A Fan Letter to Monochromia

Posted on July 17, 2026July 8, 2026 Posted in Black and White Photography, France, photography philosophyTagged black and white film photography, Black and White Photography, Canon 6d Mark II, Film Photography, film photography blog, film photography community, French photography blog, ilford hp5, Ilford HP5 Plus, Loire Atlantique, monochrome, Monochromia, nantes cathedral, Nikon FE, Pentax ME SUper, photography journal, Street Photography8 Comments

I want to talk about a blog I really like. It posts beautiful black and white photographs, one at a time, with barely a word of explanation. The photos come from all over the world — a rainy Chicago waterfront, a Nubian village on the banks of the Nile, a Roman basilica glowing with chandeliers, the streets of Washington D.C. — but they share a certain quality. They don’t try to explain themselves. They just sit there and let you look.

The blog is called Monochromia, and I have the privilege of being one of its guest contributors. I want to make that clear upfront: this is not my project. But it’s one I admire enough to write a fan letter about.

What Monochromia is

Monochromia is a collective photography blog. A community of photographers from around the world each post one image at a time — black and white, minimal words, maximum image. There’s no theme beyond the monochrome constraint. The result is something genuinely surprising: a feed that moves from a marble sculpture in a Smithsonian museum to a woman in a doorway on the Nile without a moment’s awkwardness. The common language is light and shadow, and it turns out that’s enough.

Nubian woman in a doorway, Upper Egypt, Nikon Zf — *Silent Observations* — a Nubian village on the Nile, Upper Egypt. Nikon Zf, 200mm. By Marcus Puschmann / Streets of Nuremberg. On Monochromia.

The photographers

What strikes me most is the range of voices. Marcus Puschmann, who blogs at Streets of Nuremberg, shoots documentary street photography on a Nikon Zf, with a sensitivity to available light that makes his portraits feel utterly unposed. The Northern Visions Media photographer shoots everywhere from Chicago waterfronts to wherever the day takes him, and thinks nothing of swapping his Canon 5D for an iPhone when the rain makes the decision for him — a reminder that the eye matters more than the tool. Then there are contributors who bring an entirely different sensibility: one recent post featured a marble sculpture of Lady Macbeth at the Smithsonian, shot on a Nikon Z8, with a caption that read like a short essay. Another showed the interior of a Roman basilica lit up for a wedding, processed as HDR, every column and chandelier rendered in luminous grey. And Charly Senall at charlysenall.wordpress.com brings a quieter, more contemplative eye — seascapes and landscapes where the absence of colour is the whole point.

Chicago waterfront on a rainy day, iPhone 16 Pro — *Tethered* — Chicago waterfront on a rainy day. iPhone 16 Pro. By Northern Visions Media. On Monochromia.

What the constraint does

Every photographer on Monochromia has made the same fundamental decision: to remove colour from the conversation. That sounds simple, but it changes everything. Colour is generous with information — it tells you the time of day, the season, roughly where in the world you are, whether the light is artificial or natural. Strip it away and what’s left is shape, tone, texture, and the relationship between them. The viewer has to do more work. They have to actually look.

The minimal-text policy does the same thing from a different angle. Most photography online arrives inside a story — a caption, a backstory, a geotag, a mood. Monochromia offers almost none of that. Just the image and maybe a line or two. Which means the photograph either stands on its own or it doesn’t. That’s a much harder test than most of us put our own work through.

Lady Macbeth marble sculpture, Smithsonian American Art Museum — *Out, Damnet Spot* — Lady Macbeth by Elisabet Ney, 1905. Smithsonian American Art Museum, Washington D.C. Nikon Z8, 135mm. On Monochromia.

My small corner of it

I contribute the occasional image from France — film photographs mostly, from the Nikon FE or the Pentax ME Super, sometimes digital work from the Canon 6D Mark II. My most recent post was shot inside Nantes Cathedral, one of the first times I’d been back inside since the 2019 fire. It’s a small contribution to a large and genuinely international conversation, and I’m glad to be part of it.

What Monochromia has done for me personally is make me more honest about my own work. Here on IJM Photography, a good story can carry a weaker image. On Monochromia, there is no story — just the photograph. If it holds, it holds. If it doesn’t, that’s useful information too.

Nantes Cathedral interior, Nikon FE, Ilford HP5+ — *Nantes Cathedral* — Nikon FE, Ilford HP5+. One of my first shots inside since the 2019 fire. On Monochromia.

Go and have a look

If you enjoy black and white photography — whether you shoot it yourself or just appreciate it — Monochromia is worth bookmarking. It posts multiple times a week, the standard is consistently high, and the range of subjects and styles means there’s always something unexpected. It’s a good reminder that monochrome isn’t a retro affectation or a post-processing shortcut. It’s a distinct way of seeing the world, and there are a lot of people around the world who see it that way.

monochromia.blog

Messing about along the river in Clisson

Posted on May 8, 2026July 9, 2026 Posted in Architecture, Black and White Photography, Film Photography, Street Photography, The Film ArchivesTagged 35mm film, Agfaphoto APX 400, analog photography, analog travel photography, Black and White Photography, Canon 24-70mm, Canon EOS 500, Clisson, Clisson castle, Clisson photography, Clisson viaduct, EF lenses, Film Photography, film photography blog, French town photography, Loire Valley photography, Sèvre Nantaise, street photography France, Vendée photography3 Comments

Good morning Dear Reader, I have been out with my camera. What a surprise I hear you say. I have been missing my Canon 6D Mark II but wanted to keep using my lovely lenses. Sometimes the 50 is great, but it’s nice to break out the zoom! I have the 24-70mm EF F4 because I’m not forking out the money for the F2.8 version. But I wanted to go with film. So I did! With the Canon EOS 500 and a roll of Agfaphoto APX 400.

I parked next to the river and ended up looking up at the Castle on the hill and thinking, strangely, of a certain Mr Sheeran, but without the teen angst and drinking. I think it looks lovely. To my right was the river and the old bridge and a vantage point to look at the Sèvre Nantaise coming over the weir. I thought about the photos I’d taken in February, as well as all the others taken over the years.

I took a right at the Café des Cordeliers but instead of going along to the Garenne Lemot park, I took a left down a passage to a place I had only looked at but never visited. Today my panama hat would become my explorer’s hat and I would take a closer look. Well what a surprise it was and definitely a butcher’s.

I remember some advice given to me which is the need to turn around and look behind you and see if you’ve missed anything, and have a real look and you might even see something completely different… This time I took that advice and it was more than worth it.

I would have missed the viaduct I’d driven over before, the one that runs from Clisson towards Gétigné, which I might have to look at sometime soon. The river was reflecting light on the arches and I could have finished the roll there and I would have been happy, but I kept a couple of frames “just in case” for the walk back to the car. You never know…

I walked back to the car just looking up and seeing the laundry hanging out. It looked like canoeing gear that was drying. Then back across the bridge, and I was happy with the variety the 24-70mm lens gave me. Less distortion than my 16-35mm but still enough for some variety, especially the Macro feature for the fern spores. We can have distortion another time.

All in all a very satisfying trip out and not far away, have you seen the price of diesel lately? Thank you Orange man! Prints from Clisson are available in the IJM Photography shop.

P.S. If you want to wean yourself off digital and get back to the street cred that comes with film the Canon EOS 500 might just be your gateway drug. Modern enough for the new EF lenses, but still having the necessary autofocus. You can go full manual SLR later. Break yourself in gently…

Black and white street scene in Clisson showing stone buildings, an estate agency, and the ornate Romanesque bell tower of Notre-Dame de Clisson rising behin

Black and white photograph of a stone arch bridge over the Sèvre Nantaise in Clisson, with multi-storey townhouses and the Restaurant de la Vallée visible behind.

Wide black and white view of the stone arch bridge over the Sèvre Nantaise in Clisson, with the town's riverfront buildings stretching across the frame.

Dramatic low-angle black and white photograph looking up at the ruined interior tower of Château de Clisson, stone walls rising steeply against a pale sky.

Black and white photograph of a weathered stone cross on the parapet of a bridge over the Sèvre Nantaise in Clisson, with a mill building and weir visible behind.

Black and white landscape view of the Sèvre Nantaise weir in Clisson, with the converted mill hotel on the left and a chapel visible to the right through bare trees.

Black and white photograph of stone buildings along the Sèvre Nantaise in Clisson, featuring tall arched windows, a spiral metal staircase, and a terrace above the water.

Black and white photograph of the Café des Cordeliers on a street corner in Clisson, a traditional French café with a painted sign and potted plants outside.

Black and white photograph of a building corner in Clisson with a large painted mural depicting a tropical jungle scene, a figure walking away in the background.

Black and white photograph of tattered fabric bunting or prayer flags strung between posts above garden hedging, with trees silhouetted behind against a bright sky.

Black and white photograph of a narrow dirt path flanked by ivy-covered stone walls, leading toward parked cars and houses in the distance, Clisson.

Close-up black and white macro photograph of fern fronds showing clusters of spore cases on the undersides of the leaves, shot with shallow depth of field.

Black and white photograph of white calla lily flowers growing at the edge of the Sèvre Nantaise in Clisson, dark water and tree reflections filling the upper frame.

Black and white photograph of the medieval bridge over the Sèvre Nantaise reflected in still water, calla lilies in the foreground, an ivy-covered wall framing the right edge.

Black and white photograph of the stone viaduct near Clisson reflected in the Sèvre Nantaise below, four tall arches rising symmetrically above the still water.

Black and white photograph of a white canoe moored on the Sèvre Nantaise in front of the stone viaduct near Clisson, bare trees framing the upper right.

Abstract black and white photograph looking up through the nested Gothic arches of the Clisson viaduct from directly below, stone masonry receding into darkness.

Low-angle black and white photograph of a single stone pier of the Clisson viaduct rising from the river, one arch visible above, taken from close to the water's edge.

Black and white photograph looking up at the Clisson viaduct from below, bare winter tree branches reaching into the upper left of the frame against a pale sky.

Black and white photograph of cascading white wisteria flowers against a sunlit wall, deep shadows behind, shot on 35mm film in Clisson.

Black and white photograph of ornate wrought iron gates set in weathered stone pillars, a cypress tree and period house visible beyond, Clisson.

Black and white photograph of laundry — possibly canoeing gear — drying on a rack in a stone-framed window recess, dramatic shadow arcs sweeping across the wall on either side.

Waiting for the Light: Reclaiming the Cathedral with Ilford HP5+

Posted on February 4, 2026July 9, 2026 Posted in Architecture, Black and White Photography, Catholic, Film Photography, France, History, Nantes PhotographyTagged 35mm film, 400 ASA film, Architectural Photography, Black and White Photography, cathedral photography, contemplative photography, documentary photography, Film Photography, film photography blog, fine art photography, French cathedral, grain photography, handheld photography, Ilford HP5 Plus, low light photography, municipal spectacle, nantes cathedral, Nikon FE, photography essay, photography narrative, reclamation photography, religious photography, sacred space photography, Saint-Pierre cathedral, slow photography, spiritual photography, Voyage en Hiver, winter photographyLeave a comment

I didn’t set foot in the cathedral while Voyage en hiver draped its silence in municipal spectacle. Not out of protest—I simply couldn’t bear to see sacred space turned into a backdrop. So I waited. And when the banners finally came down in December, I loaded a roll of Ilford HP5 into my Nikon FE and walked back in—not as a tourist, not as a patient, but as someone hoping to find the light exactly where I’d left it.

I’ve always abhorred political recuperation. The Voyage en Hiver had no place in the cathedral’s reopening. This was about worship. About returning to God in a space that had been quiet for too long—not about municipal branding or winter tourism. “Give unto Caesar what belongs to Caesar, and unto God what belongs to God.” (Matthew 22:21)

That day, I chose God’s silence over their spectacle.

My hands were cold when I raised the camera. December light in a stone cathedral is a quiet thing—more absence than presence. I wondered, honestly, if 400 ASA would be enough. But I wanted authenticity: more grain than digital noise, more truth than polish. So I trusted the FE’s metering, opened up my aperture, and let the film do what it does best. No second-guessing. No LCD screen. Just the click of the shutter and the hope that the light would hold.

And it did.

The frames that emerged are darker than summer would allow—but this was December, after all. And in that darkness, something gentle remains: the grain cradling the texture of worn wooden pews, shadows tracing the ribs of vaulted stone, candlelight bleeding softly into halos where no banner now hangs. Black and white stripped away every distraction—the logos, the seasonal clutter, the noise—until only what mattered remained: light on stone, silence between pillars, the architecture of reverence.

One frame in particular stays with me: the candles. Shot at 1/30s, my hands unsteady not from illness but from the simple weight of the moment. The focus slipped slightly. The flames blurred into one another. And instead of frustration, I felt a quiet relief—the film hadn’t captured perfection. It had captured presence. Grain became breath. Blur became prayer.

I didn’t go to “get out of the house.” I went because the space was clean again—just stone, silence, and the stubborn glow of candlelight. And for a few minutes, with the FE cold against my palm and the smell of incense in the air, I remembered why I love film photography: it doesn’t lie. It holds what’s there—shadows and all—and asks only that you trust the process.

They sold a spectacle. I took back the light. And the grain—warm, imperfect, alive—proved which one will last. My small act of reparation…

Portrait format interior of the Cathédrale Saint-Pierre-et-Saint-Paul in Nantes on a Nikon FE with Ilford HP5 Plus 400, black and white film

Nantes Cathedral interior, portrait format, shot on a Nikon FE with Ilford HP5 Plus 400, available light black and white film photography

Interior detail of the Cathédrale Saint-Pierre-et-Saint-Paul in Nantes, portrait format, on a Nikon FE with Ilford HP5 Plus 400

Portrait format interior photograph of Nantes Cathedral on a Nikon FE with Ilford HP5 Plus 400, available light black and white film

The high altar of the Cathédrale Saint-Pierre-et-Saint-Paul in Nantes, second view, on a Nikon FE with Ilford HP5 Plus 400

Portrait format interior column detail of Nantes Cathedral on a Nikon FE with Ilford HP5 Plus 400, black and white film

Portrait format interior of Nantes Cathedral, second duplicate variant, photographed on a Nikon FE with Ilford HP5 Plus 400

Interior architectural detail of Nantes Cathedral, third variant, photographed on a Nikon FE with Ilford HP5 Plus 400

Portrait format interior view of the Cathédrale Saint-Pierre-et-Saint-Paul in Nantes on a Nikon FE with Ilford HP5 Plus 400

Landscape format interior of Nantes Cathedral, second view, on a Nikon FE with Ilford HP5 Plus 400, black and white 35mm film

Landscape format Nantes Cathedral interior, second view, on a Nikon FE with Ilford HP5 Plus 400, black and white 35mm film

Landscape format Nantes Cathedral interior on a Nikon FE with Ilford HP5 Plus 400, black and white 35mm film photography

Nantes Cathedral interior detail, portrait format, photographed on a Nikon FE with Ilford HP5 Plus 400, black and white film

Portrait format interior view of Nantes Cathedral, second variant, on a Nikon FE with Ilford HP5 Plus 400, black and white film

Never Complain, Never Explain

Posted on December 20, 2025April 29, 2026 Posted in Mental Health, ReportageTagged creative burnout, dépression aiguë, emotional exhaustion, film photography blog, France photography, French British identity, heart murmur and stress, immigrant mindset, marital communication, mental health and photography, news, personal essay, photographer mental health, photography and healing, returning to creativity, seasonal depression, therapeutic writing, UK travel therapy, winter melancholy, workplace mental health15 Comments

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

Posted on October 23, 2024June 20, 2026 Posted in Black and White Photography, Café Culture, Family Life, Film Photography, Nantes Photography, Street Photography, The Film ArchivesTagged analog photography, analogue vs digital, authentic photography, barbershop photography, black and white film, Black and White Photography, Candid Photography, capturing memories on film, capturing moments on film, capturing real life, classic film cameras, everyday life photography, Everyday Moments, family connections through photography, father-son moments, fatherhood in photography, film camera techniques, film grain, Film Photography, film photography blog, film photography challenges, film photography enthusiasts, film photography reflections, film vs digital, France, French street photography, grainy film photos, historical street photography, HP5 Plus film, Ian and Killian days, ilford hp5, intimate moments captured, John Mc Byrne Irish Pub, Nantes, Nantes Photography, Nantes street scenes, nostalgic moments in photography, nostalgic photography, personal narrative in photography, personal photography stories, photography imperfections, photography routines, Praktica camera review, Praktica MTL3, Street Photography, Sugar Blue Cafe, The Film Archives, timeless photography, vintage cameras, weekend outingsLeave a comment

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?

Browse the full Film Archives →

The Opening of the Film Archives—Clisson, September 2016

Posted on October 2, 2024October 2, 2024 Posted in Architecture, Black and White Photography, Film Photography, France, Street Photography, The Film Archives, Travel photographyTagged 14th-century Halles, Architectural Details, architecture photography, Black and White Photography, Canon AE1, capturing history, Clisson, Clisson attractions, Clisson castle, Clisson landmarks, Clisson photography, cultural exploration, decommissioned chapel, film archives, film camera, film camera tips, Film Photography, film photography blog, film photography enthusiasts, France, french countryside, French gardens, French market towns, Garenne park, historic architecture, historic towns, historical photography, historical sites, Ilford HP5 Plus, Italian architecture, Lemot park, local markets, market day, old friend towns, Outdoor photography, photo series, photographic journey, photojournalism, picturesque towns, Quartier St Jacques, riverbanks, scenic photography, serene landscapes, the fim archives, town exploration, tranquil moments, travel destinations, Travel photography, vintage photography12 Comments

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

Posted on September 18, 2024August 29, 2024 Posted in Black and White Photography, Camera reviews, Film Photography, France, Landscape Photography, The Film Archives, Travel photographyTagged 1960s cameras, analogue photography tips, analogue vs digital, Black and White Photography, British photography, camera buying tips, camera collection, camera gear, camera maintenance, camera nostalgia, camera pricing, classic cameras, classic film cameras, classic photography equipment, coastal photography, film camera reviews, Film Photography, film photography blog, film photography community, film photography enthusiasts, film photography tips, France, historic cameras, historical photography, Historical Travel, HP5 Plus film, Ilford film, local travel, Noirmoutier, Noirmoutier attractions, Noirmoutier exploration, Noirmoutier France, Noirmoutier Island, olympus trip 35, photography experiences, photography history, scenic photography, seaside photography, the film archive, The Film Archives, travel and photography, travel destinations, Travel photography, travel photography blog, Vendée travel, vintage cameras, vintage film cameras, vintage photography gear, vintage travel spots4 Comments

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

Posted on August 28, 2024June 20, 2026 Posted in Black and White Photography, Café Culture, Film Photography, Landscape Photography, Nantes Photography, The Film ArchivesTagged 35mm film, Altercafe, analog photography, Black and White Photography, Café Culture, Candid Photography, childhood memories, Classic camera, D3, documentary photography, evocative photography, family heirloom, family photography, family vacation, father-daughter bonding, film camera, film developing, Film Photography, film photography blog, fine art photography, France, France Travel, hangar à bananes, Ilford HP5 Plus, Jardin des Plantes, Nantes, Nantes food scene, Nantes tourism, nostalgic photography, olympus trip 35, personal narrative, photo book, photo essay, photography archive, photography art, photography exhibition, photography legacy, Photography passion, photography project, photojournalism, point and shoot camera, scanning film, Street Photography, summer vacation, The Film Archives, timeless memories, Travel photography, urban exploration, vintage photography, Visual Storytelling, zone focusing2 Comments

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

Posted on August 21, 2024August 28, 2024 Posted in Black and White Photography, Family Life, Film Photography, Nantes Photography, The Film Archives, Travel photographyTagged 35mm film, analog photography, Black and White Photography, botanical gardens, Candid Photography, childhood memories, Classic camera, documentary photography, evocative photography, family heirloom, family photography, family vacation, father-daughter bonding, film camera, film developing, Film Photography, film photography blog, fine art photography, France, France Travel, Ilford HP5 Plus, Jardin des Plantes, Nantes, Nantes tourism, nostalgic photography, olympus trip 35, personal narrative, photo book, photo essay, photography archive, photography art, photography exhibition, photography legacy, Photography passion, photography project, photojournalism, point and shoot camera, scanning film, Street Photography, summer vacation, The Film Archives, timeless memories, Travel photography, urban oasis, vintage photography, Visual Storytelling, zone focusing13 Comments

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.

Why the Olympus Pen EE-S Is the Best Budget Film Camera for Beginners

Posted on August 9, 2024July 5, 2026 Posted in Art, Film Photography, France, Nantes Photography, Street Photography, Travel photographyTagged 1960s camera, 35mm film, affordable film camera, analog photography, best film cameras for beginners, best film cameras for travel, budget film camera, budget travel photography, camera review, diptych, documentary photography, film camera review, Film Photography, film photography blog, film photography community, film photography for beginners, film photography gear, film photography gear guide, film photography gear review, film photography inspiration, film photography inspiration blog, film photography on a budget, film photography resources, film photography tips, film photography tutorials, France, half-frame camera, half-frame film camera review, Japanese camera, Kodak Gold 200, le voyage à Nantes, lvan, Nantes, Nantes Photography, Olympus camera, Olympus Pen EE S, Olympus Pen EE S review, olympus trip 35, Pentax 17, photography review, selenium meter, Social Media Photography, Street Photography, The Film Archives, Travel photography, vintage camera, vintage camera review, zone focusing12 Comments

Why the Olympus Pen EE-S Is the Best Budget Film Camera for Beginners (Even in 2025)

Pentax 17 fever is sweeping the film photography world, and I’ll admit, I was tempted. Half-frame cameras, with their promise of double the shots per roll, sound pretty amazing. But with a price tag of 500€, the Pentax 17 isn’t exactly within my budget. That’s when I rediscovered a little gem tucked away in my camera collection: the Olympus Pen EE S.

This Japanese-made half-frame beauty hails from the 1960s, the same era as the beloved Olympus Trip 35. Like its sibling, the Pen EE S features zone focusing and a selenium cell meter for fuss-free shooting. The lens is an F2.8 22.5mm Zuiko lens. The ISO settings go up to 200 ASA, unlike the Olympus Trip which goes up to 400 ASA. So, despite everything else, it needs light. The half-frame format means you get a whopping 48 exposures on a standard 24-exposure roll. That’s double the shots for your buck, folks!

Now, the idea of twice as many photos for the same developing cost is pretty appealing. But does the Olympus Pen EE S deliver the goods in practice? Stay tuned as I put this vintage camera through its paces and share my findings. Could this be the perfect half-frame hero for those of us who can’t quite swing a Pentax 17? Let’s find out!

Well, for starters, it felt very much like using the Olympus Trip 35. It’s very slightly smaller and weighs next to nothing. The shutter button is almost identical as well. Instead of having four zones for focusing, you have three, but it’s fine, and when you turn the dial, you feel a click as you enter a new zone. You point, and then press. Simple!

Let’s talk about this half-frame shooting experience. When talking about the Pentax 17, “they” talk about how the images are great for sharing on social media. A little like using your phone… This is the mindset that I had when putting in my Kodak Gold 200 to capture those famous Kodak moments in Nantes.

I found it a challenge to get used to the half-frame. “They” say that you have to take your photos as diptychs and remember that the two photos in your full frames are related, not just simple images. The idea is that when the two half frames are put together, you create a story and a suite of ideas, instead of two separate photos. I tried, and the results will show you if I succeeded. I felt that “they” were pulling my leg!

I’ll be honest with you. The idea behind the outing was to test the camera, see how I felt using it, and have a look at the results. It took me out of my comfort zone, which is something rare in photography for me. I was thinking about taking it to the UK with me to record the trip. It takes up next to no space in a camera bag and would allow me to shoot some film while back home. The idea of getting twice as many shots by using just half the frame is attractive. I’m just getting used to the reduced coverage that you get with just using half the frame.

For this outing, I decided to head out towards the Cathedral, and takes some shots of the Voyage à Nantes.

I found myself thinking differently about framing my shots and using my phone as a mental template. As for the resolution of my images, they will be half as much as using my full frame, but were I to print my photos, then I would definitely see a difference. But if they’re just for sharing on social media, then the resolution will be perfectly satisfactory.

The million-dollar question is, will I take it on my trip, and will I use it? Yes, I will. Will it be my main camera? Possibly not. Will it be more like using a new toy? Possibly, even if the toy in question is a vintage 1966 toy…

Here’s what I’ll do. I’ll put some images taken on the X100F, my more modern toy, and let you see how they compare. You’ll see the diptychs and see how the different shooting styles change the outlook and how they change the framing.

These are the X100F photos with editing in Snapseed…

A garden fountain in Nantes photographed on a Fujifilm X100F, shot as a digital reference alongside the Olympus Pen EE-S

Close-up of a garden fountain in Nantes, shot on a Fujifilm X100F as a digital reference comparison to the Olympus Pen EE-S

A large tree in a Nantes garden photographed on a Fujifilm X100F, used as a digital reference alongside half-frame film shots from the Olympus Pen EE-S

The old master's house in Nantes photographed on a Fujifilm X100F, shot alongside Olympus Pen EE-S half-frame film images for comparison

A view through a stone arch toward the cathedral entrance in Nantes, photographed on a Fujifilm X100F as a digital reference

Close-up of an ornate iron fence in Nantes, photographed on a Fujifilm X100F alongside Olympus Pen EE-S half-frame film shots

A view through a stone arch toward the Place Saint-Pierre in Nantes, photographed on a Fujifilm X100F as a digital reference comparison

And these are the half frame images from the Pen EE S… with the editing done in Photoshop using the neural filters to get rid of the scratches on the film.