Just looking up in a theatre before rehearsing in Shenzhen, China, X100F
Looking up into a Shenzhen theatre before rehearsals — the X100F pointing upward at the rigging, the lights, the architecture of performance. Backstage spaces in available light are a challenge: functional illumination that is unflattering in colour but stripped to tone, the cables and battens and the bodies waiting below become a genuine composition. See the full article: China — Shenzhen Day 3 on IJM Photography.
My Friend, and fellow horn player, Clément, Shenzhen, China, X100F
A portrait of Clément — fellow horn player, Shenzhen. The X100F held close for a natural light portrait in the moments before or after a performance. The 23mm equivalent at this distance keeps the environmental context while the available light does the work. Monochrome brings attention squarely to expression and light without the colour cast of whatever room you’re in. See the full article: China — Shenzhen Day 3 on IJM Photography.
Taken during my December 2024 Orchestral Tour to China with the Symphonique des Bords de Loire, in Yong Zhou, Hunan Province. With one letter change, this could have been very funny…
Yong Zhou, Hunan Province — December 2024 orchestral tour with the Symphonique des Bords de Loire. Street photography on tour is opportunistic and quick: the X100F stays in your pocket, and you shoot the thing that makes you stop mid-stride. The Luckin Coffee sign needed one careful letter change to be very funny indeed. Monochrome was the obvious choice — it is, after all, a graphic image at heart. See the China series on China — How a Journey Transforms a Man on IJM Photography.
For once I used just my phone to capture this photo of Molly, aka Doggy Dog, aka Daddy’s beautiful girl, aka Gorgeous, aka Silly Billy Doggy! Conversion to black and white carried out by Snapseed.
Sometimes the best camera is the one in your pocket — Molly photographed on the phone, converted to black and white in Snapseed. Portrait photography works in monochrome because it strips the background of its colour, leaving only the quality of light on the subject and the expression. Molly’s eyes do all the work. More on IJM Photography.
Canon AE1 and Ilford HP5+ working their magic in October 2016 on a walk near Nantes. It’s a photo that just oozes peace to me…
Canon AE1 with Ilford HP5+ on a walk near Nantes, October 2016 — from the Film Archives series on IJM Photography. What makes archive photographs resonate is the combination of subject and the physical qualities of the film: the grain structure of HP5+, the slight imperfections in developing and scanning that a digital file will never replicate. A photograph that oozes peace is one where the photographer felt at peace. See the series: The Opening of the Film Archives on IJM Photography.
Fields, dry stone walls, and sheep. I love this countryside so much. You can see this photo and more like it in my UK Chronicles series on ijmphotography.net. For those of you who are interested, shot with the X100F, edited in Lightroom.
Fields, dry stone walls, and sheep — the Northumbrian countryside with the X100F. Monochrome landscape photography is about simplifying a scene that is already simple: the tonal relationships between sky, stone, and grass are all the picture needs. The X100F’s fixed 23mm lens works well for this kind of expansive framing; you include sky rather than trying to compress the scene. See the full UK Chronicles series on IJM Photography.
Heading onto the beach at Bamburgh with the X100F — a photograph of movement and direction rather than a formal portrait. Beach light in Northumberland is wide and even; shooting into the light at this angle silhouettes the figure against the sand and sea, and monochrome holds the tonal range from the bright sky to the foreground shadow without compromise. See the Northumbrian Summer series on IJM Photography.
Sometimes you just have to slow down — a landscape moment with the X100F in Hepple, Northumberland. Monochrome landscape is as much about what you leave out as what you include: the colour of the heather, the orange of the bracken, stripped away to leave the structure of the land itself. See the UK Chronicles Part VI: Hepple to Otterburn on IJM Photography.
It was a good day to die. I was at peace. I was taking in the beauty of my God’s creation, and tying to capture it in some way.
I didn’t die, of course. Thank heavens! But I certainly was at peace and one with the landscape.
This is just outside a small village in Northumberland which is known for its gin production of all things!
You can see more from my UK Chronicles here, but be warned, I photographed everything in colour….
Just outside Hepple, Northumberland — the X100F and a good day in the hills. The X100F’s compact form is an advantage here; you can take it anywhere without the weight of commitment. Monochrome lets the gentle tonal gradation of the landscape breathe without the distraction of colour. See the UK Chronicles Part VI: Hepple to Otterburn on IJM Photography.
A photo from my recent trip to the UK. I was out exploring the Northumbrian countryside with my son and my X100F, and came across this castle… It was a good day.
A castle discovered while exploring Northumberland with my son and the X100F — the kind of find that justifies driving without a plan. Monochrome suits castle photography naturally: grey stone, geometric form, and sky are a tonal study without needing any conversion. The fixed focal length forces you to work for your composition rather than relying on zoom. See the UK Chronicles Part IV: Alnwick to Rothbury on IJM Photography.
Monochromia 
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