Category: Reportage

The Opening of the Film Archives—Abbaye de la Grainetière, October 2016

Posted on Posted in Architecture, Black and White Photography, Catholic, Film Photography, France, History, Landscape Photography, Reportage, The Film ArchivesTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 6 Comments

“They” say that if you leave your child to the Jesuits for seven years, then that child will belong to the Jesuits for life. I am not a Jesuit, but I was heavily influenced by the Benedictines when I went away to prep school in 1980. Mummy, Daddy, let me reassure you, this isn’t about Gilling—some things are better left in the past. This article will instead focus on a different Benedictine site, one that I visited much later in life: l’Abbaye de la Grainetière, a peaceful monastery here in the Vendée.

The Abbey of Notre-Dame de La Grainetière, on the outskirts of the town of Les Herbiers in Vendée (France), encompasses nearly nine centuries of tumultuous history. For over 50 years, numerous restoration works have been undertaken. These efforts allowed for the re-establishment of a community of monks at the end of 1978, nearly 200 years after the abbey was abandoned by the monks, shortly after the Revolution of 1789. Classified as a historical monument since 1946, many volunteers are working to continue the legacy of La Grainetière.

To those of you unfamiliar with the ins and outs of the Catholic Church, the role of monks is to live in community, and their main duty is to pray for us in the wider community. The monks elect a Father Abbot, who is responsible for running the monastery. In centuries gone by, the Abbot would wield a huge amount of influence, but this power has been reined in over time and is less evident outside the monastic community.

When I visited l’Abbaye de la Grainetière, I couldn’t help but reflect on how different this Benedictine monastery felt from my school days. The quiet prayer, the stillness—it offered a kind of peace that I hadn’t experienced for a long time, and a life that was once very appealing to me.

The monks follow the Rule of Saint Benedict, a foundational guide for monastic life that addresses not only prayer, but also how to live both within and beyond the monastery walls. Though written for monks, many of its teachings have been adopted by the laity seeking a structured, spiritually focused life.

I could almost say I envy them the simplicity of monastic life compared to the complexities of modern society and family life—juggling careers, responsibilities, and the endless distractions of today’s world. While I don’t regret the joys and vibrancy that come with having a family—something perhaps lacking in monastic life—it’s hard not to admire the stillness and purpose that a simpler existence can offer. We all have different vocations in life. Mine was to be a father.

As I packed away my camera and left the grounds of l’Abbaye de la Grainetière, I found myself still pondering the contrast between the quiet, ordered life of the monks and the complexity of my own. In some ways, visiting the abbey felt like opening a door to a simpler time, a place where life seemed more focused and more deliberate. Yet, as much as I admire the peace found within those ancient walls, my own path has led me elsewhere—to the joys, challenges, and unpredictability of family life.

In the end, it’s not a question of envy or regret, but rather a reminder that we all find our peace in different ways. For the monks of l’Abbaye de la Grainetière, it lies in prayer and solitude. For me, it’s found in the laughter of my children, the shared moments with loved ones, and yes, even in the rush and noise of everyday life. Each vocation, after all, carries its own kind of grace.

Perhaps that’s what lingers with me most from my visit to the abbey—not just the tranquillity of the place, but the realisation that we each have our own rhythm, our own way of navigating the world, and there is beauty in all of it.

Post Scriptum:

The photos were taken with a Canon AE1, and its FD mount 50mm F1.8 lens, using Ilford HP5 + black and white film.

In Defense of Film

Posted on Posted in Film Photography, ReportageTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 11 Comments

Is film photography too expensive? Think again! Many assume that shooting film is a hobby reserved for the wealthy, but it doesn’t have to be. With the right approach, you can enjoy the unique aesthetic and creative process of film photography without breaking the bank. In this article, I’ll share my personal experiences and tips for saving money on film, developing, and gear, proving that the joy of film is accessible to everyone.

Often, even the tiniest things can spark a desire to write. In the infamous world of internet comment sections, people can have different opinions—a good thing, as it makes us reflect on our own positions. It challenges our perceived wisdom and questions us in ways that can be disarming. What’s obvious to me might not be to someone else.

I was talking to an Australian lady, likely of my generation since our photography journeys started the same way—with film. Except this lady has gone fully digital, keeping her film cameras as a reminder of her film days being over. Less hassle, less expense, less stress, and less “faffing about,” she said.

At first, I was taken aback. I love the film aesthetic in my photography. I like the predictability of film grain, as opposed to digital noise. But most of all, I’m in love with the process. I love the slower pace of film photography—none of this “spray and pray” nonsense. I appreciate how I become more mindful when shooting film, as each shot counts. I like the way an old film camera looks around my neck. And as the internet meme says, “I know about photography. I’ve been initiated into the exclusive circle of purists.”

The lady talked about the prohibitive prices of film and labs, which, let’s be honest, is a valid point.

Costs of Digital vs. Film Photography

I’ll talk about my kit and initial outlays compared to my film expenses. I bought my latest two digital cameras in late 2017 and 2018. My X100F cost around €1400, and my Canon 6D Mark II around €1200. I spent about €300 on a teleconverter for the X100F, and I probably have about €2500 worth of kit for the Canon, including speedlites, lenses, and filters. Then there’s the Fujifilm XT2, bought second hand for €400, with a couple of lenses totaling around €500.

This kit, though older, works well and is largely sufficient for my needs. As mentioned in my article “I Want It, But Do I Need It?”, I’d like a Leica, but do I need one? Would I refuse one if someone gave me one? Heck no! You can see the results throughout this site, and the images are great.

Let’s move on to film. Yes, if you love that Kodak Portra look, you’ll be spending a pretty penny. I have a certain nostalgia for the days when the prices hadn’t doubled. But—and this is important—not all film photography has to be done using Kodak Portra. There are more accessible films, especially black and white, that cost less. A roll of Fomapan 100 costs me around €5.50. So for less than the price of a pint of Guinness, I can get 36 shots. For a little more, I can go with Kentmere or even Ilford black and white film. I still have one roll of Portra left and a pack of five Tri-X medium format rolls.

Developing at Home

Ah, but then you have to send them to a lab to be developed. Again, a valid point. The cost for developing colour film where I go is less than €7 per film. I’ll share a little secret: I invested in a kit to develop my films at home. It cost about €140 initially, but now all I worry about is buying the chemistry. Yes, €30 for a developer seems steep, but I can develop 16 to 24 films with a bottle, depending on the dilution. I also invested €250 in a film scanner to produce digital files for editing.

Collecting Film Cameras

You might have noticed that I’ve talked about film but not film cameras. I started collecting a while back before hipsters raised the prices in the secondhand market. The most I paid for a film camera was just over €100, and the cheapest was €15. These film cameras are generally solid, and the lenses are great. The technology, though a little less modern (understatement of the year!), still works, and older cameras don’t even need batteries. And even those that do, the batteries last for ages. None of this “Do I have spare batteries for the X100F?” nonsense.

Each shot is taken on a brand new “sensor,” compared to shots on a digital sensor. And less dirt gets onto this sensor.

The Joy of Film

Don’t get me wrong, I love digital photography for its convenience and spontaneity. I can see my images right away and get instant feedback and gratification. With film, that gratification isn’t instant. You have to be patient and wait, but for people of my generation, that might be infuriating, it’s something we grew up with and accepted. I continue to accept it.

I enjoy using a machine sometimes older than me, knowing the image quality will be there. I know that with a certain film, I’ll get a certain result. I like the slower pace. If you visit the Film Photography page or the Film Archive page, you can decide for yourself if it’s worth the hassle, the expense, the stress, and the “faffing about.” I think it is, and I maintain that film has as much a place in photography as it ever did.

The Future of Film

Does film have a future? I think it does. Leica has relaunched the M6, Pentax has the new Pentax 17, and Kodak has the Kodak Ektar H35. The disposable cameras of yesteryear are still being produced and it has become the fashion to us them at weddings for that affordable yet classic look of film. Film photography continues to be popular with Gen Z and millennials. Case in point: my 25-year-old son nicked one of my Kodak Retinette 1B’s and a roll of film. I suspect my daughter might have her eye on one of my film cameras, too.

One thought came to mind whilst answering one of comments with the person saying that they “will never go back.”  I am old enough to remember when microwaves fist came out.   They were sold to us as being thoroughly modern and machines that could do everything so quickly and conveniently.  Except they couldn’t.  For certain tasks on the kitchen they are wonderful and far exceed the way we “used” to cook.  But they can’t do everything.  They have their place in the kitchen.  And will always will do.  But a slowly simmered boeuf bourguignon that infuses its odours through the kitchen will always have a special place in my heart.  Much like using film to capture my images…

I want it, but do I really need it?

Posted on Posted in Black and White Photography, Camera reviews, ReportageTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 12 Comments

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

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

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

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

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

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

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

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

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

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

Key Takeaways:

  • Sensor: The X100VI offers a significant resolution upgrade with its 40.2MP sensor, providing greater detail and flexibility for cropping compared to the X100V and X100F.
  • Lens: All three models share the same focal length, but the X100V and X100VI feature improved lens designs for better sharpness and close-focus performance.
  • Autofocus: The X100V and X100VI offer a substantial upgrade in autofocus points and performance compared to the X100F, making them better suited for fast-moving subjects and low-light situations.
  • Viewfinder: The X100VI has the most advanced viewfinder with a larger, higher resolution electronic viewfinder (EVF) and improved refresh rate.
  • Screen: The X100V and X100VI have tilting touchscreens, which can be helpful for composing shots from awkward angles, while the X100F has a fixed screen.
  • Video: The X100VI boasts the most advanced video capabilities, offering 6.2K recording with a crop, while the X100V is limited to 4K, and the X100F to 1080p.
  • Weather Sealing: Both the X100V and X100VI offer weather sealing, making them more durable in adverse conditions compared to the X100F.
  • Price: The X100F remains the most affordable option, especially on the secondhand market. The X100V offers a good balance of features and price, while the X100VI is the most expensive but comes with the latest technology.

Ultimately, the choice depends on your budget, needs, and priorities. If you need the highest resolution and advanced video features, the X100VI is the way to go. If you prioritize value and portability, the X100F is still a great option. The X100V sits in the middle, offering a good balance of features and price.

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

Discovering the Musée de Préhistoire of Carnac with Paris 1972 – Versailles 2003

Posted on Posted in Black and White Photography, Bretagne, France, History, ReportageTagged , , , , , , , , , , 4 Comments

The Musée de Préhistoire of Carnac, part III !!!

As a compliment to the film archive article featuring the standing stones in Carnac, I’m just going to drop this article here. Paris 19972 – Versailles 2003 is a site run by a friend who has some very interesting articles and a prolific output of articles covering a wide selection of subjects, including Bretagne, Paris, Versailles, Spain.

Sir Foxy Foxalot

Posted on Posted in ReportageTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 12 Comments

I have been writing for this blog since 2019, and it seems I am still here, sharing my thoughts on photography and its role in my life. Photography, alongside music, appears to be one of the few things I do quite well. Another talent, it seems, is writing, as evidenced by the fact that just over 13,200 of you have viewed this site over 51,000 times since I started this project. I’m not saying this to show off, since for a British subject of His Majesty King Charles III, it is formally forbidden to blow one’s own trumpet—a social faux pas—and, were I to be completely honest, the behaviour of a cad!

However, when somebody else does it, those social cues are no longer applicable. Sir Foxy Foxalot — aka Fox Reviews Rock for those in the know — does the same kind of thing as I do. His expertise lies in Rock Music and Heavy Metal, genres I might not be very knowledgeable about. However, learning something new is always a voyage of discovery. We have been following each other for some months now, gradually learning about our different worlds and coming to appreciate each other’s forays into the blogosphere.

Recently, he sent out a message asking for volunteers to be interviewed by him and answer some questions on Rock and Heavy Metal. Being the decent chap and all-around good egg that I try to be, I said that despite my ignorance, I would be delighted to participate.

Despite my limited knowledge of the genre, I did spend three years working with the famous and infamous Christophe “Bobonne” Bonnin, who taught me all I know. He introduced me to a certain Tennessee Bourbon, a favourite of the late Lemmy, bass player and singer of Motorhead, and an all-round legend. Lemmy has a memorial at Hellfest in the quaint village of Clisson, which becomes the centre of all things Metal once a year. I even learned that he had a custom-made case for his bass, with compartments for said Bourbon, his bass, and a packet of cigarettes. Despite the much-vaunted medicinal properties of the aforementioned Bourbon, don’t overdo it, chaps!Let me tell you more about the man behind Fox Reviews Rock. Like me, he has dedicated himself to writing about his passion, and despite having been at it for a relatively short time, he has acquired quite the following. His output is impressive, and he maintains a very high standard. He has also had the great intelligence to surround himself with an excellent writing team. His articles, though about a subject I know little about, are always a good read. I also enjoy the structure of his blog. Check out his weekly schedule here. What more can I say, except get your pretty self to his site and check him out. It’s quite the blossoming project, run by those who are passionate about their subject. Tell him I said hi!

PS.  Here is the link to the article they wrote about me.  Go and visit it right now.  Off you go.   No messing around.  You’ll  like it!

Instagram’s Double-Edged Legacy: A Photographer’s Perspective

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In October 2010, Kevin Systrom and Mike Krieger unleashed Instagram upon the world. With its intuitive interface and playful filters, the app revolutionised how we share photos, ushering in a new era of mobile photography. However, over time, Instagram’s trajectory has shifted dramatically, raising questions about its impact on photography, the rise of influencers, and its changing priorities. This article delves into Instagram’s complex legacy, exploring its transformative yet increasingly problematic role in modern photography.

The Rise and Fall of Photography on Instagram

In its early days, Instagram democratised photography, empowering everyday users to become amateur photographers. The app’s filters and nostalgic aesthetic resonated with users, transforming personal snapshots into artistic expressions shared with a global audience. This initial period fostered a vibrant community of photographers who connected, shared their work, and even launched careers. However, Instagram’s algorithm, initially chronological, evolved into a complex beast driven by engagement metrics. This shift, combined with the rise of influencers and the platform’s increasing emphasis on video content, has had a detrimental impact on photography.

The Instagram Algorithm: A Photographer’s Nemesis

The algorithm, shrouded in secrecy, prioritises content that generates the most likes, comments, and shares. This has led to a homogenisation of aesthetics, favouring trends and viral content over unique artistic expression. Photographers feel pressured to conform to popular styles and create content that caters to the algorithm’s whims rather than their own creative vision. Moreover, the algorithm’s preference for short-form videos, like Reels, has further marginalised photography. Photos are often buried in favour of videos, making it increasingly difficult for photographers to gain visibility and reach a wider audience. This shift has raised concerns about the devaluation of photography as an art form and the platform’s changing priorities.

The Influencer Paradox: Celebrity Without Substance

Instagram’s influencer culture, where individuals gain fame and fortune through their follower count rather than their talent or skill, has further exacerbated the problem. Many influencers prioritise self-promotion and brand endorsements over genuine artistic expression, perpetuating a cycle of superficiality and instant gratification. This culture has also created unrealistic expectations and fuelled unhealthy comparisons among users, including photographers. The pressure to maintain a perfect online persona and constantly chase likes and followers can lead to anxiety, depression, and a loss of creative autonomy.

The Future of Instagram: A Photographer’s Dilemma

As Instagram continues to prioritise short-form video content and cater to influencer culture, photographers face a difficult choice. They can either adapt to the platform’s changing landscape by creating more videos and conforming to popular trends, or they can seek out alternative platforms that prioritise photography and genuine artistic expression. The latter option, while challenging, may be more fulfilling for photographers who value their craft and refuse to compromise their artistic integrity. By exploring alternative platforms and building communities outside of Instagram, photographers can regain control of their work and connect with audiences who appreciate their unique vision.

An Alternative?

While Instagram’s focus shifts away from photography, several alternative platforms offer havens for photographers to showcase their work, connect with like-minded individuals, and foster a supportive community. VERO, for example, boasts a chronological feed, an ad-free environment, and features tailored to visual artists. 500px provides a dedicated space for professional and amateur photographers to share high-quality images, participate in contests, and even sell their work. Glass is another emerging platform designed specifically for photographers, offering a clean interface, curated collections, and a focus on long-form visual storytelling. Ello, known for its artist-centric approach, provides a space for creative expression without the pressure of algorithms or ads. These are just a few examples of the many platforms available that prioritise photography and offer a refreshing alternative to Instagram’s increasingly commercialised environment.

Conclusion: Reclaiming Photography

Instagram’s legacy in the realm of photography is undeniably complex. While it initially empowered photographers and fostered a vibrant community, its current trajectory raises serious concerns about the future of photography on the platform. Photographers must recognise that Instagram is no longer primarily a platform for photography. It has become a commercialised space dominated by short-form videos and influencer culture. To protect their artistic integrity and find meaningful engagement, photographers need to explore alternative platforms, diversify their content, and most importantly, create work that speaks to their own unique vision rather than chasing the elusive validation of the Instagram algorithm.