The "Same-Same" Syndrome
Every photographer, from the weekend hobbyist to the seasoned pro, eventually hits the wall. You know the feeling: it’s the same familiar streets, the same local park, the same camera body, and that one lens you’ve used a thousand times. Your inspiration feels tapped out, and without an audience cheering you on, it’s easy to let the gear gather dust on the shelf.
Most of us try to cure this by going for a "photo walk." There’s nothing wrong with that—wandering with a camera is a great way to clear your head, and sometimes you get lucky and stumble upon a masterpiece. But there is a massive difference between looking for something to shoot and shooting with intent.
Why a Project Changes Everything
If you want to truly sharpen your eye and discover layers of your talent you didn't know existed, try a personal project.
A project isn’t just a task; it’s a framework. While a walk is passive, a project is active. It hones your skills by forcing you to solve specific visual puzzles. It moves you past the "pretty picture" phase and into the "storytelling" phase.
The best part? A project can be absolutely anything you want it to be.
- It requires a start: A commitment to a theme, a color, a focal length, or a subject.
- It doesn't require an end: Some projects last a day, a weekend; others last a decade.
- You define the exit: Unless you set a specific "exit point"—like a 365-day challenge or a 20-image series—a project can simply evolve as you do.
By narrowing your focus, you actually expand your creativity. You stop looking at the "same old town" and start seeing the light, the textures, and the moments that were hiding in plain sight all along.
Living on an island it's not easy to just travel in the car and visit new places. Sometimes I feel as though I have photographed everything there is in the vicinity of where I live. I just have to open my mind to new things and find the new in the ordinary.
Ready to break the cycle? Here are a few project ideas to get your momentum back:
Street Walker
This technique is a personal favourite of mine. While I haven’t formally labeled it a 'project', it’s a strategy I constantly return to when I’m out on the streets. The concept is simple: I find a compelling background—perhaps a weathered, rusty warehouse or a sleek, reflective storefront —and I set the stage. Then, I wait.
Success here requires a healthy dose of patience and the willingness to linger until the right subject enters the frame. Take the shot above, for example: I had my composition locked in, and the moment this woman walked into view, everything clicked. I loved her style, and she fit the scene perfectly. It makes me wonder: could this be the one that makes the final cut for the collection?
The photograph above is exactly the same. I welcomed the highlights on the car, knew the composition I wanted and waited for someone to walk into the frame. Many people walked past before I took the photograph. These faded jeans and trainers I felt completed the scene.
Shy?
If street photography feels a bit intimidating due to shyness, don't let that stop you. There is a simple trick to staying 'invisible': as far as anyone else is concerned, you’re just interested in the architecture.
Here’s the secret: after you click the shutter, don't drop your camera. Keep it pressed to your eye even after the person has walked through the frame. If they look back, they won't think they were the subject; they’ll assume you’re just waiting for them to get out of the way so you can finally get that clean shot of the building behind them. It’s the perfect way to blend into the background.
Looking up
This is a project that has stayed with me for over a year now, and honestly, it’s my favorite fallback. We all have those days where we’re desperate to shoot but have absolutely no direction. On those days, I don't panic—I just look up.
The concept is simple, but the standards are high; I’ve taken hundreds of 'looking up' photos, yet only a handful have made the final cut. I find this works best on those crisp, bright days where the sun is high and the contrast is punishing. It turns the sky into a canvas and buildings into geometric shapes. It’s my go-to cure for 'photographer's block,' proving that even when you have no clue what to shoot, you can always find a new perspective if you just change your angle.
The photographs above are my perfect idea and will make it into my book eventually - if I finish the project! I'm just too fussy. But that's fine. I'm in no rush. They both represent looking up on a bright sunny day metering for the highlights and letting the shadows fall into the void.
But you don't need to look up as far as the eye can see. Even these telephone boxes are shown at an angle very few of us remember as a child. Giant telephone boxes from the viewpoint of a toddler.
Chasing Shadows
Many photographers view a cloudless, bright afternoon as a hindrance. If you’re shooting a wedding or an outdoor event, that harsh light is a nightmare—it creates squinting eyes and deep, unflattering shadows. But when you aren’t on a deadline for a client, those same "harsh" conditions become a playground.
Fundamentally, you can use high-contrast light to create incredibly compelling imagery. Instead of hiding in the shade, I’ve learned to seek out the sun. By leaning into the darkness of the shadows and the brilliance of the highlights, you can simplify a chaotic scene into a series of bold, graphic shapes.
What would your project be?
These are the projects I constantly return to whenever I have a few hours of free time and a lack of fresh ideas. I don’t set strict deadlines for myself; instead, I let the work breathe. Once I feel I’ve amassed a strong enough collection of negatives, my goal is to curate them into a physical book or a zine. There’s something special about seeing your work off the screen and on the page—not just to share with others, but as a permanent record of my own creative journey.
Of course, while I wait for those collections to grow, I share the highlights on social media to document the progress. To round things out, here are a few more project ideas that—much like the ones above—are designed to work in harmony with the weather.
- After the Rain
- Reflections
- Chasing Highlights (Contrast)
- Animals
- Textures / Distressed
- Available light at night
These are just some of the titles I could use to describe other areas of my work that could easily become a project. The titles speak for themselves and here are some photographs based upon them.
After the Rain
Reflections
Chasing Highlights (Looking for scenes of contrast)
Animals (Something I have been doing recently on Digital)
Textures / Distressed
Available light at night
The gear project
Another area I like to explore is what a certain camera or lens can do. I call it a "gear" project. It involves choosing a particular camera and a particular lens. This could be a more modern camera such as my Leica MP with a 50mm lens or my Zeiss Ikon Nettar 6x6 camera. You can then merge many subjects and the project becomes "What my Olympus saw". Something I started years ago with pinhole photography.
I've seen many brilliant gear projects especially those with hundred year old cameras. Fascinating.
Aperture/ Shutter Speed Project
As well as gear there is also the aperture/shutter speed project. This is where you challenge yourself to shoot a series of photographs of various subjects on a wide open aperture. To make this really shine try looking for a lens for your camera that opens up at least f/1.8. For a more interesting perspective try using a super fast f/1.4 or f/1.2 lens. If you think you have photographed everything in your local area that there is to find re-visit with a wide open aperture.
A photograph focused on the railings at f/1.2
Another option is using a slow shutter speed. Similar to finding interesting backgrounds and letting people walk into the frame. The same can be done using a tripod and a slower shutter speed for some motion in your photographs.
A photograph on a static background with a person walking past, 1/30th
The Finish Line
Bringing Your Project to Life
So, you’ve reached your exit point. You’ve curated your best photographs and your project feels complete—but what do you do with the results?
The Power of Print
In a digital world, nothing beats the feeling of a physical print. I highly recommend getting your project into a tangible format. Whether it’s a high-end glossy coffee table book, a sleek A4 hardback, or a more affordable DIY zine, seeing your work on paper is the ultimate reward. Even if you don’t plan on selling them, these books make incredible keepsakes or thoughtful gifts for friends and family.
There are countless online services that make the design process easy with drag-and-drop layouts. To keep costs low, zines and small softcover books are a popular and stylish choice. Just be sure to check the reviews of any printing company before you hit "order" to ensure the colour and paper quality meet your standards. Even black & white. You want those blacks and whites to represent the contrast you envisioned when you took the photograph.
Digital and Local Exposure
If you aren't ready for print, consider a "trickle release" on social media. Posting one shot every few days is a great way to share your story with the world while building a cohesive digital archive of your work.
For those who want to take it a step further, look into local art centers, libraries, or even independent coffee shops. Many are happy to host local photography, especially if the subject matter resonates with the community. While framing and printing for a gallery can be an investment, the beauty is that once the work is framed, you can move the exhibition to different venues. Don't forget to leave a stack of business cards nearby—you never know when a visitor might want to inquire about a print sale or a publication.
Project or not
At the end of the day, these ideas aren't just about "completion"—they are about momentum. They are a cure for that dreaded creative slump. If it’s a bright, harsh day and you’re feeling uninspired, you can jump right into your "Shadow Play" series. If the weather turns sour but you’ve got a free hour, you can pick up where you left off on your "After the Rain" project.
For me, these projects act as a constant reminder of what’s possible, regardless of the conditions. Whether or not I ever "finish" a project is secondary to the fact that it keeps the camera in my hand. The last thing I want is to go months without shooting because I was waiting for the "perfect" idea. I need my photography—and having these projects ready to go ensures I never have to take a break.