Kodak Portra 400NC, 40mm f1.4, Totenham Court Road, London, January 2010.

Somewhere in Cotswold, June 2010. Kodak Tri-X 400, 35mm f8.

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Somewhere near Cotswold, UK. June 2010. Kodak Tri-X 400, 35mm f8.

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Liverpool Street Station, London, June 2010. Kodak Tri-X 400, 35mm f8.

Tower of London, June 2010. ISO 200, 35mm f2.

East London, June 2010. Kodak Gold 200. 35mm f8.

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Kodak Gold 200, 35mm f8. Brick Lane, London.

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Oxford Street, London. Kodak Ektar 100, 35mm f8.

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London, United Kingdom. Kodak Ektar 100, 35mm f2.

I don’t believe in cropping, not because I think it goes against the ‘spirit’ of framing and composing in the finder, but that I think cropping takes something away from the aesthetics as well as perspective. Or maybe I’m just undisciplined when it comes to composing and framing, I’m happy to leave in all the gritty detail and distraction in the image since I feel it adds, rather than takes away, from the photograph. Then again, I suppose it depends on the subject matter. I suppose in street photography, in pursuit of documenting ‘what’s there’ , whatever you frame is the picture. So the act of cropping and removing minute distractions is equivalent to removing information which would otherwise contribute to the photograph.

That’s just what I feel anyway.

And hear hear for film hey, it is not dead at all, I think it’s getting better. I shot this photograph on Kodak Ektar 100 film, it’s c41, and is claimed to be the world’s finest grain film. The colour fidelity is excellent. It also scans very well. The grain is so tight that when scanned, it appears to approach the crispness of digital.

I know right? Why not go digital, why stick with film? I guess I am still a romantic about these things, part of me has succumb to the fact that digital is just a technically superior medium to film. Digital takes technically better pictures.

But… film photography is more human, more limiting and these flaws are what makes it beautiful. It’s also rewarding too, because the entire workflow, from framing to uploading is a much more long winded process, multiple parties are involved when processing images, it also costs money too (digital is technically ‘free’ after initial investment), so when I nail a shot on film, I feel much better about it.

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Tri-X 400, 35mm, approx f8.

I continue to be enamoured with the amazing PJ work that is published via the Guardian Eyewitness app for the iPad. If there was ever a case to be made for the future of commissioned work, then surely this app is testament to the suitability of the iPad as the perfect platform for the future of the medium.

Life magazine, for the digital age.

The TIME app already showcases the capability of the gorgeous tablet as a means of showcasing photography, more specifically, as a medium for photo journalism with their top 5 snaps of the issue.

We need more, though I’m sure people like Phaidon are already working on digital photography books as we speak. Magnum are already ‘testing the waters’ with their own iPhone app right now, it will be interesting to see how their translate their rich archive (if not the richest of photography archives in the world) to the iPad.

Oh and have you seen Moleskine’s official Kindle cover yet? Gorgeous. Only a matter of time before we see the official Moleskine iPad cover….

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