Category: Creative

Fujifilm Profiles

Fujifilm Profiles

Recently while watching a webinar on Capture One Pro one of the attendees wished that he could adjust the order that the Fujifilm Simulations were listed when selecting the profile to use on an image.

The reasoning was that he wasn’t sure which simulation was the one he wanted to use on an image. I didn’t see a real need as I only use a couple of them and it easy just mouse over each simulation to see what it does to the image.

Given that the Auto simulation is the simulation that you have set in you Fujifilm camera, I rarely find that I need to look at more than two other simulations. In camera I tend to use STD which is PROVIA (STANDARD). The more I thought about it the more I realized that my default simulation works a lot of the time. What I did realize is that I change most when there is a lot of sky or no sky. When the sky make a big part of the image i tend to use CLASSIC CHROME while if there is little or no sky, I tend to stay with PROVIA or if the image calls for it I will crank it up with Velvia see previous post about that. Now on big sky images it is mostly personal preference but I tend to use CLASSIC CHROME for its more muted blues (with a hint of green) but if the sky isn’t necessarly the subject I’ll probably use PROVIA.


What I have found is that I’ve come to know the simulations by how they treat the blue parts of the image:

  • Classic Chrome is a more muted blue with a slightly green tint.
  • Standard has a nice rich blue without going overboard.
  • Velvia has a saturated blue with a slightly purple tint.

So as I look at the image I can decide on which simulation based on what I want the blue to do in the image. Then go right to simulation I want.

Classic Chrome
Provia (STD)
Velvia (VIVID)

It takes some time to get used to what each simulation does to colors and contrast but once you do you can quickly dial in what you want. The same thing works for the black and white simulations (although those are all right together). If you want a dark sky go with the Red filter.

What If We Lit The Moon With A Light Bulb

What If We Lit The Moon With A Light Bulb

White balance is an interesting topic. How the colors of an image are represented are sometimes a subjective thing and sometimes not. Getting good skin colors on a portrait can make or break an image.

White balance is matching the color of your image to a known color temperature. For instance a standard incandescent light bulb has a color temperature somewhere around 2800 degrees kelvin while the sun has a color temperature between 5500 and 6000 degrees kelvin (k). These temperatures are not random numbers made up to confuse photographers. The Sun’s surface temperature is about 5773k so there is a correlation between its actual temperature and what we call daylight white balance in photography.

The lower the temperature given off by the source of the light the more orange it is. The higher the color temperature is the more blue the light is. If the light color is too low, as in infrared, the light will not be picked up by the photographic medium, as in film or a photo sensor. On the other end of the spectrum is light nearing ultra violet which is quite blue and again beyond the range of photography.

While the Sun is a main sequence star with, thankfully, a 10 billion year life cycle, most stars you can see in the sky are larger, faster burning, giant stars with surface temperatures up to 10,000k.

Our eyes and our brain do a pretty good job of correcting the white balance we see normally. Cameras can be way too literal it the way they process colors. Unless we get specific about the lighting conditions, colors in an image can be way different than what we see with our eyes.

Assuming that you have set your camera for the proper prevailing color temperature, daylight, cloudy, tungsten, etc. the colors should be pretty close to what your eyes see. If you are using an auto white balance mode on you camera the camera will take a best guess of what the colors should be.

In post processing we can adjust the color balance to what it should be or we can apply a color correction to give an image the impact that we perceived when we took the image. We use the white balance dropper in your choice of image processing software to choose an area meant to be white.

Beyond using an algorithmic method like the white balance tool, we can also adjust the white balance to suit our eyes. We can warm or cool the colors of an image by adjusting the white balance slider (and the tint slider see previous article) If an image is too warm with white things looking orange we can apply a blue cast to the image to bring it back to what we want the color to be. Alternately we can also apply an orange cast if the image is too cool.

So if we had lit the moon with an incandescent light when the color balance was set to daylight we would end up with a very orange moon like on the left side of the moons above.. To correct the color balance to get the moon back to the expected white moon we would move the color balance slider towards the 2800k side to correct the moon back to the middle ground.

And the opposite is also true, warming a color balance by introducing a lower temperature will turn the blue moon white then orange.

Working Hard On An Image, Persian Shield (Strobilanthes dyeriana)

Working Hard On An Image, Persian Shield (Strobilanthes dyeriana)

The wife has been adding plants to the back yard. One is this Persian Shield (Strobilanthes dyeriana) which has striking purple colors. I’ve been fighting with images of this plant for two days trying to get an image I like.

Persian Shield (Strobilanthes dyeriana)

I think I finally found an image which I am happy with although I just went out with a different lens to try some other views of the plant. I think I’ll wait until tomorrow to process the new images. This image was shot on the Fujifilm X-T2 and the XF 80mm F2.8 Macro. Sometimes you have to work then rework images to get what you want. And sometimes it’s best if you leave it for a bit then come back to it. Sometimes you just need to say no.

Capture One and the Monkeys

Capture One and the Monkeys

I’m now using Capture One (version 12) almost exclusively. The control over noise and the Fujifilm Color Curves make for some stunning images. I’ve also found that the Fujinon XF80mmF2.8 R LM OIS WR Lens is really good for capturing the action in the theater in the round environment at The Festival of the Lion King at Disneys Animal Kingdom here in Florida. I can eliminate the noise that should be there when shooting at ISO 640 at F2.8. And the picture is so sharp.

Monkeys
Fujifilm X-T2 and Fujinon XF80mmF2.8 R LM OIS WR = ISO 640 F2.8 1/125s

I ended up with a white balance of 1260k after much experimentation. The lighting in the theater was quite blue and it made it interesting to say the least. I’m happy with the outcome. The image is so sharp and under control. That is what I’m finding I can do with Capture One.

Monkeys Uncropped
Original Crop


That Rule Against Bald Skies

That Rule Against Bald Skies

Lots of landscape photographers will tell you not to shoot when the sky is bare.  Cloudless skies make for boring images. Moose Peterson calls them bald skies.   And most of the time the rule holds up.  Still that rule like all the others are meant to be broken.  If I followed the rules I probably should have just left my camera at home last Saturday. There wasn’t a cloud in the sky ( Florida in February, 83 degrees and lots of sun ).

Still my eye caught the completely still water of the pond at Epcot. When you see something of interest you shoot now and ask questions later. Later like when you have the image open in Lightroom.

Still Life – Fujifilm X-T2 XF 16-55mm F/2.8 R LM WR

For me this image works because there are no clouds in the sky. Several reasons why. I think the dark blue at the top and bottom of the image holds the eye in the image where you then have time to see all the colorful things going on between the Monorail track and it’s reflection. Also Spaceship Earth, the big dome, might have gotten lost in the clouds had the been there.

Don’t try to stick to much to the rules. Shoot the shots.

Although I like the color image with no clouds, converting it to black and white does not work at all for me. Since the center section has no color the eye doesn’t go there. So the rule works, or it doesn’t.

Images shot with Fujifilm X-T2 and XF 16-55mm F/2.8 R LM WR


Images and Rules

Images and Rules

Light and Shadow
Light And Shadow

This is an image I shot on my recent vacation. In this shot I was able to visualize the outcome before I even framed it up in the camera.  I knew what I wanted to capture and was able to get the result I was looking for.  The Mrs and I were sampling a bit of Merlot in the Italy Pavillon at Epcot in Walt Disney World.

I saw the shadow on the wall which show the lighter areas of the sun passing through the glass of the lamp. I liked the tonality. I shot a couple of shots and this was the one that best matched what I was seeing.

Emotionally I think the image has impact.  The balance was good and the colors match what I saw as I was sitting there.

Afterwards I was thinking about photographic rules and which one I had followed and the ones I broke.  I shot this about 1pm on a crystal clear day.  It wasn’t about waiting for better light as the light I has was perfect to creating the shadow of the lamp.  I think I may have got the rule of thirds about right as the lamp itself was in the upper right third while the shadow was in the lower left.

If all you can say about an image you took is that “I Nailed the rule of thirds” that rule probably doesn’t matter.  What really matters that the image tells the story.  In this case it did for me.

Shot with Fujifilm X-T2 Fujinon XF 16-55mm F2.8 R LM WR

ISO 200 F11 1/600sec 42.7mm

Carnival

Carnival

Carnival

Even with the best of intentions you sometimes get really interesting images by accident. I apparently did not have the tripod head tightened down when I clicked the shutter. The camera drooped down during the 2.5 second exposure.

Which brings us to the point that when you have 2.6 seconds to play you can make some interesting images. Another possibility would be to zoom the lens during a long exposure. Always experiment, always be looking for the unexpected. There is no such thing a a mistake once the shutter button is pressed.

Equipment used for this image:

Fujinon XF 16-55mm F2.8 R LM WR at Amazon

Fujifilm X-T2 Camera at Amazon

Shot at F16 2.6 seconds ISO 200.

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