Provia 100F

I was using Provia 100F which is a Fujichrome Slide Film on the Yashica Mat 124G. 

I was quite excited to use this film as it comes quite strongly recommended for portrait style shoots. However, before shooting I was aware that the film stock is not very forgiving due to its relatively narrow exposure latitude. In effect, it wouldn't perform well if over exposed. 

The shoot day was quite  overcast which provided a natural softbox however you can see from the image histogram that the highlights have clipped. Alongside this, there is a slight reddish tinge to the image itself. 

Let's see how we can edit this in lightroom, the first thing would be to sort out the white balance and you can use the picker tool to select a point from the image to balance this from. 

Lightroom 2021 has new functions such as this masking tool. I am quite keen on reducing the reddish tinge to this image and bringing out the colours in the background.The image as is, is a little dull and would like it to pop a little bit more. It’s also an opportunity to see how Provia comes out with some tweaking in Lightroom 2021! 

The first step to achieve this would be to go ahead and use the masking tool in Lightroom. It’s pretty cool to see how it automates this. 

Now that Luke has been selected, let's scroll down and reduce this reddish colour by adjusting the saturation. That’s better, I don't want to go overboard on this so I’m going to move on to adjusting the graffiti backdrop. 

I’ll create a new mask and this time invert it so the adjustments only affect that graffiti. Unclick the overlay so I can see how the adjustments look. First, I’ll adjust the exposure, that looks about right. Let’s bring the highlights down a little too. I do like the ‘dehaze’ tool, you can see if you whack it right to 100% what happens but that is way too much so let’s bring that down to something more reasonable. 

Adjusting the shadows to see what it can lift out further, again just a slight adjustment here. I want those blacks to be a a little deeper in colour. The background is looking much more vibrant and richer than before. 

Let’s make a few final adjustments to Luke, bring up the exposure a little along with the shadows to get a bit more of an even look. Those reds still popping out a little so I’m going to bring that down a bit further. That looks good to me! 

Now when you look at these images side-by-side. The original image on the left looks flatter and dull where as on the right the portrait itself is looking more balanced and my goal to bring out the vibrance in the background has been achieved! Perhaps adjusting the red in the graffiti might add to it but I’m good. What are your thoughts on this edit, how would you have approached it? Do you edit your film images or not? Tell me in the comments below! Check out this video next! See you on there! 

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Nikon AF2 With Ilford XP2 Skateboard Shoot

Nikon AF2 is a compact 35mm camera. A simple point and shoot which works well in Street Photography. If you are on a budget and looking for something retro and cheap to shoot with, why not pick up one of these classic cameras from Nikon? 

Already shooting with Compact Cameras? Which one is your favourite? Check out my review on the Nikon Lite Touch Zoom 120 ED AF Review with Ilford XP2 Super

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Why This Will Help You Understand Contrast And Light

Every photographer at some point has taken a photo thinking the image would come out in a certain way but the lens, film and camera capture something altogether different. 

In a nutshell, contrast is the difference of brightness in light, in different parts of a scene being observed. On bright sunny days (which are few and far between in England) this may be extremely strong. Ofcourse in a studio these can be controlled using flash. In contrast [no pun intended!] it can get quite low, again depending on where you live on the planet! 

On a very wintery day, snow, due to its albedo, can result in extreme contrast if there are shadow areas present in the same photograph. 

The human eye is quite remarkable, being able to switch instantaneously, between extreme brightness of an open area to the light deprived alleyways of old London. In comparison with the human eye, film cannot process or adjust to these rapid changes. 

Generally, black and white film fares much better with contrasts in brighter light and darker areas. However, in comparison to colour film, particularly in my experience, slide film stocks such as Velvia and Provia seriously struggle. Ofcourse the human eye is leagues ahead, however, technology is rapidly changing and I would not be surprised if the digital realm at some point, reaches some degree of closeness to the experience of the human eye. The question I have on this would be, do we really need it? 

On average, black and white film, can handle much wider exposure latitudes. Films such as Kodak Tri-X or Ilford HP5 Plus allow for greater shifts in light and shadows. You can push-process HP5 Plus up to 6 stops but you might lose shadow detail as a result, although it generally tends to fare better in highlights. Ofcourse, if that is not enough for you, then try Ilford Delta 3200 or Kodak P3200 TMAX, these films can be shot from ISO 400 through to 25,000 making their exposure latitudes the widest available across all black and white films. 

Most modern colour films such as Kodak Portra can manage one stop underexposed or two stops over-exposed relatively well, however this will depend on what you are shooting. Often, highlights render as white, if you overexpose on a sunny day, and if you under-expose the shadows may be black. In either case, you’ll have an image, but, whether it's something you are happy with, is another question! 

One of the best ways to establish the ‘correct’ exposure would be to use a light meter. You can use your phone, the ‘Light Meter’ app is useful but you only get a reading for the entire scene which is not going to be ideal. 

Some film cameras do have their onboard light meter, but the trouble with this is going to be similar to your phone light meter. You have two further options, using a dedicated light meter. The Sekonic L-35, which you can use specifically to meter the light and shadows, however, the best and quickest way to figure out the exposure, is to use the Sekonic Speedmaster L858D. Which allows you to take multiple exposures and calculates the best lens aperture to lock in. Using a dedicated light meter will be especially useful when shooting colour stock films. 

Take for example these shots, incorrect metering resulting in overexposure of these images but when metered correctly the outcomes are much more accurate! However, with the absence of much light and overcast conditions, colour again underperforms, as you can see with these images! 

Light itself is not the creator of contrast. The subject, such as buildings, are what help to create shadows. The lack of light helps to create contrast and if you take the right steps you can reduce its impacts on shooting with film.

Remember, when shooting portraits out in bright sunny conditions, take a reflector with you to fill in light into the shadowy areas of the subject. Alternatively you could use flash, but bouncing light off a reflector has its own unique qualities! 

Ofcourse shooting in an extremely well lit environment, such as the deserts of Arizona will be much easier to expose for. However, shooting the sand dunes of the Sahara with its piercing light and shadows, you must come prepared and armed with a good light meter!

Why Planning Is Essential In Photography

As a photographer you will be competing with millions of other photographers. How many of us take the time to really reflect on the imagery we are bombarded with everyday?

Imagine you have a blank frame, its easier to close your eyes for this one to avoid distractions!

Now imagine that you have taken a portrait of a person of interest, say, a footballer, baseball player or perhaps a movie star. Are they sitting down or they standing? Where are they looking? How are their eyes expressing themselves? Do they look happy or sad? 

Sometimes taking a step back and switching off, and going within you,  will help you to find what really resonates with you. And what you would like to capture with your photography. 

Whoever you may be photographing, whether it's a bride and groom or a model, for your photo to stand out, you will need to be aware of what you would like to create before you even pick up the camera. 

The advantage of working with a professional model is that when you communicate with them what you are looking for, they will flow with effortless ease into that state. No doubt, someone who has been before a camera thousands of times, will by experience, allow you to create and capture some dynamic images. 

Next comes lighting. 

Having some basic knowledge of studio lighting can help you to create some well lit images but often distractions abound in such scenarios. And if there is one approach to lighting that perhaps is the best it would certainly be the simplest. 

How many times have you been amazed by a portrait taken with a singular light source, up high, directed downward towards the subject. Or perhaps even natural light pouring in through the window illuminating just enough to really emphasize those cheekbones? 

As you can see through these images, shooting portraits requires motion! It’s not about simply dropping someone in one position and shooting directly at them. Feel your surroundings and communicate how you would like your subject to express themselves. Watch them carefully as they move from one pose to the next, how is the light changing, how is the shadow changing as they move their head or neck? 

Going on a portrait shoot?

Prepare by planning what you would like to capture. Keep it simple, communicate with your subject in advance if you can, if not be present. Keep a keen eye on how light is falling on the face for it can dramatically change like the passing of the clouds can change the light on a landscape. 

Choosing the favourite image can be tricky too, no? Which one was your favourite from the shoot? 

Do go ahead and subscribe and turn on the bell icon so you'll know exactly when the next video of this series of videos is gonna drop and I look forward to seeing you in a workshop with me very, very soon.

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Focus On This For Composition Balance

If you've ever gone bowling, you'll appreciate that with every throw you’re only aiming for one pin - right at the top. Composing pictures in the camera is a bit like that too. 

As you look through the viewfinder you seem a bit lost as you can’t figure out where to place your main subject. There aren’t many choices available to make the picture balanced and well composed. 

Here's a shot taken in an urban environment. The model is placed well to one side of the picture area. That choice allows the picture to do more than simply provide a graphic rendition of the shape of her. In fact the emphasis is now on atmosphere, and a sense of the confines of an urban environment  that pervades every corner of the frame. 

Here's a shot taken in a coffee shop. The subject is placed well to one side of the picture area. That choice allows the picture to do more than simply provide a graphic rendition of the shape of them. In fact the emphasis is now on atmosphere, and a sense of the confines of a coffee shop that pervades every corner of the frame. 

But does such 'off balance', the placing of the main subject always introduce a certain atmosphere? Well, it is true, of course, that the more information you include with a picture the more material you have available to create an impression. But this is not an unbalanced picture. The difference between balance and imbalance is very subtle: it is much more a feeling than it is a set of rules. At the left hand side of this picture there is a greater weight of tone evident than there are in the trees and wall at left - though the subject provides a 'heavy' area. 

There is no one area which, screaming for attention, uncomfortably draws the eye - because the picture is predominant in either light or dark areas. But cover up the right hand half of the picture and you will see how quickly the subject dominates. 

The subject and surroundings offer a shape of tone - and they become the centre of interest. Now examine the entire picture. Without doubt the surroundings of the subject with the trees and large balloon like shape are of interest, and have an effect on the impression conveyed to you. 

Imagine the effect you'd experience if the subject was arranged at the right hand side of the frame instead of on the left.Even then, the major areas of heavy tone - the black bits - would all be in one place, and at the left hand side there would be a similar sort of backdrop to the left as there was on the right. 

Only if there was a blank backdrop to the left with a lightweight tone that the image would probably become more disinteresting creating an imbalance. Was this balance or effect a conscious choice? In this case it was more a case of being at the right place and being aware of the surroundings. Once you begin to appreciate light and how light works with film then things begin to feel more tangible. Obviously when shooting with BW film, you will become more aware that the light will be exposed well and subsequently the shadowy areas will come out black. 

Finally, remember that the strength of tone can be adjusted to a certain extent in the darkroom. Any area of this picture could be made more heavy than it is by the simple act of burning in - that is, allowing more light to fall on that area when printing, so that it becomes darker in comparison with the rest of the print. That's part of the value of darkroom work. 

If you are keen on enhancing your photography beyond just your getaway snaps from the beach then you must work on your visualisation. Your ability to visualise a picture in advance can only happen if you are getting out there and shooting in all sorts of different lighting conditions. I’m not sure I know anyone who sits and reads a camera manual. I suspect in most cases it never leaves the box! Only through patience, practice and continual reviewing will you,  in time, become a master of light! 

Journey To The Kalahari

First published in 1984, The Cry of the Kalahari is an autobiography on the pioneering research that Mark and Delia Owens conducted on the wildlife of the Kalahari in Botswana [139% larger than the UK] during the mid-1970s. 

This book is an emotional rollercoaster and once I picked it up on recommendation from my sister, I just couldn’t put it down. It is truly inspirational for all, a journey of patience, determination, guile, fortitude, resoluteness, courage, bravery, sadness, horror, disdain, anger, peace, uncertainty… I could go on endlessly.  

You may have watched documentaries by Sir David Attenborough or be aware of the amazing conservation work of Jane Goodall but this seven year journey of Mark and Delia Owens not only represents them as zoologists and researchers, but shows their concern and love for the environment and the species inhabiting our world. 

The year is 1974 and Mark and Delia arrive in Botswana ready to start their journey with only $7000 in their pocket, which is the equivalent of about $40,000 in today’s money. That’s about the average yearly salary in the 1970s. It took them three years, in which they both scraped to save working two jobs and selling all their worldly possessions to make this research expedition a reality. 

Financing the trip was an ongoing battle throughout their eventual 7 year stay in the Kalahari. When they first arrived they ended up working in Gaborone for several months before making their way up to Maun. It was to become their go to point for supplies before heading south to Deception Valley in the Central Kalahari Game Reserve. 

Throughout the book it alternates between Mark and Delia’s diaries where they share their intimate insights in to the relationships between animal and man, one to this day that continues to be fraught and fragile, as they try and piece together  a better understanding on how animals thrive to live with limited resources while on a shoestring budget. 

The primary study was centred around jackals, lions and the endangered brown hyena. One of the most incredible stories is about a lion they aptly named ‘Bones’ . Found with a life threatening leg injury, using their rudimentary skills, they conducted emergency surgery with whatever tools they had to save him. They would lose track of Bones for long periods of time only for him to suddenly reappear to their (and the readers) absolute delight. It turns out that Lions have an incredible natural recovery system. 

For me it was fascinating to find out about how brown hyena’s such as ‘Star’ (what a story that is!) interact socially with their kind as well as Lions. Having travelled to the Ngorongoro Crater myself, further east in Tanzania, I was struck by the balance in which animals live, rely and depend on each other. Reflecting on it, it almost feels like most humans are completely not in tune with the flora and fauna that exists on this planet. 

Living in the Kalahari also meant that Delia and Mark would go months without seeing another human being. It almost feels unreal that at times when they were at greatest distress, particularly when they came closest to running out of funding, suddenly somebody would come to the rescue. 

Starting first with receiving relief from a South African Half American/Half Englishman by the name of Bergie Berghoffer who appears suddenly out of nowhere and keeps dropping them off supplies until - well I’ll leave that incredible story for you to find out more about. 

Delia and Mark develop relationships with others on their occasional visits to Maun but overtime they find that due to their long stays in the Kalahari that they are becoming more and more distant from social relationships. 

They are relentless in sending out applications for grants to allsorts of wildlife institutions across North America, Europe and South Africa. Over time their persistence leads to trickle of funds which allows them to invest in getting more sophisticated and occasionally troubled equipment. 

This allowed them to pioneer research on brown hyenas, learning in detail where they went and how they lived with other hyenas. Their research gave us a greater understanding of the rather complex relationships that exist within these communities. 

Despite their challenges with funding, building relationships, and tracking brown hyenas and lions with their limited capacity. Mark and Delia faced an incredibly harsh climate and extreme weather events together, often bearing extreme heat or alternating their study patterns to continue working on their research. 

The threat of fires, drought but also the impacts of human encroachment and restriction had an impact not only on their scientific studies but also their social and emotional well-being. Fencing created by a handful of cattle ranchers restricted the flow of migrant wildebeest trying to find water during times of drought and resulting in unfathomable amount of death and extreme distress amongst their populations and ofcourse untold impacts on the habitats. 

Their experiences would make them one of the biggest voices for animals of the Kalahari. Writing and pleading with local, national and international actors to intervene. Things would be made worse by incoming mining prospectors looking to find untold riches in this vast and pristine land. 

Humans are by default meaning making machines. What's the point of all this? Whatever you define ‘this’ to be! This is something that you may have asked of yourself in different settings. Through reading this book you will be struck by the balance that the animal kingdom walks in, in sharp contrast to how as humans we interact and consume from this one precious and wonderful earth. 

Mark & Delia’s commitment and love for what they do is truly inspiring. Coming from modest beginnings to living on the edge for the love of knowledge.I'm so grateful to have been recommended this book and humbled by Mark and Delia sharing their journey. 

I think the Queen of Conservation, Jane Goodall said, 'For anyone interested in animals or in real life adventure, this book is a must' - I couldn’t have said it better. If you would like to find out more about the book click check out Delia’s website here where you’ll find out about her other internationally bestselling non fiction books too! 

Struggling reading? Have you tried listening to books? There are quite a few platforms which you can do this on. 

I find listening to books, particularly ones narrated by the authors, gives you a much more immersive experience. This book is incredible to listen to, where you might be, travelling by train, plane, yacht or car! 

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Acing Blur Right In Film Photography

When Oskar Barnack publicly introduced his first Leica camera, in 1925, at the Leipzig Springfair in Germany, it was the culmination of many years of refinement since he joined Lietz in 1911.

Barnack was a design engineer by profession and was originally working on a movie camera when ran into a problem. Emulsion speeds of films were unreliable and accurate metering was all but impossible. Barnack took it upon himself to build a small device intended to test small batches of movie film.

The film complete with its iconic sprocket holes, formed the beating heart around which Barnack designed the system which revolutionised photography - it is without a doubt that he was the creator of miniature 35mm was known for decades. 

These sets of images were taken on a Yashica Mat 124G with a roll of the wonderful Kodak Tri-X 400. I know you’re probably hopping out of your seat at the minute thinking well why did you start off by talking about the 35mm camera! Well its kind of ironic that Barnack’s system was developed out of cinematography and just shows how this innovation has moved and developed over time! 

I digress, this picture was taken in Central London, using a shutter speed of ten seconds. The film has recorded the motion of the skaters jumping over obstacles conveniently placed for them to practice their skills and tricks. The skaters blurred, of course, producing a soft and gentle abstract pattern which contrasts greatly with the crisp detail of the obstacles, and which suggests the neverending and timeless flow of movement. 

It is not an effect that could have been produced by using a high shutter speed to freeze the skaters: in any case. In any case, if you did what to do that you would have had to use flash in these extremely low light conditions. With the obstacles crisp there would have been a powerful focus of attention on the foreground and background and consequently all character and depth in the image would have been lost.  

In this picture there's a strong feeling of the passage of time. Blur is very powerful - especially when designed into an image or photograph. When it happens such as through camera shake it is nothing more than an obvious mistake or lack of knowledge. Therefore for blur to work effectively it has to be planned. And you can make effective use of it by showing it in the main subject or in supporting elements of the picture - such as the background - and for a variety of reasons. 

Some fun ways to explore a purposeful blur might be trying to shoot cars or motorbikes on the move. Or perhaps even at home with your children, nephews or nieces while they are running circuits around you in their ever boundless energy. Can someone please tell me how I can get that back again! Blur can very much enhance your photography but has to be used appropriately for every subject to maximise its effect.

The human eye is not like the eye of a camera lens. When you are watching a fast object moving your eyes are able to focus on the object and blur away the less important information in the background. Unfortunately, the camera lens if used with a fast shutter speed will most likely capture everything in sharp and vivid detail. 

The problem with this is that your image will look dead static. Consequently it won't look natural to the subconscious mind and your rational mind will most likely dismiss the image. You can get around this issue by using a technique known as 'panning'. 

As soon as a moving subject such as a motorbike or car - is clearly framed in the viewfinder you must swing the camera to follow the subject, and press the shutter while still moving. As a result the photo will show the subject against a background which blurs in horizontal lines - and the effect is a very convincing impression of motion in the image. Don't forget, for panning to be successful, you must keep the subject in the same spot in the viewfinder during the move, and to fire the camera shutter smoothly, carrying on swinging till the shot is well and truly finished. 

If you dont pan correctly or at all the background will come out sharp and the subject you wanted in focus blurred. The motorbike, car or your nephew running will attract far less attention. Ultimately, photography is another means of communication between you and the viewer. 

The use of blur in photography not only shows motion but through it the passage of time. As any object that is moving is still taking time to move. As a result you can see the difference between each second in time which goes against the grain of Henri-Cariters Bresson’s instruction to find one split second in which to take the shot. 

Cartier Bresson's 'decisive moment' refers more to the arrangement of his subject than to the timing. Time and its passing can be suggested in one shot -  such as these skaters- but there's no need to stop at one. Perhaps shooting with a 35mm camera you will be able to capture a set of images which makes this a more practical way of shooting blurred images.

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Why You Should Shoot Street Photography

Whether you're shooting with a film camera such as the Bronica Zenza ETRS, a digital camera or even a phone camera, you're going to find this video really helpful to get you started. 

I wanted to go out and check out what I could get with a Bronica Zenza. I don't think I actually went out to shoot with it in the street, and I want to see how it handles, what it felt like? How would I frame my images? This was a practice run for me to see if it's a practical camera to use for street-based photography. 

One of the major blocks when it comes to street photography is actually getting out there. 

A lot of people want to do photography, but they get worried about what other people might think or how people in the street might feel. The absolute simplest thing you can start is grabbing your camera and go out!  This could be in your local area because you're going to be more familiar with it and naturally more comfortable. 

Failing that, you can go further into a field, maybe somewhere people don't know you. It could be your high street, maybe your shopping mall, or a completely different town or city itself. The key thing is to get going and start shooting. As soon as you can get going, that's really going to help you. 

It doesn't matter what camera you've got, whether that's your phone, DSLR or SLR camera. Shooting film, then take lots of film with you on your walk! Shooting digital? I would shoot nonstop, everything and anything that I can see within my walking frame. 

When shooting with a medium-format camera, such as a Bronica Zenza, you're going to get 15 shots on a roll, that's six by four point five If you're shooting by six by six on a Yashica Mat 124 G for example, or a Hasselblad. You're probably going to get 12 images only. If shooting with a 35 millimetre camera, you can get, I would say up to 37 images, maybe even 38, if you are very good at putting on your roll and being very economical with it. 

One of the challenges of shooting with the Bronica Zenza ETRS is that it's actually quite a bulky and heavy camera. That side, when you're shooting outside, it will force you to think about what you're shooting and how you're going to shoot it. Now in the street environment, there are some challenges, challenges being that the atmosphere, the scenery is constantly changing. People are moving in, people moving out, there's cars moving in, cars moving out, something could happen, it's quite spontaneous, And I don't think using a medium format camera such as this one is going to get you the full opportunity to be able to take those shots quickly and efficiently. 

An alternative method of overcoming that challenge is going to be shooting with something a lot lighter, like a compact camera, such as the Nikon L135AF. It's a compact camera. You can put it away into your pocket. And if you want to, you can take it out very quickly or you can carry it around in your hand without having any problems shooting with it. Compact cameras offer discretion so you can quickly take a shot without really disturbing the environment or catching anyone off guard. There are plenty of digital cameras that are similar to this, which will allow you to take a lot more shots than what a Bronica Zenza ETRS can offer.  

I was out with some friends having dinner. It was just a few hours after the shoot. And I remember showing my photos that I'd been taking like Polaroid SX-70. This is one of the images that we were actually looking at at the time. And the waiter oversaw the images and was actually really intrigued by the Polaroid SX-70 itself. 

He started asking me questions about it. How to use it, and why was he using it? Which led him to the ultimate question about what camera he should get for his 15 year old son. He was really interested in photography. He wanted to know what would be the best camera to start shooting with. A lot of people ask me this question. If you're a young photographer and you don't have a budget personally, I had no budget even to have a camera at the age of 15. 

My first camera was when I, when I started working, I think it was 23 or 24 when I first got my Nikon. To get started with photography, the key thing though, is that we have so many cameras that are available to us. Every single person has a camera phone. If you really enjoy and love photography, that is such an easy and simple way to access this medium of art. I advised him to start shooting with his camera on his phone as often as possible. If something is coming off it, then that's the time to start thinking about, well, going into an entry level camera, rather than diving straight into a top level DSLR camera with all these kit lenses and so forth. Better start some projects first before investing fully into it. So shooting with the Bronica Zenza ETRS, and you'd have to take the magazine holder at the back off first. 

Kosmo Foto is a 100 ISO panchromatic black and white film. Perfect for all medium format cameras. One of the exciting things to note about this film is that it is freshly made and stopped in the wilds of Europe. For those of you looking to reduce your carbon footprint and love shooting film, then this could be a more environmentally friendly option. 

The packaging of this film is pretty cool too, with the cosmonaut at the front, and this film can be used on sunny days, overcast conditions, as you can see in my images here, but also for indoors with studio lighting, flush or even natural light, it'll be really interesting to see how it compares with Acros 100 or even Ilford Delta 100, to see the comparisons between them. 

The film is a traditional black and white chemistry so that it can be developed with formulations such as perceptol or tetenal or rodinal as well. If you've tried with any other C 41 chemicals then shoot them in the comments below It can be pushed and pulled to ISO 50 or push processed up to ISO 400. 

Is that your teddy in the video?

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Blue Hour Night Shoot With Kodak Portra 800

In the first image, I'm looking up towards my subject. I've positioned her leaning slightly against the handrail with her left hand and knee leaning towards the camera. This gives the impression of the importance of the subject, as well as creating a little drama with the large building in the background. When coming out to shoot with Portra 800, be sure to communicate to your model or subject how you want them to dress and style themselves so they fit in with the environment perfectly. Another way you can create variety in images is by getting your subject to move.

In this case, I got the model to move towards me. And that way you can capture something a little bit more different and give you a greater range in your portfolio that you are building. When you're out on the shoot, make sure that you know your equipment really, really well. In this case, you can see the focus come out absolutely brilliantly. I think the key thing with this is knowing how to use your equipment and knowing how to use it well.

I wasn't sure how this image was going to turn out. There was very low light here and I resorted to using off-camera flash modelling lamps to get some light on the model. This image has not been edited in post and has come out quite well, despite a slight muddy texture which fits in quite well with the feel of the shoot.

There was a slight blur in the image here, as the light was rapidly reducing. The Yashica Mat 124G only goes down to F3.5, so perhaps with a tripod and shutter release cable, this could be resolved. Even with Porta 800, it would be challenging to capture everything perfectly, and particularly on model-based shoots, time is very limited. Being prepared, but also being aware that sometimes you'll have to take risks when shooting film, will help disappointment afterwards.

Twilight had set in by the time I got around to shooting the next few images. In this unedited image, there is a strong yellow cast set by the modelling lamp. I think it works quite well with the red door in the background, the blue jeans and the white top. Think carefully about your colour palette in advance. Attention to minor details can pay dividends in outcomes.

In this set of images, you may have noticed a variety of different shots, from full body through to narrow top body shots. This was my first shoot with the Yashica Mat 124G under low light conditions with a model. Through shooting different setups, I've learned how to create some cool fashion-style shots with this twin reflex camera.

What was your favourite shot from this selection? Let me know in the comments below. How have you been getting on with Porta 800? Still not sure how to nail Porta 800? Then check the video below!

Why You Will Not Keep Your New Years Resolutions

Let’s keep it simple. You’ve been drinking coffee all your life and then one day someone accidentally got you a tea not any tea, perhaps the greatest tea on earth- Yorkshire tea!! 

Chances are that you have every year got on the New Years resolution band wagon or just thought whatever I’m just going to take it day by day

You make a resolution to stop drinking coffee (God forbid) then you’re not going to do this unless you actually DO something about it!!

Now in the infinite multitudes of possibilities there is a sliver of a chance that things will work out how you imagine them. However for the rest of us mere mortals this doesn’t work. The chances of winning the lottery are (I like those odds!) 

Right now your probably really excited it’s the new year, new beginnings and you have all these thoughts of things your going to do this year. That’s fab. You need to capture this energy and cement it.

Get a piece of paper. No! You’ll probably misplace this and won’t remember where you put it then you go down a rabbit hole and then you don’t remember

Even better get a pad of paper. At top of your page write down all the things you want to change or achieve this year. 

To be honest will live in the digital age so if you’re not worried that M15 the CIA Russia or China are going to break in to your top secrets then open up Facebook (haha) open up a doc, Microsoft Google - whatever dude just pick one stop pontificating about it. Whatever you do just Break It Down & Write It Down. 

Stuck for ideas, what about reading 6 books this year, that’s one every 8 weeks. How about making your website and launching it? How about getting out and shooting one location every month and sharing your images on Instagram? It’s got to be something that YOU want to do but it’s got to be! 

Did you spot it? Take a guess by leaving a comment in the video for a chance to win!

Wishing you an amazing 2020! 

Why You Shoot Film In Winter Wonderland

Afropean Notes From Black Europe By Johny Pitts

You read because you want to be moved, feel something, be inspired or learn something new. Afropean is a book about understanding the lived experience of Europe’s black communities. No doubt this book will move you in ways that will get you to think more about you and how similar or different your lived experience is wherever you may be in the world. 

Johny Pitts is writer, photographer and broadcast journalist, born and raised in a low middle income home in Sheffield, England. His father is African-American and mother is White English. After breaking up with his girlfriend he moved back temporarily from London to Sheffield before embarking on his budget backpacking trip to Europe. 

What I find most interesting about his journey is that he was in his 30s when he first decided to do this trip. Unlike upper middle income kids on their gap year or post uni backpacking around Europe, he had spent years saving money and even then had to max out his credit cards to fund his 5 month trip. One which was spent not living the delights of some of its famous spots and sceneries but spent on a budget living and experiencing the lives of those communities living on the fringe. 

Johny takes us with him on this journey through Paris, Brussels, Amsterdam, Berlin, Stockholm, Moscow, Rome, Marseille and Gibraltar. Interspersed with meticulous social and detailed historical knowledge, he infuses his personal experiences of the trip with those that he meets sharing their deeply rich experiences giving them a voice. 

One of the most fascinating stories that Johny writes about is on Alexander Pushkin’s heritage. Alexander Pushkin was a Russian poet, playwright, and novelist of the Romantic era. He is considered by many to be the greatest Russian poets and the founder of modern Russian literature. A Russian, his great grandfather was Abram Gannibal who was a son of a Prince from what is today the border between Chad and Cameroon. His story in itself is one of brilliance and excellence of the human mind and character. One of his sons would go on to become a General in the Tsar’s Army (incredible considering the attitudes towards people of African origin during the colonial period) and later one of his descendants would marry into British Royalty! 

In my own ignorance, this story reminded me of the great work of Joseph Bologne, Chevalier de Saint-Georges who was a French classical composer, virtuoso violinist, a conductor of the leading symphony orchestra in Paris  (as well as being a renowned champion fencer!) There are likely many, many more great artists who have African heritage that have influenced European culture directly that have simply been forgotten about or had their influence removed. 

The way Johny weaves the story of Alexander Pushkin, through to the Soviet era when those of African heritage saw even briefly an attempt to reduce the racial gap and now when being a man or woman of colour in Russia might find you targeted directly physically and in some occasions brutally. 

It is incredible to see that in Europe today so much is forgotten about notable individuals such as Pushkin, their heritage and contribution to European art and culture. Johny brings contemporary life stories and frames them eloquently within the context of the past. 

One of the most tragic dots that connect all the stories of the African diaspora living in various parts of European cities, is how similar their backgrounds are and the contempt and most challenging conditions they find themselves living in. From the Senegalese living in the Banlieues of Paris to the Freedom fighters of the ANC living a solitary existence in Stockholm. All share deprived and wretched conditions they live in even though after a generation of migrants has come most continue unable to be treated as citizens of their home state and face daily challenges trying to make economic and social progress. 

From encounters with people on the train who openly demonstrated their hatred of ‘foreynjers’ [I won't go into details here but you must really read the chapter ‘Rinkeby Swedish’] for anyone not aware of the deeply embedded racism within European society Johny’s travels and book is truly revealing of a european society with two halves. 

If you love travel, journaling or immersing yourself in real life stories you must read this book. Johny curates an online journal Afropean.com and contributes to The Guardian, the New Statesman and The New York Times. Be sure to check out his continuing work! 

How about grabbing this book wherever you might be and take an incredible journey through Europe that many of us will never get to see or experience. It will forsure change the way you see Paris or Rome the next time you fly for a getaway vacation. 

Have you read Afropean or any other travel/photography books? Let me know, I’d love to hear from you in the comments! 

You can grab a copy of the book here

Kodak Ektar in Autumnal London

If I were only to give you one piece of advice it would be…

Imagine the autumn sunlight, the rich colours of the leaves and the movement of time as it moves through to the winter. A time to start reflecting on the year and letting go of what has been so you can grow in newer ways. 

Shooting with film is in essence a slowing of time and appreciating that which is around you. Autumn is a perfect time to shoot and of course choosing the perfect film to go with it too. None is better than Kodak Ektar 100 whose vibrant colours capture the best of this time of year. The emulsion captures the colours in their full glory from the blues of the skies to the yellows on the leaves. Be in no doubt that you will capture some wonderfully crisp images. 

Combined with the square format on the Yashica Mat 124G I had a play with this exploring a little garden in Hampstead, England. On reflection this was an appropriate choice to shoot with this film and now I can see why film photographers talk about shooting this film in landscapes. It clearly captures the colours and tones with razor sharpness. The images come out super saturated and you may be left wondering how when its not even slide film! 

Just a side step word of caution here. If it is your first time shooting with any film camera be prepared for things to go wrong. When shooting for the first time with this Yashica I accidentally pressed the shutter too early or hadn’t quite adjusted the frame correctly. You may want to spend a little more time than I did and get to know your camera. This is especially more important when you may have bought this online and it may have had many owners before who perhaps didn't quite look after it in the same way you may do. 

Being an ISO 100 film, I would advise using a light meter when you go to shoot with this film. Regardless of whether you are shooting with 35mm or 120mm you will want to make sure that you have the best of each frame. The tonality of the images will blow you away and you may regret shooting without a solid light meter such as the Sekonic L35. 

Perhaps one of the downside to this stock is that it has a narrow exposure latitude which means that you will need lots of light to be able to capture the images to its best on this film. I am yet to try using this film in a studio however you may find this a fun experiment if you have a good grasp of lighting your subject evenly. On some of the images I have taken here you can see that it does struggle with shadows on occasions. That said, one shoot is not a tangible metric to judge any film stock by! 

If I were only to give you one piece of advice it would be: shoot it in lots of light. You may want to experiment with this film in different conditions before you settle working on a project with it. Remember that if you are struggling for ideas, pick a roll whether it is Ektar or any other film stock and get out and shoot without thought to see what you gravitate towards and capture. Then double down and keep at it, the rest will figure itself out. 

Start Creating With The Photographers Playbook

You have a creative block. Everything has been shot. Probably. You have two options, give up or find some inspiration to create. Which one do you choose? 

There are many, many ways you can get inspired and by watching this video you have already made a great first step! 

I do love reading and during past times you might find me perusing in a bookstore looking for a new source of inspiration. ‘The Photographer's Playbook’ is certainly one of the best photography books you will ever have on your bookshelf. 

You may already be aware that photography by default is quite a lonely hobby. For most part it may just be circumstance. You work full time and on the occasions you have a chance to get out it's a challenge getting someone with similar interests to get together. This book is like having a a photography feast with some of the most recognized photographers in the world from Henri-Cartier Bresson to Alec Soth. You can find out more about the pros and cons of this book in the video. 

You will find 307 ideas and assignments you can pick from! These range from what to shoot, how to shoot, starting new projects, playing games with your photographic work and process. 

Something to The Photographer’s Playbook So why not get inspired by some of the most creative photographers out there. Some amazing photographers have contributed to this book from Henri Cartier-Bresson to Alec Soth [a couple of my favourites!] So why not take inspiration from them and start creating in your own unique way! 

This one book can keep you going for years and years. Definitely one to keep on the shelf, for a time when you are feeling a bit down, out of ideas and need a little inspiration to get up. It’s a fascinating find and one to keep the fun alive in your photographic journey. Grab yourself a copy and get shooting! 

Have you read the Photographer’s Playbook or any other photography books recently? Let me know, I’d love to hear from you in the comments! 

Get your copy of the book here: https://amzn.to/3kUlXRu

Shoot It Right With Ilford FP4 Plus

Ilford FP4 is an ISO 125 film which was released originally in 1968, almost 10 years before Kodak Tri-X first hit the shelves. On their website, Ilford FP4 Plus is shown to be a medium speed, all purpose black and white film with very fine grain, and outstanding sharpness. Ilford would go on to say that it has superb exposure latitude, and below its 125 ISO. This makes it very capable for photographing most subjects in areas, and varied lighting conditions.

Can you shoot Ilford FP4 at box speed? 

You definitely can shoot this film at box speed. When you first use it for a shoot, you'll find the film will give you really pleasing results, particularly in its grain, and especially if you are using strong lighting conditions. 

What are some reasons for shooting with this film? 

You can shoot with it in any situation. That's one of the greatest things about this film. You could use it indoors, outdoors. You could shoot portraits, landscapes. You could shoot architecture, you could shoot macro. Whatever it is that you want to shoot, you can get out and shoot with this film. So, it's a great film to have nipped in your bag somewhere. You can whip it out, and use it in any situation. Wherever you might be.

Picture this. You're at a friend's party or perhaps even at a wedding reception, and definitely have a role of this in your back pocket or in your bag. Its wide latitude of exposure will allow you to shoot in variable lighting conditions. Just don't forget to process it accordingly, or get your favourite film processor to do it for you.

It is a significantly cheaper alternative to using Neopan Acros to, or even using Kodak black and white film. It's a little bit more basic, but actually the results that you're going to get from it are going to be very, very similar to what you would get with Neopan Acros or with Kodak T-MAX or Tri-X, for example. So, if that's an important factor for you, then you should definitely shoot with this film.

It's fantastic in strong light, particularly harsh sunlight. So, if you're going to be somewhere where it's going to be like that, then make sure that you've got a role in this. It also has a really good tolerance to bad exposure. So if you don't have a light metre with you or you don't have one, you're guessing, you'll probably get some good results regardless of how you end up shooting with it. Obviously within its parameters.

You're on a budget. We've already talked about the fact that it's cheaper than using Neopan Acros or Kodak. But also, you can buy this in bulk, and that will significantly reduce the costs of shooting with this film. So, if you are planning on shooting black and white, and you want something which is consistent and gives you a great result, then buy in bulk. Roll up your own film at home, and that will save you a lot of money too.

There's probably two main reasons why you probably don't want to shoot with Ilford FP4. First one is that it's contrast is a little bit of a disappointment. So, if you like having that in your images, then you probably don't want to shoot with this film. The grain structure is good, but the contrast is a little bit off. Secondly, if you are based outside the UK, North America, Australasia, wherever it might be, then it might be more expensive for you to get a hold of this film. And so, cost effectively, it may not be the best option for you. But at the end of the day, you should know your own style, and if this is the right one for you, you should definitely check it out.

What can you take away?

It's definitely worth you getting a role and checking it out. Its medium speed will allow you to shoot in a large variety of situations. Whether that's in the studio, whether that's outside on the street, or even shooting landscapes, you're going to get some fabulous results due to its wide exposure latitude. With that in mind, definitely take the time to work with this film, especially if you like the grain on it, and you like images with a little bit more controlled contrast in it. Certainly, definitely worth trying in lots of different scenarios. Take it for a walk wherever you might be, and see what you get.

I absolutely loved shooting this film and would love to hear your thoughts on Ilford FP4. Have you shot with it? What kind of results did you get with it? Let me know in the comments below? 

Do go ahead and subscribe and turn on the bell icon so you'll know exactly when the next video of this series of videos is gonna drop and I look forward to seeing you in a workshop with me very, very soon.

Start Shooting with Ilford FP4 here

Ilford Ortho 80 on Zeiss Ikon Nettar

A little unknown gem by the masters of Black and White film, Ilford Ortho is an orthochromatic, black and white film, which offers fine grain and sharpness. Pre 2019, was only available in four by five large format, however, with the resurrection of medium format and 35 millimetre shooters, Ilford released this in these formats as well. Ilford, you legends! Ilford recommends using it in landscapes, so naturally I started with shooting it in the urban jungle. 

What is orthochromatic film? [I hear you cry!] 

This film is made with silver halide crystals, which are naturally blue sensitive. They first came out back in 1873 and were used in 30 films and movies. This is the reason why skies in the early photographs are almost white being blue, as it overexposed quite easily. The orthochromatic film cannot see red lights as well, so anything red will turn black. This also means that if you process the film at home, it can be handled with deep red safelight. 

As it is a low grain, a high detail film, it needs a lot of light. Ideally suited for landscape photography as Ilford had recommended himself. It's well-worth shooting portraits with this as well I think. If you enjoy developing at home or in your own lab, the blue and green sensitivity of this emulsion enables the film to be handled in deep red, safelight conditions as I mentioned earlier. This will naturally make the processing of this film a lot easier. 

Can you shoot Ilford Ortho 80 at box speed? 

Absolutely, Ilford Ortho 80 is DX coded for ISO 80 for daylight / natural light shooting. I do love working with Black and white film and you will find working this film very satisfying too. It can produce very sharp, detailed images with almost no grain in sight.

You can use this film for portraits or landscapes, take your pick! I was shooting this film in some overcast conditions which gave a wonderful natural soft box. Ideally however I would have preferred a little bit stronger light as I did struggle with the very low light conditions in some images. 

Five reasons you should shoot with this film. 

1. You enjoy shooting sharp images with no grain. 

2. You're creative, and love shooting black and white. In particular, you want your reds and oranges in frame to come out, pitch black. Think of all the oranges and reds that could come out black in your style of photography. 

3. You love working with shadows and contrast, particularly with skies. 

4. You love or travel somewhere, you have wonderful light and colours available to you in your local environment. 

5. You're creative and you just want to keep exploring and deepening your own photographic journey. 

Why you should not shoot with Ilford Ortho 80? 

It is an ISO 80 film, which makes it one of the slowest films available on a very limited film market in the first place. If you live somewhere like the Mediterranean then this should not be a problem for you. But for those of you who live in the Northern or Southern Hemisphere, it won't give you the flexibility you may achieve with a ISO 200 or 400 film in your varied climatic and weather conditions. 

You also need to take into account that your oranges or reds are going to come out very black too. As an orthochromatic black and white film, it is less sensitive to red than to green and blue. And as such, you need to be aware that probably this is not going to be ideal for portraits, but it will likely give you some unique looks for landscapes and flowers. 

What can you take away about Ilford Ortho 8O? 

I shot this film in the street down the East End and would be intrigued to see how this would perform in autumnal conditions. To see how the colours of the leaves would be rendered in black and white, as well as shooting it in a studio portrait shoot, to see how it fairs with skin tones.

Shooting very blue walls, in some of these images you've seen the whites came out absolutely electric. It'll be interesting to see whether this could add a new element to work with. Furthermore, how would fair with the bright blue sky? With that in mind I wonder how a sunset would also come out too? The oranges would certainly come out quite black. So theoretically it could create some very dramatic images. Shooting in tungsten light, now that would be something else. 

Overall, this film pushes you as a photographer to think about details, which is excellent. The more you're pushing yourself to create using different techniques and mediums will develop not only your portfolio, but also your understanding of working in different conditions and with different materials. Who knows? You may capture an image which may take you down a new path of creativity. So just get out and explore.

Try Ilford Ortho 80 out on 35mm

Try Ilford Ortho 80 out on Medium Format

How You Can Frame Better Photos

Symmetry is critically important in design - and by default in photographic composition as well. How we achieve it is open to interpretation and debate! 

For some symmetry is all about a peaceful balance of all the elements in frame, while others find it restricting, insisting instead on a touch of off-balance tensity in their compositions. 

You cannot deny it though, regardless of how you view it, symmetry is powerful its something we are attracted to. 

Here is a shot I took in Central London, it was the taken the morning after a stabbing had taken place outside Urban Outfitters.The arrangement of the elements of the picture, controlled of course by the cameras viewpoint, has a strong hint of symmetrical balance; yet the picture is just 'off centre' to prevent that hint becoming featureless as to conceal what else is going on in the frame.  

And that is important. For a picture should of course be good to look at from the point of view of design - but if it is nothing more than a sterile juxtaposition of shapes then it may well end up being merely a pretty pattern, with nothing else to stimulate the viewer's interest. 

Here’s a simple recipe to help create something moving. First, figure out what your main subject is and here it is the man walking across the central reservation. Then, when you are certain about the shot, move yourself to a position where you can capture the image which will communicate some mystery or story element to it. Ultimately, you want to be in a place which maintains the importance of the subject in frame. 

In this circumstance, I had been walking on the other side of the road when the man caught my eye and instinctively I decided to walk across to the centre and capture him walking across. 

Did you get the formula down? 

Now that sounds like a lot of work and faffing around but it should be pretty straightforward. Regardless of you shooting with the latest Mirrorless Camera, iPhone or Analog Camera by practicing deliberately you should be able to naturally recognise opportunities to get into the right spot for the perfect shot. Have you ever been shooting, whether out in the countryside or in a portrait shoot, you have stopped and thought, no I need to try that in a different way, that’s it. Just learn to consciously be aware of it and you’ll be well on your way! 

You can grab a copy of the book here!

Polaroid SX-70 Street Shoot

A street walk in London with the wonderful Polaroid SX-70 creating Black and White Portraits in an almost perfect weather day in London. Learn how to frame and communicate with a subject to create well exposed and beautiful images on Polaroid SX-70. Enjoy!

Choosing the favourite image can be tricky too, no? Which one was your favourite from the shoot?

Do go ahead and subscribe and turn on the bell icon so you'll know exactly when the next video of this series of videos is gonna drop and I look forward to seeing you in a workshop with me very, very soon.

Fujifilm Neopan Acros II on Nikon FA

It's not your dream yet.

As you're aware, British weather can be a little bit of a variable. This time, I decided to control my environment, get a little bit more technical, go into a studio, and shoot with this film to make sure that I would capture each image to the best possible standard.

Neopan Acros II is a panchromatic film. Which means, it is sensitive to all spectrums of light. It's made on an acetate base. The reason why it's made on an acetate base is the previous versions of film stocks, which were made back over 120 years ago now, were extremely flammable. As film stocks improved over time, they moved towards an acetate base, which was less flammable, and more stable as a film stock itself.

This film has a ‘box speed’ of ISO 100 but officially has a speed rating between 50 to 800 ISO. If you're familiar with film stocks, then you would know that Acros I existed prior to 2018. Fujifilm have upgraded this film stock. If you're going to be shooting with this film stock, you should expect to get really fine grain, and really crisp shots. With that in mind, we should find that the mid-tones are well balanced, and we're going to get some really nice detail in the highlights and the shadows.

Neopan Acros II is very simple and straightforward to use. You might be outside on the street. You can just get your camera out and roll up some in your chosen 35mm camera. You can start shooting straight away within 60 seconds. Alternatively you might be on the beach, a hillside somewhere, or even you're having a studio portrait shoot. It will be challenging to take a bad picture with the Neopan Acros II.

As you can see from the images already, they're showing some serious contrast, the dynamic range of the film is fabulous. As mentioned before, ranging between 50 to 800 ISO. So, even if you decide that it's a little bit too dark, you can push the film a little bit further, and you should expect to get some great results from it.

There's only a limited range of ISO 100 black and white film stocks out there. Generally, the most popular ones are by Ilford. Ilford Delta 100 and Ilford FP4. You've also got Kodak T-Max 100, and Fomapan, I believe, also do a 100 ISO range as well.

Fujifilm say that you can push this film from 50 ISO all the way up to 800 ISO, and it has excellent reciprocity. Now, I think that's a challenge. And for sure, I want to try and go out, and see what I can get by pushing this film further too. Why not you too?

Building on a previous point about it's wide exposure latitude, this means that you can really use this film for a multiple range of projects. Whether it's sports photography, whether it's landscape photography, portraits, and Fujifilm themselves on their documentation, say that you can use Acros II for Astrophotography. Yep, it's there. I think that's worth checking out. So, if you live somewhere where you've got beautiful open skies at night time and fancy a little test, go for it.

As this is a panchromatic film, I think it will be fun to see how it handles and manages filters. So if you've got some filters at home, take them out, take them for a whirl, see what you get with them.

Now there's two reasons why you probably don't want to shoot with Neopan Acros II. The first one is, it's £12 pounds a roll, that's $16 [US] dollars guys. That’s quite pricey. Shout out to anyone in the US: Can you just ship me some Neopan Acros II? I'd really appreciate it. Seriously, that's probably one reason why you probably want to test it out, and if it's for you, then great, go ahead, shoot with it if you can.

The second reason why you probably don't want to shoot with this film is because obviously the grain is substantially less than what you would get on other black and white film stock. If you prefer the mysterious dark, sort of grainy sort of look that you get with HP5 or Tri-X, or T-Max, for example, then this film is definitely not for you. Now, I say that with a caveat, because I don't know if I pushed Acros II to 400 or 800, whether it would start to exhibit similar qualities. And then, the only way I'm going to do that is by doing it myself. It might be worth pursuing if that's the sort of look you're going for. Just on a hunch, I don't think it will be, as you see it with HP5 or Tri-X, for example.

I think Neopan Acros II is a reliable film stock if you're shooting on ISO 100.

You've got the wide exposure latitude, which is available to you, should you want to push it. And they themselves say that it has excellent reciprocity. Although, I think that remains to be tested. And you can see from the highlights and the shadows in the images that I've shown you, that the image has come out really, really beautifully.

So definitely, I would highly recommend going out and shooting with it. Obviously, the downside is the expense involved. But I think if you love photography, and you're exploring new ways to shoot, maybe you'll find something new with this film stock that you resonate with, and you will create something really cool.

Choosing the favourite image can be tricky too, no? Which one was your favourite from the shoot?

Do go ahead and subscribe and turn on the bell icon so you'll know exactly when the next video of this series of videos is gonna drop and I look forward to seeing you in a workshop with me very, very soon.

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What You Can Learn From John Berger

John Berger is able to merge together lots of different disciplines - visual materials, paintings, photographs, drawings, sculptures, movies, the world, its truths and realities that exist in the world and peoples stories and emotional responses - for him they are all one thing. 

John Peter Berger was born in 1926 and passed away in January 2017. After serving in the Army in WW2 he went on to study at the Chelsea School of Art and Central School of Art and Design in London. He was an English art critic, novelist, painter and poet. Most notably his novel ‘G.’ won the 1972 Booker Prize, and his essay on art criticism Ways of Seeing, written as an accompaniment to the BBC series of the same name, is often used as a university text. He created great controversy when he donated 50% of his prize money to the Black Panthers in the US. Both the ultra right wing in the UK were incensed by this and the ultra left too when they thought he had not given enough! He lived the majority of life, 50 years in France. 

Berger’s abilities to describe images in so much detail mean that you even if you haven’t seen the image it will appear in your mind - and if you have have it will pop right back in. This chapter is based on the amazing Don McCullin’s and his photographs from the war in Vietnam. His haunting images are world known. How have you processed seeing Don’s images? It got me wondering how he did. Was his experience different to the framed narrative we see? I think its pretty amazing how much of how we see an image is a reflection of our lived experience. Today Now Don shoots still life and landscape photography, and shoots a lot on 4x5 cameras. This chapter left me with the question, if you took the photos he did in the Vietnam War, how would you process that? 

By drawing in so many disciplines in his written work Berger is able to capture the essence of what it means to photograph. You can be a world renowned photographer or not, you are capturing the essence of the human experience for you and for others- through reading his work he gets you thinking - thinking about your work and why it matters. 

This book is a collection of essays that Berger wrote over a long period of time. The string that ties them all together is his continual effort to try and make social and human connections between all types of disciplines, some which I to some extent agree with and others I’m not so sure about. 

In the Suit and the Photograph chapter - he shows this image of Three farmers going to dance - John fixates on is the suits they are wearing and how much they are like the suits in his village when they dress up and do something - the cheapness of the suits and the cuts says not only something about them but also about the world we come from today. Have things changed, if you really think about it? For Berger, art is something that means something to people. 

Through his immersive writing you can get a sense of depth of what the components of a great photograph are - for you it will trigger thoughts and ideas of how and why you shoot. How you can refine how you look at the world and how you can refine and contribute more of your unique style and work. 

For Berger, form and content does not exist. He is completely immersed in what is going on in the picture and what people are saying. In his second chapter he says ‘It looks as though (whatever kind of activity it might be) is going to outlive painting and sculpture as we have thought of them since the Renaissance’ he goes on to say ‘no work of art can survive and not become a valuable property’. 

It’s amazing how Berger has brought together so many aspects of the human experience which help us to understand a photograph. Often through the book he drifts off and makes some tenuous links between photography and history perhaps as a way to demonstrate his knowledge about the subject. In a way the book is timeless, by reflecting on the past he gets you to think about how modern industrialists are influencing how we see and experience the world. Overall this book is an excellent read for anyone looking to learn more about how they see the world and help you to construct your own vision which communicates your story. 

Understanding a Photograph is a drop in the ocean of all the work he has produced. He has translated many foriegn poems, the latest of which is by Mahmoud Darwish. You may also want to check out ‘Susan Sontag: On Photography’ which from a grapevine I have heard is very intellectual! Have you read Understanding a Photograph or any other photography books recently? Let me know, I’d love to hear from you in the comments!