There are walks you plan, and others you simply arrive at. The Threlkeld Railway path to Keswick was the latter.

Last weekend, under morning April light, I set out from Burns Farm Campsite for the first time with the Hasselblad H1 and a roll of Ilford Ortho. There was no fixed intention beyond reaching Keswick and making photographs along the way.

The landscape unfolds gradually. Open views give way to more contained spaces, and the river begins to shape the route. Each frame becomes a response to what is there, rather than what is expected.

A steady walk, and a landscape revealing itself in quiet stages.

A quiet loop from Graig Wen to Barmouth along the Mawddach, photographed on HP5. Early spring light, shifting tides, and the balance between dramatic landscape and quieter detail.

Comparing a darkroom print with a direct scan of the same negative is always interesting. Both come from the same frame of film, yet each renders the scene differently; one shaped by choices made under the enlarger, the other by the scanner’s more literal translation of the negative.

This photograph was taken beside Derwentwater in the Lake District on a moody, cloud-filled day. It’s a good reminder that in film photography the negative isn’t the final image - the photograph truly comes to life in the print.

Recently I developed a roll of Berger Pancro 400 from a rainy autumn trip to northern Italy, most of it shot in a grey, water-soaked Venice with my Contax TVS. Despite concerns about airport X-ray scanners, the negatives came out clean after eight minutes in Rodinal 1+25 at around 20°C, reminding me why this film and developer remain a favourite combination.

Experiencing the reveal of a newly developed film, catching the first glimpse of its negatives against the light, is nothing short of magical. It's a moment that validates the effort put into framing a scene and patiently anticipating its development. But for some of us, just witnessing the end result isn't enough. Our curiosity propels us to delve deeper into the enigmatic realm of film photography. So, let's embark on a journey to decode the mystique of the black & white film negative, one frame at a time.

Embarking on a captivating trek from Castlerigg Hall campsite, the picturesque Walla Crag trail to Bleaberry Fell promises ethereal views that sing nature's praises. With the trusty Contax TVS camera in tow, every step brings forth a spectacle - from vibrant heather fields to the mesmerizing interplay of light and shadow. Yet, challenges abound. From pesky swarms of flies threatening to cut the journey short to gusty winds narrating tales of impending storms. But the true reward? A chance, unexpected encounter near journey's end. Keswick town, the shimmering Bassenthwaite Lake, and the looming Skiddaw mountain all under the watchful eyes of a serene herd of sheep. Discover how a hike, laden with trials, culminates in capturing a moment that's nothing short of magic. Dive into a world where life's beauty isn't just seen in a riot of colors, but also in the nuanced shades of grey.

Soon we set off for our annual adventure to the enchanting Lake District. Packed in our trusty VW T25 camper-van "Nobby," armed to the teeth with bikes, boats and film cameras to capture breathtaking landscapes and moments. From the versatile Olympus OM-1 to artistic Noon 6x6 Pinhole Camera, we're set for an extraordinary 10-day journey, embracing nature's wonders and creative expression, creating memories to cherish forever.

As a devoted film photography enthusiast and dedicated darkroom artist, I find myself reflecting on my substantial collection of darkroom prints. Initially intending to explore traditional ways of displaying my work, I realise that none truly resonate with me. The idea of setting up an exhibition space in a gallery or artisan cafe feels overwhelming, and replicating my prints in a 'zine' seems to compromise their authenticity. Spending hours behind a craft fair booth also doesn't align with my artistic purpose. Instead, I find joy in the creative process itself - capturing new images in the field and immersing myself in the darkroom. While I acknowledge the value of displaying my prints, I’m pulled toward the artistic journey and cherishing the process of creation over seeking external validation. 

The use of AI in photography is not entirely new and initially focused on improving image quality. Today, these AI-powered tools are continuously being refined and improved. One of the latest advancements is leveraging generative AI to help creators make photographs without the need for a physical camera. The rise in popularity of camera-less AI image generation has raised legal and ethical concerns that demand attention - is it possible to strike a balance between innovation and the protection of intellectual property rights, consent, and privacy?

In today's digital age, printing photos has become a neglected tradition, with people opting for instant sharing and storing of images. However, the art of darkroom printing offers a unique and magical experience, allowing for meticulous control and a tangible connection to the image-making process. The beauty of darkroom prints lies in their craftsmanship, tactile quality, and ability to evoke emotions in ways that digital images often cannot.