of as the best overall aspects of our favourite pastime. I condensed our conversation to the five things we agreed as being why we love to pursue photography, although these are not in any order of priority as I don’t think we would have agreed on that. 1. There is always more to learn There is a lot to learn in photography, particularly in the area of composition. In this image I tried to use natural framing to frame the house and to include some foreground interest. We were all in agreement that one of the most exciting aspects of photography is that there is always more to learn. In many ways, this aspect encompasses all the others in that by being encouraged to keep going out with our camera and improving our photographs, many of the other great features of our craft are also realised. Whether you are a novice photographer, someone who has been practising photography for many years, or a professional in the field, there is always more to learn, improvements to be made and fresh approaches to be tried. Learning in photography is an ongoing journey, not a destination. One of the essential ingredients in learning is self-improvement. This desire for self-improvement is what keeps us learning, and in photography we learn by doing, by trial and error, which adds to the enjoyment. We learn more from becoming aware of our own weaknesses and wanting to improve them than we do from any number of books or tutorials. This is without doubt one of the main things that I love about photography – it keeps my mind active, fuels my imagination and encourages me to keep striving for progress and improvement. 2. It allows us to present our own unique view of the world One of the most interesting aspects of our photography shoot that day was that none of us came back with an image that was exactly like anyone else’s. We might have taken a shot in roughly the same spot as someone else, but we each had our own unique perspective to shoot from. I may have picked a different aspect of a scene; I may have moved in closer or taken a wider view. I may have added something to the scene or left something out. I may have put emphasis on a part of the scene that had no relevance for someone else. We are all different and so for each of us our photography is uniquely ours. My photography has changed and developed over time. I have grown into my images; they have become part of who I am, part of the way in which I see the world. My photography is very connected to my senses and to my emotional response to what I see around me. Since I started photography, and in particular while doing landscape photography, I have become more in tune with nature, more observant of the world around me, and it has given me a greater ability to see familiar things in a new way. Now, when I go into a woodland, I don’t immediately start taking photographs. I look, I listen, I smell, I get a feel for the place. I try to connect with my surroundings. Often, I notice things that others may not see, things that I would not have noticed before I started photography. Sometimes I choose as my subject something that is not interesting, but, as part of a well composed shot its beauty can be revealed. When I engage my senses and connect with the environment around me, I am more likely to find a composition that is worth turning into an image. I recently watched this interesting video from Kim Grant who believes in the connection between creativity and being emotionally involved with what is around us. 3. It supports our physical and mental health For myself and all of my friends who met that day, this is and has been an important aspect of our photography journey. We are all at different stages on our life journey and, as with all of us humans, life has not been without its ups and downs. Photography has been a sustaining force through personal as well as global upheavals such as the recent pandemic. It has encouraged us all to get out, get some fresh air and exercise, blow away the cobwebs from the mind and become re-energised. I have written previously about how I see a strong connection between photography and both physical and mental health. As I wrote in a previous blog post, two of my passions are walking and taking photographs, so when I combine them in a photo walk, I consider it to be a perfect balance of physical and mental health. I also wrote a post called Why I Believe Photography Has Sustained Me Through Troubled Times in which I stated that it almost goes without saying that photography is a great support for our physical health. Photography is principally an outdoor pursuit, and it usually involves walking, being in nature, breathing fresh air and being away from the world of traffic, crowds and fumes. When I go out on photography shoots, I walk on beaches, hike up hills or mountain paths, meander along lakeshores and riverbanks or trod a well-worn path through my local park. I have gone out in all but the very worst weather, often enjoying the exhilaration of being whipped by the wind on a mountain side or getting caught in a shower of rain. Being outside in nature gives me the opportunity to breathe more deeply of the freshest air, and to move, which must be a help to physical health. For me, the support which it gives to physical health is certainly a big plus for photography. But that’s not the only way in which photography can support our health and I know I am not the only one among my friends who has been grateful to be able to get out regularly with a camera in recent months to escape the stresses of everyday life. Being on our own or with a photography friend, focusing on our composition and on capturing a decent image, is a great way to concentrate the mind and allow the worries of life to float away. When we get into flow, when we are totally absorbed by what we are doing, our minds are fully focused, and we are supporting our mental health and wellbeing. Photography is my flow activity. When I am taking photographs, I forget all about my everyday cares and concentrate on the activity at hand. Walking around with my camera to find a good location where I might make some images is calming and therapeutic and helps to ground me in the moment. 4. It can become a spiritual/mindful practice This is an important aspect of photography for me, and it also rates highly with my photography colleagues. While this was not our principal reason for getting into photography, we all acknowledge that photography has helped us to slow down, to become more appreciative of the world around us and to be alive to each moment. Photography has even helped us to become more mindful in our everyday lives as it encourages a calmer, more intentional approach to life. I have previously written some posts about the ways in which photography can help us become more mindful. In the post 3 Powerful Reasons To Embrace Mindful Photography I outline what are, for me, the most compelling reasons to embrace a mindful approach to photography. 5. It is a thoroughly enjoyable and fun pursuit. I can honestly say that I have never been out on a photography shoot and not enjoyed it. There is something about being out and about with my camera that makes me feel alive and energised. Even when I don't come back with any decent images, I have had fun in making the effort; I have discovered something new about myself, my camera or my location, I have experimented, and I have felt alive and totally engaged in what I am doing. A photographer recently commented that every time we go out with our camera, even if we don't come back with great images we will always come back with a great experience, and I wholeheartedly agree with these words. Photography offers us many things. It helps us become lifelong learners, it supports our physical, mental and even our spiritual health, if that’s a priority for us, and it helps us become more connected with the world around us as we present our own unique view of the world. But we will not be motivated to do photography for any of these reasons if we don’t get a sense of enjoyment from what we are doing. I suggested to my friends that perhaps enjoyment is the best thing about photography overall. None of my friends disagreed. What do you consider to be the best thing about photography?

If you type in a search for mindfulness on the National Library of Medicine website you will return 19,487 results of scientific research covering all aspects of mindfulness. The sheer amount of evidence which exists to support the practice of mindfulness gives weight to the recent popularity of mindfulness as an aid to enhancing our health and wellbeing, although in fact people have been practising mindfulness for thousands of years. In the light of this, for the photographer the art of mindful photography has become an important tool in helping us to look after our mental wellbeing. There are many reasons to recommend this practice, particularly to those already interested in photography. Here are just 3 powerful reasons why you should embrace mindful photography. #1 Mindful photography can enhance regular photography Mindful photography is not an alternative type of photography practised by those who are not ‘real’ photographers. In fact, many professional photographers, such as former news photographer Paul Sanders and creative photographer Benjamin Stevens embrace mindful photography and find that it enhances their photography practice. Well known photographer Anthony Epes, while not being strictly a ‘mindful photographer’ does advocate using this type of approach to photography, and he regularly promotes aspects of mindful photography such as curiosity, using all our senses, becoming ‘suprasensitive’ to what is around us. In a blog post called Walking: The Secret to Great Photography, Epes says, “The whole process of walking for a few hours or more at a time becomes almost a meditative practice with my photography that is simply essential to how I love to shoot.” Taking a mindful approach to photography may be different to how you regularly approach photography, and it may take your photography in a new direction, but most of the elements of mindful photography are common to all photographers, and mindful photography has a lot to add to photography in general. Whether you are learning to play a musical instrument, trying to become proficient in a new language or aiming to perfect a particular skill, it is true that in most human endeavours, the more you practise, the better you become. This is equally true in photography; the more shots you take the more you improve at image making. I find that since I began to practise mindful photography I go out a lot more often, either with a camera or my phone, and I make more images. However, simply because you go out more often, are not hampered by expectations and love to shoot what catches your eye, does not mean you can allow mindful photography to become an excuse for bad photography. While you may be able to let go of the expectation to capture the perfect shot, and while you may experience more freedom to be creative with your photography, you do still want to make the best images that you can make. For this reason, you still need to learn photography techniques and use these techniques regularly. When you compose your images well, shoot from different perspectives, pay attention, and generally put into practice what you learn in terms of photography skills, you will support your photography, no matter what type you practise. Practising mindful photography gives you more opportunities to make images that you love. I like to use the composition techniques which I have learned, such as using leading lines, having my subject generally adhering to the rule of thirds, changing my perspective so that not every shot is taken from the viewpoint of a standing adult Having a mindful approach to photography will encourage you to become open to all the possibilities for your image and this will help even when the image itself is the goal rather than the mindful experience. When I travel to visit family, I regularly stop at the same lakeside location. I have often stopped just to sit by the water or stroll along the lake shore, but on many occasions I have taken photographs. I am drawn back to this place because of its beauty and tranquility but it has also offered many opportunities to experiment and improve my photography. Taking a mindful photography trip can help us to notice how we may limit ourselves when it comes to being creative. In our general photography practice, we may not want to be too experimental, or maybe our thoughts are focused only on wanting to take ‘good’ pictures. These things can block our natural curiosity and creativity from flowing freely and stunt our growth as photographers, but when we notice these blocks, we can consciously start to let them go. Mindful photography helps to release our curiosity and let our creativity flow, which in turn gives a boost of energy to our general photography practice. #2 Mindful photography can enhance the practice of mindfulness in other areas of our lives Often called the Father of Mindfulness, Jon Kabat-Zinn, who has been credited with introducing mindfulness to Europe and North America, defined mindfulness as “paying attention, in a particular way, on purpose, in the present moment and without judgement.” Mindful photography has been described as mindfulness meditation in action. It is about paying attention to what is around us, it is about letting go of expectations and stress and rush. It is about slowing down, taking time, being in the moment. In mindful photography there are no judgements of ourselves as photographers or comparisons with others. There is no bad light or bad weather, there is no wrong location or poor subject. There is no focus on the past, or on future concerns; the focus is literally on what we see before us, in the present moment. There is just this place, this subject, in these conditions; a scene that draws us and asks us to make an image. It is true that if we practice mindful photography on a regular basis, we find that just having a camera in our hand can transport us into that mindful zone, attentive to what is around us, able to notice the little moments of beauty that occur every day. We will allow images to come to us, allow ourselves to be drawn to our subject. Even without a camera our mindful photography practice helps us to live more mindfully as we begin to view everything with wonder and awe, becoming aware of what makes us pause and take in the moment, tuning out the noise of the world and spending moments in silence, attentive to what the world has to reveal to us. (Paul Sanders, Mindful Photography, 2020) “When you approach something to photograph it, first be still with yourself until the object of your attention affirms your presence. Then don’t leave until you have captured its essence.” Minor White, American Photographer, 1908-1976 #3 Mindful photography can enhance our lives Minor White was an American photographer whose interest in Zen philosophy and mysticism influenced his photography. He urged us to, “Be still with yourself until the object of attention reveals its presence to you.” This is at the heart of mindful photography, this sense of stillness, of being patient, of not rushing the moment, not forcing the image. The more we invite stillness into our lives, the greater will be the benefit to our mental health and wellbeing. Professional photographer Paul Sanders was Picture Editor at The Times from 2004 until 2011. He often looked through 20,000 images a day before realising he had had enough, and he became a landscape photographer ‘to reconnect with the world’. He set up Still to help people harness the power of photography to overcome anxiety, become more positive and to find a way to express themselves in the world. Sanders says that the very essence of mindful photography is, “to ‘see’ the world through your own eyes, noticing what makes you pause to take in the moment. This involves slowing down, making time for yourself, tuning out the random noise from the rest of the world and tuning in to what the world has to reveal to you.” Mindful photography encourages a more thoughtful relationship with the world around us. It does this by encouraging a mindful relationship with our subject; with the landscape or seascape, with the woodland or busy street, wherever it is we find our inspiration. And because we have a more mindful relationship with the world around us, we begin to have a more mindful relationship with ourselves. When we are engaged in mindful photography we will find much to photograph where we live, without the need to endlessly travel to capture a better image. We will visit the same place repeatedly, getting to know every aspect of our surroundings, allowing the place to reveal its own special beauty. We will begin to convey a sense of place in our photographs, a sense that comes from being a part of the experience we are capturing, of knowing what it feels like to be in this place at this time. We don’t just take snapshots of the place we are in, we become intimately connected with the place. When you give your viewer a sense of how you felt personally when you were in the place your photographs will have soul. As I attempt to make my regular photography practice a more mindful practice, I reap the benefits in my life. As I have outlined in a previous post, when I go out with my camera I take in my surroundings and I begin to become more observant, noticing things that I hadn’t noticed before, more appreciative of all that I see. I become more aware of people immediately around me, activities that are going on, how light is playing on objects in my field of vision, the ever-changing sky. I notice the first spring buds appearing or the way trees are silhouetted against the sky. I visualise what I want to capture with my camera, how I will compose a picture, how I will use light to enhance an image. I am using my eye before I use my camera. When I decide on what images I want to shoot I begin to experiment with angles and perspectives, getting down low or shooting high to get a better point of view. This to me constitutes more mindful, purposeful photography, and it helps me to feel connected to my subjects and to feel invested in the images I shoot. I constantly strive to connect with people and place through my images. It is an ongoing journey, a journey of increasing self-awareness and personal development. And it is this continual effort to reach others, to connect with life and nature and beauty through making images, which in turn enriches our lives and supports positive mental health. “At first glance a photograph can inform us. At second glance it can reach us,” Minor White Conclusion In this post I looked at 3 powerful reasons to embrace mindful photography. I hope I have shown how mindful photography enhances our general photography, enhances our mindfulness practice and enhances our lives. This is one in a series of blog posts relating to mindful photography. In my next post I will look at the power of gratitude and how we can harness this power through photography. You might also like to read my previous blogs: How Trying Mindful Photography Really Changed My Perspective Does Photography Support A Mindfulness Experience Or Take From It How Embracing Mindful Photography Has The Power To Transform Your Life If you know anyone who might enjoy this post, please feel free to share the link.