We have red wine, and we have white wine

Mosque in Khiwa Shahri
Camera: Panasonic DC-S5 | Date: 28-05-2026 05:56 | Resolution: 4151 x 5534 | ISO: 100 | Exp. bias: -33/100 EV | Exp. Time: 1/60s | Aperture: 8.0 | Focal Length: 14.0mm | Location: Khiwa Shahri | State/Province: Khiva, Xorazm Region | See map | Lens: LUMIX S 14-28/F4-5.6

As in Bukhara, our hotel in Khiva is a few minutes’ walk from the historical centre, but it’s still a 4am start to try and shoot at blue hour. However on this occasion we really could have had an extra half an hour in bed, as it turns out they don’t light the buildings in the morning.

Mehmet does his usual positive tour leader thing and tries to find subjects which can be shot in almost total darkness, but I’m not buying it. Is there a special "photo tour leader course" where they learn how if you turn up and your subject has been buried under concrete and there’s a hailstorm they suggest "why don’t you try capturing the graceful arcs of the hailstones hitting the concrete"?

Khiwa Shahri (Show Details)

Fortunately there is a bit of security and street lighting and I’m free to safely wander the streets for a while until the sun comes up. Once the buildings are naturally illuminated everything changes. We get some great shots, including a nice old street cleaning lady who happily poses for a small tip, and a mosque illuminated by the sun, but where I’m ideally positioned so that my shadow, and those of things around me, form part of a dramatic composition.

Khiwa Shahri (Show Details)

After breakfast there’s considerably more activity. I try on one of the local hats, which is designed for the depths of an Uzbek winter which is allegedly colder than Iceland, but not ideal headwear in over 30C. We explore an old mosque and the Sultan’s palace, where we encounter a lady selling shoes, who is just in a perfect setting and light.

Winter Hat Testing in 30C (Show Details)

The Museum Attendant (Show Details)

One thing which is really heart-warming is to see even quite small children playing in the street, running errands, interacting with adults, just being allowed to BE, not locked away somewhere with only a screen for company. There’s one particular little girl of maybe 5 in a pink dress who we see all over the city and on the route down to our hotel, usually carrying a bag of stuff with a determined expression on her face. Her mother obviously keeps her busy when she’s off school running little errands, but I suspect it’s growing a sense of self-reliance which will be valuable later. If I have to guess which environment will create the more capable young adults, it won’t be ours.

Khiwa Shahri (Show Details)

After lunch we go to yet another cultural show. This is very different to the others – it’s a group formed by three generations of the same family, who perform traditional music and dances. It’s much easier to photograph, as we’ve commissioned the performance so we have the best seats, we’re straight on to the performers with a beautiful background, and there’s enough light to capture the movement at a chosen shutter speed. There’s less variety than the other shows, but I still take quite a few shots in the hope of securing particularly photogenic moments.

Khiva Dance Show (Show Details)

Dinner is taken at what is supposedly one of Khiva’s best restaurants. Our guide keenly points out the smartly dressed woman a few tables away who owns the restaurant and many others in Khiva. He’s ordered ahead for us, including the "house special".

Drinks are entertaining. Our usual four local beers to start turn up without a problem, but we decide to also get a bottle of wine. We tackle the young waiter, and say "can we please see the wine list". He disappears off for several minutes, and then turns up and proudly announces "we have red wine, and we have white wine"! Suspecting we’re not going to get any more information we send off for a bottle of red wine. Fortunately it’s the same locally-bottled merlot we’ve been drinking all week, but the concept of grapes and vineyards seem to be bypassing our hosts. (In fairness, most are Muslim, so it’s not of direct interest to them.)

Starter out of the way the house special arrives. My immediate summary is "sausage in a pancake". I am chided that this is being unfair to the local cuisine, and I reframe it as "kofta in a pancake", but after everyone has had a couple of bites my initial assessment is widely accepted. Perfectly acceptable, but maybe not quite as expected.

Early start tomorrow, back to Tashkent.

Khiva Dance Show (Show Details)
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Quick, Quick, Slow

Khiva after sunset
Camera: Panasonic DC-G9M2 | Date: 27-05-2026 20:33 | Resolution: 5565 x 3131 | ISO: 1600 | Exp. bias: -33/100 EV | Exp. Time: 1/15s | Aperture: 8.0 | Focal Length: 15.0mm (~32.0mm) | Location: Khiwa Shahri | State/Province: Khiva, Xorazm Region | See map | Lens: LUMIX G VARIO 12-35/F2.8II

After a calm night and a slightly more relaxed start we set out on 480km drive from Bukhara to Khiva. The first 400km or so pass very quickly and smoothly on an excellent highway, noticeably newer and in better condition than that from Samarkand. We do have to stop for some goats crossing, and also investigate a series of sand-traps used to help keep the road clear, at which I spot an interesting little lizard. However after the coffee stop things almost literally fall apart.

Don’t try this on the M25! (Show Details)

Interesting little lizard (Show Details)

The plan for lunch fails as all the roadside restaurants are shut due to a bank holiday. However as I have probably eaten a whole sheep so far this week there’s no immediate risk of starvation! At the same time we reach the end of the good road, and revert to a bumpy single carriageway.

I’m following our progress on the map and am expecting our route to follow the main road through Urgench, over the river on the big bridge, and into Khiva. Instead, for reasons never entirely explained our driver decides to turn off the highway and take a minor road. This descends rapidly from road to cart track with passing places. The bridge over the large river has a toll, jury-rigged width restrictors, and turns out to be a series of pontoons, some of which have seen better days, with the joins covered by steel sheets. Our driver admits he has never previously used that route! I have been following on the map, and I predicted a very minor road, but not the pontoon bridge.

Pontoon bridge construction details
(Show Details)

We find a supermarket doing a roaring trade due to being the only one open for miles around. Bank Holiday Uzbek cuisine: Lays crisps (US), Bounty bar (Birmingham), Banana (somewhere tropical) & Uzbek beer (brewed by Czechs). Oh well, more lamb tonight!

We eventually reach Khiva, although not without some further diversions as like the other cities it’s undergoing massive construction. Total of almost 8 hours on the road, including only three short stops amounting to maybe 1 hour. I may be unimpressed by Amit’s map-reading, but his endurance is impressive!

After a short pause we gather for dinner (lamb, now there’s a surprise) and then climb up the observation tower to take photos of the wonderfully serpentine walls of the old fort at sunset. We are almost stymied by rainclouds (and a couple of short showers), but our luck holds out and for about 20 minutes before sunset the sun shines below the clouds and bathes the walls in great light.

Khiva fortress walls at sunset (Show Details)

We’re in a new boutique hotel (the Bankir Khiva) which Mehmet has not previously used. This has made an odd design choice – rooms of a reasonable size, but each is almost completely filled by the most enormous (expletive deleted) huge bed I have ever seen, leaving effectively no room for fripperies like, for example, luggage. Also my room opens onto the car park – noise is not really a problem but the curtains only cover about 50% of the window, so my sleep is regularly interrupted by car lights being turned on. And the bedding is too heavy… This is all a shame as the hotel is well located and staff are friendly and helpful, but more focus on the basics would help.

Khiva after sunset (Show Details)
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Fashionably Early!

Bukhara Fashion Show
Camera: Panasonic DC-G9M2 | Date: 26-05-2026 17:47 | Resolution: 5846 x 3654 | ISO: 160 | Exp. bias: -33/50 EV | Exp. Time: 1/250s | Aperture: 2.8 | Focal Length: 35.0mm (~70.0mm) | Location: Bukhara Fashion Show | State/Province: Bukhara, Bukhara | See map

We have a 3.40 start to walk into historical Bukhara before sunrise. Any initial grumpiness fades rapidly as we realise how beautifully the main buildings are lit. A small courtyard with a dingy green pool becomes a source of fascinating reflections. The main mosque complex is lit in a slowly changing combination of blue, purple and red to set off the dark blue of the aptly-named blue hour sky.

Gokshon Madrassa (Show Details)

Poy Kalan Complex (Show Details)

The lights are switched off on the dot of sunrise, but then we can move into the mosque courtyard to capture its buildings in the rich glow of the rising sun.

Poy Kalan Complex (Show Details)

After breakfast we drive out of town to the Mausoleum of Naqshbandi, a famous Islamic teacher. They have his most famous sayings up on posters in various places. As a card-carrying atheist there is one about Allah which don’t really relate to me, but otherwise they all make a lot of sense. Moral guidance aside, his followers have created a calm, aesthetically pleasing space which provides a number of equally pleasing images.

Mausoleum of Naqshbandi (Show Details)

We have a few hours off and a late lunch, then it’s off to the blacksmith’s workshop. One family has run a metalworking business in Bukhara for seven generations. You can browse their sculptures and watch the latest son working, but we’re down for something special. This is a "crowd pleaser" display in which a piece of hot steel is folded, covered in hardening powder, reheated and then hit hard on the anvil creating a massive shower of sparks. Using a suitable combination of wide angle and relatively slow shutter speed, the images are dramatic.

Blacksmith’s Workshop (Show Details)

After the blacksmith we have time for the short cart ride to the Chor Minor Mosque, a tiny mosque with four minarets, then it’s back to the centre for another "culture show". This has a very different character to Marokand: played "cabaret style" in a small courtyard with live music and alternating dances and catwalk fashion show.

Bukhara Fashion Show (Show Details)

The combination of the cabaret setting and the movements particularly in the fashion show segments present an odd focus challenge. Tracking mode with human subject recognition works perfectly as the girls come towards you, but fails immediately the dancers spin or the models turn around, especially if they are wearing unusual-shaped clothes or making odd arm gestures. Then focus flips to a random member of the audience in the background and the girls go out of focus. I spend some time experimenting with different settings, but fail to find a fool-proof set-up. At least I can use my go-to shutter speed of 1/250s to freeze movement "just enough".

In terms of the fashion itself, it’s a fascinating fusion. The shapes owe a lot to traditional Central Asian forms of dress, but thoroughly modernised, and arguably Westernised. However the fabrics, with their bright colours and dramatic geometric patterns featuring stripes and long curves, are very typically Uzbek.

Bukhara Fashion Show (Show Details)

Tally from the fashion show: a mere 1081 images totalling 44GB, and another large memory card filled. At this rate Uzbekistan, which was expected to be mainly monuments and portraits, could generate more than the 300GB from my wildlife shoot in Zimanga!

Bukhara Fashion Show (Show Details)
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Onward to Bukhara

Poy Kalan religious complex, Bukhara
Camera: Panasonic DC-S5 | Date: 25-05-2026 17:54 | Resolution: 6210 x 3881 | ISO: 100 | Exp. bias: -66/100 EV | Exp. Time: 1/400s | Aperture: 9.0 | Focal Length: 14.0mm | Location: Bukhara Market | State/Province: Bukhara, Bukhara | See map | Lens: LUMIX S 14-28/F4-5.6

Our day starts with the long drive from Samarkand to Bukhara. As I now expect, it’s a modern, divided multi-lane highway. There are no craters (so a distinct notch up on Mongolia) although in places the surface has been repaired badly and bouncy progress means I have to abandon typing my blog. The road is open to all traffic, which means fast electric cars mixing with donkey carts. Direction of travel is observed, but not necessarily lane control and it’s a bit disconcerting to see the fast cars and large trucks all moving to the right to pass a donkey cart, or lad on a bike, in what would normally be the "fast" lane.

I am impressed how clean the road is. There are regular roadside bins, clearly both used and reliably emptied. If you look carefully you see the odd abandoned bottle or packet, but none of the dreadful rubbish you usually see roadside in countries both poor and richer.

What is noticeable is the number of abandoned or incomplete roadside services. This looks suspiciously like what happened as Britain’s road network expanded in the 1960s – a large number of people invested in facilities in the hope of a good profit, but the market became saturated, and stabilised only when competition drove out the excess capacity.

Along the way we stop at a caravanserai, think truck stop for 11th century camel trains. This is followed by my making the obligatory Santana purchase from Amazon Music. Yes, it’s still a great album.

Rabat Malik Caravanserai Portal (Show Details)

On the way into Bukhara Ganisher talks about some of the famous citizens of the city. History teaching has moved on from the position when I was young that nothing much happened to human knowledge between the Romans leaving Britain and the Renaissance. We acknowledge the founding role of Islamic scholarship, but it’s often still vaguely credited to "Arabs" as if it must have happened somewhere around the Mediterranean. Nothing could be further from the truth.

Ibn Sina was a native of Bukhara. He was a pre-eminent physician, who in many ways founded modern medicine. The "cine" in "medicine" comes from his name.

Mathematician Muhammad ibn Musa al-Khwarizmi worked in Bagdhad, in Arabic, but was born in Khiva (our next stop). One of his most famous treatises was "Al-Jabr", from which we get the name for algebra, and his own name became the term we use for systematic solutions to mathematical problems, algorithms.

We get to Bukhara in time for lunch followed by exploration of the historical centre. We see some great market displays, and also get some architectural shots in the old madrassa and mosque. Later on we take an electric cart drive to the fort, and watch sundown over the city, although clouds mean the light isn’t ideal.

Bukhara bazaar display (Show Details)

Bukhara bazaar display (Show Details)

We then descend and rejoin our cart, which takes an interminable back street route to a restaurant situated both walking distance from our hotel, and probably only 5 minutes from the fort. Pedestrianisation of the centre has both upside and downsides!

Bukhara historic centre (Show Details)

Poy Kalan religious complex, Bukhara (Show Details)
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More Mausoleums

Ak-Saray Mausoleum
Camera: Panasonic DC-S5 | Date: 24-05-2026 17:13 | Resolution: 6239 x 3899 | ISO: 6400 | Exp. bias: -66/100 EV | Exp. Time: 1/50s | Aperture: 9.0 | Focal Length: 19.0mm | Location: Ak-Saray Mausoleum | State/Province: Samarkand, Samarqand Region | See map | Lens: LUMIX S 14-28/F4-5.6

We skip the dawn shoot because it’s raining again, albeit not as dramatically as the previous day. I got some stick over dinner from the non-Brits for my use of the BBC Weather App, but they then have to acknowledge it provided the most accurate forecast for the morning, so there!

It is amazing how quickly things dry out here. Even by the previous evening there was little evidence of the biblical conditions at lunchtime, and now even with further rain overnight there’s only the occasional puddle. The excellent draining provided for roads, paths and car parks has quietly done its work and retuned things to normal.

First stop of the day is the Shah-i-Zinda Necropolis, a mausoleum complex built on a hillside reached by a very steep stone staircase. While the individual buildings are not on the same scale as the Amur Timur mausoleum, there are a few with very beautiful decoration, and there’s the added dimension of shooting the spaces between the buildings, especially if you can find a gap with no people, or just locals in local dress.

Shah-i-Zinda Necropolis (Show Details)

Lady cleaning at the Shah-i-Zinda Necropolis (Show Details)

The necropolis explored, we return to Registan Square, and this time enter the square to explore the buildings. Both interiors and exteriors provide a rich source of targets, and I also get a further opportunity to engage in some casual model stealing, with a young lady trying on another of the long-trained dresses, this time in a rich dark green which is again a great match for the buildings’ tiles.

Lady in a green dress (Show Details)

On the way out of the square our attention is stolen by a fairground barker, and we spend 5 minutes watching an impressive performance by a young fakir/strongman/gymnast, whose primary skill appears to be lying on sharp stones while people stand on him.

It’s worth mentioning at this point the Uzbek Tourist Police. This is a distinct branch of the police force, whose primary role is to ensure the safety and security of visitors to the main tourist locations. They are deliberately visible, both in person and through clearly-marked cameras. The upshot is a feeling of absolute personal security when wandering around tourist centres, and a clear point of contact for any services. We discover a card left by a previous user of an ATM, and less than 100m away is the obvious place to hand it in. It’s also the Tourist Police who give me a chance to use my carefully-practiced "Wa’alaikum Assalam", most interactions being rather less formal!

The Tourist Police (Show Details)

We short-cut what would have been a long walk to lunch by taking an electric cart ride through the park. After lunch we get back to the road via a market and I find the perfect t-shirt for the trip, embroidered with the names and best known attractions at the four cities we are visiting. That’s a significant improvement on the wipe-out in Mongolia.

We take a short diversion to Konigil Village, a "heritage village" where they practice a number of crafts including the making of "silk paper" (it’s actually made from the bark of mulberry trees). After that we return to the centre.

When we get back to the complex including Amur Timur’s Mausoleum the buildings are bathed in beautiful golden afternoon light, and we can do proper justice to buildings we previously only saw under dark clouds, or through bucketing rain.

Mausoleum of Tamerlane (Show Details)

We then wander around the site to the small but wonderful Ak-Saray (White Palace) Mausoleum. We have this jewel to ourselves. The warden is well-organised for photographic visitors, including a thick mat on the floor directly under the apex of the roof, and a small shield he can hold up to help manage flare from beams of sunlight reaching the sides of a wide-angle lens. Unfortunately his well-meaning efforts prove unable to match the lighting conditions we encounter, and we have to press my well-documented width and opacity into service, acting as possibly the largest lens hood in history, but it’s very effective.

Ak-Saray Mausoleum (Show Details)

A longs day’s shooting complete, it’s back to the first restaurant for a well-deserved and now fully-illuminated dinner!

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Train To Samarkand

Amir Timur Mausoleum Complex
Camera: Panasonic DC-G9M2 | Date: 23-05-2026 11:34 | Resolution: 5856 x 3660 | ISO: 1600 | Exp. bias: -33/50 EV | Exp. Time: 1/40s | Aperture: 5.6 | Focal Length: 64.0mm (~133.0mm) | Location: Amir Timur Mausoleum Complex | State/Province: Samarkand, Samarqand Region | See map | Lens: LUMIX G VARIO 35-100/F2.8II

We have an early start to catch the train to Samarkand. The name romantically conjures an elderly steam train, or maybe an elegant Pullman service along the lines of the Orient Express, but of course it’s actually a modern electric "bullet" train. It’s officially called the "high speed train", but the maximum commercial speed of the line is 130mph, only 4mph faster than The Mallard, powered by steam, achieved in 1938. Plus ca change…

The ride is quick and smooth, and by 11am we are in Samarkand. The drive across the city confirms a suspicion about Uzbek drivers. If you listen to an elderly soldier talking about firing an anti-aircraft gun, they say something like "you don’t aim at the plane, you aim at where the plane is going to be". Uzbek drivers use a variant, they don’t aim for where a gap is , they aim for where a space will be. Sometimes it isn’t.

It doesn’t help that the minibus’ seatbelts are clearly regarded as a low-value decoration. Each row of 3 seats only has one belt, and only one of them with a working reel. Brace!

We start at the tomb of Amir Timur (also known as Tamurlane). It’s a rather magnificent edifice both inside and out, but the exterior shots are somewhat marred by the enormous black clouds gathering overhead, which render all the colours a dark grey. A few minutes after we go in the heavens open with a dramatic thunderstorm and borderline monsoon rain.

We therefore spend quite a lot of time photographing the mausoleum interior. Fortunately it’s absolutely spectacular, and rewards both wide views and zooming into the details. I have decided to carry both camera systems, the full-frame one with its high-ISO capability and ultra-wide 14-28mm lens works well for the wider view. In the interests of keeping overall weight down I’m only carrying the ageing and diminutive 45-175mm telephoto lens for the micro four thirds system, but it performs beautifully for the details. It’s not an obvious choice up against the longer lenses, but sometimes, like Goldilocks, it’s "just right".

Amir Timur Mausoleum Complex (Show Details)

Amir Timur Mausoleum Complex (Show Details)

We exhaust the subject matter and emerge into the lobby of the mausoleum. It’s still bucketing rain. There’s a young chap with a handful of plastic macs. I buy one, for 75 000 Soms (about £4.50). Then he realises that he has control of limited supply in a seller’s market, and attempts to put the price for Charlotte and Ingrid up to 100 000! We get him down to 150 000 for two, but seems to be getting the higher price from other visitors. Something about right place at the right time….

Plastic Mac Sales Are Up! (Show Details)

The roads and pavements are all engineered with big storm drains, but the rain has been so heavy and prolonged that they are being overwhelmed, and we drive through deep standing water to lunch. This turns out to be by candle light as the power is out.

Although the weather has settled down, after lunch progress around Samarkand is still impeded by standing water. It takes us an hour to drive a distance we are told could be walked in about 15 mins. However we do get to the hotel and have a chance to settle in before the next adventure.

Our guide, Garnisher, is also manager of a recently-revamped theatre, currently being used for a nightly dance show, Marokand, showcasing both the local dance talent, and the culture and history of Samarkand. We have a special back-stage pass and are invited into the room where the female dancers are doing their make-up and hair. The young ladies are remarkably good natured and tolerant of being photographed in such an intimate setting, and we get some great shots. At the end I give a little thank-you speech on behalf of the two older men.

Make-up for Marokand Show (Show Details)

Make-up for Marokand Show (Show Details)

Then we have the show. The dancing and costumes are stunning, and we have front-row VIP seats, and no constraints on photography. Unfortunately there’s a technical challenge: the various backdrops are projected digital video, and all the lighting is LED. This means that the fastest possible shutter speed is 1/60s, otherwise your image contains blotchy, stripy backgrounds and odd lighting effects. 1/60s is not really fast enough to capture dance movements. However you may be lucky and capture a moment where the dancer is momentarily still, or maybe facing forward through a turn so her head is not moving even if the rest is. I leave you to judge how well this works.

Marokand Show (Show Details)

Marokand Show (Show Details)

Between the make-up session and the show I shoot 2104 images, a total of 81GB more than filling one of my fast memory cards. Based on a very quick scan to select the above samples, I’ll probably delete 95% and keep around 100 worth processing. Let’s see.

Finally, as if all that wasn’t enough, we go to Registan Square, one of Samarkand’s classic vistas, for the blue hour. We focus on the view from the road straight down to the three madrassas. There’s little trace now of the apocalyptic earlier weather, and we’re treated to a clear blue sky balancing the well-lit buildings. A great end to an "entertaining" day.

Registan Square (Show Details)

Registan Square (Show Details)
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Very Important, or Very Naughty!

Khast Imam Complex
Camera: Panasonic DC-S5 | Date: 22-05-2026 20:12 | Resolution: 3223 x 3223 | ISO: 3200 | Exp. bias: 0 EV | Exp. Time: 2.0s | Aperture: 22.0 | Focal Length: 14.0mm | Location: Khast Imam Complex | State/Province: Qoraqamish, Tashkent | See map | Lens: LUMIX S 14-28/F4-5.6

Over breakfast I meet Mehmet, the tour leader, and then Ingrid, the final guest in this rather select tour. After breakfast I decide to go out and explore the park in the centre of Tashkent, which isn’t far from our hotel.

Exiting the hotel and walking to the end of the block is uneventful, but then I get caught up in what feels like a major security operation with dozens of police holding the traffic, shouting at people, blowing whistles, marshalling pedestrians and so forth. Of course I don’t have enough common language to be sure what’s going on, but it becomes fairly apparent when an enormous number of police vehicles come through the junction at high speed. Now I’ve seen The Queen drive down The Strand (one Rolls Royce and a couple of police bikes), and when we were in Washington DC we saw President Obama’s motorcade (about 20 vehicles), but this one has that topped. The central characters are either very important, or very naughty, or possibly both! Based on the absence of limousines and presence of a couple of armoured vans I’m tending toward the "naughty" theory. Unfortunately I don’t get photos – when it’s apparent that I’m not going anywhere for a few minutes I take out my camera and long lens, but a very large and stern-looking policeman makes me put it away again…

Drama over I wander up to the park, which has at its centre an enormous statue of a bloke on a horse (Amur Timur, distant relative of Ghengis Khan, who’s Wikipeida entry can be summarised as "brutal and deadly patron of the arts"). The park is beautifully laid out and coiffed, and around it are a number of rather spectacular municipal edifices. Tashkent suffered a major earthquake in 1966, and in its wake the Soviets rebuilt with a large number of grandiose structures. The habit appears to have extended into the modern era.

Amir Temur Statue
(Show Details)

So far my impression of food and drink prices is "quite cheap", but I discover that those are the inflated tourist prices! For lunch I grab a pasty and a bottle of coke from a café in the shopping centre. Total is 20 000 Uzbek Soms, which equates to about £1.20. My cash should go a long way here,

Street Food Kiosk, Sailgokh Street
(Show Details)

Back at the hotel we meet the final member of our party, local guide Ganisher. We head out for an afternoon’s shooting. First stop, the Chorus Bazar, a market area centred around an enormous domed structure. We have a happy hour photographing the fruits, nuts, spices and their vendors, and then a working bakery corner producing the delicious local "Non" bread.

Chorus Bazaar
(Show Details)

Chorus Bazaar
(Show Details)

After that, we head to the Khast Imam religious complex. This is built around two large squares, one of which houses an ancient mosque and madrassa, the other of which hosts a brand new (and not yet officially open) cultural centre. Both are dramatic, but difficult to photograph well. Both are full of other tourists. The madrassa complex is laid out in such a way that the old mosque to some extent obscures the other buildings. The cultural centre has slightly odd proportions, making it difficult to capture both the dramatic portals and the blue dome. However with a bit of effort I get acceptable results.

Khast Imam Complex
(Show Details)

I have more success with a bit of brazen "model stealing". In front of the madrassa two attractive middle-aged Uzbek ladies are posing for photos in dresses with very long trains. They seem happy to include us in the photographic experience, and their official photographer tolerates it without complaint. We discover later that the two models are twin sisters, and the other lady managing the costumes, hair and makeup is a third sister, so it’s quite possible they paid the photographer rather than the other way around. Regardless we all have a nice chat and I come away with some great shots.

Borrowed model, Khast Imam Complex
(Show Details)

We take dinner just down the road, then return to the complex to make more photographs at blue hour, which has materialised in spite of the cloudy weather for much of the day. With fewer people around, and a bit of expert guidance from Mehmet, I capture a couple of my "must do shots" and retire happy.

Khast Imam Complex
(Show Details)
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The Silk Road Saga

Khan's Sword (Small)
Camera: SONY DSC-RX100M7 | Date: 21-05-2026 19:14 | Resolution: 4713 x 2651 | ISO: 2500 | Exp. bias: -0.3 EV | Exp. Time: 1/30s | Aperture: 4.0 | Focal Length: 11.3mm (~30.0mm) | Location: Khan Chapan | State/Province: Qoraqamish, Tashkent | See map

I’m off on my travels again, this time in the footsteps of Marco Polo, visiting Uzbekistan and four cities along the Silk Road.

Uzbekistan is a former Soviet republic, independent since the 1990s, south of Russia and North of Iran and Afghanistan. It’s one of only two "double land-locked" countries in the world – completely surrounded by countries which are themselves also land-locked. If you need it for a pub quiz the only other is Lichtenstein, a principality within Switzerland about the size of Guildford…

Uzbekistan is famous for its spectacular architecture. You probably have a mental picture of "somewhere in central Asia" with large Islamic buildings covered in blue tiles. That’s Uzbekistan. I’m sure there will also be people and activities, but I’ll confess it’s the blue tiled buildings which were the initial draw.

Over 8 days we will visit 4 cities along Uzbekistan’s section of the Silk Road: Tashkent, Samarkand, Bukhara and Khiva:

Uzbekistan Trip Map (Show Details)

After a gap of almost 10 years, I’ve returned to Light and Land as tour organisers, and the excellent Hayley Greenall of Travel Counsellors has organised the travel.

As always I’ll operate modified Vegas Rules: what goes on on the photo trip … is all material for Andrew’s blog!

I Like Going Places, But Not So Much the Going

Planning started with a strong sense of déjà vu, as there’s no such thing as a premium economy service between the UK and Uzbekistan, and the simplest solution (at least on paper) is to use Turkish Airlines via Istanbul, just like last year’s Mongolia trip. Chastened by my experiences on that trip I deliberately chose flights with a generous transfer window in each direction.

The first sign of trouble came about 6 weeks out, when Turkish emailed me to say that they were moving me onto an earlier flight from Gatwick to Istanbul. The reason was never given, but it smacked of consolidation to reduce their jet fuel use. The new flight timing wasn’t a big problem, but my "generous" layover had just become a long one.

I was prepared to accept the new timing, but it quickly emerged that in the process my booking had entered some sort of zombie state where I couldn’t manage it properly. It took Travel Counsellors 2 weeks to get it back into a usable state, and a further three to restore my paid-for seat bookings.

Setting aside my taxi deciding to take a very weird back-roads route to Gatwick, when there are perfectly good, straight main roads which do the same thing, travelling from Gatwick was much better than Heathrow T2, where the airport and airlines are conducting a social experiment on "can you run an airport without any people to help the travellers". Boarding and the flight were uneventful, but the plane took a whole half an hour taxiing around the Istanbul airport perimeter including at one point a full 360 circuit of the apron parking area!

Unless you are someone who can shop for 8 hours solid, a long layover in Istanbul presents a few challenges. There is almost no seating in the main departure lounge area unless you pay a restaurant to sit while you eat their food. Above there’s the IGA Premium Lounge which promises a relaxing environment in which to eat, drink, work if you want and sleep if you don’t.

They are not lying about the food and beer. The rest is somewhat misleading. When I arrive there’s a queue around the block to pay to get in, so bang goes my chance of getting my over-65 discount. Instead I use my pre-paid voucher which at least skips the queue. Inside I discover that there are precisely 2 chairs (already occupied) which are comfortable enough to sleep in and not in a main thoroughfare or under an enormous video wall large enough to illuminate the whole lounge. I didn’t get any sleep.

About midnight I left the lounge. For some reason, the gate for my flight would be announced 90 minutes before flight time instead of the customary 60. I soon found out why. The allocated gate was right at the end of the furthest branch of the terminal, and it took most of the extra 30 minutes to walk it. According to my Fitbit I walked nearly 10km at Istanbul Airport!

The Turkish word for airport gate is Kapilari. A capillary is a tiny blood vessel at the end of a long chain of other larger vessels. That sounds about right.

Boarding was the usual Turkish Airlines disorganised melee. First the gate has no visible indication of flight number. There’s a video screen above the desk showing a rolling promotional video rather than something useful like, say, the flight number and destination? You have to go and present your documents, at which point I found out that yet again my seat allocation had been changed under me, and then go back to sit in a seating area shared with other boarding flights and where you can only just hear the announcements. It’s a miracle no-one gets on the wrong plane. When they did call us forward it was everyone together and the token "by row" queueing system rapidly broke down into a bar-room brawl. I decide to take no prisoners and pushed through, but I really shouldn’t have to.

The flight took off at 01.40. You’d think that with such a start time they’d leave us alone to try and sleep but no, at 3am all the cabin lights came on and they served a meal! English canon rightly has no word for such a meal, at least not a polite one. I didn’t sleep much on the flight, either.

</rant>

On a positive note, the arrival in Tashkent was hopeful. In the arrivals hall I got money and a local SIM in straightforward transactions much simpler than the Mongolian equivalents, then my luggage arrived, and I had a friendly taxi driver. We’re staying at a very posh hotel in a smart, leafy area of the city, which looks suspiciously like where they keep the embassies. Promising.

They Also Do A Large One!

It turns out this is going to be a very exclusive tour. A family of four had to cancel at short notice for medical reasons, which leaves a grand total of three paying punters, including yours truly, plus tour leader Mehmet and the local guides.

Charlotte had also arrived early. We didn’t like the look of the hotel restaurant, and were advised to try a renowned Tashkent restaurant called Khan Chapan. Although reached down a slightly dingy side street, it has a delightful frontage on a small river, and we were able to sit outside (although without a blanket I was starting to get a bit chilly by the end of the evening).

Khan Chapan (Show Details)

The menu is generic Eastern Mediterranean / Central Asian fare, but beautifully cooked and presented with a twist. I went for "Khan’s Sword", and deliberately chose the smaller portion. Epic fail, as you can see. It easily fed both of us and provided extra meat for breakfast. And they also do a large one!

Khan’s Sword (Small) . They also do a large one! (Show Details)

Tomorrow I start photographing Tashkent.

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Seeing in the Dark

Ice Halo from the Crane Hotel
Camera: Panasonic DC-S5 | Date: 26-04-2026 10:37 | Resolution: 6514 x 4071 | ISO: 100 | Exp. bias: -1 EV | Exp. Time: 1/1300s | Aperture: 8.0 | Focal Length: 15.0mm | Location: Crane Hotel | State/Province: Crane Hotel, Crane, Saint Philip | See map | Lens: LUMIX S 14-28/F4-5.6

Adding a low-light specialist camera to an established micro-four-thirds kit

Since 2014 my primary camera system has been Panasonic Micro-Four-Thirds (MFT). I’ve worked through several generations, from the 12MP GH2, through GX7, GH4, GX8, G9 to the 24MP G9ii, enjoying the reach of tiny lenses, great depth of field, high speed from small, compact bodies, and progressive improvements in aspects like autofocus. In most circumstances the G9ii is the equal of any comparable DSLR or other mirrorless system, and wins on considerations such as speed, light weight, and stability at low shutter speeds (2s hand-held, no problem).

In most circumstances. The small sensor does have one Achilles Heel: at very high ISO or in lighting conditions with an extreme dynamic range it simply can’t match the image quality of the best full-frame systems. Over the last two years, between the aurora in Iceland, pre-dawn seascapes in Italy, night-time wildlife in South Africa and the night sky in Mongolia I started to become fully aware of the limitations – my images were OK, but not as good as I wanted. With other trips planned which might present comparable subjects, I decided that I had to address the issue.

Now I could just replace my MFT with a full-frame system. Full-frame mirrorless is now mature, and offers most of the capabilities I love in the Panasonic MFT system, and the lenses and bodies have become a bit lighter, if not actually as light as I’m used to. However it would be a compromise, and something of a backward step in terms of size and weight. I don’t want to do that.

The other option is to add a capability. I already have a specialist camera for when the camera needs to fit in my pocket and be almost invisible, but deliver "big camera" capabilities: the Sony RX100. I have a specialist camera for underwater and harsh conditions: the Olympus TG6. I have a specialist camera for getting up high or into places I cannot reach: my drone. I have an infrared-converted camera. So why not add a dedicated low-light and high DR solution?

The trouble is it’s not quite the same as the other cases. This can’t be solved by selectively adding a small additional device to the camera kit – it requires purchasing and then carrying a camera with a full frame or larger sensor, and its lenses, either instead of, or (worse) as well as the MFT system. For a while I agonised about whether this was the right path, and whether I could resolve the issue by simply using a combination of slower shutter speeds and wider apertures to hold the ISO down, but there are just too many subjects I shoot where that’s not viable.

Decision made, the "what" was pretty straightforward: I like Panasonic and the Lumix full-frame S-series get consistently good reviews. Within that range the recently-replaced S5D is practically identical to my G9ii apart from the lens hole and the sensor visible through it, using the same batteries and cards, and almost 90% identical menus and controls. As an older model I could purchase a good used one for relatively little. I deliberately chose a body with moderate-resolution sensor (same 24MP as my G9ii) to get large photosites (roughly each four times the area of those in my G9ii) and maximise the low light and high dynamic range advantages. To match the main expected subjects for this camera, I purchased used 20-60mm and 14-28mm lenses, putting the 18mm f/1.8 on my "buy or rent when I need it" list.

Initial indications were promising: photographing our Christmas Lights I established that although I rarely use the G9ii beyond ISO 1600, I can use the S5D at up to ISO 12800 with few issues, and ISO 25600 images are easily rescuable. The full-frame camera has wider dynamic range, which can be further boosted using the HLG (Hybrid Log-Gamma) mode. On the downside while the dual lens/body stabilisation means I can hand-hold the G9ii at the equivalent of 24mm focal length down to 2s, the body-only IS in the S5D is only good for about 1/4s at best. Also I have to remember that to get the same depth of field the full-frame camera has to be stopped down a whole stop!

Now I needed some extended tests. Fortunately we had a trip to Barbados scheduled, and I packed the S5D alongside my usual kit.

Halo, Halo

Over the years I have seen a few full-circle ice haloes. It may be coincidence, but most seem to be in Barbados, and their frequency seems to be increasing. On this trip we saw three clearly, as well as a couple of partial ones. One occurred when the only accessible camera was the Olympus TG6, and as expected I struggled to balance both the tropical sun in shot, and the deep shadows of other elements in shade. The result was just acceptable, but very noisy.

However on the next occasion I had the full frame camera to hand. I set the metering to automatic with -1 stop compensation, expecting the sun itself to blow out. This put the buildings and foliage deeply underexposed. Here’s one of the in-camera JPGs:

Ice Halo from the Crane Hotel (Show Details)

However, processing the shots in Capture One produced amazing results. This is a similar shot, and all I have done is adjust the HDR slider to 95% highlight recovery, 95% shadow recovery. Only the central sun disk is fully white, and the other elements are all well-exposed, with not a hint of noise. I’ve deliberately left the mid-tones slightly dark to bring out the secondary rainbow, but I would lighten them further if I wished. Tropical sun + deep shadows, no problem.

Ice Halo from the Crane Hotel (Show Details)

I’ve done similar shots with the Panasonic G-series cameras, and the result is always noisy shadows and mid-tones, and I often struggle to recover the highlights acceptably. I gave up using the "highlight metering" setting on the G9ii because the shadows are always problematic, but it should work perfectly with the S5D, especially in higher overall light levels.

Dynamic range even better than expected. Tick.

Into The Cave

Barbados is a coral rather than volcanic island, and one side-effect is a system of caves similar to those found in limestone geologies with plentiful rainfall. Harrison’s Cave was opened up to visitors in the 1980s, but I hadn’t been since my very first visit to Barbados back in 1990. The attraction has been updated in recent years and I was determined to go this year, and it was an obvious test of the S5D’s low-light capabilities.

Sadly the vehicles used in the cave no longer resemble a miniature steam train, but the newer "train" of electric carts are comfortable and have a better seating capacity. The lighting on the featured formations has been updated, and you can probably get acceptable images with a phone.

However for high-quality results you will want to choose a smaller aperture (for depth of field), which will in turn force a high ISO to keep the shutter speed workable hand-held. I found a typical setting on the S5D was ISO 6400, f/8, 1/25s. The resulting images are great. Some had a touch of noise in the shadows, and benefitted from a light touch with Topaz Photo AI, but in reality would have been perfectly acceptable without.

Harrisons Cave (Show Details)

Harrisons Cave (Show Details)

In retrospect I should have been braver and chosen a slightly higher aperture with ISO 12800, to get a bit more depth of field. That’s a learning point.

I could match this with the G9ii by going for a slightly smaller aperture (e.g. f/6.3), ISO 1600 and accepting a slower shutter speed courtesy of the better stabilisation (probably around 1/6s for the same exposure), but that only works because it’s a static subject in good working conditions.

Harrisons Cave (Show Details)

Low light, tick.

So, How Is This Going To Work?

Sadly this complicates matters. Previously if I needed a "proper" camera the choice was easy: the G9ii paired with the "professional" Panasonic lenses. Great for sport, wildlife, landscape. For social settings or street shooting I could adopt a more subtle solution by packing the smaller "kit" lenses I keep as spares. I would just have to live with the limitations in low light or very high dynamic range.

It’s still easy if I need longer lenses, high speeds or high-performance autofocus e.g. daytime sports. That’s the domain of the MFT system.

Arguably the kits are interchangeable if the expected subjects suit wide-angle to normal focal lengths and are likely to be in good light. Flip a coin, take one, and live with either limited reach if I do need telephoto and I’ve got the full frame system, or poorer results if the light goes and I’m packing MFT.

However what if I expect both? What if in one session we’re going to a market, and I need a small, fast system with reach, but after that we’re photographing architecture in the blue hour? This is a real case, which will occur on the first day of my Uzbekistan trip. Do I carry both systems, or choose one? Watch this space…

Harrisons Cave (Show Details)
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Farewell, Ernie

Ernie Smith - Barbados Vintage Reggae Festival 2010
Camera: Canon EOS 40D | Date: 24-04-2010 06:52 | ISO: 3200 | Exp. bias: -1 EV | Exp. Time: 1/100s | Aperture: 6.3 | Focal Length: 300.0mm (~486.5mm)

I was very sad to hear the news this morning of the passing of Reggae great Ernie Smith. A great entertainer, he had, for a Jamaican reggae singer, an unusual rich baritone voice, with which he rendered both his own compositions and those of his friend Pluto Shervington.

Ernie Smith – Barbados Vintage Reggae Festival 2012 (Show Details)

We were privileged to see Ernie three times, at the Barbados Reggae Festival in 2010, 2012 and 2018, and I have photographic evidence.

Ernie Smith – Barbados Vintage Reggae Festival 2012 (Show Details)

Ernie Smith also gave me my favourite music trivia question: “Which song started life as a country song, sung by a Jamaican, and is most famous as a reggae song sung by a Texan?”

Answers on a postcard…

Ernie Smith – Barbados Vintage Reggae Festival 2018 (Show Details)
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Sunset Grove

Sundet Grove
Resolution: 563 x 773

I can’t recommend this highly enough. Best “dangerous old codgers” comedy since RED. Last of the Summer Wine via Harlan Coben. If you’re in a tight spot and your support is a choice between Jack Bauer and the daft old Finnish ladies, don’t rush to a decision. Dark. Exciting. Hilarious!

Available in the UK on All4: https://www.channel4.com/programmes/sunset-grove

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Are We Becoming the Eloi?

Hunter S Robot writing blog

Are we becoming the feckless race from The Time Machine? Can we resist the temptation?

Background

This article is the result of convergence of two separate prompts. About a week ago I was bemoaning our increasing dependency on automation and our general inability to take charge and either fix or work around broken things, and I thought of the Eloi. In H G Well’s The Time Machine, published in 1895, he imagined a distant future human race who live an apparently idyllic existence, but who have lost any ability to help themselves, and are to some extent just farm animals for the Morlocks, who prey upon them. In some ways, we may be approaching the society Wells foresaw, but only 130 years, rather than 800,000 years later. In my writing ideas list, I wrote down “Are We Becoming the Eloi?”

The second prompt was the recent publication of Matt Shumer’s essay Something Big is Happening in AI. That asserts that we are rapidly reaching (or may have already reached) “the singularity”, where AI starts to evolve at a speed outstripping our control, and displaces a large proportion of what we used to call “knowledge workers”, with dramatic societal impacts.

I was going to write the Eloi article myself, honest I was. But having read Matt’s article, I couldn’t help thinking “could AI do this?”. Could it do the research (I haven’t read The Time Machine for at least 40 years), reach reasoned conclusions with which I agree, and write in a style reasonably mimicking my own?

So I fired up the free version of ChatGPT with the following prompt:

Write an essay of 1300-1400 words, on the subject “Are We Becoming the Eloi?” Take as reference the race of the Eloi in H G Wells’ The Time Machine. Compare current societal trends such as an increasing reliance on automation, increased distance between users and underlying technology (with a commensurate inability to act if the technology is not working) and the increased anxiety and mental health issues of younger generations. Write in a style similar to this article: https://www.andrewj.com/blog/2025/adjustable-architecture-and-minimising-waste/

The result (see here) is very impressive, a detailed, reasoned essay analysing ways in which we are starting to resemble the Eloi, but also identifying key differences and ways in which we might escape that fate. It’s quite academic, with some philosophy references beyond my knowledge, but at a stretch I might pass it off as “all my own work”.

The main problem is stylistic. The article is more academic than I’d write, complete with valuable references. It’s wordy, in need of at least as much editing for verbosity and repetition as my own first drafts do. There are also odd issues with terminology. The article repeatedly uses the word “agency” with a meaning I don’t usually adopt, and has also invented a clumsy term which I would never use: “Eloi-ness”.

However, there’s a simple fix. In Red Dwarf there’s a wonderful scene where the rest of the crew are faced with two Dave Listers – one the real thing, the other a dangerous simulant who can copy his appearance and personality. Both are holding guitars. Both play, one badly and the other is sublime. Without a word the crew unanimously shoot the latter. The real Dave Lister can’t play the guitar, but he thinks he can, so that’s what the simulant does.

So I just need to instruct ChatGPT to write the article not as I actually write, but as I like to think I write… Prompt 2:

Write a similar essay, but make it less academic, and write in the style of Hunter S Thompson.

To put it bluntly, that nails it. The essay, below, captures almost all the concepts I wanted to incorporate, in a style which is both blunter and smarter than my own, but not so far removed you might not believe I wrote it myself on a good day.

The essay is presented exactly as generated, excluding minor tweaks to punctuation, and changing a couple of American spellings.

The Essay: Are We Becoming the Eloi?

There is a particular kind of silence that settles over a room when the Wifi dies. Not the peaceful silence of a countryside evening, but the twitchy, electric quiet of people suddenly cut loose from the machinery that explains the world to them. Screens freeze. Conversations stall. Someone begins stabbing at a router like it personally insulted their family. It is in moments like these – tiny technological blackouts – that you can almost hear the faint laughter of H G Wells echoing across the century, because he saw something like this coming.

In The Time Machine, Wells imagined the Eloi: pale, gentle, useless creatures drifting through a pastoral future where every need was met and every challenge long forgotten. They did not work. They did not invent. They did not even wonder very much. They simply lived in ornamental comfort while the unseen machinery of their survival ran elsewhere, managed by another species they barely understood.

It was a grotesque fable about class, complacency, and the slow erosion of capability. For a long time, it felt comfortably fictional: Victorian nightmare fuel, a warning directed at a distant future we were sure we would never resemble.

And yet here we are, living in a world where a great many people cannot boil an egg without consulting a search engine, cannot navigate a city without a glowing blue dot telling them where to turn, and cannot repair even the simplest device because every tool they own is sealed shut with proprietary screws and legal disclaimers. We are not helpless, not yet – but we are drifting in that direction with the serene confidence of people who believe the escalator will run forever.

Automation was supposed to free us. That was the promise: machines would do the dull work, algorithms would handle the complexity, and humans would finally be liberated to pursue creativity, leisure, and higher thought. In theory, it sounds magnificent. In practice, something stranger has happened. Instead of freeing us to become more capable, automation often encourages us to become less involved. It doesn’t just do the work – it removes the need to understand the work at all.

Consider how many systems you rely on daily that you could not repair, replicate, or even explain in broad terms. Your phone connects to a network you don’t understand, which runs through infrastructure you never see, governed by software you never touch, administered by people you will never meet. If the entire structure hiccups, your response is not to diagnose it but to wait – helplessly, irritably – for someone else to fix it. You are a passenger in a machine that does not require your participation, only your subscription.

The Eloi, in Wells’ nightmare future, were not stupid because they were born that way. They were stupid because their environment stopped demanding anything from them. Muscles that are never used fade; instincts that are never exercised disappear; curiosity that is never necessary grows quiet. The human brain is no exception. When every friction is removed from life – when navigation, memory, calculation, communication, and even entertainment arrive automatically – the temptation is not to grow wiser with our extra time. The temptation is to drift.

Look at the modern office worker staring blankly at a spinning “loading” icon, as if their entire professional identity has been unplugged along with the server. Watch the commuter pacing the platform because the ticketing system crashed and no one remembers how to process anything manually. Observe the mild panic that sweeps through a café when the contactless payment terminal fails and suddenly the ancient technology known as “cash” must be summoned from dusty wallets. These are not catastrophic events. They are small inconveniences. But the reaction they provoke, the sense that the world has temporarily become unmanageable, tells a deeper story about how far we have stepped back from the machinery that runs our lives.

Meanwhile, younger generations grow up inside systems that are even more abstracted. They do not learn how things work; they learn how interfaces behave. They swipe before they read. They troubleshoot by restarting the app. They store their memories in cloud servers whose physical locations might as well be on Mars. This is not a moral failing; it is simply the environment they were handed. But environments shape people, and an environment that constantly cushions failure also quietly erodes resilience.

There is a peculiar irony here. Never in history have humans possessed more knowledge, yet never has the average individual needed to know less to function day-to-day. A person in the nineteenth century might have needed practical familiarity with tools, navigation, mechanical systems, and local infrastructure just to survive ordinary life. Today, survival depends more on passwords than on skills. Forget the password, and you are locked out of your own existence. Forget how to mend a device, and you simply replace it. Forget how to navigate without GPS, and you circle the same block until the satellite signal returns like divine revelation.

This creeping dependency does something subtle to the psyche. When you no longer feel capable of solving problems directly, when solutions always arrive from outside, delivered by software updates or distant technicians, you begin to feel smaller in relation to the world. Problems seem larger. Systems feel opaque. Control appears theoretical rather than practical. Anxiety flourishes in precisely this kind of psychological climate: a world that is enormously powerful, endlessly complex, and largely inaccessible to individual intervention.

The rising tide of anxiety among younger people is often explained in terms of social media pressure, economic uncertainty, or educational stress. All of those factors matter. But there is another quieter ingredient: the persistent feeling of operating inside systems you cannot influence. When everything depends on infrastructure you cannot see and algorithms you cannot challenge, the world begins to feel less like something you shape and more like something that happens to you. The Eloi lived like that – pleasantly, superficially happy, but fundamentally detached from the forces that determined their fate.

Of course, the comparison has limits. We are not lounging in marble ruins eating fruit while subterranean creatures manage civilization. We build extraordinary things. We invent, argue, protest, experiment, and obsessively redesign our own technologies. But cultural direction matters, and the direction of modern convenience is unmistakable: fewer manual skills, less mechanical understanding, more automated decision-making, and an ever-widening gap between what systems do and what users comprehend.

The most dangerous aspect of this trend is not that machines are getting smarter. It is that humans are becoming more comfortable not needing to be. Intelligence, like strength, fades when unused. If every task that once required patience, memory, or ingenuity is replaced by a single button labelled “Optimize,” those faculties don’t vanish overnight. They simply stop developing. Over time, a society can become incredibly sophisticated at the macro level while individuals become strangely passive at the micro level, surrounded by miracles they cannot recreate and comforts they cannot maintain.

And yet, the situation is not hopeless. Far from it. The key difference between us and Wells’ fictional future is awareness. The Eloi did not know what they had lost. We still do. We still teach engineering, repair, science, navigation, and craftsmanship. We still debate the ethics of automation and the limits of artificial intelligence. We still celebrate people who understand how things work, even if the average citizen doesn’t always feel compelled to learn those skills personally. Awareness is the thin line that keeps a technologically advanced civilization from sliding into ornamental dependency.

The question, then, is not whether technology will continue to automate life – it absolutely will – but whether we choose to remain mentally and practically engaged with the systems we create. Convenience is not the enemy; indifference is. The danger is not that machines help us, but that we gradually forget how to help ourselves.

Picture the world fifty years from now. It could be a dazzling landscape of automated infrastructure, personalized AI systems, and seamless logistics, with citizens who understand enough of the underlying mechanics to intervene, repair, and innovate when necessary. Or it could be a comfortable garden full of passive consumers, bewildered whenever the machinery pauses, waiting patiently for unseen specialists to restore normality. Both futures are technologically advanced. Only one avoids the fate of the Eloi.

The warning hidden in Wells’ strange little novel is not that progress destroys humanity, but that comfort can quietly dissolve the habits that make humanity resilient. Skills unused fade. Curiosity neglected dulls. Agency surrendered becomes difficult to reclaim. And the transformation does not arrive with dramatic fanfare: it happens slowly, politely, wrapped in the reassuring language of efficiency and convenience.

So the next time the Wifi drops and the room falls into that anxious, humming silence, it might be worth resisting the instinctive panic. Look around. Ask yourself how much of the world you can still operate without the invisible scaffolding of automated systems. Not because you intend to reject technology – only a lunatic would do that – but because the ability to function without total dependence is the thin line between mastery and decoration.

The Eloi did not notice the moment they became helpless. That is precisely why we should.

Assessment

The experiment provides further evidence, if it were needed, supporting Matt Shumer’s assertion. Using just two simple prompts the free version of ChatGPT has generated work which I would be proud to claim as my own, honesty permitting.

Much of my professional career hinged upon my ability to consolidate disparate sets of information, analyse and summarise them into a coherent whole, and then clearly communicate the expected impacts and options for action. A large part of that work can now be laid off to an AI.

That said, at least for now there’s a difference between “implement this well-formed idea” and “help me develop this idea”. It’s not clear how AI would fit into my 40-year-old tried and tested analysis process. I start with a blank document, or maybe a vague outline, and dump all sorts of ideas, notes, research material and other people’s contributions at the bottom. I then work down through all the material, delivering a curated and edited version into the document above. I eliminate the irrelevant or duplicated. Some material is included only to be refuted. The text is constantly refactored to ensure flow and coherent arguments. That process in turn generates ideas for further research, tests and writing.

For example, after reading the AI generated essay, I thought of two more potentially rich seams of analysis:

  1. Wells wrote The Time Machine in 1895. Phones and electricity services were a recently-invented novelty. Distant communication was by letter or telegraph. Wells set the later scenes 800,000 years in the future, and failed to predict the exponential, accelerating changes which mean we are confronting these challenges after a mere 130 years. Does the speed of change impact on the effect it will have?
  2. In The Time Machine, the Eloi are supported by the dark, subterranean Morlocks. They manage the hidden technology but also prey upon the Eloi, for food. In a very literal sense the Eloi are not the customers, they are the product. This is clearly a powerful, if extreme, metaphor for the capitalist providers of our tech. That metaphor could be explored further.

AI could clearly be instructed to extend the essay with these concepts, but it didn’t initiate them. For now, I still have to have the ideas.

However, I can imagine an AI which keeps track of my writing ideas, and regularly prompts me with “what do you want to write next?”, takes my notes and comes up with a first draft. It would be trained to mimic my own style, not one to which I aspire. It could automatically prompt the image generator to generate some sample hero images with my regular cast of characters, like the puzzled bear. It could automate the posting process. I could become one of the most prolific bloggers, but at what point is the blog no longer mine, but a computer’s?

There’s an interesting difference between the two versions of the essay. The first, academic, version (see here) goes into quite a lot of detail on the mental health dimension, complete with supporting references. Despite being an explicit element of the prompt, this is only lightly touched upon in the second version. I’ve seen this before: stylistic guidelines can change not only the writing style, but may also impact on tone, direction and content.

The temptation to use AI is potentially overwhelming. Two 1400 word essays were each generated for me in less than a minute. Either could be used without further work. By comparison my introduction and assessment have taken at least 6 hours to write. If I was getting paid for this the temptation would be hard to resist.

Even where I need to write the words myself, I will now use AI for supporting tasks. My blog’s “hero” images are either my own photos, or AI-generated cartoons. If I was writing my project management book today I wouldn’t employ a cartoonist. And that’s another job gone…

However, I’m not sure there’s any evidence yet of “the singularity”. The main reason is I think we’ve got the wrong idea about it. AI doesn’t have to be fully sentient to cause harm. It doesn’t have to launch nukes or push us out of an airlock to cause profound societal change.

Instead, I think we are going to experience a series of inflection points in different disciplines. We may not notice many of them as AI rapidly accelerates towards and passes them, we will only recognise them in the rear-view mirror.

We have to understand how AI will affect society, and that brings us back directly to my own question. Are we becoming the Eloi?

The answer is probably “not exactly”. I don’t think we need fear a future in which we are all completely degenerate, farmed by a successor species, aliens (or machines, as in The Matrix).

But we may be headed very rapidly for a world in which we all display some characteristics of the Eloi, some of the time. We are already in a society in which a substantial subset feel things are done to them, not by them. Some of us will also be Morlocks, unless we somehow arrest the rise of exploitative corporate giants.

The speed of change is significant. Wells imagined a gap of 800,000 years, in which the Eloi have degenerated physically as well as mentally. In reality in that period a better-equipped species of Homo might evolve. Instead, we are trying to manage massive and accelerating mental and societal change with much the same physical provision as the first of our species.

I think the ChatGPT essay sums it up well: “The Eloi did not notice the moment they became helpless. That is precisely why we should.”

We need to be alert to the risks. As individuals we need to try and understand what we can, avoid always taking the easy way out, and sometimes deliberately “do it the hard way”. We also need to make sure those attitudes are inculcated into younger generations. We need to make sure our political decision-makers are also alert to the risks, and not blind-sided by the siren calls of big tech.

We don’t have to become the Eloi. But there’s a very real risk that we will.

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