At the beginning of December, I was on my way to California for a part-work, part-fun gig in SoCal. Being that this was only my 2nd trip to California and my first to the coast, I wanted to take everything that I thought I might need. One of the perks of the FUJIFILM X Series system is that I’m able to bring a lot of gear without having to worry about my bag being too heavy, on account of everything being so small and light compared to a DSLR system.Gear List:
FUJIFILM XF10-24mmF4 R OIS
FUJIFILM XF16mmF1.4 R WR
FUJIFILM XF16-55mmF2.8 R LM WR
FUJIFILM XF35mmF1.4 R
FUJIFILM XF56mmF1.2 R
FUJIFILM XF50-140mmF2.8 R LM OIS WR
FUJIFILM XF1.4x TC & XF2.0x TC
Formatt-HItech Firecrest Holder
Formatt-HItech Firecrest 10-stop ND & 3-stop ND Grad
13” Macbook Pro
1TB SSD Hard Drive
Anker PowerCore 20000
The Camps Bay ONA Camera Bag in Smoke
I’ve always had a love/hate relationship with shooting out of airplane windows. I’ve taken some beautiful shots, and some terrible ones, but regardless I always give it a shot and hope for the right combination of clouds and terrain to come away with something cool. For the first time in the sky I gave the X-T2 with XF50-140mm and XF1.4X Teleconverter a shot and it ended up being really awesome. Typically I have always tried shooting wide and always seemed to get the wing of the plane, reflections, or window scratches that made my shots unusable. But zooming in that far, and having the crazy good image stabilization of the 50-140 gave me some spectacular results.When I finally landed in San Diego, I only had a few hours to get checked into my hotel and find a good spot to shoot the sunset before I had to shoot the event I was in town for. I grabbed my ONA bag and ran out the door to see what I could find. I just made my way toward the west-facing beach of Coronado. This was my first “true” California coastal sunset, and it was a colorful cloudless sky. I took a few shots but mostly just took it in and enjoyed the moment.Day 2 started when a friend picked me up and we drove out to Anza Borrego. It was an unbelievable experience for this midwestern boy; in just 2 hours, we went from beautiful rolling hills and coastline to mountainous desert. We spent some time shooting from Font’s Point which gave a breathtaking view of the terrain spread out in front of us. This was everything I always expected from California: palm trees and vast expansive desert spread out in front of me. We spent a few hours shooting the beautiful textures and colors of the desert before moving on.Heading back towards the coast, we decided that the next stop would be the rocks of Corona Del Mar. Despite slipping multiple times and having extremely soggy shoes, I was thankful to have experienced one of the most beautiful sunsets of my entire life. Having 2 camera bodies is absolutely essential for the kind of work that I like to do. I split my time between my X-Pro2 with XF10-24mm set up on a tripod shooting long exposures, and my X-T2 with XF50-140mm combo in hand snapping away at boats, water and really fine-tuning my compositions with the compressed field of view. Having the 50-140 lens has turned me from a 100% wide shooter to a 60/40 tele/wide shooter and it has made such a huge impact on the work that I create.The next day was spent shooting around the picturesque Laguna beach area. It was a semi-low tide so we climbed to an area along the coast that has a sinkhole with beautiful swirling water, and set up our gear. After a bit of droning and waiting to see what we would get in terms of a sunset burn, we all got a bit ambitious and ventured further out on the rocks that were exposed by the low tide. While setting up on a tripod to get some water movement shots, a rogue wave came out of nowhere and completely soaked me and my camera. There has never been a time that I was more thankful to have weather-resistant gear. I spent the rest of the night soaking wet from head to toe, but was able to continue to shoot the rest of the sunset.After drying off at my hotel and grabbing a couple hours of sleep, I decided that my final morning before flying home was going spent in Long Beach shooting the sun coming up behind The Queen Mary. I arrived to a beautiful star-filled sky, giving me enough time to nitpick and get the composition that I really wanted. As I sat there on the rocks with my X-T2 on-tripod in front of me just waiting for the perfect moment, I thought about all I was able to experience on such a short trip, and how there is so much more of the world to see and explore. I couldn’t ask for anything better than being constantly inspired to create by my surroundings, and the gear that helps me capture it all.
One of the most common questions I receive from new photographers is which lens to use when photographing food. When choosing gear there is never a correct choice; it all boils down to the type and size of the food, your workspace and setup, the style you hope to achieve, along with how you want your final image will look. Each lens will have advantages, and even disadvantages, depending on your setup. Here is a list of a variety of lenses, along with why you might choose each type of lens for food photography.
A macro lens is an obvious choice for photographing food. You can get really close to the food to highlight certain elements, and also easily photograph and fill the frame with small items, like berries or tiny bites of food. Depending on the camera you use, macro lenses come in different ranges of focal lengths.
Keep in mind that a macro lens is not always necessary to photograph food. With full-frame cameras it is sometimes necessary to use a macro-capable lens in order to get close enough and fill the frame. And, in some cases, getting too close to your dish may not be the best way to photograph it. With crop-frame cameras, such as with the FUJIFILM X-T2 used for this photo, a macro lens is not always a requirement. Because of the crop factor there is the perception that the camera is closer to the subject, and so a macro lens is only a real necessity when you want to get really close and fill the frame with small items.
In most cases a wide lens will be best for overhead setups. The space I use to photograph food in my home is too small for a wide-angle lens to be used without including other elements, such as the window or reflectors. Instead I reserve the wider focal lengths for overhead shots.
A mid-range lens, especially one that has a close focusing distance, can be a good option for food in any environment. I like to use this type of lens when I know I will want to photograph my dinner while traveling (for example). It is long enough to compress and blur the background, but narrow enough to not include too wide of an angle of view. I can also still sit quite close to the food; with a longer lens I need to move back a few feet, which can be difficult when sitting at a dinner table.
Medium Telephoto (90–120mm)
The medium telephoto lens, also known as a good range for portraits, is also a great focal length range for food photographs. One of my favorites is the FUJINON XF90mmF2 R LM WR; I can get in close to the subject, and also compress and blur the background quite well.
When you have a lot of space to work in and really want to compress and blur your background, then a telephoto lens might be a good option for you. This type of lens will typically work well with crop-frame cameras, which is great news for Fujifilm users! On full-frame cameras, however, you may find that the focal length will not allow you to get close enough to the subject to get it in focus. However even with this setup (a small item of food) I was unable to get a tight shot of the bruschetta with my FUJIFILM X-T2 because of the limited focusing distance, but with a larger dish this lens might work well.
May this year I picked up a second-hand graphite silver edition X-T1 and wanted a good excuse to go out shooting with it.
So.. I arranged to meet a model I’ve known for 5 or 6 years now, Imogen Leaver who’s with Nevs Models in London. We got chatting and I mentioned a friend of mine who’s a makeup artist that had just moved to Ibiza, well she’d been on my case to fly out and shoot on the island, it was something I’d been wanting to do for a long time.
To cut a long story short, we were both fairly quiet work-wise so we looked into flights and within a few days that was it, flights were booked and we were going to fly out the following week for 3 days!
The next thing to decide was what gear to take?
You see my switch to regular use of the Fuji X System was still pretty fresh, my Canon 5D MkIII was and still is part of my kit but I’d only used it once in about 4 or 5 weeks, even in the studio I’d been reaching for the X-T1.
Honestly, I thought I might have deliberated more over what kit to take but I wanted to travel light and I already knew how much I loved Fuji in natural light from past experience so that was that – I took the X-T1, the X100T, my 35mm and 56mm.
I’d also been hearing great things about the XF50-140mm zoom, but being a prime shooter I wasn’t too sure if it would work for me, but Fujifilm kindly loaned me one for the trip so I could try it out and see what all the fuss was about, I wasn’t expecting to use it much – how wrong I was!
First day out we drove to a beautiful beach, Sa Caleta the sun was shining & we were ready to get going, the rocks and cliffs were a beautiful golden colour I just knew would give amazing tones and colour to Imogen’s skin.
We started with a bit of fashion on the water’s edge before heading up into the cliffs, at this point I pulled out the 50-140mm lens as I thought it would be good to stay fixed to one spot rather than moving around the rocky terrain with the camera to my eye and tripping.
Well, I really wasn’t prepared for how much I was going to fall in love with that lens, it performed like a prime, fast to focus, sharp and the Optical Image Stabilisation (OIS) was a real plus. I’ve not got the steadiest hands so when I’m out in natural light it can be so easy to miss a shot due to camera shake, but with this lens every shot was in perfect focus.
I was also surprised how balanced it felt in the hand for a large zoom, when you compare it to something tiny like the 35mm F2 you’d expect it to feel very heavy and just a bit odd on a small body, but I found it really easy to use and very comfortable.
Day one was the last time I used my primes, seriously.
The zoom did not leave my camera for the rest of the trip as after reviewing the images on my MacBook Pro every evening I noticed they appeared to have more depth to them, almost a 3D quality. Maybe it was the beautiful Ibiza light I don’t know, but there’s something I can’t quite put my finger on that’s different to the primes and whatever it is, I love it.
I really did put it to the test on this trip as well, some strong winds on the second day really showed how the OIS helps. We shot alongside those famous Ibiza sunsets where Imogen modeled swimwear out upon a jetty with the sunset behind her – I experimented quite a bit here as it’s not something you get to shoot everyday!
I’d shot sunsets in the past but throwing a model into the mix really offered up a new challenge for me, and I knew Imogen really wanted some sunset shots too… no pressure!!
I exposed for the sunset initially leaving Imogen in silhouette but then found a good middle ground exposure to be able to have enough light on her while still capturing the beauty of the sunset, the colours and reflections on the water. I also tried exposing for the model and blowing out the sunset more and I have to say they all worked out very well.
You don’t get more than maybe 20 minutes to get those shots and yet I was still spoilt for choice with the results. I knew I could push things in post but I’m a bit of a stickler for getting things as close in camera as possible & having all the dials on top of the camera really helps to make those quick adjustments.
I think the ultimate test was as we were driving away from the beach on the cliff road, Lauren, our make up artist and host pointed out to the sun just about to disappear into the water behind us, I wound down the window grabbed the XT and with my upper body hanging out of the moving car I took a shot, as you can see it came out beautifully!
I have to say that I truly missed that lens when it went back to Fuji and I think I’m very likely to get myself one in the near future. The whole trip was a great success and we’ve had great feedback from the images that were taken.
I’d like to thank Fuji for providing the lens for this trip as well as my friends Lauren Buckley make-up artist and Imogen Leaver for making the trip such a successful and memorable one.
Day 1: Hey! You remember as a child when your parents explicitly told you not to pet stray dogs? All the CDC warning about rabies? If your first reaction after breaking these basic rules is to sacrifice your trigger finger over your X-T1… there might be a greater issue then the inability to follow directions. The X-T1 was my camera of choice because I needed something as reliable as Imodium, yet flexible enough to condone creativity – all while still resembling the look of film. I mean, come on! When you’re worried about the possibilities of your body failing, health, or basic safety, you don’t have time to second-guess about gear.I’ll spare you the details about the sobering reality of needing to trade my personal snacks for battery space. If you’ve ever encountered the luggage scale of doom in an airport, then you understand the seriousness of airline weight restrictions. Now, imagine restrictions for a 4 or 6 seater plane and the tired muscles of the sweet mules that will inevitably carry the still-too-heavy load.Let me back up a second. Journaling is my way of processing overwhelming amounts of information. Figuring out what works and what does not work, and why. Last September I was lucky enough to join an incredible group of individuals from around the globe to set off on a month-long expedition in the lesser-known mountains of Dolpo, Nepal. The group, called the Nomads Clinic, was created by Joan Halifax and serves some of heartiest, most salt-of-the-earth humans who live in some of the most remote places in the world and are in need of medical aid. There was no set storyline or plan for photographs except to document the journey. It can be challenging to narrow down your focus when everything and everyone is interesting. It’s also tricky to think at high altitude (10-18,000ft) so doing a solid amount of planning and research ahead of time is an integral part of my process. There is a lot to be said about visiting a place and meeting the people before deciding what your story is truly about.
Just as an illustrator uses multiple pens or a chef has his favorite knives, cameras bodies and lenses are no different. Prior to this endeavor I made a list of criteria my gear must meet in order to have the best chance of success. The gear would need to be: lightweight, quiet, have a high ISO range, be durable and weather resistant, have external controls easy to change and most importantly all of these functions needed to come in something small and compact. The camera is a tool, a tool to think with, understand with, initiate conversation with, but it works against you if it’s intimidating or hinders maneuverability. The rotating LCD was also pivotal. Really. Just as the ability to shoot from the hip without it looking like your hip took the shot- fantastic! The X-T1 not only met my basic criteria, but also went beyond and far exceeded expectations.
2 Fujifilm X-T1 Mirrorless Bodies
1 Fujifilm XF10-24mmF4 R OIS WR Lens
1 Fujifilm XF18-55mmF2.8-4 R LM OIS Lens
1 Fujifilm XF50-140mmF2.8 R LM OIS WR Lens
12x Extra Batteries for X-T1
1 X-T1 Vertical Battery Grip
1 GoPro4, 8 batteries for GoPro
Started with 10, 34GB SD cards and bought more out of anxiety at every airport
Two battery chargers with extra cords for both Fujifilm and GoPro.
Goal Zero Sherpa 100 solar charger w AC converter
Circular Polarizers and UV haze filters
Peak design backpack clip
1 XS pelican case
Things Left at Hotel
2 G tech portable HD’s
Day 17: The clinic is roaring! Mothers carrying infants and men of all ages waiting to be treated. Waiting to be seen. Be heard. Their bodies aged by years of physical labor, scorched, wind-whipped faces with lines as sharp and jagged as the mountains they live in. A baby calf is wailing for it’s mother, the air is starting to smell like rain and dark clouds make the dust start to churn. I tell you this to paint a picture, one that requires all of your senses and mental faculties to pay attention to the life, the art that is happening before your eyes and not a giant pelican case full of electronics.
Day 18: Dolpo, like many other places people explore with cameras is a microcosm of issues and stories waiting to be told. There’s not only climate change but people change. Change in cultural practices, identity, wants and needs. Not everyone believes in climate change and that’s okay; maybe the climate isn’t changing, maybe it’s purely evolving as it has been shifting and morphing for centuries, since the beginning of time. This land is akin to the first camera and now I’m standing in a home with no electricity, no running water or toilet but the father of the dwelling has a smartphone and the children a TV to watch. What allows technology to grow here but not food?Day 19: Development is moving faster then the land can handle. There is no fossil fuel, no waste disposal methods; the first signs of growth came in the form of a handful of motorbikes, cup o noodles, soft drinks, beer and a various assortment of cell phones. There are a few crude health clinics, rarely staffed and stocked with outdated medications. Migration is increasing and thus the population is growing.Traditional annual migrations are being challenged due to severe weather and lack of food. No food for humans, no food for animals. Animals cannot transport goods and become ill. People lose money. People live in close proximity with animals and animals eat trash left by humans. Humans eat the animals. Imported and exported goods are slowed or stopped. Imported foods are primarily packaged increasing waste. New illnesses like typhoid and chicken pox are being introduced because of changes in the climate and migration, which has increased: AIDS, Hepatitis and STD rates. Increased births demand more food and water then the land can yield. Water is not sanitary because that is where waste is thrown and animals bath. Children suffer from blistering lesions caused by lack of hygiene and the spreading of endemic skin diseases. Water scarcity, deforestation, below average snowfall, rainfall, drought, and bad soil, the burning of dried dung, smoke inhalation. A strong alcohol is made locally from barley. Everyone drinks. Muscular skeletal pain is common from hard labor started at a young age and injury, alcohol decreases their pain. Women drink during birth to ease the pain. Women drink during pregnancy causing birth defects. Diets are high in oils and spices and rock salt from Tibet. Stomach issues are common and everyone is dehydrated or has gastritis, hypertension and goiters. They seldom care about their health until it hinders their ability to perform daily functions. Or if they care, is there anything that they can do about it? Anyone to help them? All of these thoughts dance in my head as I try to sleep. 5 am comes all too quickly though and I’m soon reminded of the immense beauty here. The moment you realize you’re finally hydrated can actually have unexpected photographic advantages.Day 20: After a number of intense yak run-ins, I was ready for a little down time. I felt the need to make sure I’d backed up all of my images. Just in case. My incredibly patient and understanding tent mate made the remark that at dusk when batteries are charging and cards are downloading our tent resembled that of a rocket launching station. The launch pad was rarely needed however. Not dust, nor rain, freezing temperatures or scalding heat could interfere with the life of my batteries. They traveled between thick socks, down jacket pockets and sleeping bags. Just as I need my morning coffee to wake up, they would occasionally need a few minutes as well. Then we were off!Day 21: There are people on your right and people on your left, donkeys behind and cliffs in front, you can’t move yet everyone is standing in place photographing, you get this funny sensation… is everyone shooting the same thing? Or, is my gear properly attached? Did I drop something into the dusty abyss? A Peak Design backpack clip was the perfect solution. The X-T1 with my heaviest lens was light enough to attach to my backpack strap without hindering my questionable balancing abilities. In a pinch it could hang from my neck, be carried by hand or clipped to my hip without the feeling of being instantly obese on those skinny cliffs.Before I knew it: I was on a flight back home furiously downloading cards on my computer, backing them up and backing them up a second time, praying they were all there, feeling for my rescue recovery disk in my backpack just in case. Feeling the swelling in my knee caps and how difficult to impossible it would be to ‘re-shoot’ anything and how the moments never exactly happen the same way twice anyway. Dreaming about how the life of my cards would have been so much better if I only had a second card slot. And BOOM, the X-Pro 2 specs! Back at home: When a project starts to take on a life of it’s own… You’re driving to the market, driving to yoga, driving to work, sitting at the doctor’s office, sitting in bed, laying down in savashsna, and you can’t stop thinking about the place, the people, the culture, their needs, their dreams, and you’re mentally exploring various angles that would have better served your subject visually, how to show others everything you felt, everything you heard, how to more eloquently express the issues, tell the stories of the humans behind the faces, the smells of spices cooking. If I did this again would I change my gear setup? Telephoto? Prime? Zoom? One of each? Two of each? Same body? Different bodies? You get where I’m going with this. A project has begun. During the first two weeks I shot 2576 photos. I figure if I edit 5 or so a day you could potentially view them on my website in 2030. Right. Thank you Fujifilm for allowing this journey to begin.P.S. High performance mode makes a wonderful difference. Turn it on.
This is a two part blog into the adventures of Tom Corban and his trip through North & Northwest India, if you missed the original post you can view it here.
As the trip went on and the temperature increased, I appreciated not having a rucksack covering my back. I began to realise that I was missing something. It was really brought home to me when we went north into the Himalayas to do some mountain biking. We were cycling downhill on a narrow bumpy mud track with a steep cliff face going up on one side and a sheer drop of over 1 kilometre on the other and I realised that there is only so much weight you want bouncing around on you, irrespective of how you are carrying it. I started fantasizing about my X-E2 with its kit lens, but more about that later.
One of the nice things about this trip was that it was a holiday. There was no pressure and no deadline for any images. This gave me the chance to experiment with the Fuji kit without worrying about making any errors. It may sound unprofessional to some people but I have been so impressed by the Fuji Jpegs that I now rarely shoot RAW files. I had not really explored the various film settings and tended to use the Standard and Velvia settings almost exclusively. Having now experimented with the film settings, I am developing a soft spot for the Black and white with a yellow (or in some instances red) filter and I have found that in the right setting the Chrome can be stunning. I had an almost childish delight in finding out what the camera could do.
We had decided to limit our travel to the north and north west of the country, travelling by train, bus and in the more remote areas, camel and 4 wheel drive. I was interested to see how the Fuji kit stood up to the rigour of travel and how it performed in some challenging environments. I was aware that my photography had already changed as a result of using Fuji cameras but it became much more noticeable on this trip. I made fewer images and I have become, on the whole, slower. This is not a bad thing as I find that I am getting the results I want with the Jpegs straight out of the camera.
Slower behind the camera and then less time in front of the computer suits me well. I have also found that I have fewer “technical” rejects. I find that the focusing on the X-T1 is not as fast as the Canon 5D mk 3 so in some circumstances I have more out of focus shots than I would expect. However, for me this is more than made up for by the fact that I have far fewer unsharp photographs caused by camera shake in low light settings because of the wider aperture of the Fuji lenses, the lack of a mirror and the vibration it causes and the ease of holding the camera steady.
Perhaps if I were doing a lot of fast action work I would be more tempted to use the full frame camera but as things stand the Fuji suits me fine.
In low light settings such as religious services in Varanasi, the Fuji kit showed its strengths. Wonderfully sharp lenses and a camera that I could hold in my hands at slow shutter speeds.
The weather sealing stood up well in some difficult situations with temperatures of over 50 C in the desert and below freezing in the Himalayas, as well as rain, sand and huge amounts of fine powder dye during the Holi celebrations in Jaipur. There was a little wear on the camera body and the rubber cover that protects the HDMI, remote release and USB sockets has become a little misshapen with the heat but it’s a solid body built to last.
Did I make the right decision to take the Fuji Kit with me on this trip?
Absolutely. It’s a joy to use. The full kit fitted into a small waist bag with the lens hoods still on the lenses, I had no difficulty keeping the sensor clean, the Jpegs were wonderful straight out of the camera and the film simulations are good (I mean really good). I can also hold it in my hands at low shutter speeds, the lenses are sharp and I had no trouble with chromatic aberrations.
With a kit that performed like that, what more could I possibly want?
Well my X-E2 with its kit lens really.
I said earlier that we had been lucky on this trip. Whilst that’s true, we did have some difficult times. We had a bag with my Fuji X-E2 and Jo’s phone in it stolen on a sleeper train from Varanasi to Agra. I had taken my X-E2 on a various trips around Europe during the past couple of years and was really fond of it. It was the sort of camera and lens combination that you could carry unobtrusively and I loved wandering around new cities with it. Heat, rain, fog – just tuck it under your jacket. As our India trip went on, I found myself wanting it as a second camera. I know that this sounds a bit excessive but the option of occasionally leaving the full kit in the hotel and just spending some time wandering around with a smaller, lighter camera and the kit lens was very appealing and certainly would have been useful when we were cycling.
It had never been an option before as there was never anywhere secure that was large enough to lock up my full frame camera and lenses and, as a result, I would carry everything with me all the time. You do get used to it but it’s an ongoing nuisance and wonderfully liberating when you get home and don’t have to carry a heavy bag everywhere. To my delight, I found that the small safes that hotels all over the world use was large enough to fit all my Fuji kit in and still leave room for a backup hard drive and a few other odds and ends.
It’s a real game changer as it gives me the option of going out with the full kit or just the X-E2. Well it would give me that option if someone had not stolen the X-E2! I will clearly have to replace it. Mind you I have not seen the X Pro2 yet but it certainly looks good on paper and the reviews are encouraging. Now, back in England, I find myself wondering if the X Pro2 will be the camera that finally makes me sell my Canon kit and move to Fuji completely.
As someone who has traveled 50,000 miles in the past couple of years, I’ve come to realize you don’t have to go far to have fun and make great photos. Truth is, no matter where you live, all you have to do is step outside your back door. I guarantee that if you slow down and look closely at what’s around you, you’ll find many interesting subjects. Whether it’s literally in your backyard, in the nearest park, or an adorable pet —these things are right there under your nose just waiting to be noticed.While visiting Louisiana, I headed out with my weather-resistant FUJIFILM X-Pro2. Within just a few yards I found leaves, flowers, insects, frogs, and my beloved pooch Emma. Admittedly, I wasn’t feeling very inspired in the beginning. At first glance, there was nothing particularly interesting about my environment. I walked out my door, down a paved road and stumbled upon a nondescript nature path. I had to force myself to slow down and peer into places I would otherwise have overlooked. By the end of the shoot, I was having a blast.I recommend keeping it simple and just grabbing your camera and one or two lenses (tripod optional).I chose my FUJINON XF56mmF1.2 R APD prime lens known for its sharpness, clarity and beautiful bokeh effects. The FUJINON lens lineup pairs perfectly with – and optimizes – the X Series camera system. This APD prime is the only lens I’ve ever used that ships with its own apodization filter (think ND filter) which creates smooth bokeh outlines and enhances the three dimensional feel of an image. To maximize the bokeh capabilities and create a macro-lens aesthetic, I opened the lens up all the way to f/1.2 and manually set the focus to its closest distance. Then I just explored and moved the camera in and out on various objects. When I found something I liked, I framed up an interesting composition and further refined the focal point.
**Lighting tip: look for subjects in the open shade or go out on an overcast day. This will ensure your light is soft, your colors are enhanced and your exposure values are under control.The other lens was the venerable XF50-140mmF2.8 R LM OIS WR which is one of the best lenses available today for image quality and stabilization. I find this lens to be excellent all around and I’ve always enjoyed shooting portraits in this focal range. Enter my beloved brindle boxer — Emma. She emerged in a bed of flowers and I instantly had a muse!I found close to a dozen pictures in under an hour while I was just meandering around. It really pays to take your time (and your camera) and absorb whichever features happen to be around you. You will see the beauty and details in everyday life. I guarantee you’ll find something interesting.
There are many times that using a wide angle or telephoto lens just won’t get the results you want. They’re either too wide or too tight but you know in your heart that your viewpoint is correct.
It’s frustrating and causes many photographers to give up and go home without a shot they’re happy with. However you should persevere and with the introduction of photo-stitching software built into Lightroom and Photoshop you should try the third option which is to shoot a stitched panorama.
By stitching together individual images you can render your scene in greater detail and make extremely large prints without the image breaking up.
For those who want a bit of background early examples of a panorama include the Bayeux Tapestry, at nearly 70 meters in length it’ll take some stitching to get a photograph that will rival that!
I’ve shot panoramas for a number of years and find the discipline fascinating. The normal guidelines of composition do apply, but they also don’t – you have much more area for the viewer to explore, more details being captured and there can be cameo roles for people in the different areas of the image. These all come together to create a story or feeling that literally absorbs the viewer – well that’s the idea anyway!
To shoot your very own panoramic image:
Firstly, if you can – use a tripod
It’ll make stitching the images together far more straightforward. Make sure your tripod is level too – most come with a spirit level but luckily most of the Fuji X series have horizon levels built in. If you press the display/back button on the back of the camera a few times this normally brings it up on screen if it has one. To check that the camera and tripod are level, gently pan the camera from left to right and check the display to see if the level line is straight throughout the motion. When attaching the camera to the tripod – set it so that you are shooting a series of upright images (portrait orientation). You’d be forgiven for thinking that you should shoot three or four landscape images – although you can if you wish, but you will end up with a very strip like image. I have found the upright method to be far more rewarding.
Your focal length is generally a little longer than when shooting conventional landscape images.
For example, I recently shot a panorama in Paris using the XF50-140mm, to get the same result normally I’d have needed to use a XF10-24, but the detail in the bridge and the compression of perspective would have been lost.
In a perfect world you would use a panoramic tripod head and set the nodal point of the lens.
Basically this means the middle of the lens sits over the middle of the tripod – but with good stitching software you can get away without it being set, if you’re careful. The reason for this is that if you have the nodal point set correctly the perspective doesn’t alter as you rotate the camera, but when the lens is off-centre perspective from the lens to the subject distorts ever-so slightly.
Once you have chosen your composition and have panned the camera backwards and forwards a few times to check your image works, you must set your focus and exposure. Once set, do not alter them, otherwise you get very awkward tonal changes between the different images. The same applies to graduated filters – although you can adjust them slightly.
Finally you are ready to shoot!
Start on the left-hand side of your shot and take your first picture. Then turn the camera using a panning motion through about 15 degrees, or using the framing grid on the screen – move it round by 1/3 of the frame – this will give you enough overlap to avoid the distortion caused by turning your camera. Repeat this shooting process until you have completed your full composition.
Once have finished your series – shoot a blank frame so you know where the start and finish is.
You may need to fine tune your shot so always check the image on the back of the camera to make sure you’ve got every aspect of the shot you need.
When you get home the process is very simple.
Load your images into Adobe Lightroom – highlight the pictures that make up your panorama – take your cursor across the top menu bar to the heading ‘Photo’ then scroll down to ‘Photomerge’ and select ‘Panorama’. Lightroom will show you a rough render of the image then simply press OK and a few seconds later you’ll get the stunning panorama you planned.
Occasionally Lightroom doesn’t quite do the job, so if that happens – open the images in Photoshop, use your cursor to navigate through File – Automate – Photomerge – Panorama – the same process will happen only this time you will have a layered Photoshop document to work with.
It will take a little practice to create the perfect image but it’s great fun to try. For more inspiration look at the work of Horst Hamann or Nick Meers