Category: United Kingdom

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?

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.

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 , , , , , , , , , , , , , , , , , , 4 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.

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 , , , , , , , , , , , , , , , , , , , , , 6 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? 

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.

Classic Chrome Meets Portra 160: Evaluating the Pentax ME Super and Fujifilm X100F

Posted on Posted in Black and White Photography, Film Photography, Landscape Photography, Northumberland, Travel photography, United KingdomTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 3 Comments

Let’s talk about two of my favorite cameras—the Fujifilm X100F and the Pentax ME Super. While these cameras belong to entirely different eras of photography, they share a surprising similarity in size and portability. I’ve used both extensively, and today, I want to compare their unique qualities without turning it into a clichéd “film vs. digital” debate.

Photography enthusiasts often find themselves in one of two camps: those who champion the convenience and immediacy of digital, and the purists who swear by the timelessness of film. But if you’ve followed this blog for a while, you’ll know I don’t see things that way. Instead, I value what each format brings to the table, and more importantly, how both contribute to the experience of photography.

A Tale of Two Cameras

For me, photography is more than just the final image—it’s about the journey of capturing it. Any Lomography fan will agree: the process is as important as the outcome. When I shoot with the Fujifilm X100F, I appreciate the immediate feedback of seeing the image on the screen and knowing right away what I’ve captured. But with the Pentax ME Super, it’s a different experience. I have a rough idea of what the film will deliver, but the magic isn’t fully revealed until the film is developed. That anticipation is part of the charm.

For this comparison, I’ve chosen photographs from Northumberland. Its moody, windswept landscapes—places like Alnmouth and the Northumbrian moors—present the perfect canvas for both film and digital. The X100F’s Classic Chrome simulation delivers a retro, muted look, while Kodak Portra 160 film, shot through the Pentax, brings warmth and richness to the tones.

The Fujifilm X100F

he X100F has often been called a bridge between the analogue and digital worlds, and I tend to agree. It’s packed with modern features like autofocus and an electronic viewfinder (EVF), but the controls are refreshingly tactile, with dedicated dials for aperture, shutter speed, and ISO. For anyone with a background in film photography, this setup feels familiar and intuitive.

What sets the X100F apart for me, though, is its Classic Chrome film simulation. It offers a subdued color palette that echoes old film stock, perfect when I want a slightly desaturated, vintage aesthetic. Unlike some over-the-top digital filters, Classic Chrome feels organic and subtle—bringing out details in the shadows without overwhelming the shot with contrast.

The X100F Photos

The Pentax ME Super

On the other hand, the Pentax ME Super is all about slowing down. There’s no EVF, no digital screen, and definitely no autofocus. Instead, you rely on a split-prism focusing system and aperture-priority mode. It forces you to be deliberate with each shot, a process that I find incredibly satisfying.

You’ll often hear film photographers talk about being more “in the moment” when shooting on film, and that’s exactly how I feel with the ME Super. The process of carefully composing each shot, setting exposure manually, and waiting for the film to be developed encourages patience and thoughtfulness.

For this outing, I paired the ME Super with Kodak Portra 160, a film that’s become known for its natural skin tones and soft, warm colors. Paired with the 50mm f/1.7 lens, this combination creates images with that unmistakable film character—shallow depth of field, soft highlights, and rich colors.

Lenses and Sensor Size

One of the most noticeable technical differences between these two cameras is their lenses and sensor sizes. The X100F features a 35mm equivalent f/2.0 fixed lens, while I usually use the 50mm f/1.7 on the Pentax. On the sensor front, the X100F has an APS-C crop sensor, giving it a narrower field of view compared to the full-frame 35mm film in the Pentax.

This technical difference goes beyond field of view. The Pentax ME Super has fixed ISO based on the film I choose, so I need to plan ahead for the lighting conditions I’ll be working in. In contrast, the X100F allows me to adjust ISO on the fly, providing flexibility in rapidly changing environments. This is something digital photographers have come to rely on, and it’s undeniably convenient when shooting in variable light.

The Pentax ME Super photos

Comparing the Images

Now, the big question: which is better, the Pentax ME Super or the Fujifilm X100F? Honestly, neither. They’re different tools for different purposes. Whether you’re drawn to the organic feel of film or the convenience of digital, both formats offer something unique. And that’s the beauty of photography—there’s no one-size-fits-all approach.

The sideshow feature shots from both cameras. As you look at them, you might favour one look over the other. The film shots have a warmth and texture that digital sometimes struggles to replicate, while the digital photos are sharp, detailed, and offer instant gratification. But ultimately, this comes down to personal preference, not a matter of one being objectively better.

Final Thoughts

At the end of the day, a camera is just a tool for capturing a scene in a particular way. As long as the final image is pleasing to the eye, I’d say the job is done. So don’t limit yourself to just one format—if you haven’t tried shooting film, give it a go. If you’re a film photographer who’s hesitant to try digital, maybe the X100F will ease that transition with its analogue-like feel.

More than anything, I encourage you to enjoy the process, whether it’s with film, digital, or both. Get out there, take your time, and remember that photography isn’t just about the images you capture—it’s about the experience.

Post Scriptum:
For those of you new to my blog, welcome! I cover everything from camera reviews to photography tips and techniques. Whether you’re a seasoned photographer or just starting out, there’s something here for you. Feel free to leave your thoughts or questions in the comments below—I’d love to hear from you!