The Opening of the Film Archives – Trentemoult October 2016

This was another Ian and Kate day.  Similar in concept to the Ian and Killian day, but a day where I can dedicate myself solely to Kate.  She’s fifteen now of course, but I should spend more time with her.  If she’ll let me of course.  At the time she was only seven—simpler times where I could make her happy with just a nice tea, a boat trip across the river, and just wandering around exploring the intricate streets of an old fishing village on the “bords de Loire.”  There are no cars in the narrow streets, and the children can run wild.  

This day was one spent in Trentemoult, that rather colourful village that you can see here. The colours are intense and provide a great backdrop for portrait photography. So of course I went in with a film camera and black and white film.  Which only goes to show that when you photograph a location, however colourful, and take away the distraction of that colour, you have to really concentrate on composition, texture, and forms.  I couldn’t rely on colour for my photos today.  But I was sure that I could reveal some good photos despite that.

So what do you do?  You just try and capture some moments of your daughter messing around and being a perfectly normal seven year old.  I tried to capture her exploring the streets and being absorbed by the whole ambiance of the place.  She became part of the scenery, and blended in perfectly.

I was just there purely to observe and record the day on film, with one eye in my camera and the other on Kate.  It was a good day.  

Looking back at those moments reminds me of how quickly time seems to slip by without me realising that I am getting older.  She of course is slightly older, and possibly slightly less “insouciante” or carefree, but my love for that girl is still as strong as ever.


Browse the full Film Archives →

Fujifilm X-T2 Review (2026): Still Worth Buying?

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.

And here it is…

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

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

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.

So what do you think? Worth taking?

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

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 – Penthièvres July 2016

This set was taken on Penthièvres beach, on the Quiberon peninsula in the Morbihan. It has a special place in my heart — not just the sea itself, but the smell of the sea air and the feel of it on my face. It’s somewhere I go to escape a bit, especially when family visits get chaotic.

In some ways it’s strange going to the beach to “relax,” since that’s usually something I hate. Towels down, rocks weighing down each corner, watching the kids swim so nobody drowns (or you’ll get an earful), other people’s children screaming somewhere nearby, sand in every crevice by the time you’re back in the car with what feels like half the beach in tow.

But this was different. Boots stayed on. No screaming children. Just the wind, the sun, and being an observer rather than a participant, with nobody to make conversation with. Getting the beach down on film. Proper, solitary bliss.

So, camera and film for the day. The film was the usual Ilford HP5 I was shooting at the time. The camera was a Ukrainian-made rangefinder, the FED 5, from the Soviet era. You load it by unscrewing the base plate, much like a Leica, and the “ghost image” focusing is spot on and genuinely satisfying to use. I still love the smell of the leather case. As with a lot of my film photography, the experience of shooting it matters as much to me as the pictures that come out the other end.

Penthièvres ended up being more than just somewhere to point a camera. It’s become one of the places I go back to in my head when I need to, and these shots are what’s left of that particular afternoon.

A Peaceful Stroll Through Jardin de Plantes

The Jardin de Plantes is a quiet spot in the middle of a busy city, and my niece came along for a walk through it with me — Pentax ME Super loaded with Kentmere 100.

That day there was a bonus: sculptures and installations from the Voyage à Nantes were dotted around the garden, mixed in with the usual plants and paths. Away from the noise of the city, it was an easy, unhurried couple of hours.

My niece explored every corner while I got on with the Pentax, the Kentmere 100 doing its usual job. Nothing dramatic, just a good afternoon out with a camera.

Capturing Nantes: A Photowalk Through Urban Charms

This was a photowalk through Nantes with the Pentax ME Super, first loaded with Rollei RPX 100 and then Fomapan 100, taking in some of the sculptures and public art around the city, including a few pieces from that year’s Voyage à Nantes.

First stop was Place Royale, where the fountain is decorated with marine sculptures by the Belgian artist Maen Florin.

Next was Place Graslin, where the statue of Cambronne — the newer version, by Maya Eneva and the Cellule B collectif — stands outside the Cigale café.

A walk along Cours Cambronne took in two Voyage à Nantes pieces: “homme pressé” by the English sculptor Thomas Houseago, and “éloge à la transgression” by Philippe Ramette.

No Nantes photowalk is complete without the bike shots. It also allows people to keep fit and be very smug about not polluting…

Two rolls, one classic camera, and a decent look at some of the city’s public art along the way.