Tag: Ian Myers

Classic Chrome Meets Portra 160: Evaluating the Pentax ME Super and Fujifilm X100F

Posted on Posted in Black and White Photography, Film Photography, Landscape Photography, Northumberland, Travel photography, United KingdomTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 3 Comments

Let’s talk about two of my favorite cameras—the Fujifilm X100F and the Pentax ME Super. While these cameras belong to entirely different eras of photography, they share a surprising similarity in size and portability. I’ve used both extensively, and today, I want to compare their unique qualities without turning it into a clichéd “film vs. digital” debate.

Photography enthusiasts often find themselves in one of two camps: those who champion the convenience and immediacy of digital, and the purists who swear by the timelessness of film. But if you’ve followed this blog for a while, you’ll know I don’t see things that way. Instead, I value what each format brings to the table, and more importantly, how both contribute to the experience of photography.

A Tale of Two Cameras

For me, photography is more than just the final image—it’s about the journey of capturing it. Any Lomography fan will agree: the process is as important as the outcome. When I shoot with the Fujifilm X100F, I appreciate the immediate feedback of seeing the image on the screen and knowing right away what I’ve captured. But with the Pentax ME Super, it’s a different experience. I have a rough idea of what the film will deliver, but the magic isn’t fully revealed until the film is developed. That anticipation is part of the charm.

For this comparison, I’ve chosen photographs from Northumberland. Its moody, windswept landscapes—places like Alnmouth and the Northumbrian moors—present the perfect canvas for both film and digital. The X100F’s Classic Chrome simulation delivers a retro, muted look, while Kodak Portra 160 film, shot through the Pentax, brings warmth and richness to the tones.

The Fujifilm X100F

he X100F has often been called a bridge between the analogue and digital worlds, and I tend to agree. It’s packed with modern features like autofocus and an electronic viewfinder (EVF), but the controls are refreshingly tactile, with dedicated dials for aperture, shutter speed, and ISO. For anyone with a background in film photography, this setup feels familiar and intuitive.

What sets the X100F apart for me, though, is its Classic Chrome film simulation. It offers a subdued color palette that echoes old film stock, perfect when I want a slightly desaturated, vintage aesthetic. Unlike some over-the-top digital filters, Classic Chrome feels organic and subtle—bringing out details in the shadows without overwhelming the shot with contrast.

The X100F Photos

The Pentax ME Super

On the other hand, the Pentax ME Super is all about slowing down. There’s no EVF, no digital screen, and definitely no autofocus. Instead, you rely on a split-prism focusing system and aperture-priority mode. It forces you to be deliberate with each shot, a process that I find incredibly satisfying.

You’ll often hear film photographers talk about being more “in the moment” when shooting on film, and that’s exactly how I feel with the ME Super. The process of carefully composing each shot, setting exposure manually, and waiting for the film to be developed encourages patience and thoughtfulness.

For this outing, I paired the ME Super with Kodak Portra 160, a film that’s become known for its natural skin tones and soft, warm colors. Paired with the 50mm f/1.7 lens, this combination creates images with that unmistakable film character—shallow depth of field, soft highlights, and rich colors.

Lenses and Sensor Size

One of the most noticeable technical differences between these two cameras is their lenses and sensor sizes. The X100F features a 35mm equivalent f/2.0 fixed lens, while I usually use the 50mm f/1.7 on the Pentax. On the sensor front, the X100F has an APS-C crop sensor, giving it a narrower field of view compared to the full-frame 35mm film in the Pentax.

This technical difference goes beyond field of view. The Pentax ME Super has fixed ISO based on the film I choose, so I need to plan ahead for the lighting conditions I’ll be working in. In contrast, the X100F allows me to adjust ISO on the fly, providing flexibility in rapidly changing environments. This is something digital photographers have come to rely on, and it’s undeniably convenient when shooting in variable light.

The Pentax ME Super photos

Comparing the Images

Now, the big question: which is better, the Pentax ME Super or the Fujifilm X100F? Honestly, neither. They’re different tools for different purposes. Whether you’re drawn to the organic feel of film or the convenience of digital, both formats offer something unique. And that’s the beauty of photography—there’s no one-size-fits-all approach.

The sideshow feature shots from both cameras. As you look at them, you might favour one look over the other. The film shots have a warmth and texture that digital sometimes struggles to replicate, while the digital photos are sharp, detailed, and offer instant gratification. But ultimately, this comes down to personal preference, not a matter of one being objectively better.

Final Thoughts

At the end of the day, a camera is just a tool for capturing a scene in a particular way. As long as the final image is pleasing to the eye, I’d say the job is done. So don’t limit yourself to just one format—if you haven’t tried shooting film, give it a go. If you’re a film photographer who’s hesitant to try digital, maybe the X100F will ease that transition with its analogue-like feel.

More than anything, I encourage you to enjoy the process, whether it’s with film, digital, or both. Get out there, take your time, and remember that photography isn’t just about the images you capture—it’s about the experience.

Post Scriptum:
For those of you new to my blog, welcome! I cover everything from camera reviews to photography tips and techniques. Whether you’re a seasoned photographer or just starting out, there’s something here for you. Feel free to leave your thoughts or questions in the comments below—I’d love to hear from you!

The Opening of the Film Archives – Trentemoult October 2016

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This was another Ian and Kate day.  Similar in concept to the Ian and Killian day, but a day where I can dedicate myself solely to Kate.  She’s fifteen now of course, but I should spend more time with her.  If she’ll let me of course.  At the time she was only seven—simpler times where I could make her happy with just a nice tea, a boat trip across the river, and just wandering around exploring the intricate streets of an old fishing village on the “bords de Loire.”  There are no cars in the narrow streets, and the children can run wild.  

This day was one spent in Trentemoult, that rather colourful village that you can see here. The colours are intense and provide a great backdrop for portrait photography. So of course I went in with a film camera and black and white film.  Which only goes to show that when you photograph a location, however colourful, and take away the distraction of that colour, you have to really concentrate on composition, texture, and forms.  I couldn’t rely on colour for my photos today.  But I was sure that I could reveal some good photos despite that.

So what do you do?  You just try and capture some moments of your daughter messing around and being a perfectly normal seven year old.  I tried to capture her exploring the streets and being absorbed by the whole ambiance of the place.  She became part of the scenery, and blended in perfectly.

I was just there purely to observe and record the day on film, with one eye in my camera and the other on Kate.  It was a good day.  

Looking back at those moments reminds me of how quickly time seems to slip by without me realising that I am getting older.  She of course is slightly older, and possibly slightly less “insouciante” or carefree, but my love for that girl is still as strong as ever.

The Fujifilm X-T2: A 2024 Perspective – Is It Still Worth It?

Posted on Posted in Bikes, Black and White Photography, Camera reviews, France, Landscape Photography, Nantes Photography, Paris, Street Photography, Travel photographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 9 Comments

My Love Affair with the X100F (and a Cuppa Tea)

It’s no secret to the regular readers of IJM Photography that I have a great fondness, deep affection, nearing on obsession with my Fujifilm X100F. It’s a great little camera that gets me excited whenever I take it out of my camera bag. But, Dear Reader, what does this have to do with the Fujifilm X-T2? Well, they’re both manufactured by Fuji, they both have an “X” in their name, and I have a deep affection for a nice cup of tea. Not the same T? Ah well…

Similarities and Differences: A Tale of Two X’s

I’ll talk about the differences and similarities between the two cameras and why I thought the X-T2 was a useful and complementary acquisition. We’ll look at not just the specs but also the rather similar way both cameras handle.

  • Sensor and Image Quality: Both use the same 24-megapixel sensor with an anti-aliasing filter, and offer an ISO range from 200 to 128000.
  • Screen and Viewfinder: The X100F has a fixed screen, while the X-T2 boasts a tilting one. Both share the same excellent viewfinder.
  • Performance: The X100F shoots at 8 fps while the X-T2 goes up to 14 fps. For video, the X100F is limited to Full HD, while the X-T2 offers 4K and can shoot at 120 fps.
  • Connectivity: Both cameras have built-in wireless capabilities.
  • Weight: The X100F is lighter at 469g, while the X-T2 is slightly heavier at 507g.
The Lens Factor (and Weather Sealing, Too!)

The main difference? The lens. The X100F has a fixed 23mm (35mm equivalent) f/2.0 lens, while the X-T2 can take the entire range of X-mount lenses. Quite a big difference, indeed. The X-T2 also has the added bonus of weather sealing!

Why Buy a 4-Year-Old Camera in 2020?

Because at the time, I could. It was the logical acquisition and complement to my X100F. Did I mention it also uses the same batteries? I still have the same, beloved-by-many film simulations, and while not as numerous as later models, they are more than enough for me!

My first lens purchase was the 16mm (24mm equivalent) f/2.8 Fuji lens, the perfect complement to the 35mm equivalent on the X100F. I later discovered TTArtisan and 7 Artisans, Chinese firms that make affordable manual focus lenses for the X-mount. I now have the 35mm (50mm equivalent) f/1.2 and 58mm (85mm equivalent) f/1.4, and the fish eye 7mm F2.8 lenses from both companies, both costing a fraction of the autofocus Fuji lenses. The only concession I made to Fuji was later purchasing the 18-55mm (24-70mm equivalent) f/2.8 autofocus kit lens.

Value for Money: The X-T2’s Sweet Spot in 2024

The fact that I bought it second-hand was also a contributing factor. Does it have as many megapixels as the more modern X-T5? No. But does it have enough? Yes! Does it have the same specs as the X-T5? No. But does it have enough? Yes. Can you see a pattern developing here?

For the amount of money spent, I think I have enough cameras for my buck. And that is the crux of the argument for acquiring a now 8-year-old camera in 2024. Is it the very best money can buy? No. But if you’re an amateur like myself, you generally don’t need the specs that manufacturers and those nice men in camera shops will try to tell you you need. 24 megapixels is more than enough for printing even 20″ by 30″ (500mm x 760mm) sized images.

I have just looked at mpb.com for you and have found XT2 bodies from 487€ to 729€ depending on the condition. An X-mount lens will cost you anything from 104€ for a 35mm (50mm equivalent) F1.2 from 7 artisans to 279€ to 340€ for the 16mm (24mm equivalent) F2.8 fuji lens. So as you can see, it’s certainly cheaper than buying the latest models…

Conclusion: A Timeless Tool for the Passionate Photographer

In 2024, the Fujifilm X-T2 remains a compelling option for photographers seeking excellent image quality, classic handling, and a wealth of creative possibilities. Its compact size, weather sealing, and extensive lens selection make it a versatile companion for various genres, from street photography to landscapes.

While newer models may boast more advanced features, the X-T2’s enduring appeal lies in its combination of performance, affordability, and the unique charm of Fujifilm’s X-Trans sensor and film simulations. For photographers who prioritise the essentials of image-making and value for money, the X-T2 continues to be a worthy contender in the ever-evolving world of digital cameras.

If you’re looking for a camera that delivers exceptional results without breaking the bank, the used market might just hold the perfect X-T2 for you. And who knows, you might even discover a newfound appreciation for a slightly older camera that still has plenty to offer in 2024 and beyond.

Post Scriptum

This camera is also capable of 4K video. And I’m using it at work for making videos for training new staff. It is certainly lighter than my Canon 6D Mark II, and I seem to be able to obtain a picture style that I like. It doesn’t have in-built image stabilisation. However, I use it on a tripod so that’s not an issue. And if ever I do decide to use the 18-55mm kit lens, I have image stabilisation in the lens.

I’ll see if I can’t find you an excerpt of the latest video…

And here it is…

The UK Chronicles: A Black and White Footnote

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My usual approach to black and white photography is to shoot directly in black and white, either using black and white film or the Acros film simulation with my X100F. When using the X100F on this UK trip, my EVF displayed the black and white shot using Acros with a red filter—my go-to simulation. This method puts me in a black-and-white “frame of mind” from the outset.

However, this time I decided to break from my usual practice and experiment. I did something I normally advise against—starting with the intention to create color images and only considering black and white later. I chose the Classic Chrome film simulation instead of Acros, focusing on capturing the vibrant colors of the Northumbrian countryside. It was all about breaking free from my black-and-white routine. Both color and black-and-white photography have their place, but for this trip, I wanted to prioritize one over the other. Still, wouldn’t it be intriguing to compare both approaches?

Back in France, as I prepared the images for my black-and-white Instagram feed, I began to wonder if some of the colorful shots might also work in black and white. Initially hesitant—given my emphasis on shooting with intention and purpose—I decided to embrace the experiment. I was breaking one of my own rules, yet the idea intrigued me.

Reviewing the color shots, I considered which might translate well into black and white. I look for images with texture and varying tones rather than just color. My composition is usually solid since I’ve already edited my color images, including reframing and straightening as needed. With digital RAW files, converting to black and white and producing different versions is straightforward. As they say, the goal is to produce images that reflect how they made you feel, not just how you saw them. This is why I convert my images to black and white—they capture more of the emotional essence.

Opening Adobe Lightroom on my PC, I saw the familiar images on my screen. My editing approach may seem finicky, but it’s effective. While the simplest way to convert an image to black and white is to slide the “saturation” slider to the left, this often results in a flat, lifeless image. Instead, I use a more nuanced approach to control various color tones in the black-and-white image. This technique helps preserve depth and character, ensuring that each image maintains its visual impact even without color.

Here’s how I approach black-and-white conversion in Lightroom:

  • Black and White Profile: Sets the overall tone and mood of the image.
  • Clarity: Enhances texture and detail for a more dynamic appearance.
  • Contrast: Adjusts the range between light and dark areas, adding visual interest.
  • Color Sliders: Modifies the luminance of specific colors to bring out different tones in the black-and-white image.
  • Highlight Tool: Adds subtle vignetting and balances highlights for a polished finish.

So, why convert to black and white after shooting in color? For me, it offers a classic, timeless aesthetic, and challenges me to create a “better” image by focusing on composition and texture without the distraction of color. This approach pushes me to craft photographs that rely on fundamental elements, enhancing their overall impact.

Impact is at the heart of photography. While I cherish the colors of the Northumbrian countryside and am eager to learn how to use color more effectively, I also deeply value the strengths of black-and-white photography. It’s about transcending color to create images that resonate through composition and texture.

But there’s something more personal about these black-and-white conversions. Perhaps it’s because I broke my own rules this time around, allowing color to take center stage and letting the black-and-white images emerge later. These images weren’t planned with black and white in mind—yet, despite that, or perhaps because of it, they feel even more special to me. Sometimes, going against what you think you know leads to unexpected results. And, in this case, those results resonate even more deeply.

Isn’t impact what we strive for in our photography? Don’t get me wrong—I love the colors of the Northumbrian countryside and am on a quest to learn how to use color more effectively. But I do believe in the strength of the fundamentals offered by black-and-white photography. Sometimes, breaking your own routine brings surprising rewards.

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?

The UK Chronicles Part VIII: From Chesters, to Rothbury, to Lesbury

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Thank you for following this series of UK Chronicles, and I would just like to say that this is the last one. It had been a long day, but a good day, despite the disappointment in Otterburn. You overcome and adapt. Killian was still sad not to have some Roman armour though.

So, despite not rocking the Roman look, we still had to get back to Lesbury because that evening we would be eating with my parents in a pub in Boulmer, which was just down the road from Lesbury and on the coast. Boulmer is one of those little fishing villages that still has a small fleet of fishing boats that would have caught the fish and chips that we would be eating that night.

To get back home, I could take the more direct route, or I could go via the scenic route. Luckily for you, Dear Reader, we had enough time to take the scenic route. My driving was leisurely, or even slow, as we meandered through the bendy country roads. Again, just taking in the rural views and loving every minute of it. We wanted to go back to Rothbury to get another of those yummy sandwiches in the breadcakes that you only seem to be able to get in the UK.

We found the same parking spot as we did that very morning and crossed the road to go back to that morning’s bakery. It had just shut! Please don’t worry for us though; our lives still had some meaning. We visited the ironmongers that hadn’t yet opened that morning. It was one of those places that had everything that one could need, from bird feeders to butter dishes. Killian decided that I needed a new walking stick. He had seen me leaning with my old one, which, in his mind, was too small for me. I think he really had his eye on a shepherd’s crook, but we settled on a nice wooden walking stick that is just a tiny bit taller than my French ones, and it’s propped up against my desk as I write—a little reminder of home.

Killian suggested we walk to a particular shop and then return, now with my new walking stick in hand. Leisurely was definitely the word of the day and summed up our attitude to it so well. We strolled down to the RSPCA charity shop. I thought I might just be able to get Killian a jacket to help smarten him up a bit, but failed. Ah well. We walked past the toy shop, which you could tell was for rural folk. The amount of toy tractors and all the farming machinery was awe-inspiring. Somebody somewhere had obviously been frustrated as a child…

We passed the Queen’s Head pub, and surprise surprise, we went in. I ordered the drinks and the crisps, made sure Killian had a place to sit, and went to the loo. The bar was full of locals, I presume farmers, judging by the size and musculature of the men. It would appear that their Friday evening sesh was just beginning. There was a couple of walkers with their dog, and a water bowl had been provided, and the dog was enjoying some of the treats from the complimentary dog treat jar. While some find the Northumbrian accent incomprehensible, to me, it’s music to my ears. I get every word of it. Killian, although fully bilingual in English, was struggling, praying that nobody would come up to him and try talking to him. Poor lad. And that was despite a pint of creamy, silky John Smith’s Bitter!

We left Rothbury behind us, feeling as if all were good in this world. Leisurely and peaceful, which felt amazing. We would head back towards Alnwick and have another look at the scenery in a new light compared with that morning. I have taken this route a few times and in the valley have always noticed a castle, and this time I thought, you know what? I’m going to have a look at that place. We saw the sign to the village of Edlingham and its 14th-century castle and turned left. You park just in front of the church, and you can go and see the ruins. We went into the church and saw somebody taking photographs with an old film camera. This guy had a vintage Nikon, and it looked beautiful. As photographers will do, we started talking shop. We talked about the films we used and how my X100F, although not a film camera, was the nearest thing I had found to a film camera in its feel and use. The photographer mentioned that the castle ruins were propped up with large iron beams, which seemed to detract from their historical charm. So, we decided to skip the visit. We parted ways and left the church after having managed to capture a couple of photos. Killian came running back in to ask the guy if he had a Nissan. He did. Well, in that case, it was his car that had just smashed into the church gate. Killian lifted the damaged gate to put it against the wall, and the driver was convinced that he had put his handbrake on. The gentleman called the number on the church notice board to try and tell the vicar about what had happened, but there was no answer. We never did find out if the driver managed to reach the vicar, but it was an unexpected end to our day of exploration.