Everyone's talking about the CCD look and the film look — but what are they, do they actually exist, and can you tell them apart? Three images, three different technologies, one style. See if you can guess which is which.

Ashridge contains more ancient and veteran trees than any other National Trust property in the country. Bisham Woods may have inspired the Wild Wood in Wind in the Willows. Two extraordinary woodlands at opposite ends of the Chilterns, and between them enough subject matter to keep a photographer busy for years.

Penn Wood nearly became a golf course. Burnham Beeches hid 100,000 military vehicles under its canopy before D-Day. Two heavyweight ancient woodlands, two very different characters, and between them some of the finest woodland photography conditions in the Chiltern Hills.

There are over a thousand named woodlands in the Chiltern Hills. Ancient, atmospheric, and free to walk into on any given morning with a camera and a dog. This is where the series starts — two of Buckinghamshire's finest bluebell woods, and why woodland photography will test your patience and reward it in equal measure.

A deep dive into the language of black and white photography — tones, contrast, texture, light, layers and depth. Not about converting colour images, not about post processing. About learning to see in black and white before you ever press the shutter.

Black and white photographers whose work I admire and return to — Edwin Smith, James Ravilious, Fay Godwin, Don McCullin, Frank Meadow Sutcliffe, Adrian Vila and Christine Wilson — and why I make a point of not looking at them too closely before picking up my own camera.

The Sony A700 is a camera that was built to be used — and that's exactly why it still earns its place in my kit today. A second body that keeps me in the same Sony A-mount system, fits in the hip pack, and delivers smoother black and white JPEGs than anything I'd spend ten times the price on. Sometimes old is still good enough, even today.

I’ve spent years refining what I carry on a photography walk, slowly stripping things back until the gear stopped dictating the experience. This post isn’t about the latest cameras or must-have accessories, but about finding a setup that allows walking and photography to coexist naturally. From my Sony A350 on general photowalks to the more deliberate Sony A700 for book and print work, this is a reflection on simplicity, comfort, and learning to carry only what genuinely earns its place.

What separates a pretty picture from a photograph that truly matters? This piece explores intention, emotion, memory, and why the images we live with often say far more than the ones we simply scroll past.

Picking up the Sony A350 again has been like reopening an old chapter I didn’t realise I’d missed. My first digital DSLR after my film days, it brings back the joy of using a simple, stills-only camera — chunky, tactile, with a CCD sensor that gives black-and-white images real character. Slower walks, everyday routes, and a quiet rhythm of photography suit it perfectly. No expectations, no pressure — just a camera that lets me enjoy shooting again.

Can you really do photography on a budget and still get good images? I put that idea to the test with a £110 Sony A-350 from 2008 — proof that you don’t need the latest gear to capture something worth keeping.

A slower space for black and white photography, countryside walks, and quiet moments from everyday England — where the focus is on the picture, not the platform.

Why I choose to shoot black-and-white JPEGs straight out of camera — minimal editing, a simple approach focused on how each scene feels and unfolds.