 How's it? How's it? Inside this seemingly insignificant plastic box lies a priceless tool that is going to help you change your photography forever. Have you ever had to borrow a friend's coat? And you put it on and it just doesn't really fit properly, it doesn't feel quite right. And in photography this often feels similar when you're trying to photograph things that have been suggested by somebody else, you know, a landscape or a portrait or whatever. It's okay, but it doesn't have that natural flow. It doesn't feel that wonderful connection where everything just seems to align and it's effortless to create photographs that you're proud of. That's where these are going to come into play. When you do this, the way that you approach photography will change forever. It will give you an insight. Very few other photographers will possess about their own work. Finding a style in your photography that feels natural is often hidden in plain sight. And recently I was doing a video about Joel Mayovitz and while I was researching it he talked about a time that he was looking at the proof from a commercial shoot. And within those proofs he noticed after a while that flowers seem to appear. And then he went back to his archive and he noticed that actually he was often drawn towards flowers. Flowers featured somewhere in those photographs on a fairly regular basis and he went, oh, this is an idea for a book. If I am subconsciously photographing flowers then let's go with the flow. This is what happens when you can see your body of work as an overview. Something we often don't get a chance to do in digital times because we look at images individually. The beauty of this exercise is that it doesn't cost very much. I mean here in the UK, this is a photo box, quite frankly they are rubbish prints. But that's not the point. This, I think there's 250 in here, something like that. That cost me, I think, £2. You know, that's less than a cup of coffee. And the benefit for this in my photography has been incalculable because it's given me that insight. To take this exercise and give it a whirl, you know, even if you just print out 10, 20, 50 pictures, see what your unique voice is. And this is one of those kind of like, oh here's the secret hack that nobody tells you about, you know, great photography, is printing out your work. Not final prints but think of these as just kind of rough, unedited, unprocessed postcard prints that you just get done. You then lay them out on the floor. Now depending on the size of your archive or what have you, you may need to have quite a bit of space for this, right, you know, a garage floor or somewhere. And when you start laying them out on the floor, a piece of magic happens. I would love to see how wide-ranging that the things are that people are intrigued about photography, the things that they are drawn towards without really much thought, you know, just to see how broad the interests are in photography. Let us know in the comments below. I think it would be fascinating. I distinctly remember that first time in the dark room at photo school, you know, black and white lamp and watching the print emerge from the developer. And we're going to do the same sort of thing here. Now that you've laid out all of your prints on the floor, you're going to just walk around them, not with any sort of specific ideas, not, you know, going, oh, whatever, just to let them develop for a little bit. And as you're walking around, you'll see emerging from the seemingly chaotic sea of random images, themes, colors, shapes, subjects, types of composition, all of these natural ways that you have inside you of photographing are starting to be made clear to you, that you are seeing laid bare. Your true photographic voice, the way that you express yourself naturally, you can be like Joel. You can go and say, ah, okay, well, I'm drawn towards, in my case, geometric shapes of strong angular forms of contrast between manmade and natural. Try this the next time that you are going out on a shoot, that rather than wandering around without purpose, without any real focus, that you've performed this exercise, that you have more of an idea about the things that you are naturally drawn towards, and see about seeking them out, rather than letting them just happen to you on a sort of seemingly random basis. I think it's great that you are tapping into this idea that, you know, to really improve your photography, to move yourself forward as a photographer is not about buying your new lens or, you know, get somebody else's presets or what have you. It is about actually seeing what comes naturally to you, to taking these nuggets that are within you already and polishing them, rather than trying to find the solution outside of yourself. This is something that was drilled into us so often at photo school, is that, you know, we need to have all of us as creative people, our own voices, that we can copy, we can learn from other people, but ultimately, if we don't nourish and grow what's inside ourselves, then our work's going to just be like a hollow copy of somebody else's. Now that you know the sort of things that you are drawn towards naturally, it is time to put them together in a way that speaks your creative voice by using the language of photography. And to learn more about that language, click on this video here on screen right now. It will help you unleash the power of your photographs. Thank you ever so much for watching and I will see you again soon.