Never Complain, Never Explain


Content Note: This post discusses depression and emotional exhaustion. Please read with care.

That was the old Royal Family rule—stoic, impenetrable, forever above it all.

I, alas, am not royalty. I’m an overthinker with a camera and a blog, and I owe you nothing… but I’d like to offer a little explanation anyway. Call it common courtesy. Or perhaps just the need to name what’s been happening.

So here’s the situation report from IJM Photography.

I haven’t written in a month for two reasons.
First: the season. If you’ve followed this space for a while, you know I’ve long wrestled with melancholy—especially as the days shorten. This year, it hit harder than usual. I made it through November, but only just. By December, I was physically and mentally exhausted.

Second: my health. After a conversation with my manager and HR, I was referred to the médecin du travail. She diagnosed me with dépression aiguë—acute depression (not the cute, Hello Kitty kind)—and noted a heart murmur. Frankly, I was relieved to have a name for what I’d been carrying.

She ordered me to go straight home—not back to work—and to see my GP the next day. She mentioned my brain chemistry was “in a bit of a mess.” Which, in its odd way, reminded me of three things:

  • — I have a brain
  • — I have a heart
  • — and I am profoundly tired

Not broken. Just worn thin.

I was referred to the local Centre Médico-Psychologique. There, I broke another unspoken rule: when the nurse asked how I was, I didn’t say, “Fine, thanks.” I told the truth—calmly, factually, without blame—about the weight I’d been under since returning to work after my accident, and how even the resilience I’d inherited from past generations suddenly felt out of reach.

To my surprise, a session with a psychiatrist opened up right away. He was kind, thoughtful. We talked about identity, belonging, and the quiet strain of straddling cultures. He said I carry “the mindset of an immigrant”—and that perhaps I’ve become more French than I realize. He suggested working on communication with my spouse, and that a trip back to the UK might help me reconnect with myself.

He might be right. If funds were no object, I’d book the ticket tomorrow.

For now, I’m taking things one day at a time. Resting. Recharging. And slowly returning—to my camera, to my words, to myself.

Thank you for waiting.

— IJM

The Opening of the Film Archives: An October Saturday in Town with Killian, 2016


Welcome back to another look at the film archives. This time, I’m sharing a few black-and-white street shots from an October Saturday in Nantes, likely taken with the Praktica MTL3 and HP5 Plus film. These outings with my son Killian, which we called ‘Ian and Killian days,’ became a cherished routine, a time for us to reconnect amidst the busyness of life.

He was 17 then, a weekly boarder at his lycée in La Roche sur Yon. On the weekends, we’d often head into Nantes, following the same familiar programme: a visit to the barbershop, a meal at the Sugar Blue café, and finally, a drink at the John Mc Byrne Irish Pub. In the photo, that handsome chap in the barber’s seat is Killian—a little reminder that it wasn’t always Kate joining me on these trips. These outings were a way to stay connected, despite his growing independence. Even with him being only 17, I still felt that sense of responsibility. Once a Dad, always a Dad.

As we went through our usual routine, I found myself facing the familiar challenge of capturing these moments on film. The low light inside the barbershop always made me second-guess whether I could get a decent shot without using a flash. But over time, I learned to trust the Praktica and the HP5 Plus film. There’s a rawness to film photography, especially with Ilford’s HP5. It adds a certain grit and texture to the image, something that digital just can’t replicate.

That’s what I love about film—the imperfections. The grain gives it character, a certain honesty that smooth, polished digital photos lack. It’s not about creating something flawless but about preserving the authenticity of the moment. This shot of Killian in the barbershop, for example, may not be technically perfect, but it’s real. It’s us, it’s Nantes, it’s one of those ‘Ian and Killian days.’

Looking back at these photos, I’m reminded that sometimes, it’s the imperfections that make an image truly memorable. Quite the day, right?

The Opening of the Film Archives—Clisson, September 2016


Welcome back, Dear Reader, to the film archives, still with the Canon AE1 and HP5 Plus from Ilford, but in Clisson this time.  You will remember Clisson from previous articles and will have seen the pictures, so it shouldn’t be a stranger to you.  Who knows, it could even feel like revisiting an old friend.  It certainly is for me. 

But why Clisson I hear you say.  Well, it’s not very far away from where I live.  It’s also one of those market towns that is renowned for the beauty of its architecture with an Italian slant.  It has the massive castle that towers above the river.  It has me taking photographs of it.  

Clisson, like most things, has options.  On a Friday the main option is the huge market, and wandering around the 14th-century Halles, which can keep you out of the sun, the rain, the heat or the cold, depending on the time of year.  I either go down to the river and wander along the river banks in the Garenne and Lemot park, or park at the top of town and stroll around the Halles and surrounding streets.  In the series of photos at the end, you will see some stone steps that join the two options, but I have dodgy knees, and those steps are like leg day at the gym.  You can avoid those steps by just following the road that wraps itself around the church, and going under the tree that just got tired and decided to rest on the house opposite.  

But this time I decided to break out of my habits and visit the Quartier St Jacques with its decommissioned chapel, and garden.  It’s yet another pretty place in a pretty town, and when I was sitting there in the sun, I felt that I didn’t have a care in the world.  Serenity flooded my mind and all was well with the world…

The Opening of the Film Archives – Noirmoutier September 2016


Welcome back, dear reader, to another delve into the Film Archive from before this wonderful blog that I know you enjoy reading so much. I appreciate being able to share these photos with you in the hope that they may not only please you but also offer insight into an older form of photography, one where concerns about overheating or battery life were minimal. I want to demonstrate how it is still possible to achieve great results with any camera and that the main quality in your photography comes from you, the photographer.

Earlier this year, I was there with my Canon 6D Mark II, but today, we’re revisiting my visit from September 2016. At that time, I didn’t have my Canon, but I did have the Olympus Trip 35 with HP5 Plus film from Ilford. I used that camera quite a lot that summer and continued to use it in September. I might just have to dig it out of my camera cupboard and use it again. Constraints and minimal kit often lead to more creative decisions—just think back to my UK trip, where I only had my X100F with me.

Let’s start with the camera. It’s a small but gorgeous camera designed for the mass market in the 1960s and was still being produced in the 1980s, which attests to its appeal among casual photographers. With relatively few controls, it’s pretty foolproof. I can adjust the film ASA setting, and the selenium cell housed with the lens takes care of the rest, whether it’s aperture or shutter speed. The famous red flag appears in the viewfinder when the camera senses insufficient light. All I need to do is set the focus zone.

I must have bought mine around 2015 or 2016, and it was quite affordable at the time—no more than 50€. It was an iconic camera then and still is today, but as the supply of these cameras dwindles, prices have increased. You can now expect to pay 100€ or more, with some models even reaching nearly 200€. It remains a great camera but might be a victim of its own success, along with sellers’ optimism and greed. Buyer beware—shop around, and you might still find more accessible prices.

As for film, prices have also risen, especially for Kodak film, but Ilford remains affordable, as do Kentmere, Fomapan, and Rollei.

I’ve travelled the same road numerous times, and it always brings me a certain sense of peace. I tend to stop off at familiar spots along the way, and those of you with an eagle eye will recognise some of these locations from other photos in this blog.

But why go to Noirmoutier? Firstly, why not? It’s just over an hour’s drive from my home and is a popular destination for many locals from the Vendée. The island now suffers from overtourism, which has certainly changed its character since 2016. Efforts have been made to manage the flow of tourists, with improvements such as parking, pedestrian zones, clearly marked hiking trails, and numerous bike lanes. It’s a beautiful part of the world, so typical of the Vendée Coast with its pinède and long beaches. However, not everything is about tourism. The island is also renowned for its salted butter made with salt from local salt marshes and the famous potatoes from Noirmoutier. Additionally, there’s a small fishing fleet, as well as the fleet from Le Port du Bec in the neighbouring Beauvoir-sur-Mer.

The Opening of the Film Archives—the Hangar à Bananes August 2016


In my last venture into the film archives, I talked about how there was a time that my daughter hadn’t yet seen me the way I see myself and how she actually still liked me, before turning into a teenager.  This is the second part of that special day.

We had explored the Jardin des Plantes and discovered what they had to offer.  This of course builds up an appetite in a young lady, and convinces her that she really needs to drink something Daddy.  And why couldn’t we go to the Altercafé (now the D3) at the Hangar à Bananes.

So what else was I to do but drive us to the Hangar à Bananes.  You will have seen the Hangar in this article, and you will now be completely up to date and know nearly everything there is to know.

Don’t forget that this is a girl who gets an idea into her head and then just goes through with it.  That idea is so rooted that it is nigh on impossible to change that idea.  I knew what was coming.  I would order a chocolate brownie, and Kate would have an Orangina.  I could have a beer.  How gracious of her.

She had been my model for most of the day and even a top model needs a rest, and just has nothing left to give a photographer.  You just know when enough is enough…

The Opening of the Film Archives—Jardin des Plantes August 2016


There was a time when my daughter wasn’t a teenager.  There was a time when she quite liked her Dad, and she would accompany me everywhere.  It was good being that child’s hero.  It was a more innocent time.  It was a time when she actively tried to spend time with me.  It was a time when she didn’t see me the way I see myself…

One of her favourite places in Nantes was the Jardin des Plantes, a huge botanical garden in the middle of Nantes just across the road from the station.  I could talk about the fact of it being a haven of peace in the bustling city.  I could talk about it being an oasis of green in a sea of concrete.  I could talk using clichés ‘til the cows come home…

These photographs are not clichés, but real attempts of capturing a specific moment in time allowing me to travel back through time.  And looking at these images, I’m definitely back in time.

Let me introduce you to my daughter from 2016.  She was a 7 year old that already knew what she wanted but was slightly more subtle about it.  She would suggest that we go into town.  That I could take my camera.  That we could go to such and such a place.  That we could do such and such a thing.  And all this as if it were completely natural.  And I was a very willing victim.   

This time she suggested going to the Jardin des Plantes.  She would take her camera (my old Sony bridge) and I would take my Olympus Trip 35.  I used the Olympus Trip quite a lot at that time and its ease of use, the zone focussing, and general lack of buttons to press, made it quite the fool proof piece of kit.    

As usual, I let her lead the way.  This was here outing after all, and kept a respectful distance, so I could photograph her and record her for posterity.  The Jardin des Plantes has not only plants, the clue is in the title, but also is the backdrop to the Voyage à Nantes, and certainly was that year.  

I think the images speak for themselves and I’ll let you peruse them at your leisure.  They were taken on Ilford HP5 Plus film shot at box speed.