Tag: sooc

An Image from the Archive

An Image from the Archive

You know what it’s like. You keep coming back to an image that you shouldn’t like but you just do. The image above is that image for me. Believe me, I have a ton of images I really love and I am so grateful to have shot. However it’s this one that figures a lot in my thoughts and that I keep coming back to. Sure, I should enhance it, make it pop. It’s a bit bland and maybe one-day I’ll do just that. But for the moment I just like it because it’s what I saw and what I captured. It doesn’t much matter to me whether you like it, although I hope you see something of what I see. More importantly is that you are trying to see what I saw. It’s an art shot for all intent and purpose, there’s no documentary value in it. You can’t recognise the place and it’s timeless. It could be 1920 or it could be 2021, who knows. It’s just restful and I think I’m going to look at it some more. Enjoy your day.

Samyang 12mm f2 NCS CS | A low cost lens for everyday usage

Samyang 12mm f2 NCS CS | A low cost lens for everyday usage

Capture more of the world with this portable 12mm extra-wide-angle lens

The Samyang 12mm f2 NCS CS is an extra-wide-angle manual focus lens designed for APS-C crop sensor mirrorless cameras. With low distortion and wide angle, photographers who want wide-angle photos such as landscape and architectural images can create great images with very little effort. At F2.0 this lens is very bright so it captures clear and vivid images even in relatively dark environment.

For the first time in Samyang Optics history, NCS (Nano Coating System) technology was used. It creates even lower reflection rates than the original UMC (Ultra Multi Coating) together with higher contrast. Also, the light penetration rate is very high to minimize flare and ghost. Optical construction of Samyang 12mm F2.0 NCS CS features 12 elements in 10 groups – among the lenses, there are 1 aspherical lens(AS), 1 hybrid aspherical lens (H-ASP) and 3 extra-low dispersion lenses(ED) to provide high image quality. H-ASP minimizes color aberration to realize exceptional image quality and high contrast for center and corner of the image even when its aperture is fully opened. ED lowers unnecessary light dispersion to drop color aberration effectively. With such optical construction, it has 0.2m of minimum focal length.

There are 6 aperture blades designed to be almost as a full circle when aperture is closed which expresses starlike ray clearly and deep depth of field images. The body of the Samyang 12mm F2.0 NCS CS is compact and solid since it is made of high-strength aluminum alloy. Amazing images can be captured even under the most difficult environments and the provided petal-shaped lens hood helps protect the lens from unnecessary light reducing flaring.

The Samyang 12mm f2 NMC CS is available for 5 camera mounts: Canon M, Sony E, MFT, Samsung NX, Fujifilm X 

DSCF1368 samyang12mm

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All images taken using the Fujifilm x-t1 with Samyang 12mm f2. Images are straight out of camera (SOOC) with no additional processing. Recipe used was based on Classic Negative.

Samyang 12mm F2.0 – Black Gold

Samyang 12mm F2.0 – Black Gold


I bought the Samyang 12mm f2.0 specifically to photograph my apartment as I wanted something wide, sharp and above all, cheap to help me create some marketing buzz. From everything I had read, the Samyang (or Rokinon as it also known) ticked all the boxes, both from it’s reviews and perhaps even more importantly the amount I had to pay to own one. From everything I found out, this was clearly a very good lens despite it’s low cost and while I am not generally known for my interest in ultrawide shots, I assumed that it could serve a purpose beyond interior photography. A few minutes walkabout with this lens confirmed that this was indeed the case, particularly the fact that at f8, everything was practically in focus from 1m to infinity. That makes it an invaluable street lens as you can simple set the focus on something within say, 2 metres away and everything closer and further away will be in focus too.

With regards my marketing shots, the images below are straight out of camera (SOOC) with no post-processing so what I saw through the lens is exactly what you are seeing now . For the record, the camera was a Fujifilm x-t1. Once lockdown is over and we are more freely able to move around I’ll take the lens out again soon and grab some shots, both landscape and local street shots. In the meantime, make you’re own mind up how good or otherwise this lens is from the images above.

Bad composition ruins good photos

Bad composition ruins good photos

The big problem with documentary photography is not so much catching the moment, it’s catching the right moment. I have lost count of how many times I’ve seen a great photo and simply missed the moment because I acted too quickly. Counter intuitive? Yes, in some ways, but with documentary shots i.e. street and candid you often feel like you have just a split second to act when in reality, your subjects aren’t going anywhere soon. Take this young couple sat on a wall enjoying the sunshine. They were so engrossed in their mobile phones that I could have danced naked in front of them and they probably wouldn’t have noticed. I literally had all the time in the world to compose the shot and fire off a few images. Stepping left and right to change my perspective and point of view would have undoubtadly paid dividends here. Fortunately, I didn’t screw things up completely and one of the three shots I took was marginly acceptable, see a little lower in the page, but the other two, dreadful.

So, what exactly went wrong? Well, in the example image shown above, I inadvertently placed my subjects exactly in front of two of the liners anchored in the bay.  All that space and I muddied an image I really wanted by not taking a few moments to look up, move left or right, and capture the perfect shot. This error is not alone though, another big boo-boo is that I was using the wrong focal length. The reason, I’d just taken a couple of close up shots where I wanted the subjects sharp against a blurry background. For these shots I’d set the 35mm lens to f1.4. That’s great for street portraiture but a real no-no for general street shots where typically you need to have a reasonable DOF for your images. For this reason I might choose anything between f2.8 and f8 depending on the light, shutter speed and what’s going on around me. Typically I settle on f4 as I feel it’s a good compromise but often I will walk around with the camera on f2.8 as I feel that if this was good enough for street photographers 40 – 50 years ago, Vivian Maier for example, it’s probably good enough for me today.

Sadly. I don’t have a good alternative to this shot as I didn’t check the image before walking on, at least not closely enough to spot my compositiona error. The only shot of the three that I felt was usable was the one below, which although at a different angle, kinda works for what I was trying to capture. Personally though, it’s not on par with the one I lost!

Finally, I just want to highlight, excuse the pun, the problem with shadows. Many a good shot has been ruined because we don’t check carefully enough for shadows encrouching on the image. This is especially true of our own shadows as we are often so engrossed in taking the photo that we forget to check on exactly how we are impacting on the image!! The golden rule of sun over the shoulder introduces a lot of shadow if you aren’t careful. Now, sometimes shadows can be awesome, even our own shadows but in many cases they are a distraction and they spoil an otherwise interesting image. Here’s an example of one such ruined shot through carelessness and poor composition as a lesson to us all!!

A Single Image | Feb 27th

A Single Image | Feb 27th

Gorgeously clear skies today so yet more opportunity to put the Fujifilm x-t1 and Viltrox 23mm f1.4 through it’s paces. This image, taken in the Geopark in Paignton, caught my eye purely for the colourful paintings on the sculpture against the bright blue of the sky. As usual, this image is a jpeg SOOC so no post-processing needed. It is based on my Superia 100 (Classic Negative) film simulation. The falloff at the top corners is not something I have noticed in other shots but here it is very apparent. I’m not too bothered by this as it’s quite reminiscent of the effect I have seen on film.

A Single Image | Feb 26th

A Single Image | Feb 26th

My mate Paul is a budding musician who’s been playing the saxaphone now for a couple of years. He’s been a great friend so I was really pleased to give him his first saxaphone, a student something or other, that I had from when I closed down my music shop a few years earlier. He’d mentioned his interest in learning the clarinet on several occasions and while I knew I had a clarinet knocking around somewhere, I couldn’t lay my hands on it at the time so I persuaded him to take the alto sax instead. Paul was somewhat reluctant but my way of thinking was, it’s free and you blow in to it so how different could it be!! Persuaded, he took on the challange.

Two years and a huge amount of practice later, Paul has without any doubt mastered the saxaphone, so much so that he recently asked if I would take a few photos for his facebook profile. Of course I said yes. Social distancing when taking photos is not paricularly difficult and current rules mean that we are allowed to meet one friend socially for some exercise and unusally, the sun was out so I felt that some nice colour shots might help him out.

The above shot is a one of a handful I took using the Fuji x-t1 with what I tend to call, a Superia 100 feel. Actually, looking at some old photos from the 90’s, I think it’s a cross between Fuji Pro 400H and Fuji Superia 100 but I’m quite happy with that. The Fuji x-t1 doesn’t have all the bells and whistles of let’s say an x-t4 or x-pro3 so achieving something as “film like” as this is a real bonus for me.

For the most part, this image is SOOC but for those pixel peepers out there, I did add a small amount of grain using On1 PhotoRaw 2021. Sadly, there is no way to add grain in the x-t1 which to my mind and experience is what makes film look so uniquely different to digital. Anyway, here’s the Fuji recipe for anyone who’s interested in recreating or improving on this look.

  • Camera: Fujifilm x-t1
  • Lens: Viltrox 23mm f1.4
  • Target Film Look: Fujifilm Superia 100
  • Film Type: Pro Neg Hi
  • Custom White Balance: Grey card -1B -1R
  • EV: +1/3
  • DR: 400
  • ISO 800
  • Shadows: +2
  • Highlights: -2
  • Colour: -2
  • Sharpness: +2
  • Noise reduction: 0

I have to say that part way through the shoot I did reduce the ISO to 400 which results in the dynamic range being reset to 200 in camera and I also reduced the EV from +1/3rd to 0. This was because it was an incredibly bright day and the camera was shooting at such high shutter speeds that the electronic shutter was kicking in. No problem with this but I just felt I was pushing the envelope a little and backing off on the amount of light entering the sensor might yield a bonus. I cannot in all honesty say then that the shot shown above was at the exact settings I have outlined, it could have been at ISO 400, DR200 and EV 0.

Before I finish, a word on the Viltrox 23mm f1.4. This lens is crazy good for the money. Fast, sharp and colourful and a great addon to the Fuji x-t1. I have shot this lens with a few film simulations now, for example classic chrome, astia and pro neg but I come back mostly to the custom settings shown above.

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.