Tag: Ian Myers

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.

Happy Not Dead Day 2024

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As the years go by, birthdays become less about childish excitement and more about a blend of nostalgia, forced fun, and a dash of introspection. My recent birthday weekend was a testament to this bittersweet evolution, a journey that took me from childhood memories to present-day, all while grappling with my inner aversion to “my” birthday celebrations.

A Childhood of Festive Delights

I’m still not good with birthdays.  After 52 of them they have turned from an exciting day with wonderful birthday parties organised by my mother and Aunty Colette helping out, with a homemade and home decorated cake, various bottles of pop, and hula-hoop crisps.  This was the 1970’s after all.

Adolescence: A Shift in Celebrations

In the 1980’s this evolved into being asked what kind of cake I wanted by Matron, choce of fruit or chocolate, that would be shared amongst all the boys at school, and receiving Thornton’s toffees sent in a parcel by my grandmother, to  going out to the cinema with a friend, and getting run over crossing the street, but thankfully not injured, to preparing a dinner for friends.

France: Embracing a New Cultural Tradition

Everything changed when I moved to France in the 1990’s. Birthday celebrations evolved from lively parties to intimate gatherings amidst friends, where the focus shifted from just cake to the simplicity of shared meals and heartwarming conversations.

The Familiarity of Family Gatherings

The 2000s and 2010s saw a familiar rhythm to my birthday celebrations, with the occasional variation in cake flavours and dining arrangements. However, the arrival of my own children introduced a new dimension, as they now eagerly embrace the role of party planners, injecting their unique energy and enthusiasm into my special day.

A Begrudgingly Enjoyable Birthday Celebration

My most recent birthday weekend was a testament to the bittersweet blend of forced fun and begrudging acceptance. Friday night found me in my favorite pub, sharing stories and laughter with my son, an attempt to appease his desire to celebrate. Saturday was a day of family bonding, as I took my daughter and her boyfriend into town, dropped them off, went throught two rolls of film, and then enjoyed a quiet evening at home cooking with my son.

In between indulging in my passion for photography, capturing fleeting moments of joy amidst the forced festivities. I also sought a moment of reflection during confession, seeking solace amidst the overwhelming attention. The night ended with a hearty meal prepared with my son, a small act of rebellion against the excessive birthday fanfare.

Sunday dawned early, as I embarked on a day of exploration, venturing to Saint Nazaire for an early 6am start and performance at the Folles Journées, a celebration of clasical music. The day concluded with a heartfelt moment at mass, surrounded by the love of my family.

Monday Morning: A Gratitude for the Past and a Renewed Perspective

As Monday morning approached, I carried a mix of emotions – the warmth of cherished memories, the exhaustion of forced celebrations, and a growing appreciation for the love and attention from my children. I was ready to face the workweek, armed with the knowledge that birthdays, despite their uncomfortable nature, could be occasions for reflection, connection, and a touch of forced fun.

Older and Wiser, Yet Still a Grouch

Do I feel older and wiser? Definitely the former, and to some small extent, the latter. Children, and especially older children, have this uncanny way of reminding you that you are evolving, despite loving every bit of you. It’s a humbling experience, and at the same time a display of love. I am veritably lucky to have them.

As I write this, a part of me still cringes at the thought of birthdays, but another part cherishes the memories they create and the love they represent. So, while I may never fully embrace the birthday craze, I’ll continue to participate, albeit with a touch of begrudging acceptance and a sprinkle of nostalgic fondness. After all, birthdays, like life itself, are a journey of mixed emotions, unexpected turns, and the enduring power of family and love.

Happy “Not Dead Yet” day to me! Still there to annoy the shit out of you, be really foul mouthed, and be completely inappropriate with everyone…
But I do love you all! Some of you I even like!

My Facebook

Navigating the Digital Abyss: Unmasking the Devil’s Tactics in Online Discourse

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In the vast expanse of the digital landscape, where opinions clash and egos collide, a subtle malevolence seems to linger—the devil finds a home in the chaos of internet comment sections. This virtual realm, often hailed as a marketplace of ideas, reveals a darker side where the battle for truth is marred by the cacophony of raw emotion and the absence of reasoned discourse.

The Temptation of Raw Emotion

Engaging in these comment sections is akin to stepping onto a battlefield without body armor, where every keystroke can be a weapon, and reason is the first casualty. As I ventured into a discussion on the joys and challenges of parenthood, the vitriol that followed made me question not just generational differences but the very nature of dialogue in our digital age.

I expressed my own personal experience of fatherhood and the joy that it has brought me. However, when I dared to offer my opposing perspective, emphasizing the personal and societal benefits of fatherhood, I was met with a barrage of hostility, misrepresentation, and accusations of being “evil.” These individuals, shielded by the anonymity of the internet, felt emboldened to lash out with vitriolic remarks, dismissing my views as irrelevant and even harmful.

For example, I was called a “dinosaur” and a “boomer” for expressing my support for traditional values. I was also accused of being “out of touch” and “selfish” for wanting to have children. I was told to “shut the fcuk up,” and “did you take your meds today?” I was told that I was senile and suffering from Alzheimer’s disease.

These personal attacks were hurtful, but more importantly they also served to try to silence my voice and prevent me from engaging in a meaningful dialogue. The devil, it seemed, had found a way to weaponize the internet , using it to sow discord and discourage open-mindedness.

The Echoes of Selfishness and Malhonnête Intellectuelle

In the realm of pixels and screens, one encounters not only differing perspectives but also a stubborn refusal to entertain dissenting opinions. It is a breeding ground for selfishness, where personal preferences override empathy and thoughtful consideration. The accusation of wanting to control others, merely for expressing a different viewpoint, echoes the selfishness that permeates our society.

The devil’s influence is further amplified by the prevalence of “malhonnêteté intellectuelle,” a French term that roughly translates to “intellectual dishonesty.” In the world of internet comment sections, this takes the form of misrepresenting or distorting opposing viewpoints, cherry-picking evidence to support one’s own argument, and engaging in ad hominem attacks. These tactics create an atmosphere of distrust and suspicion, making it even more difficult to have productive conversations.

For instance, when I highlighted the positive impact of fatherhood on society, I was met with claims that overpopulation was a more pressing issue and that personal freedom should trump the call to embrace the responsibilities of family life. These arguments were not only based on flawed logic but also served to dismiss the value of fatherhood and the importance of raising children in a stable and loving home.

The devil takes advantage of this self-absorbed mindset by encouraging people to dismiss opposing viewpoints as irrelevant or insignificant. This creates an echo chamber effect, where individuals are only exposed to information that confirms their existing beliefs, further entrenching them in their worldview and making it harder for them to engage in meaningful dialogue.

The Age of Navel Gazing

The reluctance to welcome diverse perspectives reflects a society increasingly prone to navel gazing—fixated on individual desires and comfort, dismissing the collective wisdom that arises from shared experiences. As I extolled the virtues of fatherhood, it was met with such dismissive responses as, “Who cares what you think?” and “Mind your own business.”

The devil takes advantage of this self-absorbed mindset by encouraging people to dismiss opposing viewpoints as irrelevant or insignificant. This creates an echo chamber effect, where individuals are only exposed to information that confirms their existing beliefs, further entrenching them in their worldview and making it harder for them to engage in meaningful dialogue.

The Church’s Wisdom: A Beacon in the Digital Abyss

In the teachings of the Catholic Church, one finds a call to discernment, humility, and the pursuit of truth. In the face of emotional onslaughts, the Church encourages us to be steadfast in reason, guided by love, and unyielding in our commitment to fostering a culture of life. As Pope Francis aptly noted, “We were created to love, and love demands an open heart, open to God.”

The Church’s teachings provide a valuable framework for navigating the digital abyss. They remind us that we are not merely individuals, but members of a larger community with a shared responsibility for creating a more just and compassionate society. They also encourage us to engage in dialogue with others, even when we disagree, with respect and open-mindedness.

Conclusion: The Path to Renewal

In our journey through the virtual abyss, we must don the armor of reason and the cloak of empathy. The devil, it seems, thrives on the breakdown of dialogue and the rejection of diverse viewpoints. Let us resist the temptation to succumb to raw emotion, and instead, strive for a digital discourse that reflects the grace and wisdom found in genuine human connection.

As we confront the devil in the comment sections, let our responses be guided not by the fleeting winds of emotion but by the enduring light of reason, compassion, and the timeless teachings that remind us of our shared humanity. Together, we can create a digital space that is more inclusive, respectful, and conducive to meaningful dialogue.

We must remember that the internet is not just a place for expressing our opinions; it is also a place for learning, understanding, and building relationships. By engaging in dialogue, we can transform the digital landscape into a space that fosters not only individual growth but also a more just and compassionate society. Let us reclaim the internet as a tool for good and use it to build bridges, not burn them.

Happy New Year

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It would appear to be that time of year when everyone greets each other with the quasi obligatory Bonne Année. Usually followed by some generic wish such as Santé, Bonheur, and even Prospérité. Some have even dared to reduce it too Bonne et Heureuse… But let’s not talk about them.

A Message of Hope and Peace

I wish you a very Happy New Year. I wish you what you need to get through 2024, and what you need to affront the difficulties that you may face. But most of all, I wish you Peace. I wish you the peace that is said when Jesus said Peace be with you, or Shalom, or As-salamu alaykum. That inner Peace that we receive from our creator. This peace will bring you much more joy than mere health, happiness, and success. I think it goes much further than this “worldly” greeting.

Finding Peace in Solitude and Family

Over the Christmas period I have been on holiday, and have managed to find some of this more deeper notion of peace. I greatly appreciate my colleagues, but it was lovely just being with my family. And like with the Covid lockdowns, it gave me space, and rest, but most importantly, it gave me time. Time to be with my wife and children. Time to just be in their presence and feel the joy that they give out.

The Joy of Ironing and Shoe Shining

It also gave me time to complete my ironing and get that pile “done”. There were things that had been waiting so patiently. Even my cotton handkerchiefs which are a joy to iron. Humanity seems to fall into two groups, no, not male and female, but those who iron and those who don’t. I am in the former and my wife is in the latter.
I met my wife back in 1992 and I used to wear green for a living. That poor girl once tried ironing my uniform, and I was stupid, foolish, a bit rash, a complete eejit, and declared don’t touch things that you know nothing about.
I had been taught to iron firstly by my mother and became adept at ironing cotton hankies. We all have to start somewhere. My training continued with those gentlemen who wear green for a living and therefore have to be immaculately dressed at every hour of the day or night. They would explain how to iron everything from A to Z and then we would do the same. We were then expected to execute the same task to the same high standard. I still have nightmares about tramlines. If you know, you know. And if you don’t know, then that’s one less traumatic event to have to share with your therapist.
Needless to say, my Dear wife has not ironed since 1992, and that task has fallen to me. I learnt my lesson and now keep my mouth shut.
I also learnt how to shine shoes, taught by those same men in green. So I took the time to go through every single pair in the house, shining them and making them like new and being complimented by my wife who had the impression of having new shoes. Some could be repaired but the repair costs would have been more than the shoes were worth. Those loved shoes are now in a better place.

A Rejuvenating Holiday with Loved Ones

Time, time, and more time. You wondrous thing. The kitchen needed attention, and is now looking loved as well as lived in. My children cooked the Christmas Eve meal for us and they did themselves proud. I said that I was available if needed and they only asked me to do a tartare sauce. So I did.

Grateful for Family and Faith

Time, time again. On Christmas Day I always put my foot down and insist they come to church with me. So, they were spared Midnight mass, Dawn Mass, and even morning mass, but they were with me for the evening mass. I’ve talked about this before, but again, this is so important to me and it always feels wonderful.
Happy New Year Dear Reader, I wish you Peace for 2024, and may your God bless you.

Frame It Right: The Art of Composition in Photography Part IV

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In my previous articles, we’ve embarked on a journey to understand the basics in photography. I have talked about exposure, set out some of the “rules” of composition, and even delved into the world of colour theory. Today, I’d like to introduce you to the rule of odds and the rules of space, two fundamental elements that will take your photography to the next level.

Before we talk about these new concepts, let me reiterate the importance of building a solid foundation. Just as we did with framing, negative space, and colour theory, it’s crucial to master each concept before moving on to the next. Take your time to learn and apply these principles in your photography journey. The other four articles will stay up, and you can read them at your leisure.

The Rule of Odds in Photography

The rule of odds is a composition guideline that suggests using an odd number of subjects or elements in your frame, typically three or five, rather than even numbers. Why? Because odd numbers tend to create a more balanced and visually pleasing composition.

When you use the rule of odds, you create a natural focal point within your photograph. Our eyes are drawn to the centre subject, and the uneven arrangement adds a sense of harmony and intrigue to the image. The result? A more captivating and dynamic photo that engages your viewers. It’s all about balance.


Rules of Space: Balance and Direction

Now, let’s look at the rules of space. This concept involves how you position elements and subjects within your frame to achieve balance and direct the viewer’s gaze. It leaves space for the subject and can be used in multiple ways as a storytelling tool. It can also be used in conjunction with the other composition techniques that I have talked about in my previous articles.

Tips

Think outside the frame. What is going on outside the frame becomes as important as what is oing on inside the frame. Let’ take the picture of the guitarist. Who is he looking at? What’s going on outside the frame? Is there an audience? Where is the audience? Using rules of space the viewer will more curious and be more engaged in the photo.

Conclusion

One can talk about composition and the effect it has on photography till the cow come home. People will always bring up “composition” and will always tell you how “they” would have done it differently. In these four articles you will now know what they are talking about and be able to decide for yourself. In absolute terms, “your” photographs are about what “you” saw, and only “you” can see that. But keep the rules that we have discussed in the back of your mind, and take your photograph with purpose and being conscious about what you are doing. Mindfulness is the key.

My next article will talk about the differences between 35mm film photography and medium format photography. For film enthusiasts or anyone else who is curious you will be entering into a new world. There are, of course, trade offs between each format, and we will discover them. Maybe you’ll be bitten by the Medium Format bug too… As always Dear Reader, I appreciate your enthusiasm, and I look forward to our next exploration together. Until then, happy shooting!

Capturing the Essence of Nantes: A Street Photography Journey with the Pentax ME Super and Kentmere 100 Film

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Dear Reader,

This is less of a tutorial than the last four articles but more a “how I approach the subject” kind of article. You can read about something I seem to do a lot of and have experience of. I’ll be talking about my film photography phase from this summer when my X100F was still dead

Have you ever felt that familiar tug of nostalgia while strolling through a city that reminds you of your hometown? For me, Nantes, with its maritime heritage and busy streets, brings back memories of Hull in East Yorkshire. Those of you from Hull will see the irony in this, wondering how the heck a town can be like Hull, but it has similarities… If you know, you know. It’s a city that feels like home, and it’s just a short 35-minute drive from where I live. Come with me through the streets of Nantes, with the Pentax ME Super and Kentmere 100 film.

Exploring Nantes Through My Lens

Nantes, like Hull, boasts a rich maritime history, or is it the other way round? As I set foot in the city, I can’t help but feel the past staring me in the face. The first thing I do is head to my favourite spot, Parking Feydeau. It’s become somewhat of a ritual for me. I park on the same floor, in the same space — predictability eases one worry when you’re out capturing moments, or as my son says, are you autistic Dad? The cheeky little bugger. No, I’m just me! An old Fuddy-Duddy.

As I step out onto the street, I take my first light reading with my camera. It’s a bit like taking the city’s pulse, getting the vibe for the day. My starting point is usually Quartier Bouffay, near the castle , and the fact that the pub is close by has nothing to do with anything! From there, I seem to find myself in front of the Sainte Croix Church. Sometimes, it’s for confession; other times, it’s just to warm up, both physically, spiritually, and visually.

Just as walking the streets of Nantes is a physical workout, and with a camera it is akin to a visual workout. You’re constantly observing, framing, and capturing scenes as they unfold. Rue des Carmes or the path leading to the Castle are some of my more frequent routes, but I’ve been known to start my journey at Place Royale, especially if a visit to my barber is in order. My beard and length has often been a debate between my mother and I. She prefers the shorter, therefore neat and tidy beard. I seem to like a little more length, going for the Father Christmas look. From there, I can explore the Rue de Calvaire or aim for the Tour de Bretagne. Should I choose Rue Crébillon, it will take me to Place Graslin, and I end up in the very French and very stylish Cours Cambronne. They do do a nice courtyard do the French. Sometimes I will head to Quai Président Wilson, to the Hangar à Bananes, where I go to the HAB Gallérie. The added bonus is that parking is free in this area, and after all as Tesco’s would have us believe, every little helps. Again, the fact that I have an address for a beer and a piece of cake has nothing to do with anything, and I will, of course deny everything!

Moments and Encounters: The Heart of Street Photography

As an older gentleman with a slight limp, courtesy of arthritis, I’ve come to understand the importance of comfortable shoes. Fortunately, I do happen to posess some comfortable shoes, allowing me the extra bit of ease whilst wandering around the streets. I’ve also done the odd reckie of spots where I can sit down— be it for a meal, people-watching, sipping a cup of French expresso that packs one heck of a caffeine punch, or, on rare occasions, enjoying a decent cup of tea, but as we are in France this a much more challenging endevour. The French can just be so French now and again. Ah, tea — that drink that is a hug in a mug.

Navigating the streets of Nantes with a camera in hand and a discerning palate for food has become somewhat of a habit for me. Some of the things I hold dearest to my heart, tea, and cake. In France, we encounter the “droit à l’image,” a set of laws governing the right to one’s image. Some people may feel uncomfortable having their photo taken, and I’ve seen it manifest in numerous shots of people’s backs. However, these unwitting contributors add a recognisable element to the urban landscape, showing human interactions in the city.

I recall an incident when a passerby accused me of taking his picture without permission. I had a 28mm lens, and he was merely an infinitesimal part of the scene I was capturing. Reassuring him, I explained that he was not the focus of the photo, and that I had only noticed him when he started yelling at me. So much of a muchness. It was a lesson in navigating the sometimes touchy waters of street photography in a culture sensitive to “the right to one’s image.” As it turns out, compassion is the universal language, but so is muttering under my breath when out of earshot.

Another way I combine photography and life in Nantes is through my visits to the local barber. Whenever I’m in the chair, I discreetly document the atmosphere of the shop. The photos I take are subsequently given to my barber, forming a visual record of his small business — it’s good to be good, and it’s my small way of supporting local businesses. As is drinking tea and eating cake. Nothing to do with my tummy, and nothing like Whinnie the Pooh…

The Pentax ME Super and Kentmere 100 Film: A Street Photographer’s Dream Team

Why do I choose the Pentax ME Super for my street photography outings? Well, it’s a matter of practicality and style. First and foremost, it’s compact — a small camera, and in my pocket another lens and a couple of rolls of film. In the world of street photography, less is often more. It’s a “Keep It Simple, Stupid” approach, and I am a great fan of simple.

But it’s not just about size as in many domains; it’s also about subtlety. A massive DSLR with a conspicuous zoom lens can be intimidating, both for the photographer and the subjects. With the ME Super and prime lens, I “zoom with my feet.” This set-up forces me to engage more intimately with my surroundings especially with the 50mm lens, and the result is a more authentic perspective of the city. Plus, let’s face it — the ME Super is just a really cool looking camera and its vintage appearance just oozes kudos and style. It makes me feel like a true photographer, even though I’m merely an observer of the city.

Now, let’s talk about the Kentmere 100 film. It’s practical and easy to find. This film stock is budget-friendly, a nicer way of saying cheap (Fomapan is another cheaper film stock too), which, if you have seen the prices of Kodak film, is a very convincing argument, yet it reminds me of more renowned Ilford films. One year, I decided to exclusively use HP5+, a faster film. Switching to Kentmere 100 or any other 100 ASA film gives me a finer grain, and I can still expose at F2 and 1/2000th of a second for that silky depth of field that just makes everyone go weak at the knees in “good” light. Bokeh whores I’m talking to you!

Street photographers often aspire to capture the kind of timeless black and white aesthetic seen in the works of Doisneau, Cartier-Bresson, or Vivian Maier. While we may never fully replicate their images, using black and white film, allows us a head start on our digital brothers. I’ve always been drawn to this style of documentary photography. Street photography, for me, isn’t just about street portraiture; it’s about observing the street and documenting it in a classic way — classic, much like myself, or should I say, old-fashioned? Whatever it may be, it’s certainly not modern and up-to-date, just like Yours Truly, but that’s fine too! We all have our place.

Tips for Aspiring Street Photographers

Now, for those of you who aspire to explore street photography, let me share some tips. Remember the phrase from the cover of “The Hitchhiker’s Guide to the Galaxy”: DON’T PANIC! When you’re working with a film camera, such as the Pentax ME Super with its 36 exposures, don’t expect to get 36 keepers. However, consider each photo that doesn’t quite hit the mark as a valuable visual note.

These notes help you study your subjects and how the scene changes with shifting light. Practise, after all, makes perfect. Don’t think that any photographer publishes all their shots; in fact, I curate and edit my photos carefully before sharing them on my Instagram feed. It’s all part of the learning process, using each “less than perfect” shot to refine your craft. And each photograph is a journey towards the ultimate photograph.

Dont forget those comfortable shoes, which, as I mentioned earlier, are essential. You’ll be walking and standing a lot, so prioritise comfort. Again, reduce your kit to the minimum. The less weight you have to carry, the fewer excuses you’ll have to sit down and maybe have a cup of tea and a piece of cake. But keep that option open, you never know…

I photograph to find out what something will look like photographed.

Garry Winogrand

Conclusion: Capturing the Essence

In conclusion, street photography is about capturing the essence of the city, and with the Pentax ME Super and Kentmere 100 film, I document the life, culture, and people of Nantes. It’s a city with a rich past and a vibrant present, and through my lens, I’ve sought to capture moments that reflect its unique character.

Each click of the shutter is a testament to the enduring appeal of film photography and its ability to capture moments that transcend time. It’s a classic approach in a modern world, much like my beloved Nantes itself. I mean, it’s not Hull, but not many places can rival Hull. If you know, you know.

So, Dear Reader, whether you’re a seasoned street photographer or just beginning your photographic journey, I encourage you to explore the streets of your own city or a new one. Embrace the art of observation, document its nuances, and don’t be afraid to capture this essence of the world around you. It’s a journey that rewards both the observer and the observed.

Thank you for joining me on this photographic adventure. I invite you to share your own street photography experiences and engage in a conversation about this beautiful art form. Until next time, keep clicking and exploring.

Frame It Right: The Art of Composition in Photography Part II

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In my last article, we talked about three of the rules of composition, rule of thirds, leading lines, and symmetry.  We talked about the origins in classical art, as well of how to use them in our photography.  We also explored the implementation of these rules “or guides” and how we should practice each one, master it, and then move on to the next one.  You will still have your photos for the “Gram,” but more importantly, you will be growing as a photographer, gaining experience, and building a body of work.  You will, by definition start becoming more deliberate in capturing your shots, and will be more mindful than somebody just shooting blindly and praying that they get at least on shot!

In this article we will continue to explore certain concepts that be used to make our photographs even more engaging and interesting.  We will explore framing, i.e. using frames with in frames, and the use of negative space, used to isolate of emphasize our subject, and go minimalist.

Framing

When I say the word framing, I’m not talking about the gilded golden frame that you will use to frame your photography to give as gifts to your mother-in-law, but using visual frames inside your image to “frame” your subject…

These examples illustrate how framing can be a powerful tool in photography, guiding the viewer into the image and providing depth and context to the subject or scene being captured. A technique that can make your photos more engaging and immersive.  You can use trees, windows, element on the ground, buildings.  Go out and explore the world around you and try and “frame” your shots.

Negative space

Negative space is the space that surrounds our subject, this empty space or unoccupied space is almost as important as the subject itself.  It’s role is to create balance in the image and adds to the importance of the subject.

Key points

This negative “space” around the subject gives the subject room to breath, and takes away the clutter so we can concentrate on our subject.  It emphasizes the subject and leaves no doubt where the subject is to be found.  For those of you who want a “minimalist” approach to photography, it is one of the best ways to do this.  Less is more after all.  Think of simplicity, tranquillity, and elegance.  It can be used to create mood and atmosphere, and in landscape photography can portray ideas of solitude or freedom.  Think of a vast empty sky and rolling hills.  Negative space doesn’t have to be completely devoid of detail. It can be an area of uniform colour or texture that complements the subject and adds visual interest, or we can use depth of field to emphasize our subject

When using negative space, it’s essential to pay attention to the balance between the subject and the surrounding empty areas. The goal is to create a harmonious composition where the negative space complements and enhances the subject, rather than overpowering it. This technique can lead to powerful and emotionally resonant photographs, adding depth and impact to your work.

When you look at my photos of the girl against the colourful walls in Trentemoult in Nantes, think about how placing the model on the left or right of the frame makes you feel.  Looking forwards or looking backwords… 

Colour Theory

Colour theory is not just for those trendy designers in those advertising agencies.  If you go onto my Instagram feed, you will see that most of my work is predominantly black and white.  “So no colour,” I hear you say.  Well, yes and no.  Black and white photography concentrates on tones, but we can look at colour in the same way and seek balance in our colours.  So what’s this colour wheel then?  Well, it’s a way of looking at colours that go together, like green and red (think of Christmas cards), blue and orange, yellow and purple, all these colour are opposite on the colour wheel. Also, think about complimentary colours that are next to each other on the wheel, such as yellow, light green and dark green.  You will find yourself becoming aware of colours in nature and how they complement each other.  There will be some photographs that depend on this colour for their artistic value, and that won’t work in black and white photography.

Think about the portraits in the previous section and the natural colour in the photos in the country side.

Conclusion

We’ve continued our journey into composition by exploring how to use elements in our photos to frame our subjects. We’ve delved into the concept of negative space, emphasizing our subjects in our images. To conclude, we’ve begun to consider how colour can add harmony to our compositions. My advice is to incorporate these elements into your photography one step at a time. Don’t rush; there’s no need to feel overwhelmed. It’s a lot of information to take in, but as you explore each aspect mindfully, you’ll witness an evolution in your approach. Keep up the excellent work, and I look forward to our next session where we will talk about pattern and repetition, scale and proportion, and depth and layering.

Frame It Right: The Art of Composition in Photography Part I

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In my last article we talked about exposure, and balancing the elements that form the “exposure triangle”, i.e. the sensitivity of the film that we’re using, of the ISO setting on our camera sensor, the shutter speed, i.e. how long we let the light hit the film, or camera sensor, and aperture, i.e. the size of the hole that light comes through measured in F-Stops.  When these elements are in perfect osmosis, we should get a decently exposed photograph. 

Introduction to composition principles

Now we shall take this knowledge and build upon it with notions of composition, i.e. how we will organise the elements in our photograph.  Sometimes we have control of where these elements are, for example when creating a still life image.  Other times we have no control whatsoever and just have to move ourselves instead.  The way we do this is by thinking about our “Composition.”

As humans we are all guided by rules, some universally moral, some defined by the country we live in (like in France where they seem to be forbidden to make a decent up of tea), and Art is no exception.  There are rules in Art that make an image pleasing naturally to the eye, and, believe it or not, these “rules” have been around for a long time.  Now I hear you little rebels sat at the back of the classroom near the radiator saying how you don’t live by rules, and that you break every rule in the book.  And I have no problem with that.  I would however suggest you learn the “rules of composition” first and then, and only then break them knowingly.

Photography is art made with light, and the first photographers were heavily influenced by the art and paintings in the local Art Galleries.  They therefore had a very “classical” notion of composition.  I want you to imagine those massive oil paintings in a gold frame showing a Victorian gentleman looking over the top of a waterfall, framed by the forests, and still looking so dapper.

The Rule of thirds

This is one the first things that people will talk about when talking about composition.  The idea, as the name suggests is to divide a photo equally into thirds horizontally and vertically, and put the point of interest (subject) where the lines intersect.  Or you could have a landscape photo where sky will take up two thirds of the photograph and the foreground the other third.  In editing software, when framing you shot they will put a three by three grid on your photo automatically.  Some digital cameras allow the use of this grid inside the viewfinder.  When taking a portrait you would ideally have the eye where the lines cross.  Yes Ian, but this has been done, done, and done again, and has become a cliché I hear you say.  Possibly, but it works mate!  Don’t knock it.  As I said earlier, learn the rule, master using the rule, and then you might consider breaking the rule, but it will be a conscious decision and above all, deliberate.  But it will permit a pleasing and natural result.

Leading Lines and Perspective

Leading lines are lines that lead the eye into the photograph, turning it into something dynamic.  The lines will converge on a certain point in the image, which, if you want, can be on the grid that I described in the last section.  This point is the vanishing point, and give geometrical forms to your image, and can lead to the subject of you photo.  When using straight lines,you can emphasis to shapes in architecture and acquire a very “graphic” image.  Using a wide angled lens or even a fish eye lens will emphasize these line even further and the distortion of these lenses will add even more interest to your image.  I will talk about the most common lenses in a future article.  We’re not there yet. The lines don’t have to be straight, they can be curved or S shaped.  Think of a winding road in the countryside.  Whichever version you use, there will be a feeling of being drawn in to the scene. 

In the first photograph of the original Pegasus Bridge all the lines converge to a central point with a person standing which gives us an idea of the scale of the bridge.  These straight geometrical lines give a feeling of stability and solidity. 

In the second photograph, we can see an image that uses an S curve, and as you can see, the effect is totally different.  More subtle, but they eye is still drawn in to the image.

 Leading lines can appear in nature and in the landscape.  Look at the way that the tree line and lines in the mountains converge on a specific part of the photograph and show the different layers of the photograph. 

I seem to use them in quite a few of my photos, and with time, you won’t even have to seek them out.  You will be lead…

Symmetry in photography

In last week’s article we talked about exposure and how it is a balancing act between the three elements: film sensitivity, aperture, and shutter speed. We can find this symmetry in our compositions too. 

Symmetry in photography is a fundamental principle that enhances the visual impact of images. It involves balancing elements on both sides of a central axis or point. There are various types of symmetry, including horizontal, vertical, radial, and bilateral, each offering unique opportunities for creating appealing compositions. Symmetry naturally draws the viewer’s eye, adds stability, and is particularly useful in architectural, landscape, and macro photography. However, breaking symmetry with a contrasting element can introduce tension and creativity. By framing subjects thoughtfully, adjusting camera angles, and recognizing symmetry in both natural and man-made subjects, photographers can master this powerful tool for captivating compositions.

In summary, symmetry in photography is about creating balance and harmony through the arrangement of elements within the frame. It provides a sense of order, highlights patterns, and engages viewers, while also allowing for creative deviations when necessary to convey a specific message or emotion.

Conclusion

Firstly let’s not be fixated by these rules. I was right to describe them as “guides” to composition.  Talking about them is fine, but we have to put them into action.  Don’t try to do them all at once.  Take one rule.  Look at it closely.  Think how can I use this one rule?  How can I master it, or at least take it on board.  When you think that is is engrained into your mind, then start using a different concept.  I can’t stress that when learning, take your time.  Let the concept become second nature.   

There will be occasions when you feel that you are no longer advancing in your composition, but stick at it.  You will not obtain mastery after just one outing.  I’ve been doing this for 40 years and am still learning something new each time I go out with my camera.  People talk about being on a photographic journey, and that is a very good way of looking at it.  You can’t run before you can walk.  Don’t let yourself be overwhelmed by what you might see on Instagram, or even on this blog.  We are all at different places on this path.

In next week’s episode we will explore framing, negative space, colour theory, texture.  There will be a third article to cover pattern and repetition, scale and proportion, depth and layering.  There are so many points to talk about in composition that we may even have a fourth article but we’re not there yet! 

See you next week.  Until then, keep shooting!

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!