Last of three, and the one that surprised me. I went to Utah expecting the American story and came away with a French one, and I didn’t work that out until I got the pictures on a screen and started reading the writing on things. Two armies, two months apart, same sand.
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Forty minutes up the road from Pointe du Hoc, and a completely different kind of remembering. At Pointe du Hoc it’s in the ground. Here it’s on the houses, on the church, in the street names — and on a black plaque outside somebody’s front door that took me a while to properly read.
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Back to Normandy after seven years, and this time west into the Manche. I got out of the car at Pointe du Hoc at twenty to four and back into it at Utah just after seven. This is the first of three posts from that one afternoon — craters, concrete, and about six hundred thousand other visitors a year.
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I had no plan, no destination — just a car, a camera, and an afternoon to fill. I missed the bridge at Ancenis, ended up on the wrong road, and somehow landed at Montjean-sur-Loire with a river wider than I’d ever seen. The Canon 6D Mark II and I made the best of it.
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A Friday in May, a Facebook message from an old friend, and a brass quintet about to perform at the Festival Saint Donatien in the Basilique Saint-Donatien, Nantes. I took the Fujifilm X100F, arrived early to hunt for light in the old stone streets around the basilica, and ended up inside one of the most atmospheric concerts I have attended in years.
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Clisson on a warm Wednesday in May. The medieval château, the weirs on the Sèvre Nantaise, the old stone bridge with its cross. A familiar town — but this time the film bag stayed at home. Instead: the Canon 6D Mark II, a 16–35mm, a 24–70mm, a 70–300mm, and the nagging question of whether producing this many good images this easily is something to be proud of.
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May 1st: the first day of the Month of Our Lady. I loaded the Canon AE1 Program with Fomapan 100 and drove to La Rabatelière to photograph the Sanctuaire de la Salette. What I found was a burned church, an axe-marked door, a miller’s millstone, and a hillside full of statues built in defiance of the Republic. The Vendée remembers.
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Discover Château de la Preuille through stunning black and white film photography. Explore this 11th-century Vendée estate’s vineyards, towers, and moat reflections captured on HP5 film. Learn about gîte accommodations, wine tourism, and analog photography techniques. Experience timeless French heritage where history meets hospitality in Saint-Hilaire-de-Loulay.
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“You can’t buy happiness, but you can buy good wine.” A philosophical photo essay exploring what Nantes, France teaches us about the good life—beauty as democracy, the right to solitude, and pleasure as infrastructure. Discover how black and white street photography reveals the architecture of everyday happiness in one of Europe’s most livable cities.
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The grind continues. General orchestra rehearsal without soloists, shot on Nikon FE with HP5+ pushed to 3200. Heavy grain, raw aesthetic, iterative work. Part 3 of a trilogy documenting the Symphonique des bords de Loire through lunch, concerto rehearsal, and general rehearsal.
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A personal note from Ian Myers of IJM Photography — introducing a small collection of fine art prints, each with the story behind the photograph
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After lunch, the work begins. Documenting rehearsal of a double violin concerto with two Chinese guest soloists. Shot on Canon AE-1 Program with HP5+ pushed to 1600, these grainy black and white images capture collaboration between soloists and the Symphonique des bords de Loire. Part 2 of 3.
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