Category: Travel photography

Happy New Year

Posted on Posted in China, Travel photography, Uncategorized12 Comments

My Dear Reader, I  have neglected you for too long.  For the last two weeks, I have been on tour in China of all places. 

Therefore, you have only been able to read the Photography Philosophy series, and whilst being in China, I may have taken the odd photo both in colour and black and white.  I look forward to sharing them with you and telling you some tall tales and giving you a glimpse of life on tour. 

I will take the opportunity to wish each and every one of you, a very Happy New Year.

I will leave you with a small taste of things to come with this image…

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Classic Chrome Meets Portra 160: Evaluating the Pentax ME Super and Fujifilm X100F

Posted on Posted in Black and White Photography, Film Photography, Landscape Photography, Northumberland, Travel photography, United KingdomTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 3 Comments

Let’s talk about two of my favorite cameras—the Fujifilm X100F and the Pentax ME Super. While these cameras belong to entirely different eras of photography, they share a surprising similarity in size and portability. I’ve used both extensively, and today, I want to compare their unique qualities without turning it into a clichéd “film vs. digital” debate.

Photography enthusiasts often find themselves in one of two camps: those who champion the convenience and immediacy of digital, and the purists who swear by the timelessness of film. But if you’ve followed this blog for a while, you’ll know I don’t see things that way. Instead, I value what each format brings to the table, and more importantly, how both contribute to the experience of photography.

A Tale of Two Cameras

For me, photography is more than just the final image—it’s about the journey of capturing it. Any Lomography fan will agree: the process is as important as the outcome. When I shoot with the Fujifilm X100F, I appreciate the immediate feedback of seeing the image on the screen and knowing right away what I’ve captured. But with the Pentax ME Super, it’s a different experience. I have a rough idea of what the film will deliver, but the magic isn’t fully revealed until the film is developed. That anticipation is part of the charm.

For this comparison, I’ve chosen photographs from Northumberland. Its moody, windswept landscapes—places like Alnmouth and the Northumbrian moors—present the perfect canvas for both film and digital. The X100F’s Classic Chrome simulation delivers a retro, muted look, while Kodak Portra 160 film, shot through the Pentax, brings warmth and richness to the tones.

The Fujifilm X100F

he X100F has often been called a bridge between the analogue and digital worlds, and I tend to agree. It’s packed with modern features like autofocus and an electronic viewfinder (EVF), but the controls are refreshingly tactile, with dedicated dials for aperture, shutter speed, and ISO. For anyone with a background in film photography, this setup feels familiar and intuitive.

What sets the X100F apart for me, though, is its Classic Chrome film simulation. It offers a subdued color palette that echoes old film stock, perfect when I want a slightly desaturated, vintage aesthetic. Unlike some over-the-top digital filters, Classic Chrome feels organic and subtle—bringing out details in the shadows without overwhelming the shot with contrast.

The X100F Photos

The Pentax ME Super

On the other hand, the Pentax ME Super is all about slowing down. There’s no EVF, no digital screen, and definitely no autofocus. Instead, you rely on a split-prism focusing system and aperture-priority mode. It forces you to be deliberate with each shot, a process that I find incredibly satisfying.

You’ll often hear film photographers talk about being more “in the moment” when shooting on film, and that’s exactly how I feel with the ME Super. The process of carefully composing each shot, setting exposure manually, and waiting for the film to be developed encourages patience and thoughtfulness.

For this outing, I paired the ME Super with Kodak Portra 160, a film that’s become known for its natural skin tones and soft, warm colors. Paired with the 50mm f/1.7 lens, this combination creates images with that unmistakable film character—shallow depth of field, soft highlights, and rich colors.

Lenses and Sensor Size

One of the most noticeable technical differences between these two cameras is their lenses and sensor sizes. The X100F features a 35mm equivalent f/2.0 fixed lens, while I usually use the 50mm f/1.7 on the Pentax. On the sensor front, the X100F has an APS-C crop sensor, giving it a narrower field of view compared to the full-frame 35mm film in the Pentax.

This technical difference goes beyond field of view. The Pentax ME Super has fixed ISO based on the film I choose, so I need to plan ahead for the lighting conditions I’ll be working in. In contrast, the X100F allows me to adjust ISO on the fly, providing flexibility in rapidly changing environments. This is something digital photographers have come to rely on, and it’s undeniably convenient when shooting in variable light.

The Pentax ME Super photos

Comparing the Images

Now, the big question: which is better, the Pentax ME Super or the Fujifilm X100F? Honestly, neither. They’re different tools for different purposes. Whether you’re drawn to the organic feel of film or the convenience of digital, both formats offer something unique. And that’s the beauty of photography—there’s no one-size-fits-all approach.

The sideshow feature shots from both cameras. As you look at them, you might favour one look over the other. The film shots have a warmth and texture that digital sometimes struggles to replicate, while the digital photos are sharp, detailed, and offer instant gratification. But ultimately, this comes down to personal preference, not a matter of one being objectively better.

Final Thoughts

At the end of the day, a camera is just a tool for capturing a scene in a particular way. As long as the final image is pleasing to the eye, I’d say the job is done. So don’t limit yourself to just one format—if you haven’t tried shooting film, give it a go. If you’re a film photographer who’s hesitant to try digital, maybe the X100F will ease that transition with its analogue-like feel.

More than anything, I encourage you to enjoy the process, whether it’s with film, digital, or both. Get out there, take your time, and remember that photography isn’t just about the images you capture—it’s about the experience.

Post Scriptum:
For those of you new to my blog, welcome! I cover everything from camera reviews to photography tips and techniques. Whether you’re a seasoned photographer or just starting out, there’s something here for you. Feel free to leave your thoughts or questions in the comments below—I’d love to hear from you!

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

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

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

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

Similarities and Differences: A Tale of Two X’s

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

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

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

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

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

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

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

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

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

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

Conclusion: A Timeless Tool for the Passionate Photographer

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

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

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

Post Scriptum

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

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

And here it is…

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

Posted on Posted in Landscape Photography, Northumberland, The UK Chronicles, Travel photography, United KingdomTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 8 Comments

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

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

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

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

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

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

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

The UK Chronicles Part VII: Chesters Roman Fort

Posted on Posted in Architecture, History, Landscape Photography, Northumberland, The UK Chronicles, Travel photography, United KingdomTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 10 Comments

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

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

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

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

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

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

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

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

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

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

The UK Chronicles Part VI: Hepple to Otterburn

Posted on Posted in Landscape Photography, Northumberland, The UK Chronicles, Travel photography, United KingdomTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 4 Comments

Otterburn was the original destination of this little outing into the Northumbrian countryside. As a younger boy, I had been with Killian to the Mill in Otterburn that used to make beautiful rugs from the wool of the local sheep. That mill stopped producing them a few years ago, but Killian had this memory in his mind.

But we weren’t there yet… The drive from Hepple to Otterburn takes us through yet more landscape. We passed by Cragside, the first house in England to have electricity, powered by a waterfall. Green before green was no longer just a colour. We had visited the huge house when Killian was about 13 and hadn’t been back since. But this story isn’t about Cragside. Not this time. It wasn’t open as we drove by, so that was that.

As in the previous sections of our father-son drive, there were plenty of places to park along the side of the road to take in the scenery. And that we did. I remembered that time two years ago when I was there connecting with my father. And here I was, connecting with my son.

Otterburn means different things to different people. It is not just an area of outstanding natural beauty, but also a training area and live firing range for the Infantry of the British Army. I remember playing for an Officer’s mess night once when I used to wear green for a living. Although you can still wander around when the Infantry isn’t training, you’re constantly reminded not to touch any military debris—it might explode and help you become an integral part of the landscape.

The landscape shifted from the wild moorlands of Hepple to more farming country. Think sheep, hemmed in by century-old dry stone walls. Signs warned you to keep dogs on leads and informed you that any dog found attacking—or even just worrying—sheep would be shot on sight. A sobering thought. I jokingly warned Killian not to do the same, just in case.

At the top of the hill, I parked up and surveyed the patchwork landscape, scissored by those dry stone walls. Killian pushed on one and you could feel it giving way. I told the feckin’ eejit to stop right now. These walls were old and not to be messed with. His French side came out—he wasn’t impressed by this stalwart of the British countryside. I told him these walls had stood for years and it wasn’t going to be a bloody Frenchman that was going to change that.

But this story is about Otterburn. I’d warned Killian that Otterburn wasn’t as he remembered. He had this dream of buying a rug, but I wasn’t even sure they still sold them. My latest recollection of the place was that it had become more of a “country style retail outlet.” The signs still said the rugs were made in the UK, but the magic was gone.

It was the low point of the day. Killian stood there, staring at the overpriced rugs, his expression shifting from excitement to quiet disappointment. “This wasn’t how I remembered it,” he muttered. I could see the years of imagined nostalgia fading in real-time. We looked at what was on offer, checked the prices, and it just wasn’t worth it. The small café had a sort of mini-museum feel, but all we bought was a double espresso, a sausage roll, and a small cake. Killian ate; I didn’t touch it.

As we sat there, the conversation drifted to how Killian could see himself living in the area. I had to let him down gently. “We’re on holiday, son. Living here isn’t the same.” I knew what I was talking about, especially after living in France for over thirty years. The economic decline in the area was as stark as the difference between summer and winter in Northumberland. Both beautiful in their own way, but I know I have a penchant for summers. Winters are dark, rainy, snowy, cold, and thoroughly depressing. Beautiful—but still depressing.

It was all such an anti-climax. This had been one of the places Killian had been dreaming about for years.

I was at a loss for what to do. Then, out of nowhere, I had one of those genius ideas we only dream about. I wanted the day to end on a high note. “You know, son, we’re not too far from Hadrian’s Wall. Do you fancy it?”

His eyes lit up. He did fancy it, so off we went, a certain spring in our step.