Low cloud obscuring Cat Bells makes this 2021 photograph of Derwent Isle one of my favourites from a familiar viewpoint. Returning to the Lomography Fantôme 8 negative for a new 6×9-inch print meant balancing bright clouds and water against the dark island, with careful dodging and burning to retain detail in the boathouse and jetty.

A week beside my desk revealed a muddy quality in the Derwentwater print I had thought was finished. Returning to the scene with a different frame and the Intrepid enlarger produced stronger blacks, clearer detail and a better balance, and left me questioning the replacement bulb in my Durst M605.

On a trip to Derwentwater, I shot the first two rolls through my replacement Hasselblad 500C. One frame, made on the walk from Low Brandelhow to Hawes End, stayed with me after I developed the film. I took the negative into the darkroom the following day, working through test prints, an exposure map and four full-size versions before settling on a print.

After owning my 1958 Hasselblad 500C for nearly a decade, a broken gear turned it into an expensive paperweight. This is the story of its unusual mechanical history, the search for a replacement and returning to photography with a well-used 1965 body.

A week photographing Pisa, Florence and Venice with a Fujifilm X-T1, reflecting on summer light, overwhelming history, digital photography and the film camera I left at home.

A Seagull TLR found in a Keswick collectables shop offered the chance to revisit a way of photographing I've never quite settled into. One roll of HP5 at Winterbourne Gardens became less a test of an old camera and more a question of usability - and whether I've finally found a TLR I actually want to carry.

A week in the Lake District with three film cameras, changeable August weather and a family holiday to work around. Fewer keepers than expected, but a reminder that landscape photography isn’t always about waiting for perfect conditions - and a good reason to go back.

Returning to Bracebridge Pool for the first time in years, I loaded my Yashica35 with Lomography Purple film to see whether its surreal palette could change the way I viewed a familiar landscape. What followed was less about novelty and more about rediscovering atmosphere, texture, and perspective in one of Sutton Park’s most quietly photogenic locations.

A spring afternoon at Winterbourne House and Garden experimenting with the Noon 6x6 pinhole camera and a roll of Kodak Gold 200 produced some wonderfully unpredictable results. From glowing greenhouse light to wild rainbow flare caused by shooting directly into the sun, these images capture the beautifully imperfect character that keeps pulling me back to pinhole photography.

After months of searching for a replacement for my Contax TVS II, I tested the Pentax ESPIO 125M on a walk through the Lickey Hills with a roll of HP5+. The first prints are sharp, well-exposed, and full of character. A reminder that even a stopgap camera can become a capable replacement.

On my first all-digital trip in over five years, I swapped film cameras for a Fujifilm and Hasselblad while exploring Costa De La Luz in 43°C heat. From olive groves and mountain villages to fiery sunsets over Zahara de la Sierra, here are 10 photographs that tell the story.

It’s not every day you come across a piece of photographic history you can actually use. I recently stumbled upon an antique brass Auzoux & Bauz 5" f/3.2 Petzval lens from the 1850s, its worn brass body hinting at the many images it may have captured over the past century. After some improvised DIY work modifying a Copal 3 lens board with clamps, knives, and a bit of stubborn determination, I managed to adapt it to my Intrepid 4×5 and successfully pair a relic of early photography with a modern large format camera.

During a recent visit to the historic Harvington Hall, I captured its beauty using my Intrepid 4x5 camera. Despite challenges, especially with an overcast sky, I managed to produce a nice print albeit, the final result lacks depth and contrast. One to revisit.