Without a doubt, when contemplating my favourite camera (of those I currently own), my immediate response is usually: F4… the Nikon F4… without hesitation, but with plenty of repetition… definitely the F4.Continue reading “Reconnecting with an old friend – the Nikon F4”
I’ve always been pretty firm in my resistance to the seemingly unstoppable charge of digital photography. The “digital revolution” has been an inarguable success, but the takeover has not been total. The brave new digital world has been benevolent enough to leave room for those of us with gelatine hearts and analogue souls.
A brief search of YouTube finds a huge number of analogue shooters extolling the virtues of film in all formats.
Personally, I love my old film cameras. They’re tactile. They look great, and they feel great, and I can choose between multiple formats dependant on what I want to shoot or how I want to shoot it. It’s great to have a choice, and that choice extends to film or digital.Continue reading “updating my firmware?”
Life is busy, and I don’t have as much time as I’d like to devote to personal photography, so when I do, I’ve always thought that I should do what I like to do… not work to someone else’s agenda… shoot for myself alone. But now, I’m beginning to think that rather than providing artistic freedom, that may be an attitude that may begin to stymie creativity. Maybe the “everything in moderation” approach that seems to serve me well in other areas should be applied, and the occasional assignment to a specific brief will help to keep the photography fresh and interesting. So, thanks to those lovely people at the sunny 16 podcast I recently embarked on an assignment on the theme of “day into night”.Continue reading “assignment”
I always feel a little irked when a museum or gallery levies a charge to enter certain areas of an otherwise free to enter establishment. It irritates, probably more than it should, especially when the entry fee feels excessive, and for the same reasons that I won’t pay inflated “event” parking charges at the O2, or use the public lavatories at London Victoria train station, I’ve occasionally dropped plans to take in an exhibition due to what, to me at least, appears to border on profiteering by the venue.
Continue reading “Don McCullin at the Tate”
Now, I have no problem with a venue covering its costs with a nominal entry fee. A well known “name” showing in a well known setting may well see me parting with a tenner to get through the door, but I work long and hard for a moderate salary, so I want value, and that includes the cost of getting to and from the venue.