Good Mourning | Nick Bannehr | Phelt Pheatures

Nick was eager to witness those who deeply mourned the Queen and those who simply happened to be there by chance. Surprisingly, he encountered less grief and sadness than expected. Instead, he observed what he describes as “a strange, performative atmosphere, almost as if people were fulfilling an obligation.”

Waterproof disposable cameras sparked Nick’s love for photography. As a kid at the beach, he would plunge into the waves, snapping haphazard photos of his friends surfing.

“We were just scratching the surfing itch. I still remember the satisfaction of getting the instant prints back from the one-hour photo store and how excited I was. It’s something I’ll never forget.”

Cameras and technology have evolved exponentially since those salty days in the sunshine, yet for Nick, nothing beats the thrill of getting film back from the darkroom and shaping it into something cohesive.

That passion for sequencing still burns brightly in Good Mourning, a striking photo book chronicling Nick’s first weeks in London. Through distinctive portraits and snapshots, Nick offers a glimpse into a city of nearly nine million at a time of sorrow, uncertainty and indifference.

One frame captures young and old perched on a plinth outside Buckingham Palace. Children play on the steps, a father and daughter sit idly eating lunch while others watch the world go by. The people in the frame don’t appear despondent or distressed; it feels like any other day. Their Queen is gone, but life goes on.

By contrast, another shot—one of Nick’s personal favourites—features a woman in a red dress gazing across at Westminster Abbey, exuding quiet strength and reflection. As she tilts her head toward the sky, she appears lost in thought, as though contemplating something far beyond the world unfolding around her. Perhaps she mourns the Queen, or perhaps she wonders what this moment means for the country’s future.

“There’s a story in her stance, a mix of pride, resolve, and perhaps vulnerability.”

Alongside these more reflective images are overt displays of emotion. One frame captures royal guards leaving Westminster Abbey, their faces etched with concern and apprehension. In another, men and women pore over lines of flowers and condolence cards, reading the handwritten messages with care.

The sandal-wearing fellow further challenges the stereotype that Brits are wrapped up in monarchial allegiance. Some people just want their pastries.

Another major player in the series is light. Each scene is bathed in a warm glow, giving us a heightened sense of place, as though we, the viewer, are glaring through the rangefinder. Nick has chased golden hues for many reasons. One of the most powerful I feel, is to fully illuminate pedestrians’ faces, piquing our curiosity about who they are and what stories they may have to tell.

These days, anyone can claim to be a street shooter. What makes Good Mourning intriguing is that it offers a nuanced perspective on British culture. What portion of Londoners are still loyal to the royals? Where does that see-saw sit in 2025, with traditionalists on one side and modernists on the other, and what does that mean for the nation’s identity moving forward?

Ponder this and much more as you immerse yourself in Nick Bannehr’s project. Be sure to hit play on the BTS video accompanying the stills for further insight.