The HP5 Plus 100 ASA Experiment: A Happy Accident?

Posted on March 13, 2026April 29, 2026 Posted in Black and White Photography, Film Photography, Photography Tutorials, ReportageTagged 35mm film, analog photography, B&W film techniques, black and white film, Black and White Photography, film development, film development guide, film experiment, film latitude, Film Photography, film photography blog, film photography mistakes, film photography tips, film scanning, grain reduction, highlight control, HP5 Plus, Ilford HP5 400, Ilford photography, Ilfosol 3, ISO 100, Nikon FE, overexposure experiment, Photography tutorial, pull processing, push pull processing, shadow detail6 Comments

Hello lovely people.

I’m a bloody fool. I made the stupidest of mistakes when shooting HP5 Plus 400 speed film at ISO 100.

I’d been intending to use 100 ASA film in my Nikon FE, so in preparation, I had set my camera’s ISO dial to 100. I loaded the HP5 and forgot to change this blasted setting. By the time I realised, I had already taken “some” photos. I didn’t want to wind the film on to change the setting because the sun was shining and I didn’t want to waste the light.

In for a penny, in for a pound. I thought, “What the heck?” They say you have all this “latitude” with film, so I went online to find out if I could salvage the roll. Here we go for a walk in the Parc Garenne Lemot in Clisson.

I developed the film in Ilfosol 3 (1:9) and used the development times for Kentmere 100, praying that I would have something usable…

Parameter	Details
Film	Ilford HP5 Plus 400
Exposure	Rated at ISO 100 (2 stops overexposed)
Developer	Ilfosol 3 at 1:9
Development Time	5 minutes 30 seconds (using Kentmere 100 time)
Result	Lower contrast, smooth tonal transitions, fine-looking grain, excellent shadow detail
Camera	Nikon FE
Location	Parc de la Garenne Lemot, Clisson

**THE STATUE – Front view of classical statue on pedestal** – *This shot demonstrates the beautiful tonal range achieved through pull processing*

The Theory: Pulling Two Stops

For those who aren’t deep in the film weeds, here is what I actually did. By setting my camera to 100 ISO while using 400 speed film, I was overexposing by two stops.

Now, common wisdom says that pulling HP5 to 200 ASA (one stop) is perfectly fine. But I thought I was pushing my luck pulling it two stops to 100 ASA. I thought I was taking the mickey with the film gods.

By giving it extra light and less development, I was essentially asking the film to reduce contrast and grain significantly. I was testing just how much abuse it could take before the negatives turned into flat, grey mush.

I didn’t develop it for standard HP5 400 times. I treated the whole roll as if it were 100 ISO film from start to finish.

The Results

When I pulled the negatives out of the tank and held them up to the light, I braced myself for grey mush. What I got instead was dense, rich negatives — a bit chewy for the scanner, but nothing it couldn’t handle. And when the scans came up on screen, I just sat there for a moment.

The first thing that struck me was the shadows. HP5 at box speed can get muddy in the dark areas — a graininess that clogs rather than adds texture. Here, the shadows under the pergola and along the fence are deep and rich, but they’re not blocked up. You can still see into them. That matters.

**FENCE WITH LONG SHADOWS – Diagonal shadows cast across gravel path** – wood grain inside film grain. Both doing their job.

2. Texture and Grain

But the real revelation was the grain — or rather, the near-absence of it. Because the film had been drowning in light and starved of development, the grain structure in the mid-tones is almost Delta 100 territory. Look at the texture on that weathered wooden post. Every crack, every split in the grain of the wood — the film is rendering it, not obscuring it.

**WEATHERED WOODEN POST – Close-up showing wood grain and texture** – *The fine grain structure is clearly visible in the wood texture*

3. Highlight Control

I’d been braced for blown skies. Two stops of overexposure in spring sunshine — I was mentally preparing my excuses. But the reduced development had pulled the highlights back beautifully. Look at those bare branches against the sky. It’s a grey gradient, not a white void. The film held on.

**BARE TREE BRANCHES AGAINST SKY, Garenne Lemot** *— I was expecting white sky. I got this instead.*

4. Tonal Range

And then there’s the tonal range across the whole roll — from the white marble of the statues to the dark foliage behind them. The separation is superb. There’s a creaminess to it, a classical smoothness, that I’m honestly not sure I’d have got from HP5 at box speed. A happy accident, as it turns out, can sometimes produce results you wouldn’t have had the nerve to plan.

**ORNATE URN WITH STATUE IN BACKGROUND – Layered composition** – *Foreground and background detail with smooth tonal transitions*

**CLASSICAL COLONNADE – Stone pillars with cloudy sky** – *Weathered stone texture and cloud detail demonstrate the technique’s versatility*

The Verdict

So, was this a disaster? Absolutely not.

In fact, it might be some of the most satisfying film I’ve shot in a while — and I shot it by accident. The shadow detail is rich, the highlights are controlled, the grain is almost invisible in the mid-tones. It has that smooth, almost medium-format quality that you usually have to pay for in slower film and longer development times.

**Ornate scrollwork detail** – *Razor-sharp detail and micro-contrast prove no sharpness was lost*

It turns out, what I thought was a stupid mistake is actually a technique some photographers use on purpose. Pull processing HP5 (rating it at 100 or 200 ISO and developing accordingly) is known to produce finer grain and lower contrast. I thought I was pushing my luck going two stops, but the film handled it like a champion.

Would I Do It Again?

Would I do it deliberately? Probably not — if I want 100 ASA film, I have 100 ASA film. But that’s almost beside the point now. What this roll taught me is that HP5 has reserves I hadn’t tested, and that sometimes the best thing you can do is commit to the mistake and see where it takes you. In for a penny, in for a pound — and in this case, the pound came back with interest.

If you ever load the wrong film, or find yourself caught between changing light and the wrong ISO setting, don’t panic. HP5 can take the abuse. It might even thank you for it.

Have you ever accidentally shot film at the wrong ISO? Did you save the roll or bin it? Let me know in the comments below.

Happy shooting

Ian from IJM Photography

P.S. The Kentmere 100 development time was a guess. An educated one, but a guess. The fact that it worked is either good research or dumb luck. Probably both.

P.P.S. I have since checked the ISO dial on the Nikon FE before every single roll. Every. Single. Roll.

P.P.P.S. The images from this roll are available as prints. Some accidents are worth keeping.

Black and white film photograph on a Nikon FE with Ilford HP5 Plus at 100 ASA, showing clean shadow detail from pull processing

Wide panoramic black and white photograph on a Nikon FE with Ilford HP5 Plus at 100 ASA, demonstrating the film's latitude when overexposed

Portrait format black and white photograph on a Nikon FE with Ilford HP5 Plus rated at 100 ASA, pull processed, scanned on Opticfilm 8100

Portrait black and white film photograph on a Nikon FE with Ilford HP5 Plus rated at 100 ASA, Ilfosol 3 pull development

Portrait format black and white photograph on a Nikon FE with Ilford HP5 Plus at 100 ASA, showing fine grain from pull processing

Wide landscape black and white film photograph on a Nikon FE with Ilford HP5 Plus pulled to 100 ASA, clean highlights and rich midtones

Portrait format black and white film photograph on a Nikon FE with Ilford HP5 Plus pulled to 100 ASA, fine grain and soft tones

Portrait format Nikon FE photograph with Ilford HP5 Plus rated at 100 ASA and pull processed, showing tonal richness of overexposed black and white film

Black and white portrait format photograph on a Nikon FE with HP5 Plus at 100 ASA, demonstrating reduced grain from pull processing

Landscape format HP5 Plus pull processing result, Nikon FE, rated at 100 ASA, showing how HP5 handles overexposure with grace

Landscape format Ilford HP5 Plus pull processing result on a Nikon FE, rated at 100 ASA instead of box speed 400, February 2026

Portrait format black and white film photograph on a Nikon FE with Ilford HP5 Plus at 100 ASA, February 2026 pull processing experiment

Making the Ordinary Less Ordinary: Rollei RPX 400 at Pont Caffino

Posted on March 6, 2026May 19, 2026 Posted in Architecture, Black and White Photography, Bretagne, Film Photography, France, Landscape Photography, photography philosophy, Photography Tutorials, Reportage, The Film Archives, Travel photographyTagged 50mm Nikkor, black and white film photography, Château-Thébaud, Corten steel architecture, dodging and burning, film editing workflow, film grain texture, film phoography, film scanning, flat light photography, France, granite cliffs photography, handheld film photography, humble photography, Ilfosil 3, landscape photography France, Le Porte-Vue viewpoint, lifestyle, Lightroom Tone Curve, Loire-Atlantique, Maine river, monochrome film, Nantes Photography, Nikon FE, photography after 40 years, Plustek OpticFilm 8100, poetry, Pont Caffino, Rollei RPX 400, RPX 400 review, sub-par lighting photography, water level photography, writingLeave a comment

Continuing on from my last article about shooting in sub-par lighting, I’ll introduce my next roll of film—RPX 400 from Rollei. I usually like this film. This roll also marked the first time I really tried to use the Tone Curve tool in Lightroom. I’m still getting used to it. But I thought that with RPX 400, I might be able to make some ordinary prints somewhat less ordinary.

After forty years of doing this, you’d think I’d have it all figured out. You’d think I’d have a fixed workflow, a set of rules, a way of knowing exactly what the result will be. But this roll reminded me otherwise. There’s always something new to learn, or something old to look at differently. And I’ve started to wonder if there’s something honest in admitting that, rather than pretending the process is ever truly finished.

Pont Caffino on a February afternoon is exactly that kind of place. I’d never visited before, though I’d heard about it from other photographers. The sky was uniform. The light was flat. Nothing was going to jump out and grab me. So I loaded the Rollei, walked down to the river, and started looking.

The River

The water level was low—noticeably so. I knew this because not long before, I’d been at the Maine in St Hilaire de Loulay where the river had broken its banks completely. You couldn’t even see the weir there, just water spreading across the landscape. Here at Pont Caffino, the opposite was true. More of the granite banks showed through. More of the weir structure was exposed. The river looked different, and I found myself photographing it differently.

When the light is flat, water becomes less about reflection and more about texture. You notice the foam patterns, the subtle ripples, the way debris catches on submerged rocks. RPX 400 handled this beautifully—there’s a softness to the water that feels accurate to how it looked that day, not how I wished it looked.

The gauges became an unexpected focal point. They’re functional objects, not particularly beautiful on their own, but they tell the story of this place better than any dramatic landscape could. The reflection of the numbers in the still water added a compositional echo I didn’t plan but gladly kept.

Where the water quickened over the weir, I had to be careful with exposure. Film handles highlights more forgivingly than digital, but I still metered conservatively. The fallen branch caught my eye—it’s the kind of detail you miss when you’re looking for the big shot, but it adds a diagonal line that pulls the frame together.

On editing the water: The challenge here was separation. When both sky and water are grey, they tend to merge into one another. I used subtle dodging to lift the highlights on the water’s surface, just enough to ensure the reflections didn’t disappear. Nothing dramatic. Just enough to guide the eye.

The Cliff Face

The granite cliffs that frame the Maine valley are dramatic even in bad light. They’re also popular with climbers, which adds a human element I hadn’t planned to capture but couldn’t ignore.

I haven’t shot rock faces like these on HP5+ before. The nearest I got to that was shooting in the Pyrenees mountains—different stone, different light, different everything. So I didn’t have a direct comparison to fall back on. What I noticed with RPX 400 is how it renders texture without aggression. Every crack and lichen patch comes through, but without the bite that HP5+ might have given. For this particular day, that suited the mood better.

Seeing the climber and belayer together reminded me that landscapes aren’t empty. They’re used. They’re lived in. The rope creates a diagonal line through the frame, and suddenly there’s narrative—someone is trusting someone else, and both are trusting the rock.

On editing the cliffs: This is where dodging and burning did the most work. Flat light makes rock faces look two-dimensional, like cardboard cutouts. I spent time burning in the crevices and dodging the raised surfaces, essentially repainting the light that wasn’t there when I pressed the shutter. It’s not about creating drama that didn’t exist. It’s about revealing the dimension that the light flattened.

Details

I’ve learned to slow down on days like this. When the big vistas aren’t cooperating, the small things start to speak.

The catkins hanging from bare branches aren’t dramatic. They’re not even particularly interesting as a subject. But they caught the light in a way that felt worth capturing. The shallow depth of field creates a dreamy quality, and the grain—more noticeable here than in the landscapes—adds character rather than detracting from it.

The mechanical detail—the lock gate mechanism, I think—was almost accidental. I was walking back from the viewpoint and noticed the bolts, the geared rack, the weathered metal. It’s the industrial counterpoint to all the natural elements. Sometimes you just stop and shoot because something looks like it has a story.

On editing the details: I was careful not to over-sharpen these. The natural grain of RPX 400 provided enough texture without needing digital enhancement. If anything, I pulled back on clarity rather than adding it. These images work because they’re soft, not in spite of it.

The Town & Viewing Platform

For the full perspective, I drove up to Château-Thébaud’s belvedere, “Le Porte-Vue.” It’s a striking piece of architecture—Corten steel extending 23 meters out at 45 meters above the river, designed by Emmanuel Ritz and inaugurated in 2020.

Walking out onto the platform, you feel the height. The steel underfoot, the railing at your side, the valley opening up below. There’s a figure in this shot—could be another photographer, could be anyone taking in the view. It adds scale and reminds you that you’re not alone in these places.

The Corten steel handled the flat light better than I expected. The weathered texture gave the film something to hold onto, and the geometric lines contrast nicely with the organic landscape beyond. The framed view through the steel structure became one of my favourite shots—it acknowledges that you’re looking from somewhere, not just capturing a scene.

This is the establishing shot. The full Maine valley from above, all the elements visible at once. You can see the weir, the cliffs, the tree line. After seeing the Maine at St Hilaire de Loulay with water everywhere, this view felt almost spare. The lower levels exposed more of the structure than I’d imagined possible. It’s the image that ties everything together.

The village itself grounds the landscape. The church steeple adds a human landmark to the valley. The quiet street with its leading lines and the number “28” on the wall—these are accidental details that add authenticity. This isn’t a pristine wilderness. It’s a place where people live.

On editing the architecture: I focused on straightening lines and ensuring the steel texture didn’t look too smooth. The flat sky was retained intentionally. I could have blown it out or added artificial clouds, but that would have been dishonest. This is the light I had. This is the day I experienced.

On Making It Less Ordinary

Looking down at the river from Le Porte-Vue, I thought about what I was actually trying to do.

This was my first time at Pont Caffino, and I wasn’t sure what to expect. RPX 400 felt right for this quieter, more exposed version of the valley. But the film alone wasn’t enough. The scans came back flat—accurate, but lacking the dimension I remembered from being there. That’s where the work began.

In Lightroom, I used the Tone Curve to add a gentle S-shape, nothing aggressive. Just enough to add punch without crushing the blacks. I lifted the deepest shadows slightly to preserve the atmosphere. And then I spent time dodging and burning—manually painting light into the highlights of wet granite, holding back exposure in the shadows of riverbanks, guiding the viewer’s eye through texture and tone.

I’ve only started using the Tone Curve with this roll of film. I’m still getting used to it. But I’ve found it offers basic yet subtle controls, as does the dodging and burning. It’s easy to feel like this is cheating. Like you’re admitting the photograph wasn’t good enough straight from the scan. But I’ve started to think of it differently. Dodging and burning isn’t about fixing mistakes. It’s about translation. It’s about taking what you saw and felt and finding a way to communicate that to someone who wasn’t there.

There’s a danger in thinking you know everything. Usually, that’s when you stop seeing. When you assume the light will behave, or the film will respond the way it did last time, you miss what’s actually in front of you. I’d rather be the one still figuring out the Tone Curve after forty years than the one who thinks there’s nothing left to learn.

The result isn’t dramatic. It’s not the kind of image that stops you scrolling. But it felt honest—a quiet enhancement rather than a transformation. And on a grey February day at Pont Caffino, that’s exactly what I was after.

Technical Note


Film	Rollei RPX 400
ISO	Shot at 400
Camera	Nikon FE
Lens	50mm f/1.8 Nikkor
Development	Ilfosil 3 (1:9)
Scanning	Plustek OpticFilm 8100

Lightroom Adjustments:

Tone Curve: Gentle S-curve, highlights lifted slightly, shadows preserved (First serious use of this tool for me)
Local Adjustments: Radial filters for dodging/burning on rock textures and water surfaces
Grain: No reduction applied
Sharpening: Minimal, applied selectively on details

Thanks for reading. If you’ve shot RPX 400 in similar conditions, I’d love to hear how you approached it.

Browse the full Film Archives →

The UK Chronicles: A Black and White Footnote

Posted on October 25, 2024May 19, 2026 Posted in Alnmouth, Black and White Photography, Landscape Photography, Northumberland, Photography Tutorials, The UK Chronicles, United KingdomTagged Adobe Lightroom, Alnmouth, Artistic Photography, Bamburgh, Black and White Photography, classic chrome, color conversion, conceptual photography, creative process, cultural photography, digital photography, documentary photography, Experimental Photography, hepple, historical photography, Landscape Photography, Lightroom, monochrome photography, nature photography, Northumberland, northumbria, Photo editing, photography experiment, portrait photography, post-production, Street Photography, Travel photography, UK photography13 Comments

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.

Also in this series: Preface · Lesbury · Alnmouth · Bamburgh · Alnwick · Rothbury · Hepple · Chesters · Return · B&W Footnote · Summer I · Summer II · Summer III · Summer IV

Optimizing Images On-the-Go: Mobile Photography Editing Guide

Posted on July 26, 2024May 18, 2026 Posted in Black and White Photography, Photography TutorialsTagged beginner photography, Black and White Photography, Bluetooth Connectivity, Camera Connectivity, camera settings, Camera Techniques, Canon, composition, creative process, Digital editing, digital photography, Digital Workflow, Editing apps, Editing software, Editing Techniques, Editing Tips, Exporting Images, image resolution, Image Transfer, Instagram, Landscape Photography, Lightroom Mobile, mobile photography, Monochrome Editing, On-the-Go Photography, photo composition, Photo editing, Photo Filters, Photo Sharing, photography 101, Photography Fundamentals, Photography tutorial, Photography Workflow, portrait photography, Smartphone apps, smartphone photography, Snapseed, Snapseed tutorial, social media, Street Photography, Visual Aids, VSCO, Wi-Fi Connectivity7 Comments

Introduction

As the title suggests, I will describe my workflow when out and about. While there are surely other ways to do it, this is my method. It works and has stood the test of time. I usually wander around taking photos, then find a café to sit down and transfer my images to my phone. Everything is better with a nice cup of tea (or coffee) and a piece of cake.

Downloading Photos to Your Phone

Most cameras today can connect to phones via Bluetooth or Wi-Fi. My two Fujis (X100F and XT2) and my Canon (6D Mark II) certainly can. I enable Wi-Fi on my camera and connect it directly to my phone. Next, I open the corresponding app—Canon Camera Connect for my Canon and Fujifilm Camera Remote for my Fujis. Each manufacturer provides its own app for Android or Apple devices. Once the camera is connected to my phone, I can import my photographs, selecting the images I prefer.

Sorting Photos

Now comes the fun bit: sorting through all those wonderful shots you took and deciding which ones are worth working on and editing. When I transfer my images from my camera to my phone, the phone creates a folder for the imported photos. Different apps will put them in different places, so I’ll leave that to you to manage. As a rule of thumb, you will see them in the gallery app, which will show you your latest photos.

In the gallery app, you can sort your photos by date taken, favourite images, or the place where the photo was taken.

I will assume you have read my last few articles on Photography 101, composition, and the types of lenses available and how to use them, or at least how I use them. If you haven’t had that pleasure, then go and have a read…

Is the photo worthy of publication, and are you happy with it representing your talent as a photographer? Is the image in focus? Is the image well exposed? Does it fulfil its storytelling role? Will it add to your narrative? Or simply, do you like it enough to want to share it?

Let’s assume that you answered yes. You then get to share your image to Snapseed.

Editing in Snapseed

Starting with Styles:

I like to begin by using the “Portrait” style. It is a preset that gives the photo a subtle glow and some vignette. I just seem to like it, and when you have something you like that flatters your image, you are tempted to stick with it. Most times, this will work a treat on well-exposed images. But let’s imagine that you have exposed for the highlights and that your shadows are “too dark” and you want to bring them up a bit. Then I would go to the “Tools” section and use the Tune Image.

En aparé:

When exposing in digital photography, we expose for the highlights, as it is easy to lighten, or “bring up” the shadows, and we don’t want to “blow out” our highlights and just turn it into a mass of white. In film photography, it’s the opposite. We expose for the shadows, as film has more difficulties capturing details in the shadows especially in a photo with lots of light.

Using the Tools

As I inferred in the title, this is my workflow, and shows the way I use Snapseed. There’s a whole load of tools to stylise your image and to completely change the look of it, but I’m more of a “less is more” disciple when editing. Also most apps out there will have similar tools, so you can carry this knowledge with you across the board.

Crop Tool:

One thing I learnt early one is to KISS, i.e. Keep it simple stupid. Sometimes I will have an element in my photo that distracts from my subject. With the crop tool I can just crop the image and make it disappear. I can also use the crop tool to format the image to fit certain social media post settings. I’m thinking about you Instagram and Facebook. Try searching google for social medi formats and you will be inundated with results.

Healing Tool:

Sometimes the crop isn’t enough to take away distracting elements from our photo. You might have a beautiful shy and want to get rid of that Jumbo Jet in the sky. One way of doing that is to wait until the Jumbo Jet has flown away, but let’s say that it’s too late… Using the healing tool will clone part of the image and replace the Jumbo Jet that just wants to noticed and validated man! To get the best results it’s better to zoom into the image and have a smaller area to work on.

Tune Image:

This is where I do the basic edits, bringing up the shadows or bringing down the highlights. I usually keep it to that. At a push, I will bring up the brightness if the photo has been underexposed. Somtimes I will add a little contrast but I tend not to use the other tools. I don’t want to denautre the photograph.

Rotate Tool:

We should always try and keep our horizons straight, except when making the conscious decision not to. The rotation tool tries to straighten what it thinks should be straight. It generally works quite well, but you do have total control as well as a grid to check the lines in your photo.

Brush Tool:

This is where we can do our burning and dodging. You can choose to highlight a certain area and darken others to emphasise your subject. This brings the photo to life. There are tutorials galore on YouTube that go into more detail than I will in this “basics” article.

Black and White Tool:

Welcome to the world of black and white conversion. It’s a process that a majority of my photography goes through. You can, of course, just use the saturation tool in the “Tune Image” section, and you will get a monochrome image. But you can do so much more.

So, let’s do so much more. The black and white tool offers you some presets which might correspond to your taste. I tend to leave them alone and instead press on the circle that will give a series of colour filters to choose from. This is a direct link back to black and white film photography, and you know how much I love that. I love using the red filter, which, as in film photography, will make your blues darker. This is beautiful for those landscape photos where you want a dark sky to complement those fluffy white clouds. It’s also my default film simulation on the X100F that I use for all my street photography. It’s just a look that I fell in love with years ago.
The other common filters are all covered too.

Orange: Orange filters give stronger effects than yellow filters but are not as bold and dramatic as a red. It is therefore an ideal choice to span the effects given by both these filters. Blue skies will be recorded in very dark tones on the print, giving bold contrast between the sky and clouds. An orange filter will also penetrate haze and fog. Most flowers will be recorded with a significant difference in tone from the surrounding foliage giving impact and effect.
Yellow, the general purpose black and white filter,
Green: When photographing foliage in black and white, a green filter is used almost exclusively. It lightens green foliage, which is particularly important with dark green leaves which can record very dark without a filter. It therefore gives a more natural, lighter feel to the photograph.
Blue: A blue filter is not often associated with black & white photography however, it can really add “mood” to a photograph by increasing the effect of haze or fog. It also lightens blues and darkens yellows, oranges and reds which helps separation in scenes containing a mix of colours.

Export

You have two options. You can either press on “done” and Snapseed will record your image in the Snapseed folder and in your gallery in the Album neamed Snapseed, or you you can press “share “and you will be presented with various options on how to share your image, to Instagram, via gmail etc.

Before you do that you can press on settings where you can change the resolution of the image that will be exported. This can help if you need to reduce the image to take up less space on your phone, or if you’re loading the photo up to a website and you require a “lighter” image.

Conclusion

You now have an idea about how I edit my images on the go, and the more time goes on, the more I do it this way. Is it the same as Lightroom on my computer? No. I can’t have as much control as in Lightroom. I can’t batch edit, I can’t do this or that, but I can manage without, especially on the go. There are of course other options for photo editing on the go like Lightroom mobile,VSCO, your native photo editor app on your phone. As I said at the beginning of the article this is how “I” do things. It works for me. Try it out and it might just work for you too!

Also in this series: Smartphone Photography · Snapseed Review · Optimizing Images On-the-Go

Snapseed Review (2026): The Best Free Photo Editing App for Photographers?

Posted on July 19, 2024May 18, 2026 Posted in Photography TutorialsTagged Basic photo editing, beginner photography, Beginner photography tips, Digital editing, digital photography, Editing apps, Editing on the go, Editing software, France, Mobile editing, mobile editing apps, Mobile editing tools, mobile photography, Mobile photography guide, Nantes, photo editing apps, Photo editing basics, Photo editing for social media, Photo editing software, Photo editing techniques, photography 101, Photography apps, photography essentials, photography for beginners, Photography for social media, Photography tools, Smartphone apps, smartphone cameras, smartphone editing, Smartphone editing tutorial, smartphone photography, smartphone photography apps, Smartphone photography essentials, Smartphone photography hacks, Smartphone photography techniques, smartphone photography tips, Smartphone photography tricks, Smartphone tips, Snapseed app, Snapseed editing, Snapseed effects, Snapseed features, Snapseed filters, Snapseed filters guide, Snapseed for Android, Snapseed for iPhone, Snapseed guide, Snapseed presets, Snapseed tutorial13 Comments

Snapseed is one of the best free photo editing apps available — powerful enough for serious photographers, simple enough to use on your phone between shoots. I’ve been using it regularly as part of my film and digital photography workflow, and here’s an honest account of what it can and can’t do.

INTRODUCTION

Twenty-two years ago, I was fired from the job that took me away from Paris to the French countryside where I now live. In hindsight, it was one of the best things that ever happened to me. Sometimes we need that shove beyond our control to nudge us in a different direction.

At the time, I was already into this new thing called the internet that was becoming more and more mainstream. I wanted to learn all I could before my children would teach me. So, I learnt. I even trained to be an “infographiste,” which is similar to a webmaster, now known as a web developer.

AN ENGLISHMAN IN VENDÉE

I learned how to use QuarkXpress, Indesign, Dreamweaver, Photoshop, and Illustrator. I also learned how not to be afraid of opening up a computer and getting in there with a screwdriver. I had this amazing idea of creating a website called “An Englishman in Vendée” to showcase outings with my young son around the area. I took photos with a “webcam” which was about the size of a GoPro but compared to what we have twenty years on, was anything but pro. At the time, I dreamt of having portable internet, portable editing software, and a means of sharing those pictures online.

I would have to wait a while. In 2024, I have a Samsung S20 FE and I now have all I need to do that, on the go! I can even transfer the photos from my high-end digital camera to my phone, edit the images on my phone, and publish them either on my website (no longer Geocities) or on social media.

WELCOME TO SNAPSEED

Now I use “Snapseed” for editing my photos, WordPress for writing my articles, and Chat GPT to give my articles structure and a writing plan. All this in a device that fits into my pocket.

So, what is Snapseed? It’s an app that I recommend to anyone who needs to edit pictures on the go. It is available for Android and Apple devices, so you’re all covered. But why Snapseed? Well, it’s free, simple to use, and has all the tools you need for editing. It’s intuitive and comprehensive. I particularly like the Tune Image section, where I find all the tools I use for basic edits in Lightroom on my PC. The Rotate tool helps me check horizons, and the Black and White tool gives me full control over the conversion process.

Snapseed is a non-destructive editing programme (app) that uses your original file, whether RAW or JPEG, and allows you to edit to your heart’s content. Can it do everything Lightroom can? No. Is it trying to? Still no. It adds some nice “style filters” in the tool section that allow you to have fun. The more serious photo editor will probably stick to the basic tools that still allow them to get the results they need “on the go.” I use it during shoots to give sitters an idea of what their shots will look like. These first “draft” images are perfect for sharing on social media.

KEEP IT SIMPLE WITH SNAPSEED

I’ve talked about KISS in the past, and I’m going to mention it today too. KISS – Keep it Simple Stupid! Snapseed is deceivingly simple when you look at the user interface, but it has a range of tools that help you achieve the look you want.

It starts by offering you three basic options: Styles (similar to presets), Tools (where you can fine-tune everything), and Export (where you go to export your edited photo).

STYLES

Styles are essentially presets in other software, and Snapseed offers a variety of styles:

In my next article, we’ll talk about the various tools Snapseed offers to help you edit on the go. I will walk you through my basic editing process, showing you which tools I use and how I use them. Remember the 80/20 rule: 80% of your editing can be done with 20% of the available tools. So be patient, and you will be rewarded for your patience. See you in the next one!

Also in this series: Smartphone Photography · Snapseed Review · Optimizing Images On-the-Go

Smartphone Photography – Welcome to the Dark Side

Posted on July 5, 2024May 18, 2026 Posted in Black and White Photography, Photography TutorialsTagged 35mm film photography, AI technology, Camera technology, Chase Jarvis, composition rules, digital cameras, DSLR cameras, exposure triangle, France, lens types, lighting techniques, manual film cameras, medium format photography, mobile editing apps, mobile photography, Nantes, photo composition, photo editing apps, photography advice, photography community support, Photography Composition, Photography Creativity, Photography Education, Photography enthusiasts, Photography Fundamentals, photography mindset, Photography passion, photography philosophy, Photography Resources, Photography Skills, sharing photography, smartphone camera accessories, smartphone camera capabilities, smartphone camera technology, smartphone cameras, smartphone cameras vs DSLR, smartphone editing, smartphone features, smartphone photography, smartphone photography apps, smartphone photography benefits, smartphone photography challenges, smartphone photography potential, smartphone photography tips, smartphone videography12 Comments

Introduction

You might have caught on to the fact that I’m a little bit the photography enthusiast. I even have a “few” different cameras, most of which are manual film cameras, with a few digital ones thrown into the mix. Over 40 years of learning have gone into getting the results you, Dear Reader, might just have seen on this blog.

Democratisation of photography

How many times have I heard people say, “Oh, I just use my phone,” or worse, “Oh, I could just do that with the camera on my phone?” These statements can really get on my wick! Don’t they just toss aside all the work I’ve put into photography with “real cameras?”

But after a lovely cup of tea and a slice of cake, my nerves have settled, and I’ve had time to reflect on the brashness of my emotions, and come back down to earth. Yes, some people do use the camera on their phone, and maybe, just maybe, unlike the microwave in the tea-making process, it might have a role in photography. Ooooooh, haven’t I just gotten controversial!

A little historical context

Just a quick interlude to remind myself of the democratisisation of photography that came with the Box Brownie in the 1920 and the purists were up in arms! Then the shock and horror of those same purists when colour photography came out with those dastardly Kodak Instamatics, and making photography even more egalitarian. Maybe the phone is just the extension of this and I should remove my own head from my arse and just chill!

The best camera?

“The best camera is the one that’s with you.” — Chase Jarvis.

While this statement might be true in absolute terms, it pains me to admit that for most of the hoi polloi, that camera might just be the one on our ever-intrusive phone. Does that mean I’d choose my phone over a film camera? Hell no! But it does remind me that photography is about capturing the decisive moment in time. I’ve often talked about balance in the photographic process, where you might have to sacrifice grain or digital noise (grains rather disgraced cousin from an inbred family, where somebody knew somebody in the family), to get more light to expose a shot. Or where I might have to sacrifice a certain amount of bokeh, in order to use a longer lens to “bring me nearer to my subject… The eternal give and take, if you will.

I think we might just have to have a little reality check here. Will a mobile phone, or even a very smart phone with a degree in smartness from the dashing and debonair university of Smartness upon Thames, ever be as good as a film camera, or a modern DSLR, even my beloved X100F? No. Sorry if I have just pissed on your bonfire. It will not. However, does that mean that it is completely useless? Far from it.

You still have to “think!”

As an avid reader of this wonderful and thoroughly informative blog, it will not have escaped your attention that I have written a couple of articles about the fundamentals of photography. Going from the very basics of the exposure triangle, through various rules of composition that come to us from the world of traditional art, and that have been transferred to photography. You will have found out and learnt about various lenses available for various cameras, and I have even touched upon the differences between medium format and 35mm film photography. I talked about the advice given for digital as well as film photography. I’ll let you into a secret, “It’s just as valid for smartphone photography!

Yes, I’ve said it. If you put in as much effort into getting the shot on a smartphone as you do with your “real” camera, then You will get good results. Can you have control over every aspect of the shot? No. But, and it’s a big but, “so you other brothers can’t deny,” there is a lot of technology in that little device that really helps you out.

Mindful always

What I’m trying to get at is that when you mindfully take photographs, even with your phone, it is always better than just snapping away like a small dog that knows it’s small. Just a tiny bit of effort towards composition will go a long way. Think about framing, and where the objects are in your image. Think about where the light is coming from. Try and get the best image that you can. So it’s not a Leica? You still have your kidneys and haven’t had to sell one yet. It might be a less formal way of taking a photograph, but I would really like you to respect yourself and put in the effort to take your phone photography beyond the bare minimum.

Conclusion

It would appear that smartphone despite my frist misgivings is here to stay. It is a logical progression of the democratisation of this art. I have been asked to contribute to the website Monochromia, and one of my future colleagues reminded me that one of their contributors uses only his Iphone, and has received all kinds of accolades and has been the subject of numerous Expositions. I have seen his work and it is clear that he is a most mindful photographer, and the only thing that separates us are the tools we use to capture the image. I must not be such a photgraphy snob and so dismissive.

What’s next

In my next article, I go further into this subject and talk about editing images on your phone and giving you ways of sharing your images if you so wish. Maybe even some tips to help you get the results you want. I will talk about the features of the phone camera, how the AI within can help you not just in photography, but also in video production. Stick around to find out more!

Also in this series: Smartphone Photography · Snapseed Review · Optimizing Images On-the-Go

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

Posted on June 21, 2024April 30, 2026 Posted in Architecture, Bikes, Black and White Photography, Camera reviews, Nantes Photography, Photography Tutorials, Street PhotographyTagged 23mm lens, 35mm lens, 50mm lens, aperture, be aware of surroundings, bokeh, busy scene, camera cost, Candid Photography, close-up portraits, composition, depth of field, distortion, don't overthink, DSLR, environmental portraits, f/2.0, focal length, Fujifilm fanboy, Fujifilm X100 series, Fujifilm X100T, Fujifilm X100VI, full frame sensor, human eye perspective, image quality, inconspicuous camera, intuitive camera, ISO, lightweight camera, low light photography, mirrorless camera, photography 101, photography basics, Photography tutorial, practical tips, prime lens, self confidence, sensor size, shutter speed, silent shutter, Street Photography, Street photography 101, street photography basics, street photography gear, street photography tips, teleconverter, versatility16 Comments

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

Posted on May 31, 2024June 12, 2024 Posted in Camera reviews, Photography Tutorials, VideoTagged Beginner filmmaker, Beginner filmmaker journey, Beginner filmmaker tips, Canon 6d Mark II, CapCut editing, Cinematic journey, Cinematic storytelling, Cinematic storytelling tips, Cinematic techniques, Creative filmmaking, Creative filmmaking insights, Creative filmmaking process, creative process, Creative vision, Equipment selection, Film editing software, Film equipment choices, Film production insights, Film production process, Filmmaking aspirations, Filmmaking challenges, Filmmaking equipment, Filmmaking experience, Filmmaking exploration, Filmmaking inspiration, Filmmaking journey, Filmmaking learning curve, Filmmaking process, Filmmaking reflections, Filmmaking resources, Filmmaking techniques, France, Learning videography, Nantes, Narrative filmmaking, Personal filmmaking journey, Storytelling techniques, Video editing software, Video editing techniques, Video editing tools, Video production, Video production journey, Videography insights, visual narrative, Visual Storytelling, Visual storytelling tips12 Comments

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?

Manual Mastery – a beginner’s guide Part II

Posted on May 24, 2024May 18, 2026 Posted in Photography TutorialsTagged aperture, Beginner's Guide, bokeh, camera settings, composition, creative process, depth of field, digital photography, exposure triangle, Film Photography, France, image quality, ISO, learning photography, Manual Mode, Nantes, photography 101, photography basics, Photography Education, Photography Fundamentals, Photography Resources, shutter speed, Technical Skills, Visual Arts1 Comment

Aperture.

The aperture talks about the hole that the light passes through to get to the film, or the sensor, and is measured in “f stops” which will be what you see on your film camera lenses, or what you will see as a value in the viewfinder or on the back of the screen on your digital camera.

On prime lenses you will generally have a value of between f1.8 going up to f16, or even f22 or f32 on your digital lenses. If you go below F1.8 to f1.4 or f1.2, you have a more expensive lens attached to your camera body. If you can afford it then why not.

The opening or closing of the aperture blades will affect how much of your photo will be in focus and how much “bokeh” you will be able to get for your image. You will hear people talking about depth of field (of view). If I use a large aperture (with a lower f stop number) I will only have a small plane of my image that will be in focus or sharp, and the background will be blurry. My subject will stand out. If I use a smaller aperture (a larger number on the f stop setting), I will have a larger plane of my image that will be.

Application

So this exposure triangle thingy. In my last article and above, you have seen the effects that each element can have on your shot. In photography, as in life, we have to learn how to prioritise. What is the most important for us? How will these settings help us get the photo “we” want and not what the camera thinks “we” want? Do we need to freeze the action? Do we need the creamy bokeh? How much light do we have to play with? What is most important to us? Modern cameras are pretty good with their automatic settings, but when talking about being mindful in photography, it might just be an idea to keep a minimum of control.

Photography with a manual film camera takes this automation away,and brings us back to basics, hence my referring back to them all the time. If you can get well exposed shots with a manual film camera, then using digital is a breeze. In the viewfinder there will be a needle that goes up and down depending on how we change our settings. As I said earlier the ISO value will be chosen by the film you use, and I explained the different values and how they work. So that’s one less thing to worry about. You can’t change your film mid shoot, well you can, but I need a new article to tell you how to do it. So you’re left with aperture and shutter speed controls. There’s no LCD screen with a preview, so you have to become an educated guesser. But if I can, then you can. This needle, or rather a snazzy modern version, will appear in the viewfinder, and you will see it move as you change your setting.

Same tool, just a different format. Or you can cheat, and look at the image preview on the LCD screen. But that’s cheating, and gets you thinking rather than doing.

Always bear in mind that as the light changes, then so will your settings to adjust for this changing light. Just keep an eye on it and be aware as Jean-Claude Van Damme would tell us.

Scenario 1

I need to take photos of little Jimmy’s football match. I need to have a relatively fast shutter speed (about 1/500th of a second with film as my minimum speed, or up to 1/4000th of a second to capture the action with a digital camera), so shutter speed is my priority. That can’t move. So I can play with either my ISO or my aperture to compensate. I would probably take a 400 ISO (or ASA) film because even in sunlight that would allow me to have everything in focus by using f8, or even f16. With digital I can really push up my ISO to around 6400 and not have too much visible noise. The very recent cameras can go even higher without digital noise becoming a problem.

Scenario 2

I want to capture my subject and make the background blurry. Basically bokeh and also low light photography. This could be in street photography, or taking a portrait of somebody where I want the eyes in focus, but not necessarily the ears or back of the head. I will want to use a large aperture (smallest f stop number, so my priority becomes my aperture setting which I don’t want to change. This will give me that creamy bokeh that everyone raves about.But, with a large aperture I’m going to have lots of light hitting my film. I will have to bump up my shutter speed, and lower my ISO by using a slower film like 100 ASA or 200 ASA to compensate.

Scenario 3.

When ambient light is lower, opening up my aperture, lowering my shutter speed I can compensate for this lack of light. I might have to use a tripod if there isn’t enough light, or add a flash to my camera to provide my own light. I could use a higher ISO value and have a film more sensitive to light, but I will get much more grain etc. Everything is about balance and weighing up what “you” want.

Conclusion

Talking about film photography and film speeds etc, was very deliberate on my part. I am convinced that if you can use a manual camera and get good results, then using a digital camera will be so much easier for you.

The exposure triangle is now something that is no longer an enigma. We have talked about the ISO value, the shutter speed, and the aperture, and how these settings will effect your photograph. The ability to master these three elements gives you creative control over your images, allowing you to expose your image the way “you” want to, and you can go back to the articles about composition with a new eye. I want you to enjoy your photography, and you now have the necessary tools and knowledge at your disposal to do so.

I would, as always, urge you to take your camera out and shoot. You can experiment, and practice, and this manual lark will become second nature. You’ve got this!

Also in this series: Manual Mastery Part I · Manual Mastery Part II

Manual Mastery – a beginner’s guide Part I

Posted on May 17, 2024May 18, 2026 Posted in Black and White Photography, Photography TutorialsTagged aperture, Artistic Choices, Artistic Vision, bokeh, camera controls, camera settings, composition, creative process, depth of field, digital photography, exposure triangle, Film Photography, framing, France, Freezing Motion, image quality, ISO, Landscape Photography, learning photography, Light Sensitivity, low light photography, Nantes, nature photography, photography 101, photography basics, Photography Education, Photography Fundamentals, Photography gear, Photography Workshops, portrait photography, shutter speed, sports photography, Street Photography, Travel photography, Visual Arts, Visual Storytelling9 Comments

How many times have I seen grown men go to pieces at the suggestion of using manual mode? Or worse, how many times have I seen other grown men saying that to be a real photographer you have to master manual mode otherwise you’re not a real photographer? Let me assure you that it’s not as complicated as it sounds. When I took my first photography lessons in 1984, I learnt it as a child. You’ve got this, and I’m here to accompany you through the process. As the Hitchkiker’s Guide so elegantly says, in comforting letters, “Don’t Panic!”

There are some basic concepts to understand, the first of which is the exposure triangle which we were introduced to in the Photography 101 article. Those three things to consider are, ISO, or film sensitivity, shutter speed, aperture, and balancing them together.

Are you ready? We’ll go step by step telling you how each of these settings influence your shot, and how we will balance them to create the image that “you” want instead of the image that your “camera” wants to take. You are the creative boss after all. And that is the reason that people use Manual Mode.

ISO, or film sensitivity

When I started learning photography in the last century was I was a young boy, yes I was young once, we only had film as a means to capture our images. You would choose your film in function of the light available. And when using my film cameras I still work in this way. 100 ASA (which is the same as ISO on modern camera) for sunny conditions, sometimes even 50 ASA, where the film can be used in bright conditions, going through to 200 ASA when it’s cloudy, but with sun shining through, to 400 ASA when overcast, 800 ASA when inside or even 1600 ASA, to 3200 ASA for night photography.

In the film days we would talk about the presence or absence of grain and this was part of the deal. You would get less grain the lower down the ASA range you went, and more grain the further up you went. And this grain was a result of the crystals on the film emulsion, and the chemical developing process. The choice could be as much about lighting conditions as an artistic decision. Once the film you chose was in the camera however, it didn’t change until you changed your film.

Nowadays with all this modern technology palaver, you can change this ISO (because it’s digital photography) and change it for each photo. Unfortunately the higher up you go in these values, the more “noise” you will get. This digital noise is in a random pattern and totally unlike the grain of film photography.

Shutter speed

Shutter speed, as the words suggest, is about the speed of which the shutter opens and closes to expose either the film or camera’s sensor. You see, I told you that this would be simple to understand. If I can get it, then so can you. So now we’re on to speed. When changing the speed of which the light hits the film or the shutter, I can freeze motion, of get a conscious motion blur, where the photo will seem animated.

Let’s say I want to take a photo of somebody running towards me. I will use a higher shutter speed to freeze the action. Think of sports photography, of catching a pass of a ball in rugby, or a footballer stopping a ball etc. Those factors will make or break your image. Imagine a photo of a football match and you can’t see the ball because it’s going faster than your shutter. It might not work out for you. In this situation, on my film cameras I will let the shutter curtain open for just 1/1000th of a second. Depending on which digital camera I can go as quick as 1/8000 th of a second.

Let’s go to the other extreme. I’m taking photos of a landscape and I want to show the motion of trees in the wind, the movement of the clouds, or the movement of water. I will use a longer shutter speed, say anything from 1/8th of a second to one second… The subject will be moving faster than the shutter curtain, and I will get that artistic blur.

I could be somewhere very dark, so in order to get a clear photo, I will have to let more light through onto my film or sensor.There I might have to use bulb mode in order to leave the shutter curtain for longer than 2 seconds.

For shooting a subject walking I would use 1/125th to 1/250th of a second to freeze the frame. When using a flash in manual mode, I would aim to be around 1/60th of a second (which depends on your camera’s flash sync value). When talking about shutter speeds I’m thinking of my film cameras and bearing in mind that most digital cameras will have wider ranges of shutter speed. Another tip for you would be to not let your shutter speed go below the number of your focal length (the legendary reciprocal rule). Let’s say I’m using a 50mm lens, then I would not use a speed under 1/50th of a second, or even 1/60th of a second. If I have a 200mm lens I would not go under 1/200th of a second. This is to counterbalance the weight of the lens and avoid lens shake.

Conclusion

This article has a lot of information in it and I have decided to separate everything and have a Part II. In this Part I we have talked about sensitivity to light be that film, and the different ratings of films for various lighting situations. In digital photography we have a wider range of ISO settings and with the newer cameras, the noise in an ISO 3200 setting will produce a much less grainy image than with film. However this “grain” can be used as an artistic choice and I will let “you” experiment and see what each film gives you.

We have talked about shutter speed, and the ability to freeze an instant with a higher speed. And the opposite of this to create motion in our image.

In my next article, we will talk about Aperture and how this effects depth of field and discover the rich creaminess of bokeh. We will also explore various scenarii and give concrete examples of the effects of this triangle and how to turn it into an advantage.

Also in this series: Manual Mastery Part I · Manual Mastery Part II

Zooming In on Flexibility Part II

Posted on May 10, 2024May 18, 2026 Posted in Photography TutorialsTagged adaptability, bird photography, boat photography, budget-friendly lenses, camera gear, Canon EF 16-35mm f/4 L IS USM lens, Canon EF 24-70mm f/4L IS USM lens, Canon EF 70-300mm f/4L IS USM lens, Canon lenses, choosing the right lens, cityscape photography, France, garden photography, image distortion, image quality, importance of practice, Landscape Photography, Leading Lines, macro function, Nantes, perspective distortion, photography 101, Photography Fundamentals, portrait photography, prime lenses, river photography, understanding focal lengths, user experience, versatility, wide angle lens, wide angle of view, Wildlife Photography, zoom lenses1 Comment

We have talked about the different kinds of zooms in my last article, but now I’m going to present you with concrete examples of the different zooms in my own personal set-up, and try to concentrate on the “user experience” that each lens offers. At the end of each section there will be a slideshow to give you examples from the archives to illustrate how I have used this lens in the past.

Canon EF 16-35mm f/4 L IS USM

I remember the sheer joy of opening this, my favourite lens for my 6D Mark II and hearing it click into place on my camera’s body. It felt heavy and substantial. It has the red ring, known to Canon users as a gauge of high quality. I was onto a good thing. It bridged the gap between my desire to go wide and get that distinct distortion that comes with going wide, and a more conservative, more sensible 35mm focal length of my X100F.

And then I went out and tried it in the field. Well in my bedroom anyway, being suitably amazed by the wide angle of view that I now had at my disposal. I’d read about distortion, and had watched enough YouTube to know what I was in for. But the first time is always special. I soon learned how to take advantage of its capabilities, realising that getting down low could create leading lines in compositions that I had only dreamt about before.

If you have seen my Instagram, you will have seen this lens in use and how I have been able to adapt from an urban setting to getting my feet dirty in the countryside or getting them wet on the beach. I have nor regrets about this purchase. But it, despite its many attributes, has its limits. It is adapted to landscapes and cityscapes. It’s great for giving a different view of the world that is more “interesting” to look at. I have used it for portraits and taking full advantage of this aforementioned distortion.

It might well be a contender for the title of Ian’s favourite lens. Sorry you prime purists!

CANON EF 24-70MM F/4L IS USM

This is the lens that I actually have on my camera at the moment. Why? Because I was out at the pub taking photos for a leaving do for two of my friends. I needed something I could use to get general shots of the evening and that wouldn’t let me down. This lens is a beast and a workhorse. It gets the job done!, which is why I bought it in the first place. I was going to be photographing a wedding for a friend of mine, and I needed something that would help me throughout the day. I would be taking portraits, group photos, photos of the reception, and this was the classic lens for such a situation. It has you covered. I basically put my flash to TTL mode, and camera to program mode, and all I had to do was to get the shot. Photographically it was a great day and I managed to get some pleasing shots for my friends. It’s also my go to lens for filming video…

It was “take your camera to work day.” I was going to be taking pictures of timber at the factory where I work and it was still in my bag, and securely attached to my camera. I was able to get clear shots for my boss, and the lens didn’t let me down even if I had to be in one of the darkest areas of the factory with dubious lighting conditions. This is where image stabilisation becomes your best friend.

It was still in my car when I took my daughter and boyfriend to see their friends near Nantes. I had just written the article about Spring Springing, and wasn’t happy digging into the archive. I felt that this was being lazy, and that you, Dear Reader deserve better… The camera with the 24-700mm lens on it was just sitting there begging to be let loose! So I let it loose on the trees around the Mairie of Basse Indre, and took advantage of its “macro” function. So go and have a look at the article to see those.

CANON EF 70-300MM F/4L IS USM

I don’t have the very latest version of this article, but a more old-school version, so it’s not as super duper as the later super duper models, but it was a heck of a lot cheaper at around 150€ instead of 850€ for the newer super duper models. But I’m not here to talk about specific model types etc, but about the focal lengths of this lens and how I have used them in the field and my experience of using this lens.

As a small boy I was a member of the RSPB and loved seeing all the various birds in the garden but also in the countryside. I even learnt about how to draw them. I grew up, and now have a super duper camera with a lens that will allow me to capture these birds on camera without spooking them.

One of my favourite outings in Nantes is taking one of the electric boats out on the river, and I have this lens with me to capture the wildlife that I know I will see. I am by no means a wildlife photographer like the ones you see in the documentaries stalking their prey for weeks etc. But it doesn’t stop me from trying to see what I can get without necessarily overdoing it. And even for getting shots of birds using the various feeders in my garden it’s fine!

I have used the lens after having watched YouTube videos for landscape photography using it to seek out details in the landscape. This was definitely something new for me, and definitely a useful exercise forcing me out of my comfort zone and making me see the countryside in a different way.

It’s not the lens I gravitate to first, but I’m happy to have it as an option. It isn’t the most modern of lenses either, but it’s certainly “good enough” for what I need it to do… Do I regret this purchase? No. Is it limited in its scope? Yes. Am I bovvered, as Catherine Tate might say? Still no. Would I buy the “super duper” version of this lens? Probably not as it doesn’t correspond to the majority of photography that I do. Photographing birds is more of a hobby and not my main photography aim in life..

Conclusion

I think you have the information at your fingertips now to help you decide on your lens choices be that for primes or for zooms. Those nice people in the photography shop will be more than happy to take your money from you, but now, you have the knowledge to get past the sales pitch and make an educated purchase knowing what you’re letting yourself in for. While we’re on the subject of purchasing and investing in gear, always have the following concept at the back of your mind. Glass is more valuable than a camera body. Better glass on a less top of the range body will always get you better results.
But much more than the importance of gear, is the importance you get your beautiful booty off that really comfy sofa, and get out into the world with your camera and your lens and train that beautiful eye of yours to capture some awe inspiring images!

Also in this series: Prime vs Zoom Lenses · Prime Lenses Part I · Prime Lenses Part II · Zooming In on Flexibility Part I · Zooming In on Flexibility Part II

Zooming In on Flexibility Part I

Posted on May 3, 2024May 18, 2026 Posted in Photography TutorialsTagged adaptability, advanced photography, aperture, beginner photography, bokeh, Camera lenses, Canon EF 16-35mm f/2.8 L IS USM, Canon EF 16-35mm f/4 L IS USM, Canon lenses, capture fleeting moments, convenience, cost, creative process, documentary photography, focal length, France, full frame lenses, image distortion, image quality, image stabilization, intermediate photography, Landscape Photography, Nantes, perception, photography 101, Photography equipment, Photography Fundamentals, Photography Tutorials, prime lenses, size, sports photography, Street Photography, telephoto zoom lens, versatility, weight, wide angle zoom lens, Wildlife Photography, zoom lenses15 Comments

We’ve talked about prime lenses and the difference between primes and zooms. But we haven’t touched on zooms. Yet. But we’re about to enter the dark side. They have cookies. So now that we’ve had a cookie, let’s talk about having our cake and eating it. Metaphorically speaking of course.

The ability to zoom in on a subject, be it in photography or in conversation has become such an ubiquitous saying. Zooming in on the details in a conversation. The image evoked is fair though. A zoom lens allows us to zoom in visually.

I might even go as far as to describe them as a guilty pleasure. That kind of thing that gets results but leaves you feeling a little dirty afterwards, and you feel like you have to justify why you couldn’t just use a purer prime. Well sometimes you need the versatility of a zoom. It means you have to take less kit to weigh you down.

This article started as a single piece of writing, and then going more in depth, it has morphed into a series of two articles. I have a lot of information for you, and it might be easier to digest as a two part story.

The Zoom lens work flow

A zoom lens is more than an investment, it is akin to having four lenses in one support. One going from 16mm, 24mm, 28mm to 35mm, another from 24mm, to 35mm, to 35mm, to 50mm, and onwards and upwards to 70mm. Roughly translated you’re getting more glass for your buck, which sounds very enticing.

Advantages and disadvantages

As in all photography, everything is a matter of balance though. Ok, you may have more glass, but instead of creamy f1.8, f2.0 creamy bokeh, the trade off will be f4 bokeh, while still nice isn’t as creamy. You might find f2. Bokeh but you’ll be paying many more bucks. The difference in price between the Canon EF 16-35mm f/4 L IS USM and the Canon EF 16-35mm f/2.8 L IS USM is around 1000€ which doubles the price of your lens. This basic economics speaks volumes to me.

The different focal lengths in just one place allows you to adapt more quickly to a changing situation rather than “faffing” about changing multiple lenses multiple times. Just one turn of the focal ring, and you’re good to go. So you’re more available to contemplate a scene and not miss a thing.

They are generally larger than the more subtle nifty fifty, and the general public will take you for a “pro” and wonder why you are pointing a massive obtrusion towards their face. Some zooms are of course less imposing than others, but you might have to explain more about what you are doing.

The types of Zooms

I have talked about the concept of a zoom lens as being a collection of different lenses in just one lens. In the next article I will describe the example of each zoom I use, but here I will do the introductions. We don’t want to get ahead of ourselves.

For me, there are three types of zooms, the wide angle, the general, and the telephoto. So three types of zoom tend towards three types of application.

The wide angle zoom offers you a wide angle of view, and its downfall of image distortion can be made the most important feature allowing you a means of getting creative in your images. You can go from those beautiful vistas so beloved of landscape photographers, to those of us who seem to have an obsession with taking close-up photos of bicycles and helping the audience see the world in a more non-conventional or even exciting way.

The general zoom, is as its name suggests a zoom that has you covered for general scenarii. The focal lengths are the ones most commonly used. It’s great in a street photography or documentary environment allowing you to easily glide between wider and narrower views. Even though the aperture may not be as important as in primes, the image stabilisation helps the photographer when the light becomes more challenging.

The telephoto zoom allows us to be closer to our subject whilst at the same time being a greater distance. Useful not only for wildlife photography, but also for sports photography where the players are on the pitch and not the photographer!

Conclusion

Now we are on the same page and have a greater idea of what the whole situation is and how these solutions can help you as a photographer, be that a beginner, an intermediate, or a more advanced photog. I talk about guilty pleasure, but when push comes to shove, the viewer of your photography doesn’t care. They care about the image and how it makes them feel. The fact that we used such and such a lens is just speaking to them in a foreign language. We’ve talked about the trade offs but also the benefits of zooms and in my next article I will talk about my set-ups and the experiences I have when shooting with these lenses..

Also in this series: Prime vs Zoom Lenses · Prime Lenses Part I · Prime Lenses Part II · Zooming In on Flexibility Part I · Zooming In on Flexibility Part II

The Theory: Pulling Two Stops

The Results

The Verdict

Would I Do It Again?

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The River

The Cliff Face

Details

The Town & Viewing Platform

On Making It Less Ordinary

Technical Note

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Introduction

Downloading Photos to Your Phone

Sorting Photos

Editing in Snapseed

Starting with Styles:

En aparé:

Using the Tools

Crop Tool:

Healing Tool:

Tune Image:

Rotate Tool:

Brush Tool:

Black and White Tool:

Export

Conclusion

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INTRODUCTION

AN ENGLISHMAN IN VENDÉE

WELCOME TO SNAPSEED

KEEP IT SIMPLE WITH SNAPSEED

STYLES

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Introduction

Democratisation of photography

A little historical context

The best camera?

You still have to “think!”

Mindful always

Conclusion

What’s next

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The Kit – Use what you already have

The camera

The lens

CapCut

The Brief

The creative Process

Conclusion

What did I take away

What next?

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Aperture.

Application

Scenario 1

Scenario 2

Scenario 3.

Conclusion

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ISO, or film sensitivity

Shutter speed

Conclusion

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Canon EF 16-35mm f/4 L IS USM

CANON EF 24-70MM F/4L IS USM

CANON EF 70-300MM F/4L IS USM

Conclusion