Category: Travel photography

Making the Ordinary Less Ordinary: Rollei RPX 400 at Pont Caffino

Posted on Posted in Architecture, Black and White Photography, Bretagne, Film Photography, France, Landscape Photography, photography philosophy, Photography Tutorials, Reportage, The Film Archives, Travel photographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , Leave a comment

Continuing on from my last article about shooting in sub-par lighting, I’ll introduce my next roll of film—RPX 400 from Rollei. I usually like this film. This roll also marked the first time I really tried to use the Tone Curve tool in Lightroom. I’m still getting used to it. But I thought that with RPX 400, I might be able to make some ordinary prints somewhat less ordinary.

After forty years of doing this, you’d think I’d have it all figured out. You’d think I’d have a fixed workflow, a set of rules, a way of knowing exactly what the result will be. But this roll reminded me otherwise. There’s always something new to learn, or something old to look at differently. And I’ve started to wonder if there’s something honest in admitting that, rather than pretending the process is ever truly finished.

Pont Caffino on a February afternoon is exactly that kind of place. I’d never visited before, though I’d heard about it from other photographers. The sky was uniform. The light was flat. Nothing was going to jump out and grab me. So I loaded the Rollei, walked down to the river, and started looking.

The River

The water level was low—noticeably so. I knew this because not long before, I’d been at the Maine in St Hilaire de Loulay where the river had broken its banks completely. You couldn’t even see the weir there, just water spreading across the landscape. Here at Pont Caffino, the opposite was true. More of the granite banks showed through. More of the weir structure was exposed. The river looked different, and I found myself photographing it differently.

River surface with bridge in distance

When the light is flat, water becomes less about reflection and more about texture. You notice the foam patterns, the subtle ripples, the way debris catches on submerged rocks. RPX 400 handled this beautifully—there’s a softness to the water that feels accurate to how it looked that day, not how I wished it looked.

Water Level Gauges

The gauges became an unexpected focal point. They’re functional objects, not particularly beautiful on their own, but they tell the story of this place better than any dramatic landscape could. The reflection of the numbers in the still water added a compositional echo I didn’t plan but gladly kept.

Weir Structure

Where the water quickened over the weir, I had to be careful with exposure. Film handles highlights more forgivingly than digital, but I still metered conservatively. The fallen branch caught my eye—it’s the kind of detail you miss when you’re looking for the big shot, but it adds a diagonal line that pulls the frame together.

On editing the water: The challenge here was separation. When both sky and water are grey, they tend to merge into one another. I used subtle dodging to lift the highlights on the water’s surface, just enough to ensure the reflections didn’t disappear. Nothing dramatic. Just enough to guide the eye.

The Cliff Face

The granite cliffs that frame the Maine valley are dramatic even in bad light. They’re also popular with climbers, which adds a human element I hadn’t planned to capture but couldn’t ignore.

Climber on Granite Close-up

I haven’t shot rock faces like these on HP5+ before. The nearest I got to that was shooting in the Pyrenees mountains—different stone, different light, different everything. So I didn’t have a direct comparison to fall back on. What I noticed with RPX 400 is how it renders texture without aggression. Every crack and lichen patch comes through, but without the bite that HP5+ might have given. For this particular day, that suited the mood better.

Climbing Scene Wider

Seeing the climber and belayer together reminded me that landscapes aren’t empty. They’re used. They’re lived in. The rope creates a diagonal line through the frame, and suddenly there’s narrative—someone is trusting someone else, and both are trusting the rock.

On editing the cliffs: This is where dodging and burning did the most work. Flat light makes rock faces look two-dimensional, like cardboard cutouts. I spent time burning in the crevices and dodging the raised surfaces, essentially repainting the light that wasn’t there when I pressed the shutter. It’s not about creating drama that didn’t exist. It’s about revealing the dimension that the light flattened.

Details

I’ve learned to slow down on days like this. When the big vistas aren’t cooperating, the small things start to speak.

Catkins/Branches

The catkins hanging from bare branches aren’t dramatic. They’re not even particularly interesting as a subject. But they caught the light in a way that felt worth capturing. The shallow depth of field creates a dreamy quality, and the grain—more noticeable here than in the landscapes—adds character rather than detracting from it.

Water Edge Vegetation
Mechanical Detail

The mechanical detail—the lock gate mechanism, I think—was almost accidental. I was walking back from the viewpoint and noticed the bolts, the geared rack, the weathered metal. It’s the industrial counterpoint to all the natural elements. Sometimes you just stop and shoot because something looks like it has a story.

On editing the details: I was careful not to over-sharpen these. The natural grain of RPX 400 provided enough texture without needing digital enhancement. If anything, I pulled back on clarity rather than adding it. These images work because they’re soft, not in spite of it.

The Town & Viewing Platform

For the full perspective, I drove up to Château-Thébaud’s belvedere, “Le Porte-Vue.” It’s a striking piece of architecture—Corten steel extending 23 meters out at 45 meters above the river, designed by Emmanuel Ritz and inaugurated in 2020.

Walkway to Viewpoint

Walking out onto the platform, you feel the height. The steel underfoot, the railing at your side, the valley opening up below. There’s a figure in this shot—could be another photographer, could be anyone taking in the view. It adds scale and reminds you that you’re not alone in these places.

Le Porte-Vue Architecture
Framed View Through Steel

The Corten steel handled the flat light better than I expected. The weathered texture gave the film something to hold onto, and the geometric lines contrast nicely with the organic landscape beyond. The framed view through the steel structure became one of my favourite shots—it acknowledges that you’re looking from somewhere, not just capturing a scene.

River Valley Overview

This is the establishing shot. The full Maine valley from above, all the elements visible at once. You can see the weir, the cliffs, the tree line. After seeing the Maine at St Hilaire de Loulay with water everywhere, this view felt almost spare. The lower levels exposed more of the structure than I’d imagined possible. It’s the image that ties everything together.

Church Steeple
Village Street

The village itself grounds the landscape. The church steeple adds a human landmark to the valley. The quiet street with its leading lines and the number “28” on the wall—these are accidental details that add authenticity. This isn’t a pristine wilderness. It’s a place where people live.

On editing the architecture: I focused on straightening lines and ensuring the steel texture didn’t look too smooth. The flat sky was retained intentionally. I could have blown it out or added artificial clouds, but that would have been dishonest. This is the light I had. This is the day I experienced.

On Making It Less Ordinary

Looking down at the river from Le Porte-Vue, I thought about what I was actually trying to do.

This was my first time at Pont Caffino, and I wasn’t sure what to expect. RPX 400 felt right for this quieter, more exposed version of the valley. But the film alone wasn’t enough. The scans came back flat—accurate, but lacking the dimension I remembered from being there. That’s where the work began.

In Lightroom, I used the Tone Curve to add a gentle S-shape, nothing aggressive. Just enough to add punch without crushing the blacks. I lifted the deepest shadows slightly to preserve the atmosphere. And then I spent time dodging and burning—manually painting light into the highlights of wet granite, holding back exposure in the shadows of riverbanks, guiding the viewer’s eye through texture and tone.

I’ve only started using the Tone Curve with this roll of film. I’m still getting used to it. But I’ve found it offers basic yet subtle controls, as does the dodging and burning. It’s easy to feel like this is cheating. Like you’re admitting the photograph wasn’t good enough straight from the scan. But I’ve started to think of it differently. Dodging and burning isn’t about fixing mistakes. It’s about translation. It’s about taking what you saw and felt and finding a way to communicate that to someone who wasn’t there.

There’s a danger in thinking you know everything. Usually, that’s when you stop seeing. When you assume the light will behave, or the film will respond the way it did last time, you miss what’s actually in front of you. I’d rather be the one still figuring out the Tone Curve after forty years than the one who thinks there’s nothing left to learn.

The result isn’t dramatic. It’s not the kind of image that stops you scrolling. But it felt honest—a quiet enhancement rather than a transformation. And on a grey February day at Pont Caffino, that’s exactly what I was after.

Technical Note

FilmRollei RPX 400
ISOShot at 400
CameraNikon FE
Lens50mm f/1.8 Nikkor
DevelopmentIlfosil 3 (1:9)
ScanningPlustek OpticFilm 8100

Lightroom Adjustments:

  • Tone Curve: Gentle S-curve, highlights lifted slightly, shadows preserved (First serious use of this tool for me)
  • Local Adjustments: Radial filters for dodging/burning on rock textures and water surfaces
  • Grain: No reduction applied
  • Sharpening: Minimal, applied selectively on details

Thanks for reading. If you’ve shot RPX 400 in similar conditions, I’d love to hear how you approached it.

A before and after shot

Browse the full Film Archives →

The Collection

Posted on Posted in Black and White Photography, Travel photographyTagged , , , , , , , , , , , , , , , , , , , , , , , 5 Comments

I didn’t set out to sell prints.

Not really.

For years, I’ve shared images here — not because they were “good,” or “marketable,” or even finished — but because they stayed. They lingered after the shutter closed. They returned to me in dreams, in quiet hours, in the slant of afternoon sun months later.

Some moments refuse to be forgotten.

So now, carefully, tenderly, I’m offering six of them — made physical. Not mass-produced. Not disposable. Just… present. As they were meant to be.

Each print is produced through WhiteWall on museum-grade archival paper, using pigment inks rated for over 100 years. Made to order. Shipped with care — because if you’re making space for one of these in your home, I want it to feel like a conversation, not a transaction.

There’s no rush. No countdown. No pressure.

Just paper, ink, and a moment that mattered.

1.

Path to the Pavilion — Huizhou Lake, China

When they told us we were stopping at a lake before the evening concert, I wasn’t exactly thrilled. A leisurely stroll around a lake? Moi?

But China has a habit of surprising you.

When we arrived at Huizhou, surrounded by hazy sunshine and bamboo groves, pagodas rising from still water, temples half hidden in trees — I felt something I hadn’t expected. Happiness. Pure, uncomplicated, unexpected happiness.

I was walking slowly with Mathilde, one of our violinists nursing a bad foot, taking our time while the others rushed ahead. It was that unhurried pace that did it — the kind of walking that lets you actually see things. The light was filtering through the trees, sparkling on the water, and the path curved gently ahead of us toward a pavilion that felt like it had been there for centuries.

I raised the camera and didn’t think twice.

There are days on tour when the music and the place and the people all align into something you know you’ll carry for the rest of your life. This was one of them.

Shot on Fujifilm X100F — Huizhou Lake, China, 2024

2.

Reflections on the Canal — Shao Xing, China

It was one of the last mornings of the tour. The parenthesis, as I’d come to think of it, was beginning to close.

My colleagues had discovered a hidden residential quarter the evening before — the kind of place that doesn’t appear in guidebooks. Round entrances leading to inner courtyards. Red lanterns going up for Chinese New Year. Fish drying under the rafters. Boats drifting on ancient canals.

I was told to turn left outside the hotel, walk ten minutes, and I couldn’t miss it. Which is, of course, exactly the kind of direction I usually do miss. Not that morning.

The quarter was just waking up as I arrived, camera in hand — my wife having specifically asked me to remember to shoot in colour this time. People were clearing their throats, eating their rice for breakfast, mopeds carrying their passengers gently to work. The canals reflected the old white walls and tiled rooftops in the still morning water.

It was authentic China. Not the gleaming towers of Shenzhen. The China that has existed for centuries and quietly continues to exist, unhurried and completely itself.

I didn’t want to leave.

Shot on Fujifilm X100F — Shao Xing, China, January 2025

3.

Skyline of Absence — Passage du Gois, Vendée

It started as a solo escape. A sandwich from a bakery, the Canon 6D Mark II dusted off, and a deliberate decision to go somewhere without tea shops to distract me.

The Passage du Gois is one of those places that shouldn’t exist. A road across the sea connecting the Vendée mainland to the island of Noirmoutier — but only when the tide allows it. Miss your timing and the Atlantic rolls in faster than a galloping horse. The beacons aren’t decoration. They’re for the people who got it wrong.

That January day the tide was out, the sky was vast, and Noirmoutier sat on the horizon like a quiet guardian. The blue reflected in the still water. The sea air did what sea air always does.

I stood there for a long time, just looking. The horizon was almost empty — just sky, water, and those silent beacons receding into the distance. An absence that somehow said everything.

Sometimes that’s all photography really is — permission to stand still and actually see what’s in front of you.

I like calm. I like it about as much as I like tea and cake.

Shot on Canon 6D Mark II with 50mm f1.8 — Passage du Gois, Vendée, France, January 2020

4.

Coastal Sky, Vendée

There are days when the sky simply takes over.

Near Fromentine on the Vendée coast, I set up a long exposure and let the camera do what the eye cannot — blur time itself. The clouds became something liquid, something moving, while the sea held perfectly still beneath them. Two different versions of the same moment existing simultaneously in one frame.

This is not a dramatic sky. There is no storm here, no crisis, no golden hour showmanship. Just the coast breathing — slow and steady and completely indifferent to being photographed.

I find that deeply reassuring.

Shot on Canon 6D Mark II — Near Fromentine, Vendée, France, 2021

5.
Title: Vespa & Whiskey

I’ll be honest with you. I’d spent the day doing what the Quartier Bouffay does best — supporting the local hospitality industry with some enthusiasm. Somewhere between lunch and late afternoon I’d slipped into the beautiful Église Sainte-Croix, perhaps to balance the accounts a little.

Coming back out into the afternoon light, I turned a corner and stopped dead.

There it was. A Vespa, resting against a whiskey crate as casually as if it had always been there. Vintage, unhurried, completely itself. The kind of scene you spend years hoping to stumble across.

I reached for the Praktica MTL3 — the same camera and Pentacon 50mm f1.8 lens I first learned photography on in the 1980s — and didn’t think twice. Some moments don’t ask for deliberation.

Right place. Right time. Right camera.

Shot on Praktica MTL3 with Pentacon 50mm f1.8 — Quartier Bouffay, Nantes, France

6.
Steam and Sizzle, Shenzhen Night

They called it Operation Shenzhen Nights. Corentin and Paul had planned it with the enthusiasm of five-year-olds at a zoo — a night out in Shenzhen, no concert, no schedule, just the city.

We took the tube across town, red lanterns swaying overhead for Chinese New Year, and emerged into organised chaos. Street food stalls everywhere. Skewers of chicken, octopus, and things I decided not to look at too closely. Scorpions and crickets were offered. I drew the line there. Some adventures have limits.

But the steam rising from the food stalls against the neon-lit night — the sizzle and smoke and smell of a city that never quite stops — that was something else entirely. I had my camera out and I wasn’t putting it down.

Shenzhen at night is a city in perpetual motion. Young, electric, completely alive. Standing there amid the chaos — nearly 53 years old, gammy knee and all — I felt something I hadn’t expected. Completely present. Completely there.

What happens on tour stays on tour. But some images deserve a wall.

Shot on Fujifilm X100F — Shenzhen, China, December 2024

And then — because I believe in the power of the overlooked — there’s a seventh.

7.

The Smallest Museum — Alnmouth, Northumberland, 2022

I’d started the morning properly — tea, toast, elevenses at Scott’s of Alnmouth, watching the sea mist lift off the Northumberland coast. When it cleared it was one of those impossibly sunny September days that makes you wonder why you ever left.

I wandered without a plan, Canon 6D Mark II in hand, letting the village reveal itself at its own pace. Alnmouth is that kind of place — it doesn’t rush, and it doesn’t need to impress you. It just is.

And then I found it. A tiny wooden shed standing quietly under an open sky. No grand entrance. No ticket booth. No gift shop. Just a modest building holding stories too small to shout and too true to ignore.

I stood there for a moment before raising the camera. Some things deserve a pause before you photograph them.

Shot on Canon 6D Mark II with 16-35mm — Alnmouth, Northumberland, UK, September 2022

I don’t make photographs to sell.
I sell them because some moments refuse to be forgotten.

If one of these finds its way to your wall, I hope it does more than hang there.
I hope it reminds you that some things are worth keeping — exactly as they were.

You can find the prints here! https://shop.ijmphotography.net/collections/the-collection

—

Take your time. These prints aren’t going anywhere.

— Ian
ijmphotography.net

NORTHUMBRIAN SUMMER PART IV

Posted on Posted in Architecture, Art, Black and White Photography, Family Life, History, Reportage, Scotland, Street Photography, The UK Chronicles, Travel photography, United KingdomTagged , , , , , , , , , , , , , , , , , , , , , , , , , , 4 Comments

Edinburgh, Scotland 2025

We’re still in Edinburgh. We’re walking down the Royal Mile. It’s festival season. There are plenty of shows to watch, and the one we saw first was by Max Von Trapp. Not to be confused with the Sound of Music Von Trapps, but a comic magician. One of my favourite kinds. The jokes and tricks rolled fast, as did my laughter.. Kate laughs at all the jokes, even the more adult-focused ones, just like Killian did when we visited the festival when he was that age.

Saint Giles was our next stop. As you know, I’m Catholic, not Protestant. As we wandered through the national Cathedral of Scotland, I was struck not only by the beautiful organ music, but by the lack of the familiar Stations of the Cross, the statues. The centre of attention was not the Lord and the sacrifice of the Mass, but the preacher’s pulpit. I felt this lack and prayed my daily Rosary, head bowed in prayer.

I joined Kate outside, slightly perturbed by the experience.

Lunch was a kebab. Simple and delicious. Kate loved it.

It was time to move on to see Greyfriars Bobby, a wee brown dog, famous for his loyalty. The legend is such that the people of Edinburgh raised a statue to honour him, and people rub his nose either for luck or as a sign of affection. I went into the Greyfriars Pub for some Guinness, reflecting on my own dog Molly, now 16, who greets me every morning as if I’m her favourite person and gets all excited when I get home from work. I can see why wee Bobby was a legendary dog, and why he inspired so many people.

We wandered through the graveyard looking at the tombs of the citizens of Edinburgh from the past. And we found a certain Thomas Riddell who JK Rowling used in her books. Kate acquiesced and allowed me to take her photo in front of it.

We ventured towards the Covenanters’ section of the graveyard, supposedly the most haunted section. I felt nothing and saw nothing, but Kate started to have a headache. We paid our respects and decided to find Bobby’s grave at the entrance. Kate noticed the sticks put on his grave, as you might leave a favourite dog toy. She just had to go and find him a suitable stick. Bless that dog. Teaching us a valuable lesson in pure love years after his death.

We ventured back out onto the streets of Edinburgh, leaving the relative tranquility of the graveyard behind us. This was about to be the reason she wanted to come to Edinburgh in the first place: a cocktail bar. But not any ordinary cocktail bar. The Geek Bar, decorated every four months into a new theme. The theme she wanted was from a video game that she plays with Killian. Oh no—they’d changed everything… It was now all about Stranger Things on Netflix—something I had heard by name but knew nothing else about.

Liquor? Maybe quicker, but it’s not something I’m a great fan of. The lady took our order and explained the concept. I felt as if I was in Starbucks for the first time. She asked which flavours I liked, and with her expert help, I made up my mind. The drink was obviously dangerous—too smooth, too sweet—and I couldn’t feel the alcohol. Neither could Kate, who was only allowed a mocktail. I have to be a responsible parent after all. The second round was just as deadly, and I was beginning to feel very happy. I wonder why…

So maybe, at the end of all this, the real magic isn’t in the tricks or the drinks or even the famous city. It’s just—being there. Following your children into their weird, wonderful universes, and watching them set the place on fire with laughter.
And really, what’s better than that?

Also in this series: Preface  ·  Lesbury  ·  Alnmouth  ·  Bamburgh  ·  Alnwick  ·  Rothbury  ·  Hepple  ·  Chesters  ·  Return  ·  B&W Footnote  ·  Summer I  ·  Summer II  ·  Summer III  ·  Summer IV

NORTHUMBRIAN SUMMER PART III

Posted on Posted in Architecture, Black and White Photography, History, Reportage, Scotland, Street Photography, The UK Chronicles, Travel photography, United KingdomTagged , , , , , , , , , , , , , , , , 4 Comments

Edinburgh, Scotland 2025

It was my daughter’s turn to have some Dad time. Before we left France, I asked both children to think about what they wanted to do the most in the UK. Both of them said they wanted to go to Scotland—Edinburgh in particular. The Lourdes trip when I took them both had drained the coffers…

Killian had been.
Virginie had been.
Kate had never been.

It was my daughter’s turn to have me all for herself.

When I told them,
Killian nodded. “That’s fair.”
Virginie smiled. “We’ll do something together.”
And just like that, it was settled.
This day would be hers.
Just her. Just me.
Edinburgh, at last.

It would be a long day. I wanted to give her a full day—to let the city work its magic… We couldn’t visit everything, but for the first time I thought of Princes Street, and the Royal Mile, and Greyfriars Kirkyard. She’s fifteen—shopping first, history later—yet I’d offer her the quiet places anyway.

I just wanted her to feel the city, not just the shops.

We could always come back.

And next time, she’d walk these streets not because I brought her,
but because she chose to.

We walked along Princes Street looking at the chainstores, even daring to go into H&M but soon left once we realised that you have to be skinny to dress there. We moved on to M&S and had our second breakfast. The bacon roll she had on the train was “interesting” but hardly filling. I saw outfits that I thought she might like but was told, non!

I was on the lookout for a tweed spectacle case but despite looking in numerous tweed shops, I only saw the same things over and over again. I was disappointed, but Kate wasn’t! She saw a beautiful tartan étole that called out to her…

How could I refuse her? It would be perfect for winter and the wool was so soft.

We crossed the bridge next to the National Gallery,
Festival posters peeling in the wind.

Then she stopped—a shadowed shop glowing with silver.
The same one where Killian chose his claddagh six years ago.
“Like Killian’s,” she said, tapping the glass.
Not a question. A claim.

Inside, the air smelled of wool and old metal.
She ran her finger over the trays—
Past the ornate knots, straight to the simplest ring.
“This one,” she told the jeweler. “Like my brother’s.”

I watched her try it on, heart facing outward.
Right hand. My heart is free. (I didn’t need to say it.)
“For remembering,” she whispered.
Not “growing up.”
Just: This is mine now too.

Edinburgh breathed around us—
alive, urgent, temporary.

Also in this series: Preface  ·  Lesbury  ·  Alnmouth  ·  Bamburgh  ·  Alnwick  ·  Rothbury  ·  Hepple  ·  Chesters  ·  Return  ·  B&W Footnote  ·  Summer I  ·  Summer II  ·  Summer III  ·  Summer IV

NORTHUMBRIAN SUMMER PART II

Posted on Posted in Black and White Photography, Family Life, Landscape Photography, Northumberland, Reportage, The UK Chronicles, Travel photography, United KingdomTagged , , , , , , , , , , , , , , , 8 Comments

Craster 2025

It was getting close to lunchtime.  I was enjoying this father-son day and dared to ask if we could go out to Craster.  I really wanted a picture of Dunstanbrough Castle,something I had seen in a YouTube video by Thomas Heaton but it wasn’t to be.  Just take the images you can and enjoy the process.

We would visit Craster.  But first food.  Despite the blueberry muffin we had shared earlier, I was going to indulge us in one of my other UK rituals – The Marks and Spencer sandwich.  I have a great fondness for the feeling of being home and returning to my youth.  The French are a wonderful people and make so much top notch food, but you can’t get a decent Cheese sandwich anywhere.  Wonderful cheese, and marvelous bread, but the idea of putting both together, has totally escaped them.  

The French make glorious food. But they’ve never quite grasped the sacred simplicity of a cheese sandwich. Or the sublime elegance of a prawn sandwich—peeled pink shrimp, mayonnaise, in a relatively grainy brown bread full of goodness. A British delicacy, perfected.

So I bought three: the Ploughman’s, the Wensleydale with carrot chutney, the Ultimate Prawn—nothing but the best for my father. And a bottle of sparkling water.

Food fit for a king. Or at least, for a man who’s earned his rest.

Guided first to the car park, and then to the village by my father going against the wisdom of the GPS Sat Nav we had arrived.   We passed the smoke house—thick plumes curling into the breeze, the air thick with oak and salt. The kind of smell that clings to your sensorial memory. I didn’t take a photo. But I inhaled it, sweet as any incense at mass.  Smoking local fish for local people. 

At the end of the street was the Jolly fisherman, who is not a happy angler, but the local pub.  Well, it would be rude not to… We both fought to pay for the pints of Guinness, but I won and we sat down at a table to drink them.  I think we have a duty to support local pubs as they’re closing at a rapid rate of knots in the UK. This “core” of British and Irish society must be kept alive! 

My  mother had tried to phone us but in vain.  Messages and calls couldn’t pierce the pub walls.  I suggested my Dad go outside to try and call my mother just to reassure her.  It still didn’t work.  I tried on my phone, but didn’t have any luck.  We both decided that my mother suspected that I might lead my father astray and take him to a watering hole.  Ooops!

In for a penny, in for a pund! The harbour, the lobster pots, the salt on the breeze—Northumbrian summer in its purest form. You’ll see it in the images below.

Also in this series: Preface  ·  Lesbury  ·  Alnmouth  ·  Bamburgh  ·  Alnwick  ·  Rothbury  ·  Hepple  ·  Chesters  ·  Return  ·  B&W Footnote  ·  Summer I  ·  Summer II  ·  Summer III  ·  Summer IV

NORTHUMBRIAN SUMMER PART 1

Posted on Posted in Alnmouth, Black and White Photography, Family Life, Northumberland, Reportage, Street Photography, The UK Chronicles, Travel photography, United KingdomTagged , , , , , , , , , , , , , , , , , , , 7 Comments

Alnmouth 2025

I came back to Alnmouth not just to see my parents, but because the place has become part of me and maybe in some very small way we had become part of Alnmouth.

Each visit is different. Sometimes I’m chasing “the” image. Sometimes, like this year, I’m just learning how to sit still.  This is the tale of the other part of Summer.  The UK part of Summer.  The Northumberland part of Summer.  Going home to visit my parents, and show them the children.  It was a Tuesday, I know this because I checked the metadata on my phone.  My mother had decreed that she would go with Virginie (my wife) and the children to Morpeth to do some clothes shopping.  I would have a day with my father.  

It was to be a quiet day with a father and his son catching up and putting the world to rights as we often do during our weekly telephone calls. Which reminds me, I must call on the way home from work. He often talks about walking around the village and always bumping into people he knows. A hello here, a hello there…

More than anything it was a day out with my father.  Which is rare, so I decided to take advantage of his company and ever present wisdom.  Whatever was to happen I had my X100F with me to capture everything.

He decided that we were going to go for a walk in the village as he is wont to do.  I wanted to pay my respects to Scotts of Alnmouth as I do every time I come to Alnmouth.  We follow each other on Instagram and always say hello when I’m “in town.”  It costs nothing to say hello and you never know, it might make that person’s day.  It may even make your day!  With an espresso and black currant muffin, I bade farewell to Scotts of Alnmouth for the year telling them “See you next year.”  

Dad just wanted to drop into the village shop to say hello too.  Why?  Because he’s a lovely man and saying hello costs nothing.  Just a small gesture.  Am I repeating myself?  Ah well…  My father had a spot that he wanted to show me.  This spot overlooked the golf course, the beach, and out to sea we could make out Coquet Island and its lighthouse.  

When I was younger,

the idea of sitting on a park bench,

just sitting there,

would have been impossible.

Yet the man I am at 53?

I revel in it.

When you only get back once a year,

you realise you might have only weeks left

with your father.

And those moments—

silent, shared, ordinary—

become sacred.

There’s no need to talk.

Even when we do.

Just being next to this man is enough.

I see myself in him too.

The way we walk.

What we pause to see.

Just those small things.

My future? 

Also in this series: Preface  ·  Lesbury  ·  Alnmouth  ·  Bamburgh  ·  Alnwick  ·  Rothbury  ·  Hepple  ·  Chesters  ·  Return  ·  B&W Footnote  ·  Summer I  ·  Summer II  ·  Summer III  ·  Summer IV

Summer 2025 Part IV.  What I Gave Them at the Grotto.

Posted on Posted in Black and White Photography, Catholic, Family Life, Film Photography, France, Reportage, Street Photography, Travel photographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 10 Comments

Mass, Ice Cream, and the Retour

Setting the House in Order

I owe it to my children to be the best father possible.  A priest once gave me this advice:  Whatever you do for your children, do it with love.  And that if I do that then I won’t go too far wrong.  I wanted to bring them to Lourdes and show them my faith. 

My son always says that, each time we go to Lourdes, something changes.  The last time was the nun, this time it was the desire to do sport and get even more back on track.  For Kate it was being exposed to something different.  It might have been God’s creation in the mountains, or just seeing that I’m not the guy who goes to mass, and who prays…

Maybe we’ll never know.  But the faith isn’t something that you impose.  It is something that can be introduced in gentleness and humility.  Seeing Dad go to confession and then to mass might just have left its mark upon her.  Maybe that is what I gave them at the grotto.

It was Sunday. That meant returning to the Sanctuaire for Mass—a last thank you to Our Lady in the Grotto, lunch, and then, for dessert, Burger King ice cream with the mountains laid out before us.

Before leaving, the house had to be set back in order—towels and bedding piled for washing, bags zipped, keys returned. Killian was up bright—almost—and early, already in gear. I was coaxing my diesel brain awake. Kate was still asleep. Pretty normal, if you ask me. She’s not a morning person. With her it’s always the softly-softly approach.

We gathered outside at last, the three of us dressed appropriately for Mass. Kate looked radiant in her dress—gone are the days of childhood. She is a young woman now. We only made sure her shoulders were covered before we left.

The Way She Knew

“Papaaaaaa”—tone number three: I want something.
 “Can I take the jumper from the back of the car?”
“Yes,” I said. “Take the jumper—but don’t forget, it’s mine.”

Every trip to Lourdes leaves me grateful I came—and wishing I could stay. It’s strange how quickly a place becomes home. The children were already debating who would control the car radio. It wouldn’t be me.

We parked where we usually do and headed down to the sanctuary. Chocolatines in hand—this is the South-West, after all—I tried explaining to them why it wasn’t a “pain au chocolat.” I doubt I convinced anyone.

I knew the name of the chapel where Mass would be said, but not the way. Kate did. She deserves more credit than she gets.

Beside Me

Mass was in English. After thirty years in France, it felt strange yet familiar. “And with your spirit” still jars in English, though I say it every week in French and in Latin.

But what mattered most wasn’t the words. It was having them beside me. That turned Mass into something more. Into a legacy. Into my spiritual gift to them — something I hope will outlast even me.

Grainy. Imperfect. Like Love.

 We ate Indian food for lunch. Had ice cream at Burger King, overlooking the same mountains that had watched us that weekend. A good way to begin the long drive back to reality…

I didn’t take many photos that day—Kate and Killian together in the sanctuary, sunlight cutting across their shoulders. Kentmere, 100 ASA, f/8. Slightly grainy. Imperfect. Like faith. Like fatherhood. Like love.

Maybe that’s all I ever gave them.

And maybe it’s enough. 

Summer 2025.  Part III.

Posted on Posted in Black and White Photography, Catholic, Family Life, Film Photography, France, Landscape Photography, Reportage, Travel photographyTagged , , , , , , , , , , , , , , , , , , 2 Comments

From Lourdes to the mountain. 

Lunch Before the Climb

The children walked ahead through the Sanctuary, as usual. Why is everyone in such a rush? Is it really that important to be first?

We’d done God. Now, God’s creation. But first: lunch. We stopped at Leclerc — secular, efficient, French.  Cheese and chutney for me, sardines for Killian, pâté for Kate — and a baguette each, because of course. Beer for him, ginger beer for us. And diesel for the car.

Driving Hairpins and Dodging Ravines

We would eat on the mountain side, and it would be amazing.  Back to the Pont d’Espagne — still in France, we checked. In Cauterets, we stopped for ice cream. Sat on a bench. Looked at the mountain. Said nothing. Then I herded them back to the car. “Souvenirs on the way down,” I promised.

It was much the same as last time, lots of first and second gear.  Praying all the way not to go off the road and die at the bottom of a ravine.  I wasn’t dying in a ravine today…  Around the hairpin bends we went, but since I had driven there last month I was slightly less panicky, and even started to enjoy the drive.  At last, we arrived at the car park, still in one piece and happy to be alive.  We were guided to a parking spot by staff.   

Killian got his day sack out of the car and as foolish as I am, I decided to rough it and not wear my hat.  I didn’t want to lose it.  When we got to the official entrance we found out that the télésièges and cable car were working. I took my stick anyway — just in case. And if I needed to beat any small children on the way up? Well, it might come in handy.  We bought our tickets to go right up to the Lac de Gaube, Killian would see it at last….  And, I wouldn’t have to walk 500 metres further up in altitude.  This was turning out to be quite the civilised way to go up a mountain.  I could get into this.  

The Cable Car: A Snug Fit

The cable car, well, to do it justice, could best be described as a snug fit, but the three of us piled in.  Up till that point, I was fine — just panicking when phones were poking through windows to film.

Some children were very nearly beaten!

Nearly…

A very close thing…

Mostly because I’d be the poor bugger having to replace thephones if anything happened. 

Nothing did happen.  Thank you Lord!

Surviving the Télésiège

At the top, we faced the télésiège — a bench on a wire, a bar that barely keeps you in. I took my stick. Just in case. And if I needed to beat any small children filming while rocking the thing? Well, it might come in handy.

My legs shook. Not from height — I’m fine above a certain level. It’s the low heights I hate. The ones where you fall and get impaled by trees. Or worse — have to explain it to their mother.

I survived. Stepped onto solid ground. The more-a the firma, the less-a the terror!

Lunch with a View at the Lac de Gaube

The “short” fifteen-minute walk up to the lake was fine and we passed those coming down, and were overtaken by those going up.  I didn’t care.  I would get there eventually.  Killian spotted a couple of boulders that would do very nicely for table and chairs and we sat down for lunch. I joked that my dark brown chutney, squeezed from the container, looked — and sounded — alarmingly like something it really shouldn’t.  The children did NOT find it as funny as I did.  No sense of humour these youngsters!  But with a baguette and a view? Near perfect. He’d regret the beer later. 

Kate in the Water, Me in Awe

Kate paddled in the lake. It was amazing. I’d heard of someone bivouacking up here. Now I understood. Mountains inspire awe. A glimpse into the glory of God’s creation.  

The Descent: More Civilised This Time

The descent was a more civilised affair.  Kate and I shared the télésiège, Killian took the one just behind us.  We got off and I told Killian to stop hanging around…  The “children” — Killian (26), Kate (nearly 16) — filmed the river, even under the water. I was impressed. Back at the car, Killian dumped the rubbish, then sneaked up and went “boo.” The little shit scared me half to death. Much to his merriment.

A Perfect Drive Home

The drive home was perfect.

God is, indeed, good. 

Summer 2025, Part II: Faith, Family, and the Road to Lourdes

Posted on Posted in Black and White Photography, Catholic, Family Life, Film Photography, France, Landscape Photography, Reportage, Street Photography, The Film Archives, Travel photographyTagged , , , , , , , , , , , , , , , , , , 2 Comments

The Lourdes trip.

The Plan: Stress-Free or Bust

I wanted the trip down south to Lourdes to be a quiet one—especially for Kate. Stress-free, as much as possible. I can do this. No stress. Who needs stress anyway? My wife? Definitely not! No shouty-shouty, nothing.

There was an era in French driving when people thought nothing of a five-hour dash. I am not of that persuasion. Not my thing. If I want to stop, I will stop. We had one goal: get to Lourdes—and not die on the way. If that happened… my wife would kill me!

On the Road: Wine, Pines, and a Good Co-Pilot

The only thing I insisted on was that Killian, my son, be my co-pilot on the Bordeaux ring road. His support on our last trip had been invaluable. He has a knack for staying calm and guiding me gently. As we went past Cognac, Jonzac, Saint-Émilion, and Blaye, I could almost taste the wine on my lips—but no, just keep driving, as Dory might say.

South of Bordeaux, other names began to appear: Graves, Cadillac (the wine, not the car), Sauternes, and eventually the Landes, with their towering Pins Maritimes. Then came signs for Madiran—a nice little tipple!

First Sight of the Mountains

Kate was in the back seat, seeing the mountains for the first time. As soon as the Pyrénées appeared on the horizon, we told her, “Those aren’t clouds—they’re mountains.” She seemed to share our awe. She was also amazed that I didn’t say no to snacks, especially the chocolate chip cookies. Killian got me a coffee to keep me going until we arrived. Good man.

Saturday Morning in Lourdes

Saturday morning would be for God, and Saturday afternoon for the mountains.

We set off relatively early—or, in my fifteen-year-old daughter’s eyes, the crack of dawn. We parked where we had during our last visit and walked gently down toward the Sanctuary. I didn’t even have to stop the children from entering each shop, intent on burning a hole in my bank card. The majority were still shut. And there might be some of you thinking I did that on purpose!

We popped into the café: Killian and I had espresso with croissants, while Kate enjoyed hot chocolate and a tartine of bread with unsalted butter. I felt so bad for her—we live in a region where salted butter is almost sacred! We thanked our waiter, amused by the children speaking French to me while I replied in a different language.

Faith, Water, and Candles

The morning was for God. I went to confession, half-hoping the nun from last time—the one who had made such an impression on Killian—would still be there. She wasn’t, but that was fine. We drifted toward the grotto and said a quiet prayer to Our Lady. Kate seemed less impressed than we were, and I secretly hoped she might feel something. We asked about the baths, but they had reached the daily limit. I still managed to have them sprinkle the healing waters of Lourdes on their faces.

As we crossed the bridge, we spotted a fish—Kate was delighted. She lingered, fascinated by the enormous candles left by pilgrims, each wrapped with prayers. We lit our own candles and said “our” prayers. I checked the mass times for the next day—and found them! No idea where the mass would be, but Kate got us there. Today was Saturday… not Sunday yet.

These photos were taken on the Nikon FE using HP5+ film shot at box speed.

Browse the full Film Archives →

Summer 2025. Part I: Beer, Bad Decisions, and the Road to Lourdes

Posted on Posted in Black and White Photography, Catholic, Family Life, Reportage, Travel photographyTagged , , , , , , , , , , , , , , , , , , , 2 Comments

Beer, beer, and a dubious decision

A Little Context, Dear Reader

Hello Dear Reader. The last articles you read were a chronicle of the 14th of July celebrations and various disasters with the seafood god — more about family life than pure photography, not that I’m a participant in any risqué photography, as I assume you already know.

Now, this might surprise you — given my reputation as a total abstainer — but even I enjoy a little “drinkie pooh” now and again. That lovely boy of mine asked if I could help him move out of his flat and come home. How could I ignore his pleas for assistance? I couldn’t. So I drove to the boy’s flat and helped him get the last of his “stuff” into the car. We tied his bed to the roof, and he suggested we go for a beer to celebrate his homecoming. What a gentleman, and an all-round good egg!

A Good Egg of a Son

That wonderful son of mine even paid for round one: two pints and one saucisson, which hit the spot. Round two was my turn, and we had the same. The outing was turning into a good night. Round three was even better. We stopped at round four — had to get the car home and all that.

When Good Sense Abandoned Us

It was round four when good sense abandoned us, and the silly ideas began. We were talking about the trip to Lourdes back in June. Wasn’t it lovely, and wouldn’t it be nice to do it again sometime?

“Yes, of course it would,” I said.
Big mistake.
He pulled out his phone.
Tapped.
Smiled.
“Sorted. I’ve booked an Airbnb for Friday night.”
That’s when I realised: we’d fucked up.
His enthusiasm is infectious. But this isn’t the kind of trip you plan at the end of a little outing. Still, he was tickled pink.
I had to explain it to his mother…

Delicate Ground, Ian… Delicate Ground

It was with a contrite heart and much pleading on my part that we managed to get permission from she who must be obeyed. Yes, I was a fool and an utter eejit, and why did I let him be so bloody stupid? Delicate ground, Ian, delicate ground… A father–son trip is fun, but it’s an easier sell when you volunteer to take child number two as well. Killian was fine with this, and it was agreed: I would take the children — Killian and Kate — to Lourdes, without wrecking the car (or even scratching it), and return with all of us in one piece.

The Photographer’s Twist

I wanted this summer to be about film photography — so the ME Super and the Nikon FE were coming with me. No instant feedback. No safety net. Just light, time, and a few rolls of HP5.

Eejit number 1 on the right and his sister who would be putting up with us for the weekend… Nikon FE 50mm Ilford HP+ at box speed.

Coming Soon

Posted on Posted in Black and White Photography, Scotland, Street Photography, The UK Chronicles, Travel photography, United Kingdom, Urban, VideoTagged , , , , , 17 Comments

Yes, we went back to the UK on holiday, but before that, I had a trip with the children to Lourdes, and with film cameras, and the X100F just in case. the articles are written and all I have to do now is to develop some film and scan it. Damn you procrastination. I just have to start one and the rest will follow.

Lourdes 2025

Posted on Posted in Black and White Photography, Catholic, Family Life, Portrait, Reportage, Travel photography, VideoTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 3 Comments

There are places in the world where time feels different — where the air is thick with memory, hope, and something quieter than silence. Lourdes is one of those places. This is the story of my pilgrimage there with my son Killian — and of the moment that changed us both.

Lourdes 2025

I look back on our trip to Lourdes with great affection and know that I will be going back with Killian one day. Lourdes is one of the most significant sites when it comes to Marian apparitions — and was where the dogma of the Immaculate Conception was confirmed. Our Lady made several apparitions to Bernadette Soubirous, and the grotto remains exactly as it was, as does the spring she once dug by hand, along with the sacred alcove where Mother Mary actually appeared.

This time we didn’t manage to go to the baths, but I did attend Mass and go to confession.

Was it a pilgrimage for both of us? In some way, yes. Killian’s faith path and my own may be at different places, but we couldn’t help but feel changed.

Little did I know that while I was waiting inside to go to confession, an African nun had come up to Killian and had started talking to him.

When I was confessing my many sins, the priest guided me, taught me, and reminded me of some of the key elements of the faith — and the importance of looking after myself. He was completely right about everything. It was a moving experience — I left that confessional a new man, newly reconciled with God. I said my penance and went to find the boy.

For those of us who went to Catholic schools, we know all about the power of nuns — and you listen to them. She spoke to him not only with authority, but with profound wisdom, deep kindness, and the kind of love only an African mother can carry in her voice. He later told me how much she had marked him. When I came out of confession, she was still talking to him — and boy, was he listening.

Was it just a nun — or was it Our Lady speaking to him the way Jesus speaks through the words of the priest during Mass? I don’t know. But what I do know is that what that nun said to him had moved him more than any lecture from his father ever could. She was such a happy woman, and her laugh was infectious. She truly had the joy of serving Christ.

Lourdes is a place of hope, healing, and searching — a place where we often find God through Mary.

Killian had not only been a constant companion to me, helping me and laughing with me, but I believe God had spoken to that boy through that nun and set something in motion. Is he still fighting his demons? Yes. But there was a glimmer of hope in the darkness — one that won’t leave him untouched.

I didn’t question him further. Some moments are too sacred to dissect. And every soul walks its own path to God.

We had spontaneously gone to Mass the day Pope Leo was elected, and there was a joyful energy in the sanctuary. Habemus Papam. It was a special day.

Not because of the ceremony, or the news, or even the setting — but because, in that moment, I knew: God had not stopped speaking.

Sometimes, He speaks through a stranger. Sometimes, through a mother’s voice. And sometimes, through a son who learns to listen again.