Tag: film vs digital

Opening of the Film Archives – Canon AE1 Street Photography in Nantes

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Good afternoon, Dear Reader. I’m writing this article thinking of you and wondering what to show you next in this ongoing series. The clue is in the title: Canon AE1 Street Photography in the streets of Nantes.

I know you have the eyes of a hawk who never miss a trick because your vision is so sharp. You might even have scrolled down to the photos already, and your eagle eyes will have noticed that this isn’t the usual area I visit on these outings. And, of course, you’d be right!

Yes, I still parked in the Feydeau car park but crossed the road to the south, heading along Baco-Lu, past the Tour Lu (sans “t”), towards the St Felix Canal, and then back into town… Some of the places no longer exist or have changed hands, but you would still recognise them even today.

I think that with these photographs, I’m getting closer to what some might call “proper” or “traditional” street photography. The images have a certain gritty quality to them, including the people in the shots. This was something I was actively aiming for. Maybe it’s the grain—something I don’t get with the X100F—that helped bring this about. Or could it be the people, whose presence seems to reveal the stories behind them? Whatever it is, I felt that this was a very good day.

I think I may have shared with you that I’m going to China this Christmas on tour with the orchestra I play for. I’m still undecided about which camera to take and wondering if I should bring a film camera along. With the X100F, I’ve become so accustomed to the 35mm lens, while my film cameras only have 50mm lenses to work with. Reviewing these older images may help me make up my mind. It’s going to be an epic trip, and I want to be sure of the kinds of images I’ll be able to capture.

As much as I’d love the flexibility to hop in the car and retake a shot if needed, this trip to China will be different. I’ll need to trust my choices and embrace the moment as it unfolds—something that feels both exciting and a little daunting. But that’s the beauty of photography, isn’t it? The challenge of capturing fleeting moments, knowing they might never come around again. So, whatever I decide, I know the experience will be unforgettable.

While the anticipation of the China photos may be killing you, I know you’ll be patient, whatever I decide to use. Rest assured, those photos will capture the spirit of the trip. Only two and a half weeks before I start my travels…

Browse the full Film Archives →

The Enduring Elegance of Vintage Cameras: A Personal Journey

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I often find myself discussing the concept of “vintage” with my father during our phone calls. I live in France, while my parents are in Northumberland. The term means different things to different generations. For my 25-year-old son, vintage clothing is anything from the 90s, he even wears a few of my old sweaters from that era. At 52, I’m starting to think of myself as slightly vintage too. And to my 15-year-old daughter, my father, who grew up during the war, must seem positively ancient.

A camera from the 1990s feels relatively modern to me, while those from the 70s and 80s seem older but not quite ancient. Using these older cameras forces me to slow down and be more deliberate. Each shot becomes a considered act rather than a reflex, and there’s something satisfying about that slower pace, even if the cameras themselves aren’t the latest technology.

My own “vintage collection” began with an SLR from the 1980s: an East German Praktica MTL3 that served me faithfully until 2009. After it finally gave up, I quickly replaced it with another. From there, I explored more iconic cameras from the 1970s and 1980s, back when they were still relatively affordable, before the hipsters discovered film photography and the prices started rising.

My exploration didn’t stop there. I began to seek out cameras from the 1960s and even the 1950s. The oldest camera in my collection dates back to 1949! It’s quite vintage, even for me, though perhaps not so much for my father. Each piece is a link to a past era, a tactile connection to history that digital tools can’t replicate.

There was a time during the digital age when people tried to recapture the film aesthetic, and right on cue, apps like Hipstamatic, Instagram, and VSCO turned up. They embraced the nostalgic look of film, but it’s never quite matched the real thing.

Which led me to a simple thought: if I wanted that film aesthetic, why not use actual film and cameras from the eras I admire? I’ve always been drawn to old things, having loved exploring a special drawer at my grandmother’s house filled with genuine relics. My fascination with older technology, particularly when it’s still functional, has never gone away.

So just because something’s old doesn’t mean it doesn’t still work, and it might open up a whole world you didn’t know existed. It can be a bit quirky, but once you get past that, the world’s your oyster.

my daughter contemplating cake
portrait of a young girl

The Opening of the Film Archives: An October Saturday in Town with Killian, 2016

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Welcome back to another look at the film archives. This time, I’m sharing a few black-and-white street shots from an October Saturday in Nantes, likely taken with the Praktica MTL3 and HP5 Plus film. These outings with my son Killian, which we called ‘Ian and Killian days,’ became a cherished routine, a time for us to reconnect amidst the busyness of life.

He was 17 then, a weekly boarder at his lycée in La Roche sur Yon. On the weekends, we’d often head into Nantes, following the same familiar programme: a visit to the barbershop, a meal at the Sugar Blue café, and finally, a drink at the John Mc Byrne Irish Pub. In the photo, that handsome chap in the barber’s seat is Killian—a little reminder that it wasn’t always Kate joining me on these trips. These outings were a way to stay connected, despite his growing independence. Even with him being only 17, I still felt that sense of responsibility. Once a Dad, always a Dad.

As we went through our usual routine, I found myself facing the familiar challenge of capturing these moments on film. The low light inside the barbershop always made me second-guess whether I could get a decent shot without using a flash. But over time, I learned to trust the Praktica and the HP5 Plus film. There’s a rawness to film photography, especially with Ilford’s HP5. It adds a certain grit and texture to the image, something that digital just can’t replicate.

That’s what I love about film—the imperfections. The grain gives it character, a certain honesty that smooth, polished digital photos lack. It’s not about creating something flawless but about preserving the authenticity of the moment. This shot of Killian in the barbershop, for example, may not be technically perfect, but it’s real. It’s us, it’s Nantes, it’s one of those ‘Ian and Killian days.’

Looking back at these photos, I’m reminded that sometimes, it’s the imperfections that make an image truly memorable. Quite the day, right?

Browse the full Film Archives →

The Opening of the Film Archives – Clisson May 2016

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Introduction

Welcome back to the film archives.  Today I’m going to share some photos of the first reel from my “new” Canon AE1.  Well, not new, but certainly new to me.  The Canon AE1s were produced between 1976 and 1984.  It is one of those iconic cameras and at the time I must have paid about 50€.  When I say iconic, I really mean iconic.  It is a shutter speed priority camera using Canon’s FD lenses. I used it an awful lot that summer.  I liked it so much that I even bought a second one that I ended up giving to a photographer friend. 

Colour

To some people of my generation they represent their first cameras, and were so popular.  Talking of popular, the photographs from this part of the archive are from the very popular and photogenic town, Clisson.  Also you will have noticed that the photos are in colour.  Which only goes to show that not all film photography is black and white photography.

Clisson, as you can see in the photos, is one of those beautiful French villages that oozes Gallic charm.  It also exudes a certain Italian charm, and is known for its Italian style architecture.  

Canon AE1

I have both a Canon AE1 and AEI Program. The AE1 is the big brother of the AE1 Program, and doesn’t have a program mode, but as you can see from the photos it still works a treat.

FeatureCanon AE-1Canon AE-1 ProgramDifferences
Release Year19761981AE-1 Program released 5 years after AE-1
Exposure ModesShutter Priority AEShutter Priority AE, Program AEProgram AE added to AE-1 Program
MeteringCenter-weighted AverageCenter-weighted AverageNo difference
Shutter Speeds2s – 1/1000s2s – 1/1000sNo difference
Viewfinder DisplayLEDsLEDsNo difference
Film Speed SettingManualManualNo difference
Self-timerYesYesNo difference
Depth of Field PreviewYesYesNo difference
Motor Drive CompatibilityYesYesNo difference
Other NotesFirst Canon SLR with microprocessor; revolutionary for its timeSimplified controls for easier use; appealed to wider audienceAE-1 Program aimed at beginners and enthusiasts
As you can see there’s not a huge differece between the two. The major difference being the Program option, and the other allowing for easier changing of the ASA film sensitivity setting.

On the day in question I must have parked just next to the river and concentrated on this picturesque  area.  You can see the castle, the bridge, and the river, all making for a peaceful spring moment.

I think the film was Fuji Superia, and I just wanted to use colour.  Thetones are slightly muted and warm, and the flowers, trees and plants were just screaming out to be photographed.  I remember the excitement of loading the film into this “new” camera, and the novelty of simply using an iconic camera.

Here is what fuji tells us about the film:

FUJICOLOR SUPERIA X-TRA400

An all-round general purpose, high-performance, high speed color negative film delivering truly fine-grain. Superb for snapshots or action, in low light with flash, outdoors or indoors. Ideal for general use with compact zoom lens cameras.

  • Excellent skin tones
    For beautiful, clear people-shots.
  • Fine grain
    Great results even when enlarged.
  • High-speed
    Superb results, whatever the shooting conditions.
  • Sensitivity and Film Sizes
    ISO : 400
    Film Sizes : 135 : 36 exp.

 When using digital, it’s so difficult to get that particular film look, and using film and an older camera just changes your whole outlook.  The fact of not having your image straight away leaves you with that anticipation that we all used to feel when we sent off our films to the lab.

Give film a try.  There are still cheap film cameras out there, and your photography experience will be totally different.  I certainly appreciate it.