Hello you! It’s great to have you back for another dive into the archives. Over the past few posts, you might have noticed a recurring star of the series: my Canon AE1. While it’s true I’ve leaned on this camera heavily for many of these moments, I promise there’s more variety to come—even some colour film photography! For now, though, let’s continue exploring these Canon snapshots together. Thank you for sticking with me—it means a lot to me.
This time, I took my daughter Kate for a walk among the vines—a walk I used to do with Killian when he was about her age. Admittedly, it wasn’t the most creative choice for me, but for Kate, it was a brand-new adventure. That’s my excuse, and I’m sticking to it.
The day was all about Kate, the wind, and the way it danced through her hair. Unlike me, where the wind barely leaves a trace, it created a beautiful, dynamic subject in her. There’s something magical about how the movement of hair and clothing in the wind adds life to a photograph. I captured some truly memorable shots that I now treasure as priceless souvenirs of a fleeting moment.
Maybe they were some of those famous Kodak moments… Whatever the case, they bring back lovely memories of simpler times. Looking back, it reminds me how the simplest moments—like a walk through familiar vines—can hold so much meaning. Sometimes, what’s close to home can be just as captivating as far-off adventures.
It also reminds us that though we might be in familiar territory, that territory can look entirely different to someone seeing it for the first time. The soft, diffused light that day brought out rich textures in the vines, and Kate’s sense of wonder made even the most ordinary details come alive.
When you’re out with your camera, maybe, just maybe, that’s something to keep in mind. How might your everyday surroundings look through fresh eyes—or through the eyes of someone discovering them for the first time?
When I first started out in photography, I would go and get my film developed by the photographer on Newland Avenue near where I lived, and the photographer would do what people called a contact sheet. Basically, the film was cut into strips, placed into a special frame to keep the negatives as flat as possible, and exposed directly onto a sheet of photographic paper. These “thumbnails” allowed us to see the photos of the outing in one place and we could decide which ones might be worthy of developing.
We have this digital contact sheet in Lightroom where we import our photos and decide which ones are worthy of being developed. It’s the same idea, just with different tools.
But what does this have to do with storytelling? Think of the contact sheet as the beginning of the story-crafting process. Just like a narrative needs a beginning, middle, and end, so too does our selection of images. With a contact sheet, we gain a bird’s-eye view of an outing—seeing not only the individual shots but how they relate to each other. Choosing which moments to develop isn’t just about technical quality; it’s about deciding which parts of the experience best tell the story.
This principle guides me when choosing photos to share here on the blog. Whether it’s capturing moments with my friend JD, the barber, or snapping a shot of my lunch before I dive in, each image plays a role in the day’s story, hoping that I don’t forget to take the photo of my dessert before eating it. Otherwise you just get a photo of the plate with some traces of cake or just some crumbs.
But lets’s get back to the idea of story telling with an arc that covers the outing. When I set out for the day, I begin with a few warm-up shots to set the scene. If I have a plan, great—but often I don’t. Instead, I focus on capturing the ambiance of my surroundings, whether it’s a café, church, or pub. Each photo builds on the last, creating a narrative of my day’s journey.
For events, especially when I’m hired to photograph, I’ll start by discussing the plan with my client. I want to know what’s important to capture, any specific conditions at the venue—lighting, mobility restrictions, etc.—and what moments they consider essential. Having this list of must-capture moments, like the classic Kodak moments that we talked about in a previous article, helps me stay focused and give me structure.
For the sake of arguments, I have a wedding to photograph, and I know that I will be taking shots of the bride before the ceremony. I know that I have to be at the venue before the happy couple arrives. I’d better get a shot of the rings before they appear on the couples’ fingers, etc. I’ll want environmental portraits of the guests, etc. This planning ahead allows me to be more serene during the day itself.
Just married
Not every story requires a series of images; sometimes, a single photograph can capture an entire narrative. Think of it as a self-contained story, a moment that holds not only what’s visible but also what’s implied—emotion, context, and sometimes, a sense of mystery.
For example, take a photograph of a lone, empty café table in the soft morning light, a half-full cup of coffee, and an open notebook on the table. This image can suggest solitude, introspection, or perhaps the moment right after someone has left. The viewer might wonder: Who was sitting here? Why did they leave? What were they writing? This photograph tells a story, inviting the viewer to step in and imagine the rest.
A single image can evoke different responses based on the viewer’s own experiences and emotions. In many ways, it’s a conversation between the photographer and the viewer. We as photographers might set the scene, choose the light, and capture the moment, but it’s the viewer who fills in the blanks, completing the story in their mind.
This approach also applies when photographing people. A portrait of a person lost in thought, gazing out of a window, can evoke curiosity about what’s on their mind, where they might be going, or what they’re experiencing at that moment. In these cases, the single image captures more than just a face or place; it holds an emotional narrative that transcends words.
Am I sure about this cake?
Storytelling in photography isn’t just about taking pictures; it’s about deciding which moments matter and capturing them in a way that communicates more than what’s on the surface. Whether we’re crafting a narrative through a series of images or capturing an entire story in a single frame, each photo we take says something about how we see the world and what we want to share with others.
Next time you’re out with your camera, think about the story you’re building, whether it’s a quiet day at a café or a bustling event. What do you want your viewers to see, to feel, to wonder about? In some ways, we’re all storytellers—stringing together moments, big or small, to create something meaningful.
So, go on—look through your images as if they were frames in a film, each one a piece of a larger story. You might find that your perspective shifts, and that’s when photography becomes more than just a hobby; it becomes a way of understanding and connecting with the world.
With the aim of delving deeper into the meaning behind photography, I’ve decided to launch a new series of articles. Here, I want to explore questions like why rather than just how or with what. In my Photography 101 series, we looked at the basics—technique, lenses, and so on. I’ve written extensively about gear in my camera reviews. But now, I’m searching for something beyond that.
The wheels in my mind are already beginning to turn. Not frenetically yet, but there’s a steady intellectual process underway. Answering “why” feels more challenging than “how” or “with what.” It demands more from me than simply focusing on technique or gear.
Here goes anyway!
To set the stage for this exploration, I’ll begin by sharing my own journey in photography. Understanding where I come from may help illuminate my perspective on the medium.
I was born in an age before the all-powerful image took over. Yes, we had photos, and I enjoyed looking through them in our albums. Each image was a physical object, and the idea of viewing images on a screen was foreign to us all. When we spoke of phones, we meant the ones hanging on the wall at home or in the phone boxes on the street. They certainly weren’t for taking photographs.
Back then, cameras fell into two categories: point-and-shoot cameras for the masses and “proper” cameras for photographers. Point-and-shoots were basic, easy to use, and, for me as a small child, they were an introduction to photography. Proper cameras, on the other hand, were for those who had learned the craft of photography, and using one made you feel part of a certain fraternity.
My first Form Master at prep school, Father Gerald, had a proper camera and recorded school life with it. Occasionally, a board with a selection of 6-by-4-inch photos would appear, always in black and white. Father Gerald must have had his own darkroom for developing and printing. I have no idea what kind of camera he used, but it was undoubtedly a proper one.
In 1984, a German orchestra visited Hull, and Stefan Haller from Neustadt an der Aisch stayed with us. Stefan had a proper camera, and I was fascinated by it. When I asked my father if I could have one too, he agreed—but I would have to learn how to use it first. The local YPI organized a summer school offering various activities, including proper photography. And that, Dear Reader, is how I first encountered this “proper photography” lark!
So now you know the why and how behind my beginnings in photography. Let’s look at how this journey evolved. My first proper camera was a Praktica MTL 3. It was fully manual and had a built-in light meter, which helped me get my exposure right each time—or nearly each time. With that camera, I trained my eye and explored the world around me.
Photography at the time was film photography. Although Kodak invented the digital camera in 1979, digital photography didn’t become accessible until the early 21st century. Growing up, color photography was for capturing moments with friends and having a laugh; black and white was considered more “arty” and suited for serious photography. I was deeply affected by the black-and-white images in newspapers, while color images seemed relegated to magazines.
I remember having breakfast with my father every morning as he read The Independent, a paper known for its high standard of photographic journalism. This was my daily visual inspiration. I had a subscription to National Geographic, where I encountered even more incredible photography in its pages. This was top-class photojournalism, and these images now serve as a historical reference for us all.
This is the time and place I come from. For young Gen Z readers, it might sound like ancient history, but to me, it’s deeply real and continues to influence my approach to photography in the digital age.
Now that you’ve had a glimpse into my why, let’s dive deeper. In the next article, we’ll look at why others feel compelled to pick up a camera. Throughout the series, we’ll explore the connections between images and emotions, how we tell stories through our photos, and how photography can be a form of self-expression leading to personal growth. We’ll examine how photography connects us to others, reflect on the philosophy of impermanence, and, at the end of the series, I’ll invite you, Dear Reader, to reflect on your own photographic journey…
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…
Snapseed is one of the best free photo editing apps available — powerful enough for serious photographers, simple enough to use on your phone between shoots. I’ve been using it regularly as part of my film and digital photography workflow, and here’s an honest account of what it can and can’t do.
INTRODUCTION
Twenty-two years ago, I was fired from the job that took me away from Paris to the French countryside where I now live. In hindsight, it was one of the best things that ever happened to me. Sometimes we need that shove beyond our control to nudge us in a different direction.
At the time, I was already into this new thing called the internet that was becoming more and more mainstream. I wanted to learn all I could before my children would teach me. So, I learnt. I even trained to be an “infographiste,” which is similar to a webmaster, now known as a web developer.
AN ENGLISHMAN IN VENDÉE
I learned how to use QuarkXpress, Indesign, Dreamweaver, Photoshop, and Illustrator. I also learned how not to be afraid of opening up a computer and getting in there with a screwdriver. I had this amazing idea of creating a website called “An Englishman in Vendée” to showcase outings with my young son around the area. I took photos with a “webcam” which was about the size of a GoPro but compared to what we have twenty years on, was anything but pro. At the time, I dreamt of having portable internet, portable editing software, and a means of sharing those pictures online.
I would have to wait a while. In 2024, I have a Samsung S20 FE and I now have all I need to do that, on the go! I can even transfer the photos from my high-end digital camera to my phone, edit the images on my phone, and publish them either on my website (no longer Geocities) or on social media.
WELCOME TO SNAPSEED
Now I use “Snapseed” for editing my photos, WordPress for writing my articles, and Chat GPT to give my articles structure and a writing plan. All this in a device that fits into my pocket.
So, what is Snapseed? It’s an app that I recommend to anyone who needs to edit pictures on the go. It is available for Android and Apple devices, so you’re all covered. But why Snapseed? Well, it’s free, simple to use, and has all the tools you need for editing. It’s intuitive and comprehensive. I particularly like the Tune Image section, where I find all the tools I use for basic edits in Lightroom on my PC. The Rotate tool helps me check horizons, and the Black and White tool gives me full control over the conversion process.
Snapseed is a non-destructive editing programme (app) that uses your original file, whether RAW or JPEG, and allows you to edit to your heart’s content. Can it do everything Lightroom can? No. Is it trying to? Still no. It adds some nice “style filters” in the tool section that allow you to have fun. The more serious photo editor will probably stick to the basic tools that still allow them to get the results they need “on the go.” I use it during shoots to give sitters an idea of what their shots will look like. These first “draft” images are perfect for sharing on social media.
KEEP IT SIMPLE WITH SNAPSEED
I’ve talked about KISS in the past, and I’m going to mention it today too. KISS – Keep it Simple Stupid! Snapseed is deceivingly simple when you look at the user interface, but it has a range of tools that help you achieve the look you want.
It starts by offering you three basic options: Styles (similar to presets), Tools (where you can fine-tune everything), and Export (where you go to export your edited photo).
STYLES
Styles are essentially presets in other software, and Snapseed offers a variety of styles:
OriginalPortraitSmoothPopAccentuateFaded GlowMorningBrightFine ArtPushStructureSilhouetteI have a preference for “Portrait,” but feel free to explore and find your favourite.
In my next article, we’ll talk about the various tools Snapseed offers to help you edit on the go. I will walk you through my basic editing process, showing you which tools I use and how I use them. Remember the 80/20 rule: 80% of your editing can be done with 20% of the available tools. So be patient, and you will be rewarded for your patience. See you in the next one!
Good evening Dear Reader. We’re back delving into another series of articles where I will talk shop. Mother, if that doesn’t interest you then consider yourself warned. I will, as the title of this article suggests, be talking about the differences between zoom and prime lenses. I too, many moons ago, was a beginner photographer, and just starting out with a Praktica MTL3, with a 50mm F1.8 lens, and a Helios 135mm F2.8 lens. An SLR because in 1987 a DSLR did not exist. This was my first lot of “gear.” That was then and this is now. 2024. When buying a “starter” camera, “they” will try and flog you, or offer in a bundle what has become known as the ubiquitous “kit lens.” Otherwise you will be gazing upon a “huge” array of lenses with some “huge” prices to go with them. This will generally be included in the more “accessible” range of cameras. It certainly was for my Fuji XT2 18-55mm zoom lens (24-70mm equivalent for full frame sensor). Don’t get me wrong, I use my 18-55 lens on my Fuji XT2 and like using it. BUT, when I bought that camera I bought a 24mm equivalent prime lens for it.
This raises the question about what is a prime lens and what is a zoom lens. A prime lens is a lens that has a fixed focal length. A zoom lens allows you to vary this focal length and “zoom” in and out.
Advantages of Prime Lenses
Superior Image Quality
You will generally find that you can obtain a “sharper” image with a prime. Some of the older lenses and ones that we used in film photography are slightly softer, but we were fine about it then, and this quest for modern sharpness seems to have become more important. In digital photography, this new and thoroughly modern technology will lead to less distortion, and chromatic aberration, which is indeed an aberration where you might get a blueish outline around the subjects in your shots.
Wide Aperture Capabilities
I touched on the concept of aperture in my Photography 101 article. The aperture is the hole that allows light to expose the film or your camera sensor. The larger aperture (indcicate by a smaller f number) allows two things. More light to hit the film, therefore allowing us to shoot in lower light, and the separation of the subject from the background by getting that “creamy” bokeh beloved by so many of us.
Compactness and Portability
The “average” prime lens is more “compact” than the average zoom lens. Effect number one of this is that you can fit more primes into your camera bag and it will probably be lighter. Think about what I said in my street photography article. A camera with a smaller lens is also less threatening than having a massive thing thrust in your face. Being less threatening is always good, and makes the photographic experience more pleasant for everyone.
Creativity and Artistic Expression
When using primes every shot becomes more deliberate. The choice of which prime to use becomes more important. You “zoom” with your feet and not with the lens. I have talked about this mindfulness in my photography tutorial series.
Advantages of Zoom Lenses
First of all we have to talk about what a zoom lens is. Well, it’s a lens that allows you to zoom. Sorry about that, I couldn’t help myself. On a more serious note, it is a lens which glides through a series of focal lengths on the same lens. I have three zooms for my DSLR, a 16-35mm f4, a 24-70mm f4, and a 70-300 f4 – f5.6, and the 18-55mm (24-70 full frame equivalent) kit lens for my Fuji XT2. With three lenses I am covered from 16mm to 300mm, which for me is a big deal. My 16-35mm has me covered for wide angled vistas of the Place Cambronne in Nantes, and those distorted obligatory bike shots, to general street photography. My 24-70 f4 even has a macro function offering me even more versatility. I would class it as my events lens and can double for street photography, and even street portraits. It’s a veritable work horse of a lens and was what I used when I talked about spring. My 70-300 lens is for when I can’t get near enough to my subject without spooking it, be that my children messing around next to the river, or taking shots of cormorants sunbathing on the river Erdre in Nantes.
Convenience and Ease of Use
In my previous paragraph I talked about the different focal lengths that I have with each zoom lens. At the moment in my camera bag I have my Fuji X100F and its 35mm equivalent f2 lens and my Canon 6D Mark II and my 24-70mm f4 lens. It means carrying less equipment and being prepared for a variety of shots when on the streets or taking photos for my work. It also provides for less “faffing about” which is something I love to avoid in general, unless I am prepared mentally and ready for it.
All-in-one Solution
Instead of having a different lens for each situation, I have a solution in my bag that allows me to adapt. Why buy three lenses when I can have a multitude of possibilities with just one lens? They might seem expensive, but when you are not a professional, cost is something that has to be taken into account, otherwise you have to be very good at communication with your spouse justifying all these purchases. Happy wife, Happy life. Happy Husband, we’ll see about that!
Image Stabilisation
In the last paragraph, I talked about stable marital life, and on my zooms I have image stabilisation, which will allow me a more stable shooting of an image. In the Photography 101 article I talked about having an exposition of nothing lower than the focal length. IE with a 50mm lens I should not shoot lower than a 50th of a second to avoid camera shake and therefore a sharper image. This stabilisation offers me about 4 stops extra to play with, be that having a longer shutter speed, or having a larger aperture and therefore getting more in focus in my image.
Conclusion
I have talked about how this photography lark is all about give and take. This is so true in the exposition triangle where everything is a question of balance, but also true in the case of lens choice. Some will be more expensive but give you more control, and others will offer you more ease of use and versatility. You are the one who ultimately has to decide on what camera gear you need (more than want). What is most important to you? How will the lens help you? What is your budget?
When all these questions are answered honestly then you will be well on the way to having the kit you need, to do the type of photography that you want to do.
What would I advise a novice for their first acquisition? I would say the nifty fifty. The 50mm is closest to what the eye sees. This prime generally offers an opening of F1.8 which gives you that sexy bokeh.
Ultimately the choice is yours alone. But this simple guide may help you reflect and question yourself and allow you to make a deliberate well thought out decision. The most important thing is to get out there with your camera, start making memories and training that beautiful eye of yours!
I’ve decided to take some advice and start a series of articles focused purely on photography. You may already know how photography has impacted my life, and perhaps you’re hoping to discover something similar for yourself. This isn’t a formal course, and the advice I share comes from my own experiences over the years. My aim here is to offer you a useful reference point as you begin or continue your own photographic journey.
Let’s assume you’re new to photography and want to move beyond using your phone’s camera. You’re ready for a “real” camera. Does that sound about right?
From time to time, people approach me and say, “Ian, what’s the deal with photography? How do I get photos like yours?” That’s when my imposter syndrome likes to make an appearance. But despite that, I’m here to share what I know.
To begin, you’ll need a camera. I know it can feel overwhelming, especially if you’ve glanced at the price of a Leica and wondered if it’s worth selling a kidney. (Pro tip: hold off on that.) Leicas are beautiful, but you don’t need to break the bank to get started.
Any camera within your budget is a good starting point, especially if it allows you to control settings manually. Whether you choose film or digital, the fundamentals remain the same. Do you want the retro charm of a Canon AE1, the compact style of a Fujifilm X100F, or perhaps a more professional DSLR? The choice is yours, but remember: the camera is just a tool. It’s how you use it that matters. I’ve written some camera reviews you can check out, and I plan to add more in the future.
Now, let’s talk about the basics.
Exposure Basics
Photography is essentially about light—how much of it reaches your camera’s sensor (or film) and how it interacts with your subject. Too much light, and your image will be “overexposed” (too bright). Too little light, and it will be “underexposed” (too dark). You can, of course, play with these elements intentionally, using over- or underexposure to highlight specific areas of your shot. Photographers often talk about exposing for the highlights or shadows to get the right balance. In film photography we will expose for the shadows and in digital photography we expose for the highlights.
How do I control the light?
It all comes down to balancing three key elements, often called the “Exposure Triangle”: ISO, shutter speed, and aperture. Adjust one, and you’ll need to compensate with the others. Let’s go through each of these in turn.
The three variables every photographer learns to negotiate. Get one wrong and the other two will tell you about it
Understanding ISO
ISO controls your camera’s sensitivity to light, crucial for getting the right exposure in your photographs. In film photography, it’s referred to as ASA, but the principle remains the same.
Lower ISO Settings (100-400): Ideal for bright conditions, such as sunny days, as they produce images with minimal grain or “noise.” For example, using ISO 100 outdoors on a clear day will give you crisp, clear shots.
Moderate ISO Settings (400-800): These settings are suitable for cloudy days or indoor lighting. Using ISO 400 allows you to capture good quality images without excessive grain, but expect some visibility of noise when using ISO 800 in dimmer conditions.
Higher ISO Settings (1600 and above): Perfect for low-light situations, such as indoors or nighttime photography. While ISO 1600 can help you capture images without a flash, be prepared for more noticeable grain. ISO 3200 can be used for very low light, but expect significant grain in the final image.
Modern digital cameras handle higher ISO settings much better than older film cameras did, significantly reducing noise even at higher values. The key takeaway is to experiment with different ISO settings to see how they affect your shots. Don’t hesitate to adjust your ISO based on the lighting conditions—higher sensitivity can make a big difference in capturing those special moments.
Shutter Speed
Shutter speed determines how long the sensor (or film) is exposed to light. A fast shutter speed—like 1/500th or 1/2000th of a second—will freeze motion, but it lets in less light, so you may need to increase your ISO to compensate. Slower shutter speeds (1/60th of a second or lower) let in more light but can cause motion blur or camera shake. If you’re handholding the camera, try to stay above 1/60th of a second. If you’re using a longer lens, say 85mm, you may want to use 1/100th of a second or faster to avoid shake.
For stability with slower shutter speeds, a tripod is your friend. Just bear in mind that vintage cameras often have lower maximum shutter speeds, but those quirks deserve their own chapter.
Aperture and depth of field
Aperture controls how wide the lens opens to let light in, and it’s measured in f-stops. A smaller f-stop number (like f/2.0) means a wider aperture, which lets in more light and creates a shallower depth of field—ideal for those portraits with a soft, blurry background. A higher f-stop (like f/16) means a smaller aperture, which lets in less light but keeps more of the scene in focus—perfect for landscapes.
Aperture not only affects the amount of light coming through but also how much of your image appears sharp. The trick is finding the right balance for the look you’re aiming to achieve.
Conclusion
One of the great things about digital cameras is that you can experiment with these settings without worrying about the cost of film. You can see the results immediately and make adjustments on the fly. Most digital cameras offer different modes to help you control the exposure. For example, “Shutter Priority” lets you set the shutter speed while the camera adjusts the other settings. “Aperture Priority” does the same for aperture. If you’re more experienced, you can take full control with manual mode.
This is just the first in a series of articles designed for beginners, but it’s always helpful for even the more seasoned among us to revisit the fundamentals. If you have questions, feel free to leave a comment. No question is too simple, and I’ll do my best to respond.
Until next time, Dear Reader.
Post Scriptum
I’ve noticed many of you arrive at this site through this page (probably from Google), so welcome! This is just the first in a broader series on photography. If you found this article helpful, there’s more where this came from. I also cover topics like composition, gear choices such as the Pentax ME Super, which as its name suggests is rather Super, the differences between 35mm and medium format, and my approach to street photography.
My aim is to demystify photography. It doesn’t have to be complicated. Whether you’re just starting out or already have some experience, I hope you’ll find something useful here. Thanks for reading, and don’t hesitate to ask questions or leave a comment. I look forward to hearing from you.
