Part 4 Lesson 3: nothing is original

"You don't make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved." - Ansel Adams

Of all the things the great Ansel Adams has said, this is head and shoulders above all the others my favourite. If you take nothing else away from A Year With My Camera, please remember this one.

Original vs Unique

One of the biggest stumbling blocks to overcome as a photographer is the feeling that it's all been done before, that you'll never create something new and original: What's the point?

Well, the point is that nothing is new; everything has been done before. All the photos have been taken. The landscapes, the viewpoints, the close ups, the portraits. Everything.

The only exception is when they invent something new. Drones gave us a new viewpoint, which was original for 5 minutes. The Big Stopper opened the door to all those seascapes where the sea is blurred into oblivion. Colour film was an advance on black and white.

So, new technology aside, you only have one idea to embrace this week: you're probably not going to have a completely original idea for a photograph, so stop trying. Instead, use your energy to make unique photographs. The idea you have might not be original, but the way you take the image will be unique to you, because no one else brings to the moment everything you have done, seen, read and experienced.

There must be millions of floral flatlays on Instagram. But why should that stop me having a go? It's fun.

What makes you unique?

Truly unique? How are you different to your best friend, your neighbour, the person next to you in the queue?

For this week's project, you are going to let go of the need to be entirely original, and instead embrace the unique qualities that you - and no one else - can bring to a particular photograph. Like Ansel Adams said, the books you have read, the people you have loved - these will be part of you. You will be drawn to a style of photography, an artist, music. No one else will love all the things you love. No one.

It can be tricky to translate what you know about yourself to your photography. But this is a "permission to take what you love" exercise, not a "force yourself into the next photograph you take or die trying" one.

This photograph is one of my all-time favourites. My client didn't want to use it because it's too messy, but it didn't stop me taking it in the first place. There is so much technically wrong with it, but it doesn't matter a bit - this is what I saw, what I felt. And a couple of years after I took it the Daily Telegraph used it in a feature which is validation of sorts. The point is - take what you love, not what other people expect you to take.

THIS WEEK'S PROJECT: permission to be unoriginal

Never again will you let the objection, "It's all been done before" stop you taking a photograph.

1. Remind yourself why you are different to everyone else. Write it down. (p.146 of the workbook if you're using it.)

2. Think about what subjects or style you are drawn to, and resolve to take more of that subject or in that style. Don't run away from subjects you like because you think they are easy - embrace your preferences.

3. How would your best friend, or someone close to you, describe you? Ask them to give you 3 words that come to mind when they think of you.

4. Now go out for the day to take photographs, and instead of trying to find new ideas or original photographs, aim to bring something of yourself to your images. What will you do that someone else might not? How can you show one of those 3 words in your final images? Take at least one image where you can say, "Yes, there's definitely something of me in that one."

If this homework still seems a bit abstract, have a think about how your personality might affect the following decisions you make:

1. Viewpoint

There are an infinite number of viewpoints surrounding a subject, each giving a different feel to the final image. You might prefer a dramatic or unusual viewpoint, or maybe a safe, static one. There's no right answer - this is where you stamp your personality on your image.

2. Composition

Do you prefer things neatly ordered, or chaotic? Will you line things up carefully, or (equally carefully maybe) make sure you've got a random effect? Perfectly symmetric or deliberately asymmetric? Frame full to bursting or minimalist?

3. Aperture

Do you find yourself always shooting wide open, or with front to back depth of field? Don't fight your preferences - use them deliberately. This homework is not one where you stretch yourself, it's one where you enjoy what you prefer.

4. Lens choice

Everyone has a go-to lens that they prefer. Maybe it's your 50mm or a telephoto. You might love the wide end of your range. Have a think about what that lens does that makes you reach for it first.

Don't forget your camera controls

Are you shooting on auto? Don't forget to take 5 or 10 minutes each week to try manual controls again. You don't want to forget everything you learnt in the first 6 weeks. This is a good week to run with your favourite aperture on aperture priority mode.

The AYWMC app

Did you know there’s an A Year With My Camera app for Apple and Android?