The Pyrenees Mountains – and the Pont d’Espagne which isn’t in Spain


If the Vendée is Jane Birkin — elegant, understated — then the Pyrenees are full-on Marilyn. Proper mountains. Vast. Unapologetic. Even in May, some peaks were still capped in snow.

I was in Lourdes hoping to strengthen my faith. I think Killian needed that too — but more than anything, he needed his mountains. Now, finally, I get it. Up there, I saw him more clearly: less the boy I once knew, more the man he’s becoming.

Like most of us, he has his issues — but he’s working through them. And sometimes, he even lets me help. Those are the moments I think I might just be getting somewhere as a father.

He’d decided we were heading to see his beloved mountains. The place? The Pont d’Espagne — yes, in France, despite the name. I may have mentioned that. Maybe.

We left the impressive foothills of Lourdes behind and climbed into the real mountains. Snowy peaks against blue sky and drifting clouds. Windows down, music low, we drove toward the famous pont. It had better be worth it.

Killian and I travel at a relaxed pace. If the view’s good, we’ll pull over. Get the camera out. Take a few shots. See what happens.

Sometimes it works. Sometimes it’s a fiasco. But more often than not, we come away with something.

Oh no! Catastrophe! A village where you can park, and go and get an ice cream. Ah well. We took one for the team, and the lady behind the counter told us that the previous week they had snow and were shut, yet this week everything looked just like a day in May should look like. Ice cream seems to have this way of just hitting “that” spot. It’s not the tidiest of foods to eat, but it’s one I’ve developed a great fondness for it over the years.

I was already learning how to approach the infamous concept of the hairpin bend. As you know, a full head of hair hasn’t been my issue for years — let alone hairpins. But the name fits. The main thing is to drive slowly, carefully, and not die… Given I’m writing this now, reports of my untimely demise were, as they say, greatly exaggerated.

We arrived at the Parc National des Pyrénées. You go through a barrier that didn’t seem to be working — one that had given up on life and was just standing to attention, waiting for whatever ‘it’ might be. So, being the thoroughly decent chaps and all-round good eggs that we are, we tried to find a ticket. We couldn’t, but since we had tried, we said something that rhymes with bucket, and started walking to see, at long last, the bloody bridge. It had better be worth it.

I had the X100F with me and Killian was carrying my DSLR and kit. What a good lad he is. He later said that if I wasn’t lugging it around, we might’ve gone just that little bit further. So back to the pont…

Before we even saw the bridge, we heard it: the sound of the water was tremendous. Water is a primeval force, and this was huge. I wanted the “money” shot, and decided to try with the X100F, giving it a sporting chance. The Canon 6D Mark II, with its stabilised lens, would come out on top. Handheld at 1/6th of a second? Not ideal — but fun to try. You get the feeling of movement in your shot, and with the magic of ND filters, you’re not overexposed.

The site itself is just astounding — not just because of the view or the sound, but because of the raw power of the place. Killian led me grumbling up the hill and we sat down to have our picnic. We fed the ants a bit of our pâté en croûte and watched them discover it, then devour it completely. And devour it they did.

He led me past the téléphérique — closed, of course — and followed the river until we reached a wide, flat-bottomed valley with water snaking through it. We saw traces of horses and wild boars, which are a lot less boring than you might think. I noticed the clouds coming round the mountains as they go, but not singing. I don’t know a huge amount about mountains, but that’s usually a cue to get back to the car…

The walk back to the car was just about being father and son — taking the mickey out of each other as we went. It seemed to be the way we operated, and I wouldn’t change it for the world.

Lourdes 2025: A Father–Son Farewell Tour


When your son tells you 2025 is going to be his year, you smile, nod, and try not to think about how quiet the house will be once he’s gone. But before Killian set off into his new chapter, he offered me something unexpected: one last road trip—just the two of us.

You might well be aware that I have a son. His name is Killian, he’s 26, and he’d been living at home since a rather painful break-up. My wife had been dropping “subtle” hints for months, wondering aloud when her boy might consider leaving again. Last year, he brashly declared that 2025 would be his year.

The little bugger was true to his word. I now live with my wife and daughter, firmly in the minority. Molly, the dog, and Zombie, the cat, are both girls. The only other male left in the house is Mamaduke, the other cat—and he was neutered as a kitten.

Feeling somewhat emasculated, Killian offered to accompany me on one final road trip before leaving me alone with all this oestrogen. He suggested we return to Lourdes, as we had done back in 2019. He was a different man back then—brighter around the eyes, more reckless, maybe—but he has since matured through his heartache, and the healing that followed.

The Airbnb was booked and paid for. The car was ready. We were ready. My wife was looking forward to some peace and quiet. We’d be fine, and yes, we promised to send messages on the way to let her know where we were. We had the whole week off work, and this four-day visit would give us a bit of time together before he started this new chapter of his life. One last Ian-and-Killian trip.

On the way down, I quickly learnt that I’d have to hand over control of the music. That was going to be interesting.

He still hates selfies, and is terribly self-conscious about being on camera. So when he spotted my phone recording the both of us, he just muttered, “Mais quel enfer…” The road was very quiet for most of the journey, and things only got rough around Bordeaux. We passed a lorry on its side, cargo strewn everywhere. We said a quiet prayer for the driver. It was a sobering reminder of how fragile life on the road can be.

Killian kept a close eye on me as we tackled the ring road around Bordeaux, directing me with impressive calm. Once we got past the city, things settled down—so did we. Frequent stops for coffee, and fresh air at service stations helped. I wasn’t about to push through and risk ending up like that poor lorry driver. My wife would kill me if I died…

We managed to find our digs for the stay, and although small, it was perfect for the two of us. Killian made us dinner, and we got to bed feeling happy to be alive, and happy to be once again in Lourdes.

We would go down to the Sanctuary the next morning, say hello to Our Lady, maybe go to confession, and visit the baths. Killian wanted to go to Spain, but since I didn’t have our passports, that wasn’t going to happen. I had decided not to overdo anything, and just see where the trip would lead us. No stress, and no rigorous schedule. All I wanted to do was to get to confession, to Mass, and get some water, take some photos, and film to make a video. Killian wanted to go to the Pont d’Espagne, which—despite the name—is in France. But more about that later…

Notes in Monochrome: Music, Photography, and a Quiet Beach Walk


Those who know me know I’m alright at photography, reasonably OK at music, and not especially brilliant at much else. Over Christmas, I was off adventuring in China, but now I’m back in France, trying not to overcommit—and failing, as usual.

It turns out I’ve joined a new orchestra. Lanester, just next door to Lorient, who needed a horn player, and some of the musicians I toured with last year gave me the heads-up. “Only one full-day rehearsal a month,” they said. “Just come try it out,” they said. So I did. And here we are.  Oops a daisy

It’s early days, but I’m settling in, and I think they’re warming up to me too. I’m doing my best to approach things with what I like to call legendary finesse—and not my more traditional approach of putting my foot in it. So far, so good.

Getting to Lanester is a bit of a trek, but I’m lucky to liftshare—what the French call co-voiturage—with Anne, a colleague from the SBL and a percussionist in the orchestra. It’s good to have company on the road, especially someone who doesn’t feel the need to critique my driving. Not that anyone at home does that. Of course not. Never. Virginie, me darling wife…

Anne has serious percussion chops, which puts a bit of pressure on my playlist game. I found a drum tutorial version of Wipe Out by The Surfaris recently and played it for her—she was delighted. It’s nice to have shared moments like that on the drive. Adds a little rhythm to the road.

Anne also likes to arrive early to check over the percussion gear before concerts. On this particular day, we had some time to spare before the pre-concert rehearsal, so we headed down to the beach for a walk. Spring light, sea air, and the strange hush that comes with lowish tide—it felt like stepping sideways out of time.

Naturally, I had my camera with me. You didn’t think I’d go to the coast without it, did you?

There’s something about black and white photography that suits these moments. The beach in spring  isn’t always the bright, holiday postcard version most people imagine—it’s quieter, starker, but no less beautiful. Stripped of colour, the textures stand out: the grain of driftwood, the ripple of sand under wind, the blurred silhouettes of gulls in motion.

I love how black and white invites the eye to slow down, to notice more. Just like music, really—it’s not always the loudest note that makes the biggest impression.

Below, you’ll find a few of the images I made during that walk. Nothing posed, nothing polished. Just a quiet moment between rehearsal and performance, caught in passing light.

Where I’ve Been: Life, Photos & Bursting Tyres


Good morning, dear reader.

Hello lovely people. I know it’s been a couple of weeks since I shared any photography—nothing for your perusal, your viewing pleasure, your delectation—but fear not: I’m still alive and almost kicking.

Life has been happening, as it tends to do. But I have been busy behind the lens, and I’ve got photos from left, right, and even centre. Lourdes. The mountains. The wild coast of Brittany. There was even a family photoshoot for my mother-in-law and two of her daughters. All with stories attached, of course. I just need the time to edit the images and write them up properly for you.

Recent Life & Travel Updates

So what’s new in my world?

Well, my son has moved into his own place with a mate—which is both a proud and surreal moment for a parent. As for me, I managed to burst two tyres on my car by accidentally driving up onto a particularly cruel bit of pavement. I was properly disgusted with myself.

Thankfully, the garage reassured me that I wasn’t a rubbish driver—that stretch of pavement had claimed more than a few victims. Apparently, I’m just one in a long line.

I’m now looking into getting a different car for my upcoming summer trip to the UK. That, and I’ve been eyeing drones—yes, partially because a mate has one, but also because the cinematic potential is just too good to ignore.

Dipping Into Video & Drone Photography

Lately, I’ve been making short training films for work, which has nudged me into exploring video for myself. It’s been a learning curve, but I’m enjoying it. Drone footage, in particular, would give my personal video projects that sweeping, cinematic feel everyone seems to be chasing right now.

It’s exciting to try new creative tools—it stretches the eye and challenges how I think about framing, movement, and story.

Favourite Photography Gear Right Now

If you’re curious about the gear I’ve been reaching for lately, here’s what’s been in my rotation:

  • Fuji X100F with the 23mm f/2.0 (35mm equivalent) – perfect for mindful black and white street work.
  • Canon 6D Mark II with the 16–35mm f/4.0 – excellent for dramatic landscapes and travel shots.
  • Fuji XT-2 with the 18–55mm f/2.8–4.0 – a solid choice for work-related video filming.

And yes—I’m still working in both black and white and colour. I love both approaches, but when I shoot black and white, I try to do so deliberately, not just as an afterthought in post. The choice of tone affects everything—the light I look for, the lens I pick, even the timing of the shutter.

What’s Next: Photo Editing, Writing & More

Music is winding down for the season after some fantastic concerts. Meanwhile, the world rolls on—there’s a new Pope I quite like, and it seems Donald and Elon are in a bit of a spat again (but let’s not get into that).

As for me, I’m getting back to editing, writing, and creating. Thank you for bearing with the silence—new photos, stories, and perhaps even videos will be coming soon.

Until then, keep well, stay curious, and maybe avoid the pavements.

— Ian

Tea Grommit – A Hug in a Mug


There comes a point—usually when you’re knee-deep in editing training videos for other people—when you realise you just want to make something purely for yourself. Something small. Something simple. Something that feels like… well, home. And for me, home sometimes comes in the shape of a well-steeped cup of Barry’s Gold.

Tea Grommit is exactly that: a cinematic nod to the most sacred ritual in Irish and British culture—the making of a proper cup of tea. No fancy lattes. No herbal nonsense. Just black tea, milk, and the reverent silence that follows the first sip.

I filmed this short piece alone, using my trusty Fujifilm X-T2—proof that you don’t need the latest gear to make something meaningful. It’s edited with CapCut, but inspired by something altogether older: those black and white French films where very little happens, but everything feels like it matters. A slow pour of water. The whistle of a kettle. The way the steam curls around your hand. It’s dramatic. It’s poetic. And it’s about tea.

There’s a hint of Father Ted’s Mrs Doyle in there too, forever hovering with a tray and a smile, eyes twinkling: “Ah, go on. You’ll have a cup, go on, go on, go on…” Because behind all the humour, there’s truth. A good cup of tea is comfort. Stability. A moment of peace when the world gets noisy. It is, quite literally, a hug in a mug.

I didn’t set out to make a masterpiece. I just wanted to enjoy the process. No client brief, no corporate objectives—just light, shadow, steam, and a fine Irish brew. And I think that’s something worth celebrating: the joy of creating without pressure, and the delight of tea without ceremony.

In the end, Tea Grommit is part homage, part joke, and part sincere love letter to the small rituals that keep us sane. Maybe it’s also a reminder to pause, breathe, and put the kettle on.

So, if you’re feeling overwhelmed or uninspired, my advice is simple: step away from the deadlines, and film something just for yourself. Something warm. Something honest. Something with tea.

Because really—what else can hold a nation together, soothe heartbreak, spark conversation, and fuel late-night editing sessions better than tea?

Exactly.

Now go on. Put the kettle on. Go on, go on, go on now.

Tea – a hug in a mug…

Becoming an Uncle – Respect and Community in China


I think the first thing to do is to define what an Uncle actually is. In the West, an uncle is a member of the family, the brother of the child’s mother or father. You can be the cool Uncle, the one that lets the children get away with everything and spoils them. You can be the Uncle who buys them toys that make lots of noise or require a long time to set up, just to get back at your siblings. You can be the responsible Uncle, the one who supports the parents in their parenting role. Then, in English and Irish society, you might also be the Uncle who is a close family friend. And you can be a mixture of all four. Like asking your nephews and nieces to get you a beer from the fridge on a warm summer evening while enjoying a long French-style meal that seems to go on forever.

As you might know, Chinese society is somewhat different from Western, English, or even Irish society. In China, an uncle is someone who has reached a certain age and is expected to be shown deep respect—not just for their age, but also for the wisdom and position they hold in the family hierarchy. The sense of individuality in China is less important than the sense of a collective identity, one shaped not only by Chinese Communism but also by traditional values that predate the Revolution. This collective identity, emphasizing the role of the individual within the larger whole, is especially prominent in China but can be seen, to varying degrees, across much of Asia.

In Chinese culture, the importance of hierarchy and respect for age are fundamental. An uncle is not just a family member; they are a figure who is honored because of their age and wisdom, and their role is tied to the broader family structure. It’s about understanding that personal desires often take a backseat to the responsibilities and duties that come with being part of this collective identity. This is in contrast to the individualism often celebrated in the West, where the role of an uncle may focus more on personal relationships and the joy of spoiling nieces and nephews.

So now we know what an Uncle is in China.  It would appear that I am of that particular age, and obvious wisdom, to be considered an Uncle.  But how did this manifest itself?  I have talked about the love of the Chinese for selfies to mark an occasion or a passing moment.  During Operation Shenzhen Nights, I was made aware of people recording my posterior for posterity.  Obviously the Father Christmas effect. But people didn’t dare to approach me.  I would of course have given in to their demands, as I did after the first Shenzhen concert.  Definitely the Father Christmas effect.  The concert in Huizhou definitely confirmed this.  There was the example of a fellow Uncle who wanted a selfie with him to show the two Uncles together.  Even when thinking back to that particular moment, I feel a certain emotion. It was lovely to give a part of myself and solidify that moment together.  Two men from the same generation looking marvellous together. And let’s not forget the courage shown by the youngsters whilst waiting for our buses to arrive who came up to me and asked for a selfie (to record the moment) with such respect, even bowing gently to me.  I felt very humbled by the whole experience, and it felt like a real privilege to acquiesce. 

Becoming an uncle in China wasn’t something I saw coming, but it’s an experience that has stayed with me. The respect shown towards age and wisdom, the gentle bows, and the formality behind something as simple as a selfie request all highlighted just how different things are from back home. In England or France, my beard might earn me a knowing nod from a fellow facial hair enthusiast, but in China, it put me in a role of quiet authority—someone to be acknowledged with deference.

What struck me most was how natural it all felt, as if this respect was simply part of everyday life. It wasn’t about status, just an understanding of where people fit within the bigger picture. The warmth of those interactions made me reflect on how we see age and experience in the West, where individualism tends to take priority over hierarchy and tradition.

This unexpected unclehood turned out to be a reminder of the importance of connection, respect, and the roles we play in each other’s lives. In China, I became an uncle in the broadest sense of the word—a sign of age, wisdom, and community. I might not carry that same role in the West, but the experience has given me a new perspective on what it means to be acknowledged, respected, and, in some small way, part of something bigger than myself.