BREAKLINES

WORDS & WONDER

Thomas Sandfield 6/14/25 Thomas Sandfield 6/14/25

Digital Feels Like a Cheat Code

We cling to the old ways not just out of nostalgia, but because of how they make us feel. There’s joy in the effort. Magic in the unknown.

Today gave me one of those quiet eye-openers.

There’s a festival happening here in Lillestrøm, streets buzzing with people, everything from musicians and politicians to charities lining the walkways. I brought the Leica D-Lux 8 with me, figuring it was a good time to snap a few photos.

Now, I usually have nothing but good things to say about this little camera. It nails the colors, especially on bright, sunny days. But today felt… different. I didn’t shoot much. I wasn’t really feeling it. And when I got home to transfer the images, something felt off.

This was my first time in a while shooting digital. And honestly? It felt like using a cheat code. There was no tension, no waiting, no mystery. Just instant previews, followed by scrolling through a handful of film-emulating presets to try to fake a certain mood.

And sure, some of the photos turned out just fine. But they didn’t feel real. Not to me.

I think a lot of photographers wrestle with this, walking the tightrope between digital convenience and analog soul. We cling to the old ways not just out of nostalgia, but because of how they make us feel. There’s joy in the effort. Magic in the unknown.

And sometimes, even when the new tool does the job better on paper, it just doesn't light the same fire inside.
Strange, isn’t it?

Thomas Sandfield 6/12/25 Thomas Sandfield 6/12/25

Test and Failure with the XPan

There’s something I love about both worlds. With digital, I get control. I can fine-tune everything until the image feels just right. With analog, there’s this beautiful unpredictability, but also the constant pressure of limited chances. Every press of the shutter costs money. It’s like walking a tightrope between freedom and risk.

“ TENET “
Shot this image of Kim on the roof of the Opera House in Oslo.
Camera: Hasselblad Xpan
film: Portra 400

On Monday, June 9th, Kim and I were out shooting around Oslo. I brought the Hasselblad XPan with me. I’m still deep in the trial and error phase with that camera. This part of the process is all about figuring out focus and composition, and honestly, it's a whole different mindset compared to shooting digital.

In the digital world, you're spoiled with endless shots. You can experiment, adjust, reshoot. No real consequences. But with analog, it's the complete opposite. Every frame counts. And even when you think you nailed the shot, it might not turn out the way you imagined once it's developed.

Do I enjoy this process? Yes... and no.

Yesterday, I spent two hours scanning 40 images. Then another 30 to 40 minutes converting them. Analog means time. A lot of it. But it also brings something digital rarely does: gratitude. Seeing the photos come to life after all that effort feels like opening a gift.

Some of the images turned out better than I expected. Others, not so much. I still have a lot to learn about exposure, focusing, and trusting the process. But that's part of the reason I keep going. Because even in failure, there's something magic about it.

Kim Daniel Vedal 6/10/25 Kim Daniel Vedal 6/10/25

Rangefinder vs Point and shoot

A film side by side

I borrowed my friends Olympus AF-1 Twin and made side by side images using a much more expensive Leica, and my oh my will this experiment ruffle some feathers.

Luckily they’re equipped with 35mm focal lenghts, so the compositions won’t tell much on which is what camera.

To make this even closer I used the same film: Santa Color 100, developed in the same tank with Kodak C41 chemistry. Both films got scanned with a DSLR setup (Fujifilm XT-3->Macro->easy35) and converted in NLP (Negative Lab Pro) using Color Mode: Basic, and with no big adjustments to the sliders.

Clear differences

The rangefinder, a Leica M4-P combined with Voigtlander f/1.4 has a price tag at around 2500 USD, while the Point and shoot Olympus AF-1 Twin comes in at max 100 USD. This might be good to keep in mind when we now go into some comparison details.

Details

The Leica image is absolutely much more crisper. You can see the lines of the metal wall and the texture on the shopping cart is clearer and more refined.

The Olympus is softer overall, look close on the wall and cart. This is likely due to the lens and the fixed zone focus on the camera.

For some this might be a preferred fix in post but yeh, let’s continue.

Contrast is a tiny bit higher/better with the Leica, the blacks are a touch deeper which abslutely helps on giving the image a more defined look.

The Olympus has a slight lower contrast, the midtowns and shadows gets a bit more compressed which give a more flatter look.

Again, a tiny post adjustment and we might get these even similar.

Rendering and color cast is where it’s most noticable, the Leica has a more neutral and `modern` look. The whites look cleaner and with a minimal color cast.

The Olympus has this magenta/pinkish tint which make the wall and pavement feel warmer.

The fact we can manual focus on the Leica gives it a more cleaner and modern look.

Not all bad for the Olympus as many want these characteristics in their images.

The Olympus has a Lo-fi casual vibe and the Leica, a more deliberate and composed rangefinder precision feel.

Conclusion

My final toughts after this little experiment: - I need to get my self a point and shoot asap.

I was really impressed and the images look fairly similar compared to the much more expensive Leica, for the screens.

I am a big fan of printing work. This is where I believe there is no match between a point and shoot and a manual rangefinder system.

The super precise focus, sharpness and tonal control is just too important when printing and working with clients etc. BUT, for the Instagram, the YouTube etc. I must say there really isn’t too much of a difference in my eyes.

Yes, you can be more clinical with focus and exposing at the spot, but a little post production gets a lot of this work done for you.

Image 1: Leica, Olympus
Image 2: Olympus, Leica
Image 3 : Olympus, Leica
Image 4: Leica, Olympus
Image 5: Leica, Olympus
Image 6: Olympus, Leica

Thomas Sandfield 6/8/25 Thomas Sandfield 6/8/25

From Pixels to Film: Learning the Hard Way

Shooting with the Hasselblad XPan feels more like composing a scene than just taking a photo. You only get 21 shots, and every one feels like a little gamble. No preview. No second chances.

Camera: Hasselblad X-pan
film: Portra 400

Shooting with the Hasselblad XPan feels more like composing a scene than just taking a photo. You only get 21 shots, and every one feels like a little gamble. No preview. No second chances.

I’ve been deep in digital for most of my life, so moving to film is like starting from scratch. Metering manually. Framing through a rangefinder. And then comes the part no one warns you about—the post-shoot chaos.

This time, I went out shooting, dropped the roll off at a photo store, and picked it up a couple of hours later. That part was easy. But once I got home, the real work began. Scanning negatives is an art form in itself. You need to know which side faces down, how to avoid dust, and how to prevent the software from auto-converting everything into some weird digital mess.

I used Lightroom with a plugin called Negative Lab Pro to turn the scans into positives. Then I tweaked them again in Lightroom like I would with a digital file. The whole process took way longer than expected, and I still feel like I barely know what I’m doing.

But here’s the thing: when a frame works, it really works. Film slows you down, frustrates you, and challenges you. And that’s exactly why I keep coming back to it.

-Thomas

Thomas Sandfield 6/8/25 Thomas Sandfield 6/8/25

My Backpack Time Machine

Everyone’s chasing megapixels, 8K reels, and autofocus that can track a mosquito’s heartbeat. Meanwhile, I’m manually winding film and hoping I didn’t mess up the loading. There’s something beautiful and slightly ridiculous about that.

I’ve been a digital camera enthusiast for over 20 years. That’s two decades of sensor sizes, firmware updates, SD card formatting, and firmware-induced existential crises. I’ve shot with just about everything: mirrorless, rangefinders, compact beasts. My Leica Q2 Monochrome is my daily partner in crime, and the D-Lux 8 is like that quiet friend who never fails you.

Everything in my setup has its place. Batteries? Right side pocket. Lens cloth? Upper zipper. SD card case? Tucked in next to my stubborn optimism. It’s a system that works.

Until this morning.

I was unpacking my gear, doing the usual rotation. The Leicas went on the shelf, the batteries came out of the bag like clockwork… and then, without even realizing it, I slipped my Hasselblad XPan into the main compartment. And then, here's the kicker, I grabbed a fresh roll of Kodak Portra 400 and placed it exactly where I usually stash my spare batteries.

It took a few seconds before I noticed the irony. In 2025, a year where AI is trying to teach itself to feel emotion, and smartphones come with more cameras than the street in London. (CCTV), I just packed film. Actual film. In the battery slot.

And I laughed.

But looking back, this moment didn’t come out of nowhere. Getting the XPan wasn’t just about buying a camera. It triggered a full-on analog awakening.

Before I even took my first shot, I had to go back to photography school. Suddenly, I was knee-deep in forums and YouTube videos, trying to figure out things I hadn’t thought about in years. Film stocks. Light metering. Grain structure. How to scan negatives without losing my sanity. I messaged Kim, who shoots with a Leica M4-P, asking him how rangefinders even work. What do I focus on? What do I ignore? Why does everything feel slightly out of alignment, including my life?

My YouTube history for the past two weeks has been 95 percent XPan tutorials and 5 percent people arguing over DPI settings. Scanning turned out to be its own mental obstacle course. It’s not just a plug-and-play process. I was sweating over whether 2400 DPI was too soft, whether 4800 was overkill, and why my first scans looked like they were taken with a potato.

So yes, today I swapped spare batteries for Portra 400. And despite the learning curve, it felt right.

Because while the rest of the world is speeding into the future, I’m quietly time-traveling in reverse. Not out of nostalgia (okay, maybe a little), but because sometimes the slowness of analog feels more real than the speed of digital.

And if you're wondering, no, I didn’t leave the Leicas behind. They’re coming too. It’s 2025, and I carry both timelines in my backpack.

- Thomas

Thomas Sandfield 6/1/25 Thomas Sandfield 6/1/25

Why the Ricoh GR III Is My Street Photography Weapon of Choice

That camera slips into my pocket, disappears in my hand, and lets me focus on what really matters.
The moment.

THE RICOH GR III

I’ve used a lot of cameras over the years.
Some are beautiful to hold, some are packed with features, and some are just... heavy.

But the Ricoh GR III?
That camera slips into my pocket, disappears in my hand, and lets me focus on what really matters.
The moment.

The Best Camera Is the One You Actually Carry

You’ve heard that phrase before, but the GR III takes it seriously.
It’s not just small. It delivers.
Crisp files. Sharp lens. Just enough control without slowing you down.
It doesn’t try to impress. It just performs.

Built for the Streets

Street photography isn’t about perfect compositions or endless settings.
It’s about speed. Awareness. Instinct.
The GR III powers on fast, focuses fast, and shoots without making a scene.
It keeps up with the way I move. By the time some other cameras finish waking up, I’ve already taken the shot.

Invisible Is Good

One of the biggest reasons I love this camera? People don’t notice it.
I’ve taken photos in close spaces, in packed metros, in busy markets.
No one looks twice. That’s everything. It lets me stay honest, stay unnoticed, and stay in the flow of the street.

Final Thoughts

This isn’t a camera for pixel peepers or spec chasers. It’s a tool for people who want to shoot more and think less.

I use other cameras too. But when I’m walking the city, reacting to light and life and energy around me,
the GR III is what I reach for. Every single time.

If you care about being present, about catching something real before it disappears,
You should give this one a try.

- Thomas

Thomas Sandfield 5/31/25 Thomas Sandfield 5/31/25

Why I LOVE TO Shoot at Night

There’s something different about photographing at night. It’s hard to describe, but once it grabs you, it doesn’t let go.

Hong Kong. Headphones. One song on repeat.

There’s something different about photographing at night. It’s hard to describe, but once it grabs you, it doesn’t let go.

The city changes. People stop performing. The light gets strange, soft, and unpredictable.

It’s not just about capturing what you see. It’s about catching what you feel.

**- Blade Runner Window -**
A skyline like this doesn’t need words.
It doesn’t show off. It just glows.
From the mountainside, the buildings don’t look real —
they look like pixels from a game you once played too late at night.

A Different Kind of Photography

I really fell in love with night shooting while living in Hong Kong.
That city has a pulse. Even in the early hours, it never fully sleeps.
But if you listen closely, it starts to whisper.

The buzz of neon, the fog in the alleys, the reflections off wet pavement...
It slows you down. It pulls you in.
You stop rushing. You wait.
You start noticing things you’d miss during the day.

Photography at night isn’t about control.
It’s about letting go.
Letting the light guide you. Letting the city show you something real.

I shoot at night with a wide aperture, ISO around 1600 to 3200, shutter just fast enough to catch the moment, RAW always on.
Then I stop thinking about settings and start chasing the mood.

My Little Ritual

Before I head out, I always put on a headset. One song. On repeat.

Usually something from a film that stuck with me.
Blade Runner. Drive. In the Mood for Love. ( the classics )
It doesn’t matter what the track is, as long as it sets a mood.

The music becomes my guide. I walk with it, shoot with it, feel with it.
The rhythm of the song starts shaping the rhythm of my photos.

And just like that, I’m not documenting the night.
I’m inside it.

- Thomas

Kim Daniel Vedal 5/26/25 Kim Daniel Vedal 5/26/25

Break the Pattern: How street photographers can avoid copycat shots

“Originality comes from intent, not imitation.”

Tired of chasing the same old subject walking in front of a building, a car reflection or every silhouetted figure in a tunnel? You’ve seen these a thousand times on Instagram.

Creativity is key to get out of the lazy shooting habits, but how can we find uniqueness in a genre filled with already great shots?

This blog will focus on tips and create a fresh mindset for you to explore the streets in new ways.

My friend and colleague, Thomas from Photobreak, has been shooting for years. Night, street, nature, portraits, you name it. Over time he has expanded his work, built a following and with his bag of tricks, together, we’ve created a guide that is simple and easy to apply in your every day photo walks.

Light over Landmarks
Everyone seems to capture landmarks, but the greats like Alex Webb and Saul Leiter followed the light.

Exercise 1: Walk for ten minutes and totally ignore everything, except the light. Look for shadows, reflections, streaks across walls, everything you see the light touch.

🔥 On Photobreak walks, we include “light chase” segments. Participants track shifting light around a block instead of focusing on what’s actually around them. The subject becomes the play of light itself.

The Pain Point
”Both new and experienced photographers often shoot what’s popular instead of what’s personal”.

We believe the best photos come from a place of honesty, and combined with seeking for what moves you, a beautiful moment will present itself.

One day you might feel the blues, embrace that, your emotion are real and powerful in this type of searching also.

* We’ve all seen these shots before, while I enjoy composing them, they are not the creative vibe we seek.

Scenes, a split second and your state of mind give that personal creative touch that no Instagram copycat has in their work.

These are what will makes you stand out and create great work again and again.

Own the moment, you stopped here, something Made You Look.

Personal Photo Rules

Let’s touch on creative constraints. Narrowing down what your mind is searching for already makes for a more personal shot.

I find all these steps important in the pursuit of fresh creativity.

This could be as simple as only shoot vertical, only shoot objects touching the ground or maybe only photograph people reflected and not directly.

Exercise 2:
📷 Only shoot vertical
🪙 Only shoot shadows
🚫 No faces allowed

🔥On our Photobreak walks we assign creative restrictions to keep things fresh, shoot only blue subjects, avoid fast shutter speeds, or only through glass.

Now you eliminate the typical, find a man in a hat, a bicycle shadow, a lonely coffee cup etc.

We don’t want to list things up before shooting.

We want to build stories on the go, creative photographers is always wondering; What’s happening here? What is the emotion? What to include and exclude in the composition.

* examples of focus on triangles

Photograph the `in Between`

Imagine the classic Cartiere Bresson jump shot, or a kiss, handshake. Moments people expect.

Now, what about just before the action happens? Or the moment just after. The expression after it all ends might be an even stronger one.

Gary Winogrand was a master of this. So try not to press the shutter when the obvious happens. Shoot the hesitation. The awkward glance. The quiet after.

* I love this portrait, but the shot just before has an even stronger emotion.

B-Side

When everyone is shooting the same intersection, murals and neon lit alleys. The result? A thousand images that look the same.

There is nothing wrong with taking all the shots that’s already been made.

In fact, when you are starting out, you probably should as this will make you learn faster and the urge of just pressing the shutter is still there.

When ready, go where most people don’t.

Conclution: Originality Comes from Intent

Breaking the cycle of copycat photography isn’t only about avoiding popular spots. Most important is shooting with intent.

Crative photographers resist the urge to capture what’s expected and search for something personal.

🔥At Photobreak, our street photowalks are built around this principle. We’re here to help you see better and continue growing our own vision.

Throw away the cliche. Step off the main road and together find our own angle, one that only we can see.

ℹ️ Photobreak uses AI tools from various companies, which are continuously updated here, to improve and streamline our journalism. The tools support journalists, among other things, with finding and enriching content, translating, improving quality, and creating different versions and formats.