Working on Abhaile has provided me with invaluable insights into the process of creating a cohesive body of work and the intricacies of the creative process itself. As a photographer, my focus had primarily been on capturing individual photographs that appealed to me or piqued my interest, without a specific thematic goal or a large-scale project in mind. However, working on Abhaile marked the first time I embarked on personal work with a specific end result in mind, which was to capture the essence of my hometown, Drogheda.

Right from the beginning, this project compelled me to work in a manner that was unfamiliar to me. The initial challenge I faced was deciding on a central theme. Initially, I contemplated centering the project on Dublin, as I believed it would provide a vast array of subjects and characters. However, after receiving feedback from lecturers and engaging in personal reflection, I concluded that it would be more advantageous to stay close to home, where I felt comfortable shooting at any given time. In my experience, one of the crucial aspects of achieving quality and excellence is to shoot as frequently as possible, within reasonable bounds, of course. By focusing on Drogheda, I realised that I could spend more time and capture a greater number of photographs compared to if I had chosen Dublin. This shift in direction allowed me to shoot while commuting to and from work or college, on dedicated shooting days, and even during routine outings. I believe this change in focus enabled me to capture a sufficient amount of content, which was crucial in assembling a coherent project.

However, concentrating on Drogheda presented its own set of challenges. During the lockdown period, I had spent countless hours wandering the streets of Drogheda, taking photographs of every corner of the town. Consequently, I had already photographed nearly every conceivable location. Nevertheless, through studying the works of photographers such as Josh Edgoose, Andrea Pozzoni, and Kit Young, and analysing their distinctive styles and unique perspectives, I managed to approach Drogheda with a fresh set of eyes. I found myself revisiting spots where I had previously captured some of my favourite shots, striving to approach them from a different angle. Surprisingly, even areas that I had previously dismissed now offered new opportunities. This aspect of the project proved to be immensely rewarding, as I surprised myself with the images I managed to capture.

I envision revisiting this project in the future. In a couple of years, once I have accumulated more shooting experience and developed new perspectives, I believe it would be intriguing to undertake a similar endeavour and compare the results. It would be fascinating to witness how my growth as a photographer and the evolving nature of the subject matter would manifest in the subsequent body of work focused on Drogheda. This iterative process would not only allow me to gauge my progress but also shed light on the dynamic nature of photography as an art form and its ability to capture the essence of a place in different ways over time.