Saturday’s concerto rehearsal was done — the collaboration, the translation, the careful work of integrating guest artists into an established ensemble. But the concert wasn’t just one piece. It was a full programme. And the rest of that programme needed rehearsal too.
Sunday. No soloists. No concerto. Just the orchestra, the conductor, and the grind.
I loaded HP5+ pushed to 3200. Same Nikon FE, same 50mm f/1.8. But three stops of push this time — more grain, more contrast, more raw. If Saturday’s 1600 was work, Sunday’s 3200 was iteration.
You can feel the difference when the guest artists aren’t there. Saturday had a particular energy — the stakes of building a shared language with people from outside the ensemble. Sunday was just us. The regulars. The people who were eating lunch in the car park the day before. Corentin back in his seat next to me. Viktor on oboe. Nicolas patient behind the timpani. The conductor at the whiteboard, same as always, but now talking only to people he knows.
No translation needed. Just the work.
Here’s what general rehearsal looks like: we play. The conductor stops us. Again. We play. He stops us. From 47. We play. No, from 45. We play. Better. Now from the top of the phrase. Over and over, getting it right, then getting it better. It’s not glamorous. It’s not even particularly musical most of the time. It’s iteration — and the HP5+ at 3200 suits it. The grain is heavy but not ugly. Textural. Urgent. Honest about what it’s depicting.
What strikes me looking at the images now is the concentration. The hunched shoulders, the heads bent over sheet music, the conductor’s hands cutting through the air. Nobody is thinking about dinner or what they forgot to do at work. For these few hours everyone is just here, trying to make something work. The grain matches that energy — it says this is real, this is process, this is nowhere near the victory lap.
The full arc of the weekend, in one table:
Fomapan 100 — Lunch
HP5+ 1600 — Concerto
HP5+ 3200 — General
Camera
Pentax ME Super
Canon AE-1 Program
Nikon FE
Light
Natural daylight
Mixed indoor
Mixed indoor
Grain
Fine, subtle
Textural, controlled
Pronounced, raw
Mood
Relaxed
Focused
Urgent
Story
Community at rest
Collaboration at work
The machine in flow
Three cameras. Three films. One story.
The choices weren’t accidental. I chose Fomapan 100 for the lunch because I wanted calm. HP5+ at 1600 for the concerto because I wanted texture with control. HP5+ at 3200 for Sunday because I wanted the grain to do some of the work — to say without saying it that this is unglamorous, repetitive, necessary. The photojournalists who shot jazz clubs in the 1950s understood this. You don’t hide the process. You lean into it.
From my seat in the horns I photographed the machine I’m part of — the horn resting in its case between takes, valves gleaming; coffee cups on the floor by the woodwinds; sheet music thick with pencil marks. These are the million small adjustments that add up to a rehearsal. And eventually, if everything goes right, to music.
Seeing the Symphonique des bords de Loire through a viewfinder across a whole weekend changed something. I saw not just the work but the commitment behind it — all these people who could be doing anything else on a Saturday and Sunday afternoon, here instead, playing the same bars until they’re right.
Rehearsal is where the music is actually made. The concert is just the victory lap.
The trilogy is complete.
Shot on Nikon FE, 50mm f/1.8, HP5+ pushed to 3200. Edited in Lightroom — contrast via tone curve, subtle vignettes, grain left exactly where it was.
P.S. All three parts are now published: Part 1 (Fomapan 100, Lunch), Part 2 (HP5+ 1600, Concerto), Part 3 (HP5+ 3200, General). Thank you for following along.
Same diagnosis as Part 1, same prescription. The opening four paragraphs are genuinely good — terse, cinematic, the rhythm earns its keep. “The sunlight was gone. The fluorescents were on. The break was over.” — that’s a real sentence. Then the Roman numerals arrive and flatten everything into a report again. “What I’d Do Differently” is still there. The sign-off prompts are still there.
The three-column table is worth keeping — it’s doing more work here because there are now three films to compare across the whole weekend. That earns its place.
Here’s the rewrite:
Part 2: The Work — Rehearsing a Double Violin Concerto on HP5+ 1600
The lunch break ended. Tables were folded. Containers packed. The last crumbs brushed away.
And then they arrived.
Two Chinese violin soloists — guest artists who’d travelled some distance to play a double violin concerto with our little orchestra in a French community centre. They weren’t at lunch. They weren’t part of that casual, sunlit gathering outside. They were here for work.
So were we.
I put down the Fomapan and loaded HP5+ pushed to 1600. Swapped the Pentax for the Canon AE-1 Program. Same 50mm philosophy, different camera, different film, different mood. The sunlight was gone. The fluorescents were on. The break was over.
You can feel it when rehearsal starts — the shift from community to concentration. From chatting about weekends to counting measures. The conductor, same man who was smiling over a food container an hour ago, is now at the whiteboard, baton in hand, writing notes about tempo and bowing. The soloists take their places at the front. Tuning. Focused. Not quite part of our tribe yet — guests, professionals, here to do a job.
I photographed from my seat in the horn section and from the aisles during breaks. The AE-1 Program in Program mode — no thinking about shutter or aperture, just framing and timing. The camera handled exposure. I handled seeing.
What you witness, photographing a concerto rehearsal, is translation. Not just musical ideas passing between conductor and players, but something more specific: two soloists from one tradition finding a shared language with an orchestra from another. The conductor stops us. Softer in the strings. The soloists adjust. He stops again. A touch more projection. They adjust. We play. He listens. He stops. This goes on. Not because anyone is wrong, but because everyone is finding the same musical space.
HP5+ at 1600 sits in the right place for this. Not the fine, almost invisible grain of the Fomapan lunch shots. Not the raw, declared grain of 3200. Textural, controlled, appropriate — honest about the work without dramatising it.
The three-roll arc of the weekend, laid out:
Fomapan 100 — Lunch
HP5+ 1600 — Concerto
HP5+ 3200 — General
Light
Natural daylight
Mixed indoor fluorescents
Mixed indoor fluorescents
Grain
Fine, subtle, clean
Textural, present, controlled
Pronounced, bold, raw
Contrast
Gentle, even
Moderate, balanced
Punchy, dramatic
Mood
Relaxed, communal
Focused, collaborative
Urgent, iterative
Story
Community at rest
Collaboration at work
The machine in flow
Same orchestra. Same weekend. Three worlds — and the technical choices were the point from the start.
From my seat in the horns I see the whole machine differently than an outsider would. I know which passages are coming. I know which sections are struggling. I know the rhythm of this room. But through the viewfinder I see something else — the strings moving in that eerie synchronised way, the brass gleaming under the fluorescents, Viktor on oboe, Nicolas patient behind the timpani, Corentin next to me absorbed in something difficult, glasses slipping, completely gone.
The small details tell it too. A French horn resting in its case between takes. Coffee cups on the floor near the woodwinds. Sheet music thick with pencil marks. These are the million small adjustments that add up to a rehearsal — and eventually, if everything goes right, to music.
Saturday was the concerto. The focused, collaborative work. Sunday would be the rest of the programme — no soloists, just the orchestra and the conductor and whatever needed fixing. The grind. The iteration.
Part 3 is coming.
Shot on Canon AE-1 Program, 50mm f/1.8, HP5+ pushed to 1600. Edited in Lightroom — contrast via tone curve, subtle vignettes, nothing added that wasn’t already there.+ 3200—is coming next. The grain gets heavier, the light gets harsher, and the work gets real.
The concert was for the municipality of Lorient and was more I’ll scratch your back if you scratch mine. Sometimes as musicians we have to kowtow to certain political matters to keep the municipality sweet. They said it would be cramped, but it was, at worst, cosy, so no complaints there.
After the concert, I had organised my car so I could sleep in it. I parked up in front of my mother-in-law’s house to spend the night and get some photography in during the early hours of the morning — and because my mother-in-law can be intense, and I don’t like bothering people. It’s not that I don’t like staying overnight in people’s houses, but at one stage on exercise with the RCT (Royal Corps of Transport) back in the late 1980s, I learnt that I could sleep anywhere and that it was nothing to worry about. I didn’t have my sleeping bag from those days, which would let me sleep comfortably in minus temperatures, but I did have a couple of Scottish tartan blankets that would keep me nice and warm.
It wasn’t long before I got off to sleep. I actually slept quite well, considering, and bought myself breakfast at the local boulangerie. No snoring to contend with and no risk of being shouted at because the dog was awake and needed to go outside to poop. Yes, a very satisfying night.
After my wonderful bakery breakfast, I headed to St Cado, which really is a cadeau — a gift — for the eyes. You’ll see what I mean when you see the pictures.
I relish solitude, not just because I’m an introvert, but because I like calm and quiet. And the idea of being up at the crack of dawn is wonderful, especially when I don’t have to get out of my bed and stop hugging my wife. I was on my own and loving every minute of it.
I arrived at St Cado and used the public conveniences, as it is not the done thing to poop in front of everyone. I’m not a dog, after all. St Cado was there waiting for me to get some photos in some beautiful light. I’ve started bracketing lately to get as much as I can out of each image. Bracketing, for those who think I am speaking in Chinese, consists of taking the same photo three times — once with normal metering for light, once underexposed, and once overexposed. Back in the day, you would set up your tripod and take each photo one at a time, but now I press the button and it does it automatically. On film you would lose film doing this, but on digital, with an empty SD card — why not?
As the morning light continued to change and the village slowly came to life, I packed up my gear feeling quietly content. These simple moments — waking early, capturing the beauty of a place like St Cado, and enjoying solitude — remind me why I keep a camera close. It’s not just about the photos, but about being present and finding peace in the everyday. Saint Cado truly was a gift to the senses, and I’m grateful for the chance to savour it in my own way.
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.
Welcome back to China, Dear Reader. When I last left you, we were on the bus somewhere between Hangzhou and Shao Xing. I’m pleased to report that we made it safe and sound, and that Corentin and I now had two keys to our room. It was still sunny—a joy to be alive. Thank you, happy pills. Our room had all the mod cons, though there was a quirk: if one of us was on the loo, we’d slide the door across for privacy. Unfortunately, that meant the person taking a shower lost their privacy. Still, I couldn’t see anything from the loo, so my roomie’s modesty was safe.
Speaking of toilets, we encountered quite a range during our travels. In the service stations, they were the French “chiottes à la Turque,” which are nothing like the Mozart Rondo, but certainly more pungent. Then there were the “ordinary” toilets, followed by the ones whose lids lifted automatically as you passed, and finally the pièce de résistance: the Japanese-style toilet, which remained resolutely Chinese.
This marvel had a heated seat—luxury in itself. You had to lift the lid manually (slumming it in the Stone Age again), but once seated, nature took its course in unparalleled comfort. The real magic began when you pressed a button: a mechanism extended to spray water precisely where needed. There was even a function for ladies. And after the water came the air, drying everything off! I double-checked with toilet paper, of course, but it had done an impeccable job. Truly, a game-changer. As Forrest Gump said, “That’s all I have to say about that!”
Now, let’s move quickly on from toilet humour (as universal as it may be) to the park next to our hotel. We were on the 22nd floor and had a marvellous view of the city centre. I could even see that night’s venue from our room and decided to explore the area, camera in hand. The winter sunlight was soft—bright but not blinding—perfect for photography. I wanted to capture the impression of Shao Xing, not just through candid portraits of people but through its landscapes and atmosphere. My aim was to convey the city’s essence, much like an impressionist painting, but with a camera instead of a brush.
The park was alive with activity. Aunties and uncles sat on benches, chatting animatedly and observing the world go by. One Aunty beckoned me to join her, and I obliged. She greeted me with a thumbs-up—a universally positive gesture, except when hitchhiking in Greece, where it’s a faux pas. Using the translator in Alipay, I explained that I was a horn player with the visiting orchestra and would be performing that night in the concert hall across the park. This app is a godsend in China, though I briefly considered going back to study the language. My wife might not be thrilled with me disappearing for six months, though.
As we sat, the Aunty hummed a Chinese song. I was transported elsewhere, nearly dozing off in the sunlight—a habit I seemed to be developing. Thanking her for her company, I wandered further into the park. The sunlight filtered through the trees, highlighting the park’s serene beauty. I came across a single artist practicing calligraphy on the ground, using water instead of ink. His strokes were delicate and ephemeral—a fleeting masterpiece destined to evaporate. Children played with marbles nearby, using the sculpted floor as their playground. The juxtaposition of timeless tradition and youthful play captured the spirit of China for me. Above it all, a pagoda stood proudly, with an airship hovering in the background—a striking blend of the classic and the modern.
Reluctantly, I left the park to prepare for our penultimate concert. The thought of returning to the mundanity of home life began to weigh on me. This tour had been a gift, filled with unforgettable experiences and people. I wasn’t ready for it to end.
The concert hall was just across the park, and I strolled over leisurely—no need to rush; a gentleman never runs. The theatre director and his team greeted us warmly, their hospitality as magical as ever. Some brass players had prepared a fanfare to welcome the audience, and the atmosphere buzzed with excitement. Selfies were taken in abundance, and someone was even live-streaming for TikTok.
The concert itself went beautifully, with the usual audience participation adding to the magic. Afterward, the theatre manager addressed us, reminding us of the event’s purpose: celebrating Franco-Sino relations and their 60th anniversary. His French was excellent, and his enthusiasm infectious. They had prepared a spread for us—a delightful picnic with beer aplenty. As the night progressed, the manager led by example, dancing and motivating his team to let loose. Seeing their boss in this light seemed to surprise them.
I left the party early, taking a quiet stroll back to the hotel. The park, now illuminated, looked entirely different. The pagoda glowed softly and had changed character, and became the central element to the park. Meanwhile, Corentin extended the festivities at a local bar, where the owner was treated to an impromptu rendition of Michel Sardou’s “Les Lacs du Connemara.” A night to remember, indeed.
Sundays usually find me in the city of Nantes, where I prefer attending an evening Mass. You get a different crowd at the evening mass, and it feels more exclusive. This particular church stands out for its reverent atmosphere, the cherished celebrant, and the more traditional Mass it offers. It’s not just about tradition; it’s the sense of reverence it brings, allowing for leisurely Sunday mornings. But yesterday was different, and I found myself up at the somewhat ungodly hour to go to mass at 9:30 AM.
Why the early rise, you might wonder? I had a date with destiny at 1:00 PM, helping friends celebrate their 30th wedding anniversary.
If you’ve read my recent article about bidding farewell to my beloved X100F, you’ll recall the camera’s untimely breakdown. Fate, it seemed, had other plans for me. The ISO dial had broken down, rendering me unable to control ISO settings. It was a frustrating predicament for any photographer.
In an attempt to assess the camera’s condition, I had left it sitting in my glove box for over a month, thinking I might need to send it for repairs. But yesterday, as I turned it on, I was amazed and baffled to see it working again as if nothing had happened. It was a photographic miracle, one that put a smile on my face.
With my trusted camera miraculously resurrected, I set off for my friends’ home, ready to revel in their love story and join the festivities. It was a heartwarming celebration, marking three glorious decades of their union. But there was more to this gathering than just an anniversary.
My friends had recently embarked on a journey to adopt their second child, a precious soul from China. They were soon to depart for China, eager to bring their new daughter home. The air was filled with palpable excitement, the anticipation of a new chapter in their lives.
As I arrived at the party, I was greeted not only by the radiant couple but also by familiar faces from my past. Friends who had once been my teachers and companions in the orchestra I had been part of until the previous year had gathered. It was a reunion of kindred spirits, a chance to catch up on life’s many twists and turns.
The day took an unexpected turn when my wife joined the festivities later in the after. She had been having a meal with the people she had learned to drive a school bus with, so she was going to be late. Little did I know that the surprise and icing on the proverbial cake were yet to come.
A Serbian orchestra arrived, instruments playing and walked playing up to the rest of us. The moment they began to play, the air was filled with a symphony of pure magic. The musicians entertained us with their musical virtuosity, their music becoming the heartbeat of the celebration.
Under the summer sun and the backdrop of a joyful celebration, the strains of Balkan music filled the air. It was as if the very essence of celebration had taken musical form. The infectious rhythms swept us off our feet, and we danced with abandon, reveling in the sheer euphoria of the moment. Laughter, love, and music merged into an unforgettable medley, creating memories that would last a lifetime.
As I reflect on that day, I can’t help but marvel at how life has a way of surprising us when we least expect it. What began as a simple morning Mass and a camera conundrum unfolded into a day of pure joy and connection. It was a reminder that sometimes, the best moments in life are the ones we don’t plan for—the unexpected gifts that leave our hearts brimming with gratitude.
And so, my summer concluded with a flourish, with the echoes of Balkan rhythms resonating in my heart. It was a day of celebrations, a day of love and friendship, and a day that reminded me of the beauty of life’s unpredictable dance. It’s safe to say that I’ll be holding onto the memories of this day for a long, long time, and perhaps reconsidering the pace of my Sunday mornings in Nantes.
Sometimes you have a friend that wants a photo taken for whatever reason, and the friend in question was a schoolmate from my days at the Conservatoire de Cholet. We both still play and now play in the same orchestra. She wanted a photograph of herself with the said violin. She was expecting me to whip out my phone and Bob’s your uncle. Little did she realise that this was just not an option. As somebody who dabbles in photography with cameras and not camera phones, I suggested that I bring the studio to her and that we would try to get something half-decent.
We set up the rendez-vous, and up I turned. I was offered tea, which as you now know, Dear Reader, is something I have a great affection for, and this girl knows how to make a lovely cup of tea! Her husband arrived from getting their little boy from school, and we started setting up the studio. He was a good sport and let me use him for my test shots to get all my camera settings in order.
Then onto the serious business of getting some portraits! Now that’s the easy bit. The slightly less easy bit is where the magic happens. Photoshop is my editing software, and yet is far from being worn, or soft! The idea is to keep everything looking natural, and the premise “less is more” is my goal. If my editing is obvious, then I have to go back to the drawing board.
Before / After
This is the first edited shot from the session and gives you an idea of what the result can be. See what you think and tell me in the comments how “you” might have done it!
As you can see, the poor girl is a violin player and not a horn player like Yours Truly, but we have to make allowances. Not everyone has the chance to play the most beautiful instrument in the world.
As a musician, even one as not as implicated as me, December can be a busy time and has proven itself to live up to its reputation of loads of concerts to finish the year, and carolling. For the moment, I have 3 out of 5 weekends taken up with playing the horn in one form or another.
At the end of the Season in the summer of 2022, I decided not to follow the new direction taken by the Orchestre d’Harmonie de Cholet. Not just out of loyalty to the outgoing conductor who, since 2009, become a close friend, but sometimes you just need a change of scene. I first thought of just having a complete break from music, which is a rash decision but one I have taken in the past. Friends were worried that I would stop music altogether, which would not only be a shame but also a waste of talent or work that I have put into learning the horn over the years. I had lost the love of performing, and rehearsals had become more a way of spending time on something I knew how to do but with less and less pleasure.
I was therefore on the lookout for a new ensemble that needed a horn player. When I was in the Cholet Conservatoire Symphony orchestra, I made friends who talked about this relatively new orchestra based just South of Nantes. You go to Facebook and see their page and try to make a choice. I made a choice. I am now the fourth horn in the Symphonique des Bords de Loire.
So what does this have to do with being busy in December? I’ll tell you. With concerts and rehearsals, I have been playing every weekend since the 26th of November. I am now 50, have taken up napping in a big way, and sleeping, or at least trying to sleep as a secondary calling. All this music is creating an enormous conflict of interest between music and my new vocation, napping. I have tried automatic pilot, but people seem to cotton on and even dare come up to me and try to talk to me when my body is still on, but the brain is experiencing a temporary outage. The sheer audacity of it all!
Last weekend, I did a paid gig for the Brass Quintet Arabesque, replacing my old horn teacher, the Grand, the mother Great, and all-around good egg, Jerome Percher who teaches the horn in the Conservatoire In Angers! He is also a massive football fan and maybe the evening match between our two splendid countries was just too much for him. Little did we know that Harry Kane would be less fortunate than us.
The idea was to have a brass band style quintet with two cornets, one tenor horn, one euphonium, and one tuba. Similar to what you might see the Salvation Army playing when they’re out around this time. We would play three sets of Christmas carols to add some ambience to the Christmas Market in La Roche Sur Yon, which is the administrative capital of the Vendée. It was a beautifully sunny day, but a tad cold. Yes, brass monkey weather!
Now I don’t technically play the tenor horn, but had studied the fingerings to know how to approach the instrument and not look too silly. It’s also much lighter than the more common, yet beautiful instrument, which is the French Horn.
Everything that morning seemed to go wrong. I was already nervous as I didn’t want to let the lads down and my heart was going like the clappers. Then slightly late getting out of the house, having to get the windscreen de-iced, as it was -5°C, which is chilly. Then the car pretended to not want to start. Ha ha ha, it was the car just trying to play a trick on me. The roads had been salted so fine, and I was headed down to La Roche. I had misread the text message with the meeting times and thought I was late. As it turned out, I wasn’t, and our lady answered my prayer for a parking space not too far from the meeting point. I, of course, couldn’t find my colleagues when I arrived in the square and then suddenly I saw Hervé and felt a lot less anxious!
We played our three sets, and the only upset was whilst playing I saw three ships. I think we all managed to sink them!
The organisers had prepared us some hot pretzels and some mulled wine, which just hit the spot and told us where the restaurant was, where we were to have lunch. The five of us needed feeding! Starters and main, or main and dessert, with drinks. I could get used to this. We ate, joked, finished our beer, and said see you later at Hervé’s house for the Soirée to celebrate Jean Michel’s birthday in a French and very fitting way!
I just had to get to Nantes, for confession, to get a little something for my evening’s host, wife, and daughter. Just enough time left over to pick up my wife, and get ourselves to our evening.
Jean Michel has a bit of a reputation as an epicurean, and not only a lover of fine cuisine, but a very accomplished chef! Upon arrival, we went to say hello to everyone, and were told to leave the kitchen, which is exactly what we did! The aforementioned legend that is Monsieur Percher was there with his lovely wife, and it was such a pleasure introducing each other to our respective spouses. The pre-meal beers were served and then out of nowhere appeared a magnum of very nice champagne, which was the first of quite a few exquisite bottles, which complemented Jean Michel’s cooking so well. We’re now in happy as a pig in shit territory.
It was a lovely evening and with the wine, I was beginning to feel a little tired, which is better than being a little tiring. It was time for little Ian to go beddy byes… My new vocation in life. Fortunately, my wife is a professional driver, stone-cold sober, and able to drive us home.
The next day was spent gently getting out of bed, and trying not to let on that I might be a little tired. By Sunday evening I was ready to go to mass, and who would I see, but Hervé and his family. It’s nice not being at mass on your own and was just the surprise I need to finish the evening off on a high point. That and going to the pub afterwards.
Next Saturday, I will play the tenor horn with the Tuba Class with Hervé as their teacher. The weekend after will be a lot quieter. Then three days in the factory before breaking up for two weeks holiday for Christmas, which, Dear Reader, will be a completely different story.
Until then, I wish each and every one of you a very happy, peaceful, and above all drama-free Christmas!
La Générale refers to a French dress rehearsal before a show or concert but with no senior military officer in sight. But why am I talking about a rehearsal? Well, as some of you Dear Readers might know that for my many sins, I am a horn player and musician. Both can happen simultaneously, despite our reputation! From February 2009 until July 2022, I played the horn for the Orchestre d’Harmonie de Cholet in France. Some people had cottoned onto the fact that I dabble in this photography lark, and since they had just changed musical direction, they would like me to take some photos of the new director in front of the band. I of course said yes, and following the lessons learnt during the American Concert, I was feeling quietly confident.
The musicians were asked to attend the Générale in concert dress, all looking very smart. This would allow me to wander around the stage freely, not annoy the audience, and have complete freedom to try to take a couple of photos. What a good idea! It also meant that I had two hours to get the job done in a satisfactory manner.
I had the Canon 6D Mark II with the 85mm F1.8 Canon lens, and the trusty and also favourite, almost to the point of it being a fetish, Fuji Film X100F, with the telephoto adapter which transforms the lens into a 50mm F 2.0 lens. I could take off that adapter and have 35mm equivalent lens. To the uninitiated, you will think I have just spouted out a huge amount of gobbledy gook, but I it actually means something to me. It was out of the question that I would miss 60 photos like last time. A lesson most definitely learnt!
Sooooo… I wandered around taking photos and trying to make sure I didn’t just photograph the horn section. Nobody couldn’t accuse me of favouritism; except that I had treated some images first for friends and had posted them on Facebook. Two of those friends were, of course, in the Horn Section. Ooooops a daisy. Ah well. I did, however, tell everyone that these were merely a foretaste of things to come, and I realised I had actually been quite democratic and represented most of the musicians. Out of the 400 odd photos taken, 124 were presented to the musicians in a private Google Gallery. Not bad for two hours of shooting. You will see a small selection of those photos at the end of this article.
As a thank you, I was invited to the concert the next day. After a Barber appointment to tame my overgrown beard and a visit to the pub just to say hello to the staff and friends, I headed off to Cholet for my Rendez Vous with music listening. Keep music live etc!!
Naturally, with the change of conductor, there will be a change of musical direction. Each person had to get used to the novelty, and the new conductor has to make his mark on the orchestra, which is perfectly normal. I had heard all kinds of things and wanted to make up my own mind. The concert theme was “Heart of the Forest.” I was determined to take it all in with no preconceived ideas. Just enjoy the bloody music, you fool. So I sat down and did just that. The sound at the back of the auditorium differed completely from what I had heard the night before. As a musician, we hear the concert from where we are on the stage. The audience really hears that difference. I was blown away and just sat there enjoying watching my friends create music.
With time, the orchestra and the new musical director will get to know each other, and I look forward to seeing their next concert and seeing the outcome of this new relationship in future concerts, and it goes without saying that I wish them the very best of success for the future!
Now for the photos, and not just the horn section…
“Music hath charms to soothe the savage breast.” I, like most people, used to think that this was pure Shakespeare. Well, it is not; it is actually from the play “The Mourning Bride” by William Cosgrove, which was first performed in 1697. No, I cannot be having you say that you learn nothing from this blog, right?
So you get a free fact of the day. First, I don’t have breasts, but man boobs, and second, they’re not savage either! Trust me! As suggested in the title, this article is about a concert, and surprisingly the music was American, hence the name of the American Concert. Mind-blowing I know, right?
Now I can hear you saying this blog is about this man’s depression and photography, and possibly tea and cake. Give me some time and I’ll get there. My mental health is on the melancholic side due to rain, and teenagers at home, but it will get better.
My friend Hervé, who has already starred twice on my blog, is part of a Brass Quintet called Arabesque who have only been mentioned once on my blog. This lovely chap asked if I wanted to take some photos of their American Concert and I, of course, said yes, that would be great fun! They are revamping their website and wanted some photographs for it and after the success of the last shoot I did for them, they asked me to come back.
This would be the first concert I would photograph with stage lights. And when you photograph a concert, you have to get it right and not mess it up. I, of course, messed quite a few photos up, but it’s all a learning process, isn’t it? “They” said to use your fastest lenses, which is photographer lingo saying that you need the lens to have the widest opening possible to let in the most light and still have a relatively quick shutter speed. “They” seem to give out some good advice so I took my very fastest lens, an f1.2 35mm lens for my XT2 and because it has focus peaking, you can’t go wrong. That’s what “they” said. I proved “them” wrong and wasted about 60 photos. That’ll teach me to listen to “them!”
Fortunately, I had my Plan B (Canon 6D MarkII) with me, which worked a treat. What did I learn from this precarious situation? First, I was the only one who knew that I had messed up. Second, the importance of having a Plan B. Thirdly, using both cameras and thus still getting the shot, and fourthly that using a manual lens usually provides no worries during the day, but autofocus can be quite a good friend, especially for a concert. No need to be a purist. You can save that for later. What you need is to get the job done. So leave your pride at home and get some decent photos.
The entire show was splendid, and the music was first class too! If you have time to see Arabesque in concert you’ll definitely enjoy yourself, and you’ll be supporting live music and a great bunch of guys too! I would also like to thank them for the restaurant meal after the concert. What a delightful way to spend an evening!
Dear Reader, I may have mentioned before in previous articles that for my many sins, and to curb my pride, I am a musician, and some might even go further still, and remind me I am a horn player. As a musician, we can have a tendency to “do” concerts and play in them, rather than going along as a listener. I mean, of course, that we listen to our fellow musicians, especially when playing that music together. It is a team effort, after all. But not as a spectator.
Little did I know that when I went to taste some homemade beer at my friend Hervé’s house, he would invite me to take some photos of a concert he was playing in, on the 18th of June. I, of course, jumped at the opportunity. An evening of taking photos and getting to listen to live music at the same time? What a way to spend the hottest day of the year so far!
We were rehearsing together the following Friday, and he said to be at his house at such-and-such a time, and that I should just park up in the driveway. There would also be my old and very much revered horn teacher, as in my previous horn teacher, and not my old new horn teacher, nor a teacher that is old despite his great wisdom. But that is a story for another day. Hervé was going to drive us to the concert. Jérôme, my very much revered horn teacher, plays in the same ensemble as Hervé. They are members of the Brass Quintet Arabesque, made up of instrument teachers from across my particular region of France.
So, I got into the car, turned on the ignition, saw the temperature, and promptly melted. 44°C! For those who only work in Fahrenheit, body temperature is 37°C, and 44°C is 111°F. My point exactly. By the time I reached Hervé’s house, it was a mere 40°C. A tad warm, even for me!
I drove up, parked, saw my horn teacher in very summery attire, but always with a hat, saunter up, and Smaug, the family Labrador, who you remember from my last article, who does not know what sauntering is about, just ran around the car three times and jumped up to say hello, being as friendly as ever. Bless him! We quickly went inside into the shade and cool. I do like a bit of cool from time to time.
We eventually got all the kit together in the car, thanks again Hervé for doing all the driving, and set off. The way to Guérande isn’t very complicated, and it’s pretty plain sailing. We talked about everything and nothing, about my presence at the Wind Band next year, and what alternatives I could think of, about the photoshoot from the previous week, about the various instruments and would we change instrument, how much it might cost to change, and what newer instruments could bring to the table, or should I say rehearsal room…
Parking in Guérande was a doddle, and we headed to the Collégiale, or church inside the medieval walls. We dropped everything off in the church, and things suddenly became very serious. Where would we eat? The first place we tried, a creperie, was no longer serving food, so we headed to Plan B. Plan B was fully booked, but was able to fit us in. Five brass musicians, one organist, and yours truly. Luckily I don’t seem to take up much space. Simon said he had to go and shave and came back with blood on his face. Michel, the organist that would be playing with the quintet, told us that the organ in that building needed a makeover and was basically shite. Out of tune, and half of it didn’t work. That’s something you don’t really want to hear when you don’t have a huge amount of time to have the pre-concert setup and run through. Another thing you don’t want to hear is that you’re all going to have to tune your instruments up to 444hz. This basically means you’re all fecked because your instruments have been in slightly warm cars. After all, it’s boiling outside and you’ll just never make it. The brass expands in the heat and therefore will sound flatter, and at 444hz you really need to be on the sharper side. It’s a bit like me trying to walk past a slice of cake and a nice cup of tea; it’s just not going to happen… Luckily the food arrived, as did the beers, and the puds. We were happy. I had all my camera gear, and most importantly plenty of batteries in case the batteries inside the cameras gave up the will to live. Some lovely shots were begging to be taken outside the church.
What I didn’t have, especially inside the church, was a whole lot of light. For photography, light is quite important. Understatement of the year contender again… This was going to be interesting. I had been fed by Arabesque, and now there was bugger all light inside, so photography was going to be a tad tricky.
Luckily, somebody turned on the lights and I was saved. Who said miracles never happen in the Catholic Church? They did this evening. The only photos I could take were before the concert actually began because afterwards the church would fall into darkness as there was going to be drone footage shown on a screen behind the Quintet as they played, showing the church in which they were playing. This was the main idea behind the concert. Through music and film, show people the church they were in from a slightly different viewpoint. It was great just to sit and take in the music. And take in the music I did. I was always told the importance of concert-going to musicians and how it helps us develop musically in so many ways. I only had to make an effort to sit there, make no noise, and just listen and be captivated. And captivated I was! I thought the tuning was fine and not at all the catastrophe announced by the organist. But I was just here to listen to some quality sounds and not to be a critic from the Times
The first half finished with the Toccata by Charles Marie Widor from his Organ symphony number 5. Any pedal notes that were missing from the organ were amply covered by the bass notes of the tuba that seem to just go right through you. It’s also a piece of music that has, amongst others, the ability to make my eye become all watery with emotion. I’ll leave it here for you to listen to.
The interval arrived. I say that but it didn’t really make an entrance. It just happened. The public was invited to walk around the church and rediscover images from the film in real life. They could also purchase CDs of the Quintet. 10€ each, or 20€ for three. They could also subscribe and have a CD of the programme, as well as make a contribution to the Association Résonnance, who gave their name to the entire project. It also meant that I could take more ambience photos and not be in anybody’s way.
Up until then, I had been using the Canon 6D Mark II which makes a tremendous noise when the mirror moves up to expose the sensor. I was worried that I would disturb everyone and switched to the comparatively silent Fuji XT2 with the 18-55mm zoom lens, which is a 24-70mm full-frame equivalent, so a good all-rounder for reportage. During the second half, I could be seen trying to move silently the way Corporal McCune taught me to so as not to disturb my fellow concertgoers.
The second half started with the horn and trombone playing a one thousand-year-old tune for the Easter celebration. Unfortunately, the audience hadn’t cottoned on to the fact that the second half had just started and some were still talking! As soon as the other musicians appear and Hervé started introducing the next piece, they seemed to get the message and promptly shut up! They lead us through time through the Baroque, the Classical, and the Romantic periods. They ended up with Aaron Copland, and music from Grover’s Corner, whoever Grover was. I suspect it wasn’t the same Grover that lives on Sesame Street…
After the concert, we did the official group photo, and eventually said good night and see back at Hervé’s house. It was midnight, much cooler, windy, and felt as if a storm was on the way. Jérôme fell asleep in the back, and Hervé and I just chilled, talking about this very blog and photography, especially the differences between being a good amateur photographer, and a professional photographer and how the two are completely different, in the same way, that I quickly realised when doing my music studies here in France. You have to produce consistently good results, and the pressure is on. They were already doing the concert debrief about everything that went wrong. I tried to reassure them that it wasn’t a competition and that as an audience member, I had a great time. Basically, the same things that I had been taught by Jérôme. If the audience is happy, then the audience is happy.
On the way home, we saw the sky fill up with lightning and thunder. It felt magical, and also the temperature had halved. It was a mere 22°C. It felt wonderful. We got home first and had a beer whilst waiting for the others to arrive. The others arrived and there was still some English beer for them, and some homemade beer too. It received the seal of approval from everyone present. We ended saying what went wrong with the concert and how it was a learning experience. I still thought it was brilliant. So there!!
I was at Mass, in Nantes, on a Sunday evening, and being appropriately prayerful, knees bent praying to prepare my mind for the sacrifice of the mass wondering if I was going to be able to stand up again. Despite my gammy knee, it wasn’t a problem. Mass started, and they were off. During the entrance hymn, my director of music at my Wind band, but most importantly, my friend, Hervé, accompanied by his wife, and daughter, walk in and sit just in front of me. We gestured hello, but you don’t interrupt the Word of God, and we saved niceties for after Mass.
It was a genuine pleasure to see him there and not just because we share the same faith, but just nice to see a frightfully nice chap, but also an all-around good egg! We exchanged conversation and I said how wouldn’t it be nice if we could go to the pub for a pint. They’d had a long day, but to his utter disbelief, Veronica, acquiesced and we were given her blessing. I suggested they park in the same place as I usually did and that we meet up. We both knew where the pub (John Mc Byrne) was and headed off to claim our reward for obvious good behaviour.
They were already at the pub by the time I parked and so I walked up to join them. Strangely my nose just seems to lead the way! I saw him standing outside waiting for me and I showed him the best seats in the house, or for me, nearly a home (it’s where I see my friends). I introduced him to Simon who knows nearly everything about sport, whiskey, and good places to eat in the vicinity, the Rob, whose jokes are almost as cringe-worthy as my own, and lastly to Gavin who is half and half… Half Scottish and half French. His parents are obviously to blame.
We commented on how the establishment wasn’t a bar but was a proper pub, and how nice his pint of Irish IPA was. I persuaded him to taste a pint of O Hara’s Nitro, which is the nearest thing that I found to Yorkshire bitter over here. We both seem to have similar tastes in beer, which helps in a friendship. It’s unbearable when one likes lager and the other friend, beer…. It tuned out that he had some homemade Bitter that he wanted my opinion on. Ah well, there goes a perfect reason to meet up again! Fortunately, I was going to be on holiday during that week, so we set the date and time said goodnight to each other and headed home.
I asked if I could bring along my portable photography studio to take his portrait and he very kindly agreed. At the appointed time, on the appointed day, I turned up with my studio and dog. Molly wasn’t very sure about hanging out with a big very friendly, almost too friendly for her, beautiful chocolate Labrador, who was coming out of puppyhood and entering doggyhood.
I said she could stay in the car and left the windows slightly open so she would be fine and said that I would come back and check on her now and again. Smaug, the Labrador, was put on one side of the house, and Molly decided she could stay by my side and still be OK. We tasted the beer and were unanimous in our praise of this wonderful concoction. Then the photoshoot. Hervé already knew that I dabble in photography, as do you Dear Reader, and was most impressed when I set up the studio. I was quite impressed by it too because it was only that afternoon that I had back to revise how to operate my speedlights and trigger. The first shots were more to break the ice, not just for Hervé but also for me, and already we were getting some good shots. He played me a recording of a new project launched by the Brass Quintet with whom he plays and has my old horn teacher as the horn player. It was amazing. They were playing in church with a massive organ played by the organist from the Nantes Cathedral. Wow, that is all…
We then go the instruments out. First the E flat tuba. I thought, let’s just break him in gently. Then I went back out to the car to get my horn and make him look like a proper musician with the most beautiful instrument from the orchestra in his hands. We would suggest to the horn teacher that Hervé had finally seen the light and wanted to convert. Then we messed it up by getting out his conductor’s baton. All in all, we were having a laugh, talking, just as friends will be want to do.
I ate with them and by the time I left that evening the two dogs had even sniffed each other and were even respecting their own private space. That Smaug is one lovely dog and not at all dragonlike as his name suggests. He’s a big softy. A bit like myself Dear Reader…
