China – from Changsha to Yongzhou


Good morning, Dear Reader. Now, I know from the photos below you will find it hard to believe that it was actually Christmas Day! I didn’t believe it either. But it was! We were about to get to know the routine of our tour. Let’s get down to the nitty-gritty: Get up, skip breakfast, get on the bus, stop off at a service station along the way, buy snacks and water, get to the next city, get to the hotel, drop off luggage, go to a restaurant for lunch, hand over our passports, get the keys to our room, inspect our rooms, get a quick shower, get into concert attire, get to the venue, rehearse, and get used to the acoustics of the venue. Then, get back to the hotel, eat, go to bed, and repeat. This was to be my life for the next two weeks. Oh, and get some photographs to show you, my Dear Reader.

We had been warned that the seats on the bus had been decided and there would definitely be no changes. Final. End of story. Out of the question! Don’t even think about it! So, of course, my roommate Corentin decided to raise a massive hoo-ha about the whole situation and at our December concerts, started dropping slightly unsubtle hints, which were to continue in the SBL China WhatsApp group.

Christmas Day came around, and on our bus was Corentin. The little bugger had succeeded and worn down Madame le Président. So not only was he to be my roommate for the tour, but also my bus mate. He was happy! As was I. He’s an amiable boy and also good company. He looked after Uncle Ian very well during the tour. His enthusiasm, albeit sometimes tiring, was infectious.

As the Boy Scout I once was many, many moons ago, I had learned the importance of “being prepared.” For our first service station stop, I knew they don’t use cards as we do. Apple Pay etc., are not used either. But it wasn’t a problem as I had Alipay. I knew there was something about scanning a code or being scanned, and that payments could be done this way. I was ready. I had done everything correctly. But, as in most military campaigns, no plan survives first contact. The bloody thing wasn’t working. I had had my daily happy pills, so I didn’t feel the need to panic, even though my heart was racing. I created another account, and it worked from there on in. I was still furious, though. Those snacks looked amazing. Although the chicken feet might have been a bit of a challenge—not your first idea of a tasty snack… Ah well. The youngsters at the back took pity on Uncle Ian and let him taste some of their snacks. Certainly different, slightly more spicy, and not like what you might find in a French service station, with their legendary overpriced sandwiches…

We eventually arrived at Yongzhou, and we were shepherded into our hotel. We dropped off our bags and crossed the road to the restaurant. On the way over, one of our bassoon players had a funny turn and ended up visiting a Chinese hospital ER. Not what we were hoping for, but we saw him later that day, and everything was a lot better, though he was still being watched over. We were all very worried about him, but all we could do was pray, hope, and not worry. He was in good hands.

The restaurant was in a shopping centre. Lunch? When I say lunch, I mean banquet. We were seated at enormous round tables, though I thought that taking on the role of Arthur might be overdoing it a tad. In the middle of this huge round table was a circular glass tray, where, as if by magic, dishes laden with Chinese food would appear. The drink served with the meal was jasmine tea, which was very nice too and felt so very refined. Then somebody said the magic word: Beer! Surprisingly, smiles appeared on our faces too! I’ll tell you a little more about that later on…

The food, of course, was amazing, and I started feeling that I could get used to this—and of course, I did… At the end of the meal, the Corentin love machine went into action, and he was covered with Chinese ladies of all ages vying to get a selfie with him. It was then that I dubbed him Sir Fanny Magnet! He was very happy with his new name and fame. So that’s what it’s like taking one for the team! Bless his cotton socks.

Then it was my turn. Walking to the restaurant, I had noticed a shop selling goat’s milk products, and the ladies inside seemed overjoyed to see us passing by. They were even more buoyed up when we passed by them again! They asked me if they could take a photo of me with a small bottle in hand. I, of course, acquiesced as one must, and I have the feeling that my Chinese modelling career was just about to take off. It was also most amusing, and certainly flattering. I felt amazing. The Corentin for the more mature and discerning Chinese lady… The others laughed as they passed by, taking photos and giggling. But why on earth not? You have to get into the swing of things!

The lady responsible for my bourgoning China top modelling career…

Back at the hotel, I got showered and changed into my concert suit and looked rather dashing, if I don’t say so myself. After the success of my photoshoot post-lunch, I was still on a high! Off we went to the concert venue for the evening’s performance. It was all very impressive, as was the welcome by the theatre staff. The actual stage was huge, and for the afternoon rehearsal, everything was ready for us. We just had to walk on stage and play. I could definitely get used to this. I even managed to get a few photos, including a short series of the boss playing Gabriel’s Oboe from the soundtrack of the film “Mission.” Not the impossible one, I hasten to add.

It was during this rehearsal that I got to know our soloist, Jennifer Councier, a little more. That girl’s voice is amazing and fills up the whole amphitheatre. She’s an absolutely wonderful singer.

The concert went very well, and the audience was on grand form. When Jennifer sang the Chinese song, we had only played the first two bars when the audience joined in. Can you get any better than spontaneous audience participation? Probably not. Apparently, the Chinese love a Viennese waltz by Strauss. They were also tickled pink when Corentin and Catherine, one of the first violins, and another couple of dancers went into the audience to waltz around. That poor boy got far too much attention. But he seemed to love every minute of it, judging by the grin on his face when he came back to join us on stage. The audience lapped up each piece of music, and their reception of our music was something I’m not going to forget for a long while. After our “Christmas” concert, we got back on the bus to go back to the hotel and eat. I know, more delicious food.

We were to eat at a different restaurant that evening. The food was amazing, and the place had a feeling of being a place for the locals too. Not just that, but they had beer too. Alipay had decided to work. Uncle Ian was about to have a “sesh.” Our colleagues drifted back to the hotel for a well-earned sleep. Uncle Ian was having a grand time of it. Uncle Ian was very happy about Alipay working, and the bonhomie was infectious, so much so that a table of Chinese lads offered me a beer and wished me a Happy Christmas. It certainly was turning out to be a very Happy Christmas. Now, these lads had a box of beer by their table and quite a few bottles on their table. They were having a great night. After our French colleagues left us, we invited them over to share some merriment. I wouldn’t describe myself as a drinker, but I will say that I have a knack for downing a beer at a rapid rate of knots. By the end of the night, our new friends for life, and of course, bosom buddies, were starting to feel a little wobbly on their legs. Corentin made me promise that I would just have one last beer. So one last beer it would be. He seemed a little terrified of the way the soirée was heading. He’s such a lovely boy for worrying about Uncle Ian… He managed to drag me away from our new friends and got me back to the hotel. Was he saving me from our new friends for life, or was he saving them from me. Only time will tell. I think the key phrase to the evening was “as happy as a pig in shit.”

Our new friends for life. Thank you Corentin for allowing me to use these images! The poor buggers didn’t know what hit them…

Beer, you see, has a special kind of magic to it. There’s something about it, something fundamental, that bridges gaps and makes two men from opposite corners of the world feel like old friends. Wine might carry elegance, and liquor can be quicker, but beer? Beer is no-nonsense. It’s a drink that demands little more than appreciation for its simplicity.

There’s a quiet dignity in a cold bottle, clinking against a glass, that says, “We’re here, we’re sharing this moment.” In a way, it carries a sense of noblesse, a kind of unwritten rule of hospitality: come, sit, have a drink, and let’s talk without pretense. There’s no rush, no grandiosity—just two people connecting. In the unlikeliest of places, beer brings people together, like a bridge that spans cultures and backgrounds.

I don’t mean to sound too lofty about it, but there’s something wonderfully egalitarian about beer. No matter where you’re from—be it France, or far-flung places like China—a beer is always the same. And, like some sort of unspoken contract, it helps dissolve differences.

Of course, there are jokes about beer that always float to the surface in these moments. Take, for instance, the old Irish joke about the “Irish queer”—and by this, I mean someone who prefers women to beer! It’s a bit cheeky, a bit irreverent, but in those rare moments when the last sip of beer is shared, it feels just right. Nothing can quite compare to the camaraderie that forms over a few cold ones, whether you’re bonding with a colleague or making a new friend halfway around the world. It’s this pure, unspoken connection that beer uniquely brings, and in that, it’s a drink that transcends.

And on these very wise words, I will leave you until the next installment…

China: An Introduction from Nantes to Changsha


This marks the beginning of a journey I’m eager to share—a series about my recent orchestral tour to China with the Symphonique des Bords de Loire (or SBL for those special people who know). Before leaving, China was a distant, almost abstract concept to me: a country whose language I couldn’t speak, whose script I couldn’t read, and whose cuisine I knew little about—aside from my clumsy attempts at wielding chopsticks.

Fast forward to today, and although I’ve only just returned—less than 48 hours ago—China feels much less foreign. I’ve wandered its streets, performed in its theatres, and shared meals with people who reminded me just how much we all have in common, no matter where we’re from.

Through this series, I’ll invite you into the world of an orchestra on tour, from long-haul flights and pre-concert rehearsals to quiet, reflective moments exploring unfamiliar cities. Expect stories of camaraderie, cultural discovery, and the universal language of music. And, of course, I’ll share the photographs—nearly 500—capturing the essence of the places we visited and the people we met.

Our first stop is the journey itself, from Nantes to Changsha, where it all began. Along the way, I’ll recount how we celebrated Christmas and New Year far from home, the magic of our performances, and the unexpected connections made along the way.

Are you sitting comfortably? Then we shall begin…

Like most people, I had a certain reticence about the unknown. I was basically terrified! But, as one must, I thought the best place to begin was the beginning. I knew it would be a long trip, but this was possibly the longest for me. We had our itinerary and knew where we were going. We had all installed the app Alipay on our phones to pay for things. There’s also a translator on the app, so we should be fine.

My wife and daughter dropped me, my suitcase, and my instrument off at the rendezvous point in Nantes at 1:30 am, giving us enough time for the 2:00 am departure by coach to get us all to CDG Roissy airport. We stopped off in Angers to pick up the last of the orchestra members and headed off to the airport.

We were split into two groups: us and them. We would be flying with Air China later that day, and the other group would fly almost immediately with Xiamen Airlines. There weren’t enough seats on the plane for us to travel together. As a result, we had the pleasure of spending all day in our terminal at CDG. This felt like the longest part of the whole trip.

We split up again—one group to Starbucks, the other to the bakery Paul. We felt a little more exclusive in our little group, made up of a horn player (yours truly), two violinists, Eléonore and Marie, and Nicolas, a percussionist.

What does one do for eight hours while waiting for a flight? Well, you go to the loo, eat, chat, become bosom buddies with your fellow travellers. You talk about your jobs, share photos, realise the adapter you bought won’t work in China, so you buy another one, have lunch, share jokes, and then realise too late that the small children around you can actually understand those jokes, so you dial it down a bit. You wander around, one person looking after the luggage, making sure it doesn’t get blown up by security. Excitement, excitement, excitement!!

Tired of remaining exclusive, we joined the hoi polloi of the Starbucks group and headed to security together. Passport control, however, was a different matter altogether. You may have guessed that I am not French, so I had the privilege of going through a different line to be let out of the country. I was scanned, as was my passport, and then made my way through to the other side. We had to go through security again.

My hand luggage was my instrument, and I felt very pleased with myself and my choice of clothing. It’s amazing how much “stuff” you can stuff into the pockets of a sports jacket and still look relatively good. You take off the jacket and pop it into the bins along with the horn, camera, phone, wallet, etc. It all felt like being in a queue at Disneyland…

I had nothing else planned, so I took it all in my stride. Going through Duty-Free was an interesting experience. Gone are the days of cheap booze and perfume. Now it’s all about luxury brands, and definitely not cheap. I’d have to wait until I got home to restock my perfume.

The departure lounge had a public piano, and of course, the colleagues had to let rip. And let rip they did. A productive way to get through the tediousness of waiting. I was reminded of the British Army philosophy of “hurry up and wait.” Take it in your stride, lad, take it in your stride.

The first flight was Air China from CDG to Beijing. When they talk about long haul, they forget to tell you how long long haul really is. We weren’t in business or first class but in economy, where long haul takes on a completely different dimension. The flight, though long, was very pleasant, and between meals (served with forks), it went smoothly. As part of my research for this trip, TripAdvisor had become a reference, and my experience was obviously much better than that of certain reviewers. The food was great, although it was the first time I had rice and fish for breakfast in a long while. I sat next to Fran, one of the English members of the orchestra, and we chatted about everything and nothing. It helped pass the time and allowed us to get to know each other in ways you can’t when just playing concerts and rehearsing in France.

We arrived in Beijing, descended, and started looking for the loo—the first of many visits to the loo during this trip. I had heard about Chinese loos being a little different from those back home, but in the airport at least, everything was fine.

We went through the airport to the domestic transfers, filled in the form with the information we had provided on our Visa application form, and went through immigration. Now, we were all on a level playing field, much to my satisfaction! We made it to the other side and headed to our gate, where we would board flight number two to our final destination for the day: Changsha. Changsha is one of those places that will amaze you with the colour of its lights around the buildings—one of the many cities that do this. It was resolutely modern and vibrant. To be honest, I didn’t know what to expect before arriving, so I just decided to take it all in.

At the hotel, we were greeted by colleagues who had arrived earlier. My roommate was still out in town, but thanks to WhatsApp, he was told we had arrived and it would be nice of him to come back to the hotel and let me into our room with our shared key. He returned with a huge smile on his face—not only happy to see me but excited to tell me about the girl who had stopped him in the street to take a selfie with him. This would be the first of many such occasions for my friend Correntin to satisfy his ever-growing fan club. Poor lad! Not easy being girl-bait every day! He would get used to it.

The man in action. What more can I say!!! Tank you Corentin for letting me use your photo…

The room was posh, and I thought, “I could get used to living like this.” And indeed, I did. Those pillows were huge, soft, and when your head landed on them, you just seemed to float off into another world. Eventually, I had to leave my pillow and get ready for the evening Christmas meal and Secret Santa exchange.

Now, I had presents for Eléonore, Mathilde, and Titaua—whom I met while dabbling a little more in music in Cholet, and who convinced me to join this orchestra. I’m very glad they did because here I was, offering them their Christmas presents in China! Secret Santa is where you’re assigned someone in the orchestra to buy a small gift for. My person had messaged me to ask for an orange, but I couldn’t just give them an orange. I made the effort to find a Terry’s Chocolate Orange for him. My Secret Santa, Barbara, presented me with a mini-tote bag from the Paris Olympics. It’s just the right size for the car! The meal was somewhat less French than the Olympics, but it was the first of many discoveries in this new country. Well, one must show willing…

The Enduring Elegance of Vintage Cameras: A Personal Journey


I often find myself discussing the concept of “vintage” with my father during our phone calls. I live in France, while my parents are in Northumberland. The term “vintage” means different things to different generations. For my 25-year-old son, vintage clothing is anything from the 90s—he even sports a few of my sweaters from that era. At 52, I’m beginning to see myself as slightly vintage, with a style that has evolved into something more classic and refined compared to my younger years. And to my 15-year-old daughter, my father, who grew up during the war, must seem positively ancient.

So, what does this have to do with photography? For me, a camera from the 1990s feels relatively modern, while those from the 80s and 70s seem older but not quite ancient—much like myself. Using these older cameras in my photography practice forces me to slow down and be more deliberate. Just as my style has become more refined with age, these cameras have an enduring elegance and charm. They may be from a slightly bygone era, but they still capture images with timeless grace.

Incorporating this vintage technology into my work isn’t just about using old equipment, however enjoyable working with what could be considered museum pieces may be; it’s about embracing a process that demands patience and mindfulness—concepts that are somewhat foreign to this younger generation. Each shot taken with these cameras becomes a deliberate act, mirroring how I approach life and photography. The result? A deeper connection to the process and a greater appreciation for the unique quality of film. This slower pace allows me to savour each moment, akin to how my evolving style reflects a deeper appreciation for life’s subtleties.

In a world increasingly dominated by digital immediacy, there’s something profoundly satisfying about the slower, more thoughtful pace of using vintage cameras. They may not be the latest technology, but their classic design and the deliberate process they require make them a joy to use—much like the evolving sense of style and perspective that comes with age. The emotional impact of working with these cameras is profound; they carry the weight of history and personal connection, enriching my creative process and deepening my engagement with photography.

My own “vintage collection” began with an SLR from the 1980s: an East German Praktica MTL3 that served me faithfully until 2009. After it finally gave up, I quickly replaced it with another. From there, I delved into exploring more iconic cameras from the 1970s and 1980s. At that time, they were still relatively affordable before the hipsters discovered film photography and the prices inevitably started rising.

My exploration didn’t stop there. I began to seek out cameras from the 1960s and even the 1950s. The oldest camera in my collection dates back to 1949! It’s quite vintage, even for me, though perhaps not so much for my father. Each piece of my collection is a link to a past era, offering a tactile connection to history that digital tools can’t replicate.

There was a time during the digital age when people sought to recapture the film aesthetic, and right on cue, apps like Hipstamatic, Instagram, and VSCO began to emerge. These digital tools embraced the nostalgic look of film, offering a nod to the past while thriving in the digital present. Yet, this digital simulation can’t quite match the authentic experience and emotional resonance of using actual vintage cameras.

This led me to a thought: if I truly wanted to capture that film aesthetic, why not use actual film and cameras from the eras I admire? I have always been drawn to “old” things, having loved exploring a special drawer at my grandmother’s house filled with genuine relics—not just my grandparents’ old possessions. My fascination with older technology, particularly when it’s still functional, remains strong. There’s an undeniable charm and satisfaction in using equipment that carries a legacy, offering a perspective that both honours the past and enriches the present.

So just because something might be old, it might still work and open a whole new world to you that you didn’t even suspect existed! It might, however, have something of a quirky nature, but once you get over that, the world is your oyster.

The Opening of the Film Archives—Abbaye de la Grainetière, October 2016


“They” say that if you leave your child to the Jesuits for seven years, then that child will belong to the Jesuits for life. I am not a Jesuit, but I was heavily influenced by the Benedictines when I went away to prep school in 1980. Mummy, Daddy, let me reassure you, this isn’t about Gilling—some things are better left in the past. This article will instead focus on a different Benedictine site, one that I visited much later in life: l’Abbaye de la Grainetière, a peaceful monastery here in the Vendée.

The Abbey of Notre-Dame de La Grainetière, on the outskirts of the town of Les Herbiers in Vendée (France), encompasses nearly nine centuries of tumultuous history. For over 50 years, numerous restoration works have been undertaken. These efforts allowed for the re-establishment of a community of monks at the end of 1978, nearly 200 years after the abbey was abandoned by the monks, shortly after the Revolution of 1789. Classified as a historical monument since 1946, many volunteers are working to continue the legacy of La Grainetière.

To those of you unfamiliar with the ins and outs of the Catholic Church, the role of monks is to live in community, and their main duty is to pray for us in the wider community. The monks elect a Father Abbot, who is responsible for running the monastery. In centuries gone by, the Abbot would wield a huge amount of influence, but this power has been reined in over time and is less evident outside the monastic community.

When I visited l’Abbaye de la Grainetière, I couldn’t help but reflect on how different this Benedictine monastery felt from my school days. The quiet prayer, the stillness—it offered a kind of peace that I hadn’t experienced for a long time, and a life that was once very appealing to me.

The monks follow the Rule of Saint Benedict, a foundational guide for monastic life that addresses not only prayer, but also how to live both within and beyond the monastery walls. Though written for monks, many of its teachings have been adopted by the laity seeking a structured, spiritually focused life.

I could almost say I envy them the simplicity of monastic life compared to the complexities of modern society and family life—juggling careers, responsibilities, and the endless distractions of today’s world. While I don’t regret the joys and vibrancy that come with having a family—something perhaps lacking in monastic life—it’s hard not to admire the stillness and purpose that a simpler existence can offer. We all have different vocations in life. Mine was to be a father.

As I packed away my camera and left the grounds of l’Abbaye de la Grainetière, I found myself still pondering the contrast between the quiet, ordered life of the monks and the complexity of my own. In some ways, visiting the abbey felt like opening a door to a simpler time, a place where life seemed more focused and more deliberate. Yet, as much as I admire the peace found within those ancient walls, my own path has led me elsewhere—to the joys, challenges, and unpredictability of family life.

In the end, it’s not a question of envy or regret, but rather a reminder that we all find our peace in different ways. For the monks of l’Abbaye de la Grainetière, it lies in prayer and solitude. For me, it’s found in the laughter of my children, the shared moments with loved ones, and yes, even in the rush and noise of everyday life. Each vocation, after all, carries its own kind of grace.

Perhaps that’s what lingers with me most from my visit to the abbey—not just the tranquillity of the place, but the realisation that we each have our own rhythm, our own way of navigating the world, and there is beauty in all of it.

Post Scriptum:

The photos were taken with a Canon AE1, and its FD mount 50mm F1.8 lens, using Ilford HP5 + black and white film.

In Defense of Film


Is film photography too expensive? Think again! Many assume that shooting film is a hobby reserved for the wealthy, but it doesn’t have to be. With the right approach, you can enjoy the unique aesthetic and creative process of film photography without breaking the bank. In this article, I’ll share my personal experiences and tips for saving money on film, developing, and gear, proving that the joy of film is accessible to everyone.

Often, even the tiniest things can spark a desire to write. In the infamous world of internet comment sections, people can have different opinions—a good thing, as it makes us reflect on our own positions. It challenges our perceived wisdom and questions us in ways that can be disarming. What’s obvious to me might not be to someone else.

I was talking to an Australian lady, likely of my generation since our photography journeys started the same way—with film. Except this lady has gone fully digital, keeping her film cameras as a reminder of her film days being over. Less hassle, less expense, less stress, and less “faffing about,” she said.

At first, I was taken aback. I love the film aesthetic in my photography. I like the predictability of film grain, as opposed to digital noise. But most of all, I’m in love with the process. I love the slower pace of film photography—none of this “spray and pray” nonsense. I appreciate how I become more mindful when shooting film, as each shot counts. I like the way an old film camera looks around my neck. And as the internet meme says, “I know about photography. I’ve been initiated into the exclusive circle of purists.”

The lady talked about the prohibitive prices of film and labs, which, let’s be honest, is a valid point.

Costs of Digital vs. Film Photography

I’ll talk about my kit and initial outlays compared to my film expenses. I bought my latest two digital cameras in late 2017 and 2018. My X100F cost around €1400, and my Canon 6D Mark II around €1200. I spent about €300 on a teleconverter for the X100F, and I probably have about €2500 worth of kit for the Canon, including speedlites, lenses, and filters. Then there’s the Fujifilm XT2, bought second hand for €400, with a couple of lenses totaling around €500.

This kit, though older, works well and is largely sufficient for my needs. As mentioned in my article “I Want It, But Do I Need It?”, I’d like a Leica, but do I need one? Would I refuse one if someone gave me one? Heck no! You can see the results throughout this site, and the images are great.

Let’s move on to film. Yes, if you love that Kodak Portra look, you’ll be spending a pretty penny. I have a certain nostalgia for the days when the prices hadn’t doubled. But—and this is important—not all film photography has to be done using Kodak Portra. There are more accessible films, especially black and white, that cost less. A roll of Fomapan 100 costs me around €5.50. So for less than the price of a pint of Guinness, I can get 36 shots. For a little more, I can go with Kentmere or even Ilford black and white film. I still have one roll of Portra left and a pack of five Tri-X medium format rolls.

Developing at Home

Ah, but then you have to send them to a lab to be developed. Again, a valid point. The cost for developing colour film where I go is less than €7 per film. I’ll share a little secret: I invested in a kit to develop my films at home. It cost about €140 initially, but now all I worry about is buying the chemistry. Yes, €30 for a developer seems steep, but I can develop 16 to 24 films with a bottle, depending on the dilution. I also invested €250 in a film scanner to produce digital files for editing.

Collecting Film Cameras

You might have noticed that I’ve talked about film but not film cameras. I started collecting a while back before hipsters raised the prices in the secondhand market. The most I paid for a film camera was just over €100, and the cheapest was €15. These film cameras are generally solid, and the lenses are great. The technology, though a little less modern (understatement of the year!), still works, and older cameras don’t even need batteries. And even those that do, the batteries last for ages. None of this “Do I have spare batteries for the X100F?” nonsense.

Each shot is taken on a brand new “sensor,” compared to shots on a digital sensor. And less dirt gets onto this sensor.

The Joy of Film

Don’t get me wrong, I love digital photography for its convenience and spontaneity. I can see my images right away and get instant feedback and gratification. With film, that gratification isn’t instant. You have to be patient and wait, but for people of my generation, that might be infuriating, it’s something we grew up with and accepted. I continue to accept it.

I enjoy using a machine sometimes older than me, knowing the image quality will be there. I know that with a certain film, I’ll get a certain result. I like the slower pace. If you visit the Film Photography page or the Film Archive page, you can decide for yourself if it’s worth the hassle, the expense, the stress, and the “faffing about.” I think it is, and I maintain that film has as much a place in photography as it ever did.

The Future of Film

Does film have a future? I think it does. Leica has relaunched the M6, Pentax has the new Pentax 17, and Kodak has the Kodak Ektar H35. The disposable cameras of yesteryear are still being produced and it has become the fashion to us them at weddings for that affordable yet classic look of film. Film photography continues to be popular with Gen Z and millennials. Case in point: my 25-year-old son nicked one of my Kodak Retinette 1B’s and a roll of film. I suspect my daughter might have her eye on one of my film cameras, too.

One thought came to mind whilst answering one of comments with the person saying that they “will never go back.”  I am old enough to remember when microwaves fist came out.   They were sold to us as being thoroughly modern and machines that could do everything so quickly and conveniently.  Except they couldn’t.  For certain tasks on the kitchen they are wonderful and far exceed the way we “used” to cook.  But they can’t do everything.  They have their place in the kitchen.  And will always will do.  But a slowly simmered boeuf bourguignon that infuses its odours through the kitchen will always have a special place in my heart.  Much like using film to capture my images…

I want it, but do I really need it?


The camera gear industry is a powerful beast and it tries to convince us that this piece of kit, that is conveniently in stock, will help you become that photographer that you are destined to be.  Be that in magazines, be that in youtube influencer videos that “try out the camera” that the manufacturer has just lent us to show you what it’s like.  I’ve watched loads of these videos especially when thinking about the kit I wanted to buy.  Come on in and I’ll make sure you have the best camera possible, and the best possible lens.  What’s your budget?  OK, I’m sure we can work something out.  What kind of photography do you want to do?  Well, you’ll need this, and this, and this, etc.

That nice man in the shop will be more than happy to take your money and sell a high end camera that will be a thing of beauty.  But look at the title again.  “I want it, but do I really need it?”  You have fallen into their trap.  I’m not trying to put down these sales people, and their wealth of knowledge, but know that there are other options out there.

I’m going to dare say it.  You don’t need the latest and greatest equipment to take great photos.  Instead prioritise value, and mindful shooting, over gear acquisition.  Think about boys and toys.  I get exactly the same feeling as you when I enter a camera store.  I want it all.  Of course I do.  Who doesn’t?  But,what would my wife say?  What would my bank manager say?  What would reason tell me instead of letting my emotions get the better of me?  Can I really justify this acquisition?  Do I really need it, or is there a less onerous solution?  I know.  I’ve just pissed on your bonfire, but it’s time for a reality check here…

So what can I do about that?  You can realise that there is a huge market of second hand gear out there.  I have taken this route in the past and have no regrets.  Yes, I did it my way…

Where do you go to discover all these hidden gems?  There is of course E-Bay, that huge online auction site which I used to acquire the majority of my film cameras.  When I was a customer of the site the film cameras were fairly cheap, since those pesky hipsters hadn’t cottoned on to the fact that film photography is cool.  So yes, each purchase was a gamble, but I had less money to lose, and the return would be greater.  The old cameras were simpler, the lenses were great, and there are still lots of examples of reasonable cameras out there.  Would I use it for digital?  Probably not.  I’m not really a gambling man, and don’t have a huge wad of cash that I am willing to possibly waste.

But E-Bay is not the only option.  There are various online sites such as mpb.com that have a very good reputation, and have tested each piece of equipment that they sell.  They give you an honest appraisal of the piece of kit and are honest about the state of said piece of kit.  They guarantee each purchase, and have a generous returns policy.  I might consider using it if I were interested in buying some new kit.  But at the moment I’m not.  There are also second hand areas of our beloved camera shops that will have used gear.  

When buying second hand, you will generally be spending less money, or at worst, getting more kit for your hard earned cash.  Older models of camera might not be as super duper as the latest models that look so sexy in that shop window, but for what most us mere mortals need, they are more than adequate.   You really have to look at which features are most important to you.  Thanks to you, there will be one less camera going to landfill.

Talking of features, let’s talk about the 80/20 rule.  For 80% of your photographs, you will use about 20% of your gear, and features on your camera. I urge you to identify the essential features for your type of photography (e.g., autofocus, image stabilisation, dynamic range), and maybe avoid spending money on features or lenses that you won’t use frequently.  Shutter speed when doing sports photography, or high dynamic range for landscape photography.  Is an F1.2 lens really what you need, or will F2.0 pr F2.8 still get the effect you want?

I’m going to talk about the X100F (again!) and compare it to the latest version from Fujifilm, the X100V and the X100VI

FeatureFujifilm X100FFujifilm X100VFujifilm X100VI
Sensor24.3MP APS-C X-Trans CMOS III26.1MP APS-C X-Trans CMOS 440.2MP APS-C X-Trans CMOS 5 HR Sensor
Lens23mm f/2 (35mm equivalent)23mm f/2 (35mm equivalent) with improved optics23mm f/2 (35mm equivalent) with further improved optics
Autofocus91-point hybrid autofocus425-point hybrid autofocus with improved face/eye detection425-point hybrid autofocus with further improved face/eye detection and subject tracking
ViewfinderHybrid viewfinder (optical/electronic)Hybrid viewfinder (optical/electronic) with improved EVFHybrid viewfinder (optical/electronic) with a larger and higher resolution EVF
Screen3-inch fixed LCD3-inch tilting touchscreen3-inch tilting touchscreen
Image StabilisationN/AN/A6-Stop In-Body Image Stabilization
Video1080p up to 60fps4K up to 30fps6.2K (cropped) and 4K up to 30fps
Weather SealingNoYesYes
Price (approx.)€800-€1000 (used)€1300-€1500 (used)€1700-€1800 (new)

Key Takeaways:

  • Sensor: The X100VI offers a significant resolution upgrade with its 40.2MP sensor, providing greater detail and flexibility for cropping compared to the X100V and X100F.
  • Lens: All three models share the same focal length, but the X100V and X100VI feature improved lens designs for better sharpness and close-focus performance.
  • Autofocus: The X100V and X100VI offer a substantial upgrade in autofocus points and performance compared to the X100F, making them better suited for fast-moving subjects and low-light situations.
  • Viewfinder: The X100VI has the most advanced viewfinder with a larger, higher resolution electronic viewfinder (EVF) and improved refresh rate.
  • Screen: The X100V and X100VI have tilting touchscreens, which can be helpful for composing shots from awkward angles, while the X100F has a fixed screen.
  • Video: The X100VI boasts the most advanced video capabilities, offering 6.2K recording with a crop, while the X100V is limited to 4K, and the X100F to 1080p.
  • Weather Sealing: Both the X100V and X100VI offer weather sealing, making them more durable in adverse conditions compared to the X100F.
  • Price: The X100F remains the most affordable option, especially on the secondhand market. The X100V offers a good balance of features and price, while the X100VI is the most expensive but comes with the latest technology.

Ultimately, the choice depends on your budget, needs, and priorities. If you need the highest resolution and advanced video features, the X100VI is the way to go. If you prioritize value and portability, the X100F is still a great option. The X100V sits in the middle, offering a good balance of features and price.

If you are a professional, then I think the same logic will apply.  Even though a nice kit is an investment you need to consider the returns on your investment?  Is the purchase justified and will it bring more work for you?  Will it expand my offer enough?  If you are an amateur, then you can spend any amount of money you want, but if you could do more, with less, wouldn’t that be an appealing option? Have I not managed to convince you yet? Look at the film archives… And look at the pictures from the X100F