Ever find yourself staring blankly out the window, a camera sitting idle nearby, and a nagging feeling of ‘what should I even shoot today?’ Yep, that’s photographer’s block, and it happens to the best of us.

Whether you’re a seasoned pro or just starting out, that creative slump can hit hard. One minute you’re brimming with ideas, the next you’re stuck in a rut, overthinking every possibility and talking yourself out of even picking up the camera. It’s like your creative energy has hit a brick wall, and even the most inspiring scenes outside your window seem…blah. Happens to me… a lot!

So how do we overcome it?

While the weather can certainly be a major factor in our photography plans (especially for those of us in notoriously unpredictable climates!), relying entirely on sunshine or storms can sometimes limit our creativity.

It’s easy to fall into the trap of thinking, ‘Oh, it’s raining, guess I can’t shoot today.’ But what if we saw those gray skies as an opportunity? Rainy days offer a unique mood and atmosphere, perfect for capturing reflections, dramatic light, and intimate portraits.

And even on those ‘perfect’ sunny days, stepping outside our comfort zones and challenging ourselves to find new perspectives can lead to unexpected and rewarding results. So, while the weather forecast might offer some guidance, let’s not let it dictate our creativity!”

Even when we’re eager to shoot, that nagging question lingers: ‘Where do I go?’ It’s easy to feel trapped by familiar surroundings, especially if we’re trying to avoid long journeys. The same old locations can lose their lust, and the thought of taking yet another photo of that same iconic landmark might feel like a waste of time and energy.

But here’s the secret. Even the most familiar places hold hidden gems waiting to be discovered. Instead of focusing on grand landscapes or popular tourist spots, try shifting your perspective. Explore the backstreets, look for intricate details, experiment with different angles and lenses. Challenge yourself to see your surroundings with fresh eyes.

Sometimes, the most unexpected and captivating photographs are found right under our noses.

My recent shoot

The other morning, I woke up to an unexpected sight. Brilliant sunshine streaming through my window. This was a delightful surprise, especially since the forecast had predicted a week of gloomy rain. It was one of those moments that makes you want to grab your camera and head straight out the door.

And that’s exactly what I did! With the sun shining brightly, I was immediately drawn to the idea of capturing strong contrasts. But as I started planning my route, a familiar feeling crept in. The sense of repetition, of revisiting the same old locations.

Determined to break out of my routine, I decided to try something different. Instead of focusing on the usual landmarks, I resolved to explore my local towns with a fresh perspective. And that’s when it hit me. why not look up?

To push myself even further, I loaded my Leica MP with a roll of ADOX HR-50, a film known for its fine grain and sharpness. But here’s the twist. I decided to shoot it at ISO 100 and extend the development time. Why? To amplify the contrast and create a truly dramatic look.

With my camera loaded and a vision in mind, I set out on my urban exploration. My mission. To find buildings bathed in sunlight, with deep shadows adding depth and intrigue. This simple constraint led me down unfamiliar paths and into hidden corners of my town, places I might never have noticed before.

As the afternoon sun descended, I followed its path, chasing the dramatic light and seeking out compositions that accentuated the contrast between light and shadow. By deliberately metering off the brightest areas of the buildings, I ensured that the shadows would fall into deep blacks, creating a striking visual effect.

All the time I was shooting I kept imagining I was going to frame three of my photographs as a collage on a wall in some swanky office or posh home. That helped me compose my shots.

Waiting for birds!

As I explored these sun-drenched streets, a new idea took hold. Wouldn’t it be amazing to capture a bird soaring through the frame, adding a sense of movement and life to these architectural compositions?

With this in mind, I found myself gazing skyward, camera poised, patiently waiting for the perfect avian cameo. Minutes ticked by as I stood there, neck stretched and crook, finger hovering over the shutter release. I’m sure I attracted some curious glances from passersby, but I was undeterred.

And then, it happened! A lone bird glided effortlessly through my frame. The most rewarding shots require patience, persistence, and a willingness to embrace the unexpected.

The Downside

I found there was only one downside to this project. The camera! Some scenes I was waiting ages in position for a bird to fly by which gave me a stiff neck after! Walking away from the shot rolling my neck in circular motions to loosen the stiffness. If I’m going to continue this as a project I feel I needed to change something. So the next day was another bright day but with less cloud! I went back out again early afternoon and chased the sun around a different town until it was so low it had stopped casting shadows.

I took with me a TLR camera. The Yashica MAT 124 G. And a roll of expired AGFA APX 100 from 2009 which had been in my fridge. This was a much better choice as I could hold the camera at waist level looking up! Unfortunately It was hard to find the birds to include in the photos. This town is more close to the sea so most of the seagulls are there.

The meter inside this camera works but there is no battery. So I used my Sekonic Meter in spot mode to take readings from the brightest part of the building. That would give me middle grey. So I took the reading and then over exposed by two stops. So if the meter read f22 I would shoot at F11. And it worked well. The APX didn’t give me that banging contrast that the ADOX HR50 did but still it’s hard.

And the old Bingo Hall and Cinema as I was walking back toward my car.

Conclusion

So from thinking that I had shot everything in my area I realised there is so much more that can be done if you just get out and go for a walk with a plan in mind. My plan was simple. Look up at old buildings that are in the sunlight with the hope a bird comes along. Then of course I had the choice of camera, lens and film. I found the 50mm lens to be best. Anything wider wouldn’t have had such impact I felt.

I think this will make for a good collection of prints so going forward I would like to try this in other areas. But they have to be of interest such as these old buildings. At least for me!

And keeping the thought in mind of the photographs being printed and behind glass helps me along the way with composition.

From the two afternoons I was out, the sun falls in the UK around 3:30PM. So I had a small window. I think earlier the sun would have been higher up in the sky. With it being lower I found I was able to find more interesting contrasts. I would get the same in the morning but by being in the afternoon you are literally racing against the clock following the sun casting its light on buildings before it goes down.