Something I don't usually do is to share an old post, this one is from 2010. However, as this week's monochrome-madness challenge, set by Sarah from Travel with me is "ruins" and as I have an entire portfolio on abandoned buildings I thought I'd pick out one of my favourite locations visited back in 2010 and add a few more images to it. The farmhouse in these images has now fallen into even more disrepair, the roof having collapsed some years ago. We’d been aware of Trinant for a while—a derelict farmhouse and its corrugated barn tucked into Mynydd-du Commin near Rosebush in Pembrokeshire.

Last friday was one of those real f/5.6 days – flat light, barely a breath of wind, the kind of weather that inspires about as much enthusiasm as a 1970s British Rail sandwich. Still, it felt good enough to get back to the canal project, so I set my sights on Shardlow, long regarded as one of the UK’s most complete canal ports, where the Trent and Mersey Canal meets the River Trent. Olympus OM-1N, F.Zuiko Auto-S 50mm f1.8, Ilford HP5 Plus 400, Ilfotec DD-X It’s strange to think of it now, but this quiet Derbyshire village was once nicknamed the “Rural Rotterdam.” At its peak in the early 19th century, more than fifty warehouses and yards crowded the water’s edge.

White Strand of the Monks, Isle of Iona There are so many facets to these isles, to the point that trying to capture the spirit of the place with just a handful of images can’t possibly do it justi…

This is the first of a short series of posts on vintage cameras from my small collection, I'm starting with the Zeiss Ikoflex II that holds a special place in my vintage camera collection as an example Zeiss Ikon’s foray into twin-lens reflex cameras, first introduced in 1934. My example, carrying the body serial number B15039, apparently dates from around 1935. Zeiss Ikoflex II with 8 cm Novar taking lens and Klio shutter The Ikoflex was Zeiss Ikon’s answer to the Rolleiflex, which had already established the TLR as a serious tool for medium format photography.

We recently spent an enjoyable hour or so wandering among the fishing boats and clutter of Hastings beach with a couple of rolls of FP4+ tucked in the bag. I've been shooting film more often of late and there’s something about using film in a place like this that feels right: the measured pace, the small rituals of winding on and checking the frame counter, and the quiet satisfaction of knowing you won’t see the results until later. Hastings, with its jumble of history, grit, and working seafront, seems to reward that kind of slow looking.

World Photography Day on the 19th of August, commemorates the day in 1839 when the French government officially gave the world the daguerreotype process as a “gift to humanity.” Depending on how you count, it now seems to stretch into “World Photography Week,” which is sometimes two weeks. The important bit is that it’s a chance to celebrate the medium—whether digital, analogue, or somewhere in between. This year brought an extra reason to pick up a camera. In May, Harman—the company behind Ilford—released a brand-new black-and-white film stock: Kentmere Pan 200.

I’ve recently been exploring argyrotype printing, a modern reinterpretation of the nineteenth-century salt print. The process offers a freedom that complements my work on industrial heritage, allowing me to emphasise texture, light, and form in ways modern printing rarely can. I’m using the Fotospeed Argyrotype Kit, which introduces the materials and methods developed by Mike Ware in the 1990s—a safer and more reliable refinement of Sir John Herschel’s original silver salt chemistry. The technique involves coating paper with ferric salts, which, when exposed to ultraviolet light, undergo a photochemical reaction that reduces silver ions to finely divided metallic silver embedded in the fibres.

I love places steeped in history, where the echoes of the past resound through the very fabric of the buildings and the air carries the scent of forgotten industries. of industry linger in the air. The National Waterways Museum at Ellesmere Port is one of those rare locations: a former working dock, now open-air museum, and part quiet graveyard—it makes for a wonderfully atmospheric photowalk. Fujifilm X-T5 + XF16-55mmF2.8 R LM WR II at f/8, 1/90 sec, ISO 125. Ellesmere Port came to life thanks to Thomas Telford and William Jessop, who, back in the late 1700s, planned a canal to link the Shropshire Union Canal with the River Mersey.