why Im not "smart" and never will be

in

Since the introduction of smart phones, I never found the need to own one, use one or interact with one. Remember the days when people use to use the power of voice to communicate which these days seems to be completely lost. We as a nation have become so addicted to “smart” that life outside has simply been lost.

Ive been what one might call as a “dumb” user for years. A phone user that enjoys the engagement of voice and the odd text, not the distraction of pushed valueless content. Over the years, Ive endeavoured to stay brand loyal and some years ago I finally found a phone manufacturer that meets my needs and offers something that smart phones will never, Simplicity! Who am I referring to then? well, its Light Phone. Designed by a bunch of clever guys from the US with similar values to me.

Just take a moment to watch one of Light Phones informative video’s (below) to educate yourself and see how dumb is real.

The new LP3 now includes a built in camera which has not been featured on their previous models. Will I use it? I think not but Im sure others will. I tend to use a phone for the simplest of reasons, to speak with someone direct through the power of speech and maybe the odd text.

Walking down any street this days and you’ll just how engrossed smartphone users have become as they sit in their own little social bubble or surfing the net whilst on the move. Thats never been me. Im so far removed from the lives that they lead. Thats why I love LP so much. My new LP3 will soon be on its way and I’ll soon be dumber than Ive ever been. R

fishing - an integral part of Cornish life

in ,

If you live by the Cornish coast, then you’ll know how fishing forms an integral part of our Cornish lives. From the commercial crab fisherman lifting their catch 10 miles off shore, to the sardine ring net fisherman circling Mounts Bay. Thens there the one or two crewed independent small boat fishermen who line catch Bass and Mackerel. Don’t forget those shoreside support guys too.
The skilled net makers. Sadly this has become a dying skill but there are still a few of them out there. You’ll also find a whole team of guys and girls who support are fishermen once on shore. They too form an integral part of the industry.

Ive been fortunate enough to of been allowed aboard these commercial vessels and the captains and crew have aloud me to capture all that I see. This is a dangerous industry but the fishermen that work these waters are well trained in order to help them along the way. Commercial fishing is a super tough industry to work in and only tough men and women need apply. Below are just a few of the shots Ive taken overtime. All on film and all real. A big thank you once again to all of those who allowed me to capture them

he came from nowhere

in ,

There are times, just like in street photography that a shots just comes to you. What I mean by that is that a shot can just randomly present itself when perhaps you least expect it. A classic case of that is the shot below. I was out early one morning shooting street content in downtown Vancouver when I walked past this pile of pallets. As I walked past it I heard this rustling of heavy duty plastic sheeting and then this head popped up. It took me by surprise and the guy also by surprise to see me there looking at him.

My first thought was to say hello and to ask what he was doing there. his reply sadly was “I live here”. Clearly he was homeless. Now Im a believer of chatting to the homeless element of this world and listen to their stories. Of course I offered him and hot drink and something to eat, just common sense for me to do that.

We chatted for a while and I explained to him that I was a documentary film photographer with a love of portrait. You can see where this was leading. I had to ask him the question “may I take your photo” The reply was short and sweet, “yep”. I didnt ask him to pose and dress the shot, just to relax and I kept cahting to him until the shutter finally closed. I never got his name but I enjoyed our chat. Choice of camera and film that day? My Hassy 500CM and a roll of Ektar. A great portrait combo. RD

all muscle....

Id be the first to confess that Im somewhat of a petrolhead. I love many cars that I would class as real car. Classic’s that is, none of that modern day rubbish thats being pumped out that the moment. My main interest I guess has always been British and European models but from time to time, the unexpected muscle car pop’s up that really turns my head. In this case, it was Barry’s 1964 Thunderbird

This car has some great history to it. Before it came to the UK in 1987 it was a Illinois state troopers police car. Uprated for Police use with a tuned block and improved gearing. After that, it become the local Governor wife’s car before being sold on a few years later. So in 87, it was shipped to the UK. It sat here for a while before Barry purchased in 2015 as a rolling shell with everything in boxes

Such a good looking car both inside and out. So after Barry got hold of it, 95% original I might add, he completely rebuilt it himself apart form the paint and electric’s that is. Now if you’re going to shoot a classic, then shoot it how it was done all those years ago, on film. Personally, I believe film gives you a real period look to it, something digi simply cant offer. Other opinions are available but they’re wrong!

Black cars generally are a bugger to shoot unless you get the right light and on this occasion, early morning Cornish light worked a treat. I did roll of a few frames in black and white but they just didnt work. Portra 400 was my film stock of choice and for me the balance of colour and light worked out nicely

Thanks again for you time Barry and finally allowing me to shoot your Thunderbird. RD

Elite Chrome 100 review - expired

Here’s yet another stock that Ive not shot before and was keen to review it. A roll, or in this case two, of Elite Chrome 100, expired of course. I do like to make comparisons when Im able to and on this occasion I decided that it might be a good idea to use two cameras. Both at the different ends of the scale. Firstly, the cracking little all plastic Nikon AF 10 and secondly the ever impressive old school Nikon f2.

The lens on both of these rigs are very different in their own way but my intensions was to shoot the same frame on each camera and then lay them side by side. Here the first example for you and a strange one too.

Bearing in mind here, the light readings were the same, the shot was taken at the same time and the same position but there’s a clear colour shift on one of the shots. A colour shift you might very well associate with expired film. The left image was shot on the F2 and the right on the AF. I shoot a huge amount of expired E6 stocks and I rarely get colour shifts. Interesting results I think. But, the results dont end there. Take a look at the next two shots. Shot in the same order, F2 first then the AF, but this time a slight colour shift on the AF.

The third set of comparison shots Id like to show you are different yet again. No change in the light just a different angle here but look at how the blue pops on both camera’s. On this occasion, the F2 blue wins this time for me. Lovely and deep.

So, to conclude then. Is this a stock I’d shoot again? Of course it is. I love E6 and more so if its expired. There are so many photographers out there that say “Im a little nervous about shoot expired e6” Rubbish! Shoot it as it was made, box speed and crack on with it. One stop rule per decade, never bothered with it, never will. Elite Chrome 100 is a lovely film and I will be shooting more of it hopefully. RD


5 frames, one theme - Auschwitz

in

Auschwitz is one of those trips I’ve being saying I’ll get round to one day and last month I finally got there. I arrived with an open view on what I wanted to shoot, or should I say what I was allowed to shoot. There are some parts of Auschwitz you simply cannot take images of and we all have to respect that. My vision was simple, 5 documented frames that for me summed up what Auschwitz was all about.

Black and white film for me was the right choice. Kodak’s Double X was perfect for the brief as its a high contrast stock and has a classic period documentary aspect to it, grainy.

Image 1: One of the remaining train wagons from that period that were used to transport the jews to Auschwitz.

Image 2: Clearly there was no escape as electric fences and watch towers surrounded the camp

Image 3: The most basic and impersonal spaces resembling cattle sheds. I leave to judge what they were used for

Image 4: Photographed, documented, the lucky ones were put to work but mainly all of them were put to death

Image 5: The twin fenced walk way that lead you to Dr Josef Mengele’s experimental buildings. Your fate unsure other than the final outcome

My article is not meant in any way to shock you, but more so to remind us all of that terrible Holocaust during WW2. I urge you all to visit the site and experience what I did alongside others. It beggars belief that human life can be regarded as so worthless.

Simple can also be effective

in ,

Im a great believe that us photographers see things thats others don’t and we then capture the most basic of images. Having said that, the production of an image is all about what works for us. In this first example below, the light was the first element that drew me to it, then the colour and then the whole balance of the shot. Basic but, its works for me

Within this gallery below are a series of images that all work for me on the simple and basic front. I saw some element of interest in the first instance that attracted me to the content. All shot on film as always - no digi here thank you very much, and all shot on a series of formats and film stocks

shooting Expired with the odd colour shift - but it works..... →

Ive been shooting expired film for years and I get some great results from them. In fact at one stage, I was shooting 80% of my work on expired stocks. Why you might ask? Well, I l just love too and more so with E6 stocks. Now there are a number of you out there that are nervous about shooting expired and maybe more so E6. Expired slide film is so much more stable than c41 stocks so dont be nervous on that front.
The latest slide roll Ive just shot some content on is a roll of EliteChrome 100. I did a little review on it some time back and I love it so I shot another roll. As with the first roll, I did experience some colour shifts but I reckon that was down to poor storage in its earlier life before I bought it. As I said before, E6 is so stable

So, here’s the first shot for you. Whilst it might appear that the colours look real, and they do, there Cornish, there are further elements of blues tones. Take a look at the second shot and you’ll see what I mean in more detail. The sand is now blue but the colours of the flag in the reflection remain the same.

Ive placed the next set of images in a small gallery so you can compare the tones and the shifts in colour and blue here seems to be the primary one. Now there’s this photography rule I’d really like to quash or should I say Id like EM from Emulsive to tell you more. the One stop rule! its rubbish - here a link to his article - https://emulsive.org/articles/rants/how-to-shoot-expired-film-or-no-you-do-not-need-to-add-one-stop-per-decade

Personally, I dont do it with slide, there is no need. However, with C41 I have done it a few times with rubbish results. Hence why I don’t do it now. Shoot your stocks at box and see what you get. I like the results here and that colour shift for me works. RD

Shooting the shoot

in ,

A couple of seasons ago, I was lucky enough to get a formal invite to a local sporting shoot which I simply could not turn down. This was a shoot like no other. It was so far removed for the general publics perception of Range Rovers, Purdy’s (very expensive shotguns) and people drinking whisky out of lead crystal glasses. This shoot was far from it. Not a single Range Rover in site but plenty of harris tweeds and well dresser shooters ( the guys with the guns). This was and is a budget end local family run shoot. Open to all and invites to all, providing you have some experience of course.

The shoot was headed up by Dan (centre stage in the image below), a local farmers son which has access to woodlands, hidden valleys and acres and open farm land that is so well suited to shoots of this kind. For Dan, putting this shoot together was and is all about budget end shooting. A level where all can afford rather than the high end “Purdy” end of the market. Dan’s shoot is different, the beaters are the shooters and the shooters are the beaters. All of the members takes a turn. The high end shooters just arrive to shoot and leave the beating to others. They see themselves as being beyond that brief sadly…

An integral part of any shoot are the dogs. “Trained to the gun” as they are often referred to. Endless hours of training by their owners to get to a level where they can send them on to hunt out and retrieve the birds. Amazing to watch and their reward is nothing other than working.

The shoot as a rule takes a day and the “peg” selection comes first thing. The “peg” is a ground marker that you will stand at during the shoot. Each member has their own peg. Selection sometimes can be the luck of the draw. In some cases it appears to be pain full - see below

I follow Dan and his members throughout the shoot and captured all that I saw. This kind of “sporting” activity is closely monitored and managed and rightly so. There will always be a high element of danger when the likes of guns/firearms are being used but it was very clear to me from the off that professionalism here was key and everyone understood what was expected of them.

Its rare to be invited to these type of shoots as a photographer, but with my connections I was invited in. I was made to feel very welcome and to some degress put of the shoot myself. Lunch with the shoot was epic by the way. A farmers wife cooking is second to none. Thank you Dan and a thank you to all your members that made me feel welcome that day. RD



what 50p got me on the camera front

in

Im still amazed at what turns up at car boots these days on the photographic front. From old slides to box brownies and even the occasional real find like a Leica. However, on this occasion my latest find was this cracking little Kodak Pocket Instamatic 100. In its original box plus a set of flashes at a price of 50p, yes, 50p - a steal!!

So, given the fact that the camera didn’t come with a film, I went on line to that well known auction site and purchased a 110 cartridge of Kodacolor II at a cost of £9.00. The film arrived in the most amazing condition inside and out bearing in mind it expired back in 1974. It looked as if it had just come off the shelves.

At this stage, Im now into £9.50 for the camera and film, and yes I did check before hand as regards getting a 110 film developed and here in the UK too. Give the fact that this film of C41 is nearly 50 years old, I don’t expect that the film will be stable on the colour front and I’d expect some colour shifts, but that expired film for you. i might be lucky though.

The film is 12 exposures with an ASA of 80. With that in mind I’ll be shooting in bright sunshine with a little luck. With regards to the subject matter Ive chosen for this, it will be Sicily, somewhere Ive not shot before…… I’ll keep you posted



Cornwall - This glorious land that we all call home

in , , ,

With over 400 miles of Atlantic coastline, this glorious land that we all call home has it all. From picture postcard coves, to rugged granite cliffs, deep blue skies and crystal clear Atlantic waters. Our landscape is diverse and spectacular.

From a photography point of view, we have some of the best and purest light here. In the summer months, that light, our Cornish blue skies and the Atlantic colourful tones make it a dream to shoot. I might add, it doesn’t always look like this but we love it when it does. We get a lot of storms and we love them too.

Littered in and around our Cornish coastline are a collection of many picturesque coves which we like to call our own. Throughout the winter months, we love these places even more as the tourists have moved on and we get our lovely land back.

We’ve all heard the following many times before, “you’re so lucky to live here”. My response to that as always is, “it’s not about luck, it’s all about choice”. Life is all about the choices we make and our choice was to live and work in this lovely land that we call home.

Portraits - my spin on them

One of the single most interesting aspects of photography I really enjoy working on over the years is portrait work. It’s a subject Ive really got into and really enjoy that one to one engagement. Each and every time I capture a portrait, I always see elements of improvement. That stems from me never being 100% happy with what Ive shot. I look back and think, I reckon next time I can improve on that. That’s all about learning for me. Something I do every day.
My camera choice here, my Hassy 500 C/M. One of the finest cameras ever made and so good for portrait work

Just one example of my portrait work is this shot of Shelley. Now, there are loads of you out there that believe to get the best out of a portrait shot is to “dress it”. A phrase often known as putting it all together. Im not of the opinion on that front. I believe that you’ll get the best out of your subject by making them relaxed, engage in conversion then open and close your shutter. Only my view, never rock up and shoot straight away. I loved this shot for one simple reason, Shelley just said to me “shall I sit here” and the camera did the rest. Under a minute from his arse on the chair, till the shutter closed


What film stock then? Colour or black and white

Well, I’ll always be a colour man, and thats a fact but some black and white stocks certainly adds their own elements. I love the deep contrast that the likes of Kodaks Double X gives. It also has a period look to it as well as you can see in this example of local artist, Stuart. When is comes to colour, Ektar is my main choice on both 35mm and medium format but I also love Velvia and Provia. Such rich tones….


Camera choices?

My two main choice’s here on the medium format front would be my Hassy 500 c/m and my Pentax 6x7. Both deliver great clarity and both have lenses that are equally matched and super pin sharp. On 35mm, a little mixed there. First choice would be my Konica Hexar closely followed by my Nikon F2. Again, great rigs and a great lenses selection across the board but I like to run with say a 50mm 1.2 and a 105mm 2.5. For me, Nikon produced their best lenses back in the 60’s and that why I run with those now. On the Konica front, any 35mm and 50mm versions. All pin sharp and great to work with

Why film then?

Well thats simple. It offers something that digi never will. Depth, contrast and its real! Everyone has their own opinion on photography and thats the beauty of freedom of speech. Im not saying Im right, all Im saying is thats my choice and I believe I get so much more out of my subjects with a rolls of film rather than a set of pixels - Judge for yourself, RD