The Fujifilm X-Series have a stunning range of lenses, giving me high-quality images that can be printed without concern.
MY FIRST FUJIFILM CAMERA WAS the X-Pro1, which I purchased back in 2012. Until then, I’d been a Canon user. However, I never felt a connection with my Canon’s; it was like holding just another electronic device. Don’t get me wrong, they are great cameras, but the X-Pro range instantly felt like an extension of my hand. The X-Pro range has a soul and a great analogue classic design too. Another advantage is the X-Pro3, and most of my lenses, is they are weather-resistant, avoiding extra stress when working!
I usually, when we’re not in lock-down due to Coronavirus, travel a lot for work. My Fujifilm cameras, touch wood, have never let me down. They are some light and small; I don’t need to lug a heavy backpack around.
The Fujifilm X-Series have a stunning range of lenses, giving me high-quality images that can be printed without concern. While most of my work is in black and white, I do love with colours my X-Pro3 can produce. The ability to create different colour recipes and simulate the look of the traditional film is indispensable.
I’ve also recently purchased the tiny Fujifilm XF10, its a camera packed with amazing functionality. It is my everyday camera that I take everywhere, as it fits unnoticed in my pocket. People never look at me when I’m photographing them with my XF10. However, my X-Pro3 does sometimes gain attention – despite it being small. When people don’t think they are being photographed, they act more relaxed and natural.
Using Fujifilm equipment really enhances the joy of photography. When I was in Miami a couple of months ago, I had so many people spot my X-Pro3 when I was relaxing in a cafe or restaurant and ask me questions about it. I felt almost like a sale representative, the way I was reeling off details about it. Just in case you’re wondering, nope, I’m not a Fujifilm salesperson, and nope they don’t pay me to say nice things!
Don’t get me wrong; there are always things that can be improved. The more I use it, the more features I’d like added or design features I’d change. I have written to Fujifum with a list; I’ll write them up and post them here soon.
Some best street photography can be done during the hours of darkness, and night shooting is something we should all try; it’s almost a rite of passage.
An excellent article by Brian Lloyd Duckett
BRIAN IS A PROFESSIONAL STREET photographer who runs workshops across the UK and Europe. He shoots exclusively on Fujifilm; the X100F, X-Pro2 and X-E3 being his weapons of choice. Some of your best street photography can be done during the hours of darkness, and night shooting is something we should all try; it’s almost a rite of passage. Think neon lights, shop windows, reflections, car lights, bars, restaurants, people having fun, street lighting . . . there’s masses of material to explore.
I try to get out there regularly, particularly between late October and late March when there’s a bigger window of opportunity with more hours of darkness in the day. You can shoot in any town or city where there are strong light sources. Somewhere like London’s Soho and Chinatown are ideal, with lots of coloured and neon lights. You can even get great shots just by relying on ambient lighting from the regular street lamps.
There’s no reason that shooting in the dark should be any more difficult than daylight shooting – but, as well as the aesthetic issues; there are some different technical and practical considerations to take into account. Here are my top tips for shooting street photography at night…
Chase the light Just like all street photography, shooting a night is all about finding good light. I often find it helpful to find my light source first, then build a composition around that. Try to stop and think about the intensity, direction and colour of the light source and how it falls on potential subjects. Watch how the light changes as you move around it; observe reflections and see the impact of changing light patterns such as car lights. I’m always drawn to strong reds, oranges and yellows, of which there are plenty in areas such as Chinatown.
High ISO is your friend Don’t think twice about whacking up your ISO. I’m usually shooting at 3,200 by default – a rating which most modern cameras can handle with ease (it’s a breeze for cameras like my Fujifilm X100F or X-Pro2). I’ll go to 6,400 and beyond if I need to. Some people struggle to get their head around this, believing that noise will be an issue. Well, it isn’t – it can sometimes even add to the atmosphere – and the alternative (a blurred or massively underexposed image) is simply not an option.
Slow down To really absorb and become part of night-time street life you should slow right down, frequently stopping to take in your surroundings, watching the light and waiting for that ‘moment’. You’ll probably be using a slower than ideal shutter speed, so stopping to take a picture is more important than ever.
Experiment with different lenses
I prefer prime lenses (for their lightness, image quality and wide apertures). In my bag, for night shooting, is a variety of primes, usually including an XF18mmF2 (28mm full-frame equivalent), an XF23mmF1.4 (35mm equivalent) and an XF56mmF2 (85mm equivalent). This gives me an ideal range and also the option of shooting with very wide apertures for some great bokeh effects. If all you have is a zoom, fine – I’ve used the XF18-55mmF2.8-4 and the wonderful XF16-55mmF2.8 for night shooting, and both produce sharp high contrast images.
Leave your flash and tripod at home A tripod will slow you down and strip any spontaneity out of your shooting. It might be fine for a perfectly exposed cityscape with fabulous light trails but for street photography, forget it. And try to avoid using flash, which will draw (sometimes unwelcome) attention to yourself and could compromise some of the ‘documentary’ feel you may be trying to achieve.
You want dark images A controversial statement, maybe, but one I believe in. Modern cameras will often strive to produce what their processor believes to be a correctly exposed image; at night, this can mean an over-exposed image – and usually an unrealistic one. If you wanted your pictures to look like they were taken in daylight, you would have shot them in daylight. You need deep shadows and areas which are almost too dark to comprehend. If in doubt, look at your histogram – if it’s significantly to the left, you’re probably in a good place.
Try motion blur As you’re often forced to use a slow shutter speed, why not make the most of it? Go with it – use it to your advantage! Use a speed of, say, between 1/2 and 1/8 second to get some deliberate blur into moving elements in your frame – cars, people, buses, rickshaws, bicycles, trams etc. With a steady hand (with the camera either hand-held or on something), you should be able to keep the desired area of the image sharp. You could even experiment with a little ICM (intentional camera movement).
Get your settings right Whilst there is no right or wrong for this, I use a tried and trusted formula which consistently works for me and it goes something like this: • ISO 3,200 by default but will increase to 6,400+ when necessary • Aperture priority (‘A’) mode • Aperture value likely to be at the wider end of the scale – usually between F1.2 to F5.6, depending on the subject • Exposure compensation (+/-) occasionally used for fine-tuning exposure • Manual focusing (AF can be too slow). You’ll find that with practice, this will become quick and easy, especially when using red focus peaking
Shoot close-up and from a distance Remembering Robert Capa’s advice, “If your pictures aren’t good enough, you’re not close enough”. I enjoy shooting at close quarters at night, whether the image is based on an abstract, a narrative or a ‘moment’. Shooting close-up can produce striking images but don’t be a one-trick pony – also consider shooting wider street scenes, where you can often construct a fascinating tableau of nightlife.
Stay safe Take more care at night than you would during the day. You’ll be a little more vulnerable and exposed, so be aware of who is around you and always have an ‘escape route’ in mind. Don’t go down dark, quiet alleys alone and try to stick to busier areas. Shooting with a buddy or in a small group is often the best option.
THE FUJIFILM XF10 HAS A MONOCHROME black & white film simulation mode. My Fujifilm X-Pro3 has both Monochrome and ACROS film simulators. These modes have a Red, Green and Yellow variation, giving your monochrome photos a different look and feel.
These sub-options are more convenient than having to physically put the optical filter in front of the lens and can be used for similar purposes.
Many photographers use Monochrome+Ye and ACROS+Ye yellow filter modes to darken blue skies a little to help clouds to stand out.
Monochrome+R and ACROS+R red filter modes are used to darken blue skies even more and lend landscape shot a more dramatic look and feel.
Monochrome+Gr and ACROS+Gr yellow filter modes are used to lighten foliage and look great for portraits.
When shooting portraits in black & white, less is definitely more. Without the distraction of colour, we are free to concentrate on the subject’s face and expression – including any striking features they might have, like freckles, wrinkles, or piercings. Keep the rest of the frame simple and don’t let anything get in the way of this.
Create contrast with side lighting from a single light source and try to place light-toned subjects against a dark background, and darker subjects against a light background.
In landscape photography, look for scenes that contain bold shapes, like the curve of a wooden fence in the sand dunes, or the lead-in line created by a road snaking its way through the foreground.
Contrast is important, too, and can help you create minimalist compositions that are beautiful because of their simplicity, such as a lone tree in the snow or the white spray of a waterfall in front of black rocks.