More Light Than We Imagine


Shooting Nantes at Night with HP5+

One September evening I walked between Place Bouffay and rue des Petits Écuries with the Nikon FE and a roll of HP5+. Box speed—400 ASA. No pushing. No stand development. Just me, tired eyes, and the hope the city would be kind.

It wasn’t always.

Some frames failed outright. Missed focus—my eyes couldn’t lock the split-image patch in the dim light. Others blurred from camera shake at 1/15th, handholding like a fool. I won’t pretend those shots have hidden merit. They’re gone. But the ones that landed? They held more than I expected.

Because Nantes at night isn’t dark. Restaurants pour light onto wet cobbles. Shop signs, streetlamps, even those little menu stands outside cafés—they all feed the scene. I’d guess the focus, press the shutter, and move on. Later, scanning the roll, I found detail in shadows I thought were lost. Not because I’d exposed well—I hadn’t—but because HP5+ gathered what was there even when I fumbled.

That’s latitude in practice. Not a spec sheet promise, but the difference between a usable negative and a blank one when your hands shake and your eyes fail. I didn’t push to 1600. I didn’t need to. I just needed a film that wouldn’t punish me for being human.

The December shots are more traditional street work—grey skies, low sun, the light you expect. Even the coffee cup photo owes something to Instagram. I won’t deny it. We absorb what we see online; it seeps into our framing without us noticing. No shame in that—it’s just how we learn now.

But the September shots that worked feel more like my own. Standing in Place Bouffay as evening deepened, watching light pool around tables and bounce off stone—I wasn’t chasing a look. I was just there, squinting, hoping. And HP5+ met that without fuss.

I’m not claiming mastery. I’m claiming a few good frames out of a roll that also held misses. That feels honest. Cities don’t go dark—they transform. And sometimes, even with bad eyesight and shaky hands, a simple roll of film gives you just enough to keep walking.


All photographs shot on Ilford HP5+ at 400 ASA, developed in standard chemistry. Nikon FE, Nantes—December 2025 and September 2025, Place Bouffay and rue des Petits Écuries.

Opening of the Film Archives – Canon AE1 Street Photography in Nantes


Good afternoon, Dear Reader. I’m writing this article thinking of you and wondering what to show you next in this ongoing series. The clue is in the title: Canon AE1 Street Photography in the streets of Nantes.

I know you have the eyes of a hawk who never miss a trick because your vision is so sharp. You might even have scrolled down to the photos already, and your eagle eyes will have noticed that this isn’t the usual area I visit on these outings. And, of course, you’d be right!

Yes, I still parked in the Feydeau car park but crossed the road to the south, heading along Baco-Lu, past the Tour Lu (sans “t”), towards the St Felix Canal, and then back into town… Some of the places no longer exist or have changed hands, but you would still recognise them even today.

I think that with these photographs, I’m getting closer to what some might call “proper” or “traditional” street photography. The images have a certain gritty quality to them, including the people in the shots. This was something I was actively aiming for. Maybe it’s the grain—something I don’t get with the X100F—that helped bring this about. Or could it be the people, whose presence seems to reveal the stories behind them? Whatever it is, I felt that this was a very good day.

I think I may have shared with you that I’m going to China this Christmas on tour with the orchestra I play for. I’m still undecided about which camera to take and wondering if I should bring a film camera along. With the X100F, I’ve become so accustomed to the 35mm lens, while my film cameras only have 50mm lenses to work with. Reviewing these older images may help me make up my mind. It’s going to be an epic trip, and I want to be sure of the kinds of images I’ll be able to capture.

As much as I’d love the flexibility to hop in the car and retake a shot if needed, this trip to China will be different. I’ll need to trust my choices and embrace the moment as it unfolds—something that feels both exciting and a little daunting. But that’s the beauty of photography, isn’t it? The challenge of capturing fleeting moments, knowing they might never come around again. So, whatever I decide, I know the experience will be unforgettable.

While the anticipation of the China photos may be killing you, I know you’ll be patient, whatever I decide to use. Rest assured, those photos will capture the spirit of the trip. Only two and a half weeks before I start my travels…

The Opening of the Film Archives – Le Hangar à Bananes July 2016


Continuing our journey through the film archives, we find ourselves on the Île de Nantes, home to the iconic Hangar à Bananes. Let’s rewind to July 2016, when I captured this vibrant scene with my then favourite Canon AE1. Once a shipbuilding powerhouse, Nantes had cleverly repurposed its abandoned infrastructure into a bustling hub. The area is now home to the fantastical Machines de l’Île, the historic Chantiers Navals, the towering Grue Jaune, and of course, the Hangar à Bananes itself. Back then, the Hangar was a hive of activity, buzzing with picnics, impromptu barbecues, and lazy afternoons under the summer sun.

My goal was to capture that unmistakable “Summer Vibe.” As always, I started with the architecture, drawn to its striking modern lines, a refreshing departure from the stark brutalism of the 1970s. The clever use of texture and the innovative design of the apartment buildings particularly caught my eye.

That summer, the Voyage à Nantes festival had a brilliant idea: communal barbecues for everyone. Genius, right? You simply brought your food, and they provided the grills, charcoal, tables, and chairs. It might not be Texas, but the French know their way around a barbecue, and being the food lovers they are, they go beyond the usual sausages and burgers. It was a true testament to what a public space should be – a place for everyone to gather, share, and simply enjoy themselves.

Then there was the dancer. He was just filming himself with a GoPro, but the way the sunlight caught his movements and the glistening sweat on his skin was mesmerising. It was a fleeting moment, the first and only time I’ve ever photographed a dancer, but it left a lasting impression. There’s something undeniably captivating about the human body in motion.

My wanderings continued to the edge of the island, where the mighty Grue Jaune – now a “monument historique” and a symbol of Nantes – stands tall. Walking past and through this enormous yellow crane was an awe-inspiring experience.

Along the riverfront, the Anneaux de Buren, a series of massive rings, stretched out in a mesmerizing pattern. At night, they transform into a dazzling display of vibrant reds, blues, and greens – a photographer’s dream, offering endless possibilities for capturing leading lines, geometric shapes, and unique framings of the cityscape.

And of course, no photo series of mine would be complete without the obligatory bike shot. It’s a bit of a tradition for me.

Even now, in 2024, the Hangar à Bananes still exudes that same “Summer Vibe.” It remains a popular spot for after-work drinks with friends and colleagues, boasting a variety of restaurants, bars, the HAB Gallery, and the infamous “Warehouse.” While the area can get a bit dicey later at night, it’s perfectly safe and enjoyable for a daytime visit or an early evening soirée.

The Opening of the Film Archives – Nantes November 2016


Following our last trip to Carnac, the film archive now has a look at Nantes in the autumn of 2016. These photos offer a glimpse into how I approached photographing a city back then, and if I’m being totally honest with you, still do. I treat the city much like a model on a photoshoot. The goal is to capture not just the physical landscape, but the essence and atmosphere of a place, allowing viewers to get a feel for the city simply by looking at the images. In this series of pictures, Nantes reveals herself and her architecture, resplendent in the autumnal sunshine.

Over time, I have come to know the city and appreciate her architecture. Buildings are not only a reflection of the architect but also of the people who live in them. They add character to the city, allowing her personality to shine through.  I enjoy looking at the lines, and the shapes of them.  They inspire me.  They tell the story of the people who, either work, or live in them.  They are not just mere edifices.  

You will notice as we go through the archives, I might not respect the timeline slavishly. My aim is to give you an aperçu of my world at the time through film. I know you will be able to take this affront in your stride and not hate me!

We’ll go from the bains douches municipales, through to the Sainte Croix church, to the Stalinian 1950’s architecture of the Social Security building, passing by the odd shop, Hausmanian architecture, and even a shot looking towards the Cathedral.

The X100F, again!


It seems that I’m not the only one who raves about this powerhouse of a camera. This just proves that size truly doesn’t matter. I’ve mentioned it on numerous occasions and I stand completely justified in doing so!

Here’s a selection of articles that I have written showcasing phtoography from this amazing little camera in no particular order:

The idea behind using a camera is not just about capturing moments, it’s also about the experience it grants you. This camera has the ability to inspire and motivate its users to explore and create, which is a testament to its design and functionality. The joy and enthusiasm that comes with using this camera is contagious, and it’s evident in the way it empowers photographers to unleash their creativity. It’s not just a tool, but a companion that fuels the passion for photography, encouraging individuals to embrace the world around them through its lens.

Frame It Right: The Art of Composition in Photography Part IV


In my previous articles, we’ve embarked on a journey to understand the basics in photography. I have talked about exposure, set out some of the “rules” of composition, and even delved into the world of colour theory. Today, I’d like to introduce you to the rule of odds and the rules of space, two fundamental elements that will take your photography to the next level.

Before we talk about these new concepts, let me reiterate the importance of building a solid foundation. Just as we did with framing, negative space, and colour theory, it’s crucial to master each concept before moving on to the next. Take your time to learn and apply these principles in your photography journey. The other four articles will stay up, and you can read them at your leisure.

The Rule of Odds in Photography

The rule of odds is a composition guideline that suggests using an odd number of subjects or elements in your frame, typically three or five, rather than even numbers. Why? Because odd numbers tend to create a more balanced and visually pleasing composition.

When you use the rule of odds, you create a natural focal point within your photograph. Our eyes are drawn to the centre subject, and the uneven arrangement adds a sense of harmony and intrigue to the image. The result? A more captivating and dynamic photo that engages your viewers. It’s all about balance.


Rules of Space: Balance and Direction

Now, let’s look at the rules of space. This concept involves how you position elements and subjects within your frame to achieve balance and direct the viewer’s gaze. It leaves space for the subject and can be used in multiple ways as a storytelling tool. It can also be used in conjunction with the other composition techniques that I have talked about in my previous articles.

Tips

Think outside the frame. What is going on outside the frame becomes as important as what is oing on inside the frame. Let’ take the picture of the guitarist. Who is he looking at? What’s going on outside the frame? Is there an audience? Where is the audience? Using rules of space the viewer will more curious and be more engaged in the photo.

Conclusion

One can talk about composition and the effect it has on photography till the cow come home. People will always bring up “composition” and will always tell you how “they” would have done it differently. In these four articles you will now know what they are talking about and be able to decide for yourself. In absolute terms, “your” photographs are about what “you” saw, and only “you” can see that. But keep the rules that we have discussed in the back of your mind, and take your photograph with purpose and being conscious about what you are doing. Mindfulness is the key.

My next article will talk about the differences between 35mm film photography and medium format photography. For film enthusiasts or anyone else who is curious you will be entering into a new world. There are, of course, trade offs between each format, and we will discover them. Maybe you’ll be bitten by the Medium Format bug too… As always Dear Reader, I appreciate your enthusiasm, and I look forward to our next exploration together. Until then, happy shooting!