I want it, but do I really need it?

Posted on Aug 16, 2024Aug 8, 2024 Posted in Black and White Photography, Camera reviews, ReportageTagged 80/20 rule photography, advanced photography, affordable photography, beginner photography, budget photography, camera accessories, camera buying guide, camera comparison, camera gear, Camera lenses, digital photography, ebay photography, ethical photography, film camera, Film Photography, Fujifilm X100f, Fujifilm X100V, GAS photography, gear acquisition syndrome, intermediate photography, Mindful Photography, MPB photography, photography 101, photography advice, photography basics, photography blog, Photography community, photography courses, Photography Education, Photography equipment, photography essentials, photography for beginners, photography forum, Photography gear, photography gear reviews, Photography Inspiration, photography minimalism, photography motivation, photography on a budget, Photography Resources, Photography Skills, Photography Tips, photography tips and tricks, Photography Tutorials, photography website, Photography Workshops, saving money on photography, second hand camera, sustainable photography, used camera, X100VI12 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

Feature	Fujifilm X100F	Fujifilm X100V	Fujifilm X100VI
Sensor	24.3MP APS-C X-Trans CMOS III	26.1MP APS-C X-Trans CMOS 4	40.2MP APS-C X-Trans CMOS 5 HR Sensor
Lens	23mm f/2 (35mm equivalent)	23mm f/2 (35mm equivalent) with improved optics	23mm f/2 (35mm equivalent) with further improved optics
Autofocus	91-point hybrid autofocus	425-point hybrid autofocus with improved face/eye detection	425-point hybrid autofocus with further improved face/eye detection and subject tracking
Viewfinder	Hybrid viewfinder (optical/electronic)	Hybrid viewfinder (optical/electronic) with improved EVF	Hybrid viewfinder (optical/electronic) with a larger and higher resolution EVF
Screen	3-inch fixed LCD	3-inch tilting touchscreen	3-inch tilting touchscreen
Image Stabilisation	N/A	N/A	6-Stop In-Body Image Stabilization
Video	1080p up to 60fps	4K up to 30fps	6.2K (cropped) and 4K up to 30fps
Weather Sealing	No	Yes	Yes
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…

Zooming In on Flexibility Part I

Posted on May 3, 2024May 28, 2024 Posted in Photography TutorialsTagged adaptability, advanced photography, aperture, beginner photography, bokeh, Camera lenses, Canon EF 16-35mm f/2.8 L IS USM, Canon EF 16-35mm f/4 L IS USM, Canon lenses, capture fleeting moments, convenience, cost, Creative photography, creative process, documentary photography, focal length, France, French, full frame lenses, Ian Myers, ijm photography, ijmphotography, image distortion, image quality, image stabilization, intermediate photography, Landscape Photography, Nantes, perception, photographer, photography, photography 101, Photography equipment, Photography Fundamentals, Photography Tutorials, prime lenses, size, sports photography, Street Photography, telephoto zoom lens, versatility, weight, wide angle zoom lens, Wildlife Photography, zoom lenses14 Comments

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

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

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

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

The Zoom lens work flow

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

Advantages and disadvantages

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

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

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

The types of Zooms

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

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

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

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

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

Conclusion

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

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

Posted on Apr 26, 2024Sep 9, 2024 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, French photography, full frame sensor, Helios 135mm f2.8, Helios 44-2 58mm f2, Henri Cartier-Bresson, Ian Myers, ijm photography, ijmphotography, image quality, low light photography, mirrorless cameras, Nantes, Nantes Photography, Pentacon 50mm f1.8, photographer, photography, photography 101, photography basics, Photography Fundamentals, Photography Techniques, Photography Tips, 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!

Why the Pentax ME Super Is the Perfect First Film Camera (Even in 2025)

Posted on Aug 11, 2023Dec 2, 2025 Posted in Black and White Photography, Camera reviews, Film Photography, Nantes Photography, Street PhotographyTagged 35mm film, 35mm photography, 35mm SLR, 35mm SLR film camera, analog photography, Analog shooting, analogue photography, Antique cameras, black and white, camera, Camera collectors, Camera culture, Camera history, Camera innovation, Camera lenses, Camera Reviews, Camera reviews, Camera technology, classic 35mm SLR, Classic camera, Classic SLR, Clisson, Creative photography, Film cameras, Film era, Film Photography, Film rolls, Film shooting, Film shooting experience, France, French, grue jaune, hangar à bananes, Ian Myers, ijm photography, ijmphotography, Manual focus, Manual photography, ME Super, Mechanical cameras, Nantes, Old-school photography, pentax, Pentax cameras, Pentax craftsmanship, Pentax enthusiasts, Pentax legacy, Pentax lenses, Pentax ME series, Pentax ME SUper, Pentax ME Super review, Pentax photography, photographer, Photographic memories, photography, Photography community, Photography enthusiasts, Photography equipment, Photography gear, Photography hobby, Photography nostalgia, Photography passion, Retro cameras, SLR cameras, Street Photography, Vintage aesthetics, Vintage artistry, vintage cameras, Vintage gear, Vintage lenses, Vintage optics3 Comments

Dear Reader, if you’ve read my last post, you will understand my current state of photographic helplessness after my X100F was taken out of service. Before we proceed, I want to take a moment to reassure my dear mother that I’m doing fine, being a big brave boy during this challenging time, and not losing my mind. I’m still getting my photographic fix, and I thank you, Dear Reader, for your understanding.

Now, let’s dive into today’s topic. The Pentax ME Super, a camera gifted to me by a fellow musician and dear friend, Robert McMillan, holds a special place in my heart. Using it brings back fond memories, and I’m forever grateful for the thoughtful present.

Introduced in 1979, the Pentax ME Super is a 35mm SLR camera that offers reliability and ease of use, making it perfect for those seeking excellent image quality. However, it requires proper focus and composition to make the most of its capabilities. When I use it, I approach photography in a similar manner to how I would with my beloved X100F, albeit with a slight adjustment due to the 50mm lens, which changes from the 35mm lens on the Fuji.

Technical Specs:

Shutter speed range: 4 seconds to 1/2000 second, plus Bulb – allowing wide apertures and excellent depth of field.
ISO speed range: 12 to 1600
Exposure control: Aperture priority
Viewfinder: 0.9x magnification, 95% coverage
Other features: include a self-timer, a cable release socket, and exposure compensation.

Handling and Ergonomics:

The ME Super is a well-made and compact camera, making it easy to carry around; it is almost the same size and weight as the X100F. The controls are user-friendly and well-positioned. The large, bright viewfinder helps, especially for those of us with less-than-perfect vision.

While it may not surpass the joy I find in using the X100F, the ME Super is steadily gaining ground, and its satisfying shutter noise is a small comfort during this time of longing. Loading and unloading film is a breeze, and the shutter release is smooth and responsive. Additionally, the camera’s reliability is reassuring, offering solace in the absence of the X100F.

Image Quality:

The Pentax ME Super consistently delivers excellent image quality. Composing shots is a breeze with the sharp and bright viewfinder, and the aperture priority exposure control ensures proper exposure. For someone like me who cherishes depth of field, the 1/2000 of a second shutter speed is a delightful feature.

Moreover, the ME Super is compatible with a wide range of Pentax K-mount lenses, providing versatile options for image-making. With my collection of 24mm wide-angle, 50mm F1.7, and 24-80mm zoom lenses, I’m well-equipped for various shooting scenarios, and there is even a 15mm wide angle lens, but I nearly peed myself when I saw the price!

The Verdict:

In conclusion, the Pentax ME Super is an exceptional 35mm SLR camera. Its well-made design, ease of use, and ability to produce outstanding image quality make it an appealing choice. If you’re searching for a reliable and versatile camera that brings years of photographic enjoyment, the Pentax ME Super won’t disappoint.

Pros:

Excellent build quality
Sharp and bright viewfinder
Simple and straightforward operation
Wide range of compatible lenses
Capable of producing excellent image quality
Built-in exposure compensation
Self-timer
Cable release socket

Cons:

Flash sync limitations at faster shutter speeds (i.e., more than 1/125)
Not an X100F

Overall:

The Pentax ME Super is an excellent 35mm SLR camera, offering great build quality, ease of use, and superb image quality. It’s a dependable choice for any photography enthusiast seeking a delightful film shooting experience.

Additional Information:

The ME Super remains popular among collectors for its exceptional build and image quality. If you’re interested in acquiring one, you can explore used cameras online or at camera shops. Additionally, you’ll find manuals and other valuable information about the camera on the internet.

I hope this review proves helpful. If you have any questions, please feel free to ask in the comment section.

But, most importantly, let me stop talking and allow you to enjoy some photos taken with the Pentax ME Super, capturing moments in Clisson and Nantes.

Post Scriptum

If the Pentax ME Super has caught your attention, I’d recommend checking out my other posts on classic film cameras like the Olympus Pen EE S (Aug 9, 2023) or my reflections on the lasting appeal of film photography in In Defense of Film (Aug 23, 2023). For a more in-depth look at the Pentax in action, mark your calendars for Capturing the Essence of Nantes: A Street Photography Journey with the Pentax ME Super and Kentmere 100 Film (coming Nov 17, 2023). And for those curious about the Fujifilm X100F, you can preview how it compares in Seeing the World Through 35mm: Street Photography with the Fujifilm X100F (Jun 21, 2023). A more detailed comparison between these two cameras is also coming this November!

IJM Photography

Tag: Camera lenses

I want it, but do I really need it?

Zooming In on Flexibility Part I