Let’s be honest: orchestras run on two things. Music and food.
Most documentation skips the food. Concert halls, polished instruments, formal attire — that’s what ends up in the frame. But before any of that, there’s a lunch break in a car park outside a community centre, and that’s where I wanted to start.
I’m the fourth horn in the Symphonique des bords de Loire. Which means I’m also inside the story, not observing it from a safe distance. I know these people. I count rests next to Corentin, our first horn. I watch Victor — oboe, cor anglais, and the man who quietly keeps the whole enterprise running — arrive with a tote bag full of provisions. I see the conductor holding a food container and chatting, no baton, no authority, just a man at lunch with his colleagues.
That’s what I wanted to photograph.
I loaded the Pentax ME Super with Fomapan 100 and spent the break outside. Aperture priority, natural light, film at box speed. No pushing, no games. The choice was deliberate — I knew I’d be shooting the rehearsal indoors on HP5+ pushed to 1600 and 3200. Those would be grainy, urgent, intense. This needed to feel different. Calmer. The breath before the dive.
The difference, when you put the two rolls side by side, is striking:
| Fomapan 100 — Lunch | HP5+ 1600 — Rehearsal | |
|---|---|---|
| Light | Natural daylight | Mixed indoor fluorescents |
| Grain | Fine, subtle, clean | Textural, present, moody |
| Contrast | Gentle, even | Punchy, dramatic |
| Mood | Relaxed, communal | Focused, intense |
| Story | Community at rest | Collaboration at work |
Same orchestra. Same day. Different worlds — and that contrast was the point from the start.
Fomapan 100 in good daylight gives you an honesty about the light that suits candid work. The faces, the bread, the containers of salad, the glass bottle catching the sun — none of it is staged, and the film doesn’t try to make it anything other than what it is.
The two Chinese violin soloists — the guest artists who’d be the focus of the afternoon — weren’t there for lunch. They’d arrive later, after the tables were packed away. For now it was just us: teachers, retirees, students, professionals, amateurs. All ages. The usual mix. Gathered outside a community centre with a faded sign, sharing food before three hours of work.
This isn’t a fancy conservatory. It never was. That’s rather the point.
After lunch, the tables come down. The last conversations finish. Someone rinses a container. And then, quietly, the same people who were just eating become musicians again. The conductor picks up his baton. Viktor picks up his oboe. Corentin finds his pitch. I put down my camera, pick up my horn, and count rests.
The soloists arrive. The work begins.
That’s Part 2.
Shot on Pentax ME Super, 50mm f/1.7, Fomapan 100 at box speed. Developed in Ilfosol 3. Edited in Lightroom
Also in this series: The Work — Concerto on HP5+ 1600 · The Grind — General Rehearsal on HP5+ 3200
