The photographer and writer David Penprase has created many unusual and thought-provoking images but he stresses that, as part of developing your own photographic style, it is vital that you take time to seek and obtain criticism of your work. Constructive criticism aids the reflection and development process. In his book Developing a Photographic Style David explores the themes of peer discussion and critique.

'Discussion can be very valuable and can be a significant factor in your formative period. The problem with many photographers is that they do not discuss their work with others.
 
'Quite some years ago, I ran a ‘Day in The Shed’. I should explain the shed. I had a new studio built alongside my old barn studio; it was previously a pig shed so it was always referred to as The Shed. I invited 30 friends, all photographers, apart from three artists. Everyone brought just one or two images. In the morning we met, chatted and had some food, in the afternoon we sat around for a discussion, but it was only the artists that had anything to say. Which is a shame but, regretfully, that is often the case. I know I gained more knowledge chatting over a cup of tea with an old photographer friend who, to be honest, had forgotten more than I’ll ever know, than at any lecture I’d been to. He left his club through indifference and I’m certain they had no idea of their loss. These people are out there so find them if you can. Their approach may be outdated but the essence of their knowledge is as relevant now (with digital) as it was many years ago.
 
'I do appreciate that probably the hardest thing can be showing one’s work to others to critique. You spend a great deal of time and energy producing your work and naturally you become close to it. Having gone through the whole process from its conception to the finished print, the last thing you want or expect to hear is it being critiqued negatively; especially without due consideration.  Which is why choosing the right person to appraise your work is absolutely vital. Of course, there will come a time when there will be no need for another’s endorsement but, as you travel along this chosen path, select wisely those you wish to critique your work. There is no gain in being told every time that your work is wonderful if it is constructive criticism that is needed. At the same time, the wrong advice or not being told the truth can not only adversely affect your progress but also lead you into a false sense of security and, in doing so, stifle your advancement or, even worse, curtail it completely.'

What do you think? Have you experienced good or negative criticism of your work and if so how did you react? Did it lead to improvement and greater satisfaction with your output?

Like rain, winds will, of course, vary in intensity; whether you are experiencing a gentle breeze or a full-blown hurricane, each reveal unique characteristics. As photographers we are capturing a brief moment in time and it is a matter of how we use that instant to capture the wind. Tony Worobiec, in his book Photographing Landscape Whatever the Weather, considers how to capture great images when the wind is blowing.
 
Technical issues
 
First, remember that you do have a variety of shutter speeds to play with. As wind is moving your choice of shutter speed is very important. Landscape workers often decide to use the AV rather than the TV option as they consider controlling the depth of field to be more important. While, in many situations, that is the right thing to do, when photographing in wind it often proves more useful to consider the shutter speed as your first priority. It could be that you want to photograph some object being blown in the wind, which requires a fast shutter speed. Alternatively, capturing the moving clouds might be another way of illustrating winds, which requires using a long shutter speed.
 
Sudden gusts of wind can pose a problem, particularly if you are using a tripod, so find a natural barrier. If that proves impossible then use your body as a shield by standing between the tripod and the prevailing wind. The weight of your tripod will have a bearing on its capacity to withstand wind (the heavier it is the better) but it should also be possible to anchor the tripod down by using your camera bag. Many tripods have a specially adapted hook for this.
 
Don’t overlook image stabilisation. Whether it is part of the lens or integrated into the body of the camera, make sure your image stabilisation is switched on as it can go a long way to countering the problem of a sudden gust of wind.
 
If you are hand-holding your camera be prepared to increase the ISO rating to overcome any camera shake caused by strong wind. You are particularly vulnerable when using a long lens. The general rule of thumb is to set the shutter speed no lower than the focal length of the lens so, if you are using a 100mm lens, set the shutter speed no less than 1/100th second. If, however, you are shooting in very gusty winds, be prepared to double that. This should significantly reduce unintentional camera shake.
 
Just occasionally a bit of deliberate ‘camera shake’ can enhance the image. By deciding to use a lower shutter speed and moving the camera during the exposure quite interesting effects can be achieved. If you decide on this option don’t be half-hearted or it could look like a mistake.
 
Some locations you might consider when looking for the effect of wind:

• Bushes and trees
• Grasses and cereal crops
• The beach
• The sea and waves
• Powdery snow
• Industry and billowing smoke