I remember in my film days having great fun taking shots and resetting the shutter to take another picture to overlay on the first. But in truth this technique was a little hit and miss and rarely resulted in any great images. Thankfully camera manufacturers, including Fujifilm, have come to the rescue and introduced Multiple Exposure modes into their camera bodies.
This is a super feature with endless possibilities to create truly unique and inspiring images in camera without the need to use any post processing. If you’ve not tried this yet here is a short guide to help you on your way. Continue reading Get Creative with Multiple Exposures
I’ve been shooting with the medium-format FUJIFILM GFX 50S since early April 2017 and have been more than impressed with its performance as a landscape camera. But for a camera to be truly usable by landscape photographers it has to be able to withstand the elements and, until recently, it would be fair to say that my GFX had had a fairly sheltered life. I was keen to see how it would perform in harsher environments, so took it with me on a recent trip to Iceland; this also gave me the opportunity to test its high ISO performance while shooting the Northern Lights.
I’m lucky enough to have visited Iceland on numerous occasions and it remains one of my favourite destinations for landscape photography; there really is nowhere else like it. On this occasion, I was co-leading a workshop and we were based on the south coast, beginning the tour near the town of Höfn and working our way back west. On this trip, we were able to include the ‘must-see’ locations of the Stokksnes Peninsula, Jökulsárlón glacier lagoon, the beach at Vik, with its dramatic rock stacks, and many places in between.
The weather in Iceland can be harsh, to say the least. On this trip we experienced winds which threatened to knock us off our feet and temperatures which dropped below minus 10. Perfect for finding out how tough the GFX is. Despite the unpredictable weather, winter remains my favourite time for visiting Iceland: changeable weather makes for dramatic conditions and the low winter sun means that there is a permanent ‘golden hour’ during the day.
The good news is that the GFX held up really well under some tough shooting conditions. The environmental sealing was given a severe test on a morning when there were gusts of wind so strong that we had to kneel down and cling on to our tripods to prevent kit from flying off into the distance. The wind whipped up the gritty, volcanic sand from the beach and sea spray coated all our gear. None of this bothered the GFX, which didn’t miss a beat and allowed me to grab some shots in between the gusts.
On the days when we were able to stand up, we were treated to some exceptionally good light – a fabulous sunrise on the famous ‘ice beach’ at Jökulsárlón and a colourful sunset at Vik. Fujifilm has an excellent reputation for colour and it goes without saying that the GFX captured beautiful colour on these occasions, but the sensor’s wide dynamic range was also a key factor in being able to make the most of the conditions, especially at Vik. Because of the shape of the cliffs there, it wasn’t possible to use a graduated filter to darken the bright sky; however, filtration proved to be unnecessary, as it was possible to capture the full range of tones without a grad.
The ability to set different aspect ratios in-camera is a feature which frequently comes in handy and it did once again on the Iceland trip. Not all scenes will suit the native aspect ratio of your camera, whatever it is, so being able to experiment and see different ratios in the viewfinder, rather than having to try to visualise them, is a real boon. I found, for example, that a square crop or 3:2 ratio made for a better composition at Vik than the GFX’s native 4:3.
Of course, one of the main reasons photographers visit Iceland is the Northern Lights. I’ve been lucky enough to shoot some really good displays over the years, but sadly, that was not to be the case on this trip as we suffered a lot of cloudy skies and low activity on the nights which were clearer. On the one night that we had a reasonable display, strong winds restricted our viewpoint to a sheltered spot where it was hard to get a good composition. However, this didn’t stop me being able to assess the GFX’s technical performance and its suitability for astro work.
The main things to be aware of when shooting the Northern Lights are getting enough light on the sensor to record an image while keeping the shutter speed short enough to avoid star trails. Depending on the focal length used, 15-20 seconds is usually a good maximum. This means that in order to get a usable exposure, you will need to use a high ISO and open up your lens to its widest aperture. Having a lens with a fast maximum aperture such as f/2.8 is desirable and as there are no native Fujifilm wide angles faster than f/4, I had considered adapting a third party lens for the trip. In the end, however, I decided to take the GF23mm and trust that the GFX’s high ISO performance would compensate for not being able to shoot wider than f/4.
The GFX acquitted itself really well; high ISO noise is impressively low and the nature of the noise fine-grained and therefore easy to deal with in post-production; a fast wide angle lens is certainly desirable but you can live without one and I’d certainly have no reservations about using the GFX + 23mm f/4 combination on my next Iceland trip. Another important point to bear in mind when shooting the night sky, is being able to find true infinity focus – not always straightforward with modern autofocus lenses. Using the distance scale in the EVF meant that this was a simple matter with the GFX and GF23mm – another point in its favour.
Iceland is always great fun and I’ve never failed to come back with interesting shots. This trip was no exception and there was the added benefit of my gaining increased confidence in the GFX system.
The FUJIFILM GFX 50S delivers the world’s best image quality. It combines outstanding resolution of 51.4 megapixels with exceptional tones, advanced color reproduction and high-performance lenses. This level of image quality is purely motivational. The world around you changes the moment you hold this camera in your hand. Appreciate all that can be achieved with Fujifilm’s new medium format mirrorless camera system, GFX.
Being a London local, Oliver Wheeldon was extremely excited when the Lumiere Light Festival, a show of over fifty artistic light installations, came to town. Not only was Oliver able to capture some stunning shots of the lights transforming the city at night, he was also able to push the X-T20’s high ISO capabilities to the limit to capture the city streets after dark.
Depending on who you speak to or which forum you frequent, long exposure photography can be defined as anything longer than half a second to more than 30 seconds and into minutes or even hours. The effects that you will achieve with longer exposure times will all depend on the speed of the moving elements within the frame and, like everything in photography, there are no hard and fast rules. When creating a long exposure image all the usual considerations of composition and light apply but we add in the element of time. We will create an image that the eye itself cannot see and this requires some vision. Whether you want to record dynamic moving clouds, swirling waters, to record or even eliminate moving people in a busy place, shoot light trails or go completely minimalistic, the possibilities are there for us. Personally, I use long exposure in my landscape work.
In order to create long exposures you need to practice and perfect your technique. Here are some considerations you should think about:
1. Carry your tripod everywhere
A tripod is a must. In long exposure photography, be it light painting, light trails or long exposure in landscapes, the shutter is open for more than a second so it is imperative that you have the ability to keep the camera absolutely still.
Approximately 1 in 4 people in the UK will experience mental health issues at some point in their lives and that is quite a stark statistic. I am a strong believer in taking up photography as a hobby when it comes to helping people who are experiencing mental health issues. Whilst there have many discussions around what can potentially lead to mental health issues, and ways in which people can get treatment and support, I haven’t seen many talking about how photography, can help your mind stay healthy. Getting out and about with a camera in hand helps people to become more present, more aware and more mindful. Continue reading A photographer’s perspective on the art of mindfulness through photography
“Is it worth me buying any prime lenses for landscapes? I have read that a zoom will do all I need?”
That’s a question that pops up from time to time but before I give my answer we need to look at what they are and what they can offer. Without going into the technical detail too much (you can check out the tech specs on the web), I will keep it simple. Continue reading Primes vs Zooms: A Different Perspective
Wildlife photography throws up many challenges. For starters, weather and environmental conditions are rarely ideal. Dusty African savannahs, humid jungles, persistent precipitation in rainforests, sub-zero temperatures in the Arctic and Antarctic – they all demand the very best of the equipment I use, in terms of both performance and reliability. In reality, it’s about confidence – I need to know that when the going gets tough the camera I’m using will perform consistently and uninterrupted. Having worked with X-T series cameras in camera-hostile environments around the world, I already have surety in the Fujifilm system.
I have recently spent time working with the FUJIFILM X-H1, including a trip to the stunning Camargue region in the South France to photograph the wild horses there. It’s obvious the designers and engineers have taken weather resistance to even higher levels with this new camera, with more robust seals to prevent electronics’ two main enemies, dust and water, leaving you high and dry. Continue reading Never Miss The Moment: A first look at the FUJIFILM X-H1