Author: dg28

I've been a full-time editorial & corporate photographer since 1986 and I'm still as passionate about the work now as I was then. These days I also write about photography, teach photography and act as a consultant on all things photographic - so, basically, photography is my professional life.

My Fujifilm X20 – the final word?

It’s amazing how often a casual conversation or a quick exchange on a Facebook group can spark a train of thought. Earlier today a comment by a friend and fellow photographer about how a photo sharing site had made him look around him and start taking pictures for the love of it again. I agreed whole-heartedly and began to think about uploading a few more pictures here. That moved my train of thought onto the various reviews and updates that I’ve written on this blog and elsewhere about the Fujifilm X20 that has been my almost constant companion for the last 11 months. So what I decided to do was to say a few words to summarise my experiences with this camera and add some pictures shot in the last couple of weeks.

©Neil Turner, March 2014. The photographer's shadow forms part of the scene as an elderly couple walk along South Bank of the River Thames in London.

©Neil Turner, March 2014. The photographer’s shadow forms part of the scene as an elderly couple walk along South Bank of the River Thames in London.

In general, my opinions about this camera have barely changed since I posted the first update back in mid April 2013. Given the product cycle that Fujifilm seems to gallop through the X20 is probably about to be superseded anyway but I thought that I’d offer some advice to make this camera (that I still like very much) better if they want to bring out an X30.

  • The battery life has to improve. Despite doing everything possible to limit power drain I get through two batteries a day when shooting with ordinary SD cards and up to four batteries a day when I’m using one of my Eye-Fi cards. This makes a cool and convenient camera a lot less convenient and pushes up the cost of ownership – even if you go for third party spare batteries.
  • Start-up delay. About once in every third time I switch the camera on it takes three or four seconds to adjust and get the exposure correct. The first picture is often three or more stops over-exposed.
  • Autofocus at the telephoto end of the range. My camera sometimes refuses to auto focus when the lens is zoomed all the way to the 112mm equivalent end of its range.
  • The review time options for looking at images you have just shot are too restrictive. There are no options between 1.5 seconds and zoom (unlimited).
  • The built-in flash isn’t compatible with the lens hood – you get shadows and so to use that function you need to remove the hood.
  • The video isn’t great – but I didn’t buy this camera to shoot video.

On top of all of that it would be great if the focal range went from 24-120, the camera had two SD slots and if there were lens correction options for Adobe Camera RAW because at the 28mm end there is the slightest barrel distortion.

This is a great camera and I love using it. I am seriously tempted by the X100S too. Having borrowed one for an extended period, I would very much like to own one. Fujifilm have done a great job with their X-series cameras and they should be very proud of the effect that their cameras have had on a lot of very old and very picky professionals (like me) who all grin like idiots when using the kit. So now, without further ado, here are a few more recent X20 images for you…

So there you go Fujifilm… bring on the X30…

The light on the train

March 2014. Passenger on the train between Bournemouth and London Waterloo reading HEAT magazine as the train passes through Woking. ©Neil Turner

© Neil Turner, March 2014. Passenger on the train between Bournemouth & London Waterloo reading HEAT magazine.

 

Every once in a while I take the train to London for meetings and the occasional job where I don’t have to carry half a ton of cameras, lights and computers. One of my favourite ways to pass the time is to do a bit of train photography and yesterday’s journey gave me a few nice frames where the light was good. Normally I just bung them from the camera (in this case my adorable Fujifilm X20) via an Eye-Fi card onto my iPhone or iPad and then straight to Twitter or EyeEm. I rarely give them a second glance when I get home but I wanted to post this picture because of the light. The sun was coming at just the right angle to reflect a lot of light back into the woman’s face from the pages of Heat Magazine at exactly the same time as the woman sitting behind her appeared to be getting interested in the page through the small gap between the seats. I have no idea if she was actually looking at the page or whether it was a happy coincidence – either way, the light made me do it!

This frame was taken about five minutes after I’d posted a similar but inferior one on EyeEm so I kept it and decided that it would make a nice “just because” picture on this blog. I’m sure that I’ll get around to writing something more serious soon…

A very different kind of photography

©Neil Turner February 2014. Low level Aurora activity over a frozen lake, Inari County, Finland

©Neil Turner February 2014. Low level Aurora activity over a frozen lake, Inari County, Finland

Just a week ago I was standing on a frozen lake in northern Finland with my Wife and a dozen other people watching and waiting for the Aurora Borealis to charm us with its dancing and colours. We were in Finland because it was my fiftieth birthday and my Wife had spoiled me with a trip to see if we could see the Northern Lights. Being an obsessive photographer I wanted to shoot some nice pictures of some amazing skies but it was this frame which shows some light pollution and very low levels of activity that I love the most.

This kind of photography is a million miles away from what I do best and this is the first time that I’ve ever seriously tried to photograph a night sky in this way. It was dark (three hours after sunset) and it was cold and it was magical. As you can see from the image below, we went on to shoot some much prettier Auroras but there’s something about this frame that makes me want to go back and try again.

©Neil Turner February 2014. Medium level Aurora activity near Ivalo, Finland

©Neil Turner February 2014. Medium level Aurora activity near Ivalo, Finland

Techie stuff:  Exposures varying from 10 to 30 seconds at between f2.8 and f4 on 2000 ISO. Canon EOS5D MkIII with a 16-35 f2.8L lens on a Manfrotto 055 tripod

Dogs on the beach and the Fujifilm X20

My addiction to taking pictures of dogs walking on the beach with or without their owners shows no signs of abating and neither does my joy at shooting pictures with my Fujifilm X20. When I get to shoot bon the beach with the X20 my photographic life is almost complete (laughs ironically there). So, once again, for no other reason that I loved taking and editing the picture here is a photograph taken last Saturday at Boscombe Manor during a break in the foul weather that the whole of the country has been getting.

© Neil Turner, February 2014. A couple walk their dog on the beach between storms.

© Neil Turner, February 2014. A couple walk their dog on the beach between storms.

To the north of us was the wreckage of broken beach huts, to the east was an area closed off to the public and to the west was the only stretch of the beach where you could walk with reasonable safety. Happy days.

An interesting portrait

©Neil Turner/TSL. Sanjit Bunker Roy - founder of The Barefoot College in his native Rajasthan in 1984 is also heavily involved in the Global Rainwater Harvesting Organisation. Photographed at the Said Business Centre at Oxford University .

©Neil Turner/TSL. Sanjit Bunker Roy – founder of The Barefoot College in his native Rajasthan in 1984 is also heavily involved in the Global Rainwater Harvesting Organisation. Photographed at the Said Business Centre at Oxford University .

Whilst looking for an image to demonstrate a specific point to a group of NCTJ Photojournalism students I re-discovered this portrait of a charming businessman and philanthropist that I shot back in March 2006 for The Times Higher Education Supplement. The point that I was making was actually about histograms but I wanted to say a little more here about why I liked this picture so much at the time I shot it.

Firstly, he was a really nice man who gave me the time to shoot a small range of images. He was happy to chat, happy to be directed and trusted me to do my job. You would think that the majority of people would react the same way when being photographed by a professional but that is sadly not how it is. I was delighted that, despite being a businessman, he was wearing something a lot more interesting than a grey or navy suit. I got the distinct impression that he had cultivated an image and that he was very happy with it.

My second point is the degree to which I had to mix ambient light, the sky and my own flash. I couldn’t do too much to balance the sky and the lighting around the quadrangle but I had to get the balance between the subject and the ambient just right and I ended up allowing the walkway to the left of the frame go a lot darker than I’d originally intended so that the depth of the blue in the sky was exactly as I’d wanted it. Looking back, I was always keen to see the lighting balance on the screen on the camera and I often shot two versions of a picture with differing balances so that I could choose when looking at it on a decent sized screen in the edit. These days, the screens on cameras are so much better and you get a far better impression of how the photograph will look on the LCD.

My third and final point about this portrait is the way that it applies the old “rule of thirds” in an unusual way. Yes he is almost exactly one third of the way into the frame from the left (classic composition) but his body is facing out of the frame (not classic composition) and everything on the right hand side of the frame isn’t much more than decorative.

I think that the light, the tones and the colours all add up to an interesting and very usable portrait – one that I remember enjoying taking. I also remember the speed with which I had to offload the images over a slightly dodgy GPRS mobile connection. But what about the histogram? The students who were at the lecture would tell you that I spent a lot of time comparing good, bad and ugly histograms and explaining what they all meant before admitting that I rarely, if ever, look at them myself! I know that in certain circles that would be a heretical thing to admit but all photographers have to have some sort of rebellion in them.

Techie stuff: Canon EOS1D MkII, Canon 16-35 f2.8L lens at 16mm, ½ second at f8 on ISO 200 with a Lumedyne Signature series flash with no light modifier. Canon CR2 RAW file converted using Adobe Photoshop.

The term photographer is no longer enough

Just under two years ago I wrote about the definition of the word ‘photographer’ and about how everyone is one these days. I have become more and more interested in the definition and I have come up with the following question:

Can you use the word ‘photographer’ in isolation any more?

What I’m asking there is whether there is anyone out there whose work, hobby or pastime is sufficiently vague that you can just say photographer? I’m probably not the best example but I have my permission to talk about me so here goes; I use a combination of editorial, corporate, press, documentary, portrait, features, PR and commercial in front of the word photographer depending on what I’m shooting, who I’m talking to and where I am. I also use photojournalist from time to time but never ‘just’ photographer without qualifying it.

This got me thinking a bit further. When I teach photography I often compare it to driving. I talk about when you first got behind the wheel of a car and had to think hard about which pedal was which and where the gears were and how some of this was already there because we had been passengers for the preceding 17 years of our lives and we had probably driven go-karts and played computer driving games. The same goes for becoming a photographer. Handling the camera takes a lot of thought at first but it becomes second nature after a while and 99% of us had already been in pictures, used a simple point and shoot as well as doing drawings and getting the basics of composition.

This lead to the thought about the similarities between the word photographer and the word driver. Rarely do you hear ‘driver’ without something more specific in front of it – bus driver, lorry driver, train driver or racing driver amongst many others. I have to wonder whether this is just a natural human need for more information or a desire to stick people and what they do into convenient boxes. I am certain that there are a lot of photographers out there who would rail against being pegged as one kind of photographer and I’m equally certain that there are probably an equal number who would delight in being thought of as completely specialised. Of course there is a group in the middle like me whose descriptor changes on a daily or even hourly basis.

I find it quite amusing when I come across photographers who latch on to genres of photography that either make no sense or that are deliberately elitist or confusing to anyone other than the ‘in-crowd’. I have mentioned my dislike of ‘wedding photojournalism’ before. It is perfectly descriptive but it makes no sense. Wedding photographers are hired by the family or the couple getting married and, no matter what style they shoot in, they are not in any real way acting as journalists using photographs. What they are is wedding photographers using a photojournalistic style. It’s too late to reign it back though. Language is a dynamic and moveable thing and the word photojournalism has already become something different in this context.

When I was first thinking about how I was going to write this post I had just shot a whole series of photographs at a large secondary school where there was a rule that the academic staff were “teachers first and subject specialists second” which meant that nobody working there was a Geography Teacher or a History Teacher or even an English Teacher but were instead a Teacher of Geography or a Teacher of History or a Teacher of English. I spent a while trying to see if I could make that idea work for photography – the idea that we were photographers first and specialists second. Who would prefer to be called a “Photographer of Fashion” or a “Photographer of Sports”? Those work but “Photographer of Portraits” and “Photographer of Corporate (stuff)” don’t really do it for me.

At a dinner party recently I was asked by someone that I’d never met before the obvious “so what do you do?” question. I answered “Editorial & Corporate Photographer” and got a blank look back. The gentleman was an intelligent chap and a local government official but he had to ask me to dissect what an editorial and corporate photographer was. By the end of the conversation I realised that it would have been easier to say “self-employed photographer” and give him the option of digging deeper – so that’s my new tactic at dinner parties.

That incident, the thoughts about teachers and drivers and my general confusion about explaining who I am and what I do have left me pretty much back at the start of this mildly philosophical blog: Each and every time you need to define yourself as a photographer you need to select the appropriate descriptors and adjectives for that particular context. There doesn’t appear to be a solution to this problem that I can see.

I need to go and prepare for tomorrow’s session where, if I were to use my driving analogy, I’m going to be the driving instructor. I suspect that the comparison between photography and driving has many miles to run…

Out Walking

Ever since I started using the EyeEm photo sharing site I have been trying to shoot more pictures “just for the fun of it”. The platform allows you to add your pictures to albums and one of my favourites is entitled “Out Walking”. I often shoot with my Fujifilm X20 with and Eye-Fi card in it, convert the RAW fils to Jpeg using the neat film simulation modes before uploading them to my iPhone and going through the process I described in my Eye-Fi Workflow post a week or so ago. I also vowed a while ago to get better at black and white. I’m not sure that’s going quite so well but I often combine the two. It’s great fun and even mildly addictive!

Anyway, for no other reason that I want to share them, here are some of the images.

© Neil Turner, January 2014. Man holding sign offering tattoos an tattoo removal touts for business on the pavement just outside one of main areas of Camden Market

© Neil Turner, January 2014. Man holding sign offering tattoos an tattoo removal touts for business on the pavement just outside one of main areas of Camden Market

© Neil Turner January 2014. Cold and bored stall-holder selling keep calm t-shirts at Camden Market.

© Neil Turner January 2014. Cold and bored stall-holder selling keep calm t-shirts at Camden Market.

© Neil Turner, January 2014. Bored shop keeper outside his open hat shop just outside one of main areas of Camden Market

© Neil Turner, January 2014. Bored shop keeper outside his open hat shop just outside one of main areas of Camden Market

Eye-Fi card workflow

eye-fi_cards When I was rounding up 2013 I mentioned that I had a lot of success using an Eye-Fi card to wirelessly transmit pictures from my cameras (Canon EOS5D MkIII and Fujifilm X20) to either my iPhone, iPad or laptop where I can do a quick edit and caption before sending them to clients. Inevitably I got a couple of emails using the “ask me anything” feature of this blog asking me to describe my workflow. It is similar between an EOS5D MkIII and the Fujifilm X20 except that the former has twin card slots (one CF compact flash and one SD secure digital) whereas the latter only has the SD slot. I like to shoot RAW which means that in the X20 I have to do an in-camera RAW conversion to create a Jpeg to send out. I have two cards (shown left) – an Eye-Fi branded 8Gb Pro X2 and a Sandisk branded 4Gb one. In practice, they both do much the same job but the orange Eye-Fi one has more options should you want to work differently. Without further ado, here is how it all works on the Canon…

Getting the the settings on the card, your camera and your phone/tablet/computer right is the key to getting everything working well:

  1. Setting up the Eye-Fi card. When you get the card it should come with an SD card reader and by far the best way to set things up is to use that reader to load the card into a computer. There are lots of options that will appear once you have loaded the supplied “Eye-Fi Centre” application. This workflow is all about working in what the manufacturer calls “direct mode”. I choose to only transfer the files I want to my iPhone and so on the card I have selected “Selective Transfer” via the Eye-Fi Centre application. This means that only images that I have protected in the camera menu get transferred. On the Canon I have assigned the “rate” button to protect images for speed. It is also useful to add a couple of wifi networks and to define which file formats to transfer using the application whilst the card is in the computer because it isn’t possible to alter some settings once the card is in the camera. This whole process takes a few minutes and if you get it right, the whole thing test a lot easier from here on in.eye-fi_screenshot
  2. Setting up the camera. In the EOS5D MkIII menu there are three things that I’d recommend you do. The first is to assign the “rate” button to protect selected images. The second is to get the camera to write RAW files to the CF card and medium size Jpegs to the SD (Eye-Fi) card. Finally, you need to enable Eye-Fi transfer from the camera menu. This way you can use the review function with card 2 (the SD slot) and then every time you protect an image written to the Eye-Fi card it will automatically look to transfer that file to the device you have nominated.
    eos_screens
  3. The receiving device. I use an iPhone and an iPad and the whole process is eventually controlled by the free app that Eye-Fi make available through the Apple App Store. There are equally useful apps available for Android powered devices and the functionality is pretty much identical. Apart from loading the app the only other thing you have to do is to download and authorise a small change to your wifi settings on your phone which simply installs the settings for the direct mode to work. Once you launch the app you get an opening window which then gives way to the gallery window which in turn tells you what is happening about transfers. Below you can see the card paring screen and the gallery screen.eye_fi_phone
  4. Editing your pictures. Once you have the image on your phone or tablet you can then use the apps of your choice to edit and caption your image before shifting them on. My personal favourite is Photogene4 which has some good image options such as clarity, contrast, saturation, straighten, crop, sharpen and the ability to add IPTC captions – including defaults such as the EXIF time day and date as well as any pre-loaded captions and copyright information. I find that it’s a good idea to write some generic captions using Apple’s Notes app and then copy and paste them into Photogene4. The app also has the option to upload to a wide range of sharing sites as well as to email and ransomer images to FTP servers – making it really useful for work.photogene
    From shooting a frame to having it uploaded to my own FTP server normally takes twenty to thirty seconds if there is a good phone signal and the various uses that I’ve found for this rapid upload range from offering images to people I’ve photographed to providing almost instant pictures for corporate clients to use for their Facebook, Instagram and Twitter feeds at events. This is a very versatile piece of kit and I haven’t even come close to describing everything that it can do. I like the way that this workflow actually does flow and I love the effect that it has had on a couple of clients who really appreciate what it offers them. My first Eye-Fi card was £24.99 including VAT – possibly the best investment that I’ve ever made!