5 Pictures of March 2026
March
was hectic. There is no other way to put it. And there was one clear culprit behind it: the Pacific Herring Spawn, that annual wildlife return that many people see as the true beginning of spring.
This year marked the third time I have documented this remarkable wildlife gathering along the shores of Vancouver Island. Despite the setbacks, we still managed to photograph and film several spawns between Comox and Nanaimo over nearly three weeks. Even so, this month’s selection does not revolve entirely around the herring spawn. I am already working on more focused projects around it. So for now, let’s dive in.
I) Salt Spring Island
2026 • March 2 | Ruckle Provincial Park, BC
Over the winter and into spring, I have been testing the “brand new” Kodacolor line of film stocks. Of course, there is nothing truly new about them apart from the names and the box design. What changes is who markets the stock. These films are now distributed directly by Eastman Kodak rather than by Kodak Alaris.
Kodak Alaris still sells the stocks most of us know well—Portra, Gold, ColorPlus, Kodak Pro 100, and the rest—but you can now also buy certain films directly under Kodak’s own branding, which should mean more money going back to Kodak, the manufacturer.
Here is a quick guide so you know which is which the next time you stop by your favourite camera store for a few rolls:
Kodacolor 100 = Kodak Pro Image 100
Kodacolor 200 = Kodak ColorPlus 200
Ektacolor 160 = Kodak Portra 160
Ektacolor 400 = Kodak Portra 400
Ektacolor 800 = Kodak Portra 400
Ektapan 100 = Kodak T-Max 100
Ektapan 400 = Kodak T-Max 400
Ektapan P3200 = Kodak T-Max 3200
But back to the image. This frame was shot on Kodacolor 100, metered at ISO 50, with a Canon Elan 7 and the EF 40mm f/2.8 pancake—my go-to travel lens because of its remarkable size, its decent speed at f/2.8, and a focal length that, while more common now, once felt quite unique.
What made me press the shutter was not only the warm backlight on the tree, but also the contrast between the highlights, which pushed the greens toward yellow in the sun, and the cooler greens of the ferns and pines in the background. That kind of colour separation is often more noticeable on film. Digital still struggles more with greens and yellows sitting close together. You can achieve a similar look digitally, of course, but with film it feels natural and requires far less time in the HSL panel.
II) When the Storm Rolls In
2026 •1March 22 | Denman Island, BC
After some scouting on Denman Island, I was waiting at the ferry terminal for the boat to arrive when I noticed fast-moving clouds rolling in from the mountains across Vancouver Island. Shooting straight into the sun is always a little unnerving, whether on film or digital. And when the light is changing fast, and you find yourself short on time, bracketing becomes a lifesaver, but an expensive lifesaver depending on the film stock you are shooting.
This was one of those moments. I bracketed the scene on Ilford HP5 Plus, metered at EI 800 and pushed one stop in development. I have been shooting HP5 for over a decade now. It remains my favourite panchromatic film stock. And still, after all those years, it continues to surprise me.
When I reviewed this bracketed sequence, I was struck by how usable all three frames were. It was a reminder of just how much dynamic range HP5 can hold. I have said it before, and I will say it again: HP5 is the RAW file of panchromatic film stocks. You can do almost anything with it.
III) The New Residents of Phipps Point
2026 • March 7 • Hornby Island, BC
This photograph is a perfect example of why I bought the iPhone 17 Pro, and how I use it.
After an event shoot on Hornby Island, we had a little time before the evening event, so we drove to Phipps Point to witness the herring spawn there. The sky was moving fast: dark clouds, threatening rain, and sudden shafts of sun breaking through. And as soon as I stepped out of the car, I could hear the soundtrack of the herring run, sea lions barking, their calls echoing over the water and through the trees.
As we reached the shore, we saw that the old pier and the nearby rocks had been taken over by hundreds of sea lions, from massive male Stellers to the sharper-nosed California sea lions. The light was calling for monochrome, but my film camera was loaded with colour film. And since I already had the 100-400 mounted on my Canon R5C for tighter photographs of the sea lions, I found myself at the far end of the broken pier where a large group rested, some half in the water, basking in the light.
But 100mm was far too tight for the composition, and my other lens was still in the bag. So I pulled out my iPhone to frame the scene. Those are the moments when the iPhone really shines as a second camera. I can still shoot in RAW—or ProRAW, in this case—and keep a great deal of freedom in the edit, especially when I already know the image is going to end up in monochrome.
For the final look, I chose an emulation of Kodak Tri-X 400 pushed one stop, with a red filter to deepen the sky and a touch of selenium toning.
Note: When viewing wildlife from shore, always keep your distance. That evening, I watched a dumbf*** (we will call him Donald) walk toward the sea lions and sit close enough that they rushed back into the water. When he returned, he joked, “I wanted to see how close I could get.” Do not be like Donald.
Stay far enough back to enjoy the moment without disturbing it. Every year during the herring spawn, local authorities have to patrol nearby shores in Nanaimo to remind people to keep their distance. We are incredibly lucky to witness wildlife in our backyard, but we need to be smart about it. A few years from now, I would not be surprised if some towns close certain parks during the spawn simply to avoid further conflict. Let’s not get there.
IV) The Pacific Herring Spawn From the Sky
2026 • March 9 • Nanoose Bay, BC
After spending all winter studying for the advanced drone exam in Canada, I passed just a few weeks before the herring spawn. That opened the door to documenting this remarkable event from an entirely new perspective.
This point on the south end of Nanoose Bay is only accessible on foot at low tide. And without a way to get out on the water that day, I was incredibly grateful to be able to launch the drone, see the spawn from above, and capture angles I simply could not have reached otherwise.
This was one of the first images I made that day, as a fresh spawn was actively unfolding. The water had turned that now-familiar milky cyan, set against the deeper blues of the Pacific.
Note: This flight was conducted with the necessary authorizations and in accordance with Transport Canada rules.
V) Not to brag, but this Steller sea lion just winked at me
2026 • March 22 | Fords’ Cove Hornby Island, BC
It is all in the title. This beautiful male Steller sea lion, with what I can only describe as piercing blue eyes, winked at us just as I pressed the shutter from the boat.
This fella was the biggest Steller I have ever seen. As we approached Ford’s Cove on Hornby Island to moor, we spotted a group of sea lions stretched across the outer dock, all bathing in the sun. Then this one stood up, revealing its immense size, and watched us carefully to make sure we were not coming too close to it or its females.
And despite the hard shadows, I absolutely love that I managed to photograph that wink. It is definitely one of my favourite images from the 2026 herring spawn.
Note: This photograph was taken with a long telephoto lens from a safe distance aboard a whale-watching vessel that was respecting the required legal distances.
Final Thoughts
These are some of my favourite images from March. It was a difficult selection, because I have plenty more photographs from the spawn that I really like, but I wanted this article to feel a little broader and not be entirely centred on that one event. It also ended up being published fairly late. Today is April 23rd. Simply because work caught up with me.
And maybe that is the strange thing about months like this: they feel endless when you are living them, and then suddenly they are gone, reduced to a few frames that have to carry the weight of all that movement. Which image from March would you have picked first?
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