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Saturday, August 22, 2026

18 Days In France - A New Adventure - Avignon

Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

THIS TIME it was a river cruise - our first. Because we travel a lot these days, much of this blog is devoted to photos of our trips. Because those travels often involve cruises, coaches, and daytime excursions, the photographs are not always made in ideal conditions. But when you are someplace worth seeing, it still motivates me to make some memories. I made a few on this trip.

Nothing really much to look at in daylight, the Ferris Wheel was a pretty spectacular view from the top deck of our cruise ship at anchor in Avignon
Copyright Andy Richards 2026 - All Rights Reserved

THE ITINERARY was two back-to-back cruises on different Viking River Boats; one in Southern France along the Rhone River, and another on the Seine River, from Paris to Normandy and back. Back in college, I took courses in both European History and Art Appreciation. There was a healthy dose of both in this 18-day visit to France.

Lock and Hydro-power complex on the Rhone River (the railings are on our cruise ship)
Copyright Andy Richards 2026 - All Rights Reserved

THE RHONE River cruise began in Avignon and sailed up the river to Lyon.  The headwaters of the Rhone are the Rhone Glacier in the Swiss Alps. The river is perhaps France's most powerful, and today is very different from its historical condition. Always a difficult waterway for navigation, its strong current and a wind condition the French call the "Mistral Winds" exacerbate the difficulty. Indeed, its very name, "Rhone," was given by early Gauls and means "rolling" or "running" current. In the early 20th century, France took on major project, constructing a series of 12 Locks between Arles and Lyon; 11 of them are also the sites of large hydroelectric power plants. The whole Rhone hydropower complex supplies 20% of France's electric power. The locks are a feat of engineering to behold and move ships up and down anywhere from about 20 feet to nearly 100 feet at its deepest lock! Most of them are just wide enough for our river cruise ship.

Actually moored across the Rhone from our Viking Ship, the smartass in me couldn't help sending this image to a couple of my cruising friends and suggesting it would be our floating home for the next week 😁
Copyright Andy Richards 2026 - All Rights Reserved

THE HEADWATERS of the Rhone is actually a glacier (The Rhone Glacier) in the Swiss Alps. From there it runs to Lyon, where the Saone River (originating some 300 miles north in the French Alps) joins it. The primary navigation route for River Cruises is the Rhone, from that confluence in Lyon south to Arles, near the mouth of the Rhone and the Mediterranean. The Rhone river has a bar at its southern end, just south of Arles, that is not navigable, and a shipping channel has been constructed, for shipping to access points south of Arles to the sea. The 12 locks are between Lyon and the canal.

Just steps away from our Avignon Hotel - the carousel on Place de l'Horloge is a center attraction - more spectacular when lit at dusk, with the famous clock tower in the background - Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

AS IS our general practice, we arrived in our embarkation cruise port city a couple days before our scheduled boarding and departure.  As seems to be common these days, our trip over was a bit of an adventure. My travel logistics expert wife, had booked us flights from our nearby airport (Tampa - TPA) through Detroit and eventually to Paris' Charles de Gaulle (CDG). From there we had to find our way to the train to Avignon, which we had also pre-booked and paid for. Unfortunately, our international flight out of Detroit was delayed by nearly 2 hours, making our train connection impossible. We wouldn't know for sure what we would do or where we would spend our first night in France until we got there.

Handkerchiefs (a variation on the popular umbrella streets around the world) - Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

TRAINS ARE are major thing in Europe. I have always found it intriguing that they haven't endured in the U.S. We are, of course, the most "automobile-centric" country in the world, and with advent of air travel, train travel seems to have mostly gone away (with the possible exception of a single corridor alone the mid-south atlantic coast). In Europe, travel by train is common and can be relatively inexpensive. It can also be comfortable (though not always) and convenient. In the major cities (like Paris, though we also discovered this to be true in Barcelona, Lisbon, Porto and London) there are often multiple train stations. Because of the European Union's new EES system (we had read that the rollout has been rocky, often causing multiple-hour delays in processing travelers through customs) we had paid for an escort service through customs. That worked well and we got through quickly and our escort took us all the way to the CDG Train Ticketing Office, where we learned (to our relief) that we could simply change our tickets to a later train - at no cost). From there, we were directed to take the "city train" (really a subway) to the Gare Lyon (the train station in Paris where we would catch our express train to Avignon). Now that we have done it a couple times, we understand the system and it really is pretty easy once you get it down. But of course, the language issue is the biggest factor. We were in France, so predictably, everything was in French. We knew maybe 5 words of French 😓

I need to make more train photos - the best I could do right now was this shot in the Sao Bento Train Station in Porto, Portugal. But it illustrates the point that trains are ubiquitous in Europe
Copyright Andy Richards 2022  All Rights Reserved

WE GOT lucky. Finding the train toward Gare Lyon was easy enough and because CDG was a termination point, the train was almost empty (that would change). As we boarded with our luggage, however, I started to look at the train map. I didn't yet understand the system and was not crystal clear on where we needed to get off. There were many stops before Gare Lyon. As I studied the map, a lady obviously French, but in excellent English) asked me if I needed help and where I was headed. Long story short, she was headed to Gare Lyon herself and she said just get off when I do. By the time we arrived at Gare Lyon, the train was packed - standing room only and we were separated by a couple seats. But at the preceeding station she rose and made sure both of us knew it was the next stop. We somehow made it off the car and onto the platform and then our new friend decided she would be our escort (her train left about 20 mins after ours) and she explained the system to us and sat in a restaurant with us where we had a bite to eat and a drink. She was delightful and friendly and walked us right to our platform before saying goodbye. Thank you to her!

Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

WE HAD an assigned car and seats and our train was direct (no stops) to Avignon. We arrived late afternoon and easily found the taxi stand. Our Avignon hotel was only 5 minutes from the station and we were able to check in and get situated. We would have the evening and 2 more days to explore. Our Hotel - it turns out - was right in the middle of the old city. That made it easy for me to get out and explore the Medieval/Rennaissance town which was, for nearly 100 years, the center of Christianity in Europe (more on that below).

Avignon City Hall - Place de l'Horloge -Avignon, France
I wasn't able to get the perspective I wanted on this - showing the Avignon Coat of Arms because of tables of the sidewalk cafes, and people wandering around, so I made a composite to show what it might look like had I been able to get back and close to the ground at the Coat of Arms. Also, note that this 19th Century, Neoclassical building is designated "H'otel de Ville." In French, "H'otel" can have several different meanings; one of which is a municipal building.
Copyright Andy Richards 2026 - All Rights Reserved

TO MY good fortune, I found that two of the major attractions in Avignon were just a 5 minute walk from the front door of our hotel, through what is perhaps the main square in the old town. The square, know as the Place de l'Horloge ("Clock Tower Square"), is formed by some significant and historical buildings flanking either side of the square. In the center, there are numerous "sidewalk cafe" style restaurants and at the northern end is a large, ornate carousel, making for a pretty touristy spot, but nonethelss charming and - for my purposes - photogenic.

Palais de Papes (Palace of The Popes) - Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

JUST BEYOND the square and the carousel, and backed up to the Place de l'Horloge, is the Palais de Papes ("Palace of the Popes"). Said to be the largest such palace in the world, the complex holds the palace itself (which dominates its own square), the adjacent, Romanesque Avignon Cathedral Cathédrale Notre-Dame des Doms d'Avignon) and other essentially "governmental" buildings (e.g., papal treasury), attendant to what was the kingdom of the Catholic Church (Avignon and surrounds) for nearly three quarters of a century during the early 12th Century. Pope Clement V moved the papacy to Avignon, where it remained for 7 successive Popes, until Gregory XI returned it to Rome at the end of his reign. For that period the church acquired and owned surround lands, imposed taxes on its inhabitants, and tolls and other fees on travelers, greatly increasing its wealth. I wandered around there on my first morning, and then again a few days later, when our cruise ship tour took us back there.

Basilique san Pierre (St. Peter's Basillica) adjacent to the Popes Palace - Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

ADJACENT TO the Popes' Palace, stands the originally 7th Century, Gothic, St. Peter's Basilica, which was rebuilt in the early 14th Century, and elevated to the status of Basilica only during the reign of Pope Benedict in the current century. Nonethless, it is an imposing piece of architecture.

St. Benezet Bridge (Bridge of Avignon) - Avignon, Franc
Copyright Andy Richards 2026 - All Rights Reserved 

A FEW short steps beyond the Palais de Papes, you reach the river, and the remains of a historically significant and important bridge: The Saint Benezet Bridge. Originally built at the beginning of the 10th Century, the bridge was the only means (other than treacherous crossings by boat) to cross the Rhone from the west bank (French territory) to Avignon. In the early 11th Century, the French King, Louis VIII laid seige on Avignon, and the bridge was substantially destroyed. Rebuilt a few years later, by the 17 Century, Avignon no longer had the economic means to maintain the bridge and a series of strong floods over a period of years destroyed most of the arches. What remains today has been designated as a UNESCO Heritage Site. I arrived before the morning sun rose too high and found some nice lighting on the structure. I think it is a photogenic spot. The bridge is also famous for the little ditty that French children learn very young; and which has been translated to English and also taught to us here in the U.S. as young children, about dancing on the bridge. In reality, it is likely that any dance was actually done under the bridge, where at one time way back in history, and Inn stood.

Saint Benezet Bridge (Bridge of Avignon) - Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

IN THE opposite direction from our hotel, in a couple short blocks south along the Rue de la Republic (a main street in old Avignon), you reach the Saint Didier Cathedral, and Place you reach a pretty, tranquil park with lots of space for sitting and just enjoying a nice day (Square Agricol Perdiguier).

Square Agricol Perdiguier - Steeple of Saint Didier Cathedral in the Background  - Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

BEHIND THE square and to the east, there is another stately Gothic Church (St. Didier). Just beyond the church is another small, but lively square: La Place Didier. Our Hotel attendant directed us there for a nice place to have dinner outdoors on our first night.

The little street cafe we ate at on our first night
La Place Saint Didier - Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

THE NEXT morning, I walked a loop around that area and back up a couple of the quiet, side streets, on my way back to the Hotel. I generally enjoy these wanderings. I find stuff to shoot that isn't really anything about anything that I know about. But there are just some subjects and scenes that draw my eye. Without labeling them as such, it might be hard to know they are images of Avignon.

Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved


Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

I FOUND this little cafe just a few steps up the street, before I reached the Clock Tower Square. It became my morning routine to sit here and have a cappuchino.

Coffee Shop adjacent to our Avignon Hotel - Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

ON OUR last night in Avignon before boarding our Cruise Ship, the weather was gorgeous and we felt the urge to spend one more evening outdoors, sipping a drink (and in my case, puffing on a nice cigar). We wandered into this neighborhood setting and had the perfect ending to our short, but delightful stay in Avignon. I would go back for sure!

Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

WE WERE scheduled to board the first of our Viking Ships, The Viking Lofn the following day. Viking wasn't very forthcoming (IMO) about its boarding process (saying "around" 12:00), and we were to be out of our hotel by 9:00 a.m. 
We weren't weren't thrilled about the hotel's process for holding bags (very insecure), so we decided to "go for broke" and just head over to the cruise port. We hired a taxi to drive us the very short distance to the cruise port. After walking aound Avignon for several days, I realized that the port was probably about a 10 - minute walk from the hotel. But with luggage, it would have been a long 10 minutes! Most of our trip would be north - upriver - but there was one nearby, "not-to-miss" town that was a few miles south: Arles). The itinerary called for us to sail south to Arles that evening, and then back to Avignon the next day for an additional day in Avignon. However, due to mechanical issues, we were unable to sail that evening. Instead, we stayed at our mooring in Avignon and additional day, and we were bussed to Arles the next morning. A short ride and no big deal. Glad we didn't miss Arles altogether (but more on that next).


The Avignon Rhone River Cruise Port is small - but busy - Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved

FOR NOW, we settled in on the Lofn. We were early, but they boarded us and we were among the first to board. Exploring the ship took all of about 5 minutes. Compared to any ocean cruise ship we have been on, riverboats are tiny! They had a nice buffet lunch for early boarders/late disembarkers, and I discovered the cigar smoking area and started things off right!

Viking Lofn - Avignon, France
Copyright Andy Richards 2026 - All Rights Reserved




Saturday, August 15, 2026

Is Adobe Losing a Step?

READERS HERE know that I have been an unapologetic (mostly) shill for Adobe software - and particularly Adobe Photoshop - for as long as I have been writing this blog. I have compared and contrasted a few other options, from the venerable (and open source) GIMP (which I found had a learning curve at least as steep as Photoshop originally did), ON1, Affinity, and DxO, to name just a few. A few years back, I actually purchased the complete ON1 Suite and tried to work with it for a couple months. I liked many parts of its interface (kind of a LightRoom "lookalike" at the time), but for some reason, it didn't want to "play nice" with my particular Windows-based computer setup (ON1 was very "stand-up" and refunded my entire cost, even though I had been using it for a while). I have tried trial versions of DxO, GIMP and Affinity. Every time, I eventually go back to Adobe's suite (for me mostly using Photoshop and the Adobe Bridge browser).

my conclusion has consistently been to just work in Photoshop, launchING my files into Adobe Camera Raw (ACR) from Bridge

BECAUSE I  almost always found myself eventually moving the file into Photoshop, and my workflow and archiving process is very simple (maybe even simple-minded 😂), my conclusion has consistently been to just work in Photoshop, launching my files into Adobe Camera Raw (ACR) from Bridge. I (mostly) like bridge as a browser and file management tool. I have used its "renaming" tool nearly exclusively for several years now. When it first became available to me in bundled form, I used Light Room - but nearly exclusively only for file managment - naming and keywording I like the utility and the nesting file capability. I had a sort of hierarchy or "tree" and found it userful for searching and finding files. It worked well. Until it didn't. Somewhere along the line, as Adobe pushed through (and I blithely installed) updated versions, I suddenly found myself entirely unable to move my Light Room catalog, which I had spent several years developing and maintaining. Research and reaching out to Adobe was frustrating and did not ultimately bear fruit. Doggedly, I determined to simplify the process.I started completely over and spent hour upon hour keywording image files using only Bridge's Keywording utility. For search purposes, it worked fine.

Why not include notes (not just the essentially uninformative notes on the update screen like "fixes certain issues") which describe not only what the update does, but when it causes certain plugins and other essential database - type files no longer function, and steps on how to re-instate them?

AGAIN: UNTIL it didn't. As CC users know, Adobe pushes out "updated" software (sometimes almost daiy). Generally, I have found that to be a good thing, giving us access to each new cutting edge feature and improvement essentially in real time. My plan has Photoshop, Bridge, both versions of Light Room, and ACR. I am also running Photoshop Beta. I have been using Bridge and keywording all new image files as I upload them into my system. I had no idea I needed to backup the keywording file discreetly. A week back, one of the updates ("upgrade"?) seems to have taken out my entire keywording list. And yes, they were all "persisitent." I cannot find it. I am now once again, starting over from scratch. I will figure out how to back up this time, but it isn't one of the generally known or discussed things. I find Adobe's system for updating an upgrading lacking in any documentation to an almost arrogant degree. Why not include notes (not just the essentially uninformative notes on the update screen like "fixes certain issues") which describe not only what the update does, but when it causes certain plugins and other essential database-type files to no longer function, and steps on how to re-instate them?

I FIND it extremely inconvenient to have to stop (not infrequently in the middle of a major project like uploading, keywording, and renaming and archiving a major shoot - involving hundreds of images) and spend hours and hours researching what happened and how to fix and restore things. And as I mentioned above, in at least 2 cases giving up in frustration and "rebuilding the mousetrap" from scratch again.

In a "protective" move, this week I signed up for ON1 Photo Raw's subscription model (which I will run side-by-side with my Adobe software)

I STILL have no doubt that Photoshop is "the one to try to attain" and will probably remain the leader in the field for the near future. I do know a couple professional photographers who left Adobe behind a long time (years) ago, though. And at this time, there are things I can do in Photoshop that I cannot do in any of the other software applications. At the same time, they continue to integrate some pretty impressive new applications into the software (especially Photoshop, Ligtht Room, and ACR). I have gotten a lot out of the positives they have to offer. But to me, just a little attention to the long-time users, and in most cases, subscribers would be a good thing for Adobe to aspire to. If these seemingling small things become persistent enough, it will drive loyal, long-time users (like me) to look for alternatives.

IN A "protective" move, this week I signed up for ON1 Photo Raw's subscription model (which I will run side-by-side with my Adobe software), and will be spending some time over the next few months using and learning, to see if it is a possible alternative for me to move to. I will continue to run my Adobe applications - but I have come to the proverbial "warning track."

ANYBODY ELSE have similar (or opposing) thoughts?

Saturday, August 8, 2026

I Have Seen Some Churches - VI

My first visit to Europe was in 2013 and one of the first places we toured was Istanbul. I think the interior of the Hagia Sophia - seen here - had the most profound influence on my views of anything else I had encountered in my life so far. The image was made with my Sony NEX-6 APS-C camera and a 16-50mm zoom (35mm equivalent 24mm). Wider would have been better.
Copyright Andy Richards 2013 - All Rights Reserved

I THOUGHT for the time being that I was done with this series. But as I edit and review each one before posting, it has ocurred to me that I have overlooked (for the most part) what might perhaps be the most impressive and stunning photographic aspects of these beautiful buildings. And, perhaps unfortunately, the most difficult to do justice with my rather casual photographic travel setup.

The Blue Mosque - Istanbul, Turkey
Directly next door to the uber-impressive Hagia, Sophia, the Mosque was intended to supercede the Hagia Sophia. It certainly comes close. Perhaps the most massive meeting/worshiping space I have ever been in, and built centuries ago, it put my view of the architectural history of this part of the world in a completely new perspective.
Taken with the same Sony NEX-6 APS-C and 16-50mm zoom (24mm at 35mm equivalency), even the massive space here is begging for a wider lens!
Copyright Andy Richards 2013 - All Rights Reserved

PHOTOGRAPHING INTERIORS of any building generally requires some specialized gear and conditions. It also often requires some kind of "special dispensation" to be able to set up and do the images justice. We are on casual travel, with photography being - for me - an important part. But for reasons I have suggested in the past, not the central focus of our visits. My biggest handicaps to photographing church interiors are lighting, the need for wide angle lenses and commensurate perspective, and (as is often the case in any public scene), people.

St. Mark's Basilica - Venice, Italy
Sony NEX-6; Rokinon 8mm Fisheye Lens
Copyright 2013 - All Rights Reserved

ON MY first trip to Venice, I carried a 8mm "fish-eye" lens on my APS-C Sony NEX-6. Fisheye lenses are known for their pronounced, round distortion and not really intended for architectural work. For that kind of work, at the very least, I would have benefited from a "corrected" (rectilinear) wide-angle lens. But the all manual, Rokinon lens was cheap (an important consideration for me at that time), and I thought I could "work out" the worst of the distortion in Photoshop. That didn't really work out as well as I thought. It is really a lens for creative effects. I have only used it seriously one other time on a cruise ship (and that time, I was shooting purposely for the curved effects of the fisheye). I had somewhat better luck on a couple other images, but even in the second St. Mark's image below, you can readily see the fisheye effect on the curved vertical columns.

St. Mark's Basilica - Venice, Italy
Sony NEX-6; Rokinon 8mm Fisheye Lens
Copyright 2013 - All Rights Reserved

TRAVELING MOSTLY with either the current "full frame" 35mm-equivalent gear, or for a few years, the "point and shoot" Sony RX100 cameras, or the Olympus M4/3 gear, the very widest angle lenses I have carried have generally been only about the 20mm (35mm equivalent). Usually it has been even narrower, often in the 28 - 35mm range. For the most part, I have been able to make that work. Today, my "workhorse" walk-around lens is a 20-40mm f2.8 zoom. There are some techniques that could be used that might allow the creation of wider end-results, but they involve "stitching" images in post processing and that is virtually impossible to get right without a tripod in those low light situations. Again, for reasons I have touched on in prior posts, I do not carry a tripod on most of my travels. Setting one up in many of the churches I have been in is a sure method to gain the ire of other travelers and perhaps church officials. I just don't do it.

The Vatican Art Gallery on our 2017 visit, was literally shoulder-to-shoulder with visitors - 
probably the most crowded "tourist attraction" I have ever been in!
Sony RX100iv
Copyright Andy Richards 2013 - All Rights Reserved

I MENTIONED people as a challenge. Over the years I cannot count the number of times I complained about "people" in my shot. As travel has expanded, and some of the formerly lesser - known photo attractions have become more popular (no doubt fed by the easy availability of some pretty good cameras built into cell phones - and the current "selfie" and "influencer" trends on-line), it has become more and more difficult to photograph many scenes without people in them. When digital processing came along, it became possible (but still not easy) for us to remove people in many instances (using cloning tools and techniques). But it it did require us to think about placing the "to-be-removed-offenders" carefully in the image. And it still took a lot of painstaking work to believably remove the people. Technology has been a godsend for that task, and the different "remove" technologies (beginning with "content-aware" technology and advancing today to "remove distractions" using AI-tech) has taken an awful lot of the brunt from this type of retouching. Still the tech is not perfect and there are instances where it just isn't going to work and you are going to exercise good old fashioned composition with the people intact, but as carefully placed as circumstances allow. I have actually grown to like the challenge of leaving or placing people within my images in many cases. And sometimes, I purposely wait for a person or people to move to the "right spot," or walk into (or even out of) my frame.


St. Peter's Basillica - Vatican (Rome) Italy
This was the most crowed space in the Vatican that day and there was no way I was going to make a people-free shot. Samsung Galaxy S21 Cell Phone Camera
Copyright Andy Richards 2022 - All Rights Reserved

THE SHOTS of St. Peter's Basillica and the Vatican, in Rome illustrate the challenge of working with people in the shot. When we visited the Vatican's Great Hall of Art (The Vatican Art Gallery), it was quite literally jammed with bodies. A bit disappointing, as it made it difficult to photograph at all. But it was what it was. In 2022, I am sure a product of the aftermath of the Covid-19 epidemic, we had the amazing fortune of being in that very same hall - having it virtually to ourselves! The lesson for me here was that sometimes you just have the good fortune of having a clear shot. Much of that is about timing. We were there relatively early in the morning.

The Vatican Art Gallery again in 2022, just 5 years later (and with a historic world-wide pandemic just barely behind us), and the Gallery Hall is nearly empty. I was thrilled to have this particular second - chance at this incredible historical venue.
Samsung Galaxy S21
Copyright Andy Richards 2022 - All Rights Reserved 

ONE THING I have determined, is that these days for the most part, I put the camera in the bag and grab my "smart phone" when I enter the interior of most buildings. Even given the numerous, substantial downsides to a cell phone camera vs. a fully-equipped, large sensor camera, I have had a fair amount of success with mine (currently a Samsung S24+ Android Phone). Over the last approximately 5 years, I have been astounded at the technological advances in these "phones." Indeed, it has been my own observation that very little has changed in terms of the actual (intended use?) telephony tech. Most of the advances and "improvements" to these phones has been in the cameras - software, lenses, and currently "artificial intelligence" capabilities. I have found that by letting my phoned camera "do its thing," I have been able to get decent exposures, great color, and generally good detail on these interior spaces. My biggest challenge has generally been getting my focus points the way I want them, but still, there are enough good exposures to convince me that - for the most part - I have more success indoors with the "smart phone" than with my camera. The second Vatican Art Gallery shot above was made with a Samsung Galaxy S21 "smart phone."

La Segrada Familia - Barcelona, Spain
For a couple years there, from 2015 - 2020, I carried a small "point and shoot" style Sony RX100 exclusively for travel. With a fairly large aperture ability, this camera performed reasonably well with low light exposures - but did suffer with image quality (particularly "noise").
Sony RX100iv
Copyright Andy Richards 2015 - All Rights Reserved

IT IS not that my more sophisticated camera is incapable. It is really more of my lack of preparation and experience to get it set up correctly for indoor shooting. That and the lack of sufficiently wide lenses. For travel, my widest lens is 20mm. I use it, but probably not as much - or as comfortably (a matter of context - I am usually with fellow travelers who are not focused on photography).

Cathedral Lisbon - Lisbon, Portugal
Samsung S21 - 26mm (35mm equivalent)
Copyright Andy Richards 2022 - All Rights Reserved

OVER THE past 15 years or so, I have mostly carried a second set of camera/gear than my regular shooting gear. For a short while, I carred the Sony APS-C NEX-6 body with its "kit lens." It was a really nice, compact, light camera that still ticked the boxes for me regarding what I wanted to shoot "seriously" with. At the same time, for my photo-dedicated work, I was shooting a Nikon DSLR, and eventually, the Sony A7 series mirrorless cameras. Both of those lines were so-called "full-frame" (35mm equivalent) which is what we "old school," SLR film shooters mostly identified with.

Cattedralle di Pisa - Pisa, Italy
Sony RX100iv
Copyright Andy Richards 2015 - All Rights Reserved

IN 2015, I acquired the first of two very diminutive Sony Cameras: The RX100v and eventually the RX100vi (primarily for its substantially longer zoom range). Both were "Point and Shoot" style cameras and bodies. When the zoom lens was fully retracted the camera was literally a "pocket" camera. At the same time, it was a fully-featured "pro" camera with the ability to record images as "raw," and the ability to use the camera fully manually (including AP and SP priority modes). It really was a great little camera. Its main handicap was its small sensor. Essentially literally "thumbnail" sized, it is smaller than the postage-stamp APS-C sensor, for some purposes and in some conditions, that sensor limitation showed up.

Westminster Abbey - London, England
Sony 100RXvi - 40mm (35mm equivalent) - 1/30 sec (ISO 500) - you can see softeness here, though the lighting was pretty decent. I think maybe bumping the ISO to 1000 might have given me a sharper image here, as handholding (even with anti-shake technology) was clearly a challenge. It was one of only a few I attempted with the Sony, eventually switching to the Samsung phone camera
Copyright Andy Richards 2021 - All Rights Reserved

IN 2021, I serendipitously got my hands on an Olympus EM10. I had always admired the quality and design of the Olympus gear. Even back in the days of film, their SLR bodies tended to be smaller than the competition, but every time I picked one up in a camera shop, I was impressed with the build and feel. I had read that the Olympus' m.Zuiko designed lenses were consistently among some of the best glass in the market place. For whatever reason, I migrated first toward Canon (the brand featured by my local camera shop in Burlington, Vermont back in 1977), and then later, Nikon (when I got a great deal on a body and two lenses while in college in Hillsdale, Michigan in 1978). There was not other good reason not to have considered Olympus back then, but as they say: "out of sight, out of mind." I found the EM10 packed away in a box of stuff in a storage facility my son and daughter-in-law rented, and pulled it out. I got her permission to "eep" and use it for a while, and given its very small size, I was immediately hooked. Shortly, I had my own EM10 ver. IV, and a few lenses. I loved that they were so compact and easy to travel with.

National Pantheon (formerly Lisbon Cathedral) - Lisbon, Portugal
Olympus EM10iv - 14-42 m.Zuiko zoom lens - 14mm; f1.8 (28mm at 35mm equivalent)
Copyright Andy Richards 2022 - All Rights Reserved

OLYMPUS WENT all in on a unique sensor size - format from the beginning of their transition to digital. The "M4/3" sensor is larger than that Sony RX100 "thumbnail" sensor, but still smaller than the APS-C sensor. But the smaller sensor meant the ability to design smaller lenses and bodies. Sort of. What I learned fairly quickly was that as the lens design and glass quality moved more toward "pro" quality, the gear quickly got bigger. The newest Olympus gear with fast, pro lenses and the newest bodies are really only the proverbial "smidge" smaller anymore. Once Sony released the A7cR body with its full frame sensor, my real-time, side-by-side comparisons of the two revealed that the size difference was really no longer a deal breaker and it really didn't make sense any more for me to be using 2 different systems, for a very small tradeoff. Earlier this year, I sold all my Olympus gear and have stuck solely to my A7cR and a couple smaller lenses for all my travel. I use the same body for all my shooting now. For travel, I also use my Samsung S24+ cell phone frequently.

Westminster Abbey - London, England
Samsung S21
Copyright Andy Richards 2021 - All Rights Reserved

READERS KNOW I am a bit of a gearhead. This post kind of drifted off into a gear discussion, but I think it is relevant to the topic of shooting church interiors (really; any kind of architectural interior) and travel shooting. I don't usually do this, but I have tried to identify the camera used for each of the images in this post. I hope it illustrates the reasoning behind me shifting and more to my phone camera for interior shots. It gets the exposure right in lower light pretty well. The color is good, and it is generally very convenient to use.

Cathedral of Evora - Evora, Portugal
Samsung S21 - Here you can see that as good as the cell phones are, they still cannot do much to ameliorate the challenges of camera perspective. In most interior spaces we are faced with the challenge of not being able to get back away from the subject or to get up higher (creating the "leaning" columns in this photo). We can try to correct some of this in Photoshop's Perspective Correction tools, but because of the interior's physical space limitations, not as much as we would like.
Copyright Andy Richards 2022 - All Rights Reserved

SOMETHING I have tried to do over the years in all of my photography is to try to find minute details in the "bigger picture." Given the challenges of getting an interior shot (need for wide-angle, and challenging camera perspectives). There are really some nice, more "intimate" images in some of these churches. The Lisbon Cathedral close-up of the domes is one. The image below in Westminster Abbey is perhaps one of my favorite such images.This is really more of an image abouit details than about the abbey. Unless one was pretty familiar with this interior, the viewer doesn't really know where it is. But the color, the decorative detail, the old, worn red tiles against the (marble?) flooring, and the variable lighting is what makes this image interesting to me.

Westminster Abbey - London, England
Samsung S21
Copyright Andy Richards 2022 - All Rights Reserved

IN 2019, shortly before the world "shut down" for nearly 2 years during the Covid-19 Pandemic, my wife and I jumped on a Celebrity Ship by ourselves, bound for "The Italian Riviera." While we enjoy traveling with compatible friends when the oppportunity presents, we are not timid about setting off on our own. We have met some great friends on those cruises and this one was no exception. We have visited, travelled with, or at least kept in touch with a handful of them. This cruise originated in Civitavechia (nearest port to Rome) and after a stop in Naples, headed across the Mediterranean toward Barcelona, bound for the Mediterranean coasts of France and then Italy. We stopped on the way at the Spanish Island of Majorca, at the Port of Palma. We had booked an excursion up into the mountains to the beautiful Abbey and village of Valledemossa. In addition to many small, quiet garden and terrazza spaces, there were some wonderul "nooks" within the old buildings. I view the shot below as similar to the Westminster Abbey photo above.

Valledemossa - Majorca, Spain
Sony RX100iv - 24mm (35mm equivalent)
Copyright Andy Richards 2019 - All Rights Reserved

WE TOOK yet another cruise around the Mediterranean in 2022, which pretty much hit all the "bucket list" stops. This one began with several days' stay in a vrbo in Rome, getting on our cruise ship in Civatavechhia, sailing a similar path to the cruise above, but essentially in the opposite direction, with stops in La Spezia, Cannes, Toulon, Barcelona, Sardinia, Sicily, and Naples; then returning to Civitavechhia, and flying to Venice for a few days before returning stateside. It was a long and exhausting trip - but what a wonderful itinerary.

Cathédrale Saint-Sauveur - Aix-en-Provence
Samsung S21 Phone Camera
Copyright Andy Richards 2022 - All Rights Reserved

AT TOULON, we took an excursion up into the French National Park (Parq National Regionale del a St. Baume), and the into the beautiful south France city of Aix-en-Provence. Though it was our second visit to Aix, we always see and find things we hadn't seen before. This time, it was the Cathe'drale Saint-Sauveur, a majestic Romanesque and Gothic mix of architecture in the heart of the old part of the city. The interior was quiet, but fascinating with some ancient portions and some "newer" portions (still 100's of years old). It was another church that was challenging to photograph, while at the same time, rewarding. I appreciate the more intimate shot of the 6th century Baptistery, below. Wikipedia suggests that the columns are likely from a Roman Temple formerly standing on the grounds.

Baptistery - Cathédrale Saint-Sauveur d'Aix-en-Provence
Samsung S21 Cellphone Camera
Copyright Andy Richards 2022 - All Rights Reserved

IN APRIL, 2024, we took a Holland America Cruise on the HAL Westerdam to Japan, circling the large island. Outside of Tokyo, there are only a few other notable cities (though several of them, like Osaka, Kyoto, Kobe and Sapporo do have populations north of 1 million). Between them, Tokyo and Yokohama (essentially a suburb) are pushing 15 million inhabitants. But much of the rest of the country is smaller cities and a surprising amount of "countryside." And of course, seacoast. Lots of it.

Ikuta Shrine - Kobe, Japan
Olympus EM10v - 150mm (300 35mm equivalent) - f8
Copyright Andy Richards 202

OUR STOPS were (perhaps obviously) all at seaport cities. In Kobe, In Kobe, the city was holding a ceremony to thank ask the gods for blessings for a good harvest in the. Our guide told us it was fortuitous that we arrive to see some of the ceremony as it is only held twice a year in the spring and then again in the fall to give thanks to the gods. It was the first time we saw any significant "gathering" inside a shrine. Inside, here, which seems common, is really more of a covered outside space. It was interesting, nonetheless. While we did not see them go in, it was our understanding the the women dressed in vermillion and white, were a part of the ceremony. As you can see, there are also challenges here. There was a large crowd of people, both local and tourists, outside the shrine observing. I found it impossible to get my photo framed in any pleasing way without the dark heads in the immediat foreground. The best I could do was to let them go to black and hope they weren't too distracting to the overall photo. In the photo below, I use some blurring in post processing to try to tone down the busy, and conflicting colors in the background.

Ikuta Shrine - Kobe, Japan
Olympus EM10v - 150mm (300mm 35mm equivalent) f8
Copyright Andy Richards 2024 - All Rights Reserved

WE HAD so many things on the agenda for our trip to Central Europe in October of 2024 that very few churches were on the agenda. I think we only got briefly inside of one or two of them. 

St. Michael's Church - Munich, Germany
This church, sitting in the heart of Old Town, Munich, just off the famed Marienplatz, seems rather nondescript on its exterior, but step inside and you will see one of them most impressive church interiors in the world.
Copyright Andy Richards 2024 - All Rights Reserved

ONE THING I want to do before my next trip is make some "permanent" settings on my A7cr (and save them in one of the saved settings "banks") to make it interior-"ready." With the newest "carry" lens (20-40 f2.8), I should be able to make better use of the camera. I also just recently watched a few You-Tube videos on using Samsung's (pseudo) "raw" capability in their phones. I have downloaded and tried to use their "Expert Raw" app. For me, the interface has been unduly complex (or perhaps better said, unfamiliar), and each time I try it, I get bogged down in some setting, making it impossible for me to make the exposure I would like. MOre often than I like, I find myself switching back to just the standard camera in the phone. Most of the Samsung S21 images here were made with just the standard Samsung phone camera. Probably the biggest challenge with the phone cameras, though, is the tiny sensors. I find that an online - sort of "normal" size photo can look pretty good. I have never tried to make a print. But when I want to dive deep into the weeds in post processing, that is where I see the very small images breaking down. Another negative is that the native app produces 72dpi images. I render all my camera stuff at 300dpi. I have had decent success using Photoshop's AI-assisted uprezzing. In the end, I have been generally impressed with what I have been able to do with it.

Igreja da Graça Church - Evora, Portugal
Even with its small-sensor, 72dpi resolution, the Samsung S21 does a pretty good job of recording and preserving details like the worn woodwork of the sanctuary ceiling
Copyright Andy Richards 2024 - All Rights Reserved

THE IMAGES here are just a small sampling of the church interiors I have shot over the past few years. While exterior architecture is imposing and impressive, it is really worthwhile to step inside of many of these churches where both grandiose, and intimate details await your creativity. Churches, Shrines and other places of religious worship are probably the most significant building in the world and from the largest metropolis to the smallest "burg" nearly everywhere in the world, there is at least one (and often multiple) churches. They are also often the most remarkable and impressive examples of architecture. Given that, I will continue to encounter them in my travels. I will continue to be attracted to them, photographically. And I will most surely be shooting many more over the years, adding to my growing collection. Stay tuned.