The soloists had gone home.
Saturday’s concerto rehearsal was done — the collaboration, the translation, the careful work of integrating guest artists into an established ensemble. But the concert wasn’t just one piece. It was a full programme. And the rest of that programme needed rehearsal too.
Sunday. No soloists. No concerto. Just the orchestra, the conductor, and the grind.
I loaded HP5+ pushed to 3200. Same Nikon FE, same 50mm f/1.8. But three stops of push this time — more grain, more contrast, more raw. If Saturday’s 1600 was work, Sunday’s 3200 was iteration.
You can feel the difference when the guest artists aren’t there. Saturday had a particular energy — the stakes of building a shared language with people from outside the ensemble. Sunday was just us. The regulars. The people who were eating lunch in the car park the day before. Corentin back in his seat next to me. Viktor on oboe. Nicolas patient behind the timpani. The conductor at the whiteboard, same as always, but now talking only to people he knows.
No translation needed. Just the work.
Here’s what general rehearsal looks like: we play. The conductor stops us. Again. We play. He stops us. From 47. We play. No, from 45. We play. Better. Now from the top of the phrase. Over and over, getting it right, then getting it better. It’s not glamorous. It’s not even particularly musical most of the time. It’s iteration — and the HP5+ at 3200 suits it. The grain is heavy but not ugly. Textural. Urgent. Honest about what it’s depicting.
What strikes me looking at the images now is the concentration. The hunched shoulders, the heads bent over sheet music, the conductor’s hands cutting through the air. Nobody is thinking about dinner or what they forgot to do at work. For these few hours everyone is just here, trying to make something work. The grain matches that energy — it says this is real, this is process, this is nowhere near the victory lap.
The full arc of the weekend, in one table:
| Fomapan 100 — Lunch | HP5+ 1600 — Concerto | HP5+ 3200 — General | |
|---|---|---|---|
| Camera | Pentax ME Super | Canon AE-1 Program | Nikon FE |
| Light | Natural daylight | Mixed indoor | Mixed indoor |
| Grain | Fine, subtle | Textural, controlled | Pronounced, raw |
| Mood | Relaxed | Focused | Urgent |
| Story | Community at rest | Collaboration at work | The machine in flow |
Three cameras. Three films. One story.
The choices weren’t accidental. I chose Fomapan 100 for the lunch because I wanted calm. HP5+ at 1600 for the concerto because I wanted texture with control. HP5+ at 3200 for Sunday because I wanted the grain to do some of the work — to say without saying it that this is unglamorous, repetitive, necessary. The photojournalists who shot jazz clubs in the 1950s understood this. You don’t hide the process. You lean into it.
From my seat in the horns I photographed the machine I’m part of — the horn resting in its case between takes, valves gleaming; coffee cups on the floor by the woodwinds; sheet music thick with pencil marks. These are the million small adjustments that add up to a rehearsal. And eventually, if everything goes right, to music.
Seeing the Symphonique des bords de Loire through a viewfinder across a whole weekend changed something. I saw not just the work but the commitment behind it — all these people who could be doing anything else on a Saturday and Sunday afternoon, here instead, playing the same bars until they’re right.
Rehearsal is where the music is actually made. The concert is just the victory lap.
The trilogy is complete.
Shot on Nikon FE, 50mm f/1.8, HP5+ pushed to 3200. Edited in Lightroom — contrast via tone curve, subtle vignettes, grain left exactly where it was.
P.S. All three parts are now published: Part 1 (Fomapan 100, Lunch), Part 2 (HP5+ 1600, Concerto), Part 3 (HP5+ 3200, General). Thank you for following along.
