FUJILOVE ALL THINGS FUJIFILM X AND GFX
Ignore The Fear Andrew Kirby
40 / July 2019
STEVE CASTING JO O'KEEFE OMRI SHOMER FIONA MADDEN RICO PFIRSTINGER MINDY TAN IBARIONEX PERELLO PAUL SANDERS
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FUJILOVE MAGAZINE ISSUE 40 COVER IMAGE Steve Casting EDITORIAL Tomash Editor-in-Chief Stephanie Baxter Managing Editor Dani Corbett Design CONTRIBUTORS Steve Casting Jo O’Keefe Omri Shomer Fiona Madden Andrew Kirby Rico Pfirstinger Mindy Tan Ibarionex Perello Paul Sanders
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Photo: Jo O’Keefe
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FUJILOVE | 3
ALL THINGS FUJIFILM X AND GFX
45 ISSUE 40 | JULY 2019
35 05
5 COSPLAY PRODUCTION TECHNIQUES
STEVE CASTING
12 THE X-T2 SHINES FOR FASHION PHOTOGRAPHY JO O’KEEFE
24 AN X-T1 IN 2019: HOW IT HELPED ME CAPTURE THE PROTEST OF THE ETHIOPIAN COMMUNITY OMRI SHOMER
35 FUJILOVE INTERVIEW: FIONA MADDEN
45 FUJILOVE COMMUNITY FROM THE FEED 48 FUJILOVE INTERVIEW:
78
48
ANDREW KIRBY
57 RICO’S QUICK TIPS 60 SURVIVING LONG TERM IN PHOTOGRAPHY MINDY TAN
69 THE TRUE CHALLENGE OF PORTRAITURE IBARIONEX PERELLO
78 A MINDFUL APPROACH TO LANDSCAPE PHOTOGRAPHY PAUL SANDERS
88 READERS’ GALLERY
Cosplay PRODUCTION TECHNIQUES Steve Casting
Steve Casting shares his pre-production techniques and unique behind-the-scenes captures for how he approaches his cosplay concept shoots using the Fujifilm GFX 50S and GF110mmF2.
FUJILOVE INSPIRATION | 5
O
SHUTTERSTOCK IMAGE PURCHASED FOR BACKGROUND
ver the last couple of years, I
depicted as strong, muscular characters
have engaged both privately
and
and commercially in cosplay
superheroes, there is always a glamorous
concept shoots, starting with a personal
look and feel to the storyboard. Harley
project beginning with Wonder Woman
Quinn was a slam dunk and there was
released: Birds of Prey in 2010 and the
and ending with my latest commissioned
only one model that could pull it off and
next instalment of Suicide Squad in
project, Harley Quinn, for the Godox
that was Nikki Du Plessis.
2021. Her styling is colourful in nature,
South Africa Photo & Video Experience ‘Splash of Colour’ campaign.
when
dealing
with
female
An important factor when selecting your character is to look for what is
which suited the campaigns ‘Splash of Colour’ and ‘My Super Hero’.
Conceptualisation plays a huge role
current and popular. This has always
when taking on these projects and your
helped me in the past. For example, we
VISUALIZING THE FINAL RENDER
pre-production needs to be on point
did Wonder Woman when the movie
My advice is that you must have a basic
with choosing your character, casting
was being launched, and the same with
idea of what your final image is going to
your talent and contracting the best
Captain Marvel. I generally time the
look like. Study up on reference images
creatives to assist in the production and
release of my images during the run up
via reputable stock libraries and you
post-production stages.
to the movie being released and this
will then gauge how to light your set. I
In this article, I will put my emphasis
helps to achieve added hype surrounding
am a huge fan of Shutterstock but be
on the creative and technical aspects of
your work, especially on social media
prepared to pay. However, this platform
my concept shoots.
platforms.
will not disappoint. I recommend that
We chose to use the Harley Quinn
MODEL CASTING
character
The heroines of Marvel and DC are
incorporating the character will be
as
two
further
FUJILOVE INSPIRATION | 6
movies
you go down the license route as very seldom will you find the best variety on free stock sites.
TIP: Know your storyboard prior to going online as this will save you plenty of time and frustrations. The idea is not to plagiarise but to rather get input from existing media campaigns based on the character you have chosen. The below image is a SOOC vs Final Render of my Wonder Woman Concept and you will see that I used CTO Gels to best
compliment
the
Digital
Manipulation that has fire sparks and flames around her.
SOOC VS FINAL RENDER COMPARISON
This image is a comparison of the the SOOC image and the final render of my Wonder Woman concept showcasing the retouching and digital manipulation. You will see that I used CTO Gels to best complement the digital manipulation that has fire sparks and flames around her. You will also notice that there were no props on set. This is because I couldn’t find the correct props for our shoot, so we decided to go the route of drawing them in, much to the dismay of my digital retouching team, as this was very challenging! GFX 50S + GF110mmF2 at f/14, 1/125 sec, ISO 100
FUJILOVE INSPIRATION | 7
BEHIND -THE - SCENES CAPTURE SHOWCASING THE LIGHTING SET- UP FOR CAPTAIN MARVEL
LIGHTING TIPS AND TECHNIQUES I had a different approach to the Captain
GFX 50S + GF110mmF2 at f/14, 1/125 sec, ISO 100
Marvel images, as all we need to do was make sure that the model was exposed correctly. I had a storyboard in mind that involved her being on another planet, possibly involving some fire. (Keep in mind that I still had all the stock images from Wonder Woman and therefore wanted to save on costs.)
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The lighting for the Captain Marvel
(straight out of camera) file that will
shoot was pretty standard, as you will
assist
the
post-processing
see in the setup image. You will see that
retouching, so lighting is key!
and
I placed the model on a box for her to be elevated so that I could possibly shoot
STRIP-BOX TIP: Strip-boxes are great
low to high, which would give a feeling
at shaping the muscular form of the
of her towering over the view. However,
model, which probably helps emphasise
these particular images didn’t work in
the Captain Marvel figure. You can
post-processing so we opted to use
soften this by means of feathering your
captures from eye level. Keep in mind
light, which is achieved by moving the
that you need to provide a SOOC
strip boxes away from your model.
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FINAL RENDER OF CAPTAIN MARVEL
GFX 50S + GF110mmF2 at f/14, 1/125 sec, ISO 100
BEHIND -THE - SCENES CAPTURE SHOWCASING GELS AND THEIR POSITIONS
My lighting setup for Harley Quinn was
very easy to achieve by matching hair
simple in nature but well-planned, as I
colour and unique styling!
GFX 50S + GF110mmF2 at f/14, 1/125 sec, ISO 100
wanted the red and blue colours to spill over her body and also highlight her
GEL TIP: Find the colour that best
hair. I decided to use CTR & CTB (red
represents the overall mood of the
and blue) gels that we placed at a 45ยบ
image but keep it simple if you can. For
angle behind Nikki so that it would
example, for the Harley Quinn shoot we
highlight her hair as well as spill over to
used blue and red to match the colours
her body. Notice how the gels assist as a
of the character. But because my Wonder
rim light that is complementary to the
Woman background had flames, I
respective colouring and styling of the
wanted to make sure that we had an
model. My brilliant makeup artist and
orange colour spill, so used an orange
stylist, Cindy-Lee Van Dyk, made this
gel.
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In terms of the main or key light,
more control over the back lighting that
Credits
exposure is critical here. Once again, you
I wanted to be spilling over the model’s
Post-processing and
must be able to visualise your final
front section.
image and have studied your storyboard.
TIPS FOR AMATEUR to assist post-processing in creating PHOTOGRAPHERS It is very important to use your lighting
visual drama. For example, is your
The challenge is not in the actual
storyboard dark and moody? Then
technical setup, as you can actually work
create shadows by turning your model
wonders in post-processing, but the real
in and out of the light.
challenge will come in how you prepare
You will notice in the behind-the-
yourself. Your pre-production prep work
scenes image of my Harley Quinn setup
is critical when it comes to casting
that I was using a Godox P120H Deep
talent and styling. Get these right and
Dish Parabolic. This semi-directional
all you need to do is get your exposure
light modifier is high in contrast and
right and you are away!
delivers a very sharp edge, giving me
FINAL RENDER OF HARLEY QUINN
GFX 50S + GF110mmF2 at f/14, 1/125 sec, ISO 100
STEVE CASTING www.stevecasting.com FUJILOVE INSPIRATION | 11
body painting: Kay Koni Van Niekerk Charl Bubb – Airvolution Graham McCowen Models: Nikki Du Plessis (Harley Quinn) Jacqui Steinmann (Captain Marvel) Candice Sills (Wonder Woman)
THE X-T2 SHINES FOR
Fashion
PHOTOGRAPHY Jo O’Keefe
The Fujifilm X-T2 has an impressive reputation across all genres of photography and Jo O’Keefe is loving its versatility in her commercial photography work, especially in the great outdoors shooting fashion.
FUJILOVE INSPIRATION | 12
L
et’s rewind back to the 80s, the
one of my favourite aspects is definitely
era of the ‘supermodel’, with the
the days I get to work with a model and
likes of Cindy Crawford, Elle
photograph fashion.
Macpherson
and
Picture
teenage
my
Naomi
Campbell.
bedroom
As with most styles of commercial
in
photography, your aim is to entice
suburban Melbourne. My walls are
people to buy the featured product;
covered in magazine cutouts of models
you’re mostly selling a lifestyle so you’re
and fashion photography. It’s an era
always aiming to create images that
where magazines ruled. I’d cut out my
will appeal to your target markets.
favourite photos of models and stick
There’s plenty of work with clients who
them all over my walls. The look I loved
want images of their clothes, shoes,
was light, outdoorsy, natural and simply
accessories and jewellery to sell their
beautiful.
products
via
magazines,
digital
Fast forward about a zillion years later
marketing, social media, catalogues,
and that teenager is trapped inside a
online shopping and advertising. The
middle-aged woman’s body, but still
photography
chasing those dreams and lucky enough
frequently as each season’s new arrivals
to be working freelance as a commercial
are prepared ahead of the next, meaning
photographer. My jobs are varied but
that there are strict deadlines to meet.
is
wanted
FUJILOVE INSPIRATION | 13
fast
and
X-T2 + XF100-400mmF4.5-5.6 at f/7.1, 1/1000 sec, ISO 400
X-T2 + XF100-400mmF4.5-5.6 at f/5, 1/210 sec, ISO 200
FUJILOVE INSPIRATION | 14
The fashion I photograph is mostly shot on location using natural light outdoors. These days I live in a small coastal town with a rich history in architecture and natural beauty that I can make use of in my photography daily.
THE PROCESS After initial contact, the client sends me the brief for our shoot (e.g. we are going for a Naples, Italy look) so I scout around my area for spots that have the aesthetic of the brief. It might be the patina of a door or building, a spot on the beach in the trees or near the rocks, some softflowing beach grasses on a sandy dune or making use of local architecture. I usually Google the particular area if I’ve never visited it (like in this instance of wanting a look of Naples in Italy) and I see what the area really looks like. Then I set about to chase the same vibe with what I have available to me locally. I strive to recreate the look and feel that the client is after as best I can. It’s not as hard as you might think. It just means looking around, and a bit of styling, planning or sometimes the odd prop, but it’s certainly achievable. That said, I think it’s important not to get carried away with props that distract from the model and the clothes you’re aiming to
X-T2 + XF100-400mmF4.5-5.6 at f/5.6, 1/800, ISO 200
sell. Sometimes I find something as simple as a garage door for a backdrop that captures the beautiful shadows and showcases the fashion.
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On the day of the shoot you will have
X-T2 + XF100-400mmF4.5-5.6 at f/5.6, 1/350 sec, ISO 350
your locations all sorted, you will meet up early if it’s an all-day shoot, and the company will have the outfits ready, sometimes bagged up and labelled in stories. The model will have their hair and makeup on and we can make a start. I’ll have a knowledge of what the light is doing in our locations so we go through using the spots as the light dictates. We keep moving, trying to get into a rhythm as it takes time with all the outfit changes and little adjustments to hair, etc. There’s no time for sitting around – it’s all go, go, go! I find you need to be really flexible, too, as there’s always last-minute changes, especially with outfits being changed around and clients making decisions on the hop. The vibe of the day sets us up and it’s nice to keep a flow going.
FUJILOVE INSPIRATION | 16
First up, I aim to make my model feel
find their groove faster. I love to capture
really comfortable and at ease right
some movement in my work, too, so I get
from the get -go. I tell them how good
them to run, play and laugh. It’s not so
they look, with the odd, “Wow! You’re
hard to make someone laugh, especially
looking so good!” or “That’s fantastic/
if you laugh along, too, and a laugh goes
perfect!” This goes a long way to
a long way to getting a customer to buy
boosting their mood and, as we go
a product because really everyone just
along, I show them a few great shots on
wants to feel happy in life. Laughing and
the back of the camera. It puts them at
having fun always makes a shoot go
ease quickly and they tend to relax and
faster and smoother.
FUJILOVE INSPIRATION | 17
X-T2 + XF100-400mmF4.5-5.6 at f/5, 1/125 sec, ISO 400
EQUIPMENT
X-T2 + XF100-400mmF4.5-5.6 at f/5, 1/280 sec, ISO 200
Camera When it comes to your equipment, it could be as elaborate as a dazzling array of big, fancy cameras, lights, reflectors, backdrops, tripods, etc. However, the size of the camera really isn’t as important as how good your images are. I use my X-T2 because it is perfect for fashion: it’s light, unobtrusive, fast, reliable, versatile and affordable. I find it fantastic to use for all my photography work right across different genres. I find a long day shooting can be a nightmare on my shoulders and arms from carrying a fullframe camera body around, especially chasing a model along a sandy beach or climbing up and down on platforms all day. I get great results with the much lighter mirrorless Fujifilm camera. I’m a big fan of the design of the X-T2. Whenever I pick it up, it looks and feels so much like my very first 35mm film camera.
FUJILOVE INSPIRATION | 18
Lenses I tend to use the XF100-400mmF4.5-5.6, the
XF23mmF2
and
the
XF18-
55mmF2.8-4 mostly. If I add another lens to my kit in the next few months it will be the XF50mmF2 and a macro for when I’m working on food shots. I find the XF23mmF2 great for when you find yourself in cramped spaces, as well as getting up close and achieving fabulous details. It’s also great for getting a street-style look into your work, enabling you to photograph just as the eye sees. The
XF100-400mmF4.5-5.6
is
amazing for giving the model space. It’s most certainly not conventional for fashion photography but it allows me to grab those special in-between shots – those moments when the models don’t realise what you’re up to and you are able to capture their most natural beauty, like a cheeky head toss or a laugh as they relax and chat in a break. It gives me the ability to get up close and personal but to keep such a distance, putting the model at absolute ease to the point where I think they sometimes forget about me, enabling me to capture a nice, natural, relaxed feel and style to my photography. I really love this lens. X-T2 + XF100-400mmF4.5-5.6 at f/5, 1/105 sec, ISO 800
“I FIND THE XF23MMF2 GREAT FOR WHEN YOU FIND YOURSELF IN CRAMPED SPACES, AS WELL AS GETTING UP CLOSE AND ACHIEVING FABULOUS DETAILS.”
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X-T2 + XF18-55mmF2.8-4 at f/5.6, 1/350 sec, ISO 200 FUJILOVE INSPIRATION | 20
Aesthetics and skill Your photography style is utmost – it’s what makes you ‘you’! It goes towards making you sought after. It’s most important that you have a great eye and a great sense of composition. Having natural artistic flair will be evident in your finished photographs. I have a fine arts background and I rely on that daily in obtaining the look I’m after in all of my work. Let the clothes be the hero in your shots – let them stand out and make the fashion you’re photographing always be the priority. Remember, you’re selling those products for your clients so try your hardest to showcase the products the best that you can. Let fabrics flow and move naturally. Get models to run, spin and walk towards you, showing off the fabrics and using the movement in your
composition.
Consider
some
negative space and, depending on what you’re shooting for, you might be required to consider some copy space for designers. Keep up-to-date with trends and colours, and know what styles are current.
X-T2 + XF100-400mmF4.5-5.6 at f/4.7, 1/200 sec, ISO 400
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X-T2 + XF100-400mmF4.5-5.6 at f/6.4, 1/700 sec, ISO 400
FUJILOVE INSPIRATION | 22
There’s lots to think about when shooting fashion but as long as you remember what it is you’re selling and make sure you draw all the attention to the products, you will be well on the way
towards
your
goal.
Great
communication skills are invaluable, too. You need a personality that keeps things running smoothly and to be able to communicate with models and clients in a firm but friendly manner, and to be able to have a laugh and make everyone feel relaxed and comfortable. Why do I love the fashion photography in amongst my varied work so much? It still all harks back to that teenage girl’s bedroom with the magazine cutouts and my big dreams, aiming to capture absolute beauty, forever chasing that moment when you know you nailed a great shot in the camera. That always gives me such a buzz and that pushes me to try to get another, and another and another. Every new photoshoot is an opportunity for me and my Fujifilm camera to try to do something new and better than the last shoot.
JO O’KEEFE www.instagram.com/missfarmerjojo FUJILOVE INSPIRATION | 23
AN X-T1 IN 2019: HOW IT HELPED ME CAPTURE THE PROTEST OF THE ETHIOPIAN COMMUNITY Omri Shomer
An X-T1 in 2019? And with the 18-55mm kit lens for journalism? Has someone lost their mind?! We naturally run to the next big thing and, more often than not, the great upgrade race gets us to buy the next new thing without much thought, which is a pity. The X-T1 is amazing, not just for domestic use, but also as a legitimate tool for physically and emotionally complex tasks, such as documenting the story of the Ethiopian community protests in Israel in 2019. How can this be? Omri Shomer was there to document the events and tell the story.
FUJILOVE INSPIRATION | 24
X-T1 + XF18-55mmF2.8-4 at 18mm, f/8, 1/160 sec, ISO 400 (with Youngno YN560 III Speedlight at 1/32)
THE STORY
the time when blood donations that had
police were extra cautious not to
This isn’t the first time that Israel’s
been made by the community were
respond with excessive force and to
Ethiopian
been
thrown away), led to demonstrations
allow the demonstration to take place.
protesting against police policies. This
and violent altercations between the
Both the young and the old called upon
time it ended relatively quietly, in
police and members of the community.
Israel’s minister of interior security,
community
has
contrast with past demonstrations. In
It happened again in 2019. Yehuda
Gil’ad Arden, to give answers, harshly
2015, a volcano had its first violent
Biadga, a young Ethiopian soldier, was
criticising him and also venting their
eruption when a video was posted
shot by a police officer when he was
anger towards Israeli law enforcement
online of a young Ethiopian who was
walking around with a knife on the
and Israel’s legal system altogether.
being subdued and brutally beaten by
street. The response came very swiftly,
They cried out with tears in their eyes as
two police officers. That, together with
with
Ethiopian
they demanded equality, asking for an
other controversies from the past
community flooding the streets of Tel
end to the racism and aggression
against the Ethiopian community (like
Aviv once again in protest. This time the
against them.
members
of
the
FUJILOVE INSPIRATION | 25
This demonstration ended up being
time the police acted with dignity,
the Azrieli Junction in Tel Aviv, which is
relatively quiet, aside from a few isolated
sensitivity and restraint in order to
very central and is located on a main
violent incidents by some of the
prevent further violence.
road at the entrance to the city. From
protestors
at
the
end
of
the
there, you can also take the Ayalon
demonstration, which included stones
THE SITUATION ON THE GROUND
Highway, which is a very central highway
being
of
I arrived late one afternoon, equipped
in the State of Israel. As part of the
property. For the time being, there’s no
with an X-T1, the XF18-55mmF2.8-4, the
demonstration, the community also
telling what will come of this volatile
XF23mmF2
and
a
spilled onto these roads and blocked
situation.
transmitter.
The
location
thrown
and
destruction
Again, it should be noted that this
flash
with of
a the
demonstration had been planned for
X-T1 + XF18-55mmF2.8-4 at 18mm, f/8, 1/160 sec, ISO 400 (with Youngno YN560 III Speedlight at 1/32)
FUJILOVE INSPIRATION | 26
them.
X-T1 + XF18-55mmF2.8-4 at 18mm, f/8, 1/160 sec, ISO 400 (with Youngno YN560 III Speedlight at 1/32)
the
on to the main roads, while some
demonstration would be much smaller
remained at the intersection and created
than I had thought, since only a handful
human
of people were holding signs on both
loudspeakers, dancing and singing. In
sides of the street when I arrived. Only
addition,
then did I realise that the official
constantly moving, the end point being
starting time of the demonstration had
Rabin Square, which is located opposite
been scheduled for 3pm later that day.
Tel Aviv City Hall. Despite how organised
In less than an hour, as I was walking
the demonstration was, the sheer
around talking to other photographers
number of people created the feeling of
from various media outlets I knew, I
enormous density. The human pressure
began to understand the magnitude of
prevented me from reaching where I
the event taking shape. Thousands of
wanted to be, and I understood that I
people joined the demonstration and
had to work and try to capture situations
the crowd increased from minute to
in the area where I was standing. This
minute.
ended up being a very small radius
At
first,
it
seemed
that
The demonstration had several focal points. Some of the demonstrators came FUJILOVE INSPIRATION | 27
circles, the
shouting
demonstration
over was
because my mobility was shrinking by the minute.
The demonstrators’ co-operation was high. Many photographers were walking around so there was no problem photographing almost every situation. On the contrary, the desire was that things be documented by the media in order to bring about change. So, I too, a representative
of
an
international
magazine, felt that I was part of a change or at least aspiring to be part of it.
X-T1 + XF18-55mmF2.8-4 at 18mm, f/8, 1/160 sec, ISO 400 (with Youngno YN560 III Speedlight at 1/32)
FUJILOVE INSPIRATION | 28
THE TECHNIQUE
starting relatively late and would
I am a street photographer and former
continue well into the evening. However,
press photographer. For many years I
unlike many press photographers I saw,
have wandered the streets looking for
I did not connect the flash to the
the perfect frame. The truth is that I
camera’s hot shoe, but instead connected
hope I never find it because then maybe
a transmitter and held the flash in my
I’ll stop taking pictures. In any case, with
hand. The inspiration for this, of course,
my experience as a street photographer, came from Bruce Gilden. Even during I went out to convey a news item. How
the daytime, a photograph with a flash
does it manifest and what is different?
can bring out the photographed object
Firstly, I worked with a flash because I
and bring drama into the frame.
knew that the demonstration was
FUJILOVE INSPIRATION | 29
X-T1 + XF18-55mmF2.8-4 at 18mm, f/8, 1/160 sec, ISO 400 (with Youngno YN560 III Speedlight at 1/32)
X-T1 + XF18-55mmF2.8-4 at 18mm, f/5.6, 1/250 sec, ISO 400 (with Youngno YN560 III Speedlight at 1/32)
Furthermore, I knew that the scenes
Without me needing to think about it
that would take place in front of me
and with quick retrieval, I could create
would occur relatively quickly despite
images with a sense of a depth of field
the crush of people, as well as the
and good focus for almost every
gestures,
facial
situation, detailed as it may be and in all
expressions, etc. So, I had to cleverly use
its layers. For street shooting, usually
the focus system to allow me to shoot
because the street is very noisy and
as quickly as possible. I also took a
things can occur very suddenly, this
technique
street
technique (assuming there is enough
photographers and used manual zone
light to execute it) can make it easier for
focusing (some may call it Hyperfocal
a photographer without needing to
Distance focus). What do I mean by this?
think too much about the camera, but
I worked with a set aperture, usually f/8,
can instead be preoccupied with the
and manual focus with a lens that I pre-
‘decisive moment’, as coined by the
focused to about 0.5/1m away to infinity.
legendary street photographer Henri
This meant that everything that fell
Cartier-Bresson.
hand
movements,
popular
among
within that distance would be in focus.
FUJILOVE INSPIRATION | 30
THE EQUIPMENT The X-T1 is not the fastest camera there is – this is true. But with Fujifilm firmware updates, it is less noticeable. Incidentally, the updates have surprised me because once they happened, I asked myself, “What company would continue to send updates to a five-year-old camera?” There is no doubt that this small detail gives many users around the world a sense of belonging, where even if they decided not to or could not upgrade the equipment, the parent company also thinks of them. This is a strong statement for me at a time when
X-T1 + XF18-55mmF2.8-4 at 18mm, f/8, 1/125 sec, ISO 1600 (with Youngno YN560 III Speedlight at 1/64)
many companies are rushing to produce new equipment and push users onwards
FUJILOVE INSPIRATION | 31
was the XF18-55mmF2.8-4. Some might
even funnier is that, for me, it is not a
Unlike DSLRs, the X-T1 camera is not
call it a ‘kit lens’, which I believe is a
zoom lens per se because I shoot with it
threatening because of its reasonable
definition that does not do it credit,
as if it were a prime lens. I usually stay
size. (It should be noted that it is
since such a lens is usually used when
at a focal length of 18 mm and physically
identical in size to the X-T2 and X-T3.)
buying it from other companies that are
move towards my subject. The focal
So, it helped me by being allowed to
not Fujifilm and are used as a kit lens
length is excellent for me for street
work in more sensitive environments, as
for non-professional cameras. These kit
photography
in this demonstration, to continue to
lenses from other companies are, how
journalism. The results are, in my
have pleasant conversation with the
shall I put, not the sharpest knife in the
opinion, better than those you would
demonstrators and to photograph them,
drawer and are usually made from
get from the XF18mmF2 prime lens. The
sometimes at the same time.
cheap materials. Most begin with an
only disadvantage I have found it is that
The construction quality of the X-T1 is
aperture of f/3.5-5.6, while Fujifilm’s
it is not waterproof. The speed of the
excellent. More than once it was beaten
equivalent of a kit lens starts at f/2.8-4.
lens, however, is acceptable.
and smashed slightly because of the
But that is not all. The sharpness of this
In addition, working with a flash
great crush of the crowd and yet it is
lens and the quality of construction still
helped me capture faster situations,
still doing the job tremendously. The
surprise me and I sometimes prefer to
even at low shutter speeds, in order to
same can be said of the lens.
work with it rather than a more
create drama or a motion effect.
and upwards.
The lens I used throughout the event
and
documentary
professional-looking prime lens. What is
X-T1 + XF18-55mmF2.8-4 at 18mm, f/8, 1/160 sec, ISO 400 (with Youngno YN560 III Speedlight at 1/32)
FUJILOVE INSPIRATION | 32
IN CONCLUSION The X-T1 is still an amazing camera in 2019, even as a professional camera. The robustness of its construction enables it to work in a tight environment and under difficult physical conditions, and
its
dimensions
are
relatively
reasonable. Of course, you can find smaller cameras like the X-E3 or the X-T30 but, from past experience with the X-T10, I do not recommend working
X-T1 + XF18-55mmF2.8-4 at 18mm, f/8, 1/160 sec, ISO 400 (with Youngno YN560 III Speedlight at 1/32)
with them in such a challenging environment because they are more
FUJILOVE INSPIRATION | 33
X-T1 + XF18-55mmF2.8-4 at 18mm, f/8, 1/40 sec, ISO 400 (with Youngno YN560 III Speedlight at 1/64)
but on the other it is not very big and
delicate. The X-T1’s focus system has been upgraded, but there is still room for
not so threatening compared to the zoom lenses of DSLR cameras.
attractive, given the quality it brings. The bottom line is this: yes, I still recommend it, especially to those who
improvement. However, with the right
It is important to note that the camera
just want to start off in the world of
work, it is possible to do the job properly.
is also suitable for those who are not
Fujifilm and do not want to or cannot
The image quality of the camera is
professional.
are
commit financially to an expensive
simply wonderful and I sometimes
wonderful and, with the help of its
system. For those who already have it, I
prefer it over Fujifilm’s more advanced
external physical switches and dials, the
would keep it alongside more advanced
cameras. The so-called ‘kit lens’ is one of
control of ISO, shutter speed and
cameras because I believe that one day
the best I have seen for those who also
exposure compensation is user-friendly
many people will come back to it, just
like to shoot with both zoom and prime
for someone who is just beginning their
like there is a return to iconic film
lenses. On the one hand, it is made of
way in the world of photography. The
cameras and their financial value is only
tough materials and can withstand
relatively cheap cost of this camera on
rising.
situations that are not simple physically,
the second-hand market makes it very
Its
ergonomics
OMRI SHOMER www.instagram.com/omri_shomer FUJILOVE INSPIRATION | 34
Fiona Madden FUJILOVE INTERVIEW
In the first of this month’s interviews, Stephanie Baxter is chatting to Fiona Madden, an award-winning adventure photographer and videographer from Dublin, Ireland. She is a Fujifilm X-Photographer for Ireland, a GoPro Family Member and an f-stop Brand Ambassador.
FUJILOVE INTERVIEW | 35
X-T2 + Rokinon 12mm at f/5.6, 10 sec, ISO 200
Fiona, welcome to FujiLove! For those
jobs before committing full time to
my clients include outdoor adventure
readers who might not know you, can
photography. I love to mountain bike,
companies, watersports centres, and
you tell us a little bit about who you are
kayak, SUP, skateboard, wakeboard, ski,
food and beverage companies, as well
and what you do?
climb and surf! I am lucky enough to be
as gyms and yoga centres. In addition,
I am a photographer and videographer
able to include these sports in my line
I also shoot weddings, communions,
based in Dublin, Ireland. I am quite active,
of work; getting right into the action
family gatherings and events. I also love
and live for the outdoors and adventure
is exactly where I need to be. Creating
photographing cars, motorbikes and
sports. I qualified as a personal trainer
social media content for businesses is a
anything with an engine! I’ve ended up
when I finished school and had various
huge part of my job. My role is varied, and
being quite varied in my line of work!
FUJILOVE INTERVIEW | 36
X-T2 + XF55-200mmF3.5-4.8 at f/6.4, 1/500 sec, ISO 250
FUJILOVE INTERVIEW | 37
How did the opportunity to become an
chatting. I am delighted to say I am an
orientated
X-Photographer come about and how do
X-Photographer for Ireland as there
entirely matter to me as, at the end
you see that role, in light of the fact that
is nothing easier than promoting the
of the day, it’s all about the quality of
you are the only female X-Photographer
excellent equipment that they make!
media you can produce rather than the
for Ireland?
It doesn’t really come into my thinking
male and female results. Adventure
I picked up a Fujifilm X-T10 a good
about the only female X-Photographer
photography is something that requires
few years back and was astonished at
– it’s more an honor to be among some
a bit of resilience, patience and belief in
what you could do with it, handing me
very talented other photographers.
knowing you can get the shot you are
scene.
But
it
doesn’t
looking for. It helps to be outdoor-savvy,
photos that were clearer, sharper and more colourful that any other DSLR
Continuing on a similar theme, what
dressed appropriately, prepared and fit!
I had owned. It didn’t take me long
is it like being a woman who shoots
My fitness plays a big role in my job,
to go on the Fujifilm scene. I was in
adventure photography, a genre that I
especially for outdoor adventure shoots
touch with Fujifilm after tagging them
imagine is fairly male-saturated?
as you need to really get involved to get
in some photos and we eventually got
It certainly can be quite a male-
the results you need!
X-T2 + XF55-200mmF3.5-4.8 at f/3.5, 1/125 sec, ISO 250
FUJILOVE INTERVIEW | 38
X-T2 + Rokinon 12mm at f/8, 1/30 sec, ISO 400
FUJILOVE INTERVIEW | 39
X-T2 + XF35mmF2 at f/2, 1/500 sec, ISO 200
What has been your favourite place to
so much larger in every possible way
shoot in and why?
compared to Ireland, and the flora and
California is most certainly so high up
wildlife is so incredibly endless. It is a
on my list of beautiful places to shoot.
real change from Ireland and there is
It is so varied and vast. I spend most of
always so much to take in!
my time there trying to find the places most people don’t! California has so
What are your top picks for Fujifilm gear
many different types of climates in one
for travelling with?
place. You can be in the mountains in
I currently have an X-T2 and X-T3. Lens-
snow with an hour or two, at the beach
wise I would take my super wide XF10-
surfing or even walking through the
24mmF4, my XF55-200mmF3.5-4.8 and
most dense redwood forest, all in one
the very trusty XF18-55mmF2.8-4 (what
day. Everything is huge. The scenery is
an all-rounder!).
FUJILOVE INTERVIEW | 41
X-T2 + XF18-55mmF2.8-4 at f/4, 1/25 sec, ISO 100
X-T2 + XF55-200mmF3.5-4.8 at f/8, 1/80 sec, ISO 100
FUJILOVE INTERVIEW | 42
X-T2 + Rokinon 12mm at f/4, 1/500 sec, ISO 100 FUJILOVE INSPIRATION | 43
What advice would you give to people
not, I’ve been surprised there is beauty
who perhaps aren’t able to travel far but
everywhere if you look hard enough.
want to make the most of shooting close
Walk the path that you normally drive or
to where they live? How do you find
cycle the forest that you drive past every
inspiration and locations for shooting
day. Slow down, listen, take out your
locally?
headphones, and try and capture what
Just spend a bit of time where you
you can see, hear and feel yourself!
normally wouldn’t. More often than
X-T2 + XF18-55mmF2.8-4 at f/9, 1/500 sec, ISO 200
X-T2 + XF18-55mmF2.8-4 at f/9, 1/500 sec, ISO 200
FIONA MADDEN www.fionamaddenphotography.com FUJILOVE INTERVIEW | 44
FUJILOVE COMMUNITY
FROM THE FEED Welcome to a new feature for FujiLove Magazine! Each month, we’re taking you behind the lens of some of the most popular photographs shared on our Instagram feed, taken by members of the FujiLove community using #myfujilove.
X-E1 + XF35mmF1.4 at f/16, 8 sec, ISO 200 Jonathan Eng @fujiguy5
I made this image when I was in the San Luis Obispo, CA area for work. Whenever I travel for work, I bring my camera with me and in this case it was my Fujifilm X-E1 with the XF35mmF1.4 lens, which is my lens of choice 90% of the time. I had some free time in the evening so I went to Pismo Beach to explore the pier. When I parked my car, it was right across the street from this restaurant. I am a sucker for neon and painted signs so I knew I wanted an image of this place. I waited until the sun had set so I could really capture the light from the sign. I had a little table-top tripod with me as I knew I wanted a long exposure. I shot in aperture priority at f/16, with an ISO of 200 as I wanted to make the exposure as long as possible without an ND filter and also to get a sunstar effect from the streetlights. This is an eightsecond exposure, which was perfect as it allowed enough time for a car to pass by, creating the streaks, as well as allowing for some movement in the details of the restaurant’s patrons. I have since bought an X-T30 and I am appreciating the autofocus, but I am still amazed at the X-E1 and what it is capable of. FUJILOVE | 45
X-T3 + XF16mmF1.4 at f/3.2, 1/1000 sec, ISO 200 Simon Shim @simonshim_
I captured this image at the Oculus in New York using my X-T3 with XF16mmF1.4 lens. I was visiting NYC with my girlfriend and her mother. We decided to check out the Oculus since it was one of the recommended places to check out when visiting NYC. I started taking shots around the normal spots in the Oculus, which one can find quickly by seeing where all of the other tourists congregate. While taking some touristy shots, I noticed that the sunlight was shining from the top and it was lighting up the entire space. It reminded me of a spotlight on a stage. Since it was around midday, the sunlight was coming directly from the top. I didn’t think that taking the image from the centre of the Oculus would have quite the same effect as taking the image from slightly to the side. I took off to the side of the Oculus, below the main platforms, and made sure that my settings were correct. There were just one or two others there, and so I knew I had found the perfect spot. I waited for the perfect subject to walk through the frame and when a man in a business suit, hat and suitcase walked through, I knew I had found the one. I got very lucky with this shot as it didn’t take that long for someone like that to come through my frame. Maybe that is the magic of shooting in New York City – there are plenty of people walking around and plenty of great opportunities to capture! FUJILOVE | 46
X-T3 + XF18-55mmF12.8-4 at 55mm, f/4, 1/450 sec, ISO 160 Jantarach Anantachai @mizukittypawz
This is one of the pictures that takes me back to a recent trip to Japan. Strolling along the moat that surrounds the Imperial Palace in Tokyo, I came across this flowering quince tree. It was a little before peak cherry blossom season so I was delighted to find anything in full bloom. The late morning sun was bright but not too harsh. The air was clear and crisp with several bees buzzing around. I was really impressed with how a modern metropolis like Tokyo can manage to stay in touch with nature and wanted to capture that atmosphere. My go-to walk-around travel combo is the X-T3 with the XF18-55mmF2.8-4 lens, which allows me to quickly get my landscape, portrait and close-up shots without annoying my travel companions too badly. I zoomed to 55mm to focus on a cluster of blooms, which I felt was the mostly aesthetically pleasing. The aperture was set to f/4, which was enough to get some background separation without losing context. I’m very pleased with the results and love how the delicate pastel peach and white tones of the blooms are rendered against the dark branches. I hope my image properly reflects the beauty of Japan.
X100F at f/4, 1/200 sec, ISO 100 Jean Jacques ChĂŠneau @jay311274
I photographed this image in Chateauroux, France with my X100F during a military demonstration. I like to photograph spontaneously, just finding the right angle for an image. For this image, it was taken in the afternoon outdoors. I find this picture timeless and simple. FUJILOVE | 47
Andrew Kirby FUJILOVE INTERVIEW
In the second of this month’s interviews, Stephanie Baxter is chatting to Andrew Kirby, a street photographer based in London, whose inspiration is drawn from living and working in the photographer’s sweet shop that is London, with its unlimited supply of people and moments to capture.
FUJILOVE INTERVIEW | 48
Andy, welcome to FujiLove! For those readers who might not know you, can you tell us a little bit about who you are and what you do? I’m
a
London-based
photographer
who spends most of my time on the streets of London, either shooting street photography for pleasure or street-based photography for brands who require something a little different. I started my professional career in Graphic Design but since I was very young, I’ve been fascinated by photography. I began it all with a Canon T70 back in the analogue days of film and darkrooms, then moved into digital photography as the cameras became more widely available. Initially, I was drawn to architecture photography and would spend my free time walking the streets of London, always looking up for interesting and often-missed photo opportunities. I was intrigued by the possibilities that only looking up could offer. It was during this time I got the street photography bug. The possibility of capturing the everyday events that play out on the streets of London was too tempting to ignore. With an unlimited number of subjects, street photography is an incredibly exciting genre and no two minutes are ever the same. I was also keen to get out of my comfort zone
X-T2 + XF35mmF1.4 at f/1.4, 1/350 sec, ISO 400
and be involved in something that gets the heart pumping a little faster. The fear of street photography and the challenge it presents can provide a tremendous sense of achievement if you conquer it.
FUJILOVE INTERVIEW | 49
X-T2 + XF35mmF1.4 at f/1.4, 1/160 sec, ISO 200 FUJILOVE INTERVIEW | 50
What’s your process for shooting street
time. Naturally, I have some favourite
photography? For example, do you pre-
locations that I tend to visit regularly.
plan your location and what sort of
I find knowing an area well can help
images you’d like to try and get, or is it
increase the chance of capturing
more of an organic, exploratory process
something interesting, as you begin to
that evolves once you’re out on the
get a feel for the locations. The most
streets?
exciting challenge of street photography
I don’t have a process. I tend to wander
is to see the details that most people
the streets and see what happens. You
would miss. Places with strong light,
can walk the same streets each day and
shadows and reflections are often worth
the possibilities will be different each
exploring.
X-T20 + XF35mmF1.4 at f/1.4, 1/160 sec, ISO 1250
FUJILOVE INTERVIEW | 51
As a native to the UK myself, I feel like
between a snapshot and a good photo.
we live in a country that is fairly grey a
I also use colour when I’m feeling
lot of the time, particularly in London.
uninspired. I tend to set myself mini
Despite this, I have been so intrigued
projects, such as only capturing scenes
by the amount of colour in your street
with a particular colour in them. I find
photography. Is colour something that
doing this can help focus the eye on
you proactively look for when trying to
interesting details that are often missed.
find a good image?
Mini projects with a focussed theme
Yes, colour is something I’m always
can completely change the way you
looking to utilise. Often, I’ll try to
approach street photography and often
capture colours that complement each
re-ignite your passion if you’re feeling a
other, as this can often be the difference
little uninspired.
FUJILOVE INTERVIEW | 52
X-T2 + XF35mmF1.4 at f/1.4, 1/250 sec, ISO 320
X-T2 + XF35mmF1.4 at f/1.4, 1/1000 sec, ISO 400 FUJILOVE INTERVIEW | 53
Something else that I’ve noticed about
use a prime lens, usually a 35mm. I find
space and causing any discomfort.
your street photography is how you’re
this makes me work that little bit harder.
Often people don’t notice you. Hiding
often getting in close to a subject, either
When using a prime lens, the approach
in plain sight is easier than you may
physically yourself or by way of a longer
to composition is far more disciplined.
think. I often come away from shooting
lens. How has this come about in your
Use your legs to zoom and get close. If
disappointed with the feeling that I am
photography and what effect do you
my heart isn’t beating a little faster than
not getting close enough. It’s a constant
think it has on your body of work?
usual, I know I’m not close enough.
work in progress to push yourself past
The biggest challenge for any street
There are lots of ways a street
your comfort zone. The effect I hope
photographer is feeling self-conscious
photographer can get close to their
this has on my work is continuous
and being afraid to shoot. I only ever
subject
improvement.
without
invading
personal
X-T2 + XF35mmF1.4 at f/1.4, 1/2400 sec, ISO 400
FUJILOVE INTERVIEW | 54
What Fujifilm gear is in your camera bag for street shooting? I shoot with an X-T2
and the
XF35mmF1.4, and an X-T20 with the XF27mmF2.8
pancake. I
love
the
XF35mmF1.4 – it’s fast and has a great focal length for street photography. The X-T20 with the 27mm pancake is perfect as it fits in a coat pocket and is very inconspicuous. I’ve captured shots in some very tight spaces with this combination. One of the many benefits of Fujifilm cameras is their physical dials. These enable quick and easy adjustments to be made, often without looking at the camera, in order to capture one of those fleeting moments that a street photographer cannot miss. Fujifilm cameras are very intuitive and remind me of the days when cameras had far fewer bells and whistles.
X-T2 + XF35mmF1.4 at f/1.4, 1/160 sec, ISO 800
FUJILOVE INTERVIEW | 55
X-T2 + XF35mmF1.4 at f/2.8, 1/250 sec, ISO 250
What tips or advice would you give for
to see a shot and not take it because
like to capture before you get there,
people wanting to improve their street
of the fear. Once you start ignoring it,
which will allow you to assess the
photography skills, particularly in terms
you’ll soon find yourself getting into
situation better and prepare yourself.
of ‘beating the fear’?
some great positions, which will result
Get close, take the photo and move on. I
Ignore the fear. It’s nonsense and will
in better photos. You’ll also realise you
tend to avoid eye contact and continue
only hinder your ability to take photos on
were worrying about nothing. It’s better
on my way. Don’t act nervous. Keep your
the street. Generally, nobody cares what
to take the shot than not.
movement smooth and relaxed.
you’re doing. It’s incredibly frustrating
Try and spot a potential scene you’d
ANDREW KIRBY www.instagram.com/mrkirby.photography FUJILOVE INTERVIEW | 56
RICO’S QUICK TIPS
Each month, Rico Pfirstinger brings us his quick tips to answer your most-asked questions related to Fujifilm gear.
QUICK TIP
1
WORKING WITH DUAL CARD SLOTS
Some X cameras, such as the X-Pro2, X-T2, X-T3, X-H1 and all GFX models, offer two SD card slots numbered “1” and “2”. This means that you can use two SD cards at the same time. Here’s what you should know: • The primary SD card slot of your dualslot camera is always slot 1. If you are working with a single SD card, always put it in this slot. • Firmware upgrades are only supported in slot 1. • In the X-Pro2, only slot 1 supports UHS-II. The secondary slot only supports UHS-I. • In the X-T2, X-T3, X-H1 and GFX, both slots support UHS-II, making them both suitable for very fast memory cards like the Sony SF-G series (see my Quick Tips of January and March 2019). However, it is my experience that the second UHS-II card slot works a little bit slower than the primary slot. Using two memory cards at the same time gives you three different options to configure how image data is
Dual-slot cameras like the X-T2 can work with two SD memory cards at the same time. For maximum performance, you should use fast UHS-II cards.
transferred to your SD cards. Select SET
manually selected card slot. You can
• BACKUP: In this mode, the camera is
UP > SAVE DATA SET-UP > CARD SLOT
change the slot for sequential image
sending all image data (RAWs and
SETTING (STILL IMAGE) and pick one of
recording in the SET UP > SAVE DATA JPEGs) to both slots at the same time,
the following options:
SET-UP menu. When the card in the
creating a backup copy that can be
• SEQUENTIAL: In this recommended
active
camera
useful when one of the cards gets lost
default mode, the camera saves all
automatically switches to the card in
or suffers data loss. In this mode, the
image data (RAWs and JPEGs) to a
the other slot.
overall data transfer rate is limited by
slot
is
full,
FUJILOVE | 57
the
RICO’S QUICK TIPS the slower of the two cards (and slots) that are in use. This can become a performance issue in situations that require a large number of images being taken with high burst rates while shooting FINE+RAW, so make sure that the cards in both slots are equally fast. • RAW/JPEG: This setting splits the image data up by saving RAW files to slot 1 and JPEGs to slot 2. This setting is only useful when you are shooting FINE+RAW or NORMAL+RAW. If you shoot RAW-only or JPEG-only, RAW/ JPEG mode turns into BACKUP mode, saving your RAW or JPEG data to both cards at the same time. QUICK TIP
2
DUAL SLOT QUIRKS The
RAW/JPEG
data
save
mode from the previous tip is the
In cameras with dual card slots, SET UP > SAVE DATA SET-UP > CARD SLOT SETTING (STILL IMAGE) lets you choose between one of three data save modes: SEQUENTIAL, BACKUP and RAW/JPEG. I recommend SEQUENTIAL as your default setting. It’s faster than BACKUP and it makes checking the critical focus of your images easier than RAW/JPEG. Why? You will find the answer in the second Quick Tip of this issue.
fastest setting for users who shot RAW and JPEG at the same time. I recommend
approximately 5fps. Just make sure that
• Splitting up RAW and JPEG image
it in situations that require the highest
you set lossless RAW compression.
data to slots 1 and 2 only works when
possible continuous burst performance.
• For “normal” RAW+JPEG shooting, I
you are taking new pictures, not when
With fast UHS-II cards, your X-T2, X-H1
recommend
mode,
you are using the camera’s built-in RAW
or X-T3 can achieve almost limitless
because the RAW/JPEG data setting
converter to create JPEGs from existing
RAW/JPEG
also has its quirks.
RAW files on card 1. JPEGs generated
burst
shooting
at
SEQUENTIAL
Fig. 3: In RAW / JPEG data save mode, RAW files are stored on the card in slot 1, and JPEG files are saved on the card in slot 2. However additional JPEGs from the built-in RAW converter (image 1) are still saved in slot 1 (image 2). FUJILOVE | 58
RICO’S QUICK TIPS
The camera and menu screenshots in my books and articles are created by streaming the live view’s HDMI output to my MacBook Pro, where I use Elgato Cam Link with Game Capture HD software to capture screenshots. You can also use this hard- and software to create 60fps HD video recordings of your camera’s live view.
camera’s Micro-HDMI jack to a suitable
from RAWs on card 1 are also saved on
holding the playback button until
card 1 (the RAW card) instead of card 2
the camera confirms the switch. Sadly, monitor with a digital input (HDMI, DVI,
(the JPEG card). The result is a mix of
the camera will revert image playback
etc.). Real-time streaming will start
JPEGs that are spread between slot 2
back to card 1 after you take another
automatically once the connection is
(original JPEGs that were created when
picture, so you have to go through the
established.
you pressed the shutter button) and
motions of switching slots in playback
This is a useful feature for workshops,
slot 1 (additional JPEGs from the built-
mode each time after you take a fresh
product demonstrations or professional
in RAW converter).
shot.
productions, where customers can
• In playback mode, the camera will only display the small-sized JPEG dummy images that are embedded in
QUICK TIP
3
STREAMING THE LIVE VIEW VIA HDMI
watch
on
a
monitor
what
the
photographer is seeing in the live view. You can also use the HDMI live view
the RAW files on card 1 instead of
The X-T2 and all other X cameras that
output to connect the camera to an HD
displaying the full-resolution JPEGs on
were released after summer 2016 offer
frame-grabber, which
card 2. To access the full-resolution
HDMI live-streaming, meaning that the
connected to your computer. With this
JPEGs (for example, in order to zoom in
contents of the live view (EVF or LCD)
setup, you can make video recordings
and check the critical focus of an
can be transmitted to a monitor, TV or
and screenshots of the live view
image), you have to manually switch
beamer via the camera’s HDMI output.
contents.
slots in playback mode by pressing and
All you have to do is connect the
www.fuji-x-secrets.net
FUJILOVE | 59
is, in
turn,
MINDY TAN HARD WORK, LUCK AND THE PROFESSIONAL PHOTOGRAPHER
GIRLS RULE, SEOUL, KOREA
X-H1 + XF23mmF1.4 at f/2.8, 1/60 sec, ISO 5000
Surviving LONG TERM
IN PHOTOGRAPHY
I began my journey as a newspaper photographer and swapped the keyboard for the camera ten years ago. Today, my work evolves around commercial and editorial images but I make a point to concurrently keep up with personal projects. My photography is the result of the layers and experiences of my life, and a series of conscious decisions that keeps evolving.
FUJILOVE SERIES | 60
MINDY TAN HARD WORK, LUCK AND THE PROFESSIONAL PHOTOGRAPHER
S
teve Jobs, in his famous speech
blooded me, life was a muddle, in
to
retrospect.
graduating
university
students in 2005, said: “You
Years later, I listened again to Jobs’
can’t connect the dots looking forwards,
speech and finally understood the full
you can only connect them looking
spectrum
backwards.”
photography’s darkest moments, that
of
what
he
meant. In
I was at the beginning of my
means keeping still but going on to
photographic journey, trying to plan a
work like a bull anyway, without knowing
career as a photographer (assuming
what for, where to or why. Millenials will
such things can even be organised) a
say, “Keep calm and carry on.” The hard
career with no workplace promotions,
work and sacrifice will one day shine
no year-end bonuses, no textbooks or
some light. It is like the darkroom
mentors who could provide a fool-proof
process, prolonged into years.
formula. For the deeply-rooted Asian-
TEOCHEW STREET OPERA, AS PERFORMED BY BANGKOK’S ETHNIC CHINESE
X-T2 + XF23mmF1.4 at f/5, 1/60 sec, ISO 2000
FUJILOVE SERIES | 61
MINDY TAN HARD WORK, LUCK AND THE PROFESSIONAL PHOTOGRAPHER
I began my journey as a newspaper
FATHER AND SON TEAM AT HEAP SENG LEONG COFFEESHOP
journalist and, as a result of a need for
Heap Seng Leong has remained the same all these years so the new generation can witness a slice of old Singapore. Tucked under an HDB block in an old neighbourhood, the 1950s kopitiam is unchanged, and the menu is still the original butter coffee “kopi gu you” brewed from a charcoal stove, crisp fluffy kaya toast and soft boiled eggs. I feel a pinch in my heart witnessing how they have given their lives to this coffee shop. GFX 50S + GF63mmF2.8 at f/4.5, 1/50 sec, ISO 5000
expression, turned to documentary photography. I was as a journalist for four years, and have been a photographer for ten years and counting. Those initial years laid the foundation for my visual craft for the next decade. At that time, I connected the dots, but not as deeply as I recently do now, hitting the ninth- and tenthyear marks.
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MINDY TAN HARD WORK, LUCK AND THE PROFESSIONAL PHOTOGRAPHER
ROAD CROSSING IN BEIJING
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MINDY TAN HARD WORK, LUCK AND THE PROFESSIONAL PHOTOGRAPHER
In the newspapers, I covered crimes
zero allowed me to witness how people
and accidents to celebrities and parties. behaved
or
dealt
with
news
Mainly, I focused on foreign labour,
photographers, and how the latter
which meant dealing with migrant
would or should react. Being on the
workers in construction during the day,
other side of the fence as a photographer
then showing up sweaty and foul at
years later, I become quickly aware of
posh media events in the evenings. The
situations that may arise and react
fun part was getting to experience all
quickly. If you’ve only got a session to
levels of society in one day and learning
produce results, anything you say and
how to interact with people’s egos to
how you respond can immediately affect
get
relationships that will either help or
that
story,
no
matter
their
hinder the shoot. People relationships
background. I worked with photographers on assignments
and
that
reporter-
are one of the most important things a photographer can have.
photographer interaction on ground
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NEIGHBOURS IN A BEIJING HUTONG COMMUNITY
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MINDY TAN HARD WORK, LUCK AND THE PROFESSIONAL PHOTOGRAPHER
My stint and those late nights waiting for the pages to be designed, sitting beside the sub-editors, graphic designers and editors was an invaluable way for me to understand publication – why some photographs or stories make the pages, while others get filed away. Conforming to the newspaper’s housestyle of writing, I learnt to keep my words simple, factual and concise. I learnt to formulate stories that would sell to the newspaper’s demographic. On the flip-side, I also saw how newsmakers, or you can sometimes say ‘victims’, wanted their stories to be published from their perspectives. And that is often different from how the story is finally published so expectations need to be managed.
BANGKOK’S TEOCHEW STREET OPERA
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MINDY TAN HARD WORK, LUCK AND THE PROFESSIONAL PHOTOGRAPHER
The same story told from another
surrounded by people in a working
perspective, with the facts still intact, environment
COMMUTER TRAIN IN HIROSHIMA
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to
witness
people
can come across as a shock for many
dynamics so they can cope with
people.
themselves better.
I hadn’t realised how these people-
Because being a photographer can be
management skills, exercising quick wit,
very lonely journey and dealing with
and the training the ability of seeing all
agency clients means it is easy to fall
sides of the story by understanding local
target to the brunt of a client’s wrath. It
and international laws and rules would
is important to know how to grin and
contribute to the way I choose to take
bear it in such situations. Keep your chin
photographs later on.
up in order to spring back quickly and to
In hindsight, I was actually practising
go the distance. In other words, a
how not to fail with mentors right by me
photographer needs to be resilient,
and on a payroll. How lucky to be
inside and out.
schooled and employed. Whether it is working for a newspaper or in any sort of industry, I always
Journalists want to inform. Scientists want to educate. If content can be spiced up with
recommend young photographers eager
entertainment,
to start shooting after graduation to
memorable. Because
gain experience in a company or to be
nothing when they are asleep.
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then
it
will
people
be learn
MINDY TAN HARD WORK, LUCK AND THE PROFESSIONAL PHOTOGRAPHER
This idea that content should educate,
layers and organs of the body.
ROAD IN HOKKAIDO
first
Books have had such a profound effect
popularised in 1922 by BBC’s first
on my childhood. I even won a school
general manager, John Reith, and is still
award for having read the highest
very much relevant today. It was a
number of books (about 200 hardbacks)
mantra in the newspaper I worked for,
that year.
inform
and
entertain
was
which I adopted into my photography practice. I must have been an information geek since I was a child. My father invested in a set of World Book encyclopaedias for
This probably explains my camera framing today and why I believe documentary stories matter to the world. Reading and writing honed my
three of his children. Being the eldest,
aesthetics
towards
the encyclopaedias were placed in my
driven. I compose a frame to give
room and every day I would flip through
information
and
the books. Book H, the segment about
information
over
the human body, was my favourite. It
compromise cannot be made. Stories
was printed on transparent paper and
need to be told. Information needs to be
you could peek through the different
recorded. That is my conviction.
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being I
content-
would aesthetics
choose if
a
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MINDY TAN HARD WORK, LUCK AND THE PROFESSIONAL PHOTOGRAPHER
I have never formally trained to be a photographer. Being
free
of
that
Over the years, I developed my convictions, I invented my rules.
education has allowed me to photograph
Interrupted by beautiful light and
based on gut feeling and sometimes
shadows, reflections and other visual
conscience, not rules.
impulses, it took me a decade to truly
In the current climate, where religious and
cultural
sensitivities
have
heightened, words are scrutinised, even if fake.
understand that the root of my photographic inclinations were actually never aesthetic. I just want to tell a good story.
The photograph, both moving and still
The joy of packing in emotion,
imagery, can substitute words which
information and, at best, humour, into a
cannot be spoken. It also allows the
photograph is my best language. It is
viewer their own interpretation.
about communicating the subtle. It is
You don’t need to tell. You show. You pick the moment to highlight your
about sharing specks of humanity in a way that people can understand.
opinion.
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PEAK HOUR RUSH, TOKYO
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THE TRUE CHALLENGE OF
Portraiture I am fascinated by how difficult it is to make a great portrait. While it’s easy to document what someone looks like, it’s something else to create a photograph that evokes a sincere reaction in the viewer. It’s especially difficult when we live in a visual world that prefers the lie over the truth.
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W
e have been bombarded
undesirable. Through the magic of
by photographs of people
software and lighting, those very things
that
so
are reduced, reshaped and erased. Even
retouched that they rob people of their
with nothing more than a smartphone, a
humanity
a
person can manufacture a version of
fantasy.
themselves that reflects less of who
Physical qualities that don’t meet this
they are and more of how they would
ideal are considered flawed, ugly and
like to be seen.
in
commercially
have
order
been
to
manufactured
serve
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The result is a world where both the
that we see on a daily basis have been
photographer and the subject are
heavily manipulated. This creates an
focused more on flaws and imperfections.
unrealistic standard that even the most
The slight double chin, wrinkles and
celebrated among us find it difficult to
waistline take on a level of importance
meet, much less sustain.
that corrupts how we perceive not only others, but ourselves.
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This can reach levels of absurdity, as was reflected in a report issued by the
I have faced such perceptions all too
American Academy of Facial Plastic and
often with a subject who loses sight of
Reconstructive Surgeons. In 2017, they
what their image conveys about them.
reported that 55% of facial plastic
They fixate on a small flaw that they are
surgeons reported seeing patients who
convinced defines how they are seen
wanted surgeries to help them look
and may be accepted. It’s something
better in selfies. This was an increase of
that is so easy to do when the images
13% from the previous year.
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This appears to be spurred by the
paintings were rooted in reality, they
photographing
were enhanced to communicate purity,
oneself with the equivalent of a wide-
power and prosperity. What was once
angle lens common to all smartphones.
achieved with paints and brushes is now
The resulting perspective makes facial
pursued with a DSLR, a mirrorless
elements (e.g. the nose) to appear larger
camera or a smartphone at the end of a
and more pronounced. Explaining that
selfie-stick.
facial
distortion
of
this is a photographic problem does
It’s only human nature to want to be
little to dissuade many people to avoid
seen at one’s best. However, taken to the
an expensive and unnecessary medical
extremes, it can also rob us of an
procedure.
opportunity to create photographs that celebrate the very qualities that make
EMBRACING AN HONEST BEAUTY
us distinct and unique.
Even before the advent of photography,
Evaluating the photographs of Richard
the idealised rendering of one’s self was
Avedon, Mary Ellen Mark, Gordon Parks,
an industry. Painters were commissioned
Platon, Dan Winters, Roy DeCarava and
by the rich and powerful to create
Diane Arbus, I am amazed by how their
portraits on canvas. Though these
portraits hold my attention, even after
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repeated viewings. These subjects have
subtle changes of expression, body
impact not because they meet some
language, and emotion that is as
measure of perfection. Instead, it is how
expressive as it is fleeting. Their energy
a combination of unique features and
and concentration are concerned with
characteristics
building rapport with the subject while
reveal
them
as
completely human.
looking for that genuine revealing
What these photographers were able
moment.
to do exceptionally well was to see a person as more than an animated prop.
A PERSONAL CHALLENGE
They
photographed
My appreciation of those challenges is
people in ways that honoured their
never more evident to me than when I
presence and their existence. Though all
am making my own portraits. Even when
of these photographers worked as
I am confident in the tools in my hand, I
commercial photographers, they each
must work even harder to remain
retained an approach that was honest
present with my subject. I have to resist
to who they were both as human beings
the temptation to rush through things
and as artists.
and second-guess myself. I have to trust
observed
and
Some of my favourite contemporary
a process that I’ve developed for years if
portrait photographers are men and
I have any hope of creating a portrait,
women (Platon, Rineke Dijkstra and
rather than a snapshot.
Mark Seliger) who are able to create beautiful,
powerful
honest
have images that both my subject and I
photographs of their subjects, even
am pleased with, I have to be honest
when
photographing
and admit that my judgment of those
commercially. They are photographers
images is sometimes rooted more in the
whose commercial work is completely
qualities that I believe make it good
in sync with their personal work. In all
photography (sharpness, lighting and
that they do, they are committed to a
composition). It not always based on a
personal
and
sincere assessment of my ability to
photographing people. They use modern
convey something about this person
digital technology to produce their
beyond the way they look.
they
are
vision
of
and
It’s easier said than done. Though I
seeing
images, but you can see that their
I consider that a wonderful challenge,
photographs are not solely defined by
but
the camera, lighting and software that
opportunities
they choose to use.
disappointments and giddy successes.
one
that
introduces for
many
frustrating
They are familiar and confident
It’s the pursuit of making something
enough with their tools to be able to
exceptional, leveraging all that I am and
have hyperfocus on their subject. As
know that encourages me to strive all
they photograph, they are observing the
the harder.
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It is one of the reasons why I prefer to work simply using a single focal length
myself that can elicit something magical and striking.
and available light. The less that I have
It is this practice that can free me of
to think about technology, the more
the burden of the imagery that has been
attention I can give to how I relate and
impressed on me all of my life and to
engage with my subject while framing
strive to do something more. It may not
them in my viewfinder. It allows me to
be easy, but it’s the challenge that makes
focus my energies on moving through
for rich and satisfying moments, both in
my fears and insecurities, and create a
front and behind the camera.
moment between the subject and
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PAUL SANDERS THE LANDSCAPE WITHIN US
TREES
A
Mindful Approach
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TO PHOTOGRAPHY
Contemplative or mindful photography is not a new concept but in a world driven by the validation of social media likes and competitions, it is an approach that is overlooked in the noisy clamour of the modern world. Paul Sanders looks at how to change your approach to your own photography and discover the stillness inside you.
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PAUL SANDERS THE LANDSCAPE WITHIN US
O
e thing I find really amusing
competition wins or being well-known
is the term ‘still photography’ as a photographer. I am just grateful I because on the whole we are
not still when we take pictures. Yes, our
have found something I love to do every day: creating images that please me.
images are, but we race around trying to
Photography, for me is a calm, almost
catch the light, while deciding on which
meditative state – a space where I can
of our many lenses to use, and whether
be and experience everything around
this particular image will get any social
me. I don’t judge how good or bad
media traction or win us a prestigious
something is; if something catches my
prize.
eye, then I give it more attention.
These days we barely catch our breath before wanting another location, better light or better/newer equipment.
Photography is not technical, it is emotional, quiet and still. Let’s
examine
what
I have no interest in social media likes, approach to photography is.
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a
mindful
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PAUL SANDERS THE LANDSCAPE WITHIN US
UIG SANDS
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According to Jon Kabat-Zinn, author of Mindfulness for Beginners, “mindfulness
filter!” I could go on but the point is that we all do it – be honest now!
means paying attention in a particular
Photography is experiential but in
way: on purpose, in the present moment,
order to experience things, you have to
and non-judgmentally.” You can see
be open to them, welcoming them as
from this that it fits very well with
they approach and being awake to the
photography on some level. We pay
subtleties they offer.
attention on purpose but are we truly in
It is my belief that the landscape gives
the present moment and are we ever
us experiences, beautiful light through
non-judgemental about what we shoot?
trees, birds singing, the warmth of the
More often than not, we are looking
sun as it breaks over the clouds, cold
for our next image, wondering what our
rain against our skin and the salt taste
friends have seen that we have missed
at the coast. These experiences are
or, as we press the button, we are
essential to the moment – they form
thinking, “That’s rubbish – the light is
your perception of the moment.
wrong! I should have used a stronger
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PAUL SANDERS THE LANDSCAPE WITHIN US
The creation of a pleasing photograph
which might be saying, “Over here! Look
is not the work of a single person, but
for me!” A smell might draw me towards
the combined input of the photographer
a different path or sunlight might
and the subject. If we recognise this, we
suddenly spotlight an area, inviting me
can learn to appreciate what is around
to look more closely. I fully embrace this
us and enjoy it.
time alone with the world, accepting
I don’t take pictures or shoot images
what it reveals to me.
– I am given them, sometimes rewarded
When you allow yourself to be fully
with them. I don’t go out with the
present, you notice things, and you
expectation of taking a picture, as that
become aware of the subtle changes
sounds like I am stealing something.
and little details. These things all have
When I go out with my camera, it is a
possibilities to be photographed.
time of awareness. I am fully present in
“How do I become present?” I hear you
the moment, quietly walking, stopping
ask. “How do I unlock this experiential
and listening to the sounds around me,
moment?”
PARIS
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PAUL SANDERS THE LANDSCAPE WITHIN US There’s no secret to it. I approach it in
The key to this is that the whole
a very simple way: I accept what is and
process is just me being open to what is
what is not, I demand nothing of myself
around me, not going in with a fixed,
or the location and I leave my ego at
pre-determined idea and then judging
home. I approach the area quietly, often
myself and the world at large if I don’t
sitting, watching and listening for ages,
see it.
allowing things to come into my vision
Each of us has a very unique way of
or hearing, and then drift away again.
seeing the world but, in a bid to be seen,
Gradually I see pattern, lines, texture,
we often conform to rules and fashions
light and shade all revealing themselves
because we are frightened of being the
to me in a way that starts to invite me to
only person to like the image we’ve just
examine them more closely.
created. FUJILOVE SERIES | 82
WESTERROSS
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PAUL SANDERS THE LANDSCAPE WITHIN US
Don’t get me wrong, it is always
photographer, I slavishly copied the
wonderful when other people like your
work of Joe Cornish – locations, cameras
work but essentially you have to like it
and even the Paramo jacket! It took me
first. It should reflect how you felt about
only a short while to realise that I was a
what you saw and experienced for a
terrible photographer; my confidence
precise moment.
took a nose dive and I nearly gave up all
When I started out as a landscape
together!
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TOLSTA
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PAUL SANDERS THE LANDSCAPE WITHIN US
PENSHURST
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PAUL SANDERS THE LANDSCAPE WITHIN US
In reality, it wasn’t that I was a terrible
of who you are and where you are
photographer, I just wasn’t being true to
emotionally, you stop labelling things
my own creativity.
and you start to see something of
In accepting that I see and how I
yourself in the landscape around you.
experience the world in my own way, it
You don’t need to travel thousands of
suddenly seemed that my images
miles to find great places in which to be
started to reflect what I felt about
contemplative
myself and the world around me. It was
somewhere you take completely for
like waking up after a long sleep.
granted – start near home! Just go for a
either.
Start
with
Ansel Adams said, “A great photograph
walk without your camera. Don’t set out
is a full expression of what one feels
to reach a destination. Just walk and
about what is being photographed in
look around you, and I mean really look
the deepest sense and is, thereby, a true
– don’t be distracted by your phone or
expression of what one feels about life
listen to music, but just enjoy the walk.
in its entirety.”
Don’t get into the mindset of thinking
By becoming present, connected and
that there’s nothing there, but be open
almost a part of the landscape, you see
and start to appreciate the area you live
things that resonate with you because
in.
ALDEBURGH
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PAUL SANDERS THE LANDSCAPE WITHIN US The more time you spend being aware,
pictures aren’t good enough, the first
the more you will become aware of and
thing we do is start looking for a new
the more you will start to appreciate the
camera. A new camera won’t make you a
unique
better photographer. We all know this,
beauty
around
you. Then
suddenly you’ll find yourself wanting to photograph things that have caught
really, but we hope it will! In the same way that I urge you to spend time in the landscape, I’d say do
your attention. You’ll notice that, so far, I haven’t
the same with your equipment. Feel the
and
weight of it and the texture, and be
technology are the biggest barrier to an
familiar with its smell. Close your eyes
open state of mind. Often, we have too
and explore the buttons, dials and the
much choice in terms of lenses and we
surfaces. Enjoy the experience – your
are insecure because we don’t fully
camera is always good enough, as are
understand our menu systems. If our
you.
mentioned
equipment.
Kit
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PAUL SANDERS THE LANDSCAPE WITHIN US
If you allow yourself to see with your own unique creative eye, to accept what is happening in front of you, around you and to you, the judgement slowly stops. Press on with your vision, even if your inner critic is saying, “No-one will like it.”
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THE RIDE
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Joerg Metzner X-T2 + XF23mm f/2
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Ron Perry X-T3 + XF55-200mm f/3.5-4.8
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