Light & Shadow

I’m nearly ten years into my ‘serious’ photography journey. I’ve photographed pretty much every style of subject in many different locations. I have taken tens of thousands of photographs, maybe half of one percent, worth keeping or at least ones which I am proud of.

I don’t know if this hit rate is unusual but all the while, I’ve been searching for a distinctive style. I want people to look at my work and instantly recognise it. A distinctive look that my photos take. The one constant quest in my work is to examine the relationship between light and shadow.

I enjoy the work of street photographers such as Sean Tucker, Samuel Lintaro, Roman Fox and Faizal Westcott ; who all maximise the use of shadows, strong patches of sunlight and people moving through these spaces. I went into Manchester last week and made the most of the sunshine by finding spots where it partially lit up the scene. Im still learning the techniques involved with making strong images but I do use the highlight weighted metering mode on my Sony cameras. It’s a fairly common metering mode on most makes but the Sony one helps me to produce a certain look that I’m after.

The light gods do have to bless you in order to achieve this style but when they do, you need to work the scene quickly and with intent. I like people or interesting objects to be in the light or people passing through. I’m not worried if others in the scene just come out as black shapes because it helps the viewer to concentrate on the detail in the lighter spaces. The three pillars of photography to my mind are light, composition and time. I am far from the finished article when it comes to all three but I have learned and improved my understanding of all of them in the last ten years. I now take photos intentionally rather than in hope. I compose a scene and wait for something or someone to walk into it. In the case of the image above, the man eating a snack was stood for a while but I had to wait for him to be isolated rather than behind passers by.

The image above has elements of light and shadow created entirely by the shape of the building. The geometric patterns of the building look fabulous against the blue sky ( if you look carefully, there’s an airliner flying above) and shows you don’t need to be on the street waiting for someone to walk through a patch of light to make a good photo. The legendary British photographer Martin Parr has said that you need to find a subject that interests enough to want to explore more and more. My landscape photography works best for me when I have dramatic skies or strong light on parts of it. I struggle with landscape photography because I think people like landscapes and they are less challenging than street or documentary photography. I’m drawn to the coast because it has texture, light and drama. I just don’t think I’m much of a landscape photographer and I admire those who create beautiful images in nature. It’s just not my main interest and I need to accept that.

I can’t conclusively say my style is distinctive, that is for others to determine. I know I haven’t perfected it by any stretch of imagination but I am getting there. The one thing that those who see my work like is my moody look to my images. I like to create a bit drama, to make the everyday seem a little more interesting.

On another topic, I find myself getting a little frustrated with some photographers on YouTube who tell you that ‘gear doesn't matter’. I am no beginner and have been at this for a while now. I sell my work, have had my work featured in magazines and do studio photo shoots and gear does matter. The fact I’ve been through pretty much every camera brand to end up where I started with Sony. Why did I switch from Nikon Z to Sony? The cameras are as small as full frame cameras get, they have an extensive range of native and third party lenses available and they just work. They aren’t aesthetically the prettiest, they don’t go for retro or sleek. They are purely functional but very good at that. I enjoy shooting with them because they don’t get in the way of my composition or execution.

Often these photographers shoot with the top of the range camera bodies and lenses, get gear sent to them and are sponsored to make their videos.

I don’t begrudge them these factors in any way. They are very experienced professionals who have worked their socks off to get where they are. They provide useful information for those wanting to upgrade or switch gear; and I know it isn’t their intention to make you go out and buy the same in the hope of you being as good as them, because it doesn’t make you a better photographer. I do however reserve the right to have gear that is slightly more than I need for the essentials and allows me to be even more creative. I have traded my way to my present set up and don’t plan on switching because I’ve been there and got several t shirts to prove it.

Inspirational Landscapes

What inspires a creative person ?

Speaking as a photographer, there are many things that move me to take a photo. Light, shapes, human interactions and landscapes. Sometimes, a change of scenery will excite me to want to capture moments which is ultimately what we do as photographers.

My partner and I came back yesterday from a weeks break in Anglesey, North Wales. I was brought up holidaying in the Lake District primarily and only venturing into Wales once or twice. We never visited Anglesey in my memory although I’m told I went with my parents as a very young child. Snowdonia was not on our radar for some reason. My partner on the other hand is far more familiar with Wales and since we met 9 years ago, we’ve been there several times. Anglesey is an enchanting island with fabulous beaches, awe inspiring cliffs and amazing lighthouses on rocky promontories. The interior of the island is generally flat agricultural land but it’s the coast that brings the island to life. Its proximity to Snowdonia is very handy too. The image above is of Carnedd Llewelyn, a substantial mountain in the Ogwen Valley. The light changed every few seconds, bringing its own drama to the majesty of the mountain.

South Stack Lighthouse on the north west coast of Anglesey is a jaw dropping location for photographers. The 91ft high tower is dwarfed by the 300ft cliffs next to it. We have visited this place before but you get a greater sense of scale from this angle at Ellin’s Tower, a 19th century folly built as a summer house for the wealthy Stanley family from Penrhos.

All the while we were staying on the island and at our AirBnb, I struggled with my existing camera gear and what I should do. The minute I began taking photos wherever we went, those dilemmas vanished. My Nikon Z7ii behaved superbly, rendered some great photos and never once got in the way of my getting the best shot. I have two Nikon bodies and a few lenses plus the magical Ricoh GRIII X. I kept thinking, should I switch systems and have one mirrorless interchangeable lens body and a small selection of lenses instead of two. Sony would be the only move for me as they have a greater selection of lenses but then I edited the images from the Nikon and this dilemma diminished. I realised whilst out taking photos, I didn’t once consider the gear and concentrated on the composition and the moment. The camera didn’t get in the way of the creative process. It was a machine doing what I wanted it to, efficiently and with very little fuss.

The photographer and YouTuber James Popsys, describes his Sony A7RV as boring, because it does the job without any drama or complications. It is a very good camera in the same way as my Nikon Z7ii, more megapixels than either of us would ever need, top notch lenses and the ability to execute any action without a hint of difficulty.

Most artists, creators choose their tools on the basis of how well they perform not how they look. Photography is strewn with fashionable, highly priced, vintage inspired gear. We are fed the line that having a cool looking camera or one with great history and caché matters. There are those who buy into a system and then spend at least 50% of the time convincing you their choice is the right one. I arrived at where I am now by falling for the look a camera, the label rather than the ability to help me create really good images. I am not a Nikon fanboy but they do the job really well. I am sure equally, Sony would be great as would Canon but this is the system I’ve invested in and it helps me do what I need.

The takeaway from last week was an appreciation of some beautiful landscapes, amazing sunrises and a real feeling of relaxation. I enjoyed taking my photos because the location and the company were the main inspirations not how retro or fashionable my camera looked. I can shoot with the Nikon or Ricoh bodies and no one gives me a second look. They are like assassins, stealthy and effective. They allow me to love what’s in front of the lens and not fixate over what’s attached to it. I don’t doubt Leica or Hasselblad cameras are capable of producing brilliant photos but they aren’t so far advanced of mine purely based on the their street cred. I’m sure if Hasselblad came a knocking and offered me and X1D II and a couple of lenses, I would be more than happy but in the mean time, I’ll stick with enjoying the landscape, the street scene, the moment. They are what matters, not the gear.

Social Media Minefield

Many years ago when the world was maybe a more naive place, some of us thought that social media was going to be a liberating , creative experience.

I was on Twitter pretty early on and it was a fun place to be. No fascist owners or far right trolls in sight. Just mainly nice people communicating and sharing their work, experiences, terrible jokes.

Back in the day, Facebook was purely an extension of Friends Reunited; the place to reconnect with school friends and relatives. Instagram didn’t exist but even when that came along, it was generally fun.

Two things happened. Firstly, the possibility to monetise these platforms occurred. Creators of platforms became very wealthy by selling advertising spots. They designed algorithms to be embedded into the platforms in order to entice users to buy stuff they otherwise wouldn’t. These algorithms were then used by more nefarious people to politicise them in order to influence users how to vote, often against their own interests.

Those of us who made posts were suddenly being commented upon by people who disliked something we said or posted. The legions of armchair experts and critics rose to offer their opinions whether you wanted them or not.

Then the big one was Elon Musk buying Twitter.

He instantly weaponised it, inviting hate speakers back into the fold under the umbrella of ‘free speech’. He changed Twitter to X, a subliminal nod to a far right propaganda outlet. We all know what’s happened since then as he sits on the throne of power with Orange Don as his puppet president. Mark Zuckerberg, always a doubtful human being, drank the cool aid and has now gone over to the dark side. His empire Meta, controls not only Facebook but Instagram and Threads. He no doubts mines the accounts of users to influence their thinking and drain their bank accounts .

There aren’t many massive global corporations these days who don’t have questionable motives. Jeff Bezos controls the world of online shopping through Amazon; Adobe try to control the world of creators through exorbitant prices for their software. Google is omnipresent along with their arch rivals Apple. Who can we trust to act with integrity and impartiality without sucking up to right wing dictators such as Trump? Who are the good guys?

I am now uncertain as to whether the owners of this website creator, Squarespace, are doing it with a degree of social altruism. No aspect of modern living is exempt from money corrupting the purposes of that which they claim to have. There are many small independent businesses and platforms trying to do the decent thing and have some principles. They rarely succeed because the giants know how to make us totally reliant on them. Where would content creators be without YouTube or small businesses selling crafts, without Etsy and Pinterest. Is there anything untainted by greed in existence.

I buy stuff off Amazon because it’s quick, cheap and convenient. I use Instagram to promote my photography. I have an Apple phone/IPad and Mac. I shoot with Nikon cameras, I am no beacon in the darkness of global domination. Maybe, we are all waiting for these global organisations to grow consciences or maybe we just done t care? As long as we get our deliveries the next day and post freely on Instagram/Threads/X, we are happy.

There will be those who opt out for ethical reasons or because the platform doesn’t meet their business needs. And all the while, Musk and Bezos will continue to build rockets to go into space because that’s somewhere they’ve yet to conquer. There are major players who attempt to do some semblance of good. Rich people have always sought ways to make themselves richer by exploiting those who are less well off. Greed has always driven the wealthy to keep wealthy. So what has this got to do with photography?

I could rely purely on my website for publicity, business or engagement. I could take photos, print them and sell them to customers at art fairs or through shops. The truth is for most creators these days is that we need social media to help promote our work. To get work, you have to have a social media presence. You have to be the dancing monkey to the Hurdy Gurdy man called Instagram. You need a website to sell, showcase and book clients. You have to play the game because everyone else is. Self righteousness and moral principles leave you in the dark in this modern era. You have to develop a thick skin for dealing with criticism, to be determined when unsolicited advice is offered on what you are doing wrong with your photography.

Being a photographer is an ever developing art. You can always try new ways to make and take photos. I learn from others, I critique others work but I try to always respect their creative choices. I want to take better photos because I love what I do. I love talking to other similarly minded photographers about their work. We lead often very isolated lives. We often work best on our own.

I am sure I’m not the only one who has imposter syndrome but I just have to keep going because I love what I do. Put a camera in my hand and I feel like I come alive. I would be empty without it. Yes, I have wonderful partner and family, I live in a Beautiful part of England but I need a creative identity. I hope the global oligarchs who control our social media, our creative tools both hardware and software come to see that money and power aren’t everything. I hope they remember why they started up and return to decent creative practices.

Eureka Moment

I had a frustrating walkabout two days ago.

I took a Pentax DSLR and some lenses into Halifax and went to the market to take some shots. I found myself chopping and changing lenses, not content with any of them.

This contrasts with the day before in Manchester. We visited the David Hockney exhibition at the Aviva studios and my main lens of choice was the Nikon Z 40mm f/2 SE. Limiting myself to shooting mostly with that was quite liberating. I zoomed with my feet, worked harder to get the right shot but enjoyed the experience much more. Following my photo walkabout in Halifax and after reviewing my images, I ended up deleting half the photo because I didn’t like either the composition or the fact I had had to work so hard to get them.

I sat and thought about the experience and came upon a realisation. Why am I burdening myself with an excess of choices? The obvious answer to this is to only use a zoom lens. A zoom will allow me to cover all the standard focal lengths and I wouldn't have to move about so much in order to get the shot. I have a beautiful Nikon Z 24-120mm f/4 S lens which does an excellent job. For landscapes, it’s pretty much all I would need as it gives me a broad focal length reach when sometimes you are restricted by your environment. I am however, not just a landscape photographer. Often I will rock up in a location and look for the human interest in a ‘landscape’ setting. I also love architecture, people and documentary photography. For these more urban or street settings, a small prime lens is much better. My cameras aren’t massive and a small prime will make for a relatively discreet set up.

I then did a review of my edited images on Lightroom and went by focal length. It turns out that one of my favourite focal lengths just happens to be 40mm. The images at 40mm weren’t just on primes and often on a standard zoom lens. Now I have two small cheap Nikon primes (the 40mm f/2 se and 28mm f/2.8 se). I use the 40mm far more than the 28mm purely because I seem to like the field of view you get with a 40mm. When I shot with Canon full frame, my favourite lens was the 40mm f2.8. Yesterday, we went into Leeds and I took a quick stroll around the market area using only the 40mm. It was a hugely liberating experience to not have to think about zooming or changing lenses. The less you change the less likely you are to risk getting dust on the sensor. Some of the most iconic photographers of all time only used one or two prime lenses. They moved and worked for their shots, restricted themselves in order to free up their creativity.

So why 40mm? For me, it is wide but not too wide. It allows me to get a degree of background separation without distorting the subject. There is the long ranging debate as to what focal length does the human eye perceive the world. It is generally thought that we see between 40 and 50mm. Pentax do a 43mm f/1.9 which is seen as the optimal real world view we experience. Leica recently released a 43mm version of the Q3. So, using a 40mm is slightly wider than our normal view but not too wide as to distort. I’m not a great proponent of this whole real world focal length thing but what I do know is that just before I put the viewfinder to my eye, I see a composition. If that composition is there in my viewfinder, It makes my life a little easier. The Nikon lens is a relatively cheap lens but it is really well made considering its price point. it is very light and compact, autofocuses quickly and quietly. It renders colours and images with an almost nostalgic look (they worked some weird magic) and most importantly, is an uncomplicated lens. No buttons, options , just a lens. Your photography became much less about what kit you have and more about what you’re doing. Landscape photography is generally a much slower process than street or documentary. You can use a zoom to get just the right composition and take your time. I do like doing this but by nature, I am impatient. I see an image and take it. I often don’t prepare, hardly ever use a tripod and almost never bracket or focus stack. I should probably try doing it more but do I want to miss the moment setting up? I admire so many landscape photographers for their skill, preparation and attention to detail.

The upshot of this is that I will be using my 40mm lens far more than before. I also carry the 28 for when I want a wide angle shot but generally, I’ll stick to 40mm. I still have the 24-120 and the superb Z 50mm f/1.8 S as a portrait lens which will not be neglected. I shall be offloading a bunch of gear as having too many options is not good for me. I now have to work on making sure I have the correct settings for every scenario. There are so many conflicting opinions as to how you set up your camera for street photography but I will just have to do more research. I hope you like my 40mm gallery of photos on this blog post.

Winter in Calderdale

Winter has truly arrived in Calderdale.

Admittedly, this cold snap isn’t likely to last more than four or five days but it has certainly given us the true experience of a cold winter. It is for me, a blessing and a curse. I’ve managed to take some great snowy photos but given my rehabilitation following my ankle break last summer, it is also a challenge. This is both a physical and mental challenge, in that I’m more cautious about stepping out in snow and ice. I wish it were otherwise and I’m sure I’ll gain confidence the more I push myself.

Photographically, I’ve enjoyed shooting snow, mist and spectacular light. I have used my Nikon Z7ii and also my Pentax K3, which is made for cold, inclement weather. Often, some of my best shots have been from my street or at least, the top of it. The hillside with the tree lines have given me ice old woodland sometimes topped or partially obscured by mist. The sun hits the valley and deep patches of golden light reflect off the snow covered hillside.

The contrast between pure white snow and bright sunlight can be challenging for photographers. There’s always a chance that your images will either come out as very blue or highlights will be blown. Also, snow has a habit of smoothing the details of a landscape. You have to work a little harder to get a decent shot. I try to add features whether they natural or man made to break up the whiteness of the scene. Luckily I live in an area that has both woodland and rocky moorland. I like to use features such as roads or pylons to give a focal point.

The sunrises have also been spectacular with pinks and oranges bursting over the hillsides. I find myself scuttling up to the top of our street, trying to catch the brief moments of intense light. They contrast with the grey/white of the shadows, woods and buildings. I’m trying to embrace this cold winter with all its challenges. I like to see the opportunities and grasp these brief moments in time. I hope you like these photographs as much as I enjoyed taking and editing them.

Night Walk.

I’m not a habitual night time photographer.

I enjoy taking photos any time of the day or night. It’s just that I tend to be out predominantly during daylight hours. Some of my favourite images by other photographers are cities at night. The glow of neon signs, car headlights glinting off wet roads, the silhouettes of people in lit doorways.

The other day, we stayed over in the spa town of Harrogate in North Yorkshire. It’s a very smart town with grand buildings and large areas of open land in its centre. My partner and I have got into the habit of having a night or two away just prior to the Christmas festivities.

After dinner, I went out for a walk around the area of the hotel. It was raining, not enough to dissuade me from venturing out however. I attached my 50mm f1.8 s Nikon lens to the Nikon Z7ii and set forth.

The Christmas lights were strung across the roads, lighting up shops and surrounding doorways. I wanted to capture the town, quiet, in preparation for the busy holiday period. It had a strange beauty in the rain, a stillness.

I also wanted to give the camera a run out in low light to see how it performed. The images came back as noise free and sharp. I usually shoot in highlight metered mode but switched to standard to see if that worked.

I have learned how to meter, how to use my iso range, shutter speed and aperture for different lighting and conditions but still there is a niggling doubt in my mind that I’ve done it correctly. I have a certain level of ability and increasing experience but you can never be certain it will be right. I also wonder whether I am editing images with too much ‘gloom’. A few of my images that have been printed have been lightened up to improve the printed image. I know night photography has inherent levels of darkness because they are taken at night (duh!) but its the contrast between light and dark that makes them so interesting.

I have a certain style and am known for that style. I like dark and moody but I ask myself, am I overdoing the dark and moody vibe? Please feel free to comment on this issue as well as any other aspects of my photography. My style has changed over the years as I have improved my editing and use of light but I also recognise my art is an evolving process. I would like to take brighter images or at least try editing them in a lighter fashion. This photo session however was all about the dark and the contrast of sparkly Christmas lights. Towns and cities feel different at this time of the year, more hopeful, more optimistic. There is a point in January when all the festive decorations come down and the streets at night become a little bit less fun. We are left with shop windows, late night takeaways and lit doorways. We have to be more creative and search for the light in the darkness.

So what will 2025 bring? For me, it is about building my portfolio, my business and getting more visible as a professional photographer. I have a joint exhibition at the end of February 2025 in Hebden Bridge, with my good friend and fellow photographer, Will Lake. Several of my new prints on show will be based by the sea. They are not centred around Calderdale and focus more on the interaction between nature and the human impact on those spaces. I hope you all have a very peaceful and happy Christmas. Spread the word and please leave comments below as they help me with my photographic journey.

Eating My Words

Ok, I was wrong.

I made the decision a week ago, in order for me to trade a load of gear in for me to buy a Nikon Z7II, a 45.7mp high resolution beast. The big brother of my Z6II. I’m loving the output of the Nikon mirrorless system and having done extensive research, I thought I’d be the total hypocrite you now see before you.

There are several reasons as to why but they will just sound like me justifying this decision.

We have had fairly inconsistent weather in the last few days and I have been getting over a cold, so the opportunities for me to give the camera a good run out, have been limited. So these really are first impressions. Form and function, it is identical to the Z6II. It is very hard to tell one from the other apart from the writing on the front. They behave very much alike so it isn’t a steep learning curve to operate or indeed set up. Where the magic begins is the moment you start producing images. The clarity, the detail you can get from this camera is for me, off the scale. You are presented with a machine that can produce whatever you want it to/or are able to, and the choices in composition are limitless. The ability to crop an image and not lose printable resolution is really handy.

All the reasons I didn’t go for this model seem a bit far off the mark. Yes, my 24mp Z6II is probably cleaner in low light and it has a faster burst rate than its big brother but they are different tools in that sense. As a landscape camera and for general street photography, I think the Z7II should be a winner. The image above was taken at sunrise a couple of days ago. On editing the raw file, I noticed this dot in the sky. At first I thought it was a bird or a bit of debris on the lens. When I magnified it , it was a clear shot of an airplane carrying passengers to or from their holidays. It is tiny but very clear, which I found astonishing. The tree-line is sharp against the pink sky. I’ve shot with some nice cameras in my time but none have come close to capturing detail quite like this.

The black and white images in this post are taken with the Nikon z 24-70 f/4 s lens, a kit lens that is by far the best I’ve ever used. It balances beautifully on both my Nikon bodies and produces super sharp images every time. Some higher megapixel cameras have too much resolving power for some lenses but the Nikon ones pair very comfortably with the Nikon bodies. Have I been here before with previous cameras? sort of. I have used some great gear in my time but none come close to this new one.

I have sold all my Pentax gear and a couple of other pieces to fund this new body. I don’t have to wonder if I’ve made the right decision because I already know the answer to that. Yes, you can produce stunning photos on a 15 year old 12mp camera but this gives me so much space to create and does the hard work effortlessly. I fully admit I was wrong.

The Right Tool.

• The search for the ideal camera or system, has been an ongoing challenge for me. I have worked my way through many systems, only to find there’s that almost undefinable part that’s missing in most. About 9 months ago, I switched to Nikon. I used the D810, D750 and D700 for many months. I loved how they rendered colours, the ease of operation and the feel of the cameras in hand. They were heavy, the lenses were bulky but I managed just fine. Then four months ago, I broke my ankle. The road back to mobility has been a slow and arduous one at times but it had its photographic casualties. The kit I used was too heavy to manage with restricted movement. I decided to switch to their mirrorless versions and it has been a revelation. The bodies are light, well built, rugged and comfortable. The z mount lenses are stellar and balance beautifully on the bodies. The menu systems and button layout, virtually identical to the DSLR predecessors.

I have an old Pentax K70 and a few lenses just to keep my DSLR hand in but my main work is done with the Nikon bodies. They are a great mix of many makes I have tried in the past and afford me the comfort of reliability. They do what I want them to without over complicating things. I have a feeling Nikon was kind of dragged into the world of mirrorless rather like their main competitor, Canon. Sony, Panasonic, Olympus and Fujifilm were years ahead in mirrorless technology but Nikon rather dragged its feet. Now, they stand as equals to the top brands and have produced some awesome products. They allowed the transition of Nikon devotees to be relatively smooth. I have stuck with the 24mp bodies as I prefer to have better low light performance than more megapixels.

I did a blog post previously about megapixels and the upward movement to higher and higher numbers. The more megapixels you cram on a sensor, the less space there is and this can affect the noise levels in shots. I can crop with a 24mp camera and still produce decent sized prints. I have considered switching from the z6 to the 45mp z7 but I’m not sure I need to. The only real reason I would go for a larger number would be if I moved over to medium format and that’s not about to happen anytime soon.

The important thing a professional photographer should realise is that a camera body is a tool. It is designed to enable you to create images whether they be commercial and or artistic. I enjoyed using the DSLR Nikon bodies but unfortunately I can’t carry that weight around with me at present. The only downsides to mirrorless is having electronic viewfinders as I prefer optical ones and the reduced battery life. I tell myself I was used to mirrorless long before I started using DSLR bodies and rarely suffered with flat batteries. Tell yourself that the camera and lens are a means to an end and not what makes you a good photographer. I could shoot with a 100mp Hasselblad and not produce images better than my Nikon or even Pentax cameras. Yes, they would give me lots of scope and incredible detail but they won’t improve my composition or subject choice. If someone gave me a Hasselblad and a couple of lenses, I would be over the moon but I’m not at the stage of camera manufacturers giving me gear.

I am content to work with my full frame Nikon and APSC Pentax cameras. I can do photo shoots, street photography and landscape photography. They allow me to work in inclement weather without worrying about damaging my gear. They are light enough to carry whilst walking and reliable enough to use in all cases. They are the right tools for the job at this moment in my burgeoning career.

The accident and recovery have been a setback and I can’t pretend I have much catching up to do but I’m slowly getting back to normal. I just have to build my rugged side up to match the gear I use. My body is as much of a tool as the equipment I use to work. At least I know I can depend on my cameras to turn up even if I take a while longer to regain full mobility.

In The Swing?

To have a break in your workflow of two months can be significant. I had completed several photo shoots and was planning on having a joint exhibition with my good friend Will Lake and then the ankle thing happened. You are left in the situation of not knowing when and how capably, you would be able to return to work. For six weeks, I barely took a single photograph. I tried macro, product, still life photography in and around the house but it didn’t really meet my needs. To be honest, I never thought I would have been so patient with myself during this period. Then the cast comes off and you begin walking again. Six weeks on from that moment, I am now walking albeit slowly. I can drive and get up and down small flights of stairs. I have got back into taking my mixture of landscape and urban photography.

I am loving using the Nikon Zs. All the picture quality of the fabulous DSLRs but in a smaller package. There are compromises (evf instead of ovf, poor battery life) but the positives outweigh the negatives. I’ve toyed with swapping one of them for a Z7 but do I need 45.7mp? The detail I get from my z6 and z6ii is more than enough for sharp, good sized prints. I have seen many professional photographers on YouTube, recently heading over to Hasselblad and Leica Q3. Beautiful cameras with stunning optics. The detachment from many photographers both professional and amateur however, seems to be increasing. You are told by some of these photographers, that sensor size and megapixels don’t matter. It is a bit like an owner of a Ferrari telling another motorist, that your car model doesn’t matter as they all get you from A to B and after all we have national speed limits.

Don’t get me wrong, I would love a Hasselblad but it’s never going to happen. I know many of these professionals have put the hard work in over the years and they do an awful lot of good teaching those getting into photography. If a camera company wants to reach out and give equipment to photography YouTubers , I fully understand why.

I am proud of my work and think it has improved with time and hard work but how can I be sure? When a fellow photographer tells me how much they like my work, is it said in a way that equates to ‘good for you’ and ‘well tried’? Am I really nothing more than a budding semi professional who has a way to go to reach a level of quality not yet reached.

I am loving getting back into my routine again. I need things to do and work to set up. My selling of prints has taken a back seat of late but I plan to pick that up again. The exhibition has been rescheduled for February 2025. I shall be contacting my prospective clients who booked shoots but because of my broken ankle, have had to wait. I am out of practice writing about my work too. My social media posts aren’t as erudite as they once were. I have written poetry and fiction on and off for years but it’s as if this ability is lacking at present.

The photography, the business, the writing are all works in progress. A broken ankle doesn’t make you a bad photographer or poor businessman. My literary ability isn’t physically connected to my leg but maybe there is a connection, lack of confidence. I am wary when out walking. I’m terrified of falling or slipping. I have to re-learn how to mobilise confidently, how to trust my balance and strength. This level of doubt creeps into other aspects of my life and given that my photography is so integral, it’s bound to affect this. None of this means I will give up but it just makes the journey a little bit longer and tougher. To those reading this, I have plans and see this recent setback as purely that, a setback. It isn’t a roadblock or ‘sign’ that I’m making a mistake. Please hang in there and I’ll be back in form soon!

Gibson Mill.

Gibson Mill near Hebden Bridge is like a film set. It is much photographed, in all weathers, at all times of the day and evening. It sits below Hardcastle Crags, next to Hebden Beck which would have originally been the source of power for the mill. The estate including the mill, was donated to the National Trust by Lord Saville in 1950.

It is a regular spot for me and my partner to visit. Given my current situation, it also has limited disabled parking spots which enabled us to actually get there! Autumn is probably my favourite time of the year for photography and the estate and mill look fabulous, particularly on a sunny autumnal day. I travelled light, taking my Nikon Z6 II, two Viltrox primes and an adapted Pentax 100mm f2.8 vintage lens. The three primes covered the focal range from 20mm to 100mm and still I had to work for the shots.

I could have taken the 24-120 with the FTZ II adapter but weight was important. Even though I have become accustomed to shooting with large DSLRs, I am still taking it steadily using a single crutch so excessive weight unbalances me. The Z6 II and a small prime is roughly half the weight of my D700 and 24-120 lens. It makes you wonder if going fully mirrorless is the long term goal but I love shooting with DSLR cameras.

You go all in with a camera manufacturer and it has many benefits. Batteries, menu systems, lenses (even if adapted) all sync and you choose the camera for the look it produces. The D810 has more megapixels but also a different look to it than the Z6 II. The D700 is like no other camera I have ever used but the operational essentials are Nikon. I know my restriction is temporary and I’ll be back shooting with the heavier gear soon but until then, I am more than happy using the mirrorless camera. I went from film to mirrorless, only discovering the joys of it a couple of years ago.

Ultimately, It doesn’t matter what gear you use, It is down to the landscape/subject/location you are shooting. Gibson Mill is a joy to shoot at. Combine that with great company, excellent weather and decent accessibility, It proved to be worth the visit.

Return.

It’s been a while. In relation to my normal shooting schedule, it has been a positive lifetime. Many photographers will plan shoots and maybe go once a fortnight to do a specific shoot. I’m not that guy. My normal is 3 times a week in different locations. As I’m lucky enough to live in a spectacular part of the world, there is plenty of opportunities on my doorstep.

This was the case up and till the 2nd August this year. My accident and subsequent recovery has taken its natural course for a broken ankle. I’m now two weeks into using a boot and can now drive. This has opened up a whole heap of possibilities for me as a working photographer. I’m still a few weeks off returning to regular shoots and a couple of months walks and shoots.

The photo above was taken at my favourite lay by above Hebden Bridge. I’ve captured this view of Stoodley Pike so many times but this one felt special. I was able to drive myself up to the spot and take a photo standing unaided.

I’ve posted a couple of times about my recent experience, the frustrations I have had and ways of working around those. To be able to go out and take photos of the valley, moorland and towns is immensely satisfying. You know a complex fracture isn’t the easiest thing to deal with and part of that is working out how. The health professionals give you loads of support but you don’t always know if you’re on track with a full recovery. There isn’t really a timeline as every fracture is different and we all respond differently. I have never broken a bone before so have no frame of reference.

What is great is that I can start to think as a photographer again rather than a patient. I am still a way off a full recovery but I’m getting there. I can stand and hold my cameras again and use them in a way I am comfortable with. I can look at a landscape or building and see how light or cloud interacts with it. I was interviewed this morning for a magazine feature and it felt really good to talk about my photography rather than my ankle. I am loving using the Nikon d810. It’s such an intuitive machine and does exactly what I want it to. My images will improve as my mobility returns but I’m capable of doing this wonderful camera more justice than I have in the last couple of months. I want to take my d700 out and play with that as it is truly a one off in the world of digital cameras. All these monochrome images are taken with the d810 as I prefer to shoot the d700 in colour ; mainly because the sensor renders colours so beautifully, it would be a shame to deny it the chance to shine.

It feels like a return but not a full blown one. That is good enough for me right now and to not have to talk ankles or using crutches will be a relief. I can’t recall how many times I have had to explain how it happened and to have to relive a moment I really don’t want to. For the first few weeks, I experienced a sort of ptsd every time I thought about my accident. I am better now and don’t have the same reaction but you meet so many people who don’t know how it happened so you have to recount the story. I’m much happier to talk about photography and cameras with people.

Does Size Matter?

The image above was taken with a 36.3mp camera. That is as big a sensor I have ever owned. By modern standards, that’s a middle of the road sized sensor, given that many top end full frame cameras are at 61mp and medium format cameras at 100mp. I bought the camera partly on reputation and also that it was a very good deal. The 36.3 mega pixels, allow me to crop my image quite considerably and still retain a decent file size. The question is though, does it make for better quality images than say a 12.8mp camera from the same manufacturer?

I have Nikon cameras ranging in sensor size from 12 to 36 and I’m not entirely sure that the number of pixels, determines the quality of image. There doesn’t seem to be an exponential growth in quality, the more mega pixels my camera has. I have more scope to crop with a bigger sensor but do I lose anything at the same time. My Nikon d700 (that took this image above) is a very interesting camera in the Nikon pantheon of cameras. Nearly every modern digital sensor is made by Sony by way back when Nikon designed the d700 and d3 cameras, they went to Matsushita (a branch of Panasonic) to supply the sensors. This resulted in two models that render light and colour very differently to most other digital cameras. It’s a big heavy camera that is a professional grade camera and a joy to use.

The image above is from a Nikon d750. This is a 24mp DSLR and 24 is often described as the sweet spot of pixels and full frame sensor format. It has more in common with my 36mp Nikon d810 but is smaller and marginally lighter. It handles low light as well as both of the others and is rugged and a pleasure to use. The delight of these Nikon cameras, is that they are all very reasonable and professional grade gear. They do create slightly different looks but none have a particular edge over the other. The lack of megapixels in the d700 is made up for with an extraordinary filmic quality of its images. The d810 produces highly detailed images that allow the photographer to crop at pleasure. I like to use a 5:4 crop (pretending it’s a medium format image I subconsciously assume ?) .

I like to have several bodies that I can use for different purposes. I like the option rather than doing everything on one body. I’ve recently sold all my Panasonic gear and got a very cheap Nikon z6, to use mainly for street photography. For my photo shoots, I’ll probably use the d810 and d750 as they are good for portraits and in low light. The d700 is my indulgence. I love it because it does something the others don’t.

Does size matter then? Not really is my conclusion obtained from not very exhaustive research. I’m happy using Nikon cameras, lenses and that seems to be the common denominator. I can share batteries among 3 cameras, lenses over all 4 and a menu system common to all. It makes life simpler and easier to switch from model to model. How many megapixels is not my primary thought but having a range does help.

Keep On Keeping On

Week three of my enforced quarantine.

I have spent the last 6 years going out taking photographs at least once if not twice a week. Everywhere I go, my camera bag is in the car or on my back. It feels alien to not be going out, to not be able to go out but I understand the situation I’m in. This time has allowed me to revisit images both recent and some from my archive of photographs. I’ve edited them with darker, more dramatic effects. I’ve gone for softer dreamlike styles. Because the limit of my world at the moment is the garden and that has been only achieved today; I recognise my creative limitations.

I go through a whole gamut of emotions each day. Mostly, these moments are fleeting and I quickly talk myself out of feelings of despair, regret, a sense of foolishness for getting injured in the first place. We all get injured at some point in our lives but it’s how we adapt that helps us keep going. I feel a wave of disillusion coming over me and straight away, I tell myself this is temporary, this won’t be forever. I feel frustration and take a moment to stop and think, I can overcome these obstacles. I am grateful for the little victories I achieve, thanks to the help of my partner and my family. I can’t allow myself to feel self pity because that helps no one especially me.

As a photographer, I look for new opportunities, new angles, how to work within the confines of my current state. How can I create when I can’t just walk out the door and go and taking photos. I hope to do some still life studies, some domestic photos that document my lived experience. Making the most of what is around me should be the best I can do.

My forthcoming exhibition with fellow photographer Will Lake has been postponed until such time that I can hang my prints on the walls of our exhibition space and spend the weekend in that space. It was hugely disappointing to reach the decision to postpone but it’s the right one. I need to concentrate on recovering and regaining my mobility.

Now is not the time for giving up, resigning my career as a photographer. I have spent the whole of my adult life doing jobs, gaining qualifications that didn’t really sit easily with me. I was good at them (or so I’m told) but they didn’t light a fire in me. Picking up a camera and capturing moments in time does that. It is what I am not just what I do. Why would I turn my back on the thing that partially defines me? I have much to learn, many techniques, creative ideas to discover.

Using my Nikon cameras is a joy. Both my D700 and D750, bring the joy out in my work. Yes, they are just tools but they make me want to take photos, to explore what is possible. I still have my Panasonic S5II which I use for photo shoots but I will introduce the Nikons to that part of my job. I have jobs lined up with very patient clients for autumn and winter. My artist studio shoots are great fun and I love working with other creatives, capturing them doing what they love doing.

I believe in what is yet to come. I love my work and want to carry on for many years to come. It’s taken me 40 years to find the creative purpose and I’m not about to leave it be. Watch this space because there’s more to come!

Who Needs Megapixels?

Modern digital cameras have in recent years, created a false narrative regarding picture quality. The belief that the higher the megapixel count, the better the camera. The norm only 6 years ago would be 24mp for a professional or enthusiast model but now, that is considered low for professional use. Photographers convince you higher megapixels means better image quality and gives you the ability to crop more. I beg to differ. All the images in this post are taken with a professional DSLR that has 12.8mp. Ok, this is a blog that you’ll probably read on your phone or tablet but bear with me.

Megapixels are not the be all and end all of determining picture quality. High megapixels can bring problems as well as benefits. The sensor in a Sony A7RV is the same physical size as my Nikon D700. The Sony has 61mp and my Nikon has 12.8mp. This means that over four times the number of pixels are crammed into the same physical space as the Nikon. The amount of noise you encounter in low light is potentially higher in a high megapixel sensor because of the density of pixels. The more room you give to the pixels to read the composition, the better it can handle noise. Sony cameras have very sophisticated processors that compensate for that but that in itself creates issues with the eventual image.

The ability for a high megapixel camera to crop is undoubtedly an advantage. This however can lead to a certain laziness on behalf of the photographer. If you use only one lens and rely on the ability of your camera to crop heavily, you’re not necessarily thinking about the eventual image. A modern trend is to limit yourself to one fixed lens and work the scene better. It requires you to think about your composition more because your focal length is restricted. If you have a camera that can capture a larger scene that you only intend on using a fraction of, why not use your legs to get yourself in a better position to capture it in one? Some of these images are taken using the Nikon 24-120mm f4 lens so I am falling prey to to the easy route but the eventual composition is less crop-able because my cameras megapixel count is much lower. I also found that despite using a zoom with a broad range, I also used my feet to get the right shot.

My other two camera bodies (Nikon D750 & LUMIX S5II) are both 24.3 megapixels. They allow me a limited leeway in cropping for the finished image. They are both great cameras and I wouldn’t be without them but here’s the thing. The Nikon D700 is an awesome piece of equipment. The sensor in this camera was designed specifically for this model and the Nikon D3. Most digital camera sensors are made by Sony but the D700 and D3 are designed and manufactured by Matsushita, a subsidiary of Panasonic. They handle colour, depth and low light differently, in a way I have never come across before in my extensive personal history of camera ownership. The low light performance is stunning for a 16 year old camera. Some images can have an almost 3D effect. It is heavy, clunky and has only one CF card slot but the autofocus is quick and reliable and shutter sounds great. You feel like a professional using one which may sound a tad superficial but it does give you a sense of what you’re about when out taking photographs.

I really love my D700 and am using it professionally to produce good sized exhibition prints. I’m not saying ditch your 36/45/61 megapixel camera for a 12 because there’s so much more to using your camera than that. What I am saying is, don’t be wary of using older lower megapixel cameras if they suit your needs. I used 16mp Fujifilm cameras for several years and they produce beautiful professional results but now I’m a Nikon guy. The camera bodies are rugged, very nice to hold and backwards compatible to a legion of superb Nikon/Nikkor lenses. I would highly recommend you try a D700 as you will enjoy the experience of using it but most of all, be ever so slightly mind blown by the results it is capable of!

Travels and Travails.

Our summer holiday in Kent has proved to be an eventful one. I’ll start at the end which may sound weird but bear with me. Last Thursday, I managed to break my left ankle after an innocuous slip down a grass bank. I now sit here with a bright pink cast in my lower leg , catching up on rest that I didn’t really get in hospital. So that’s now, what about before ?

Our visit south was a fabulous fortnight in fabulous surroundings and excellent weather. Photographically, it was an opportunity to use my Nikon D750 and a new old classic, the Nikon D700. The D700 is a relative dinosaur having first been introduced in 2008. It’s a 12.8mp full frame professional camera but that does not tell you much. It has a sensor unlike any camera released since 2010 other than Sigma as it is built and designed by Panasonic (nearly all modern digital cameras have Sony sensors). It produces colours and textures unlike anything I’ve ever used.

You get clarity, detail, depth, a richness of colour I haven’t come across before. This image taken on Dungeness beach was taken with the D700. You don’t feel at any disadvantage using it and there is in some ways, an advantage to using a simple, reliable, solid performer. Its autofocus is very good, the optical viewfinder is bright and clear, the button layout is logical and useful. I’ve paired it with my existing Nikon g lenses as well as the brilliant Nikon AF-D 35mm f2 lens. I used the D750 on alternate days because I love that camera. I’ve become a real Nikon convert and a bigger DSLR fan than I was before the D700 arrived.

We have spent a lot of our holiday by the coast. Three specific locations, Dungeness, Hastings and Whitstable. All three are on the Kent coast and each has a unique feel to them. The photo above was taken on Hastings beach where the fishing boats are moored on the pebble beach with huge cables, anchors and sometimes diggers or earth movers! The old and new sit side by side with wrecks inhabiting the same area as working boats.

Dungeness is an almost other worldly environment. A huge shingle and pebble flat beach area running half a mile inland. The houses are mainly old wooden huts spread sparsely across the landscape, all in sight of two lighthouses and a nuclear power station. It has an eerie, bleak feel to it but it’s my kind of place.

Whitstable is a fishing town on the north Kent coast. It’s famous for its oysters and the fishing huts lining the beach. The pebbled beach is divided by wooden groynes which dive deeply into the English Channel. The sunsets at Whitstable were as good as any Mediterranean one I have experienced.

Apart from the broken ankle and resulting problems we have experienced, our trip south was a joy. We really packed a lot in and to have my two Nikons with me, never felt at a disadvantage. I know I’m someone who has used all sorts of cameras in my time and has waxed lyrical about many, I enjoy using the Nikons because the do what I want them to do and do it really well. They aren’t new technology or high megapixel beasts but I can produce professional images for a comparatively low budget. They were real companions on our journey. As for me, I have several weeks of recovery, contemplating, planning and preparation for my next adventure. We hope to go to Scotland in autumn (ankle dependant) and I have an exhibition in a month.

In Awe

I recently did a post about unpopular camera brands where I made the case for those that went under the radar of some photographers. The big beasts of camera technology these days are Sony, Canon and Nikon. They dominate the professional world, making gear that is used the world over to produce much of our photographic content. They have all focused their attentions on mirrorless camera systems and are gradually leaving the DSLR behind. It is amazing to see how technology has moved on in the 10 years since the camera I am focusing on was introduced.

The Nikon D750 is a 24.3mp full frame DSLR introduced in 2014. It was seen as the prosumer model below the flagship D4 and D810. A good friend of mine and professional photographer Andrew Fowler, is a long time Nikon user. He owns this model and always rated it.

I have used pretty much every major camera brand apart from Nikon over the years. In the last 2 years, I have grown to enjoy using the ‘older’ technology of the DSLR . The optical viewfinder, the better ergonomics, the lightning fast start up time and of course, what some are capable of. This camera however has blown me away. It is the most comfortable, reliable, rugged camera I’ve ever used. It produces some of the nicest files I’ve ever seen. The detail it retains is amazing. The battery life is the best of any camera I have owned. The native lenses are superb and not expensive. It isn’t overly big and bulky. The grip is deep and moulds to my hand.

I bet you think you’ve heard this from me before. In fairness , I do tend to say this sort of thing ; but ‘sort of’ is the operative phrase as I’m trying to convince myself a purchase has been worth it! This Nikon was comparatively inexpensive and isn’t all sparkling new.

I have heard and read that camera technology has in some ways, advanced dramatically in the last 15 years and in many ways it hasn’t. A top of the line camera in 2010 is still a great camera if it takes great pictures and is reliable. It is around the edges that cameras have advanced. They make your life slightly easier as a technician but don’t dismiss the older models as they have something to offer. If I had been with Nikon for the long haul , maybe I would have seen how newer models improved the shooting experience and image quality. I had a moment the other week whilst using the D750. I was taking a few sunset photos , last of the light shots up at a reservoir high up on the top of the moors. I finished and put my camera back in the bag and said to myself “I really love using this” . That is a first for me.

I’ve come to realise that camera body aesthetics don’t really count for much. I owned a Leica once and felt conscious that if I was out taking photos, people were looking at my camera rather than what I was looking at. That didn’t make my photography better, it just drew attention to the gear I was carrying. No one looks at a 10 year old DSLR because they think it’s yesterday’s technology. Taking thousands of images and learning from that experience, makes me a better photographer. Practice and time improves your photography. Having a camera that can realise my expectations is important but having one that exceeds them is a gift.

I am doing more photo shoots using my Panasonic S5II but I will also be using the Nikon as it may offer a little of the magic I’ve discovered in my general landscape and documentary work. I am told, combined with the 85mm f1.8 g lens, it is a great camera for portrait work. I know it’s excellent in low light and its colours are great. In conclusion, don’t write off older technology. They knew a thing or two about making professional equipment back in the day. Would I recommend a D750 ? Yes of course I would. Would I try the D780 or D850? Yes I would but do I need more bells and whistles ? Not really no. I am though, in a state of awe.

Unpopular Camera Brands

Lupin - Pentax K70 + Pentax 135mm f3.5

Reputation in the world of cameras, is a strange thing. It can build from having been a quality producer/manufacturer for generations. It can come from famous people endorsing the brand. It can come from a sense of self belief. You can however make top quality products that can equal or some times, out perform the popular ones and this goes unnoticed.

If you are a camera manufacturer, particularly one of the big three (Sony, Canon & Nikon), you appear to fail to see what any other camera brand is doing. You work at your own pace, introducing new cameras and lenses at your own speed. You endeavour to make the best product you can to appeal to your loyal fanbases.

The second tier of brands (Fujifilm, Panasonic, OM systems (Olympus), Sigma and Pentax) have to work harder to get the attention of professionals and enthusiasts. They have to show it’s feasible to switch from the big three and trust their products.

Then there are the top end manufacturers (Leica and Hasselblad) who produce high end very expensive and exclusive cameras and lenses. They can charge exorbitant prices for their products as they are hand made and carry a certain caché that commands a high fee.

Old Town above Hebden Bridge - Panasonic S5II + Pentax 28mm f2.8

Certain YouTubers, poke fun at the second tier manufacturers attempts to sell their cameras and lenses. It’s as if they have to compare themselves to the output of the big three in order to gain some degree of approval. They compare the latest camera or lens with one from the high three and ask you to wonder if it is as good as a Canon/Nikon/Sony equivalent. You have to match their standards otherwise, they don’t quite reach their lofty heights. Don’t get me wrong, the big three make some really beautiful cameras and lenses. They sort of deserve their positions as the go to brands but is it all smoke and mirrors? I have tried cameras from pretty much every main brand apart from Nikon. For a long time, I was a Fujifilm user and loved their quality cameras and lenses. I have used Sony, Canon, Leica, Panasonic, Olympus (briefly) and Pentax. I now shoot with Panasonic and Pentax. They do everything I need them to and are both more than able of producing top rate images to the limit of my capabilities (who sometimes makes a mess of things).

Nutclough Woods, Hebden Bridge Pentax K70 + Pentax 50mm f1.7

At one time, Pentax were probably the leading camera manufacturers in the world. Their cameras and lenses were the envy of most other brands. Nowadays, they occupy a corner of the camera market usually in the shade. They do however, continue to make top built, rugged, feature packed cameras. Their lenses render colour and detail beautifully and they have the added advantage of being backwards compatible with their lens mount. You can attach a Pentax mount lens from the 1970s to their modern bodies without an adapter. I think the only other brand that boasts that is Leica but correct if I’m wrong.

Panasonic Lumix make stunning, weather sealed cameras that out perform some of the big three as hybrid cameras. They are well known for their ability to make excellent video cameras. As stills cameras, they are criminally underrated. Some of my favourite shots were taken on Lumix cameras. They do the simple things well and make highly capable cameras and stunning glass.

Rochdale Canal - Panasonic S5 + Panasonic 50mm f1.8

However much you point out the excellent build quality, the feature packed camera bodies and lenses and the manufacturers desire to listen to its customers, the big three will always hog the limelight because that’s how they keep there. Ricoh Pentax , Fujifilm and Panasonic LUMIX tend to listen to users and introduce features that photographers have asked for. I’m not sure that any of the big three ever do this. They tend to approach photographers as customers who should be happy to receive whatever new innovations they have come up with and just be grateful for what they’ve got.

Quick Break Haifax - Panasonic S5II + Panasonic 85mm f1.8

I have ended up happily using two stellar cameras from Pentax and Panasonic. I don’t feel as if I’ve compromised in any way on quality by going with these cameras. I never felt as if Fujifilm were the poor relations of Sony/Canon/Nikon. Now I’m in the business of taking photographs professionally, I wonder if the camera I choose dictates my ability to work as a professional photographer? Results are ultimately what gets you work and I am trying to focus on honing my craft rather than what tool I use to perform in the craft. I use 40 yr old lenses that stand up to the latest and greatest advances in lens technology. I see this as a bonus afforded to me that the major players would sniff at. Would I like to own a top of line Sony camera or Nikon, maybe so? Until that day comes, I say give the also ran guys a chance. You may be pleasantly surprised!

Vintage

Panasonic S5II + SMC Pentax M 28mm f2.8

You know you’re old, when the word ‘vintage’ describes items that were made 20 years after you were born. technology moves at a pace these days hitherto not seen in the last 100 years. Camera technology and new models of camera body and lens are being brought out every year and with increasing levels of tweaking what is already there. Sigma for example, have released an update version of their 24-70 f2.8 dg dn art lens in the last couple of weeks. This replaces a lens created only a few years ago which was itself, considered excellent. Every camera manufacturer is forever updating their bodies and lenses to improve on what came before. I have the Panasonic S5II which replaced the S5. There was gap of a few years between models and the camera is a big improvement on what was a great camera.

Panasonic S5II + SMC Pentax M 28mm f2.8

‘Invest in good glass’ is a phrase photographers advise newbies into the world of photography. It is sensible advice and a good lens will make a good composition into potentially, a great one. What if the lens you are using is 50 years old though ? Did the camera companies know a thing or two about producing high end quality lenses back then? I have been user of old manual focus lenses for nearly 10 years now. To be fair, I used some of them when they were new releases back in the late 70’s and 80’s but that’s beside the point. The advent of mirrorless cameras and adapters have enabled photographers to experiment with film era camera lenses. I have tried a few mounts and different manufacturers in recent times. I am a fan of Olympus Zuiko lenses (beautifully made, generally very contrasty and sharp), Canon FD lenses good too but the manufacturer I always return are Asahi Pentax. Their SMC (super multi coated) lenses produced from the mid 1970’s to the late 1980’s are always my go to choice.

Panasonic S5II + SMC Pentax A 50mm f1.7

There is something about the process of taking a photo that is enhanced by using a manual focus lens. They make you feel more at one with your camera and the advent of focusing tools such as focus peaking, make capturing photos relatively easy. They can be quicker than autofocusing lenses as they don’t hunt for focus. You set the focal distance and everything will be in focus. Pentax made some lovely prime lenses back in the day. To be fair, they still make lovely lenses now but their film era glass have a certain quality about them. The colours are punchy but not lurid. They are slightly cooler than say Olympus Zuiko but attractive. The out of focus areas are very well controlled and you can get some beautiful bokeh with them. The biggest plus for a photographer however is the price of these lenses. The three focal lengths I use are 28mm, 50mm and 135mm. You can get a really good Pentax M lens in all these focal ranges for well under £40.

Panasonic S5II + SMC Pentax M 135mm f3.5

If you were to only use manual vintage lenses, you could have a complete lens kit (including maybe a 70-210) for under £150. That is half the price of a modern secondhand standard Panasonic kit lens. What you get for that money are high quality metal lenses with beautiful glass. Yes, in tests they don’t perform to modern standards but you learn to work around that. The double advantage for someone who also happens to own a modern Pentax DSLR is that these 50 year old lenses will fit your modern camera without the need for an adapter, That is a huge plus and I continue to take my hat off to Ricoh Pentax for that.

I still use my modern autofocus lenses on both my S5II and Pentax K70. Sometimes, I need their autofocus, their sharpness, their weather sealing. I love the modern lenses but I have more fun with my older ones. They can be unpredictable but that can also be a bonus. You get effects that you would otherwise not with a modern one. If you have never used vintage lenses, I urge you to do so. They are an affordable way of creating interesting photographs. Many filmmakers are now using vintage lenses to get a different, more creative look. I would recommend Pentax or Olympus Zuiko but classics like the Helios 44m. It is an amazing focal length lens, that produces wild swirly bokeh and pretty sharp detail. Get yourself an adapter to fit your camera body and choose according to what lens mount your vintage lens has. Remember to make sure your camera is switched on to shooting without lens. This allows you take a photo. You won’t get exif data but you’ll just have to remember that! Go and have fun and you might get hooked like me!

Start of Summer

It’s beginning to feel like Summer. I was never really a big fan of the season but in recent years, I’ve grown to love it. I embrace warmth, long days, sheltering from the hot sun in cool shade. My photography seems to be reflecting that which is around me. Fields and meadows bursting with delicate flowers.Long grass dancing in the summer breeze.

All the images on this post are made with the Pentax K70 and various lenses. It is a joy to use, reliable and with great image reproduction. My main gear is as ever, evolving. I won’t be updating on any changes in gear as I would prefer my work to be judged on its creative merits rather than any fancy camera or lens. You see the world through the eyes of a photographer as you do with a painter, illustrator and in general, all artists. It is an interpretation of that world which the recipient is able to make a connection. Photography is as much of a valid art-form as any other. We as photographers, try to capture moments and produce our interpretation of that moment.

These images aren’t all the sharpest I could provide. The camera, lenses and photographer are all capable of producing pin sharp photos but I chose to not go for that. Summer isn’t always the sharpest season, in that light and nature are sometimes more of a feeling than an observation. A field of wildflowers with a hazy background can be as evocative as a clinically in focus photo of a flower, tree or landscape. Cloudless skies, strong shadows will make sharp images and I’m a fan of those ; but just because of that admiration, it doesn't exclude more subtle images. Maybe this is part of my creative evolution? I know I can do sharp, I choose not to do so.

The other thing I’ve noticed in the last week or so is how much green there is. All shades of green, some subtle, some vivid but there’s a lot of it. We endure winters where trees and shrubs are stripped of foliage, preserving their energy for surviving in cold, dark inhospitable conditions. These couple of months when trees come into full bloom are the greenest they will be. Later on in summer, the trees show signs of having too much of a good thing.

I like summer. I really like summer, it’s probably my favourite season partly because autumn follows on from summer. Autumn, with its oranges, yellows, browns is often thought of as the top landscape/nature photography season. So many Lightroom presets are created to help you find the perfect edit for your autumnal images. I get that, I understand the allure of those photos. I love capturing them, eating them, printing them. Summer however, is a great time to be out in nature. You wear less, you have longer days to work with. I am fair skinned and the sun likes me. I burn easily but these days, I learn to live with it and compensate for it. I really love observing hot sun from a shady spot. I get all the visual benefits of summer without the downsides of being out in full sun. Ultimately as creatives, we have to work with what’s available and within the confines of our environment and season. The start of summer is a good time for me and let’s hope it continues for the next few months!

Studio Session

I spent some time at my partners’ studio last week. Kate Boyce, is a painter based in Hebden Bridge who works in mixed media. It is a very particular style of work and she is a well known, long established artist. She and I wanted to do some studio work that not only showed in her studio but also some close ups of her handling the materials she uses to create her paintings.

It was the first outing of my Canon RF 35mm f1.8 is sim macro lens (they do make long names for lenses!). First impressions are that it is a fabulous lens. I need to learn how to get the best out of it as do all photographers with new bits of kit. I wanted to focus on her hands manipulating the laser transfers she uses to add detail to her paintings. It’s an unusual process whereby she paints the background and some detail in acrylic before adding the transfer photos over the paint layer. it allows her to not only add detail but also a sort of texture by using small sections of foliage, trees and stone. I have a potential commission from another artist who has seen my work on social media. It will be my first of this type and hopefully not the last!

‘A journey of a thousand miles begins with a single step’ is the ancient Chinese proverb and it appears to be so in my case. It has taken me 40 years to arrive at that first step but it’s exciting too. I do plan to do some more studio work with local artists once I know I can replicate the results from the other day. I gave a talk a few weeks ago to photography group. Little by little, I am gradually picking up tiny bits of work. Hopefully, these will create momentum and increase sales of prints. It is incredibly tough to sell prints at the moment unless you’re a well established and highly visible photographer. It is tough for all creatives at the moment what with the fallout from Covid, the cost of living crisis in the UK and general financial insecurity. Art is seen as a luxury, an indulgence. I believe art is essential to help those who don’t create, have a little bit of joy in their lives. We work to not only pay bills but to obtain things that make our lives a little more bearable.

Wish me luck on my first assignment and I hope it is the first of many more!

Kates website is kateboyce.co.uk