Today’s SOOC Livebroadcast was wonderful. Thank you to everyone who tuned in and participated—you all make it great!
We discusses the new Reala Ace film simulation, and talked at length about my Reala Ace Film Simulation Recipe. The Reala Ace Recipe is for X-Trans V cameras, and not everyone has one of those cameras, and even if you do, you might prefer a different option, so Nathalie Boucry and I offered three similar Recipes as alternatives. Specifically, we suggested Fujicolor Reala 100, Fujicolor Superia 100, and Fujicolor 100 Industrial. Watch the video below to learn more.
There are two Fujicolor Reala 100 Recipes—one for X-Trans IV (excluding the X-T3 and X-T30), and one for X-Trans V. Likewise, there are two Fujicolor Superia 100 Recipes—one for X-Trans IV (excluding the X-T3 and X-T30), and one for X-Trans V. The Fujicolor 100 Industrial Recipe is just for the X-T3 and X-T30; however, simply ignore Color Chrome Effect to use it on X-Trans III (it will look very similar, and only slightly different), or for newer cameras, set Grain size to Small, Color Chrome FX Blue to Off, and Clarity to 0.
While you are here, the long-overdue Viewers’ Images slideshow from the previous broadcast was finally published. You can watch it below. There are some really great pictures by you all, so you’ll definitely want to take a look. Thanks to everyone who submitted photographs!
I know I just told you that the next SOOC Livebroadcast will be this coming Thursday, but it’s now been delayed two more weeks, and will now be on Thursday, November 2nd. Sorry for any inconvenience this might cause you. I look forward to seeing you in a couple weeks!
While I have you here, I do have a request: keep Nathalie and Stanley in your thoughts and prayers. They had a loss in their family. It’s been a bit crazy for them, and tough emotionally. So if you can take a moment to lift up their family in whatever way that you do that, it would be really great. The Fujifilm and—more specifically—the Fuji X Weekly community is the best in all of photography, so that’s why I’m making this request to you.
Mark your calendar! After a two week delay, the next SOOC Live broadcast will now be this coming Thursday, October 19th. Originally, we were going to discuss double-exposure photography (as was advertised at the end of our last show), but we decided to change the topic to Reala Ace.
Why? First, life events happened, and we just didn’t have the time needed for such a big topic, as there are a whole lot of considerations and approaches to multiple-exposures worth addressing. We hope to still tackle this at some point, but understand that it’s a big undertaking, and we can only do it if we have the time to prepare everything. It just didn’t work out this time like we had hoped it would. Second, Reala Ace, which is the name of Fujifilm’s latest film simulation, is a trending subject, and my new Reala Ace Film Simulation Recipe has quickly caught on. So Nathalie Boucry and I thought that we should discuss this instead, diving more deeply into it, while also providing some alternatives.
I hope that you can join us this Thursday! It’s an interactive program, and your participation makes the show better. I’ve included the video below so that you can easily find it, but please follow the SOOC Live YouTube channel so that you don’t miss any upcoming episodes. See you soon!
This season, our broadcasts have been (with a few exceptions) the first and last Thursday of each month—the first episode introduces a theme and the second finishes the discussion. So far, we’ve talked about Street Photography, Storytelling, AI, Travel Photography, and Black & White. This month there’s only one episode, and it’s right in the middle of the month, on September 14 at 10:00 AM Pacific Time, 1:00 PM Eastern. I hope that you can join us. As always, it’s an interactive show, and your participation makes it better.
I’ve included the video below, so that you can easily locate it tomorrow. You can also find it on the SOOC Live YouTube channel. See you tomorrow!
Black-and-white pictures are abstract by nature. They’re not faithful reproductions of the world as we see it. Because it is abstract, the photographer is invited to capture the scene in a unique way, with a vision that is dissimilar to—and perhaps even the opposite of—reality. It’s not so much about what the scene is, but about how we see the scene through a divergent eye, and how we can express that to the viewer. It’s a timeless approach to fine-art photography.
The strength of color photographs is color, but it’s also its weakness. When color works within a color theory—perhaps contrasting or harmonious—it can create an especially dramatic or beautiful picture; however, when the colors within an image work against each other, it can be a distraction. B&W photos remove the distraction of color, allowing the viewer to see the important elements without color fighting for their attention—it’s the art of subtraction.
Black-and-white photography is about light and shadow. It’s about contrast. It’s about shape. Texture. Pattern. Space. Emotion. Those are very important elements to color photography, too, but they’re even more critical to B&W pictures. Mastering monochrome will make you a better photographer, even for your color work.
Join myself and Fujifilm X-Photographer Nathalie Boucry as we finish our discussion of B&W photography in-depth on SOOC Livethis Friday, August 25th, at 10:00 AM Pacific Time, 1:00 PM Eastern. I’ve included the video below so that you can easily find it on Friday. Also, if you haven’t uploaded your photographs captured with the Kodak Tri-X 400, Kodak T-Max P3200, Ilford HP5 Plus 400, and/or Acros Film Simulation Recipes, be sure to do so ASAP (click here)! There’s not much time, so don’t delay. I hope to see you on Friday!
Also, if you missed our the initial discussion of black-and-white photography, check it out below:
I’m not a wedding photographer. I’ve photographed a couple of weddings in the past—many years ago—and I have no desire to jump into that genre. Good wedding photographers are sometimes the first there and last to leave. It’s not uncommon to work 12, 14, or even 16 hours on the big day. Then there are thousands of exposures to cull through, and then edit. That might be an additional 24, 28, or even 32 hours of work! That’s not my cup of tea. For others, though, this is their thing, and they love what they do. Their passion is capturing incredible memories of other people’s weddings.
The shift to a faster turnaround must be frustrating for many in the industry, but it’s actually an opportunity. The article states that some wedding photographers are trying to get some social media type content into the hands of their customers within 48 hours. But why that long? Why not much quicker? Why not as the wedding is happening? If you can do that, you have a huge leg-up on your competition.
I cohost a live YouTube series with official Fujifilm X-Photographer Nathalie Boucry. She does a lot of business photography. Recently she was hired to photograph a corporate event, but they wanted to have the pictures available to share on their social media platforms immediately, in real-time as the event was happening. How did she do this? First, she used Fujifilm gear combined with my Film Simulation Recipes, and shot JPEGs. The pictures looked good straight-out-of-camera, and no editing was needed. Every so many minutes she downloaded the pictures off the camera and uploaded them onto a cloud drive that the customer had access to. Within 10 or 15 minutes of the pictures being captured, the customer was able to share them across the world. This went so well that a week later she was hired to do it again for a different corporate event. I do believe this is the future of event photography, including wedding photography.
Maybe real-time photo sharing isn’t something you’re ready to offer, but if your pictures look great straight-out-of-camera, and further manipulation isn’t needed (or only lightly needed), you can speed up your turnaround significantly. Instead of providing the client with a small batch of photos within 48 hours for social media sharing while they wait up to six weeks for the rest, you can deliver the whole wedding the next day or maybe two. This is, of course, in theory. I’m not aware of anyone who is actually doing this right now. A few different wedding photographers have told me that they are using my Film Simulation Recipes on their Fujifilm cameras, and delivering some of the pictures either same-day or next-day to the client, while providing the rest of photographs at some point later on. I do think, if you’ve got good settings dialed into your camera, and you’re especially careful to get everything right at the time the pictures are captured, that delivering unedited JPEGs of the wedding to the couple is possible, and nobody will be the wiser that you didn’t actually spend hours post-processing RAW files.
I don’t do wedding or event photography, but there are still plenty of advantages to shooting JPEGs. Despite having way more photographs to cull through and share, I was able to publish my pictures of the Central Coast of California tour much quicker than Ken Rockwell did, because my workflow is much quicker than his. That’s a pretty meaningless example; I don’t have a lot of strict photographic deadlines. Perhaps a better case is this: on December 8th of last year, Nathalie, myself, a group of guests, and those who tuned-in, created a Film Simulation Recipe during the Let’s Get Festive holiday-special SOOC Live broadcast—this is the first and (as far as I’m aware) only time a Fujifilm Recipe has been made live on YouTube. Within minutes of its creation, I (and others) had captured a picture using the new Film Simulation Recipe and shared it with all those watching. The very next day I published the Recipe, which the live audience named Mystery Chrome, on this website (and the Fuji X Weekly App), complete with 24 example pictures. That’s my best quick-turnaround example.
Even though I don’t have the need to publish pictures immediately after they’ve been captured, I do sometimes share a photo quickly through text or social media, which is never a problem because I don’t post-process my images. What’s more meaningful to me is that I don’t spend hours and hours sitting at a computing fiddling with files, which saves me a ton of time, making me more productive, while also freeing up time for other things (such as writing blog posts and spending time with my family). It’s changed my life, no hyperbole. I think it can and will change event photography and even wedding photography. It will just take some pioneer photographers to give it a try, which could be you.
Not post-processing your pictures is called one-step photography, a term coined by Edwin Land and perpetuated by Ansel Adams in his book Polaroid Land Photography. “The effect of one-step processing on both amateur and professional creative photography,” Adams stated, “has been revolutionary.” With film, step-one is capturing the picture in-camera and step-two is developing and printing it in a darkroom; however, Polaroid cameras removed the second step, creating a one-step process, which greatly simplified the photographic workflow. With digital, step-one is capturing the picture in-camera and step-two is post-processing in software like Lightroom; however, Film Simulation Recipes remove the second step, creating a one-step process, which greatly simplifies the photographic workflow. “The process has revolutionized the art and craft of photography,” Adams concluded. It still is, for those who embrace the one-step approach.
We’re just two days away from the next SOOC Livebroadcast! Fujifilm X-Photographer Nathalie Boucry and I will finish our discussion on Travel Photography, share your pictures (better upload your pictures quick if you haven’t yet), and answer any questions that you might have. It will be a great time, and I hope to see you there!
Next week—on July 27th—Fujifilm X-Photographer Nathalie Boucry and I will be chatting about travel photography in our upcoming SOOC Livebroadcast, including showing your pictures and answering your questions. I hope that you can join us!
The Q&A shows, which are the Part 2 of our monthly topics, are always a lot of fun. They’re more relaxed and interactive. Your participation makes them great—your role is vital! If you don’t have next week’s broadcast on your calendar, be sure to mark it now. I’ve included it below so that you can easily locate it.
Two weeks ago was the Part 1 episode, where Nathalie and I introduced the theme of travel photography. We discussed all sorts of considerations and gave many tips. If you haven’t yet seen that show, you’ll want to take some time to watch it. I’ve included the broadcast below, and you can also find it on the SOOC Live YouTube channel.
In that episode we challenged you to shoot with one or more of these four Film Simulation Recipes: 1970’s Summer, Elite Chrome 200, Fujichrome Provia 100F, and Kodacolor VR. Additionally, if you want an even greater challenge, you can try to get good results from one or more of these Recipes in unfavorable light. And if you want to go boss-level, the third challenge is to print and frame one of your pictures that were captured with these Recipes. To summarize: Level 1 is to use the Recipes listed above, Level 2 is to shoot those Recipes in less-than-ideal light, and Level 3 is to print and frame one of the pictures you captured during the first two levels. Got it?
We invite you to share your results with us and the SOOC Live community. Please upload your images (click here) captured with our four recommended Recipes to be potentially featured in the next episode and also included in the Viewers’ Images slideshow. Don’t forget to include the Film Simulation Recipe name in the file name, so that we know which Recipe you used. The deadline for submission is Tuesday the 25th, which means that you still have a little time, but not a lot, so don’t procrastinate. I look forward to seeing your pictures!
Last month’s Viewers Images slideshow was delayed a little due to a few unfortunate and unforeseen circumstances. If you haven’t yet watched it, I’ve included it below. Thank you to everyone who participated!
Photography is moving in a clear direction, and it is unedited. Let me explain.
There’s a new photography trend on the iPhone. Instead of using the front-facing camera to take selfies, people are taking screen shots of the preview from the selfie camera. Why? What’s the difference? The pipeline for the image preview and the actual photographs are different on the iPhone. Most notably, Apple applies an HDR processing to the exposure (but not the preview), which creates a less-contrasty picture. If you are going to apply a filter to the photo and edit it, having a flatter starting point makes sense; however, if you are not editing, one might prefer the more-contrasty image preview. Aside from that, it can be frustrating that the preview doesn’t match the photograph.
My RitchieCam iPhone camera app uses the same pipeline for both the image processing and the preview, so it doesn’t have this issue. The preview you see will be the picture you get. No need to screenshot, which produces a much-lower resolution image. Those using my camera app (instead of the native iPhone app) won’t need to go through the hassle of the screen shot (plus cropping out the non-image part); instead, they’ll have better quality pictures with an analog-inspired aesthetic to post to social media.
Of course, we’re not talking about photographers here, but snap-shooters, as I doubt that anyone who would self-identify as a photographer is taking screenshots instead of using the camera. It shouldn’t be surprising that they’re uninterested in picture manipulation, and just want good results without fuss. Maybe they don’t know how to edit pictures, and the idea of doing so is very intimidating, so they have no interest in learning. It could be that they don’t want to spend their time with picture editing, and just want to share (either through text or social media) their snaps quickly—the easier the better, but the pictures still need to look decent. Others don’t edit because doing so seems less authentic; Photoshop is a bad word, and picture-manipulation equals people-manipulation. Let’s not forget that the vast majority of photos captured across the world are by amateurs, so their opinions, preferences, and trends do matter.
For the advanced-hobbyist or professional, surely photo manipulation is a requirement, right? There’s a growing movement towards reduced (or even eliminated) photo editing. First, the less time spent sitting at a computer equals more production and/or more time with friends and family. For a lot of people, for every hour out with a camera photographing means two hours in Lightroom or Capture One fiddling with the RAW files; if those two hours can be reduced by 50% or more (especially more), that’s a huge win! Second, shooting camera-made JPEGs affords the advantage of knowing exactly what you’re going to get before even pressing the shutter. Don’t like what you see? Simply make a few quick adjustments until you do, then take the picture. Not having to pre-visualize in your mind the finished photo, but seeing it right there in the viewfinder in real time, is a game-changer for many. Third, getting great (often analog-like) results straight-out-of-camera can be a much more fun photographic process, especially if you don’t enjoy sitting for hours at a computer post-processing pictures.
I used to shoot RAW and edit, but thanks to Fujifilm cameras and Film Simulation Recipes, I now use unedited (or sometimes lightly-edited) camera-made JPEGs. I will crop or straighten when needed, which is the majority of my post-processing; occasionally I will adjust the brightness a notch, but very rarely do I manipulate any further than that. Most of my pictures are unedited, even to a strict definition. This has changed my life, no hyperbole! My post workflow takes minutes instead of hours, which has made me a much more productive photographer while simultaneously improving home-life, because I can now spend more time with my wife and kids. That’s amazing!
For example, on a recent trip to the California coast, during the downtimes—such as while at lunch, as a passenger in a car, or at night before bed—I transferred the JPEGs from my cameras to my phone, cropped if needed, and uploaded to cloud storage. A few minutes here and there meant that, by the time I got home, my workflow was essentially already complete. For most photographers, once back home the work would just be getting started, with many hours sitting at a computer.
But, but, but… surely the unedited camera-made JPEGs are not good enough for serious photography, right? You couldn’t do true professional work like this, could you? You can’t print very large and still look stunning, can you? Actually, yes—you can! I know because several successful professional photographers have told me that this is how they now do their paid work. You’d be surprised by just how many are doing some or even all of their pro photo work completely unedited or just lightly edited.
It’s not just photographers who benefit from a simplified workflow, but clients. Because of social media, people often desire to have a quick turnaround on their professional photographs. The newlywed couple doesn’t want to wait two weeks for the wedding pictures to be done, and in fact their parents wished for them that very day! If you can deliver the images quickly, you have a clear advantage over your competition.
In fact, Fujifilm X-Photographer Nathalie Boucry told me about two recent corporate events where the client wanted the photos as the event was happening! Periodically, every so many minutes throughout the day, she would download the straight-out-of-camera images from her camera to her phone, then upload them to a cloud location that the client had access to. As the event was happening, they were able to share the pictures to their social media accounts. Delivering real-time results to the client is going to be the future of event photography. Nathalie was able to do this thanks to the Film Simulation Recipes that she had programmed into her Fujifilm cameras.
Whether it is professional, hobby, or snap-shooting, photography is slowly and stubbornly moving towards less editing. It is easier and quicker and more fun, the disadvantages of it are disappearing, and the stigmatization is dissipating. More and more, people want great results without fuss. Editing is no longer a requirement, especially if you have gear that will deliver solid out-of-camera pictures, such as Fujifilm cameras or the RitchieCam app.
The next battle will be AI. Technology allows one to simulate a photograph with a string of words, or add to an image what wasn’t there—all with a similar ease to shooting camera-made JPEGs. It will come down to authenticity. I believe that as tech pushes us towards an augmented or even fully artificial reality, society will push back with an equal and opposite force towards the genuine. People will generally prefer authenticity over artificial, but it will be a divide. Camera makers should carefully consider how to move forward through all of this, and how they can improve their straight-out-of-camera experience. Fujifilm has a clear advantage, which materialized in the recent explosion in demand for the X100V. A simplified workflow with less editing or even no editing is the future of photography, and the future is now.
I traveled to California’s central coast last month. If you regularly read this blog, you’ve certainly seen the pictures, such as Pacific Poppies above. Well, tomorrow—July 6th—Fujifilm X-Photographer Nathalie Boucry and I will be chatting about travel photography in our SOOC Livebroadcast. I hope that you can join us at 10:00 AM Pacific Time, 1:00 PM Eastern, as it is an interactive program, and your participation will make it better.
We have a lot of points to discuss—from Film Simulation Recipes to camera gear to practical advice and so much more! If you have any upcoming travel plans, this is a can’t-miss episode! I’ve included it below so that you can easily find it. If you don’t yet subscribe to the SOOC Live YouTube channel, be sure to do so now, so that you don’t miss any future shows.
We invite you to share with us your photographs (click here) captured with those AI Recipes to be potentially featured in the next broadcast, to be included in the Viewer’s Images Slideshow, and to enter a chance to win a one-year Patron subscription to the Fuji X Weekly App. Please upload your pictures no later than Tuesday, June 27th! That’s coming up very soon, but there’s still time if you haven’t yet begun the challenge. Don’t forget to include the name of the Recipe that you used in the file name.
If you missed the last broadcast, I’ve included it below. You’ll want to check it out if you missed it when it was live. You can find all the past episodes on the SOOC Live YouTube channel.
Open AI’s ChatGPT can make Film Simulation Recipes for Fujifilm cameras. But are they any good? Should you use them? Should you ask ChatGPT to make you a custom Recipe for your camera? What can you expect from these Recipes?
Back on June 2nd, Fujifilm X-Photographer Nathalie Boucry and myself chatted about using ChatGPT to make Film Simulation Recipes for Fujifilm cameras. We even asked the AI to create one for us live during our SOOC Livebroadcast. If you’ve ever been even remotely curious about this topic, it’s worth watching—I’ve included it below.
There’s so much that could and should be said, and we covered much of that in the broadcast. If you haven’t yet watched the video, be sure to do so!
One issue about using AI to create Film Simulation Recipes is that ChatGPT only examines descriptions. For example, how does it “know” what Kodachrome film looks like? It has been trained on people’s descriptions of the emulsion. Whether or not those descriptions are accurate (or if Open AI received permission to use those descriptions) is anyone’s guess. How does it “know” what the Astia film simulation looks like? It has been trained on someone’s description of the setting. When you ask it to make a Film Simulation Recipe, it simply searches its database for descriptions that seem to match, and then spits out some settings that may or may not make sense.
How does ChatGPT even know what a Film Simulation Recipe is? It’s been trained on Fuji X Weekly and other websites (without permission or citation). There are some significant ethical considerations, and probably some legal ones, too, that will hopefully get hashed out in time.
Another issue is that it rarely ever gives a complete Recipe. You have to know which parameters are required, spot the missing ones, and ask ChatGPT to provide them to you. Occasionally it will give you some setting that doesn’t actually exist. You have to be well versed in Fujifilm camera settings to know if you’ve actually got a complete Recipe; otherwise, you’re likely to have a few that are missing.
Aside from that, if you ask ChatGPT to make a particular Film Simulation Recipe more than once, each time you’ll get a different answer. Even with identical prompts, the answer will be different, sometimes wildly so. It all seems very random. If a particular ChatGPT Recipe is any good is more by chance than anything else. You’re just as likely to get a good Recipe from rolling dice.
This is the case because Open AI’s ChatGPT is a bit of a card trick. It’s very impressive until you spot the slight-of-hand. It will always give you a response; if you are a novice on the topic, the answer will likely be better than you could have come up with on your own, but if you are an expert, it will always be worse, perhaps much worse. Despite “learning” from human input, there’s no humanity in the answer—if you want authenticity and creativity, you need a person’s experience to be at the core. The software can do its best to take from others and spit out a Recipe, but it will always be untested, based on descriptions, without any personal experience behind it.
That doesn’t mean it’s not fun to try. I’ve used ChatGPT a bunch of times just to see what it comes up with and to understand what exactly it’s doing. The Kodak Ektachrome E100VS v1 and Urban Dreams Recipes are from ChatGPT. For every AI Recipe that’s good there’s probably five or more that aren’t any good. Actually, the majority are mediocre—neither terrible nor great—because ChatGPT doesn’t stray very far from the default settings, rarely ever going beyond +/- 2 on anything.
I made a video about the Kodak Ektachrome E100VS Recipe, which you’ll find below. I asked AI to make a Film Simulation Recipe that mimics Kodachrome X. What it came up with by chance looked pretty good, but didn’t much resemble the second era of Kodachrome. Take a look, if you haven’t yet seen it.
What about the Vivid Summer Glow and Soft Blue Classic Film Simulation Recipes I referenced in two of the pictures above? Those were also made by ChatGPT. Vivid Summer Glow was created live during the last SOOC Live broadcast. Soft Blue Classic was created for Nathalie during preparations for the show. In the broadcast we challenged you to shoot with Kodak Ektachrome E100VS v1, Urban Dreams, Soft Blue Classic, and/or Vivid Summer Glow, and upload your results (click here) by June 27th to be potentially featured in the next episode, and to be included in the Viewer’s Images slideshow.
Kodak Ektachrome E100VS v1 and Urban Dreams can both be found in the Fuji X Weekly App. Soft Blue Classic and Vivid Summer Glow are not “official” Recipes, so I’ve included them at the bottom of this article should you want to try them yourself.
Also on June 2nd, Nathalie and I finally finished the much-delayed conclusion to our Storytelling theme. If you missed it when it was live, I’ve included it below. Also, right below that, is the most recent Viewer’s Images slideshow video. If you don’t yet subscribe to the new SOOC Live YouTube channel, be sure to do so now!
Now, to the two new AI-made Film Simulation Recipes: Soft Blue Classic and Vivid Summer Glow!
Soft Blue Classic
Classic Chrome Dynamic Range: DR200 Highlight: -1 Shadow: -1 Color: -2 Noise Reduction: -2 Sharpness: +1 Clarity: 0 Grain Effect: Weak, Small Color Chrome Effect: Off Color Chrome FX Blue: Off White Balance: Auto, -1 Red & -1 Blue
This AI Recipe is compatible with “newer” Fujifilm X-Trans IV cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. For X-Trans V, just know that blue will render more deeply. For the Fujifilm X-T3 and X-T30, ignore Grain size, Color Chrome FX Blue, and Clarity (the results should be the same); for X-Trans III models, additionally ignore Color Chrome Effect.
Vivid Summer Glow
Classic Chrome Dynamic Range: DR400 Highlight: +1 Shadow: +2 Color: +1 Noise Reduction: -1 Sharpness: +1 Clarity: +1 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Auto, +2 Red & -1 Blue
This AI Recipe is compatible with “newer” Fujifilm X-Trans IV cameras: X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II. For X-Trans V models, set Color Chrome FX Blue to Weak (instead of Strong).
As you can see, I used all four of these ChatGPT Film Simulation Recipes while on a roadtrip to California’s Central Coast. I liked Urban Dreams—which has some similarities to Kodachrome 200 film—the most, but Kodak Ektachrome E100VS v1 did pretty well for a few shots, too. Vivid Summer Glow (which isn’t a good name for the Recipe in my opinion) is not bad at all, and isn’t all that much divergent from my Kodachrome II Recipe (did AI copy it, just making a few changes?). Soft Blue Classic was my least favorite, but it can produce good results in harsh overly-warm light.
Today I’ll be live on YouTube! The SOOC Live broadcast will begin at 10:00 AM Pacific Time, 1:00 PM Eastern—I hope that you can join myself and Fujifilm X-Photographer Nathalie Boucry as we finish our discussion of storytelling photography, showcase some of your pictures, answer your questions, and more! This episode has been delayed a few times, but it is really going to happen today!
It’s actually a double-header, so after that broadcast we’ll jump right into the next episode. Join us again at Noon Pacific Time, 3:00 PM Eastern as we discuss using ChatGPT to make Film Simulation Recipes!
Please join us for one or both of those shows if you can! The SOOC Live broadcast is an interactive program, so the more who can join in and participate, the better it is. I hope to see you in the show today!
Also, be sure to check out the Viewer’s Images slideshow—your pictures! I want to say a big “thank you” to everyone who submitted pictures for the program, without you the episodes wouldn’t be anywhere near as good.
***Update*** The show has been postponed until June 2nd, due to technical issues. Sorry.
Just very quickly: the next SOOC Live broadcast is today at Noon Pacific Time, 3 PM Eastern (two hours later than usual). I hope that you can join Fujifilm X-Photographer Nathalie Boucry and myself as we finish our discussion of storytelling photography, showcase some of your pictures, answer your questions, and more!
If you don’t follow SOOC Live on YouTube, be sure to subscribe so that you don’t miss any future episodes.
I’m sorry to announce that today’s SOOC Live broadcast has been postponed one month, and next week’s show has been canceled. A number of unforeseen and unfortunate life events happened, and something had to give. Sadly, it became obvious late last night that today’s show just wasn’t going to work out.
The silver lining is that you have more time to shoot with the four Film Simulation Recipes that we are challenging you to shoot with: Reggie’s Portra, AgfaChrome RS 100, Classic Slide, and Ilford Delta Push Process. Be sure to try those Recipes for your storytelling photography. Additional challenges, for those who want more, are to use layered compositions and/or elicit emotion. If you missed the last episode, be sure to watch it (click here), because all of this will make a lot more sense to those who have viewed the broadcast.
For those who don’t know, SOOC Liveis a bimonthly broadcast where Nathalie Boucry and I discuss Film Simulation Recipes, give tips and tricks for achieving the results you want straight-out-of-camera, and answer your questions. Basically, we’re trying to help you master your camera, with a focus on simplifying your photographic workflow.
Due to unforeseen circumstances, the next SOOC Live broadcast is being delayed one day, and will now be on Friday April 28, and not Thursday the 27th. I apologize for any issues that this might cause. I hope that you can still join us!
All photographs tell stories—a picture is worth a thousand words, after all—but storytelling photography is perhaps a step further than just ordinary picture-taking. How exactly do you effectively tell stories through photos? What gear do you need? Which techniques should you consider? Which Film Simulation Recipes are best?
All of those questions and more are discussed at length by myself and Fujifilm X-Photographer Nathalie Boucry in the video below, which was last week’s SOOC Live broadcast. If you haven’t yet watched it, I invite you to do so now. If you want to try this type of photography or simply challenge yourself to become better at telling stories through your pictures, this episode is a must-watch. Also, so you don’t miss any future broadcasts, be sure to follow the SOOC Live YouTube channel—Episode 1 and Episode 2 of Season 3, plus all of the first two seasons, can be found there, too.
Most simply, storytelling photography is a type of documentary photography. It is chronicling the important or everyday events that you’ll want to remember for many years to come, such as holidays or precious family moments. It is capturing the human experience—how people adapt to or effect the environment around them. It is eliciting a response from the viewer, weather prompting questions or evoking emotions. Perhaps most importantly, you should “f8 and be there” because storytelling pictures become more meaningful over time, so it is critical to be in the moment and capture the picture.
This is a versatile Film Simulation Recipe that produces classic Kodak negative film colors. This could easily be your go-to Recipe for almost any situation, as Reggie Ballesteros, the creator of this Recipe, will gladly attest. It is intended for “newer” X-Trans IV cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II; for X-Trans V, I recommend setting Color Chrome FX Blue to Off, and for the X-T3 and X-T30, simply ignore Color Chrome FX Blue and Grain strength, since your camera doesn’t have those options.
I love the retro rendering of this Recipe! It’s not quite as versatile as Reggie’s Portra, but, because it has a cooler cast, it does still do well in a variety of light situations. If you want to emphasize blues and reds, this is the one to use. It is intended for “newer” X-Trans IV cameras—X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II; for X-Trans V, I recommend setting Color Chrome FX Blue to Weak.
This Film Simulation Recipe reminds me of a reversal film aesthetic similar to Elite Chrome or Provia 100F, although it’s not modeled after those emulsions specifically. It has a lot of contrast, and (like slide film) you have to be careful to get the exposure right. Because of the cool cast, it can be used in some artificial light situations and produce good results. This Recipe is compatible with all X-Trans III cameras, plus the X-T3 and X-T30; to use it on newer models, set Color Chrome FX Blue to Off, Clarity to 0, and Grain size to Small.
This is a great black-and-white Recipe; I think B&W lends itself well to this genre in general, so definitely give it a try! It does require an ultra-high ISO, which is challenging for bright daylight photography—enable the electronic shutter for faster shutter speeds and stop down, or use an ND filter. It is compatible with all X-Trans III cameras, plus the X-T3 and X-T30; to use it on newer models, set Color Chrome FX Blue to Off, Clarity to 0, and Grain size to Large.
Sometimes a picture is worth a thousand words—a lot can be nonverbally communicated through an image. But what exactly is storytelling photography? How do we effectively become storytellers with our cameras? Those questions and so many others will be discussed at length in the next SOOC Livebroadcast, which is THIS Thursday, April 6th, at 10 AM Pacific Time, 1 PM Eastern. Mark your calendars now! I hope you can join us live!
For those who don’t know, SOOC Live is a bimonthly broadcast where Nathalie Boucry and I discuss Film Simulation Recipes, give tips and tricks for achieving the results you want straight-out-of-camera, and answer your questions. Basically, we’re trying to help you master your camera, with a focus on simplifying your photographic workflow. On the first Thursday of each month we introduce and discuss a theme—the theme for March was Street Photography—and the fourth Thursday of each month we look at the photographs captured within the theme using the Recipes, talk about lessons learned, and answer any and all of your questions. It’s an interactive show, and your participation is what makes it great!
Last Thursday was the Q&A broadcast. If you missed it when it was live, you can watch it now (see below). We had some very good discussions about street photography, so be sure to play it if you haven’t seen it yet!
Also, check out the Viewer’s Images slideshow! It was so great to see your wonderful pictures—they were quite inspiring to me—and I appreciate everyone who shared—thank you! Take a look!
Be sure to follow SOOC Live on YouTubeif you don’t already, so that you don’t miss any broadcasts. I look forward to seeing you in just a few days as we talk about Storytelling! This will be an especially insightful episode, I think, so you won’t want to miss it. See you on Thursday!
We are inviting you—challenging you, in fact—to shoot with one, two, three, or even all four of the Film Simulation Recipes this month. For those wanting an extra challenge, we have two: 1) use reflections and/or silhouettes in your pictures and 2) use a 1/15 shutter speed. These extra challenges are completely optional, but I am excited to see what you do with them. Upload your images by today: up to three of your favorite street photography photographs captured with one (or more) of the four Film Simulation Recipes that we suggested you try—please include the Recipe(s) you used in the file name so that we know. The uploaded pictures will be included in the Viewer’s Images slideshow video and have a chance to be featured in the next live broadcast. Don’t procrastinate! If you have something to upload, be sure to do it right now (click here to upload).
Of course, we don’t just ask you to shoot with these Recipes—Nathalie and I are doing it, too, right along with you. This is a community-wide project, which means that everyone is invited to participate. Below are a few of my street photography pictures for this month. I didn’t do real well with the extra challenges, but I feel good that I tried, even if I wasn’t all that successful.
Be sure to follow SOOC Liveon YouTube! You can not only catch Season 3 there, but also all of Season 1 and 2.
First, before we get into this article, I’ve got to apologize to you all. You see, I went out of town, and I didn’t answer any comments or emails while gone. I just didn’t have time. Sorry. Last night I returned back home, so I’ll try to catch up on all of that over the next several days. It might take a few days to get to them all—I just ask for a little patience. Thank you! Now to the article….
The first episode of the third season of SOOC Live aired on March 2nd. This year Nathalie Boucry and I are doing things a little different, and one of the changes is that we’re discussing themes instead of a singular Film Simulation Recipe. The very first theme is Street Photography. If you missed Episode 1 when it was live, you can watch it below. Don’t worry, the shows this year aren’t two or three hours long like they often were in the first two seasons, so it won’t require quite the time commitment that they used to. Definitely check it out if you haven’t seen it yet!
The Film Simulation Recipes that we suggested for street photography are Kodachrome 64, Classic Kodak, Serr’s 500T, and Agfa Scala. We think that these four Recipes are excellent options for this genre of photography, and if you have an X-Trans III or newer model, there’s one that you can use. We are inviting you—challenging you, in fact—to shoot with one, two, three, or even all four of them this month. For those wanting an extra challenge, we have two: 1) use reflections and/or silhouettes in your pictures and 2) use a 1/15 shutter speed. These extra challenges are completely optional, but I am excited to see what you do with them. Upload your images by March 28: up to three of your favorite street photography photographs captured with one (or more) of the four Film Simulation Recipes that we suggested you try (click here to upload)—please include the Recipe(s) you used in the file name so that we know. The uploaded pictures will be included in the Viewer’s Images slideshow video and have a chance to be featured in the next live broadcast; those who upload are automatically entered into a Fuji X Weekly App Patron 12-month subscription giveaway. I can’t wait to see your pictures!
The next show will be live on March 30th at 10 AM Pacific Time, 1 PM Eastern. SOOC Live is now twice per month: the first Thursday and the fourth Thursday. The first broadcast is where we introduce the theme-of-the-month and challenge you to photograph using the suggested Film Simulation Recipes, and the second show is where we discuss lessons learned and show your pictures. I hope that you can join us on March 30th! I’ve included the scheduled video below so that you can set a reminder.