Zooming In on Flexibility Part I

Posted on May 3, 2024May 28, 2024 Posted in Photography TutorialsTagged adaptability, advanced photography, aperture, beginner photography, bokeh, Camera lenses, Canon EF 16-35mm f/2.8 L IS USM, Canon EF 16-35mm f/4 L IS USM, Canon lenses, capture fleeting moments, convenience, cost, Creative photography, creative process, documentary photography, focal length, France, French, full frame lenses, Ian Myers, ijm photography, ijmphotography, image distortion, image quality, image stabilization, intermediate photography, Landscape Photography, Nantes, perception, photographer, photography, photography 101, Photography equipment, Photography Fundamentals, Photography Tutorials, prime lenses, size, sports photography, Street Photography, telephoto zoom lens, versatility, weight, wide angle zoom lens, Wildlife Photography, zoom lenses14 Comments

We’ve talked about prime lenses and the difference between primes and zooms. But we haven’t touched on zooms. Yet. But we’re about to enter the dark side. They have cookies. So now that we’ve had a cookie, let’s talk about having our cake and eating it. Metaphorically speaking of course.

The ability to zoom in on a subject, be it in photography or in conversation has become such an ubiquitous saying. Zooming in on the details in a conversation. The image evoked is fair though. A zoom lens allows us to zoom in visually.

I might even go as far as to describe them as a guilty pleasure. That kind of thing that gets results but leaves you feeling a little dirty afterwards, and you feel like you have to justify why you couldn’t just use a purer prime. Well sometimes you need the versatility of a zoom. It means you have to take less kit to weigh you down.

This article started as a single piece of writing, and then going more in depth, it has morphed into a series of two articles. I have a lot of information for you, and it might be easier to digest as a two part story.

The Zoom lens work flow

A zoom lens is more than an investment, it is akin to having four lenses in one support. One going from 16mm, 24mm, 28mm to 35mm, another from 24mm, to 35mm, to 35mm, to 50mm, and onwards and upwards to 70mm. Roughly translated you’re getting more glass for your buck, which sounds very enticing.

Advantages and disadvantages

As in all photography, everything is a matter of balance though. Ok, you may have more glass, but instead of creamy f1.8, f2.0 creamy bokeh, the trade off will be f4 bokeh, while still nice isn’t as creamy. You might find f2. Bokeh but you’ll be paying many more bucks. The difference in price between the Canon EF 16-35mm f/4 L IS USM and the Canon EF 16-35mm f/2.8 L IS USM is around 1000€ which doubles the price of your lens. This basic economics speaks volumes to me.

The different focal lengths in just one place allows you to adapt more quickly to a changing situation rather than “faffing” about changing multiple lenses multiple times. Just one turn of the focal ring, and you’re good to go. So you’re more available to contemplate a scene and not miss a thing.

They are generally larger than the more subtle nifty fifty, and the general public will take you for a “pro” and wonder why you are pointing a massive obtrusion towards their face. Some zooms are of course less imposing than others, but you might have to explain more about what you are doing.

The types of Zooms

I have talked about the concept of a zoom lens as being a collection of different lenses in just one lens. In the next article I will describe the example of each zoom I use, but here I will do the introductions. We don’t want to get ahead of ourselves.

For me, there are three types of zooms, the wide angle, the general, and the telephoto. So three types of zoom tend towards three types of application.

The wide angle zoom offers you a wide angle of view, and its downfall of image distortion can be made the most important feature allowing you a means of getting creative in your images. You can go from those beautiful vistas so beloved of landscape photographers, to those of us who seem to have an obsession with taking close-up photos of bicycles and helping the audience see the world in a more non-conventional or even exciting way.

The general zoom, is as its name suggests a zoom that has you covered for general scenarii. The focal lengths are the ones most commonly used. It’s great in a street photography or documentary environment allowing you to easily glide between wider and narrower views. Even though the aperture may not be as important as in primes, the image stabilisation helps the photographer when the light becomes more challenging.

The telephoto zoom allows us to be closer to our subject whilst at the same time being a greater distance. Useful not only for wildlife photography, but also for sports photography where the players are on the pitch and not the photographer!

Conclusion

Now we are on the same page and have a greater idea of what the whole situation is and how these solutions can help you as a photographer, be that a beginner, an intermediate, or a more advanced photog. I talk about guilty pleasure, but when push comes to shove, the viewer of your photography doesn’t care. They care about the image and how it makes them feel. The fact that we used such and such a lens is just speaking to them in a foreign language. We’ve talked about the trade offs but also the benefits of zooms and in my next article I will talk about my set-ups and the experiences I have when shooting with these lenses..

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

Posted on Apr 26, 2024Sep 9, 2024 Posted in Black and White Photography, Film Photography, Photography TutorialsTagged aperture, beginner prime lenses, bokeh, budget-friendly lenses, camera gear, Camera lenses, Canon 85mm f1.8, composition, creative process, crop sensor, depth of field, digital photography, documentary photography manual focus lenses, everyday prime lenses, Film Photography, focal length, France, French, French photography, full frame sensor, Helios 135mm f2.8, Helios 44-2 58mm f2, Henri Cartier-Bresson, Ian Myers, ijm photography, ijmphotography, image quality, low light photography, mirrorless cameras, Nantes, Nantes Photography, Pentacon 50mm f1.8, photographer, photography, photography 101, photography basics, Photography Fundamentals, Photography Techniques, Photography Tips, Photography Tutorials, portrait photography, prime lenses, sharp lenses, Street Photography, telephoto prime lenses, Vintage lenses10 Comments

In my last article we explored the prime lenses in my collection and how and why I use them concentrating on my own experience with each one. I started ultra wide and am now going to head towards a narrower field of view. We’ll start with the nifty fifty, go through the Helios 44-2 58mm f2, on to the 85mm f1.8, and end on the Helios 135mm f2.8.

50mm f1.8 – the nifty fifty

Be it a digital lens or one for a film camera, this focal length is considered to be the “standard” to which all the others are compared to. I have already mentioned my initial set from 1987 where the Pentacon 50mm f1.8 was fitted onto my Praktica MTL3. It is the lens with which I learnt photography. Why is it considered the “standard?” Conventional wisdom would suggest that the view offered by the lens is the closest to the human eye. This explains why Robert Doisneau used it extensively in his documentary photography. Henri Cartier-Bresson is known for his ability to capture decisive moments in street photography. The 50mm focal length, with its natural perspective and good depth of field, was perfectly suited to this approach. It is also one of the more simply constructed lenses and yet still offers a great shooting experience be that digital or film shooting.

Helios 44-2 58mm f2.0

This is one of those lenses that one hears about and has a certain mythology. It is known most for its swirly bokeh which you can see in the images in the slideshow below. I think mine must have cost around 50 Euros so in my mind I was thinking, you can’t go far wrong. This swirliness adds interest to any photograph be it in an oriental garden, on in portraits. Just enough to make the viewer have a closer look and fall even further in love with your capture. It’s an old soviet lens and fairly solid as you can read in the article I wrote about the Helios and the Canon 6D mark II. It is the first of my “portrait” lenses.

We’ve done the bokeh bit, now let’s talk about the focal length. When in the studio I will start using my 50mm, but this is always ready in my bag. But it’s not just a portrait studio lens, and I have used it on outings in Nantes. As all “telephoto” lenses, it separates the background from the subject, and brings forward the subject to the fore. I haven’t used it on my Praktica film camera yet and should probably do so very quickly. It would be a shame not to after all. As it stands I have to use an adapter for my Canon and another adapter for my Fuji XT2. With the crop sensor on the Fuji it magically turns into an 85mm equivalent.

Canon 85mm f1.8

This is the most classic portrait lens and allows me to take a step back compared to using the 50mm. Again, the bokeh on this lens is lovely and so creamy that it could give a rotund older gentleman a heart attack if it were cake. But it’s not cake, so everything is fine. When I’m in the studio I can concentrate on the eyes and by the time the portrait gets to the ears we’re in creamy bokeh territory.

However, some photographers will take this lens into the street for street portraits. It’s not a huge lens, and thus less creepy, and allows the photographer to take a step back and still feel close to his subject. This distance between photographer and subject contributes to a more natural interaction between photographer and model, reduces the feeling of being cramped or intrusive, and leads to a more natural interaction, which in turn leads to more natural posing and a more relaxing experience for everyone.

Helios 135mm f2.0

This is the largest of my “everyday” primes and back in 1987 it was in my bag to bring the world even closer than I could with the nifty fifty. I was a beginner back then. And didn’t realise the potential of telephoto lenses. The approach is much the same as for the 85mm but allows even more distance, and is great for those intimate shots that can capture the alluring side look. In landscape it can help you pick out details in the landscape that you can’t get closer to for practical reasons, and bringst that background that much closer to the foreground. For those of you who don’t like manual focussing, you might want to give this one a miss. This was a lens from an age before autofocus came along. However on my Fujifilm XT2 this transforms into a rather snazzy 200mm lens due to it’s APSC sensor and 1.5 crop factor, which would be a lot cheaper than a more modern equivalent, and with the focus peaking on mirrorless cameras, this can be a very convincing argument.

Conclusion.

Primes can generally be considered to be a higher quality option. With their simpler constructions, they can offer sharper images They generally have larger apertures, allowing for ease of use in lower light, and providing that creamy, sexy bokeh that everyone keeps mentioning. By adding a limitation to the creative process they can help the photographer become a more deliberate and mindful craftsman, and concentrate more on composition.

However, even though individually lighter than most zooms, their collective mass may be more important if you constantly want to have every single option available in your bag. You will be changing lenses more often, when having more to choose from. Never forget that you are the person carrying them around. So choose carefully, be deliberate, and plan ahead. The results will be worth it!

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

Posted on Apr 19, 2024May 2, 2024 Posted in Photography TutorialsTagged 16mm lens, 23mm lens, 28mm lens, 35mm lens, 7mm fisheye lens, affordable lenses, Architectural Photography, autofocus lens, camera gear, composition, creative process, crop sensor, digital photography, distortion, documentary photography, documentary photography lenses, DSLR camera, environmental portraits, Film Photography, fisheye lens, focal length, framing, France, French, Fujifilm, Fujifilm X100f, fujifilm xt2, full frame sensor, Ian Myers, ijm photography, ijmphotography, image distortion, Landscape Photography, Leica Q camera, manual focus lens, manual focus lenses, Nantes, photographer, photography, photography basics, Photography Fundamentals, Photography Techniques, Photography Tips, portrait lenses, portrait photography, Praktica MTL 3, prime lenses, Richo GR II camera, Street Photography, street photography lenses, Travel photography, travel photography lenses, TT Artisans, wide angle lens, wide angle lenses, zoom lenses17 Comments

Introduction

This article is a follow on from my last article discussing the various merits of zoom and prime lenses. Today I’m going to try and give a more indepth look into this world of primes. The lenses that I will be discussing are my own and I have experience with them. I will be talking more about how “I” use them and how they affect “my” photography, be that the actual photos or the photographic experience. All the really techy stuff is available on Google; I’m trying to give you an idea of the sentiments that I have when using the various lenses. That said, let’s get into the nitty gritty. I will go through each lens giving you details on how I use it, how “they” say I should use it, and start from the widest to the longest focal length. This was turning into a longer article than usual, but since there’s a lot to cover, it will become a two part article. Again mother, I will be talking shop, so consider yourself warned again… Sounds fair? Let’s go!

Fisheye lens (TT Artisans 7mm f2.0 manual focus lens)

My fisheye lens (7mm so a 11mm full frame equivalent) is the one I use with my Fujifilm XT2. It is a super wide lens made by TT Artisans, and its main claim to be included in my collection is that it was affordable. Or at least affordable compared to some of the lenses out there. However it doesn’t feel cheap on the camera. It’s manual focus, but I can focus very closely (minimum focus distance is 0.125 metres) and the whole shot will be sharp. It’s ultra wide so it gives a great level of distortion, which I love, but others might not. If you can manage to get your horizon level, then you might not get as much distortion as you could by just raising the view 10° higher than the horizon. I love the effect that I can get from it. It’s definitely a niche lens, and the price I would have to pay for something similar for my DSLR would be silly money.

16mm f2.0 (Fujifilm brand lens with autofocus 24mm equivalent for full frame lenses)

This was the first lens I bought for my Fujifilm XT2. This 16mm lens’ full frame equivalent would be 24mm. Why did I buy it? Well, I already had a 35mm equivalent lens on my X100F, and thought that the difference between 24mm and 35mm would allow me to go wider and get more into my scene whilst avoiding the distortion of the fisheye lens. A particular outing sticks in my mind and was when I used the lens to take photos of the modern architecture on the Île de Nantes. The wide angle of view (hence the name wide angle lens) was perfect for this kind of street landscape photography. Would I use it for close-up portraits? Only if I want to elongate people when taking a shot from low down on the ground looking up. Would it be good for classic street photography? Possibly as a compliment lens to my 35mm equivalent lens on my X100F. Do I regret acquiring it? Not at all and I particularly like its wide angle of view.

28mm f2.0 M42 mount lens for the Praktica MTL 3 film camera

I started my photographic journey with this film camera and only bought this lens much later. I had my 50mm f1.8 (nifty fifty) and this was my first venture into a wider lens. Could I see a massive difference straight away? No. But I no longer felt the need to move further back to get the view I wanted into frame. Moving back with a camera on your eye and banging into a building and saying sorry to the building is not the way to go, however British you may be. The Leica Q (a very sexy little thing) uses this 28mm lens and is aimed at street photographers who have enough money to buy a Leica. The same goes for the Richo GR II but without the need to sell a kidney. There is a great debate on the Internet talking about the difference between the 28mm and 35mm lens for street photography, which tries to polarise everyone. I try to stay as neutral as possible in these kinds of controversies but I do use my 35mm lens more. Do I still like the 28mm format? Yes. Is it very different from the 24mm format? Not hugely, but I tend to worry less about distortion . I should probably go out and run a roll of film and see how I feel afterwards. I remember the need to go in close to avoid capturing too much in the frame with this lens, but that is not a factor that could deter me from using it.

23mm f2.0 (X100F lens equivalent to the 35mm for a full frame camera)

The 35mm lens is the classic for street and documentary photography. It was the lens used by a majority of newspaper photojournalists in the 1970’s, 1980’s and 1990’s. This might explain its influence on my own photography. I remember when the Independent first came out and the high quality of photojournalism. I think that if Fujifilm decided on the 35mm equivalent for their fixed lens cameras then there’s probably a very good reason for it. Through my use of the X100F for street and documentary photography I have become very accustomed to the view it gives me of the world. It’s not just for the street though. Even as a sole travel lens it allows me to capture details of a trip, as well as wider views to tell my story in more detail. It’s brilliant as a lens for environmental portraits and is wide enough to always give contect in the frame to the main subject. If you try to do close up photography with portraits you might notice some distortion but if that happens just move ever so slightly backwards, reframe, and the problem should no longer be one.

In my next article, we will go higher up the focal lengths and discuss the narrowing field of view that they offer and explore how they bring the background forwards. As for this article, all the information laid out is equally as valid for film or digital photgraphy.

The Photographer Behind the Lens

Posted on Apr 5, 2024May 2, 2024 Posted in Black and White Photography, Photography TutorialsTagged adaptability, adventure, anticipation, artistic exploration, artistic perspective, authenticity, backup plan, balance, black and white, camera gear, comfort, convenience, creative exploration, creativity, decision-making, destination, digital photography, Film Photography, film versus digital, Food, France, Ian Myers, ijm photography, ijmphotography, improvisation, lens palette, lens selection, mapping, Mental Health, Nantes, Outdoor photography, packing essentials, Passion, personal passion, Photo editing, photographer, photographer's journey, photography, photography 101, Photography equipment, Photography Fundamentals, photography outing, Photography Techniques, Photography Tutorials, planning, practicality, preparation, producers, professional commitment, professional discipline, professional photography, professionalism, route planning, self-care, snacks, Street Photography, Travel photography, unexpected, weather considerations, weather forecastingLeave a comment

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

Selecting the Right Gear:

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

Navigating Weather and Mental Health:

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

Packing the Essentials:

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

The Lens Palette:

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

The Digital Dilemma:

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

Professionalism Meets Passion:

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

Mapping Out the Journey:

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

In conclusion

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

Finding Balance: Photography and Personal Wellness

Posted on Mar 29, 2024May 29, 2024 Posted in Mental HealthTagged amateur photographers, anxiety relief, balance, beginner photography, capturing moments, close-up photography, coping, Creative Expression, creativity, depression, depression coping, emotional well-being, everyday beauty photography, finding inspiration in the ordinary, finding peace, France, gratitude photography, Ian Myers, ijm photography, ijmphotography, inner journey, inner peace, life balance, Mental Health, mental health awareness, mental wellness, Mindful Photography, mindfulness, mindfulness exercises, Nantes, nature photography, personal development, Personal Growth, personal journey, photographer, photography, photography for mental health, photography for well-being, self-care, self-discovery, self-improvement, stress reduction, therapeutic photography, Visual Storytelling, well-being13 Comments

In the sanctuary of my thoughts, where the gentle glow of lamplight dances upon well-worn bookshelves, I find solace from the chaos of the world. With my dog, Molly, by my side, I embark on a journey of introspection.

As someone who values quiet reflection and nuanced understanding, I’ve learned to appreciate the delicate equilibrium that enriches a fulfilling life. Amidst the pursuit of knowledge and creative expression, it’s easy to become ensnared in the whirlwind of activity, neglecting personal well-being in the relentless chase for success.

Yet, amidst the simplicity of my surroundings, among the familiar scents of brewed tea and the soft hum of a jazz record playing in the background, I am reminded of a timeless truth: genuine fulfillment springs not from ceaseless striving, but from nurturing inner peace and harmony.

For photographers and thinkers alike, the quest for excellence can exact a toll on the spirit, leaving behind exhaustion and doubt. Each moment of creation demands both physical exertion and emotional resilience.

But amid life’s ebbs and flows, it’s crucial to honor the sanctity of body and mind, to heed the whispers of intuition and the call of the soul. What value is there in a well-crafted image or a finely wrought idea if born from weariness?

In my own journey as a seeker of beauty and understanding, I’ve come to embrace moments of stillness and contemplation, carving out time for rest and reflection amidst the bustle of daily life. Whether reveling in solitude or feeling the gentle caress of a cool breeze, I’ve discovered that inspiration often arises from quiet depths.

Photography serves as a therapeutic outlet for many, offering respite from the pressures of modern life. Through the lens, we enter a realm of infinite possibilities where time seems to slow and worries fade into the background. Immersed in the act of creation, we create a space where anxiety and overthinking lose their grip, replaced by a sense of calm and clarity.

For those grappling with depression or loneliness, photography can serve as a lifeline, gently coaxing us out of isolation and into the embrace of the world. As we wander with camera in hand, we become mere observers, detached from the chaos that threatens to overwhelm. In framing a shot, we find solace in the simple beauty of the moment, forging a connection with the world that soothes the soul and restores the spirit.

When I’m not at my desk, crafting articles or editing photos to share with you, I’m exploring this balance between creativity and self-care, constantly striving to find harmony in my own life.

In the tranquil sanctuary of creativity and self-discovery, photography emerges not only as a means of capturing fleeting moments but also as a powerful tool for nurturing personal wellness. Through our cameras, we embark on a journey of exploration and introspection, finding solace in the beauty of the world and sanctuary in the act of creation.

As we navigate the complexities of modern life, let us honor the delicate balance between ambition and well-being. Photography offers us a pathway to reconnect with ourselves and the world, inviting us to embrace stillness amidst the chaos and find beauty in the ordinary.

Whether framing the perfect shot or crafting prose to accompany our images, let us remember the profound interconnectedness between creativity and personal wellness. By prioritizing self-care and mindfulness in our photographic practices, we not only enhance our capacity for artistic expression but also cultivate a deeper sense of harmony and fulfillment in our lives. Even if our endeavors don’t always yield the desired result, it’s essential to recognize that the journey itself is as, if not more, important than the destination.

So, dear reader, as you embark on your own photographic journey, may you find solace in the act of creation, clarity in moments of quiet contemplation, and inspiration in the beauty that surrounds you. May your photographs serve not only as snapshots of the world but also as windows into the depths of your soul, guiding you towards a life of greater balance and well-being.

Ian James Myers: A Candid Exploration of Life, Humor, and Cultural Observations

Posted on Mar 22, 2024Apr 18, 2024 Posted in Portrait, ReportageTagged artificial intelligence, authenticity, authenticity in writing, author, blogger, chat gpt, community, creative endeavors, cultural commentary, dialogue, existential questions, expat life, expatriate, feedback, France, French culture, Humor, humor in writing, IA, IAI, Ian James Myers, Ian Myers, ijm photography, ijmphotography, intelligence artificielle, Introspection, Mental Health, motivation, Nantes, personal reflection, photographer, photography, self-expression, shared humanity, societal issues, storytelling, transparency, writer, writing process9 Comments

At 52 years old, Ian James Myers embodies a unique blend of wit, introspection, and cultural curiosity that permeates his writing and captivates his audience. Through candid conversations and insightful reflections, Ian invites readers into his world, offering a glimpse into the complexities of his mind and the richness of his experiences.

From his irreverent musings on birthdays to his humorous critiques of French culture, Ian’s writing is characterized by its authenticity and unfiltered honesty. He doesn’t shy away from discussing personal struggles, societal issues, or the absurdities of life, infusing each piece with a refreshing dose of humor and self-awareness.

Ian’s journey through life has been anything but conventional, and his writing reflects the myriad twists and turns that have shaped his perspective. Born in the United Kingdom and later relocating to France, Ian has navigated the complexities of cultural identity and belonging with humor and grace. His observations on French society, from its perceived arrogance to its cultural quirks, offer a nuanced portrayal of life as an expatriate.

One of the most striking aspects of Ian’s writing is his willingness to confront difficult topics with candor and vulnerability. Whether he’s grappling with mental health struggles, navigating familial dynamics, or pondering life’s existential questions, Ian approaches each subject with a keen sense of introspection and empathy. His writing serves as a mirror for readers to reflect on their own experiences and find solace in shared humanity.

Despite his self-professed “grouchiness” and irreverent humor, Ian’s writing is imbued with a deep sense of gratitude and humility. He expresses genuine appreciation for his readership, acknowledging the role they play in his creative endeavors and the sense of community they foster. From the thousands of visitors to his website to the supportive comments left by readers, Ian’s audience serves as a source of inspiration and validation for his work.

Ian’s writing journey has been a testament to the power of authenticity and self-expression. He doesn’t conform to societal norms or expectations but instead embraces his quirks and imperfections with unabashed honesty. Through his writing, Ian reminds us that it’s okay to be flawed, to question the status quo, and to find humor in life’s absurdities.

As Ian continues to navigate the ups and downs of life, one thing remains constant: his commitment to sharing his unique perspective with the world. Whether he’s chronicling his adventures in photography, reflecting on the passage of time, or simply sharing a humorous anecdote, Ian’s voice resonates with authenticity and warmth.

In a world inundated with noise and superficiality, Ian James Myers stands out as a beacon of sincerity and humor. His writing challenges us to embrace our own quirks, to find joy in the mundane, and to approach life with a healthy dose of skepticism and laughter. As we journey alongside Ian through the ups and downs of life, we are reminded of the power of storytelling to connect us, to inspire us, and to remind us of our shared humanity.

This article was generated by Chat GPT after having been shown various articles on this blog and asking for him, or should I say her, to analyse some of the more juicier ones. I can assure you Dear Reader that they have not become my therapist, but isn’t it interesting to get a non biased idea on who AI thinks I am. I’m not sure about eye-opening, but definitely interesting. Am I unhappy about what they said? I’m not really sure. Those of who who know me personally, or throujgh my writing, tell me what you think. Feel free to be completely honnest in the comments section. That’s what it’s there for!

IJM Photography

Tag: Nantes

Zooming In on Flexibility Part I