In between sets with Soul Intention and FujiXE2

So half way through Soul Intention gig last night I asked to take some photos of the band. With two hundred rockers and jivers surrounding us, five Saxophones on stands, drums, trumpets and guitars everywhere, it was too good a chance to miss. When there are flashing red and green overhead lights, reflections off everything, shadows and darkness everywhere else you know any image taking is going to be tough. And the band members, hot and pumping adrenaline, get them to sit still or even sit down is going to be tricky. Armed with the tiny Fuji XE2 fitted with the XF35mm 1.4 lens you kind of hope that you will be able to cut through all the problems and get a half way decent shot. These are jpeg images, taken wide open, with auto ISO and minimum shutter speed 80, processed in Lightroom 6.

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Soul Intention: Big Sound Soul Band

The fabulous Soul Intention big sound soul band played two scorching sets in North Devon last night. It is not often we get a chance to see a full on professional big band,  with five piece brass section, pushing out brilliant Soul Oldies.  Chris, the male vocalist, seems to capture the real feel of these Soul Classics while Terry, female vocals, has a gorgeous mellow tone which enriches the mix.  The audience danced all night. Can’t wait to take some more shots of this smashing band.

 

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Analogue versus Digital: the believe in film syndrome.

The tail end of the fifties we had the Everly Brothers, Bill Haley, Elvis and Buddy. Then the sixties. The first album I ever bought was the Rolling Stones, then the Animals. I loved jazz, and Ray Charles and Dave Brubeck. I loved Dusty and Dylan, then I loved Joni and James Taylor. I saw Neil Young play Wembley and I saw Jethro Tull, Deep Purple and Yes. Never saw Bowie or Nina Simone much to my chagrin. Yep, I dug Punk and John Peel too, Oh, and Peggy Lee and Soul and Blues.  I photographed a girl sitting in sunlight and later, married her.

Stay with me .. You will soon understand where this is going..

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During the early seventies I worked in a very posh hifi shop. Our sole aim was to perfect the sound experience. Customers spent literally thousands of pounds searching for high fidelity, the best deck, the least hum and hiss the best suppression, the biggest woofer, or the lightest stylus. We craved this impossible perfection, dreamed music, had albums lining our walls, dusted them lovingly wiped them clean, double wrapped them when putting them away, played them and cursed the crackle and pop of analogue recordings, compared tape and stereo, dolby and four way sound.

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We loathed cassettes but played them in our cars because although they sounded crap compared to 8 track they were smaller and worked better. Anyway my 8 track caught fire in my Ford Cortina mk 2.

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Through the Seventies we surfed and danced and traveled a little. I forget the Eighties, think music was boring,  anyway,  my family was growing up.

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The nineties brought cd,s blimey, they were neat.  They sounded tinny compared to my old albums and not so warm, but they didn’t scratch much. Anyway what is hifi when you listen to music in the kitchen? Screw it , I embraced digital, chucked out my Yashica slr, downloaded or ripped all my albums to mp3 bunged them on an ipod and never looked back..

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And so with photography. This nostalgia for film is reciprocated in the resurgence of pressed plastic albums. Maybe I am being controversial but can’t we now re-create digitally pretty much every film emulsion ever used.? Every Photographic web site or blog I follow and there are loads of them , is offering realistic film simulations or analogue looking presets.  Some of the images here were taken years ago and some taken yesterday, with one or other of my Fuji X series cameras.  Without cheating and looking at the Exif data,  can you tell?

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All social media offer their own brand of clever filters that add grain and scratches to age the image. One of the reasons I Stick with FujiFilm is because their filmic jpgs look so great. Sure, like so many of you, I developed and printed my own negatives, burned, cropped, cut, pushed and experimented, in fact just like I do now in Lightroom. But when I contemplate this wonderful digital world we live in, I don’t really get that we view the images we say we love made on film with obsolete ( yet still fabulous ) cameras, on a screen! This means the image has been scanned, ok so it might look like an analogue photo. But essentially it has been rendered into binary code, like everything else we see online on our Macs and PCs.

I still love music, I still love my wife.

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I still love photography and still believe in film.  But I do love digital too!

Editing Fuji .jpg files in Lightroom 6

Here is a brief post describing some ideas for editing Fuji files in Lightroom. I have included Nik pack plugins too. Sometimes a little colour works well for street photography as demonstrated by this lovely lady.  Here she was decked out in matching red sandals and spotty bag, pulling along  her little dog while pushing a giant pram. Shot with Fuji X100 with the brilliant 23mm lens, stopped down.

So first we have the out of camera Jpg file imported into Lightroom with no adjustments. Looks fine to me but lacks a little impact and contrast which reflects the gloomy light in which it was taken.

 

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Next I opened Analogue Effects pro plugin,  adjusted detail, contrast and saturation sliders in camera 3, included a little grain, turned off scratches etc then added a little spot adjustment in her face area.  The resulting image was saved back into Lightroom. For me this image seems to be a reasonable representation of a 1970’s Kodak analogue snap.

 

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Despite my belief that colour works best for this image, in the interests of black and white fanatics I next edited the original jpg file in Silver Effects Pro.  I used high contrast smooth camera setting, added detail and a little brightness  using sliders, increased white and improved tonality using curves.  Then again I used the spot adjustment to add detail to her face and scarf.  The vignette was already quite sufficient in this setting.

 

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Nevertheless being a Lightroom aficionado I usually prefer to edit my own images rather than relying on others interpretation of the scene I shot. So my normal workflow is to reduce exposure slightly, add a little contrast and adjust white and black sliders, then highlights and shadows. For this image I decreased clarity, added a touch  vibrance and a little saturation. Then added two gradient layers in top left and right adding some exposure and a tad saturation.  Next I used the adjustment brush to add some exposure to her face, some clarity and improved skin tone a little. Finally I added some grain and a little vignette. The final image looks pretty strong and I like how the red tones in her bag attract attention.  Comments welcome!

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Shooting a wedding with Fuji XF60mm

Anyone who believes wedding photographers have it easy better think again.  Last weekend as a wedding guest I took my Fuji XE2 along, with XF 60mm attached and for lower light,  the XF35mm 1.4 in my pocket. The official wedding photographer had two huge camera bags with bodies and lenses bulging out. He arrived early to shoot guests as they came into the wonderful arena at 1.0pm and left at 4.0am the next morning having shot around 3000 frames. Our conversation went like this. ” Oh, for Goodness sake, what’s happened to the light, O bloody hell, I will have to change this lens, Oh Blimey, which is the brides Dad? where have they  all gone now, Ahhh. ? ” and so on. It was a wonderful overcast start to the day, saturated light but plenty of it.  No shadows all straightforward metering. Then the harsh sun broke though, reflections off the lake where the ceremony was being held, white bridesmaid dresses,  Ah, I could see him sweating.  He is kneeling down on the wet boardwalk as the bride arrives. Sun goes in, his shutter is chattering.  I guess he knows only his first shot will be in focus and properly exposed. Later we discuss how he can martial 150 guests for a group shot and where he can stand to capture the shot. Next, one huge marquee .. how do you get a decent white balance in there when the sun is in and out like a yoyo?  Two hours of food and speeches. He never stops !  By now kids are all over the place, the adults are several fizz, pimms and  vin rouge the worse for wear.  The place is chaos. We have quick word about Fuji cameras and tracking moving subjects. Light has gone and so has everyone else,  down to the dance tent with two fire pits burning, strobe lights flashing spots gleaming.  And so it continues while our photographer, who by now, has thrown in his lot with the rest of us flashes off random shots while dancing to Sex Machine.

In contrast I took 140 frames all jpgs, every one was beautifully exposed even with the varying light conditions. The XF60mm lens performed flawlessly, never hunted for focus and all the shots were amazingly clean and sharp. Later on I switched to the XF35mm, let the camera do it’s own thing and again all my images were bang on. Here are a few of my favourite shots processed in Lightroom 6 .

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Colour in Street Photography: the dilemma

Landscape and product photographers like me are fascinated by street photography: it sucks us in, we are drawn to it,  yet shy of getting in close.  It seems strange to have no horizons, no limits and to go back to the old style zone focus method we used when shooting film.  Then there is the dilemma, should I process my shots in black and white or colour?  There is an often cited theory that colour distracts from the story. Hence, I suppose we see so many street shots on Instagram, Tumblr,and Twitter in black and white, contrasty, filmic, old style  and full of depth.  Yet every now and then I come across someone I admire in the Photography world posting wonderful colour street images and these seem to me to be equally valuable, to have a vibrance and quality that cannot always be conveyed in B and W. And, they seem to tell a story equally well.  So here are some street shots using both formats. Which is best? As usual I will leave this up to the viewer to decide.

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Venice, last light: A little lens flare, Fuji XE2 XF 35mm 1.4

 

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Evening sunlight, Venice. Fuji XE2 with XF35mm 1.4

I have to admit the contrast in the black and white image with the wall, leading away into the distance is my favourite here.!

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This gentleman just looked up as I shot him, the good old Fuji X100 did the trick even though it was gloomy in the bar.

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French Gentleman: Fuji X100

Street Phtotography: How close should you go?

As a landscape and ceramic photographer I am tentative about shooting ‘street’.  How close do I get, do I make eye contact, is it a little sneaky?  So for me whenever I do take the camera into the scary urban jungle I look for a story, an image that says something about the moment, that captures an instant in a life.  The Fuji XF 35mm 1.4 is just right I’m my view to get in close enough without being too intrusive.  Here is someone having a giggling fit….

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