As is my morning ritual (especially at the weekend) I headed down to the beach for 10 minutes peace before the day starts proper.
Normally I take with me an X-T camera of some description and a sketch pad – quite often I use the sketch pad and not the camera. This morning being bright and sunny I thought I would take the opportunity to see how the new Godox (On camera) TT685F would work in conjunction with PocketWizards for remote camera use at Red Carpet Events.
My PocketWizards are a set of Plus3‘s which connect into the X-T2 via the Mic-In socket. This necessitates a 3.5mm to 2.5mm lead (using Younogo’s a 2.5mm-2.5mm lead is the requirement) .When first connecting the cable into the camera it prompts you to ensure the socket is set to the correct use – Remote Control or Microphone. (Edit: To clarify – this is to trigger the camera remotely and nothing to do with the triggering of the flash unit). The next key step is to pre-focus and set the camera to manual focus as it would not fire when set to either of the AF modes (I have not noticed this before when shooting interiors, however most of the time I am bracketing & pre-focusing on manual to ensure the focus does not change between brackets for the HDR merge).
Once this was working ok I fitted the Godox to the camera and had a play. This is not a particularly flattering image but it does demonstrate why HSS (High Speed Flash Sync) is such an important tool.
Self Portrait at Worthing, UK, 19/08/2017 : Julie Edwards. Picture by Julie Edwards
The key things to remember when shooting outdoors with flash are –
Shutter Speed only affects the ambient light (sun / surroundings)
Aperture affects ambient & flash brightness
ISO affects ambient & flash brightness
Therefore, shooting into bright sun I was able to balance the ambient (sun and background) by raising the shutter speed to 1/1250, setting the aperture and ISO to suit the flash output (in this case TTL output for laziness but probably near or at full output).
So.. The key is Shutter Speed! Actually no, I stand by the T-Shirt, the key IS motivation!
Since upgrading to the X-T2’s my X-T1 has become my standard “walk around” or “sanity” camera with the 35/1.4 fitted (as I also sold on my X100).
Most of the time my walk-around’s are set to Monochrome as I still really love the way it cuts straight through to the essence of a scene, letting the light and composition “speak”. I feel you really have to nail these two aspects to make a Black and White image really work but it’s clear from comments that quite a few [fellow press photographers] feel that its an “easy way out” or a way to disguise shortcomings in a colour image. So recently I have switched my walk-around to colour, well I say colour, sort of colour – the Fuji Classic Chrome film simulation. When this film simulation was first added to the cameras a few years back it was really overused but now the Acros simulation has been added and Chrome being a few years old, it’s over use has diminished.
As always my “walk-arounds” are set up to shoot JPG Fine only and I have also set both the Hi-lights and Shadows to +2 for a really contrasty look. Set this way the shadows do really block up a lot but I kind of like the look.
One of the places I shoot often is Hyde Park as I walk through. Today the mixture of clouds and strong light pushed the contrast further. The images were downloaded through ShutterSnitch over WiFi and edited on the iPADPro in Lightroom Mobile where I mainly pushed the curves further, added clarity and a vignette.
The formation of the blue boats in relation to the tower block, along with the dark trees and contrasty sky took my eye here.
Here I pushed the sky a little further with a graduated filter in LR but again I really like the layers and mood of this with the boat contrasting against the cafe which contrasts against the trees and sky.
Diagonals and Contrast. Its like a Monochrome image – but its not!
This tunnel always reminds me of the “Death Wish” series of films with Charles Bronson (filmed in Central Park, NYC).
Running in and out of the shadows.
Having an X-T1 as a walk around is kind of nice – now all of my cameras are basically the same format with mostly the same controls and handling, but being able to change what comes out of them in terms of images is really powerful aspect of the Fuji system. Why not give it a go next time you go for a wander?
With a few “long distance” jobs coming up in the next few weeks I thought it was time to purchase the XF100-400, I added the 1.4TC as the saving is reasonable and you never know when it might come in handy (as it works well with the 50-140 as my previous post proved).
As when I last used the 100-400 I did not have the converter I thought, despite the poor weather and light I would take the pair down to the beach and see what they made of the wind-farm that is sprouting off of the Sussex coast.
I took this image at the full 840mm 35mm Equivalent reach (ISO 800, 1/450th and F8 on an X-T2) because I liked the contrast between the old torn stark fisherman’s marker flags and the modern windmills softened by the atmosphere and weather. As I processed the from RAW (pushing the Velvia simulation to extreme) I noticed a dark patch in front of the windfarm.
Zooming in at 1:1 I saw this..
Im not sure how far out the Dolphin was (please don’t correct me on type / species etc, I understand I am probably wrong) but I was unable to see it by eye and although not a very technical test, given the conditions (it was blowing a gale, I was hand holding etc ) I am pretty impressed.
Ill follow up with more considered thoughts later.
Last Sunday (the 12th) was my annual trip to photograph the stars arriving for the British Academy Film Awards which, this year, took place at The Royal Albert Hall. As usual I was shooting on on Fujifilm X-Series, mostly the X-T1 and 50-140 with some on the 56mm mounted on a second X-t1. The wide images are using the 14mm mounted on an X-Pro1.
One interesting fact is that despite shooting over 1700 images on the 2 X-T1’s, I only changed the battery once in each camera (and the 50-140 body shot way more than the 56 body). In very cold weather, thats not too bad
Normally I would post a series of images here but I think its just easier to pass you over to my main side and a slideshow.
I’m still working on the White Balance post; so much I want to cover in it, I will probably have to split it into two.
To keep the blog rolling though, here is a quick look at my work last night. I was at the Brighton Dome to cover City and Colour with Lucy Rose as the support.
Browsing around the inter-web as we do I come across lots of discussions about “Can’t use this camera for so-and-so”, “thats the wrong lens for that”, quite often with no follow up argument (yes trolls). Quite often the discussions are about using Fujis in low light or in Gig situations.
Last night I started with the 16-55/2.8 & 50-140/2.8 “Red Label” lenses getting the basic shots, for the 3rd song I switched to the 56/1.2 basically because I had not used it in a darkish gig and wanted to see what I could get…
Lucy Rose plays Brighton Dome on 18/02/2016. Picture by Julie Edwards. X-T1, ISO800, 1/180th @ F1.2, Astia Simulation