The Pyrenees Mountains – and the Pont d’Espagne which isn’t in Spain

If the Vendée is Jane Birkin — elegant, understated — then the Pyrenees are full-on Marilyn. Proper mountains. Vast. Unapologetic. Even in May, some peaks were still capped in snow.

I was in Lourdes hoping to strengthen my faith. I think Killian needed that too — but more than anything, he needed his mountains. Now, finally, I get it. Up there, I saw him more clearly: less the boy I once knew, more the man he’s becoming.

Like most of us, he has his issues — but he’s working through them. And sometimes, he even lets me help. Those are the moments I think I might just be getting somewhere as a father.

He’d decided we were heading to see his beloved mountains. The place? The Pont d’Espagne — yes, in France, despite the name. I may have mentioned that. Maybe.

We left the impressive foothills of Lourdes behind and climbed into the real mountains. Snowy peaks against blue sky and drifting clouds. Windows down, music low, we drove toward the famous pont. It had better be worth it.

Killian and I travel at a relaxed pace. If the view’s good, we’ll pull over. Get the camera out. Take a few shots. See what happens.

Sometimes it works. Sometimes it’s a fiasco. But more often than not, we come away with something.

Oh no! Catastrophe! A village where you can park, and go and get an ice cream. Ah well. We took one for the team, and the lady behind the counter told us that the previous week they had snow and were shut, yet this week everything looked just like a day in May should look like. Ice cream seems to have this way of just hitting “that” spot. It’s not the tidiest of foods to eat, but it’s one I’ve developed a great fondness for it over the years.

I was already learning how to approach the infamous concept of the hairpin bend. As you know, a full head of hair hasn’t been my issue for years — let alone hairpins. But the name fits. The main thing is to drive slowly, carefully, and not die… Given I’m writing this now, reports of my untimely demise were, as they say, greatly exaggerated.

We arrived at the Parc National des Pyrénées. You go through a barrier that didn’t seem to be working — one that had given up on life and was just standing to attention, waiting for whatever ‘it’ might be. So, being the thoroughly decent chaps and all-round good eggs that we are, we tried to find a ticket. We couldn’t, but since we had tried, we said something that rhymes with bucket, and started walking to see, at long last, the bloody bridge. It had better be worth it.

I had the X100F with me and Killian was carrying my DSLR and kit. What a good lad he is. He later said that if I wasn’t lugging it around, we might’ve gone just that little bit further. So back to the pont…

Before we even saw the bridge, we heard it: the sound of the water was tremendous. Water is a primeval force, and this was huge. I wanted the “money” shot, and decided to try with the X100F, giving it a sporting chance. The Canon 6D Mark II, with its stabilised lens, would come out on top. Handheld at 1/6th of a second? Not ideal — but fun to try. You get the feeling of movement in your shot, and with the magic of ND filters, you’re not overexposed.

The site itself is just astounding — not just because of the view or the sound, but because of the raw power of the place. Killian led me grumbling up the hill and we sat down to have our picnic. We fed the ants a bit of our pâté en croûte and watched them discover it, then devour it completely. And devour it they did.

He led me past the téléphérique — closed, of course — and followed the river until we reached a wide, flat-bottomed valley with water snaking through it. We saw traces of horses and wild boars, which are a lot less boring than you might think. I noticed the clouds coming round the mountains as they go, but not singing. I don’t know a huge amount about mountains, but that’s usually a cue to get back to the car…

The walk back to the car was just about being father and son — taking the mickey out of each other as we went. It seemed to be the way we operated, and I wouldn’t change it for the world.

Where I’ve Been: Life, Photos & Bursting Tyres

Good morning, dear reader.

Hello lovely people. I know it’s been a couple of weeks since I shared any photography—nothing for your perusal, your viewing pleasure, your delectation—but fear not: I’m still alive and almost kicking.

Life has been happening, as it tends to do. But I have been busy behind the lens, and I’ve got photos from left, right, and even centre. Lourdes. The mountains. The wild coast of Brittany. There was even a family photoshoot for my mother-in-law and two of her daughters. All with stories attached, of course. I just need the time to edit the images and write them up properly for you.

Recent Life & Travel Updates

So what’s new in my world?

Well, my son has moved into his own place with a mate—which is both a proud and surreal moment for a parent. As for me, I managed to burst two tyres on my car by accidentally driving up onto a particularly cruel bit of pavement. I was properly disgusted with myself.

Thankfully, the garage reassured me that I wasn’t a rubbish driver—that stretch of pavement had claimed more than a few victims. Apparently, I’m just one in a long line.

I’m now looking into getting a different car for my upcoming summer trip to the UK. That, and I’ve been eyeing drones—yes, partially because a mate has one, but also because the cinematic potential is just too good to ignore.

Dipping Into Video & Drone Photography

Lately, I’ve been making short training films for work, which has nudged me into exploring video for myself. It’s been a learning curve, but I’m enjoying it. Drone footage, in particular, would give my personal video projects that sweeping, cinematic feel everyone seems to be chasing right now.

It’s exciting to try new creative tools—it stretches the eye and challenges how I think about framing, movement, and story.

Favourite Photography Gear Right Now

If you’re curious about the gear I’ve been reaching for lately, here’s what’s been in my rotation:

  • Fuji X100F with the 23mm f/2.0 (35mm equivalent) – perfect for mindful black and white street work.
  • Canon 6D Mark II with the 16–35mm f/4.0 – excellent for dramatic landscapes and travel shots.
  • Fuji XT-2 with the 18–55mm f/2.8–4.0 – a solid choice for work-related video filming.

And yes—I’m still working in both black and white and colour. I love both approaches, but when I shoot black and white, I try to do so deliberately, not just as an afterthought in post. The choice of tone affects everything—the light I look for, the lens I pick, even the timing of the shutter.

What’s Next: Photo Editing, Writing & More

Music is winding down for the season after some fantastic concerts. Meanwhile, the world rolls on—there’s a new Pope I quite like, and it seems Donald and Elon are in a bit of a spat again (but let’s not get into that).

As for me, I’m getting back to editing, writing, and creating. Thank you for bearing with the silence—new photos, stories, and perhaps even videos will be coming soon.

Until then, keep well, stay curious, and maybe avoid the pavements.

— Ian

The UK Chronicles, Part V: Rothbury to Hepple

Do you have a place, be it real or imaginary, that just haunts your mind?  You think of it, and you are transported there instantly.  The smells of the grass, the sounds of the river, and the odd car driving past you wondering what the heck you are doing?  Hepple is my special place.  It is a place where I feel at peace and that all is right with the world.

I’m thinking back to an article I wrote a couple of years ago called Hepple for Photos, Not Gin. I was with my father and had my Canon 6D Mark II with the 16-35mm F4.0 lens and the 70-300mm zoom lens. This year, however, I had my X100F with just the 35mm f2.0 equivalent lens, and I was with Killian, who, surprisingly, was a little tired and decided to curl up on the back seat for a snooze. His loss…

This is the place, this stretch of road, that I have been looking forward to for 2 years. The weather was clement, and I can assure you that the place is still as beautiful as ever. I wasn’t going to have the choice of lenses this time; I would have to see the scene in 35mm and make do with it. No zooming, no switching lenses—just a little constraint. And you know what? I was fine with that!

The lack of zooming and my sleeping son allowed me to walk around the area a little more, exploring under the tree at the end of the road and at the bottom of the hill.  These were views that I had not seen before.  It only goes to show that we might think we know a place, even in our memories, but it still has so much more to offer us.

I parked just before the bridge, as I usually do. Everything was still in place: the stiles, the trees, the river—just as I had pictured it in my mind. It’s when looking at the countryside like this that I am convinced there is a creator behind all this creation. The beauty of it didn’t just happen by chance.

The noises were made by the flowing of the river and the breeze in the trees.  I had this feeling of calm.  I could take photos of that place every day and not get tired of it all.  I might even go so far as to say I could have died here and died a happy death.  I had found my peace.

Killian had found his peace too and was still asleep in the car.  A micro sieste, he said.  He might be 25, but he reminded me of the small boy who was once my son. 

I can’t be the only person on this earth to feel this?

The UK Chronicles – Preface

Off to the UK

Good Evening, Dear Reader. You might not be able to feel the same excitement and trepidation as me, but I can assure you it’s palpable. I’m not talking about the Olympics, or the opening ceremony, which was very, very French. I’m talking about my upcoming annual leave. I will be going home to the UK for 10 days. I will be going home. Home is where the heart is, and as my mate David Frank once reminded me, you can take the boy out of Hull, but not the Hull out of the boy. How right he is. Even after 30 years of living in a foreign country, and despite having become somewhat “continental,” the UK is, and always will be, home.

Heading Home: Embracing Nostalgia and Anticipation

The physical preparations are not underway yet, but the mental ones certainly are. We will be driving up to Calais from the Vendée. It is a drive that over the years has become vaguely familiar, and I have the images in my mind of the various stops along the way, and the signs that I will be looking out for. My wife is a professional driver, and I will be relegated to helping out when she becomes tired and needs a rest.

The Road to the North: Familiar Drives and Service Station Delights

I don’t know about you, but when I’m in my car, I’m in a familiar environment, and it feels a little like having a part of my home with me. The controls for driving are second nature, and I don’t have to think. As I have mentioned, I am a creature of habit, and despite not being alone whilst driving, and the possibility of a mad screaming harpie, I mean wife, sitting next to me, I’m still looking forward to the trip. For the first time in 4 ½ years, my son will be coming with us, so I’ll have some masculine back-up and will feel less dominated by my daughter and wife.

We will have a stopover in Dover, and take the now familiar road up to Northumberland to see my parents. I’m actually looking forward to the service stations in the UK, especially one near Peterborough, that has a kind of Food Court, which includes Marks and Spencer. I’m looking forward to biting down onto a prawn cocktail sandwich, and a Wensleydale and carrot chutney sandwich. I know it’s not the “gastronomie” that the French might talk about, but to me, it’s about the nostalgia of the thing. It’s part of coming home.

Home Away from Home: Comfort in the Driver’s Seat

But, I hear you say, Dear Reader, you haven’t talked about cameras or photography yet? And you would be right. Thank you for allowing my little trip to nostalgia land. So, let’s talk about cameras for this trip. There is, of course, the X100F, that is the travel photographer’s camera par excellence. It’s compact, it works, and gets the job done. It’s what I will probably be using nearly 80% of the time. The 35mm F2.0 lens has me covered for nearly all situations, and if I take the telephoto conversion lens, then I’ll be even more covered.

Capturing Northumberland’s Beauty: Gear and Location Plans

Do I already have plans for where to take photos? Mayyyybe…

I have already a largish selection of photos of the village of Alnmouth, that you should be able to find on this site, either by using the search bar, or looking at the tag list at the bottom of every article. But, believe it or not, Northumberland is not just about Alnmouth. I know. Mind blowing.

I would like to get some shots of Dunstanborough Castle (for which I might even have to take my Canon 6D Mark II and various lenses, but I’m not sure about that yet), Beadnell, Seahouses, the Farne Islands, Holy Island, Craster, Bambourgh Castle. There’ll be beaches, islands, birds, seals, boats, and harbours. I even thought of going down by Amble and maybe stopping off in Walkworth.

That might mean a Canon bag, with lenses and filters, and possibly even a tripod. Decisions, decisions. Do I need more room in the car, and will the family gang up on me if I take more photography kit with me? There is a difference in volume and weight, of course.

Weathering the Storm (Or Not): Temperature Contrasts and Photographic Possibilities

I suppose it all depends on the weather. One tends not to visit the UK for the great weather. Here in my little corner of France, it’s supposed to be getting up to 36°C today. Not in Northumberland, though. I’m expecting 20°C and maybe lows of 14°C. Much more comfortable, and almost human.

Conclusion

So “home is where the heart is” is still something that resonates with me.  Thirty years a foreigner, and yet as a lot of us immigrants, we’ll never be completely at home in our adopted country, we are condemned to never feel fully at home in our home country.  We will be “continental”.  Our very essence has changed. The nostalgia for a past that has moved on since we left is another of our penances.  Maybe that’s why I do so much black and white photography; a way of trying to capture this bygone time.

Film photography, the opening of the archives

Good evening Dear Reader. You may have noticed, and then again, you may not have noticed, that I have created a couple of new pages. Instead of adding article categories to my site in the menus, I have created pages with a carousel showing collections of articles in one specific category. This started with Photography Tutorials, which is a collection of, surprise surprise, photography tutorials. Another one for Travel Photography, one for Camera information, and a final one for articles featuring Film Photography. The idea behind this rather brash move on my part, was to help you find what you wanted to read or discover more easily.

This Meisterwerk of a blog is a work in constant evolution, as I think you may have gathered, especially for those of you that have been with me since the beginning. But what does this have to do with Film photography I hear you ask. Well, when creating the film photography page I realised that there are fewer articles than I first thought. This struck me as a little odd, because at one stage I had a little bit of a reputation as a film photographer, and at one stage was purely a film photographer. This was, of course, before the start of this blog lark in 2019. Between 2009 and 2019 I did a huge amount of film photography that I realised I have not shared with you. Even more so since 2016, when I started developing and scanning my negatives at home.

The beginning of the blog also tied in with the X100F and the Canon 6D Mark II coming into my photography, and since lockdown, I have done only small amounts of film photography. Time to reveal more of myself to you. At least if that’s alright… But this isn’t just about me dusting off old memories. By sharing these photos, I hope to spark a conversation, ignite a passion for film, and maybe even inspire you to dig out your old camera and give it a whirl. Who knows what treasures you might find in your own archives?

Moped with a Jameson whiskey box  as a baggage holder.  Looks very cool
Taken on the Praktica MTL3 probably with the 50mm Pentacon F1.8 lens on HP5 Plus at box speed in the Quartier Bouffay in Nantes.

So bearing all this in mind, I have a proposal for you. Let’s open the vaults and let’s have a look at the “film archive”. This could be in the form of a series of articles complementing the weekly outpouring of anecdotes or advice, as an addition, or it could be the content for the upcoming weeks. I haven’t decided yet. Let me know in the comments which option you prefer, or if you have any other ideas for how you’d like to see the film archive content. There’ll be shots of Nantes, the UK, England, and Scotland and maybe even Spain, and Portugal. There will be colour and black and white photography too. I don’t know yet. I might not have yet taken into account the magnitude of the task ahead. Everything is open.

On the way to Otterburn in Northumberland with the Pentax ME Super using Portra 160. It was another good day out.

But whatever you decide, I hope you come along for the ride. It’ll be worth it!

24-70mm Lens: Unveiling the Beauty of Vendée Coastal Landscapes

Work. That familiar feeling of being a hamster on a never-ending wheel. Emails, passive agressive colleagues, and meetings blurring into one another like the monotonous hum of voices in the office. Sound familiar? Yeah, that was me a few weeks ago. So, what’s a weary soul to do? Employ some sartorial elegance with navy blue chinos, a white button down shirt, my new sungalsses, and my favourite Panama hat, and embark on a spontaneous coastal escape to Vendée!

Now, full disclosure, Vendée isn’t exactly the Caribbean. But for a quick mental recharge, it certainly does the trick. Plus, it was the perfect opportunity to put my Canon 6D Mark II through its paces, specifically the oft-maligned 24-70mm f/4L lens. This trusty workhorse gets a bad rap sometimes, but let me tell you, by the end of this trip, I was a convert.

The Vendée coast is a tapestry of stunning landscapes, each begging to be captured. My first stop was Viellevigne (not strictly the Vendée and just on the other side of the Loire Atlantique border), a charming little town I usually just whiz through on my daily commute. But this time, with a camera in hand and a head full of vacation vibes, I saw it with fresh eyes. I framed the quaint church nestled between two ancient trees, a scene I’d driven past a thousand times without a second glance. The hedgerows, usually just a blur of green, revealed a hidden world of wildflowers and buzzing insects when I switched to the lens’s macro function. Suddenly, the familiar became fascinating.

Next, I cruised down to the grand canal near Fromentine. Now I don’t know if grand means big or grand in this instance. I mean it’s not huge, and the grand canal in Venice is somewhat ore deserving of the title. The sun, a generous giver of both light and good mood, cast a warm glow on the weathered ruins of old houses lining the water. Across the road bridge stood a line of fishing huts, its battered paint a testament to years of battling the elements. The 24-70mm here proved its versatility, letting me capture both the vastness of the canal and the intricate details of the local flora.

As the day wore on, I found myself at Port de Bec, a haven for oyster farmers. Here, the scene was abuzz with activity. Tractors lumbered out of the water, hauling heavy loads of oyster boats ashore. The rickety moorings, weathered and worn, added even more charm. The lens’s sharp autofocus kept pace with the bustling scene, ensuring I didn’t miss a single detail.

Finally, the crown jewel of the trip: the Passage de Gois. This legendary causeway, submerged twice a day by the tide, is a photographer’s playground (just make sure you keep an eye on the water, unlike yours truly who nearly got his sandals swept away!). The tide was rolling in fast, creating a dramatic contrast between the exposed road and the encroaching water. The 24-70mm handled the dynamic light and vastness of the scene beautifully.

But this trip wasn’t just about capturing stunning photos (although, let’s be honest, those were pretty damned cool!). It was a much-needed reminder of the power of stepping off the hamster wheel, even if it’s just for a short while. The fresh air, the sun on my face, the beauty of the Vendée coast – it all conspired to wash away the workaday stress. I came back feeling refreshed, inspired, and with a newfound appreciation for the magic that can be found right on your doorstep, if you just know where to look.

And the 24-70mm? Yeah, it more than held its own. It proved to be a versatile and capable travel companion, capturing everything from sweeping landscapes to macro details. So, next time someone throws shade at this trusty lens, I’ll just point them to my Vendée photo album and let the pictures do the talking.

Until our next adventure my Dear Reader!

My First Hen-Do Photography Experience

May 2024

This month, amidst publishing various tutorials for your delectation, I ventured into uncharted territory with my camera. A musician friend asked if I could photograph her sister’s hen-do.  How about that for a challenge.  Slightly scary…  Slightly?  No, terrifying for the introvert that I am.  Flattery and food convinced me.

Having previously photographed a wedding, I was somewhat prepared. For that event, I bought a second-hand 24-70mm f/4.0 lens and a Canon flash. I was advised to use the Canon 6D Mark II in program mode with the flash set for TTL (through the lens metering). Today’s first activity called for the same setup.

Tahitian Dancing

I arrived at the venue for the first activity: Tahitian dancing. The bride-to-be was proposed to in the Pacific Ocean, hence the theme. The girls were already there, and I tried to stay out of the way as best I could. I may be creating memories for everyone, but those memories aren’t mine.  The lens worked perfectly, and I didn’t even need my flash batteries. They’re ready for next time and one less item to tick off.

The dance session seemed to go on forever, and I resisted the urge to sit down. I felt completely out of place, more a prize pillock, but kept telling myself to fake it till I made it. It worked—my wife approved of the photos, and more importantly, so did the bride-to-be. Creating rapport was nigh on impossible so I just watched the spectacle and pressed the shutter.  Do what you can and leave the rest for later…  So I did just that!

My favourite bit of the day

I switched from my clunky DSLR to my sexier Fuji X100F.  It’s always better to be inconspicuous and yet still be able to take decent photos.  I’m big enough already as it is, but having a smaller camera helps people forget that I’m there…

This next activity was probably my favourite. The restaurant was one that I had walked past on many occasions, but had never gone in. It was one of those themed places for Millennials in need of some nostalgia. The owners and chef had created a menu with grown up “children’s food” from the 90s and 80’s. There were activities and crayons for the place mats. The decor was 80’s and everything was vintage. At least for them, which is the main thing. Ok, it was a bit for me too, reminding me of my arrival in France all those years ago. I was offered a seat near the bride, but was whisked off by my friend to sit next to her. She’s so protective of me… We all ordered and chatted, and I started to relax. The girls were interested in my photography, and they showed me photos of their very young children. I did the same, and showed them then and now photos to show how those small children grow up so quickly. I felt like the Patriarch at the end of the table. 

The food was good, and I could see they were all having a good time, and then came out the shots… I was being very teetotal in order to have my mind clear to get my photos for the bride to be. I had switched from the DSLR to the Fuji X100F to follow them around Nantes, and do street photography to which I am more accustomed. The poor “hen” was given a mission by her friends who had purchased a whole load of condoms and she was tasked to sell them to passers by. She fulfilled her mission with gusto, and we ended up in the Rue de la Paix, shooting nerf guns at targets provided by a stag do outing. 

Conclusion

I wasn’t needed for the next activity and drove back to the pub to chill, and get my head together. The photos from the X100F were edited on the go, and shared immediately.  The DSLR photos went through the computer and were shared by the end of the weekend.  

All in all a good day, and interesting experience, and I’ll let the photos do the talking for me…

A piece of timber

I have recently tried to start learning about making videos. Somebody said that if you have an eye for creating a decent image, then your eye should be OK for filmmaking. There are of course different styles of shots because we are talking about moving pictures. Shots that move, and not just static plans as we would use in photography. We have to set a scene with establishing shots. We can combine medium framed shots and close-ups to keep the narrative going and to show the wood moving through the different machines. I therefore had to understand the manufacturing process. The composition principles that I have talked about in the past are still relevant. So my mindset was, “Why not give it a try. You know about images and how to place subjects in images. Get on to YouTube and start learning about filming . This isn’t Instagram or Tiktok, so you have more time and scope to deliver your message. And if “they” can do it then there is no reason why I can’t!” Nothing left to do but get it done! Do, don’t think…

The Kit – Use what you already have

For the moment I’m using the Canon 6D Mark II with the 24-70mm F4.0 zoom lens. For the editing I’m using CapCut and am slowly getting used to it. It just goes to show that yes, yes indeed, you can teach an old dog new tricks… I can already hear you Dear Reader asking, “But why did you use that camera, and that editing software, Ian?”

The camera

I would say, firstly why not.. But I’ll set out my reasoning. I used the Canon 6D Mark II, because I have it. It has the flippy screen that allows me to see what I’m filming, and I’m only beginning, so no exterior monitors yet. I also know how to use it and like using it. Does it have 4K video, which “they” say is a must nowadays? No it doesn’t, but I’m not in the market for a new camera, so I’ll be using what I have already thank you very much. On a tripod I could do static shots, and panning shots. The idea was to have a series of shots showing the wood in motion going through the manufacturing process.

The lens

Why the 24-70mm lens? Well think back to the articles where I talk about lenses. I said that it was a workhorse and has me covered for “quite a few” situations, and it has image stabilisation. I used my tripod, but there were a couple of handheld shots. It is also a pretty fine lens in its own right. More important to invest in the good glass, than a camera body. What matters is what the client, or audience sees. They’re not doing a mental breakdown of your kit!

CapCut

And why CapCut? Again I would argue yet again, why not! Price of the software was a consideration. As was simplicity. I had tried using Adobe Express, as it is part of my subscription for Lightroom and Photoshop, but it didn’t seem to have the capacity to give me the result that I was after. It did however, introduce me to the concept of the timeline and linking up the various sequences that I had filmed. I had also seen a lot of people waxing lyrical about CapCut, and it just seemed more “accessible” to a newbie like me. There are of course more professional tools available but for the moment seem to have more than I need. I of course went back to Youtube for various tutorials to get me started.

The Brief

So here we go with the actual video. I was told to make a video that would be shown to new employees as part of their integration into the company. Showing the total process will give them a better idea of where they feature in the “bigger picture.” Something dynamic they said. Show the wood moving through the machine they said. So I tried… Then I looked back at my brief from my boss, and realised that I was way too long and had to go back to the drawing board. Ah well. The idea is to show the process of transformation from timber to a door frame that can go to the other plant for assembly.

When you’re doing personal work you have the freedom to do what you want, but work requires sticking to the plan. So stick I did! I showed my boss the first draft, and was told that maybe cut this out, change the speed of the footage, only speed things up for the machines, but leave the shots of people at normal speed. Such and such a shot adds nothing to the story so get rid of it. It felt very much like the process I have when I get back from a shoot. You have to do a first triage of everything, and only have the strict necessary to portray your message.

The creative Process

So I had my brief. I knew the kind of film I was after. Or at least I had a couple of ideas. The basic premise was to be able to follow a piece of timber from being unloaded from a truck, following the piece of timber as it is transformed into a door frame. I had in mind those films I saw as a child showing how something is made, and how we see cans of soup moving along a conveyor belt. For each sequence, I wanted a piece of wood going into a machine, going through the machine, and coming out the other end having been transformed. Starting with an establishing shot, and following more or less closely, with close-ups and medium shots to give an idea of movement…

A short extract from the full video…

Conclusion

So you have now seen the video. All this happened in a week. I went from know very little about making a video, to having a viewable result, and one that tell the story that was asked for. Am I happy with it? I’m certainly not unhappy, and it was interesting to see the thing evolve from a series of moving pictures into something that will be used in training for future employees. Would I have done things differently? Possibly. I might have used the 16-35 F4 lens too, for even wider shots. I know have a little more familiarity with my software and will be spending less time searching for the effects and tools I wish to use. It made me aware of what kit I may be lacking, like mics for sound, but here I didn’t need to record any more sound. I would have liked wheels for my tripod to have a different panel of shots. I maybe should have used my phone and the gimbal to get more variety in my shots. I could have done some time-lapse sequences. But the primordial question would be, “What does it add to my story?” and “Do I need to acquire any kit to do it?” Money talks, and if I can get what I need without spending any more then that has to be a good idea!

What did I take away

I was introduced into a new world of storytelling. I learnt about thinking in a more linear way. Not just thinking about the shot as I would in photography , but about using these shots to make a story. Maybe I already did this with my photo series, but here it became so much more relevant. This might be the main change in my outlook. I already knew about acquiring shots for stills, and doing the same for video seemed to be a natural progression.

What next?

Am I going to get further into this film making lark? By definition yes, because work wants more videos for training people on various machines, and the HR dept have noticed my work, and are getting ideas… Do I want to make videos for me? Yes. It is certainly something I want to look further into. And the more I watch on YouTube the more I am learning, and the more I believe that I can actually do this. Am I going to become a YouTuber? I honestly have no idea, but as in photography, I have to start doing something. People will usually give feedback, and comment sections on YouTube seem to be lees harsh than on Instagram or Twitter. I remember my father making home movies with a cine camera and I can now do the same thing, and edit my footage too. Learning something is never wasted, and it does the brain good to learn new things. Who knows where this can take me? I don’t, but isn’t it interesting to find out?

Guest Post – Ian Myers

Please welcome our newest guest contributor – Ian Myers This is a photograph of the Château de la Preuille taken in 2022 on the Canon 6D Mark II, using an ND filter for the long exposure of the sky.  The château was once a supplier of Muscadet white wine to Président Mieterrand.  But now the […]

Guest Post – Ian Myers

My first contribution to Monochromia. They very nicely asked me if I might want to start contributing to the collective of monochromatic photographers, and it would appear that I know something about it, so I answered Joe and said I would be over the moon  If you to, are into black and white photography,  then go and check them out and subscribe.

I’ll  be publishing over there once a month so keep am eye open for me!

A Pilgrimage to Mont Saint Michel: A Journey of Faith and Endurance

The hot summer sun beat down as I embarked on a journey that had been brewing in my mind. Mont St. Michel was not only a quest to escape the sweltering Vendée heat but also a spiritual endeavour to connect with the divine in a magnificent setting.

A Return to Childhood Memories

The journey began at my home in the picturesque Vendée region, where I set out on a 220-kilometer trip to Mont Saint Michel. It was a return to a place I had visited as a wide-eyed boy, eager to explore its mysteries. However, this time, my mission was twofold: to capture the awe-inspiring beauty of this monument through my camera lens and, most importantly, to offer my prayers to the Almighty.

The Road Less Travelled

The road to Mont St. Michel took me through Nantes and Rennes, where I made stops at local bakeries to purchase food for the journey. As I stocked up on provisions, I couldn’t help but reminisce about my first visit to this iconic place some forty years ago. Speaking with my parents, who recalled our family visit, added a nostalgic layer to this pilgrimage.

Physical Challenges and the Power of Will

One of the significant challenges I faced during this pilgrimage was my battle with arthritis, a persistent companion that had become an unwelcome part of my life. Walking with the aid of a cane, I knew that this journey would not be without its pains. However, I had learned a valuable lesson during my time in the Army: the mind can command the body to persevere beyond its perceived limits. Armed with this knowledge, I pressed on, determined to conquer the physical difficulties that lay ahead.

Prayers in Motion

My journey was more than a physical voyage; it was a spiritual quest. Along the way, I offered up my sufferings to God, a testament to my unwavering faith. The act of praying while traversing the miles was a reminder of the power of faith, even in the face of adversity.

A Divine Encounter at Mont St. Michel

Finally, I reached the awe-inspiring Mont St. Michel. Its grandeur and the spiritual aura surrounding it took my breath away. I knew I was in the presence of something sacred. It was here that my pilgrimage took on its most profound meaning.

A Moment of Grace

Before the Blessed Sacrament, I knelt in prayer. As I poured out my heart to the Lord, I couldn’t help but notice the passers-by who seemed oblivious to the divine presence. In that moment, I offered a prayer that God might reveal Himself to them in some way. And then, as if in answer to my prayer, two individuals genuflected before the Blessed Sacrament. It was a poignant reminder that God’s presence is not always apparent, but it is real and powerful. The simple act of acknowledgment by those two individuals filled me with hope and gratitude.

A Pilgrimage Worth Every Step

As the day wore on and I made my way back home, I couldn’t help but feel tired. The physical exertions of navigating the ups and downs of Mont Saint Michel had taken their toll. However, it was a good tired, a sense of accomplishment and fulfilment that can only be gained through a meaningful journey.

Looking Ahead

Reflecting on my pilgrimage, I realize that while the physical challenges were significant, they were far outweighed by the spiritual rewards. My journey was a testament to the power of faith and the determination of the human spirit. If I were to undertake this pilgrimage again, I would not go alone. Having someone to share the driving and the walks would undoubtedly make the journey more manageable. In the end, my pilgrimage to Mont Saint Michel left a lasting mark on me. It was a journey of faith, endurance, and prayer, a testament to the power of the human spirit and the divine presence that guides our paths.

Farewell, my beloved X100F

It is with great sadness that I must announce the unfortunate fate of my beloved X100F – its ISO dial has broken and will require repair. To those who don’t understand the attachment to a camera, it may seem trivial, but it’s like losing your favorite cup from which you drink your morning tea. The feeling of loss and instability is truly disarming. The X100F has been my faithful companion, capturing countless cherished moments.

I visited the camera shop to check if it was a simple setting issue, but alas, it wasn’t. In September, I will send it to Fuji for repair, no matter the cost. I am determined to bring it back to life.

While I grieve the temporary loss of my X100F, I find solace in other photographic tools at my disposal. My trusty XT2 and Canon 6D Mark II, along with various lenses, are there to fill the void. But it won’t be the same; the X100F had a unique charm that cannot be easily replaced.

I believe there might be a lesson in all this. Perhaps it’s a subtle nudge from the universe to slow down and appreciate the art of photography in its purest form, to revisit the world of film and embrace its magic.

During this challenging time, I gratefully welcome any moral support. Meanwhile, I’ve been diving into the world of film photography, scanning old negatives, and maybe even writing reviews on vintage cameras. It’s my way of coping with the “X100F PTSD.”

While I await the return of my dear companion, I want to share some of my favorite shots taken with the X100F. It has been a source of inspiration and creativity, and its memory will live on through the photographs captured with its lens.

Farewell for now, my dear X100F. Until we meet again.

Hello Summer!

Hello Dear Reader. It’s been a funny old time lately. Something is not quite right. I can’t quite put my finger on it. It could be depression, or lowering of my mood, not too horrible, but not nice either. On the way to mass last Sunday I had a moment and cried. It could be because of work. New job, a transition from my old job that has been poorly managed, and has left me homeless in the factory. It could be because of good old-fashioned tiredness despite my super-duper sleep apnoea machine, and the holidays just being a week away. It could be lack of self-discipline; I have films to scan, and am having trouble getting the required results from my scanner, and therefore lacking motivation.

Hey, even with everything going on, I’ve managed to sneak out with my camera a couple of times and snap some awesome shots. I’ve got pictures of Nantes, the super cool Voyage à Nantes, a fun evening with friends, and even my buddy the barber doing his thing – cutting hair and beards like a pro. So, it hasn’t been all bad, you know? There are still moments of fun and excitement to be found out there!

It seems as though we are in a state of limbo. Killian and I have been doing a heroic job of holding down the fort while my wife and daughter have been away attending a wedding on our behalf and will be gone until Sunday. There have been no mishaps around the home and all the animals have been fed and watered. The dog and the two cats appear to be healthy as well!

Yes, a funny couple of weeks.  On the news, or at least the BBC website, all we hear about is Ukraine, and how climate change is sizzling all of Europe, how fires are burning all over the place, and how it’s all due to climate change and how we must continue to worship at the altar of Greta, buy new and expensive electric cars to save the planet.  The Vendée seems not have got the memo…

The photo was taken on my phone and edited in Snapseed.

As far as the photography is concerned, the photos were taken on the Canon 6D Mark II and the Fujifilm X100F.