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FUJILOVE ALL THINGS FUJIFILM X AND GFX

Anastasia Woolmington

Making Poetic Portraits with the Fujifilm GFX

57 / December 2020

TILLMAN CRANE OVIDIO GONZALEZ SOLER SCOTT CARNEY BARBARA ASBOTH RICO PFIRSTINGER KEVIN MULLINS SPENCER WYNN

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FUJILOVE MAGAZINE ISSUE 57 COVER IMAGE Anastasia Woolmington EDITORIAL Tomash Editor-in-Chief Stephanie Baxter Managing Editor Dani Corbett Design

Photo: Anastasia Woolmington

CONTRIBUTORS Anastasia Woolmington Tillman Crane Ovidio Gonzalez Soler Scott Carney Barbara Asboth Rico Pfirstinger Kevin Mullins Spencer Wynn

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ALL THINGS FUJIFILM X AND GFX

ISSUE 57 | DECEMBER 2020

77

69

5 MAKING POETIC PORTRAITS WITH THE FUJIFILM GFX

ANASTASIA WOOLMINGTON

17 HOW THE GFX 50S HAS CHANGED MY PLATINUM PRINTING PROCESS TILLMAN CRANE

54

30 ‘LA POPULAR’: A STREET PHOTOGRAPHY PROJECT OVIDIO GONZALEZ SOLER

05

41 FUJILOVE INTERVIEW: SCOTT CARNEY

50 FROM THE FEED FUJILOVE COMMUNITY

54 FUJILOVE INTERVIEW: BARBARA ASBOTH

65 RICO’S QUICK TIPS 69 BEING CANDID: PART 6 KEVIN MULLINS

17

77 WHAT IT IS TO BE ESSENTIAL? SPENCER WYNN

MAKING

Poetic

PORTRAITS WITH THE FUJIFILM GFX

Anastasia Woolmington

For centuries, the art of portraiture captivated the greatest masters. Pose, facial expression, choice of light and colour palette, composition, environment – every aspect of a portrait has been intentional and thought through, all with the purpose to tell a story about the subject through the artist’s eye, to let us imagine not only their literal likeness, but also understand their inner essence, their mood and feelings.

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GFX 100 + GF45mmF2 at f/4, 1/125 sec, ISO 1250

GFX 100 + GF110mmF2 at f/3.2, 1/400 sec, ISO 160

A

ristotle once said: “The aim of

THE ARTIST BEHIND THE LENS

art is to present not the

Similar

outward appearance of things,

photographs should be first created in

but their inner significance.” And even

the artist’s imagination. The problem

today, after painting has evolved into

with digital point-and-shoot cameras is

photography, portraits that transcend

that they make things too easy. They are

time are the ones that take us on a

extremely accessible; there is an auto

nostalgic journey to our own hearts and

mode and autofocus, that create the

memories.

illusion that photographer doesn’t need

The digital era brought instant, sharp, flawless images that, in my eyes, only

to

painted

portraiture,

to give any input, other than to press a button.

depict the obvious, often lacking when

As a result, we see social media

it comes to conveying the inner beauty

flooded with images that lack soul,

of a moment. So, how do we make our

substance, imagination, character and

images more poetic?

story. They are images that are often over-processed, that use filters to hide the absence of creativity, that are unnaturally saturated and that show altered colours.

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GFX 100 + GF110mmF2 at f/2.8, 1/1000 sec, ISO 160

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LIGHT AND COLOUR To learn about portraiture, I often turn to great portrait masters of past centuries.

The general lighting in the portrait would create a mood of how we perceive the subject and what their character might be. Certain lighting techniques, like chiaroscuro, would have a different visual impact on the viewer, helping to create a story. Similar to the amount and direction of light, a choice of certain colours can be also used to bring attention to a subject. Certain colours in the image can ignite specific feelings and memories in the viewer. For example, warm candlelight or soft pastel colours of a sunrise would set the mood for a romance.

GFX 100 + GF45mmF2 at f/2.8, 1/100 sec, ISO 2000

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GFX 100 + GF110mmF2 at f/2, 1/125 sec, ISO 1600

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VISUAL SEMIOTICS

McCurry. This close-up portrait creates a

Semiotics is a complex and powerful

feeling of intimacy, and direct eye

tool that can be used to engage with

contact puts her on a horizontal level

the viewer and tell a story, resulting in

with the viewer and establishes a strong

powerful

lines,

connection. Her lack of smile and

composition, body language, image

modality of her clothes imply the

structure

hidden

realistic nature of the photograph. The

messages, captivating details – all are

green background and red garment

important to get the viewer’s attention

contrast with each other, but also bring

and tell us more about the subject.

attention to her green eyes. The soft

portraits. and

Leading

direction,

For example, consider the famous portrait of the Afghan girl by Steve

curve of the fabric leads the viewer’s eye to travel in a circle.

GFX 100 + GF110mmF2 at f/2, 1/500 sec, ISO 200

GFX 100 + GF110mmF2 at f/3.2, 1/600 sec, ISO 100

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GFX 100 + GF45mmF2.8 at f/2.8, 1/1800 sec, ISO 400

CHOICE OF CAMERA AND LENS

modern times couples expect us to

portraits,

I have personally found that portraits

provide a preview of their wedding the

autofocus at my disposal. Shooting

taken with a film camera often produce

next day. Not to mention fashion shoots,

somewhere between f/2 and f/4 is the

a more profound emotional response in

where the client wants to see immediate

‘sweet spot’ to achieve the signature

the viewer. One of the reasons for this is

results on the screen.

aesthetic of my work.

while

having

brilliant

the nostalgia that we feel when looking

A few years ago, I started working with

One of the main characteristics of film

at old analogue photographs. Another

the Fujifilm GFX 50S and now with

is that it mostly uses available natural

reason is the visual aesthetic of film:

Fujifilm GFX 100 – these cameras have

light to create an atmosphere. When I

soft

tones,

all the advantages of modern technology

photograph reception spaces lit with

painterly light, depth of field and

combined with a medium format sensor,

candle light, I use exactly the same

background separation characteristic to

giving me a powerful tool to produce

shooting technique as I would with film.

medium format, romantic grain and true

images that are similar to film in

The GFX has a brilliant dynamic range

to life colours.

aesthetic but with the flexibility in post-

that would allow me to take images full

processing of superb RAW files.

of character without the need for

As

images, beautiful

a

wedding

skin

photographer,

I

understand that the reality of my work

I love the GF lenses. One of my

introducing artificial light, that can

often doesn’t make film a wise choice. It

absolute favourites for portraiture is the

sometimes make images look somewhat

has its limitations and costs, and in

GF110mmF2.

fake.

It

creates

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flattering

GFX 100 GF110mmF2 at f/2, 1/40 sec, ISO 250

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GFX 100 + GF110mmF2 at f/2, 1/640 sec, ISO 800

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GETTING IT RIGHT IN THE CAMERA AND POST-PROCESSING

Lightroom, I adjust a few sliders to

line to an S shape will create deeper

achieve a ‘film look’. First of all, clarity

shadows and brighter highlights, always

Anyone who ever shot a classic medium

gives away the ‘digital look’. Depending

keeping in mind that even a slight curve

format film stock, like Fujifilm 400h,

on the image, I start by reducing clarity

adjustment can have a very dramatic

would know that film likes to be

to between -7 and -10 to soften the

result.

overexposed by one stop, and a light

portrait.

meter would be set up to read light at

Digital

Lastly, I add some grain to the photo, to

adjusting amount, size and roughness to

iso 200. This limitation would mean use

accurately capture colour. Green is often

achieve the look of different film stock.

of lower aperture and shutter speed.

neon and very saturated, so I make sure

Aesthetically, it enhances skin tones and

to adjust that in my HSL sliders, reducing

IN CONCLUSION

adds a painterly look to portraits.

saturation and shifting the hue to a

There are so many techniques and

Adopting a similar shooting technique

more pleasing tone. Overall, I make sure

creative ways to take a fine portrait, but

can help while shooting digital. Only

that all colours are subtle, natural and

only connection with the subject can

bear in mind that digital cameras don’t

not overpowering the main focus of my

help capture and convey their true

like overexposing. In fact, it is better to

portrait.

essence. This way a portrait not only

underexpose your highlights by at least one stop to preserve more details.

cameras

don’t

tend

The next thing I do is adjust the tone curve to resemble the dynamic range of

Once I import my images into

becomes a beautiful memory, but visual poetry.

film. Changing the curve from a straight

ANASTASIA WOOLMINGTON www.serenityphotography.com FUJILOVE INSPIRATION | 16

DIGITAL NEGATIVE

HOW THE GFX 50S HAS CHANGED MY

Platinum

PRINTING PROCESS Tillman Crane FUJILOVE INSPIRATION | 17

APOLOGY TO ANDRE

GFX 50S + GF120mmF4 at f/11, ¼ sec, ISO 100

P

hotographers have two primary

As a photographer, my tool for

using the same aesthetic I learned with

components to their practice:

recording my relationship to the world

my view cameras. Most of the time I work

process

Our

is a camera. For years, an essential part

on a tripod and use the rear screen like

process is not only how we work but

of my process was working with large

the ground glass on a view camera. My

reflective of why we work. The product,

format view cameras and film. This

images are captured as RAW files,

a print in some form, emerges from this

equipment forced me to slow down – to

uploaded to my computer and edited in

process. The viewer responds to how the

take my time before snapping the

Lightroom and Photoshop. On average I

image makes them feel, which is based

shutter. I learned that slowing my

keep 10% of what I shoot for my first edit.

on their life experience and not their

process gave me a better chance at a

As with my film negatives, less than 1% of

knowledge of our process.Understanding

negative I could use. In the end, less

the images I capture ever make it to the

the process may add interest but doesn’t

than 1% of the negatives I developed

first test print stage.

usually influence their response to the

made the cut to the proof print stage.

work.

and

product.

Today I work with the GFX or X-T2 FUJILOVE INSPIRATION | 18

The platinum print has been my choice of print expression since the 1990s. The matte surface of the print and long tonal range of blacks and browns gives a lustrous glow to the print. The colors are controlled by the proportion of platinum to palladium, choice and temperature of the chemistry as well as the color of the paper. Mixing the emulsion just prior to use, brushing it on the paper and making each print, one at a time, adds to my enjoyment and appreciation for the outcome.

COATING

PREPARING FOR EXPOSURE

As a contact printing process, the size

into my workflow. At first, I used a digital

of a platinum print is controlled by the

scanner simply to scan negatives for

size of the negative. When I began

book reproduction and to put images on

making platinum prints, I used a two-

my website. Eventually I learned to scan

step positive and negative process

negatives to make enlarged digital

involving a graphic arts film to make my

negatives for my platinum prints. The

enlarged negatives. Those materials

gaps

became less available and the digital

inconsistencies in my workflow made

revolution took over and gradually crept

this a frustrating process.

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in

my

knowledge

and

I’ve spent the past three years learning

print, which means I have a narrow but

my camera and the language, process

deep familiarity with how I use a small

and workflow of the digital darkroom.

bandwidth of Photoshop and Lightroom

Though I have been a photographer for

capabilities. That said, I am now able to

over 40 years, this education involved a

consistently make beautiful platinum

steep learning curve. I’ve kept my focus

prints at 26x36”.

on creating the image for a platinum

THE LAST BOW

GFX 50S + GF120mmF4 at f/20, 1 sec, ISO 100

Working with the Fujifilm GFX 50S has been a game changer. Though I use it as I did my view cameras, I can capture more images when shooting and I have much cleaner files to work with than my scanned film files gave me. Using the Digital Zone System, I make sure I have information throughout the image from extreme shadows to intense highlights.

I have greater control over the depth of field by using focus stacking. I have a wide

variety

of

digital

darkroom

programs with which I can work on the image. Modifying the image is cleaner and faster than anything I could do in the wet darkroom. I take more significant compositional risks and do not worry about how expensive each exposure is.

FIGURINE

GFX 50S + GF120mmF4 at f/9, 1 sec, ISO 100 FUJILOVE INSPIRATION | 22

To create the curves for my printer, I

digital negative needs to have a density

flatten it and invert the file. Now the

apply starter curves to a digital step

reading about 1.90 above transparent

image looks like the negatives I am

wedge and print the results. I read these

film, i.e. 2.00. A negative created with

used to seeing. I send the file to my

with a densitometer and replot the new

this curve will need no contrast agent in

printer either through Photoshop or

curve of densities. My goal is to create a

the platinum emulsion to make the

through the Epson Print File application.

curve that has 21 steps that flow

print.

The darkroom part has remained

smoothly from total black to pure white

When I am ready to make the negative,

much the same for 30 years. As a contact

(= paper color). The transparent film has

I take the image back into Photoshop. I

print process, the size of the negative

a film base fog reading of about 0.10.

converted it to black and white in an

controls the size of the platinum print. I

This will print pure black. The black to

earlier step utilising all of the available

am making large 26x35” images on

white range of the platinum/palladium

color information. In Photoshop I assign

30x40” paper. My ‘negative’ image is

emulsion is about 1.90. If the clear part

the profile, set the image size, and apply

26x35”. While the negative dries I set up

of the digital negative is going to print

the curve for the printer. This curve is

the darkroom to print.

pure black, then the densest part of the

applied to the positive image, then I

PREPARING THE NEGATIVE

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DRYING

Lacking pre-coated paper, platinum

negative is placed emulsion side to the

prints are made with a hand-mixed and

coated side of the paper in a vacuum

hand-coated sensitizer. The sensitizers

frame. The light source is ultraviolet

are mixtures of platinum and palladium

light and I use a 30x40” exposure unit

salts. These salts can be used either

built by Jon Edwards Engineering. As

separately or combined. The sensitizer

with the silver printing process the time

for each print is mixed just before use,

of exposure depends on the density and

coated on the paper with a brush or

contrast of the negative.

glass rod and dried with a hairdryer. The

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LATENT IMAGE

A visible latent image can be seen on the paper after it is removed from the exposure unit, but a developer is required to form the image completely.

The

three

developers

most are

commonly

potassium

used

oxalate,

sodium citrate and ammonium citrate.

After time in the developer the remaining

salts

are

removed

by

immersing the print in a weak acid solution and then into a wash with the chelating agent, EDTA. A water wash completes the wet darkroom process ensuring an archival print.

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IN THE DEVELOPER

The colour of the print is determined by three factors: colour of the paper base, sensitizer composition and the developer. The paper base determines the colour for pure white in the image.

The sensitizer composition determines the warmth or coolness of the browns and blacks in the image. I choose a palladium emulsion with a small amount of platinum, making the color of my prints warmer than traditional platinum/palladium prints. The choice of developer and the temperature at which it is used affects both contrast and colour of the image. In general, increasing the temperature of the developer will warm the colour (more brown than black) and decrease the contrast of the print.

No two prints are exactly alike because these sensitizers are mixed drop by drop and coated by hand. They are, essentially, monotype prints from the same negative. Some practitioners of historic processes leave brush strokes visible either in the image itself or on the edges of the print. My goal is to make my print statement as smooth as possible with white borders. Occasional QUARANTINE BLUES

brush strokes will be visible, and they

GFX 50S + GF120mmF4 at f/9, 0.6 sec, ISO 100

should be seen as the marks of the artist.

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Have I saved time or money moving to the GFX 50S? Not really, if you add up the costs of the camera, lenses, and supplies,

upgrading

the

computer,

monitors, printers, cost of classes and unpaid hours practicing what I’m learning. Am I taking chances and making new work? Yes. Am I able to make really good bigger prints? Yes. Am I excited to be out photographing again?

Yes, yes and YES! The GFX came into my life at just the right time and though I thought I would always define myself as a large format photographer I am willing to let that label fall away as I continue to embrace this great digital experience.

EASTER TREE

GFX 50S + GF32-64mmF4 at f/16, 1.5 sec, ISO 100

FUJILOVE INSPIRATION | 28

In the end it doesn’t matter where,

is the moment when the heart and mind

when or how I made the photograph

of the viewer opens to something

you are looking at. My print is not meant

greater than the print in front of them.

to be a literal description of something.

When curiosity is piqued and a story

It does have to meet my interpretation

forms out of the questions that come,

of good composition and aesthetic print

only then will I have done my job as an

values. The print looks the way it does

artist.

because of my process but a boring image with a beautiful process is still a

Image credit for all images of Tillman’s process: Richard Barnett.

boring image. In the end what matters

TILLMAN CRANE www.tillmancrane.com FUJILOVE INSPIRATION | 29

CRANIUM

GFX 50S + GF120mmF4 at f/8, ¼ sec, ISO 100

‘LA POPULAR’: A

Street

PHOTOGRAPHY PROJECT

Ovidio Gonzalez Soler

The seventh street of Bogota is the most important place in the Colombian capital, not only because it is the commercial and cultural epicentre of the city, but also because the most important historical events of the country have been developed in that place. For three years, I walked this street accompanied by the Fujifilm X100F, reflecting on life in this place and on how this place is the reflection of Colombian popular culture, of which I myself am a part.

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‘La Popular’ is the most popular street in Bogota, in which the screams of the murder victims in 1948 (El Bogotazo) still haunt, and in which many more murders only generate nausea in Colombians who still do not lose their memory.

X100F at f/5.6, 1/800 sec, ISO 200

ABOUT THE PROJECT

a street full of displacement, social

The city, seen as an organic being,

struggle and tragic stories such as the

maintains a constant throb in motion.

strong events of the ‘Bogotazo’ in 1948,

This rhythmic movement is typical of

in which it was practically totally

life in society, its codes of movement

destroyed, plays an important role in

and

understanding

communication, its

forms

of

exchange, its nuances and behaviours.

In this context, Bogotá’s Carrera Septima,

FUJILOVE INSPIRATION | 31

life

Colombian culture.

itself

and

the

The characters that inhabit, travel and work there live as if stuck in time. It is a place that is out of place, where everyday life takes on an artistic sense, a place that smells bad but one that I enjoy travelling through, an unsafe place but a place where everyone goes shopping.

It is a third-world Times Square that speaks of Colombian popular culture, of which I myself am a part.

Vendors here, vendors there, to sell to the lady, the gentleman. What shoe are you looking for?

X100F at f/2, 1/2000 sec, ISO 200

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La Popular seems like a magical place, and its characters seem as if they are out of a story, but it is the living reality of Colombian society, of the exotic and very peculiar popular culture of ‘Bogotana’.

X100F at f/9, 1/500 sec, ISO 200

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The Virgin Maria, heroine of this country and this city, as strong as Wonder Woman and present in the faith of the average Colombian, a super heroine of the Colombian popular culture present on Popular Seventh Street.

X100F at f/4, 1/100 sec, ISO 500

The project ‘La Popular’, is approached

magical revelation that only its own

from everyday life in the streets of the

infrastructure could provide, a decisive

seventh race of the city and is a portrait

moment that seems to create imaginary

of Bogota life. It is a walk through a

moments charged with much reality.

series of moments that surely have been

The camera, as a dark box, collects these

very close to each one, but that are

moments to translate them into a single

framed

portrait: a journey through a never-seen

by

a

special

atmosphere

generated by a single moment of light, a

FUJILOVE INSPIRATION | 34

seventh race in Bogotá.

“Hello? I can’t hear it. Hello? I can’t hear it.” The noise of hungry vendors makes it impossible to speak on the phone; my character ignores the fact that he is old and his ears do not work at all well.

X100F at f/2, 1/1600 sec, ISO 200

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A cowboy trapped in time, or one more unemployed from this city looking to find some money?

X100F at f/2, 1/2000 sec, ISO 200

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ABOUT THE TECHNIQUE This project was born three years ago for a specific and very intuitive reason: to get out of my comfort zone. My photographic projects revolve around specific

documentary

themes,

are

approached from everyday life and point directly towards intimacy – I seek to reach the depths of my characters in order to get to the bottom of the stories.

The hustle and bustle of the day, stress, a cigarette or two, better yet: three, long faces, despair…I see this as I walk the streets, the anguish over insecurity takes hold of me, and I get lost among the people and their dark feelings.

X100F at f/6.4, 1/4000 sec, ISO 500

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The doctor who wakes up early in his office and the salaried policeman who catches thieves on Popular Seventh Street merge between the crowd of walkers and the noise of endless conversations and screams of hungry vendors.

X100F at f/2, 1/125 sec, ISO 800

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Office workers, ministers, camouflaged among equally elegant elders but with hunger in their bodies.

X100F at f/8, 1/800 sec, ISO 200

street of the Columbian capital.

The seventh street of Bogota was a

X100F. I felt so comfortable and safe

place that I travelled through daily, so I

with the small size of this camera and

None of this would have taken shape

began to take pictures with my phone, the great quality of the sensor. I did not

without discipline and persistence. Of

venturing into the world of street

need more than the 23mm lens of

course, a discreet camera helps in unsafe

photography. I was still not sure what

X100F to shape the story. That is how I

places and makes you go unnoticed.

story I wanted to tell or what direction

fell in love with the seventh street. I

These things all add up when carrying

the project would take, but it was after

researched a lot about its history and

out photographic projects.

the first year that everything began to

reviewed many visual references, and it

With this particular project, I had

take shape and the work began to be

was after two years of hard work that I

finally left my comfort zone, or rather,

much more conscious and with a clear

managed

broadened my photographic spectrum a

intention.

photographic series that talks about the

So, I started to venture out with the

to

consolidate

a

solid

popular culture in the most popular FUJILOVE INSPIRATION | 39

little bit.

Gray hair and worn suits, torn by time, gnawed by moths, odorous from the dust and the passage of time on the street, blend in with expensive suits and portfolios of important people here on Popular Seventh Street.

X100F at f/2, 1/2000 sec, ISO 320

OVIDIO GONZALEZ SOLER www.ovidiogonzalezs.pb.photography FUJILOVE INSPIRATION | 40

Scott Carney

FUJILOVE INTERVIEW

In the first of this month’s interviews, Stephanie Baxter is chatting to Scott Carney, a wedding photographer, a self-professed dog lover and board game aficionado based in County Durham, who lives with his partner, Sarah, and their two children. Scott shoots in a creative and relaxed style to capture the moments that make each wedding unique.

FUJILOVE INTERVIEW | 41

X-Pro3 + XF56mmF1.2 at f/2.8, 1/200 sec, ISO 1600

Scott, welcome to FujiLove! Can you tell us a little bit about who you are and what you do?

Thank you! I’m a wedding photographer and (very) recent wedding videographer.

I’m from England and photograph most of my weddings in the UK, with a few in Europe. I am fascinated by people and relationships, and love how much that comes out at weddings; it’s a joy to be around. My recent journey into video has come from my love of cinema and the creativity around adding sound and movement. It’s tricky, though! Outside of photography, I mostly walk the dogs, spend loads of time with my kids and enjoy a good games night (think Monopoly, Cranium and Pictionary)!

FUJILOVE INTERVIEW | 42

What has your journey with photography

some studio work. I learned a lot by

been like?

photographing so many varied subjects.

I think it’s safe to say that it’s been varied.

When I left the Army, I had assisted at

I started with photography during

a few weddings and really enjoyed the

college, photographing friends’ bands (I

excitement and emotion of the day. I

was terrible at playing guitar so picked

started my business in 2012 and started

up a camera instead!). This followed me

photographing weddings full time in

into my first main career in the Army. 2015. I have never really looked back Although I was in the Military Police,

and, after a short spell in marketing, I

I had the opportunity to photograph

now couldn’t imagine a better job than

sports, document events and even do

weddings.

X-Pro3 + XF90mmF2 at f/4, 1/200 sec, ISO 320

FUJILOVE INTERVIEW | 43

What Fujifilm gear is in your camera bag

– the compression and depth of field is

for a wedding day, and what advantages

amazing and it’s so sharp and quick to

For me it’s so important that I can

do the cameras and lenses have for you,

focus. The X-T3 with the new firmware

get close without being too distracting,

personally, when it comes to shooting

update is amazing for autofocus and the

which I found I did with large lenses

weddings?

customisable buttons work so well for

and kit. The Fujifilm cameras and

Currently, I photograph with two X-T3

my style of shooting.

lenses have really transformed the way

perfect for weddings and just works!

cameras, paired most of the day with

I also use the X-H1 for video and,

I shoot in this regard. I love how much

the XF23mmF1.4 and XF56mmF1.2.

although a little older now, it’s still

they have allowed me to work on my

Throughout the day I also use the

fantastic for video. I use the 56mm for

composition and capturing moments,

XF16mmF1.4 and XF90mmF2, mostly

video as well as the XF35mmF1.4. The

and not carrying huge cameras and

for

portraits. The

biggest advantage for me with the

worrying about all the settings, buttons

XF90mmF2 is my favourite portrait lens

Fujifilm gear is the size and weight – it’s

and technical stuff!

dancefloor

and

X-Pro2 + XF56mmF1.2 at f/1.2, 1/125 sec, ISO 1000

FUJILOVE INTERVIEW | 44

X-Pro3 + XF90mmF2 at f/4, 1/200 sec, ISO 160

On your website, you describe your

creative portraits and groups, everything

couple relaxed as soon as I can, often

wedding photography as “shooting from

I do is about the light and moment

by walking and talking, getting them

the inside”? What does that mean both

and I regularly get close to groups of

to interact with each other and then

in terms of your creative process and

people, the top table during speeches

waiting for the moment to happen.

the end results that you deliver to your

and ‘in the action’ on the dancefloor. The

If you stand ‘outside’ of the wedding

clients?

end result is images that transport the

and try to capture it, I feel that will come

I want anybody looking at my images

couple back to that moment. I basically

across in the images. If I could give

to feel like they were at the wedding,

follow laughter, tears and ‘loud’ people

any advice, it would be to stay in the

or at least know what it felt like. I want

on a wedding day!

moment at weddings, smile and don’t

the images to be close up, almost like

Even with portraits I try to be as

a guest has taken them. Apart from the

natural as possible and look to get the

FUJILOVE INTERVIEW | 45

spend all day looking at your screen or messing with settings!

How do you manage to capture the

embrace that and most of my images

individuality of each couple whose

are people and moments rather than

wedding you photograph without going

details (although I photograph them, it’s

through the motions of taking the same

not a main part for me). If you focus on

type of shots at each one?

the people, then you should get varied

I love weddings because each one is so

photos at every wedding. Even with

different. Despite photographing the

the ‘posed’ photos, getting movement

same locations and venues at times, the

and talking with the couple stops the

couple and guests are always different.

same poses time and time again. You

Small and intimate, to a large party –

won’t see many ‘standard’ poses on my

the feeling is always different. I try to

website.

FUJILOVE INTERVIEW | 46

X-Pro2 + XF23mmF1.4 at f/2.8, 1/125 sec, ISO 5000

X-Pro2 + XF23mmF1.4 at f/4, 1/210 sec, ISO 200

After photographing so many weddings

my style and like to show images that

and taking so many shots, how do you

fit my style and ideal client as much as

decide whether an image should go into

possible.

your portfolio or not?

Sometimes if I love an image, I

It’s really hard and I sometimes add an

will post it on Instagram and see the

image and then take it out and recently

reaction. I generally like to show what

I have added a few older images back in. I love as I believe my ideal clients will I generally look for the key components

also love that. I do think it’s important

(thanks

light,

to get independent portfolio reviews,

moment and composition. If all three

though, from people you trust, as it can

of these components come together, it’s

be really hard to see past your own

generally a good image. I also consider

images.

to

Kevin

Mullins!):

FUJILOVE INTERVIEW | 47

X-T3 + XF23mmF1.4 at f/1.4, 1/160 sec, ISO 3200

FUJILOVE INTERVIEW | 48

X-Pro3 + XF16mmF1.4 at f/4, 1/320 sec, ISO 160

SCOTT CARNEY www.scottcarneyphotography.com FUJILOVE INTERVIEW | 49

FUJILOVE COMMUNITY

FROM THE FEED Welcome to our community feature for FujiLove Magazine! Each month, we’re taking you behind the lens of some of the most popular photographs shared on our Instagram feed taken by members of the FujiLove community using #myfujilove.

I recently shot this image with my X-T3 while taking a casual morning stroll through a park near my home in West Virginia. This cluster of leaves floating atop the water in what was mostly a clean, debris-free lake caught my attention almost immediately. I typically enjoy capturing the beauty of everyday sites and scenes and thought this image caught the beauty of the early stages of autumn and the fading glimmer of summer.

This image was one of those shots that went mostly ignored until a couple weeks later and, upon further review, it really grew on me not only because of the simplicity, but also the beauty and calmness of nature and the contrast of the changing seasons. For my photography the simplest of images can tell the best stories and evoke strongest feelings of that little moment in time.

X-T3 + XF35mmF1.4 at f/2.5, 1/200 sec, ISO 160 Timothy Scott @TimmyDubV FUJILOVE | 50

X-T2 + XF16-55mmF2.7 at 53.3mm f/7.1, 1/320 sec, ISO 200 Oscar Tessensohn @oscartessensohn

This image was taken in October 2019 on Ameland Island in the Netherlands. We go there once or twice a year and the concept of the image had been growing in my mind for some time after I had seen the sheep on the dikes. The composition is exactly how I wanted it to be: just one sheep on top of the dike staring at me. I deliberately put the horizon in the middle, emphasising the simplicity of the composition. At first I was rather disappointed. The conditions were not perfect and the colours were rather dull. But when I applied a black and white style in Capture One, it all came together.

FUJILOVE | 51

X-T3 + XF35mmF1.4 at f/2.5, 1/200 sec, ISO 160 Moncho Pena @moncho_portraits

This shot was taken in my daughter’s house. I had this photo in my head a long time ago; the first idea was to focus on the face through the window, but I was using automatic focus and, by error, I kept focusing on the window so I had to switch to manual focus, but I ended up not liking the result! The light was amazing. I actually tried using a fill flash but abandoned that plan due to the reflection it made in the window.

The pose of my daugther was chosen by herself, with the intention of delivering a cold feeling and bad mood prompted by the COVID lockdown. She was amazing! The atmosphere was furthered through my use of the Eterna film simulation.

FUJILOVE | 52

The photo shows the beautifully dramatic and impressive landscape of the Lake District in the UK on a road trip in 2019. It was one of those wonderful spring afternoons with bright light and a pleasant warmth. For me, the United Kingdom has one of the most beautiful landscapes in Europe – it always gives me a feeling of freedom.

I used the Fujifilm X-H1 and the XF16-55mmF2.8 lens on this day. It was more a of a ‘snapshot’ than a planned image. No preparation, no filters, no tripod. Only a simple click on the trigger. Only a (right) moment in time.

I am satisfied with the result when the image has that slightly dreamy and abstract character. The gradation curve and camera calibration panel in Lightroom are especially powerful tools for this. Besides, as with this photo, I often use the Classic Chrome film simulation. It gives almost every picture that unique character. It’s my favourite film simulation.

I am very happy with this ‘snapshot’, but I am much more happy to have been in that place at that (right) moment.

X-H1 + XF16-55mmF2.8 at 16mm, f/9, 1/400 sec, ISO 200 Nils Leithold @nils_leithold

FUJILOVE | 53

Barbara Asboth FUJILOVE INTERVIEW

In the second of this month’s interviews, Stephanie Baxter is chatting to Barbara Asboth, a freelance professional photographer who, for the past seven years, has worked across multiple genres including street portraiture, weddings, fine art, lifestyle, editorial, headshots and events. She loves the challenge and variety that each subject as a unique human provides her with.

FUJILOVE INTERVIEW | 54

HEIRLOOM PORTRAIT COMMISSION

X-T2 + XF35mmF1.4 at f/4, 1/125 sec, ISO 200

FUJILOVE INTERVIEW | 55

Barbara, welcome to FujiLove! Can you

me a lot with my photography. I like to

tell us a little bit about who you are and

sometimes say I’m a ‘people-ographer’ – different cultures have given me the

what you do?

my work is all about people, regardless

adaptability and open mind that I need

Hi and thank you for this opportunity!

of genre.

to connect with my subjects and create

I’ve been a big fan of Fujifilm for years,

I thrive on versatility but mainly branding,

a portrait that reflects well on them.

so being featured in FujiLove Magazine

photograph

is a minor fangirl dream come true.

heirloom portraits, weddings and street

my photography, both

Who I am is, first and foremost, a huge

portraits. I was born in Hungary and

exercises my creativity in a different

introvert and a very sensitive person.

raised there, plus the UK, France and the

way, and also because in these uncertain

Those can be seen as negatives traits

Netherlands. I’ve also lived in Japan. I

times for small businesses it gives me

in many careers, but I find that it helps

think that those experiences of having

peace of mind to have a backup option.

FAMILY PORTRAIT COMMISSION

X-T3 + XF16-55mmF2.8 at f/2.8, 1/250 sec, ISO 500

FUJILOVE INTERVIEW | 56

headshots,

to observe, fit in and identify with many

I also run a design business alongside because

it

HEIRLOOM PORTRAIT COMMISSION

X-T2 + XF16-55mmF2.8 at f/3.2, 1/125 sec, ISO 200 FUJILOVE INTERVIEW | 57

How did you first get into photography

them and capture a portrait. It started

had to learn (and learn fast!) how to take

and how have you got to where you are

a couple of years before ‘Humans of

photos of anyone in a flattering way.

now?

New York’, which popularised the format

Eventually I had someone approach me

The cheesy but true answer is that I

(back then there wasn’t anything like

with a small job off the back of one of

was always drawn to the visual arts. I

it), and I found the premise absolutely

these TF shoots, and paid work built up

enjoyed taking photos, but in my teens

fascinating. I thought it would be a

from there!

I spent most of my time on fine art and

great way to work on my social skills,

As my responsibilities grew with paid

illustration, even planning to study art

not just on my photography and step

work, I focused on development even

or design at university. In the end (long

outside my comfort zone. I connected

more. I bought many Creative Live

story!), I ended up studying Japanese

with many other photographers around

courses to learn from the best in the

instead, and arts were shelved.

the world doing the project and sharing

industry, read books, browsed forums,

A few years later, looking for something

our photos, giving critique and helpful

and connected with other photographers

to keep my creativity alive during a

advice, it was a wonderful escape for

to support and learn from each other.

difficult year in my personal life and a

me. I fell in love with street portraits

The experience made me realise

job I hated, I picked my old entry level

and have taken hundreds since then,

how much I love to be creative, so I

Canon DSLR back up. I knew I wanted

leading to a book!

left my office job, did a Masters in web

to photograph people, but I didn’t know

While I was still learning the ropes, I

design and worked as a photographer

how. I joined Flickr for some inspiration

put up some Gumtree adverts looking for

alongside it. I’ve been doing that for six

and found a group called ‘100 Strangers’.

young women willing to do a TF shoot

years now and it was absolutely the best

The aim was to commit to approaching

with me, so I could practise more ideas.

decision I could’ve made.

100 strangers on the street as a learning

I got a surprising number of volunteers!

project, to ask about the person, chat to

Nobody was a professional model, so I

“I CONNECTED WITH MANY OTHER PHOTOGRAPHERS AROUND THE WORLD DOING THE PROJECT AND SHARING OUR PHOTOS, GIVING CRITIQUE AND HELPFUL ADVICE, IT WAS A WONDERFUL ESCAPE FOR ME.”

FUJILOVE INTERVIEW | 58

You shoot a few different photographic genres. What would you say are the unifying elements to your images across those different genres? Is this something you actively pursue or does it tend to happen naturally?

It’s a mix of what comes naturally and what I actively aim for. I like a certain consistency to my editing so that clients know what they’re signing up for, and also because I prefer a certain look, with reasonably high contrast, and warm tones. What comes more naturally is how I always try to show the subject looking as authentic as possible, even in studio work. It’s the reason I never delved deeper into fashion and conceptual photography; for me to feel inspired, the photos need to be about the subject and what I can bring out in them, not about the subject as an accessory to an unrelated idea. Even in event work, genuinely emotive moments between participants are what I look for when pressing the shutter.

I also hope that my love for observing people shows through in all my work, putting their personality and not my own at the forefront. That’s what I try to do with every photo I take.

What Fujifilm gear do you have in your kit and how has it served your needs as

STREET PORTRAIT – LILY

X-T2 + XF35mmF1.4 at f/1.4, 1/1000 sec, ISO 320

a photographer?

I currently have an X-T2 and X-T3, with the XF14mmF2.8, XF35mmF.4,

I also still have my X-T10. My gateway

and their heavy L lenses) once the X-T2

XF50mmF2,

and

drug to Fujifilm was one of the X100

came out and, after some testing, I was

XF50-140mmF2.8 lenses. These cover

models, but the battery life and fixed

satisfied that it was good enough for

all eventualities across any genre I

focal length didn’t work for my portrait

client work. I needed to save my back

might come across.

work so the X-T10 was what really sold

since after a wedding I was always

I usually use the zooms at weddings

me on the brand. I decided to go all-in

wiped out from the pain of using my

and events, and the primes for portraits.

with Fujifilm (from a dual Canon setup

Canons!

XF16-55mmF2.8

FUJILOVE INTERVIEW | 59

STREET PORTRAIT – PIPPA

X-T10 + XF35mmF1.4 at f/1.6, 1/500 sec, ISO 200

I am absolutely not a pixel peeper, so

and well-made, with an aesthetic that

in particular was all about, so I was

the in-depth discussions about noise

is stylish without looking too retro. Plus,

delighted and honoured when the

levels, sensor sizes and such aren’t a

the XF35mmF1.4 has a quality to it that

curator, Martin Vegas, asked to exhibit

factor for me at this stage. For me it’s

just fits my portrait aesthetic really well.

two of my portraits having found my work on Flickr. It was shown in Cologne,

all about the moment, the light and the expression, and all of those are

I know that you’ve had your work shown

Birmingham and New York before I

independent of the gear I use. My clients

in various exhibitions. How did those

managed to attend the Paris exhibition

have never complained about anything

opportunities come about and what has

in the Marais district last year, which

in that area either.

the experience been like for you?

was a very humbling experience indeed.

I find there’s a certain delight in using

The first one I was involved in was

Jimmy Nelson was a guest speaker at the

Fujifilm cameras as well that I haven’t

‘Atlas of Humanity’, a touring exhibition

opening event and I got the opportunity

experienced with other brands. I can’t

showcasing

to ask him a few questions myself!

really explain what it is, but I’ve heard

of people across the world. That

others say that, too. They feel tactile

idea is what my street photography

the

beautiful

FUJILOVE INTERVIEW | 60

diversity

The second exhibition I was a part of was ‘209 Women’, a collective project to mark 100 years since some women achieved the right to vote and highlight the role of women in two of our historically male-dominated industries. We took over the corridors of Portcullis House in Parliament with 209 portraits of all the sitting female MPs at the time, shot exclusively by female photographers. It garnered press attention and went on to be exhibited in Liverpool at the Open Eye Gallery as well as being published as a book, supported by arts grants and crowdfunding. To be a part of that, I had to submit a written application with a sample of my work to the curatorial team, which involved Hilary Wood, Cheryl Newman and Lisa Tse, with the support of MP Alison McGovern. My local MP was incidentally a woman, too, so it was straightforward that I would photograph her. She was extremely busy and so was I, but we managed to schedule a half hour or so with her at her home, and we took her photo in her garden just as the sun was beginning to set.

VICTORIA PRENTIS, MP FOR BANBURY

X-T2 + XF35mmF1.4 at f/1.4, 1/2000 sec, ISO 250

FUJILOVE INTERVIEW | 61

FACES OF SHOREDITCH – NAS

X-T10 + XF35mmF1.4 at f/1.4, 1/500 sec, ISO 320

I’d love to hear more about your book,

area of London and capture a mix of

Faces of Shoreditch. Could you walk us

local figures, including random street

through the process of its creation, from

portraits and portraits of business

how the idea for it came about to after

owners, residents and workers. I had

it was published?

around a year to finish it, but I was

You may be surprised to hear that one

working full-time so it wasn’t as

is also off the back of Flickr! (They

luxurious as it sounds! I walked well

should really pay me some commission

over 100 miles in Shoreditch looking

for all these mentions...!) The editor,

for potential subjects and backgrounds.

from the family run publisher Amberley

I recorded many hours of interviews,

Books, found my ‘100 Strangers’ photos

spent time with people in their homes,

on there (I was well past 100 by the

heard many meaningful or funny stories,

time) and asked if I would be interested

and in the end I ended up with a great

in releasing a book with them. The

range of characters from the area’s

publisher is a local history specialist,

colourful past and present.

so their idea was for me to choose an FUJILOVE INTERVIEW | 62

The format was difficult for me in that in several cases I spent over an hour with a person, connecting with them, and then I had to choose just one photo of them, with just a short snippet of their interview (due to the page number limit). Quite a few of the people would’ve warranted a whole chapter of their own, such as the local vicar with a life story that could’ve been a TV series, or the co-founder of a strippers’ collective and her in-depth discussion on the politics of stripping, among others. I’d like to release some of the full transcripts as blogs posts one day, with some more of the photos so all those stories don’t get lost.

I did feel slightly burnt out after the book came out, to be honest. As much as you love doing something, if you have to do it on someone else’s timeline, it can get too much and inhibit your enjoyment of the process. I took a break and then continued to take street portraits just for fun for a while. I moved out of London a couple of years ago to Banbury, a small town in Oxfordshire, and have started a ‘Faces of Banbury’ series in a similar vein, but just for myself. I want to get to know more of the local residents and feel more connected to this area I otherwise don’t have any connection to on my own timeline. If anything comes

FACES OF BANBURY – LAURA

of it eventually, then great, but I’m not

X-T3 + XF35mmF1.4 at f/2, 1/250 sec, ISO 400

pushing it at the moment.

FUJILOVE INTERVIEW | 63

Do you have any other projects currently

covered one session before I found

in progress?

out I was pregnant, however, and I did

There is actually a self-initiated project I

three more after that but eventually I

started after ‘Faces of Shoreditch’ called

physically couldn’t continue. Once my

‘One in 17’, which refers to the number of

son was old enough for me to leave him

people living with a rare disease in the

again, COVID happened, so the project

UK. The format is for me to spend a day

is unfortunately on hold but I hope to

with each subject and document their

pick it back up once we can resume

reality living with their illness through

normality! Meanwhile, the photos I took

a photo essay. I had photographed

are freely available for editorial use by

quite a few conferences and events for

any related rare disease charity or non-

rare disease charities over the years,

profit, and some have used them for

and I wanted to do something to raise

their publications already, so I’m glad

awareness of life with these diseases, I could help in some way at least. The especially some ‘invisible’ illnesses like

photos are available here for those

Ehlers-Danlos Syndrome or Ataxia. I

interested.

BARBARA ASBOTH www.barbasboth.com FUJILOVE INTERVIEW | 64

RICO’S QUICK TIPS

Each month, Rico Pfirstinger brings us his quick tips to answer your most-asked questions related to Fujifilm gear.

QUICK TIP

1

AF-S RELEASE PRIORITY ISSUES – RELOADED

Scanning through forums, I found new complaints about autofocus problems, especially in concert with slow-focusing lenses like the XF56mmF1.2. Let me remind you that these issues are most likely related

to

Fujifilm

Release Priority setting in the X-T4, X-S10 and X-T3 (with firmware 4). You can read more about this important issue in the November 2020 edition of this Quick Tips column.

Today, I’d like to expand on this topic by bringing Fujifilm’s Camera Remote app into play. As you probably know, the app features a Bluetooth-based remote trigger which does not allow you to properly half-press the app’s simulated shutter release button. It’s all or nothing, basically emulating the shutter mash technique I also described to you last month.

This behaviour can be problematic in concert with an AF-S Release Priority setting: the camera can’t properly autofocus when it is remotely released via the app. So please set your camera to AF-S Focus Priority and also make sure that AF+MF is set to OFF. This ensures that when you trigger the camera via the app, it will finish and confirm the autofocus run before taking

again,

recommended

these settings

are to

my avoid

autofocusing problems in AF-S mode: • AF/MF SETTING > AF+MF > OFF • AF/MF SETTING > RELEASE/FOCUS PRIORITY > AF-S PRIORITY SELECTION > FOCUS

secretly

changing its logic behind the AF-S

the shot.

Once

QUICK TIP

2

MIC / REMOTE RELEASE MISMATCH ISSUES

Let’s have a look at another potential issue with some recent X camera models: connecting an accessory that doesn’t match the camera’s MOVIE SETTING > MIC/REMOTE RELEASE setting. As you may know, X cameras like the X-S10, X-Pro3 and X100V have a multi-function port (ø 2.5mm or 3.5mm) that can be used to connect either a microphone or a remote release. The MIC/REMOTE RELEASE setting tells the camera

which

accessory

type

(microphone or remote release) is currently connected, and as long as the connected

accessory

matches

the

camera setting, all is well.

However, if there’s a mismatch, issues arise in concert with AUTO POWER OFF. Connecting a remote release and setting the camera menu to MIC leads to IBIS movement when (after AUTO POWER OFF) the X-S10 is woken up by halfpressing the shutter button on the remote release. And connecting a microphone and setting the camera FUJILOVE | 65

Fig. 1: Using the Fujifilm Camera Remote app to trigger a shot via Bluetooth, it’s important to make sure that the camera is set to AF-S Focus Priority and that AF+MF is OFF. Otherwise, it won’t autofocus properly, and your subject may end up being out of focus.

RICO’S QUICK TIPS menu to REMOTE leads to the camera turning on and off repeatedly. This latter behaviour applies not only to the X-S10, but also to the X-Pro3 and X100V. With the X-S10, there’s an additional quirk: connecting a microphone and setting the camera menu to MIC (which is perfectly correct) leads to a continuous IBIS movement after AUTO POWER OFF. This is, of course, a bug.

Luckily, you can get it rid of it by updating your X-S10 to firmware 1.01, which was released on 19th November.

As for the strange behaviour in case of an actual accessory/menu mismatch, well...we still have to live with that.

Fig. 2: Always make sure that your MOVIE SETTING > MIC/REMOTE RELEASE setting matches the accessory that is connected to the camera.

X-S10: SUGGESTED 3 FUNCTION BUTTON ASSIGNMENT QUICK TIP

As you may know from my October article in the FujiLove Gear Talk

and where you can press the rear

Fn and Touch-Fn buttons and a

supplement, the X-S10 is somewhat a

command dual to enable the magnifier

configurable Fn dial (Fn-D). We can also

blend between an X-T30 and an X-T4,

tool (or assign any other Fn button

configure the behaviour of the focus

but with a ‘PASM and unmarked dials’

option), reset the focus frame to its

stick and the touchscreen. By combining

user interface that has its roots in

default size or (in MF mode) switch the

these options, we can rescue much of

Fujifilm’s

bridge

manual focus assistant type with a long

the functionality that has been lost.

camera from 2012, hence the name

press. We can’t even format the SD card

To configure the Fn buttons, press and

X-S10.

by pressing and holding the trash

hold the DISP/BACK button until the

For me, the main user interface issue

button for a few seconds and then

configuration screen appears. Here are

of the X-S10 are its function dials. The

pressing the rear command dial while

my recommended settings:

camera has three of them (front, rear

still holding the trash button. Instead,

• REC: FACE DETECTION ON/OFF. The

and top left), and neither can be pressed.

we have to go to the regular SET UP >

X-S10 combines face detection and

This means that you cannot press a dial

USER SETTING > FORMAT menu.

face select in one function, and I like to

X-S1

superzoom

to use it as an Fn button or to change

Since this convenient functionality is

quickly switch face detection on and

lost in the X-S10, we have to find a

off with the REC button that is located

This is a big difference compared to

workaround if we want to use that

next to the shutter release button. With

other models like the X-T4 or X-T3,

otherwise great camera in ways that are

this setting, I can still start and stop

where you can press the front command

familiar from other X camera models.

video recording with the shutter button

dial to change the parameter it controls,

The X-S10 offers ten user-configurable

in MOVIE mode, so in my opinion,

the dial’s mode.

FUJILOVE SERIES | 66

RICO’S QUICK TIPS

Fig. 3: These screenshots show the Fn button assignment of my X-S10. To quickly access this configuration screen, press and hold the DISP/BACK button.

FUJILOVE SERIES | 67

RICO’S QUICK TIPS nothing is lost.

• T-Fn2: PERFORMANCE. Flicking left

to AE LOCK ONLY, but since I’m a

• ISO: ISO. There’s no need to change

cycles the camera through its various

dedicated manual exposure mode

the assignment of the ISO button.

performance settings, including three

shooter, I always reconfigure this

• Q: QUICK MENU. The same applies to

different Boost mode options.

button to cycle between the PREVIEW

the Q button that grants direct access

• T-Fn3: DYNAMIC RANGE. It’s a good

EXP./WB IN MANUAL MODE options.

to the Quick Menu.

idea to put the DR function on a Fn or

• AF-ON: AF-ON. Enough said. Nothing

• Fn: FOCUS CHECK. “Fn” is the only

T-Fn button, because only then is it

to see here.

genuine (as in unmarked) Fn button of

displayed as a transparent menu that

• Fn-D: DEFAULT (+/– WHEN SET TO M).

the X-S10. All the other Fn buttons

allows you to immediately see the

This specific setting for the Function

already carry pre-assigned markings. I

simulated effect of your DR settings

Dial allows me to apply exposure

use this button to quickly access the

adjustments (DR100%, DR200%,

compensation in “misomatic” mode

magnifier tool for the EVF and LCD.

DR400%) in the live view. Accessing it

(manual exposure mode M in concert

Alternatively, you might want to assign

via the regular IMAGE QUALITY

with Auto-ISO).

VIEW MODE to this button. In this case,

SETTING menu, the DR function offers

you can still magnify the live view by

no transparent display, so you cannot

To make everything work like we

double-tapping on the touchscreen.

immediately see the effect of your DR

know it from previous X cameras, we

Just make sure that the touchscreen

settings changes. You can, however,

also have to configure the focus stick in

and double tapping are both enabled.

also adjust DR in the transparent Quick

the SET UP > BUTTON/DIAL SETTING >

Also make sure that you have defined a

Menu, but this option isn’t as elegant

FOCUS LEVER SETTING menu. Here are

suitable EVF TOUCH SCREEN AREA

and comfortable as using an Fn or T-Fn

my settings:

SETTING.

button. Flick to the right to access

• PUSH > EDIT FOCUS AREA

• T-Fn1: HISTOGRAM. Flicking upward

T-Fn3.

• TILT > DIRECT AF POINT SELECTION/

on the touchscreen displays the RGB

• T-Fn4: ELECTRONIC LEVEL. Quickly

FACE SELECT

histogram with overexposure warnings

switch the electronic 3D level on and

(“blinkies”). To use Touch-Fn gestures,

off by flicking downward on the

make sure to enable the touchscreen

touchscreen. As usual, this works with

behaves almost like we know it from

and to set T-Fn TOUCH FUNCTION to

the LCD and EVF, just make sure to

previous cameras. In face detection

ON in the SET UP > BUTTON/DIAL

define a suitable EVF TOUCH SCREEN

mode, we can use it to select a specific

SETTING > TOUCH SCREEN SETTING

AREA SETTING for use with the EVF.

face when multiple faces are detected.

menu.

• AE-L: Most users will set this button

www.fuji-x-secrets.net

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With these settings, the focus stick

KEVIN MULLINS BEING CANDID

BEING CANDID: PART 6 Welcome to part six and the final instalment of this series on the topic of candid photography. We’ve covered the core elements of light, composition and moment, along with storytelling. In this final part, I’ll talk to you about some of my favourite candid photographs, how I shot them and why I like them.

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KEVIN MULLINS BEING CANDID X100V at f/2, 1/125 sec, ISO 250

T

his first image is of my little

after the legendary photojournalist

boy, Albie. I say ‘little boy’ but

Darcey Padilla. If you are interested, you

he’s growing up quickly and

can see how I build these JPEG custom

will be ten in a few months! The image

settings in my recent YouTube video

is the last photograph I’ve taken as I

about the subject.

write this. Before the second lockdown

Remember, I have mentioned many

happened in the UK, we managed to get

times during this series about the

away to my home country of Wales for a

combination of light, composition and

few days.

moment. I encourage you to go back

This image, by the way, is a JPEG

over previous issues if you haven’t read

straight out of the camera. You’ll notice

them already. I also discussed in detail

it has a lot of grain in it, and this is

what constitutes a moment and the

because I used one of my custom

ideology that a photograph doesn’t have

settings, Padilla. The setting is named

to be good, it just needs to be important.

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KEVIN MULLINS BEING CANDID

Looking at this next image, obviously

but I love observing moments like this.

from a wedding, I was struck by the

For me, as a candid photographer, this

conversation between the two mothers

tells me a lot more about the moment

before the ceremony. Usually, the

and the occasion than a simple head

mothers sit on different sides of the

and shoulders shot of the two mums

room, but in this case there was time for

looking directly at the camera.

a

little

catch-up

and

perhaps

a

comparison of wedding hats.

Once again, it’s about the light and the intriguing moment.

As a wedding

When

I’m

photographing

events

where I don’t know the subject, I love to look at the images later and wonder, “What were they talking about?”

photographer, I don’t know these people,

X-Pro2 + XF56mmF1.2 at f/1.2, 1/160 sec, ISO 200

FUJILOVE SERIES | 71

KEVIN MULLINS BEING CANDID This next image was taken at one of

I really love this photo, and it’s perhaps

Tokyo’s many flea markets whilst I was

one of my favourites from my trips to

on a business trip there several years

the Land of the Rising Sun. I feel it

back. It was taken on the infamous

captures the essence of the store, which

Fujifilm X-M1 camera. The X-M1 was an

was cluttered and chaotic in its stock,

excellent camera for its generation, but

but it also captures the kind of majesty

a range that Fujifilm never continued.

of the proprietor. I showed him the

To shoot this photograph, I used the

photograph after. Luckily, I had a

‘from-the-hip’ method. I had preset my

Japanese person with me to translate

camera, and, whilst perusing the store, I

and somehow we managed to have a

took a

camera

little laugh and joke about the picture. I

somewhere between my chest and my

sent him a copy in the post. I hope it got

hip.

there!

picture

with

the

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X-M1 + XF34mmF1.4 at f/1.8, 1/250 sec, ISO 400

KEVIN MULLINS BEING CANDID

This next image remains one of my

I love this photo and, to me, it

favourites from my ‘Day in the Life’ emphasises everything I have spoken sessions. Of course, this is the kind of

about throughout this series. The idea of

photograph you can take at home at any

candid

time of the day.

voyeuristic, gives us a peek into the lives

photography,

though

not

What I particularly love about it is the

of others. But more than that, it’s a

normalness. There is a chaotic feel to

blueprint of the past for the generation

the image, but it’s a very typical family

to come. I hope this photograph is

candid photograph. We’ve got mum who

around when the little girl has her

is trying to get some medicine into the

grandchildren. She can not only describe

baby. At the same time, the elder child

her

takes the opportunity to poach some

surroundings and the furniture, all of

cake mix directly from the tin. Dad, in

which will change dramatically over the

the meantime, is in the background

generations to come.

family

but

the

house,

the

getting the dishes washed up.

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KEVIN MULLINS BEING CANDID

This next image is perhaps more of a storytelling image. I photographed this

of the pack, to frustration as it ended up losing.

using my trusty Fujifilm X70 at the

This type of image works well as a

Cheltenham Festival of Horse Racing a

series and beyond the scope of this

couple of years back. The tiny X70 is

article, the series was made using

perfect for this kind of outdoor shot.

multiple shots. Again, it’s a photograph

Much like the photograph of the

that in years to come will tell us a lot

Japanese gentleman in his emporium,

about clothes, people, environments,

this was taken from the hip. In this

but not so much about the story as the

scene, the main subject has gone from

previous one does.

jubilation that his horse was at the front

X70 at f/2.8, 1/220 sec, ISO 200

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KEVIN MULLINS BEING CANDID X100F at f/4, 1/15 sec, ISO 200

Back to the streets of Tokyo for another of

my

favourite

candid

street

photographs.

world resumes spinning correctly, I highly advise it.

This is one of the few photographs

This one was shot at the famous

I’ve ever taken with the onboard flash of

Shibuya crossing, a bustling part of the

the Fujifilm X100 series. To capture it, I

metropolis that is very popular with

had preset the camera with a slow

tourists.

shutter speed and flash, waited in

For this series of images, I was trying

position and waited for people to pass

to capture the local Japanese people,

me. It’s ironic now seeing the mask, of

rather than the tourists. I think I’ve

course. In Japan and much of Asia, mask-

shared some these photographs before

wearing has been commonplace for a

in this article series. It’s an incredible

long time. It’s now the norm for us as

place, and if you can visit when the

well.

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KEVIN MULLINS BEING CANDID

So, that brings me to the end of this

based on the five Ws:

series on candid photography. As a

• Who

recap, I discussed the three core

• Why

principles of shooting:

• What

1. Light

• Where

2. Composition

• When

3. Moment Remember, the most important thing All three of these parameters are

is that you enjoy your photography. I

essential for any photography; it doesn’t

very much enjoy my approach to candid

matter whether it is purely candid or a

documentary photography, but your

staged editorial photograph. In order

style may be different. And that is fine,

for a photograph to be candid, however,

of course. It would be a boring world if

it does need to be unstaged. This doesn’t

we were all the same!

mean that if you stage a picture, you

I hope you have enjoyed the series,

can’t enjoy it, it just means that it’s no

and if you wish to keep in touch, please

longer candid.

don’t hesitate to connect on any of my

Later in the series, we talked about

social media channels.

storytelling through photographs – the idea of beginning, middle and end, as

Happy snapping!

well as the use of anchors in a story

Kevin

www.kevinmullinsphotography.co.uk FUJILOVE SERIES | 76

SPENCER WYNN LIFE IN THE TIME OF COVID

Nurses and personal support workers who care for our most vulnerable, our senior citizens, those who have come so far and are in need of greater care.

X-T3 + XF16-55mmF2.8 at f/4.5, 1/60 sec, ISO 80

WHAT IT IS TO BE

Essential?

As the global pandemic persists, we begin to recognise that everyone is essential.

“It’s not what you look at that matters; it’s who you see.” ― Henry David Thoreau

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SPENCER WYNN LIFE IN THE TIME OF COVID

T

his is the final article in a series

Scott Mission has, since 1941, been a

of six with an overarching

provider of services to poor, homeless

theme. When I was asked if I

and vulnerable people. Among its many

could write and shoot the stories, I chose

programmes, the Mission also provides

‘Life In The Age Of COVID’ as the theme,

shelter and beds for men.

as it is a unique time in our global

For seven years, Aldo Hernandez has

history: a time where everyone is

worked at the Scott Mission. Once a

experiencing and having to figure

single parent in a shelter himself, Aldo is

things out together as a global

originally from Mexico, has worked hard

community.

and, with the help of the Mission, is now

The stories have taken me on a huge journey, not only in the few thousand

employed and has two children with a third on the way.

kilometres driven or the places chosen

“Seeing lives being changed”, Aldo

to shoot, but also meeting many

answers when asked what he loves

fascinating people doing good work for

about his role with the men who use the

so many. This final story has been saved

shelter. As someone who has benefitted

for last, to celebrate who would not

from the care and support he has

necessarily be thought of as providing a

received, he is proud to pay it forward –

vital role during a pandemic. This, of

connecting the men with resources,

course, is the changing and evolving

listening to their stories and to help

definition of essential workers.

them on their own journey to dignity

In the downtown core of Toronto, the

and a better life.

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After needing the help of the Scott Mission himself, Aldo Hernandez is proud to pay it forward in the Mission that gave him a second chance.

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SPENCER WYNN LIFE IN THE TIME OF COVID

The definition of essential workers, as

and relax, but many people are coming

taken from Canada’s federal government

in to reduce pain. Therefore, deep tissue

website is as follows: “Essential workers

massages are what people are looking

are considered critical to preserving life,

for.”

health and basic societal functioning”.

While I agree with the definition, I

chiropractors

at

the

Foundation

also believe this pandemic has also

Physiotherapy Clinic are located in

extended the construct into roles we

downtown Toronto and serve the very

would not have considered essential,

urban part of the city where people are

pre-COVID.

beginning to realise this is going to be a

An example of what would have been

Massage therapist Fern Ambre is seeing many clients who are suffering from the effects of COVID-related anxiety and stress.

X-T3 + XF56mmF1.2 at f/1.2, 1/500 sec, ISO 250

Fern and the other RMTs and

long haul.

thought of as non-essential pre-COVID,

Like most of us, we are now sitting at

is the role of the Registered Massage

home in make-shift offices and, in most

Therapist (RMT). Fern Ambre is a

cases, in chairs and at desks that are not

Registered Massage Therapist. “As a

necessarily designed for many months

result of COVID stress and anxiety,

of desk work. The physiotherapy clinic

people have mainly been coming in

near my home is open under extremely

with back, neck and shoulder pain. You’d

rigid protocols and practices – I know, I

think that people would be coming in

have had to use them!

for relaxation massages to reduce stress

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SPENCER WYNN LIFE IN THE TIME OF COVID

You walk out your door, head to the

been a lot of fights. We don’t enforce

local transit stop and head to your

fares or mask wearing for fear of being

destination. In this city, our transit

assaulted or even killed. There was a

system is often packed on a regular day.

bus driver recently shot to death in the

I don’t often take the bus or subway

U.S. for not letting him on the bus

these days, but I can see that ridership is

without a mask.”

down and the system is trying to space

Public utilities are trying their best to

its riders out to attempt some sort of

accommodate people and to evolve as

distancing.

institutions quickly and as needs arise.

Gary Goldberg, a driver for the Toronto

Those who work with the public on a

Transit Commission (TTC), has most

daily basis could adopt Gary’s outlook,

definitely been on the front lines of

“My philosophy at the moment is to

tension these past many months.

drive the bus safely and not confront

“Customer tensions are high. There have

anyone about anything.”

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Transit workers have a front row seat to the displays of human nature under pressure.

X100F at f/3.2, 1/60 sec, ISO 400

SPENCER WYNN LIFE IN THE TIME OF COVID

Another essential service, and one

from the compliments and explains how

that is regulated, is the taxi industry in

he usually greets and welcomes his

Canada. I have been a customer of Beck

fares, “Basically what I do is I open the

Taxi in Toronto for decades. They have

door for them and welcome them, and I

well-trained drivers who are safe, very

have hand sanitiser for them on both

pleasant and professional. All taxi

doors. There is water for them, too, if

drivers run the risk of encountering

they would like it.”

passengers who are anxious, stressed and sometimes uncooperative.

At 6:00pm, the ambient light is just right at this time of year to balance

“It is just part of the job”, says Raza

three strobes to make a portrait of Raza.

Ahmad, a driver of two years for the taxi

He is on shift but makes the time to stop

company. After emigrating to Canada in

where I have set up lights on a quiet

1993 from Pakistan, Raza had worked

street for a portrait with his polished

construction for many years. He is now a

ride! After a distanced chat and a

lauded driver who inspires many

promise to send him some images, he is

passengers to write to the company to

off to pick up another fare – one of

offer praise for his service.

typically 10,000 made a day, city-wide

With a soft, shy smile, Raza deflects

for Beck taxi.

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With thousands of trips a day, taxi companies cope with and, in one case, excel at assuring the riding public that close contact can be stress-free.

X100F at f/2.8, 1/125 sec, ISO 100

SPENCER WYNN LIFE IN THE TIME OF COVID

A nurse cares for an infant in the Neonatal Intensive Care Unit of a world-renowned children’s hospital.

X-Pro2 + XF1655mmF2.8 at f/2.8, 1/125 sec, ISO 3200

Of course, no talk of essential workers

resolute. They not only comfort the

is complete until the guardian angels of

infants, but also comfort grief-stricken

health care are mentioned. Nurses

parents.

provide a broad array of care for all life

At the other end of our lives, nurses

– from birth to death. As one physician

and personal support workers (PSW)

put it to me just the other day, they are

offer end of life care and comfort. Inside

the superheroes and backbone of our

so many nursing homes, COVID-19 has

health system.

dealt an especially brutal blow to our

In the Neonatal Intensive Care Unit

ageing parents.

(NICU), a nurse tends to an infant in

With one parent gone and another in

critical condition after heart surgery

their 90s, I have seen the outpouring of

with the parents at the bedside. The

love and care from nurses. It takes a very

infant did not survive. I am no stranger

special person to smile, support and, at

to the NICU of many hospitals and it is

times, risk their own lives in care

an honour to be asked to provide

facilities that are being decimated by

bereavement family portraits with the

this pandemic. Now just opening, with

parents and those infants who have

military-like stringent protocols, we are

died in the hours before or for those

slowly able to visit loved ones, albeit it

who will be removed from life-support.

is scheduled, and visits are tightly time-

The staff of the NICUs are gifted and

limited.

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SPENCER WYNN LIFE IN THE TIME OF COVID

Individual portraits of nurses from the runway group photo.

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SPENCER WYNN LIFE IN THE TIME OF COVID

The group photograph of nurses and

face. The dedication and care Maria

PSWs was a reshoot several hours away

gives comes from her long-time desire

from Toronto where the first session

to help.

was rained out. Deerhurst Resort in the

When Maria was a young girl growing

Muskoka region of Ontario was fully

up in the Philippines, she always had a

behind this shoot and made their private

dream, “It was in my heart to look after

runway available as the location. With

people”, and with her father’s advice,

three Godox strobes, the light was

“Follow you dreams”, Maria emigrated to

perfectly balanced

Canada in 2010 and enjoys her many

with

a

typical

Muskoka sky – for about 5 minutes!

clients for whom she cares deeply.

After the group image, a separate area

From the plexiglass barriers at the

was set up to make individual portraits

grocery store check-outs to long-haul

of the nurses in the natural autumn

truckers moving goods around the

beauty of the area.

world to trade workers who enter our

A war bride, 92-year-old Vera Cottrell

homes, workers continue to provide care

is grateful to have Maria Ponce as her

and service for us, even if it means there

personal support worker. They have

may be a chance of coming in contact

known each other for many years. Maria

with COVID-19. It is for those people,

was the support worker for Vera’s

and everyone else, that we must wear

husband before he died four year ago.

masks and follow health guidelines so

They have a playful, cheeky friendship

that workers on whom we rely can

and banter that brings a smile to my

continue to be essential.

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SPENCER WYNN LIFE IN THE TIME OF COVID

Cheeky banter and laughter between a personal support worker and her 92 year-old client.

X100F at f/2.2, 1/125 sec, ISO 250

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