Start with the Box!

Munchow_Tour

I often state that as creatives or artists—in whatever medium you are working—we should more often break the rules, not feel confined to conformed understanding; or as it is often expressed: be thinking outside of the box. At the same time, I acknowledge that those rules or all that which comes with traditional craftsmanship is there to help us learn and develop. It can be seen as accumulated wisdom (collected over centuries or even millenniums by artists before us) functioning as guidelines more than rules. Only when it starts to limit our creativity is all that accumulated knowledge becoming a limitation.

What I am trying to say is this: Before you can think out of the box, you have to start with a box.

We need to learn the basics of our craft. If you understand the traditional craftsmanship, that is—when speaking about photography—the technical aspect of handling the camera, understanding composition, having thorough knowledge about light’s influence on a photo, and being familiar with the visual language of photography; only then do you achieve full freedom to express your intentions with a photograph.

Some believe learning the traditional craftsmanship will limit their artistic voice. However, I do not agree to that perception. As I see it, knowing will only make you freer—as long as you do not let those old rules confine your creativity. It can actually—and most likely will—become a resource for expressing your artistic intent.

Yet, the result may well be an unliberated or constricted photographer, if he or she in a mechanical fashion attempt to reproduce a rigid, pre-established vision and in so doing is averting the possibility of seeing the unexpected—which I have just written enthusiastically about in various posts last week. This kind of restricted awareness can indeed impoverish a photographer’s vision and art. As Philippe L. Gross writes in his book Tao of Photography; “Imprisoned by the discriminatory mind, the photographer with constricted awareness is unable to appreciate the boundless visual richness of the world that lies beyond the filters and projections imposed by mental constructs. Only when the photographer can become free of the discriminatory mind can creative, unconstructed seeing occur.”

It may seem at first that Gross believes the box—to use this expression—is actually constricting the photographer. However, that is not his conclusion. The point—and my point, too—is not to throw this box of traditional understanding away, but use it as well as thinking beyond what the box contains. Thinking outside the box only becomes possible when you have a box in the first place.

In his book, Gross does not use expressions such as a box and thinking outside of the box, but uses the term Little Understanding for the traditional craftsmanship and Great Understanding for being open to the world—both inside and outside—and having an unconstructed awareness. Philippe Gross makes a point that to develop our true artistic voice we need both.

He writes; “General speaking, Little Understanding in camerawork represents the frame of mind that concentrates on techniques, sets goals, applies photographic rules, arranges a scene to fit a desired outcome, and attempts to gain control over the subject. Great Understanding, on the other hand, corresponds to the photographer’s ability to respond holistically and spontaneously to a scene without overtly interfering with the subject. Ultimately, the liberated photographer is a companion of both forms of understanding: to develop one’s artistic ability demands first fully knowing and then transcending techniques—seeing, feeling, and responding holistically to a photographic scene.”

In other words, mastery of the craft’s skill does not mean rejecting the thinking outside of the box. It simple means freedom from the belief that traditional craftsmanship is a reliable, necessary, and, not the least, an exclusive guide to artistry. The creative and free artist can make use of the box without being entangled by it.

I will not conceal the fact that photographers are biased about this, particularly when it comes to compositional rules. In The Essence of Photography Bruce Barnbaum writes that in his book he does “not discuss any rules for good composition. I avoid them because there are none. Every composition is unique, and following some concocted formula will not guarantee a good photograph. There are no formulas; there are no rules of composition. I strongly urge all photographers, beginning or experienced, to avoid any instruction that claims there are—it’s bogus.”

Not surprisingly after what I have written so far, I do not agree with Barnbaum (still, I do recommend the book; it is a very personal and insightful book about his photographic approach. I only disagree with him on this point). Well, there are no rules as such—of course. Nevertheless, painters for centuries and photographers for almost two have built upon each other an understanding of what works and what normally does not work in order to create a balanced composition that is best read by the eyes’ movements. Of course, that may not be your intention—which is just fine. But these ageless compositional rules—which I would rather regard as guidelines, because no one has to follow them, indeed—can be very helpful for particular beginners who try to come to grasp with creating a photo that somehow works compositionally. And of course, any time those guidelines can be broken, as I have always been encouraging.

However, and here I am in total agreement with Bruce Barnbaum, he writes: “You have to be flexible at all times, and you have to work with the situation you’re in, even if it’s not the one you wanted.” Yes, and I would like to add; use all of yourself in the process, whatever you have in the box and whatever you can find outside of it.

Seeing Beyond

Munchow_1717-067_E

                 Do you see the iguana?

The way we human beings have developed our seeing, that is to objectify and label everything around us, is unfortunately restricting us more than it is aiding us when we photograph. Because – as I wrote in my post Photographically Seeing a couple of weeks ago – the way our eyes see and the way the camera sees is quite different, we almost need to unlearn our regular way of seeing. Instead of for instance identifying a horse as a “HORSE”, that is a horse as an idea or a label, we need to pause our usual scanning with the eyes and rather discover the uniqueness of that particular horse. Objectifying is perfect for daily survival so that we can respond quickly to new situations occurring around us all the time, but not when you want to photograph beyond the obvious.

We will improve greatly as photographers if we can make ourselves see beyond the labels we have wired our brains to register. What instead of a dead, crooked and fallen trunk we can see an iguana climbing over it? Or see – and photograph – the most beautiful landscape in some clothes piled up on a drawer? What I am talking about is being imaginative and changing our usual perspective. When we were kids we had no problems seeing other realities in the world around us, seeing beyond the labels, we as grown-ups are so stuck with. We all delighted doing it when we were kids, pretending to see or seeing things invisible to others. Socialization, adaptation and communication, however, introduced a different agenda and began to mould perceptual conformity. Our reconstructing skills or imaginations – being able to see beyond the labels – were lost.

Open our minds beyond labels and beyond the obvious can open a whole new world for our photography. Derek Doeffinger, a photograph who has written a dozen books about photography, for instance, suggests that «instead of seeing the horseness of a horse, you might see it as a landscape – the prairie of its back rising into a mountainous neck. Or you may see it as a temple supported with four slender columns.»

Developing our receptiveness is a most effective way to avoid photographic clichés. When asked what he looks for in photographing, Michael Smith replied: «I am not looking for anything. I am just looking – trying to have a full an experience as possible. The point is to have a full experience –the photograph is just a bonus.»

In many ways I am talking about training the capacity to discover new ways of apprehending the world. Are you ready to see beyond seeing? Take a look at the photo beneath. How many different animals or other objects can you see in those rocks? .

Munchow_1717-093_E

Ten Years of Blogging

The first photo I posted on my blog June 9th 2011.

Between the previous post and this one, I could celebrate ten years of blogging. It’s been ten years full of fun and unforgettable exchanges between me and the blogger community—between you and me.

Over the years I have developed an outlet for thoughts about photography and more specifically creativity, which has been of enormous value for me—and hopefully for those who have followed me over the years, you included. I have learned and read about creativity to be able to write more comprehensively about the subject. Thus, these ten years have been a personal travel into enlightenment for myself.

Nevertheless, what has given me the greatest pleasure is the contacts, connections and new friendships I have developed with people from all over the world. Of course, that is what social media is all about—or out to be about. It’s been eye-opening and delightful to meet with people with different backgrounds, cultures and thoughts compare to where I come from. With you. To debate, disagree, reflect or learn from or with each other has been vastly expanding, both on a personal and on a cognitive level. Moreover, I have even met with fellow bloggers in person and cultivated new, personal friendship with people I would never have met if not for the blogging community.

My blogging has definitely developed over the years. Starting out ten years ago, I had no idea what I embarked upon. The first blog posts were not necessarily very refined or cohesive, but slowly I have found my style and signature as I have gained a better understand of blogging and what I want to write about. I threw myself in it with great enthusiasm. However, as with all things in life, the energy somewhat and slowly changed. I the beginning it was all about likes and getting responses, almost for any price, nowadays I am more concerned with the dialogue and expressing my heart’s content.

Naturally, blogging flows like waves on the sea. Sometimes, the vigour is high and aflame, at other times mellower and maybe even somewhat indifferent. It’s simply not possible to keep the passion burning bright and intense at all times. Nevertheless and looking back, I have immensely enjoyed being part of the blogging community.

In my first blog post from June 9th 2011, I wrote: “It is easier than ever to take photographs—or make photographs—at least when we speak in terms of technical achievements. At the same time, more technical options and possibilities have opened up for new approaches to the photographic expression. But despite the technical revolution in photography, the bottom line hasn’t changed. As photographers we still need to speak to our viewers, we still have to engage them with our pictures; we still need to express our innermost self to make the photographs interesting for others and we still need to be able to tell our story by a visual language – as has always been the case.”

That hasn’t changed. And it’s also true for blogging. As a blogger, I hope to be able to speak to you and other followers and be able to engage you in a continuing dialogue. Maybe for another ten years… Thus, paraphrasing my first blog post, maybe we can walk the new road that has opened up together. I would very much enjoy that.

A Double Edged Sword

Selvportrett

Don’t we all have to admit it; that we as photographers or creative persons of some form—at least to some extent—all crave for recognition, one way or another, whether we are professionals or pure amateurs? But don’t we all also know that recognition is a double edged sword? On one hand, yes, it’s nice to get recognized for the work we do, for our effort, but the flip side of the coin is when recognition becomes the driving force for our creativity. Then we stand to lose it, the uniqueness of our vision and expression.

What one day may lead to recognition is ignoring what makes us crave it. That’s the only way we can create from our heart. Without heart and without ourselves invested in our creative work, it only becomes an act of deceit and thus has no artistic or creative value.

What do we actually take for recognition? Money? Fame? Both—when talking about creativity—are black holes that easily destroy us and the uniqueness that sets us apart as artists. Being true to our inner artist may, if we are lucky, result in work that sells or gain recognition—but often not. If money determinates what is good art, neither Paul Gaugain nor Vincent van Gogh were artists worth our attention. But despite lack of recognition, fame and money in their time, they kept doing what they felt they were meant to do. Their creativity flourished and had to be expressed, it wasn’t depending upon recognition.

Only by doing what comes from inside of us, without second thoughts to money or fame, may we be true artists, be true to ourselves. It doesn’t matter if we are professionals or amateurs. Still the professional is often caught up in the money-game since after all he or she is making a living out of a creative field. Thus for them it’s even more important to protect their own integrity and their inner artist.

Often enough I may have to make my editors happy by doing what they want me to do, but still I try to bring my own vision into the equation. Sometimes it won’t work, but then I can always fall back on my own personal projects in which I only answer to myself. And even if amateurs don’t create for money, they can still fall into the trap of recognition and fame. We all want it—in one way or another, no?

As Julia Cameron writes in her book The Artist’s Way: «I must learn that as an artist my credibility lies with me, God, and my work. In other words, if I have a poem to write, I need to write that poem—whether it will sell or not. I need to create what wants to be created.»

The same goes for photographers. Our vision needs to be expressed, whether the pictures sell or not, whether they will bring us fame or not. The joy is really to feel how our vision—our true creativity—becomes reality, becomes expressed. That is the biggest fulfilment, the ultimate satisfaction. The creative process in itself is what makes it exciting. Let’s not confuse it with money or fame. Let’s not slip into the black whole of vanity.

Incubation Time

Last week I spoke with a photographer. She told me she had lost inspiration and hadn’t photographed for a long while—despite her love for photography. The frustration was radiating out of every word she spoke. She so wanted to find a way back to her muses.

Of course, I had no wonder cure for her ailment. I certainly couldn’t bring back the muses just like that. Nobody would, included herself. Nevertheless, I told her that any photographer, anyone doing creative work, experiences times of lapses when nothing seems to move forward, but rather the creative life comes to a standstill.

Creativity works in a flux. Sometimes we are on top of everything and creativity seems to ooze out of every pore. At other times, the head feels embalmed in cotton or some thick substance that keeps every creative thought out of reach.

It’s just the natural order of things.

The more we experience this lapse of creativity—and the regaining of it again after some time—the more we can accept the condition without panicking. In addition, what is just as important to realize, is that those dry spells are not only part of a natural flux, but in fact part of the creative process itself.

We may feel uninspired, but our subconscious is still working for us. It’s the natural way of replenishing our creative well. As photographers, and as any artist, we need to realize that we have to maintain a balance between what we take out of the well and the need to replenishing it. Sometimes we experience dry spells because we have drawn heavily on the creative well, even over-tapped it. It’s like overfishing a pond, it leaves us with diminished resources. We fish in vain, for the creative ideas we require. Our work dries up, we lose inspiration, and we wonder why, “just when it was going so well”.

Creativity needs replenishing. Sometimes because we have overfished the pond. Other times because we need the small fry to grow big before we want to catch it. The latter corresponds to a variation of replenishing: Creativity needs incubation time.

We do so by letting it all go, and letting the subconscious work its own mysterious ways. Suddenly it’s all back again, fresh and eager to express itself again. We can even help the process. By doing something totally different. Going for a walk. Visiting a gallery. Cooking. Go paragliding. You name it. Even sleep. Haven’t we all experienced, struggling with some Gordian knot, going to bed without having resolved the problem, only to wake up next morning—eureka—having found the solution.

It’s like on an overcast and raining day. It might feel disheartening and dark, but if you think about it, you know that the sun will eventually shine upon you again. It just needs some incubation time to burn the clouds away.

No Easy Way Around

I often get questions about photographic voice and how to create a signature style—not the least since I regularly teach a workshop called “Your Photographic Voice”. However, there is no easy answer to the question, simply because there isn’t a quick and simple solution to finding this unique way of expressing oneself, not as a photographer nor in any other art form.

The not so helpful answer is; it takes time to develop your own signature. Moreover, it’s not something you can sit down and figure out or construct. As a photographer, you need to find the signature style, rather than create it. Or let it find you. Nevertheless, there are things you can do to allow yourself the freedom to grow into your practice and find your way. Once you fully accept this freedom, originality follows almost inevitably.

So keep in mind, the way in which all artists discover their individuality takes time. In fact, you develop your voice through your whole career or life span as a photographer. It’s in constant development, and the longer you have been nurturing your art, the more distinctive your voice grows to be. If you are concerned with developing originality, first of all don’t think about been original. This is something I have addressed before. If you try to be original, the result will rather be contrived. Instead, don’t think about being original, but allow yourself the freedom to experiment, exploring as many different mediums, subject matters, and approaches as possible.

It is only through the process and practice that a photographer develop true originality, as he or she slides subconsciously into repetitive patterns that build upon one another and over time form natural habits. Originality is the accumulation of a series of these subconscious processes, that when seen as a whole are a representation of the originality inherent in each individual. Not two people are the same, and thus no two people’s work is the same. When one photographer—or artist—makes work that appears similar to another’s, it either isn’t as similar as it may appear, or someone isn’t being true to their own individuality.

To be true to your own individuality, you need to pursue your passions. It’s through passionate work you develop your voice. Passion is simply the foundation of any successful, personal expression. As such, I think that is the strongest advice to take to heart—literarily. Photograph what you are passionate about. Find themes and subject matters you really care about, not only photographically but personally.

Then make photographing these subjects personal, that is to say photograph what you know. Photograph close to home, physically or figuratively. For instance, photograph your family or photograph your friends. Many a renowned photograph has made a name for him- or herself by photographing their personal relationships, among others Sally Mann, Nan Goldin or Larry Clark, to mention a few.

What makes your photography stand out—over time—is showing the rest of us how your world looks like photographed. Tell us your story—in your photos. When you share your personal life, you share your life experience and your heartfelt revelations. Just remember, when I write personal, I don’t mean private. Nobody wants to pry into your private life, but sharing your personal experiences will make us curious and capture us. Through a personal approach, your photography will be able to touch others and make them learn more about life, in general.

The late photographer, Diane Arbus, once wrote: “The more personal you make it, the more universal it becomes”.

A final thought about how to pursue a personal, photographic voice or encourage this budding individuality is to take in as much art as possible, from as many different approaches as possible. And I don’t talk only about photography now, although if you are particularly interested in nature photography, for instance, open up yourself to other photographic approaches as well. If your only reference material is nature photography, it is easy to see how the work you make might quickly become a reworking of other nature photographs. When absorbing a vast array of different approaches to making, alas not only photographic approaches, some will filter their way into your work, distilled through the prism of your personality. So give yourself as much inspiration as possible, from as many varying sources as possible. Even seek out work that you dislike. It will refine your own signature.

Easter Ponderings

Easter is a special time for many Norwegians. Not so much for its religious significance, not at all in fact. Easter is when we seek up in the mountains, to go skiing and enjoy the last spell of winter. It’s one of our major holidays, and as such I think Norwegians are almost alone in the world to have institutionalized the whole week between the weekend of Palm Sunday and the Easter Weekend, included Easter Monday, as days off. That is 10 days of holidays in March or April—depending on when Easter falls in any given year.

For many Norwegians having a cabin in the mountains it what means to be Norwegian. Almost as their birthright. And part of that legacy is the pilgrimage up in the mountain during Eastern.

Certainly, plenty of Norwegian don’t own a cabin in the mountains. Some prefer one along the extensive coastline. And some don’t have a cabin at all. Me being one. I have never wanted the bonds and the limitations owning a cabin impose on you. I want the freedom to roam wherever I desire. Of course, it’s an economical question as well.

Even without my own cabin, I have sought out the high mountains during Easter, but then rather backpacking; sleeping in a tent, snow caves or public cabins or lodges spread out in the mountains. That is another special feature of Norway. An outdoor organization runs a network of cabins or huts all over the country. Some are run like lodges—with full board and lodging—but some are unattended, with only food you may use, stored in the cabins. The system is based on trust; that you leave payment for the lodging and the food that you use.

The alpine region of winter mountains can be quite weather prone. I remember one Easter, many, many years ago. A friend and I was captured by a full storm with heavy snowfall and strong winds. It lasted for almost a week. We dug a snow cave, and spent the next many days inside the cave. Safe, but pretty bored by the time the storm dwindled.

Despite both the danger and the nuisance of possibly bad weather during winter in the mountains, I have learned that waiting for good weather, will only make sure you never get going. In fact, I have discovered that defying foul weather often gives the strongest, most exquisite and most memorable experiences (at least as long as you play it safe). Not the least for a photographer. It’s in the moments of transitions between bad and good—or good and bad—that the mountain show off its best. Besides, I live in the part of the world where, if you wait for nice weather, you may wait for a long time.

And here comes what this is all leading up to: It’s exactly how inspiration and creativity works. You cannot wait for it to show up. You will have to go after it with a club, as the writer Jack London once said. Or as the American painter, artist and photographer put it: “Inspiration is for amateurs, the rest of us show up and get to work”.

Inspiration isn’t prone to show up when you need it—just like nice weather in the mountains isn’t. If you wait for it, you might wait a long time. Instead, get yourself properly dressed, to use the outdoor metaphor¸ and get going. Set yourself down in front of the computer or the drawing pad, or grab your camera and get outside. It might be hard work and rather unpleasant in the beginning, but suddenly everything changes. Suddenly, you find yourself in a magical moment, the light of inspiration spiriting you away, the flow of creative taking you to unknown places.

Enjoy Easter, whether you celebrate it or not. And enjoy being creative.

The photos in this post have been captured over several Easters.

Capture Unique Photos

In the first months of 2021, we have been blessed with some lovely winter here in Bergen, Norway, where I have been grounded for the last year. Blessed for those of us who like winter, that is. Right now and for the recent weeks, winter is receding, though, but it might still show up again for an occasionally appearance.

Of course, when winter showed up in its full splendour, I had to take advantage—photographically—of the snow, which suddenly adorned the city (contrary to what one should expect, we only irregularly have winter come for a visit).

While walking the snow-covered streets and photographing Bergen in winter garb, I came across another like-minded fellow photographer, who was out on the same errand. I noticed he was both capturing stills and shooting videos. Naturally, we ended up talking with each other.

It turned out he had only been photographing for little less than a year, but already had a Youtube channel up and running. About photography. He told me he was adamant about wanting to capture images that weren’t like anybody else’s. If he had already seen another photo of a scenery, he would go out of way’s length to find a different angle, something distinct. He wanted to capture unique images.

That is a worthy approach, something most of us aspire to. However, in retrospect I thought a little more about the desire to create original photos. You see, there is a danger. In wanting to be original, we might just end up been possessed by what is different, and instead of capturing something unique we end up with a result that is rather contrived. Maybe different, but most likely uninspiring.

We risk losing ourselves in the search for the different.

All good photos emerge from a personal engagement; they materialize through our hearts. In fact, that is all it takes. Yes, you still need to know you craft, understand the visual language, be able to use your camera, but to create captivating and compelling images; you need to become emotionally engaged with your subject. If you do, you don’t have to “look” for the different.

You are unique. Your person is exceptional. No one is like you. That’s where the creative uniqueness surface from. Be yourself, involve yourself, lose yourself in the process, and your photos will be yours, different from anyone else’s. The point is; everything has already been done, been photographed. However, nothing has been done with your eyes and through your emotional filter.

That is the secret to captivating, compelling—and unique photos.

Are We Making Things Better?

A couple of years ago, I came across a post written by the Canadian photographer David duChemin. He was telling about an episode when eating in restaurant in London, during which he happened to eavesdrop on a dialogue next to him. The conversation was between two tech guys. At some point, the discussion turned into whether their technology is helping people make better things, or make things better.

The distinction has philosophical, ethical as well as practical implications, as duChemin continues to elaborate on in his post.

Ever since I read his post, I have wanted to pick up on duChemnin’s pondering. Not the least, because this goes to the core of what I do as a photojournalist.

Of course, in my line of work, I want to capture better and more compelling images, but in the end, I also hope and wish that my stories may have a positive impact, one way or another. In fact, at least judging purely journalistically, without the latter, journalism becomes meaningless. The whole point is to inform in order for members of a society to be able to make informed decisions for necessary changes. That said, I have been in the business long enough to know that any single story of mine will not change the world in any direction. However, I believe—or at least hope—that every piece will add to better our combined knowledge so that over time it all together will lead to positive advancements.

Right now, for instance, I am working on a story about the impact of isolation. How do we cope with being isolated and how does seclusion affect us? The story will have a broad focus on various aspect of isolation. Of course, the idea springs out of the corona pandemic, which holds the world in its grip. Everywhere we are all affected and forced into various degrees of isolation. I will meet with students who have lost their social arenas because universities have been closed down, I will meet with elderly, who will not receive visits in order to protect them, but I will also meet with inmates, who are isolated independently of the pandemic. To the latter, I originally had set up to go to prison tomorrow, but this week newer and more severe restrictions have been imposed here where I live. In fact, my city has been completely locked down due to the new mutated strains of the virus, so I have become secluded myself.

Anyway, the point is, yes, I want to capture strong and compelling images, whether showing students, elderly or prisoners, but when push comes to shove, I hope the story will have some sort if impact, if only educationally.

And isn’t that the case for anyone photographing, or anyone involved in creative activities, no matter at what level? Of course, we want to improve and develop our skills so that we can make better photos (or things), but don’t we all hope that our images will have some positive impact? You want your image of a magnificent winter landscape to produce some kind of awe in the viewer, you want your photo of a newborn to touch others, and you want you art, whatever you create, to bring joy or enlightenment or amazement—at some level.

One doesn’t exclude the other. However, maybe we sometimes forget the question about making things better. Or at least becomes less aware of that side of the creative coin. As duChemin writes: “Does making this thing, whatever it is, make the world a better place? Does it add a little more light? Does it bring me joy as I make it? Does it help me ask (or answer) bigger questions? Does it contribute to the experience of being more fully human and alive?”

Let’s not be oblivious about that part of the equation. In fact, being aware of how to make things better, will help us make better things. Creativity is at the very core of what it means to be human. Nevertheless, the equation is reciprocal by nature. Pushing myself to make better things will most likely result in making things better.

New Year New Possibilities

We have turned a page. A new and fresh year has been born. And with that change follows hope and new energy. The year we have left behind, will be one to forget in silence, one with too many disappointments and setbacks, a year that knocked the world over and brought it to a standstill—at best. For many people it turned out to be a disastrous year.

We are still not in safe heaven, far from. The virus that came upon us last year, is still making havoc, in fact in many countries, is creating more mayhem than it has so far. Nevertheless, we are facing the prospect of better times again. Hope is back. As new vaccines are put in production and more people are being vaccinated, although it will take time, we are on the track to some normalcy again. Slowly by slowly we will get there.

Personally, I am going to embrace the new year with aspiration and anticipation, both creatively and socially. I believe in changes and that any demise, even a worldwide pandemic, can be used for positive changes. As the saying goes, what doesn’t break you makes you stronger. New possibilities will arise in 2021. I will be ready to grab them, and even instigate new opportunities as much as I can. The waiting is over.

I hope you reader is ready, too. To get going again, if only slowly, as the world gets back on its feet. One thing I hope to accomplish is to be of some sort of creative inspiration with this blog. The blog has always been about creativity, but this year I want to focus even more on the creative part of photography—after all my own craft.

As some of you have noticed, I slipped away from the blog sphere part of last autumn. I needed a break and also to find a new direction. Towards the end of the year, I was slowly getting back in to blogging again. However, I admit I didn’t reciprocate your visits. That is one of my goals for the new year, to visit your blogs again. It does take a lot of time to comment on other blogs, so I need to restrain myself a little, but I want to be more active again.

I wish you all the best for 2021. What plans do you have for the new year?