Category: Camera reviews

Clisson — A Guilty Pleasure

Posted on Posted in Camera reviews, photography philosophy, Reportage, Street Photography, Travel photographyTagged , , , , 1 Comment

Gear: Canon EOS 6D Mark II | 16–35mm | 24–70mm | 70–300mm | CPL filter

A warm Wednesday in May. Clisson. Back in April I was here with the EOS 500 and wrote that I was missing the Canon 6D Mark II. Well.

I’ve been here before, of course. You don’t live in this part of France and not find yourself back in Clisson every so often. The medieval castle, the weirs, the old bridge with its stone cross, the Italian terraces creeping up the hillside. It has a slightly unreal quality, like someone has taken a corner of Tuscany and dropped it quietly into the Loire-Atlantique. The Sèvre Nantaise was running high and brown today — all that recent rain — which made the weirs more dramatic than usual, churning white water over the stone steps.

I came down through the town from the castle side. The bunting was up across the streets near the main square, yellow and red triangles strung between the buildings, flapping gently. A woman on a bicycle was navigating the cobblestones with considerable confidence. Two men were eating lunch outside on a terrace — “Bon appétit, messieurs” — and they looked up and smiled. These small things matter. The panama hat was on. I was in no hurry.

The juice bar near the bridge foot, Juste un Jus, had the castle tower rising directly behind it like a film set. I stood there for a moment with the 24–70mm and took the shot. Sometimes Clisson just hands you a composition.

Crossing the Pont Saint-Antoine, I stopped at the stone cross near the midpoint. It’s a modest thing really, weathered and lichen-covered, but the view it frames looking back toward the château is extraordinary. The cobblestones, the parapet, the ruined towers against the sky. I took several frames here and kept coming back to it. One of those spots where you don’t quite want to leave.

Below the bridge on the town side, a woman was standing at the water’s edge looking up at the arches. She wasn’t posing. She was just there, in her own thoughts, which made the photograph. Further along the bank, white calla lilies were growing wild in a tangle of green at the river’s edge, the old stone arch just visible beyond them. The 70–300mm earns its weight on a day like this.

The path along the Sèvre heading away from town is lush in May. The linden trees were in blossom, hanging overhead in the dappled shade. Yellow wildflowers were growing right down to the waterline, their stems reflected in the brown moving water. I don’t know the name of every plant I photograph. Sometimes it doesn’t matter.

On the way back through the streets I noticed a small yellow letterbox set into the wall. “POSTES — CLISSON.” It seemed like a reasonable way to end the afternoon.

On était bien là.

Article notes

On the Canon 6D Mark II in 2026: Yes, it was released in 2017. Yes, Canon has long since moved on to the EOS R series. No, I don’t particularly care.

I came to Clisson knowing this outing would feel different. I wanted to test that honestly: same town, same kind of light, a familiar subject, but a different tool. And it does get the job done. It gets the job done very well. But did I feel like I was cheating? In some respects, yes.

The 6D Mark II is in many ways point and shoot. The autofocus makes decisions quickly and accurately. The image stabilisation in the lenses gives you frames you would simply never achieve on film — handheld shots at slower shutter speeds that come out clean, details in low-contrast shade that hold together. You don’t have to count frames or worry about whether a scene is worth the cost of the shot. You can try things freely. And yet I was shooting mindfully, the same way I would with film. Pausing. Looking. Deciding before pressing the shutter rather than after. The camera was doing more of the mechanical work, but the intention was the same.

Which is where the imposter syndrome creeps in.

Do I deserve the results? The images are good because the light was good and the composition was considered and the 6D Mark II’s full-frame sensor handled everything it was asked to handle. But some small part of me wonders how much of that I can genuinely claim. With the EOS 500 you earn each frame by committing to it. You have thirty-six shots. No preview. No second chance. The discipline is built in. With digital, the discipline has to come from you, and it is easier to let it slip without noticing.

The 16–35mm was a deliberate experiment. I knew it would show me Clisson differently. Getting low near the castle, letting the wide end exaggerate the height of the towers, using the diagonal of the outer wall as a lead-in. That is something the EOS 500 and a fixed 24mm simply cannot do. I shot on aperture priority for most of the day, which kept me thinking about depth of field rather than handing everything over to the camera. It felt like the right balance: let the 6D Mark II handle the exposure arithmetic, but keep the creative decisions in hand. For the 70–300mm I switched to shutter priority. At that focal length you need to know the shutter speed is fast enough to keep things sharp, particularly with the river moving, people on the bridge, wildflowers shifting in any breeze. The compression and selective focus that lens gives you — the yellow wildflowers sharp against the blurred water behind them — only works if the shutter is doing its job. These are results I would never get on film. The workhorse earns its place.

The CPL filter helped throughout. It deepened that May sky, cut the glare off the weir, brought the riverbank green back from what the flat midday sun was trying to do to it. One of those practical things you stop noticing until you see what the images look like without one.

The colours are perhaps the starkest difference from film — and I should say, the most obvious one, given that the AGFA APX 100 I use in the EOS 500 is a black and white negative film. There is no colour to compare. The 6D Mark II gives you the full scene: the terracotta of the buildings, the vivid green of the May riverbank, the blue the CPL filter pulls out of the sky above the castle towers. AGFA APX 100 gives you grain, tone, contrast, texture. A different kind of truth about the same place. Neither is more correct. That is exactly why it is worth doing both.

Then there is the edit. The 16 images I kept were processed with minimal adjustment and a single Portra preset — a film emulation based on Kodak Portra colour negative film. Warm lifted shadows, a slight vignette, teal-shifted blues. The result is that these digital files, shot on a nine-year-old DSLR to see what digital could do that film cannot, have been processed to look as much like film as possible. I did not plan that irony. But there it is.

One concrete number from the day: 123 frames, 16 strong images. A 13% hit rate. On a roll of 36 with the EOS 500 I would expect to come back with 4 or 5 solid keepers — roughly the same proportion. The digital camera gave me more attempts, more flexibility, no cost per frame. The ratio stayed almost identical. That is either reassuring or unsettling depending on your mood. It suggests the extra frames didn’t make me careless. It also suggests that 36 frames of discipline might have found those 16 anyway.

But yes. Guilty pleasure. I know it is just a tool, and a good one. I know the results come from the eye as much as the camera. I know all the rational arguments. And I will keep making them to myself, probably for longer than I should, every time I reach for it instead of the film bag.

Previous Clisson outings: 7th April 2026 with the EOS 500 and 25th January 2026 with the Nikon FE.

Château de Clisson towers seen from below against deep blue May sky, Canon 6D Mark II 16-35mm CPL filter
Château de Clisson keep from the rocky base
Pont Saint-Antoine bridge and weir on the Sèvre Nantaise, Clisson town buildings beyond, Canon 6D Mark II 16-35mm
Pont Saint-Antoine Clisson from the stone riverbank, weir foreground and church tower beyond, Canon 6D Mark II 16-35mm Caption: Clisson from the bank
Two people sitting on stone bridge parapet in Clisson, backs to camera, green May trees beyond, Canon 6D Mark II 70-300mm
View along the Sèvre Nantaise from Pont Saint-Antoine, Clisson church tower and riverside houses in lush May green, Canon 6D Mark II
Stone cross on Pont Saint-Antoine with Château de Clisson in background, cobblestone bridge leading to medieval towers, Canon 6D Mark II 16-35mm
Juste un Jus juice bar in Clisson with medieval castle tower rising behind it, Canon 6D Mark II 24-70mm
Clisson street with yellow and red bunting, cyclist on cobblestones, terracotta building and mural, Canon 6D Mark II 16-35mm
Yellow POSTES letterbox set into dark green wall stamped CLISSON, Canon 6D Mark II 24-70mm Loire-Atlantique
White calla lilies growing wild at edge of Sèvre Nantaise, ivy-covered stone arch beyond, Clisson, Canon 6D Mark II 16-35mm
Linden tree blossom hanging over riverside path along the Sèvre Nantaise in May, Canon 6D Mark II 16-35mm Clisson
Yellow wildflowers sharp against blurred brown Sèvre Nantaise river, Canon 6D Mark II 70-300mm shutter priority, Clisson
Handwritten French rainbow quote on linen curtain in Clisson shop window, green shutters, Canon 6D Mark II 16-35mm
Old stone bridge arch covered in ivy and moss in soft May light, Sèvre Nantaise Clisson, Canon 6D Mark II 70-300mm
Stone bridge arch reflected in high brown Sèvre Nantaise water, lush green summer trees, Clisson, Canon 6D Mark II 70-300mm
Close-up of fern frond covered in orange spore clusters along Sèvre Nantaise riverside path, Clisson, Canon 6D Mark II 24-70mm Macro mode

Olympus Trip 35 Review: Still Worth Shooting in 2026?

Posted on Posted in Black and White Photography, Camera reviews, Film Photography, Landscape PhotographyTagged , , , , 6 Comments

The Olympus Trip 35 is one of the most loved film cameras ever made, and mine sat on a shelf for years before I got round to using it properly. Over ten million were made between 1967 and 1984, and people are still shooting them today. Here’s what it’s actually like to use one, from someone who finally took his off the shelf.

The one that sat on the shelf

I’ll be straight with you, Dear Reader. My Trip 35 has been sitting on the shelf for longer than I’d care to admit. It’s one of those cameras you pick up, think “I really must use this more,” and put back down in favour of whatever’s currently calling to you. In my case that’s usually the Pentax ME Super or the Mamiya C220, neither of which fits in a coat pocket, which is rather the point of the Trip.

So on a Sunday morning in late April I loaded a roll of expired Ilford FP4 (2013 vintage, shot at 64 ASA) and drove out towards Remouillé and Viellevigne. A route I used to cycle twenty years ago. Past the tree I was going to work on at Le Moulin du Patis, then right towards La Planche, and eventually down to a fishing lake on the road back. I wanted reflections. Mostly I just needed to get out of the house.

The Trip 35 came with me. The X100F stayed in the bag.

What is the Olympus Trip 35?

The Trip 35 was built to be the camera you take on holiday, hence the name. Launched in 1967, it was Olympus’s answer to a simple question: what if a camera just worked, without you having to think about it?

The answer was a 40mm f/2.8 D.Zuiko lens, a selenium cell light meter that needs no batteries at all, and a fully automatic exposure system with exactly two shutter speeds: 1/40s or 1/200s. That’s it. You focus using zone symbols on the lens barrel, a portrait head, a small group, a mountain, and the camera takes care of the rest.

If there isn’t enough light, a small red flag pops up in the viewfinder to warn you before you press the shutter. It won’t fire (well, it will, but only on manual override). It’s the camera’s polite way of telling you: not today.

The lens

The 40mm D.Zuiko is genuinely excellent. Sharp across the frame, renders colours well, and sits at a focal length that’s just wide enough for street work without feeling uncomfortable. It splits the difference between the classic 35mm and 50mm and, in practice, that in-between length feels right for everyday shooting.

David Bailey used a Trip 35 for his street work in the 1960s and ’70s, which tells you what the lens can do in the right hands. I make no such claims about my own hands, but the camera certainly isn’t the limiting factor.

Out in the field

I shot mostly on the mountain zone setting, dropping to the group symbol for closer subjects. The shutter feels dainty, that’s the only word for it, a light, almost apologetic click compared to the satisfying thunk of a proper SLR. The whole camera feels absurdly light. After years of carrying the Mamiya C220 around, it’s almost disconcerting.

I could hear crows. The faint sound of distant cars. Sunlight sparkling on the lake. I found myself thinking about a similar morning walking round a lake in China, and a series I shot in May on the X100F. Photography as therapy, not portfolio shots. I knew that going in, and it didn’t matter. Sometimes you just need to be still with something.

Zone focus takes a moment to get used to if you’re coming from a rangefinder or autofocus, but once it’s in your muscle memory it’s faster than it sounds. Mountain for landscapes and the lake. Group for anything closer. The camera does the rest.

The automatic exposure handles most situations well. Where it struggles is high contrast: bright sky, dark water, that sort of thing, where any automatic system is going to make compromises. But for even light and open countryside it’s excellent. You point, you shoot, you trust it.

The selenium meter: check this before you buy

Here’s the practical bit. The Trip 35’s selenium meter needs no batteries, which is one of its best features. But selenium cells degrade with age, and a meter that worked fine in 1975 might not be accurate in 2026.

Test the meter before you buy. Point the camera at a bright scene and check the aperture ring moves in response to the light. If it doesn’t move, or moves sluggishly, the meter’s on its way out. A dead meter doesn’t make the camera useless, you can shoot manual using the Sunny 16 rule, but it takes away one of the Trip’s main advantages.

Good copies are still out there, though prices have gone up as film photography’s popularity has grown. Based on current listings, budget somewhere between 70 and 135 euros for a solid working copy: basic tested examples start around 60 to 80 euros, good condition cameras sit at 100 to 135, and mint examples from Japan (plus shipping) push higher still. Parts-only cameras go for 40 to 60 euros if you’re handy and want a project. Recently serviced copies with new seals and leather cost more but save you a CLA down the line. Test the meter regardless.

Film choices

The Trip 35’s automatic system works best in good light. I shot expired Ilford FP4 (2013) rated at 64 ASA, developed in R09 at box speed, the slight overexposure compensating for twelve years of aging. Black and white suits this camera. The rendering feels right for country lanes and lake reflections. For colour, Kodak Gold 200 is a natural pairing on sunny days. Ilford HP5 pushed to 800 if you need to work in lower light.

There’s a flash sync socket too, so you can push into lower light with a small flash unit if you want. But honestly, the Trip 35 is happiest in daylight. It’s a holiday camera at heart, even if you’re using it to document a Tuesday afternoon in Nantes.

Is it still worth shooting in 2026?

Yes, unreservedly. The Trip 35 strips friction out of the act of photography. You don’t think about exposure. You don’t carry a bag of accessories. You don’t worry about battery life. You load a roll, go outside, and shoot.

That simplicity is the whole point, not something you put up with. Some of my favourite shots from the last few years have come from cameras like this, where not overthinking it produced something more spontaneous and more honest than anything I might have got with a more involved setup.

The shelf it was sitting on was my mistake. Not the camera’s.

Quick reference

  • Lens: 40mm f/2.8 D.Zuiko (6 elements, 4 groups)
  • Shutter speeds: 1/40s and 1/200s (automatic)
  • Focus: Zone focus (1m, 1.5m, 3m, infinity)
  • Meter: Selenium cell, no batteries required
  • Film: 35mm, any ISO (set via ASA dial: 25 to 400)
  • Produced: 1967 to 1984
  • Second-hand price: roughly 70 to 135 euros (working, good condition)
  • Best for: Street photography, travel, everyday carry

If you enjoyed this, you might also like my reviews of the Olympus Pen EE-S and the Pentax ME Super, two cameras that share the same spirit of getting out of the way and letting you photograph.

Black and white film photograph of a weathered wooden fence post with wire insulators, flat fields behind, Vendée.
Black and white film photograph of a lake seen through trees, soft reflections on still water, La Planche
Black and white film photograph of two joggers running along a lakeside path through trees, La Planche
Black and white film photograph of three tree trunks at the edge of a lake, La Planche
Black and white film photograph of two trees beside still water with a soft atmospheric quality, La Planche
Black and white film photograph of a farm track leading toward a tall poplar tree, Vendée countryside.
Black and white film photograph of two bare tree trunks at a lakeside, surrounded by leafy trees, La Planche, Vendée.
A single wooden post stands in perfectly still water, its reflection extending directly below, framed on either side by low vegetation at the bank. The most minimal and considered frame on the roll, and the best argument for leaving the house with a pocket camera.
Black and white film photograph of a narrow water channel through trees with a bright sky reflection at the end
Black and white film photograph of textured tree bark in the foreground with a lake visible behind, La Planche

Nikon FE Review: Features and User Experience

Posted on Posted in Black and White Photography, Camera reviewsTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 12 Comments

Hello Dear Reader. I know you are an astute fellow, and that you never miss a trick. You will have noticed me talking about the Nikon FE. I will share something with you. I actually bought one at the end of last year from my HR director, but wanted to have the right time and places to start using it. One can’t rush this kind of thing.

Some of you might even say, “I thought you were a Fuji guy, or a Canon guy, or even a Pentax guy.” I hate to disappoint all those of you attached to a particular brand, but I am above all “a guy.” Mind you, this was my first venture into Nikon-world. Not a Nikon D something…. I went slightly more old school as I have been known to go before.

Why the FE and not the FE2, or even F3? The guy was selling an FE, that is why. Now that is out of the way, let’s have a look at this camera. First and foremost, it’s a really sexy camera reminiscent of those used in the 60’s by National Geographic photographers. It’s not, but that’s by the by. It actually came out in 1978. Secondly, this particular one was in full working order, always a plus; the price was fair for the camera’s excellent condition. I may be a collectionneur, but a camera is there to be used. Did I say it was a very sexy camera? I did. Oh good.

As I am wont to do, I took it out for a test drive to Nantes, and took it round Bouffay. And the pub… just enough to get a feel for the wee beastie. A roll of Ilford HP5 at box speed and I was ready to go. Verdict? So far so good. I must have done just 10 shots that day, and came back to it later, much later, to finish the roll. The feel in the hand was fine, and what I’m used to. The lens I have is a 50mm f/1.8, aka the nifty fifty. Usability? Aperture priority, which I enjoy. And the one thing that tickled me pink was being able to see the aperture ring through the viewfinder. Very useful…  It’s since journeyed to Lourdes, the mountains, even Northumberland—never once feeling like a limitation.

Does it have auto focus? No. It doesn’t. It has manual focus, which I find easier to use. I prefer to choose myself rather than have modern technology do everything for me. Yes, I use it on my DSLR, but I don’t use that the way I do when doing film photography. Here’s a surprise for you: I am not built for speed. I am built for comfort and won’t be hurried. This kind of SLR suits me to a T.

I know some of you little techies out there need specs about a camera, so for you lovely people, here you are:

Nikon FE – Quick Specs

  • Production: 1978–1983
  • Type: 35mm manual-focus SLR
  • Exposure: Aperture-priority AE + full manual
  • Metering: Centre-weighted TTL (match-needle in viewfinder)
  • Shutter: 1–1/1000s + B, electronically controlled (requires battery)
  • Viewfinder: Fixed eye-level pentaprism (~93% coverage) with aperture & shutter speed display
  • Lens mount: Nikon F (AI/AI-S compatible)
  • Battery: 2× SR44 (or 1× CR1/3N) – note: the camera can operate at 1/90s (M90 mode) without a battery
  • Weight: ~590 g (body only)
  • Fun fact: One of the smallest and lightest Nikon SLRs with full AE.

Is it ‘better’ than the Pentax ME Super? Not objectively—but it fits me. I prefer Nikon’s take-up spool, and that viewfinder aperture display? That’s the clincher. Pentax glass is glorious, no doubt. But this? This is my beastie.

I’m over the moon to have this addition to the working collection, and I have to go and finish the film that’s still inside it. So yes, I enjoyed using it; yes, it wasn’t foreign enough to scare me. Do I have any regrets? Absolutely not! It works just the way I need it to, and when it comes to cameras, isn’t that all we need?

Fujifilm X-T2 Review (2026): Still Worth Buying?

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

The Fujifilm X-T2 is pushing ten years old now, but it’s still a capable, good-looking camera that holds its own against plenty of newer options. Here’s an honest assessment from someone who’s used it alongside film cameras in everyday life, based in Nantes.

The X100F made me do it

It’s no secret to regular readers of this blog that I have a deep fondness, bordering on obsession, for my Fujifilm X100F. It’s a great little camera that gets me excited every time I take it out of the bag. So what does that have to do with the X-T2, Dear Reader? Well, they’re both made by Fuji, they both have an X in the name, and I have a deep affection for a nice cup of tea. Not the same T, I know. Ah well.

How the two compare

I bought the X-T2 as a complement to the X100F, not a replacement, so it’s worth talking about how they actually differ. Both use the same 24 megapixel sensor with an anti-aliasing filter and the same ISO range, 200 to 128000. Both have excellent viewfinders. The X100F’s screen is fixed, the X-T2’s tilts, which matters more than you’d think for waist-level shots. The X100F shoots at 8fps, the X-T2 up to 14fps, and for video the X100F is limited to Full HD while the X-T2 does 4K and can hit 120fps for slow motion. Both have built-in wireless. Weight-wise there’s barely anything in it: 469g for the X100F, 507g for the X-T2.

The real difference is the lens. The X100F is stuck with its fixed 23mm f/2.0 (35mm equivalent), which is no bad thing, but the X-T2 takes the whole X-mount range. That’s the entire reason to own both. The X-T2 also has weather sealing, which the X100F doesn’t.

Why bother with an older body

Because I could, and because it used the same batteries and the same film simulations I already loved on the X100F, even if there were fewer of them back then. That was more than enough for me.

My first lens for it was the 16mm f/2.8 (24mm equivalent), the natural partner to the X100F’s 35mm equivalent. Later I found TTArtisan and 7Artisans, two Chinese firms making cheap manual focus lenses for X-mount. I’ve now got their 35mm f/1.2 (50mm equivalent), 58mm f/1.4 (85mm equivalent), and a 7mm f/2.8 fisheye from each, all for a fraction of the price of the autofocus Fuji glass. The only concession I made to Fuji’s own lenses was the 18-55mm f/2.8 kit zoom, which has image stabilisation built in and earns its keep for that reason alone.

Is it still worth it

Buying secondhand made the decision easy. It doesn’t have as many megapixels as the newer X-T5, and it doesn’t match its spec sheet either, but for someone shooting as an amateur, and I count myself one, that doesn’t matter nearly as much as camera shops would have you believe. Twenty-four megapixels prints comfortably at 20 by 30 inches, which is bigger than most people will ever need.

I’ve just checked mpb.com and X-T2 bodies are going for 487 to 729 euros depending on condition. Lenses range from around 104 euros for a 7Artisans 35mm f/1.2 up to 279 to 340 euros for the Fuji 16mm f/2.8. Considerably cheaper than buying into a current model, and the results aren’t far off.

Ten years on, the X-T2 still holds up: excellent image quality, classic dial-based handling, weather sealing, and access to the whole X-mount lens range. It suits street work and landscapes equally well. It’s never going to out-spec a current camera, and it doesn’t need to. If you want good results without paying current prices, the used market probably has a decent X-T2 waiting for you.

café tables in the street
woman walking near bikes
dog
my daughter
People sitting down eating
tramlines in Nantes
Bike
Sergio
street lights in the Place Graslina
bar de quartier
street crossing in Nanates
building in Nantes
Art School in Nantes
the bird nest
the Île de Nantes
bikes
TGV in Paris Montparnasse
Winged Victory of Samothrace
Winged Victory of Samothrace
The Louvre
the Eiffel Tower
Fujifilm X-T2 mirrorless camera with interchangeable lens

Post script

This camera also shoots 4K video, and I use it at work for training videos for new staff. It’s lighter than my Canon 6D Mark II and gives me a picture style I like straight out of camera. It has no in-body stabilisation, but I use it on a tripod for that work anyway, and if I reach for the 18-55mm kit lens there’s stabilisation in the lens itself.

I’ll try to find you an excerpt of the latest video.

And here it is…

The Opening of the Film Archives—Le Château des Ducs de Bretagne, August 2016

Posted on Posted in Architecture, Black and White Photography, Camera reviews, Film Photography, France, History, Landscape Photography, Nantes Photography, Street Photography, The Film Archives, Travel photography, UrbanTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 11 Comments

Welcome back to the Film Archive of IJM Photography! This time, we find ourselves in the beautiful city of Nantes, in the heart of the Cité des Ducs, walking round the Château des Ducs de Bretagne.

As we explore the castle, I’m armed with another one of my favorite cameras from the golden days of film photography—the Canon AE1. This was before the surge of interest from the YouTube hipster crowd, who quickly snatched up every classic camera they could find, driving up prices and making these gems harder to come by.

The Canon AE1 is justifiably sought after, and for good reason. It’s paired here with the FD 50mm F1.8 lens, which has a way of capturing light that makes every shot in this set feel alive.

It feels solid in the hand, and focusing with the split prism is a breeze. The camera is “shutter priority,” and it adapts the f-stop to the speed at which you’re shooting. As a street photographer, I don’t need to shoot at 1/1000th of a second for all my shots, so I have a wider range of options than someone taking pictures of sports. It still provides me with the necessary depth of field.

On this particular day, I was motivated and thought I could walk up the steps to the battlements to get some more interesting shots from a raised standpoint. I captured the urban landscape that spans from the 13th to the 21st century, and in one of the shots, you can see the ever-present figure of the Tour de Bretagne. It once represented the modernity of the 20th century and is now closed for asbestos removal. My feet, however, were firmly rooted much earlier in the castle.

Old stone, a camera that’s older still, and an afternoon well spent.

The Opening of the Film Archives – Noirmoutier September 2016

Posted on Posted in Black and White Photography, Camera reviews, Film Photography, France, Landscape Photography, The Film Archives, Travel photographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 4 Comments

Welcome back, dear reader, to another delve into the Film Archive from before this wonderful blog that I know you enjoy reading so much. I appreciate being able to share these photos with you in the hope that they may not only please you but also offer insight into an older form of photography, one where concerns about overheating or battery life were minimal. I want to demonstrate how it is still possible to achieve great results with any camera and that the main quality in your photography comes from you, the photographer.

Earlier this year, I was there with my Canon 6D Mark II, but today, we’re revisiting my visit from September 2016. At that time, I didn’t have my Canon, but I did have the Olympus Trip 35 with HP5 Plus film from Ilford. I used that camera quite a lot that summer and continued to use it in September. I might just have to dig it out of my camera cupboard and use it again. Constraints and minimal kit often lead to more creative decisions—just think back to my UK trip, where I only had my X100F with me.

Let’s start with the camera. It’s a small but gorgeous camera designed for the mass market in the 1960s and was still being produced in the 1980s, which attests to its appeal among casual photographers. With relatively few controls, it’s pretty foolproof. I can adjust the film ASA setting, and the selenium cell housed with the lens takes care of the rest, whether it’s aperture or shutter speed. The famous red flag appears in the viewfinder when the camera senses insufficient light. All I need to do is set the focus zone.

I must have bought mine around 2015 or 2016, and it was quite affordable at the time—no more than 50€. It was an iconic camera then and still is today, but as the supply of these cameras dwindles, prices have increased. You can now expect to pay 100€ or more, with some models even reaching nearly 200€. It remains a great camera but might be a victim of its own success, along with sellers’ optimism and greed. Buyer beware—shop around, and you might still find more accessible prices.

As for film, prices have also risen, especially for Kodak film, but Ilford remains affordable, as do Kentmere, Fomapan, and Rollei.

I’ve travelled the same road numerous times, and it always brings me a certain sense of peace. I tend to stop off at familiar spots along the way, and those of you with an eagle eye will recognise some of these locations from other photos in this blog.

But why go to Noirmoutier? Firstly, why not? It’s just over an hour’s drive from my home and is a popular destination for many locals from the Vendée. The island now suffers from overtourism, which has certainly changed its character since 2016. Efforts have been made to manage the flow of tourists, with improvements such as parking, pedestrian zones, clearly marked hiking trails, and numerous bike lanes. It’s a beautiful part of the world, so typical of the Vendée Coast with its pinède and long beaches. However, not everything is about tourism. The island is also renowned for its salted butter made with salt from local salt marshes and the famous potatoes from Noirmoutier. Additionally, there’s a small fishing fleet, as well as the fleet from Le Port du Bec in the neighbouring Beauvoir-sur-Mer.

The Opening of the Film Archives, Lisbon, August 2016

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Welcome back to the Film Archives, where I showcase my analogue photography from the period BB (before the blog). In this edition, we’re diving into a street photography session in Lisbon, captured using the Olympus Trip 35 paired with Ilford HP5 Plus film. This camera and film combination was my go-to at the time, and with the fantastic lighting conditions in Lisbon, I was confident in its ability to deliver excellent results.

Our cruise around the Canary Islands had one final stop in Lisbon before heading back to Southampton. After disembarking, we faced the usual checks—showing ID and ensuring we had no contraband. The docks were conveniently close to the city center, and I followed the crowd to the left as we exited. My family, however, decided to explore in a different direction and turned right.

Lisbon is renowned for its distinctive tiles, and I was immediately drawn to their intricate patterns. My first shot aimed to capture these tiles, which were a striking shade of blue. Of course, the beauty of these tiles is somewhat lost in black-and-white photos, but the pattern’s appeal was undeniable. Perhaps a color photograph would have better showcased their vibrancy, but the monochrome shots still convey the city’s essence.

Having visited Lisbon before, I was eager to find the massive statue of a man on a horse located in the square. Finding it again brought back memories of my previous visit. The weather was quite warm—typical of that summer—but I sought refuge under the cool arches, which made for excellent photographic compositions. The leading lines and repetitive patterns of the arches created compelling visual elements in my photos.

One aspect I had forgotten about was the trolley buses. Their bright yellow color adds a unique touch to the city’s character. Although these buses are less striking in black and white, their presence adds to the city’s charm and energy.

The Olympus Trip 35 is a straightforward, fully mechanical camera with a fixed lens and automatic exposure. It’s perfect for street photography due to its simplicity and reliability. The HP5 Plus film is known for its versatility and fine grain, which works well in various lighting conditions. On this bright day in Lisbon, the film’s wide exposure latitude allowed me to capture the city’s details with great clarity and depth.

As I walked through Lisbon, it felt as if I had stepped back in time. The city’s mosaic pavements and vintage shop signs created a nostalgic atmosphere reminiscent of the 1960s. While I’m sure some areas are more modern, my exploration was limited to the historic parts I could reach on foot. In these moments, I felt detached from the “real” world, fully immersed in observing and photographing the city. This sense of liberation of being a stranger in a new place is incredibly freeing.

During my shoot, a German lady, who was a resident of Lisbon, approached me on Instagram and was surprised when I told her these photos were taken just 15 days ago. It’s fascinating how a fresh perspective can capture the timeless quality of a place.

In summary, Lisbon, at least in the areas I explored, possesses a timeless charm akin to that of a gentleman in a linen suit with a Panama hat. The city’s classical style and foreign allure were captivating. Although I don’t speak Portuguese, I chose to keep to myself, relying on the universal language of photography to connect with the city.

The Olympus Trip 35 was ideal for this day of exploration. Its simplicity, coupled with the bright light of Lisbon, allowed me to focus on capturing the city’s spirit without being bogged down by complex settings. The vintage camera, combined with the city’s classic charm, perhaps contributed to the nostalgic vibe of the photos, adding to the allure that intrigued even my German friend.

I want it, but do I really need it?

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The camera gear industry is a powerful beast and it tries to convince us that this piece of kit, that is conveniently in stock, will help you become that photographer that you are destined to be.  Be that in magazines, be that in youtube influencer videos that “try out the camera” that the manufacturer has just lent us to show you what it’s like.  I’ve watched loads of these videos especially when thinking about the kit I wanted to buy.  Come on in and I’ll make sure you have the best camera possible, and the best possible lens.  What’s your budget?  OK, I’m sure we can work something out.  What kind of photography do you want to do?  Well, you’ll need this, and this, and this, etc.

That nice man in the shop will be more than happy to take your money and sell a high end camera that will be a thing of beauty.  But look at the title again.  “I want it, but do I really need it?”  You have fallen into their trap.  I’m not trying to put down these sales people, and their wealth of knowledge, but know that there are other options out there.

I’m going to dare say it.  You don’t need the latest and greatest equipment to take great photos.  Instead prioritise value, and mindful shooting, over gear acquisition.  Think about boys and toys.  I get exactly the same feeling as you when I enter a camera store.  I want it all.  Of course I do.  Who doesn’t?  But,what would my wife say?  What would my bank manager say?  What would reason tell me instead of letting my emotions get the better of me?  Can I really justify this acquisition?  Do I really need it, or is there a less onerous solution?  I know.  I’ve just pissed on your bonfire, but it’s time for a reality check here…

So what can I do about that?  You can realise that there is a huge market of second hand gear out there.  I have taken this route in the past and have no regrets.  Yes, I did it my way…

Where do you go to discover all these hidden gems?  There is of course E-Bay, that huge online auction site which I used to acquire the majority of my film cameras.  When I was a customer of the site the film cameras were fairly cheap, since those pesky hipsters hadn’t cottoned on to the fact that film photography is cool.  So yes, each purchase was a gamble, but I had less money to lose, and the return would be greater.  The old cameras were simpler, the lenses were great, and there are still lots of examples of reasonable cameras out there.  Would I use it for digital?  Probably not.  I’m not really a gambling man, and don’t have a huge wad of cash that I am willing to possibly waste.

But E-Bay is not the only option.  There are various online sites such as mpb.com that have a very good reputation, and have tested each piece of equipment that they sell.  They give you an honest appraisal of the piece of kit and are honest about the state of said piece of kit.  They guarantee each purchase, and have a generous returns policy.  I might consider using it if I were interested in buying some new kit.  But at the moment I’m not.  There are also second hand areas of our beloved camera shops that will have used gear.  

When buying second hand, you will generally be spending less money, or at worst, getting more kit for your hard earned cash.  Older models of camera might not be as super duper as the latest models that look so sexy in that shop window, but for what most us mere mortals need, they are more than adequate.   You really have to look at which features are most important to you.  Thanks to you, there will be one less camera going to landfill.

Talking of features, let’s talk about the 80/20 rule.  For 80% of your photographs, you will use about 20% of your gear, and features on your camera. I urge you to identify the essential features for your type of photography (e.g., autofocus, image stabilisation, dynamic range), and maybe avoid spending money on features or lenses that you won’t use frequently.  Shutter speed when doing sports photography, or high dynamic range for landscape photography.  Is an F1.2 lens really what you need, or will F2.0 pr F2.8 still get the effect you want?

I’m going to talk about the X100F (again!) and compare it to the latest version from Fujifilm, the X100V and the X100VI

FeatureFujifilm X100FFujifilm X100VFujifilm X100VI
Sensor24.3MP APS-C X-Trans CMOS III26.1MP APS-C X-Trans CMOS 440.2MP APS-C X-Trans CMOS 5 HR Sensor
Lens23mm f/2 (35mm equivalent)23mm f/2 (35mm equivalent) with improved optics23mm f/2 (35mm equivalent) with further improved optics
Autofocus91-point hybrid autofocus425-point hybrid autofocus with improved face/eye detection425-point hybrid autofocus with further improved face/eye detection and subject tracking
ViewfinderHybrid viewfinder (optical/electronic)Hybrid viewfinder (optical/electronic) with improved EVFHybrid viewfinder (optical/electronic) with a larger and higher resolution EVF
Screen3-inch fixed LCD3-inch tilting touchscreen3-inch tilting touchscreen
Image StabilisationN/AN/A6-Stop In-Body Image Stabilization
Video1080p up to 60fps4K up to 30fps6.2K (cropped) and 4K up to 30fps
Weather SealingNoYesYes
Price (approx.)€800-€1000 (used)€1300-€1500 (used)€1700-€1800 (new)

The X100VI wins on paper everywhere it matters: more resolution, a proper autofocus system, a bigger viewfinder, real video, weather sealing. The X100V sits in between on all of it, and costs less. The X100F is the oldest and least capable by the spec sheet, and it’s also the cheapest by a wide margin secondhand.

So which one do you actually need? If you’re shooting video seriously or need every autofocus point you can get, fine, go newer. But if you’re mostly doing what I do with mine — street shots, travel, the odd portrait — the X100F still does the job, and does it for a fraction of the price. I bought mine used and it’s more camera than I’ve ever needed. Sometimes the “worse” spec sheet is the right answer.

If you are a professional, then I think the same logic will apply.  Even though a nice kit is an investment you need to consider the returns on your investment?  Is the purchase justified and will it bring more work for you?  Will it expand my offer enough?  If you are an amateur, then you can spend any amount of money you want, but if you could do more, with less, wouldn’t that be an appealing option? Have I not managed to convince you yet? Look at the film archives… And look at the pictures from the X100F…

The Opening of the Film Archives – Clisson May 2016

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Introduction

Welcome back to the film archives.  Today I’m going to share some photos of the first reel from my “new” Canon AE1.  Well, not new, but certainly new to me.  The Canon AE1s were produced between 1976 and 1984.  It is one of those iconic cameras and at the time I must have paid about 50€.  When I say iconic, I really mean iconic.  It is a shutter speed priority camera using Canon’s FD lenses. I used it an awful lot that summer.  I liked it so much that I even bought a second one that I ended up giving to a photographer friend. 

Colour

To some people of my generation they represent their first cameras, and were so popular.  Talking of popular, the photographs from this part of the archive are from the very popular and photogenic town, Clisson.  Also you will have noticed that the photos are in colour.  Which only goes to show that not all film photography is black and white photography.

Clisson, as you can see in the photos, is one of those beautiful French villages that oozes Gallic charm.  It also exudes a certain Italian charm, and is known for its Italian style architecture.  

Canon AE1

I have both a Canon AE1 and AEI Program. The AE1 is the big brother of the AE1 Program, and doesn’t have a program mode, but as you can see from the photos it still works a treat.

FeatureCanon AE-1Canon AE-1 ProgramDifferences
Release Year19761981AE-1 Program released 5 years after AE-1
Exposure ModesShutter Priority AEShutter Priority AE, Program AEProgram AE added to AE-1 Program
MeteringCenter-weighted AverageCenter-weighted AverageNo difference
Shutter Speeds2s – 1/1000s2s – 1/1000sNo difference
Viewfinder DisplayLEDsLEDsNo difference
Film Speed SettingManualManualNo difference
Self-timerYesYesNo difference
Depth of Field PreviewYesYesNo difference
Motor Drive CompatibilityYesYesNo difference
Other NotesFirst Canon SLR with microprocessor; revolutionary for its timeSimplified controls for easier use; appealed to wider audienceAE-1 Program aimed at beginners and enthusiasts
As you can see there’s not a huge differece between the two. The major difference being the Program option, and the other allowing for easier changing of the ASA film sensitivity setting.

On the day in question I must have parked just next to the river and concentrated on this picturesque  area.  You can see the castle, the bridge, and the river, all making for a peaceful spring moment.

I think the film was Fuji Superia, and I just wanted to use colour.  Thetones are slightly muted and warm, and the flowers, trees and plants were just screaming out to be photographed.  I remember the excitement of loading the film into this “new” camera, and the novelty of simply using an iconic camera.

Here is what fuji tells us about the film:

FUJICOLOR SUPERIA X-TRA400

An all-round general purpose, high-performance, high speed color negative film delivering truly fine-grain. Superb for snapshots or action, in low light with flash, outdoors or indoors. Ideal for general use with compact zoom lens cameras.

  • Excellent skin tones
    For beautiful, clear people-shots.
  • Fine grain
    Great results even when enlarged.
  • High-speed
    Superb results, whatever the shooting conditions.
  • Sensitivity and Film Sizes
    ISO : 400
    Film Sizes : 135 : 36 exp.

 When using digital, it’s so difficult to get that particular film look, and using film and an older camera just changes your whole outlook.  The fact of not having your image straight away leaves you with that anticipation that we all used to feel when we sent off our films to the lab.

Give film a try.  There are still cheap film cameras out there, and your photography experience will be totally different.  I certainly appreciate it.

The Opening of the Film Archives – Saint Cado, Belz, Morbihan

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Welcome back to the film archives, and welcome back to Brittany, that gorgeous corner of France where my in-laws live. I think I might have let it be known that my French family love camping. Yes, they’re so in tents… I’ll just let that joke sink in for a couple of seconds. In 2016 I had begun “collecting” cameras. The photos from this Breton outing in Saint Cado were taken with the Kodak Retinette 1B, a little gem of a camera from the 1960s, and HP5 Plus film.

We’ll start with Saint Cado. It’s one of those picture-perfect postcard places. It’s not easy to take a bad photo of the place. It’s photogenic. It’s quaint. It has all the clichés of a small Brittany island in the Ria d’Etel, which is an inland sea connected to the Atlantic at the Barre d’Etel… I’m thinking lobster pots, oyster beds, black and white houses with slate roofs, a local Saint, a chapel to this local saint, who was actually from Wales of all places, and a miraculous fountain that fills up with every incoming tide. Yes, it’s one of those places… Did I mention that the bridge that links the island to the mainland is a Devil’s bridge? It is said that the devil demanded the soul of the first creature to cross it. The story relates that Saint-Cado, who was a shrewd fellow, put a cat on it! It is just gorgeous!

Let’s talk about the Kodak Retinette 1B. As I said in the introduction, it is a camera from the 1960s that uses zone focusing, and the 1B as opposed to the 1A has a selenium light meter that works a treat. Zone focusing is where you focus by zones. Mind-blowing, right? If I look at my lens, I will see a distance measurement that I will use as a guesstimate. I will move my aperture dial and let’s say I’m at F8, well everything from one F8 to the other F8 will be in focus. A lot of cameras from this period used this system, and it works. If you want to open right up to F2.8, then there are little rangefinders that you can put on the hot shoe mount and there you will be able to get an exact reading for the distance from your subject. Up to you…

Why use a camera that is over 60 years old?  First of all, why not?  It works.  It’s simple to use.  It doesn’t need a battery.  You load your film and Bob’s your Uncle!  Off you go to shoot your 36 exposures.  It also looks pretty damned sexy hanging around your neck too…  It actually looks so sexy that my son nicked mine, and I had to go and get another one.  At the time of purchase I must have paid no more than £15, and even now it will cost you less than £50.  

So there you have it – a charming little island, a vintage camera, and a roll of trusty HP5 Plus. This trip to Saint Cado was a reminder that sometimes, the best photos come from the simplest tools and the most unexpected places. And who knows, maybe those old film cameras aren’t just gathering dust in the attic – they might just be waiting to capture your next adventure. (But if you happen to see my son with a Kodak Retinette slung around his neck, please tell him to bring it back!)

Seeing the World Through 35mm: Street Photography with the Fujifilm X100F

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Introduction

I have been writing for this blog for a while now and everytime I get a comment it feels wonderful. Especially when I get a thought provoking comment.  LIke this one from my friend Joe:

Excellent post Ian I admire your willingness to stay neutral on the merits of which focal length lens is better for street photography. I personally find the 23mm 2.0 Fuji lens fairly close to what my eyes are seeing before I take the image. Of course we are talking about lenses designed for the APS-C sized Fuji sensor so 35mm would be the equivalent field of view for my 23mm lens (23mm x 1.5 = 34.5mm). Undoubtedly some people will say the nifty fifty is a closer field of view to what the human eye sees but in my opinion I will leave that up to other people that may care to argue that point….
Sorry for my long winded response but I enjoy your articles so much I cannot resist replying even though once I get started you can’t shut me up

I am grateful for Joe’s thoughtful comment and I am still going to stay neutral, and just explain why I use the 35mm (equivalent) on my X100F, for street photography, and environmental portraits, despite having the teleconverter to convert that lens into a 50mm (equivalent) lens.  As a special bonus I will present my latest street photography from Nantes, which just goes to show the sun can shine on us…

The Appeal of the 35mm Lens

The 35mm offers a world view which is very similar to that of the human eye albeit with a very slight distortion that disappears at 50mm.  So, when on the street, we know that our image will have much the same view as what “we” see.  When I get really close for a close up of a subject, the possible distortion remains manageable and doesn’t distract from the subject.   

My Journey with the Fujifilm X100F

I have fanboyed and waxed lyrical about this camera in previous articles and will not do that here. However, I have had mine since 2018 and still use it on a very regular basis, which tells you an awful lot. I use it during travel and when doing street photography because it is light, takes up next to no space, and is subtle, unlike the huge DSLRs and their massive lenses. Moreover, I have enough self-confidence to not need to compensate for anything. It’s also a very sexy little camera, and over the years that we have been together, I have learned how to use it to its full capacity. I can use it intuitively without having to think, which is always a relief. According to camera manufacturers, six years is a long time to be with just one camera, but the costs of replacing it with the latest version are prohibitive, and not enough of them are being produced. The old argument about one in the hand still holds true.

The Versatility of the 35mm Lens on the X100F 

The versatility of the lens, as with any lens, depends on the person “behind” the camera. I use it for documenting a scene. It’s just wide enough to get a good view, but not to distort or have too “busy” a scene, as can happen with the 28mm. It’s great for portraits. Dear Reader, I know I have previously talked about the distortion when close up, but what it is great for is a portrait of a person in his environment. It gives us more context about the person and tells more about him, as we can see his surroundings. Because of the silent shutter, I can also get nearer to my subject without making a flapping mirror sound when I press the shutter button. At F2.0, I can either get massive depth of field or shoot in relatively low light. My basic setup is ISO 3200 and F2.0. But on a day like today, I will put it into ISO 400, and if things get really bright, then I can use the inbuilt ND filter.

Comparisons with Other Focal Lengths

I have already touched upon the differences between the 28mm, the 35mm, and the 50mm focal lengths, but let’s get real for a second.  The 28mm is great, but too much distortion and makes the image very busy because of the wider field of view.  This is fine when used with intent, but you have to be so much more careful with your composition.  The 50mm is the lens that I grew up, but after having used the slightly wider 35mm, I find myself backing up to get the same field of view, which leads to banging into things and apologising profusely to the bin that I have just reversed into.  It has happened!

Practical Tips for Street Photography with the 35mm

Just use it, go back and use it again, and if you have any doubts then just go out and use it once more to be sure.  Don’t overthink it.  Don’t worry about the distortion I have mentioned.  It only really happens when you get right up to your subject.  If you have only used the nifty fifty then you shouldn’t notice a huge difference, but physically you will.  You’ll be moving closer to things, but it’s just “one step up.”  It will seamlessly “grow” on you.  

Be the man in grey, or whatever colour you fancy, but know the environment in which you’ll be shooting.  You might want to avoid fuchsia if you’re going to be in the woods shooting, or in that beautifully tailored three piece suit if you’re going to be in the stands at a football match.  Think sore thumb and being out standing in a field.

Conclusion

If you so wish, you now have the arguments for and against the 35mm lens.  I don’t think that arguing about ti will get you anywhere though…  The lens, as the camera, is a tool at your disposal to create an image.  Just getting a new lens won’t change your life despite what the guy in the shop might tell you.  You “can” use a 50mm for street photography, and some even use the 85mm to go for more details, and more candid shots.  Use what you have already.  I have just talked about my experience since using the 35mm (equivalent) on the X100F.  The information is purely subjective.  If you want an X100, then by all means go out and buy one.  Maybe go for an older model like the X100F or even the X100T for the price difference.  Or if you can get your hands on one, the X100VI is wonderful.  At the moment however, I cannot justify buying a more expensive camera to my wife!

If shooting 35mm on the X100F has piqued your interest in film, the Pentax ME Super is a fantastic first film camera — compact, capable, and surprisingly affordable on the used market.

I’ll leave you the comments section to debate the various merits of each piece of kit.  And you can use the hashtag “#ijmphotography” to share your images with me on the gram.  Look forward to hearing from you.  Until next time…

A piece of timber

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I have recently tried to start learning about making videos. Somebody said that if you have an eye for creating a decent image, then your eye should be OK for filmmaking. There are of course different styles of shots because we are talking about moving pictures. Shots that move, and not just static plans as we would use in photography. We have to set a scene with establishing shots. We can combine medium framed shots and close-ups to keep the narrative going and to show the wood moving through the different machines. I therefore had to understand the manufacturing process. The composition principles that I have talked about in the past are still relevant. So my mindset was, “Why not give it a try. You know about images and how to place subjects in images. Get on to YouTube and start learning about filming . This isn’t Instagram or Tiktok, so you have more time and scope to deliver your message. And if “they” can do it then there is no reason why I can’t!” Nothing left to do but get it done! Do, don’t think…

The Kit – Use what you already have

For the moment I’m using the Canon 6D Mark II with the 24-70mm F4.0 zoom lens. For the editing I’m using CapCut and am slowly getting used to it. It just goes to show that yes, yes indeed, you can teach an old dog new tricks… I can already hear you Dear Reader asking, “But why did you use that camera, and that editing software, Ian?”

The camera

I would say, firstly why not.. But I’ll set out my reasoning. I used the Canon 6D Mark II, because I have it. It has the flippy screen that allows me to see what I’m filming, and I’m only beginning, so no exterior monitors yet. I also know how to use it and like using it. Does it have 4K video, which “they” say is a must nowadays? No it doesn’t, but I’m not in the market for a new camera, so I’ll be using what I have already thank you very much. On a tripod I could do static shots, and panning shots. The idea was to have a series of shots showing the wood in motion going through the manufacturing process.

The lens

Why the 24-70mm lens? Well think back to the articles where I talk about lenses. I said that it was a workhorse and has me covered for “quite a few” situations, and it has image stabilisation. I used my tripod, but there were a couple of handheld shots. It is also a pretty fine lens in its own right. More important to invest in the good glass, than a camera body. What matters is what the client, or audience sees. They’re not doing a mental breakdown of your kit!

CapCut

And why CapCut? Again I would argue yet again, why not! Price of the software was a consideration. As was simplicity. I had tried using Adobe Express, as it is part of my subscription for Lightroom and Photoshop, but it didn’t seem to have the capacity to give me the result that I was after. It did however, introduce me to the concept of the timeline and linking up the various sequences that I had filmed. I had also seen a lot of people waxing lyrical about CapCut, and it just seemed more “accessible” to a newbie like me. There are of course more professional tools available but for the moment seem to have more than I need. I of course went back to Youtube for various tutorials to get me started.

The Brief

So here we go with the actual video. I was told to make a video that would be shown to new employees as part of their integration into the company. Showing the total process will give them a better idea of where they feature in the “bigger picture.” Something dynamic they said. Show the wood moving through the machine they said. So I tried… Then I looked back at my brief from my boss, and realised that I was way too long and had to go back to the drawing board. Ah well. The idea is to show the process of transformation from timber to a door frame that can go to the other plant for assembly.

When you’re doing personal work you have the freedom to do what you want, but work requires sticking to the plan. So stick I did! I showed my boss the first draft, and was told that maybe cut this out, change the speed of the footage, only speed things up for the machines, but leave the shots of people at normal speed. Such and such a shot adds nothing to the story so get rid of it. It felt very much like the process I have when I get back from a shoot. You have to do a first triage of everything, and only have the strict necessary to portray your message.

The creative Process

So I had my brief. I knew the kind of film I was after. Or at least I had a couple of ideas. The basic premise was to be able to follow a piece of timber from being unloaded from a truck, following the piece of timber as it is transformed into a door frame. I had in mind those films I saw as a child showing how something is made, and how we see cans of soup moving along a conveyor belt. For each sequence, I wanted a piece of wood going into a machine, going through the machine, and coming out the other end having been transformed. Starting with an establishing shot, and following more or less closely, with close-ups and medium shots to give an idea of movement…

A short extract from the full video…

Conclusion

So you have now seen the video. All this happened in a week. I went from know very little about making a video, to having a viewable result, and one that tell the story that was asked for. Am I happy with it? I’m certainly not unhappy, and it was interesting to see the thing evolve from a series of moving pictures into something that will be used in training for future employees. Would I have done things differently? Possibly. I might have used the 16-35 F4 lens too, for even wider shots. I know have a little more familiarity with my software and will be spending less time searching for the effects and tools I wish to use. It made me aware of what kit I may be lacking, like mics for sound, but here I didn’t need to record any more sound. I would have liked wheels for my tripod to have a different panel of shots. I maybe should have used my phone and the gimbal to get more variety in my shots. I could have done some time-lapse sequences. But the primordial question would be, “What does it add to my story?” and “Do I need to acquire any kit to do it?” Money talks, and if I can get what I need without spending any more then that has to be a good idea!

What did I take away

I was introduced into a new world of storytelling. I learnt about thinking in a more linear way. Not just thinking about the shot as I would in photography , but about using these shots to make a story. Maybe I already did this with my photo series, but here it became so much more relevant. This might be the main change in my outlook. I already knew about acquiring shots for stills, and doing the same for video seemed to be a natural progression.

What next?

Am I going to get further into this film making lark? By definition yes, because work wants more videos for training people on various machines, and the HR dept have noticed my work, and are getting ideas… Do I want to make videos for me? Yes. It is certainly something I want to look further into. And the more I watch on YouTube the more I am learning, and the more I believe that I can actually do this. Am I going to become a YouTuber? I honestly have no idea, but as in photography, I have to start doing something. People will usually give feedback, and comment sections on YouTube seem to be lees harsh than on Instagram or Twitter. I remember my father making home movies with a cine camera and I can now do the same thing, and edit my footage too. Learning something is never wasted, and it does the brain good to learn new things. Who knows where this can take me? I don’t, but isn’t it interesting to find out?