Minolta X-300, Minolta MD 50mm f/1.7 & Kodak Gold. Lab developed. Home scanned and converted with Negative Lab Pro.
Taken on 14 March 2026
Steel City Snapper photography
35mm, medium format and large format film photography (with the odd bit of digital every now and then…)
Minolta X-300, Minolta MD 50mm f/1.7 & Kodak Gold. Lab developed. Home scanned and converted with Negative Lab Pro.
Taken on 14 March 2026
Chalet doors and the side of a rendered house. Big chunks of colour filling the frame.
Minolta X-300, Minolta MD 50mm f/1.7 & Kodak Gold. Lab developed. Home scanned and converted with Negative Lab Pro.
Taken on 14 March 2026
Two shots of the same gate here, one looking straight on with the gate framed by a tree and a distant house peeking over the top. The second from a more oblique angle, showing the roof of the nearby St. Winifred’s church (more of that to come…)
Yashica Mat 124G and Ilford Delta 400. Ilfotec DD-X 8mins @ 20°.
Taken on 24 January 2026
I’ve noticed this pair of semi-detached houses before and the seems to be a definite droop as though both halves are sinking away from the centre. I wonder it the effect is replicated inside?
Bronica ETRSi & Zenzanon 75mm f/2.8 PE & Kentmere 400. Ilfotec DD-X 1+4. 11.5 mins @ 20°
Taken 30 November 2025.
I visited the Lincolnshire town of Gainsborough back at the end of November and shot a couple of rolls of film through my Bronica ETRSi. Things didn’t go to plan and I was beset by a number of problems.
The first roll I shot was some Lomography Color Negative 800. I shot the full roll without noticing any issues (at the time), before loading a roll of Kentmere 400, and it was then that the issues made themselves known. The first was a problem with my light meter, a Sekonic L308s. It was working ok and measuring the light, but I realised after a while that the reading were a little weird and discovered that, to my dismay, that I’d somehow put the meter into cine mode. I’ve no idea how I did this, and it took quite a bit of Googling to find out how to revert it back to stills metering. By this time I’d shot the whole roll of Lomo 800, plus half of the Kentmere, without knowing how long the meter had been out.
It was shortly afterwards that I realised the second, more significant problem… I’d got the dark-slide still inserted in the Bronica! Now, this shouldn’t be a problem as the camera shouldn’t fire if the dark-slide is present but somehow the camera had been firing away without a care in the world, wasting almost half the roll of Kentmere!
I rectified the issue by removing the dark-slide and shot the rest of the roll (correctly metered this time), but I wonder if there’s some sort of fault present (or if I’d managed to somehow bypass the safety feature by ham-fisted means).
The picture shared here today of a tree casting it’s shadow on the side of this house was taken twice, once to no avail because of the above problem, and then this second attempt. I’m glad I returned to the scene as it’s probably the best shot of the day.
Bronica ETRSi & Zenzanon 75mm f/2.8 PE & Kentmere 400. Ilfotec DD-X 1+4. 11.5 mins @ 20°
Taken 30 November 2025.
Three shots today which are typical of my approach to photography.
I might have said this before, but in case not, one of my favourite photography quotes is from New York street photographer, Garry Winogrand. I’ll paraphrase because I can’t remember if this is the exact quote (he’s recorded as saying a similar thing on many occasions), but it goes like:
“I photograph things because I want to see what they look like when photographed“.
This is pretty much my entire photographic ethos. There’s something slightly removed from reality in a photograph. They’re a moment in time and limited by the camera, lens, and recording medium in a way that our usual eye/brain observations are not. Photographs are stripped of movement, or the wider environment, of the sounds and smells that were present when they were taken. I look at a photograph of a scene or object in a way that I don’t if I’m physically present and, despite the removal of so much sensory information, there is something magical about that still image.
The three pictures shared here today are like that for me. I doubt many would travel especially to see these things. They’re ordinary. But they’re also interesting. Interesting enough for some reason for me to press the shutter button.
Olympus 35 RC & Fuji Superia 100 (expired 2008). Lab developed. Home scanned and converted with Negative Lab Pro.
Taken on 2 October 2025
Yashica Mat 124G and Kentmere 400. Ilfotec DD-X 10.5mins @ 20°.
Taken on 11 October 2025
Yashica Mat 124G and Kentmere 400. Ilfotec DD-X 10.5mins @ 20°.
Taken on 11 October 2025
The large building in today’s picture is the Royal Hallamshire Hospital in Sheffield. It’s a large and imposing structure visible from many different parts of the city.
This shot was one that I just happened to catch offhand. Something about the positioning of the different elements – the zebra crossing, the road, the side-street, then the houses and the hospital lead nicely through the frame. The little Fiat perched above street level is a bonus.
It’s just struck me as I type this that I can probably see the window of the room my mum was in when the cancer took her. I’ve photographed the hospital on a number of occasions before but never really thought of it in that way before now.
Fujica STX-1 & X-Fujinon 50mm f/1.9 FM on Agfa APX 100. Ilfotec DD-X 1+4 10.5mins @ 20°.
Taken on 6 September 2025
While not the first time I’ve taken a photograph on this particular road, it’s the first time I’ve photographed this particular scene.
I like the rows of power and telephone lines that run down either side, they make me reminisce on the time when most roads had rows of telegraph lines beside them, even though they were likely mostly defunct when I witnessed them.
Fujica GW690 & Ilford HP5+. Ilfotec DD-X 9mins @ 20°
Taken on 5 July 2025