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…
The Fujifilm X-T2 is pushing ten years old now, but it’s still a capable, good-looking camera that holds its own against plenty of newer options. Here’s an honest assessment from someone who’s used it alongside film cameras in everyday life, based in Nantes.
The X100F made me do it
It’s no secret to regular readers of this blog that I have a deep fondness, bordering on obsession, for my Fujifilm X100F. It’s a great little camera that gets me excited every time I take it out of the bag. So what does that have to do with the X-T2, Dear Reader? Well, they’re both made by Fuji, they both have an X in the name, and I have a deep affection for a nice cup of tea. Not the same T, I know. Ah well.
How the two compare
I bought the X-T2 as a complement to the X100F, not a replacement, so it’s worth talking about how they actually differ. Both use the same 24 megapixel sensor with an anti-aliasing filter and the same ISO range, 200 to 128000. Both have excellent viewfinders. The X100F’s screen is fixed, the X-T2’s tilts, which matters more than you’d think for waist-level shots. The X100F shoots at 8fps, the X-T2 up to 14fps, and for video the X100F is limited to Full HD while the X-T2 does 4K and can hit 120fps for slow motion. Both have built-in wireless. Weight-wise there’s barely anything in it: 469g for the X100F, 507g for the X-T2.
The real difference is the lens. The X100F is stuck with its fixed 23mm f/2.0 (35mm equivalent), which is no bad thing, but the X-T2 takes the whole X-mount range. That’s the entire reason to own both. The X-T2 also has weather sealing, which the X100F doesn’t.
Why bother with an older body
Because I could, and because it used the same batteries and the same film simulations I already loved on the X100F, even if there were fewer of them back then. That was more than enough for me.
My first lens for it was the 16mm f/2.8 (24mm equivalent), the natural partner to the X100F’s 35mm equivalent. Later I found TTArtisan and 7Artisans, two Chinese firms making cheap manual focus lenses for X-mount. I’ve now got their 35mm f/1.2 (50mm equivalent), 58mm f/1.4 (85mm equivalent), and a 7mm f/2.8 fisheye from each, all for a fraction of the price of the autofocus Fuji glass. The only concession I made to Fuji’s own lenses was the 18-55mm f/2.8 kit zoom, which has image stabilisation built in and earns its keep for that reason alone.
Is it still worth it
Buying secondhand made the decision easy. It doesn’t have as many megapixels as the newer X-T5, and it doesn’t match its spec sheet either, but for someone shooting as an amateur, and I count myself one, that doesn’t matter nearly as much as camera shops would have you believe. Twenty-four megapixels prints comfortably at 20 by 30 inches, which is bigger than most people will ever need.
I’ve just checked mpb.com and X-T2 bodies are going for 487 to 729 euros depending on condition. Lenses range from around 104 euros for a 7Artisans 35mm f/1.2 up to 279 to 340 euros for the Fuji 16mm f/2.8. Considerably cheaper than buying into a current model, and the results aren’t far off.
Ten years on, the X-T2 still holds up: excellent image quality, classic dial-based handling, weather sealing, and access to the whole X-mount lens range. It suits street work and landscapes equally well. It’s never going to out-spec a current camera, and it doesn’t need to. If you want good results without paying current prices, the used market probably has a decent X-T2 waiting for you.
Post script
This camera also shoots 4K video, and I use it at work for training videos for new staff. It’s lighter than my Canon 6D Mark II and gives me a picture style I like straight out of camera. It has no in-body stabilisation, but I use it on a tripod for that work anyway, and if I reach for the 18-55mm kit lens there’s stabilisation in the lens itself.
I’ll try to find you an excerpt of the latest video.
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, walking round the Château des Ducs de Bretagne.
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 paired here with the FD 50mm F1.8 lens, which has a way of capturing light that makes every shot in this set feel alive.
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.
Old stone, a camera that’s older still, and an afternoon well spent.
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)
The X100VI wins on paper everywhere it matters: more resolution, a proper autofocus system, a bigger viewfinder, real video, weather sealing. The X100V sits in between on all of it, and costs less. The X100F is the oldest and least capable by the spec sheet, and it’s also the cheapest by a wide margin secondhand.
So which one do you actually need? If you’re shooting video seriously or need every autofocus point you can get, fine, go newer. But if you’re mostly doing what I do with mine — street shots, travel, the odd portrait — the X100F still does the job, and does it for a fraction of the price. I bought mine used and it’s more camera than I’ve ever needed. Sometimes the “worse” spec sheet is the right answer.
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…
Welcome back to the film archives. Today I’m going to share some photos of the first reel from my “new” Canon AE1. Well, not new, but certainly new to me. The Canon AE1s were produced between 1976 and 1984. It is one of those iconic cameras and at the time I must have paid about 50€. When I say iconic, I really mean iconic. It is a shutter speed priority camera using Canon’s FD lenses. I used it an awful lot that summer. I liked it so much that I even bought a second one that I ended up giving to a photographer friend.
Colour
To some people of my generation they represent their first cameras, and were so popular. Talking of popular, the photographs from this part of the archive are from the very popular and photogenic town, Clisson. Also you will have noticed that the photos are in colour. Which only goes to show that not all film photography is black and white photography.
Clisson, as you can see in the photos, is one of those beautiful French villages that oozes Gallic charm. It also exudes a certain Italian charm, and is known for its Italian style architecture.
Canon AE1
I have both a Canon AE1 and AEI Program. The AE1 is the big brother of the AE1 Program, and doesn’t have a program mode, but as you can see from the photos it still works a treat.
Feature
Canon AE-1
Canon AE-1 Program
Differences
Release Year
1976
1981
AE-1 Program released 5 years after AE-1
Exposure Modes
Shutter Priority AE
Shutter Priority AE, Program AE
Program AE added to AE-1 Program
Metering
Center-weighted Average
Center-weighted Average
No difference
Shutter Speeds
2s – 1/1000s
2s – 1/1000s
No difference
Viewfinder Display
LEDs
LEDs
No difference
Film Speed Setting
Manual
Manual
No difference
Self-timer
Yes
Yes
No difference
Depth of Field Preview
Yes
Yes
No difference
Motor Drive Compatibility
Yes
Yes
No difference
Other Notes
First Canon SLR with microprocessor; revolutionary for its time
Simplified controls for easier use; appealed to wider audience
AE-1 Program aimed at beginners and enthusiasts
As you can see there’s not a huge differece between the two. The major difference being the Program option, and the other allowing for easier changing of the ASA film sensitivity setting.
On the day in question I must have parked just next to the river and concentrated on this picturesque area. You can see the castle, the bridge, and the river, all making for a peaceful spring moment.
I think the film was Fuji Superia, and I just wanted to use colour. Thetones are slightly muted and warm, and the flowers, trees and plants were just screaming out to be photographed. I remember the excitement of loading the film into this “new” camera, and the novelty of simply using an iconic camera.
Here is what fuji tells us about the film:
FUJICOLOR SUPERIA X-TRA400
An all-round general purpose, high-performance, high speed color negative film delivering truly fine-grain. Superb for snapshots or action, in low light with flash, outdoors or indoors. Ideal for general use with compact zoom lens cameras.
Excellent skin tones For beautiful, clear people-shots.
Fine grain Great results even when enlarged.
High-speed Superb results, whatever the shooting conditions.
Sensitivity and Film Sizes ISO : 400 Film Sizes : 135 : 36 exp.
When using digital, it’s so difficult to get that particular film look, and using film and an older camera just changes your whole outlook. The fact of not having your image straight away leaves you with that anticipation that we all used to feel when we sent off our films to the lab.
Give film a try. There are still cheap film cameras out there, and your photography experience will be totally different. I certainly appreciate it.
Welcome back to the film archives, and welcome back to Brittany, that gorgeous corner of France where my in-laws live. I think I might have let it be known that my French family love camping. Yes, they’re so in tents… I’ll just let that joke sink in for a couple of seconds. In 2016 I had begun “collecting” cameras. The photos from this Breton outing in Saint Cado were taken with the Kodak Retinette 1B, a little gem of a camera from the 1960s, and HP5 Plus film.
We’ll start with Saint Cado. It’s one of those picture-perfect postcard places. It’s not easy to take a bad photo of the place. It’s photogenic. It’s quaint. It has all the clichés of a small Brittany island in the Ria d’Etel, which is an inland sea connected to the Atlantic at the Barre d’Etel… I’m thinking lobster pots, oyster beds, black and white houses with slate roofs, a local Saint, a chapel to this local saint, who was actually from Wales of all places, and a miraculous fountain that fills up with every incoming tide. Yes, it’s one of those places… Did I mention that the bridge that links the island to the mainland is a Devil’s bridge? It is said that the devil demanded the soul of the first creature to cross it. The story relates that Saint-Cado, who was a shrewd fellow, put a cat on it! It is just gorgeous!
Let’s talk about the Kodak Retinette 1B. As I said in the introduction, it is a camera from the 1960s that uses zone focusing, and the 1B as opposed to the 1A has a selenium light meter that works a treat. Zone focusing is where you focus by zones. Mind-blowing, right? If I look at my lens, I will see a distance measurement that I will use as a guesstimate. I will move my aperture dial and let’s say I’m at F8, well everything from one F8 to the other F8 will be in focus. A lot of cameras from this period used this system, and it works. If you want to open right up to F2.8, then there are little rangefinders that you can put on the hot shoe mount and there you will be able to get an exact reading for the distance from your subject. Up to you…
Why use a camera that is over 60 years old? First of all, why not? It works. It’s simple to use. It doesn’t need a battery. You load your film and Bob’s your Uncle! Off you go to shoot your 36 exposures. It also looks pretty damned sexy hanging around your neck too… It actually looks so sexy that my son nicked mine, and I had to go and get another one. At the time of purchase I must have paid no more than £15, and even now it will cost you less than £50.
So there you have it – a charming little island, a vintage camera, and a roll of trusty HP5 Plus. This trip to Saint Cado was a reminder that sometimes, the best photos come from the simplest tools and the most unexpected places. And who knows, maybe those old film cameras aren’t just gathering dust in the attic – they might just be waiting to capture your next adventure. (But if you happen to see my son with a Kodak Retinette slung around his neck, please tell him to bring it back!)
Good evening Dear Reader. You may have noticed, and then again, you may not have noticed, that I have created a couple of new pages. Instead of adding article categories to my site in the menus, I have created pages with a carousel showing collections of articles in one specific category. This started with Photography Tutorials, which is a collection of, surprise surprise, photography tutorials. Another one for Travel Photography, one for Camera information, and a final one for articles featuring Film Photography. The idea behind this rather brash move on my part, was to help you find what you wanted to read or discover more easily.
This Meisterwerk of a blog is a work in constant evolution, as I think you may have gathered, especially for those of you that have been with me since the beginning. But what does this have to do with Film photography I hear you ask. Well, when creating the film photography page I realised that there are fewer articles than I first thought. This struck me as a little odd, because at one stage I had a little bit of a reputation as a film photographer, and at one stage was purely a film photographer. This was, of course, before the start of this blog lark in 2019. Between 2009 and 2019 I did a huge amount of film photography that I realised I have not shared with you. Even more so since 2016, when I started developing and scanning my negatives at home.
The beginning of the blog also tied in with the X100F and the Canon 6D Mark II coming into my photography, and since lockdown, I have done only small amounts of film photography. Time to reveal more of myself to you. At least if that’s alright… But this isn’t just about me dusting off old memories. By sharing these photos, I hope to spark a conversation, ignite a passion for film, and maybe even inspire you to dig out your old camera and give it a whirl. Who knows what treasures you might find in your own archives?
Taken on the Praktica MTL3 probably with the 50mm Pentacon F1.8 lens on HP5 Plus at box speed in the Quartier Bouffay in Nantes.
So bearing all this in mind, I have a proposal for you. Let’s open the vaults and let’s have a look at the “film archive”. This could be in the form of a series of articles complementing the weekly outpouring of anecdotes or advice, as an addition, or it could be the content for the upcoming weeks. I haven’t decided yet. Let me know in the comments which option you prefer, or if you have any other ideas for how you’d like to see the film archive content. There’ll be shots of Nantes, the UK, England, and Scotland and maybe even Spain, and Portugal. There will be colour and black and white photography too. I don’t know yet. I might not have yet taken into account the magnitude of the task ahead. Everything is open.
On the way to Otterburn in Northumberland with the Pentax ME Super using Portra 160. It was another good day out.
But whatever you decide, I hope you come along for the ride. It’ll be worth it!
How many times have I seen grown men go to pieces at the suggestion of using manual mode? Or worse, how many times have I seen other grown men saying that to be a real photographer you have to master manual mode otherwise you’re not a real photographer? Let me assure you that it’s not as complicated as it sounds. When I took my first photography lessons in 1984, I learnt it as a child. You’ve got this, and I’m here to accompany you through the process. As the Hitchkiker’s Guide so elegantly says, in comforting letters, “Don’t Panic!”
There are some basic concepts to understand, the first of which is the exposure triangle which we were introduced to in the Photography 101 article. Those three things to consider are, ISO, or film sensitivity, shutter speed, aperture, and balancing them together.
Are you ready? We’ll go step by step telling you how each of these settings influence your shot, and how we will balance them to create the image that “you” want instead of the image that your “camera” wants to take. You are the creative boss after all. And that is the reason that people use Manual Mode.
ISO, or film sensitivity
When I started learning photography in the last century was I was a young boy, yes I was young once, we only had film as a means to capture our images. You would choose your film in function of the light available. And when using my film cameras I still work in this way. 100 ASA (which is the same as ISO on modern camera) for sunny conditions, sometimes even 50 ASA, where the film can be used in bright conditions, going through to 200 ASA when it’s cloudy, but with sun shining through, to 400 ASA when overcast, 800 ASA when inside or even 1600 ASA, to 3200 ASA for night photography.
In the film days we would talk about the presence or absence of grain and this was part of the deal. You would get less grain the lower down the ASA range you went, and more grain the further up you went. And this grain was a result of the crystals on the film emulsion, and the chemical developing process. The choice could be as much about lighting conditions as an artistic decision. Once the film you chose was in the camera however, it didn’t change until you changed your film.
Nowadays with all this modern technology palaver, you can change this ISO (because it’s digital photography) and change it for each photo. Unfortunately the higher up you go in these values, the more “noise” you will get. This digital noise is in a random pattern and totally unlike the grain of film photography.
Shutter speed
Shutter speed, as the words suggest, is about the speed of which the shutter opens and closes to expose either the film or camera’s sensor. You see, I told you that this would be simple to understand. If I can get it, then so can you. So now we’re on to speed. When changing the speed of which the light hits the film or the shutter, I can freeze motion, of get a conscious motion blur, where the photo will seem animated.
Let’s say I want to take a photo of somebody running towards me. I will use a higher shutter speed to freeze the action. Think of sports photography, of catching a pass of a ball in rugby, or a footballer stopping a ball etc. Those factors will make or break your image. Imagine a photo of a football match and you can’t see the ball because it’s going faster than your shutter. It might not work out for you. In this situation, on my film cameras I will let the shutter curtain open for just 1/1000th of a second. Depending on which digital camera I can go as quick as 1/8000 th of a second.
Let’s go to the other extreme. I’m taking photos of a landscape and I want to show the motion of trees in the wind, the movement of the clouds, or the movement of water. I will use a longer shutter speed, say anything from 1/8th of a second to one second… The subject will be moving faster than the shutter curtain, and I will get that artistic blur.
I could be somewhere very dark, so in order to get a clear photo, I will have to let more light through onto my film or sensor.There I might have to use bulb mode in order to leave the shutter curtain for longer than 2 seconds.
For shooting a subject walking I would use 1/125th to 1/250th of a second to freeze the frame. When using a flash in manual mode, I would aim to be around 1/60th of a second (which depends on your camera’s flash sync value). When talking about shutter speeds I’m thinking of my film cameras and bearing in mind that most digital cameras will have wider ranges of shutter speed. Another tip for you would be to not let your shutter speed go below the number of your focal length (the legendary reciprocal rule). Let’s say I’m using a 50mm lens, then I would not use a speed under 1/50th of a second, or even 1/60th of a second. If I have a 200mm lens I would not go under 1/200th of a second. This is to counterbalance the weight of the lens and avoid lens shake.
Conclusion
This article has a lot of information in it and I have decided to separate everything and have a Part II. In this Part I we have talked about sensitivity to light be that film, and the different ratings of films for various lighting situations. In digital photography we have a wider range of ISO settings and with the newer cameras, the noise in an ISO 3200 setting will produce a much less grainy image than with film. However this “grain” can be used as an artistic choice and I will let “you” experiment and see what each film gives you.
We have talked about shutter speed, and the ability to freeze an instant with a higher speed. And the opposite of this to create motion in our image.
In my next article, we will talk about Aperture and how this effects depth of field and discover the rich creaminess of bokeh. We will also explore various scenarii and give concrete examples of the effects of this triangle and how to turn it into an advantage.
It seems that I’m not the only one who raves about this powerhouse of a camera. This just proves that size truly doesn’t matter. I’ve mentioned it on numerous occasions and I stand completely justified in doing so!
Here’s a selection of articles that I have written showcasing phtoography from this amazing little camera in no particular order:
What keeps me coming back to it isn’t really about the pictures, or not just the pictures. It’s small enough that I actually bring it places a bigger camera would stay in the bag for, and that alone means it’s taken photos that wouldn’t otherwise exist. Still my most-used camera by a distance.
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.
