Leeds Through Their Eyes: Paul

It's been a while since I featured someone else's photos of Leeds here but I was fortuitous to see Paul from Reece Photography photos on Twitter recently. And luckily for all of us he said yes to being featured here too! Thank you so much Paul.

One of my favourite things about photography is that it really shows how people see things so differently - the things I choose to photograph in Leeds are different to someone else's and the way they capture it too, is different again. I love these differences and that photography allows us to express them. 


What do you think so far? If Dianne showed Leeds as dirty - Paul 100% shows Leeds as brutal - yet there is a softness there too, of the people who move through the brutality and even thrive in it. I love both sides of Leeds and how Paul has managed to capture that so wonderfully too.

If you love these, please do check out Paul's website Reece Photography. Paul is also on Twitter and Instagram too, so have a look! 

For more 'Leeds Through Their Eyes' photos click here.

These photos are used with Paul's permission so please do not reuse them.


Guest Post: Katie

Hello everyone! My name is Katie and I run the film photography blog Curating Cuteness. While Rhianne is busy taking photographs of beautiful Portugal as we speak, I have taken it upon myself to share with you a little bit about one particular aspect of film photography that Rhianne and I both love: redscale!

 In simple terms, redscale is the technique of shooting photographic film where the film is exposed from the wrong side, causing a strong color shift to red due to the red-sensitive layer of the film being exposed first. You can choose to make your own redscale film by winding unexposed film upside-down into an empty film canister or you can, like Rhianne and I, purchase pre-loaded redscale film, particularly the Lomography Redscale XR 50-200 35mm, which has a wide tonal range so you can get anything from red to yellow to green to blue (yes, blue!), depending on the speed and aperture your camera is set with.

If you’re using the film in a toy camera with which you don’t really have manual control, the results are often fiery red because of the high shutter speed. In this case, I would recommend you choose subjects with strong outlines or shadows to maximize the redscale effect.

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But if you pop the film into an SLR (or the Lomo LC-A+) with which you can control both speed and aperture, you’ll start to see more yellows and greens like these when you let in more light:


And sometimes, when there is magic in the air, your redscale can become blue! Truth be told, I haven’t been able to replicate these results but one thing is for sure, you need to shoot wide open with a slow speed, the rest is up to film magic, I think!

Photographers: Katie and Rhianne

Guest Post: Dianne

When Rhianne asked me to do this post it was a grey, miserable day, and I had just got these photographs back from my summery beach time in New Zealand this past February. The perfect anti-grey-day pick me ups! These were all taken on my Yashica TL-Electro using Kodak Ektar 100 film, and were shot on the Coromandal Peninsula on the east coast of New Zealand. It was glorious, sunny and my boyfriend and I did a lot of basking on beaches. 

I've been dreaming of this week a lot during these dreary spring days this week in London. I hope they bring some sunshine to your week!

Photographer: Dianne Tanner