#227 What could a newer 56 bring and VANLIFING with an X-T3!
As Kev jets out to Spain for the month to escape the school Photo Booth….
the boys decide to take a leaf out of X-Photographer guest Emily Endean’s life-book and consider vanlifing for a month together as we lament the loss of a showbiz legend who is now Wombling Free forever more. Photographically we talk about jpegs versus providing prints in social photography, online galleries, the seemingly rare X100V and what we'd like from a newer model, AF in the X-H2s, a London guide for street photography and do we miss full frame? The Book of the month is The Best of Times, The Worst of Times and our guest is Emily Endean.
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Guest of the Week - Emily Endean
Emily Endean is a chaser of light, ocean addict, lover of nature and Fujifilm X-Photographer.
Come take in the view with us and landscape photographer Emily Endean on the Jurassic Coast.
Making the most of the breathtaking sea views on her doorstep in Dorset, Emily was the perfect candidate to put the newly weather-resistant XF10-24mm to the test with her trusty X-T3!
Links of Note *
Sandersnyc the Instagram we talk about.
Our friendly Facebook Group
Book Of The Week
The Best of Times: The Worst of Times by Tony Othen
As a freelance documentary photographer, Tony Othen had many clients, most of whom were in the Charity and Educational sectors. His photography thus always had a purpose – to support the aims of the charity and the development of the educational bodies.
Knowing why the photograph was taken is vital. Let me give an example: walking into an elderly lady’s poorly furnished flat I didn’t take shots when she was smiling – only when she was looking
sad. This is because my reason for being there was to promote the work of my client, in this case Task Force, who were encouraging young people to volunteer to help those in need. It was my gut feeling that if this lady was looking too happy the objective would not be served so I waited until she looked sad and reflective. My image was real but not necessarily representative. It was a moment caught in time; not posed, just selected.
With millions of photographs being put up on social media every day, it is hardly surprising that some of my images found their way onto various group sites, especially those with strong geographical focus. At first, I felt a little hurt – no permission, copyright issues – until I read all the comments that came up alongside these images taken some 50 years ago. Not only did they trigger off memories but also some personal, social and historical viewpoints that might otherwise have been lost. For me, they gave a new purpose for the photographs: their original one had passed – my client had received the images and used them as they had wished, but now there was a whole new audience and usage.” Tony Othen
