Tag: Travel photography

The Opening of the Film Archives—Jardin des Plantes August 2016

Posted on Posted in Black and White Photography, Family Life, Film Photography, Nantes Photography, The Film Archives, Travel photographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 13 Comments

There was a time when my daughter wasn’t a teenager.  There was a time when she quite liked her Dad, and she would accompany me everywhere.  It was good being that child’s hero.  It was a more innocent time.  It was a time when she actively tried to spend time with me.  It was a time when she didn’t see me the way I see myself…

One of her favourite places in Nantes was the Jardin des Plantes, a huge botanical garden in the middle of Nantes just across the road from the station.  I could talk about the fact of it being a haven of peace in the bustling city.  I could talk about it being an oasis of green in a sea of concrete.  I could talk using clichés ‘til the cows come home…

These photographs are not clichés, but real attempts of capturing a specific moment in time allowing me to travel back through time.  And looking at these images, I’m definitely back in time.

Let me introduce you to my daughter from 2016.  She was a 7 year old that already knew what she wanted but was slightly more subtle about it.  She would suggest that we go into town.  That I could take my camera.  That we could go to such and such a place.  That we could do such and such a thing.  And all this as if it were completely natural.  And I was a very willing victim.   

This time she suggested going to the Jardin des Plantes.  She would take her camera (my old Sony bridge) and I would take my Olympus Trip 35.  I used the Olympus Trip quite a lot at that time and its ease of use, the zone focussing, and general lack of buttons to press, made it quite the fool proof piece of kit.    

As usual, I let her lead the way.  This was here outing after all, and kept a respectful distance, so I could photograph her and record her for posterity.  The Jardin des Plantes has not only plants, the clue is in the title, but also is the backdrop to the Voyage à Nantes, and certainly was that year.  

I think the images speak for themselves and I’ll let you peruse them at your leisure.  They were taken on Ilford HP5 Plus film shot at box speed.

The Opening of the Film Archives – On the way to work

Posted on Posted in Black and White PhotographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 7 Comments

Sometimes we can have a tendency to ignore our habitual surroundings as photographers.  In this series of photos from the film archive, I’m going to show you part of the route I use to go to work.  What is ordinary to one person might be an pastoral idyl to somebody else.  It only goes to show that there is beauty everywhere in this world and one of our roles as photographers is to document it for future generations.

My wife, bless her, has always said that my black and white photos have a timeless feel to them, be they in the city or out here in the country.  I think that using film, especially this grainy HP5 Plus, even shot at box speed, adds to that sentiment.  The fact that I used Rodinal as my developer might have accentuated the grain too.  Also don’t forget that this is the beginning of my return to film development so I might have been a little vigorous in my “agitations” whilst developing the film.  I now use mostly Ilfosil 3 and lower grain film, and have brought a little more “calm” to my “agitations.”

The camera that day was the FED 5 rangefinder camera from Ukraine.  I’ve talked about it before, and although I mainly use SLRs, I still feel guilty about not using it more.  It’s a beautiful camera and I don’t want it to feel neglected.  I might just have to correct that soon.

I lived just outside Paris for 7 years before moving out to the country in 2001.  The change in ambiance was startling.  I went from blocks of flats to village life in the French countryside.  I went from riding the metro, and suburban Parisian trains, to learning to drive though this beautiful landscape.  Driving through this scenery still gets me every time I get into the car.  I wonder what I’ll see.  I see the changes in the fields and countryside through the seasons.

I want you to promise me, Dear Reader, that you will take a closer look at your route to work, and maybe I can convince you to record it too for prosperity.  Don’t worry about film or camera, even just using your phone will do the trick.

Why the Olympus Pen EE-S Is the Best Budget Film Camera for Beginners

Posted on Posted in Art, Film Photography, France, Nantes Photography, Street Photography, Travel photographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 11 Comments

Why the Olympus Pen EE-S Is the Best Budget Film Camera for Beginners (Even in 2025)

Pentax 17 fever is sweeping the film photography world, and I’ll admit, I was tempted. Half-frame cameras, with their promise of double the shots per roll, sound pretty amazing. But with a price tag of 500€, the Pentax 17 isn’t exactly within my budget. That’s when I rediscovered a little gem tucked away in my camera collection: the Olympus Pen EE S.

This Japanese-made half-frame beauty hails from the 1960s, the same era as the beloved Olympus Trip 35. Like its sibling, the Pen EE S features zone focusing and a selenium cell meter for fuss-free shooting. The lens is an F2.8 22.5mm Zuiko lens. The ISO settings go up to 200 ASA, unlike the Olympus Trip which goes up to 400 ASA. So, despite everything else, it needs light. The half-frame format means you get a whopping 48 exposures on a standard 24-exposure roll. That’s double the shots for your buck, folks!

Now, the idea of twice as many photos for the same developing cost is pretty appealing. But does the Olympus Pen EE S deliver the goods in practice? Stay tuned as I put this vintage camera through its paces and share my findings. Could this be the perfect half-frame hero for those of us who can’t quite swing a Pentax 17? Let’s find out!

Well, for starters, it felt very much like using the Olympus Trip 35. It’s very slightly smaller and weighs next to nothing. The shutter button is almost identical as well. Instead of having four zones for focusing, you have three, but it’s fine, and when you turn the dial, you feel a click as you enter a new zone. You point, and then press. Simple!

Let’s talk about this half-frame shooting experience. When talking about the Pentax 17, “they” talk about how the images are great for sharing on social media. A little like using your phone… This is the mindset that I had when putting in my Kodak Gold 200 to capture those famous Kodak moments in Nantes.

I found it a challenge to get used to the half-frame. “They” say that you have to take your photos as diptychs and remember that the two photos in your full frames are related, not just simple images. The idea is that when the two half frames are put together, you create a story and a suite of ideas, instead of two separate photos. I tried, and the results will show you if I succeeded. I felt that “they” were pulling my leg!

I’ll be honest with you. The idea behind the outing was to test the camera, see how I felt using it, and have a look at the results. It took me out of my comfort zone, which is something rare in photography for me. I was thinking about taking it to the UK with me to record the trip. It takes up next to no space in a camera bag and would allow me to shoot some film while back home. The idea of getting twice as many shots by using just half the frame is attractive. I’m just getting used to the reduced coverage that you get with just using half the frame.

For this outing, I decided to head out towards the Cathedral, and takes some shots of the Voyage à Nantes.

I found myself thinking differently about framing my shots and using my phone as a mental template. As for the resolution of my images, they will be half as much as using my full frame, but were I to print my photos, then I would definitely see a difference. But if they’re just for sharing on social media, then the resolution will be perfectly satisfactory.

The million-dollar question is, will I take it on my trip, and will I use it? Yes, I will. Will it be my main camera? Possibly not. Will it be more like using a new toy? Possibly, even if the toy in question is a vintage 1966 toy…

Here’s what I’ll do. I’ll put some images taken on the X100F, my more modern toy, and let you see how they compare. You’ll see the diptychs and see how the different shooting styles change the outlook and how they change the framing.

These are the X100F photos with editing in Snapseed…

A garden fountain in Nantes photographed on a Fujifilm X100F, shot as a digital reference alongside the Olympus Pen EE-S
Close-up of a garden fountain in Nantes, shot on a Fujifilm X100F as a digital reference comparison to the Olympus Pen EE-S
A large tree in a Nantes garden photographed on a Fujifilm X100F, used as a digital reference alongside half-frame film shots from the Olympus Pen EE-S
arch leading back to the cathedral
The old master's house in Nantes photographed on a Fujifilm X100F, shot alongside Olympus Pen EE-S half-frame film images for comparison
A view through a stone arch toward the cathedral entrance in Nantes, photographed on a Fujifilm X100F as a digital reference
Close-up of an ornate iron fence in Nantes, photographed on a Fujifilm X100F alongside Olympus Pen EE-S half-frame film shots
A view through a stone arch toward the Place Saint-Pierre in Nantes, photographed on a Fujifilm X100F as a digital reference comparison

And these are the half frame images from the Pen EE S… with the editing done in Photoshop using the neural filters to get rid of the scratches on the film.

A street in the Bouffay quarter of Nantes shot on an Olympus Pen EE-S with Kodak Gold 200 colour film, half-frame format
The Saint-Croix church clock tower in Nantes photographed on an Olympus Pen EE-S with Kodak Gold 200, half-frame colour film
The garden near the Église Sainte-Croix in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film
The Sainte-Croix clock tower in Nantes captured on an Olympus Pen EE-S with Kodak Gold 200, demonstrating the half-frame format's rendering of architectural detail
: The bridge over the moat of the Château des Ducs de Bretagne in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200 half-frame film
Trees in the courtyard of the Château des Ducs de Bretagne in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 colour film
The Château des Ducs de Bretagne seen through trees in Nantes, captured on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film
The towers of the Château des Ducs de Bretagne in Nantes photographed on an Olympus Pen EE-S with Kodak Gold 200, half-frame film format
A person sunbathing in the gardens of the Château des Ducs de Bretagne in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200
Trees in the gardens of the Château des Ducs de Bretagne in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film
The Château des Ducs de Bretagne in Nantes photographed on an Olympus Pen EE-S with Kodak Gold 200, half-frame colour film
A second view of the Château des Ducs de Bretagne in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 half-frame filmv
An apple tree in the grounds of the Château des Ducs de Bretagne in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200
The walkway leading to the Château des Ducs de Bretagne in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film
A tower of the Château des Ducs de Bretagne in Nantes captured on an Olympus Pen EE-S with Kodak Gold 200, half-frame film format
A tree rising above the moat of the Château des Ducs de Bretagne in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200
The statue of Duchesse Anne at the Château des Ducs de Bretagne in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 half-frame film
A street corner near the Cathédrale Saint-Pierre-et-Saint-Paul in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200 colour film
The side entrance of the Cathédrale Saint-Pierre-et-Saint-Paul in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film
A stone arch leading into a garden near the cathedral in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200
The Psalter's House (Maison des Psallettes) in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film
The Cathédrale Saint-Pierre-et-Saint-Paul in Nantes photographed on an Olympus Pen EE-S with Kodak Gold 200, half-frame colour film
A wide view of the Psalter's House (Maison des Psallettes) in Nantes, captured on an Olympus Pen EE-S with Kodak Gold 200 half-frame film
The garden of the Psalter's House (Maison des Psallettes) in Nantes, shot on an Olympus Pen EE-S with Kodak Gold 200 colour film
A second view of the garden at the Psalter's House in Nantes, photographed on an Olympus Pen EE-S with Kodak Gold 200 half-frame colour film

So what do you think? Worth taking?

The UK Chronicles – Preface

Posted on Posted in Black and White Photography, Northumberland, The UK Chronicles, Travel photography, United KingdomTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 18 Comments
Off to the UK

Good Evening, Dear Reader. You might not be able to feel the same excitement and trepidation as me, but I can assure you it’s palpable. I’m not talking about the Olympics, or the opening ceremony, which was very, very French. I’m talking about my upcoming annual leave. I will be going home to the UK for 10 days. I will be going home. Home is where the heart is, and as my mate David Frank once reminded me, you can take the boy out of Hull, but not the Hull out of the boy. How right he is. Even after 30 years of living in a foreign country, and despite having become somewhat “continental,” the UK is, and always will be, home.

Heading Home: Embracing Nostalgia and Anticipation

The physical preparations are not underway yet, but the mental ones certainly are. We will be driving up to Calais from the Vendée. It is a drive that over the years has become vaguely familiar, and I have the images in my mind of the various stops along the way, and the signs that I will be looking out for. My wife is a professional driver, and I will be relegated to helping out when she becomes tired and needs a rest.

The Road to the North: Familiar Drives and Service Station Delights

I don’t know about you, but when I’m in my car, I’m in a familiar environment, and it feels a little like having a part of my home with me. The controls for driving are second nature, and I don’t have to think. As I have mentioned, I am a creature of habit, and despite not being alone whilst driving, and the possibility of a mad screaming harpie, I mean wife, sitting next to me, I’m still looking forward to the trip. For the first time in 4 ½ years, my son will be coming with us, so I’ll have some masculine back-up and will feel less dominated by my daughter and wife.

We will have a stopover in Dover, and take the now familiar road up to Northumberland to see my parents. I’m actually looking forward to the service stations in the UK, especially one near Peterborough, that has a kind of Food Court, which includes Marks and Spencer. I’m looking forward to biting down onto a prawn cocktail sandwich, and a Wensleydale and carrot chutney sandwich. I know it’s not the “gastronomie” that the French might talk about, but to me, it’s about the nostalgia of the thing. It’s part of coming home.

Home Away from Home: Comfort in the Driver’s Seat

But, I hear you say, Dear Reader, you haven’t talked about cameras or photography yet? And you would be right. Thank you for allowing my little trip to nostalgia land. So, let’s talk about cameras for this trip. There is, of course, the X100F, that is the travel photographer’s camera par excellence. It’s compact, it works, and gets the job done. It’s what I will probably be using nearly 80% of the time. The 35mm F2.0 lens has me covered for nearly all situations, and if I take the telephoto conversion lens, then I’ll be even more covered.

Capturing Northumberland’s Beauty: Gear and Location Plans

Do I already have plans for where to take photos? Mayyyybe…

I have already a largish selection of photos of the village of Alnmouth, that you should be able to find on this site, either by using the search bar, or looking at the tag list at the bottom of every article. But, believe it or not, Northumberland is not just about Alnmouth. I know. Mind blowing.

I would like to get some shots of Dunstanborough Castle (for which I might even have to take my Canon 6D Mark II and various lenses, but I’m not sure about that yet), Beadnell, Seahouses, the Farne Islands, Holy Island, Craster, Bambourgh Castle. There’ll be beaches, islands, birds, seals, boats, and harbours. I even thought of going down by Amble and maybe stopping off in Walkworth.

That might mean a Canon bag, with lenses and filters, and possibly even a tripod. Decisions, decisions. Do I need more room in the car, and will the family gang up on me if I take more photography kit with me? There is a difference in volume and weight, of course.

Weathering the Storm (Or Not): Temperature Contrasts and Photographic Possibilities

I suppose it all depends on the weather. One tends not to visit the UK for the great weather. Here in my little corner of France, it’s supposed to be getting up to 36°C today. Not in Northumberland, though. I’m expecting 20°C and maybe lows of 14°C. Much more comfortable, and almost human.

Conclusion

So “home is where the heart is” is still something that resonates with me.  Thirty years a foreigner, and yet as a lot of us immigrants, we’ll never be completely at home in our adopted country, we are condemned to never feel fully at home in our home country.  We will be “continental”.  Our very essence has changed. The nostalgia for a past that has moved on since we left is another of our penances.  Maybe that’s why I do so much black and white photography; a way of trying to capture this bygone time.

Also in this series: Preface  ·  Lesbury  ·  Alnmouth  ·  Bamburgh  ·  Alnwick  ·  Rothbury  ·  Hepple  ·  Chesters  ·  Return  ·  B&W Footnote  ·  Summer I  ·  Summer II  ·  Summer III  ·  Summer IV

The Opening of the Film Archives – Le Hangar à Bananes July 2016

Posted on Posted in Architecture, Black and White Photography, Film Photography, France, Nantes Photography, Street Photography, The Film Archives, UrbanTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 5 Comments

Continuing our journey through the film archives, we find ourselves on the Île de Nantes, home to the iconic Hangar à Bananes. Let’s rewind to July 2016, when I captured this vibrant scene with my then favourite Canon AE1. Once a shipbuilding powerhouse, Nantes had cleverly repurposed its abandoned infrastructure into a bustling hub. The area is now home to the fantastical Machines de l’Île, the historic Chantiers Navals, the towering Grue Jaune, and of course, the Hangar à Bananes itself. Back then, the Hangar was a hive of activity, buzzing with picnics, impromptu barbecues, and lazy afternoons under the summer sun.

My goal was to capture that unmistakable “Summer Vibe.” As always, I started with the architecture, drawn to its striking modern lines, a refreshing departure from the stark brutalism of the 1970s. The clever use of texture and the innovative design of the apartment buildings particularly caught my eye.

That summer, the Voyage à Nantes festival had a brilliant idea: communal barbecues for everyone. Genius, right? You simply brought your food, and they provided the grills, charcoal, tables, and chairs. It might not be Texas, but the French know their way around a barbecue, and being the food lovers they are, they go beyond the usual sausages and burgers. It was a true testament to what a public space should be – a place for everyone to gather, share, and simply enjoy themselves.

Then there was the dancer. He was just filming himself with a GoPro, but the way the sunlight caught his movements and the glistening sweat on his skin was mesmerising. It was a fleeting moment, the first and only time I’ve ever photographed a dancer, but it left a lasting impression. There’s something undeniably captivating about the human body in motion.

My wanderings continued to the edge of the island, where the mighty Grue Jaune – now a “monument historique” and a symbol of Nantes – stands tall. Walking past and through this enormous yellow crane was an awe-inspiring experience.

Along the riverfront, the Anneaux de Buren, a series of massive rings, stretched out in a mesmerizing pattern. At night, they transform into a dazzling display of vibrant reds, blues, and greens – a photographer’s dream, offering endless possibilities for capturing leading lines, geometric shapes, and unique framings of the cityscape.

And of course, no photo series of mine would be complete without the obligatory bike shot. It’s a bit of a tradition for me.

Even now, in 2024, the Hangar à Bananes still exudes that same “Summer Vibe.” It remains a popular spot for after-work drinks with friends and colleagues, boasting a variety of restaurants, bars, the HAB Gallery, and the infamous “Warehouse.” While the area can get a bit dicey later at night, it’s perfectly safe and enjoyable for a daytime visit or an early evening soirée.

The Opening of the Film Archives – Clisson May 2016

Posted on Posted in Architecture, Camera reviews, Film Photography, France, The Film Archives, Travel photographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 6 Comments

Introduction

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.

FeatureCanon AE-1Canon AE-1 ProgramDifferences
Release Year19761981AE-1 Program released 5 years after AE-1
Exposure ModesShutter Priority AEShutter Priority AE, Program AEProgram AE added to AE-1 Program
MeteringCenter-weighted AverageCenter-weighted AverageNo difference
Shutter Speeds2s – 1/1000s2s – 1/1000sNo difference
Viewfinder DisplayLEDsLEDsNo difference
Film Speed SettingManualManualNo difference
Self-timerYesYesNo difference
Depth of Field PreviewYesYesNo difference
Motor Drive CompatibilityYesYesNo difference
Other NotesFirst Canon SLR with microprocessor; revolutionary for its timeSimplified controls for easier use; appealed to wider audienceAE-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.

The Opening of the Film Archives – Saint Cado, Belz, Morbihan

Posted on Posted in Black and White Photography, Camera reviews, Film Photography, Landscape Photography, The Film Archives, Travel photographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 10 Comments

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!)

The Opening of the Film Archives – Nantes November 2016

Posted on Posted in Black and White Photography, Film Photography, Nantes Photography, The Film Archives, UrbanTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 19 Comments

Following our last trip to Carnac, the film archive now has a look at Nantes in the autumn of 2016. These photos offer a glimpse into how I approached photographing a city back then, and if I’m being totally honest with you, still do. I treat the city much like a model on a photoshoot. The goal is to capture not just the physical landscape, but the essence and atmosphere of a place, allowing viewers to get a feel for the city simply by looking at the images. In this series of pictures, Nantes reveals herself and her architecture, resplendent in the autumnal sunshine.

Over time, I have come to know the city and appreciate her architecture. Buildings are not only a reflection of the architect but also of the people who live in them. They add character to the city, allowing her personality to shine through.  I enjoy looking at the lines, and the shapes of them.  They inspire me.  They tell the story of the people who, either work, or live in them.  They are not just mere edifices.  

You will notice as we go through the archives, I might not respect the timeline slavishly. My aim is to give you an aperçu of my world at the time through film. I know you will be able to take this affront in your stride and not hate me!

We’ll go from the bains douches municipales, through to the Sainte Croix church, to the Stalinian 1950’s architecture of the Social Security building, passing by the odd shop, Hausmanian architecture, and even a shot looking towards the Cathedral.

Film photography, the opening of the archives

Posted on Posted in Alnmouth, Black and White Photography, Film Photography, Northumberland, The Film Archives, United KingdomTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 4 Comments

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?

Moped with a Jameson whiskey box as a baggage holder. Looks very cool
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!

24-70mm Lens: Unveiling the Beauty of Vendée Coastal Landscapes

Posted on Posted in Black and White Photography, France, Landscape Photography, Reportage, Travel photographyTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 4 Comments

Work. That familiar feeling of being a hamster on a never-ending wheel. Emails, passive agressive colleagues, and meetings blurring into one another like the monotonous hum of voices in the office. Sound familiar? Yeah, that was me a few weeks ago. So, what’s a weary soul to do? Employ some sartorial elegance with navy blue chinos, a white button down shirt, my new sungalsses, and my favourite Panama hat, and embark on a spontaneous coastal escape to Vendée!

Now, full disclosure, Vendée isn’t exactly the Caribbean. But for a quick mental recharge, it certainly does the trick. Plus, it was the perfect opportunity to put my Canon 6D Mark II through its paces, specifically the oft-maligned 24-70mm f/4L lens. This trusty workhorse gets a bad rap sometimes, but let me tell you, by the end of this trip, I was a convert.

The Vendée coast is a tapestry of stunning landscapes, each begging to be captured. My first stop was Viellevigne (not strictly the Vendée and just on the other side of the Loire Atlantique border), a charming little town I usually just whiz through on my daily commute. But this time, with a camera in hand and a head full of vacation vibes, I saw it with fresh eyes. I framed the quaint church nestled between two ancient trees, a scene I’d driven past a thousand times without a second glance. The hedgerows, usually just a blur of green, revealed a hidden world of wildflowers and buzzing insects when I switched to the lens’s macro function. Suddenly, the familiar became fascinating.

Next, I cruised down to the grand canal near Fromentine. Now I don’t know if grand means big or grand in this instance. I mean it’s not huge, and the grand canal in Venice is somewhat ore deserving of the title. The sun, a generous giver of both light and good mood, cast a warm glow on the weathered ruins of old houses lining the water. Across the road bridge stood a line of fishing huts, its battered paint a testament to years of battling the elements. The 24-70mm here proved its versatility, letting me capture both the vastness of the canal and the intricate details of the local flora.

As the day wore on, I found myself at Port de Bec, a haven for oyster farmers. Here, the scene was abuzz with activity. Tractors lumbered out of the water, hauling heavy loads of oyster boats ashore. The rickety moorings, weathered and worn, added even more charm. The lens’s sharp autofocus kept pace with the bustling scene, ensuring I didn’t miss a single detail.

Finally, the crown jewel of the trip: the Passage de Gois. This legendary causeway, submerged twice a day by the tide, is a photographer’s playground (just make sure you keep an eye on the water, unlike yours truly who nearly got his sandals swept away!). The tide was rolling in fast, creating a dramatic contrast between the exposed road and the encroaching water. The 24-70mm handled the dynamic light and vastness of the scene beautifully.

But this trip wasn’t just about capturing stunning photos (although, let’s be honest, those were pretty damned cool!). It was a much-needed reminder of the power of stepping off the hamster wheel, even if it’s just for a short while. The fresh air, the sun on my face, the beauty of the Vendée coast – it all conspired to wash away the workaday stress. I came back feeling refreshed, inspired, and with a newfound appreciation for the magic that can be found right on your doorstep, if you just know where to look.

And the 24-70mm? Yeah, it more than held its own. It proved to be a versatile and capable travel companion, capturing everything from sweeping landscapes to macro details. So, next time someone throws shade at this trusty lens, I’ll just point them to my Vendée photo album and let the pictures do the talking.

Until our next adventure my Dear Reader!

Manual Mastery – a beginner’s guide Part I

Posted on Posted in Black and White Photography, Photography TutorialsTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 9 Comments

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.

Also in this series: Manual Mastery Part I  ·  Manual Mastery Part II

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

Posted on Posted in Photography TutorialsTagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , 19 Comments

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.

  • Vintage car
    TT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.
  • Vintage car
    TT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.
  • Standing Stones in Brittany
    TT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.
  • my beautiful niece
    TT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.
  • Nantes Street Photo
    TT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.
  • Le lieu Unique, Nantes
    TT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.
  • Le lieu Unique Nantes
    TTT Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.T Artisans 7mm fisheye on the X-T2. Point it at anything and it becomes interesting. Point it at the wrong thing and it becomes embarrassing.

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.

  • Modern Architecture, Île de Nantes
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • the bird nest building
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • Street Crossing
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • Modern Architecture, Île de Nantes
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • Modern Architecture, Île de Nantes
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • Modern Architecture, Île de Nantes
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • Modern Architecture, Île de Nantes
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.
  • the bird nest building
    Île de Nantes on the 16mm — wide enough to swallow a building whole, tight enough to still feel like you chose the frame.

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.

  • Imposing doorway, Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Passage Pommeraye Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Passage Pommeraye Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Passage Pommeraye Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Street Light, Place Graslin, Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Street Photo, Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Street Photo, Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Telegraph wires
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.
  • Notre Dam de Bon Port, Nantes
    28mm on film, 2017. Slightly wider than I expected, considerably more interesting than I deserved.

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.

  • St Brevin les Pins
    The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
  • Two friends, St Brevin les Pins
    The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
  • St Brevin les Pins
    The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
  • St Brevin les Pins
    The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
  • Two friends, St Brevin les Pins
    The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
  • St Brevin les Pins
    The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
  • St Brevin les Pins
    The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
  • St Brevin les Pins
    The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
  • St Brevin les Pins
    The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
  • House in Saint Brevin
    The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
  • Two Friends
    The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.
  • The 35mm equivalent — the one I keep coming back to. Close enough to be present, wide enough to leave room for the world to breathe.

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.

Also in this series: Prime vs Zoom Lenses  ·  Prime Lenses Part I  ·  Prime Lenses Part II  ·  Zooming In on Flexibility Part I  ·  Zooming In on Flexibility Part II