Tag: digital photography

Montjean-sur-Loire — The Wrong Road, the Right Place

Posted on Posted in Black and White Photography, Café Culture, France, Landscape Photography, Reportage, Street Photography, Travel photographyTagged , , , , , , , , , , , 5 Comments

Gear: Canon EOS 6D Mark II | 16–35mm | 24–70mm | 70–300mm | CPL filter

A Saturday afternoon in June. Montjean-sur-Loire. I was aiming for the suspension bridge in Ancenis. I missed it, found myself heading towards Angers, spotted a sign for the Loire Valley, and followed it on a whim. The Canon 6D Mark II was on the seat beside me. Sometimes that’s all you need.

I had an idea, to get in my car and drive and do some photography. It was an attempt to escape my family. I love them dearly, but sometimes you need a break. So I broke out and got in the car with my camera. Did I have any idea on where I was going? Absolutely not! As I passed the junctions I crossed out the ideas in my head; First Clisson, then Nantes, oh bugger this was going to be long. I remember seeing a photo of the suspension bridge in Ancenis and thought that could do me nicely. It would have done but I didn’t see it and then I found myself on the road to Angers. I could do that… Little did I know that I wouldn’t get there… Ah well. It wouldn’t be the first time. I saw a sign saying the road that follows the Loire Valley. I thought I’d give it a go. I ended up in a place called Montjean sur Loire. You’re not going to believe this, but the huge river I could see was wider even than the Humber, or so it seemed. I had once seen the Loire before as a boy and later as a grown man, but never like this. As a boy it had been a place we drove along whilst going to the Vendée in 1980. As a man I had been next to the Loire and saw it as this massive river meandering along before it got to Nantes, and then went towards St Nazaire. I had read about Huckleberry Finn and his journey along the river. That’s the feeling I had when I parked up on the quayside, minus Mark Twain. There were massive sand banks and islands on the river. The water was so clear, and I saw a fish jumping. I also saw the fry swimming under the boats. I got out of the car and started looking for compositions. After exploring the quayside I decided it was time for a beer. It’s beer o’clock somewhere in the world. I had a 0% beer. What a wonderful idea. There was a poster for a brass band concert for the 4th and 5th of July and it would be performed by the band that Hervé tried to get me interested in… A reason to go back? I found a typical street photography shot. Using the bars of the terrasse to frame my subject.

I looked at the bridge and tried to find a half decent composition. So I did the usual thing. Going around the sides of the bridge, looking towards where I had come from when arriving in town. “Always look behind you.” I wanted the geometry of the bridge and played with the shapes it provided. I wasn’t going to get the dramatic shadows. By the time I got back to the car, I was ready to go home. Back in the car, music on and through the Mauges towards Cholet then, back into Vendée. It was a long afternoon but a good one.

Two traditional Loire flat-bottomed boats moored on sandy bank, Montjean-sur-Loire, Canon 6D Mark II 16-35mm
Two Loire flat-bottomed boats on river with suspension bridge behind, Montjean-sur-Loire, Canon 6D Mark II 16-35mm
Loire traditional flat-bottomed boat close-up at water's edge with bridge behind, Montjean-sur-Loire, Canon 6D Mark II
Looking down into traditional Loire flat-bottomed boat interior, wooden planks and rope, Montjean-sur-Loire, Canon 6D Mark II
Traditional Loire boat in foreground with dramatic cloud sky and river beyond, Montjean-sur-Loire, Canon 6D Mark II 16-35mm
Two traditional Loire boats on river with Montjean suspension bridge background, Canon 6D Mark II 16-35mm
Traditional Loire sailing boat Belle Anguille moored alone on still river, Montjean-sur-Loire, Canon 6D Mark II 70-300mm
Montjean-sur-Loire suspension bridge reflected in still Loire river water, Canon 6D Mark II 70-300mm
Hand-painted nameplate reading Belle Anguille on wooden Loire boat hull, Montjean-sur-Loire, Canon 6D Mark II 70-300mm
Wide Loire river panorama at low water with boats and sandy beach, Montjean-sur-Loire, Canon 6D Mark II 16-35mm
Three metal flying tern sculptures on poles against sky with Loire river and boat behind, Montjean-sur-Loire, Canon 6D Mark II
White hollyhock flower in foreground with suspension bridge and Loire river blurred behind, Canon 6D Mark II 70-300mm
Looking along Montjean-sur-Loire suspension bridge roadway toward second pylon, Canon 6D Mark II 16-35mm
Montjean-sur-Loire suspension bridge from quay with underwater mural on wall and Loire beyond, Canon 6D Mark II 16-35mm
Underwater scene mural on quay wall beneath Montjean suspension bridge with cobblestones foreground, Canon 6D Mark II 16-35mm
British red telephone box converted to book exchange, man looking at Loire and bridge beyond, Montjean-sur-Loire, Canon 6D Mark II
Montjean-sur-Loire suspension bridge over Loire river with dramatic cloud sky, Canon 6D Mark II 16-35mm CPL filter
Festival de Brass Band concert poster for 4th and 5th July 2026, Montjean-sur-Loire, Canon 6D Mark II 24-70mm
Man at café terrasse framed through metal bars with bridge visible behind, Montjean-sur-Loire, Canon 6D Mark II 24-70mm
House martin mud nests under building cornice eaves, Montjean-sur-Loire, Canon 6D Mark II 70-300mm
Rusted curved iron bracket on stone quay wall against pale sky, Montjean-sur-Loire, Canon 6D Mark II 70-300mm
Bière pression Jupiler sign in café window with photographer reflection, Montjean-sur-Loire, Canon 6D Mark II 24-70mm
Weathered carved stone fish sculpture on quayside with Loire river behind, Montjean-sur-Loire, Canon 6D Mark II 70-300mm
Iron mooring ring set in granite quayside stone with shadow, Montjean-sur-Loire, Canon 6D Mark II 70-300mm

Photography Philosophy – Part VII – The Philosophy of Impermanence

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A moment you can’t get back

The second you name a moment, it’s already gone. Not the present any more, the past, and there’s no getting it back or repeating it. You can try to recreate it, same spot, same light, same people, but it will never be identical. Time’s already moved on to the next thing. Photography is the strange art of grabbing hold of that moment anyway, knowing full well it can’t be exactly reproduced.

So what do you do with that, as a photographer? Spend your time mourning everything that’s already slipped past, or feel lucky you managed to catch some of it on the way? I go back and forth. Cartier-Bresson’s decisive moment is really just this idea dressed up in French. Like comedy, apparently, photography is mostly timing. Do you freeze the action with a fast shutter, or slow down and let some blur and motion into the frame? How fleeting is what you’re actually chasing, and what does a bit of movement add to it?

My own version of this

Over the years I’ve got better at noticing these moments and trying to hold onto them, especially with my kids, especially when they’re playing together and don’t know I’m watching. I want the mess and the spontaneity of it, not a posed version. Any parent will tell you the same thing: they grow up while you’re not looking properly, and then one day you are looking properly, at old photos, thinking where did that go. My son’s 25 now. My daughter’s 15. I still don’t quite believe either number.

Learning to live with mistakes

I’ll be honest, I don’t take to mistakes easily. I like precision, I like planning a shot properly, I don’t enjoy leaving things to chance, so when something goes wrong there’s a proper flash of frustration. A blurred frame, blown highlights, a moment I simply missed. Those are the things I try hardest to avoid, and mostly fail to avoid.

But looking back over what I’ve actually shot, the path to a photo I’m proud of was never a straight line. It’s trial and error the whole way, learning to see a scene not just through the lens but through everything I got wrong trying to shoot it the first time.

It’s usually the misfires that make me rethink what I’m doing, shift the frame, check the focus again. They show me an angle I wouldn’t have tried, or drag out a feeling I wasn’t expecting to capture at all. Each mistake teaches me something, even when I’d rather it hadn’t needed teaching. They’re not really setbacks. More like uncomfortable nudges toward seeing the same photograph with slightly fresher eyes.

The photo I end up keeping is almost never the first frame, or the second, or the third. It’s whatever’s left after a run of adjustments and false starts and moments of thinking this isn’t working. Take those out of the process and I’m not sure the image I actually wanted would ever have turned up.

So yes, I still want control. I’m not pretending otherwise. But I’ve come round to thinking there’s something in the unexpected too, the mistakes, the missed shots, the ones I got completely wrong. That’s as much a part of my photography as anything I planned properly, and it usually gets me closer to whatever it was I was actually trying to say with the picture.

Where that leaves me

Photography, when I strip away the gear talk and the technique, is really just an attempt to hold onto something that’s already leaving. Every photo I take is an admission that the moment won’t come back, and somehow that doesn’t feel morbid to me, it feels closer to the point. You’re documenting not only what you saw but roughly what it felt like to be the one holding the camera.

I still want the shot to be right. I still get annoyed when it isn’t. But I’ve stopped expecting the process to be tidy, because it never has been, not once, not for me. The mess is where most of the good ones come from anyway. If that’s the trade, catching a moment you can’t keep in exchange for never quite controlling how you catch it, I’ll take it. I don’t see another option, really, and thirty-odd years in I’ve stopped wanting one.

Also in this series: Part I — An Introduction  ·  Part II — Why Do We Photograph?  ·  Part III — The Emotions of Photography  ·  Part IV — The Art of Storytelling  ·  Part V — Identity & Self-Expression  ·  Part VI — Connection Through Photography  ·  Part VII — The Philosophy of Impermanence  ·  Conclusion

Photography Philosophy – Part VI – Connection Through Photography

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Spotting other photographers

I once read that if two Germans meet, they’ll form a club. I’m not German, but it’s a fair description of something more universal: the need to belong. Photographers aren’t always the most extroverted bunch, but even the shy ones want to connect with somebody who gets it. When I’m out and about, I clock anyone carrying a camera before I’ve even registered I’m doing it. Brand, make, lens, all of it, filed away automatically. Even a simple nod between strangers is a small acknowledgment: yes, you too. Am I judging them while I’m at it? Sometimes. To err is human.

A film camera round someone’s neck gets my attention faster than anything digital. When I take the Mamiya C220 out, the camera itself becomes almost as much of a talking point as whatever I actually photograph with it. People stop and ask what it is, whether you can still get film for it, or tell me their grandfather had one just like it. That’s the charm of a medium format TLR in 2026: it still gets a reaction.

Photography, and film photography especially, has a bit of a niche, insider feel to it. Carrying a film camera says something: that you’re serious enough to bother, that you know what you’re doing because the camera certainly isn’t doing it for you. We’re artists, therefore superior, or so we tell ourselves for a bit of validation. There’s an argument that film demands more knowledge, and that developing your own rolls proves some kind of dedication. Sometimes. Not always. But it’s a decent opener for a conversation, and it usually leads somewhere, even if the relationship that follows only lasts as long as the chat itself.

There’s also the connection between photographer and subject to think about. For years I was terrified of using a model. I’m an introvert, so small talk plus directing someone plus trying not to make it weird sounded like a nightmare. But I wanted to get past that. Buildings don’t talk back or judge your composition. People are a different animal entirely.

I learned the basics of lighting and then needed someone to point a camera at. My daughter and my wife were the first, unwilling volunteers really, then my son and his girlfriend at the time. After that, unsuspecting friends and fellow musicians, until eventually I had enough confidence to approach total strangers and build that rapport on the spot. Turns out plenty of them were just as nervous as I was. Another thing we had in common.

I picked up some advice from Sean Tucker, who does a lot of portraiture: just have a conversation with your model. It sounds too simple to work, but it does. It puts both of you at ease and lets the model forget they’re being photographed at all, which is usually the whole battle.

Meeting other photographers on purpose

Connection isn’t only the brief kind, a nod on the street, a stranger asking about your camera. Sometimes it’s a proper collaboration with other photographers, which for an introvert like me takes actual effort. At parties I’m the one hanging around the edge of the room talking to the dog. Genuinely good conversations, the dog and I.

Still, I make the effort sometimes and meet up with other photographers. Get me started on kit, lenses, actual cameras, and I’ll talk until the cows come home, well past the point most people have quietly switched off. But hand me an audience that actually cares and knows what I’m on about, and something in me relaxes that doesn’t relax anywhere else.

I can see how it looks from the outside: blokes getting together to obsess over a niche hobby. Sounds a bit much when I put it like that. It isn’t, I promise.

The very first post on this blog came out of a meet-up in Nantes, and it was genuinely one of the better days I’ve had with a camera. Classic male-bonding stuff: everyone else turned up with their biggest body and most expensive glass, like it was some unspoken competition. I brought my X100F, small enough to disappear in one hand. The thinking man’s camera, if I’m allowed to say that about myself. Like my car, nothing to look at twice, but I like using it and it gets the job done without any fuss.

I’ve also worked with Nantes Grand Angle, a local collective that organises outings around the city. In exchange for a free tour or a free visit somewhere, we photograph the day and write about it or post to Instagram. I’ve done a couple of these with them, and it’s always interesting watching other photographers work the same scene. Same place, same light, completely different eye. There’s a genuine feel-good factor in that shared vantage point, even if we all walk away with different pictures.

Photography can feel like a solitary thing, and plenty of the time it is. But there’s more connection hiding in it than people give it credit for: the nod between strangers, the collaboration with other photographers, the quiet trust you build with a subject in front of the lens. None of that happens if you’re not paying attention to the people around you as much as the light.

I don’t know that photography needs to mean anything grander than that. Every so often it puts me in a room, or a street, or a Nantes side alley, with someone I wouldn’t otherwise have talked to, camera or no camera. That’s plenty.

Also in this series: Part I — An Introduction  ·  Part II — Why Do We Photograph?  ·  Part III — The Emotions of Photography  ·  Part IV — The Art of Storytelling  ·  Part V — Identity & Self-Expression  ·  Part VI — Connection Through Photography  ·  Part VII — The Philosophy of Impermanence  ·  Conclusion

Photography Philosophy – Part V – Identity and Self-Expression

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A photo doesn’t just show you what’s in front of the camera. It shows you something about whoever’s holding it too. What you point it at, what you wait around for, how you frame the thing, all of that gives you away eventually, whether you meant it to or not.

The selfie question

Take the selfie, probably the most modern version of self-expression going. For some people it’s genuine. For a lot of people it’s a carefully staged little performance for Instagram, hashtag lifestyle, hashtag ootd, hashtag me-myself-and-I. I’m not knocking it exactly, but it does make you wonder how much of it is really self-expression and how much is just performance.

That’s not really what I mean when I talk about photography reflecting who you are, though. Photography’s the one art form where you get to look through the exact same hole I looked through when I pressed the shutter. You’re seeing what I saw, in that instant, and depending on how I’ve edited it afterwards you might catch a bit of whatever was going on in my head at the time too.

Picture two people either side of a coin held up between them. One’s looking at the head, the other’s looking at the tail. Neither of them is wrong, they’re just seeing half the thing. A photograph works a bit like that. What you take from it depends on where you’re standing, and more than that, on everything you’re carrying with you before you even looked at it.

What a photo says about me, whether I like it or not

There’s a shot I took at one of the anti-government demonstrations in Nantes a while back. Someone looking at that could reasonably assume I’ve got strong feelings about French politics. Truth is I was about as neutral as it’s possible to be, I was there for the photograph, not the cause. But the viewer fills that gap in with their own assumptions, and there’s not much I can do about that once the shutter’s gone. I do the same thing looking at other people’s work, so I can hardly complain.

Then there’s the question of why I press the shutter at that exact split second and not a second before or after. Cartier-Bresson had a whole theory about the decisive moment. Mine’s less elegant: I try to clear the frame of anything distracting, get my subject exactly where I want them, or just wait until they walk into the right spot. Means I miss plenty of shots. That’s fine, it’s part of the deal. Has it turned me into some miserable perfectionist? No, thankfully. Do I still push for that extra bit of effort anyway? Yes. Not for me particularly, more for whoever ends up looking at the photo afterwards. Call it professional pride if you like. If you’re going to bother doing something at all, you might as well try and do it properly.

Have I actually changed, though?

I’m honestly not sure my subject matter’s moved on as much as I have. Am I still taking roughly the same photos I always did? Probably, yeah. But I’ve picked up plenty along the way, mostly off YouTube if I’m honest. Forty-odd years since I started, and I’m still learning new things every year, more in the last ten than most of the decades before that. I know more about film now, how to shoot it and develop it properly, and I’ve got a lot better at editing. Worth mentioning I trained in desktop publishing back in 2003, of all things. Twenty-odd years ago, Photoshop, Illustrator, QuarkXpress, the works. Feels like a different life.

New gear and different lenses got me properly into wide angle for a while, enough to get it out of my system, or so I thought at the time. I’ll probably go back to it again at some point, knowing me. Either way it changed how I look at a scene, and I know how to use the distortion now instead of fighting it. It gives a photo a different kind of impact, something a bit more unusual than the standard view, and it’s occasionally the thing that makes a client notice a shot.

Confidence has come the boring way, just from doing it over and over. Getting out with the camera is still the only trick that actually works. Some people might say I lean too much on gear. Maybe. But I’ve put the hours in too, and at some point that earns you a bit of trust in your own eye.

Do I take the same photos now as I did in 1987? In some ways, yes, because whatever’s essentially me still comes through in the picture. Back then I was purely obsessed with nailing the exposure, and I didn’t have a fraction of the technique or the visual references I’ve got now. I was also fifteen. I’m over fifty now. The core of it hasn’t moved much. Everything around it has, same as it would for anyone after thirty-odd years.

Thirty years in France

Something people might not know: I’ve lived in France longer than I lived in the UK. Has that got into my photography somewhere? Maybe. Probably, actually.

France gave the world Cartier-Bresson and Doisneau, and their street work still gets me every time, that deceptive simplicity that looks effortless and clearly wasn’t. I’d be lying if I said that hasn’t rubbed off on me. It’s there in how I look at Nantes, walking around with a camera, feeling like they’re somewhere just behind my shoulder. Subject matter shifts country to country too. The UK and France don’t hand you the same photos at all.

Doesn’t stop there either. I’ve picked up just as much from photographers online. Sean Tucker, Thomas Heaton, James Popsys, Mango Street, Peter McKinnon, and Jamie Windsor, that lot have all left a mark one way or another. Not a single Frenchman on that list, which says more about me than about French YouTubers. I speak French all day at work and everywhere outside my front door. By the time I’m home I want my own language back. That’s a me thing, not a them thing.

So does the camera show who I am? Some of it, probably more than I control. My photos say something about how careful I am, or I’m not, about being fair to what’s in front of me, about which places pull at me, Nantes streets, French light, and about which photographers I’ve let get under my skin. I don’t think that adds up to some tidy answer about identity. It’s more that every roll I shoot is a little bit of evidence, and I’m not always the one who gets to read it. Maybe that’s the interesting part. I’ll let you decide what mine says about me.

Also in this series: Part I — An Introduction  ·  Part II — Why Do We Photograph?  ·  Part III — The Emotions of Photography  ·  Part IV — The Art of Storytelling  ·  Part V — Identity & Self-Expression  ·  Part VI — Connection Through Photography  ·  Part VII — The Philosophy of Impermanence  ·  Conclusion

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

The 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 slideshow features 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.

If you’d like to go deeper on the Pentax ME Super specifically, I’ve written a full dedicated review: Why the Pentax ME Super Is the Perfect First Film Camera (Even in 2026).

Post Scriptum: if you’re new here, this blog is mostly camera reviews, photography tips, and whatever I got up to that week with a camera in hand. Have a poke around, and if you’ve got questions about either of these two, drop them in the comments.

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)

The X100VI wins on paper everywhere it matters: more resolution, a proper autofocus system, a bigger viewfinder, real video, weather sealing. The X100V sits in between on all of it, and costs less. The X100F is the oldest and least capable by the spec sheet, and it’s also the cheapest by a wide margin secondhand.

So which one do you actually need? If you’re shooting video seriously or need every autofocus point you can get, fine, go newer. But if you’re mostly doing what I do with mine — street shots, travel, the odd portrait — the X100F still does the job, and does it for a fraction of the price. I bought mine used and it’s more camera than I’ve ever needed. Sometimes the “worse” spec sheet is the right answer.

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…

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

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Introduction

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

Downloading Photos to Your Phone

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

Sorting Photos

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

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

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

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

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

Editing in Snapseed

Starting with Styles:

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

En aparé:

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

Using the Tools

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

Crop Tool:

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

Healing Tool:

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

Tune Image:

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

Rotate Tool:

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

Brush Tool:

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

Black and White Tool:

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

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

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

Export

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

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

Conclusion

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

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

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

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Snapseed is one of the best free photo editing apps going, powerful enough for serious work and simple enough that I can use it one-handed between shoots. I’ve been using it as part of my regular workflow, film and digital both, so here’s an honest account of what it does well and where it falls short.

How I got here

Twenty-two years ago I got fired from the job that had brought me from Paris out to the French countryside, where I still live now. Looking back, it’s one of the best things that ever happened to me. Sometimes you need a shove you didn’t ask for.

At the time I’d got into this new thing called the internet, back when it was only just becoming mainstream, and I wanted to learn everything I could before my kids started teaching me instead. So I learned. I trained as an “infographiste,” which back then meant something like a webmaster, what you’d now call a web developer.

An Englishman in Vendée

I picked up QuarkXpress, InDesign, Dreamweaver, Photoshop, Illustrator. I also learned not to be scared of cracking open a computer with a screwdriver and poking about inside. Somewhere in there I had the bright idea of building a website called “An Englishman in Vendée,” showing off outings around the area with my young son. I shot it all on a webcam about the size of a GoPro, though calling it “pro” next to what we have now would be generous. Even then I dreamed of having portable internet, portable editing, and a way to get those pictures online without dragging a laptop everywhere.

I had a wait ahead of me. These days I’ve got a Samsung S20 FE in my pocket and everything I dreamed of back then, on the go. I can pull photos off my proper digital camera onto the phone, edit them there, and publish straight to the website (no longer hosted on Geocities, thankfully) or to social media.

So what is Snapseed?

These days it’s Snapseed for editing and WordPress for writing. Both fit in the same pocket as the phone.

Snapseed is the app I recommend to anyone who needs to edit pictures on the move. It’s on Android and Apple, so nobody’s left out. Why this one over the dozen other apps out there? It’s free, it’s simple, and it has every tool I actually reach for. I keep coming back to the Tune Image section, which covers most of what I do for basic edits in Lightroom on the PC. The Rotate tool is handy for checking horizons, and the black and white conversion gives you proper control rather than just a flat filter.

It’s non-destructive too, working from your original file whether that’s RAW or JPEG, so you can edit to your heart’s content without wrecking anything. Can it do everything Lightroom does? No. Is it trying to? Also no. It throws in some “style filters” for fun, and the more serious editor among you will probably ignore those and stick to the basic tools, which is exactly what still gets the job done on the go. I use it during shoots to give sitters a rough idea of how their shots will look. Those first draft images are perfect for a quick share on social media, nothing more.

Keep it simple

I’ve banged on about KISS before and I’ll do it again here. Keep It Simple, Stupid. Snapseed looks deceptively basic when you open it, but there’s a proper range of tools hiding behind that plain interface.

It gives you three starting options: Styles (basically presets), Tools (where you fine-tune everything), and Export.

Styles

Styles are presets by another name, and Snapseed gives you a decent spread of them:

Original
Portrait
Smooth
Pop
Accentuate
Faded Glow
Morning
Bright
Fine Art
Push
Structure
Silhouette
I have a preference for “Portrait,” but feel free to explore and find your own favourite.

In my next article, I’ll walk you through the tools Snapseed offers for editing on the go, including which ones I actually use and how. Remember the 80/20 rule: 80% of your editing comes from 20% of the available tools. Be patient and it pays off. See you in the next one.

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

Manual Mastery – a beginner’s guide Part II

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Aperture.  

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

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

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

Application

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

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

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

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

Scenario 1

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

Scenario 2

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

Scenario 3. 

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

Conclusion

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

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

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

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

Manual Mastery – a beginner’s guide Part I

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

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

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

ISO, or film sensitivity

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

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

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

Shutter speed

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

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

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

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

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

Conclusion

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

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

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

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

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

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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. That little bit of extra distance makes the whole thing feel less intrusive — better for the subject, and honestly better for me too, since I’m not stood on top of someone with a camera in their face.

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

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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.

  • Vintage car
    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.
  • Vintage car
    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.
  • Standing Stones in Brittany
    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.
  • my beautiful niece
    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.
  • Nantes Street Photo
    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.
  • Le lieu Unique, Nantes
    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.
  • Le lieu Unique Nantes
    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.

  • Modern Architecture, Île de Nantes
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • the bird nest building
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • Street Crossing
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • Modern Architecture, Île de Nantes
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • Modern Architecture, Île de Nantes
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • Modern Architecture, Île de Nantes
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • Modern Architecture, Île de Nantes
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • the bird nest building
    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.

  • Imposing doorway, Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Passage Pommeraye Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Passage Pommeraye Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Passage Pommeraye Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Street Light, Place Graslin, Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Street Photo, Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Street Photo, Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Telegraph wires
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Notre Dam de Bon Port, Nantes
    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.

  • St Brevin les Pins
    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.
  • Two friends, St Brevin les Pins
    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.
  • St Brevin les Pins
    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.
  • St Brevin les Pins
    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.
  • Two friends, St Brevin les Pins
    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.
  • St Brevin les Pins
    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.
  • St Brevin les Pins
    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.
  • St Brevin les Pins
    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.
  • St Brevin les Pins
    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.
  • House in Saint Brevin
    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.
  • Two Friends
    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