Fine Art

Why you’re probably wrong about NFTs

It’s a clear-cut-clickety-click-bait title, but I’m not sorry about it as I don’t think it contains even a nanogram of hyperbole. There has been multiple megatons of guff released into the atmosphere about NFTs, and the misinformation keeps being echoed and amplified. I’ve read that to mint an NFT will waste the same electricity as it takes to power a household for 3 months, a year, two years. You decide. Crypto will lead to the oceans boiling, and eventually cause your hair to melt into a protein skull cap (I made that last one up, let's see if it starts doing the rounds… #legohair). Apologies for being flippant, but there’s clearly some significant levels of BS being shovelled around here and I’d rather laugh than cry. Whilst doing so, I hope to give you some clean signal to cut through all the noise. I genuinely hope you’ll change your mind about NFTs after reading this… unless you already know what’s coming.

Full disclosure, I have no skin in the game (yet). I’m not invested in any NFT projects, I don’t own any and neither have I minted any (yet). I’m just standing on the sidelines for a little, waiting for the mania to settle, and work out where the best platform is going to be for me to sell my art.

It seems that many folk are misunderstanding the use-cases of NFTs, even those who grasp the complexities of the crypto space. After 4 or 5 months of daily research, there is still so much about the industry that I am yet to comprehend. My point being is that reading a handful of biased articles (this one included) and irrevocably making up your mind isn’t exactly due diligence. It is also too easy to find articles that align with your confirmation bias. DYOR, but please conduct it with caution and an open mind. Off the bat, a common misconception is that NFTs can only represent digital files. If that was it and all about it, I wouldn’t be writing this piece. People didn’t get the point of text messages or emails when they first appeared, but I believe NFTs will be as ubiquitous as both of those applications in the relatively near future. I see a world where ownership of cars, homes, designer goods, tickets etc. will all be verifiable via NFTs and the blockchain. Ticket-touts and knock-off merchants will not be best pleased. 

Should you wish to invest in property for example, but don’t have a spare £150k bobbing around to buy an AirBnB apartment, you could buy a fraction of the holiday let with, say £1000, and the smart contract would automatically send you your portion of the rental income, whilst forwarding the management company their dues. It will all happen without you needing to lift a finger as it’s written into the NFT smart contract. Clever stuff. Another arena where NFTs are gaining traction is within the music industry. It has been bought to its knees over the last couple of decades due to digital file stealing sharing and streaming platforms have often left emerging artists out in the cold. NFTs provide a way for artists to release an album directly from their stable that can have unique features embedded such as interviews, videos, alternative artworks etc. Some are even selling a percentage of their copyright within the NFT, with claims that they could spell the end of record labels as we know them. Whilst that may be a little far-fetched at this stage, anything that redirects profits from music industry moguls, instead flowing directly into the pockets of the artists is a positive in my mind. The same concepts can be applied within the art industry, and you won’t need third parties to gatekeep you unleashing your vision on the world. It’s a further step in the right direction towards the democratisation of our art. NFTs are simply another way to connect personally with your fans whilst providing an additional income stream for you to keep creating your work. They don’t need to cost $69M either.

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The main criticism of NFTs we need to discuss is, you guessed it, power consumption. There has frankly been too much uninformed or poorly researched angst bleeding in the streets about this. Its upsetting for so many reasons, with the infighting between artists of primary concern. Let’s face it, if we’re scrapping amongst ourselves, these are pitch-black days indeed. Of course we’re not droids and we all need to form our own opinions on, well, everything, but I’m sure we can all agree on some fundamentals such as any form of discrimination is bad, causing intentional harm to others is wrong, and doing our upmost to preserve our wonderful planet is the only way forward. Please understand that any environmental concerns linked to NFTs should be resolved this year or 2022 at the latest. If that’s still not good enough for you, it’s possible to mint ‘environmentally friendly’ NFTs today. You probably didn’t hear those statements coming from the anti-NFT police; after all it doesn’t fit the narrative. The single source of all of this alarm appears to be from cryptoart.wtf… it’s virtually the only reference cited in every article that I’ve read, and on the rare occasion there is a second reference, their vicarious outrage stems from cryptoart.wtf. Wtf? Having spent some significant time in academia, this kind of intellectual rigour would’ve got me kicked out before the end of freshers week. The cryptoart.wtf site has since been taken down and the author even admitting to intentional bias and significant inaccuracies with the calculations. Wt actual f? Just by zooming out for a moment and thinking logically about the figures, the calculations are clearly flawed. Even examination of the lowest estimations doesn’t hold up under scrutiny: three months worth of electricity for a household is, what, £300 ($400) absolute minimum? The fee that you pay the miner for the creation of your NFT, called gas, is usually somewhere between £5 - £50, but the higher figures are purely down to recent congestion in the system and paying more prioritises your transaction in the queue. Before the current bull market started at the end of 2020, I understand that £5- £10 was the norm. I’d love it if my household electricity bill cost me anywhere between £20 - £200 per annum. Perhaps the more sensible explanation for the cryptoart.wft figures are that the miners are, in fact philanthropist fairies and will perhaps soon offer to pay for your household electricity too?

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Let's look at the reasons why NFTs are cleaning up their act. The huge majority of NFTs run on a network called Ethereum, the second largest cryptocurrency behind Bitcoin. Calling it a currency is a little misleading as it’s really a ‘smart contract’ network. As already noted, you can programme the tokens to represent virtually anything, either digital or physical. Ethereum has also firmly set its sights on becoming the base-layer of an improved decentralised un-mutable internet, but that discussion is for another day. As it stands the network uses an energy-intensive system called Proof of Work (PoW) to verify transactions but, as mentioned, this will be upgrading to a system that is 99.98% more efficient, called Proof of Stake (PoS). Whilst some have criticised that this transition has been promised for years, the PoS beacon chain was finally launched in Dec 20 and is currently undergoing the rigorous testing needing before it can be unleashed upon the masses. The completion of this upgrade is under competitive pressure from other PoS smart contract platforms such as Cardano, Polkadot and others. Ethereum has the advantage of being the first mover in the game, with it being the leading fully operational network, whilst the others mentioned are nearing completion in the coming months. This competition can only be a good thing for the end user and the environment, as it incentivises rapid innovation within the space. It also gives us a choice of which network to use to mint our NFTs. Double win.

Another important step forward for Ethereum is the reduction of gas fees from Layer 2 scaling. The Ethereum network is Layer 1, the base layer, with apps being built on Layer 2. It's the same idea as IP / HTTP / DNS being some of the base protocols for the internet, and Google or Facebook the applications functioning on top of them. These Layer 2 apps are starting to be launched today, with Immutable X being the first, and many more due to arrive by the Summer. These apps reduce the cost associated with minting NFTs to pennies. This will also guarantee those cryptoart.wtf figures continue to look completely and utterly ridiculous. 

A common counter-argument for the adoption of NFTs today is that they are ‘environmentally damaging’ right now, and that when the network is running on PoS they will be given the moral green light. Again, we need to make our own choices here, and I’ll examine the PoW power consumption discussion in more depth below. However, if I told you there would be a totally green solution to flying within a year or two (there isn’t), would you stop taking flights until then? A tiny minority might, but the huge majority already have indelible blood on their hands. Why is catching a plane, having gold jewellery, upgrading your phone or playing computer games not garnering such collective fury? Whilst clearly employing a heavy dash of ‘whataboutery’ here, I think context is everything for these discussions as the concepts and figures being banded around are either too abstract to quantify (serious question - is a ton of CO2 a lot or not?), demonstrably false or both. That, and it’s convenient to ignore the ecologically damaging activities that we all willingly engage in, but choose to attack the pursuits of others that we don’t wish to understand. As a photographer, the chemicals used in developing film are horrendous for the environment, as are the processes involved in the construction of a digital camera. The bitter pill we all need to swallow is that Humans are bad for the World, and there’s a good chance we’ll end up wiping ourselves out. Personally, I feel comforted by the knowledge that the Earth will survive our malignant growth long after we, as a species, are gone. Until then, collectively we can and will improve. We have no choice.

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Further dung flung at the current NFT mania has been that it is some kind of hyper-capitalism vehicle. There is no doubt in my mind that $69M paid for the Beeple piece is a smidge over it’s market value. We are definitely in the midst of a shit-art bubble, but there’s always been more bad art than good out there, and that will never change simply because we all have such varied palates. The hyper-capitalism argument falls short when you understand that the prices in crypto go down as well as up… and when I say down, the Ethereum price (relative to fiat currency) tanked 94% from the peak of the last bull market. Make hay whilst the sun shines. I actually like the idea that your work varies in fiat price depending on where you are in the crypto seasons. It challenges ideas of ‘worth’ as it’s such a contrarian system to the one we are used to. It also means you can grab a bargain in the crypto ‘Winters’. Further it makes a mockery of the notion that NFTs are just one big money launderette. Great way to store your ill-gotten gains if this time next year it’s worth 90% less than today. Why on earth you’d convert your untraceable fiat into crypto to store it on a public ledger that is visible forever is beyond me too. I can see in the early days of crypto it would’ve been an appealing proposition, but the modern-day on-chain analytics on display to the World and his Wife truly make it a low bar IQ test for naughty people. 

Before I wrap up this discussion I want to dig a little deeper into the power consumption alarm surrounding the crypto space. NFTs will soon be gleefully skipping away from this arena, and many other tokens do not employ PoW, so really we’re talking about Bitcoin (BTC). The first thing to mention is if you don’t get why we need Bitcoin then you’re unlikely to ever change your mind. All I can say is that the inflationary financial model that we use has been keeping you and I ‘poor’ and increasing the wealth divide for decades. More importantly the money supply in many countries have taken a deeply concerning acceleration since the start of the pandemic. I discussed this in more depth in a previous blog post, but I’ll reiterate the energy expenditure considerations here. The BTC miners need to find the cheapest current available on the planet to make the process viable, and are in a unique position to place themselves in the most remote locations on the planet in order to do so. They utilise the energy that is stranded and / or wasted simply because electricity doesn’t travel well. With this in mind, the power stations that provide you and I with our electricity need to over-produce energy or we would experience black-outs on a regular basis. Again, in step those miners to siphon off the excesses that would previously have been squandered. You won’t read this in any mainstream media articles as they need to pluck at your anger to sell you their angle. The misinformation being passed on as facts are a journalistic tragicomedy, but I suppose they need to punt their slant out before the daily deadline closes. I’ll say it again, I’ve been researching this stuff for months and I’m only just getting to grips with a small fraction of the projects and concepts out there. Regrettably, this fear mongering has been repeatedly regurgitated for years, with claims such as Bitcoin mining will consume all of the Worlds power by 2020. Right-oh! Bitcoins power hungry nature is its worst trait, of that there is no doubt, but the picture is far more nuanced than the headlines will have you believe. With that being said, these articles will help drive a positive change in the industry and some believe that BTC will expedite the adoption of renewables Worldwide. When, not if, BTC goes all in on green (because it bloody has to, there is no choice), there will be no conceivable reason left to not get involved… unless you prefer the current inflationary fiat system. I foresee in the near future a start-up (“Green Mining Co” anyone?) gaining traction, selling their freshly mined grass-fed BTC directly to niche customers at a premium price. This in turn will lead to copycats with the process growing exponentially driving one corner of a greener market. Just yesterday, Joe Biden announced positive steps towards carbon-free power creation, which further underscores the obligation of miners to fall in line, and soon.

Whilst I understand that there is a sliver of optimistic rune-reading here, the anti-crypto brigade more than counterbalance these prophecies with their blinkered negativity. Of course, there is a chance that none of this may come to pass… good ideas don’t always stick, and some of the damage caused by the crytoart.wtf genie cannot be put back in the bottle. It is pretty much all speculation atm as the tech is in its infancy, and that is part of the risk you take if you choose to get involved. If you ignore what is being said on both sides of the argument, and take a look at the rails being built by some of the biggest players in the game, that should tell you all you need to know about the likely future of cryptocurrencies and NFTs. Should you decide to punt for one NFT platform like Rarible, the next Instagram may turn out to be OpenSea. It’s the Dot.com-era all over again. For now I’m sat on the sidelines, chucking popcorn down my oesophagus like I’m at the flicks watching Thriller… but I don’t think it’ll be long before I FOMO on in.

What has Bitcoin got to do with photography (Part 1)?

I’m sure you’ve all heard of it. Some of you may even own some. We’ll get to answering the question (it’s not clickbait, I promise!), however there’s quite a steep learning curve to even begin understanding the tech behind Bitcoin and the cryptocurrency space, so it needs a little introduction. Here goes…

My first real exposure to the potential of the notorious cryptocurrency started in the summer of 2020. I had opened a Revolut account to get cheap Euros and the company began offering the purchase (custody, not true ownership) of some top cryptocurrencies… so I popped £50 in and forgot about it. Fast-forward to November 2020 and when I looked again, that £50 was now £100. The money had doubled in less than 6 months. This set me off on a frenzy of information gathering (which I’m still doing), but the thing that really got me hooked on the concept was that Paypal was about to do the same thing, i.e. offer crypto to their 346 million users in early 2021. Frankly, this made the lightbulb in my head shine so bright that it singed my nasal hair. In news hot off the press, they are also soon to offer taking payments in cryptocurrencies to sellers using the service. That is certainly interesting to me as a photographer that regularly receives monies via Paypal. Nevertheless, this isn’t the intended answer to the initial question I posed… more on that later.

After discussing what I’d found with Mrs F, we decided to roll the dice and pop in our ‘rainy day fund’ into Bitcoin, just under £3K. This time it took exactly 7 weeks to double. Just read that last sentence again. I should at this point say I am not a gambler. Impulsive maybe, but I just don’t do gambling. This was the video that really got me convinced, and having disappeared down the rabbit hole, I’m now so certain that this is the future of money, that I don’t really use my bank account any more. I have Paypal, Revolut and my Crypto.com wallet, alongside my traditional bank account… guess which one has the least funds in? 

Let’s face it, governments and banks are, ahem, fucking it up. Money printing is taking place at an unprecedented rate, and the crunch is only going to get more severe post-pandemic. I read this week that we may have 0% interest rate very soon in the UK and some banks are even beginning to charge negative interest to their customers… that’s right, you’ll pay money to the bank for holding your savings, that is concurrently falling in value in real terms. Bitcoin provides an elegant solution, as there will only ever be 21 million BTC minted (currently 18M in circulation, but 4-6M of those are lost forever because of poor sods like this). It simply cannot be inflated, unlike any other store of value, such as gold.

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The underlying tech at the core of Bitcoin is called the blockchain. It is a decentralised ledger of transactions that is maintained by a network of computers around the world. The most important aspect of the blockchain is that it is irrefutable and unchangeable, in other words it can be ultimately trusted. Trust can be of limited supply these days, so that is a hugely valuable asset.

Despite this remarkable invention we have at our disposal, there is A LOT of what is called FUD (fear, uncertainty and doubt) surrounding the space. But ask yourself why? Why are there calls that Bitcoin is a ‘scam’? Or that it ‘has no real value’. The Pound, Dollar, Euro etc (collectively called fiat currencies) have no intrinsic value either. Currencies used to be back by gold reserves, but Nixon ended that in the 70s. That fiat can be printed ad infinitum is the biggest scam of them all. So your £, $, Euro or whatever is dropping in value every day, so some, myself included now, see Bitcoin as a hedge against inflation. Banks hate Bitcoin as its decentralised nature is a threat to their very existence. But for the first time, every day more and more banks, and financial behemoths such as Visa and MasterCard are getting into crypto… because they have to, or be left behind. 

Beware, there are a lot of sharks in these waters, including billionaires who have been actively pouring hate on cryptocurrencies, then as crypto is on the cusp of going mainstream, finally admitting that they’ve secretly been amassing large bags of the the stuff for the past few years. It makes me feel physically sick that people manipulate others for their own gain in such an orchestrated fashion.

So there must be a downside, right? The main characteristic that sits uneasily with me regarding Bitcoin is the amount of power consumption that it uses to maintain the blockchain ledger. Bitcoin mining set-ups often use renewable energy sources (over 75% of all mining operations) as it’s cheaper to produce than fossil fuels. Nonetheless, it is a stain on the playbook. The possible silver lining is that there is a cash-rich incentive to improve the adoption of renewables, which will hopefully simultaneously accelerate innovation in the field. We live in hope.

The other unexpected aspect that has been difficult to stomach is that the ride isn’t actually as easy as you might think. With the volatility of the infant industry, you can be put through he psychological wringer. Your funds can drop by 20 - 30% overnight, although this volatility is reducing as the market matures, and with it, so are the returns. You’ll need strong hands and ignore the instinctive urge to sell when the price drops… in fact, when others are panic-selling, you’ll have to be more logical than Spock, as that’s the best time to buy.

So finally, on to attempting to answer the original question. What has photography got to do with Bitcoin? There are hundreds, if not thousands, of alternative tokens (called altcoins) alongside Bitcoin. They all serve different functions, and this is where things start to get really complicated! The area that I hope is of interest to you are the NFT coins. NFT stands for Non-Fungible Tokens, and have the potential to revolutionise many sectors, including, you guessed it, the art market. 

Firstly, what are NFTs? If I borrow a tenner from you, I don’t pay you back with exactly the same note, so money is ‘fungible’, i.e. replaceable by an identical item. Non-Fungible Tokens are a way of irrefutably proving ownership of a unique or editioned item. Currently they are often linked to digital art and can be minted, sold and resold. As the NFT is a ‘programmable contract’ the artist can even specify that they receive a cut from any resale. Where I am currently exploring this application is to have an NFT minted of the digital photograph, but specify in the ‘smart contract’ that it comes with a print. Hey-presto, we have irrefutably solved the problems of counterfeit, ownership and copyright. These tokens can be coupled to any item that you can think of… festival tickets, clothing, digital music… anything! NFTs are at a very early stage in their development, so there is still a long way to go before we see mass adoption, but I for one am going to explore getting some of my work ‘minted’ into NFTs and blog about it here in the very near future.  

Until then, I’ll conclude by stating that I believe we are standing at the precipice of a huge technological leap forward into the unknown, akin to the birth of the internet. Sadly, we live a post-truth era, yet here we have a system that provides incontestable fact. An unbreakable trust. To me, that feels like something we corruptible humans need more than ever before and at the double. 

See you soon for part 2.

What’s the point of post processing?

I should apologise now. You’ve been used. Ruthlessly. 

I sincerely hope you’ll forgive me?

So I posted two versions of the same photograph in my Instagram feed and story this week, asking you lovely folk which one was your preference. The work is a key piece for me as it’s the first image you see when you land on my homepage. One rendering was post-processed how I normally would, the other with basically all settings reset - essentially the RAW file! Only I didn’t explain this when asking for your favourite, sorry - I just said in my story I was ‘trying out something new’. I stopped just shy of uploading the actual RAW file, I don’t even know why… maybe I’m not ready to face the world without make-up yet? 

In essence, I wanted to see if the processing was doing as much as I think it does, as I’m tickled pink when I receive positive feedback about the tones I eke out of my sensor. It’s a signature for my work, and therefore has enormous value to me. For clarity, the ever-evolving preset was developed a few years ago, and gets me 80% of the way there. My ‘post-preset processing’ is usually just a few further tweaks to the Basic Panel and HSL in Lightroom. Just by accident, I uploaded a batch of new images recently and didn’t apply the preset on import. What I found surprised me. There were a few RAW files that looked better (to me anyway) than when I’d intervened. I decided to investigate further by applying this wanton nihilism to one of my most colourful pieces.

To be honest I actually like the RAW file that came out. I mean I really like it, and faaaaar more than I thought I would. As I normally apply the preset whilst importing, I don’t even get to review the unadulterated capture. Well, maybe a fraction of a second whilst LR applies the processing, then pop, preset applied. Of late, I’ve been noticing this spit second of RAW file more, thinking I like those colours… pop, those vibrant colours vanish as my muted palette preset is applied. Time for a sea change perhaps?

So how did you all react to the question posed? Here’s the RAW (really, Mr Feltham?!) data:

Votes for usual ‘muted’ processing: 21

Votes for ‘no' processing: 10

I’m not actually surprised that the RAW file garnered a third of the vote, and some of those were from eyes I know and trust. I do really like it, but I prefer the muted version more (phew). A few people who voted for the muted version said they did so as it was more ‘me’. I kiss you. Oh, and just to show you how uncooked the ‘RAW' file was, here it is again versus the virgin file (just whites and highlights pulled back on the ‘processed’ version - everything else set to zero):

I’ve secretly been having fun with this idea all week. I’ve been posting at least one image per day with very little processing applied: only temperature balance corrections, and then an arbitrary limit of two sliders maximum. Two! Those were often increasing the luminance of key colours in an attempt to add a dash of effervescence. It is a RAW file after all. However, there’s been no sharpening, no attempt at eradicating the shadows or pushing the exposure, no desaturation and they’ve all been exported within the Adobe Color profile, not my beloved Adobe Neutral… and as for HSL, normally that’s the heartbeat of my colour profiling, with virtually all tones having tweaks applied. Two sliders!!

Torquay Road - Only two sliders away from the RAW file

Torquay Road - Only two sliders away from the RAW file

What’s take home from all of this? Well, above being a little light-hearted entertainment in an overly serious world, from now on I’ll not be so preset-precious. It’s an exercise that has made me think, and think hard… which, once the pain subsided, has tremendous value to me, and I hope some of that gain rubs off on to you. Post-processing can be one key component to clarifying your own photographic voice - if we all posted RAW files then the IG feed would become a more boring, homogenised place. Whilst I strongly believe it’s essential to get stuck in a groove, to have some sort of rhythm that underpins your practice, it’s also good to step outside our own echo-chambers once in a while, taking in a lungful of fresh unfiltered air. I feel better already.

Self-publishing a Zine: Part 1 - Desk Top Publishing

It’s been a while. Far too long in fact. I sincerely hope you’re all keeping your head above the water during these crazy times?! From my perspective, I’m delighted to say that things are changing around here. Now that I’ve officially set up my photographic business I intend to publish thoughts here more regularly. Let's start with a weekly post, with a Friday deadline and see how we go. Who’s in?

Over the next couple of weeks I’m going to walk you through my experience of producing and self-publishing a zine, so that you don’t make the mistakes that I did… unless you want to of course. I suspect if you’re reading this then you’re probably thinking about producing one too? There’s likely all manner of thoughts going through your head right now: Will anyone buy it? Am I good enough to do this? Do I have the correct skill set to self-publish? What should I have for lunch? These uncertainties and more fired though my brain before setting sail with the project. All I can say is go for it… zines are red-hot at the moment, and for good reason. It’s a beautifully authentic way to drag your work from the throw-away world of social media, to craft something permanent, something real, something tangible. Stepping into the unknown will always bring with it a level of fear, but from my experience, that is also the magical space in which the good stuff happens. 

From the soaring heights of conquering your fears to the bumpy landing of dry logistics, part one is going to be about choosing and using a desktop publisher. The closest experience of using any publishing software I have to date is a rudimentary grasp of those word-processing stalwarts, Word and Pages. Would these negligible skills be transferrable to make the leap up to DTP?

Hope’s Nose

Hope’s Nose

You don’t need me to tell you that YouTube means that learning virtually anything is possible these days, so off the bat I scanned various videos from folk who have made zines in the past. Adobe InDesign, it seems, is the publishing industry standard, but like Lightroom and Photoshop, is offered on a subscription basis. Adobe charge £20 per month for the pleasure, but have a thrifty option which would be to get everything ready and plump for a weeks free trial instead. The problem there was that if I wanted to do a zine again (newsflash: I do) then I’d have to cough up the pennies. If it was a large part of my job to publish content, it might be something I’d consider as there’s endless tutorials about every aspect of the programme available online. But when I already fork out £10 pm to Adobe for LR/PS, waving goodbye to an extra £20 sounded expensive. Turns out it was.

A quick search around the subject and a few reviews later and I was downloading Affinity Publisher for a fraction of the price. I was super-lucky with my timing as they were running a 50% sale over the summer so picked up the app for the princely sum of £23. That’s not per month, that’s a one off payment. I understand ‘no-brainer’ is the colloquial term to apply here. Even at full price (£49), it soon pays for itself when compared with the Adobe option, and I only scratched the surface of what was possible within the programme when putting together the zine. One happy customer. 

In terms of using Affinity, I found it to be relatively intuitive even for a technological luddite such as myself. There were only a couple of times when I got to the effing and jeffing stages of frustration - something which happens on a minute by minute basis if I ever dare delve into Photoshop. Thats the real reason I don’t digitally manipulate my work (joke). For the most part, I was good to go after skimming through a 30 minute tutorial on AP (thank you Rachel). Please believe me when I say that if I was competent with the basics after half an hour, then you will be too. 

Anstey’s Cove

Anstey’s Cove

Starting out with a new project was ultra simple. Clicking File > New brings up a host of standard options. I’d already decided that I wanted the zine to be A5, so the dimensions were inputted automatically. You then need to choose the number of pages you envisage (I ended up adding more) remembering to work in multiples of four. Work in the CMYK colour space and don’t forget to include a bleed (3mm in every direction, as instructed by my printers).

When designing the zine, I just copied and pasted once I’d used the ‘Place Image Tool’ on the first page as I wanted most of the images to be of the same size and position throughout. If you opt for a beautiful full page spread, the image should also go beyond the page edges, up to the bleed borders. Thankfully the programme 'snaps’ these into place as you drag the image placement window to fit. For the cover design, I had opted to play with the title of the zine, You R Here (see image below) and include a pin. Again, this was straightforward to do and similar to how you’d create a shape in Word or Pages. For the colour scheme, I just played around with contrasting tones from a Wes Andersonesque palette. The yellow colour I used was ‘mustard’ and you can input the standardised ‘Colour Co-ordinates’ which were easy to Google. The dusty pink colour was one that I’d settled on from tickling sliders within the app. 

My only criticism of the programme so far is that it would be great to include a ‘create spine’ button within your document, rather than having to start a separate document and generate one yourself. In terms of the thickness required for the spine (if you are getting your zine perfect bound), it depends on the number of pages and the thickness of paper you choose, but again your printers will be able to help you here. 

On to one of the most exciting parts of the entire process: selecting and sequencing your work. You may already have a project that you wish to publish, and however dreadful this sounds you’ll surely have to ‘kill your babies' in due course, or some of them at least. Be your harshest critic. I started by throwing a load of possibles into a folder then from that pool worked out which ones were the must-haves. For me, it's important to have quieter moments in the sequence; I’m just not sure you can have a book full of belters. Think of it like music, even the most banging tracks have a rise and fall. The great thing about a photobook is that it doesn’t need to be all of your best shots ever. There will be images that you’ve taken that really speak to you, but perhaps wouldn’t be ‘enough’ to stand alone as an Instagram post. Those are the photographs that are given space to breathe in a zine, and it’s wonderful to be able to give them life outside of your hard drive. 

The next step is where your creativity really comes to the fore - the actual sequencing and pairing of photographs. Whilst in all honesty, this is where it can make or break the zine (no pressure), the good news is that you already have the visual skills required, given that you are a photographer. Don’t get me wrong, there are some who seem to have an instinctive, preternatural gift in this department (Tyrone Williams and Isa Gelb come to mind), however I’ve definitely felt a significant improvement with practice, and you will too. 

Some tips to help if you feel a little lost about joining up the dots: look for repeating colours, compositional shapes (including negative space), motifs and, importantly, feeling within the work. Often subtlety is key here, rewarding repeat viewings for the reader, but also consider having some pairings more apparent than others. To practice, try sequencing a carousel post on Instagram if you haven’t already. Pair up some from your archives, then come back to it later. Does it still work? Look to other photobooks and zines for inspiration - in terms of the progression of the story, which ones are your favourites and why? Sequencing and design go hand-in-hand so it’s worth contemplating different sizing of the images, some full bleed, images on both pages in some cases and not others, landscape mixed with portrait… the list goes on. All / some / none of these things can add to the rhythm of the collection when done correctly. I highly recommend this 10 minute lecture for a great analysis of some masterful sequencing. Thank you Tia.

If you’re still frustrated, take your time. Being a perfectionist isn’t a bad trait as a photographer! Weeks and months will yield results as you practice your sequencing more, and perhaps even provide you with the final image that ties the whole concept together (as Robin Friend found with his breathtaking monograph Bastard Countryside). Throughout this process, never lose sight of the overarching narrative of the piece. A story needs a beginning, middle and an end, and your zine should be no different. 

To wind things up for this week, I should mention that I was on (I think) version 16 before sending the PDF to the printers. I would export the sequence thinking it’s a wrap, sleep on it, only to then have an uneasy feeling in the morning that three or four images were not quite sitting right. Infuriating, yes, but let's be honest here, what would be the point of it all if it were easy?

Next week I’ll be discussing the printing of the zine, and how I marketed the project, with details of what it cost me in time and money. Stay tuned :)

Addendum - I have been so impressed with Affinity Publisher that I’m seriously considering giving Affinity Photo a go. I really don’t want to keep squandering £120 per year on LR and PS when I don’t even use PS. I’m freelance now, so every single penny is counted, recounted and then totted up again. If Affinity Photo was still at its sale price I’d have bitten already. Maybe it’s time for a trial? Rest assured, if I make the switch, you’ll hear about how the two applications compare here. If anyone has any experience of the app, or want to share their experience of producing a zine, it would be great to hear in the comments below.

Adventures with the Silver Halides

It’s something I’ve been toying with for a while. Actually, a very long while. As a ‘dyed-in-the-wool’ digital shooter I just wasn't sure analog life would suit me. After all, I’m used to the mod cons of histograms, image review and Auto ISO. And by investing in good glass I’ve grown accustomed to a clarity and sharpness in my work that frankly looks fantastic both on screen and in print. Add to this mix the VSCO Portra Lightroom presets and I surely have the best of both worlds… film-like colours with digital convenience.

Despite this I couldn’t shake the niggling feeling that I should give film a try. Simulated film presets get you most of the way there in terms of analog tonality but, to my eyes, still not close enough. On top of this, you can get some supremely wonderful pro-grade film cameras for comparatively little money on eBay… although in fairness this can be a bit of a lottery with potential pitfalls aplenty. 

Bailiff Street (Portra 400, 65mm f4)

Bailiff Street (Portra 400, 65mm f4)

So here are the pros and cons of shooting film as I see them:

Pros:

  • Oh the colour!
  • Can get a medium format rig for relatively little money, something I’m definitely not doing digitally this side of Christmas
  • Colours
  • It would be an educational adventure into unknown photographic territory
  • Colours
  • Colours
  • Astonishing highlight control. You just can’t blow your highlights on colour negs it seems.
  • Finally, it would be remiss of me not to mention those breathtaking film colours & tones

Cons:

  • Each press of the shutter costs money
  • I’ve already got a digital workflow that works and, most of the time, I get near enough to the results I want
  • I’ll admit it now: I’m like a spoilt child after a shoot… I’m pant-wettingly desperate to review the results the instant I get home. I’m just not sure I could cope with the wait for film to be developed.
  • Not as convenient as digital shooting
  • Loss of some of the clinical IQ of digital - although depending on your point of view this can also be a pro.

To sum up, it’s essentially all about those filmic colours that are giving me the itch I can’t scratch… and no, yoghurt didn’t work either.

Despite pondering the move for some time, previously I’ve always decided to stick with what I know best. So why the leap into the unknown now? The reasons I’ve been pushed over the edge are twofold; Firstly my technique over the past couple of years has improved hugely, with the biggest jump being after the purchase of a tripod about a year ago. Therefore where I was reliant on high ISOs before, now I largely shoot at base ISO even at night so we are firmly in fine-grain film territory. Secondly, and probably most importantly, I used to return from a days shooting with 100 or so different shots on the SD card. I still often return home with about 100 digital images to process but now they are only of 6 or 7 differing subjects and I cherry-pick the best captures. I’m much better at sorting the wheat from the chaff before pressing the shutter button. Altogether this has led to a much slower, methodical pace to my shooting… a pace which, you guessed it, suits film.

So despite the potential negatives, I decided to take the plunge… and if it turns out it’s not for me I can pop it back on eBay from whence it came. 

Next decision, what system to go for. I wanted great IQ, and something complementary to my DSLR. Medium format would tick both boxes but I also didn’t want a huge camera so it looked like the SLRs were out. I quickly honed in on a MF rangefinder as it would give me a different style of shooting and the lenses are tiny, even compared to most full frame DSLR glass. 

  • Mamiya 6 - Although I like 1x1 aspect ratio I didn’t want to be confined solely to that.
  • Fuji (various) - From previous experience I know Fuji makes exceptional glass but as far as I’m aware their MF rangefinders are all fixed FL lenses, and I’d rather greater flexibility.
  • Bronica RF645 - It looks like a wonderful camera but if I’m going MF I want the biggest negs I can get so 6 x 4.5 cm isn’t top of my shopping list.
  • So on to the Mamiya 7 system. 6 x 7 cm negs. Straightforward operation. And best of all it seems to have some exceptional glass at the wider end of the scale - huge tick! The hunt was over.
Martins Yard (Portra 400, 65mm f4)

Martins Yard (Portra 400, 65mm f4)

Thanks to the advice from two Flickerite Toms (Invernodreaming and Photom) and my old friend Mark Heaver (MrHeaver), I had what I needed to start browsing for the camera. Tom Invernodreaming suggested I invest in the cleanest copy I could - this sounded like sage advice as I was going to buy a camera that is 20 years old, with few options of repair if something goes wrong. Photom gave me the insider knowledge on the Mamiya (he shoots a 7ii) so I knew I was eyeing-up a fine piece of equipment. Marks tuppence, as a long time Leica shooter, was the reassurance that the rangefinder works well in low light… an important consideration for me.  When a mint condition / boxed Mamiya 7 and 65mm f4 appeared on eBay I knew it was the one. BIN :)

I waited patiently (something I don’t do well, as noted above) for the package to arrive from Japan. After being stung for about £200 import tax it took the total cost to £1150 for the set- up. I knew I could’ve got the camera / lens cheaper but it really was in ‘as new’ condition, so felt this was a fair outlay.

At last it was time to load some Portra and embark on a shoot… with silver halide.

Racecourse (Portra 160, 65mm f4)

Racecourse (Portra 160, 65mm f4)

I found the Mamiya to be simplicity itself to use. All the trappings of modern photography are absent leaving a camera with purified gestalt principles on show. In turn this virtually renders the instruction manual redundant. Once the shutter speed and aperture are set (the ISO is of course static corresponding to the loaded film speed), there is a meter reading in the viewfinder that indicates the correct shutter speed for your chosen aperture on the lens. Given that the camera employs a leaf shutter in its lenses, you can easily hand hold the camera at 1/15th second with good technique. So we have a user friendly experience that produces large negatives. Super.

Another aspect that was new(ish) to me was using the rangefinder. I’d shot a few frames on various Leica’s in the past, but never owned a RF. It turns out to be very easy to use. You just manually focus the lens until both the focus patch and the RF patch in the viewfinder align and thats it. The proof was in the pudding, with 10 exposures perfectly in focus on the first roll of negatives… well make that 7 as I had forgotten to take the lens cap off for 3 frames. As the viewfinder isn’t ‘Through The Lens’  there is no indicator that the cap is on or off and therefore you just need to build this check into your process of setting up a shot. I have gotten better at remembering this but nonetheless this is a niggling frustration I have with the rangefinder that continues to rear its ugly head on occasion. 

It is also worth mentioning that the accuracy of the frame lines usually include more of the scene than they suggest. According to the manual it is 100% at closest focus, reducing down to 83% at infinity. This phenomenon has actually led to some happy accidents, with unintentional objects appearing in the negative but improving the overall piece. Of course one can crop to the originally intended composition if the additional scenery detracts from the final image.

Abington (Portra 400, 43mm f4.5)

Abington (Portra 400, 43mm f4.5)

In terms of exposing the photo, there is a vast amount of latitude with colour negative film, particularly in the highlights, so use this to your advantage. In fact it is the exact opposite of digital photography, where highlights are easily blown but shadows can usually be lifted to reveal detail in a RAW file. When loading the film, I tend to meter / overexpose the image by a stop or so by setting the film speed on the camera at ISO 200 when I shoot with 400 film. Also I meter for the shadows to ensure there is always detail there, as I know that the highlights look after themselves. I have invested in a handheld meter (Sekonic L358), but find the readings from the cameras meter (somewhere between centre-weighted and spot) to be similar… I just point the focus patch or light meter at the darkest point of the scene and use that reading for the exposure settings. Easy.

The protracted wait for the the negs to be developed and scanned was something I wasn’t sure I’d like (I’m a child about this, remember?). Compared with the digital workflow, I am forced to defer my gratification, but that building anticipation turns out to be something I genuinely relish... and the excitement is frankly at boiling point by the time I pick up the negatives. Shooting film is an extremely enjoyable process and it’s making me a better human being

So what did I think when I finally received the first set of developed film back from the lab? This key question will be covered in my next blog when I’ll attempt to tackle one of the biggest photographic questions of our time: Film vs Digital… stay tuned!

Please note: This blog was originally started in 2016, but thanks to Chris Simonsen for inspiration to finish the bloody thing.