Picking up Outdoor Photography issue 316, I wasn’t just looking for beautiful images, I was searching for stories, for deeper emotional connections, for the kind of photography that lingers in your mind long after you close the magazine. What I found was a collection of photographers who, in their own ways, are all striving to capture something beyond the visual: a feeling, a memory, a fleeting moment of quiet truth.

The issue has Brad Carr’s soulful depictions of woodlands and lakes, a body of work that resonates deeply with me. His search for inner peace through photography reminds me why I’m drawn to the medium in the first place, not just to document, but to process, to explore, to understand something more profound about the world and myself and with me going on the big dog walk each day will have me looking at things around me differently. Damian Ward’s piece on finding serenity in the Chiltern woodlands follows a similar thread, reinforcing the idea that photography is as much about what we feel as what we see. These stories aren’t about grand, dramatic landscapes; they’re about the quiet, intimate moments that often go unnoticed. That, to me, is where the magic happens and the tones in the black and white images are spectacle.

Mood and atmosphere play a crucial role in how we experience a place, and Emily Endean’s evocative image of Corfe Castle shrouded in mist is a perfect example. There’s something about mist in photography that feels almost like time itself softening, blurring the edges between past and present. It’s a technique I’d love to experiment with more—capturing not just a location but the weight of history that lingers within it.

The wildlife section of the issue takes an approach that I really appreciate—shifting the focus away from the obvious. Ellie Rothnie makes the case for why smaller creatures deserve just as much attention as the more exotic ones. It’s an idea I’ve been thinking about a lot lately, especially as I try to refine my own photographic vision. It’s easy to chase the spectacular, but there’s something incredibly rewarding about finding beauty in the overlooked, in the details most people pass by without a second thought. James Roddie’s feature on ‘small in the frame’ wildlife photography builds on this, showing how wider compositions can create a stronger narrative by placing the subject within its environment. That interplay between subject and setting is something I’ve been working on in my own photography in a kind of minimalistic way trying to tell a story rather than just capture a single moment.

Maximilien Bozon’s low-key wildlife images from the Amazon caught my attention for a different reason. There’s something about the restraint of low-key photography that can feel more intimate, more immersive. It’s not about showing everything in perfect clarity, but about evoking a sense of place, a mood, a presence and the dark tone and feel to these images are just that.

Beyond the features, the learning section had a few pieces that stood out. Erik Malm’s article on Intentional Camera Movement (ICM) was particularly intriguing. ICM is something I’ve always been fascinated by, when done well, it transforms a photograph into something almost painterly, more about feeling than precision. It’s a technique I’d love to experiment with more, finding ways to use blur and movement to express emotion rather than just freezing a scene in time.

I also found myself drawn to the winning images from Close-up Photographer of the Year and International Garden Photographer of the Year. Even when the subject matter isn’t directly aligned with my own interests, I always appreciate seeing work that showcases strong artistic vision. Great photography, no matter the genre, has a way of making you pause, reconsider, and sometimes even shift your own approach.

Outdoor Photography balances its artistic focus with the practical side of the craft. There’s a gear section covering the latest accessories, from tunnel tents to tripods, and a locations guide that highlights six stunning landscapes worth visiting (even a couple up my way). While gear talk isn’t what draws me to these magazines, it’s always useful to see what’s out there. And as someone who enjoys exploring new places through my camera, the location guide offers plenty of inspiration for future shoots.

This issue reinforced something I’ve been thinking about a lot in my own work, the importance of seeing beyond the obvious. Whether it’s capturing mood in a landscape, finding significance in smaller subjects, or using creative techniques like ICM, photography is always about more than just pressing a shutter. It’s about intention, about perspective, about finding ways to translate what we feel into something visual.

With Outdoor Photography issue 317 out next month, I’ll definitely be keeping an eye out to see what new ideas and inspirations it brings, have added this magazine to my subscription.

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Regards

Alex