Helen diaz test shoot pictures fuji x pro1 18 55mm lens · black white
Fuji x pro1 infrared
Trail illumination the perfect lighting
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Railway
Fujifilm x pro1 18mm f 2 8 at 1 60th iso 800 this simple 4 light rig plus the bed side lights will be a doddle to set up when youve seen the video

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X Pro1 Black And White Photography.

Dodge and Burn. Dodging and burning is a policy that comes from the traditional darkroom and is usually used to burn in or darken highlights and hold back (brighten) shadows. Photoshop’s Dodge and Burn tools allow a level of control that film photographers could only aspiration of because you may target the highlights, shadows or mid-tones with both. This means that you should use the Burn tool to darken highlights when they are too bright, or the Dodge tool to perk up them to grow local contrast. It’s a great method of giving a sense of greater sharpness and enhancing texture. Plus, because you should set the opacity of the tools, you can build up their effect gradually so the impact is crafty and there are no hard edges.

Use Filters. Graduated neutral density (AKA ND grad) and polarizing filters are simply as advantageous in monochrome photography as they are in colour. In fact, because they manipulate image contrast they are arguably more useful . An ND grad is collaborative when you want to retain detail in a bright sky while a polarizing filter should be used to decrease reflections and boost contrast. Alternatively, contemplate taking two or more shots with varied exposures to create a high dynamic range (HDR) composite. Don’t be afraid to use a ND grad with a standard neural density filter if the sky is brighter than the foreground in a long exposure shot. Coloured filters, which are an essential tool for monochrome film photographers, can also be advantageous for manipulating contrast in digital images. They work by darkening objects of her opposite colour while lightening objects of their own. An orange filter, for example, will darken the blue of the sky while a green single will lighten foliage.

Look for Contrast, Shape and Texture. The complimentary and opposing colours that bring a colour image to life are all decreased to black and white or shades of grey in a monochrome image and you have to look for tonal contrast to make a shot stand out. In colour photography, for example, your eye would instantaneously be drawn to a red object on a green background, but in monochrome photography these two areas are likely to have the same brightness, so the image looks flat and drab straight from the camera. providentially , it’s possible to work adjust the brightness of these two colours discretely to introduce some contrast. However, a great starting point is to look for scenes with tonal contrast. There are always exceptions, but as a general rule look for scenes that contain some forceful blacks and whites. This can be achieved by the light or by the brightness (or tone) of the objects in the scene as well as the exposure settings that you use. The brightness of the bark of a silver birch tree for example, should inject some contrast (and interest) in to a woodland scene. Setting the exposure for these brighter areas also makes the shadows darker, so the highlights stand out even more. Look for shapes, patterns and textures in a scene and move around to find the most excellent composition.

Take Control. Although coloured filters should still be used to manipulate contrast when shooting digital black and white images, it’s more prominent to save this work until the processing stage. Until a few years ago Photoshop’s Channel Mixer was the preferred means of turning colour images monochrome, but now Adobe Camera Raw has more forceful tools (in the HSL/Grayscale tab) that allow you to adjust the brightness of eight individual colours that make up the image. It’s possible to adjust single of these colours to make it anything from white to black with the sliding control. However, it’s important to keep an eye on the whole image when adjusting a particular colour as subtle gradations can become unnatural looking. And adjusting the brightness of a red or pinkish shirt with the red sliding control, for moment , will have an impact on the model’s skin, especially the lips. The Levels and Curves controls can also be used to manipulate tonal range and contrast, but the HSL/Grayscale controls allow you to create delineation between objects of the same brightness but with diverse colours.

Try Long Exposure. Long exposure shots should work really well in monochrome photography, especially where there’s moving water or clouds. During the exposure the highlights of the water, for example, are recorded across a wider area than they would with a short exposure and this should help enhance tonal contrast. The blurring of the movement also adds textural contrast with any solid objects in the frame. If required , use a neutral density filter such as Lee Filters’ Big Stopper or Little Stopper to reduce exposure and extend shutter speed (by 10 and 4 stops respectively). characteristically , when exposures extend farther than as to 1/60 sec a tripod is wanted to keep the camera still and avoid blurring. It’s also advisable to use a remote release and mirror lock-up to minimise vibration and produce super-sharp images.

Shoot RAW + JPEG. The unsurpassed monochrome conversions are got to by editing raw files which have the full colour information, but if you shoot raw and JPEG files simultaneously and set the camera to its monochrome photograph Style/Picture Control/Film Simulation mode you get an indication of how the image will look in black and white. As many photographers struggle to visualise a scene in black and white, these monochrome modes are an invaluable tool that will help with composition and scene assessment. numerous cameras are also capable of producing decent in-camera monochrome images these days and it’s worth experimenting with image parameters (usually contrast, sharpness, filter effects and toning) to find a look that you like. Because compact path cameras and compact cameras show the scene seen by the sensor with camera settings applied, users of these cameras are able to preview the monochrome image in the electronic viewfinder or on rear screen before taking the shot. DSLR users should also do this if they kick in their camera’s live hypothesis convention , but the usually slower responses mean that many will find it preferable or check the image on the screen post-capture.

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For those of you that explore old buildings and other old areas for photographic opportunities, make sure to be aware of your surroundings.  I made one of those excitement mistakes today and in the corner of the room, just beside the large gear was a three foot hornets nest with hornets buzzing around.  I didn’t notice until after I took this shot when I promptly exited the room.  There was a large boiler tank behind me I wanted to photograph second, but I valued my health.  I did not get stung, but those hornets continued buzzing throughout the room the entire time we were there.  I checked once more on our way out and decided I had some great shots and I could live with that.

Actually, to be more specific, *they* exist. I spoke today with Dan Llewellyn, President of MaxMax, a kind of skunkworks lab that, among many other things too sophisticated for me to get into, converts some Fuji cameras to monochrome versions, and you can either send your own camera in or they’ll buy it and convert it for you with only about a week turnaround time.

Once again, there was no post processing of any kind to this image.  The JPEG is straight from the camera.  This is my son, Ben, as he rounded the corner on the Reef Bay trail and hit a patch of bright light coming through the canopy on the trail.  I had just shot an image of the tree near me and recomposed and shot the image.  My exposure was already set, so all I needed was focus and a shutter press.  This image was taken using the Fuji 18mm (28mm) at f/2.8 and 1/250 second.

At the moment he’s done X100s and X-Pro 1 which converted are dubbed X100s-M and X-Pro 1-M, but for those of you not satisfied with that, the X-Pro 2 is next, which likely means the X-T2 as well. Excited yet? You should be.

Dan has been modifying cameras since ’97 and does engineering type work for cameras of all kinds of applications from industrial agriculture, to well, whatever else you can think of. The Fuji work has happened a bit more recently as he said the X-Trans is a bit tricky to work with, stating that the cover glass is glued on with a strong agent, and getting it off without damaging the tiny gold wires was a real problem. Never deterred, Dan persisted and many tens of sensors later has overcome and has it down to a science now; a method that makes him the only person to do this right with consistency.

The first thing to address here is Dan himself, who is, for lack of a better term, something of a polymath. Dan isn’t an engineer by degree, opting instead to study finance in college then worked for Electronic Data Systems ending up managing their foreign exchange risks. Then for a change of pace went and worked for a company that made consumer hardware tools, but frustrated with the speed of upward momentum after reaching a ceiling he started his own little company in his basement, setting the tone for MaxMax.

You can get both from MaxMax.com and click here for a direct link to the store.

David Knobleblack and white, lenses, photo shoot, XPro1887 Wordsdigital, exposure, Fujifilm, lenses, LR-library, photo-shoot

There are a few caveats, however, and if you’re not greedy, and are really specific, there are specialty cameras out there to suit. The first to come to mind would be the Leica M Monochrom, a beautiful mutant with a CCD missing a color gene that means it’s a purpose shooter with uncompromising dedication to black and white. It actually records only true luminance values in order to deliver the true b&w shots. That allows, technically, for more contrast, sharpness, and according to Leica, a ‘finer resolution that that of medium format.’ They also tout its ability for sharp photos with fine grain up to 10,000 ISO. But it costs $7,500, and that’s without glass.

Getting a camera that has and does everything you want is generally considered a pipe dream, and even if you were able to get close, like Sony a99II close, it would be ephemeral bliss because Moore’s Law suggests tech progresses at a rate that will have you yearning for some new advancement by the time your next birthday came around. As I tend to say, owning the best in camera equipment is like running in a race where the finish line keeps moving.

For the final image uploaded in this series, I was able to publish it with zero modification to the out-of-camera JPEG.  What you see here is what I shot with the Fuji X-Pro1 with the Fuji 18mm attached.  The exposure was f/4.0 and 1/500 second.  This was the gear system still housed inside the Reef Bay sugar mill ruins.  Apparently the old mill was upfitted with new technology in the 1800’s and the mill failed a second time now here for us to visit.  The only illumination was from a window on the right between me and the gear assembly.

Nothing is perfect, and in this case I did some post processing to the JPEG file shot in the X-Pro1.  The original image was darker than I wanted, using the same Fuji 18mm at f/4.0 and 1/125 second.  I had a better exposure, but it was with f/2.8 and the smaller f/stop was really closer to the sweet spot of the lens, so I opted for a slightly higher depth of field and adjusting the exposure.  I added a little over 1 stop of exposure, boosting the highlights and the shadows while bringing the blacks back into check.  I did add a little noise reduction to offset the increase from the shadow side of the image.

Tags:leicablack and whiteX-PRO2x100fujfilmxpro-1leica m monochrom

You can take a look at a few images below with links to the raw files, but Dan should be adding more soon. Either way, if you’re a digital shooter and a fan of shooting B&W in-camera, as I am, this is a really interesting and exciting option, and perhaps even inspiring.

The lighting was just right and this ficus tree base seems to glow.  There is no alteration of any kind to this image, it is the JPEG image straight from the camera.  The lens used was the Fuji 35mm (50mm) at f/2.0 and 1/60 second.

So what’s the cost for this? Yes, there is a premium, but we’re not talking near Leica money. For ASP-C sensors he typically tags on a $1,500 premium (again not just for monochrome but all the other variants he does), and for full frame, monochrome would be about $2,500. The Fuji ones are a bit more challenging so there may be a $100 premium on that, but specifically at the moment the X-Pro 1-M goes for $2,425 and X100s-M is $2,600. So near as makes no difference 1/3rd of a Leica Monochrom.

News & Insight Want A Fuji Monochrome? | Now You Can Have A Fuji Camera Dedicated To Black & White

I am using this time to refine my use of the X-Pro1 and put together a book on this camera system and the tricks I’ve found and developed on my own to use it to its full potential.  I hope to have this out in the fall and will let you know here.  Some of what you see here will be discussed in much greater depth, including post processing when necessary.

It’s hard to argue against the idea that a big part of Fuji‘s X-line appeal is that it brings rangefinder style favored in Leicas within reach of mortals. Even if using them isn’t really the same feeling, they are joys to use and certainly more versatile, but what if versatility isn’t what you wanted and really it’s a Fuji version of the Leica M Monochrom you dream about? Well, it exists.

Sometimes you just nail the exposure.  I find that when that happens to me, it was really just perfect lighting.  Ironically, yesterday I posted about the importance of getting the best possible exposure as the top priority.  Today, I went down the Reef Bay trail to some 1,000 year old Petroglyphs and some old Sugar Mill ruins.  Today, I nailed the exposures.

All Text & Images © 2009-2017 Kevin Mullins Photography & Design Ltd.

But his lack of expected scholastic degrees doesn’t mean much as Dan has the ever-enviable ability to take notice of the details, then self-teach to the point of mastery, which is why he has MIT PhDs calling him for his thoughts, and why Fuji, years ago, was considering getting him to do types of conversions on the S3Pro which he had done upgrades on and they’d seen. They eventually didn’t go with him, choosing instead to do the same work in-house. But all this is just a testament to the fact that your gear is in good and reputable hands, and when you speak to Dan, you can sort of tell he’s like a sort of human-cupboard for technical data and trivia.

Related: Better To Shoot in B&W Or Convert in Post? A Simple and Quick Tip For Shooting Better Black & White Images

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