Tag: fujifilm x series

9 Ways to Gain Better Rainy Day Photos

That torrential downpour you see out the window some days could signal the end of your next big shoot — or it could indicate a new, albeit slushier, opportunity. Rain brings new possibilities for portrait, landscape and other genres of photos.

 

Take up some savvy ways to set up these rain shots so you and your subjects minimize time spent in puddles as you get the perfect pic.

 

Fear not — it’s just water.

If you want the best rain photography, you have to be willing to get wet. Dress for the weather, whenever possible, and embrace a bit of discomfort for the sake of perfecting your craft.

Photo by Nick Edmunson

 

Use microfiber cloths to keep your gear dry.

Just as you should dress for the weather, so too should your equipment. Even weather resistant gear is better off not getting drenched, and you are going to want your lens dry for most shots.

 

Create contrast by shooting in low light.

Raindrops are most apparent in twilight and nighttime shots, especially if the picture is eventually published in black and white. Viewers’ eyes are called to textures and patterns, like rippling puddles or splashing raindrops, with less light — and thus less colour.

Photo by Bob Cooley

 

Backlight your raindrops for visibility.

While low light calls attention to patterns, backlight makes subjects in its path more visible. Try shooting toward – though not directly into – a light source to see the raindrops against its luminosity. Streetlights are great for this approach.

 

Establish complementary light with your flash.

Yet another way to illuminate raindrops is to use your flash. It does not have to be your primary light source. Instead, it can be lowered by a few stops to supply complementary light that lets the precipitation glisten.

 

Research in advance for portraiture scenes.

Rain can be an interruption to portraiture sessions, but maybe your clients embrace its melancholy vibe. Survey your area for potential compositions where your subject could pose at length without getting soaked.

Photo by Jason Vinson

 

Place your subject beneath an awning or overhang.

Keep your subject dry for a portrait session by setting the shot beneath a covering on the street. This provides shelter, and the composition has a natural feel, seeing as people often wait out storms beneath these coverings.

 

Move out of the shower and behind the wheel.

Like awnings and overhangs, cars serve as adequate shelter and realistic scenes. Vehicles are good for more than composition, though. If the rain is too much for you and your equipment, and if you don’t have a sufficient umbrella, shoot from your car.

 

Capture the humanity in rainy day reactions.

It is difficult to be unaffected by rain. Reactions range from puddle dances to dread-faced power walks. Street photography on rainy days can highlight characteristics of joy, resilience and vulnerability in fresh ways.

Photo by Erwin T Lim

 

Rain does not have to be end of your shoot. It can be the beginning, so long as your eyes stay open to creative opportunities. To learn more about the cameras you could be using for your rain photography sessions, check out our eBook, Which X Series Should I Buy?

 

The Advantage of Mirrorless

Since mirrorless digital cameras entered the photography scene in the late 2000s, the question has been whether they could be a better option than DSLRs (Digital Single Lens Reflex). Since that time, the mirrorless system has grown in popularity, so it is clear photographers are increasingly making it their preference.

 

What’s a DSLR?

DSLR cameras (or digital single-lens reflex) use the design of old-school 35mm bodies, with light taking a path from the lens to the prism and then to the viewfinder, where you can see the preview of your image. As you hit the shutter button, the mirror flips up, a shutter opens and light reaches the image sensor, which retains the picture.

 

What’s a mirrorless camera?

The big difference with the mirrorless camera is that it has no mirror that flips when you open the shutter. Instead, light moves directly from the lens to the image sensor and the shot displays on your screen.

 

 

Which style is lighter?

Because mirrorless cameras do not need to store a mirror and a prism, they do not need to be as heavy or as large. If you like to travel with your camera or just enjoy a lightweight rig, then you may prefer the mirrorless system.

 

Which body has better focus?

Many years ago, DSLRs had the reputation of being the better – or at least faster – model for autofocus shooting. This is because DSLRs used phase detection, a quicker method that relies more on the camera’s electronic sensor, rather than contrast detection, the slower but more accurate system utilised in most mirrorless bodies. However, mirrorless cameras have since improved in this area. Now, many mirrorless bodies, including Fujifilm’s newer models, employ a contrast-phase hybrid autofocus system.

 

Which style is suited for continuous shooting?

If you want to capture fast-moving action, you may want a camera with the capacity for continuous shooting. Mirrorless cameras, with their simplified path for obtaining images, excel here. For instance, the Fujifilm X-T2, when photographing from its continuous shooting boost mode, shoots about 11 frames per second, well ahead of most other cameras on the market.

FUJIFILM X-T2

 

Which one shows an accurate shot in its viewfinder?

Mirrorless cameras also have viewfinders that display truer to what your photograph will become. Their electronic viewfinders allow you to see, in real time, adjustments to aperture and ISO, whereas the optical viewfinder found in DSLRs displays those changes only after you shoot the image. The mirrorless style has a big advantage here, as it saves you time from going back and forth between shooting and adjusting.

 

As with many debates over photography equipment, the choice comes down to your personal preference. If you find a camera that you handle comfortably and shoot naturally, then proudly make it yours and enjoy creating great shots with it!

 

For more Fujifilm camera options, download our 2017 Buying Guide.

Through a Photographer’s Eye: Myles Kalus

Welcome to the Third Series of Through a Photographer’s Eye. In this series, we continue to learn about Australian photographers and how they use X Series Cameras to photograph their world around them. Our eighth interview in Series Three is with photographer, Myles Kalus.

Myles, tell us a bit about yourself and how you relate to Fujifilm X Series cameras?

 

I originally intended to pursue an engineering career and studied mechanical engineering at university. Towards the end of my degree, I realised that engineering wasn’t really for me. By some stroke of luck, I picked up a camera in my last semester and realised that photography was what I wanted to do. I finished my degree, and immediately immersed myself into photography. I spent some time looking for the right camera to work with as I grew as a photographer, bouncing between different brands and different types of cameras.

 

I eventually picked up a first Fujifilm camera, the X100S, and knew from using it that what I needed for my “perfect” camera was one that had the modern advancements of digital camera technology in the shape and feel of a traditional camera. Having the aperture, and shutter speed dials right there to see just felt right to me. So, when the Fujifilm X-T1 was announced, I sold all the gear I had and made sure I was the first one in line at my local camera store to get my hands on it. I’ve exclusively used Fujifilm cameras ever since for both work and leisure.

Fujifilm X-T1 with XF23mmF1.4 R – 1/500 second – F5.6 – ISO 320

 

As someone who photographs a lot of portraits, do you have any recommendations for XF lenses to use? For instance, based on your experience which lens do you think is better, the XF56mmF1.2 or XF90mmF2?

 

It’s hard to pick between both as they have different qualities but I’d have to go with the XF56mmF1.2. While the XF90mmF2 is technically the perfect lens for portrait work, the XF56mmF1.2 allows me to get physically closer to the subject, allowing me to interact, and connect better with the person I’m photographing. It’s also a smaller lens, so it’s less intimidating for my subject.

 

I’ve always found the smaller more retro your gear looks; the more relaxed and natural people will be when photographing them. Alternatively, I’ve also used the XF23mmF1.4 to shoot portraits to provide a little more context to the picture and involve the environment to show where the portrait is captured. This lens has been instrumental when doing backstage work.

 

 

If you have some advice for someone starting out in photography what would it be?

 

Looking into gear, I would say to buy a camera that is straightforward to use. A lot of cameras these days have added functionalities that sometimes become a distraction. I’ve personally found that the fewer choices I have, the more concentrated I’ve been with learning and studying the camera and photography. If possible, I’d highly recommend a camera with an electronic viewfinder (EVF) as it allows you to immediately see how the settings affect exposure and depth-of-field. All these factors taken into consideration will speed up your learning process significantly, and improve your technical mastery within a short span.

 

From a photography perspective, I’ve always advised newcomers to find a few photographers of which their works you like, go through their work obsessively, learn what is it about their work that you admire, and try to replicate their work. This forces you to experiment with your camera and pushes your eye to see what and how they saw and why they photographed it.

 

You have worked with many international clients, do you think the Fujifilm X Series system delivers the image quality they are after and what are your thoughts on the new Fujifilm GFX 50S medium format camera for fashion photography?

 

Yes. I can confidently say that the Fujifilm X Series fulfills what my clients need. I’ve never heard back from a client questioning me about the quality or questioning about the gear I used. Whatever does the job as per client requirements. That’s all that matters when working with a client.

 

I feel the Fujifilm GFX 50S is a great addition to the Fujifilm lineup, and see it as an ideal camera for those requiring the benefits of medium format when working within fashion photography; higher resolution for detail, reduced vibration from the lack of a mirror and expanded dynamic range. It also opens the doors to medium format that would otherwise be closed to many photographers due to how expensive other medium format cameras are in general.

 

 

What is Street Style Australia and how has it helped you establish yourself?

 

Street Style Australia is a documentary project I started some years ago with the goal of documenting how Australians express themselves through what they wear. No one was doing it properly back then. So, I decided to take it upon myself to do it. Doing the project has opened many doors for me, regarding meeting and working with people within the industry, and allowing me to create work and fulfil a niche for an international audience. It’s also allowed me to further delve into the inner-workings of the fashion world documenting backstage and behind-the-scenes for runways, fashion events, etc.

Fujifilm X-T2 with XF56mmF1.2 R – 1/1000 second – F1.2 – ISO 640

Fujifilm X-T1 with XF56mmF1.2 R – 1/500 second – F1.4 – ISO 200

 

 

Aside from fashion, what elements of the photo do you think are important to make a portfolio-worthy fashion shot?

 

For me, the first step is understanding the purpose of the photo and working out how to deliver that goal through the photo. Great portfolio-worthy fashion photographs have always put feeling, mood, and story-telling before technicalities and aesthetics. An aesthetically pleasing photograph doesn’t cut it. Great fashion photographs also make the audience immediately look straight into and embrace the content within the frame as if it is a window, and see what the photographer is seeing. The presence of the photograph as an object to the viewer is invisible or non-existent.

 

So, giving an example from landscape photography, when I look at Ansel Adams’ photographs of Yosemite, I don’t think about how beautiful the photograph is. I think about how beautiful Yosemite is, feel how amazing it is to see the view. His photos make me feel like I’m there witnessing or at least, make me want to go there to witness Yosemite myself. I forget that the photo is a photo.

 

How important is it to work in a team in your field? Do you find stylists; makeup artists and models are all easy to work with? How does a general shoot form?

 

A good team is vital because you can’t-do everything yourself in general. How easy others are to work with is usually based on the individual and their capabilities. Most of the time, everyone’s down-to-earth and professional. Occasionally, you do get less than ideal team member, but that doesn’t often happen, thankfully.

 

Ideally, you’d work with those who understand what you’re trying to create in the photographs. A lot of discussion happens before shoots, to discuss how to execute the shoot, and to find the right people who can do what you need in the shoot.

 

Generally, a shoot forms when someone (client, creative director, stylist, or even the photographer) has an idea or a brief that they want executed. A team that they feel is right for the task is then assembled, pre-production for the shoot that involves location-scouting, pulling garments or accessories from brands/labels, identifying the right gear (camera, lighting, etc.) for the job. Then, once all the pre-production is hopefully done, then the shoot happens.

 

 

Can you share some insight into what it’s like to cover an event like Paris Fashion Week on the street? What gear would you recommend someone have to help capture stunning images?

 

Looking at the photos that usually come out from any fashion week, you can’t really tell but shooting street style at fashion week is quite a physically straining job; a lot of running, a lot of rushing from one venue to the other, staying outdoors regardless of how bad the weather is, barely any resting or eating from the deadlines and number of photographs you take in a day. I take about 5000 photos per day and go through them all at night to send them off to the client by morning.

Fujifilm X-T2 with XF56mmF1.2 R – 1/2000 second – F1.4 – ISO 200

 

This goes on for each day of fashion week. I usually only get time to have a couple of small meals and about 4 hours of sleep each day during fashion week if I’m lucky. Also, the environment you photograph in is best described as chaos; there are so many unpredictable elements to juggle with, and you have to make quick judgment with what you see in front of you.

 

You’re dealing with trying to find the best angle to photograph the best-looking outfit or garment after finding it among a mass of people moving in an environment that is full of distracting elements, traffic, and at times, unforgiving weather. Think too much and you might lose your only opportunity to photograph a look.

 

Camera body-wise, the X-T2 with the grip was perfect. I bought it before flying off to Europe, and its upgrades over the X-T1 made my life much easier while shooting. The 11 FPS and high refresh rate in the EVF provided in Boost mode, and the customisable autofocus system the X-T2 has were a joy to have while shooting in the erratic shooting environment. For lenses, I predominantly used the XF56mmF1.2. Ideally, I would have preferred using the XF90mmF2 because I prefer the look produced by the lens, is weather-sealed, and is quicker at autofocusing, but ultimately chose not to use it as forced me to step too far back from the subject to photograph them. I did use the XF23mmF1.4 when I wanted to capture more of the environment. Though, I mainly use that lens backstage due to there being limited space.

 

To see more of Myles photography follow Street Style Australia on Instagram or mylekalus.

Previous interviews from Series Three of Through a Photographer’s Eye:

Through a Photographer’s Eye: Johny Spencer

Through a Photographer’s Eye: Gavin Host

Through a Photographer’s Eye: Mike Bell

Through a Photographer’s Eye: Ryan Cantwell

Through a Photographer’s Eye: Sarp Soysal

Through a Photographer’s Eye: Harrison Candlin

Through a Photographer’s Eye: Geoff Marshall

 

9 Ways to Develop Your Own Photography Style

You are getting serious about photography and want to develop your reputation. You feel like establishing a look so that each photo fits into a greater catalogue of work.

 

Develop a recognisable and genuine photography style by following a few tips.

 

Exercise patience and dabble in many styles.

 

Take time to become comfortable as a photographer. Master fundamentals of composition, angles and lighting. Experiment with every photo style you can imagine. Expand your creative eye and learn what shots you take best.

Image by Clément Breuille

 

Study the work of others.

 

Imitation is the highest form of flattery. So review the work of other photographers, past and present. Learn what inspires you and what resonates with you emotionally.

 

Imagine beyond your current equipment.

 

You might have too much gear but be best suited as a nimble photographer who carries one camera and one lens in order to move freely around a subject. You might have a savvy eye for wildlife photography but lack the zoom to capture animals quickly from afar. Borrow or rent and experiment with photo equipment to delve into any style that intrigues you. Make your creative path more about your passion than today’s possessions.

 

Express yourself.

 

All creative work is, in some sense, biographical. Even in picturing other people and sites, you give the world a sense of yourself. Be in touch with your own hopes, desires and fears so you convey a sense of sincere yearning through your art.

Image by Chelsey Elliott

 

Separate subject from style.

 

Saying you shoot portraits, cityscapes or sports is not enough. True style is not just what you photograph but how you photograph it. The perspective you offer to stage, frame and light your shots defines you. Think about the smallest details as you create your portfolio.

 

Contemplate your business model and your market.

 

Think of how genres of photography follow different economic models. Portrait photographers acquire clients and guarantee pay by booking sessions, whereas landscape photographers often sell shots long after shooting. Consider your market. It is easier to do portraits in a bustling city where many people need headshots. If a genre appeals to you, decide whether relocation increases opportunities.

Image by Nadeesha Rathayake

 

Find the moments when people compel you.

 

When your style involves people, think about the instant when you see their true essence. It could be when they talk about difficult times, have a drink or belt out a laugh. Determine when people seem to you their true selves, capture them in it and make that an element of your signature style.

 

Create recurring elements using aperture, light and colour.

 

Many photographers are known for their use of lighting, whether natural, interior or DIY. Others are known for revisiting a colour or two in many shots. Set at least a few attributes of lighting, colour palette or depth of field to coalesce your photos into a grouped look.

 

Harness post-production to mark your style.

 

Refine images with photo-editing software to further establish your aesthetic. Subtle but persistent changes to contrast, highlights, shadows and other elements give photos a unified look and set your aesthetic.

Image by Scott Grant

 

As you learn how you view the world and what elements you bring to each shot, you make recognisable work with a photography style that wows.