I recently came across a macro photograph of an anemone on social media - it was a shot of just the very centre of the flower, showing every detail, and the focus was absolutely spot on. One could say it was a perfect image. But was it, because for me, the image lacked something. It lacked soul and it lacked originality. And it made me question: what makes a good image - strong artistic skills or the artist’s soul?

If we look at the revered works of Vivian Maier and Henri Cartier their photos offer a connection with the subject, they capture a feeling, a moment. And there is many an image where their focus isn’t tack sharp, confirming for me that ‘it is the soul of the photographer which makes the photo’.

Velvet 56/ f5.6/ Peony Twins in Harmony

With my macro work I myself need to forge a relationship with the subject - sometimes I find true passion, such as with this sophisticated bud.

Velvet 56/ f5.6 / Class Act

At other times it’s a truly complicated stand off, as was the case with this parrot tulip

Velvet 56/ f2.8/ Parrot tulip

It took us several days before we developed a mutual respect. Some might question the idea of ‘connecting’ with a flower but, just as with friends and lovers, it’s a ‘feeling’, a creative and personal connection if you will!

When I am attracted to a flower I instinctively know how I want to capture its unique personality. It is very much like portrait photography - where are the subject’s best features? Which features should we minimise? What would be the optimum lighting for the desired outcome? What treatment best suits the subject’s personality?

Someone once said they could immediately identify my work. i can’t tell you how much this pleased me, because this confirmed that my work emanates from my soul! Which also means that some will love my work and others will be of a different opinion - but that’s like friendships isn’t it?

Sol 45 / f3.5 / Dizzy Lizzy

It is true to say that an adept photographer can create a good image with any camera, or nowadays even with a smartphone, but it can’t be denied that lenses and accessories can enhance and facilitate the process. I really enjoy choosing from my range of lenses and selecting the lens I feel is best suited to the image I aim to create. Sometimes I work with a couple of lenses to see where they take me. For me, it’s part of the fun. I can easily spend 60-90 minutes working with one single flower, experimenting with the subject’s position, the light, the lens and of course the aperture. It’s a process I enjoy immensely.

Sol 45/ f3.5 / Eucalyptus

When I’m asked to identify my favourite lens I hesitate, but that said, I have certainly noticed that a great many of my images are taken with the Lensbaby Sol 45. I enjoy being restricted by her fixed aperture of f3.5 and I love the effect afforded by the two blades whose variable position directly in front of the lens offers scope to suggest movement and/or texture as shown in the below images - provided the subject has a suitable background.

Sol 45/ f3.5/ Free Flow

Sol 45 / f3.5/ Nature’s Gift

Art for me, be it photography, theatre or music, should evoke a reaction - be it a positive or a negative reaction. To not evoke a reaction suggests that the art is without soul, without intent and conviction. Who wants their art to fall into this category? In summary, any reaction to my work is, for me, far better than no reaction!