seaside photography – IJM Photography

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.

I don’t know about you, but I’m really getting into this Film Archive business. It’s great sharing these archives with you all, and it’s certainly bringing back lots of memories to me. Maybe less for you because I haven’t published them here yet. But I know you’ll like them as much as I do.

This particular set of photos was taken on Penthièvres beach, located on the Quiberon Peninsula in the Morbihan. It has a special place in my heart. Not just because I like the sea, but the smell of the sea, and the feel of the sea air on my face. It’s a place I often escape to for a bit of tranquillity especially with the chaotic nature of family visits.

In some respects it’s strange going to the beach to “relax” as it’s something I usually hate. The idea of the outing to beach with the family and putting towels down, with rocks on each corner of the towel, and having to watch over children going to swim and bathe, making sure they don’t drown because you’ll get shouted at. The shouting of the children, and worse other people’s children. Getting sand in between your toes and then getting back to the car and having the impression you’ve brought back the whole beach…

But here it was different. Boots stayed on. No screaming children. Just the wind, the heat of the sun, just being an observer and not having to chat with anyone. Being able to capture the beach on film. Pure, solitary bliss.

So, now that you know where we are, let’s look at the camera and film du jour. The film stock that day was the usual Ilford HP5 that I always used at the time, a classic choice for its versatility and ability to capture the subtle nuances of light and shadow. The camera was the Ukrainian made rangefinder, FED 5 manufactured during the Soviet era. Loading the film with this camera is done by unscrewing the base plate, similar to the way one does with a Leica. The focusing with the “ghost” image is spot on and it’s a joy to use. I still love the smell of the leather case too. As in much of my film photography it’s as much about the experience of shooting as the final images.

In the end, Penthièvres became more than just a backdrop for my photographs. It became a sanctuary, a place where I could reconnect with my love for photography and find solace in the beauty of the natural world. These images are a testament to that experience, a reminder of the power of film to capture not just the physical landscape, but the emotions and memories that are woven into every frame.