35mm · Film photography · Photography

Opportunity without inspiration

I had the opportunity to go out yesterday and today to do some photography, but mostly failed to do so. Part of this might be one of those dips in inspiration that seems to afflict photographers from time to time, and it was this which meant that, as the weekend approached, I was unable to decide just where to go.

This was compounded, perhaps fatally so, by the fact that I’d got set in my head that I was going to use my large format camera, which I haven’t used in over a year! While I love the images I can get on 4×5 film, I’m also put off the process somewhat by the effort required.

Not only is it an expensive process in terms of film (especially if I shoot colour!), but perhaps more tellingly, in my time. Each shot takes a lot of preparation to get right and because of this, I might only come back with a handful of pictures which then puts a lot of pressure on me to try and make sure they’re all worth the effort. Sometimes I think about the work I need to put in and just think “Nah! I can’t be bothered…“.

Another factor is that, if the weather is nice, then the weekend will draw others to places I might want to photograph. While this is fine – I have no ownership of these places, and everyone else has as much right to enjoy them as me, it can lead to frustration if my perfectly composed shot keeps getting disturbed as others enter the frame (usually in the short window when the light is perfect). If I’m shooting smaller formats then it’s easier to avoid this as I can work much faster and have a greater chance of taking a picture quickly when opportunity arises.

I did go out briefly yesterday morning, with an intent to photograph a local cemetery, but with a detour to get some urban landscape scenes for a photo comp I’m taking part in. Luckily, I also took my pocketable Olympus XA3 with me, and used that to take these pictures, as it really wasn’t worth the effort of setting up the 4×5, but the large format camera would serve me well at the next destination, or so I thought. But when I got there, the place was closed. A sign on the gates said it would be closed for two days (the previous two days, not the day I was there!) and it wasn’t possible to gain access. After this I though about maybe going somewhere else, but a thick bank of cloud had moved in, the light was lost, and I decided to cut my losses and go home and do something else.

I planned to go out this morning too, the weather forecast had looked promising with a mix of sunshine and clouds, but I woke to a pure blue sky devoid of any interest, and by the time some clouds began to show their fluffy faces late in the morning, the sun was high, the light was harsh, and any desire to photograph had left me.

Obviously, as soon as I’m back at work tomorrow and unable to go out with a camera, the weather will no doubt be perfect and I’ll be abuzz with inspiration again. Sigh…

Here’s a picture of Steetley dolomite works, taken on a day where I felt a lot more inspired.

Distant dolomite works

Nikon F80 and Nikkor 70-200mm f/4 ED VR on Fomapan 400 (@320asa). Semi-stand in Rodinal 1+100 for 1 hour @ 20°.

Taken on 8 February 2026

35mm · Film photography · Photography

Lone tree and chimney

It wasn’t the best sky for photography on the day I took this. While it was a blue sky, rather than grey, which at least meant there was some contrast to be had, I still dislike empty skies most of the time, and being shot on black and white film, there wasn’t even any colour to be seen.

I think blank skies can work if you’re looking for negative space in a picture, or – if shooting colour – as a contrast to other subjects, but otherwise they can be a lot of nothing taking up a lot of the frame. This is made worse by the fact that I sometimes get banding artifacts when scanning images, which are especially noticeable in such scenes.

I’d much rather have some clouds to break things up and add interest.

Lone tree. Lone chimney

Nikon F80 and Nikkor 70-200mm f/4 ED VR on Fomapan 400 (@320asa). Semi-stand in Rodinal 1+100 for 1 hour @ 20°.

Taken on 8 February 2026

35mm · Film photography · Photography

Homes

Large blocks of uninteresting foreground and sky meant I felt this worked better as a panoramic crop, and it’s fared quite well considering it’s a 35mm negative. It has nice leading lines in the field and the wires, and the angle of the sun has added some lovely contrast and relief to the buildings.

Homes

Nikon F80 and Nikkor 70-200mm f/4 ED VR on Fomapan 400 (@320asa). Semi-stand in Rodinal 1+100 for 1 hour @ 20°.

Taken on 8 February 2026

35mm · Film photography · Photography

Landscape scene

Power lines cross a field, it’s crops just beginning to show, before passing a lone farmhouse. In the distance the buildings and chimney-stack of Steetley dolomite works are visible. This chimney can be seen from miles around in this part of the countryside.

Across a field

Nikon F80 and Nikkor 70-200mm f/4 ED VR on Fomapan 400 (@320asa). Semi-stand in Rodinal 1+100 for 1 hour @ 20°.

Taken on 8 February 2026

35mm · Film photography · Photography

Welbeck south lodge and tunnel entrance

The Welbeck estate is quite extensive, taking in famland, woodland, lakes, and various buildings – including the grand country house, Welbeck Abbey. One curiosity about the estate is it’s extensive network of underground tunnels and rooms, built by the reclusive William John Cavendish-Scott-Bentinck, 5th Duke of Portland

East lodge

The duke’s father, expecting an oak shortage, had planted hundreds of trees, which his son later used to build an extensive network of underground rooms and tunnels. These tunnels were reputed to span 15 miles, linking subterranean chambers with buildings above ground. They included a 1,000 yd passage between the house and the riding house, a rougher parallel tunnel for workmen, and a 1.25 mile tunnel from the coach house to the south lodge, said to be wide enough for two carriages. This longer tunnel had domed skylights visible from the surface and was lit by gaslight at night.

East tunnel entrance

All the chambers were painted pink and included a great hall -160 feet by 63 feet – originally intended as a chapel but used as a picture gallery and occasionally as a ballroom. The ballroom reportedly featured a hydraulic lift for 20 guests and a ceiling painted as a giant sunset, though the duke never held dances there. Other underground rooms included a 250 foot library, an observatory with a large glass roof, and a vast billiards room. His prolific tunnelling is thought to have inspired Mr. Badger in The Wind in the Willows.

The first two pictures shown here are the south tunnel lodge and tunnel entrance. I didn’t take a head-on photograph of the entrance as there was a large white van parked there, which I though spoiled the scene a little. The final picture is a cottage across from the tunnel entrance. I’m unsure if this has a formal name (but it had some impressive looking hens in the garden).

Hiding behind the tree

Nikon F80 and Nikkor 70-200mm f/4 ED VR on Fomapan 400 (@320asa). Semi-stand in Rodinal 1+100 for 1 hour @ 20°.

Taken on 8 February 2026

35mm · Film photography · Photography

Bird on a wire

Ah, one of my old favourite subjects; power-lines marching across the landscape to destinations unknown. This one enhanced, I think, by the compression given by the telephoto lens and, most of all, by the hawk perched upon the wires.

Bird on a wire

Nikon F80 and Nikkor 70-200mm f/4 ED VR on Fomapan 400 (@320asa). Semi-stand in Rodinal 1+100 for 1 hour @ 20°.

Taken on 8 February 2026

Film photography · Medium Format · Photography

Irrigation

I spotted this irrigation hose through a gap in the roadside hedge as I drove past. Something about the way the light fell upon the reel made me feel it might be worth photographing, so I turned around, found somewhere to park, and walked back to get the image. There’s a slight, but easy to miss, juxtaposition between the crops in this foreground field, and the solar farm just visible in the middle of the frame.

Irrigation

Fujica GW690 & Ilford HP5+. Ilfotec DD-X 9mins @ 20°

Taken on 5 July 2025