Tag: fuji recipes

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Cull or Keep your Images – now that’s the question!

When I first created this post I called it “Don’t be afraid to Cull Bad Images”. However, as the post evolved I felt that I needed to look at keeping versus culling in the round. This article therefore discusses my take on what stays and what goes in my photography.

Now, I’m pretty good at deleting images that say nothing of interest. To me they are obvious to spot, they either suffer from poor composition, a lack of meaningful content, duplicate others that are better or just fail for some technical reason, for example poor focus, blown out highlights or over or under exposed. However, I know that many of my photographer friends struggle with this important process with the result that they fill hard drives at a frightening rate with images that really should be binned. While you may have a dozen SSD disks to play with, I prefer to work light so I rely on just two drives for my archives. As such, drive real-estate is at a premium.

The key here then is to be able to make conscious decisions about what has any real value and what is simply clogging up my drives. This basically means is it good enough to share with others. That might be in the form of a photo book, a project, a competition or even as a give away under Creative Commons. This latter option is something I have recently started to do as I know that bloggers etc often need access to images. If the image fits none of these then the axe needs to fall and fall swiftly. Having said all of this, there is one last check that I do undertake and this to ask the question – does the image have any mitigating features? For example, is there a picture within the picture or does it have merit if converted to art. That has to be done on an image by image basis and for me at least, it’s the last throw of the dice!

Now, the first of these tests is obvious. I will know immediately if I like an image enough to consider it suitable for books, projects or competitions. If you are a club photographer then you will know that this doesn’t necessary mean that someone else will like it, just that I like it sufficiently to use it in one or more of the contexts mentioned.

Starting with The Good

So let’s start with something I do like. This example, from a fairground shoot at the weekend, combines a lot of elements that I like. For example, here we have the juxtaposition of static and dynamic items within the frame, the inclusion of people (one of my favourite subjects) and muted colours rather just B&W. That being said, I really don’t think that this image is going to win any competitions, judges with their strict guidlines just won’t get it, but I can see it in a photobook or perhaps as a future project. It’s also the type of image that could be post-processed in a mirriad of ways so again, it has merit.

Now the Bad

Now let’s take a look at an image, which apart from being shown here, has been discarded. Timing as they say is everything and this image demonstrates a complete lack of timing alongside really poor composition and, I hate to say it, poor technical skills. The content is OK, perhaps a little busy and if I had panned left to include the leading lines of the path along with the fairground items to the left of this ride, then perhaps things might have turned out better. However I didn’t and so alongside the blown out sky, which is unforgiveable, the overly busy composition and poor subject matter really didn’t help this one. RIP. By the way, on the issue of the blown out sky, you might like to take a look at my article on highlight roll-off as this is one way to combat digital burnout from bright lights, sun etc.

Of course, bad photos aren’t limited to tricky locations. You can take a bad photo anywhere – I often do! So let’s look at some more images where to be honest, nothing really works. In the first image below there’s plenty of potential and some technical skill in freezing the water. Sadly though, there’s nothing of interest beyond this but fortunately, I did shoot better on the day. The second image fares pretty much the same, nice but bland and unexceptional and again, I certainly have better in my archives. The seaweed image could perhaps be saved – I often photograph objects – but once again, on that particular day, and from other days I had much better beach dendritus shots. The last two images simply lack good composition even though the subject matter, especially of the first of this pair, has some merit. As they are they though, they are simply fails.

Let’s Finish on a High Note – Some Examples I Enjoy

In this next shot I think I have nailed what makes a good photo. Here, we have an almost perfectly symmetrical image, which the eye loves, great colours, an analogue feel plus movement in the chairs which creates an excitement and a contrast to the perfectly still framework. The other thing I like is that I can dive into this image and take out snippets, for example some the riders on their chairs. It just depends on the resolution of the camera being used and the IQ of the RAW file.

This next image is something that I really liked when I shot it, but was not so happy when I viewed it. The colours really detracted from the subject which is clearly the guy in the middle playing with his mobile phone. I couldn’t however bring myself to delete it, too good for that so I decided to try B&W as a way of removing some of the complexity created by the colours in the shot. My go-to favourite for this type of work is Nik Silver Efex and while I don’t think Nik saves it as a competition photo, it works really well for a photo book or for use on the web. Well, to my mind anyway.

In this next set of images the composition is good, the content is good but it’s not quite working for me. I feel, as I so often do, that the colour is making it difficult to see the story. I am so focused on the bright greens and yellows so as to forget that the piano player is the star of this shot. Again then, B&W, with a little brightening of the face, saves the day by forcing attention on the piano player and away from the bright background. An easy but effective fix.

Earlier I talked about how the seaweed image for me just didn’t work. Well, on the same day I captured that shot, I also captured a few others which I have kept and which form part of my archive. Here are those images for reference. Hopefully you’ll agree that these are somewhat better shots.

A Note On Post-Processing

All of the images shown above, except the B&W versions which were edited in Nik Silver Efex, were created using On1 film presets. I personally love analogue film and when shooting digital, I strive to achive this look both in the SOOC jpegs out of my trusty Fuji x-T1, or by converting the RAW images to something less digital as here. For those seeking to do the same or similar, these images were all post-processed using a Classic Chrome in-camera film simulation that I created for SOOC shots. IN some cases here however I chose to use RAW images passing these through a Classic Chrome preset.

That’s it for now, I hope that you found the meanderings of my mind of interest. Either way, drop me a comment below and let’s create a dialog on how you guys deal with the images you take.

SOOC – What, Why & How?

SOOC – What, Why & How?

Torquay Pier, February 2021
Torquay Pier, February 2021 SOOC Image

Spolier alert, this article is about using customised settings in your Fujifilm camera to create unique and interesting jpeg’s straight out of camera (SOOC). RAW shooters may want to turn away now 🙂

My interests in photography are coloured by the work of others, especially those involved in documentary, candid and so called street.  Photography of people doing everyday things in particular move me in a way that landscapes and formal portraits never have, despite the fact that I value them for the techical and aesthetic value they often bring to the table. This love of history and the photographers that trudged around the the streets 40, 50 and more years ago, push me inexorably to explore ways in which I can create my own style. This article looks at one such way.

While for the most part I’ve only been shooting digital for the past few years, my interests in photography go back to the 1970’s. My first serious camera was a Pentax KM complete with 50mm f1.8 kit lens although I also loved to play with Polaroid’s and instant film. Like most then I shot mainly in B&W, primarily because this afforded the opportunity to sit in dark cupboards and develop film but also because B&W was, and remains, enigmatic. It is as if by stripping away colour we are able to better see and enjoy the subject for what it is, rather than be confused by everything going on around it. Of course, I also shot in colour, why wouldn’t you, and although I preferred B&W as a medium for my photography, colour images of the day always offered a different take on the world primarily because of the limitations of the technology at that time and the vageries of the various emulsions on offer.

My first serious digital camera, apart from an old Nikon Coolpix from the mid 2000’s, was the Panasonic Lumix GX85 with a 12-32mm f3.5 kit lens. I updated the lens fairly quickly to the 12-60mm f3.5 although I have to say, that kit lens is a cracker. In fact, the GX85 was a great buy, technically capable of producing some great images despite its diminutive 16MP micro four thirds sensor. I still have that camera today but laterly, it’s been a little overshadowed by a move towards Fujifilm technology. It wasn’t supposed to be like this though, up until I bought my Fujifilm x-t1 I was looking to buy the Nikon Z6, newly released and getting excellent reviews. It was a chance article online where I learned about Fujifilm simulations, or so called straight out of camera (SOOC) jpegs that made me rethink that purchase. Although my GX85, and indeed my Nikon D600 and Canon G7 mkII all offered some interesting in-camera effects such as bleached bypass, monochrome, sepia, toy camera, vivid, subdued etc, none provided the tools to allow me to create my own unique style. Fujifilm did and that was a game changer for me because the one thing that I really wanted to do was to get closer to the tones and colours of my photography from the 1970’s. Fujifilm seemed the way forward to achieving that.

Although I could have waded in and bought the Fujifilm x-t3 or x-pro2, I decided to play safe and buy the older but very competent Fujifilm x-t1. My purchase, a 2016 model bought on Ebay, came boxed and still wrapped with all the extras for just £180. It looked brand new although how much use it had actually had I’ll never know. I also bought the 18-55mm f2.8-4 lens and a motor drive, to complete the setup figuring this would offer the perfect opportunity to explore SOOC without breaking the bank. If it was a success, I could always trade up or buy a second body, perhaps the x-t4 which was about to launch or even the x-pro3 which was an even better fit to my documentary interests.

So, what exactly is SOOC and why does it create so much interest? I don’t know about others but the attraction of SOOC to me is the ability to flavour what I capture through manipulating some of the key sensor parameters available to me. In the case of the x-t1 you start by choosing a base film emulation eg Classic Chrome, Pro Neg, Astia, Provia etc and then further modify this to provide a unique and interesting film intepretation. Factors you can control in the x-t1 include dynamic range (which is controlled by ISO), shadows, highlights, saturation, sharpness and noise reduction. Additionally, custom white balance with micro adjustments can be created to push or pull blues, push or pull reds. Changing any of these settings creates a new result SOOC giving the photographer access to literally an infinte number of looks to their jpegs.  

Of course to some people, especially those used to shooting RAW, why bother.  Jpegs after all have their colour and tone baked in and offer little scope for further processing without detriment to the original image. True. Fortunately, and like other systems, the Fuji is able to shoot both RAW and JPEG so you get the best of both worlds by choosing this option if you feel that the resulting output needs soem post-processing later. The primary difference to say Nikon or Sony is that, based on the ambient lighting and  your custom white balance, you are able to create a unique film-like jpeg SOOC plus you still have your RAW image to fall back on in post should you need it. The result of these manipulations to the jpeg is that they tend to have a milky, film like quality rather than the super sharpness you often associate with modern digital sensors. The image at the top of the page is an example of an unprocessed jpeg taken straight out of camera (SOOC) which uses various modifications to the tone curve as described above. I have also included a gallery of images at the end of this post that are created in a similar way, all SOOC from the Fuji x-t1. Later Fuji cameras BTW, such as the x-pro3 and x-t4 have even more features which provide for even better filmic experiences, for example the ability to add film grain.

The final part of this article is to look at the how in more detail. I mentioned that all of the images on this page have been created using a particular recipe. So that you better understand what this recipe looks like, I am going to outline the various parts in a little more detail. Importantly, this recipe is based on Pro Neg Hi, which pushes my jpegs towards Classic Negative or Fujifilm Superia 100 as it is better known. Superia 100 is a relatively unsaturated film stock pushed slightly towards blue and red. It has a harder tonality than say Pro Neg Hi which is can be achieved by adjusting the tone curve. Unfortunately, the natural start point for Superia 100 would be to start with a Classic Negative film emulation but this not an option on the x-t1 hence the reason I started with Pro Neg Hi and then modified the various parameters as explained above. So, here are the changes I made to the custom settings:

  • Film Type: Pro Neg Hi
  • White Balance: Grey card / B+1 R+1
  • Dynamic Range: 400
  • ISO: 800
  • Saturation: -2
  • Shadows: +2
  • Highlights: -2
  • Sharpness: -2
  • Noise Reduction: 0
  • EV: +1/3 – 2/3

This recipe is the base for all of the images on this page and as you can see, the ambient light conditions play a big part in what the final image looks like. Many photographers fall into the trap of labelling their images as Pro 400H, Superia 100, Portra 160 etc but in reallity I don’t feel that it’s possible to label a set of images in this way purely because as the light changes, so does the look of the image. I prefer to call my sets “like” Superia 100 as this is more appropriate in my eyes.

Fuji have in my eyes nailed the ability to take photography away from the pixel peepers into a whole new and exciting realm where the subject and composition matters much more that the sharpness of the image. Of course, my Sony shooting pals think I’m nuts but to me, it’s the imperfections in what I capture that make the image perfect for me.

The next phase of this particular “let’s get back to an analogue world” is to use my film results from the expired Superia 100 and Reala 100 films I have to help me fine tune my recipe. Although I love the Fuji x-t1 I fear that eventually I am going to have to upgrade to a later version in order to have access to some of the newer tweaks those cameras have with regards recipe formulation.