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…

Conclusion: Reflecting on the Philosophy of Photography


As we reach the end of A Photography Philosophy Series, I hope this journey has been as rewarding for you as it has been for me. Through these articles, we’ve explored the philosophy behind why we photograph—going beyond equipment and technique to dig into the heart of what makes photography so meaningful. Each theme in the series has shed light on a unique layer of photography, from capturing emotions to telling stories, reflecting identity, building connections, and even embracing impermanence.

We began with Why Do We Photograph?—a question that sits at the root of every image we capture. For some, photography is about preserving memories; for others, it’s about self-expression, documenting moments, or sharing perspectives. Over time, our reasons for photographing often shift and evolve, bringing more layers to our work as we grow. This first article set the tone for the series by reminding us that photography is a deeply personal journey, and our motivations shape each image we create.

Then we delved into The Emotions of Photography, exploring how images can carry feelings, from joy and nostalgia to solitude and contemplation. Photography allows us to express emotions that words often fail to capture, communicating through light, composition, and mood. Each photograph holds the potential to resonate with viewers in a way that feels both personal and universal, offering a window into the photographer’s emotional landscape.

The Art of Storytelling in Photography came next, where we looked at how images can create narratives—small windows into people, places, or moments that form part of a larger story. Photography has a remarkable way of capturing both detail and the bigger picture, allowing us to document stories that speak to shared experiences or unique perspectives. In a world full of words, photographs can often tell a story with a quiet eloquence.

In Identity and Self-Expression, we explored how photography offers a chance to express who we are and what we see. Our images inevitably reflect parts of ourselves—our backgrounds, our worldview, and our personal journey. For many, photography is as much a journey of self-discovery as it is a creative practice, helping us find our own voice and share it with others. Photography encourages us to see ourselves more clearly and to reveal something of that to the world.

Then came Connection Through Photography, a theme close to my heart. Photography, as we’ve seen, can forge connections—between photographer and subject, among fellow photographers, or with viewers who see something of themselves in the image. These connections remind us that we’re not alone in this world; they foster a sense of community, shared understanding, and empathy that goes beyond language. Photography has a unique power to unite us, even if only for a moment.

Lastly, we explored The Philosophy of Impermanence, where we reflected on the fleeting nature of each photograph. Every image captures a moment that can never be repeated, lending photography its unique poignancy. Impermanence reminds us to treasure the moment and see beauty in the transient. Photography, like life itself, is filled with unexpected moments, and it’s often the imperfections or mistakes that give images their authenticity and depth.

As we close, I invite you to reflect on your own photographic journey. What drives you to take photographs? Which themes resonate most with you—capturing emotions, telling stories, connecting with others, or perhaps embracing impermanence? These reflections aren’t just theoretical ideas; they form the personal philosophy that shapes how each of us approaches photography.

Ultimately, photography is about connecting with the world and each other through shared moments and meanings. If this series has encouraged you to think more deeply about your motivations, experiences, and the meaning behind your work, then I hope you’ll carry those reflections forward. Photography gives us a way to see, to understand, and to share in ways that words alone can’t.

Thank you for joining me on this exploration. I’d love to hear about your own experiences—what drives you, what connects you, and how photography shapes your view of the world. Let’s keep the conversation going and continue building a community of thoughtful photographers, one image at a time.

Photography Philosophy – Part VI – Connection Through Photography


Building Relationships

I once read that if two Germans meet, they will form a club. I am not German, but they perfectly illustrate this universal need to belong. They are generally not the most extroverted of people, but even introverts have this need to form a relationship with somebody. As photographers, we have this same urge, but perhaps in a more subtle way. When I’m out on the street, I will always notice someone with a camera, even when I’m without one myself. I find myself looking to check the brand, possibly the make of the camera, and the type of lens the person is using. Even when we simply nod at each other, it’s a recognition of our shared enthusiasm for the art form. Am I judging them? Sometimes, yes, but to err is human.

When I see a film camera around someone’s neck, I am immediately drawn to it. When I venture out with the behemoth Mamiya C220, the camera is almost as much a statement as the actual image I’ll eventually take with it. People will come and inquisitively ask, “What kind of camera is that? Can you still get film for it?” or say, “Yes, my grandfather had one like that.” The obvious charm of a medium format TLR in this modern world.

Photography is sometimes seen as quite a niche activity, and film photography even more so. A film camera gives out a more exclusive vibe, telling the world that, yes, we actually are serious about this, and know what we are doing, as the camera isn’t doing anything for us. We are artists and therefore superior to you, at least that’s what we tell ourselves for validation… One could argue that there is a need for even more knowledge with film photography, and that the need to develop our films just goes to show our dedication to the craft.

Well, not always. But it does give a starting point to a chat, which invariably leads to a discussion about this shared interest, and gives us a common starting point to our relationship, however brief that relationship might be.

I also want to explore the relationship between the subject and the person photographing that subject. For a long time, I was petrified of using a model. I’m an introvert by nature, so the idea of having to make small talk with and direct a model was awful. I wanted to learn more about photographing a model and to break out of this comfort zone. Strangely, buildings won’t talk back at you or tell you what they think of your shot. People, on the other hand, are completely different.

I had learnt basic lighting technique and then had to find models. Luckily, I could rely on my daughter and wife as my first subjects, then branch out to include my son and his then-girlfriend. I then moved onto unsuspecting friends, fellow musicians, and eventually felt my confidence slowly building enough for me to photograph complete strangers by establishing that rapport between us. I discovered that sometimes they were as terrified as I was. Again, something we had in common…

I followed some advice from Sean Tucker, who specialises in portraiture. I simply had a conversation with my model, which seemed to put us both at ease. This allowed the model to detach from the shoot and just chat away.

Community and Collaboration

But connection isn’t limited to brief exchanges with strangers on the street; it can also be found in deeper collaborations with other photographers. As I said earlier, I am more of an introvert, and the idea of making an effort to be sociable is something I find exhausting. At parties, I have been known to chill out on the outer realm of guests and chat to the dog. Hey, we have great conversations together!

However, I have been known to make that special effort and even meet up with other photographers. If you’ve ever talked to me about photography and the merits of various pieces of kit, and actual cameras, you’ll know that I can talk about it until the cows come home—to the point that most people switch off after 30 seconds. But when you have a captive audience who actually cares and knows what you’re talking about, it just brings me out of my shell.

Sometimes one might think it’s a very blokey thing to meet up with other men and talk about, and participate in, some rather niche activity. That might sound a little suspect, but I assure you it isn’t.

I once had a meet-up in Nantes (the very first article on this blog), and it was so rewarding. It was a typical male bonding activity, and everyone, except for me, brought along their biggest cameras and most expensive lenses. It almost felt like a competition to see who had the most impressive camera. I just brought my relatively tiny X100F, the thinking man’s camera. Much like my car, it’s not the most inspiring thing to look at, but I enjoy using it, and it certainly gets the job done in a very satisfactory way!

I have also collaborated with Nantes Grand Angle, a collective of photographers that have outings in and around Nantes. In exchange for a free tour or free visit, we take pictures during the outings and write about them in our blogs or publish the photos on Instagram. I have done a couple of outings with them, and it’s always interesting to see other photographers in action. They are there seeing the same things as me, but not in the same way. That sense of belonging has a huge feel-good factor too.

A Shared Lens

Photography may often feel like a solitary pursuit, but beneath it lies a powerful thread of connection, weaving us together through moments captured and stories told. Whether it’s the subtle camaraderie exchanged between strangers with a simple nod on the street, the thrill of collaborating with others who share our passion, or the quiet understanding forged with a subject in front of the lens, these encounters remind us that we are never truly alone in this journey.

Through photography, we find not just a way to see the world but a way to be part of it—a community of like-minded souls bound by a shared appreciation for light, shadow, and time itself. In the end, our photographs are a bridge, linking us to others and creating a lasting connection beyond the mere act of pressing the shutter. For as long as we hold a camera, we’re part of something bigger, capturing fragments of life that, no matter how fleeting, will always connect us back to one another.

The Opening of the Film Archives – April 2017 On the Border


Good evening Dear Reader.  Some of you may know that I live in France, despite being originally from the UK, and despite probably having gone native after living here for 30 years.  I have even been accused of being a little “Continental” whatever that may mean..  I live in the west of France.  You could think that I live in Nantes just judging by the quantity of photos taken in that city.

I actually live in a smallish village at the very northern edge of the Vendée and my village borders the “la Loire Inférieure” or to use the more modern term “la Loire Atlantique.”  Our department number is 85 and theirs is 44.  I’m not saying there is any animosity between the two, in the same way that there isn’t any animosity between the inhabitant of Lancashire, and God’s own county of Yorkshire.  Absolutely none at all.

You now know where I am.  Let’s have a closer look at that area through the lens of my Canon AE1.  This series of photos was taken along my route to work.  You can see the milestone on the road where the border between the two departments finds itself.  

The trees along this stretch form a natural tunnel, creating an otherworldly atmosphere as sunlight filters through the canopy. Capturing that interplay of light and shadow was my goal with the Canon AE1. Despite some doubts about its metering capabilities, the camera performed admirably, and I’m thrilled with the results.

Since I took these photos, some of the trees have been cut back, making these images even more precious. They preserve a fleeting beauty—a reminder of how photography can immortalise moments before they change forever.

At the base of the hill runs a quiet stream, tame in spring but often overflowing in winter. Its stillness offers another perspective, reflecting the surrounding trees and clusters of mistletoe hanging high in their branches. These reflections, captured on film, reveal a different kind of magic—a mirror-like calm that contrasts with the lively interplay of light above.

This installment of the Film Archives is a tribute to the quiet beauty of my daily commute. Through these photographs, I hope to share not just a sense of place but a moment in time that speaks to the power of film photography to hold onto the ephemeral.

Opening of the Film Archives, Château de Clisson, February 2017


I had obviously taken a break with the Canon AE1 and spent the whole of December and January in hibernation, as most grumpy bears of my age do. Get Christmas over with, then go back to bed… I like my bed. No, I love my bed!!

Spring was just around the corner, and Kate had managed to awaken the beast and proceeded to tell me what she had planned for the day. It included me, a camera, and the Chateau de Clisson. I had just been “told” by my daughter, and off we headed to Clisson.

Now, the Chateau de Clisson is no small affair by any means. It dominates the centre of the town, sitting atop a hill as an imposing structure. I remember Kate having begged me on numerous occasions to actually go inside, and this time I acquiesced.

It was the perfect opportunity to not only document the inside of this historic site but also to let my playful daughter do what children do best: be cute, or as they say in French, espiègle. At that age, she was still content to pose for the camera, unlike the moody teenager she has become. Yet, sometimes, that same playful nature still manages to shine through.

If you’re curious to learn more about the history of the Chateau de Clisson, I’ve included a link for further reading.

After our outing in Clisson, I retreated to the quiet of my darkroom, where the real magic happens—transforming the captured moments into tangible memories. The familiar routine of developing the film, loading it into the tank, and watching the images slowly emerge never fails to captivate me. Once the negatives are ready and the scans are complete, I file them away in both my digital and analogue archives.

Then, a few years later, I get to share these memories with you. It’s a special kind of nostalgia—the kind that comes with taking time to slow down, reflect, and preserve what matters most. Thank you for joining me on this journey and for allowing me to share these pieces of the past with you.

A photography Philosophy – Part III – The Emotions of Photography


The Connection between Emotion and Image

I’m going to tell you a story about an essay that was given to us by the music master at the beginning of my Music A level course.  There were four of us studying music, and the lessons took place in his study, much like a tutorial at university.  The title of the essay was something like describe the perfect piece of music.  

Back then I described the Glenn Miller song, Moonlight Serenade.  One of my fellow pupils described the Planets from Holst.  In the following tutorial after our essays had been marked, I was criticised since the Master thought my piece was repetitive, had no particular musical merit, and was corny.  I, on the other hand, argued that it was the way the piece made me feel.

With hindsight I should have just handed in a clean sheet of paper saying that there is no such thing as a perfect piece of music, as taste is purely subjective and that he should take his essay question and possibly reconsider his stance!  I didn’t of course.  But it certainly got me thinking, even to this day!  

Subjectivity in Art

As in any art the appreciation of the viewer is purely subjective and we have to be so careful about reading an interpretation into a given work.  There are effectively themes that are explored in literature that could be described as obvious.  But in Photography, I maintain that any connection to a particular photograph is an emotional one first, before going any deeper.  

The Essence of Emotional Connection

But what makes this emotional connection possible? And how do I go about achieving this in photography.  I’m going to harken back to my musical training.  My horn teacher in France would say, your concerto is your text.  Your job is to recite that text to the audience.    That is all you have to concentrate on.  You’ve worked through your concerto, the techniques necessary to play it, and once the sound leaves the bell of the instrument, it is no longer yours.  It belongs to the audience.  They are the ones listening and they are the ones that will form the emotional connection.

Creating Meaningful Portraits

So how do I make this connection with my audience when it comes to photography?  Well, in portraiture they say to focus on the eyes of your model.  Eyes being the entrance to the soul. If I can capture that and have my model looking directly at my camera and therefore my audience then I’m well on the way to creating a meaningful portrait.

Kate, my daughter
The Art of Street Photography

In my street photography, it can be about catching a detail that everybody sees but that nobody notices until they look at your image.  You can go to my photography tutorials and look at the composition articles to learn about how we direct the audience to a particular point in our photograph by using leading lines, the rule of thirds, and emphasising our subject with our lighting, or by isolating our subject.

The Role of Colour in Evoking Emotion

We also solicit emotion through the colors we choose. Warmer tones can infuse images with energy and happiness, while cooler tones can make them feel peaceful or introspective. For example, adding reds and oranges to a portrait can evoke warmth and approachability, while blues and greens can give a landscape a calm, reflective quality. Considering these colours “in camera” can make the entire process more intuitive, helping you set the mood before you even begin editing.

The Power of Black and White

Shooting in black and white, using only tones of light strips away the influence of colour and presents us with the “essence” of a scene, and it’s one of the reasons I love shooting in black and white, be that on film or digitally.  I aim for a timeless quality to my black and white images, and the emotion can be just as intense.  Without color, we focus on texture, shadow, and contrast—elements that can evoke nostalgia, solitude, or contemplation.

Mindfulness in the Photographic Process

What I think I’m getting at is that to evoke an emotion we need to be so mindful of our photographic process.  Sometimes taking that step backwards allows us to reflect before pressing the shutter button.

Conclusion

I don’t have all the answers of course, but in the end, capturing emotion in photography is as much about the heart as it is about the eyes behind the lens. Each photograph we create is a bridge between ourselves and our viewers—a connection forged in the moment but lasting beyond it. Just as a musician lets their notes drift into the silence, we photographers must let our images speak, leaving space for others to interpret, feel, and connect.

So, as you move forward in your own photography, remember to pause, to feel, and to let emotion guide your hand. Don’t be afraid to take a step back before pressing the shutter, and ask yourself: What do I want my viewer to feel?

I hope this reflection gives you a new perspective on how you approach your next shot. After all, photography, like any art, is a journey without fixed answers—one of constant discovery. Take time to explore, experiment, and, most importantly, to feel.