Believe in film: Leica M2 versus Olympus mju. for street.

Recently I have been eying up a very nice looking Leica M2 with an old Elmar collapsable to get back into some analogue street photography. Total cost for this little outfit is a tad under £1000, hence a degree of hesitation on my part, especially as I believed after a while I may need the rangefinder re-calibrated to the lens, likely costing another hundred quid ! Ah.! Then I thought maybe a point and shoot, umm, the Contax G2 looked sweet too, with gorgeous Zeiss lenses but also priced very highly now. Instead I opted for an Olympus mju f3.5,  costing just £3 in a charity shop. It looked clean, led display worked, battery still in place and showing charge. Add a roll of Agfa colour 200 asa 24 exposure film purchased from Poundland for [you guessed] one £1.

The little mju is a joy to use, slips easily into a pocket and is ready to use instantly by pushing the neat clamshell lens cover open. There is a satisfying shutter button which allows focus and exposure setting with a half press so you can re-compose if required.  Focus and metering seems more or less instant and then a little whizz as the film advances automatically to the next frame. The flash is constantly alert waiting for low light and fires automatically.  there is a tiny button to switch it off or to use fill flash and another tiny button for self timer. Aside from this there are absolutely no other controls so any form of creative or manual photography is impossible.

For street photography it is brilliant. Slide it out of a pocket while sliding off the lens cover hold up to eye the sweet little viewfinder, compose,  shoot.. three seconds, I reckon.  I tried firing from the hip which was quite successful too.  I bunged the roll into Boots, and opted for one hour processing. From a roll of 24 I achieved 22 exposures, two were spoiled because I thought the film had re-wound when in fact it hadn’t. My mistake, if I had looked at the lcd counter it would have told me as the motor wound back the frames. A couple of shots were blurred again my fault for trying to shoot without the flash,  in low light so an element of camera shake.  The others were pretty good, perfectly well exposed and reasonably sharp and contrasty.  Total cost including camera, film and printing. £11.50

Well, now for the comparison. Leaving aside the camera purchase could I have used the Leica M2 as easily? For a start it is larger and heavier, no metering and I would have to focus every shot. I am happy with zone focussing so this would not be too much of a problem. Here is a fabulous article about metering for film by Johnny Patience well worth applying. The Olympus reads dx film code and this means there is no way to override the ASA/ISO setting, unless you scrape off the black squares on the film canister, so unfortunately I was unable to over-expose by one stop as Johnny suggests. So with my Leica I could have set my own parameters, including ISO, managed shutter speed and aperture and thus bokah. I could happily have applied the sunny sixteenth rule or used pocket light meter on the iphone, but given that I was walking around in sunlight and shade this would have been a little tedious.  OK,  I agree there is no real comparison and undoubtedly given more control and the lovely Leics lens I would have [possibly] ended up with better images. So I will leave it for you to judge. Here are some of the photos I took scanned in with a £40 all in one printer.

Being a strictly FujiFilm digital shooter I am a big fan of Kevin Mullins official Fuji X photographer.  So I kind of like the saturated colour and contrasty shadows that my Olympus mju achieved.  What is more, if I didn’t like this little monkey so much, I could sell it on ebay as a genuinely film tested camera and give the excess profits back to the charity shop.

scan6

 

scan7

 

scan1

scan3scan5

 

 

 

 

 

 

 

Advertisements

Ceramic product shots with Fuji X Series

A couple of days ago I undertook a new shoot for Clive Bowen, one of the U.K’s most respected Potters.  Clive’s wonderful ceramics are made from local North Devon red clay, thrown, decorated and wood-fired in a huge traditional bottle kiln. The resulting pots exemplify  the materials they are made from, with deep earthy green, gold and black  tones and floating etherial trails of slip.  Studio pottery was essentially born from utilitarian table ware. Objects to contain food or liquid,  to store or eat food from. So here are some of  the images which are intended to celebrate both the ceramics and the food.

dscf1537

Fuji X Pro 1 with XF 35mm 1.4

dscf1544

Raspberries, Devon clotted cream with pie, on slipware dish

dscf1549

Fuji XE2 with XF 60mm

dscf1932

Lunch in the studio [Fuji X 100 series] 

 

Fuji Jpegs versus Kodak Gold 25 years on.

penny1

25 years ago on Sanibel Island, Florida I took some fashion images. A few days ago I caught up with the lovely model, Barley, and sugested we re-create one of the shots.  So here is is on a dull day with our U.K. yellow sand, shot with Fuji X Pro 1 and XF35 1.4 lens.  Well, I did my best but Kodak Gold sure has a great look ..

 

XPR16743

Analogue versus Digital: the believe in film syndrome.

The tail end of the fifties we had the Everly Brothers, Bill Haley, Elvis and Buddy. Then the sixties. The first album I ever bought was the Rolling Stones, then the Animals. I loved jazz, and Ray Charles and Dave Brubeck. I loved Dusty and Dylan, then I loved Joni and James Taylor. I saw Neil Young play Wembley and I saw Jethro Tull, Deep Purple and Yes. Never saw Bowie or Nina Simone much to my chagrin. Yep, I dug Punk and John Peel too, Oh, and Peggy Lee and Soul and Blues.  I photographed a girl sitting in sunlight and later, married her.

Stay with me .. You will soon understand where this is going..

Girl sitting in sunlight

During the early seventies I worked in a very posh hifi shop. Our sole aim was to perfect the sound experience. Customers spent literally thousands of pounds searching for high fidelity, the best deck, the least hum and hiss the best suppression, the biggest woofer, or the lightest stylus. We craved this impossible perfection, dreamed music, had albums lining our walls, dusted them lovingly wiped them clean, double wrapped them when putting them away, played them and cursed the crackle and pop of analogue recordings, compared tape and stereo, dolby and four way sound.

Beaton

We loathed cassettes but played them in our cars because although they sounded crap compared to 8 track they were smaller and worked better. Anyway my 8 track caught fire in my Ford Cortina mk 2.

luke8

Through the Seventies we surfed and danced and traveled a little. I forget the Eighties, think music was boring,  anyway,  my family was growing up.

beachtowel

The nineties brought cd,s blimey, they were neat.  They sounded tinny compared to my old albums and not so warm, but they didn’t scratch much. Anyway what is hifi when you listen to music in the kitchen? Screw it , I embraced digital, chucked out my Yashica slr, downloaded or ripped all my albums to mp3 bunged them on an ipod and never looked back..

Ceder Key

And so with photography. This nostalgia for film is reciprocated in the resurgence of pressed plastic albums. Maybe I am being controversial but can’t we now re-create digitally pretty much every film emulsion ever used.? Every Photographic web site or blog I follow and there are loads of them , is offering realistic film simulations or analogue looking presets.  Some of the images here were taken years ago and some taken yesterday, with one or other of my Fuji X series cameras.  Without cheating and looking at the Exif data,  can you tell?

summersand

All social media offer their own brand of clever filters that add grain and scratches to age the image. One of the reasons I Stick with FujiFilm is because their filmic jpgs look so great. Sure, like so many of you, I developed and printed my own negatives, burned, cropped, cut, pushed and experimented, in fact just like I do now in Lightroom. But when I contemplate this wonderful digital world we live in, I don’t really get that we view the images we say we love made on film with obsolete ( yet still fabulous ) cameras, on a screen! This means the image has been scanned, ok so it might look like an analogue photo. But essentially it has been rendered into binary code, like everything else we see online on our Macs and PCs.

I still love music, I still love my wife.

Penny 2

 

I still love photography and still believe in film.  But I do love digital too!

Shooting a wedding with Fuji XF60mm

Anyone who believes wedding photographers have it easy better think again.  Last weekend as a wedding guest I took my Fuji XE2 along, with XF 60mm attached and for lower light,  the XF35mm 1.4 in my pocket. The official wedding photographer had two huge camera bags with bodies and lenses bulging out. He arrived early to shoot guests as they came into the wonderful arena at 1.0pm and left at 4.0am the next morning having shot around 3000 frames. Our conversation went like this. ” Oh, for Goodness sake, what’s happened to the light, O bloody hell, I will have to change this lens, Oh Blimey, which is the brides Dad? where have they  all gone now, Ahhh. ? ” and so on. It was a wonderful overcast start to the day, saturated light but plenty of it.  No shadows all straightforward metering. Then the harsh sun broke though, reflections off the lake where the ceremony was being held, white bridesmaid dresses,  Ah, I could see him sweating.  He is kneeling down on the wet boardwalk as the bride arrives. Sun goes in, his shutter is chattering.  I guess he knows only his first shot will be in focus and properly exposed. Later we discuss how he can martial 150 guests for a group shot and where he can stand to capture the shot. Next, one huge marquee .. how do you get a decent white balance in there when the sun is in and out like a yoyo?  Two hours of food and speeches. He never stops !  By now kids are all over the place, the adults are several fizz, pimms and  vin rouge the worse for wear.  The place is chaos. We have quick word about Fuji cameras and tracking moving subjects. Light has gone and so has everyone else,  down to the dance tent with two fire pits burning, strobe lights flashing spots gleaming.  And so it continues while our photographer, who by now, has thrown in his lot with the rest of us flashes off random shots while dancing to Sex Machine.

In contrast I took 140 frames all jpgs, every one was beautifully exposed even with the varying light conditions. The XF60mm lens performed flawlessly, never hunted for focus and all the shots were amazingly clean and sharp. Later on I switched to the XF35mm, let the camera do it’s own thing and again all my images were bang on. Here are a few of my favourite shots processed in Lightroom 6 .

DSCF1193

DSCF1281

DSCF1310

DSCF1237

Gallery Le Fey profile by The Photographer Society

DSCF0916

Gallery le Fey:
thephotographerssociety:
PHOTOGRAPHER FOCUS · Drew De Rett (Gallery Le Fey)
http://gallerylefey.tumblr.com/
Drew De Rett is primarily a great landscape photographer. He defines himself as a rural photographer, determined to capture the views, reliefs and environments that surround him on the Atlantic coast of England. Photographing the sea, its changes and light, the coastal scenery… is a constant for him, who considers himself as someone alien to street photography, even if, occasionally he intends some explorations in that field.. Probably, in these occasions in which Drew photographs the beaches, that clouds announcing the imminent storm, the shines and lighting effects in the waters of the sea, or the way in which the setting sun draws its deep shadows on the coasts … is when we are in the presence of his most characteristic photography. Even on that many occasions in which the sea does not appear explicitly in his snapshots its presence is somehow sensed. Maybe it’s the light, the colors or the environment, but however the sea ‘is’ there …. it can almost be smelled!

 

 

DSCF0501
There are two cardinal points around which turns his landscape photography. The first is undoubtedly the light. This is a first-order expressive element in Drew’s photographs. Even in those snapshots in which is weak or pale, light assumes the expressive weight of the shot, although its presence can be only measured in subtle reflections or glitters, in faint sparkles that make their way through cloud laden skies, or between the long shadows and backlights that are drawn on clear sunsets. Drew’s work with light is always superb but is in these photographs in which we notice how masterfully he exposes,  assuming with ease the challenge of capturing faithfully atmospheres, colors and textures, even in foggy environments. Of course, in this desire to understand, to model the light that makes its way through his lens, Drew seems to feel equally comfortable when natural light is direct, even tough. Then his photographs captivate by the brightness and saturation of the colors, the way in which the sun highlights the textures of different materials, for its backlights…. The exposure here is again capital to get the right balance between light and shade, along with a perfect control of aperture from which Drew takes advantage to offer us captures characterized by its great depth of field. And beyond his landscape photography, this wonderful obsession for light that affects Drew becomes really apparent when we contemplate his portraits, the indoor photography, the architectures, his still life shots or his abstracts, these snapshots in which, through a creative approach he invites us to look with different eyes and out of its immediate context,  things of unexpected beauty. In all of them is difficult to avoid the impression that the subject is a mere pretext to press the shutter; that is the light – and I mean here the natural light, since Drew does not use flash-, its nuances, the way in which he brings to life the textures and materials, which really moved him  at the time of taking the shot. Do not miss the captures published in his blog chosen among that make up the series dedicated to the wonderful potter Clive Bowen. They’re a great example, of what I tell you

IMGP4069
The other axis around which revolves his magnificent landscape photography and generally all his work, is the composition. Probably there are few concepts in photography that are, at once, so basic and yet so difficult to master. This is because beyond the pure visual interest and the harmony that the composition may bring to an image, we should not forget that on it depends the way in which the photographer explains that fragment of reality that he wants to capture and the mechanisms that lead our attention to the essential element of a given photograph. And contemplating Drew’s work  it is really impossible not to notice the great care and thought underlying behind the composition of each of his photographs. Regarding this issue, Drew assured me having read somewhere that good composition is better than bad cropping, and  it’s evident that he applies systematically this maxim, though I am not referring only to something as prosaic as a reasonable application of the rule of thirds, the dynamic use of lines or the way in which negative space can be distributed as a way to properly highlight what attracted the attention of the  photographer -that also!-.  Beyond manual rules, composing involves to find in the elements of the image that balance, or a harmony so absurdly difficult to explain in words as evident in itself when viewing a photo spatially well built. Naturally, this requires a certain calm and reflection previous to the act of capturing, to certify that the photographic process as such has begun long before pressing the camera shutter. And in Drew’s work will find many examples of that this has been that way.

DSCF0585
Drew uses a Fuji XE2 and Fuji XF35mm 1.4mm lens plus forty year old legacy manual focus lenses and a compact Fuji X100 of whose quality he feels particularly satisfied. Years ago he enjoyed a classic Olympus OM1, period from which  he retains his love for the film that shoots in the lovely little Kodak Retinette, made in Germany. The care and thoroughness with which he plans and makes his photographs are equally extended  to its processing, to which he attaches great importance as a means to bring out the best possible detail and color from each shot. To do this he usually uses Lightroom 6 and Snapseed for snapshots made with iPad and iPhone.
-Juan Manuel
Thanks so much to The Photographer Society for this wonderful article and to Juan Manuel for his perceptive and thoughtful writing.  Drew

Fuji XF 35mm 1.4 versus Pentax SMC 50mm 1.7 Does Modern vanquish vintage?

I really like being able to use some of my lovely vintage lenses on the Fuji X system. Set to manual focus both the XT1 and XE2 are incredibly simple to focus especially with such a large magnification window available. The [old]Fuji XF35 mm is acknowledged to be one of the best Fujinon lenses, crisp, clear, tight with great colour rendition. My forty year old manual focus Pentax 50mm 1.7 lens was also a winner in it’s day. Beautifully made, solid, smooth as silk and tiny. A pretty good performer too, for a standard lens. So for fun I have tried a low light test, natural light, both  lenses wide open, shutter speed 125 which I figured would be fast enough to outpace camera shake.  I focussed the Pentax manually on my XE2 through the viewfinder using split screen manual focus assist. This is because I have a slight feeling that up close [and wide open] focus peaking sometimes is fraction out.  with the Xf 35mm I switched to single focus and let the camera do it’s thing. Bang on immediate focus lock. No problem. I used classic chrome, sharpening set to +1, colour set to +1 and noise reduction set to -2.  So here are the two images. Looking at exif  data the Pentax fired at 4000 ISO and the Fuji at 500 so this, of course,  made the Pentax photo appear noisier so  I cleaned up both a little in Lightroom.  The full frame equivalent extra 20mm or so does make a difference to the compression though the 35mm lens focused much closer.  Out of focus background  and foreground looks pretty good to me on both. So as usual and unsurprisingly which image is best is down to personal opinion.. Maybe a draw..

Fujinon XF35mm 1.4

Fujinon XF35mm 1.4

Pentax SMC 50mm 1.7

Pentax SMC 50mm 1.7