Round Window – Pismo Beach, CA – Fujifilm X100V – Kodak Tri-X 400
There’s been a lot of talk lately on the subject of limitations. Can a camera with fewer features actually make you a better photographer? Does the restraint of straight-out-of-camera photography force you to consider more deeply your creative choices? Were the autofocus woes of 2024 actually a blessing in disguise for some because they used that opportunity to learn new techniques and better anticipate the decisive moment? It seems counterintuitive, but can limitations actually improve your photography?
Many artists, including photographers, have discovered that constraints—whether intentional or unintentional—can actually improve creativity and technical skills. Composer Igor Stravinsky famously stated, “The more constraints one imposes, the more one frees oneself of the chains that shackle the spirit.” Simply put, less is more.
Photography, like any other art form, thrives on creative problem-solving. When you limit your tools, you’re forced to think outside-the-box. For example, if you self-imposed the limitation of using just one prime lens for an entire month, you’d quickly learn how to frame shots differently, how to move to get the best composition, and how to make the most of the gear you have. Instead of endlessly swapping lenses (or constantly zooming in-and-out), you’d refine your eye.
Film Simulation Recipes are an excellent example of how restrictions can fuel creativity. In order to choose the most appropriate Recipe for your style and the specific situation, you may have to consider more deeply the colors and light of the scene in front of you. This might help improve both your vision and execution.
11th Avenue – New York City, NY – Fujifilm X100VI – SantaColor
Another benefit of limitations is technical improvement. When you take away some of your tools—perhaps some features that you’ve convinced yourself you need—it forces you to master the fundamentals. Let’s say you decide to shoot fully manual for a week. It might be frustrating for the first few days, but then your ability to judge exposure, your understanding of the exposure-triangle, and your manual-focus skills will skyrocket.
The same applies to using a single film simulation for a project. You’ll gain a deeper understanding of how color and tonality interact. You’ll learn when Classic Chrome’s Kodak-like palette works best, or when Velvia’s vibrant colors are more appropriate. The more experience you have with film simulations and Recipes, the better you will be at getting the most out of them.
Flowers & Fruit – Austin, TX – Fujifilm X100VI – Fujicolor Blue
Pablo Picasso once said, “If you have five elements available, use only four. If you have four elements, use only three.” Working within a framework forces us to be more deliberate, more thoughtful, and ultimately more innovative. This is where creativity lives. Orson Wells put it this way: “The enemy of art is the absence of limitations.”
If you want to push your photography further, try setting some limits. Use only one camera and one lens for a month. Or shoot only black and white for a week. Stick to a single Film Simulation Recipe for an entire project. Maybe try an older, less capable camera for awhile. Or disable a feature that you often rely on, like auto-ISO or IBIS. If a certain limitation is forced on you—you didn’t choose it—don’t fret; instead, let it propel you to greater heights. You might be surprised at just how much you grow as a photographer. In the end, art isn’t about having the most or best tools—it’s about how well you use the ones you have. Limitations aren’t roadblocks; they’re opportunities, stepping stones to mastery. Constraints aren’t just a path to creativity, they are the path.
The Fujifilm X-T4 ES is an ordinary X-T4 but without the IR filter—it’s actually full-spectrum. Fujifilm has produced several IR cameras in the past, but the X-T4 ES is the first that they made available to the general public. Despite no fanfare, the camera sold-out quickly. Hopefully Fujifilm will produce and sell some more copies of the X-T4 ES (or another similar model), because I’m certain there is demand for such a camera.
While I’ve only had my Fujifilm X-T4 ES for a few days now, I’ve been busily photographing with it any chance that I get. Already I’ve made some wonderful discoveries that I cannot wait to share with you in the coming weeks and months. Capturing the invisible light spectrum is extremely fun and rewarding because it transforms an ordinary scene into something truly extraordinary. The world becomes a fanciful place filled with unexpected colors.
Common advice found everywhere on the internet is that you need some specific infrared filters (which are often expensive), and most likely you will need to significantly edit the RAW files, which likely includes color channel swaps. With a couple exceptions, there’s not a good way to get good straight-out-of-camera results. I’m happy to report that that is not true. You will (for the most part) need some filters, but probably not the ones you’ve been told that you need. And you can get excellent results straight-out-of-camera, no editing needed.
The pictures below demonstrate several different looks that I’ve been able to achieve right out of the Fujifilm X-T4 ES. They’re unedited JPEGs (other than some cropping and straightening). Capturing striking pictures like these on a full-spectrum Fujifilm camera is very easy. You can expect some Film Simulation Recipes for infrared photography to come soon. I haven’t named the Recipes yet (or even finalized them… they still might be tweaked), so I’ve sorted them by prominent color.
I love to be creative, and to challenge myself to occasionally use curious techniques. While on the Central Coast of California tour earlier this month, one method I infrequently employed was a slow shutter speed handheld to purposefully achieve blurred images. When doing this, it’s possible to get an impressionist or abstract image that might be more interesting—or, at least, more unique—than if a quicker shutter or tripod had been used. I wouldn’t want to do this with every photograph, but when used sporadically (or maybe for a particular project), the results can be intriguing.
I love making retro faded-film-like looks on Fujifilm cameras using the multiple-exposure feature. I have created a number of Film Simulation Recipes which utilize double-exposures to achieve a faded aesthetic. Some of these Recipe are Faded Negative, Faded Color, Vintage Color Fade, Faded Monochrome, and Split-Toned B&W. This type of Recipe isn’t nearly as popular as the “regular” ones that don’t use multiple exposures, and I’m pretty sure it’s because these are a lot more difficult to use. They are way less convenient and practical; however, they can be a good challenge and a lot of fun, and you’ll achieve results that a fairly unique.
I didn’t come up with a new double-exposure Recipe, but I did come up with a slight variation to this concept that I thought I’d share with you. If you are looking for something creative to try, this might just be what you are looking for. In any event, you’re sure to make some interesting images.
Note: this was a Creative Collective article, but now it’s available to everyone.
The concept of this project is pretty simple, and can be done with most Fujifilm cameras. I used my Fujifilm X100V, but you certainly don’t need that model for this project. As long as your Fujifilm camera has a multiple-exposure mode—and most do—you can join in on the fun.
Step one is to choose a Film Simulation Recipe. I went with Kodachrome 64 simply because I like that recipe. While you can use any Recipe, I find that ones with mid or high contrast tend to work better than low-contrast Recipes. So pick your favorite Recipe, whichever one that is, and let’s see what happens.
The second step is to set your camera to capture double exposures. Look for Multiple Exposures in the Drive Menu or on the Drive selector on the top-plate (depending on your camera model). For newer cameras, make sure that you have Average selected in the Multiple Exposure Control submenu. Refer to your camera’s manual if you are not sure.
After that, you’ll want to tape two colored pieces of paper together (I used simple construction paper—see above). You can use any two colors. I chose blue and yellow because they are contrasting colors, and thought it might make it more dynamic. Be creative or thoughtful with whichever colors you choose. A problem you will encounter is that the line between blue and yellow is fine and not feathered. It goes sharply from one color to the other, which is not what you want. We’ll address this in a moment, but for now keep it in mind.
Next, capture the first exposure. The subject can be whatever you want it to be. The camera will ask you if you are satisfied with the exposure or if you want to try again. If you are happy with it, press OK and get ready for the second exposure.
For the next step, which is the second exposure, you will capture an image of the two-colored paper, including a bit of both colors in the frame—it can go straight across or diagonal. You want the picture to be blurry, so flip the camera to manual focus and ensure that it is out-of-focus. This will make the sharp line fuzzy, and will blur out the paper’s texture. I also used a slow shutter speed and moved the paper during the exposure, to further grade the transition between yellow and blue. The camera will allow you to make multiple attempts until you are satisfied, so don’t be afraid to redo the second exposure if you aren’t happy with the results.
I haven’t done a whole lot to explore this concept. I’m sure there are a ton of creative possibilities. Use your imagination, and you are likely to capture some intriguing images.
Bokeh is an often discussed aspect of picture quality. A lot of people use the term, but I don’t know how commonly it is understood. Bokeh is a misspelled Japanese word that means fuzziness. In photography, it is used to describe the out-of-focus portion of a photograph. Good bokeh simply means that the quality of the blurry part of an image is pleasant. Obviously what is “good” is subjective, as different people have different tastes. When there are bright points (such as lights) that are out-of-focus in a picture, the camera will render them as blurry orbs, which are sometimes called “bokeh orbs” or “bokeh balls” or “bokeh circles” (depending on who you ask). Sometimes when people discuss “bokeh” they’re specifically talking about these orbs and not the rest of the blurry part of the picture, even though technically all of it is bokeh, and not just the bokeh balls.
In this article we’re going to purposefully create blurry bokeh balls as abstract art. We’re going to do some things in the name of creativity that might seem photographically unusual or even outlandish.
Hold on tight, because things are about to get fuzzy!
Note: This was a Creative Collective article, but now it is available to everyone.
This is a common use of “bokeh balls.”
The picture above is an example of how you most commonly see bokeh balls used in an image. The method is simple: subject closely focused to the lens, large aperture, and some background lights. In this case, the subject is holiday decor, the lens is the Fujinon 90mm f/2 at f/2, and the background is a lit Christmas tree. The bokeh balls aren’t the subject—they’re the background—although without them the picture would be a lot less interesting.
A similar technique can be used to make bokeh balls a more prominent part of a picture. Photograph wet glass, such as a car window, focusing on the drops, with some lights in the background. The two pictures below are examples of this. The first is a wet car windshield. The drops in the center are in focus, which is also where the bokeh balls are. Because of contrast, the water drops are secondary to the bokeh, and the fuzzy light circles are the subject. I used a Fujifilm X100V for this picture, programmed with the Kodachrome 64 film simulation recipe. The second picture is actually the glass from a picture frame that I removed and took to downtown Salt Lake City. I sprayed it with water, and focused on the drops. The city lights in the background became bokeh balls, which (again), because of contrast, is the subject. I used the Fujifilm X-T30 and 90mm f/2 lens, and the Jeff Davenport Night recipe.
Out-of-focus lights are the subject of this picture.
Even though you also notice the water, the lights are the subject of this picture.
Let’s take this a step further. What if none of the picture is in focus? What if everything is fuzzy? Certainly nobody actually purposefully captures a completely unfocused picture, right?
One technique is like the picture below. You can still tell what everything is. Even though the picture is entirely fuzzy, you know that it’s a tree with some string lights in it. It was captured with an X100F at f/2.8, manually focused short of the subject so that it would all be out-of-focus.
I don’t have to tell you that this is a tree.
Let me pause for a moment to talk about gear. In this case the camera doesn’t really matter, but the lens does—sort of. You can use any lens, but I find that telephoto tends to work better than wide-angle. The larger the maximum aperture the better—I used f/2.8 or larger. The close-focus capability of the lens is another factor to consider; you don’t need a macro lens, but it’s good if it can closely focus. You will manually focus the lens—typically, you’ll focus it to the close end, although occasionally you might focus to infinity if you are photographing something close.
What I wanted to do with this project is capture images like Bokeh Abstract at the very top of this article. The pictures would need to be completely out-of-focus (like the one above), but where you cannot tell what it is (like the top picture). Something more fanciful and even perhaps dreamlike—maybe more like that moment between sleep and wake when we’re wiping the slumber from our eyes and attempting to become aware of our surroundings but aren’t quite there yet. I wanted to create abstract art.
Let’s look at some images!
Holiday lights in a tree.
Lights above a dining room table.
Control panel in a car.
Lights on the front of a Costco building.
Lights on a strip-mall.
What’s great about this type of photography is that very ordinary and not especially photogenic scenes can become extraordinary. Yes, the tree covered in holiday lights could make a nice picture if in-focus, but out-of-focus it’s much more interesting. The other scenes I promise were not particularly intriguing, but make for compelling abstract pictures nonetheless. These are subjects that you might typically encounter in the course of your day, and, as long as you have a camera with you, the opportunity to create art is there for the taking. These were all captured after dark (after all, you need points of light, and, while not impossible, it is much less practical to do this in daylight), and with days getting shorter (in the northern hemisphere), the opportunities increase to create blurry bokeh balls as abstract art.
You don’t even need to leave your home! Crumple up and then unfold a small sheet of tinfoil. Shine a flashlight at it and—boom!—instant bokeh orbs to capture. That’s how I made the two photographs below. If you are bored one night, try this technique, and see what you capture.
Made with tinfoil and flashlight.
Shining the light from different angles creates different looks.
What about the picture at the very top? What is that?
The story behind Bokeh Abstract is interesting. I was sitting on my living room couch, getting ready to transfer the pictures from my camera to my phone. The camera was sitting on my lap, and when I powered it on, that’s what I saw on the rear screen. My four-year-old daughter has a mermaid blanket that’s covered in sequins, which was right in front of me reflecting the ceiling light. I quickly captured it before anything changed. After I snapped the picture, she got up and left the room, taking the blanket with her. It really was by happenstance that the lens was facing just right (and out of focus just right), and I had the awareness to snap the picture the moment that I saw it. That was an easy-to-miss picture opportunity that I was fortunate to capture. Keep your eyes peeled for not just lights, but reflected lights, too!
The Oxford dictionary defines abstract art as “art that does not attempt to represent external reality, but seeks to achieve its effect using shapes, forms, colors, and textures.” I don’t think any of these pictures will ever find themselves in an art exhibit, but they’re absolutely abstract art nonetheless. Maybe they’d make an interesting series if I captured enough of them.
Now it’s your turn! As the days get shorter, opportunities increase to create abstract photographs. Use a large aperture and don’t focus correctly, so that the points of light in the frame are bokeh orbs. See what interesting colors and patterns (or even randomness) that you can discover.
