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The Photograph I Wish I’d Taken

Last week, while putting together the Friday roundup of my favourite photographs from the TPE tribe, one image stopped me in my tracks. It made me wish—deeply—that I’d been the one to take it.
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There are certain subjects I’ve always felt drawn to, and two of them are urban environments and industrial frameworks. So when I saw this photograph by Mark, it hit me hard. It’s exactly the kind of image I wish I could have created… and yet, in my heart of hearts, I know I probably wouldn’t have.

I love everything about it—the composition, the flatness of the image that somehow still feels deep, the simplicity of the idea, and the skill needed to truly see that idea and make it work. The lighting, the mood, the colours—everything just works beautifully for me.

And yet, even though I wish I had taken it, I probably never will. That raises a question for me: How should we respond to photographs we love but wouldn’t naturally take ourselves?

In photography, I think it’s common to look at a photo and say, “I’d love to make pictures like that.” However, if it doesn’t align with our internal compass—our photographic DNA—it won’t truly fit.

In my case, even though I’m drawn to the stillness and the strong verticals and horizontals in Mark’s image, I would probably feel the urge to add movement, tilt the lines, and make it feel more dynamic. To create a photo like this, I’d have to fight against the instincts that usually guide me.
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But that doesn’t mean I can’t appreciate it. It doesn’t mean I can’t learn from it.

To create this kind of photograph, I need to be a bit less reactive and incorporate more patience into my process. Honestly, I’m not sure that would feel natural to me.

Still, this image teaches me something: that strong, static elements can anchor a photograph, that the environment can be a framing device, and that simplicity can be powerful. And maybe—just maybe—I don’t always need to chase a subject like a moth to a flame. Perhaps I can approach more slowly, with a little more awareness and observation, and discover something equally beautiful.

So let me ask you:
​What’s a photograph you wish you’d taken?​
Think about why it moves you—and if you’re willing, share it with the TPE tribe. You’ll find a host of other photographers eager to explore these questions with you.

Photographer Of The Week

​Edward Weston is one of those photographers whose work I admire deeply, even though I know I could never make photographs like his.

Where I’m drawn to motion and reaction, Weston embraced stillness, precision, and an almost meditative attention to form.

His images—of peppers, shells, sand dunes—are so carefully composed, so stripped back, that they feel like visual poetry.
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I wouldn't instinctively reach for that kind of simplicity in my own work, but his photographs remind me that power often lies in restraint. Weston teaches us that photography isn’t just about chasing what's exciting—it’s about seeing what's already there, quietly waiting to be noticed.

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What Secrets Hide In Your Own Photos?

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Sometimes the photographs we admire most aren’t the ones we would have taken—but the ones that expand our idea of what’s possible. They challenge our instincts, nudge us out of habits, and remind us that there are many ways to see.

If you’re looking for a space to explore those ideas—to grow, reflect, and be supported by others who care about photography on a deeper level—I’d love to invite you to join the TPE tribe. It’s a community for photographers who want more than algorithms and quick tips—it’s about connection, intention, and seeing differently, together.

​And right now, if you book a 1–2–1 call with me, you’ll get a full year of access to the TPE tribe completely free.​
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Until next week,
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Alex