Author: Ian J Myers

I'm a half English, half Irish guy who has been in France for the last 30 years. I have a devouring passion for photography, be it digital or analogue. Photography is my escape, and what helps me feel whole. INFP

The Fujifilm X-T2: A 2024 Perspective – Is It Still Worth It?

Posted on Posted in Bikes, Black and White Photography, Camera reviews, France, Landscape Photography, Nantes Photography, Paris, Street Photography, Travel photographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 9 Comments

My Love Affair with the X100F (and a Cuppa Tea)

It’s no secret to the regular readers of IJM Photography that I have a great fondness, deep affection, nearing on obsession with my Fujifilm X100F. It’s a great little camera that gets me excited whenever I take it out of my camera bag. But, Dear Reader, what does this have to do with the Fujifilm X-T2? Well, they’re both manufactured by Fuji, they both have an “X” in their name, and I have a deep affection for a nice cup of tea. Not the same T? Ah well…

Similarities and Differences: A Tale of Two X’s

I’ll talk about the differences and similarities between the two cameras and why I thought the X-T2 was a useful and complementary acquisition. We’ll look at not just the specs but also the rather similar way both cameras handle.

  • Sensor and Image Quality: Both use the same 24-megapixel sensor with an anti-aliasing filter, and offer an ISO range from 200 to 128000.
  • Screen and Viewfinder: The X100F has a fixed screen, while the X-T2 boasts a tilting one. Both share the same excellent viewfinder.
  • Performance: The X100F shoots at 8 fps while the X-T2 goes up to 14 fps. For video, the X100F is limited to Full HD, while the X-T2 offers 4K and can shoot at 120 fps.
  • Connectivity: Both cameras have built-in wireless capabilities.
  • Weight: The X100F is lighter at 469g, while the X-T2 is slightly heavier at 507g.
The Lens Factor (and Weather Sealing, Too!)

The main difference? The lens. The X100F has a fixed 23mm (35mm equivalent) f/2.0 lens, while the X-T2 can take the entire range of X-mount lenses. Quite a big difference, indeed. The X-T2 also has the added bonus of weather sealing!

Why Buy a 4-Year-Old Camera in 2020?

Because at the time, I could. It was the logical acquisition and complement to my X100F. Did I mention it also uses the same batteries? I still have the same, beloved-by-many film simulations, and while not as numerous as later models, they are more than enough for me!

My first lens purchase was the 16mm (24mm equivalent) f/2.8 Fuji lens, the perfect complement to the 35mm equivalent on the X100F. I later discovered TTArtisan and 7 Artisans, Chinese firms that make affordable manual focus lenses for the X-mount. I now have the 35mm (50mm equivalent) f/1.2 and 58mm (85mm equivalent) f/1.4, and the fish eye 7mm F2.8 lenses from both companies, both costing a fraction of the autofocus Fuji lenses. The only concession I made to Fuji was later purchasing the 18-55mm (24-70mm equivalent) f/2.8 autofocus kit lens.

Value for Money: The X-T2’s Sweet Spot in 2024

The fact that I bought it second-hand was also a contributing factor. Does it have as many megapixels as the more modern X-T5? No. But does it have enough? Yes! Does it have the same specs as the X-T5? No. But does it have enough? Yes. Can you see a pattern developing here?

For the amount of money spent, I think I have enough cameras for my buck. And that is the crux of the argument for acquiring a now 8-year-old camera in 2024. Is it the very best money can buy? No. But if you’re an amateur like myself, you generally don’t need the specs that manufacturers and those nice men in camera shops will try to tell you you need. 24 megapixels is more than enough for printing even 20″ by 30″ (500mm x 760mm) sized images.

I have just looked at mpb.com for you and have found XT2 bodies from 487€ to 729€ depending on the condition. An X-mount lens will cost you anything from 104€ for a 35mm (50mm equivalent) F1.2 from 7 artisans to 279€ to 340€ for the 16mm (24mm equivalent) F2.8 fuji lens. So as you can see, it’s certainly cheaper than buying the latest models…

Conclusion: A Timeless Tool for the Passionate Photographer

In 2024, the Fujifilm X-T2 remains a compelling option for photographers seeking excellent image quality, classic handling, and a wealth of creative possibilities. Its compact size, weather sealing, and extensive lens selection make it a versatile companion for various genres, from street photography to landscapes.

While newer models may boast more advanced features, the X-T2’s enduring appeal lies in its combination of performance, affordability, and the unique charm of Fujifilm’s X-Trans sensor and film simulations. For photographers who prioritise the essentials of image-making and value for money, the X-T2 continues to be a worthy contender in the ever-evolving world of digital cameras.

If you’re looking for a camera that delivers exceptional results without breaking the bank, the used market might just hold the perfect X-T2 for you. And who knows, you might even discover a newfound appreciation for a slightly older camera that still has plenty to offer in 2024 and beyond.

Post Scriptum

This camera is also capable of 4K video. And I’m using it at work for making videos for training new staff. It is certainly lighter than my Canon 6D Mark II, and I seem to be able to obtain a picture style that I like. It doesn’t have in-built image stabilisation. However, I use it on a tripod so that’s not an issue. And if ever I do decide to use the 18-55mm kit lens, I have image stabilisation in the lens.

I’ll see if I can’t find you an excerpt of the latest video…

And here it is…

The UK Chronicles: A Black and White Footnote

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My usual approach to black and white photography is to shoot directly in black and white, either using black and white film or the Acros film simulation with my X100F. When using the X100F on this UK trip, my EVF displayed the black and white shot using Acros with a red filter—my go-to simulation. This method puts me in a black-and-white “frame of mind” from the outset.

However, this time I decided to break from my usual practice and experiment. I did something I normally advise against—starting with the intention to create color images and only considering black and white later. I chose the Classic Chrome film simulation instead of Acros, focusing on capturing the vibrant colors of the Northumbrian countryside. It was all about breaking free from my black-and-white routine. Both color and black-and-white photography have their place, but for this trip, I wanted to prioritize one over the other. Still, wouldn’t it be intriguing to compare both approaches?

Back in France, as I prepared the images for my black-and-white Instagram feed, I began to wonder if some of the colorful shots might also work in black and white. Initially hesitant—given my emphasis on shooting with intention and purpose—I decided to embrace the experiment. I was breaking one of my own rules, yet the idea intrigued me.

Reviewing the color shots, I considered which might translate well into black and white. I look for images with texture and varying tones rather than just color. My composition is usually solid since I’ve already edited my color images, including reframing and straightening as needed. With digital RAW files, converting to black and white and producing different versions is straightforward. As they say, the goal is to produce images that reflect how they made you feel, not just how you saw them. This is why I convert my images to black and white—they capture more of the emotional essence.

Opening Adobe Lightroom on my PC, I saw the familiar images on my screen. My editing approach may seem finicky, but it’s effective. While the simplest way to convert an image to black and white is to slide the “saturation” slider to the left, this often results in a flat, lifeless image. Instead, I use a more nuanced approach to control various color tones in the black-and-white image. This technique helps preserve depth and character, ensuring that each image maintains its visual impact even without color.

Here’s how I approach black-and-white conversion in Lightroom:

  • Black and White Profile: Sets the overall tone and mood of the image.
  • Clarity: Enhances texture and detail for a more dynamic appearance.
  • Contrast: Adjusts the range between light and dark areas, adding visual interest.
  • Color Sliders: Modifies the luminance of specific colors to bring out different tones in the black-and-white image.
  • Highlight Tool: Adds subtle vignetting and balances highlights for a polished finish.

So, why convert to black and white after shooting in color? For me, it offers a classic, timeless aesthetic, and challenges me to create a “better” image by focusing on composition and texture without the distraction of color. This approach pushes me to craft photographs that rely on fundamental elements, enhancing their overall impact.

Impact is at the heart of photography. While I cherish the colors of the Northumbrian countryside and am eager to learn how to use color more effectively, I also deeply value the strengths of black-and-white photography. It’s about transcending color to create images that resonate through composition and texture.

But there’s something more personal about these black-and-white conversions. Perhaps it’s because I broke my own rules this time around, allowing color to take center stage and letting the black-and-white images emerge later. These images weren’t planned with black and white in mind—yet, despite that, or perhaps because of it, they feel even more special to me. Sometimes, going against what you think you know leads to unexpected results. And, in this case, those results resonate even more deeply.

Isn’t impact what we strive for in our photography? Don’t get me wrong—I love the colors of the Northumbrian countryside and am on a quest to learn how to use color more effectively. But I do believe in the strength of the fundamentals offered by black-and-white photography. Sometimes, breaking your own routine brings surprising rewards.

The Opening of the Film Archives: An October Saturday in Town with Killian, 2016

Posted on Posted in Black and White Photography, Café Culture, Family Life, Film Photography, Nantes Photography, Street Photography, The Film ArchivesTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , Leave a comment

Welcome back to another look at the film archives. This time, I’m sharing a few black-and-white street shots from an October Saturday in Nantes, likely taken with the Praktica MTL3 and HP5 Plus film. These outings with my son Killian, which we called ‘Ian and Killian days,’ became a cherished routine, a time for us to reconnect amidst the busyness of life.

He was 17 then, a weekly boarder at his lycée in La Roche sur Yon. On the weekends, we’d often head into Nantes, following the same familiar programme: a visit to the barbershop, a meal at the Sugar Blue café, and finally, a drink at the John Mc Byrne Irish Pub. In the photo, that handsome chap in the barber’s seat is Killian—a little reminder that it wasn’t always Kate joining me on these trips. These outings were a way to stay connected, despite his growing independence. Even with him being only 17, I still felt that sense of responsibility. Once a Dad, always a Dad.

As we went through our usual routine, I found myself facing the familiar challenge of capturing these moments on film. The low light inside the barbershop always made me second-guess whether I could get a decent shot without using a flash. But over time, I learned to trust the Praktica and the HP5 Plus film. There’s a rawness to film photography, especially with Ilford’s HP5. It adds a certain grit and texture to the image, something that digital just can’t replicate.

That’s what I love about film—the imperfections. The grain gives it character, a certain honesty that smooth, polished digital photos lack. It’s not about creating something flawless but about preserving the authenticity of the moment. This shot of Killian in the barbershop, for example, may not be technically perfect, but it’s real. It’s us, it’s Nantes, it’s one of those ‘Ian and Killian days.’

Looking back at these photos, I’m reminded that sometimes, it’s the imperfections that make an image truly memorable. Quite the day, right?

The UK Chronicles Part VIII: From Chesters, to Rothbury, to Lesbury

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Thank you for following this series of UK Chronicles, and I would just like to say that this is the last one. It had been a long day, but a good day, despite the disappointment in Otterburn. You overcome and adapt. Killian was still sad not to have some Roman armour though.

So, despite not rocking the Roman look, we still had to get back to Lesbury because that evening we would be eating with my parents in a pub in Boulmer, which was just down the road from Lesbury and on the coast. Boulmer is one of those little fishing villages that still has a small fleet of fishing boats that would have caught the fish and chips that we would be eating that night.

To get back home, I could take the more direct route, or I could go via the scenic route. Luckily for you, Dear Reader, we had enough time to take the scenic route. My driving was leisurely, or even slow, as we meandered through the bendy country roads. Again, just taking in the rural views and loving every minute of it. We wanted to go back to Rothbury to get another of those yummy sandwiches in the breadcakes that you only seem to be able to get in the UK.

We found the same parking spot as we did that very morning and crossed the road to go back to that morning’s bakery. It had just shut! Please don’t worry for us though; our lives still had some meaning. We visited the ironmongers that hadn’t yet opened that morning. It was one of those places that had everything that one could need, from bird feeders to butter dishes. Killian decided that I needed a new walking stick. He had seen me leaning with my old one, which, in his mind, was too small for me. I think he really had his eye on a shepherd’s crook, but we settled on a nice wooden walking stick that is just a tiny bit taller than my French ones, and it’s propped up against my desk as I write—a little reminder of home.

Killian suggested we walk to a particular shop and then return, now with my new walking stick in hand. Leisurely was definitely the word of the day and summed up our attitude to it so well. We strolled down to the RSPCA charity shop. I thought I might just be able to get Killian a jacket to help smarten him up a bit, but failed. Ah well. We walked past the toy shop, which you could tell was for rural folk. The amount of toy tractors and all the farming machinery was awe-inspiring. Somebody somewhere had obviously been frustrated as a child…

We passed the Queen’s Head pub, and surprise surprise, we went in. I ordered the drinks and the crisps, made sure Killian had a place to sit, and went to the loo. The bar was full of locals, I presume farmers, judging by the size and musculature of the men. It would appear that their Friday evening sesh was just beginning. There was a couple of walkers with their dog, and a water bowl had been provided, and the dog was enjoying some of the treats from the complimentary dog treat jar. While some find the Northumbrian accent incomprehensible, to me, it’s music to my ears. I get every word of it. Killian, although fully bilingual in English, was struggling, praying that nobody would come up to him and try talking to him. Poor lad. And that was despite a pint of creamy, silky John Smith’s Bitter!

We left Rothbury behind us, feeling as if all were good in this world. Leisurely and peaceful, which felt amazing. We would head back towards Alnwick and have another look at the scenery in a new light compared with that morning. I have taken this route a few times and in the valley have always noticed a castle, and this time I thought, you know what? I’m going to have a look at that place. We saw the sign to the village of Edlingham and its 14th-century castle and turned left. You park just in front of the church, and you can go and see the ruins. We went into the church and saw somebody taking photographs with an old film camera. This guy had a vintage Nikon, and it looked beautiful. As photographers will do, we started talking shop. We talked about the films we used and how my X100F, although not a film camera, was the nearest thing I had found to a film camera in its feel and use. The photographer mentioned that the castle ruins were propped up with large iron beams, which seemed to detract from their historical charm. So, we decided to skip the visit. We parted ways and left the church after having managed to capture a couple of photos. Killian came running back in to ask the guy if he had a Nissan. He did. Well, in that case, it was his car that had just smashed into the church gate. Killian lifted the damaged gate to put it against the wall, and the driver was convinced that he had put his handbrake on. The gentleman called the number on the church notice board to try and tell the vicar about what had happened, but there was no answer. We never did find out if the driver managed to reach the vicar, but it was an unexpected end to our day of exploration.

The Opening of the Film Archives: On va Marcher sur la Lune, Kate

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Last week’s journey through the film archives took us to Nantes, specifically the Île de Nantes. While you’ve seen my photos from that day, I’m excited to share my daughter Kate’s photos with you.

Are these images works of art deserving of a gallery? Perhaps not, but they represent a delightful exercise in spontaneity. Captured by a seven-year-old “playing” with a camera, they offer a unique glimpse into how my young daughter sees the world. There are no rigid rules of photography or composition here—just an extension of her eyes. These photos are raw yet delicate, showcasing the world as she perceived it at that moment.

These photos mean a great deal to me, particularly the one she took of me with that glorious moustache! I’ve often discussed how the journey and process of photography can sometimes be even more meaningful than the final destination. That day was a significant part of that journey, and reflecting on my own first photos from that age fills me with nostalgia.

The UK Chronicles Part VII: Chesters Roman Fort

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Welcome, Dear Reader, to the very edge of the Roman Empire, and by implication, civilisation. You might be wondering why there’s a carving of a phallus as the cover photo for this article. Well, don’t forget that soldiers will be soldiers, even when they’re part of a Spanish Cavalry regiment stationed here. Some things never change—except these soldiers were caught by archaeologists centuries later!

Chesters Roman Fort was constructed along Hadrian’s Wall to keep out the “uncivilised” Picts and Scots. This impressive wall stretches across the country from East to West, ending at Wallsend in Tyneside. It was a massive undertaking, and I’m still amazed by this feat of engineering.

Killian, my dear son and heir, whom you might recall from the previous article about his misadventures at Otterburn, was slightly less impressed. “Ce n’est pas le Mur d’Hadrian, mais le muret d’Hadiran,” he quipped—translating to, “Not Hadrian’s wall, but Hadrian’s little tiny miniature wall.” Some people are just impossible to please!

Despite his initial skepticism, Killian was genuinely impressed by the quality of the stonemasonry, even after nearly 2,000 years. With his background in plumbing, he quickly noticed the Roman plumbing and underfloor heating, which makes you realise how little we’ve actually invented since then.

When we visited the cavalry lines and saw where the horses were kept, he was astonished to learn that three men and three horses lived in the same building, with the horses at one end and the soldiers at the other.

Even though he was flippant at the start of the visit, he took a keen interest in everything and enjoyed explaining each building to me. Maybe he’s a closet intellectual after all…

As we continued our tour, my knee was giving me trouble, and Killian showed his concern, asking if I really wanted to go down to the river to see where the bridge once stood. I insisted we go, so we made our way slowly towards the river and the soldiers’ baths. And by baths, I mean a fully-fledged hammam complete with sauna and dry heat—the very latest technology to provide the frontier soldiers with some home comforts. If those baths were still operational, they might have been perfect for soothing my arthritic knee!

We walked slowly towards the west gate and could only imagine the civilian buildings buried beneath the fields in front of us. This site wasn’t just a series of building outlines but a thriving Roman community on the very edge of civilisation.

Speaking of civilisation, I felt it might just be time for a cup of tea. As we strolled through the site towards the car, we spotted a tea shop. A cup of tea and a slice of cake were just what I needed—I was in heaven! Good old National Trust! No wonder they’re an institution. Our conversation shifted to the gift shop, where I was trying to convince Killian that, despite how cool owning a replica Roman helmet and armour might be, it could be a tad impractical and he might not have many occasions to wear such Roman regalia. Mind you he would be very dashing!

If you want to, you can even play a game of “Where’s Waldo” or “Where’s Wally,” for the British readers. Note I didn’t say “Where’s the Wally…” Keep an eye out for the photos of Killian…