Do you have a place, be it real or imaginary, that just haunts your mind? You think of it, and you are transported there instantly. The smells of the grass, the sounds of the river, and the odd car driving past you wondering what the heck you are doing? Hepple is my special place. It is a place where I feel at peace and that all is right with the world.
I’m thinking back to an article I wrote a couple of years ago called Hepple for Photos, Not Gin. I was with my father and had my Canon 6D Mark II with the 16-35mm F4.0 lens and the 70-300mm zoom lens. This year, however, I had my X100F with just the 35mm f2.0 equivalent lens, and I was with Killian, who, surprisingly, was a little tired and decided to curl up on the back seat for a snooze. His loss…
This is the place, this stretch of road, that I have been looking forward to for 2 years. The weather was clement, and I can assure you that the place is still as beautiful as ever. I wasn’t going to have the choice of lenses this time; I would have to see the scene in 35mm and make do with it. No zooming, no switching lenses—just a little constraint. And you know what? I was fine with that!
The lack of zooming and my sleeping son allowed me to walk around the area a little more, exploring under the tree at the end of the road and at the bottom of the hill. These were views that I had not seen before. It only goes to show that we might think we know a place, even in our memories, but it still has so much more to offer us.
I parked just before the bridge, as I usually do. Everything was still in place: the stiles, the trees, the river—just as I had pictured it in my mind. It’s when looking at the countryside like this that I am convinced there is a creator behind all this creation. The beauty of it didn’t just happen by chance.
The noises were made by the flowing of the river and the breeze in the trees. I had this feeling of calm. I could take photos of that place every day and not get tired of it all. I might even go so far as to say I could have died here and died a happy death. I had found my peace.
Killian had found his peace too and was still asleep in the car. A micro sieste, he said. He might be 25, but he reminded me of the small boy who was once my son.
I can’t be the only person on this earth to feel this?
Welcome back to the Film Archive of IJM Photography! This time, we find ourselves in the beautiful city of Nantes, in the heart of the Cité des Ducs. Our adventure takes us through the majestic Château des Ducs de Bretagne, a site rich in history and culture.
As we explore the castle, I’m armed with another one of my favorite cameras from the golden days of film photography—the Canon AE1. This was before the surge of interest from the YouTube hipster crowd, who quickly snatched up every classic camera they could find, driving up prices and making these gems harder to come by.
The Canon AE1 is justifiably sought after, and for good reason. It’s a camera that offers both simplicity and elegance, paired with the beautiful FD 50mm F1.8 lens. This lens, in particular, has a way of capturing light that enhances every shot, allowing me, the photographer, to create images that feel alive. You can see the results in the photos here—every frame is a testament to the quality and craftsmanship of this camera.
It feels solid in the hand, and focusing with the split prism is a breeze. The camera is “shutter priority,” and it adapts the f-stop to the speed at which you’re shooting. As a street photographer, I don’t need to shoot at 1/1000th of a second for all my shots, so I have a wider range of options than someone taking pictures of sports. It still provides me with the necessary depth of field.
On this particular day, I was motivated and thought I could walk up the steps to the battlements to get some more interesting shots from a raised standpoint. I captured the urban landscape that spans from the 13th to the 21st century, and in one of the shots, you can see the ever-present figure of the Tour de Bretagne. It once represented the modernity of the 20th century and is now closed for asbestos removal. My feet, however, were firmly rooted much earlier in the castle.
Exploring the Château des Ducs de Bretagne with the Canon AE1 was a journey through both time and photography. The castle’s ancient walls and rich history provided a stunning backdrop for capturing moments that feel timeless. With every click of the shutter, I was reminded of the magic of film photography—the anticipation, the artistry, and the satisfaction of seeing the world through a vintage lens. As I descended from the battlements, I couldn’t help but feel grateful for the simple joy of capturing life on film, in a place where history and modernity blend seamlessly. Until next time, keep exploring and shooting. There’s always more to discover.
Welcome back, dear reader, to another delve into the Film Archive from before this wonderful blog that I know you enjoy reading so much. I appreciate being able to share these photos with you in the hope that they may not only please you but also offer insight into an older form of photography, one where concerns about overheating or battery life were minimal. I want to demonstrate how it is still possible to achieve great results with any camera and that the main quality in your photography comes from you, the photographer.
Earlier this year, I was there with my Canon 6D Mark II, but today, we’re revisiting my visit from September 2016. At that time, I didn’t have my Canon, but I did have the Olympus Trip 35 with HP5 Plus film from Ilford. I used that camera quite a lot that summer and continued to use it in September. I might just have to dig it out of my camera cupboard and use it again. Constraints and minimal kit often lead to more creative decisions—just think back to my UK trip, where I only had my X100F with me.
Let’s start with the camera. It’s a small but gorgeous camera designed for the mass market in the 1960s and was still being produced in the 1980s, which attests to its appeal among casual photographers. With relatively few controls, it’s pretty foolproof. I can adjust the film ASA setting, and the selenium cell housed with the lens takes care of the rest, whether it’s aperture or shutter speed. The famous red flag appears in the viewfinder when the camera senses insufficient light. All I need to do is set the focus zone.
I must have bought mine around 2015 or 2016, and it was quite affordable at the time—no more than 50€. It was an iconic camera then and still is today, but as the supply of these cameras dwindles, prices have increased. You can now expect to pay 100€ or more, with some models even reaching nearly 200€. It remains a great camera but might be a victim of its own success, along with sellers’ optimism and greed. Buyer beware—shop around, and you might still find more accessible prices.
As for film, prices have also risen, especially for Kodak film, but Ilford remains affordable, as do Kentmere, Fomapan, and Rollei.
I’ve travelled the same road numerous times, and it always brings me a certain sense of peace. I tend to stop off at familiar spots along the way, and those of you with an eagle eye will recognise some of these locations from other photos in this blog.
But why go to Noirmoutier? Firstly, why not? It’s just over an hour’s drive from my home and is a popular destination for many locals from the Vendée. The island now suffers from overtourism, which has certainly changed its character since 2016. Efforts have been made to manage the flow of tourists, with improvements such as parking, pedestrian zones, clearly marked hiking trails, and numerous bike lanes. It’s a beautiful part of the world, so typical of the Vendée Coast with its pinède and long beaches. However, not everything is about tourism. The island is also renowned for its salted butter made with salt from local salt marshes and the famous potatoes from Noirmoutier. Additionally, there’s a small fishing fleet, as well as the fleet from Le Port du Bec in the neighbouring Beauvoir-sur-Mer.
Stonehenge is something different for most people. For some it is a historical site in Wiltshire, and despite not being part of the 7 wonders of the ancient world, still remains pretty special. For some more “alternative” folks, it’s an ancient spiritual centre, and just happens to be on converging energy lines. For some it’s a day out with the children.
We had come back from a cruise that had taken us around the Canary islands, Lisbon, and Galicia in Spain. Thank you Mummy, and thank you Daddy! I think they felt guilty about us always coming up to see them in Northumberland, and wanted us to get a different holiday experience. Well, different it was! But that is a totally different story, and the photos can be found in the Olympus Trip 35 article.
So our ship docked at Southampton and we still were in the holiday mood. I remember as a small boy visiting Stonehenge, and thought it was “the” opportunity to introduce my family to the site.
It seemed slightly smaller than I remember it. As do most things if I’m going to be honest with you, but the majesty of the stones remained. As did the wonder at the fact that these stones had been dragged overland from Wales, and put into place, with the joints still being “rock solid” and down to the nearest millimetre. I work in a factory that does industrial woodworking and I know what we can do with modern tools and technology and yet here, this massive construction was put together using basic tools.
The children were just taking in the whole experience, and rather bemused at the sight of Japanese tourists being shoved around the site and taking the obligatory selfie. They also seem quite bemused by the amount of school groups being led around.
I preferred, as often as I do, to just take my time and take it all in and get some photos of the place. With the 40 mm zuiko lens I was getting some lovely environmental shots that you can see below.
My wife, however, was in tears. Crying her heart out. She later confided in me telling me how she just felt overcome with emotion. Maybe those lines of energy for those alternative folks might have something in them…
Is film photography too expensive? Think again! Many assume that shooting film is a hobby reserved for the wealthy, but it doesn’t have to be. With the right approach, you can enjoy the unique aesthetic and creative process of film photography without breaking the bank. In this article, I’ll share my personal experiences and tips for saving money on film, developing, and gear, proving that the joy of film is accessible to everyone.
Often, even the tiniest things can spark a desire to write. In the infamous world of internet comment sections, people can have different opinions—a good thing, as it makes us reflect on our own positions. It challenges our perceived wisdom and questions us in ways that can be disarming. What’s obvious to me might not be to someone else.
I was talking to an Australian lady, likely of my generation since our photography journeys started the same way—with film. Except this lady has gone fully digital, keeping her film cameras as a reminder of her film days being over. Less hassle, less expense, less stress, and less “faffing about,” she said.
At first, I was taken aback. I love the film aesthetic in my photography. I like the predictability of film grain, as opposed to digital noise. But most of all, I’m in love with the process. I love the slower pace of film photography—none of this “spray and pray” nonsense. I appreciate how I become more mindful when shooting film, as each shot counts. I like the way an old film camera looks around my neck. And as the internet meme says, “I know about photography. I’ve been initiated into the exclusive circle of purists.”
The lady talked about the prohibitive prices of film and labs, which, let’s be honest, is a valid point.
Costs of Digital vs. Film Photography
I’ll talk about my kit and initial outlays compared to my film expenses. I bought my latest two digital cameras in late 2017 and 2018. My X100F cost around €1400, and my Canon 6D Mark II around €1200. I spent about €300 on a teleconverter for the X100F, and I probably have about €2500 worth of kit for the Canon, including speedlites, lenses, and filters. Then there’s the Fujifilm XT2, bought second hand for €400, with a couple of lenses totaling around €500.
This kit, though older, works well and is largely sufficient for my needs. As mentioned in my article “I Want It, But Do I Need It?”, I’d like a Leica, but do I need one? Would I refuse one if someone gave me one? Heck no! You can see the results throughout this site, and the images are great.
Let’s move on to film. Yes, if you love that Kodak Portra look, you’ll be spending a pretty penny. I have a certain nostalgia for the days when the prices hadn’t doubled. But—and this is important—not all film photography has to be done using Kodak Portra. There are more accessible films, especially black and white, that cost less. A roll of Fomapan 100 costs me around €5.50. So for less than the price of a pint of Guinness, I can get 36 shots. For a little more, I can go with Kentmere or even Ilford black and white film. I still have one roll of Portra left and a pack of five Tri-X medium format rolls.
Developing at Home
Ah, but then you have to send them to a lab to be developed. Again, a valid point. The cost for developing colour film where I go is less than €7 per film. I’ll share a little secret: I invested in a kit to develop my films at home. It cost about €140 initially, but now all I worry about is buying the chemistry. Yes, €30 for a developer seems steep, but I can develop 16 to 24 films with a bottle, depending on the dilution. I also invested €250 in a film scanner to produce digital files for editing.
Collecting Film Cameras
You might have noticed that I’ve talked about film but not film cameras. I started collecting a while back before hipsters raised the prices in the secondhand market. The most I paid for a film camera was just over €100, and the cheapest was €15. These film cameras are generally solid, and the lenses are great. The technology, though a little less modern (understatement of the year!), still works, and older cameras don’t even need batteries. And even those that do, the batteries last for ages. None of this “Do I have spare batteries for the X100F?” nonsense.
Each shot is taken on a brand new “sensor,” compared to shots on a digital sensor. And less dirt gets onto this sensor.
The Joy of Film
Don’t get me wrong, I love digital photography for its convenience and spontaneity. I can see my images right away and get instant feedback and gratification. With film, that gratification isn’t instant. You have to be patient and wait, but for people of my generation, that might be infuriating, it’s something we grew up with and accepted. I continue to accept it.
I enjoy using a machine sometimes older than me, knowing the image quality will be there. I know that with a certain film, I’ll get a certain result. I like the slower pace. If you visit the Film Photography page or the Film Archive page, you can decide for yourself if it’s worth the hassle, the expense, the stress, and the “faffing about.” I think it is, and I maintain that film has as much a place in photography as it ever did.
The Future of Film
Does film have a future? I think it does. Leica has relaunched the M6, Pentax has the new Pentax 17, and Kodak has the Kodak Ektar H35. The disposable cameras of yesteryear are still being produced and it has become the fashion to us them at weddings for that affordable yet classic look of film. Film photography continues to be popular with Gen Z and millennials. Case in point: my 25-year-old son nicked one of my Kodak Retinette 1B’s and a roll of film. I suspect my daughter might have her eye on one of my film cameras, too.
One thought came to mind whilst answering one of comments with the person saying that they “will never go back.” I am old enough to remember when microwaves fist came out. They were sold to us as being thoroughly modern and machines that could do everything so quickly and conveniently. Except they couldn’t. For certain tasks on the kitchen they are wonderful and far exceed the way we “used” to cook. But they can’t do everything. They have their place in the kitchen. And will always will do. But a slowly simmered boeuf bourguignon that infuses its odours through the kitchen will always have a special place in my heart. Much like using film to capture my images…
The camera gear industry is a powerful beast and it tries to convince us that this piece of kit, that is conveniently in stock, will help you become that photographer that you are destined to be. Be that in magazines, be that in youtube influencer videos that “try out the camera” that the manufacturer has just lent us to show you what it’s like. I’ve watched loads of these videos especially when thinking about the kit I wanted to buy. Come on in and I’ll make sure you have the best camera possible, and the best possible lens. What’s your budget? OK, I’m sure we can work something out. What kind of photography do you want to do? Well, you’ll need this, and this, and this, etc.
That nice man in the shop will be more than happy to take your money and sell a high end camera that will be a thing of beauty. But look at the title again. “I want it, but do I really need it?” You have fallen into their trap. I’m not trying to put down these sales people, and their wealth of knowledge, but know that there are other options out there.
I’m going to dare say it. You don’t need the latest and greatest equipment to take great photos. Instead prioritise value, and mindful shooting, over gear acquisition. Think about boys and toys. I get exactly the same feeling as you when I enter a camera store. I want it all. Of course I do. Who doesn’t? But,what would my wife say? What would my bank manager say? What would reason tell me instead of letting my emotions get the better of me? Can I really justify this acquisition? Do I really need it, or is there a less onerous solution? I know. I’ve just pissed on your bonfire, but it’s time for a reality check here…
So what can I do about that? You can realise that there is a huge market of second hand gear out there. I have taken this route in the past and have no regrets. Yes, I did it my way…
Where do you go to discover all these hidden gems? There is of course E-Bay, that huge online auction site which I used to acquire the majority of my film cameras. When I was a customer of the site the film cameras were fairly cheap, since those pesky hipsters hadn’t cottoned on to the fact that film photography is cool. So yes, each purchase was a gamble, but I had less money to lose, and the return would be greater. The old cameras were simpler, the lenses were great, and there are still lots of examples of reasonable cameras out there. Would I use it for digital? Probably not. I’m not really a gambling man, and don’t have a huge wad of cash that I am willing to possibly waste.
But E-Bay is not the only option. There are various online sites such as mpb.com that have a very good reputation, and have tested each piece of equipment that they sell. They give you an honest appraisal of the piece of kit and are honest about the state of said piece of kit. They guarantee each purchase, and have a generous returns policy. I might consider using it if I were interested in buying some new kit. But at the moment I’m not. There are also second hand areas of our beloved camera shops that will have used gear.
When buying second hand, you will generally be spending less money, or at worst, getting more kit for your hard earned cash. Older models of camera might not be as super duper as the latest models that look so sexy in that shop window, but for what most us mere mortals need, they are more than adequate. You really have to look at which features are most important to you. Thanks to you, there will be one less camera going to landfill.
Talking of features, let’s talk about the 80/20 rule. For 80% of your photographs, you will use about 20% of your gear, and features on your camera. I urge you to identify the essential features for your type of photography (e.g., autofocus, image stabilisation, dynamic range), and maybe avoid spending money on features or lenses that you won’t use frequently. Shutter speed when doing sports photography, or high dynamic range for landscape photography. Is an F1.2 lens really what you need, or will F2.0 pr F2.8 still get the effect you want?
I’m going to talk about the X100F (again!) and compare it to the latest version from Fujifilm, the X100V and the X100VI
Feature
Fujifilm X100F
Fujifilm X100V
Fujifilm X100VI
Sensor
24.3MP APS-C X-Trans CMOS III
26.1MP APS-C X-Trans CMOS 4
40.2MP APS-C X-Trans CMOS 5 HR Sensor
Lens
23mm f/2 (35mm equivalent)
23mm f/2 (35mm equivalent) with improved optics
23mm f/2 (35mm equivalent) with further improved optics
Autofocus
91-point hybrid autofocus
425-point hybrid autofocus with improved face/eye detection
425-point hybrid autofocus with further improved face/eye detection and subject tracking
Viewfinder
Hybrid viewfinder (optical/electronic)
Hybrid viewfinder (optical/electronic) with improved EVF
Hybrid viewfinder (optical/electronic) with a larger and higher resolution EVF
Screen
3-inch fixed LCD
3-inch tilting touchscreen
3-inch tilting touchscreen
Image Stabilisation
N/A
N/A
6-Stop In-Body Image Stabilization
Video
1080p up to 60fps
4K up to 30fps
6.2K (cropped) and 4K up to 30fps
Weather Sealing
No
Yes
Yes
Price (approx.)
€800-€1000 (used)
€1300-€1500 (used)
€1700-€1800 (new)
Key Takeaways:
Sensor: The X100VI offers a significant resolution upgrade with its 40.2MP sensor, providing greater detail and flexibility for cropping compared to the X100V and X100F.
Lens: All three models share the same focal length, but the X100V and X100VI feature improved lens designs for better sharpness and close-focus performance.
Autofocus: The X100V and X100VI offer a substantial upgrade in autofocus points and performance compared to the X100F, making them better suited for fast-moving subjects and low-light situations.
Viewfinder: The X100VI has the most advanced viewfinder with a larger, higher resolution electronic viewfinder (EVF) and improved refresh rate.
Screen: The X100V and X100VI have tilting touchscreens, which can be helpful for composing shots from awkward angles, while the X100F has a fixed screen.
Video: The X100VI boasts the most advanced video capabilities, offering 6.2K recording with a crop, while the X100V is limited to 4K, and the X100F to 1080p.
Weather Sealing: Both the X100V and X100VI offer weather sealing, making them more durable in adverse conditions compared to the X100F.
Price: The X100F remains the most affordable option, especially on the secondhand market. The X100V offers a good balance of features and price, while the X100VI is the most expensive but comes with the latest technology.
Ultimately, the choice depends on your budget, needs, and priorities. If you need the highest resolution and advanced video features, the X100VI is the way to go. If you prioritize value and portability, the X100F is still a great option. The X100V sits in the middle, offering a good balance of features and price.
If you are a professional, then I think the same logic will apply. Even though a nice kit is an investment you need to consider the returns on your investment? Is the purchase justified and will it bring more work for you? Will it expand my offer enough? If you are an amateur, then you can spend any amount of money you want, but if you could do more, with less, wouldn’t that be an appealing option? Have I not managed to convince you yet? Look at the film archives… And look at the pictures from the X100F…
IJM Photography 