Prime Lenses: Elevating Your Photography Beyond the Basics – Part II

Posted on April 26, 2024May 18, 2026 Posted in Black and White Photography, Film Photography, Photography TutorialsTagged aperture, beginner prime lenses, bokeh, budget-friendly lenses, camera gear, Camera lenses, Canon 85mm f1.8, composition, creative process, crop sensor, depth of field, digital photography, documentary photography manual focus lenses, everyday prime lenses, Film Photography, focal length, France, French photography, full frame sensor, Helios 135mm f2.8, Helios 44-2 58mm f2, Henri Cartier-Bresson, image quality, low light photography, mirrorless cameras, Nantes, Nantes Photography, Pentacon 50mm f1.8, photography 101, photography basics, Photography Fundamentals, Photography Tutorials, portrait photography, prime lenses, sharp lenses, Street Photography, telephoto prime lenses, Vintage lenses10 Comments

In my last article we explored the prime lenses in my collection and how and why I use them concentrating on my own experience with each one. I started ultra wide and am now going to head towards a narrower field of view. We’ll start with the nifty fifty, go through the Helios 44-2 58mm f2, on to the 85mm f1.8, and end on the Helios 135mm f2.8.

50mm f1.8 – the nifty fifty

Be it a digital lens or one for a film camera, this focal length is considered to be the “standard” to which all the others are compared to. I have already mentioned my initial set from 1987 where the Pentacon 50mm f1.8 was fitted onto my Praktica MTL3. It is the lens with which I learnt photography. Why is it considered the “standard?” Conventional wisdom would suggest that the view offered by the lens is the closest to the human eye. This explains why Robert Doisneau used it extensively in his documentary photography. Henri Cartier-Bresson is known for his ability to capture decisive moments in street photography. The 50mm focal length, with its natural perspective and good depth of field, was perfectly suited to this approach. It is also one of the more simply constructed lenses and yet still offers a great shooting experience be that digital or film shooting.

Helios 44-2 58mm f2.0

This is one of those lenses that one hears about and has a certain mythology. It is known most for its swirly bokeh which you can see in the images in the slideshow below. I think mine must have cost around 50 Euros so in my mind I was thinking, you can’t go far wrong. This swirliness adds interest to any photograph be it in an oriental garden, on in portraits. Just enough to make the viewer have a closer look and fall even further in love with your capture. It’s an old soviet lens and fairly solid as you can read in the article I wrote about the Helios and the Canon 6D mark II. It is the first of my “portrait” lenses.

We’ve done the bokeh bit, now let’s talk about the focal length. When in the studio I will start using my 50mm, but this is always ready in my bag. But it’s not just a portrait studio lens, and I have used it on outings in Nantes. As all “telephoto” lenses, it separates the background from the subject, and brings forward the subject to the fore. I haven’t used it on my Praktica film camera yet and should probably do so very quickly. It would be a shame not to after all. As it stands I have to use an adapter for my Canon and another adapter for my Fuji XT2. With the crop sensor on the Fuji it magically turns into an 85mm equivalent.

Canon 85mm f1.8

This is the most classic portrait lens and allows me to take a step back compared to using the 50mm. Again, the bokeh on this lens is lovely and so creamy that it could give a rotund older gentleman a heart attack if it were cake. But it’s not cake, so everything is fine. When I’m in the studio I can concentrate on the eyes and by the time the portrait gets to the ears we’re in creamy bokeh territory.

However, some photographers will take this lens into the street for street portraits. It’s not a huge lens, and thus less creepy, and allows the photographer to take a step back and still feel close to his subject. This distance between photographer and subject contributes to a more natural interaction between photographer and model, reduces the feeling of being cramped or intrusive, and leads to a more natural interaction, which in turn leads to more natural posing and a more relaxing experience for everyone.

Helios 135mm f2.0

This is the largest of my “everyday” primes and back in 1987 it was in my bag to bring the world even closer than I could with the nifty fifty. I was a beginner back then. And didn’t realise the potential of telephoto lenses. The approach is much the same as for the 85mm but allows even more distance, and is great for those intimate shots that can capture the alluring side look. In landscape it can help you pick out details in the landscape that you can’t get closer to for practical reasons, and bringst that background that much closer to the foreground. For those of you who don’t like manual focussing, you might want to give this one a miss. This was a lens from an age before autofocus came along. However on my Fujifilm XT2 this transforms into a rather snazzy 200mm lens due to it’s APSC sensor and 1.5 crop factor, which would be a lot cheaper than a more modern equivalent, and with the focus peaking on mirrorless cameras, this can be a very convincing argument.

Conclusion.

Primes can generally be considered to be a higher quality option. With their simpler constructions, they can offer sharper images They generally have larger apertures, allowing for ease of use in lower light, and providing that creamy, sexy bokeh that everyone keeps mentioning. By adding a limitation to the creative process they can help the photographer become a more deliberate and mindful craftsman, and concentrate more on composition.

However, even though individually lighter than most zooms, their collective mass may be more important if you constantly want to have every single option available in your bag. You will be changing lenses more often, when having more to choose from. Never forget that you are the person carrying them around. So choose carefully, be deliberate, and plan ahead. The results will be worth it!

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

Prime Lenses: Elevating Your Photography Beyond the Basics – Part I

Posted on April 19, 2024May 18, 2026 Posted in Photography TutorialsTagged 16mm lens, 23mm lens, 28mm lens, 35mm lens, 7mm fisheye lens, affordable lenses, Architectural Photography, autofocus lens, camera gear, composition, creative process, crop sensor, digital photography, distortion, documentary photography, documentary photography lenses, DSLR camera, environmental portraits, Film Photography, fisheye lens, focal length, framing, France, full frame sensor, image distortion, Landscape Photography, Leica Q camera, manual focus lens, manual focus lenses, Nantes, photography basics, Photography Fundamentals, portrait lenses, portrait photography, Praktica MTL 3, prime lenses, Richo GR II camera, Street Photography, street photography lenses, Travel photography, travel photography lenses, TT Artisans, wide angle lens, wide angle lenses, zoom lenses19 Comments

Introduction

This article is a follow on from my last article discussing the various merits of zoom and prime lenses. Today I’m going to try and give a more indepth look into this world of primes. The lenses that I will be discussing are my own and I have experience with them. I will be talking more about how “I” use them and how they affect “my” photography, be that the actual photos or the photographic experience. All the really techy stuff is available on Google; I’m trying to give you an idea of the sentiments that I have when using the various lenses. That said, let’s get into the nitty gritty. I will go through each lens giving you details on how I use it, how “they” say I should use it, and start from the widest to the longest focal length. This was turning into a longer article than usual, but since there’s a lot to cover, it will become a two part article. Again mother, I will be talking shop, so consider yourself warned again… Sounds fair? Let’s go!

Fisheye lens (TT Artisans 7mm f2.0 manual focus lens)

My fisheye lens (7mm so a 11mm full frame equivalent) is the one I use with my Fujifilm XT2. It is a super wide lens made by TT Artisans, and its main claim to be included in my collection is that it was affordable. Or at least affordable compared to some of the lenses out there. However it doesn’t feel cheap on the camera. It’s manual focus, but I can focus very closely (minimum focus distance is 0.125 metres) and the whole shot will be sharp. It’s ultra wide so it gives a great level of distortion, which I love, but others might not. If you can manage to get your horizon level, then you might not get as much distortion as you could by just raising the view 10° higher than the horizon. I love the effect that I can get from it. It’s definitely a niche lens, and the price I would have to pay for something similar for my DSLR would be silly money.

TT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.
TT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.
TT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.
TT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.
TT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.
TT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.
TTT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.T Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.

16mm f2.0 (Fujifilm brand lens with autofocus 24mm equivalent for full frame lenses)

This was the first lens I bought for my Fujifilm XT2. This 16mm lens’ full frame equivalent would be 24mm. Why did I buy it? Well, I already had a 35mm equivalent lens on my X100F, and thought that the difference between 24mm and 35mm would allow me to go wider and get more into my scene whilst avoiding the distortion of the fisheye lens. A particular outing sticks in my mind and was when I used the lens to take photos of the modern architecture on the Île de Nantes. The wide angle of view (hence the name wide angle lens) was perfect for this kind of street landscape photography. Would I use it for close-up portraits? Only if I want to elongate people when taking a shot from low down on the ground looking up. Would it be good for classic street photography? Possibly as a compliment lens to my 35mm equivalent lens on my X100F. Do I regret acquiring it? Not at all and I particularly like its wide angle of view.

Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.

28mm f2.0 M42 mount lens for the Praktica MTL 3 film camera

I started my photographic journey with this film camera and only bought this lens much later. I had my 50mm f1.8 (nifty fifty) and this was my first venture into a wider lens. Could I see a massive difference straight away? No. But I no longer felt the need to move further back to get the view I wanted into frame. Moving back with a camera on your eye and banging into a building and saying sorry to the building is not the way to go, however British you may be. The Leica Q (a very sexy little thing) uses this 28mm lens and is aimed at street photographers who have enough money to buy a Leica. The same goes for the Richo GR II but without the need to sell a kidney. There is a great debate on the Internet talking about the difference between the 28mm and 35mm lens for street photography, which tries to polarise everyone. I try to stay as neutral as possible in these kinds of controversies but I do use my 35mm lens more. Do I still like the 28mm format? Yes. Is it very different from the 24mm format? Not hugely, but I tend to worry less about distortion . I should probably go out and run a roll of film and see how I feel afterwards. I remember the need to go in close to avoid capturing too much in the frame with this lens, but that is not a factor that could deter me from using it.

28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.

23mm f2.0 (X100F lens equivalent to the 35mm for a full frame camera)

The 35mm lens is the classic for street and documentary photography. It was the lens used by a majority of newspaper photojournalists in the 1970’s, 1980’s and 1990’s. This might explain its influence on my own photography. I remember when the Independent first came out and the high quality of photojournalism. I think that if Fujifilm decided on the 35mm equivalent for their fixed lens cameras then there’s probably a very good reason for it. Through my use of the X100F for street and documentary photography I have become very accustomed to the view it gives me of the world. It’s not just for the street though. Even as a sole travel lens it allows me to capture details of a trip, as well as wider views to tell my story in more detail. It’s brilliant as a lens for environmental portraits and is wide enough to always give contect in the frame to the main subject. If you try to do close up photography with portraits you might notice some distortion but if that happens just move ever so slightly backwards, reframe, and the problem should no longer be one.

The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.

In my next article, we will go higher up the focal lengths and discuss the narrowing field of view that they offer and explore how they bring the background forwards. As for this article, all the information laid out is equally as valid for film or digital photgraphy.

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 Photographer Behind the Lens

Posted on April 5, 2024May 2, 2024 Posted in Black and White Photography, Photography TutorialsTagged adaptability, adventure, anticipation, artistic exploration, artistic perspective, authenticity, backup plan, balance, camera gear, comfort, convenience, creative exploration, creativity, decision-making, destination, digital photography, Film Photography, film versus digital, Food, France, improvisation, lens palette, lens selection, mapping, Mental Health, Nantes, Outdoor photography, packing essentials, Passion, personal passion, Photo editing, photographer's journey, photography 101, Photography equipment, Photography Fundamentals, photography outing, Photography Tutorials, planning, practicality, preparation, producers, professional commitment, professional discipline, professional photography, professionalism, route planning, self-care, snacks, Street Photography, Travel photography, unexpected, weather considerations, weather forecastingLeave a comment

Embarking on a photography outing is filled with anticipation, decision-making, and a blend of personal passion and professional discipline. Anything can go wrong, but maybe that’s not the right way to put it. Perhaps I should rather say, expect the unexpected and be ready to adapt. As I prepare for each little jaunt, I face a range of choices that shape the outcome of my photographic endeavours.

Selecting the Right Gear:

The first step in my preparation involves choosing the right camera for the occasion. Factors such as, “Does it still work?” for my film cameras, or “have I charged enough batteries?” for my digital cameras, enter into consideration. My energy levels and the allure of film versus digital play a crucial role in this decision-making process. For example, “Do I have the energy to develop and scan my negatives, or can I face hours of photo editing?” For me at least, it’s not just about the gear, but about the experience it brings. Those of you who have used film will know exactly what I mean. It is a totally different experience to using digital cameras. The words “faffing” and “about” spring to mind. What is my goal in going out today? Is it just to see what happens, or do I “have” to get results?

Navigating Weather and Mental Health:

Weather forecasts and mental well-being become significant considerations as I plan my outing. I, like most people, have an aversion to being rained upon. Even though I might not melt, I don’t want rain getting into the electronics in modern cameras. The allure of capturing the perfect shot often outweighs the discomfort. Yet, there are moments when self-care takes precedence, telling me to just stay in. Sometimes, staying in and getting my ironing done provides as much satisfaction as going out, allowing me to look so dapper on my next outing. The joy of unlimited cups of tea might just make staying in on a rainy day all the more appealing.

Packing the Essentials:

A well-equipped photography bag is essential for any outing. From spare batteries to a flask of tea for comfort, each item serves a purpose in ensuring a successful day of shooting. The contents of my bag reflect not only my photographic needs but also my personal preferences and creature comforts. However, the weight of the equipment is a crucial consideration, especially for street photography where mobility is key. As a more rotund gentleman of 52 years, this has become more and more important. Basically, you can take it with you, but you have to carry it. The X100F and a couple of spare batteries weigh next to nothing, but a Mamiya, or DSLR with a couple of nice zoom lenses suddenly makes you feel less young and daring. Don’t get me started on tripods. Yes, you might need one (in fact, you do) if you want to be doing long exposure photography, but imagine lugging one up a mountain. Okay, don’t. It’s not worth it. So ask yourself what do you really need, and will one of your children carry it for you? And how much will it cost you to make it worth their while?

The Lens Palette:

Crafting Perspectives: Different lenses allow me to achieve different results. If I use my 16-35 lens, I will get wide vistas in town and have a certain level of “artistic distortion.” If I use the 24-70, I have quite a good range of focal lengths, and also a macro feature on the lens. If I use my fisheye lens, I can get all “arty farty.” With a 35mm lens, I am perfect for street photography, and it’s the lens I use the most. The nifty fifty allows me to have a more human-eye view of the world.

The Digital Dilemma:

When it comes to the choice between film and digital photography, authenticity often clashes with practicality. While the allure of film photography appeals to my desire for authenticity, and it does look exceptionally cool, and you can enter “smug mode” knowing that you are arguably better than those who only know about digital photography (yes, snob value does exist!), the energy and time required for development and scanning can be daunting. On the other hand, digital photography offers convenience, allowing for instant image transfer and easy post-processing in software like Lightroom. The decision ultimately hinges on the balance between artistic vision and practical considerations, and can I really be bothered? I know, you have just lost respect for me as an artist, but the struggle is real.

Professionalism Meets Passion:

For professional assignments, meticulous preparation is paramount. From checking equipment to selecting the perfect lenses for the job, every detail contributes to achieving the desired outcome. I noticed this during my musical studies when the goal is to get a paying gig and deserving the pay. You have to get results and your reputation depends on those results. But, even in the midst of professional obligations, the passion for photography remains at the heart of every endeavor. Top tip of the the day. Always have a back-up plan. No planning survives initial contact with the enemy. You’re on your own and have to improvise. What can go wrong, will go wrong, so prepare for this.

Mapping Out the Journey:

Finally, planning the route to my destination adds an element of anticipation to the journey. Do I have to drive for miles, and will there be a loo somewhere on the way? How will I be able to acquire snacks? Are there any small producers that might need a client? I mean I don’t always think about food, but when you live in a country known for the quality of its produce, and where it is almost a duty to consume on the good stuff, it kind of is… Anyway, make sure you look at where you’re going on a map. And if you’re visiting a historic site or attraction then check the opening times. It has happened before. You turn up to a place and it’s closed, so I went a saw my plan B… The path ahead is filled with possibilities and opportunities for creative exploration.

In conclusion

The art of preparation is an integral part of the photographer’s journey. Balancing personal passion with professional commitment, each outing offers a chance to immerse yourself in the beauty of the world through the lens of a camera, whether it’s under the open sky or amidst the comforting hum of domesticity.

Choosing the Right Film Format: 35mm vs. Medium Format Photography

Posted on February 9, 2024February 4, 2024 Posted in Film Photography, Photography TutorialsTagged 35mm, 6x6 format, 6x7 format, 6x9 format, analog art, analog film, analog nostalgia, analog photography, art of film, Artistic Vision, aspect ratio, camera choice, camera examples, camera selection, classic cameras, depth of field, film camera, film development, film enthusiasts, film equipment, film formats, film formats guide, film negatives, Film Photography, film photography exploration, film vs. digital, fine art photography, France, iconic photography, image detail, image quality, image resolution, Landscape Photography, medium format, medium format advantages, medium format benefits, medium format cameras, medium format models, medium format photography, Nantes, photographic journey, photographic techniques, photography comparison, photography styles, portrait photography, retro photography, Street Photography, TLR cameras, Vintage aesthetics, vintage cameras, Visual Storytelling, Vivian Maier1 Comment

Introduction In the world of film photography, the choice of film format can significantly impact the results you achieve. Whether you’re an aspiring street photographer or simply an enthusiast looking to explore the world of analog photography, the decision between 35mm and medium format can be crucial. This article explores the major differences between these two formats, helping you along on your photographic journey. As we dive into this discussion, it’s essential to understand how the choice of format can influence your work.

1. Understanding the Basics Let’s start by establishing a foundation. 35mm photography is the more common format, known for its accessibility, ease of use, and widespread availability. It is the standard format of film. However, medium format photography offers distinct advantages worth exploring.

2. The Key Differences

Image Quality and Resolution: The most noticeable difference between medium format and 35mm photography lies in image quality and resolution. Medium format film, with its significantly larger negative size, captures an significant level of detail and clarity. The larger negatives provide ample room for precise rendering of textures, fine lines, and intricate patterns. This translates to stunningly sharp and highly detailed images, ideal for both professional work and fine art photography. If you’re aiming for prints that capture every nuance, medium format is the way to go.

Aspect Ratio: Another significant difference is the aspect ratio. 35mm film typically yields images with a 3:2 aspect ratio, while medium format cameras typically offer a square 1:1 aspect ratio. The square format can be a creative boon, pushing photographers to rethink composition. It forces a balance between the vertical and horizontal aspects of your subject, a characteristic reminiscent of the iconic street photographer Vivian Maier, who frequently used a TLR camera. The square format encourages unique framing and adds an artistic challenge to your photography.

Depth of Field: Medium format allows for a shallower depth of field compared to 35mm. This means that it’s easier to achieve that sought-after background blur or bokeh, perfect for portrait and street photography. With a well-executed composition, your subject can pop against a beautifully blurred backdrop, making them the focal point of the image.

Size and Weight of Equipment: In terms of portability, 35mm cameras have the upper hand. They are compact, lightweight, and ideal for street photography where you need to be quick on your feet. Medium format cameras, on the other hand, tend to be bulkier and heavier due to the larger film format and the associated optics. This makes them better suited for planned shoots where image quality takes precedence over convenience.

Cost of Film and Development: While 35mm film and development are more budget-friendly, medium format film comes at a higher cost. When using the 6×6 format you will only have 12 images per roll of film. This of course makes every shot count. If you are stressed out about messing up a shot on 35mm film then your anxiety will shoot up to lunar levels with only 12 shots. But remember what I have said earlier, no shot is wasted and every shot is a learning experience. The enhanced image quality, detail, and artistic potential make medium format film worth the investment for those who prioritize the final result over the upfront cost. If you’re planning to produce gallery-worthy prints or pursue a professional career, the expense can be justified.

Flexibility and Convenience: 35mm cameras are known for their flexibility and convenience, making them well-suited for capturing quick shots or candid moments. They’re also readily available, and film processing is more accessible. In contrast, medium format cameras require a more methodical approach, ideal for planned and deliberate photography. The process is slower, encouraging you to carefully consider each shot and compose it meticulously. This added effort can lead to more thoughtful and deliberate photographs.

3. Street Photography with the Pentax ME Super and TLR Influence Vivian Maier, a renowned street photographer, serves as an inspiring example of how camera choice can shape your photographic style. Maier favored the TLR camera, a medium format model known for its distinctive qualities. Her use of the square format and unique perspective have left an indelible mark on street photography.

I want you to think about the fact that a TLR is hanging around your neck at tummy level or even waist level, so the way of looking at your subject will automatically affected too.

If you’re looking to explore street photography with a Pentax ME Super, remember that the compact 35mm format offers its advantages for candid, on-the-go shots. However, Maier’s work reminds us that the choice of equipment is a personal one, and there’s no one-size-fits-all answer.

4. The Mamiya C220 Review: A Medium Format Marvel As we venture further into the world of medium format, the Mamiya C220 beckons. Just as Vivian Maier chose a TLR for her street photography, other photographers have found success with medium format cameras like the Mamiya C220. In my upcoming review, I’ll explore the features, benefits, and considerations of this remarkable medium format camera, guiding you towards your next photography adventure.

The Induction to a Higher Level of Photography When you make the transition from 35mm to medium format, you’re stepping into a higher echelon of photography. If you think that 35mm film is great, you’ll be enthralled when you see your images taken by a medium format camera. The level of detail and depth of field that medium format offers is simply unmatched. It’s like upgrading from a standard screen to 4K resolution for your photography. Every detail comes to life, and the depth of field adds a whole new dimension to your work. It’s a revelation that will leave you wondering why you didn’t make the leap sooner.

The 35mm format photo captured on the Pentax MS Super. The “standard” format of film photography. The one we all know.

The square format common to much medium format photography with a 6×6 format. I’ll let you look at the differences for yourself.

The lenses for each shot was a 50mm lens for the 35mm format film photo, and the 80mm mm lens for the medium format photo. However, both lenses are equivalents.

Conclusion In closing, remember that there’s no definitive answer to the question of 35mm vs. medium format. It’s a matter of personal preference and artistic vision. Both formats have their merits, and your choice should align with your goals and the style of photography you wish to pursue.

Stay tuned for the Mamiya C220 review, where I’ll delve deeper into the world of medium format photography, and consider the impact of the TLR on your creative journey.

The journey of film photography is full of exciting choices, from your film format to your camera model. Vivian Maier’s legacy reminds us that every camera has its unique personality and that your creative vision should be the driving force behind your choices. Whether you decide on 35mm or medium format, your camera is your artistic tool, and the world of film photography is yours to explore.

Frame It Right: The Art of Composition in Photography Part IV

Posted on December 1, 2023May 18, 2026 Posted in Black and White Photography, Nantes Photography, Photography Tutorials, Travel photography, Wildlife PhotographyTagged Artistic Composition, Artistic development, Artistic growth, Artistic insights, Artistic journey, Artistic Photography, Artistic Vision, capturing moments, capturing urban life, City photography, cityscape photography, composition, Composition balance, Composition Principles, Creative balance, creative exploration, Creative Expression, creative framing, Creative photography ideas, creative process, Creative vision, Direction in photography, Framing techniques, France, Grasping fundamentals, Image composition, Image impact, Landscape Photography, Leading Lines, Mindfulness in photography, Nantes, Observational skills, Pathways in photography, Photographing symmetry, photography advice, Photography Composition, Photography composition guide, photography composition tips, photography concepts, Photography practice, Photography Skills, Practice and experimentation, Rule of Odds, Rules of Space, street art, Street Photography, Street portraits, Street scenes, Symmetry in Photography, Urban environment, urban exploration, urban photography, visual art, Visual Balance, Visual Composition, Visual harmony, Visual Impact, Visual Storytelling, Visual techniquesLeave a comment

In my previous articles (Part I, Part II, Part III), we’ve embarked on a journey to understand the basics in photography. I have talked about exposure, set out some of the “rules” of composition, and even delved into the world of colour theory. Today, I’d like to introduce you to the rule of odds and the rules of space, two fundamental elements that will take your photography to the next level.

Before we talk about these new concepts, let me reiterate the importance of building a solid foundation. Just as we did with framing, negative space, and colour theory, it’s crucial to master each concept before moving on to the next. Take your time to learn and apply these principles in your photography journey. The other articles will stay up, and you can read them at your leisure.

The Rule of Odds in Photography

The rule of odds is a composition guideline that suggests using an odd number of subjects or elements in your frame, typically three or five, rather than even numbers. Why? Because odd numbers tend to create a more balanced and visually pleasing composition.

When you use the rule of odds, you create a natural focal point within your photograph. Our eyes are drawn to the centre subject, and the uneven arrangement adds a sense of harmony and intrigue to the image. The result? A more captivating and dynamic photo that engages your viewers. It’s all about balance.

Rules of Space: Balance and Direction

Now, let’s look at the rules of space. This concept involves how you position elements and subjects within your frame to achieve balance and direct the viewer’s gaze. It leaves space for the subject and can be used in multiple ways as a storytelling tool. It can also be used in conjunction with the other composition techniques that I have talked about in my previous articles.

Tips

Think outside the frame. What is going on outside the frame becomes as important as what is oing on inside the frame. Let’ take the picture of the guitarist. Who is he looking at? What’s going on outside the frame? Is there an audience? Where is the audience? Using rules of space the viewer will more curious and be more engaged in the photo.

Conclusion

One can talk about composition and the effect it has on photography till the cow come home. People will always bring up “composition” and will always tell you how “they” would have done it differently. In these four articles you will now know what they are talking about and be able to decide for yourself. In absolute terms, “your” photographs are about what “you” saw, and only “you” can see that. But keep the rules that we have discussed in the back of your mind, and take your photograph with purpose and being conscious about what you are doing. Mindfulness is the key.

My next article will talk about the differences between 35mm film photography and medium format photography. For film enthusiasts or anyone else who is curious you will be entering into a new world. There are, of course, trade offs between each format, and we will discover them. Maybe you’ll be bitten by the Medium Format bug too… As always Dear Reader, I appreciate your enthusiasm, and I look forward to our next exploration together. Until then, happy shooting!

Also in this series: Part I — Rule of Thirds, Leading Lines & Symmetry · Part II — Framing, Negative Space & Colour Theory · Part III — Pattern, Scale & Depth

Capturing the Essence of Nantes: A Street Photography Journey with the Pentax ME Super and Kentmere 100 Film

Posted on November 17, 2023May 19, 2026 Posted in Black and White Photography, Film Photography, France, Nantes Photography, Photography Tutorials, Street PhotographyTagged Black and White Photography, British roots, cake, capturing moments, Castle, classic, comfortable shoes, compassion, Cours Cambronne, documenting life, droit à l'image, east yorkshire, enduring appeal, exploring, film camera, France, French way of life, HAB Gallerie, hangar à bananes, Hull, Kentmere 100 film, local barber, maritime heritage, Nantes, nostalgia, observation, Pentax ME SUper, Place Graslin, Place Royale, Quai Président Wilson, Quartier Bouffay, rue crébillon, Rue de Calvaire, Rue des Carmes, Sainte Croix Church, street life, Street Photography, tea, tips, tour de bretagne, Vintage gear6 Comments

Dear Reader,

This is less of a tutorial than the last four articles but more a “how I approach the subject” kind of article. You can read about something I seem to do a lot of and have experience of. I’ll be talking about my film photography phase from this summer when my X100F was still dead

Have you ever felt that familiar tug of nostalgia while strolling through a city that reminds you of your hometown? For me, Nantes, with its maritime heritage and busy streets, brings back memories of Hull in East Yorkshire. Those of you from Hull will see the irony in this, wondering how the heck a town can be like Hull, but it has similarities… If you know, you know. It’s a city that feels like home, and it’s just a short 35-minute drive from where I live. Come with me through the streets of Nantes, with the Pentax ME Super and Kentmere 100 film.

Exploring Nantes Through My Lens

Nantes, like Hull, boasts a rich maritime history, or is it the other way round? As I set foot in the city, I can’t help but feel the past staring me in the face. The first thing I do is head to my favourite spot, Parking Feydeau. It’s become somewhat of a ritual for me. I park on the same floor, in the same space — predictability eases one worry when you’re out capturing moments, or as my son says, are you autistic Dad? The cheeky little bugger. No, I’m just me! An old Fuddy-Duddy.

As I step out onto the street, I take my first light reading with my camera. It’s a bit like taking the city’s pulse, getting the vibe for the day. My starting point is usually Quartier Bouffay, near the castle , and the fact that the pub is close by has nothing to do with anything! From there, I seem to find myself in front of the Sainte Croix Church. Sometimes, it’s for confession; other times, it’s just to warm up, both physically, spiritually, and visually.

Just as walking the streets of Nantes is a physical workout, and with a camera it is akin to a visual workout. You’re constantly observing, framing, and capturing scenes as they unfold. Rue des Carmes or the path leading to the Castle are some of my more frequent routes, but I’ve been known to start my journey at Place Royale, especially if a visit to my barber is in order. My beard and length has often been a debate between my mother and I. She prefers the shorter, therefore neat and tidy beard. I seem to like a little more length, going for the Father Christmas look. From there, I can explore the Rue de Calvaire or aim for the Tour de Bretagne. Should I choose Rue Crébillon, it will take me to Place Graslin, and I end up in the very French and very stylish Cours Cambronne. They do do a nice courtyard do the French. Sometimes I will head to Quai Président Wilson, to the Hangar à Bananes, where I go to the HAB Gallérie. The added bonus is that parking is free in this area, and after all as Tesco’s would have us believe, every little helps. Again, the fact that I have an address for a beer and a piece of cake has nothing to do with anything, and I will, of course deny everything!

Moments and Encounters: The Heart of Street Photography

As an older gentleman with a slight limp, courtesy of arthritis, I’ve come to understand the importance of comfortable shoes. Fortunately, I do happen to posess some comfortable shoes, allowing me the extra bit of ease whilst wandering around the streets. I’ve also done the odd reckie of spots where I can sit down— be it for a meal, people-watching, sipping a cup of French expresso that packs one heck of a caffeine punch, or, on rare occasions, enjoying a decent cup of tea, but as we are in France this a much more challenging endevour. The French can just be so French now and again. Ah, tea — that drink that is a hug in a mug.

Navigating the streets of Nantes with a camera in hand and a discerning palate for food has become somewhat of a habit for me. Some of the things I hold dearest to my heart, tea, and cake. In France, we encounter the “droit à l’image,” a set of laws governing the right to one’s image. Some people may feel uncomfortable having their photo taken, and I’ve seen it manifest in numerous shots of people’s backs. However, these unwitting contributors add a recognisable element to the urban landscape, showing human interactions in the city.

I recall an incident when a passerby accused me of taking his picture without permission. I had a 28mm lens, and he was merely an infinitesimal part of the scene I was capturing. Reassuring him, I explained that he was not the focus of the photo, and that I had only noticed him when he started yelling at me. So much of a muchness. It was a lesson in navigating the sometimes touchy waters of street photography in a culture sensitive to “the right to one’s image.” As it turns out, compassion is the universal language, but so is muttering under my breath when out of earshot.

Another way I combine photography and life in Nantes is through my visits to the local barber. Whenever I’m in the chair, I discreetly document the atmosphere of the shop. The photos I take are subsequently given to my barber, forming a visual record of his small business — it’s good to be good, and it’s my small way of supporting local businesses. As is drinking tea and eating cake. Nothing to do with my tummy, and nothing like Whinnie the Pooh…

The Pentax ME Super and Kentmere 100 Film: A Street Photographer’s Dream Team

Why do I choose the Pentax ME Super for my street photography outings? Well, it’s a matter of practicality and style. First and foremost, it’s compact — a small camera, and in my pocket another lens and a couple of rolls of film. In the world of street photography, less is often more. It’s a “Keep It Simple, Stupid” approach, and I am a great fan of simple.

But it’s not just about size as in many domains; it’s also about subtlety. A massive DSLR with a conspicuous zoom lens can be intimidating, both for the photographer and the subjects. With the ME Super and prime lens, I “zoom with my feet.” This set-up forces me to engage more intimately with my surroundings especially with the 50mm lens, and the result is a more authentic perspective of the city. Plus, let’s face it — the ME Super is just a really cool looking camera and its vintage appearance just oozes kudos and style. It makes me feel like a true photographer, even though I’m merely an observer of the city.

Now, let’s talk about the Kentmere 100 film. It’s practical and easy to find. This film stock is budget-friendly, a nicer way of saying cheap (Fomapan is another cheaper film stock too), which, if you have seen the prices of Kodak film, is a very convincing argument, yet it reminds me of more renowned Ilford films. One year, I decided to exclusively use HP5+, a faster film. Switching to Kentmere 100 or any other 100 ASA film gives me a finer grain, and I can still expose at F2 and 1/2000th of a second for that silky depth of field that just makes everyone go weak at the knees in “good” light. Bokeh whores I’m talking to you!

Street photographers often aspire to capture the kind of timeless black and white aesthetic seen in the works of Doisneau, Cartier-Bresson, or Vivian Maier. While we may never fully replicate their images, using black and white film, allows us a head start on our digital brothers. I’ve always been drawn to this style of documentary photography. Street photography, for me, isn’t just about street portraiture; it’s about observing the street and documenting it in a classic way — classic, much like myself, or should I say, old-fashioned? Whatever it may be, it’s certainly not modern and up-to-date, just like Yours Truly, but that’s fine too! We all have our place.

Tips for Aspiring Street Photographers

Now, for those of you who aspire to explore street photography, let me share some tips. Remember the phrase from the cover of “The Hitchhiker’s Guide to the Galaxy”: DON’T PANIC! When you’re working with a film camera, such as the Pentax ME Super with its 36 exposures, don’t expect to get 36 keepers. However, consider each photo that doesn’t quite hit the mark as a valuable visual note.

These notes help you study your subjects and how the scene changes with shifting light. Practise, after all, makes perfect. Don’t think that any photographer publishes all their shots; in fact, I curate and edit my photos carefully before sharing them on my Instagram feed. It’s all part of the learning process, using each “less than perfect” shot to refine your craft. And each photograph is a journey towards the ultimate photograph.

Dont forget those comfortable shoes, which, as I mentioned earlier, are essential. You’ll be walking and standing a lot, so prioritise comfort. Again, reduce your kit to the minimum. The less weight you have to carry, the fewer excuses you’ll have to sit down and maybe have a cup of tea and a piece of cake. But keep that option open, you never know…

I photograph to find out what something will look like photographed.

Garry Winogrand

Conclusion: Capturing the Essence

In conclusion, street photography is about capturing the essence of the city, and with the Pentax ME Super and Kentmere 100 film, I document the life, culture, and people of Nantes. It’s a city with a rich past and a vibrant present, and through my lens, I’ve sought to capture moments that reflect its unique character.

Each click of the shutter is a testament to the enduring appeal of film photography and its ability to capture moments that transcend time. It’s a classic approach in a modern world, much like my beloved Nantes itself. I mean, it’s not Hull, but not many places can rival Hull. If you know, you know.

If you want to dig into the Pentax ME Super itself — its controls, its character, and why it works so well for street photography — I’ve written a dedicated review: Why the Pentax ME Super Is the Perfect First Film Camera (Even in 2026).

So, Dear Reader, whether you’re a seasoned street photographer or just beginning your photographic journey, I encourage you to explore the streets of your own city or a new one. Embrace the art of observation, document its nuances, and don’t be afraid to capture this essence of the world around you. It’s a journey that rewards both the observer and the observed.

Thank you for joining me on this photographic adventure. I invite you to share your own street photography experiences and engage in a conversation about this beautiful art form. Until next time, keep clicking and exploring.

Patterns, Depth and Scale: A Practical Guide to Photography Composition

Posted on November 3, 2023May 18, 2026 Posted in Photography TutorialsLeave a comment

Three photography composition techniques that will change how you see: pattern and repetition, scale and proportion, and depth through layering. Each one is practical, trainable, and immediately applicable on your next shoot — whether you shoot film or digital.

In my last article, we talked about using framing in photography, as a way of adding depth to our photographs. We talked about using negative space to emphasize the subject in our image, and we introduced the notion of colour theory so we could use colour deliberately, and not just as an afterthought. This week we will learn about pattern and repetition, scale and proportion, and depth and layering.

Again, as before, I urge you to look at past articles first and know how to implement each concept before jumping ahead. You can read this article and can always come back to it later. But the idea of mastering a rule or guide, and then moving on, in my opinion, is the best way to proceed. As we explore these notions we will find that our eyes become aware, and not in a Jean Claude Van Dame kind of way, of our surroundings and you will notice that you see things that you had previously ignored. Develop the way you look at a scene and enjoy seeing differently.

Pattern and Repetition in Photography

Patterns and repetition are essential elements that enhance your photos, creating visual interest and symmetry in your compositions. They can be found in both natural and man-made subjects, offering captivating visual rhythms and opportunities for exploration, and even notions of minimalism. Think of modern architecture.

Creating Visual Interest:

Patterns can be discovered in various forms, from natural occurrences like tree bark textures and waves on a beach to man-made elements such as architectural details or streetlights. These repeating elements draw viewers into your images, providing a sense of order and captivating visual interest, especially when you use them as leading lines. Once you start thinking about patterns, you will begin seeing them everywhere.

Achieving Symmetry and Balance:

Repetition plays a crucial role in achieving symmetry and balance within your photographs. This is particularly effective in architectural photography, where the balanced repetition of elements like windows, columns, or arches can result in visually pleasing and harmonious compositions.

Scale and Proportion

I have a weakness for my wide angled lenses, especially my 16-35mm F4 from Canon, and my TT Artisans Fish eye lens. Instead of using the 50mm or 35mm prime lens, which traditionally show what the eye sees, the wider you go, the more distortion you can get. Now this is interesting for when you just want to go more abstract, and make the eye wonder what it is seeing. Scale and Proportion are thrown out of the window.

Wide-angle lenses when used as a creative tool, allow for distortion in scenes beyond the typical human perspective. For instance, a landscape captured with a fish-eye lens may distort foreground elements to appear exaggerated, casting doubt on the true proportions. This departure from reality opens doors to the realm of abstraction, inviting viewers to question the nature of what they see.

However, it’s crucial to maintain balance when utilising wide-angle distortion. Thoughtful composition is essential to ensure that the deliberate distortion serves artistic purpose. By carefully placing subjects within the frame, experimenting with angles, and embracing foreground elements, you can master the art of playing with scale and proportion, enriching your visual storytelling and artistic expression.

During my first more formal photography lessons when I was 11, I saw a photograph of a horse taken with a wide-angle lens and its head appeared as big as its body. I was subjugated by this image and it has stuck in my head all these years.

Depth and Layering

Photographs by definition are two dimensional. In order to give depth to our images and make them appear three dimensional, we have to take into consideration layering of elements: the fore ground, middle ground, and back ground.

Foreground elements are those closest to the camera, often serving as an entry point for the viewer. These elements can add context, frame the composition, or provide a sense of scale. Imagine seeing a human figure in a landscape we know immediately our place within the scene, and have a sense of scale and proportion. This foreground will often be the lightest part of the photograph.

The middle ground comprises the subject or objects of primary interest, placed between the foreground and background. It’s crucial to ensure that the middle ground elements are clear, well-defined, and serve as the focal point of the composition. This layer establishes the core narrative or visual theme of the photograph. This middle ground will be naturally lighter than foreground.

Lastly, the background, though more distant, shouldn’t be overlooked. It contributes to the overall atmosphere and context of the image. Consider the background’s role in enhancing the story or mood you want to convey. Elements in the background should complement, rather than distract from, the main subject. This background will be, au naturel, the lightest part of the image.

By skilfully layering these elements, photographers can create a sense of depth, inviting viewers to engage with the image on multiple levels. Experiment with different arrangements and compositions to discover how layering can enhance your visual storytelling and add depth to your photographs.

Conclusion

In this article we have explored pattern and repetition, scale and proportion, as well as creating depth using layers in our photography. We are well along the way to understanding the basics of composition, and if you have got this far, you will see how you views on your own photography might have changed. You might see ways of changing how you see as a photographer, and no longer as a neophyte. You have been made aware of the importance of thinking before clicking and hoping for the best.

I cannot stress enough the idea of mindfulness in your photography. Look, and think about the scene in front of you. With the knowledge that you have acquired, how has your viewpoint changed? Maybe you have slowed down when shooting. Maybe you are managing to get more impactful and more visually appealing photographs. These techniques are simple, and I know will already have had a positive impact on your photography. Use them during your next outing.

Keep practicing. Go out with your camera, and enjoy doing something new. And despite being more mindful, don’t get weighed down and over analyse your photography. I want you to enjoy it as much as I do! You can do this. If I can, then you can!

In my next article I will expose you to the rule of odds, and rules of space which we touched upon when looking at negative space. I know you’re the edge of your seats but try and be patient. I’ll see you next time.

Also in this series: Part I — Rule of Thirds, Leading Lines & Symmetry · Part II — Framing, Negative Space & Colour Theory · Part IV — Rule of Odds & Rules of Space

Frame It Right: The Art of Composition in Photography Part II

Posted on October 27, 2023May 18, 2026 Posted in Photography TutorialsTagged approach, artistic expression, Artistic Photography, artistic value, atmosphere, balance, Black and White Photography, classical art, color balance, color combinations, color coordination, color harmony, color theory in photography, colour theory, colour wheel, complementary colors, composition, Composition Principles, countryside, creative framing, creative techniques, elegance, evolution, framing, France, harmonious composition, hotography, immersive photography, Landscape Photography, Leading Lines, minimalist, mood, Nantes, negative space, Photography Composition, Photography Composition Guidelines, photography guide, Photography Skills, Portraits, Rule of Thirds, simplicity, subject framing, symmetry, tranquillity, Visual Balance, visual frames, Visual Impact, Visual Storytelling2 Comments

In my last article, we talked about three of the rules of composition, rule of thirds, leading lines, and symmetry. We talked about the origins in classical art, as well of how to use them in our photography. We also explored the implementation of these rules “or guides” and how we should practice each one, master it, and then move on to the next one. You will still have your photos for the “Gram,” but more importantly, you will be growing as a photographer, gaining experience, and building a body of work. You will, by definition start becoming more deliberate in capturing your shots, and will be more mindful than somebody just shooting blindly and praying that they get at least on shot!

In this article we will continue to explore certain concepts that be used to make our photographs even more engaging and interesting. We will explore framing, i.e. using frames with in frames, and the use of negative space, used to isolate of emphasize our subject, and go minimalist.

Framing

When I say the word framing, I’m not talking about the gilded golden frame that you will use to frame your photography to give as gifts to your mother-in-law, but using visual frames inside your image to “frame” your subject…

These examples illustrate how framing can be a powerful tool in photography, guiding the viewer into the image and providing depth and context to the subject or scene being captured. A technique that can make your photos more engaging and immersive. You can use trees, windows, element on the ground, buildings. Go out and explore the world around you and try and “frame” your shots.

Negative space

Negative space is the space that surrounds our subject, this empty space or unoccupied space is almost as important as the subject itself. It’s role is to create balance in the image and adds to the importance of the subject.

Key points

This negative “space” around the subject gives the subject room to breath, and takes away the clutter so we can concentrate on our subject. It emphasizes the subject and leaves no doubt where the subject is to be found. For those of you who want a “minimalist” approach to photography, it is one of the best ways to do this. Less is more after all. Think of simplicity, tranquillity, and elegance. It can be used to create mood and atmosphere, and in landscape photography can portray ideas of solitude or freedom. Think of a vast empty sky and rolling hills. Negative space doesn’t have to be completely devoid of detail. It can be an area of uniform colour or texture that complements the subject and adds visual interest, or we can use depth of field to emphasize our subject

When using negative space, it’s essential to pay attention to the balance between the subject and the surrounding empty areas. The goal is to create a harmonious composition where the negative space complements and enhances the subject, rather than overpowering it. This technique can lead to powerful and emotionally resonant photographs, adding depth and impact to your work.

When you look at my photos of the girl against the colourful walls in Trentemoult in Nantes, think about how placing the model on the left or right of the frame makes you feel. Looking forwards or looking backwords…

Colour Theory

Colour theory is not just for those trendy designers in those advertising agencies. If you go onto my Instagram feed, you will see that most of my work is predominantly black and white. “So no colour,” I hear you say. Well, yes and no. Black and white photography concentrates on tones, but we can look at colour in the same way and seek balance in our colours. So what’s this colour wheel then? Well, it’s a way of looking at colours that go together, like green and red (think of Christmas cards), blue and orange, yellow and purple, all these colour are opposite on the colour wheel. Also, think about complimentary colours that are next to each other on the wheel, such as yellow, light green and dark green. You will find yourself becoming aware of colours in nature and how they complement each other. There will be some photographs that depend on this colour for their artistic value, and that won’t work in black and white photography.

Think about the portraits in the previous section and the natural colour in the photos in the country side.

Conclusion

We’ve continued our journey into composition by exploring how to use elements in our photos to frame our subjects. We’ve delved into the concept of negative space, emphasizing our subjects in our images. To conclude, we’ve begun to consider how colour can add harmony to our compositions. My advice is to incorporate these elements into your photography one step at a time. Don’t rush; there’s no need to feel overwhelmed. It’s a lot of information to take in, but as you explore each aspect mindfully, you’ll witness an evolution in your approach. Keep up the excellent work, and I look forward to our next session where we will talk about pattern and repetition, scale and proportion, and depth and layering.

Also in this series: Part I — Rule of Thirds, Leading Lines & Symmetry · Part III — Pattern, Scale & Depth · Part IV — Rule of Odds & Rules of Space

Photography Composition: How to Frame a Shot With Intention

Posted on October 20, 2023May 18, 2026 Posted in Photography TutorialsTagged Art of Photography, Artistic Composition, artistic expression, Artistic Photography, Artistic Vision, camera settings, Camera Techniques, Composition in Photography, Composition Principles, Composition Techniques, Creative Composition, Creative Visuals, exposure triangle, Framing in Photography, France, Image Balance, Landscape Photography, Leading Lines, Mastering Photography, Nantes, Perspective in Photography, Photographic Vision, Photography Aesthetics, Photography Artistry, photography basics, Photography Composition Guidelines, Photography Composition Rules, Photography Craft, Photography Creativity, Photography Education, Photography Fundamentals, Photography Insights, photography mastery, Photography Rules, Photography Skills, Photography Tutorials, portrait photography, Rule of Composition, Rule of Thirds, Still Life Photography, Symmetry in Photography, Visual Balance, Visual Composition, Visual Elements, Visual Impact, Visual Storytelling2 Comments

Good composition is the difference between a photograph that holds attention and one that gets scrolled past. The rule of thirds, leading lines, symmetry — these aren’t arbitrary rules, they’re the language of visual weight, and understanding them is the foundation of all strong photography. This guide covers the core principles with examples, whether you shoot film or digital.

In my last article we talked about exposure, and balancing the elements that form the “exposure triangle”, i.e. the sensitivity of the film that we’re using, of the ISO setting on our camera sensor, the shutter speed, i.e. how long we let the light hit the film, or camera sensor, and aperture, i.e. the size of the hole that light comes through measured in F-Stops. When these elements are in perfect osmosis, we should get a decently exposed photograph.

Introduction to composition principles

Now we shall take this knowledge and build upon it with notions of composition, i.e. how we will organise the elements in our photograph. Sometimes we have control of where these elements are, for example when creating a still life image. Other times we have no control whatsoever and just have to move ourselves instead. The way we do this is by thinking about our “Composition.”

As humans we are all guided by rules, some universally moral, some defined by the country we live in (like in France where they seem to be forbidden to make a decent up of tea), and Art is no exception. There are rules in Art that make an image pleasing naturally to the eye, and, believe it or not, these “rules” have been around for a long time. Now I hear you little rebels sat at the back of the classroom near the radiator saying how you don’t live by rules, and that you break every rule in the book. And I have no problem with that. I would however suggest you learn the “rules of composition” first and then, and only then break them knowingly.

Photography is art made with light, and the first photographers were heavily influenced by the art and paintings in the local Art Galleries. They therefore had a very “classical” notion of composition. I want you to imagine those massive oil paintings in a gold frame showing a Victorian gentleman looking over the top of a waterfall, framed by the forests, and still looking so dapper.

The Rule of thirds

This is one the first things that people will talk about when talking about composition. The idea, as the name suggests is to divide a photo equally into thirds horizontally and vertically, and put the point of interest (subject) where the lines intersect. Or you could have a landscape photo where sky will take up two thirds of the photograph and the foreground the other third. In editing software, when framing you shot they will put a three by three grid on your photo automatically. Some digital cameras allow the use of this grid inside the viewfinder. When taking a portrait you would ideally have the eye where the lines cross. Yes Ian, but this has been done, done, and done again, and has become a cliché I hear you say. Possibly, but it works mate! Don’t knock it. As I said earlier, learn the rule, master using the rule, and then you might consider breaking the rule, but it will be a conscious decision and above all, deliberate. But it will permit a pleasing and natural result.

Leading Lines and Perspective

Leading lines are lines that lead the eye into the photograph, turning it into something dynamic. The lines will converge on a certain point in the image, which, if you want, can be on the grid that I described in the last section. This point is the vanishing point, and give geometrical forms to your image, and can lead to the subject of you photo. When using straight lines,you can emphasis to shapes in architecture and acquire a very “graphic” image. Using a wide angled lens or even a fish eye lens will emphasize these line even further and the distortion of these lenses will add even more interest to your image. I will talk about the most common lenses in a future article. We’re not there yet. The lines don’t have to be straight, they can be curved or S shaped. Think of a winding road in the countryside. Whichever version you use, there will be a feeling of being drawn in to the scene.

In the first photograph of the original Pegasus Bridge all the lines converge to a central point with a person standing which gives us an idea of the scale of the bridge. These straight geometrical lines give a feeling of stability and solidity.

In the second photograph, we can see an image that uses an S curve, and as you can see, the effect is totally different. More subtle, but they eye is still drawn in to the image.

Leading lines can appear in nature and in the landscape. Look at the way that the tree line and lines in the mountains converge on a specific part of the photograph and show the different layers of the photograph.

I seem to use them in quite a few of my photos, and with time, you won’t even have to seek them out. You will be lead…

Symmetry in photography

In last week’s article we talked about exposure and how it is a balancing act between the three elements: film sensitivity, aperture, and shutter speed. We can find this symmetry in our compositions too.

Symmetry in photography is a fundamental principle that enhances the visual impact of images. It involves balancing elements on both sides of a central axis or point. There are various types of symmetry, including horizontal, vertical, radial, and bilateral, each offering unique opportunities for creating appealing compositions. Symmetry naturally draws the viewer’s eye, adds stability, and is particularly useful in architectural, landscape, and macro photography. However, breaking symmetry with a contrasting element can introduce tension and creativity. By framing subjects thoughtfully, adjusting camera angles, and recognizing symmetry in both natural and man-made subjects, photographers can master this powerful tool for captivating compositions.

In summary, symmetry in photography is about creating balance and harmony through the arrangement of elements within the frame. It provides a sense of order, highlights patterns, and engages viewers, while also allowing for creative deviations when necessary to convey a specific message or emotion.

Conclusion

Firstly let’s not be fixated by these rules. I was right to describe them as “guides” to composition. Talking about them is fine, but we have to put them into action. Don’t try to do them all at once. Take one rule. Look at it closely. Think how can I use this one rule? How can I master it, or at least take it on board. When you think that is is engrained into your mind, then start using a different concept. I can’t stress that when learning, take your time. Let the concept become second nature.

There will be occasions when you feel that you are no longer advancing in your composition, but stick at it. You will not obtain mastery after just one outing. I’ve been doing this for 40 years and am still learning something new each time I go out with my camera. People talk about being on a photographic journey, and that is a very good way of looking at it. You can’t run before you can walk. Don’t let yourself be overwhelmed by what you might see on Instagram, or even on this blog. We are all at different places on this path.

In next week’s episode we will explore framing, negative space, colour theory, texture. There will be a third article to cover pattern and repetition, scale and proportion, depth and layering. There are so many points to talk about in composition that we may even have a fourth article but we’re not there yet!

See you next week. Until then, keep shooting!

Also in this series: Part II — Framing, Negative Space & Colour Theory · Part III — Pattern, Scale & Depth · Part IV — Rule of Odds & Rules of Space

Photography 101: What Nobody Tells You About the Basics

Posted on October 13, 2023May 18, 2026 Posted in Photography TutorialsTagged aperture, basics, beginner photography, camera adjustments, camera choice, camera controls, camera features, camera functions, camera modes, camera options, camera selection, camera settings, camera types, capturing images, digital photography, exposure triangle, Film Photography, France, fundamentals, ISO sensitivity, light and photography, Nantes, photography advice, photography basics, photography concepts, Photography Education, Photography equipment, photography essentials, photography exploration, photography for amateurs, photography for beginners, photography for novices, photography foundation, photography fundamentals tutorial, Photography gear, photography guidelines, photography insight, photography introduction, photography knowledge, photography learning, photography lens tutorials for beginners, photography mastery, photography principles, photography settings, Photography Skills, photography starting point, photography techniques introduction, photography understanding, shutter speed9 Comments

Why Photography?

Hello, Dear Reader,

I’ve decided to take some advice and start a series of articles focused purely on photography. You may already know how photography has impacted my life, and perhaps you’re hoping to discover something similar for yourself. This isn’t a formal course, and the advice I share comes from my own experiences over the years. My aim here is to offer you a useful reference point as you begin or continue your own photographic journey.

Let’s assume you’re new to photography and want to move beyond using your phone’s camera. You’re ready for a “real” camera. Does that sound about right?

From time to time, people approach me and say, “Ian, what’s the deal with photography? How do I get photos like yours?” That’s when my imposter syndrome likes to make an appearance. But despite that, I’m here to share what I know.

To begin, you’ll need a camera. I know it can feel overwhelming, especially if you’ve glanced at the price of a Leica and wondered if it’s worth selling a kidney. (Pro tip: hold off on that.) Leicas are beautiful, but you don’t need to break the bank to get started.

Any camera within your budget is a good starting point, especially if it allows you to control settings manually. Whether you choose film or digital, the fundamentals remain the same. Do you want the retro charm of a Canon AE1, the compact style of a Fujifilm X100F, or perhaps a more professional DSLR? The choice is yours, but remember: the camera is just a tool. It’s how you use it that matters. I’ve written some camera reviews you can check out, and I plan to add more in the future.

Now, let’s talk about the basics.

Exposure Basics

Photography is essentially about light—how much of it reaches your camera’s sensor (or film) and how it interacts with your subject. Too much light, and your image will be “overexposed” (too bright). Too little light, and it will be “underexposed” (too dark). You can, of course, play with these elements intentionally, using over- or underexposure to highlight specific areas of your shot. Photographers often talk about exposing for the highlights or shadows to get the right balance. In film photography we will expose for the shadows and in digital photography we expose for the highlights.

How do I control the light?

It all comes down to balancing three key elements, often called the “Exposure Triangle”: ISO, shutter speed, and aperture. Adjust one, and you’ll need to compensate with the others. Let’s go through each of these in turn.

Diagram of the exposure triangle showing the relationship between aperture, shutter speed, and ISO — The three variables every photographer learns to negotiate. Get one wrong and the other two will tell you about it

Understanding ISO

ISO controls your camera’s sensitivity to light, crucial for getting the right exposure in your photographs. In film photography, it’s referred to as ASA, but the principle remains the same.

Lower ISO Settings (100-400): Ideal for bright conditions, such as sunny days, as they produce images with minimal grain or “noise.” For example, using ISO 100 outdoors on a clear day will give you crisp, clear shots.
Moderate ISO Settings (400-800): These settings are suitable for cloudy days or indoor lighting. Using ISO 400 allows you to capture good quality images without excessive grain, but expect some visibility of noise when using ISO 800 in dimmer conditions.
Higher ISO Settings (1600 and above): Perfect for low-light situations, such as indoors or nighttime photography. While ISO 1600 can help you capture images without a flash, be prepared for more noticeable grain. ISO 3200 can be used for very low light, but expect significant grain in the final image.

Modern digital cameras handle higher ISO settings much better than older film cameras did, significantly reducing noise even at higher values. The key takeaway is to experiment with different ISO settings to see how they affect your shots. Don’t hesitate to adjust your ISO based on the lighting conditions—higher sensitivity can make a big difference in capturing those special moments.

Shutter Speed

Shutter speed determines how long the sensor (or film) is exposed to light. A fast shutter speed—like 1/500th or 1/2000th of a second—will freeze motion, but it lets in less light, so you may need to increase your ISO to compensate. Slower shutter speeds (1/60th of a second or lower) let in more light but can cause motion blur or camera shake. If you’re handholding the camera, try to stay above 1/60th of a second. If you’re using a longer lens, say 85mm, you may want to use 1/100th of a second or faster to avoid shake.

For stability with slower shutter speeds, a tripod is your friend. Just bear in mind that vintage cameras often have lower maximum shutter speeds, but those quirks deserve their own chapter.

Aperture and depth of field

Aperture controls how wide the lens opens to let light in, and it’s measured in f-stops. A smaller f-stop number (like f/2.0) means a wider aperture, which lets in more light and creates a shallower depth of field—ideal for those portraits with a soft, blurry background. A higher f-stop (like f/16) means a smaller aperture, which lets in less light but keeps more of the scene in focus—perfect for landscapes.

Aperture not only affects the amount of light coming through but also how much of your image appears sharp. The trick is finding the right balance for the look you’re aiming to achieve.

Conclusion

One of the great things about digital cameras is that you can experiment with these settings without worrying about the cost of film. You can see the results immediately and make adjustments on the fly. Most digital cameras offer different modes to help you control the exposure. For example, “Shutter Priority” lets you set the shutter speed while the camera adjusts the other settings. “Aperture Priority” does the same for aperture. If you’re more experienced, you can take full control with manual mode.

This is just the first in a series of articles designed for beginners, but it’s always helpful for even the more seasoned among us to revisit the fundamentals. If you have questions, feel free to leave a comment. No question is too simple, and I’ll do my best to respond.

Until next time, Dear Reader.

Post Scriptum

I’ve noticed many of you arrive at this site through this page (probably from Google), so welcome! This is just the first in a broader series on photography. If you found this article helpful, there’s more where this came from. I also cover topics like composition, gear choices such as the Pentax ME Super, which as its name suggests is rather Super, the differences between 35mm and medium format, and my approach to street photography.

My aim is to demystify photography. It doesn’t have to be complicated. Whether you’re just starting out or already have some experience, I hope you’ll find something useful here. Thanks for reading, and don’t hesitate to ask questions or leave a comment. I look forward to hearing from you.

Kodak Portra 160 in action

Posted on October 25, 2020June 12, 2024 Posted in Camera reviews, Film Photography, France, Nantes Photography, Photography Tutorials, Street PhotographyTagged cathedral, film, Film Photography, kodak, kodak Portra, Nantes, Pentax ME SUper, Street phtoography1 Comment

I have already shown these photos on Facebook and Instagram, but I wanted to share them here too. I had the pleasure to take a film camera out to Nantes with some Portra in it. Kodak Portra is one of those iconic films that everybody waxes lyrical about and I can understand what the hype is about. I certainly love it and the results the I mananged to get from it. I would love be able to work out how to make my digital photos have the same feeling, but when I take film shots I don’t have to worry about it.

The following photos were taken on Portra 160 film using my Pentax ME Super, which as the name suggests is pretty cool, during the month of May just after lockdown and in Nantes where I can be found often with a camera around my neck.

Portra 160 is described as having a natural color palette with low saturation and low contrast. It has breathtaking color, sharpness, and very fine grain. I really love these colours. Normally the name Portra might suggest Portrait and you’d be right in thinking that. For portraits it’s magical. But it also seems to work in street photography.

I do love the Cathedral in Nantes and haven’t been back inside since the fire. I miss it and the music from the organ which was magnificent and depressingly no longer there.

https://shootitwithfilm.com/how-to-shoot-kodak-portra-160/ This could interest you too

https://www.alexburkephoto.com/blog/2019/5/16/metering-and-shooting-kodak-portra-film And here is another link that you might want to have a look at. Loads of info and worth a read. I wish I had have know about this first. I don’t think I was too far off though.

https://fstoppers.com/film/unofficial-film-film-look-long-term-review-kodak-portra-400-502260 This article is on Fstoppers and discusses Portra 400 but it’s a good read too.

Île de Nantes with the XT2

Posted on July 15, 2020June 12, 2024 Posted in Architecture, Black and White Photography, France, Nantes Photography, Photography Tutorials, Street PhotographyTagged architechture, bicycles, bike, Bikes, Black and White Photography, City, France, Fujifilm X Series, fujixt2, ile de nantes, Loire Atlantique, nantais, Nantes, obligatory bike shot, photo walk, quartier, street, Street Photography, summer, Urban1 Comment

It was the first full day of leave from work and I wasn’t able to get to the UK so what is a guy to do? I was devastated but it became clearer and clear that my trip to Hull wasn’t going to happen. You can take the man out of Hull, but not the Hull out of the man. Retail therapy would cost a fortune. An interesting idea with many merits, but my credit card might not be OK with that… So I decided to go out to Nantes with my camera.

Some of you might remember me talking about Sean Tucker in my article about the portraits with one speed lite. His latest video was talking about minimalism in street photography and how he would go around the Barbican for some modern architecture photography shots. Believe it or not but I don’t actually live in London, no, I live near Nantes and so did the next best thing. The Île de Nantes is an area that is under development and has some very interesting architecture with lots of texture.

Nantes is one of those places that is old and has gone through so many mutations over the centuries but has always found a way of reinventing itself. Some of you might have realised that I frequent a certain establishment in the quartier historique of Bouffay, which is where the staff of the Castle used to live. There are long boulevards with Hausmannien architecture. Other areas with traces of various workshops from the beginning of the 20th century, the Passage Pommeraye, that 19th century collection of shops that have become such a feature of Nantes. The Île de Nantes had the naval dockyards that after the decline of shipbuilding in Nantes were transformed. And so it is the turn of the rest of the Île de Nantes.

I wanted to try and find shots which were based on form and light almost as if I were trying to give my eyes and vision a workout. I was using the FUJIFILM XT2 with the 16mm f2.8 lens. It was a lovely day too!

I think it might have to be something that I should try more often….