On Mill Pond

On Mill Pond, a photo by Andy Brown (mrbuk1) on Flickr.

Shot several weeks ago during an early morning trip with Keith Aggett, I should first apologise for the fact that several of you will have probably already seen Keith's version of this jetty - we shot it and an adjacent structure within minutes of each other, and... well, I can't deny it's a rather obvious composition! Previously, we'd spent a couple of hours chasing the promise of localised mist around several nearby familiar destinations, having abandoned our original plan to attempt some wooden boardwalks at Dawlish Warren - a subject that could work well providing any mist is heavy enough to obscure the backdrop. Naturally, on arriving we realised the mist was solely inland, hence our eventual trip to some fishing ponds where this little gem lies. Boardwalks we'd sought and boardwalks we found...

Head-on shots of jetties, piers, moorings and suchlike are increasingly commonplace, and to avoid the clichè I generally attempt to look for a novel or unique angle. Sometimes this approach really pays dividends, but I think it's important not to be afraid of the obvious - sometimes you just can't find an original take on an old subject. What then? Should you pack your camera away and move on in search of something new? Yes... and no. Each situation needs weighing on it's own merits, and while there are doubtless occasions when we all take shots that we know in our hearts will never come to fruition as a 'finished' image, equally there are times when the well trodden route is just so for a reason and leads to an end result.

I'm sure Keith and I weren't the first to shoot this jetty - nor the last by now, but despite the similarities between our shots and those of everyone before (and after!) us, no two interpretations will ever be quite the same. Photography isn't just about pointing a camera at something and pressing a button - no good photographs will be born of such an approach. Photography is about forming a relationship with your subject and making a connection with it; developing an empathy, appreciation and respect for whatever it was that drew your eye initially. Of course, I'm simplifying matters greatly as even this approach alone won't guarantee you fantastic results - but I'm positive it's a step in the right direction.

On a completely different note, if any of you happen to pick up the current Practical Photography magazine please keep an eye out for one of my older shots used in a feature on moody winter landscapes. I'm really pleased with this as it's the second time they've approached me, rather than the other way around!