Avoca, Kilmacanogue, Co. Wicklow, Ireland I love to take photographs wherever I go. When driving I often stop along my route at a place that I think might offer a photography opportunity. When I visit a new place, photography is on my list of things to do. Yet, like most people, I spend most time at home, so I have tried to make the most of my own area as a photography location. One thing I acknowledge is that home locations vary, so what I can do in my area may not apply to everyone. There are also those who have amazing locations on their doorstep that offer photographic opportunities that I don’t have. The point is that wherever we live there are advantages to keeping our photography practice close to home and if we spend some time discovering what our local area has to offer, we might just find that it offers us much of what we need as photographers. What is local? Image taken in my local park Marlay Park, Rathfarnham, Co. Dublin It might be worthwhile defining what we mean by local. I live on the outskirts of Dublin, a coastal city overlooked by mountains. Being a small city, it is easy to travel to neighbouring counties, which again offer mountains and stunning coastline. Within walking distance, or at least easy driving distance, there are numerous parks, woodland areas and river walks. Public transport would leave me in the city in 20 minutes, a place which is a magnet for local street photographers. I consider my local area to be anywhere within a radius of a 30–40-minute drive; somewhere that I can easily reach, spend time taking photographs and return home in a few hours. It also offers locations that I can return to easily. Even though most of us would love to be able to travel to iconic locations for our photography, it’s not possible most of the time, so being able to find photo opportunities locally is a great advantage. Ticknock, Dublin Mountains Here are 7 reasons why making the most of your local area could turn it into your dream photography location. You’ll get to know your own area intimately as a photography location. When you spend time regularly walking, hiking, or strolling around your local area you begin to connect with your environment in a special way. It becomes very familiar to you, you get to know all the special places, all the nooks and crannies, the hills and riverbanks, the seashores and woodlands. As you come to know your location more intimately you have a sense of ownership of the place; a sense that this is your place, special to you. When you travel around your area with your camera and photography in mind, it becomes even more special as it opens up a world of amazing photo opportunities. Kilmacanogue, Co. Wicklow, Ireland You’ll make unique images Most of us are tempted to say that our local area doesn’t offer much in terms of photography opportunities. In fact, when we were all forced to stay local many photographers bemoaned the fact that there was nothing interesting to shoot. When we compare our area to some of the iconic locations that photographers dream about, it may be true that our local area has less to offer, but if we think in terms of unique images , our own location may in fact have more to offer because it gives us the opportunity to make images that other photographers won’t make. If we change our mindset and begin to see our local area as a place of abundance in photography terms, we will soon begin to see opportunities everywhere and find ourselves making images that have our own personal stamp on them, rather than images shot by many photographers before us. And the more we connect in a personal way with our environment, the more unique our images will be. Vartry Reservoir, Co. Wicklow, Ireland You’ll be able to take advantage of all times and seasons Photography can be different things in different seasons. Shooting in a woodland in spring is very different from shooting in a woodland in autumn; a coastal area will yield totally different images in winter than it would in summer. I have often been in a location in one season and imagined what it would be like in another but travelling back was not always possible. In my own location I have photographed trees in all seasons, visited the coast when summer vegetation made a nice foreground for a sea image and again when the winter sea was rough and wild. I have been able to make a spontaneous decision to go out on a misty autumn morning or to catch a late summer evening sunset. I have been able to avoid the harsh mid-day sun, knowing that I could take a later walk or drive to a chosen location to do some evening photography. Being able to take advantage of all times and seasons is one of the great benefits of photography in your local area. Marlay Park, Rathfarnham, Co. Dublin You’ll feel less pressure to get that image first time I often feel under pressure when I am in a location that is far away from home, especially when I know that I won’t be back anytime soon. I know it’s not the end of the world, but if I have my heart set on getting a certain image in a particular place then I feel disappointed if I can’t manage to get it. I have often passed an area, seen something that I thought would make a great image, and had to pass on by as I either didn’t have time to stop, didn’t have my camera with me, or was with travelling companions who were tired of having to wait while I took photographs! In my own local area, this is not a problem. If I don’t have my camera with me and I need a better lens than my phone camera can give me, I can easily go back again another time. If I am out with walking companions and don’t want to keep them waiting, I can go back again another time. If I want to spend more time observing, making decisions, composing my image, I can go back again another time. To go back again another time is an option when I am doing photography in my own location, in a way that doesn’t apply when I am in an ‘away’ location. Bray, Co. Wicklow, Ireland You get to improve your skills Getting out on a regular basis means that I get to practise my skills regularly. Camera settings, technical skills, composition, finding subjects, working with light are all aspects of photography that need practice and where better to get this practice than in a place you know well, can come back to often and can have the opportunity to work on different skills? Being close to a waterfall means you can work on perfecting shutter speed; flower photography gives you an opportunity to try out different apertures; constantly being out and about means you can think about composition and look for different elements of composition such as leading lines or natural frames. Marlay Park, Co. Dublin Because you will have regular opportunities to do different types of photography, for example, street, close-up, landscape, nature and flower photography, or do a project, e.g., park through the seasons or a tree project, you have a perfect chance to broaden your photography horizons. You have a chance to wander aimlessly and explore – regularly! Observing and exploring are two very important skills in photography. In fact, I would almost say that if you don’t have time to spend exploring the location you are in, your final images will suffer. A good photograph needs good knowledge of an area and time for proper composition. A rushed photograph may look good in the end, but it might have been so much better if you had known more about what was in the area, what you could have included that you didn’t know about. In our local area we get to know our surroundings, we get to make decisions based on good local knowledge and we can get the best possible compositions each time we go out. Marlay Park, Rathfarnham, Co. Dublin You’ll discover things you didn’t know about your area – all part of the fun! This might not be entirely photography related, yet if we enjoy being in our own local area, seeing the potential and the opportunities it has to offer, then our photography can only gain from that. If our mindset about our local area is one of positivity, of seeing opportunities, of embracing abundance, then our photography will be richer and more productive. And the opposite will be true too. So go on, get out and about in your local area. Bring your camera, Or bring your phone. Wander, observe, experiment, make mistakes, learn, and above all, enjoy making your own unique images. Dun Laoghaire, Co. Dublin Sunrise, Ballinteer, Co. Dublin YOU MIGHT ALSO LIKE: Landscape Photography in the World's Most Boring Location In this YouTube video, landscape photographer, Thomas Heaton, agrees that some people who do landscape photography 'do not have access to dramatic, photogenic locations.' He sets himself the challenge of travelling over 10 miles of what he terms 'the most boring landscape on earth', making images and learning to see his local area in a new way.

While there is a wide range of subjects that I like to photograph, old buildings seem to take top spot on my list. I am always drawn to old period houses, castles, churches, and even to ruins of these buildings. As well as these more ancient buildings I also like to make images of abandoned houses, old sheds and buildings that may be falling into disrepair. Marlay House, an 18th-century historic house located in Marlay Park and Demesne, Dublin, Ireland Small Church of Ireland church in rural County Leitrim, Ireland Old farm buildings like these are dotted around Ireland, many are still in use Traditional thatched cottage. Kilmore Quay, Co. Wexford, Ireland Urban decay, Portugal My reason for being drawn to these subjects is that I am intrigued by their history and the stories they can tell. Old buildings have character and detail; they hold so much history and heritage of the people who lived and worked under their roofs and those whose lives intertwined with the inhabitants of the buildings. They bring us back to a former time when life was different, yet they stand as connections to that time that may soon be lost forever. Recently I have undertaken some photography projects involving old buildings of different types that are situated in a variety of places from rural to urban. These buildings are very different in their structure and use yet they each tell a unique story of past times, of the people who dwelled there, of their lives and communities. Some Suggestions for Photographing Old and Historic Buildings I am by no means accomplished at this type of photography so I don’t intend to give expert tips, but photographing old buildings has helped to improve my composition skills and to learn the fundamentals of architectural photography so I can share what I have learned. For most of the buildings I am drawn to I like to spend some time walking around, observing details and surroundings. I usually make at least three images showing the subject from different perspectives, or a combination of wide and detailed shots, though if it is a subject of particular interest I will spend more time and try to get creative with my compositions to best tell the story of the building. Some of the compositional techniques that can be employed are the use of leading lines, framing, symmetry, use of foreground and consideration of where to position the subject in the frame. FENAGH ABBEY, CO. LEITRIM On this occasion my attention was drawn to this old abbey set on a small hilltop. I stopped and read some details provided, which told me that it is an ancient Monastic settlement that dates back to the 6 th Century. The original structure was built in the Early Christian period in Ireland and it has been renovated and modified over the centuries, which is reflected in its range of architectural styles. The abbey was a place of worship, education and gathering for the monks who lived there and for the local community, and it helped to spread Christianity throughout Ireland. While its religious significance will be of interest to some, my interest is in the historical relevance of the abbey as its monks produced many scholarly manuscripts which made a rich contribution to the culture and heritage of the region. My first visit on this occasion was on a wet, overcast day. I was passing on my way to another location and was so fascinated by this structure which came into view that I had to stop and get my camera out. Unfortunately, although I did have some foreboding clouds, the absence of good light meant that I could not get the best possible images, so I decided to stop again on my return if the weather was more amenable. The images below give a brief flavour of the abbey and its surroundings. Is there a particular subject that you feel drawn to?

In a recent post I explained why I feel that I need to adopt a daily photography approach. It's something that I have been considering for some time, but a few things have helped me make up my mind. Recently I made a train journey to meet some old friends. I was travelling to a location that was relatively new to me, and I thought there may be some photo opportunities. However, since my trip involved some walking I simply carried what I needed – wallet, keys, phone and one or two other bits and pieces that live in my bag. I reckoned that my phone would be perfectly ok to take any photos I needed. Big mistake! I took a few pictures but wasn’t happy with them. The whole experience felt rushed and not at all like photography. I didn’t have much interest in looking at them when I returned home, and, unlike those on a camera memory card, they are now buried among photos of a family function and my dog! I regretted not having a proper camera with me. My photographer’s eye picked out lots of potential images but without a camera I didn’t feel that they were worth pursuing. This is just one recent occasion when I have realized the potential benefits of having an everyday carry camera, one that’s with me all the time. There have been many other similar occasions. What are the benefits of an everyday camera? Many photographers have embraced the idea of the everyday camera, sometimes called an everyday carry (EDC). The approach of having a camera with you all the time, instead of relying on a phone camera, is gaining momentum among photographers on YouTube. The everyday camera idea, and the tangible benefits it brings, were very well outlined in a recent YouTube video from photographer and filmmaker Rick Bebbington. Rick had been primarily a landscape photographer, photographing amazing landscapes at sunrise and sunset, and visiting iconic locations to do photography. He was able to capture some of the world’s most epic vistas in beautiful light, yet he noticed that by concentrating solely on this type of landscape photography, the number of photographs he was taking was declining. As a result, he began to question his worth as a photographer, saying that he regularly experienced ‘imposter syndrome’. An unexpected few hours free time on a stopover to Antarctica changed Rick’s mindset and subsequently his approach to photography. He began to embrace the idea of photographing the moments in between , those moments that often go un-noticed but that can offer the simple joy of making pictures. Rick embraced the idea of the everyday carry camera and now constantly takes his camera wherever he goes. Since he began to photograph ‘the moments in between’ the number of photographs he takes has increased greatly, and he has rediscovered his love for photography. Check out Rick’s interesting and inspirational video here. Rick Bebbington is one of the many photographers who are encouraging people to add an everyday carry camera to their photography workflow, and they cite the many benefits of doing so. ·      An everyday carry camera gives you numerous opportunities to practise your skills. The final images don’t have to be perfect, or even shown to anyone else, but they allow you to get to know your camera well, to experiment with composition, to observe the type of subjects you are drawn to, and to understand light and how it affects your images. The more often you are out with your camera capturing images, the better you’ll become at photography. Also, the more images you make, the more likely you are to get some you like. As photographer Gareth Danks puts it, ‘The more you shoot, the more you’ll score’. ·      An everyday carry camera gives you the tactile, real photography feeling that many believe is missing from phone camera photography. You hold a camera differently, use physical buttons, and you can adjust your settings in a tangible way to get the effect you want. ·      Having a camera always with you encourages you to become an observer of life, always at the ready to capture interesting subjects, quirky scenes, and amazing light. While we may have a phone camera to do this, I believe that there is a different feeling, a different vibe, to having a dedicated camera at hand. It gives you the impetus to be on the alert for potential subjects in a way that a ‘taken for granted’ phone in our pocket doesn’t do. ·      An everyday carry camera helps you to become more observant; it helps you to notice little details that you don’t ordinarily notice and to become more adventurous with your subject choices. ·      An everyday camera encourages you to experiment and to get more creative, knowing that your photos can be just for you. On my morning walk I noticed how the light was creating beautiful patterns through the perspex of the bus shelter. I waited for a person to walk into the light and took the shot. These are the types of unusual images I like to create when the right conditions present themselves, but I need to have a camera at the ready to capture them. Sometimes two of the elements essential for a good photograph - interesting subject and great light - can't be summoned together on demand. They often appear randomly and that is why it is important to have a camera at the ready. Why not just use your phone? I have been using my phone as my everyday camera for some time. Whenever I update, I look for the best phone camera option. While it is good for casual snapshots, I have had several issues with having my phone double as a camera for more serious photography. ·      It obviously doesn’t give that ‘real camera’ experience, the feel of a camera in my hand, the physical buttons, the satisfying 'click' , which I really do love. ·      The photographs are often over-saturated and don’t give that unique ‘out of camera’ look. Additionally, you have very little real control over the final outcome with so much in-phone processing and an increasingly AI driven photography experience. ·      My phone has many uses and adding photography on a more frequent, rather than simply casual, basis greatly increases battery usage. My phone camera will always be my camera of choice for casual photos of family and friends, mainly because most people want to see the photos immediately and share them instantly. It will also be a good backup option on many occasions, but to enhance my photography practice I want to embrace the benefits of a dedicated everyday camera. My phone camera has often been there when I had no other camera with me and I was glad to be able to get the shot I wanted. What are the options? I have researched the many and varied options that might serve as a suitable everyday carry camera. They range from top-of-the-range compact cameras such as the Ricoh GR and Leica series cameras, which come with a premium price tag, to the Sony and Canon slightly lower spec (but not by much!) compacts, to the vast Panasonic range of cameras offering different features for different needs. There are countless other brands on the market also, some with good image quality, some not so good. If you have certain requirements in mind, such as having a viewfinder, a tilting or touch screen, good battery life, genuinely pocketable, large zoom range, it can be hard to find all in the same camera at a reasonable price but you’ll usually be able to reach a compromise. If you prefer to go the interchangeable-lens camera route, there are also options available although they may have older technology or be slightly bigger when you attach a lens. This may or may not be a deal breaker for you. Personally, I don’t mind making some compromises to get a camera that I want to come to love as my daily photography companion, so a more 'vintage' camera appeals to me. As I said, I have done extensive research and what I conclude is that it is a bit of a minefield!! Having said that, I have shortlisted to a few options and will soon opt for the best compromise in features, price and pocketability to suit my needs. Do you need an everyday carry camera? Not everyone will need, want or use an everyday camera. Many will be content to use their larger camera and lenses, do photography at designated times and opt for bigger sensor image quality while being happy to use their smartphone camera to cover those in-between moments. But if you have become dis-satisfied with your phone camera and you would like to take many more photographs than you are currently taking, an everyday carry may be for you. An everyday carry will be of benefit if: You want a ‘real camera’ experience rather than that given by your smartphone. You want to document life as it happens, daily, capturing even tiny details that reveal themselves to you. You enjoy your dedicated photo shoots with your ‘big’ camera, but you want more – more time with your camera, more practise, more images, more fun with your photography. You want to find those images that you currently miss; the little details, the things that go unnoticed, the beauty in everyday things just waiting to be revealed. Postscript The Verdict After many hours of research, deliberating, changing my mind and being unsure about ever finding the everyday camera that would tick all my boxes, I eventually made my decision. I rejected the Ricoh and Leica cameras purely on the grounds of cost, as they would both be great cameras to have. Some of the cameras I looked at were very small and compact and they weren't exactly a substitute for my current set-up. My fear was that I wouldn't see much improvement over my phone camera. I was veering towards the Lumix L15/10 as it seemed to suit my needs, but I couldn't find one for sale, either new or used. I finally settled on the Panasonic Lumix GX7 and the Panasonic 20mm f1.7 pancake lens, both bought used from MPB. The GX7 is an old camera, but for an everyday camera it's the images and the fun of taking pictures that I want to concentrate on, so I don't need or want the latest technology. It is light, it gets good reviews from those who use it, and although no-one claims that it is a perfect camera it sounds like it could be an interesting and fun camera to get to know and use daily. The 20mm f1.7 lens may not be perfect either, but it has character and I like that. Jimmy West says it is, 'light, simple and a little bit soulful'. I like the sound of that. I also like taking advice from those who give a balanced view, stating the pros and cons of the item, and I feel that I can live with this lens's limited flaws. You can watch Jimmy West's assessment of the lens here https://youtu.be/cUhNMQtXbKU?si=CUXf4h5zc2PP74rN Apart from the small size and unique character of the 20mm f1.7 lens, part of the reasoning for my choice was that 20mm on micro four thirds is equivalent to 40mm full frame, a standard view to cope with all types of photography, yet I won’t be confined to that if I want to use my 14-42mm pancake, my 25mm f1.8, or any other focal length in the M43 system. Yes, a compact camera might have given me a good zoom option, but I think that since I already have some micro four thirds’ lenses this might be the most versatile and budget friendly decision. Here are some starter pictures taken in my local park with my new camera and lens. I'm still in learner mode!   As I get to know the camera I will be able to make adjustments to settings but for now I'm in experimentation mode and just enjoying the everyday camera experience.

I normally take one of two approaches to photography. Sometimes I go out with no plan; just my camera, a lens or two, and a decision to just photograph whatever catches my eye. That could be an interesting, unusual or particularly striking subject, it could be the way in which light illuminates a building or an alleyway or even a person, or it could be the way in which a pleasing composition suddenly reveals itself to me. This type of photography is often challenging, surprising and exciting as you don’t know what you’ll end up with, if anything. The second approach I take is when I photograph with intention. I know where I want to go and why, and what I hope to find there in terms of photo opportunities. This approach can still be frustrating as my expectations might be high, but it does give me a base from which to start. On some days I will photograph in a familiar location but look more deeply for new images. On some days I will go out with the intention of doing macro photography. On other occasions it will be a visit to a coastal area with a plan in mind for the type of image I want to capture there. Having a theme in mind, an ongoing project, or a simple topic can also provide the intention I need for my photography. My plan may be based on either location or subject matter but when I go out with intention, I will have a broad idea of the type of images I would like to come home with. Yet there can't be clear lines of distinction between randomness and intentionality in photography. Often there is crossover, or it is a balance between the two approaches that works best. I recently put together a set of images where I used a combination of the two approaches. My intention was to produce images based on the title Morning in Vila Real de Santo Antonio. I wanted to showcase mornings in this Portuguese town that I frequently visit. I wanted to show the place, the people, the moments. I wanted to photograph at different locations in the city and at different times of year. Yet, I couldn’t plan what I would see, what each morning would reveal, so I went out each day with no guarantee of what the day would bring, and often the results were random scenes or subjects that I happened to be drawn to. I have chosen 25 images that I have put together as a photo story, or photo essay, that I hope illustrates the theme.

Although I got my first camera at around age ten, I didn’t persevere with photography and over the intervening years I made several attempts to get back to this wonderful pastime, some of them short-lived. I have been taking photography seriously now for almost seven years and have amassed a catalogue of thousands of images. I have charted my progress here in this blog, covering all the different types of photography that I have tried out over the last seven years, and I have noted my successes and failures in each genre. However, even though I realise that photography is a lifelong process of learning, I found over recent months that the joy of photography began to lessen for me. I constantly felt that I wasn’t making any progress and that most of my images were no good. I felt that I had become obsessed with gaining technical perfection. I wanted to follow all the rules so that my images would look good to those who knew about photography, yet when I looked back at most of my images I felt nothing. Then I heard a remark from a photographer on YouTube that went something along these lines: It’s important to photograph what you want to photograph, not to be swayed by the opinions of others or to post images to gain likes. Be the photographer who sees what others don’t see and enjoy the process of doing what you love. This gave me a lot of food for thought and I began to realise that this was the direction I wanted to take. I wanted to make images for myself, to photograph things that attracted me, to find out about the things that interested me and inspired me to take their picture. Now when I go out, I feel like a photographer. Even if I don’t have a camera with me, I am constantly observing, looking at little details, studying light, composing pictures in my head. I experience the joy of being involved in a creative process. I no longer crave technical perfection; rather, I aim for creative development. Now I take images for myself. I take fewer images but I like the ones I keep. Part of myself is invested in them. I have an emotional connection to them that I didn’t have to most of my earlier images – with a few exceptions. Now, I like to look at my own images. I like to see why they appeal to me and understand my connection to them. This gives my photography more purpose, more meaning and more joy. My images may appeal to you, or they may not. But they are real. In some way these subjects or scenes spoke to me and inspired me to spend time over them, considering how best to compose them, how to position them in the frame, and how to edit them to convey most accurately what I saw in the field. Below are some of my recent images that illustrate this new direction. Many of them are not 'pretty' images, and they will not be popular on social media, but I do feel emotionally connected to them and, to me, they have a story to tell. Photographing in this way has renewed the joy in photography for me. The camera or lens is not so important; it’s the photographer’s eye that makes the image. This knowledge gives me great freedom to be myself, to be content with my current photography gear, to photograph the things I want to photograph and to grow creatively as a photographer. A bonus to taking this direction in photography is that I seem to be directed to other photographers with a similar outlook and approach. This video from photographer Aristeidis Sfakianos called, I Stopped Taking Nice Photos - My Photography Improved,  popped up just as I was finishing this post. My attention was drawn to the title, and the content resonates with me and seems to echo what I am saying. You might like to watch it here .

Bray is a popular seaside town in County Wicklow on the east coast of Ireland, about 20km south of Dublin city centre. Bray was planned as a resort town in the 19th century when the Dublin railway was extended, modelled on the resort towns of the English coast such as Brighton. It is characterised by its Victorian Promenade with numerous English-style bandstands and beach huts, extending to Bray Head, a popular headland of the WIcklow mountains. Although Bray is no longer the tourist location that it once was, it is still popular with day trippers, local walkers, families and visitors and it has many attractions to offer. Bray coastline offers many opportunities for coastal photography but on this occasion I concentrated on the seafront, which presented some opportunities for candid photography as well as a view of what Bray has to offer. See below for other locations that I visited for my Capturing Moments series.

Do you ever wonder what it is that draws you to take a certain photograph? I constantly ponder this question when I look at some recent photos and see that I can be drawn to the beauty of a tiny flower in macro photography yet equally drawn to photograph old buildings or random objects that don’t initially appear to have much photographic appeal. So, what is it that  inspires me to take these photographs? Often, I seem to be drawn to finding beauty in the mundane as well as photographing obvious beauty. I like to document everyday life, look for ‘hints of human life’, as photographer Sean Tucker puts it, and document this. I love to notice little things that others pass by. I am drawn to telling stories through photography and to finding these narratives in ordinary, everyday places and things. I think there is so much of interest to reveal from the small things we hardly notice unless we look closely. Anthony Epes talks of finding, ‘Leftovers of a human story that no-one meant to tell,’ and I like to take the opportunity to tell these stories. When I photograph these scenes and subjects they often invoke strong emotions. They might invoke a sense of loneliness and sadness at the reality of life for some people, or maybe a feeling of joy, of celebration, of togetherness as I photograph an empty dining area waiting for a group of happy customers to take their seats and enjoy a meal together. In this instance I can speculate on who might be there, what their conversations will be, whether they will enjoy their evening. A simple potential story inspired by one photograph. Occasionally a scene or potential subject may spark anger at how careless we have become with our beautiful planet, particularly when I see the amount of litter and rubbish that we humans discard. Apart from the emotional, and often sub-conscious, draw of certain subjects and scenes, at times it is a more practical, photographic reason that I am attracted to certain subjects. It might be because they offer an opportunity to use a framing technique or because there is particularly good light. Sometimes shapes, patterns, lines and textures will draw me to a subject, while I am also attracted by a scene with complimentary or contrasting colours. There are also certain subjects, such as boats and lighthouses, that I am drawn to wherever I find them. And then sometimes I can’t put into words what it is that draws me to a subject. This is when I just allow the photograph to speak for itself, I don’t need words or to know why I was drawn to it. Often, it’s these photographs, the ones I can’t explain, that interest me the most. Do you know what draws you to take a photograph? It might be a beautiful scene or something unusual you come across, or it might be something else entirely, something unique to you. I think it’s worth considering what it is that draws you to take a photograph, to discover the hidden inspirations behind the images you create. I believe that knowing the ‘why’ gives you a closer connection to your photography; it gives you a sense of having your own unique view of the world and some understanding of how you interpret and present that view through your photography. Why not take some time to discover what inspires your photography?

I recently made a photography trip to Sandymount, a coastal suburb in Dublin, Ireland. Sandymount Strand has a 2.5km promenade and an extensive beach set along Dublin Bay, while Sandymount village is set back from the coast. One of the most famous landmarks along the Dublin coastline is the former Poolbeg Generating Station, which is home to two chimneys, affectionately known locally as the Poolbeg Stacks. These chimneys are among the tallest structures in Ireland and can be seen all over Dublin city. On the morning I visited the tide was out and I seized the opportunity to get a close-up image of the stacks, as well as trying to get some more unique angles and perspectives. The weather was variable and the bright sunlight quickly gave way to dark, moody skies. I also took some images of buildings facing the promenade and activity on a quiet morning on the popular strand. The Poolbeg Stacks Sandymount Strand Views From the Strand I have some images from other local places in my Capturing Moments series, linked below.

When we travel to new or different places there can be a temptation to try and photograph iconic landmarks or look for well known 'honeypot' locations. I know that I used to do just that and I felt that, with these particular shots to take home, I had indeed captured the essence of the places I visited. As I continue further into my photography journey, my opinion on iconic landmarks has changed and I no longer line up with dozens of other photographers to capture iconic vistas, beautiful as they may be. I still want to capture the essence of a location, but I like to find other ways to do this. I have previously written some posts on this topic, which are linked below, but in this post I want to explore this theme of 'essence of place' in a deeper way. Over the last year or so my approach to photography has evolved, thanks in part to inspiration from other photographers whom I admire, but also because of a sense that more intimate, personal photography appeals to me more than images of places that I see on a fleeting visit and with which I have not established a connection. 'Connection' has become important in my photography and it was with that in mind that I brought my camera and one lens on a recent trip to Portugal. My trip was taking me to two Portuguese locations, one that I had not previously visited and one with which I was familiar. In the 'new' location I was tempted by the famous sea stacks, the amazing sunsets and sunrises, the stunning cliffs and beautiful beaches. I was still happy to capture these images, but my photography took me further into the locations, to see what the locals see, to observe scenes that may be fleeting, to notice human interaction with the environment and signs of human influence on the environment even when no people were present. One of my main discoveries was that the best time to do this type of photography is early morning. I went out each morning between 7.30am and 9am. The sun was shining and producing lovely long shadows, perfect for my kind of photography. Street cleaners were working getting the town ready for the coming day. Street vendors were setting out their stalls. Workers were starting to make their way to their jobs, although some stopped for a chat along the way, and the early coffee drinkers were already having their first cup of the day. I enjoyed observing the daily routines of the local people, the morning environment, sometimes with signs of the night before, and the sense of a new beginning that the day brings. I tried to get a feel for the place, a sense of what it's like to live there. I observed interactions between people and the everyday happenings that give this place its unique character. My images taken on this trip will stay in my memory, not because I took photographs of famous places or even beautiful scenes, but because they meant something to me. They are a documentation of my mornings, of the place I was staying in, of the people whose space I was sharing for a short while, of the activities that were going on there and of the signs of human existence even without people in the photographs. I recommend trying this type of photography. It gives a more intimate connection with a place than 'honeypot' images, a more unique collection of pictures to bring home and a real sense of connection to your own photography, which for me is a very important aspect of any photography outing. It also has the added advantage of knowing that there is always something new and interesting to photograph, so your photography never becomes stale or boring, and these photographs are literally on your doorstep wherever you are. I hope I have inspired you to try some more intimate, personal photography. There are some photographers whose work may inspire you further. I particularly like this video from Rick Bebbington in which he discusses this approach. You can view it here .

I enjoy watching photography based YouTube videos and, like many others, I am more influenced by certain photographers than by others. Often, I will watch occasional videos by certain photographers depending on the topic, sometimes I will watch videos based on the photography genre and many times I will watch videos by photographers whose whole approach appeals to me. These will be photographers who have built a good relationship with their audience, who obviously put time and effort into producing their content and whose images I enjoy seeing. These are the photographers from whom I get the most inspiration. One such photographer is James Popsys. His style of photography – a mix of landscape, street and general photography – appeals to me, while his humour, his general approach to photography and his way of delivering his content resonates with me.   Five elements of James Popsys’ photography stand out in particular. These are: ·      The relationship between the human-made and the natural environment which is conveyed through his photography. ·      His editing style – his images are usually brightly edited; images that are ‘bright and lively’, to quote himself. ·      His preference for scenes that look as though he has just stumbled across them, rather than the usual ‘iconic images’. ·      His constant advice to photographers to take photos that are ‘about’ things rather than ‘of’ things; to consider the story that the image tells. ·      His dislike of rules in photography. During his videos James gives plenty of good advice and tips for novice photographers in a humorous, personable style. While my editing style may be different to that of an accomplished photographer such as James Popsys, I have taken inspiration from his style of imagery, particularly since I like to take a walk with my camera and shoot subjects that I stumble across. I am also a fan of including human-made subjects alongside natural subjects and of documenting the impact and imprint that we humans leave on the land we inhabit. FINAL THOUGHTS Although the locations and subject matter, as well as the photographic competence, are different, the images above have, to some extent, been inspired by James Popsys. They include scenes I stumbled across during my daily photo walk, scenes or subjects that are ‘about’ something, that attempt to tell a story, and scenes in which human-made and natural elements exist together. If you are interested in this type of photography, or would like some more information on the work of James Popsys, you can find him on YouTube, on instagram @jamespopsys, and on his website www.jamespopsys.com .

I love to experiment with photography, and I have tried most genres at this stage. There are two things that I need to keep in mind if I don’t want to allow my photography to get stale. One is to take photographs as much as possible and the other is to stay open to new approaches. In fact, these are interconnected as failing to take on something new could mean that I get bored and stop going out with my camera; while taking on new approaches is a way to guard against staleness in photography, and it keeps me going out with my camera. From time to time I find that I need to re-invigorate my photography by trying something completely different. My latest approach is to embrace something that I heard from a photographer called Greg Howard , on his YouTube channel Distant Media Photography , and that is to keep surprising yourself with your photography. This might sound interesting but what does it mean in practice? If I look at my regular photography outings they involve a lot of woodland photography, macro photography and some street photography. But these easily become repetitive. I love to capture beautiful macro images with interesting bokeh but after a while I realize I have all the images I need for now and I need a break from these types of images. There’s no surprise element; it’s just a matter of trying to perfect a technique. It’s the same with woodland photography. I have so many images with different compositions that I struggle to find anything new. In street photography, a difficult genre at the best of times, I constantly go out and come home with nothing worthwhile. This is where my new approach comes in. It involves just going out with my camera (handheld and just one lens), with no plan, no agenda, and being prepared to be surprised. It means having no pre-conceived ideas about what to photograph; just walking and observing all around me. It means strolling in towns and villages, along country roads, up and down streets and side roads, going to places that are out of the way - hidden corners and parts of the world that are less photographed – and just photographing whatever catches my eye. The idea is to come home with a set of photos that I will be surprised by and among them I hope I’ll find something I really like. Above all, these will be occasions just to enjoy my photography and to capture anything that draws my attention, even if it’s not something that anyone else would photograph. If you would like to re-invigorate your photography, or just try something new, why not give it a try – surprise yourself!

My apologies if this sounds like a click bait title. That is not my intention. I really believe that photography has become a superpower in my life. Read on to find out why. Since the beginning of this year, for various reasons, my photography has taken a bit of a back seat. I went from going out with my camera almost every day, rain or shine, to hardly ever getting out. While the reasons for this we’re genuine and couldn’t be avoided, I did miss my photography. Two weeks ago I decided to take a holiday to re-charge my batteries and get myself back on a familiar footing. I was looking forward to rest, relaxation, good food, sunshine and some sea swimming, but I also took my small Olympus E-M10 and one lens with me, just in case there would be an opportunity for some photography. I did enjoy the rest, relaxation, sea swimming, good food and warm temperatures, but it was the photography which made the holiday so memorable, and which renewed my energy and enthusiasm once more. I spent at least an hour each morning out and about with my camera, taking photographs that I wanted to take, and this is what helped me to leave behind the stress of the last few months. While the regular holiday activities have come to an end, and they have become almost a distant memory now, my re-connection with photography has endured and it is again providing the release from stress that I need on a daily basis. I can pinpoint a few reasons why this has happened and why I can call photography my superpower. ·      My photography experience was totally my own. I had at least an hour to myself each morning before my travelling companions surfaced for the day and I took the photographs that I wanted to take, not the regular snapshots that are usually part of holiday photography.   ·      I used one camera and one lens, and occasionally my phone camera, and was content with that. I didn’t regret the photos I might have missed, I just enjoyed taking the photo opportunities that were presented to me.   ·      Photography encouraged me to travel in a different direction each day, to explore, to discover new places and new things and to enjoy being off the beaten track rather than staying where tourists normally go.   ·      Above all, I looked forward to my morning photography time, I re-connected with my passion, and I experienced the joy of holding a camera and creating images purely for enjoyment, without any pressure. FINAL THOUGHTS I have always believed that photography is a great way to support our physical and mental health and wellbeing, and for this reason I can call photography a superpower in my life. (You might like to read my post How Does Photography Support Positive Living? ) Perhaps the main reason I re-discovered the superpower of photography on this holiday is because, although I left behind the sunshine and the warm sea, the interesting culture and the laid back lifestyle, I took my renewed connection to photography home with me and I know it will give me many hours of pleasure as I continue my photography journey wherever I may be.