The UK Chronicles: A Black and White Footnote


My usual approach to black and white photography is to shoot directly in black and white, either using black and white film or the Acros film simulation with my X100F. When using the X100F on this UK trip, my EVF displayed the black and white shot using Acros with a red filter—my go-to simulation. This method puts me in a black-and-white “frame of mind” from the outset.

However, this time I decided to break from my usual practice and experiment. I did something I normally advise against—starting with the intention to create color images and only considering black and white later. I chose the Classic Chrome film simulation instead of Acros, focusing on capturing the vibrant colors of the Northumbrian countryside. It was all about breaking free from my black-and-white routine. Both color and black-and-white photography have their place, but for this trip, I wanted to prioritize one over the other. Still, wouldn’t it be intriguing to compare both approaches?

Back in France, as I prepared the images for my black-and-white Instagram feed, I began to wonder if some of the colorful shots might also work in black and white. Initially hesitant—given my emphasis on shooting with intention and purpose—I decided to embrace the experiment. I was breaking one of my own rules, yet the idea intrigued me.

Reviewing the color shots, I considered which might translate well into black and white. I look for images with texture and varying tones rather than just color. My composition is usually solid since I’ve already edited my color images, including reframing and straightening as needed. With digital RAW files, converting to black and white and producing different versions is straightforward. As they say, the goal is to produce images that reflect how they made you feel, not just how you saw them. This is why I convert my images to black and white—they capture more of the emotional essence.

Opening Adobe Lightroom on my PC, I saw the familiar images on my screen. My editing approach may seem finicky, but it’s effective. While the simplest way to convert an image to black and white is to slide the “saturation” slider to the left, this often results in a flat, lifeless image. Instead, I use a more nuanced approach to control various color tones in the black-and-white image. This technique helps preserve depth and character, ensuring that each image maintains its visual impact even without color.

Here’s how I approach black-and-white conversion in Lightroom:

  • Black and White Profile: Sets the overall tone and mood of the image.
  • Clarity: Enhances texture and detail for a more dynamic appearance.
  • Contrast: Adjusts the range between light and dark areas, adding visual interest.
  • Color Sliders: Modifies the luminance of specific colors to bring out different tones in the black-and-white image.
  • Highlight Tool: Adds subtle vignetting and balances highlights for a polished finish.

So, why convert to black and white after shooting in color? For me, it offers a classic, timeless aesthetic, and challenges me to create a “better” image by focusing on composition and texture without the distraction of color. This approach pushes me to craft photographs that rely on fundamental elements, enhancing their overall impact.

Impact is at the heart of photography. While I cherish the colors of the Northumbrian countryside and am eager to learn how to use color more effectively, I also deeply value the strengths of black-and-white photography. It’s about transcending color to create images that resonate through composition and texture.

But there’s something more personal about these black-and-white conversions. Perhaps it’s because I broke my own rules this time around, allowing color to take center stage and letting the black-and-white images emerge later. These images weren’t planned with black and white in mind—yet, despite that, or perhaps because of it, they feel even more special to me. Sometimes, going against what you think you know leads to unexpected results. And, in this case, those results resonate even more deeply.

Isn’t impact what we strive for in our photography? Don’t get me wrong—I love the colors of the Northumbrian countryside and am on a quest to learn how to use color more effectively. But I do believe in the strength of the fundamentals offered by black-and-white photography. Sometimes, breaking your own routine brings surprising rewards.

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 UK Chronicles Part VIII: From Chesters, to Rothbury, to Lesbury


Thank you for following this series of UK Chronicles, and I would just like to say that this is the last one. It had been a long day, but a good day, despite the disappointment in Otterburn. You overcome and adapt. Killian was still sad not to have some Roman armour though.

So, despite not rocking the Roman look, we still had to get back to Lesbury because that evening we would be eating with my parents in a pub in Boulmer, which was just down the road from Lesbury and on the coast. Boulmer is one of those little fishing villages that still has a small fleet of fishing boats that would have caught the fish and chips that we would be eating that night.

To get back home, I could take the more direct route, or I could go via the scenic route. Luckily for you, Dear Reader, we had enough time to take the scenic route. My driving was leisurely, or even slow, as we meandered through the bendy country roads. Again, just taking in the rural views and loving every minute of it. We wanted to go back to Rothbury to get another of those yummy sandwiches in the breadcakes that you only seem to be able to get in the UK.

We found the same parking spot as we did that very morning and crossed the road to go back to that morning’s bakery. It had just shut! Please don’t worry for us though; our lives still had some meaning. We visited the ironmongers that hadn’t yet opened that morning. It was one of those places that had everything that one could need, from bird feeders to butter dishes. Killian decided that I needed a new walking stick. He had seen me leaning with my old one, which, in his mind, was too small for me. I think he really had his eye on a shepherd’s crook, but we settled on a nice wooden walking stick that is just a tiny bit taller than my French ones, and it’s propped up against my desk as I write—a little reminder of home.

Killian suggested we walk to a particular shop and then return, now with my new walking stick in hand. Leisurely was definitely the word of the day and summed up our attitude to it so well. We strolled down to the RSPCA charity shop. I thought I might just be able to get Killian a jacket to help smarten him up a bit, but failed. Ah well. We walked past the toy shop, which you could tell was for rural folk. The amount of toy tractors and all the farming machinery was awe-inspiring. Somebody somewhere had obviously been frustrated as a child…

We passed the Queen’s Head pub, and surprise surprise, we went in. I ordered the drinks and the crisps, made sure Killian had a place to sit, and went to the loo. The bar was full of locals, I presume farmers, judging by the size and musculature of the men. It would appear that their Friday evening sesh was just beginning. There was a couple of walkers with their dog, and a water bowl had been provided, and the dog was enjoying some of the treats from the complimentary dog treat jar. While some find the Northumbrian accent incomprehensible, to me, it’s music to my ears. I get every word of it. Killian, although fully bilingual in English, was struggling, praying that nobody would come up to him and try talking to him. Poor lad. And that was despite a pint of creamy, silky John Smith’s Bitter!

We left Rothbury behind us, feeling as if all were good in this world. Leisurely and peaceful, which felt amazing. We would head back towards Alnwick and have another look at the scenery in a new light compared with that morning. I have taken this route a few times and in the valley have always noticed a castle, and this time I thought, you know what? I’m going to have a look at that place. We saw the sign to the village of Edlingham and its 14th-century castle and turned left. You park just in front of the church, and you can go and see the ruins. We went into the church and saw somebody taking photographs with an old film camera. This guy had a vintage Nikon, and it looked beautiful. As photographers will do, we started talking shop. We talked about the films we used and how my X100F, although not a film camera, was the nearest thing I had found to a film camera in its feel and use. The photographer mentioned that the castle ruins were propped up with large iron beams, which seemed to detract from their historical charm. So, we decided to skip the visit. We parted ways and left the church after having managed to capture a couple of photos. Killian came running back in to ask the guy if he had a Nissan. He did. Well, in that case, it was his car that had just smashed into the church gate. Killian lifted the damaged gate to put it against the wall, and the driver was convinced that he had put his handbrake on. The gentleman called the number on the church notice board to try and tell the vicar about what had happened, but there was no answer. We never did find out if the driver managed to reach the vicar, but it was an unexpected end to our day of exploration.

The Opening of the Film Archives: On va Marcher sur la Lune, Kate


Last week’s journey through the film archives took us to Nantes, specifically the Île de Nantes. While you’ve seen my photos from that day, I’m excited to share my daughter Kate’s photos with you.

Are these images works of art deserving of a gallery? Perhaps not, but they represent a delightful exercise in spontaneity. Captured by a seven-year-old “playing” with a camera, they offer a unique glimpse into how my young daughter sees the world. There are no rigid rules of photography or composition here—just an extension of her eyes. These photos are raw yet delicate, showcasing the world as she perceived it at that moment.

These photos mean a great deal to me, particularly the one she took of me with that glorious moustache! I’ve often discussed how the journey and process of photography can sometimes be even more meaningful than the final destination. That day was a significant part of that journey, and reflecting on my own first photos from that age fills me with nostalgia.

The UK Chronicles Part VII: Chesters Roman Fort


Welcome, Dear Reader, to the very edge of the Roman Empire, and by implication, civilisation. You might be wondering why there’s a carving of a phallus as the cover photo for this article. Well, don’t forget that soldiers will be soldiers, even when they’re part of a Spanish Cavalry regiment stationed here. Some things never change—except these soldiers were caught by archaeologists centuries later!

Chesters Roman Fort was constructed along Hadrian’s Wall to keep out the “uncivilised” Picts and Scots. This impressive wall stretches across the country from East to West, ending at Wallsend in Tyneside. It was a massive undertaking, and I’m still amazed by this feat of engineering.

Killian, my dear son and heir, whom you might recall from the previous article about his misadventures at Otterburn, was slightly less impressed. “Ce n’est pas le Mur d’Hadrian, mais le muret d’Hadiran,” he quipped—translating to, “Not Hadrian’s wall, but Hadrian’s little tiny miniature wall.” Some people are just impossible to please!

Despite his initial skepticism, Killian was genuinely impressed by the quality of the stonemasonry, even after nearly 2,000 years. With his background in plumbing, he quickly noticed the Roman plumbing and underfloor heating, which makes you realise how little we’ve actually invented since then.

When we visited the cavalry lines and saw where the horses were kept, he was astonished to learn that three men and three horses lived in the same building, with the horses at one end and the soldiers at the other.

Even though he was flippant at the start of the visit, he took a keen interest in everything and enjoyed explaining each building to me. Maybe he’s a closet intellectual after all…

As we continued our tour, my knee was giving me trouble, and Killian showed his concern, asking if I really wanted to go down to the river to see where the bridge once stood. I insisted we go, so we made our way slowly towards the river and the soldiers’ baths. And by baths, I mean a fully-fledged hammam complete with sauna and dry heat—the very latest technology to provide the frontier soldiers with some home comforts. If those baths were still operational, they might have been perfect for soothing my arthritic knee!

We walked slowly towards the west gate and could only imagine the civilian buildings buried beneath the fields in front of us. This site wasn’t just a series of building outlines but a thriving Roman community on the very edge of civilisation.

Speaking of civilisation, I felt it might just be time for a cup of tea. As we strolled through the site towards the car, we spotted a tea shop. A cup of tea and a slice of cake were just what I needed—I was in heaven! Good old National Trust! No wonder they’re an institution. Our conversation shifted to the gift shop, where I was trying to convince Killian that, despite how cool owning a replica Roman helmet and armour might be, it could be a tad impractical and he might not have many occasions to wear such Roman regalia. Mind you he would be very dashing!

If you want to, you can even play a game of “Where’s Waldo” or “Where’s Wally,” for the British readers. Note I didn’t say “Where’s the Wally…” Keep an eye out for the photos of Killian…

The Opening of the Film Archives: On va Marcher sur la Lune


New from the film archives – On va Marcher sur la Lune, captured on a warm October day in 2016. Could this be a nod to Jules Verne, one of Nantes’ famous sons? Possibly. As I look through these photos now, I’m transported back 8 years—to a time when my daughter still saw me as her hero, and we spent afternoons exploring with our cameras.

That day, she had her Olympus Trip 35, and I was carrying the equally iconic Canon AE-1 with some 400ASA Kentmere black and white film. Both cameras, steeped in history, were very much a part of our lives at the time. And when I say the Olympus is so simple a seven-year-old could use it, I’m not exaggerating—she handled it with ease, maybe even with a bit more flair than I did.

We parked near the Grue Titan and wandered towards the Elephant, a landmark almost as famous as Jules Verne himself. It was one of those days that would just lead its own way along the Loire, and I was completely fine with that. My only concern was Kate remembering to change the dial on the Olympus to the right focus zone. In hindsight, I should’ve let her take the lead and placed more confidence in her. Hindsight—that luxury of later life. Her photos? They turned out better than just fine.

Later, we explored the “On va Marcher sur la Lune” exhibit, which featured a lunar landscape with trampolines in each crater—a hit with children of all ages. The area was bustling with people enjoying the Indian Summer, including a mix of families and those embracing the trendy atmosphere. As we walked towards the Elephant, we noticed how it had revitalized this once rundown shipbuilding area. The remnants of the old shipyards still linger, but the new architecture is resolutely modern.