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.

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.

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.

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.

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!

Joy In Simplicity.

I had an epiphany a couple of weeks ago. No, I haven’t got religion or had a visitation from outer space. I realised something. What if I could have one system for landscape projects and video; and one for street, portrait and daily use? Simple really. The only problem is how do I get both without breaking the bank? The answer came to me one day. What if I slimmed down my micro four thirds set up and keep what I need for video & landscapes and go old school for my portrait, street and daily use. The solution started to become clearer. I put one of my micro four thirds cameras up for sale, sold a lens I wasn’t really using and bought a cheap full frame DSLR. My problem with full frame DSLR’s is the size and weight of them. Generally, the lenses are big and heavy. The bodies are invariably very big and heavy and I end up back in the situation I was in six months ago. I didn’t want to be lugging big bags of gear around with me and causing a recurrence of my neck and shoulder pain.

I searched, researched and found my solution. I went for the Canon 6D. Its a small, light, full frame DSLR with a respectable 20.2mp sensor. It is cheap as it’s getting on but built very solidly. I found one online with a 50mm f1.8 lens at a very good price. I bought the kit along with the highly rated Canon EF 40mm f2.8 pancake lens (also very cheap). I took possession of the items a few days ago. Ive only been out three times with this setup but what a revelation. The camera is very comfortable, lighter than my GH5II and a joy to use. I am a novice with DSLR’s and have much to learn but my first impressions are very favourable. I opted for a full frame because of the ability to work in low light. I also like the fact there isn’t any maths involved when working out the focal length of your lens. No crop factors or calculations as to what focal length your lens actually is. A 50mm lens is 50mm. Talking of the 50mm, it’s a lovely sharp lens. very light, very cheap and surprisingly capable. The 40mm is a sensation, super sharp and good in low light too.

I know the 6D has its haters. Only one card slot and not rugged enough for professionals. It’s solid enough for me and one card slot is fine as I’m not planning on doing any wedding or serious landscape photography with it. Even if I did decide to do those things, I’d just have a spare couple of sd cards in my bag. The whole kit was cheaper than what I am selling the Panasonic G9. I still have the GH5II and a few lenses. It is a brilliant camera and even better video camera. I am happy with that and what it can do. It feels more of a tool whereas the Canon 6D feels more of a joy to use. I carry the small Peak Design camera bag around with me just in case there’s a moment I want to capture. I might get myself a cheap 28mm to complete the set but it is simple, fast and pleasurable to use. The shutter is on silent mode but still sounds pleasantly reassuring. I am only a couple of hundred shots in with it but I feel already, this one is a keeper. If I fell on hard times and had to sell all my MFT gear, I would still have a brilliant, professional grade full frame camera to use, for fraction of the price of a modern full frame mirrorless system. The camera and two lenses weigh very little. Even if I added a 28mm, it would still be lighter than my GH5II with three lenses. It isn’t without its flaws and limitations but I don’t need perfect. I am a novice professional photographer that wants to get better at his art. I want to pick up a camera I don’t have to worry about being precious with and go and take photographs. I want it to be about creating, not accumulating gear.

No Compromise

I said goodbye to my full frame Pentax K1 a week ago. I was sorry to see it go but needs must and it was time to enter pastures new. I could have gone back to Fujifilm, a camera manufacturer I know very well. My main concern however was kit weight and although the bodies are generally a lot lighter than the full frame equivalents, often the zoom lenses aren’t much smaller.

The only realistic other option was to enter the world of Micro Four Thirds and specifically, Panasonic. I could have invested a large amount of money in the latest G9 MkII but in the end, I went with the MkI G9. It’s a very good camera, high spec, good menus, very comfortable to hold. It has great video specs too which is a real step up from the Pentax. I did however, realise I would have to rethink how I use my camera. The smaller sensors aren’t as good at controlling noise in high iso settings. That means relying on base iso and slower shutter speeds in low light. .

I’ve been using it for a few days now with some getting used to. The lenses are very nice and incredibly tiny. It’s so nice to be able to pick your camera out of your bag and not feel weighted down before you even compose a shot. Today, I spent an hour in Leeds city centre, doing some street photography. I put the Leica kit lens on and got to work. What a joy to use! I’m pleased with the shots I got , some slightly different to my usual style. I know it is capable of producing top class professional results but this will take time to get on top of. As a workhorse however, I couldn’t be happier. I hope you like the selected images from this mornings session. It does not feel like a compromise. It’s a different route but I hope, the right one.

Ricoh Magic.

Gt George Street, Leeds - Ricoh GRIII

There are days when you feel like you have the perfect tool for the job. Sometimes, the perfect tool isn’t an interchangeable lens camera with a selection of lenses. Sometimes, it’s a tiny pocket camera with no viewfinder and no tilty/flippy screen. You compose and shoot; it’s as easy as that. I’m talking about the Ricoh GRIII. It has a reputation as a formidable street photography camera. It has a very clever focusing system that instantly captures moments unlike many other cameras. It’s useable with one hand as all the controls are accessible and designed to be operated one handed.

Handrail at the Piecehall, Halifax - Ricoh GRIII.

It has a macro capability that can produce very detailed close ups (see above image) which you do have to remember to switch off when you try to shoot a more general shot! I love it. I love it’s ability to capture razor sharp images with little or no fuss. You need to spend a little time setting it up to suit your needs but once you have, it’s a super powered point and shoot that’s in a different league to others. I’ve looked at images taken using the Leica Q cameras and as stunning as they can be, the Ricoh is a match. It has the same 28mm focal length as a Leica Q albeit in an APSC sensor (18.5 mm). The lens barely protrudes from the tiny body and has a very quick start up time. The downside of the camera is the battery life which is pretty poor. That however is the only downside. I normally shoot using Fujifilm cameras and lenses but I’ve started to mix and match a bit. I’m now using Sigma lenses and a stunning Mitakon Speedmaster manual lens. I’m really impressed with the Sigma lenses, they match and almost surpass the Fujifilm equivalents but in much smaller packages. I’m looking also to get myself an old Canon 5D MkII with just one 50mm lens because I’ve always wanted a full frame camera. I realise there are alternatives to just one manufacturer, much as I love Fujifilm gear.

Leeds Town Hall - Ricoh GRIII

The limitations of a fixed focal length can also be an advantage. You are forced to work a composition more because of the restriction of that view. You can include people in your street photography but you have to be braver than I am. I like to have people walk through the composition rather than be the subject. They are almost incidental. I’m not the most confident photographer when it comes to street work. The Ricoh does however capture people beautifully even if they are small in the larger image. The famous photographer Chase Jarvis once said “the best camera is the one that's with you” and he has a point. The Ricoh GRIII is that camera. It makes it easy for you owing to its size and functionality but ultimately, the image quality is its most attractive feature. If you’ve never tried one, give it a go. Test one, borrow one and if you’re in the position to, buy one. You won’t be disappointed, in fact I’d go as far to say, you will be captivated.

Oxenhope Moor - Ricoh GRIII