Thoresby. The end of an era

By Chris Upton

personThe 10th July 2015 was a landmark date in the history of Nottinghamshire. When the last shift at Thoresby Colliery finished on that day not only did it mark the end of 90 years of mining in the village of Edwinstowe but it signals the end of mining in Nottinghamshire.

The pit opened in 1925 and over the years has employed tens of thousands of local people. It was one of 46 coalmines in Nottinghamshire, which supplied more than 14 million tonnes of coal per year at their peak in the early 1960s.

The first two shafts were sunk to 690m in 1925 and subsequently deepened in the 1950s to the current pit bottom at around 900m depth.

Thoresby Colliery was the first to have fully mechanised coal production and also the first to achieve an annual saleable output of more than a million tons, it became a star performer in the British coal mining industry.

In the late 1980s it raised output to exceed 2 million tons, regularly smashing it’s production records, and the colliery became known as the Jewel in the crown of Nottinghamshire mines. A crown sits proudly on the headstocks in recognition of this achievement.

When the coal industry was nationalised in 1947 it employed a million men at 1,503 pits; prior to the miners’ strike in 1984, there were 180,000 miners at 170 pits. Today there are just two deep mines left, employing about 5,000 men, at Thoresby and Kellingley in Yorkshire. Kellingley will suffer the same fate as Thoresby and closes in the autumn.

UK Coal say market pressures have led to the closure of Thoresby Colliery. Coal generates more than a third of Britain’s electricity, but it is cheaper to import coal from countries such as Russia, South Africa and Colombia than to mine it in the UK.

For the past few months I have been recording the colliery, it’s buildings, plant and people for posterity. It was my aim to create a comprehensive record of the pit at a specific point in time immediately prior to its closure.

It was a chance conversation after giving a camera club lecture that started the ball rolling. A chap in the audience worked at Thoresby and was unfortunately in the first wave of redundancies. He asked if I would be interested in visiting the colliery to take a few pictures. It was a fantastic opportunity and I jumped at the chance. He put me in touch with the Health and Safety manager, I explained what I would like to do and we were off and running. It was at this point, after I had gained their agreement to document the colliery, that the full extent of the task dawned on me.

Starting the project

I visited the colliery on seven occasions, at different times of day, in different lighting conditions, including dawn and dusk. I planned each shoot but found that an outline plan whilst retaining a degree of flexibility to react to opportunities worked best.

At the outset I just toured the site to give me an understanding of the buildings, the machinery, the operation and the people. I took snaps to create a digital scrapbook to help me plan my approach. Essentially I was imbibing the atmosphere much as I would do when visiting a foreign destination for the first time. I wanted to get a real feeling for the place before I started the photography in earnest.

Health & Safety manager Grant was so supportive of my visits giving me more time than I could have wished for.  Even coming in at 3.30am for a dawn shoot and returning to work late in the evening to get “the best of the light” didn’t diminish his enthusiasm. In fact he joked that, after watching me, he would now be able to take the best holiday snaps ever! I hope he does.

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Gear used

All of the images were shot on a Fujifilm X-T1 or X-E1 camera using a selection of Fujifilm XF lenses including the 10-24, 18-55 and 55-200 zoom lenses and 14, 23, 35 and 56mm primes. I also used a Nissin i40 flash for some shots, though preferred to use natural light wherever possible.

For my portraits, the unobtrusive Fuji equipment allowed me to concentrate on building a rapport with my subjects rather than intimidate them with a large DSLR and f2.8 lens combination. Miners might be tough guy’s and supermodels they certainly are not but they seemed to relax pretty quickly in front of my Fuji lenses.

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There were several challenges to overcome not least the light levels that were typically pretty low in all of the buildings. Because of the poor light I used a tripod fitted with a ball and socket head for as many shots as possible. My cameras are fitted with arca swiss type plates so that I can switch from landscape format to portrait very easily and without having to waste time readjusting the tripod.

The mix of different light sources from tungsten, to fluorescent and natural meant it was difficult to assess the ideal colour temperature. However the decision early on to convert all the images to black & white certainly helped counter that problem!

In a coal mine dust was another inevitable and unavoidable issue. As the miners told me it’s not only the dust you can see that is the problem and I was very careful when changing lenses and using two bodies certainly helped. Thankfully the in camera sensor cleaning worked well and I was pleasantly surprised at the minimum amount of dust spotting required.

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Working on a project

As my photography has progressed I have found that I prefer to look at a series of images that tell a story rather than seeing individual impactful pictures. Whilst I have adopted this storytelling approach in my travel and landscape photography this project was a whole different ballgame. This wasn’t going to be a six or ten image set but a large body of work that had to be planned and created in a certain style. I found this experience fascinating, though at first it was pretty daunting. However after a couple of visits I had captured some shots I was very pleased with and the plan started to fall into place. I think the discipline required in a project such as this has helped me to improve my photography and it felt good to be succeeding in this new genre of social documentary photography.

In an attempt to capture the “feel” of the colliery, and to bring completeness to the project, I also recorded various sounds around the pit and organised a series of interviews with miners past and present. I will be producing mini AV’s including these sounds and using the miner’s comments in my presentations.

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Stretch yourself

It is very easy to stick to what we know in photography and limit yourself to a particular genre. Whilst my experience as a travel photographer, where you are required to be adept at many different genres, undoubtedly helped me there were aspects of this project that were not so familiar. As a result I feel I have grown as a photographer and I would urge you to move out of your comfort zone and try something new. There will be similar opportunities in your area, seek and ye shall find!

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Capturing a piece of history

As I progressed through the project I realised that I was not only taking pictures for myself but that I was actually recording a piece of history, an enduring record of a place that, in just a few months time, would be gone forever. With that came a feeling of responsibility, not only to do myself justice but also to represent the life and work of the mining community. Apart from my family photographs, this project is the most important and worthwhile piece of work that I have ever created. Whilst there is clearly interest in the work now, what will its importance be in another 10 or 20 years?

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A personal perspective

This project has been a fantastic experience. It has improved my photography, taken me into a different genre and enlightened my knowledge of an otherwise mysterious industry.

It has been a pleasure to work with the team at Thoresby, without whom I would not have been able to produce this body of work. Whilst the colliery may not draw its workers from the immediate village area, as in years gone by, their camaraderie, team spirit, hard work and no nonsense attitude in this tough and uncompromising industry epitomise the best of British workers. The closure of Thoresby truly is the end of an era.

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What next?

I feel it is important to showcase my images to as wide an audience as possible, especially in the local area. Therefore, after securing feature in the local and national press, I will be staging a major exhibition in Nottinghamshire and am planning to produce a book – more details to follow.

To see more Thoresby images and to keep updated on the project developments please visit my website  www.chrisuptonphotography.com

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Official X-Photographer’s site – Galleries updated!

So here’s some exciting news, the official X-Photographers website has been updated!

Six of our UK X-Photographer’s have seen further images added to their current galleries to bring even more beauty to the site. So relax, grab a cuppa and take a moment to discover some stunning new works of art within the Fuji realms.

Damien Lovegrove

damien lovegroveDamien Lovegrove left his role as a cameraman and lighting director at the BBC back in 1998 after 14 successful years to create the renowned Lovegrove Weddings partnership with his wife Julie. Together they shot over 400 top weddings for discerning clients worldwide. In 2008 Damien turned his hand to shooting beauty and portraiture and has since amassed a dedicated following for his distinctive art. Damien now divides his time between teaching the next generation of photographers and photographing personal projects. His book Chloe-Jasmine Whichello is highly regarded as a portrait style guide and his website galleries have over 2000 images to browse through among the 30 categories.

Described as a living legend, Damien is on a roll with the best of his work yet to come.

View Gallery

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David Cleland

david clelandDavid Cleland is a landscape and reportage photographer based in Belfast, Northern Ireland.
He is best known for his landscape and documentary photography which has featured in a number of photographic exhibitions. His solo exhibition, an exploration of the decay of a 400-year evacuated mill received critical acclaim. David also teaches film and animation applying the rules of still photography to the art of moving image.
David’s work has been accepted by Getty Images and been published in a number of national publications and used in numerous book covers.
David has written for a number of publications on the importance of photography in education and also produced tutorials and papers on a range of photography techniques.

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david cleland

Jeff Carter

jeff carterMacLean Photographic was founded in 1996 and takes its name from owner Jeff Carter’s full name – Jeffrey Stuart MacLean Carter.

With over 20 years experience in several fields, including commercial, sport, landscape, travel and photo-journalism, Jeff Carter is based in Dunbar, near Edinburgh in Scotland. However he travels the world with his work in the motorsport and automotive industry and is constantly on the lookout for that next great image to capture.

As well as providing photographic services to editorial and commercial clients, MacLean Photographic runs a number of Photographic Workshops and Tours for individual or small groups of photographers of all abilities in and around East Lothian.

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Around the track in Belgium

Kevin Mullins

kevin mullinsKevin is pure documentary wedding photographer. He started shooting weddings professionally in 2008 and since then has photographed weddings right across the UK and Europe. Shooting in a documentary style he strives to tell the story of the wedding through photojournalism, rather than “traditional” contrived wedding photography.

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Kerry Hendry

kerry hendryKerry is an award winning fine art equestrian photographer, shooting commissions across the UK and worldwide. Her work has also been published in a number of UK and international magazines, websites and blogs. Kerry was also the first female UK photographer to be named as a Fuji X-Photographer, joining a group of brand ambassadors worldwide.

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Kerry Hendry

Matt Hart

matt hartMatt is a black & white street and event Photographer based in Liverpool, England.
His journey through photography has been over 40 years mostly using film. He still shoots film, but most recently he prefers the freedom and flexibility of the digital medium striving to retain the integrity of the original image.
Annual projects have helped him to focus on his personal development within the industry, constantly challenging his own ideas and concepts and forcing him to learn new skills. In 2013 he carried out a Year of Black and White project, this made him rethink his whole style and camera system.
Matt’s stock images have been used in advertising all over the world, his work has also been published in many books and magazines, including many photography magazines.
Matt runs Street Photography workshops and courses around Liverpool and other UK cities passing on his tricks and techniques in Street Photography and processing in black and white.

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Street photography workshops with X-Photographer Matt Hart

If you’d like to learn more about Street Photography, there’s no better way than to get some hands-on advice from an experienced professional photographer who specialises in candid street shooting.

Who is Matt Hart?

Matt Hart is a black and white Street and Event Photographer based in Liverpool. He is an official Fujifilm X Photographer; a Formatt Hitech featured Artist and the founder of The Fujiholics Social Media Group.

Matt is passionate about Street Photography, he has developed the skill to observe and be virtually invisible, letting the world carry on around him without affecting the scene. The subject is unaware. Matt keeps the system and process as simple as possible so as not to over complicate the task. This is why he has chosen the Fuji X system for his professional work which helps him to achieve his style.

Matt was recently voted for in a list of the world’s most influential Street Photographers by the Street Hunters social media groups readers.

Candid Street Photography workshops

Matt is running Street Photography workshops and courses around the UK and is passing on his techniques in Candid Street Photography.

His courses will give you the opportunity to work as part of a group, gaining confidence shooting Street within a group, as well as the confidence to go out on your own using the tips and tricks you pick up on the day in your future Street work, some people have now been on his courses a few times and every time their confidence has grown stronger and stronger.

Here are the courses he has available for June and July. You can also see his full schedule for 2015 by checking out his EventBright page here.

Brighton Street Photography Workshop

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Sat, 6 Jun 10:30
West Street, Brighton, BN1 2RE
More info

Brighton Street Photography Workshop

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Sun, 7 Jun 10:30
West Street, Brighton, East Sussex, BN1 2RE
More info

Manchester Street Photography Workshop

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Sat, 13 Jun 10:30
Ducie Street, Manchester, England, M60 7LP
More info

London Street Photography Workshop

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Sun, 28 Jun 10:30
Bankside, London, SE1 9TG
More info

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Matt’s workshops are suitable for professional and amateur photographers of all levels and are fun, informative and relaxed. They are both challenging and highly enjoyable and designed to stretch your imagination.

They will give you an insight into the way Matt works and his style of Street Photography. You will learn how to anticipate and capture that decisive moment at various locations. Matt will guide you around the best streets for Street Photography, so that in the future you can come back and explore for yourself.

Matt uses the Fuji X100T and X-T1 with a 35mm or 16mm Prime lens. If you want to hire a Fujifilm camera and lens for the day this can be arranged, if notice is given well in advance of the event by contacting Matt direct.

You can bring any DSLR or mirrorless camera on this course; fixed lens compacts are also welcome. If you are wondering what lenses to bring 50mm (in 135 equiv) is ideal.

Matt will also cover the skill in spotting a possible subject, what to look for in a great scene, how to blend in and be invisible, how to capture the subject without intrusion and how to carry out your photography in public places safely. He will also discuss how to develop confidence in shooting Street photography; he will also cover body language and personal space.

The day normally starts at 10.30am with a coffee introductions and a discussion about the day. Matt will touch on the ethics and law and how to deal with challenges in this area. You will normally spend around an hour covering Street subjects then around 11.30am we head straight out on to the streets where you can watch the way Matt works and try out some of the tips and tricks that he shares with you.

You will break for lunch around 1.30pm where we can find a quite place for a snack to discuss the mornings work and share your experiences. You then go back out on the streets to practise your new Street techniques and try and find your Street rhythm and look for some interesting characters or great light !

You stay out shooting until about 4pm, we then find a quiet place to sit as a group to discuss the day and this will include lessons learnt. Matt will share his processing techniques and preferred software. Matt will give you his views on Critique and show you how to review your own work. There is no Critique session at the end of the day but you can send your work to Matt after the event to have your work critiqued.
You will be able to post your work and talk to Matt after the event through his Social Media pages or by e mail, this can includes a Flickr link to upload and share your best three images from the day and ongoing Street images.

Courses are around £99.99 full price but early bird tickets are available at most locations when booked in advance.

Full terms and conditions can be found on the event pages for every event.

XQ1 – The Photographers compact?

Want a small, powerful camera that has features you actually want to use? The XQ1 might just be what you’re looking for.

Like many of you, I have my main camera (X-E2) that I use day in, day out. I know it like the back of my hand and could use it with my eyes closed – if you get my drift. The problem is, sometimes I just don’t want to carry a bag around – no matter how small it is. I want a pocket sized camera that I can forget about until the need takes me. Here’s the catch though, I don’t want a pocket sized camera that offers no control and is very noisy in low-light. This is where I think the XQ1 really shines, it just seems to tick all those boxes:

  • Pocket-sized
  • Manual control
  • High quality images, even at high ISO.

Being so used to my X-E2, I thought it would be a good challenge to use the little XQ1 for my day out to London. Not only that, but I could rid myself of the bag that I’m always carrying about, which was super!

So, like you do when you love photography & adventure, I starting taking pictures. I took the usual suspects at first; trains, train station & people randomly wandering about their business.

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One of the first reasons I would class this as a photographers compact camera is simply that you can change the focus point manually. This is something I do ALL the time on my X-E2 to aid with my composition. With other compact cameras I have used, you either cannot set it or it’s not easy to access.

For our day out we headed to the Natural History Museum, this was a great location to test the ISO performance. Looking back at the photos there is clearly some noise & grain, but it has a very film-like quality to it that I think adds to the atmosphere of the shots.

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Another point to make about this camera as I discovered on the day, was how quick it turned on. Now this may not seem life changing, but when you are with a bunch of friends that don’t do photography and want to move on to the next exhibit, speed is everything. It made many shots possible that may have otherwise been lost. This also translates well into styles like street photography – you see someone or something interesting and you need the camera to be ready immediately to capture it.

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QUICK TIP: For ease of access, I kept the camera inside my inner jacket pocket (blazer style). With that, I pretty much never missed an opportunity to shoot what I wanted – no fumbling in bags, jean pockets etc.

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Due to the size of this camera, it really is super discrete. I could get those moments that I may not have been brave enough to shoot with other cameras, with even my X-E2.

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And when all is said and done, it takes a great dinner party picture!

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I think for many photographers using DSLR’s or Mirrorless cameras, you get very accustomed with a level of quality to expect and because of this, many wouldn’t dream of downsizing to a compact camera. But, as hopefully shown in this blog, the XQ1 makes an exception to this. It shows that you can still be creative, still get excellent quality images and at at a size that literally allows you to take it anywhere with ease.

Any questions? Drop us a comment below – and yes, I cannot wait to try out the latest model, the XQ2 🙂 [WATCH THIS SPACE…]

 

 

Edinburgh Street Photography Workshop with Matt Hart

Spend the day with renowned Fujifilm X Photographer Matt Hart, exploring the exciting streets of Edinburgh picking up tricks and tips from Matt along the way. This will be delivered in a relaxed and often, very entertaining way. You will also have personal guide Ami Strachan for the day to reveal all the best locations to shoot street in Edinburgh.

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The course will give you an insight into the way Matt works and his style of Street Photography. You will learn how to anticipate and capture decisive moments throughout the city.  And, having a guide for the day will help to future-proof your knowledge of the area. So, if you choose to come back – you’ll know all the best spots!

What you will learn:

  • The skill in spotting a possible subject.
  • What  to look for in a great scene.
  • How to blend in and be invisible.
  • See and compose a subject with a scene or background.
  • Capture a subject without intrusion.
  • Develop confidence in shooting in the street.
  • Photography in public places safely.
  • Use different depths of field for different types of shot.
  • Use varying speeds for different effects.
  • How to review your own work.

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After the event you will be able to post your work and talk to Matt through his Social Media pages or by e mail; this can include online critique and coaching when requested.

When and where?

The workshop will take place on Sunday the 8th of March from 10:30am till 4:30pm with a break for lunch. Don’t worry – there will be plenty of comfort breaks for those who need them throughout the day.

In addition to Matt’s expertise, a Fujifilm representative will also be on hand with a selection of the latest cameras and lenses to try, and will be there to help answer any of your technical questions.

The exact location will be made known when a ticket is purchased and will be distributed via email.

For more information on cost or to book, please visit the event page here.

Images from past events can be found here.

About Matt

matt_hart__headshot_186x280Matt is a black & white street and event Photographer based in Liverpool England.
His journey through photography has been over 40 years mostly using film. He still shoots film, but more recently he prefers the freedom and flexibility of the digital medium striving to retain the integrity of the original image. Matt’s stock images have been used in advertising all over the world, his work has also been published in many books and magazines, including many photography magazines.

X-Photographers Spotlight – Matt Hart
 

 

Chasing the Wind – Les Voiles de St Tropez

by Simon Weir

At the start of a new year I often find myself looking back over the shoots from the preceding 12 months and in 2014 one in particular stands out: Les Voiles de Saint Tropez.

Les Voiles – literally “The Sails” – take place from April to October across the French riviera. Each race brings together some of the most beautiful traditional wooden yachts alongside the most extraordinary modern sailing boats for a week long regatta in beautiful ports such as Antibes and Saint-Tropez.

My good friend and fellow Fuji user Serge Krougikoff who runs Create-Away, a photography workshop company based in the south of France, has been talking about running a trip based around the regattas for some time and when he suggested we get together try it out I didn’t hesitate to say yes! We first teamed up with professional skipper Francois in Antibes in June and the trip was such a success that we agreed to do a second test-trip in Saint-Tropez in October.

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Nestled between Cannes and Marseille the picturesque medieval port of Saint-Tropez would be stunning even without the boats. When you add some of the worlds finest vintage and classic yachts it becomes a feast of varnish and brass.

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On shore there is a party atmosphere throughout the regatta but out on the water is where the action happens and where the photographic excitement begins.  Picture this: The south of France in the autumn sunshine, racing across the bay of Saint-Tropez in the shadow of Elena under full sail – trust me – life doesn’t get much better than this!

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The original Elena, built in 1910 and winner of the Trans-Atlantic Race in 1928, was one of the greatest racing yachts of her time and this stunning replica, built in 2009 is one of the largest yachts in the regatta with a length of 41.6m (136′) and a crew of 30 – some of whom clearly have nerves of steel…

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Under full sail she is quite simply magnificent – a true queen of the seas.

But it is when you are close to her you really feel the power and the majesty of a great racing yacht.

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These black & white images are taken with my infrared modified Fuji X-E1IR and the XF14mm lens – infrared really brings out the drama in some of these shots, especially when the clouds form interesting patterns that compliment the sails.

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All the colour images are taken with Fuji’s brilliant X-T1 and their weather resistant, optically stabilised XF18-135mm lens.  This was the perfect choice for shooting from a RIB where most of the time you are being bounced around and covered in sea spray – it was certainly a good test for the camera’s weather proofing and it didn’t let me down.  The OIS in this lens is staggeringly good allowing sharp shots almost regardless of how fast the RIB was going, and the wide range of focal lengths is perfect for a shooting situation where changing lenses is simply not an option…

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Technically, this kind of shooting is really challenging.  The light changes all the time, depending on whether you are shooting towards or away from the sun, and I found the live histogram in the viewfinder of both cameras invaluable in ensuring that highlight details were properly captured – both in the sails and the sky.  Some of my favourite images place the sun shining through the sails bringing out tremendous detail in the canvas and rigging.

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Most of the time I was shooting in shutter priority mode, keeping the shutter speed at around 1/350sec – fast enough to allow sharp images even with the RIBs motion.  Focus was left to the camera with continuous tracking AF working flawlessly on the X-T1 even at 8 frames per second – no mean feat when the acton was changing so fast.

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Amidst the excitement of this shoot it is all too easy to forget composition and just hit the shutter in the heat of the moment but it is really important to take the time to plan and conceive a shot before it happens. Our skipper Francois is hugely experienced and was able to position the RIB exactly where we asked him to get a specific shot, but always with the skill and safety of a professional captain, mindful of the fact that we were shooting in the middle of a race…

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In calmer moments we were able to capture details and abstract images of the yachts – shape, form, colour and line producing patterns and textures that tell a story of their own.

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And occasionally when the wind just didn’t blow the crews had a chance to rest as well…

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At the end of the day, exhausted and exhilarated we return back to Saint-Tropez as the light faded and the evenings celebrations began…

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For details of the two “Les Voiles” workshops Serge and I are running in 2015 follow these links:

Voiles d’Antibes – 2nd to 6th June 2015

Voiles de Saint-Tropez – 29th September to 3rd October 2015

and for more about the other workshops run by Create-Away visit their website at
www.create-away.com

 


simon weirAbout Simon

Fujifilm X-Photographer Simon Weir specialises in photographing live performance (particularly classical music), contextual portraiture and nature. To see more of his work, check out his website http://www.simonweir.com/

 

Guest post: Infrared photography in Yellowstone National Park

By Simon Weir

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I started 2014 leading a workshop in Yellowstone National Park for Chris Weston‘s safari company “Magic Is” – I am now working regularly with them as a group leader and instructor.

Yellowstone in winter turned out to be an IR photographers paradise and my IR modified X-E1 with the 14mm did great service as the images below show. This camera blows me away every time I use it and there was a great deal of interest from the 12 photographers in the group – so much so that I ended up doing a full presentation on Infrared photography one evening while we were there.  My X-Pro1 and the XF55-200 also did good service as shown in the two bison shots at the bottom of this post.

Also pleased to report that both Fuji cameras worked faultlessly down to temperatures as low as -30C – even the batteries held out really well.

Here’s a selection of shots from the IR modified X-E1 using the XF14mm lens:

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The following 2 shots were taken on the standard X-Pro1 and converted to B&W in Silver Effex Pro2:

Taken on the standard X-Pro1 and converted to B&W in Silver Effex Pro2

Taken on the standard X-Pro1 and converted to B&W in Silver Effex Pro2

About Simon

Simon Weir specialises in photographing live performance (particularly classical music), contextual portraiture and nature. To see more of his work, check out his website http://www.simonweir.com/

Fujifilm X Magazine – Issue 2 reader images 3/3

X-series users from across the globe share their finest images and the stories behind them

Here’s another selection of users’ images published in our Fujifilm X Magazine. If you would like to see your images in our magazine, and if you’re an X-series user, we’d love to see your shots. Email your images, along with details of the story behind them and some information about you and your photography to: xmagazine@bright-publishing.com

Matt Hart – Whitby Pier

Technical details Camera: X-Pro1 Lens: XF 18mm F2 R Exposure: 1/40sec at F11, ISO 200
Camera: X-Pro1- Lens: XF 18mm F2 R
Exposure: 1/40sec at F11, ISO 200

“Whitby in north east England is a timeless place. So far, it has been left untouched by developers so it is largely unspoilt and has real charm. I think it’s a place you can walk around all day and all night with a camera in a very relaxing environment.”

“The image was taken one evening using my X-Pro1 hand held – I just love its ease of use and the stunning sensor. I have just sold all my Nikon equipment because of this camera – people think I am mad going from a D3s to the X-Pro1, but I fell in love with the X100 and once I had used the X-Pro1 for a few days I was completely hooked.”

SEE MORE OF MATT’S WORK HERE

Rex Adams – Birling Gap

Technical details Camera: X-Pro1 Lens: XF18mm F2 R and 10 stop ND filter Exposure: 8.5secs at F16, ISO 200
Camera: X-Pro1 – Lens: XF18mm F2 R and 10 stop ND filter
Exposure: 8.5secs at F16, ISO 200

“I love black & white photography as I feel the results are less cluttered than in colour. A black & white photograph draws your attention to the subject without the distraction of colours which may or may not be an intentional part of the image.”

“I took this image with the X-Pro1, which I chose as I wanted a camera to carry around without having to lug a heavy DSLR. The X-Pro1 is the most versatile camera I have used, and the images produced are as good if not better than my Canon DSLR.”

“Personally, I am excited with the direction Fujifilm is going at the moment and am particularly interested in the Fujifilm X-E2 which may end up in my bag before too long! I like the way Fujifilm listens to users’ suggestions, and many of these have been incorporated into firmware updates. This demonstrates that it’s a forward-thinking company that puts its customers first.”

SEE MORE OF REX’S WORK  HERE

Gerald Robinson – Dead Calm

Technical details Camera: X-Pro1 Lens: XF18-55mm Exposure: 4 seconds at F22, ISO 100
Camera: X-Pro1 – Lens: XF18-55mm
Exposure: 4 seconds at F22, ISO 100

“I was after a sunrise, but it wasn’t going to happen so I decided to shoot an alternative image using a long exposure. I don’t usually shoot landscapes in black & white, but in this situation it wouldn’t have worked in colour.”

“I used my X-Pro1, but I also shoot with an X10 and X20 as they are ideal pocket cameras for any occasion. I recently changed all my gear from the Nikon DSLRs with a selection of lenses to the Fujifilm X-series and various lenses, and for me it was the right move. I just love the full manual control the X-Pro1 gives me.”

SEE MORE OF GERALD’S WORK HERE