Tag: Film Photography

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?”  Convention 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! 

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.

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.

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.

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.

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.

The Photographer Behind the Lens

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

Selecting the Right Gear:

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

Navigating Weather and Mental Health:

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

Packing the Essentials:

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

The Lens Palette:

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

The Digital Dilemma:

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

Professionalism Meets Passion:

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

Mapping Out the Journey:

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

In conclusion

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

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

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

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

2. The Key Differences

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photography 101: Mastering the Fundamentals

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Get the basics and the basics will get you

Hello Dear Reader,

I have decided to follow somebody’s advice and write a series of articles purely about photography.  You have already seen how photography has changed my life, and maybe you want it to change yours.  This is not a course, and any advice given here is from my own perspective. My goal is just to provide a useful point of reference for you.   It is what has helped me to become the photographer that I am today.  Or at least the guy with a camera that writes all this stuff for you to read and consume.  I will work on the assumption that you a complete neophyte and know nothing about photography and cameras, old and modern, and that you wish to use a “real” camera rather than your phone to capture the world around you.  Does that sound fair?

I have had people come up to me and ask, so Ian, what this photography lark all about then?  I want to produce images like you, can you tell me how to go about it?  And now I feel my imposter syndrome kicking into overdrive!

Well, Dear Reader, you will have to acquire a camera!  I know it sounds daunting, and if you look at the prices of a Leica, you might well keel over from a heart attack.  Now, I’m not bashing Leica, since they are a manufacturer that make beautiful and rather sexy cameras, but they do cost a bit.  You might not want to have to sell a kidney just yet.  Save that for when you want to try film photography…

I would say any camera within your budget is a good start. I would also say that anything that allows you to control everything manually is an even better start.  Go film or digital.  Either will do, and any advice I might dare to put out there will apply to both formats.  Just ask yourself do I want to appear to be a hipster and go Canon AE1, with rolls of film, do I want to be trendy and go with the Fuji Film X100F, or do I want the statement piece DSLR?  I honestly don’t care.  The camera is merely the tool that will allow you to capture those images that you’re dreaming about.  I have written a couple of camera reviews so you can check those out, and I will be writing more in the future, so you will have a better idea for choosing. If you are interested in more camera reviews I can see what can be done, but I would only review cameras that I am familiar with and that I use, or have used.

Exposure

I’m going to go with decent exposure here, because indecent exposure will get you into trouble.  Photography is all about light, and how the light will affect and react with the film or sensor in your camera.  Too much light and your photograph will be “over exposed” and therefore too bright.  Too little light, and your photograph will be “under exposed” and therefore too dark. You can however, use this under or over exposure to highlight various parts of the scene you are photographing. People talk about exposing for the highlights or shadows…

How do I control the light hitting my film or sensor?

Everything is about balance, and balancing out the element in the exposure triangle.  Changing one element will have an effect on the other two elements. This is shown in the famous exposure triangle below.

ISO or film sensitivity

The elements in my control are the sensitivity of my film or the ISO dial on my digital camera.  The higher the number, the higher the sensitivity.  With film, you will generally have the choice from anything from 100 ASA to 3200 ASA (ASA is exactly the same thing as ISO, but is used mostly for film).  Exposing at ISO 100 or using I00 ASA film will give less grain (or noise for digital) but requires lots of light.  Using ISO 400, or 400 ASA film allows you take photos on a cloudy day but will give you visible grain.  Exposing at ISO 1600 or pushing film to 1600 will allow you to shoot indoors, but will give even more grain, and exposing at 3200 using 3200 film will give you the most grain but allow night-time photography.  However, digital cameras will manage higher ISO setting with less grain (or visual noise) than on film.

Shutter Speed

Element number 2 is for how long I let the light hit the film or camera sensor.  The longer I leave my shutter open, the more light will hit the film or camera sensor.  If I use the highest shutter speed available (1/500th of a second to 1/2000th of second I will be able freeze motion, but that means that less light is hitting my film, or camera sensor.  I will therefore have to use a higher ISO number and risk having more grain than I might want.  I could use a longer shutter speed but if I go too low then I might capture camera shake.  I can get around this by using a tripod, but that means I have to carry one around.  The rule of thumb that I use is nothing under 1/60th of a second without a tripod, and like to aim for a middle ground 1/250th of a second.  And the other “rule” is to us nothing less than the focal length of your lens.  IE if I am shooting on a 50mm lens I will not shoot under 1/60th of a second.  If I shoot with a 85mm lens, then nothing under 1/100th of a second etc.  This will avoid camera shake. My older film cameras can’t shoot above 1/500th of a second and some top out at 1/250th of a second. But vintage cameras are a diferent ball game and deserve their own chapter.


Aperture

I can change the size of the hole (aperture) through which the light passes.  The larger the hole, the more light goes through and the smaller the hole, the less amount of light goes through the hole.  No wonder we talk about film sensitivity when it’s constantly being hit by light.  The aperture is measured in F Stops, and you might people talking about stopping down, or using wider apertures.  The aperture also controls depth of field.  Strangely, the smaller the number F-stop, e.g. F2.0 le larger the aperture, and this will give you more “depth of field” and get that creamy bokeh that has always been so popular. The larger the F-stop number, e.g. F16 the smaller the aperture (or hole) will be, but this allows more of the frame to be in focus.

Conclusion

With a digital camera, you will feel more at liberty to “play around” with these settings and see how they affect your shots, instead of worrying about the cost of film and how much each individual photo is costing you.  Depending on which camera you have, you have models that will do “Shutter priority” where you set the shutter speed and the camera does the rest for you, like the classic Canon AE1.  Others that will be “Aperture priority”, where, as the name suggests, you choose the aperture, and the camera does the rest for you, like the Pentax ME Super, and others will be fully manual so you get to control everything.   However on most, if not all digital cameras you will have all these choices included.

This is the first in a series of “how-to” articles that might be of use to beginner photographers, but it’s good to remind even old-timers like myself of the basics.  Whatever you think, don’t forget to comment and like, and if you have any questions then ask them.  There are no stupid questions, and every question deserves a response. 
Until we meet again Dear Reader!

Canon AE-1 Program – A Classic Film Camera for Timeless Photography

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The Canon AE-1 Program is a timeless gem that continues to captivate photographers and film enthusiasts alike. As a classic film camera first introduced in 1981, it effortlessly combines automatic and manual features, making it an excellent choice for both beginners and experienced photographers.

Automatic and Manual Controls

One of the standout features of the Canon AE-1 Program is its versatility in handling exposure. For those new to film photography, the program mode automatically sets both the shutter speed and aperture, allowing them to focus solely on composition and creativity. It takes the technical complexities out of the equation, delivering stunning results with ease.

However, for those who crave creative control, the AE-1 Program offers manual settings as well. With the freedom to adjust shutter speed and aperture manually, photographers can explore their artistic vision and experiment with different effects. The inclusion of shutter priority mode and bulb mode for long exposure photography adds even more possibilities for artistic expression.

Build and Design

The camera’s solid metal body exudes durability and reliability, ensuring that it can withstand the test of time. Its sturdiness makes it a trustworthy companion on any photographic journey. Handling the AE-1 Program instills a sense of nostalgia and craftsmanship that modern digital cameras often struggle to replicate.

The bright and clear viewfinder with a split-image prism aids accurate focusing, enhancing the overall shooting experience. Moreover, the hot shoe for attaching external flashes and the self-timer feature further contribute to the camera’s versatility.

Technical Details

  • 35mm SLR film camera
  • Program mode, shutter priority mode, manual mode
  • Metal body for durability
  • Bright and clear viewfinder with split-image prism
  • Hot shoe for flash attachment
  • Self-timer for group shots and self-portraits
  • ISO range: 12-1600
  • Shutter speeds: 1/1000 to 30 seconds
  • Aperture range: f/1.2 to f/16 (depending on lens)

Pros

  1. User-Friendly Interface: Ideal for beginners and those new to film photography, the AE-1 Program’s program mode takes care of exposure details, allowing photographers to focus on creativity.
  2. Creative Freedom: With manual controls and additional shooting modes, experienced photographers can fully unleash their creativity and experiment with different photographic techniques.
  3. Timeless Design: The camera’s robust metal body exudes a sense of craftsmanship and nostalgia, making it a pleasure to handle and use.
  4. Bright Viewfinder: The clear and bright viewfinder with a split-image prism aids accurate focusing, ensuring sharp and well-composed shots.

Cons

  1. Iconic Status: As one of the most sought-after film cameras, the Canon AE-1 Program may come with a higher price tag due to its iconic status.

The Verdict

The Canon AE-1 Program stands as a testament to timeless design and reliable performance. Whether you’re new to film photography or a seasoned enthusiast, this classic camera offers a perfect balance between automatic convenience and manual creativity. Its sturdy build and user-friendly interface make it a delightful companion for any photography journey.

So, if you’re yearning to experience the charm of film photography or simply want to relive the golden era of analog cameras, the Canon AE-1 Program will undoubtedly leave you inspired and amazed by the magic of capturing moments on film.

Happy shooting!

My Personal Thoughts

Without any hesitation, I wholeheartedly recommend the AE-1 Program to all photography enthusiasts out there. Whether you’re new to the charm of film photography or an experienced shutterbug seeking a trustworthy and adaptable companion, this camera will surely delight you. “Just do it” as a certain shoemaker once said.

I’ve had the pleasure of using the AE-1 Program for quite some time now, and I must say it’s been an absolute joy. Not only does it beautifully capture those precious everyday moments, but it also allows for endless creative possibilities. One feature that I particularly appreciate is its seamless transition between automatic and manual controls, empowering me to effortlessly tailor my shooting experience.

The idea here is to give you a raw image from the film scans and show you what you can get with a minimum of fuss in Lightroom with some very basic edits. What do you think?

And here we go with a small selection of pictures from the last roll I developed, which are from 2022 and taken in the streets of Nantes. There will be more to come as I head back into the magical world of film photography!

A Peaceful Stroll Through Jardin de Plantes

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In the heart of Nantes, a city bustling with life and movement, lies a haven of tranquilly—the Jardin de Plantes. With my trusty Pentax ME Super in hand and a roll of Kentmere 100 film, I embarked on a photo walk with my niece, weaving together the threads of modernity and nostalgia.

As the sun cast its gentle rays on the vibrant petals and verdant foliage, my niece and I strolled through the garden, our spirits lifted by the scent of blooming flowers and the melody of chirping birds. The Pentax ME Super, a relic of a bygone era, clicked and whirred, capturing the essence of the ambiance around us.

In the heart of this botanical wonderland, a delightful surprise awaited us – artworks from the Voyage à Nantes, seamlessly integrated into the landscape. Sculptures and installations whispered tales of creativity, adding an artistic flair to the already enchanting scenery. With each click of the shutter, the Kentmere 100 film immortalised these moments, creating a bridge between the past and the present.

Amidst the garden’s serenity, the city’s rhythm seemed to fade into the background. The laughter of children echoed, the fragrance of earth danced in the air, and a sense of peace enveloped us. The bustling streets felt miles away, replaced by the gentle rustle of leaves and the soothing trickle of fountains. It was a moment to pause, to breathe, and to find solace in the embrace of nature.

As my niece marvelled at the artistic wonders and explored every nook and cranny, I couldn’t help but recall a time when the world seemed simpler, captured through the lens of vintage cameras. The Pentax ME Super, a faithful companion, clicked away, a reminder that while times change, the emotions and memories we capture remain timeless.

In the heart of the garden, as my niece’s wonder met my own nostalgia, I realised that these fleeting moments, captured on film, became whispers of timelessness. The Kentmere 100 film transformed scenes into memories, the Pentax ME Super gave them life, and the Jardin de Plantes offered its serene backdrop.

Our visit came to an end, and the laughter and footsteps of visitors began to fade, leaving behind a quietude that felt like a hidden treasure. With a final click, I knew that I had captured not just images, but fragments of serenity and beauty, framed by the lens of a camera that has witnessed decades.

The Jardin de Plantes, a breath of fresh air in the heart of a bustling city, became a canvas on which moments of joy, peace, and art intertwined. The Kentmere 100 film told their story, the Pentax ME Super etched them onto film, and I, a mere observer, was fortunate to be a part of this beautiful narrative.

In the end, it’s the ability to capture the ephemeral that gives photography its magic. It’s not just about freezing time but about encapsulating emotions that stand the test of time. As I looked at the photographs that adorned my album, I knew that every click was a brushstroke on the canvas of memory— a reminder of the day my niece and I discovered the beauty of the Jardin de Plantes and the timeless charm of classic photography.

Capturing Nantes: A Photowalk Through Urban Charms

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In the heart of bustling Nantes, a city teeming with life and stories waiting to be captured, I embarked on a captivating photowalk adventure. Armed with my trusted Pentax ME Super camera and loaded with Rollei RPX 100 and then Fomapan 100 film, I set out to explore the artistic treasures and serene corners of this vibrant urban landscape, and the latest offerings of the Voyage à Nantes. Join me as I take you on a visual journey through the enchanting Place Royale, the charming Place Graslin, and the captivating sculptures that make Nantes truly unique.

Place Royale: A Fountain of Marine Delights

My journey commenced at Place Royale, where the graceful fountain stood adorned with marine sculptures straight out of a storybook. These sculptures, by the Blegian artist Maen Florin, glistened in the sunlight and droplets of falling water. The Pentax ME Super clicked away as I framed each marine figure, capturing the interplay of water and art with the delicate precision of film photography. The Rollei RPX 100 film lent an air of timeless elegance to each shot, turning the bustling square into a tranquil haven through its lens.

Place Graslin: A Meeting of History and Charm

Next on my path was the inviting Place Graslin, a captivating square that exuded elegance and history. Here, the statue of Combronne with his coffee and glass of water, the newer version by Maya Eneva and the Cellule B collectif, welcomed me outside the iconic Cigale café, where I imagined stories of bygone conversations and shared moments. As the Pentax ME Super’s shutter clicked, the Fomapan 100 film brought forth the statue’s enduring presence, immortalising the blend of past and present that this city so effortlessly portrays.

Artistic Wonders of Cours Cambronne

A stroll along Cours Cambronne revealed hidden gems in the form of statues – “homme pressé” by the English sculptor Thomas Houseago and “éloge à la transgression,” by the famous Philippe Ramette both stunning creations from the Voyage à Nantes. These sculptures spoke of bold expressions and the city’s penchant for creative exploration. The Pentax ME Super captured their intricate details, with the Fomapan 100 film adding a touch of mystery to their narrative. In the heart of the city, a feeling of tranquilly pervaded, as I marvelled at the artistic tableau that surrounded me.

Bike Shots: Capturing Urban Rhythm

No Nantes photowalk would be complete without capturing the city’s quintessential “bike shots.” Bicycles, intertwined with daily life, spoke of a rhythm unique to urban living. With each click of the Pentax ME Super, the Rollei RPX 100 film transformed these moments into frames that held a slice of the city’s pulse. It also allows people to keep fit and be very smug about not polluting…

A Spectator of Urban Theatre

As I ambled through the city’s streets, I couldn’t help but feel like a mere spectator in the grand play that Nantes puts on every day. The camera in my hand was not just an instrument but a witness to the stories woven into every corner. With the Pentax ME Super, I was able to capture these narratives, bridging time and space through the magic of film.

Conclusion: Nantes Through a Different Lens

The Pentax ME Super, armed with its classic charm, and the duo of Rollei RPX 100 and Fomapan 100 films, transformed my photowalk through Nantes into a visual tale. From the marine wonders of Place Royale to the historical elegance of Place Graslin and the artistic marvels of Cours Cambronne, each click of the camera immortalised the city’s essence. Through the lens of film photography, Nantes unveiled its soul—a blend of history, art, and an urban rhythm that beats to its own tune.

As I reflect upon the captivating frames that now grace my album, I’m reminded of the vibrant energy and artistic tapestry that Nantes weaves. Just as the city’s sculptures and streets tell their stories, the Pentax ME Super and film quietly tell mine – a narrative of a city that thrives in its own unique rhythm, an urban theatre where I played the role of an enchanted spectator.

That August Holiday Vibe

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My son seems to use the word “vibe” in a lot of situations. And for once, that word encapsulates exactly how I feel at this very moment. I’m in front of my computer at my desk, typing this article. Why is this an August vibe, though? Because I’m not at work and have the freedom that comes with August to do what I want, within reason, of course. I have my Marshall headphones that have a Princess Leia “vibe”. I’m listening to Ella Fitzgerald sing her beautiful heart out on Amazon Music, and the fan on top of my desk is blowing a fresh breeze through my golden locks. Those of you who know me will understand the ridicule of that last phrase. Locks, golden or otherwise, are something I haven’t had to deal with for many years, but that cool breeze is still very refreshing on my bald scalp.

I have been out, and this will blow your minds as much as the fan is blowing my hair, with my camera taking photographs. I can hardly believe it too. The photographs at the end will not likely seem like holiday photos to you, but to me they are precious! You don’t have to be sitting roasting on a beach to feel on holiday. What I’m getting at is that freedom comes only once a year. Work is important, but rest is important too. Ironically, “Summertime” is playing. The version with Louis Armstrong and Ella together! It really does take you to another place.

And then, there’s my photography escapade. I went old-school with film this time—none of that instant digital gratification. You take the shot, develop the film, scan the negatives, and only then do you wade into the world of editing. Now, you’re probably wondering, “Why the hassle when you’ve got smartphones and digital cameras?” But let me tell you, it’s a deliberate pace that wraps you in its own magic. You deliberate on each shot, finding meaning in every click. Out of the 36 shots I took, I’ve kept 16 for this piece. Fingers crossed, they’re worth the effort.

Film photos emanate a distinct “vibe” compared to their pristine digital counterparts. There’s a soft grain, an endearing imperfection that render them timeless. Some would say they embody an eternal tranquilly, a perpetual “vibe.” In future articles, you will see more of that timeless “vibe,” and pictures from an exhibition at the HAB Gallerie, which I’ve talked about in past articles. There will be shots of various art works all over Nantes that are all part of the annual Voyage à Nantes art season. This year, it’s all about statues taking over the city. But that’s for future articles. I have to keep you coming back for more, don’t I!