Photography is art. Whether you’re capturing the soul of another in a portrait, or the essence of our world in a landscape image. What you capture on a sensor is reflective of how you perceive our shared environment. A camera, in other words, is akin to a painter’s brush. Perhaps this is why we place so much importance on our tools. We want to wield a brush that will help us achieve what we see in our minds. I love the analogy of a painter and a photographer especially when considering the use of Fujifilm for one of my brushes.You see, one of the reasons I bought into the Fujifilm X System was because of how I thought it’d allow me to obtain a certain aesthetic. Sure, I loved the retro look, the portability, the easy access of essential controls, the fact that it was supremely sharp; but there was more to it than these common Fuji-loves. As an artist I draw a lot of inspiration from the work of old masters. I find their aesthetic as timeless and powerful. The use of light and contrast in their paintings to be awe inspiring. I wanted to achieve with my camera and lens something close to what they were able to produce with a brush and canvas. Enter the tools I prefer to wield for a master aesthetic: the X-T1 and X-Pro2.Fujifilm’s X-Trans APS-C sensor has a few advantages in regards to capturing light. One of the largest advantages is how well it can get everything in focus when compared to one of its full-frame counterparts. A crop frame essentially increases your depth of field while you are also able to bring in more light to the sensor with an equivalent aperture and focal length. Why is this an important factor, even for portraits? Because having your scene in focus allows your viewer to get a better idea of the entire area your subject is in. A story can unfold before your viewer with better ease. Of course, you can achieve a deep depth of field with larger sensors, but you’ll lose out on light and sometimes even enter into diffraction issues depending on your scene. I’m sure some of you are wondering, “but what about the bokeh?!” Sure, bokeh can be nice for a headshot and even in environmental portraits. Bokeh offers a great way to force a viewer to look at the subject. Though, I feel as though there is a stronger element to draw attention to a subject: light. Breaking out of the bokeh-mold you’re able to expand upon your use of light. The X-Trans sensor also has an oddity about it that I have not found on a Bayer patterned sensor: it produces sharp images that have an almost a brush stroke feel to them. Some will point out that it is due to my processing an image in Lightroom and Adobe’s refusal to really figure out how to sharpen an X-Trans sensor. There could be some truth to that and from what I’ve read online, most people aren’t impressed by this interaction between camera and processor. I, however, enjoy this look and use it to my advantage. The images produced by a Fujifilm sensor seem to come together in a different manner than my images from other sensors.Since I am a large fan of natural light I really love cameras that are able to take what I throw at them in terms of needed dynamic range. With Fujifilm, I love how easily I’m able to bring down the highlights and get a nice overall exposure. This puts me shooting my exposure a little to the right more often than I’m used to, but it’s great to be able to see a clean sky in my images. There is also the DR setting which gets baked into the RAW files and even allows some more pushing of the files if need be. This is especially useful when using harsh lighting.There you have it, some of the greatest reasons of why I love my Fujifilm cameras and why they are able to capture the moments I love.
This colourful effect is known as cross polarisation and the good news is, it’s incredibly easy to do. In the days of film, this technique would have regularly required sheets of polarising film placed behind the subject and a polarising filter on the camera. Now, all you need is a polarising filter, a computer screen and a plastic geometry set. Here’s how it’s done:
1 As mentioned, the pre-requisite parts are a geometry set (we pushed the Fujifilm budget to the limit spending £1.59 on this one), a polarising filter and a computer screen. It isn’t essential that the filter is the correct size for the lens you’re using – just as long as it covers the front element. I used the super-sharp XF60mm macro for these image, but didn’t have a 39mm filter, so I just used a 72mm one instead.
2 All these shots were taken with the X-T1, which I set to aperture-priority, ISO 200 and spot metering. The camera was tripod mounted and positioned directly in front of the screen.
3 The computer background needs to be white. As I was using an Apple Mac, I did this through the System Preferences window. With the background white, I positioned the pieces from the geometry set directly on the computer screen in the order I wanted them.
4 Here’s the magic bit! Put the polarising filter in front of the lens and slowly rotate it, as you do, you’ll see the screen turn grey, then black. As this happens, the vibrant colours in the plastic will appear. Make sure you spot meter from the plastic, not the black background and you’ll get a result like this.
5 Once you’ve perfected the technique, you can start getting creative. Here are a couple of extra shots of individual pieces from the set where I cropped in in post-production.
There is a ‘sweet spot’ when you’re turning the polarising filter, make sure you experiment so you get a pure black background, otherwise you’ll end up with a less-appealing grey as you see here.
Use the Velvia Film Simulation mode for really vibrant colours.
On some screens, when you find the optimum position for the polarising filter, small white dots will appear in the background. These may disappear when you spot meter accurately, but if they don’t you can get rid of them by boost the blacks in post production.
We’d advise you to buy a new geometry set rather than using an old one, which will almost certainly be covered in scratches and will dilute the effect. Besides, everyone needs a protractor, right?