A terrace inArles. Everyone has a memory of a terrace I bet.
LAPC #417 is ‘Memories’. Sometimes the LAPC themes coincide with my ‘planning’ for my blog. The last weeks I am looking back into my archive of photographic memories. And this is one of them.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Shot with Nikon F90 on Kodak TriX, scanned from film and edited using Snapseed and Marksta. Click the picture for a bigger version.
The Bureau de Tourisme in the Hotel de Ville at the Rencontres d’Arles in 1997. Arles is a beautiful town, with a long history dating back to the Romans. Not only with a famous annual photographic exhibition, but with a rich cultural history.
LAPC #417 is ‘Memories’. Sometimes the LAPC themes coincide with my ‘planning’ for my blog. The last weeks I am looking back into my archive of photographic memories. And this is one of them.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Shot with Nikon F90 on Kodak TriX, scanned from film and edited using Snapseed and Marksta. Click the picture for a bigger version.
LAPC #417 is ‘Memories’. Sometimes the LAPC themes coincide with my ‘planning’ for my blog. The last weeks I am looking back into my archive of photographic memories. And this is one of them.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Shot with Nikon F90 on Kodak TriX, scanned from film and edited using Snapseed and Marksta. Click the picture for a bigger version.
LAPC #417 is ‘Memories’. In a way freezing images of moments in time is creating and storing a memory. In the analogue time of film the notion of shooting a great set of photos was the first step in a process. The next step was printing it in the darkroom. That was manual labor. And some photos are just not easy to bring out. A big step towards the digital time of now. Software now is amazing, and allows me to create what I could not achieve with my not adequate dark room skills.
So this is a memory of a moment I did not feel too well being harshly told off by a French garage owner to piss off and not bother him trying to shoot photos at his workshop. As part of a course assignment in a workshop.
I walked to the bridge and this swan came down, landing in the river. Majestic. A gift.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Shot with Nikon F90 on Kodak TriX, scanned from film and edited using Snapseed and Marksta. Click the picture for a bigger version.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Shot with Nikon F90 on Kodak TriX, scanned from film and edited using Snapseed and Marksta. Click the picture for a bigger version.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Shot with Nikon F90 on Kodak TriX, scanned from film and edited using Snapseed and Marksta. Click the picture for a bigger version.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Rome is build on seven hills, but some hills are not counted in that list. One of the non listed hills is the Pincian Hill, that – like all of them – offers beautiful views over the eternal city. On top of the hill is Villa Borghese and a garden of statues.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Rome is build on seven hills, but some hills are not counted in that list. One of the non listed hills is the Pincian Hill, that – like all of them – offers beautiful views over the eternal city.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Rome is build on seven hills, but some hills are not counted in that list. One of the non listed hills is the Pincian Hill, that – like all of them – offers beautiful views over the eternal city.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Rome is build on seven hills, but some hills are not counted in that list. One of the non listed hills is the Pincian Hill, that – like all of them – offers beautiful views over the eternal city.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
In 1992 the beaches at Gouves were much more open, and the village was rather small. Now it is all modern and built to the brim. A view from a hotel room long ago.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Originally shot with Nikon F301 on Kodak TriX, scanned from negative and tweaked using Snapseed and Marksta. Click the picture for a larger version.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Originally shot with Nikon F301 on Kodak TriX, scanned from negative and tweaked using Snapseed and Marksta. Click the picture for a larger version.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Shot with Olympus Mju on Fuji Color, scanned from film and edited using Snapseed and Marksta. Click the picture for a bigger version
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Originally shot with Nikon F301 on Fuji 200, scanned from negative and tweaked using Snapseed and Marksta. Click the picture for a larger version., the light falls over a group, if I remember correctly, German tourists listening to a guide.
About the B4 retouch series: I browsed my archive for pictures to publish. Some of them are partly retouched but most do have scratches, dust and stains.
Originally shot with Nikon F301 on Fuji 200, scanned from negative and tweaked using Snapseed and Marksta. Click the picture for a larger version.
The days before I published photos that I took at the same time as this one. This overview gives you an idea how the previous photos came about, and show you the canal in a different way, to give an idea of the canal, its size and its environment.
A slightly different shot than yesterday. With a bit more of the atmosphere of the canal itself.
The Netherlands has its fair share of water (canals, lakes, ponds) and a fair share of bridges and even aquaducts. LAPC #413 is ‘bridges’. The two overlapping bridges (behind the front one is a motorway bridge) are not my favourites as the brief of LAPC asks for. They are the most practical in daily life to cross the canal. In the Archive bridges you find more photos of bridges. Most of them are from ordinary daily life close to home. But two of my favourites are the Millennium Bridge in London and the Pont de Normandie in Normandy.
The Netherlands has its fair share of water (canals, lakes, ponds) and a fair share of bridges and even aquaducts. LAPC #413 is ‘bridges’. The two overlapping bridges (behind the front one is a motorway bridge) are not my favourites as the brief of LAPC asks for. They are the most practical in daily life to cross the canal. In the Archive bridges you find more photos of bridges. Most of them are from ordinary daily life close to home. But two of my favourites are the Millennium Bridge in London and the Pont de Normandie in Normandy.
The Netherlands has its fair share of water (canals, lakes, ponds) and a fair share of bridges and even aquaducts. LAPC #413 is ‘bridges’. This two bridges (overlapping) are not my favorites, but with the bridge this one is taken from, the most common I see every day.
The beach at Zandvoort. The west coast of The Netherlands is one big sand beach. Choosing for mono or colour is a choice for atmosphere. But also a way to get more attention to certain parts of the frame. Silhouettes in black in mono work stronger than in colour for me. But in the end, it is a matter of taste of course.
One of the first questions I had buying my first digital DSLR was ‘how do I shoot monochrome photos from now?’. In the past it was just choosing what film I put in a camera. Going digital implied using editing to revert from color to monochrome. More recently black and white modes came back on devices. Not only on iPhone. My choice for Nikon Zf was influenced by it. But it all is a question of taste. And taste is specific. When I see a subject nowadays I try to use the monochrome settings and the standard colour settings; knowing that I can nowadays see the results straight away. That is a blessing.
Two different photos of the road over the Volkerakdam. This dam and the locks in it, are part of the Delta Works, safeguarding The Netherlands against floods.
After a long dry period a day of rain, just during a drive from the UK back home through Belgium. In The Netherlands we have ‘open tarmac’ that drains rain fast. Rain and poor visibility make a drive more difficult.
Incoming traffic for Schiphol Airport, which is an overhead blues for us being disturbed every two minutes for another one, while sitting in the garden.
One of the first questions I had buying my first digital DSLR was ‘how do I shoot monochrome photos from now?’. In the past it was just choosing what film I put in a camera. Going digital implied using editing to revert from color to monochrome. More recently black and white modes came back on devices. Not only on iPhone. My choice for Nikon Zf was influenced by it. But it all is a question of taste.
Two photos of the power lines at St. George-sur-L’Aa in France. Pick one or both. Both were shot on iPhone without the mono setting.
France, St. George-sur-L’Aa -August 2026
Every time we travel to or from the UK via the Channel Tunnel, I try to take photos of these steel giants. They carry power lines in the area of St. George-sur-l’Aa. No worries, I’m in the passenger seat.
One of the first questions I had buying my first digital DSLR was ‘how do I shoot monochrome photos from now?’. In the past it was just choosing what film I put in a camera. Going digital implied using editing to revert from color to monochrome. More recently black and white modes came back on devices. Not only on iPhone. My choice for Nikon Zf was influenced by it. But it all is a question of taste.
The same photo of the station of Haarlem in color and (edited) monochrome. Pick one or both.
The Final Lap. The sixth and last episode of F1 racing on Zandvoort. A big event, bigger than motor racing. A major event with an atmosphere that is now a benchmark for F1 races. But unfortunately is commercially no longer interesting enough for the big greed. The last time the Orange Army is out to cheer Max Verstappen a final time on his home circuit. Which unfortunately lasted one lap in the race.
The photos are shot on the Friday. It was my first visit to a F1 event. Quite remarkable to witness. And hear. Just snapped a bit noticing the limitations of an iPhone under these circumstances.
It seems I’m into sky and clouds during the warm days this Summer. This landscape is typical Dutch with some hints towards paintings of Vincent Van Gogh. Sun is setting. Not a starry night yet.
Sunsets these days are sometimes interesting with cloud shapes light up. With poor light conditions it can turn out to be a quite rough photo. I added to that roughness deliberately.