Tag: Photo editing

Photography Philosophy – Part V – Identity and Self-Expression

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A photo doesn’t just show you what’s in front of the camera. It shows you something about whoever’s holding it too. What you point it at, what you wait around for, how you frame the thing, all of that gives you away eventually, whether you meant it to or not.

The selfie question

Take the selfie, probably the most modern version of self-expression going. For some people it’s genuine. For a lot of people it’s a carefully staged little performance for Instagram, hashtag lifestyle, hashtag ootd, hashtag me-myself-and-I. I’m not knocking it exactly, but it does make you wonder how much of it is really self-expression and how much is just performance.

That’s not really what I mean when I talk about photography reflecting who you are, though. Photography’s the one art form where you get to look through the exact same hole I looked through when I pressed the shutter. You’re seeing what I saw, in that instant, and depending on how I’ve edited it afterwards you might catch a bit of whatever was going on in my head at the time too.

Picture two people either side of a coin held up between them. One’s looking at the head, the other’s looking at the tail. Neither of them is wrong, they’re just seeing half the thing. A photograph works a bit like that. What you take from it depends on where you’re standing, and more than that, on everything you’re carrying with you before you even looked at it.

What a photo says about me, whether I like it or not

There’s a shot I took at one of the anti-government demonstrations in Nantes a while back. Someone looking at that could reasonably assume I’ve got strong feelings about French politics. Truth is I was about as neutral as it’s possible to be, I was there for the photograph, not the cause. But the viewer fills that gap in with their own assumptions, and there’s not much I can do about that once the shutter’s gone. I do the same thing looking at other people’s work, so I can hardly complain.

Then there’s the question of why I press the shutter at that exact split second and not a second before or after. Cartier-Bresson had a whole theory about the decisive moment. Mine’s less elegant: I try to clear the frame of anything distracting, get my subject exactly where I want them, or just wait until they walk into the right spot. Means I miss plenty of shots. That’s fine, it’s part of the deal. Has it turned me into some miserable perfectionist? No, thankfully. Do I still push for that extra bit of effort anyway? Yes. Not for me particularly, more for whoever ends up looking at the photo afterwards. Call it professional pride if you like. If you’re going to bother doing something at all, you might as well try and do it properly.

Have I actually changed, though?

I’m honestly not sure my subject matter’s moved on as much as I have. Am I still taking roughly the same photos I always did? Probably, yeah. But I’ve picked up plenty along the way, mostly off YouTube if I’m honest. Forty-odd years since I started, and I’m still learning new things every year, more in the last ten than most of the decades before that. I know more about film now, how to shoot it and develop it properly, and I’ve got a lot better at editing. Worth mentioning I trained in desktop publishing back in 2003, of all things. Twenty-odd years ago, Photoshop, Illustrator, QuarkXpress, the works. Feels like a different life.

New gear and different lenses got me properly into wide angle for a while, enough to get it out of my system, or so I thought at the time. I’ll probably go back to it again at some point, knowing me. Either way it changed how I look at a scene, and I know how to use the distortion now instead of fighting it. It gives a photo a different kind of impact, something a bit more unusual than the standard view, and it’s occasionally the thing that makes a client notice a shot.

Confidence has come the boring way, just from doing it over and over. Getting out with the camera is still the only trick that actually works. Some people might say I lean too much on gear. Maybe. But I’ve put the hours in too, and at some point that earns you a bit of trust in your own eye.

Do I take the same photos now as I did in 1987? In some ways, yes, because whatever’s essentially me still comes through in the picture. Back then I was purely obsessed with nailing the exposure, and I didn’t have a fraction of the technique or the visual references I’ve got now. I was also fifteen. I’m over fifty now. The core of it hasn’t moved much. Everything around it has, same as it would for anyone after thirty-odd years.

Thirty years in France

Something people might not know: I’ve lived in France longer than I lived in the UK. Has that got into my photography somewhere? Maybe. Probably, actually.

France gave the world Cartier-Bresson and Doisneau, and their street work still gets me every time, that deceptive simplicity that looks effortless and clearly wasn’t. I’d be lying if I said that hasn’t rubbed off on me. It’s there in how I look at Nantes, walking around with a camera, feeling like they’re somewhere just behind my shoulder. Subject matter shifts country to country too. The UK and France don’t hand you the same photos at all.

Doesn’t stop there either. I’ve picked up just as much from photographers online. Sean Tucker, Thomas Heaton, James Popsys, Mango Street, Peter McKinnon, and Jamie Windsor, that lot have all left a mark one way or another. Not a single Frenchman on that list, which says more about me than about French YouTubers. I speak French all day at work and everywhere outside my front door. By the time I’m home I want my own language back. That’s a me thing, not a them thing.

So does the camera show who I am? Some of it, probably more than I control. My photos say something about how careful I am, or I’m not, about being fair to what’s in front of me, about which places pull at me, Nantes streets, French light, and about which photographers I’ve let get under my skin. I don’t think that adds up to some tidy answer about identity. It’s more that every roll I shoot is a little bit of evidence, and I’m not always the one who gets to read it. Maybe that’s the interesting part. I’ll let you decide what mine says about me.

Also in this series: Part I — An Introduction  ·  Part II — Why Do We Photograph?  ·  Part III — The Emotions of Photography  ·  Part IV — The Art of Storytelling  ·  Part V — Identity & Self-Expression  ·  Part VI — Connection Through Photography  ·  Part VII — The Philosophy of Impermanence  ·  Conclusion

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

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

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

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

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

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

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

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

Browse the full Film Archives →

Optimizing Images On-the-Go: Mobile Photography Editing Guide

Posted on Posted in Black and White Photography, Photography TutorialsTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 7 Comments

Introduction

As the title suggests, I will describe my workflow when out and about. While there are surely other ways to do it, this is my method. It works and has stood the test of time. I usually wander around taking photos, then find a café to sit down and transfer my images to my phone. Everything is better with a nice cup of tea (or coffee) and a piece of cake.

Downloading Photos to Your Phone

Most cameras today can connect to phones via Bluetooth or Wi-Fi. My two Fujis (X100F and XT2) and my Canon (6D Mark II) certainly can. I enable Wi-Fi on my camera and connect it directly to my phone. Next, I open the corresponding app—Canon Camera Connect for my Canon and Fujifilm Camera Remote for my Fujis. Each manufacturer provides its own app for Android or Apple devices. Once the camera is connected to my phone, I can import my photographs, selecting the images I prefer.

Sorting Photos

Now comes the fun bit: sorting through all those wonderful shots you took and deciding which ones are worth working on and editing. When I transfer my images from my camera to my phone, the phone creates a folder for the imported photos. Different apps will put them in different places, so I’ll leave that to you to manage. As a rule of thumb, you will see them in the gallery app, which will show you your latest photos.

In the gallery app, you can sort your photos by date taken, favourite images, or the place where the photo was taken.

I will assume you have read my last few articles on Photography 101, composition, and the types of lenses available and how to use them, or at least how I use them. If you haven’t had that pleasure, then go and have a read…

Is the photo worthy of publication, and are you happy with it representing your talent as a photographer? Is the image in focus? Is the image well exposed? Does it fulfil its storytelling role? Will it add to your narrative? Or simply, do you like it enough to want to share it?

Let’s assume that you answered yes. You then get to share your image to Snapseed.

Editing in Snapseed

Starting with Styles:

I like to begin by using the “Portrait” style. It is a preset that gives the photo a subtle glow and some vignette. I just seem to like it, and when you have something you like that flatters your image, you are tempted to stick with it. Most times, this will work a treat on well-exposed images. But let’s imagine that you have exposed for the highlights and that your shadows are “too dark” and you want to bring them up a bit. Then I would go to the “Tools” section and use the Tune Image.

En aparé:

When exposing in digital photography, we expose for the highlights, as it is easy to lighten, or “bring up” the shadows, and we don’t want to “blow out” our highlights and just turn it into a mass of white. In film photography, it’s the opposite. We expose for the shadows, as film has more difficulties capturing details in the shadows especially in a photo with lots of light.

Using the Tools

As I inferred in the title, this is my workflow, and shows the way I use Snapseed. There’s a whole load of tools to stylise your image and to completely change the look of it, but I’m more of a “less is more” disciple when editing. Also most apps out there will have similar tools, so you can carry this knowledge with you across the board.

Crop Tool:

One thing I learnt early one is to KISS, i.e. Keep it simple stupid. Sometimes I will have an element in my photo that distracts from my subject. With the crop tool I can just crop the image and make it disappear. I can also use the crop tool to format the image to fit certain social media post settings. I’m thinking about you Instagram and Facebook. Try searching google for social medi formats and you will be inundated with results.

Healing Tool:

Sometimes the crop isn’t enough to take away distracting elements from our photo. You might have a beautiful shy and want to get rid of that Jumbo Jet in the sky. One way of doing that is to wait until the Jumbo Jet has flown away, but let’s say that it’s too late… Using the healing tool will clone part of the image and replace the Jumbo Jet that just wants to noticed and validated man! To get the best results it’s better to zoom into the image and have a smaller area to work on.

Tune Image:

This is where I do the basic edits, bringing up the shadows or bringing down the highlights. I usually keep it to that. At a push, I will bring up the brightness if the photo has been underexposed. Somtimes I will add a little contrast but I tend not to use the other tools. I don’t want to denautre the photograph.

Rotate Tool:

We should always try and keep our horizons straight, except when making the conscious decision not to. The rotation tool tries to straighten what it thinks should be straight. It generally works quite well, but you do have total control as well as a grid to check the lines in your photo.

Brush Tool:

This is where we can do our burning and dodging. You can choose to highlight a certain area and darken others to emphasise your subject. This brings the photo to life. There are tutorials galore on YouTube that go into more detail than I will in this “basics” article.

Black and White Tool:

Welcome to the world of black and white conversion. It’s a process that a majority of my photography goes through. You can, of course, just use the saturation tool in the “Tune Image” section, and you will get a monochrome image. But you can do so much more.

So, let’s do so much more. The black and white tool offers you some presets which might correspond to your taste. I tend to leave them alone and instead press on the circle that will give a series of colour filters to choose from. This is a direct link back to black and white film photography, and you know how much I love that. I love using the red filter, which, as in film photography, will make your blues darker. This is beautiful for those landscape photos where you want a dark sky to complement those fluffy white clouds.  It’s also my default film simulation on the X100F that I use for all my street photography.  It’s just a look that I fell in love with years ago.
The other common filters are all covered too.

  • Orange:  Orange filters give stronger effects than  yellow filters but are not as bold and dramatic as a red. It is therefore an ideal choice to span the effects given by both these filters.  Blue skies will be recorded in very dark tones on the print, giving bold contrast between the sky and clouds. An orange filter will also penetrate haze and fog. Most flowers will be recorded with a significant difference in tone from the surrounding foliage giving impact and effect.
  • Yellow, the general purpose black and white filter,
  • Green:  When photographing foliage in black and white, a green filter is used almost exclusively.  It lightens green foliage, which is particularly important with dark green leaves which can record very dark without a filter. It therefore gives a more natural, lighter feel to the photograph.
  • Blue: A blue filter is not often associated with black & white photography however, it can really add “mood” to a photograph by increasing the effect of haze or fog.  It also lightens blues and darkens yellows, oranges and reds which helps separation in scenes containing a mix of colours.

Export

You have two options.  You can either press on “done” and Snapseed will record your image in the Snapseed folder and in your gallery in the Album neamed Snapseed, or you you can press “share “and you will be presented with various options on how to share your image, to Instagram, via gmail etc.

Before you do that you can press on settings where you can change the resolution of the image that will be exported.  This can help if you need to reduce the image to take up less space on your phone, or if you’re loading the photo up to a website and you require a “lighter” image.

Conclusion

You now have an idea about how I edit my images on the go, and the more time goes on, the more I do it this way.  Is it the same as Lightroom on my computer?  No.  I can’t have as much control as in Lightroom. I can’t batch edit, I can’t do this or that, but I can manage without, especially on the go.  There are of course other options for photo editing on the go like Lightroom mobile,VSCO, your native photo editor app on your phone.  As I said at the beginning of the article this is how “I” do things.  It works for me.  Try it out and it might just work for you too!

Also in this series: Smartphone Photography  ·  Snapseed Review  ·  Optimizing Images On-the-Go

My First Hen-Do Photography Experience

Posted on Posted in Black and White Photography, Nantes Photography, Portrait, Street PhotographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 24 Comments

May 2024

This month, amidst publishing various tutorials for your delectation, I ventured into uncharted territory with my camera. A musician friend asked if I could photograph her sister’s hen-do.  How about that for a challenge.  Slightly scary…  Slightly?  No, terrifying for the introvert that I am.  Flattery and food convinced me.

Having previously photographed a wedding, I was somewhat prepared. For that event, I bought a second-hand 24-70mm f/4.0 lens and a Canon flash. I was advised to use the Canon 6D Mark II in program mode with the flash set for TTL (through the lens metering). Today’s first activity called for the same setup.

Tahitian Dancing

I arrived at the venue for the first activity: Tahitian dancing. The bride-to-be was proposed to in the Pacific Ocean, hence the theme. The girls were already there, and I tried to stay out of the way as best I could. I may be creating memories for everyone, but those memories aren’t mine.  The lens worked perfectly, and I didn’t even need my flash batteries. They’re ready for next time and one less item to tick off.

The dance session seemed to go on forever, and I resisted the urge to sit down. I felt completely out of place, more a prize pillock, but kept telling myself to fake it till I made it. It worked—my wife approved of the photos, and more importantly, so did the bride-to-be. Creating rapport was nigh on impossible so I just watched the spectacle and pressed the shutter.  Do what you can and leave the rest for later…  So I did just that!

My favourite bit of the day

I switched from my clunky DSLR to my sexier Fuji X100F.  It’s always better to be inconspicuous and yet still be able to take decent photos.  I’m big enough already as it is, but having a smaller camera helps people forget that I’m there…

This next activity was probably my favourite. The restaurant was one that I had walked past on many occasions, but had never gone in. It was one of those themed places for Millennials in need of some nostalgia. The owners and chef had created a menu with grown up “children’s food” from the 90s and 80’s. There were activities and crayons for the place mats. The decor was 80’s and everything was vintage. At least for them, which is the main thing. Ok, it was a bit for me too, reminding me of my arrival in France all those years ago. I was offered a seat near the bride, but was whisked off by my friend to sit next to her. She’s so protective of me… We all ordered and chatted, and I started to relax. The girls were interested in my photography, and they showed me photos of their very young children. I did the same, and showed them then and now photos to show how those small children grow up so quickly. I felt like the Patriarch at the end of the table. 

The food was good, and I could see they were all having a good time, and then came out the shots… I was being very teetotal in order to have my mind clear to get my photos for the bride to be. I had switched from the DSLR to the Fuji X100F to follow them around Nantes, and do street photography to which I am more accustomed. The poor “hen” was given a mission by her friends who had purchased a whole load of condoms and she was tasked to sell them to passers by. She fulfilled her mission with gusto, and we ended up in the Rue de la Paix, shooting nerf guns at targets provided by a stag do outing. 

Conclusion

I wasn’t needed for the next activity and drove back to the pub to chill, and get my head together. The photos from the X100F were edited on the go, and shared immediately.  The DSLR photos went through the computer and were shared by the end of the weekend.  

All in all a good day, and interesting experience, and I’ll let the photos do the talking for me…

The Photographer Behind the Lens

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

Selecting the Right Gear:

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

Navigating Weather and Mental Health:

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

Packing the Essentials:

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

The Lens Palette:

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

The Digital Dilemma:

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

Professionalism Meets Passion:

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

Mapping Out the Journey:

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

In conclusion

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

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

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I picked up a Canon AE-1 Program a while back, mostly out of curiosity. It came out in 1981, it’s a 35mm SLR, and it’s probably the most common “serious” film camera you’ll find in a charity shop or on a French brocante table for silly money. Mine’s been through a lot of rolls since, and I still reach for it more than I expected to.

The thing that sold me was how it handles exposure. In Program mode it sets shutter speed and aperture itself, so if I just want to point it at something and not think, I can. That’s handy on days when I’ve got my hands full and don’t want to fuss with settings. But it’s not just an automatic box: switch it over and you get full manual control, plus shutter priority and a bulb mode for long exposures. I’ve used the bulb mode for a couple of night shots and it did exactly what I needed, nothing more complicated than holding the shutter open and counting.

Build-wise, it’s a metal body, and it feels like it. Solid, a bit heavy, no creak in the hinges. There’s something about handling an old metal camera after a run of plastic ones that just feels right, even if that’s pure nostalgia talking. The viewfinder is bright and clear with a split-image prism in the middle, so focusing manually is quick once you know what you’re looking for. There’s a hot shoe if you want to bolt on a flash, and a self-timer, which I mostly use for the odd self-portrait when there’s nobody around to hand the camera to.

For the record, here’s what you’re working with:

  • 35mm SLR film camera
  • Program, shutter priority, and manual modes
  • Metal body
  • Split-image prism viewfinder
  • Hot shoe for flash
  • Self-timer
  • ISO 12 to 1600
  • Shutter speeds from 1/1000 down to 30 seconds
  • Aperture range f/1.2 to f/16, depending on the lens

Only real gripe: because it’s so well known and well liked, prices have crept up over the years. It’s not the bargain it once was. That’s the price of being a favourite, I suppose.

Would I recommend it? Yes, easily, whether you’re starting out with film or you’ve been shooting for years and want something you can trust without thinking too hard about it. I’ve had mine for a good while now and it hasn’t let me down once. The way it moves between automatic and manual without any fuss means I can shoot however the moment demands, and that’s really all I want from a camera.

Here’s a straight scan next to a version with a few basic tweaks in Lightroom, nothing heavy. Curious what you make of the difference.

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

And below is a small selection from the last roll I developed, shot in 2022 on the streets of Nantes. More to come, I’m sure, now that I’m back into film properly.

Clisson

Posted on Posted in Architecture, Café Culture, France, History, Landscape Photography, Street Photography, Travel photographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 3 Comments

Have you ever come across the articles named “The 10 Prettiest Villages in France,” “The 10 Prettiest Villages in Yorkshire,” “The 10 Prettiest Villages in Northumberland,” or “Some Other Dream Spot in This Beautiful World?”  No? The one closest to us, is about 15 kilometres away and not in the south of France, which I believe to be completely overrated. Like most contenders for this type of little town, there is a bustling market every Friday morning (which is actually pretty wonderful, if not a touch on the pricier side), a park that hugs the river and lets you unwind while taking in the gentle sound of the water.  A castle stands watch over the entire town.  Meandering streets wonder up and down hills as do the locals.  It is in wine producing country surrounded by vineyards who would be more than happy to flog you some wine…

Yes, it is one of “those” places, Dear Reader, but it is still beautiful. Clisson is also aware of this. Of course, I’m simply jealous because I don’t live there but wish I did.

In this series of photographs, I also chose to maintain the film-like appearance of my digital photography. It appears that summer is rapidly approaching. The days are already warmer and sunnier, but are not yet unbearably hot. And such weather is simply God’s way of encouraging you to go have a refreshing pint!

Photo Editing

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Sometimes you have a friend that wants a photo taken for whatever reason, and the friend in question was a schoolmate from my days at the Conservatoire de Cholet. We both still play and now play in the same orchestra. She wanted a photograph of herself with the said violin. She was expecting me to whip out my phone and Bob’s your uncle. Little did she realise that this was just not an option. As somebody who dabbles in photography with cameras and not camera phones, I suggested that I bring the studio to her and that we would try to get something half-decent.

We set up the rendez-vous, and up I turned.  I was offered tea, which as you now know, Dear Reader, is something I have a great affection for, and this girl knows how to make a lovely cup of tea!  Her husband arrived from getting their little boy from school, and we started setting up the studio.  He was a good sport and let me use him for my test shots to get all my camera settings in order.

Then onto the serious business of getting some portraits!  Now that’s the easy bit.  The slightly less easy bit is where the magic happens.  Photoshop is my editing software, and yet is far from being worn, or soft!  The idea is to keep everything looking natural, and the premise “less is more” is my goal.  If my editing is obvious, then I have to go back to the drawing board.

Before / After

This is the first edited shot from the session and gives you an idea of what the result can be.  See what you think and tell me in the comments how “you” might have done it!

As you can see, the poor girl is a violin player and not a horn player like Yours Truly, but we have to make allowances. Not everyone has the chance to play the most beautiful instrument in the world.