FUJILOVE ALL THINGS FUJIFILM X AND GFX
Anastasia Woolmington
Making Poetic Portraits with the Fujifilm GFX
57 / December 2020
TILLMAN CRANE OVIDIO GONZALEZ SOLER SCOTT CARNEY BARBARA ASBOTH RICO PFIRSTINGER KEVIN MULLINS SPENCER WYNN
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FUJILOVE MAGAZINE ISSUE 57 COVER IMAGE Anastasia Woolmington EDITORIAL Tomash Editor-in-Chief Stephanie Baxter Managing Editor Dani Corbett Design
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CONTRIBUTORS Anastasia Woolmington Tillman Crane Ovidio Gonzalez Soler Scott Carney Barbara Asboth Rico Pfirstinger Kevin Mullins Spencer Wynn
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ALL THINGS FUJIFILM X AND GFX
ISSUE 57 | DECEMBER 2020
77
69
5 MAKING POETIC PORTRAITS WITH THE FUJIFILM GFX
ANASTASIA WOOLMINGTON
17 HOW THE GFX 50S HAS CHANGED MY PLATINUM PRINTING PROCESS TILLMAN CRANE
54
30 ‘LA POPULAR’: A STREET PHOTOGRAPHY PROJECT OVIDIO GONZALEZ SOLER
05
41 FUJILOVE INTERVIEW: SCOTT CARNEY
50 FROM THE FEED FUJILOVE COMMUNITY
54 FUJILOVE INTERVIEW: BARBARA ASBOTH
65 RICO’S QUICK TIPS 69 BEING CANDID: PART 6 KEVIN MULLINS
17
77 WHAT IT IS TO BE ESSENTIAL? SPENCER WYNN
MAKING
Poetic
PORTRAITS WITH THE FUJIFILM GFX
Anastasia Woolmington
For centuries, the art of portraiture captivated the greatest masters. Pose, facial expression, choice of light and colour palette, composition, environment – every aspect of a portrait has been intentional and thought through, all with the purpose to tell a story about the subject through the artist’s eye, to let us imagine not only their literal likeness, but also understand their inner essence, their mood and feelings.
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GFX 100 + GF45mmF2 at f/4, 1/125 sec, ISO 1250
GFX 100 + GF110mmF2 at f/3.2, 1/400 sec, ISO 160
A
ristotle once said: “The aim of
THE ARTIST BEHIND THE LENS
art is to present not the
Similar
outward appearance of things,
photographs should be first created in
but their inner significance.” And even
the artist’s imagination. The problem
today, after painting has evolved into
with digital point-and-shoot cameras is
photography, portraits that transcend
that they make things too easy. They are
time are the ones that take us on a
extremely accessible; there is an auto
nostalgic journey to our own hearts and
mode and autofocus, that create the
memories.
illusion that photographer doesn’t need
The digital era brought instant, sharp, flawless images that, in my eyes, only
to
painted
portraiture,
to give any input, other than to press a button.
depict the obvious, often lacking when
As a result, we see social media
it comes to conveying the inner beauty
flooded with images that lack soul,
of a moment. So, how do we make our
substance, imagination, character and
images more poetic?
story. They are images that are often over-processed, that use filters to hide the absence of creativity, that are unnaturally saturated and that show altered colours.
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GFX 100 + GF110mmF2 at f/2.8, 1/1000 sec, ISO 160
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LIGHT AND COLOUR To learn about portraiture, I often turn to great portrait masters of past centuries. The general lighting in the portrait would create a mood of how we perceive the subject and what their character might be. Certain lighting techniques, like chiaroscuro, would have a different visual impact on the viewer, helping to create a story. Similar to the amount and direction of light, a choice of certain colours can be also used to bring attention to a subject. Certain colours in the image can ignite specific feelings and memories in the viewer. For example, warm candlelight or soft pastel colours of a sunrise would set the mood for a romance. GFX 100 + GF45mmF2 at f/2.8, 1/100 sec, ISO 2000
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GFX 100 + GF110mmF2 at f/2, 1/125 sec, ISO 1600
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VISUAL SEMIOTICS
McCurry. This close-up portrait creates a
Semiotics is a complex and powerful
feeling of intimacy, and direct eye
tool that can be used to engage with
contact puts her on a horizontal level
the viewer and tell a story, resulting in
with the viewer and establishes a strong
powerful
lines,
connection. Her lack of smile and
composition, body language, image
modality of her clothes imply the
structure
hidden
realistic nature of the photograph. The
messages, captivating details – all are
green background and red garment
important to get the viewer’s attention
contrast with each other, but also bring
and tell us more about the subject.
attention to her green eyes. The soft
portraits. and
Leading
direction,
For example, consider the famous portrait of the Afghan girl by Steve
curve of the fabric leads the viewer’s eye to travel in a circle.
GFX 100 + GF110mmF2 at f/2, 1/500 sec, ISO 200
GFX 100 + GF110mmF2 at f/3.2, 1/600 sec, ISO 100
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GFX 100 + GF45mmF2.8 at f/2.8, 1/1800 sec, ISO 400
CHOICE OF CAMERA AND LENS
modern times couples expect us to
portraits,
I have personally found that portraits
provide a preview of their wedding the
autofocus at my disposal. Shooting
taken with a film camera often produce
next day. Not to mention fashion shoots,
somewhere between f/2 and f/4 is the
a more profound emotional response in
where the client wants to see immediate
‘sweet spot’ to achieve the signature
the viewer. One of the reasons for this is
results on the screen.
aesthetic of my work.
while
having
brilliant
the nostalgia that we feel when looking
A few years ago, I started working with
One of the main characteristics of film
at old analogue photographs. Another
the Fujifilm GFX 50S and now with
is that it mostly uses available natural
reason is the visual aesthetic of film:
Fujifilm GFX 100 – these cameras have
light to create an atmosphere. When I
soft
tones,
all the advantages of modern technology
photograph reception spaces lit with
painterly light, depth of field and
combined with a medium format sensor,
candle light, I use exactly the same
background separation characteristic to
giving me a powerful tool to produce
shooting technique as I would with film.
medium format, romantic grain and true
images that are similar to film in
The GFX has a brilliant dynamic range
to life colours.
aesthetic but with the flexibility in post-
that would allow me to take images full
processing of superb RAW files.
of character without the need for
As
images, beautiful
a
wedding
skin
photographer,
I
understand that the reality of my work
I love the GF lenses. One of my
introducing artificial light, that can
often doesn’t make film a wise choice. It
absolute favourites for portraiture is the
sometimes make images look somewhat
has its limitations and costs, and in
GF110mmF2.
fake.
It
creates
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flattering
GFX 100 GF110mmF2 at f/2, 1/40 sec, ISO 250
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GFX 100 + GF110mmF2 at f/2, 1/640 sec, ISO 800
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GETTING IT RIGHT IN THE CAMERA AND POST-PROCESSING
Lightroom, I adjust a few sliders to
line to an S shape will create deeper
achieve a ‘film look’. First of all, clarity
shadows and brighter highlights, always
Anyone who ever shot a classic medium
gives away the ‘digital look’. Depending
keeping in mind that even a slight curve
format film stock, like Fujifilm 400h,
on the image, I start by reducing clarity
adjustment can have a very dramatic
would know that film likes to be
to between -7 and -10 to soften the
result.
overexposed by one stop, and a light
portrait.
meter would be set up to read light at
Digital
Lastly, I add some grain to the photo, to
adjusting amount, size and roughness to
iso 200. This limitation would mean use
accurately capture colour. Green is often
achieve the look of different film stock.
of lower aperture and shutter speed.
neon and very saturated, so I make sure
Aesthetically, it enhances skin tones and
to adjust that in my HSL sliders, reducing
IN CONCLUSION
adds a painterly look to portraits.
saturation and shifting the hue to a
There are so many techniques and
Adopting a similar shooting technique
more pleasing tone. Overall, I make sure
creative ways to take a fine portrait, but
can help while shooting digital. Only
that all colours are subtle, natural and
only connection with the subject can
bear in mind that digital cameras don’t
not overpowering the main focus of my
help capture and convey their true
like overexposing. In fact, it is better to
portrait.
essence. This way a portrait not only
underexpose your highlights by at least one stop to preserve more details.
cameras
don’t
tend
The next thing I do is adjust the tone curve to resemble the dynamic range of
Once I import my images into
becomes a beautiful memory, but visual poetry.
film. Changing the curve from a straight
ANASTASIA WOOLMINGTON www.serenityphotography.com FUJILOVE INSPIRATION | 16
DIGITAL NEGATIVE
HOW THE GFX 50S HAS CHANGED MY
Platinum
PRINTING PROCESS Tillman Crane FUJILOVE INSPIRATION | 17
APOLOGY TO ANDRE
GFX 50S + GF120mmF4 at f/11, ¼ sec, ISO 100
P
hotographers have two primary
As a photographer, my tool for
using the same aesthetic I learned with
components to their practice:
recording my relationship to the world
my view cameras. Most of the time I work
process
Our
is a camera. For years, an essential part
on a tripod and use the rear screen like
process is not only how we work but
of my process was working with large
the ground glass on a view camera. My
reflective of why we work. The product,
format view cameras and film. This
images are captured as RAW files,
a print in some form, emerges from this
equipment forced me to slow down – to
uploaded to my computer and edited in
process. The viewer responds to how the
take my time before snapping the
Lightroom and Photoshop. On average I
image makes them feel, which is based
shutter. I learned that slowing my
keep 10% of what I shoot for my first edit.
on their life experience and not their
process gave me a better chance at a
As with my film negatives, less than 1% of
knowledge of our process.Understanding
negative I could use. In the end, less
the images I capture ever make it to the
the process may add interest but doesn’t
than 1% of the negatives I developed
first test print stage.
usually influence their response to the
made the cut to the proof print stage.
work.
and
product.
Today I work with the GFX or X-T2 FUJILOVE INSPIRATION | 18
The platinum print has been my choice of print expression since the 1990s. The matte surface of the print and long tonal range of blacks and browns gives a lustrous glow to the print. The colors are controlled by the proportion of platinum to palladium, choice and temperature of the chemistry as well as the color of the paper. Mixing the emulsion just prior to use, brushing it on the paper and making each print, one at a time, adds to my enjoyment and appreciation for the outcome.
COATING
PREPARING FOR EXPOSURE
As a contact printing process, the size
into my workflow. At first, I used a digital
of a platinum print is controlled by the
scanner simply to scan negatives for
size of the negative. When I began
book reproduction and to put images on
making platinum prints, I used a two-
my website. Eventually I learned to scan
step positive and negative process
negatives to make enlarged digital
involving a graphic arts film to make my
negatives for my platinum prints. The
enlarged negatives. Those materials
gaps
became less available and the digital
inconsistencies in my workflow made
revolution took over and gradually crept
this a frustrating process.
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in
my
knowledge
and
I’ve spent the past three years learning
print, which means I have a narrow but
my camera and the language, process
deep familiarity with how I use a small
and workflow of the digital darkroom.
bandwidth of Photoshop and Lightroom
Though I have been a photographer for
capabilities. That said, I am now able to
over 40 years, this education involved a
consistently make beautiful platinum
steep learning curve. I’ve kept my focus
prints at 26x36”.
on creating the image for a platinum
THE LAST BOW
GFX 50S + GF120mmF4 at f/20, 1 sec, ISO 100
Working with the Fujifilm GFX 50S has been a game changer. Though I use it as I did my view cameras, I can capture more images when shooting and I have much cleaner files to work with than my scanned film files gave me. Using the Digital Zone System, I make sure I have information throughout the image from extreme shadows to intense highlights. I have greater control over the depth of field by using focus stacking. I have a wide
variety
of
digital
darkroom
programs with which I can work on the image. Modifying the image is cleaner and faster than anything I could do in the wet darkroom. I take more significant compositional risks and do not worry about how expensive each exposure is. FIGURINE
GFX 50S + GF120mmF4 at f/9, 1 sec, ISO 100 FUJILOVE INSPIRATION | 22
To create the curves for my printer, I
digital negative needs to have a density
flatten it and invert the file. Now the
apply starter curves to a digital step
reading about 1.90 above transparent
image looks like the negatives I am
wedge and print the results. I read these
film, i.e. 2.00. A negative created with
used to seeing. I send the file to my
with a densitometer and replot the new
this curve will need no contrast agent in
printer either through Photoshop or
curve of densities. My goal is to create a
the platinum emulsion to make the
through the Epson Print File application.
curve that has 21 steps that flow
print.
The darkroom part has remained
smoothly from total black to pure white
When I am ready to make the negative,
much the same for 30 years. As a contact
(= paper color). The transparent film has
I take the image back into Photoshop. I
print process, the size of the negative
a film base fog reading of about 0.10.
converted it to black and white in an
controls the size of the platinum print. I
This will print pure black. The black to
earlier step utilising all of the available
am making large 26x35” images on
white range of the platinum/palladium
color information. In Photoshop I assign
30x40” paper. My ‘negative’ image is
emulsion is about 1.90. If the clear part
the profile, set the image size, and apply
26x35”. While the negative dries I set up
of the digital negative is going to print
the curve for the printer. This curve is
the darkroom to print.
pure black, then the densest part of the
applied to the positive image, then I
PREPARING THE NEGATIVE
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DRYING
Lacking pre-coated paper, platinum
negative is placed emulsion side to the
prints are made with a hand-mixed and
coated side of the paper in a vacuum
hand-coated sensitizer. The sensitizers
frame. The light source is ultraviolet
are mixtures of platinum and palladium
light and I use a 30x40” exposure unit
salts. These salts can be used either
built by Jon Edwards Engineering. As
separately or combined. The sensitizer
with the silver printing process the time
for each print is mixed just before use,
of exposure depends on the density and
coated on the paper with a brush or
contrast of the negative.
glass rod and dried with a hairdryer. The
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LATENT IMAGE
A visible latent image can be seen on the paper after it is removed from the exposure unit, but a developer is required to form the image completely. The
three
developers
most are
commonly
potassium
used
oxalate,
sodium citrate and ammonium citrate. After time in the developer the remaining
salts
are
removed
by
immersing the print in a weak acid solution and then into a wash with the chelating agent, EDTA. A water wash completes the wet darkroom process ensuring an archival print.
FUJILOVE INSPIRATION | 25
IN THE DEVELOPER
The colour of the print is determined by three factors: colour of the paper base, sensitizer composition and the developer. The paper base determines the colour for pure white in the image. The sensitizer composition determines the warmth or coolness of the browns and blacks in the image. I choose a palladium emulsion with a small amount of platinum, making the color of my prints warmer than traditional platinum/palladium prints. The choice of developer and the temperature at which it is used affects both contrast and colour of the image. In general, increasing the temperature of the developer will warm the colour (more brown than black) and decrease the contrast of the print. No two prints are exactly alike because these sensitizers are mixed drop by drop and coated by hand. They are, essentially, monotype prints from the same negative. Some practitioners of historic processes leave brush strokes visible either in the image itself or on the edges of the print. My goal is to make my print statement as smooth as possible with white borders. Occasional QUARANTINE BLUES
brush strokes will be visible, and they
GFX 50S + GF120mmF4 at f/9, 0.6 sec, ISO 100
should be seen as the marks of the artist.
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Have I saved time or money moving to the GFX 50S? Not really, if you add up the costs of the camera, lenses, and supplies,
upgrading
the
computer,
monitors, printers, cost of classes and unpaid hours practicing what I’m learning. Am I taking chances and making new work? Yes. Am I able to make really good bigger prints? Yes. Am I excited to be out photographing again? Yes, yes and YES! The GFX came into my life at just the right time and though I thought I would always define myself as a large format photographer I am willing to let that label fall away as I continue to embrace this great digital experience.
EASTER TREE
GFX 50S + GF32-64mmF4 at f/16, 1.5 sec, ISO 100
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In the end it doesn’t matter where,
is the moment when the heart and mind
when or how I made the photograph
of the viewer opens to something
you are looking at. My print is not meant
greater than the print in front of them.
to be a literal description of something.
When curiosity is piqued and a story
It does have to meet my interpretation
forms out of the questions that come,
of good composition and aesthetic print
only then will I have done my job as an
values. The print looks the way it does
artist.
because of my process but a boring image with a beautiful process is still a
Image credit for all images of Tillman’s process: Richard Barnett.
boring image. In the end what matters
TILLMAN CRANE www.tillmancrane.com FUJILOVE INSPIRATION | 29
CRANIUM
GFX 50S + GF120mmF4 at f/8, ¼ sec, ISO 100
‘LA POPULAR’: A
Street
PHOTOGRAPHY PROJECT
Ovidio Gonzalez Soler
The seventh street of Bogota is the most important place in the Colombian capital, not only because it is the commercial and cultural epicentre of the city, but also because the most important historical events of the country have been developed in that place. For three years, I walked this street accompanied by the Fujifilm X100F, reflecting on life in this place and on how this place is the reflection of Colombian popular culture, of which I myself am a part.
FUJILOVE INSPIRATION | 30
‘La Popular’ is the most popular street in Bogota, in which the screams of the murder victims in 1948 (El Bogotazo) still haunt, and in which many more murders only generate nausea in Colombians who still do not lose their memory. X100F at f/5.6, 1/800 sec, ISO 200
ABOUT THE PROJECT
a street full of displacement, social
The city, seen as an organic being,
struggle and tragic stories such as the
maintains a constant throb in motion.
strong events of the ‘Bogotazo’ in 1948,
This rhythmic movement is typical of
in which it was practically totally
life in society, its codes of movement
destroyed, plays an important role in
and
understanding
communication, its
forms
of
exchange, its nuances and behaviours. In this context, Bogotá’s Carrera Septima,
FUJILOVE INSPIRATION | 31
life
Colombian culture.
itself
and
the
The characters that inhabit, travel and work there live as if stuck in time. It is a place that is out of place, where everyday life takes on an artistic sense, a place that smells bad but one that I enjoy travelling through, an unsafe place but a place where everyone goes shopping. It is a third-world Times Square that speaks of Colombian popular culture, of which I myself am a part.
Vendors here, vendors there, to sell to the lady, the gentleman. What shoe are you looking for? X100F at f/2, 1/2000 sec, ISO 200
FUJILOVE INSPIRATION | 32
La Popular seems like a magical place, and its characters seem as if they are out of a story, but it is the living reality of Colombian society, of the exotic and very peculiar popular culture of ‘Bogotana’. X100F at f/9, 1/500 sec, ISO 200
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The Virgin Maria, heroine of this country and this city, as strong as Wonder Woman and present in the faith of the average Colombian, a super heroine of the Colombian popular culture present on Popular Seventh Street. X100F at f/4, 1/100 sec, ISO 500
The project ‘La Popular’, is approached
magical revelation that only its own
from everyday life in the streets of the
infrastructure could provide, a decisive
seventh race of the city and is a portrait
moment that seems to create imaginary
of Bogota life. It is a walk through a
moments charged with much reality.
series of moments that surely have been
The camera, as a dark box, collects these
very close to each one, but that are
moments to translate them into a single
framed
portrait: a journey through a never-seen
by
a
special
atmosphere
generated by a single moment of light, a
FUJILOVE INSPIRATION | 34
seventh race in Bogotá.
“Hello? I can’t hear it. Hello? I can’t hear it.” The noise of hungry vendors makes it impossible to speak on the phone; my character ignores the fact that he is old and his ears do not work at all well. X100F at f/2, 1/1600 sec, ISO 200
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A cowboy trapped in time, or one more unemployed from this city looking to find some money? X100F at f/2, 1/2000 sec, ISO 200
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ABOUT THE TECHNIQUE This project was born three years ago for a specific and very intuitive reason: to get out of my comfort zone. My photographic projects revolve around specific
documentary
themes,
are
approached from everyday life and point directly towards intimacy – I seek to reach the depths of my characters in order to get to the bottom of the stories.
The hustle and bustle of the day, stress, a cigarette or two, better yet: three, long faces, despair…I see this as I walk the streets, the anguish over insecurity takes hold of me, and I get lost among the people and their dark feelings. X100F at f/6.4, 1/4000 sec, ISO 500
FUJILOVE INSPIRATION | 37
The doctor who wakes up early in his office and the salaried policeman who catches thieves on Popular Seventh Street merge between the crowd of walkers and the noise of endless conversations and screams of hungry vendors. X100F at f/2, 1/125 sec, ISO 800
FUJILOVE INSPIRATION | 38
Office workers, ministers, camouflaged among equally elegant elders but with hunger in their bodies. X100F at f/8, 1/800 sec, ISO 200
street of the Columbian capital.
The seventh street of Bogota was a
X100F. I felt so comfortable and safe
place that I travelled through daily, so I
with the small size of this camera and
None of this would have taken shape
began to take pictures with my phone, the great quality of the sensor. I did not
without discipline and persistence. Of
venturing into the world of street
need more than the 23mm lens of
course, a discreet camera helps in unsafe
photography. I was still not sure what
X100F to shape the story. That is how I
places and makes you go unnoticed.
story I wanted to tell or what direction
fell in love with the seventh street. I
These things all add up when carrying
the project would take, but it was after
researched a lot about its history and
out photographic projects.
the first year that everything began to
reviewed many visual references, and it
With this particular project, I had
take shape and the work began to be
was after two years of hard work that I
finally left my comfort zone, or rather,
much more conscious and with a clear
managed
broadened my photographic spectrum a
intention.
photographic series that talks about the
So, I started to venture out with the
to
consolidate
a
solid
popular culture in the most popular FUJILOVE INSPIRATION | 39
little bit.
Gray hair and worn suits, torn by time, gnawed by moths, odorous from the dust and the passage of time on the street, blend in with expensive suits and portfolios of important people here on Popular Seventh Street. X100F at f/2, 1/2000 sec, ISO 320
OVIDIO GONZALEZ SOLER www.ovidiogonzalezs.pb.photography FUJILOVE INSPIRATION | 40
Scott Carney
FUJILOVE INTERVIEW
In the first of this month’s interviews, Stephanie Baxter is chatting to Scott Carney, a wedding photographer, a self-professed dog lover and board game aficionado based in County Durham, who lives with his partner, Sarah, and their two children. Scott shoots in a creative and relaxed style to capture the moments that make each wedding unique.
FUJILOVE INTERVIEW | 41
X-Pro3 + XF56mmF1.2 at f/2.8, 1/200 sec, ISO 1600
Scott, welcome to FujiLove! Can you tell us a little bit about who you are and what you do? Thank you! I’m a wedding photographer and (very) recent wedding videographer. I’m from England and photograph most of my weddings in the UK, with a few in Europe. I am fascinated by people and relationships, and love how much that comes out at weddings; it’s a joy to be around. My recent journey into video has come from my love of cinema and the creativity around adding sound and movement. It’s tricky, though! Outside of photography, I mostly walk the dogs, spend loads of time with my kids and enjoy a good games night (think Monopoly, Cranium and Pictionary)! FUJILOVE INTERVIEW | 42
What has your journey with photography
some studio work. I learned a lot by
been like?
photographing so many varied subjects.
I think it’s safe to say that it’s been varied.
When I left the Army, I had assisted at
I started with photography during
a few weddings and really enjoyed the
college, photographing friends’ bands (I
excitement and emotion of the day. I
was terrible at playing guitar so picked
started my business in 2012 and started
up a camera instead!). This followed me
photographing weddings full time in
into my first main career in the Army. 2015. I have never really looked back Although I was in the Military Police,
and, after a short spell in marketing, I
I had the opportunity to photograph
now couldn’t imagine a better job than
sports, document events and even do
weddings.
X-Pro3 + XF90mmF2 at f/4, 1/200 sec, ISO 320
FUJILOVE INTERVIEW | 43
What Fujifilm gear is in your camera bag
– the compression and depth of field is
for a wedding day, and what advantages
amazing and it’s so sharp and quick to
For me it’s so important that I can
do the cameras and lenses have for you,
focus. The X-T3 with the new firmware
get close without being too distracting,
personally, when it comes to shooting
update is amazing for autofocus and the
which I found I did with large lenses
weddings?
customisable buttons work so well for
and kit. The Fujifilm cameras and
Currently, I photograph with two X-T3
my style of shooting.
lenses have really transformed the way
perfect for weddings and just works!
cameras, paired most of the day with
I also use the X-H1 for video and,
I shoot in this regard. I love how much
the XF23mmF1.4 and XF56mmF1.2.
although a little older now, it’s still
they have allowed me to work on my
Throughout the day I also use the
fantastic for video. I use the 56mm for
composition and capturing moments,
XF16mmF1.4 and XF90mmF2, mostly
video as well as the XF35mmF1.4. The
and not carrying huge cameras and
for
portraits. The
biggest advantage for me with the
worrying about all the settings, buttons
XF90mmF2 is my favourite portrait lens
Fujifilm gear is the size and weight – it’s
and technical stuff!
dancefloor
and
X-Pro2 + XF56mmF1.2 at f/1.2, 1/125 sec, ISO 1000
FUJILOVE INTERVIEW | 44
X-Pro3 + XF90mmF2 at f/4, 1/200 sec, ISO 160
On your website, you describe your
creative portraits and groups, everything
couple relaxed as soon as I can, often
wedding photography as “shooting from
I do is about the light and moment
by walking and talking, getting them
the inside”? What does that mean both
and I regularly get close to groups of
to interact with each other and then
in terms of your creative process and
people, the top table during speeches
waiting for the moment to happen.
the end results that you deliver to your
and ‘in the action’ on the dancefloor. The
If you stand ‘outside’ of the wedding
clients?
end result is images that transport the
and try to capture it, I feel that will come
I want anybody looking at my images
couple back to that moment. I basically
across in the images. If I could give
to feel like they were at the wedding,
follow laughter, tears and ‘loud’ people
any advice, it would be to stay in the
or at least know what it felt like. I want
on a wedding day!
moment at weddings, smile and don’t
the images to be close up, almost like
Even with portraits I try to be as
a guest has taken them. Apart from the
natural as possible and look to get the
FUJILOVE INTERVIEW | 45
spend all day looking at your screen or messing with settings!
How do you manage to capture the
embrace that and most of my images
individuality of each couple whose
are people and moments rather than
wedding you photograph without going
details (although I photograph them, it’s
through the motions of taking the same
not a main part for me). If you focus on
type of shots at each one?
the people, then you should get varied
I love weddings because each one is so
photos at every wedding. Even with
different. Despite photographing the
the ‘posed’ photos, getting movement
same locations and venues at times, the
and talking with the couple stops the
couple and guests are always different.
same poses time and time again. You
Small and intimate, to a large party –
won’t see many ‘standard’ poses on my
the feeling is always different. I try to
website.
FUJILOVE INTERVIEW | 46
X-Pro2 + XF23mmF1.4 at f/2.8, 1/125 sec, ISO 5000
X-Pro2 + XF23mmF1.4 at f/4, 1/210 sec, ISO 200
After photographing so many weddings
my style and like to show images that
and taking so many shots, how do you
fit my style and ideal client as much as
decide whether an image should go into
possible.
your portfolio or not?
Sometimes if I love an image, I
It’s really hard and I sometimes add an
will post it on Instagram and see the
image and then take it out and recently
reaction. I generally like to show what
I have added a few older images back in. I love as I believe my ideal clients will I generally look for the key components
also love that. I do think it’s important
(thanks
light,
to get independent portfolio reviews,
moment and composition. If all three
though, from people you trust, as it can
of these components come together, it’s
be really hard to see past your own
generally a good image. I also consider
images.
to
Kevin
Mullins!):
FUJILOVE INTERVIEW | 47
X-T3 + XF23mmF1.4 at f/1.4, 1/160 sec, ISO 3200
FUJILOVE INTERVIEW | 48
X-Pro3 + XF16mmF1.4 at f/4, 1/320 sec, ISO 160
SCOTT CARNEY www.scottcarneyphotography.com FUJILOVE INTERVIEW | 49
FUJILOVE COMMUNITY
FROM THE FEED Welcome to our community 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.
I recently shot this image with my X-T3 while taking a casual morning stroll through a park near my home in West Virginia. This cluster of leaves floating atop the water in what was mostly a clean, debris-free lake caught my attention almost immediately. I typically enjoy capturing the beauty of everyday sites and scenes and thought this image caught the beauty of the early stages of autumn and the fading glimmer of summer. This image was one of those shots that went mostly ignored until a couple weeks later and, upon further review, it really grew on me not only because of the simplicity, but also the beauty and calmness of nature and the contrast of the changing seasons. For my photography the simplest of images can tell the best stories and evoke strongest feelings of that little moment in time. X-T3 + XF35mmF1.4 at f/2.5, 1/200 sec, ISO 160 Timothy Scott @TimmyDubV FUJILOVE | 50
X-T2 + XF16-55mmF2.7 at 53.3mm f/7.1, 1/320 sec, ISO 200 Oscar Tessensohn @oscartessensohn
This image was taken in October 2019 on Ameland Island in the Netherlands. We go there once or twice a year and the concept of the image had been growing in my mind for some time after I had seen the sheep on the dikes. The composition is exactly how I wanted it to be: just one sheep on top of the dike staring at me. I deliberately put the horizon in the middle, emphasising the simplicity of the composition. At first I was rather disappointed. The conditions were not perfect and the colours were rather dull. But when I applied a black and white style in Capture One, it all came together.
FUJILOVE | 51
X-T3 + XF35mmF1.4 at f/2.5, 1/200 sec, ISO 160 Moncho Pena @moncho_portraits
This shot was taken in my daughter’s house. I had this photo in my head a long time ago; the first idea was to focus on the face through the window, but I was using automatic focus and, by error, I kept focusing on the window so I had to switch to manual focus, but I ended up not liking the result! The light was amazing. I actually tried using a fill flash but abandoned that plan due to the reflection it made in the window. The pose of my daugther was chosen by herself, with the intention of delivering a cold feeling and bad mood prompted by the COVID lockdown. She was amazing! The atmosphere was furthered through my use of the Eterna film simulation.
FUJILOVE | 52
The photo shows the beautifully dramatic and impressive landscape of the Lake District in the UK on a road trip in 2019. It was one of those wonderful spring afternoons with bright light and a pleasant warmth. For me, the United Kingdom has one of the most beautiful landscapes in Europe – it always gives me a feeling of freedom. I used the Fujifilm X-H1 and the XF16-55mmF2.8 lens on this day. It was more a of a ‘snapshot’ than a planned image. No preparation, no filters, no tripod. Only a simple click on the trigger. Only a (right) moment in time. I am satisfied with the result when the image has that slightly dreamy and abstract character. The gradation curve and camera calibration panel in Lightroom are especially powerful tools for this. Besides, as with this photo, I often use the Classic Chrome film simulation. It gives almost every picture that unique character. It’s my favourite film simulation. I am very happy with this ‘snapshot’, but I am much more happy to have been in that place at that (right) moment. X-H1 + XF16-55mmF2.8 at 16mm, f/9, 1/400 sec, ISO 200 Nils Leithold @nils_leithold
FUJILOVE | 53
Barbara Asboth FUJILOVE INTERVIEW
In the second of this month’s interviews, Stephanie Baxter is chatting to Barbara Asboth, a freelance professional photographer who, for the past seven years, has worked across multiple genres including street portraiture, weddings, fine art, lifestyle, editorial, headshots and events. She loves the challenge and variety that each subject as a unique human provides her with.
FUJILOVE INTERVIEW | 54
HEIRLOOM PORTRAIT COMMISSION
X-T2 + XF35mmF1.4 at f/4, 1/125 sec, ISO 200
FUJILOVE INTERVIEW | 55
Barbara, welcome to FujiLove! Can you
me a lot with my photography. I like to
tell us a little bit about who you are and
sometimes say I’m a ‘people-ographer’ – different cultures have given me the
what you do?
my work is all about people, regardless
adaptability and open mind that I need
Hi and thank you for this opportunity!
of genre.
to connect with my subjects and create
I’ve been a big fan of Fujifilm for years,
I thrive on versatility but mainly branding,
a portrait that reflects well on them.
so being featured in FujiLove Magazine
photograph
is a minor fangirl dream come true.
heirloom portraits, weddings and street
my photography, both
Who I am is, first and foremost, a huge
portraits. I was born in Hungary and
exercises my creativity in a different
introvert and a very sensitive person.
raised there, plus the UK, France and the
way, and also because in these uncertain
Those can be seen as negatives traits
Netherlands. I’ve also lived in Japan. I
times for small businesses it gives me
in many careers, but I find that it helps
think that those experiences of having
peace of mind to have a backup option.
FAMILY PORTRAIT COMMISSION
X-T3 + XF16-55mmF2.8 at f/2.8, 1/250 sec, ISO 500
FUJILOVE INTERVIEW | 56
headshots,
to observe, fit in and identify with many
I also run a design business alongside because
it
HEIRLOOM PORTRAIT COMMISSION
X-T2 + XF16-55mmF2.8 at f/3.2, 1/125 sec, ISO 200 FUJILOVE INTERVIEW | 57
How did you first get into photography
them and capture a portrait. It started
had to learn (and learn fast!) how to take
and how have you got to where you are
a couple of years before ‘Humans of
photos of anyone in a flattering way.
now?
New York’, which popularised the format
Eventually I had someone approach me
The cheesy but true answer is that I
(back then there wasn’t anything like
with a small job off the back of one of
was always drawn to the visual arts. I
it), and I found the premise absolutely
these TF shoots, and paid work built up
enjoyed taking photos, but in my teens
fascinating. I thought it would be a
from there!
I spent most of my time on fine art and
great way to work on my social skills,
As my responsibilities grew with paid
illustration, even planning to study art
not just on my photography and step
work, I focused on development even
or design at university. In the end (long
outside my comfort zone. I connected
more. I bought many Creative Live
story!), I ended up studying Japanese
with many other photographers around
courses to learn from the best in the
instead, and arts were shelved.
the world doing the project and sharing
industry, read books, browsed forums,
A few years later, looking for something
our photos, giving critique and helpful
and connected with other photographers
to keep my creativity alive during a
advice, it was a wonderful escape for
to support and learn from each other.
difficult year in my personal life and a
me. I fell in love with street portraits
The experience made me realise
job I hated, I picked my old entry level
and have taken hundreds since then,
how much I love to be creative, so I
Canon DSLR back up. I knew I wanted
leading to a book!
left my office job, did a Masters in web
to photograph people, but I didn’t know
While I was still learning the ropes, I
design and worked as a photographer
how. I joined Flickr for some inspiration
put up some Gumtree adverts looking for
alongside it. I’ve been doing that for six
and found a group called ‘100 Strangers’.
young women willing to do a TF shoot
years now and it was absolutely the best
The aim was to commit to approaching
with me, so I could practise more ideas.
decision I could’ve made.
100 strangers on the street as a learning
I got a surprising number of volunteers!
project, to ask about the person, chat to
Nobody was a professional model, so I
“I CONNECTED WITH MANY OTHER PHOTOGRAPHERS AROUND THE WORLD DOING THE PROJECT AND SHARING OUR PHOTOS, GIVING CRITIQUE AND HELPFUL ADVICE, IT WAS A WONDERFUL ESCAPE FOR ME.”
FUJILOVE INTERVIEW | 58
You shoot a few different photographic genres. What would you say are the unifying elements to your images across those different genres? Is this something you actively pursue or does it tend to happen naturally? It’s a mix of what comes naturally and what I actively aim for. I like a certain consistency to my editing so that clients know what they’re signing up for, and also because I prefer a certain look, with reasonably high contrast, and warm tones. What comes more naturally is how I always try to show the subject looking as authentic as possible, even in studio work. It’s the reason I never delved deeper into fashion and conceptual photography; for me to feel inspired, the photos need to be about the subject and what I can bring out in them, not about the subject as an accessory to an unrelated idea. Even in event work, genuinely emotive moments between participants are what I look for when pressing the shutter. I also hope that my love for observing people shows through in all my work, putting their personality and not my own at the forefront. That’s what I try to do with every photo I take. What Fujifilm gear do you have in your kit and how has it served your needs as
STREET PORTRAIT – LILY
X-T2 + XF35mmF1.4 at f/1.4, 1/1000 sec, ISO 320
a photographer? I currently have an X-T2 and X-T3, with the XF14mmF2.8, XF35mmF.4,
I also still have my X-T10. My gateway
and their heavy L lenses) once the X-T2
XF50mmF2,
and
drug to Fujifilm was one of the X100
came out and, after some testing, I was
XF50-140mmF2.8 lenses. These cover
models, but the battery life and fixed
satisfied that it was good enough for
all eventualities across any genre I
focal length didn’t work for my portrait
client work. I needed to save my back
might come across.
work so the X-T10 was what really sold
since after a wedding I was always
I usually use the zooms at weddings
me on the brand. I decided to go all-in
wiped out from the pain of using my
and events, and the primes for portraits.
with Fujifilm (from a dual Canon setup
Canons!
XF16-55mmF2.8
FUJILOVE INTERVIEW | 59
STREET PORTRAIT – PIPPA
X-T10 + XF35mmF1.4 at f/1.6, 1/500 sec, ISO 200
I am absolutely not a pixel peeper, so
and well-made, with an aesthetic that
in particular was all about, so I was
the in-depth discussions about noise
is stylish without looking too retro. Plus,
delighted and honoured when the
levels, sensor sizes and such aren’t a
the XF35mmF1.4 has a quality to it that
curator, Martin Vegas, asked to exhibit
factor for me at this stage. For me it’s
just fits my portrait aesthetic really well.
two of my portraits having found my work on Flickr. It was shown in Cologne,
all about the moment, the light and the expression, and all of those are
I know that you’ve had your work shown
Birmingham and New York before I
independent of the gear I use. My clients
in various exhibitions. How did those
managed to attend the Paris exhibition
have never complained about anything
opportunities come about and what has
in the Marais district last year, which
in that area either.
the experience been like for you?
was a very humbling experience indeed.
I find there’s a certain delight in using
The first one I was involved in was
Jimmy Nelson was a guest speaker at the
Fujifilm cameras as well that I haven’t
‘Atlas of Humanity’, a touring exhibition
opening event and I got the opportunity
experienced with other brands. I can’t
showcasing
to ask him a few questions myself!
really explain what it is, but I’ve heard
of people across the world. That
others say that, too. They feel tactile
idea is what my street photography
the
beautiful
FUJILOVE INTERVIEW | 60
diversity
The second exhibition I was a part of was ‘209 Women’, a collective project to mark 100 years since some women achieved the right to vote and highlight the role of women in two of our historically male-dominated industries. We took over the corridors of Portcullis House in Parliament with 209 portraits of all the sitting female MPs at the time, shot exclusively by female photographers. It garnered press attention and went on to be exhibited in Liverpool at the Open Eye Gallery as well as being published as a book, supported by arts grants and crowdfunding. To be a part of that, I had to submit a written application with a sample of my work to the curatorial team, which involved Hilary Wood, Cheryl Newman and Lisa Tse, with the support of MP Alison McGovern. My local MP was incidentally a woman, too, so it was straightforward that I would photograph her. She was extremely busy and so was I, but we managed to schedule a half hour or so with her at her home, and we took her photo in her garden just as the sun was beginning to set.
VICTORIA PRENTIS, MP FOR BANBURY
X-T2 + XF35mmF1.4 at f/1.4, 1/2000 sec, ISO 250
FUJILOVE INTERVIEW | 61
FACES OF SHOREDITCH – NAS
X-T10 + XF35mmF1.4 at f/1.4, 1/500 sec, ISO 320
I’d love to hear more about your book,
area of London and capture a mix of
Faces of Shoreditch. Could you walk us
local figures, including random street
through the process of its creation, from
portraits and portraits of business
how the idea for it came about to after
owners, residents and workers. I had
it was published?
around a year to finish it, but I was
You may be surprised to hear that one
working full-time so it wasn’t as
is also off the back of Flickr! (They
luxurious as it sounds! I walked well
should really pay me some commission
over 100 miles in Shoreditch looking
for all these mentions...!) The editor,
for potential subjects and backgrounds.
from the family run publisher Amberley
I recorded many hours of interviews,
Books, found my ‘100 Strangers’ photos
spent time with people in their homes,
on there (I was well past 100 by the
heard many meaningful or funny stories,
time) and asked if I would be interested
and in the end I ended up with a great
in releasing a book with them. The
range of characters from the area’s
publisher is a local history specialist,
colourful past and present.
so their idea was for me to choose an FUJILOVE INTERVIEW | 62
The format was difficult for me in that in several cases I spent over an hour with a person, connecting with them, and then I had to choose just one photo of them, with just a short snippet of their interview (due to the page number limit). Quite a few of the people would’ve warranted a whole chapter of their own, such as the local vicar with a life story that could’ve been a TV series, or the co-founder of a strippers’ collective and her in-depth discussion on the politics of stripping, among others. I’d like to release some of the full transcripts as blogs posts one day, with some more of the photos so all those stories don’t get lost. I did feel slightly burnt out after the book came out, to be honest. As much as you love doing something, if you have to do it on someone else’s timeline, it can get too much and inhibit your enjoyment of the process. I took a break and then continued to take street portraits just for fun for a while. I moved out of London a couple of years ago to Banbury, a small town in Oxfordshire, and have started a ‘Faces of Banbury’ series in a similar vein, but just for myself. I want to get to know more of the local residents and feel more connected to this area I otherwise don’t have any connection to on my own timeline. If anything comes
FACES OF BANBURY – LAURA
of it eventually, then great, but I’m not
X-T3 + XF35mmF1.4 at f/2, 1/250 sec, ISO 400
pushing it at the moment.
FUJILOVE INTERVIEW | 63
Do you have any other projects currently
covered one session before I found
in progress?
out I was pregnant, however, and I did
There is actually a self-initiated project I
three more after that but eventually I
started after ‘Faces of Shoreditch’ called
physically couldn’t continue. Once my
‘One in 17’, which refers to the number of
son was old enough for me to leave him
people living with a rare disease in the
again, COVID happened, so the project
UK. The format is for me to spend a day
is unfortunately on hold but I hope to
with each subject and document their
pick it back up once we can resume
reality living with their illness through
normality! Meanwhile, the photos I took
a photo essay. I had photographed
are freely available for editorial use by
quite a few conferences and events for
any related rare disease charity or non-
rare disease charities over the years,
profit, and some have used them for
and I wanted to do something to raise
their publications already, so I’m glad
awareness of life with these diseases, I could help in some way at least. The especially some ‘invisible’ illnesses like
photos are available here for those
Ehlers-Danlos Syndrome or Ataxia. I
interested.
BARBARA ASBOTH www.barbasboth.com FUJILOVE INTERVIEW | 64
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
AF-S RELEASE PRIORITY ISSUES – RELOADED
Scanning through forums, I found new complaints about autofocus problems, especially in concert with slow-focusing lenses like the XF56mmF1.2. Let me remind you that these issues are most likely related
to
Fujifilm
Release Priority setting in the X-T4, X-S10 and X-T3 (with firmware 4). You can read more about this important issue in the November 2020 edition of this Quick Tips column. Today, I’d like to expand on this topic by bringing Fujifilm’s Camera Remote app into play. As you probably know, the app features a Bluetooth-based remote trigger which does not allow you to properly half-press the app’s simulated shutter release button. It’s all or nothing, basically emulating the shutter mash technique I also described to you last month. This behaviour can be problematic in concert with an AF-S Release Priority setting: the camera can’t properly autofocus when it is remotely released via the app. So please set your camera to AF-S Focus Priority and also make sure that AF+MF is set to OFF. This ensures that when you trigger the camera via the app, it will finish and confirm the autofocus run before taking
again,
recommended
these settings
are to
my avoid
autofocusing problems in AF-S mode: • AF/MF SETTING > AF+MF > OFF • AF/MF SETTING > RELEASE/FOCUS PRIORITY > AF-S PRIORITY SELECTION > FOCUS
secretly
changing its logic behind the AF-S
the shot.
Once
QUICK TIP
2
MIC / REMOTE RELEASE MISMATCH ISSUES
Let’s have a look at another potential issue with some recent X camera models: connecting an accessory that doesn’t match the camera’s MOVIE SETTING > MIC/REMOTE RELEASE setting. As you may know, X cameras like the X-S10, X-Pro3 and X100V have a multi-function port (ø 2.5mm or 3.5mm) that can be used to connect either a microphone or a remote release. The MIC/REMOTE RELEASE setting tells the camera
which
accessory
type
(microphone or remote release) is currently connected, and as long as the connected
accessory
matches
the
camera setting, all is well. However, if there’s a mismatch, issues arise in concert with AUTO POWER OFF. Connecting a remote release and setting the camera menu to MIC leads to IBIS movement when (after AUTO POWER OFF) the X-S10 is woken up by halfpressing the shutter button on the remote release. And connecting a microphone and setting the camera FUJILOVE | 65
Fig. 1: Using the Fujifilm Camera Remote app to trigger a shot via Bluetooth, it’s important to make sure that the camera is set to AF-S Focus Priority and that AF+MF is OFF. Otherwise, it won’t autofocus properly, and your subject may end up being out of focus.
RICO’S QUICK TIPS menu to REMOTE leads to the camera turning on and off repeatedly. This latter behaviour applies not only to the X-S10, but also to the X-Pro3 and X100V. With the X-S10, there’s an additional quirk: connecting a microphone and setting the camera menu to MIC (which is perfectly correct) leads to a continuous IBIS movement after AUTO POWER OFF. This is, of course, a bug. Luckily, you can get it rid of it by updating your X-S10 to firmware 1.01, which was released on 19th November. As for the strange behaviour in case of an actual accessory/menu mismatch, well...we still have to live with that. Fig. 2: Always make sure that your MOVIE SETTING > MIC/REMOTE RELEASE setting matches the accessory that is connected to the camera.
X-S10: SUGGESTED 3 FUNCTION BUTTON ASSIGNMENT QUICK TIP
As you may know from my October article in the FujiLove Gear Talk
and where you can press the rear
Fn and Touch-Fn buttons and a
supplement, the X-S10 is somewhat a
command dual to enable the magnifier
configurable Fn dial (Fn-D). We can also
blend between an X-T30 and an X-T4,
tool (or assign any other Fn button
configure the behaviour of the focus
but with a ‘PASM and unmarked dials’
option), reset the focus frame to its
stick and the touchscreen. By combining
user interface that has its roots in
default size or (in MF mode) switch the
these options, we can rescue much of
Fujifilm’s
bridge
manual focus assistant type with a long
the functionality that has been lost.
camera from 2012, hence the name
press. We can’t even format the SD card
To configure the Fn buttons, press and
X-S10.
by pressing and holding the trash
hold the DISP/BACK button until the
For me, the main user interface issue
button for a few seconds and then
configuration screen appears. Here are
of the X-S10 are its function dials. The
pressing the rear command dial while
my recommended settings:
camera has three of them (front, rear
still holding the trash button. Instead,
• REC: FACE DETECTION ON/OFF. The
and top left), and neither can be pressed.
we have to go to the regular SET UP >
X-S10 combines face detection and
This means that you cannot press a dial
USER SETTING > FORMAT menu.
face select in one function, and I like to
X-S1
superzoom
to use it as an Fn button or to change
Since this convenient functionality is
quickly switch face detection on and
lost in the X-S10, we have to find a
off with the REC button that is located
This is a big difference compared to
workaround if we want to use that
next to the shutter release button. With
other models like the X-T4 or X-T3,
otherwise great camera in ways that are
this setting, I can still start and stop
where you can press the front command
familiar from other X camera models.
video recording with the shutter button
dial to change the parameter it controls,
The X-S10 offers ten user-configurable
in MOVIE mode, so in my opinion,
the dial’s mode.
FUJILOVE SERIES | 66
RICO’S QUICK TIPS
Fig. 3: These screenshots show the Fn button assignment of my X-S10. To quickly access this configuration screen, press and hold the DISP/BACK button. FUJILOVE SERIES | 67
RICO’S QUICK TIPS nothing is lost.
• T-Fn2: PERFORMANCE. Flicking left
to AE LOCK ONLY, but since I’m a
• ISO: ISO. There’s no need to change
cycles the camera through its various
dedicated manual exposure mode
the assignment of the ISO button.
performance settings, including three
shooter, I always reconfigure this
• Q: QUICK MENU. The same applies to
different Boost mode options.
button to cycle between the PREVIEW
the Q button that grants direct access
• T-Fn3: DYNAMIC RANGE. It’s a good
EXP./WB IN MANUAL MODE options.
to the Quick Menu.
idea to put the DR function on a Fn or
• AF-ON: AF-ON. Enough said. Nothing
• Fn: FOCUS CHECK. “Fn” is the only
T-Fn button, because only then is it
to see here.
genuine (as in unmarked) Fn button of
displayed as a transparent menu that
• Fn-D: DEFAULT (+/– WHEN SET TO M).
the X-S10. All the other Fn buttons
allows you to immediately see the
This specific setting for the Function
already carry pre-assigned markings. I
simulated effect of your DR settings
Dial allows me to apply exposure
use this button to quickly access the
adjustments (DR100%, DR200%,
compensation in “misomatic” mode
magnifier tool for the EVF and LCD.
DR400%) in the live view. Accessing it
(manual exposure mode M in concert
Alternatively, you might want to assign
via the regular IMAGE QUALITY
with Auto-ISO).
VIEW MODE to this button. In this case,
SETTING menu, the DR function offers
you can still magnify the live view by
no transparent display, so you cannot
To make everything work like we
double-tapping on the touchscreen.
immediately see the effect of your DR
know it from previous X cameras, we
Just make sure that the touchscreen
settings changes. You can, however,
also have to configure the focus stick in
and double tapping are both enabled.
also adjust DR in the transparent Quick
the SET UP > BUTTON/DIAL SETTING >
Also make sure that you have defined a
Menu, but this option isn’t as elegant
FOCUS LEVER SETTING menu. Here are
suitable EVF TOUCH SCREEN AREA
and comfortable as using an Fn or T-Fn
my settings:
SETTING.
button. Flick to the right to access
• PUSH > EDIT FOCUS AREA
• T-Fn1: HISTOGRAM. Flicking upward
T-Fn3.
• TILT > DIRECT AF POINT SELECTION/
on the touchscreen displays the RGB
• T-Fn4: ELECTRONIC LEVEL. Quickly
FACE SELECT
histogram with overexposure warnings
switch the electronic 3D level on and
(“blinkies”). To use Touch-Fn gestures,
off by flicking downward on the
make sure to enable the touchscreen
touchscreen. As usual, this works with
behaves almost like we know it from
and to set T-Fn TOUCH FUNCTION to
the LCD and EVF, just make sure to
previous cameras. In face detection
ON in the SET UP > BUTTON/DIAL
define a suitable EVF TOUCH SCREEN
mode, we can use it to select a specific
SETTING > TOUCH SCREEN SETTING
AREA SETTING for use with the EVF.
face when multiple faces are detected.
menu.
• AE-L: Most users will set this button
www.fuji-x-secrets.net
FUJILOVE SERIES | 68
With these settings, the focus stick
KEVIN MULLINS BEING CANDID
BEING CANDID: PART 6 Welcome to part six and the final instalment of this series on the topic of candid photography. We’ve covered the core elements of light, composition and moment, along with storytelling. In this final part, I’ll talk to you about some of my favourite candid photographs, how I shot them and why I like them.
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KEVIN MULLINS BEING CANDID X100V at f/2, 1/125 sec, ISO 250
T
his first image is of my little
after the legendary photojournalist
boy, Albie. I say ‘little boy’ but
Darcey Padilla. If you are interested, you
he’s growing up quickly and
can see how I build these JPEG custom
will be ten in a few months! The image
settings in my recent YouTube video
is the last photograph I’ve taken as I
about the subject.
write this. Before the second lockdown
Remember, I have mentioned many
happened in the UK, we managed to get
times during this series about the
away to my home country of Wales for a
combination of light, composition and
few days.
moment. I encourage you to go back
This image, by the way, is a JPEG
over previous issues if you haven’t read
straight out of the camera. You’ll notice
them already. I also discussed in detail
it has a lot of grain in it, and this is
what constitutes a moment and the
because I used one of my custom
ideology that a photograph doesn’t have
settings, Padilla. The setting is named
to be good, it just needs to be important.
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Looking at this next image, obviously
but I love observing moments like this.
from a wedding, I was struck by the
For me, as a candid photographer, this
conversation between the two mothers
tells me a lot more about the moment
before the ceremony. Usually, the
and the occasion than a simple head
mothers sit on different sides of the
and shoulders shot of the two mums
room, but in this case there was time for
looking directly at the camera.
a
little
catch-up
and
perhaps
a
comparison of wedding hats. Once again, it’s about the light and the intriguing moment.
As a wedding
When
I’m
photographing
events
where I don’t know the subject, I love to look at the images later and wonder, “What were they talking about?”
photographer, I don’t know these people,
X-Pro2 + XF56mmF1.2 at f/1.2, 1/160 sec, ISO 200
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KEVIN MULLINS BEING CANDID This next image was taken at one of
I really love this photo, and it’s perhaps
Tokyo’s many flea markets whilst I was
one of my favourites from my trips to
on a business trip there several years
the Land of the Rising Sun. I feel it
back. It was taken on the infamous
captures the essence of the store, which
Fujifilm X-M1 camera. The X-M1 was an
was cluttered and chaotic in its stock,
excellent camera for its generation, but
but it also captures the kind of majesty
a range that Fujifilm never continued.
of the proprietor. I showed him the
To shoot this photograph, I used the
photograph after. Luckily, I had a
‘from-the-hip’ method. I had preset my
Japanese person with me to translate
camera, and, whilst perusing the store, I
and somehow we managed to have a
took a
camera
little laugh and joke about the picture. I
somewhere between my chest and my
sent him a copy in the post. I hope it got
hip.
there!
picture
with
the
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X-M1 + XF34mmF1.4 at f/1.8, 1/250 sec, ISO 400
KEVIN MULLINS BEING CANDID
This next image remains one of my
I love this photo and, to me, it
favourites from my ‘Day in the Life’ emphasises everything I have spoken sessions. Of course, this is the kind of
about throughout this series. The idea of
photograph you can take at home at any
candid
time of the day.
voyeuristic, gives us a peek into the lives
photography,
though
not
What I particularly love about it is the
of others. But more than that, it’s a
normalness. There is a chaotic feel to
blueprint of the past for the generation
the image, but it’s a very typical family
to come. I hope this photograph is
candid photograph. We’ve got mum who
around when the little girl has her
is trying to get some medicine into the
grandchildren. She can not only describe
baby. At the same time, the elder child
her
takes the opportunity to poach some
surroundings and the furniture, all of
cake mix directly from the tin. Dad, in
which will change dramatically over the
the meantime, is in the background
generations to come.
family
but
the
house,
the
getting the dishes washed up.
X-H1 + XF18mmF2 at f/1.8, 1/240 sec, ISO 200
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This next image is perhaps more of a storytelling image. I photographed this
of the pack, to frustration as it ended up losing.
using my trusty Fujifilm X70 at the
This type of image works well as a
Cheltenham Festival of Horse Racing a
series and beyond the scope of this
couple of years back. The tiny X70 is
article, the series was made using
perfect for this kind of outdoor shot.
multiple shots. Again, it’s a photograph
Much like the photograph of the
that in years to come will tell us a lot
Japanese gentleman in his emporium,
about clothes, people, environments,
this was taken from the hip. In this
but not so much about the story as the
scene, the main subject has gone from
previous one does.
jubilation that his horse was at the front
X70 at f/2.8, 1/220 sec, ISO 200
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KEVIN MULLINS BEING CANDID X100F at f/4, 1/15 sec, ISO 200
Back to the streets of Tokyo for another of
my
favourite
candid
street
photographs.
world resumes spinning correctly, I highly advise it. This is one of the few photographs
This one was shot at the famous
I’ve ever taken with the onboard flash of
Shibuya crossing, a bustling part of the
the Fujifilm X100 series. To capture it, I
metropolis that is very popular with
had preset the camera with a slow
tourists.
shutter speed and flash, waited in
For this series of images, I was trying
position and waited for people to pass
to capture the local Japanese people,
me. It’s ironic now seeing the mask, of
rather than the tourists. I think I’ve
course. In Japan and much of Asia, mask-
shared some these photographs before
wearing has been commonplace for a
in this article series. It’s an incredible
long time. It’s now the norm for us as
place, and if you can visit when the
well.
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So, that brings me to the end of this
based on the five Ws:
series on candid photography. As a
• Who
recap, I discussed the three core
• Why
principles of shooting:
• What
1. Light
• Where
2. Composition
• When
3. Moment Remember, the most important thing All three of these parameters are
is that you enjoy your photography. I
essential for any photography; it doesn’t
very much enjoy my approach to candid
matter whether it is purely candid or a
documentary photography, but your
staged editorial photograph. In order
style may be different. And that is fine,
for a photograph to be candid, however,
of course. It would be a boring world if
it does need to be unstaged. This doesn’t
we were all the same!
mean that if you stage a picture, you
I hope you have enjoyed the series,
can’t enjoy it, it just means that it’s no
and if you wish to keep in touch, please
longer candid.
don’t hesitate to connect on any of my
Later in the series, we talked about
social media channels.
storytelling through photographs – the idea of beginning, middle and end, as
Happy snapping!
well as the use of anchors in a story
Kevin
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SPENCER WYNN LIFE IN THE TIME OF COVID
Nurses and personal support workers who care for our most vulnerable, our senior citizens, those who have come so far and are in need of greater care. X-T3 + XF16-55mmF2.8 at f/4.5, 1/60 sec, ISO 80
WHAT IT IS TO BE
Essential?
As the global pandemic persists, we begin to recognise that everyone is essential. “It’s not what you look at that matters; it’s who you see.” ― Henry David Thoreau
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his is the final article in a series
Scott Mission has, since 1941, been a
of six with an overarching
provider of services to poor, homeless
theme. When I was asked if I
and vulnerable people. Among its many
could write and shoot the stories, I chose
programmes, the Mission also provides
‘Life In The Age Of COVID’ as the theme,
shelter and beds for men.
as it is a unique time in our global
For seven years, Aldo Hernandez has
history: a time where everyone is
worked at the Scott Mission. Once a
experiencing and having to figure
single parent in a shelter himself, Aldo is
things out together as a global
originally from Mexico, has worked hard
community.
and, with the help of the Mission, is now
The stories have taken me on a huge journey, not only in the few thousand
employed and has two children with a third on the way.
kilometres driven or the places chosen
“Seeing lives being changed”, Aldo
to shoot, but also meeting many
answers when asked what he loves
fascinating people doing good work for
about his role with the men who use the
so many. This final story has been saved
shelter. As someone who has benefitted
for last, to celebrate who would not
from the care and support he has
necessarily be thought of as providing a
received, he is proud to pay it forward –
vital role during a pandemic. This, of
connecting the men with resources,
course, is the changing and evolving
listening to their stories and to help
definition of essential workers.
them on their own journey to dignity
In the downtown core of Toronto, the
and a better life.
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After needing the help of the Scott Mission himself, Aldo Hernandez is proud to pay it forward in the Mission that gave him a second chance. X-Pro2 + XF16-55mmF2.8 at f/2.8, 1/125 sec, ISO 320
SPENCER WYNN LIFE IN THE TIME OF COVID
The definition of essential workers, as
and relax, but many people are coming
taken from Canada’s federal government
in to reduce pain. Therefore, deep tissue
website is as follows: “Essential workers
massages are what people are looking
are considered critical to preserving life,
for.”
health and basic societal functioning”. While I agree with the definition, I
chiropractors
at
the
Foundation
also believe this pandemic has also
Physiotherapy Clinic are located in
extended the construct into roles we
downtown Toronto and serve the very
would not have considered essential,
urban part of the city where people are
pre-COVID.
beginning to realise this is going to be a
An example of what would have been
Massage therapist Fern Ambre is seeing many clients who are suffering from the effects of COVID-related anxiety and stress. X-T3 + XF56mmF1.2 at f/1.2, 1/500 sec, ISO 250
Fern and the other RMTs and
long haul.
thought of as non-essential pre-COVID,
Like most of us, we are now sitting at
is the role of the Registered Massage
home in make-shift offices and, in most
Therapist (RMT). Fern Ambre is a
cases, in chairs and at desks that are not
Registered Massage Therapist. “As a
necessarily designed for many months
result of COVID stress and anxiety,
of desk work. The physiotherapy clinic
people have mainly been coming in
near my home is open under extremely
with back, neck and shoulder pain. You’d
rigid protocols and practices – I know, I
think that people would be coming in
have had to use them!
for relaxation massages to reduce stress
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You walk out your door, head to the
been a lot of fights. We don’t enforce
local transit stop and head to your
fares or mask wearing for fear of being
destination. In this city, our transit
assaulted or even killed. There was a
system is often packed on a regular day.
bus driver recently shot to death in the
I don’t often take the bus or subway
U.S. for not letting him on the bus
these days, but I can see that ridership is
without a mask.”
down and the system is trying to space
Public utilities are trying their best to
its riders out to attempt some sort of
accommodate people and to evolve as
distancing.
institutions quickly and as needs arise.
Gary Goldberg, a driver for the Toronto
Those who work with the public on a
Transit Commission (TTC), has most
daily basis could adopt Gary’s outlook,
definitely been on the front lines of
“My philosophy at the moment is to
tension these past many months.
drive the bus safely and not confront
“Customer tensions are high. There have
anyone about anything.”
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Transit workers have a front row seat to the displays of human nature under pressure. X100F at f/3.2, 1/60 sec, ISO 400
SPENCER WYNN LIFE IN THE TIME OF COVID
Another essential service, and one
from the compliments and explains how
that is regulated, is the taxi industry in
he usually greets and welcomes his
Canada. I have been a customer of Beck
fares, “Basically what I do is I open the
Taxi in Toronto for decades. They have
door for them and welcome them, and I
well-trained drivers who are safe, very
have hand sanitiser for them on both
pleasant and professional. All taxi
doors. There is water for them, too, if
drivers run the risk of encountering
they would like it.”
passengers who are anxious, stressed and sometimes uncooperative.
At 6:00pm, the ambient light is just right at this time of year to balance
“It is just part of the job”, says Raza
three strobes to make a portrait of Raza.
Ahmad, a driver of two years for the taxi
He is on shift but makes the time to stop
company. After emigrating to Canada in
where I have set up lights on a quiet
1993 from Pakistan, Raza had worked
street for a portrait with his polished
construction for many years. He is now a
ride! After a distanced chat and a
lauded driver who inspires many
promise to send him some images, he is
passengers to write to the company to
off to pick up another fare – one of
offer praise for his service.
typically 10,000 made a day, city-wide
With a soft, shy smile, Raza deflects
for Beck taxi.
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With thousands of trips a day, taxi companies cope with and, in one case, excel at assuring the riding public that close contact can be stress-free. X100F at f/2.8, 1/125 sec, ISO 100
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A nurse cares for an infant in the Neonatal Intensive Care Unit of a world-renowned children’s hospital. X-Pro2 + XF1655mmF2.8 at f/2.8, 1/125 sec, ISO 3200
Of course, no talk of essential workers
resolute. They not only comfort the
is complete until the guardian angels of
infants, but also comfort grief-stricken
health care are mentioned. Nurses
parents.
provide a broad array of care for all life
At the other end of our lives, nurses
– from birth to death. As one physician
and personal support workers (PSW)
put it to me just the other day, they are
offer end of life care and comfort. Inside
the superheroes and backbone of our
so many nursing homes, COVID-19 has
health system.
dealt an especially brutal blow to our
In the Neonatal Intensive Care Unit
ageing parents.
(NICU), a nurse tends to an infant in
With one parent gone and another in
critical condition after heart surgery
their 90s, I have seen the outpouring of
with the parents at the bedside. The
love and care from nurses. It takes a very
infant did not survive. I am no stranger
special person to smile, support and, at
to the NICU of many hospitals and it is
times, risk their own lives in care
an honour to be asked to provide
facilities that are being decimated by
bereavement family portraits with the
this pandemic. Now just opening, with
parents and those infants who have
military-like stringent protocols, we are
died in the hours before or for those
slowly able to visit loved ones, albeit it
who will be removed from life-support.
is scheduled, and visits are tightly time-
The staff of the NICUs are gifted and
limited.
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Individual portraits of nurses from the runway group photo. X-T3 + XF16-55mmF2.8 at f/2.8, 1/60 sec, ISO 80
SPENCER WYNN LIFE IN THE TIME OF COVID
The group photograph of nurses and
face. The dedication and care Maria
PSWs was a reshoot several hours away
gives comes from her long-time desire
from Toronto where the first session
to help.
was rained out. Deerhurst Resort in the
When Maria was a young girl growing
Muskoka region of Ontario was fully
up in the Philippines, she always had a
behind this shoot and made their private
dream, “It was in my heart to look after
runway available as the location. With
people”, and with her father’s advice,
three Godox strobes, the light was
“Follow you dreams”, Maria emigrated to
perfectly balanced
Canada in 2010 and enjoys her many
with
a
typical
Muskoka sky – for about 5 minutes!
clients for whom she cares deeply.
After the group image, a separate area
From the plexiglass barriers at the
was set up to make individual portraits
grocery store check-outs to long-haul
of the nurses in the natural autumn
truckers moving goods around the
beauty of the area.
world to trade workers who enter our
A war bride, 92-year-old Vera Cottrell
homes, workers continue to provide care
is grateful to have Maria Ponce as her
and service for us, even if it means there
personal support worker. They have
may be a chance of coming in contact
known each other for many years. Maria
with COVID-19. It is for those people,
was the support worker for Vera’s
and everyone else, that we must wear
husband before he died four year ago.
masks and follow health guidelines so
They have a playful, cheeky friendship
that workers on whom we rely can
and banter that brings a smile to my
continue to be essential.
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Cheeky banter and laughter between a personal support worker and her 92 year-old client. X100F at f/2.2, 1/125 sec, ISO 250
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