Tag: portrait photography

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

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Introduction

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

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

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

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

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

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

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

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

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

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

Choosing the Right Film Format: 35mm vs. Medium Format Photography

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Introduction In the world of film photography, the choice of film format can significantly impact the results you achieve. Whether you’re an aspiring street photographer or simply an enthusiast looking to explore the world of analog photography, the decision between 35mm and medium format can be crucial. This article explores the major differences between these two formats, helping you along on your photographic journey. As we dive into this discussion, it’s essential to understand how the choice of format can influence your work.

1. Understanding the Basics Let’s start by establishing a foundation. 35mm photography is the more common format, known for its accessibility, ease of use, and widespread availability. It is the standard format of film. However, medium format photography offers distinct advantages worth exploring.

2. The Key Differences

Image Quality and Resolution: The most noticeable difference between medium format and 35mm photography lies in image quality and resolution. Medium format film, with its significantly larger negative size, captures an significant level of detail and clarity. The larger negatives provide ample room for precise rendering of textures, fine lines, and intricate patterns. This translates to stunningly sharp and highly detailed images, ideal for both professional work and fine art photography. If you’re aiming for prints that capture every nuance, medium format is the way to go.

Aspect Ratio: Another significant difference is the aspect ratio. 35mm film typically yields images with a 3:2 aspect ratio, while medium format cameras typically offer a square 1:1 aspect ratio. The square format can be a creative boon, pushing photographers to rethink composition. It forces a balance between the vertical and horizontal aspects of your subject, a characteristic reminiscent of the iconic street photographer Vivian Maier, who frequently used a TLR camera. The square format encourages unique framing and adds an artistic challenge to your photography.

Depth of Field: Medium format allows for a shallower depth of field compared to 35mm. This means that it’s easier to achieve that sought-after background blur or bokeh, perfect for portrait and street photography. With a well-executed composition, your subject can pop against a beautifully blurred backdrop, making them the focal point of the image.

Size and Weight of Equipment: In terms of portability, 35mm cameras have the upper hand. They are compact, lightweight, and ideal for street photography where you need to be quick on your feet. Medium format cameras, on the other hand, tend to be bulkier and heavier due to the larger film format and the associated optics. This makes them better suited for planned shoots where image quality takes precedence over convenience.

Cost of Film and Development: While 35mm film and development are more budget-friendly, medium format film comes at a higher cost. When using the 6×6 format you will only have 12 images per roll of film. This of course makes every shot count. If you are stressed out about messing up a shot on 35mm film then your anxiety will shoot up to lunar levels with only 12 shots. But remember what I have said earlier, no shot is wasted and every shot is a learning experience. The enhanced image quality, detail, and artistic potential make medium format film worth the investment for those who prioritize the final result over the upfront cost. If you’re planning to produce gallery-worthy prints or pursue a professional career, the expense can be justified.

Flexibility and Convenience: 35mm cameras are known for their flexibility and convenience, making them well-suited for capturing quick shots or candid moments. They’re also readily available, and film processing is more accessible. In contrast, medium format cameras require a more methodical approach, ideal for planned and deliberate photography. The process is slower, encouraging you to carefully consider each shot and compose it meticulously. This added effort can lead to more thoughtful and deliberate photographs.

3. Street Photography with the Pentax ME Super and TLR Influence Vivian Maier, a renowned street photographer, serves as an inspiring example of how camera choice can shape your photographic style. Maier favored the TLR camera, a medium format model known for its distinctive qualities. Her use of the square format and unique perspective have left an indelible mark on street photography.

I want you to think about the fact that a TLR is hanging around your neck at tummy level or even waist level, so the way of looking at your subject will automatically affected too.

If you’re looking to explore street photography with a Pentax ME Super, remember that the compact 35mm format offers its advantages for candid, on-the-go shots. However, Maier’s work reminds us that the choice of equipment is a personal one, and there’s no one-size-fits-all answer.

4. The Mamiya C220 Review: A Medium Format Marvel As we venture further into the world of medium format, the Mamiya C220 beckons. Just as Vivian Maier chose a TLR for her street photography, other photographers have found success with medium format cameras like the Mamiya C220. In my upcoming review, I’ll explore the features, benefits, and considerations of this remarkable medium format camera, guiding you towards your next photography adventure.

The Induction to a Higher Level of Photography When you make the transition from 35mm to medium format, you’re stepping into a higher echelon of photography. If you think that 35mm film is great, you’ll be enthralled when you see your images taken by a medium format camera. The level of detail and depth of field that medium format offers is simply unmatched. It’s like upgrading from a standard screen to 4K resolution for your photography. Every detail comes to life, and the depth of field adds a whole new dimension to your work. It’s a revelation that will leave you wondering why you didn’t make the leap sooner.

The 35mm format photo captured on the Pentax MS Super. The “standard” format of film photography. The one we all know.

The square format common to much medium format photography with a 6×6 format. I’ll let you look at the differences for yourself.

The lenses for each shot was a 50mm lens for the 35mm format film photo, and the 80mm mm lens for the medium format photo. However, both lenses are equivalents.

Conclusion In closing, remember that there’s no definitive answer to the question of 35mm vs. medium format. It’s a matter of personal preference and artistic vision. Both formats have their merits, and your choice should align with your goals and the style of photography you wish to pursue.

Stay tuned for the Mamiya C220 review, where I’ll delve deeper into the world of medium format photography, and consider the impact of the TLR on your creative journey.

The journey of film photography is full of exciting choices, from your film format to your camera model. Vivian Maier’s legacy reminds us that every camera has its unique personality and that your creative vision should be the driving force behind your choices. Whether you decide on 35mm or medium format, your camera is your artistic tool, and the world of film photography is yours to explore.

Frame It Right: The Art of Composition in Photography Part I

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In my last article we talked about exposure, and balancing the elements that form the “exposure triangle”, i.e. the sensitivity of the film that we’re using, of the ISO setting on our camera sensor, the shutter speed, i.e. how long we let the light hit the film, or camera sensor, and aperture, i.e. the size of the hole that light comes through measured in F-Stops.  When these elements are in perfect osmosis, we should get a decently exposed photograph. 

Introduction to composition principles

Now we shall take this knowledge and build upon it with notions of composition, i.e. how we will organise the elements in our photograph.  Sometimes we have control of where these elements are, for example when creating a still life image.  Other times we have no control whatsoever and just have to move ourselves instead.  The way we do this is by thinking about our “Composition.”

As humans we are all guided by rules, some universally moral, some defined by the country we live in (like in France where they seem to be forbidden to make a decent up of tea), and Art is no exception.  There are rules in Art that make an image pleasing naturally to the eye, and, believe it or not, these “rules” have been around for a long time.  Now I hear you little rebels sat at the back of the classroom near the radiator saying how you don’t live by rules, and that you break every rule in the book.  And I have no problem with that.  I would however suggest you learn the “rules of composition” first and then, and only then break them knowingly.

Photography is art made with light, and the first photographers were heavily influenced by the art and paintings in the local Art Galleries.  They therefore had a very “classical” notion of composition.  I want you to imagine those massive oil paintings in a gold frame showing a Victorian gentleman looking over the top of a waterfall, framed by the forests, and still looking so dapper.

The Rule of thirds

This is one the first things that people will talk about when talking about composition.  The idea, as the name suggests is to divide a photo equally into thirds horizontally and vertically, and put the point of interest (subject) where the lines intersect.  Or you could have a landscape photo where sky will take up two thirds of the photograph and the foreground the other third.  In editing software, when framing you shot they will put a three by three grid on your photo automatically.  Some digital cameras allow the use of this grid inside the viewfinder.  When taking a portrait you would ideally have the eye where the lines cross.  Yes Ian, but this has been done, done, and done again, and has become a cliché I hear you say.  Possibly, but it works mate!  Don’t knock it.  As I said earlier, learn the rule, master using the rule, and then you might consider breaking the rule, but it will be a conscious decision and above all, deliberate.  But it will permit a pleasing and natural result.

Leading Lines and Perspective

Leading lines are lines that lead the eye into the photograph, turning it into something dynamic.  The lines will converge on a certain point in the image, which, if you want, can be on the grid that I described in the last section.  This point is the vanishing point, and give geometrical forms to your image, and can lead to the subject of you photo.  When using straight lines,you can emphasis to shapes in architecture and acquire a very “graphic” image.  Using a wide angled lens or even a fish eye lens will emphasize these line even further and the distortion of these lenses will add even more interest to your image.  I will talk about the most common lenses in a future article.  We’re not there yet. The lines don’t have to be straight, they can be curved or S shaped.  Think of a winding road in the countryside.  Whichever version you use, there will be a feeling of being drawn in to the scene. 

In the first photograph of the original Pegasus Bridge all the lines converge to a central point with a person standing which gives us an idea of the scale of the bridge.  These straight geometrical lines give a feeling of stability and solidity. 

In the second photograph, we can see an image that uses an S curve, and as you can see, the effect is totally different.  More subtle, but they eye is still drawn in to the image.

 Leading lines can appear in nature and in the landscape.  Look at the way that the tree line and lines in the mountains converge on a specific part of the photograph and show the different layers of the photograph. 

I seem to use them in quite a few of my photos, and with time, you won’t even have to seek them out.  You will be lead…

Symmetry in photography

In last week’s article we talked about exposure and how it is a balancing act between the three elements: film sensitivity, aperture, and shutter speed. We can find this symmetry in our compositions too. 

Symmetry in photography is a fundamental principle that enhances the visual impact of images. It involves balancing elements on both sides of a central axis or point. There are various types of symmetry, including horizontal, vertical, radial, and bilateral, each offering unique opportunities for creating appealing compositions. Symmetry naturally draws the viewer’s eye, adds stability, and is particularly useful in architectural, landscape, and macro photography. However, breaking symmetry with a contrasting element can introduce tension and creativity. By framing subjects thoughtfully, adjusting camera angles, and recognizing symmetry in both natural and man-made subjects, photographers can master this powerful tool for captivating compositions.

In summary, symmetry in photography is about creating balance and harmony through the arrangement of elements within the frame. It provides a sense of order, highlights patterns, and engages viewers, while also allowing for creative deviations when necessary to convey a specific message or emotion.

Conclusion

Firstly let’s not be fixated by these rules. I was right to describe them as “guides” to composition.  Talking about them is fine, but we have to put them into action.  Don’t try to do them all at once.  Take one rule.  Look at it closely.  Think how can I use this one rule?  How can I master it, or at least take it on board.  When you think that is is engrained into your mind, then start using a different concept.  I can’t stress that when learning, take your time.  Let the concept become second nature.   

There will be occasions when you feel that you are no longer advancing in your composition, but stick at it.  You will not obtain mastery after just one outing.  I’ve been doing this for 40 years and am still learning something new each time I go out with my camera.  People talk about being on a photographic journey, and that is a very good way of looking at it.  You can’t run before you can walk.  Don’t let yourself be overwhelmed by what you might see on Instagram, or even on this blog.  We are all at different places on this path.

In next week’s episode we will explore framing, negative space, colour theory, texture.  There will be a third article to cover pattern and repetition, scale and proportion, depth and layering.  There are so many points to talk about in composition that we may even have a fourth article but we’re not there yet! 

See you next week.  Until then, keep shooting!

The Art of Visual Note-Taking in Photography: Lessons from a Reflective Portrait

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A Glimpse into Visual Note-Taking

Photography is more than just capturing perfect portfolio shots. It’s a journey of exploration, experimentation, and personal growth. In this article, we’ll delve into the world of visual note-taking with your camera, drawing inspiration from a poignant black and white portrait capturing a moment shared between a father and his son.

The photograph that serves as our muse in this exploration is a black and white portrait taken within the confines of an elevator. It’s a seemingly ordinary setting, yet it holds within it the essence of visual note-taking. In the center of the frame, my son stands, gazing intently into the elevator’s mirror.

This image isn’t just about following the rule of thirds, although it does so with remarkable precision. What truly sets it apart is the subtle yet profoundly impactful detail: my own reflection, almost ethereal, lingers in the mirror behind my son. It’s a moment frozen in time, a visual note that encapsulates a father’s perspective and a son’s curiosity.

Lessons Learned Through the Lens

This visual note, seemingly unassuming, has been a source of profound lessons in my photographic journey:

1. The Dance of Composition: The deliberate use of the rule of thirds here isn’t just about aesthetics; it’s about orchestrating a visual symphony. The composition invites viewers to explore the depths of the image, guiding their eyes from my son’s contemplative gaze to the faint presence of my reflection. It’s a testament to the power of composition in storytelling.

2. The Narrative Thread: Photography is storytelling with light, and this image narrates a journey. It’s not merely a reflection in a mirror; it’s a snapshot of our journey from the subterranean depths of an underground carpark to the bustling life of the city streets above. It captures the transient nature of existence, reminding us that every moment is a story waiting to be told.

3. The Reflective Element: The mirror within the elevator introduces an intriguing layer of reflection and perspective. It turns an ordinary scene into a canvas for creativity, showcasing the hidden depths within seemingly confined spaces. It’s a reminder that as photographers, we should always be attuned to the opportunities around us, even in the most mundane settings.

4. Emotion Unveiled: Portraits are vessels of emotion and connection. My son’s expression, captured in this visual note, reflects a myriad of feelings—contemplation, curiosity, or perhaps a touch of wonder. These emotions breathe life into the photograph, making it relatable and evocative.

The Journey Continues

This visual note is more than just a photograph; it’s a reflection of my evolving perspective as a photographer and a father. It’s a testament to the idea that within the ordinary, we can find the extraordinary. It speaks to the profound lessons we can draw from visual note-taking in photography.

As you embark on your own photographic journey, remember that each click of the shutter is a note in the symphony of your experience. Visual notes may not always be destined for your portfolio, but they are the heartbeats of your creative exploration. They are reminders of where you’ve been and stepping stones to where you’re going.

Capture the journey, one visual note at a time. Your next revelation may be just a click away.

The following photos, or should I say visual notes, we’re taken over two September Saturdays with my Fujifilm X100f. What did you take away from these visual notes?

A Sunny February Afternoon

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Sometimes you have brunch and just feel that all is well with the world. Well, that Sunday, all was definitely well with the world, or at least, well with my world, which isn’t a bad way to be on a delightful sunny February afternoon. Out in town with my camera, well-fed, and just wandering around, seeing what would turn up in front of my camera.

If I were to be honest, I know that if I go to such-and-such an area, I will get such-and-such a kind of photo, so we can’t about wandering around aimlessly, but there was a sort of randomness… Sort of.

Get ready for some technical information, which will hopefully explain the style of photos that I am presenting to you today. When converting my images to black and white, I edited as if I had a red filter on my camera and as if I were using black and white film. When using this red filter, anything that is blue comes out in a darker tone. It’s going to be easier to use an image instead of a thousand words…

Basically, anything that is a deep blue turns almost black and makes for a powerful image. Some people love it (I do), others don’t (ah well), and that’s all fine too! You get the picture!

A lot of the photos that follow will exhibit this effect as if they were case book studies. You need the sky to be a certain way or it just won’t work, but when it does, you get the kind of image that jumps out at you. That and the 16-35mm lens, you can’t really go wrong. Mind you, after that delicious brunch, not a lot could go wrong…

Noia

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Sometimes it’s good to be good to people. I mean it’s always good to try and be a good person, as subconsciously, I would like to think that we are all called to goodness and to be decent people, despite the example given to us by the Conservative party over the last three years. Maybe there is hope and they will put past delinquency behind them.

Anyway, I’m not here to bash Boris, however pleasurable this might be. I’m here to talk to you about how I once took some photographs for somebody who was very kind about my work. It was for a guy called Elvis, who, despite the song, was not seen down the chip shop, but at a barber shop. You can see the original photos here and I have to admit that I was pretty happy with them.

Elvis was the owner of the barbershop. But he was above all involved behind the scenes in professional football, but the poor lad was going through long covid and not in a good way. Later on, whilst in training and getting thinner, he discovered a lump. It’s not the thing you want to hear when you’re about to have a new addition to your family. Thankfully, God has this way of looking after us and it was discovered and treated, and he now has a young daughter as well as his other children.

His elder daughter wanted to confect a “book” to present to various modelling agencies etc. Elvis thought of me. I of course agreed because it’s good to be good, and even better when that person is a friend. Then I went and caught COVID. Yes, I was one of those optimists who thought that with his three vaccines, he might have just escaped the dreaded lurgy! Oh silly me! Anyway, we managed to get a date together that was good for the both of us, and where good weather would be slightly more likely. I suggested taking my portable studio after the success with Hervé, so we wouldn’t have to worry about inclement weather, but we agreed on shooting on location.

We eventually decided to go to Trentemoult where the coloured houses would provide some colourful backdrops. And despite the harsh sunlight, we found lots of spots in the shade. Yes, you can have too much light. The rendez vous point was given and when they arrived we went to a café for a brief and to tell Noia how things were going to happen. Elvis, bless him, was wonderful carrying my reflector for me.

We wandered around, ooohing and ahhhing, agreeing on how pretty it was and how colourful it was, and how it was probably a good idea not to check out the house prices.

The shoot was done, we went to another café, had a beer, chatted and put the world right.

For this shoot I used the Canon 6D Mark II, with the 85mm F2.8 lens and the 50mm F1.8 lens. I would also like to thank Sean Tucker, for his expertise and tutorials for his editing techniques that I used here as I wanted to try something different and get back into Photoshop.