Along the harbour wall.

Along the harbour wall.

Sunny day spent exploring North Berwick

Storm Amy

Storm Amy arrived right as I was preparing to leave Norway, so I decided to stay an additional day and take the opportunity to explore the small town where I was staying. During a brief pause in the rain, I managed to snap a few quick photos.

A mistake that I absolutely love

The most recent shot I shared is not of any specific subject but captures tones blending into one another. In fact, it was a storm at sea, but my camera—which was a photo taken with my phone—could not focus through the window. There were marks on the glass that my phone kept focusing on... and the result is an image I am very pleased with. Is this a form of rebellion against the stark minimalistic images I previously captured, where contrast is sharp and objects remain unwavering? Is it a subconscious reaction to the endless AI-generated images flooding our screens? Or simply a connection to something unexpected.

Listening to...

Listening to a lot of Allan Watts.

Listening to Allan Watts is a great way for me to evaluate my surroundings and my thoughts. Admittedly some of his commentary is way out there but there are some gems that really land.

"You cannot transform yourself. The you that you imagine to be capable of transforming yourself doesn’t exist. In other words, an ego and I, separate from my emotions, my thoughts, my feelings, my experiences who is supposed to be in control of them, cannot control them, because it isn’t there. And as soon as you understand that, things will be vastly improved."

The unexpected freedom of only using one camera

In the world of photography, it’s easy to believe that creativity lies in the arsenal of equipment we carry. Newer lenses, upgraded bodies, the right filters—surely each piece brings us closer to that perfect shot. But sometimes, the opposite is true: one camera alone can be a catalyst for genuine innovation.

When the pressure of choice lessens and all that remains is a single lens and a familiar body, the way a photographer works fundamentally changes. The story becomes the focus. Decisions grow more instinctive. Each shot is a blend of improvisation and intent, shaped not by abundance, but by limitation. Movement, positioning, and depth suddenly become the dials you adjust most. You start to trust your sense of timing, chasing moments as they emerge, learning to work with the light that’s there rather than the gear that isn’t.

There’s unexpected freedom in knowing your camera inside and out—its quirks, its strengths. The relationship becomes more intuitive. The absence of choice nudges you into spontaneous frames, surprising even yourself with fresh perspectives. The world slows down; you take your time, look closer, and find details that used to slip by unnoticed.

Ultimately, the number of tools in your bag rarely decides your creative potential. Often, it’s how you wield what you have—making the most of a single camera, and seeing, at last, the endless possibilities in your hands. Sometimes, it’s as simple as that.

Lately, I've decided to challenge myself by picking just one of my cameras each month and sticking with it—no switching, no fussy gear debates. My collection isn't enormous, but it’s enough that I usually get sidetracked obsessing over which camera to use, instead of focusing on what really matters: the photograph. To push this experiment further, I usually pair my chosen camera with a single lens, encouraging both discipline and creativity.

Since most of my cameras are film, this approach has the added benefit of helping me actually finish a roll—whether it's 36 exposures on 35mm or just 16 on my medium format—within a similar timeframe. No more half-shot rolls languishing in different cameras, waiting for their turn.

This month, my partner in crime was the Canon P rangefinder loaded with a roll of black and white Washi 100ISO film—a new film stock for me. As luck would have it, Edinburgh’s coastal neighborhood of Portobello presented itself in full cinematic mist on my first outing. I wandered the beach and burned through nearly the whole roll, letting the mood of the morning guide my shots.

When the scans came back from the lab, I was genuinely excited. There were definitely a few duds (aren’t there always?), but a surprising number of images I loved. Limiting myself to just that one camera forced me to be intentional. The best part? Every outcome, good or bad, was clearly a result of my choices behind that camera, on that day—no excuses, no shifting variables to blame. It’s proving to be the simplest way to challenge myself as a photographer and really learn from each exposure.

The Power of Limitation in Photography:

Embracing the No-Sky Challenge

In the vast realm of photography, it might seem strange to intentionally impose creative restrictions. However, sometimes limitations can be a catalyst for unleashing boundless artistic expression and pushing your creative boundaries. A perfect example of this is the practice of excluding the sky from landscape photographs. By willingly embracing this restriction, you can tap into a range of unique benefits and create captivating visuals that leave a lasting impression. In this blog post, we'll delve into the positives and advantages of restricting yourself in photography, using the example of shooting a roll of film without including the sky.

Fostering Creativity:

Limiting yourself in photography compels you to explore beyond the obvious and discover new ways to capture a scene. When I chose to exclude the sky from my landscape compositions in the below images, I was challenged to shift focus to other elements like foreground details, textures, or the interplay of light and shadows. This limitation encouraged experimentation with different perspectives, compositions, and techniques, leading to fresh and innovative outcomes.

By deliberately leaving out the sky, you create an intimate and focused atmosphere within the landscape. The absence of the sky draws the viewer deeper into the scene, directing their attention to the remaining elements. This intensifies the emotional impact, establishing a stronger connection between the audience and the subject matter, while highlighting the inherent beauty of the land itself.

Restricting my photographs from including the sky encouraged simplicity in the compositions. By removing a vast expanse of potentially featureless space, I was left with a more concentrated and distilled image. This simplification enhances the visual impact, emphasizing the essential elements and creating a sense of visual harmony.

Restricting yourself in photography, like excluding the sky from landscape compositions, may initially seem counterintuitive, but it holds tremendous creative potential. Embracing limitations allows you to foster creativity, create visually impactful images, and simplify and distil your compositions. So, challenge yourself, embrace restrictions, and explore the incredible possibilities waiting to be discovered within the art of limitation in photography. Remember, sometimes less truly is more.

Self-Promotion. It’s not for me….

I'm a photographer who loves taking pictures, but I hate talking about myself.**

I know. It's kind of a weird contradiction. I love creating art with my camera, but I get really uncomfortable when I have to talk about my work. I feel like I'm bragging, or like I'm coming across as arrogant.

But I also know that self-promotion is important for any photographer/artist who wants their work to be seen by a larger audience.

So I'm trying to find ways to promote myself without feeling like I'm saying “me, me ,me”. Here are a few things I have identified as self-promotion without the cringe factor of talking about myself.

Sharing on social media is the most obvious and the most distant. I'm conscious of not writing too much blurb as social media is such a quick fix for images that no one really pauses to read a paragraph long description of the thoughts and feelings behind every photo. The technical side and the planning of the photo can be covered through my YouTube videos. This seems to be more natural and informative and less promoting.

This.. Writing about photography on my blog. When I share my thoughts on different photography techniques, trends, and challenges. I feel like I'm opening up about my thoughts on photography. Not just mine but other photographers as well.

One thing I have not done but see the benefit in is spending time with other photographers. Maybe doing some group get togethers like a photo-walk where you can get to know other photographers, learning from them and making friends.

I know I’m not the best at self-promotion, but I'm getting better at it and I'm learning to be more comfortable talking about my work. Using these above options to promote myself feels more natural and authentic to me.

If you're a photographer who hates self-promotion, I know how you feel. But I tell myself that self-promotion is not about bragging. It's about sharing your work with the world and letting people know what you have to offer. So don't be afraid to put yourself out there!

Getting lost in a place I know well.

Wandering around Edinburgh

The day was bright with just the occasional cloud that would drift by. There were new places I wanted to explore and I had all day.

Coffee sipping on the shore of Leith, looking out over the cobbled streets through the giant doors of the old customs house.

Red letter box, red door and pink curb-side bin.

Back in the hub of Edinburgh it was all hustling tourists venturing far from their homes but not far from their trusted Starbucks mocha creamy coffee.

Moving away from the pulsing city centre to the quiet side streets that every tourist comes to Edinburgh for but rarely find. I wanted simple images, balanced images. Shunning the folk on the streets for the items on the walls.

Edinburgh can seem like a labyrinth when you enter the quiet hidden worlds of the old town’s alleyways, searching for a way out, a place to climb and surface to see a cityscape that is once again familiar.

Some recent images, taken with my Contax 139Q on Cinestill 400D

Mixing things up

A change in approach and hopefully, a change in the outcome.

As a photographer, I have often found myself disillusioned with my work and the current photo trends found everywhere on social media. It seems that every other photographer out there is following the same formula, churning out the same types of images and saturating the market with clichéd concepts and styles. It's easy to get lost in this sea of sameness, but I believe that there is still room for artistic photography that is different from the norm.

To create artistic photography that stands out is to break away from the mould. Not being afraid to experiment with new techniques, styles, and concepts. I will try shooting in unconventional ways, using unusual angles or lighting to create unique images. Not being afraid to push the boundaries of what is considered "normal" in photography.

Another important aspect of creating artistic photography is to focus on storytelling. I do struggle with this. Simply because when I see a photo/image/artwork I like, it is because I like what I see and have no interest in the story the art or/and artist is trying to convey. I don't gravitate to the story so for me to base my photography around storytelling will be a real challenge. I will try to think about what message or emotion I want to convey, a narrative thread that ties images together.

What I am reminding myself to look at is the details. Instead of capturing the entire scene, zoom in on small details that might be missed by others. This can create a sense of intimacy and intrigue in an image. Following this is the abstract approach to photography. I want to draw the viewer in and make them feel like they are discovering something new.

Finally, I will ignore, and push back on 'photography rules' and not be afraid to break the rules. Photography has long been governed by certain rules and guidelines. I use to be a member of a local photography club which entered into competitions with other clubs. The judging of the photographs was very systematic and rule-based, creating and very obvious group of winners at every competition. To me, sometimes the most powerful images are the ones that break those rules.

In conclusion, creating artistic photography that is different from the norm requires a willingness to break away from the mould, try to focus on storytelling, pay attention to details, and take risks. By doing so, creating images that are truly unique and thought-provoking, and that stand out in an overcrowded market will naturally happen.

Colour or Black and White Film?

What to consider when choosing a film to put into your camera.

In my previous blog post, I discussed the importance of choosing the right camera for your photography needs. In this post, I want to talk about another important decision that photographers face: whether to use colour film or black and white film.

The choice between colour and black and white film can have a big impact on the overall mood and feel of your images. Colour film can add depth and vibrancy, while black and white film can simplify a scene and draw attention to the composition and form of the subject.

So, how do I decide which type of film is right? Here are the two things I consider:

**Subject matter:** What am I photographing? If I'm shooting landscapes, portraits, or street photography, colour film can be a great way to capture the beauty of the natural world or the character of the subjects. However, looking at abstract or fine art photography, black and white film is more commonly used and can be a more effective way to create a mood or atmosphere.

**Lighting:** The type of lighting available can also influence your decision. If shooting in bright sunlight, colour film will/could capture the vibrant colours of the scene. However, if the weather is drab or it is getting late in the day and shooting in low light, black and white film would usually be my choice, as it is more forgiving of exposure errors.

Ultimately, the decision of whether I use colour or black and white film is a very personal one depending on what I have described above but also how I am feeling that day. Like all artistic choices, there is no right or wrong answer, and the best way to decide for me is to experiment with both types of film so I know what type of photograph I would like to produce that day.

If you are looking at getting into film photography and wondering what film, black and white or colour, you are wanting to use, below are a few additional tips for choosing the right film for your photography needs:

**Consider your budget:** Color film can be more expensive than black and white film, so if you're on a tight budget, black and white film may be a better option.

**Think about your workflow:** If you plan on developing your film, black and white film is generally easier to process than colour film.

**Experiment with different types of film:** The best way to decide which type of film is right for you is to experiment with different types and see what you like best.

How things change

I find it refreshing, daunting and quite surprising when planning a refresh and realising that there are so many things that the ‘me’ of a few years ago does not impress the ‘me’ of now. That might sound harsh, but I like this realisation. It’s a sign of movement. Not forward, not backward but away from what I was content with. Maybe this is growth, possibly an improvement or it just time and changing of perspective. This is all from reviewing other photographers' websites, their work and reflecting on my website and wanting to give it a refresh. I’m still gathering ideas and laying out a plan of the way I would like it. It will take quite a bit of time but I am excited not only for the new but for clearing out what I think is most definitely the old (me).
 

My favourite things in January.

Music.
I have enjoyed listening to the radio and discovering new music. I find the amount of music on my Apple Music too much sometimes and I like not having to make a decision when I am focusing on another task. I have a very eclectic taste in music and the one radio station that satisfies this is Fip. This is a French station that can be found online and through smart speakers. Some of the artists and groups I have discovered on this station are truly stunning. https://www.radiofrance.fr/fip

Books.
I loved The Electric State by Simon Stalenhag. I guess this can be classed as a graphic novel?? Which is something I have never been interested in. What first struck me when I was browsing the shelves in my local bookshop (yes, we have a local bookshop and it is so lovely to have) was the front page. I know, I know…. But the imagery in this is so vast and draws you in. It makes me think of how I could create similar images with a camera. https://www.simonstalenhag.se/es.html

Things.
I have been reading a lot about how to allow your mind to explore ideas and be free to create, and most importantly, capture these ideas because they will be fleeting. The reoccurring tool for this is a system where you capture this idea/creative thought. This requires something as simple as a pen and paper. The brain is for creating not for storing. This has helped me not only with creative ideas but generally helping me remember ‘things’..It takes a bit of a system to bring it all together so that you can access these ‘things’. I have found that an app that can easily accept a quick note is the most frictionless option. After trying quite a few I landed on ‘Twos’ which is built in such a way that my head can work with it without feeling lost in drop-down lists and an unnatural workflow. This app coupled with Tiago Forte’s Building a Second Brain make for a good system. Twos - https://www.twosapp.com. Building a Second Brain - https://www.buildingasecondbrain.com/

New from me.
At the end of last year we had a few days on the Isle of Skye and obviously I took my camera bag with me and captured some images that I’m really happy with. I also recorded some short vlogs over the course of our holiday. The vlogs are up on YouTube and the Blog is up on my website.

Vlogs:
Day One. 
Day Two

Day Three

  

The Isle of skye

The Isle of Skye. 4 days in this stunning, extreme and awe inspiring landscape. There are shear cliffs that allow rivers to plummet into the sea below. Rock face spires that shoot to the heavens and eerie glens that hold some kind of mystical allure. All of these attributes make for a fantastic location to visit with a camera..... And everyone who owns a camera knows this.

The Isle of Skye of a few years ago has gone. The landscape remains the same but the car parks and foot paths are new additions to the island. Our choice of exploring in November was intentional, yes there might be clouds laden with rain that refuse to move for our entire week but we would not be faced with the crowds that the asphalt additions have been laid for. We would bring waterproofs, we would bring flask for soup that we would wrap our numb with the cold fingers round. We would have peace and quite. And we did.

The locations I explored with the camera delivered, and I must say, when the weather was challenging the photographs were better. I couldn't do much vlogging at many locations because of the racing wind that muffled my words and made my eyes stream and sting. But I took some photos and I am happy with how they turned out.

There are so many photos of Skye, every glen, mountain and waterfall. I knew this and it made the experience more free. And if the weather was punishing, then I knew I might get something a bit special when I pressed the shutter.

Below are the 3 vlogs for the 3 full days we spent on the Isle of Skye, along with some of the images I came away with.

A poor man’s Leica

I'll admit it, I do check out the new gadgets, new lenses, new cameras. I read reviews, watch youtube videos of new products. I enjoy being dragged unconsciously into the algorithm of video suggestions of 'the next best thing' which promises to be so much better that the 'Last best thing'... But sometimes this algorithm throws out a video that jolts me out of unconsciousness and on this occasion it was 'A poor man's Leica'. Yes, I was looking at, dreaming of, salivating over Leicas, knowing it was never going to happen. But what was this poor man's option? I clicked on the video and there it was, a Canon P rangefinder. Small in form, forgiving to the wallet and the Canon P looks beautiful.

The Canon P is a camera that I could carry around without it getting in the way, and if it did get in the way, it didn't matter because the Canon P looks beautiful. Being a rangefinder, it would make street photography, family snaps, abstract photos quicker with the zone focus technique and if I did take that bit longer to nail the focus, it didn't matter because the Canon P looks beautiful. Okay, Okay, yes my Canon P was predominantly bought because it is just so beautiful, there, I said it. But after I used this camera a couple of times I soon became aware that this was function over form. It is a lovely camera to use. And what I said before about it not getting in the way is so true. This camera is with me all the time. As I write this, sitting in a well known coffee chain, my Canon P occupies a proud space next to my coffee. When I finish my coffee I will sling the Canon P around my neck and go for a stroll through Edinburgh city and I will enjoy capturing images, hearing the pleasing click when I press the shutter, then manually winding back the film with the cleverly designed flush film winder. It is what makes this camera and any camera you fall in love with important, the excitement and joy you get when using it. The images happen later but being in the now with a camera you have delight in using is how you get 'that' photo. As I take the last sip of my coffee, the person across from me looks at the Canon P, leans forward and says, "that camera really is beautiful".

I know where I need to improve.

I'm very honest with myself when it comes to identifying my limitations. I think this is important and is a great way to move away from comfort zones and explore through uncertainty. But, knowing where you need to improve is the easy part. Facing these limitations and moving away from the comfort zone is the challenging part. I often view other photographers work and get inspiration from what they are creating. But when I see the lush green, misty images of ancient gnarly forests, I have the sinking realisation that I would struggle to capture and image like this. I would go as far as saying I wouldn't even notice that type of composition.

My recent trip to the Lake District allowed me to spend a bit of time wandering through forests and face my limitations. My creative mind goes in to shutdown mode when its faced with too much information and I simply can't identify any compositions. I know I need to get better at this and I have decided to attempt this type of photography more over the coming months and hopefully train my eye and mind to see clear images through the chaos that is a woodland forest.

(Some) Films also have impressive dynamic range.

Having a choice of cameras/formats has its positives and negatives (No pun intended). I returned to my Zentit 11 35mm recently and was puzzled by what the ISO (film sensitivity to light) was set at. When checking the light meter reading I noticed that the ISO was set at 125. I wracked my brain trying to think of what film I had in the camera. Was it a random Ilford black and white film? Anyway, I plodded on with the camera set to ISO 125.

A couple of weeks later, back out with the Zenit 11, and with 6 shots left of the ISO 125 film I noticed the ISO was now set at 50 ISO. I remembered the fact that this was set at ISO 125 when I last used the camera so this setting must have changed when the camera was in my backpack... Not great, as this could also have happened before, moving to ISO 125 which I was sure was not a film speed in my stock of film.

The Zenit doesn't have a little holder to put a label from the film box which identifies the speed of the film whereas other cameras do. The Mamiya medium format camera has a slot for this info and the ISO selector is not the easiest dial to move, which is a good thing. Anyway, I got to the end of the roll and was really quite curious and anxious to find out the film speed. I wound in the film and opened up the back.... The film I had been shooting with and thought was an ISO 125 black and white was actually Kodak Portra 400.... Oops!

What does this mean? Well, if I'm shooting a film that is ISO 400 at 125 I'm adjusting the setting to a film that is less sensitive to light - The higher the ISO the more sensitive the film is to light. Fundamentally I have been over-exposing every shot by over a stop. This added to the fact that I usually overexpose film by 0.5 to 1 stop anyway means that I have been allowing a lot of/too much light to hit the film.

I am writing this blog with the undeveloped film in my bag. Kodak Portra does have a wide dynamic range and is very forgivable so it will be interesting to see how the images come out.

Here are some of the shots from the over-exposed film. As you can see there are no issues with the exposures of these shots. Obviously, some films are more forgiving than others - Kodak’s Portra being one of them. To prevent this from happening again I have made the most of the flash shoe and used this to hold the film info card.

The New Old

I've stepped backwards in my photography. Well, backwards in time and bought myself a medium format film camera, circa 1991. I have shot on film before, my first couple of cameras were film but modern film cameras, just before the era of digital relay came to be an affordable option so there would be very little to do regarding settings in camera.

Medium format though, I have never shot so this was new to me and it is with an older camera, which does have a light meter built into the viewfinder but until I got my first couple of film rolls developed my trust for metering would be with an app on my phone (not terribly old school, I know).

The main challenge for me when moving to medium film would be the limited exposures you can achieve from one roll of 120 film. Which is 15 to 16.... And at roughly £10 per roll, I had to really think 'is this the correct composition, timing for the light, settings for the camera' etc. etc. before pressing the shutter.

This experience did really connect with me as I have found with shooting digital, where you can fire off as many shots as your card can hold without the worry of expense even crossing your mind, most of the time my initial composition before changing things up is my favourite. Still, the slowing down and addition of stress and anxiety when taking the shots added to the experience.

This regression to a simpler time in photography didn't stop there. When I told my dad about my new camera he disappeared, reappearing about 10 minutes later with his trusted Zenit(h) 11 35mm film camera. So I have been mixing things up with medium format, which is an absolute joy to shoot with and my dad's 35mm, which is again such an enjoyable camera to use. Interestingly, I find the 36 exposures you get from the 35mm camera to be too many.... This, I think, is that I am so eager to finish a roll of film so I can send it off to the lab for development and see the results. No back screen to check on these old cameras....

Still in Lockdown

The weather has bee improving over these last couple of weeks as we approach mid March and the restrictions seem to be weighing heavier now than when the temperatures were unwelcoming and the days were short. Looking at local areas to photograph and scanning various social media's outlets, from Instagram to 500px for inspiration. I remembered on my last vlog a local photographer, Simon Wootton suggested a local landmark not too far from where that video was shot. Porty's Eiffel Tower. I decided to have a walk down to this location which is situated between Joppa and Musselburgh, North East of Edinburgh and check out Simon's suggestion. The first visit, which was more of a familiarisation of the location, highlighted the importance of catching the tide at the right time and on this occasion it was low tide which made the pipe, for which the structure is a marker for, visible along with some rocks strewn across the scene. As I was aiming for a very minimal image in the style of Michael Levin, the added clutter in the scene wasn't ideal. I took a photo by using the pipe as a leading line to the structure. I tend to favour central weighted compositions, opting for symmetry and balance. I was happy with the image I took from that initial visit but knew there were better times of the day to take this photo which would allow for a more forgiving water level and more colour in the sky.

Fast forward a couple of weeks later, I revisited the scene in the early evening with some nice pastel colours already forming in the sky. Admittedly, the tide level on this occasion was now too far in and finding a vantage point where the horizon didn't cut through the pipe marker structure was not possible. This forced me to shoot the image with a wide aperture to allow the backdrop focus to be soft. I had to hand my Lee filter set with both the 6 and 10 stop filters to control the amount of light entering the camera. This allowed a long enough exposure to soften up the water and the moving clouds.

I was happy with the images but I will definitely try other times of the day when the tide level allows for more experimental compositions.

Below are a couple of the images from both trips.

Pastel Colours of the Firth of Forth

Pastel Colours of the Firth of Forth

Structure

Structure