Fujifilm X100s Snapshots to Greatshots

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final spine = 0.4785"

Mullin

sFujifilm

X100SFrom

Snapshots to G

reat ShotsUS $24.99 Can $25.99

now that you’ve bought the amazing Fujifilm X100S, you need a

book that goes beyond a tour of the camera’s features to show you

exactly how to use the camera to take great pictures. With Fujifilm

X100S: From Snapshots to Great Shots, you get the perfect blend of

photography instruction and camera reference that will take your

images to the next level! Beautifully illustrated with large, vibrant

photos, this book teaches you how to take control of your photog-

raphy to get the image you want every time you pick up the camera.

Follow along with your friendly and knowledgeable guide,

photographer and author Kevin Mullins, and you will:

• Learn the top ten things you need to know about shooting with the X100S

• Use the X100S’s advanced camera settings to gain full control over the look and feel of your images

• Master the photographic basics of composition, focus, depth of field, and much more

• Learn all the best tricks and techniques for getting great street photographs, landscapes, and portraits

• Find out how to get great shots in low light

• Learn the basics behind shooting video with your X100S and start making movies of your own

• Fully grasp all the concepts and techniques as you go, with assignments at the end of every chapter

and once you’ve got the shot, show it off! Join the book’s Flickr group,

share your photos, and discuss how you use your X100S to get great

shots at flickr.com/groups/fujiX100S_fromsnapshotstogreatshots.

Fujifilm X100SFrom Snapshots to Great Shots

Peachpit Presswww.peachpit.com

Level: Beginning / IntermediateCategory: Digital PhotographyCover Design: aren StraigerCover Image: Kevin MullinsAuthor Photo: Bert Stephani

facebook.com/PeachpitCreativeLearning

@peachpit

Kevin Mullins is a

full-time, award-winning

documentary photogra-

pher specializing in

weddings and social

reportage. as an official

Fujifilm X-Photographer,

Kevin regularly speaks at conventions

and trade shows on behalf of Fujifilm.

He is also an established photography

business educator, a frequent presenter

at seminars on wedding photography

and the business of photography, and

a regular contributor to journals and

websites around the world. Learn more

about Kevin at his wedding website

(www.kevinmullinsphotography.co.uk)

and his Fujifilm site (www.the-owl.co.uk).

Kevin Mullins

Fujifilm X100SFrom Snapshots to Great Shots

Learn the best ways to compose your pictures!

Get great detail in your subjects!

9780321984395_FujifilmX100SSNP_Cvr.indd 1 5/16/14 4:47 PM

From the Library of ohnCleland

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Fujifilm X100S:From

Snapshots to

Great Shots

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Fujifilm X100S:From

Snapshots to

Great Shots

Kevin Mullins

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Fujifilm X100S: From Snapshots to Great ShotsKevin Mullins

Peachpit Presswww.peachpit.com

To report errors, please send a note to [email protected]

Peachpit Press is a division of Pearson Education.Copyright © 2014 by Peachpit Press

All images copyright © 2014 by Kevin Mullins

Project Editor: Valerie WitteProduction Editor: Tracey CroomCopyeditor: Emily K. WolmanProofreader: Patricia J. PaneComposition: WolfsonDesignIndexer: James MinkinCover Image: Kevin MullinsCover Design: Aren StraigerInterior Design: Mimi Heft

Notice of RightsAll rights reserved. No part of this book may be reproduced or transmitted in any form by any means, elec-tronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the pub-lisher. For information on getting permission for reprints and excerpts, contact [email protected].

Notice of LiabilityThe information in this book is distributed on an “As Is” basis, without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it.

Trademark“From Snapshots to Great Shots” is a trademark, in the U.S. and/or other countries, of Pearson Education, Inc. or its affiliates.

All Fujifilm products are trademarks or registered trademarks of Fujifilm Corporation.

Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. All other product names and services identi-fied throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book.

ISBN-13: 978- 0-321-98439-5ISBN–10: 0-321-98439-0

9 8 7 6 5 4 3 2 1

Printed and bound in the United States of America

http://www.peachpit.com

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DedicationFor Gemma, Rosa, and Albie. With Love.

And for my nanna. I kept pushing.

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Acknowledgements

I’m an extremely lucky person. I’m a photographer. I get to travel, I get to meet fine

people all over the world…but most of all, I get to make pictures.

Photography was a relatively late calling for me, but a calling that I have relished receiving

and have thrown myself at with gusto. I am very fortunate to be in a position where I make

a living doing exactly the thing I enjoy doing most.

I’m very aware that this chapter of my life has not come about purely of my own making.

There is one person in particular who has sacrificed so much, in order for me to achieve

my goals: my wife, Gemma. Simply put, without her, this book and almost everything I do

now could not have happened. She’s my anchor, and I cannot easily put into words how

much her encouragement, love, and support has helped me.

I have become great friends with many people in the photography world, but I must take

time to acknowledge some in particular.

My friends at Fujifilm, who continue to make amazing cameras that allow me to get on

with my job so easily: Katie Teesdale-Ward, Marc Horner, and Nathan Wake at Fuji UK.

Toshi-san, Kunio-san, Yuto-san, Yuta-san, and the whole Fujifilm team in Tokyo have all

been a great help in the creation of this book, and more.

Bert Stephani, who is a great Fujifilm X-series photographer in his own right. His picture

is my profile picture for this book, and his help in fine-tuning the technical aspects of the

book are greatly appreciated. Grtz, Bert.

Damien Lovegrove is another great photographer and friend who kindly allowed me to

use his amazing studio in Bristol for some of the shots used in this book.

It would be remiss of me not to mention the two photographers who inspired and helped

me the most on my professional journey as a wedding photographer: Allister Freeman

and Neale James are two of the most wonderfully skilled wedding photographers out

there, and both great gentlemen.

And briefly, thanks to Zack Arias and David Hobby, who are probably totally unaware that a

brief conversation over a drink in Japan helped me make a lot of decisions about my life.

The support and guidance received from the team at Peachpit has been invaluable too.

Specifically, I’d like to praise and thank Valerie Witte, Emily Wolman, and Tracey Croom.

And thanks also, to the rest of the team behind all the great publications that Peachpit

puts out every year.

And finally, to all the faces in this book. Thanks.

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ContentsIntroDuctIon xII

chApter 1: the FujIFIlm x100S top ten lISt 1

Ten tips to get you going right out of the box

Poring Over the Camera 2

Poring Over the Camera 4

1. Make Sure You Have Everything You Need 5

2. Charge the Battery 6

3. Ensure Optimal Performance 7

4. Set the Image Quality: JPEG vs. RAW 8

5. Set the ISO Level 10

6. Set the Exposure Mode 11

7. Set the Autofocus Mode and Focus Point 12

8. Set the Color Space 14

9. Understand the Viewfinders 15

10. Review Your Images 17

Chapter 1 Assignments 19

chApter 2: FIrSt thIngS FIrSt 21

What to know before you begin taking pictures

Poring Over the Picture 22


The X100 vs. the X100S 26

Choosing and Formatting Your Memory Card 27

Updating the X100S’s Firmware 29

Understanding the Lens and Focal Length 30

Understanding Exposure 33

Understanding Motion and Depth of Field 36


C o n t e n t S vii

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viii F u j i F i l M X 1 0 0 S : F r o M S n a p S h o t S t o G r e at S h o t S

chApter 3: the VIewFInDerS 43

Two interfaces for added flexibility

Poring Over the Viewfinders 44

The Optical Viewfinder 47

The Electronic Viewfinder 52

Switching Between the Viewfinders 53

Customizing the Viewfinders 54


chApter 4: the proFeSSIonAl moDeS 59

Taking your photography to the next level


Program (P) Mode 62

Shutter Priority (S) Mode 66

Aperture Priority (A) Mode 70

Manual (M) Mode 75

Exposure Compensation 79

Exposure Lock 82

Notes About Auto ISO 84

How I Shoot: My Preferred Settings 85


chApter 5: SAy cheeSe! 91

Settings and features to make great portraits



Using Aperture Priority Mode 96

Lighting and Background 98

White Balance and ISO 100

Metering Modes 101

Locking Exposure 104

Getting Creative with Film Simulation 105

Focus: It’s All About the Eyes 106

Focusing and Recomposing 109

Using Fill Flash for Reducing Shadows 110

Using Off-Camera Flash 110

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ix

Candid Portraits on the Move 114

Shooting Better Portraits 115


chApter 6: lAnDScApe photogrAphy 119

Getting the most out of your landscape photographs



Sharp and In Focus 124

Selecting the Correct ISO 126

Using Filters 127

White Balance 131

Beautiful Black-and-White Landscapes 135

The Golden Light 137

Focusing 139

Composition and the Rule of Thirds 140

Advanced Techniques to Explore 142


chApter 7: low lIghtIng 149

Shooting when the lights get low


Understanding High ISO Capabilities 152

Stabilizing the Camera 157

Focusing in Low Light 158

Shooting Long Exposures in Low Light 160

Using the Built-In Flash 161

Removing Red-Eye 166

Compensating for Flash Exposure 167


chApter 8: creAtIVe compoSItIonS 171

Improving your pictures with compositional flare



Depth of Field 176

Angles 178

Light 179

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x F u j i F i l M X 1 0 0 S : F r o M S n a p S h o t S t o G r e at S h o t S

Point of View and Perspective 180

Color 182

Contrast 184

Leading Lines 185

Backgrounds 186

Bringing It All Together 187


chApter 9: hIttIng the StreetS 191

The art of candid photography


What Is Street Photography? 194

Constructing a Great Street Image 194

Beating the Fear 196

It’s Not Always About People 198

Using Focus Modes 200

Shooting Through the Moment 206

Tips for Shooting Quickly 207

A Few Final Thoughts on Street Photography 211


chApter 10: ADVAnceD FeAtureS 217

Creativity within the controls



Spot Metering 222

Bracketing Exposures 225

ISO Bracketing 226

Film Simulation Bracketing 227

Dynamic Range Bracketing 228

Multiple Exposures 229

Macro Photography 230

Avoiding Lens Flare 233

High Dynamic Range Photography 234


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xi

chApter 11: mAkIng moVIeS 239

It’s Hollywood time

Poring Over the LCD Monitor 240

Movie Settings 241

Audio 243

Exposure and Focus 244

Getting Creative with Film Simulation 247

Technicalities 248

Watching Your Movies 249

Editing and Workflow 250


chApter 12: pImp my rIDe 253

Upgrades and accessories to expand your camera’s creative potential


Wide Conversion Lens 256

Bags 259

Hoods and Straps 260

Thumb Grips 261

Soft Release Buttons 261

Image Stabilization Tools 261

Flash Systems 263


InDex 266

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xii F u j i F i l M X 1 0 0 S : F r o M S n a p S h o t S t o G r e at S h o t S

IntroductionPurchasing a new camera is a gratifying experience and often very excit-

ing. Over the last few years, there has been a considered move by many

amateurs and professionals alike toward the compact mirrorless cameras.

I have been excited by these moves that Fujifilm and other manufacturers

are taking, and have appreciated the added dimension that using smaller,

fast cameras has added to my photography.

Of course, the greatest thrill you get out of owning a new camera is

through the photographs you produce. It’s how your new camera allows

you to move your creative vision from your mind to the digital or print

canvas. The camera is just the conduit, but it will help you fulfill that

vision and make your investment in the camera worthwhile.

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i n t r o d u C t i o n xiii

I’ve approached this book about the Fuji X100S with a clear objective in mind: I want to

tell you more than just how to set a particular control on your camera. I want to share the

reasons behind the settings, how I shoot, and why I choose particular configurations. As a

result, hopefully you will get more out of this great little camera.

This book is not a comprehensive and exhaustive guide to every feature that the X100S

offers—the Owner’s Manual covers that. Instead, I’ve focused my attention on the con-

trols and features that I believe you get the most benefit out of understanding how I use

them. Regardless of whether you are shooting portraits, travel, landscapes, or street pho-

tography, the words and images that I share in this book will help you gain confidence

in how to make great images. Whether you are new to the X100S or upgrading from the

X100, this book will provide you with a valuable context and understanding of the many

features found in the X100S.

Before we get into the core of the book, I want to answer some common questions that

I believe will help you make the most of what this book has to offer.

Q: What does this book cover that i won’t find in the owner’s Manual?

A: The Fujifilm X100S Owner’s Manual provides concise information on how to enable or

change a particular control or function, but it’s often lacking a sense of when and why

you would want to use a specific feature. Though the manual may give some general

examples of when you might want to use a certain metering mode over another, it isn’t

really rooted in the kinds of images that people like you and me make regularly. This is

what you will find in this book.

I’ve written this book based on my own personal journey with the X100S, so you’ll find

a point of view and a voice that you won’t find in the Owner’s Manual. It’s the kind

of information I’d disseminate if we were on a photo walk together. It’s important to

remember that just because this is the way that I use the camera, it’s not necessarily going

to be the way you use the camera. We are all different photographers and photography

is very subjective. However, I think you’ll find that my discussion of the camera, its features,

and how it impacts my photography will make the camera more accessible to you.

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xiv F u j i F i l M X 1 0 0 S : F r o M S n a p S h o t S t o G r e at S h o t S

Q: does the book cover every feature of the X100S?

A: Nearly, but it emphasizes the features and controls that will have the biggest impact

on the quality of your photographs. I go into detail on what I consider to be the key fea-

tures of the camera, and I also delve into controls that you may use only periodically to

handle difficult or challenging shooting conditions.

As you use the camera more, you will use certain features over and over again, regardless

of the subject focus of your image. These features are the ones that I help you to under-

stand and eventually master. As you gain this understanding, the importance (or lack of

importance) of other features will become clearer to you. So instead of somebody telling

you what is best, you can make informed decisions on these controls based on your own

images and what you need as a photographer.

Q: Should i read this book straight through or can i jump around?

A: You can do both, though it would probably be worth your while to at least read the

first few chapters in order, especially if you are a new user of the X100S. As mentioned,

this book is my own take on styles and shooting technique, so the chapters are written

from a point of view that may provide you with fresh insight into an area you feel may

be familiar or a control setting that you think you don’t need.

I would advise you to approach the book at a modest pace. I know you want to be out

shooting, but the X100S is a camera with many features—and some quirks—so don’t

pressure yourself to understand it in its entirety overnight.

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xvI n t r o d u c t I o n

Q: how important are the assignments at the end of each chapter?

A: The assignments are there for a reason: to clarify the theory. I’ve included them to

empower you to put into practice the information you have learned in the chapter.

You may not understand what you are reading in the chapter until you try it yourself.

Going out and shooting is what makes us all better photographers. Practicing with specific

goals and assignments in mind provides us with the opportunity to learn our craft and

make us better photographers.

Additionally, I’d love to see as many of your images as possible in the Flickr group dedicated

to this book (flickr.com/groups/fujiX100S_fromsnapshotstogreatshots). I’ll be in there

regularly and I hope to “meet” as many of you as possible!

Q: how can i make the most of this book and my camera?

A: Patience is a virtue, right? Impatience has likely produced more bad photography than

any cheap camera or poorly produced manual. When I’m patient and think more about

what I’m doing with my camera, I’m much more consistent with the images I’m producing.

When I’m impatient and rushing them, the thing I do consistently is make mistakes.

The joy of photography comes from making photographs that complete my vision of

the subject of the scene, and the moment. And I can do that repeatedly by knowing my

instrument, practicing, and remembering to enjoy myself at the same time.

I hope this book helps you to discover that joy, too.

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ISO 500 • 1/3 sec. • f/2 • 23mm lens

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1

1The Fujifilm X100S Top Ten ListTen tips to get you going right out of the box

So, you have your new Fujifilm X100S. Isn’t it great? If you are anything

like me, you will be eager to break into that box and get the camera

up and running right away. Nothing is more satisfying than sitting in a

brand-new car, cooking in a freshly installed kitchen, or shooting with

a brand-new camera.

One of the things that I nearly always put to one side when opening a

new camera is the manual. I mean, it’s boring, right? You want to shoot,

not read!

Well, boring as it may be, the little manual that accompanies the X100S is

going to prove to be an invaluable resource, given time. However, I thought

I’d help you out a little with a quick-start guide, so this chapter comprises

a Top Ten list of tips to get you familiar with your camera, and up and

running almost immediately. All you need, apart from the contents in the

box, is a memory card and a power socket.

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Poring Over the Camera

Camera Front

F

A Viewfinder Selector

B AF-Assist Illuminator/Self-Timer Lamp

C Flash

D Microphone

E Viewfinder Window

F Focus Mode Selector

G Lens

DCA B E

G

2 F u j i F i l m X 1 0 0 S : F r o m S n a p S h o t S t o G r e at S h o t S

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Camera Back

A View Mode Button

B Drive/Zoom Out Button

C AE/Zoom In Button

D Playback Button

E Command Control Lever

F Viewfinder Window

G Diopter Adjuster

H Indicator Lamp

I Exposure/Focus Lock Button

J Menu/OK Button

K Command Dial

L Q Button

M Disp (Display)/Back Button

N LCD Monitor

H

I

J

K

L

D

E

C

B

A

F G

MN

1 : t h e F u j i F i l m X 1 0 0 S t o p t e n l i S t 3

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Poring Over the Camera

Camera Top

A Front Ring

B Focus Ring

C Aperture Ring

D On/Off Switch

E Shutter Button

F Function Button

G Exposure Compensation Dial

H Shutter Speed Dial

I Hot Shoe

A

B

C

D E F

I H G

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1. Make Sure You Have Everything You Need

Assuming you have purchased the standard retail version of the X100S (rather than a

limited edition), then almost everything you need to get started is right there in the box:

• The camera body itself

• An NP-95 rechargeable battery

• A BC-65N battery charger and cord

• Lens cap

• USB cable

• CD-ROM

• Clip attaching tool (don’t lose this!)

• Two metal strap clips

• X100S owner’s manual

• A cool shoulder strap

Note that you’ll use the clip attaching tool and the two metal strap clips for attaching

the shoulder strap. Make sure you keep the attaching tool safe in case you need to

reset the clips or change them in the future.

The only additional item you will require is a memory card. The Fuji X100S stores images

on the SD (Secure Digital), SDHC (Secure Digital High Capacity), and SDXC (Secure Digital

Extended Capacity) memory cards. The camera will shoot one image without a card

installed, though this image cannot be played back or used in any way after exposure.

SD is a nonvolatile memory-card format used in electronic devices such as cameras, tablets,

GPS devices, and some mobile phones. SD cards are relatively small in physical size. This

can be a good thing, or potentially a bad thing. It’s good because it helps keep camera

systems small and light, though it’s potentially bad, as they are easier to lose and a little

less robust if handled incorrectly than the larger CompactFlash (CF) cards. Modern SDXC

cards can have a capacity of up to 2 TB, which in theory would hold around 4500 RAW

files. (There are many brands of SD cards on the market. However, I typically use SanDisk

Extreme Pro cards.)

When you shoot an image, it is buffered to the memory card. The time this takes depends

somewhat on the speed of the memory card, which is measured in megabytes per second

(MB/s). For wedding photography and time-critical work where the moment is of the

essence, (like street or sports photography), I use cards with a minimum speed of 95 MB/s.

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red lamp and Buffering

When the indicator lamp on the back of the camera is red, an image is being buffered (written) to

the memory card. Generally, this is a very quick operation, but in certain circumstances you may

see the lamp illuminated for a period of time. For example, in burst mode (where you shoot many

frames per second), it will take longer for the camera to move all the images from the buffer to the

card. Also, RAW files are generally larger and will take more time to move to the SD card. Use fast

SD cards to alleviate any issues with buffer speed.

2. Charge the Battery

The most onerous task any new camera owner has to go through is charging the battery.

A little patience is needed, as the NP-95 battery that ships with the camera is not charged

up and ready for use. You may find if you insert the battery into the camera without

charging it, there may be some juice. Try to resist shooting straight away, though, and

always charge the battery fully first. You’ll get more shooting time after the initial charge,

and the manufacturers always stipulate a battery should be fully charged for first use—

this will prolong the life of the battery.

When the battery is in the charger, the charging indicator will be in one of three states:

• On: Contrary to many other manufacturers, the Fuji X100S charger’s indicator lamp

is constant green when the battery is charging.

• Off: When the battery is fully charged, the lamp goes off completely.

• Blinking: A blinking indicator lamp means there is a fault with the battery.

Time for a new one.

Once the battery is fully charged, insert it into the base of the camera. Be careful here,

though, as the battery can be inserted in multiple directions and only one way will

work. Line up the contacts on the batteries with the contacts at the bottom of the

battery chamber.

The battery indicator in the viewfinder or LCD monitor will give you an estimate as to how

much battery power you have left. However, I find that the battery indicator is a little

misleading when it gets to the lower end of the scale. The battery can go from two bars

available to empty very quickly, so be aware of this when shooting. It’s quite easy to be

caught off guard with a dead battery!

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Keeping a Backup Battery (or three)

I shoot a lot with my Fuji X100S, and that means I can go through several batteries in one day’s

continuous shooting. If you are going to be shooting for a prolonged period, I suggest keeping at

least one spare, fully charged battery with you. They are very light and easy to store in your camera

bag. This will lengthen your shooting time and avoid any frustrations when out shooting.

3. Ensure Optimal Performance

Out of the box, the X100S is a powerful camera, and a full battery will likely see you

through 300 to 450 shots before a recharge or a new battery needs to be inserted. To get

the most out of the camera, you can tweak a couple of settings and increase the battery

life and performance.

First, setting the Auto Power Off feature to 2 minutes forces the camera to shut down

when it hasn’t been used for 2 minutes or more, saving unnecessary battery loss. To re-

awaken the camera when it has gone to sleep, simply press the shutter button halfway.

Also, I always turn on the High Performance option as soon as I power up a new X100S.

The High Performance option configures the camera to have quicker start-up and focus

times. This has a marginal impact on battery life, but the advantages of having the High

Performance option set to On outweigh the battery recharge issues.

Setting the optimum performance level:1. Turn on the camera.

2. Press the Menu button.

3. Using the command dial, navigate to Setup Menu 2.

4. Using the command dial, scroll down and select the Power Management option.

5. Press the command dial right to enter the submenu.

6. Set the Auto Power Off submenu to 2 Min and the High Performance option to On.

n

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4. Set the Image Quality: JPEG vs. RAW

Your shiny new X100S has a number of image settings to choose from, and you can adjust

them according to your needs and post-processing preferences. By default, the camera is

set up to create JPEG files, but you can also set it to create RAW files or even JPEGs and

RAW files at the same time.

The JPEG format has been around since the mid-1990s and is actually a method of reducing

file size while retaining image quality. Technically, JPEG isn’t a file format—it’s an equation.

Because of the way JPEG files work, in order to reduce the file size, some of the information

is lost via a process called lossy compression. This is a key point to understand because by

choosing a lower JPEG setting, you are choosing to create a lower-quality image.

The X100S has two quality settings for the JPEG format: Fine and Normal. It’s useful to

understand how JPEG files work before choosing a quality setting. Personally, I use only

the Fine option because it offers the most latitude when it comes to editing and printing

the files. Additionally, you can choose the image size. There are many image sizes and

aspect ratios to choose from. Pictures with an aspect ratio of 3:2 have the same propor-

tions as a 35mm film, so usually I choose the Large (L) 3:2 size.

One key advantage of JPEG files is that generally they are smaller than RAW files, so you

can store more on a memory card. Also, when you download the JPEG files, the camera’s

built-in image processing is retained, so what you see when reviewing an image on the

LCD monitor is what you will see in the image on your computer screen.

When you shoot in JPEG mode, your camera, within the processing of the image itself,

makes adjustments for color, sharpness, contrast, and so on, essentially optimizing the

image for you. For example, if you shoot using a black-and-white film simulation in JPEG

mode, the images you download to your computer will be black and white.

Most people using the X100S will likely shoot JPEG, but you can also choose to shoot in

RAW. RAW files are left unprocessed by the camera. They offer greater flexibility when

it comes to editing, but straight out of the camera they don’t look so good. If you really

want to make your RAW files look great, you will need to “process” them first using

image-editing software. Fundamentally, RAW files hold more data and, thus, are larger in

file size. RAW files are sometimes called “digital negatives,” as they are similar in role to

film negatives in that they need to be processed and converted to a printable format such

as TIFF or JPEG.

Whilst many people will shoot JPEG, I tend to change my file-storage type depending on

the job. For example, if I’m shooting family snapshots or noncritical street photography,

I will shoot in JPEG so I can get more images on the card and have the camera do most of

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the processing for me. However, if I’m shooting a wedding or commercial work, I’m more

likely to choose RAW. This gives me more flexibility, but more work, during post-processing

of the images.

There is another option with the Fuji X100S: to shoot RAW+JPEG. This does exactly as the

name suggests—records both a JPEG file and a RAW file. The advantage of this is that

you have the JPEG for quick editing and printing, assuming the exposure is good, and the

RAW file if the exposure is not so great and needs a little tweaking. The disadvantages

to shooting RAW+JPEG are that you will use up memory-card space more quickly, and it

takes a little longer for two files to be written to the memory card, compared to just one.

Setting the image format:1. Press the Menu button on the back of

the camera to bring up the menu list.

2. Using the command dial, navigate to Shooting Menu 1.

3. Using the command dial, scroll down and select Image Quality.


5. Select the quality setting that you prefer: Fine, Normal, Fine+RAW, Normal+RAW, or just RAW.

6. Press the Menu/OK button to confirm.

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If you selected Fine or Normal, then you can adjust the file size and ratio.

Setting the file size and ratio:1. Press the Menu button on the back of



3. Using the command dial, scroll down and select Image Size.


5. Select the size and ratio you wish to use.


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Fuji raF?

Each camera manufacturer that supports RAW has a different naming convention for its files.

Fuji X-Series cameras use the .RAF file extension for their RAW files. A .RAF file can be opened

only in a RAW-processing software application such as Silkypix, Adobe Lightroom, or Adobe

Camera Raw (amongst others). You are unlikely to be able to open a .RAF file in your standard

desktop image viewer.

5. Set the ISO Level

Perhaps one of the most important settings on your new camera is the ISO. ISO is the

sensitivity of your camera to light. Essentially, the lower the ISO number, the more light is

required in order to produce a good exposure. In practice, this means in good light such

as a bright summer day, an ISO of 200 would be more than capable of capturing a good

image. As light becomes poorer, a higher ISO may be necessary. So, for example, as dusk

falls, you may need to increase your ISO setting to 400 or 800. But be aware that higher

ISO levels can introduce noise, or more accurately, can increase noise levels in an image.

Noise appears as small grain-like speckles, especially in an image’s darker areas.

(Here’s a tip: Always be prepared to increase ISO levels if the light levels are falling, as

it will help sustain a constant shutter speed that’s fast enough for a sharp exposure. It’s

more appealing to have a sharp image with some noise distortion than an image that is

too blurry to see because the ISO level has been kept too low.)

The X100S has a default range of ISO 200 through to 6400 (with expanded options avail-

able). When it comes to deciding on the ISO level to use, the rule of thumb is the lighter

the scene, the lower the ISO level needed. However, in some cases it may be important to

have little or no noise present even in a low-lit environment. In this case, using a lower

ISO would have to be offset with a slower shutter speed. In these cases it may be neces-

sary to use a tripod to achieve the desired exposure.

The X100S also has a very useful Auto ISO feature, which allows the camera to change

ISO levels dynamically as the light changes around it. I use the Auto ISO feature a lot, and

recommend it especially when shooting candid scenes where the light may change regu-

larly. Essentially, the camera makes the decision about which ISO level to set the camera

at, based on the chosen aperture (discussed in the next section), shutter speed (also

discussed next), exposure compensation, and Dynamic Range setting (discussed further

in Chapter 10, “Advanced Features”). You set the minimum and maximum ISO levels

between which you are willing to shoot and the minimum shutter speed—for example,

an Auto ISO range of 400 and 3200 and a minimum shutter speed of 1/125 of a second.

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Then the camera will adjust the ISO according to the scene and conform to those settings

wherever possible. However, it’s important to be aware that the camera may also override

the shutter speed and reduce it beyond the minimum setting if it can’t get an exposure.

Sometimes it’s simply too dark and the camera needs to account for that.

Setting the iSo level:1. Press the Menu button on the back of



3. Using the command dial, scroll down and select ISO.


5. Select the ISO level at which you want to shoot.

6. Press Menu/OK to confirm.

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You will notice there are also options here for Auto ISO. I discuss this further in Chapter 4,

“The Professional Modes.”

expanded iSo

For most situations, the X100S will shoot at a range of ISO 200 to ISO 6400. If you are shooting in

RAW, you cannot shoot outside of these boundaries. However, if you are shooting in JPEG, in most

circumstances you can choose a range of ISO 100 up to ISO 25,600.

6. Set the Exposure Mode

To get the most out of your X100S and to ensure you can take full creative control of its

features, along with ISO you will need to understand shutter speed and aperture.

Shutter speed controls the length of time that the shutter remains open, usually measured

in a fraction of a second (1/200 of a second, for example). The aperture is the reference

of the opening of the lens blades. It’s usually referred to as an f-stop (f/2.8, for example).

The combination of ISO, shutter speed, and aperture is what defines the exposure, and

they’re closely connected: Adjust one setting, and it impacts the others.

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The X100S offers several exposure modes, each offering various levels of control over the

shutter speed and aperture:

• Program (P): Allows the camera to adjust both shutter speed and aperture. Often this

gives optimal exposure at the sacrifice of creative control over depth of field or motion

blur. To select Program mode, rotate the aperture ring to A and then the shutter speed

dial to A.

• Shutter Priority (S): Gives you control over the shutter speed while letting the camera

select the optimum aperture. This setting gives you creative control over motion blur,

or capturing a very quickly moving subject with a fast shutter speed. To select Shutter

Priority mode, rotate the aperture ring to A and then use the shutter speed dial to

adjust the shutter speed.

• Aperture Priority (A): Allows you to adjust the aperture manually while letting the

camera select the optimal shutter speed. This is useful in situations where the light is

low and you want to use a faster f-stop, or where you want to control the depth of

field. To select Aperture Priority mode, rotate the shutter speed dial to A and then use

the aperture ring to adjust the aperture.

• Manual (M): Gives you full control over the shutter speed, aperture, and ISO. Manual

mode is especially useful when you want to keep exposures consistent across a shoot-

ing range. To enter Manual mode, ensure that both the shutter speed dial and the

aperture ring are set to numeric values, as opposed to A.

• Bulb (B) and Time (T): These modes are for very long exposures. Time mode allows

you to stipulate an exposure time, whereas Bulb mode will expose for as long as the

shutter is held open (either by the shutter button or shutter release cable). A tripod is

recommended for these modes, which are useful for scenes such as fireworks or cap-

turing the motion of running water. To select Bulb or Time mode, rotate the shutter

speed dial to B or T, respectively.

7. Set the Autofocus Mode and Focus Point

The Fuji X100S is an advanced camera, and its speed of focusing is a marked improvement

over its predecessor, the X100. In the X100S, 49 focus points are available when using the

electronic viewfinder, while the optical viewfinder offers 25. (I discuss the X100S’s view-

finders in more detail in Tip #9, below.)

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The X100S doesn’t have any “automatic” focusing modes, so you are not at risk of the

camera making a false assumption of the subject on which you are trying to focus. So how

do you determine which autofocus (AF) mode to use? The X100S offers two autofocus

options, which you can select using the focus mode selector, a small switch on the side of

the camera body:

• AF-S (single shot): Focus locks when the shutter button is pressed halfway. This setting

is used in almost all situations.

• AF-C (continuous): Focus is adjusted continually to reflect changes in distance to the

subject (even when the shutter button is not pressed halfway). This setting is used

mainly for sports or fast-moving subjects.

There is a third focus option, MF (manual focus). In this mode you control the focus by

rotating the focus ring on the lens with your hand. This is most commonly used when you

need to shoot very quickly or where autofocus is not a possibility.

Once you have selected your AF mode, it’s time to decide on your focus point, the point

on which the camera will attempt to achieve focus. When starting out, you should select

the central focus point, as this is generally the most reactive point and eases framing of the

subject. Once you become more comfortable with the camera and the focusing system,

you can experiment by moving the focus point around.

Setting the focus point:1. Press the AF Button (command dial up).

2. Use the command dial to position the focus point of choice.

3. Press the Menu/OK button to confirm the focus point.n

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8. Set the Color Space

Color space is an oft-overlooked configuration setting available in most DSLRs. Essentially,

the color space is the amount of color that a camera can “see,” capture, and record to card.

The Fuji X100S offers two color spaces:

• sRGB: This is the color space that matches more widely with images displayed on

electronic media such as computer screens, tablets, and phones. It’s also the color

space that a majority of the print labs use.

• Adobe RGB: This color space has a wider color gamut than sRGB, which means it can

produce more vivid and accurate colors on many high-end printers.

If you are not planning on using high-end printing devices, or if your print lab specifically

requests Adobe RGB, then sRGB is a good option. Broadly speaking, using sRGB will simplify

your workflow and display better on the Web without the need for conversion. Also, it’s

invariably an easier one to work with in post-production.

That said, I tend to go against the grain a little, and generally I use Adobe RGB within

my cameras. Adobe RGB may require some additional workflow steps, but it captures

more color information in your images and potentially gives better results. The main

reason I prefer Adobe RGB is that I use a high-end digital recording device that can photo-

graph fast-moving objects, shoot in low light, and even record HD movies. So why would

I compromise on the quality of the images I ask it to record for me? Also, I prefer to see

my images in print rather than view them online or on devices, so I use Adobe RGB as my

color space of choice.

The primary downside of shooting with the Adobe RGB color space is that when processing

your images for display on the Web or for certain print labs, you may need to down-sample

the color space to sRGB. However, this is easy enough, and all image-editing software can

do this (conversely, you can’t up-sample sRGB to Adobe RGB in the same way).

In sum, if you are simply likely just to copy your images from the camera and upload them

to the Internet for sharing, or print them on a consumer-level printer at home, then sRGB

will be perfectly good to use. Adobe RGB is really an option for those who wish to have

more latitude when editing, or will be printing on professional-level printers or using

professional labs for their printing.

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Setting the color space:1. Press the Menu button on the back of


2. Using the command dial, navigate to Setup-Menu 3.

3. Rotate the command dial and select Color Space.

4. Select Adobe RGB or sRGB.

5. Press the Menu/OK button to confirm your choice.

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Once you set the color space, you won’t

notice any visual change in the image on

the LCD monitor—color space is all about

behind-the-scenes image processing.

a note about raW and Color Space

RAW files are not affected by the color space you choose; color space configuration applies only

to JPEG files. With RAW files you have the option to change the color space as you wish in your

image-editing software.

9. Understand the Viewfinders

More than likely, one of the reasons you were attracted to the Fuji X100S is its gorgeous

hybrid viewfinder technology. It sounds a little like something out of Star Trek, doesn’t it?

Hybrid viewfinder. Well, it’s not that far-fetched and is actually an amazing feature of the

X100S—and one of the core features that I use all the time when shooting.

The hybrid viewfinder, which I discuss in Chapter 3, “The Viewfinders,” combines the

optical viewfinder (OVF) system found in DSLR cameras with the electronic viewfinder

(EVF) system found in mirrorless systems. Simply having a choice of viewfinder will give you

creativity and functional benefits. For example, you may use the electronic viewfinder for

a critical focusing situation macro shot, or, if you need to reduce shutter lag and shoot

quicker, you can change very quickly to the optical viewfinder.

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Whether you’re framing your shot through the OVF or EVF, your eye will see not only

the subject and scene, but also a range of shooting data projected by an integrated high-

definition LCD panel.

Each of the viewfinders has its advantages over the other, and one of the great features

of the X100S is the ability to simply switch between the two using the viewfinder selector

on the front of the camera.

Optical ViewfinderThe OVF is a sharply defined, bright frame

projected by the LCD panel (Figure 1.1).

It gives a reasonably accurate view of the

image inside the viewfinder. In addition

to allowing you to view the wider scene,

a number of customized areas on the

viewfinder enable you to view key expo-

sure and camera settings such as exposure

compensation, ISO, distance indicator, and

AF target (amongst others). These settings

are discussed in Chapter 3.

The OVF is similar to the viewfinder of a

traditional rangefinder camera, in that

you get to see the wider area around

the frame in the viewfinder. This can be extremely useful when lining up shots or simply

watching a scene unfold—you can literally watch a subject enter the frame, then shoot it.

I use the optical viewfinder most when I need to work quickly. Because the camera displays

less electronic information in the viewfinder, it reacts more quickly, and thus the AF speed

and exposure control do as well. This is because when the camera is in OVF mode, it has

less processing to do when displaying the information in the viewfinder, as it doesn’t show

full exposure simulation.

Figure 1.1 the optical Viewfinder is bright and large and allows you to compose and shoot images quickly, with very little lag.

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Electronic ViewfinderThe EVF is a vividly displayed bright

frame where you will see 100 percent

frame coverage on a sharp image

display, thanks to the 0.48-inch, high-

definition, 2360K dot-resolution LCD

panel (Figure 1.2). From precision framing

of macro shots in Live View mode to quick

post-shot reviewing of your results, the

EVF is ready with its vividly accurate display

whenever you need it. Typically, I use the

EVF when focusing is critical, or in low-

light situations.

a note about parallax

Parallax is a displacement or difference in the apparent position of an object viewed along two

different lines of sight and is a consideration when using the optical viewfinder.

In one of the earlier firmware updates to the X100, Fuji mitigated this issue somewhat by intro-

ducing the Corrected AF Frame feature. This can be seen in action in Figure 1.1 (the double focus

boxes in the center of the viewfinder) and is discussed further in Chapter 3. This adjusts the visual

autofocus target position in the OVF to account for the parallax when focusing on close subjects.

10. Review Your Images

When digital cameras became mainstream, apart from the apparent savings in film and

processing fees, the ability to view your image—immediately, on the LCD monitor—was

seen by some as a complete revelation. With digital cameras, each time you shoot an

image, whether you are in RAW or JPEG mode, the camera records an embedded JPEG

image that you can use to review the image. This feedback allows you to check your

exposure and composition and retake the shot if necessary.

By default, the X100S will show you the image you have just taken in the actual viewfinder,

which is a very cool feature if you are not trying to shoot reportage or street photography, in

which case you don’t want your view of the scene impaired by the image review. I prefer to

switch the viewfinder image review setting to Off, which unshackles me from the demon

that is termed “chimping” (constantly checking the image to see if the exposure was nailed).

Figure 1.2 the electronic Viewfinder displays a rea-sonably accurate view of the image that the camera will take and allows you to make exposure adjust-ments based on what you see in the viewfinder.

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Changing the image auto-review duration:1. Press the Menu button on the back of


2. Using the command dial, navigate to Setup Menu 2.

3. Rotate the command dial and select Screen Setup.

4. Set Image Disp. to your preferred set-ting (I suggest you turn it to Off).

5. Press Menu/OK to confirm your selection.

n

Once you take a break from shooting, you may want to flick through the shots you have

taken and review them in more detail. To do this, simply press the green Playback button,

at the top-left of the rear of the camera. This will immediately display your most recent

shot on the LCD monitor.

By default, not only can you see the image you shot, but you can also see the exposure date

along the bottom of the LCD monitor, as well as useful information such as shutter speed,

aperture, and ISO. You can customize the data that the LCD monitor displays to show

various other settings, too. However, I encourage you to use the Detail Information view,

which gives more detailed exposure information as well as a histogram and any blown

highlights (parts of the image where detail has been lost) will be indicated by blinks.

Viewing image-detail information:1. Press the Playback button on the

back of the camera.

2. When the image appears, press the Disp/Back button.

3. Press the Disp/Back button to con-tinue to scroll through the image view options until you select Detail Information.

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The image-detail information will be

displayed as standard hereafter. If you

wish to revert to one of the other view

options, simply follow the steps again,

selecting the view option you want.

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19 1 : t h e F u j i F i l m X 1 0 0 S t o p t e n l i S t

Let’s begin our shooting assignments by setting up and using all of the elements of in the Top Ten list.

When you have completed the assignments, not only will you have configured your camera correctly,

but you will be ready to start shooting!

Set up the basics

Charge the battery until it’s 100 percent juiced up. When it’s charged, insert it into the camera, fix

the strap to the camera, insert your memory card, and turn on the camera. Now set the camera to its

optimal setting by adjusting the Auto Power Off and High Performance options. Finally, set up your

preferred file format and file size.

think about exposure

Now you need to consider ISO, aperture, and shutter speed. If you are shooting in a well-lit environment,

start with ISO 400. Initially, using Program (P) mode for your exposure mode will get you up and running

quickest. Next, make sure your focus point is set to the central spot. For the time being, this configuration

will get you shooting straight away.

pick a viewfinder

Viewfinder selection can be totally subjective, so just decide which one you prefer. If you like the

uncluttered view and speed of the optical viewfinder, go for that. If you prefer to see an accurate simula-

tion of the exposure in the viewfinder, switch to the electronic viewfinder.

Focus on a subject

Find a family member or friend with your camera configured properly. You are ready to shoot! Focus on

the subject, press the shutter button halfway (keep an eye on the focus point in the viewfinder or LCD

monitor for confirmation of focus lock), and … shoot!

evaluate your pictures with the lCD monitor

Set up your image display properties, and then review some of your images using the different display

modes. Review the shooting information for each image, and take a look at the Detail Information,

paying close attention to any blinking areas on the image that may represent blown highlights.

Share your results with the book’s Flickr group!

Join the group here: flickr.com/groups/fujiX100S_fromsnapshotstogreatshots

Chapter 1 Assignments

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ISO 400 • 1/320 sec. • f/2 • 23mm lens

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21

2First Things FirstWhat to know before you begin taking pictures

Looking at the Fujifilm X100S, you may find it a little intimidating with

all its dials, buttons, viewfinders, and controls. But regardless of how

complex the camera seems, there are only a few key features that you

really need to understand to get a lot out of the camera. The important

thing is to use the X100S as often as possible, get used to it, and, most

important, enjoy shooting with it. It’s a wonderful camera that really

comes into its own if you understand the fundamentals of photography

and how to operate and maintain the camera.

In this chapter, I’ll guide you through the essential elements of photogra-

phy and also get you up to speed with important aspects of the X100S,

such as performing firmware updates and memory card selection. Of

course, other features of the camera and photography are also important.

But by focusing on and mastering its core features and functions, you’ll

be able to get the absolute best out of your X100S and quickly move

from “snapshots” to “great shots.”

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The Fuji X100S is the perfect size to handhold yet still allows you to be creative with

exposure. In this image, I chose a very low shutter speed and “tracked” the van as it

crossed through the frame. By locking focus on the van as it approached and rotating

my upper body as the van moved, I was able to capture this image, highlighting the

movement and speed of the traffic.

The lines and alternating shapes of the road crossing add to the impact of the image.

Poring Over the Picture

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I shot this with the Pro Neg. HI film simulation, which adds vibrancy and contrast to the colors.

ISO 200 • 1/15 sec. • f/16 • 23mm lens

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The near silent operation of the Fuji X100S allowed me to

get extremely close to this couple without attracting their

attention.The small form factor and ability to handhold in

many shooting situations, coupled with the silence of the

leaf shutter, makes the X100S a perfect companion for

anyone shooting street photography.

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Using a large aperture kept a lot of the background scene relevant to the image.

ISO 500 • 1/125 sec. • f/8 • 23mm lens

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The X100 vs. the X100S

I think it’s important to outline the differences between the X100 and the X100S, because

although the models are similar, a number of features have changed in the X100S. Although

the addition of an “S” doesn’t really suggest significant changes, Fuji has made some

big feature improvements and functionality updates that you should be aware of. In all,

there are nearly 70 feature differences between the X100 and the X100S. This section

discusses the key changes, allowing you to begin shooting quicker with the new model

(Figure 2.1).

Figure 2.1 aesthetically, there is little difference between the X100S (left) and the X100 (right). however, in many areas the X100S is a distinct improvement over its predecessor.

The X100S’s core feature upgrades are the following:

• Higher resolution: 16 megapixels (MP) versus 12.2 MP

• Higher-resolution movies: 1080p 60 frames per second (fps) versus 720p 30 fps

• Better, expanded ISO: 25,600 versus 12,800

• Faster burst mode: 6 fps versus 5 fps

Additionally, the X100S offers the following improvements:

• Better XTRANS CMOS II sensor and autofocus processor. Close-up focusing without

resorting to macro means no noticeable shutter lag with the X100S, compared to a

much more noticeable one with the X100.

• Autofocus (AF), thanks to the phase-detection system in the X100S, allows for nearly

instant focusing, whereas the original X100 suffered a little with AF speeds.

• Focus Peak Highlight and Digital Split Image options allow you to check the focal

plane when focusing manually.

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2 : F i r S t t h i n G S F i r S t 27

X100 and Firmware

It’s worth noting that some of the improved features in the X100S have actually been rolled out

to the X100 in a series of firmware upgrades (see “Upgrading the X100S’s Firmware” later in this

chapter). However, even with those firmware upgrades, the X100S remains a more powerful and

versatile camera.

Choosing and Formatting Your Memory Card

Digital memory cards are essentially the media that replace

the need for film. Every shot you take will be stored on

the memory card at the moment of capture. The cards are

available in many sizes and forms. The X100S uses Secure

Digital (SD), Secure Digital High Capacity (SDHC), or Secure

Digital Extended Capacity (SDXC) cards (Figure 2.2).

Some people prefer to use smaller capacity cards and

change them more often. This is because, in the unlikely

event that the card is damaged or lost, you lose only the

images on that card; images on different cards will be

saved. However, I prefer to shoot with large-capacity cards, almost always 32GB. This

means I can concentrate on shooting for longer periods without worrying about chang-

ing cards. It also mitigates the risk of losing the card during the process of changing it.

However, it’s true that if I damage or lose the card, I’ll lose a lot more images.

Here are some tips for selecting and using memory cards:

• Always be careful with your cards! It’s extremely important to take care when insert-

ing and handling them. On commercial shoots, I keep all my cards in a secure pouch

that is attached to my belt. I don’t remove that pouch until I’m at home or back in the

studio where I can download and back up the images.

• I use SDHC cards, which enable images to be written to them much faster—thereby

allowing you to shoot more quickly. They are generally faster at downloading to your

computer, too. If you are shooting movies (see Chapter 11, “Making Movies”) or using

continuous shooting mode (see Chapter 9, “Hitting the Streets”), you should use an

SDHC card with a minimum rating of 6. The higher the class number, the faster the

card operates.

Figure 2.2 make sure you select a card with enough capacity and speed to handle your shoot requirements.

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• The X100S is also SDXC-compliant, so you can use extremely fast cards with very large

capacities. While widely available, SDXC cards are not supported by all card readers

and other equipment, so be sure you check your other hardware for feature compat-

ibility before using SDXC cards.

• Always make sure you have spare cards with you. You never know when you will need

the additional space. Missing a great shot because you don’t have the capacity on your

cards is not a great feeling!

• Format the memory card in the camera itself, rather than on a computer. Whenever

I put a new card in the camera, I press the Play button to review any images that are

on the card. It’s a safety procedure in case I haven’t downloaded the images previously

recorded to the card. If images appear, I can verify that I have already downloaded

the images or, if not, choose to use a different card. If you put a card in your camera

without formatting it, chances are it will work; however, to ensure that the images

are stored correctly, the card needs to be initialized, minimizing the risk of card failure

further down the line.

If there are images on the card that were

taken with a different camera, you will see

the “gift” icon during the image review

(Figure 2.3). This is important to bear in

mind, as it means that in order to continue

using the card safely, you really should

format it again (in the X100S). To be safe,

it’s always best to format the card in the

camera it is going to be used in.

Figure 2.3 a “gift” icon during image review indicates a picture taken on a camera other than an X100S.

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Formatting a memory card:1. Press the Menu Button and, using

the command dial, navigate to Setup Menu.

2. Using the command dial, select Format.

3. Using the command dial, select OK.

4. Press Menu/OK to confirm the format.

n

Updating the X100S’s FirmwareFirmware is the software inside the camera that operates all of its functions and features.

Fujifilm has rolled out some amazing features via firmware, such as focus peaking in

the original X100, and often the later firmware versions improve functions such as focus

speed and image buffer lag.

Fuji often updates firmware, and at the time of this writing, the X100S firmware is at ver-

sion 1.10. All new purchases of the X100S will come with the latest firmware available at

the time it was manufactured. However, the manufacture date may have been some time

ago, so check the firmware and update to the very latest version. (Also do this if you have

purchased a secondhand camera.)

Updating the firmware is a two-step process. But before you do it, make sure you have

a fully charged battery and a completely empty (formatted) memory card at hand. Once

you have those in place, head over to the Fujifilm global site: www.fujifilm.com/

support/digital_cameras/software/

firmware/x/x100s.

First things first: Verify which version of

the firmware you already have installed.

If the version installed on your camera is

the same as the one on the website, then

an update is not required. To do so, turn

on the camera while holding down the

Disp/Back button. The firmware version

will be displayed in the LCD monitor.

http://www.fujifilm.com/support/digital_cameras/software/firmware/x/x100s



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If your firmware version is different from the one available on the website, you

should upgrade.

updating the camera’s firmware:1. Download the firmware from the Fujifilm website to your computer’s desktop.

2. Copy the firmware file (usually a .DAT file) to the root of your memory card. The root is the top-level folder on your memory card, which you can access via Finder on a Mac or Windows Explorer on a PC.

3. Turn on the camera while holding down the Disp/Back button.

4. Press the Left button to select OK (A).

5. Press the Menu/OK button.

6. Once the warning appears telling you not to switch off the camera, press the Menu/OK button. The upgrade will begin. While the upgrade is being performed, do not turn off the camera or operate it in any way.

7. When the upgrade is finished, turn off the camera.

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Understanding the Lens and Focal Length

If you ask most photographers what they believe to be the most critical piece of their

photography arsenal, they will likely tell you it’s the lens. The technology and engineer-

ing that goes into your camera is a marvel, but it’s not worth anything if the light from

outside can’t reach the sensor. The X100S includes one built-in lens capable of a multitude

of tasks, including focusing on the subject, metering the scene, and delivering and focus-

ing the light onto the sensor.

The lens on the X100S is fixed, meaning it is not a zoom lens, and the focal length on the

X100S is 23.6mm (usually rounded down to 23mm). With the exception of the addition of

a conversion lens (see Chapter 12, “Pimp My Ride”), this means your images will always

be shot at the fixed focal range of 23mm.

For many, the lack of a zoom feature could be seen as a detriment. When you consider

other cameras that offer a zooming lens, such as the Canon PowerShot G range of cam-

eras, it might seem odd to choose a camera with only one focal length. However, for me,

the fixed focal length is one of the things that appeals most about the X100S. It adds a

A

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consistency to my images, and really makes me think more about composition and image

structure. It also means that I’m less lazy when shooting and I have to move around more,

rather than resort to a zoom feature to get the images I want.

The X100S’s 23mm lens is perfect for many situations and lets you include a large scene in

the frame (Figure 2.4). Using a large depth of field, it allows you to keep the foreground

and background sharp, making the X100S perfect for landscape photography. The lens

also works very well in tight spaces where there is very little elbow room to maneuver

(Figure 2.5). Using the X100S’s full aperture range to its maximum potential can be help-

ful when you want to keep only a certain amount of the image in focus (Figure 2.6).

Figure 2.4 a 23mm range on the X100S is an excellent choice for wide landscape images. a large depth of field allows you to keep a lot of the foreground and background in focus throughout the frame.

ISO 200 • 1/210 sec. • f/16 • 23mm lens

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Figure 2.5 at close quarters, the X100S 23mm lens allows you to get very near to the subjects, and it is especially good for capturing candid scenes.

ISO 3200 • 1/35 sec. • f/2 • 23mm lens

Figure 2.6 a medium aperture of f/5.6 ensures the foreground subjects were kept in focus while the less inter-esting elements were deemphasized.

ISO 200 • 1/1000 sec. • f/5.6 • 23mm lens

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Because the lens is fixed in terms of focal length at 23mm, there is very little lens barrel

distortion, when the lens appears to barrel or distort toward the edges. Barrel distortion

is often experienced at the wide end of zoom lenses and some very wide fixed lenses.

The f/2 23mm lens in the X100S is free of this phenomenon and can be used comfortably

across a wide range of shooting subjects.

a note on 35mm equivalent Focal lengths

In digital photography, you will often see focal lengths referred to in their 35mm equivalent. Some-

what confusingly, the X100S 23mm lens has a 35mm equivalence of 35mm. Without wading into

the complicated science of optics, here’s a simplified explanation of what that actually means.

Traditionally, a photo exposed on film using a 35mm lens delivered a “normal” image, which is

close to the view that your eyes see naturally. In many digital cameras that aren’t “full frame,” the

image sensor is generally smaller than the frame of film exposed in old cameras, so the area of data

recorded by a digital camera is smaller than the area of light that the lens is actually seeing. The

narrower field of view creates the same effect as zooming in, which is often referred to as the “crop

factor.” The crop factor for the X100S is roughly 1.5; thus, the 23mm view is about what you would

see if you used a 35mm lens on a film camera (for the mathematically bright: 1.5 x 23.6 = 35.4).

Understanding Exposure

To get the most from your X100S now, you need to understand the principles of expo-

sure. Without this basic understanding, it may be difficult to move forward and improve

your photography. It’s easier to go from “snapshots” to “great shots” with a clear under-

standing of the core photographic principles.

Exposure is the process whereby the light reflecting off a subject passes through the

opening in the camera lens onto the sensor within the camera, for a certain period of

time. Technically, this combination of the lens opening, the shutter speed selected, and

the sensitivity of the sensor is known as the exposure value (EV), the sum of these compo-

nents needed to properly expose a scene.

This relationship is often referred to as the “exposure triangle” and is made up of the

following elements:

• ISO: This is the measurement that determines the camera sensor’s sensitivity level.

ISO stands for International Standards Organization, but the acronym itself is used

to describe the level of sensitivity of the camera’s sensor to light. The higher the ISO,

the less light is required to obtain a good exposure. Or, in reverse, the lower the light

levels, the higher the ISO that is needed.

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• To achieve a proper exposure, the lens needs to adjust the aperture diaphragm to control

the volume of light entering the camera. Then the shutter is opened for a relatively

short period of time to allow the light to hit the sensor long enough for it to record

the image.

• Standard ISO numbers for the X100S start at 200 and then double in sensitivity as you

double the number. So ISO 400 is twice as sensitive as 200.

• Aperture: Essentially, aperture is the size of the lens opening when a photograph is

taken. The size of the hole has a direct correlation to the amount of light that can get

into the sensor. The larger the aperture size, the more light will fall on the sensor; the

smaller the aperture size, the less light will fall on the sensor. The X100S’s aperture

range is f/2 through f/16. Generally speaking, a lower f-stop number will allow you to

shoot in lower light, and will usually offer more depth of field and bokeh depending

on the subject and the framing.

• Shutter speed: The speed to which you set the shutter on the camera controls the

amount of time the shutter remains open, which in turn determines how much light

can hit the sensor. The shutter speeds available on the X100S range from 30 seconds

to 1/4000 of a second. Normal shooting will see you working within a range of around

1/30 to 1/2000 of a second, but obviously this may change depending on the circum-

stances of the shot you are taking at the time.

A change in any of these factors (ISO, aperture, or shutter speed) will require a reciprocal

adjustment in one or both of the others. For example, if you let more light into the lens

by choosing a larger aperture, you will need to shorten the time the shutter is open.

Conversely, if you increase the shutter opening time to allow more light, then you’ll need

to decrease the aperture.

always Be prepared to Shoot

My camera goes everywhere with me. Because I’m always keeping an eye out for great photographic

opportunities, it’s important to me that my camera is at the ready at all times. I rarely have the

camera stored in a bag or under my coat, even in poor weather. Instead, I prefer to have the camera

on a strap over my shoulder or in a hip holster. The lens cap is always off when I’m out shooting, so

I’m ready to capture an image as soon as the opportunity arises. To be ready and able to focus my

attention on shooting at all times, initially I set the ISO, aperture, and shutter speed—thus I’m not

preoccupied with configuring my camera constantly.

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When you point your camera at a scene, the light reflecting off your subject enters the

lens and is allowed to pass through the sensor for a period of time dictated by the shut-

ter speed. The amount and duration of the light needed for a proper exposure depends

on how much light is being reflected and how sensitive the sensor is. To work it out,

your camera utilizes a built-in light meter that looks through the lens and measures the

amount of light. That level is then calculated against the sensitivity of the ISO setting and

an EV is established.

What’s a Stop?

The term stop is used a lot in the photography world. It refers to the f-stop, which is the term used

to describe the aperture opening of the lens. When you need to increase your exposure, you might

refer to “adding a stop.” This is not specific to just aperture, however; it can also relate to ISO and

shutter speed. So when your image is too light or too dark, or you have too much motion in the

scene, you will likely change things by moving a “stop” or more.

There are many ways to achieve a perfect exposure, because the f-stop and the shutter

speed can be combined in different ways to allow the same amount of exposure. The

following table shows a list of reciprocal settings that would all produce the same expo-

sure. This means that any of these settings would each result in the same amount of light

hitting the camera’s sensor to make the exposure.

Reciprocal Exposures at ISO 100

Aperture (F-Stop) 2.8 4 5.6 8 11 16 22

Shutter Speed 1/1600 1/800 1/400 1/200 1/100 1/50 1/25

Note that each time we cut the f-stop in half, we reciprocate by doubling the shutter speed.

Now we can start using this newfound knowledge and information to make educated

choices with respect to shutter speed and f-stop. Let’s bring the third element into this by

changing our ISO by one stop (doubling it) from 100 to 200.

Reciprocal Exposures at ISO 200

Aperture (F-Stop) 2.8 4 5.6 8 11 16 22

Shutter Speed 1/3200 1/1600 1/800 1/400 1/200 1/100 1/50

You can see that as we have doubled the sensitivity of the sensor (ISO), we now need half

as much exposure as before to achieve the same result.

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You may be asking, why not just use the exposure setting of f/16 at 1/100 second? Why

bother with all the reciprocal values when this setting clearly gives us an established and

accurate exposure? The answer is that the f-stop and shutter speed also control two other

important aspects of the image: motion and depth of field.

Sunny 16

There is a commonly quoted rule in photography called the “Sunny 16 Rule.” The idea is that on a

bright sunny day with no cloud cover, you will obtain the correct exposure by setting your aperture

to f/16 and your shutter speed to the same amount as your ISO. For example, if your ISO is 200, the

proper exposure would be f/16 at 1/200 second. If your ISO is 400, the exposure would be f/16 at

1/400 of a second.

Understanding Motion and Depth of Field

Various factors are related to changes in aperture and shutter speed. Because shutter

speed controls the length of time the light strikes the sensor, consequently it controls

blurriness of the image. As you can imagine, the less time the light has to hit the sensor,

the less time your subjects have to move around and become blurry. While many will see

blur as an affliction to exposure, it can actually be used creatively, and you can impose

some control like freezing the motion of a fast-moving subject (Figure 2.7) or even blur-

ring the subject to give an intentional feel of movement (Figure 2.8).

The aperture controls the amount of light that comes through the lens, and it also deter-

mines the bokeh (or lack of bokeh) of the image. Bokeh is the blur of the out-of-focus

area of an image. Technically controlled by the depth of field, bokeh is perhaps one of

the most powerful of the creative features available through standard exposure.

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Figure 2.7 a fast shutter speed allowed me to freeze the action mid-jump.

ISO 200 • 1/1000 sec. • f/2 • 23mm lens

Figure 2.8 a slower shutter speed (combined with the X100S’s built-in neutral den-sity filter) allowed me to illustrate the motion of the water in this shot.

ISO 200 • 2.1 sec. • f/13 • 23mm lens

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It is, of course, possible to use both aperture and shutter speed together creatively

(Figure 2.9). As a rule of thumb, think of a smaller aperture (a larger f-stop) as resulting in

greater overall sharpness from front to back in an image (Figure 2.10). A larger aperture

(a smaller f-stop) means less sharpness, or greater blurring of objects at distances other

than your subject (Figure 2.11). In cases where you want to keep a moving subject sharp

(Figure 2.12) but still give an indication of motion, you may need to keep your shutter

speed lower and rely on ISO and aperture to ensure a good exposure.

resorting to a Flash

In many conditions, it’s just not possible to get an acceptable exposure in low light without adding

more light artificially, so you’ll need to use a flash to create your images. The X100S has a small,

integrated flash unit, which actually packs a powerful punch and lights the subject while retaining

as much ambient light as possible.

Figure 2.9 i wanted to get the station name in focus while illustrat-ing the motion of the train. to achieve this, i needed to use a small aperture of f/16 (to get the station sign in focus) and slow shutter speed (to illustrate the motion of the train).

ISO 6400 • 1/30 sec. • f/16 • 23mm lens

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39

Figure 2.10 using a small aperture of f/16 allowed me to get everything in this cityscape in focus from front to back.

ISO 400 • 1/400 sec. • f/16 • 23mm lens

Figure 2.11 isolating elements of an image can be accomplished by using a larger aperture, which pro-duces a narrow area of sharp focus.

ISO 400 • 1/150 sec. • f/2 • 23mm lens

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As we further explore the features of the X100S, you will learn not only how to utilize the

elements of exposure to capture properly exposed photographs, but also how you can

adjust exposure to emphasize your subject or make creative enhancements to the image.

Being creative with motion, speed, and focus or bokeh will allow you to move from snap-

shots to great shots in no time at all.

Figure 2.12 i wanted to keep the porters in sharp focus, and without increasing iSo i resorted to a slow shutter speed, which also allowed me to portray motion in the image.

ISO 250 • 1/60 sec. • f/2 • 23mm lens

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412 : F i r S t t h i n G S F i r S t

Now that we have reviewed some of the more important features of the X100S and photography tech-

niques to get you started, it’s time to put that knowledge to the test. These assignments will run you through

configuring your camera so it’s up to date and understanding the lens that the X100S has on board.

Format your memory card

Even though you may already have started using your camera, ensure you are familiar with formatting

the SD card. If you haven’t done so already, follow the directions in the “Choosing and Formatting Your

Memory Card” section, earlier in the chapter, and format as described. Make sure you save any images

on the card that may already be on it!

Check and update the firmware

Charge your camera, set aside a memory card, and go ahead and check the firmware version your

camera already has installed. If it’s not the latest version, download the latest one and install it on your

camera.

explore the lens

The X100S has a wonderfully simple yet complex lens on board. Spend a little time shooting with all the

different focal apertures and shutter speeds. Adjust your ISO and shutter speed to try to obtain creative

imagery emulating motion, or stopping a moving subject in a freeze frame.

Take several shots of the same frame using different apertures. What do you notice occurring with the

depth of field?

Try and achieve the same exposure using a combination of f-stops and shutter speeds. Notice how it is

possible to achieve the same exposure with different combinations.

Try shooting in a restricted light environment using a low ISO and a high shutter speed. See how adjust-

ing the ISO affects the exposure and brightens the overall image.




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ISO 400 • 1/35. sec. • f/2 • 23mm lens

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43

3The ViewfindersTwo interfaces for added flexibility

When Fujifilm launched the original X100, one of the standout features

was the hybrid viewfinder. It offered the unique opportunity to shoot

using an optical viewfinder (OVF) and electronic viewfinder (EVF). It was

a “marriage of intuitive analog operation and state-of-the-art digital

functionality,” according to Fujifilm.

The X100’s hybrid viewfinder has been developed further and is now

also a core feature of your X100S. It really does offer a flexibility rarely

seen in other camera systems: The OVF enables you to view the scene

with maximum quality and reduce any perceivable shutter lag; and you

can use the EVF for confirmation of focus, exposure, white balance, and

depth of field while shooting the scene.

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Poring Over the Viewfinders

Optical Viewfinder

A Flash Mode

B Metering

C White Balance

D Film Simulation

E Dynamic Range

F Number of Available Frames

G Image Quality and Size

H Battery Level

I Focus Frame

J Virtual Horizon

K Bright Frame

L Distance Indicator

M Sensitivity (ISO)

N Aperture

O Exposure Lock

P Shutter Speed

Q Shooting Mode

R Histogram

S Exposure

A B C D E F G H

IJ

K

L

MNOPQ

R

S


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Electronic Viewfinder

A Macro/Close Up

B Self-timer Indicator

C Continuous Mode

D Blur Warning

E Wide Converter Lens (WCL)

F Silent Mode Indicator

G Monitor Sunlight Mode

H Depth of Field Preview

A B C

D E

F

G

H

3 : t h e V i e w F i n d e r S 45

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understanding histograms

Let’s take a moment to discuss histograms. Histograms can be displayed in both the optical

and electronic viewfinders, and I strongly encourage you to display them and take time to use

them correctly.

Simply put, histograms are two-dimensional represen-

tations of your images in graph form. The histogram

in the X100S is a luminance histogram, which displays

pixel brightness and is very valuable when evaluating

your exposures. This sounds terribly complicated, but

actually it’s not—and it’s incredibly useful. The histo-

gram graph represents the entire tonal range that your

camera can capture, from the darkest blacks to the

lightest whites (Figure 3.1).

The left side of the histogram represents black and

the right represents white. The heights of the peaks in the “mountain range” represent the number

of pixels that contain those luminance levels. For example, a tall peak in the middle would mean

your image contains a large number of medium-bright pixels. Looking at an image, it can be hard to

determine where all of the ranges of light and dark areas are. If you look at the histogram, you can

see exactly the structure of your exposure in terms of darks, lights, and pixel density in those areas.

In most cases, you will want a histogram that indicates that you have captured the entire range of

tones, from dark to light, in your images.

If your histogram has a spike on the far left or right, that means you are clipping detail from your

image in the shadows or in the highlights. In essence, you are trying to record values that are either

too dark or too light for the X100S’s sensor to record accurately. Generally, this indicates under- or

overexposure in an image. If this occurs, you should adjust your exposure if possible so as not to

clip the highlights or shadows.

Sometimes, however, clipping is unavoidable and it may not be possible to improve the exposure.

For example, if you are shooting a scene on a bright, sunny day with the sun in the shot, you are

not going to get any detail in the sun, and it will be clipped. Similarly, if you are shooting something

that has true black in it, that portion of the image won’t show any detail. The main goal is to ensure

that you aren’t clipping any “important” visual information, and that is achieved by keeping an eye

on your histogram.

Dar

k

Med

ium

Ligh

t

Figure 3.1 a typical histogram where the dark to light tones run from left to right.

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The Optical Viewfinder

Here is an overview of the functions that you’ll see displayed in the Optical Viewfinder.

• Flash Mode: Use the built-in flash for additional lighting when shooting at night

or indoors under low light. To choose a flash mode, press the command dial to the

right to display the flash options, then rotate the dial or press it left or right to high-

light an option, and press Menu/OK to select. (See Chapter 7, “Low Lighting,” for

more information.)

• Metering: To choose how the camera meters exposure, press the AE button to display

the metering options. Use the command dial to highlight an option and press AE to

select. (See Chapter 10, “Advanced Features.”)

• White Balance: Press the command dial down to display the white balance options,

then rotate the dial or press it left or right to highlight an option that matches the light

source, and press Menu/OK to confirm. (See Chapter 6, “Landscape Photography.”)

• Film Simulation: Simulate the effects of different kinds of film, including black and

white and sepia. (See Chapter 5, “Say Cheese!”)

• Dynamic Range: Control contrast by choosing lower values to increase contrast when

shooting indoors or under dark skies, and higher values to reduce loss of detail in

highlights and shadows when photographing high-contrast scenes. (See Chapter 10.)

• Number of Available Frames: This indicates how many more images can be stored on

the memory card. (See Chapter 1, “The Fujifilm X100S Top Ten List.”)

• Image Quality and Size: This indicates the size of the file and the file type, either

JPEG or RAW. (See Chapter 1.)

• Battery Level: Indicates whether the battery level is full or partially discharged (full

battery icon), more than half discharged (half battery icon), low (red battery icon),

or exhausted (blinking red battery icon). (See Chapter 1.)

• Focus Frame: Use the focus frame for composing your images. (See the parallax

coverage later in this chapter.)

• Virtual Horizon: The camera is level when the two horizon lines overlap. (See the

“Customizing the Viewfinders” section, later in this chapter.)

• Bright Frame: This refers to the outer border of the image. Note that in the OVF

you can see beyond the edges of the bright frame.

• Distance Indicator: When focusing manually, use the focus distance scale to gauge

how far from your camera your area of focus will be, using the current aperture.

(See Chapter 9, “Hitting the Streets.”)

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• Sensitivity (ISO): You can set the camera’s ISO levels between 200 and 6400 (or 100,

12800, and 25600 in expanded mode). The sensitivity refers to the camera’s sensitivity

to light. (See Chapter 1 and Chapter 4, “The Professional Modes.”)

• Aperture: To adjust the aperture, manually rotate the aperture dial on the lens barrel.

(See Chapter 4.)

• Exposure Lock: This indicates that the exposure has been locked into the camera

settings by pressing the AFL/AEL button. (See Chapters 4 and 5.)

• Shutter Speed: To adjust the shutter speed manually, rotate the shutter speed dial

on the top of the camera. (See Chapter 4.)

• Shooting Mode: The camera offers a choice of Program, Shutter Priority, Aperture

Priority, and Manual exposure modes. (See Chapter 4.)

• Histogram: Histograms show the distribution of tones in the image. Brightness is

shown by the horizontal axis and the number of pixels by the vertical axis. (See the

“Understanding Histograms” sidebar, earlier in this chapter.)

• Exposure Compensation/Indicator: Exposure can be altered by rotating the exposure

compensation dial in Program, Shutter Priority, and Aperture Priority mode. In Manual

mode, the exposure cannot be altered and the indicator represents overall exposure

brightness. (See Chapter 4.)

I will discuss how to switch between the standard view and the custom view later in the

chapter; however, it’s worth pointing out that the viewfinder image in the Poring Over

the Viewfinders section is set up to show as many of the available options for ease of

reference, and your viewfinder display may vary slightly. Some icons are not displayed in

the reference image, as they are mutually exclusive with other items.

Here are a few icons that may appear on your OVF yet are not captured in the Poring

Over the Viewfinders image for the OVF:

Manual focus indicator: Appears in the top left, to the left of the flash icon,

when you have the camera in manual focus (MF) mode (See Chapter 9.)

ND filter icon: Appears to the right of the Dynamic Range icon when the ND

(Neutral Density) filter is switched on. (See Chapter 6.)

Internal memory indicator: Appears to the left of the Number of Available

Frames Left icon. It indicates that no memory card is inserted and that pictures

will be stored in the camera’s internal memory (room for about two RAW files,

so always shoot with a card in place!).

Temperature warning: Appears in the viewfinder just to the right of the focus

frames. If this appears, you are likely in a very warm environment. Switch off the

camera immediately, go get a cool drink, and try again later.

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Note also that continuous shooting (burst) mode is available when using the OVF, though

no icon appears. However, an icon for continuous shooting appears in the EVF.

With the OVF you will get a very sharp, bright view of the actual scene in front of the

camera. Because you are looking through the optical viewfinder, the image will always be

sharply focused, regardless of your focusing technique, just like the viewfinder in tradi-

tional DSLR cameras. The OVF offers a great shooting environment, and it will display

much of the shooting data that you require in the large viewfinder window. Because it’s

using the optical window, there will be no shutter lag, meaning you can focus and shoot

quicker than when using the EVF.

Another benefit of the OVF is that it provides a view that is slightly larger than the image

actually recorded. Similar to rangefinder-type viewfinders, you can actually view content

that is outside of the photographic frame. I use this a lot when shooting street photog-

raphy, as I can see much more of the overall scene and watch a scene evolving before the

core subjects even enter the frame.

peripheral Vision

The OVF offers a great opportunity for street and reportage photographers, as we can see what

is happening around the frame before deciding when to actually press the shutter to capture the

moment. When I shoot with the OVF, I also tend to shoot with both of my eyes open. But by shoot-

ing with both eyes open, with the added benefit of the larger field of view in the OVF, I can almost

always plan and see a shot moments before it needs to be taken, because there is a lot more occurring

in my peripheral vision. It allows me to react and work much quicker. It’s not for everybody and it’s

certainly not something you would do all the time, but it’s worth trying sometimes.

The Problem of ParallaxThe view you see through the optical viewfinder has what’s known as a parallax effect.

This isn’t some kind of rare illness that requires a trip to the doctor. Rather, it’s simply a

symptom of viewing the image through the window near the lens, not through the lens

itself, as most DSLR systems do. As defined by Wikipedia, parallax is a “displacement

or difference in the apparent position of an object viewed along two different lines of

sight, and is measured by the angle of inclination between those two lines.” For example,

“it can be seen in the dashboard of motor vehicles that use a needle-style speedometer

gauge. When viewed from directly in front, the speed may show exactly 60; but when

viewed from the passenger seat the needle may appear to show a slightly different speed,

due to the angle of viewing.”

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Essentially, this means the view you see through the OVF is slightly offset, and thus different

from what the actual lens is seeing and the image that will ultimately be created. Parallax

is more apparent the closer you get to the subject; if you are shooting from a long distance,

you are unlikely to notice it at all. Shooting close up will make it more profound, so if you

switch to macro mode the camera automatically reverts to the EVF, as the OVF would be

almost useless at very close distances from the subject.

Addressing Parallax with Corrected AF FrameFuji has thought about this parallax problem and introduced the Corrected AF Frame

option to help in situations where it may be an issue. As we know, parallax affects only

the optical viewfinder, so this option has no impact on the EVF. Further, it is applicable

only to Area mode AF.

If you don’t have the Correct AF Frame option turned on (Figure 3.2), you will see the

single focus area; depending on your focus accuracy, you may end up missing some shots

because of the effect of parallax. For this reason, when shooting with the OVF, I always

ensure I have the Corrected AF Frame option turned on (Figure 3.3).

Figure 3.2 the oVF when the Corrected aF Frame option is not set to on.

Figure 3.3 the oVF when the Corrected aF Frame option is set to on.

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Setting up the Corrected aF Frame option:1. Press the Menu button on the back of



3. Using the command dial, scroll down and select Corrected AF Frame.


5. Select On and then press Menu/OK to confirm.

n

When Corrected AF Frame is on, you will

notice a second focus frame appears just

below, and to the right of, the primary

focus frame. When you focus on an object

(really noticeable only on relatively close

objects) and press the shutter button

halfway, you will see a third focus frame

appear in the viewfinder (Figure 3.4).

These different focus frames represent

different focus planes: the solid white

frame represents the infinity focus distance;

the broken frame (four corner brackets)

represents the closest focus area; and

when focus is achieved, a green frame

appears that represents the focus point at your current focusing distance. Note that if the

focus cannot be achieved, the third green focus frame will instead be red and the icon

AF! will appear next to it, indicating that focus cannot be attained.

Your subject’s distance in relation to you determines how close the green focus frame is

to the primary AF frame. The farther away you are from your subject, the closer the focus

frames will become as the parallax lessens. The closer you are to the subject, the more

pronounced the parallax error, thus the farther apart these focus frames become. If you

are too close (around 50 cm or fewer), you should shoot in macro mode, which is available

only using the EVF.

Figure 3.4 the oVF when the Corrected aF Frame option is set to on with the third focus frame displayed.

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The Electronic Viewfinder

Since the electronic viewfinder is functionally very similar to the optical viewfinder, the

icons and layout are almost identical, with the exception of the icons and features that

are applicable only to shooting in the Electronic Viewfinder mode. For that reason, in this

Poring Over the Viewfinders image for the EVF, I am showing functions that are visible

only on the EVF screen. In addition to the functions labeled here, you may see the Eye-Fi

upload icon ( ). The X100S can be used with third-party Eye-Fi cards for transferring

images directly from the camera to a computer. (The Eye-Fi card was unavailable in the

UK at the time of this writing.)

Here are the functions visible only on the EVF screen:

• Macro/Close Up: To focus at a distance as close as 10 cm, or 4 inches, press the command

dial left and select Macro On. (See Chapter 10.)

• Self-timer Indicator: Use the timer for self-portraits or to prevent blur caused by camera

shake. (See Chapter 7.)

• Continuous Mode: Press the Drive button to display drive options. Press the command

dial up or down to highlight Continuous and select the speed.

• Blur Warning: This icon, presented in the viewfinder to the right of the focus frame,

indicates the exposure is likely to result in blur due to low shutter speed.

• Wide Converter Lens (WCL): This icon appears when the WCL is attached and the

option in the shooting menu has been activated. (See Chapter 12, “Pimp My Ride.”)

• Silent Mode Indicator: Setting the camera to Silent Mode On disables the speaker, flash,

and focus illuminator in situations where camera sounds or lights may be unwelcome.

(See Chapter 1.)

• Monitor Sunlight Mode: Reflections and glare caused by ambient lighting may make it

hard to see the display in the monitor, particularly when the camera is used outdoors.

This can be addressed by holding down the Q button to trigger the outdoor mode.

• Depth of Field Preview: This preview can be assigned to the Fn button. When this is

the case, the aperture is stopped down, allowing depth of field to be previewed in the

viewfinder or LCD monitor. (See Chapter 4.)

The OVF is great if you want to work quickly and view the subject in a bright frame using

the natural light around you. However, many people, myself included, often use the elec-

tronic viewfinder for general shooting purposes.

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The EVF offers a lot more shooting information on the display, such as the silent mode

indicator. It also, crucially, gives you a “what you see is what you get” view of the image.

This means that the EVF will mostly give you an accurate representation of focus, depth

of field, exposure, white balance, etc., enabling you to make conscious decisions about

exposure before you shoot the image. What you will lose using the EVF is the very bright

framed image that you see in the OVF. Your view is likely to be much dimmer, and there

will be a display refresh lag, too.

Because you are essentially seeing an electronic simulation of the image, you do not need

to worry about parallax, but you may notice that your battery diminishes quicker using

the EVF. This is because the electronic display takes up far more battery during the image

playback of the image.

Switching Between the Viewfinders

To switch between the OVF and the EVF, you must pull the little viewfinder selector,

which is located on the front of the camera above and to the left of the lens as you look

at the camera (Figure 3.5).

You can use the viewfinder selector only when you have selected Viewfinder or Eye Sensor

mode with the View Mode button (Figure 3.6).

Figure 3.5 use the viewfinder selector to switch between the viewfinders.

Figure 3.6 the View mode button enables you to switch between the camera’s view modes.

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The View Mode button allows you to cycle between the X100S’s three different view modes:

• LCD: In this mode, the viewfinder (live view), menus, image review, and all display

options are presented on the rear LCD panel.

• Viewfinder: Selecting this option moves the camera into the viewfinder mode, and

you can then use the viewfinder selector to select the optical or electronic viewfinder.

With the EVF, you will see all shooting data, playback and image review, menus, and

all display options in the viewfinder when you peer through it.

If you choose the OVF, you will be able to see the bright frame and shooting data

through the viewfinder. If you choose to view a menu or perform an image review

when the OVF is active, the viewfinder will switch off, and the display will resort to

the EVF display using the LCD panel on the back of the camera.

• Eye Sensor: With this mode, the view will always be in the LCD panel unless you raise

the viewfinder to your eye (or, in fact, pass any object in front of the sensor next to

the viewfinder). At that point, the view will revert to a viewfinder view. It will display

either the EVF or the OVF, depending on what your viewing preference was the last

time you used the viewfinder view.

Customizing the Viewfinders

You have a certain amount of control over what appears, and what does not appear, in

the viewfinders. Both EVF/LCD and OVF have configurable display options. This is known

as Display Custom Setting and involves a two-step process. First you need to select the

items you wish to display in your viewfinder. Then you need to tell the camera to display

the viewfinder’s “custom view.”

Before I explain how to do this, let’s look at the options you have to include in the view-

finder displays:

• Framing Guideline

• Electronic Level

• AF Distance Indicator

• MF Distance Indicator

• Histogram

• Aperture/Shutter Speed/ISO

• Exp. Compensation

• Photometry

• Flash

• White Balance

• Film Simulation

• Dynamic Range

• Frames Remaining

• Image Size/Quality

• Battery Level

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You can choose to display all or none of these in your viewfinder. I find that having all

of them on display can be a bit distracting, so I tend to switch off the ones that I rarely

use or that I’m always going to be aware of anyway. My list usually looks like this:

• MF Distance Indicator

• Histogram

• Aperture/Shutter Speed/ISO

• Exp. Compensation

• Flash

• Frames Remaining

• Battery Level

Customizing viewfinder displays:1. Press the Menu button on the back of the camera to bring up the menu list.


3. Using the command dial, scroll down and select Disp. Custom setting (A).

4. Select either OVF or EVF/LCD and press the command dial to the right to enter the submenu.

5. Using the command dial, scroll through each of the items using Menu/OK to toggle on or off (B).

A B

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6. Press Disp/Back to save and confirm your settings.

As I mentioned, this is only the first part of configuring your custom view-finder. Both the EVF and OVF have two different display options: Standard and Custom. Unless you tell the camera to display the Custom display, your cus-tomized viewfinder will never appear.

7. Press the Disp/Back button to view the display choices (C). Once you press Disp/Back, you need to move quickly to select the Custom display option.

8. Use the command dial to select the Custom option.

n

To make things even more confusing, the

LCD panel has a third display mode called

Detailed (Figure 3.7). This will show you

your shooting configuration and current

exposure values.

C

Figure 3.7 available only on the lCd panel, the detailed view shows your focus point and other relevant shooting data.

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573 : t h e V i e w F i n d e r S


In this chapter, we have taken a comprehensive look at the hybrid viewfinder that is featured in the

X100S. While using either the EVF or OVF is unlikely to make a difference to your photographic ability,

each has a place, I think, depending on what and how you are shooting. Let’s see what we have learned

in this chapter.

work with parallax

Put the camera into OVF mode and make sure the Corrected AF Frame setting is switched on. Focus and

take a shot from around 2 feet away from your subject, making a mental note as to the location of the

third AF frame when it is illuminated in the viewfinder upon achieving focus. Now move back a few feet

and repeat the exercise. Now move back much farther. What happens to the AF frame?

Shoot quickly with the oVF

Head out into the city streets and try and shoot some street photography (see Chapter 9). Shoot for a

while with the EVF, paying attention to the exposure displayed in the viewfinder. Now switch to the OVF

and notice how you can no longer rely on the visual exposure in the viewfinder. Can you shoot faster?

Can you achieve good exposures?

rely on the histogram

Now that you are shooting quickly using the OVF, you will need to rely on the histogram to ensure that

your exposures are as accurate as possible. Find an area where there are lots of bright or white areas.

What happens to your histogram? What happens when you find the opposite end of the spectrum and

try to shoot a scene that has a lot of black or shadow areas?



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ISO 800 • 1/250 sec. • f/2.8 • 23mm lens

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59

4The Professional ModesTaking your photography to the next level

You can take even more creative control of your camera by using the

exposure modes, or “professional modes,” as most photographers call

them. Anyone who is familiar with photography will understand the

concepts of the professional exposure modes, and by the end of this

chapter, so will you.

The exposure modes allow you to influence two of the most important

factors in taking great photographs: aperture and shutter speed. Accessing

these modes on the Fujifilm X100S is relatively simple, and is controlled by

the aperture ring and the shutter speed dial. The options are Program (P),

Shutter Priority (S), Aperture Priority (A), and Manual (M). Every photograph

you take will be in one of these modes. If you really want to take your

X100S photography to the next level, it’s important not only to under-

stand what these modes are, but also when and why to use them.

Let’s get started!

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I used a very small aperture to increase the depth of field as much as possible.

Using the 19mm wide conversion lens, I was able to include wider elements in the frame.


When traveling to a new city, it’s great to try and discover its people, sights, and

events, as well as its compositional features. When I spent time in Yokohama,

Japan, the city experienced its largest snowstorm in 45 years, and I managed to

capture the beginning of the storm. Using the elevated walkway, an architectural

feature of Yokohama, I added a sense of identity to the image.

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ISO 1000 • 1/50 sec. • f/12 • 19mm wide conversion lens (WCL)

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Program (P) Mode

Program mode is perhaps the shooting mode that most people will start with. It allows

the camera to take control of both shutter speed and aperture to produce an optimal

exposure for your picture. P mode gives the camera the most control of any of the

shooting modes.

Unlike some other compact and advanced cameras, the X100S doesn’t actually have a

mode option in the menu system, or a mode dial. You don’t simply select “P” for Program

or “A” for Aperture Priority, for example. You select your exposure mode by using the

aperture ring and shutter speed dial. Various combinations of these selections will put the

camera into the correct mode.

Where are the automatic modes?

Unlike many modern digital cameras, the X100S does not feature any automatic or “scene” modes.

Many cameras facilitate switching to “Sport” mode or “Portrait” mode. The modes effectively pre-

configure the camera to the best settings for those shooting scenarios. For example, in Sport mode,

the camera would likely be configured with a very fast shutter speed and automatically select

burst-mode shooting.

Not having these features shouldn’t be seen as detrimental. The X100S is a very sophisticated

camera, and with its plethora of settings and the ability to save custom functions (see Chapter 9,

“Hitting the Streets”), you can easily move beyond the shackles of the automatic modes found on

other cameras.

Aperture Ring

Shutter Speed Dial

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4 : t h e p r o F e S S i o n a l m o d e S 63

To put the camera in P mode, set the aperture ring (the ring around the lens, with num-

bers from 2 to 16, and the letter A) to the letter A, which is bright red. This essentially

commands the camera to configure the aperture automatically. You also need to set the

shutter speed dial (on the top of the camera) to the bright red A, which tells the camera

to look after shutter speed too. When configured this way, the camera is in Program

mode, and you will see this indicated in the viewfinder or on the LCD panel with a large P

symbol in the bottom left of the screen. If you are using the optical viewfinder, the P will

not have the red background and, in some cases, such as when you are using some of the

advanced filters or Panoramic mode, for example, it will not appear at all.

That, believe it or not, is pretty much all

there is to configuring your camera to

Program mode. You simply compose your

image, aim, and shoot; the camera’s built-

in metering system will configure the

settings and select the shutter speed and

aperture to get the best exposure. The

exposure will, of course, take into account

the ISO setting, the metering mode

selected, and other exposure settings to

create the best possible exposure. The

shutter speed and aperture the camera

has selected will appear in the viewfinder

(Figure 4.1).

One thing to be aware of is that if your

ISO or dynamic range menu options (both discussed further in this chapter) are set to

Auto, then the shutter speed and the aperture the camera has selected will not appear

until you press the shutter button halfway (this is because the camera takes into account

the ISO and dynamic range settings at that point). If you have those settings set to physi-

cal numerical values, then the camera can constantly meter and identify the best aperture

and shutter speed, and will display those values continually, even before you press the

shutter button.

Figure 4.1 the shutter speed appears just to the right of the p icon, which indicates you are shooting in program mode, and the aperture will be to the right of that.

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So, if the camera does most things for us in P mode, why wouldn’t we want to use it?

Well, let me first stipulate that I and many other professionals probably use P mode the

least. This is because P mode, while allowing you to shoot quickly, gives you less creative

control than the other exposure modes. There are occasions, however, when P mode is

very useful, like in wildly changing lighting scenarios when I don’t have time to configure

the camera to deal with each change (Figure 4.2). Or perhaps I’m just shooting casual

shots and I’m not looking for portfolio pictures. Occasionally when I scope out a wedding

venue, I will take snaps in P mode as a visual reminder rather than anything of commer-

cial value.

Although the camera is controlling two of the vital attributes of any exposure in P mode,

you do still have a fair amount of control and ability to override the exposure to a certain

extent. You can use exposure bracketing (see Chapter 10, “Advanced Features”), exposure

compensation (discussed later in this chapter), and program shift (which is applicable only

to Program mode).

Figure 4.2 Sometimes program mode is useful when there is an abundance of wildly changing light. i am confident that the camera will provide a fast enough shut-ter speed and an aperture suitable for a good exposure.

ISO 400 • 1/800 sec. • f/8 • 23mm lens

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Program shift is essentially an override for the dual-exposure settings that are automati-

cally controlled by P mode: aperture and shutter speed. The core principle of program

shift is to allow the camera to identify a combination of exposures that will actually pro-

duce the same exposure, for example, 1/1600 at f/4 or 1/800 at f/5.6. (See Chapter 2, “First

Things First,” for more on exposure tables.)

At first glance, you may wonder why program shift is there at all. If the shutter speed and

aperture value combinations it chooses always result in the same exposure, then why bother?

Well, in some cases it makes perfect sense. Imagine a situation where you are shooting a

cycling race. You want to make sure you get a great exposure, so you use Program mode to

obtain the best exposure given the current lighting situation. Then you decide that you want

to use a slower shutter speed to emphasize the motion of the cyclists as they go past you.

Using program shift means you can safely shift the settings to an exposure that uses a slower

shutter speed, safe in the knowledge that the photograph will still be well exposed (although

it’s worth noting that in Program mode you can go as slow as only 1/4 shutter speed).

It’s also useful to know when program shift won’t be available to you. If the ISO or dynamic

range is set to the Auto settings as mentioned above, or if the flash is in any configured

state where it may fire, you won’t be able to use the program shift function.

To utilize program shift, simply turn the

command dial right or left, or you can use

the command control, which I often find

easier to reach with my thumb. When the

camera has chosen a different exposure for you, the aperture and shutter speed numbers

will switch from white (or blue if you are using Auto-ISO or Auto-DR) to yellow (Figure 4.3).

To return to the original exposure settings, simply use the control dial or command con-

trol to select them.

Let’s set up the camera for Program mode and see how we can make all this come together.

Setting up and shooting in program mode:1. Turn on the camera and turn the aperture ring to align with the red A.

2. Turn the shutter speed dial to also align with the red A.

3. Select your ISO as you normally would (using Shooting Menu 1, ISO).

4. Aim the camera at your subject and activate the camera meter by pressing the shutter button halfway.

5. View the exposure information on the LCD panel or in the viewfinder.

6. While the meter is activated (and assuming you have not set Auto ISO or Auto Dynamic Range, or are trying to use the flash), use your thumb to turn the command control to see the different exposure values available.

7. Select the exposure that is correct for you and start shooting.

n

Figure 4.3 Yellow exposure numbers indicate a shift in exposure values.

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Shutter Priority (S) Mode

Shutter Priority mode gives us a little more freedom to control certain aspects of our

photography—in this case, the shutter speed. The selected shutter speed determines

how long you expose your camera’s sensor to light. The basic principle is this: The longer

the shutter is open, the more light will hit the sensor; the shorter the time the shutter is

open, the less light will hit the sensor. Shutter speed is also very important when trying

to achieve sharp images. The main factors that affect sharpness of an image are camera

shake and the subject’s movement. If your shutter is open for too long, it means the light

from your subject is hitting the sensor for too long a period, and any movement by the

subject will appear as blur in your images.

Aperture Ring

Shutter Speed Dial

What’s in a name?

What Fujifilm calls Shutter Priority, other manufacturers may call Time Value Priority (often

referred to as Tv). It’s useful to know that the nomenclature may be different, but the principles are

the same across all cameras when shooting in Shutter (or Time Value) Priority (S) mode.

In S mode, you choose the shutter speed and the camera will set the correct aperture

in order to achieve a proper exposure of the image. So, to put the camera in S mode,

you set the aperture ring to the red letter A, just like in Program mode. Remember, this

commands the camera to configure the aperture automatically. You then set the shutter

speed dial to the speed for which you want the shutter to be open during the exposure.

When the camera is in Shutter Priority mode, you will see that the icon in the lower-left

corner of the viewfinder will be—surprise!—an S on a red background in the electronic

viewfinder or the LCD panel (or no background if you are using the optical viewfinder).

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The shutter speed you have selected and

aperture the camera has selected will

appear in the viewfinder, just like in P

mode (Figure 4.4).

So when would you need to use Shutter

Priority mode? Some instances might be

when you are shooting fast-moving subjects

and want to freeze the action (Figure 4.5);

when you want to show motion in your

subject with motion blur or panning

(Figure 4.6); or when you want to use a

long exposure to photograph a subject in

very low light and emphasize motion at the

same time (Figure 4.7; see Chapter 7, “Low

Lighting,” for more on this type of shot).

Figure 4.4 the S exposure setting indicates you are shooting in Shutter priority mode.

Figure 4.5 Fast-moving subjects in close proximity to the camera can be frozen with a fast shutter speed.

ISO 400 • 1/1000 sec. • f/5.6 • 23mm lens

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68

Figure 4.6 using a slower shutter speed and panning with the car, i was able to get an image that suggests motion.

ISO 400 • 1/30 sec. • f/2 • 23mm lens

Figure 4.7 a long exposure can capture light over a prolonged period of time, bringing out the detail in the city as well as adding motion trails to the moving cars.

ISO 6400 • 1/8 sec. • f/4 • 19mm wide conversion lens (WCL)

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You will notice that when you aim the camera at different light sources, the camera will

adjust the aperture in accordance with the shutter speed (and ISO) that you have set in

the camera to obtain a good exposure. Now, again, like Program mode, this operation is

somewhat dependent on how you have configured the ISO and dynamic range settings.

If you have set dedicated values, then the camera will evaluate the exposure continually

and display it at the bottom of the frame in the shooting data area. If, however, either

the ISO or dynamic range is set to Auto, then the aperture will be established only when

you press the shutter button halfway.

Something to note here is that not all shutter speeds are available all the time. Generally,

you can shoot from 1/4000 of a second all the way down to 30-second exposures (and

even longer in Bulb [B] mode). However, the faster shutter speeds of 1/4000 and 1/3000

are available only for apertures of f/8 and higher; 1/2000, 1/1600, and 1/1500 are available

only for apertures of f/4 or higher; and shutter speeds of 1/1000 and slower are available

with any aperture.

If your exposure can’t be achieved, then

the camera will report that back to you

by displaying the aperture value in red

(Figure 4.8). It’s important to keep an eye

on this; although the camera will still take

the shot, it’s always best to try and make

sure you are getting a good exposure in

the first place.

It’s also worth noting that some shutter

speeds are not available on the shutter

speed dial. You can fine-tune your shutter

speed by rotating the command dial on

the back of the camera left or right, and

selecting intermediate shutter speeds such

as 1/320 and 1/400.

Shutter Speed terminology

A “fast” shutter speed means that the shutter is open for a very short period of time, perhaps 1/250

of a second or less. A “slow” shutter speed means the shutter is open for a longer period of time,

perhaps 1/25 of a second or more.

Figure 4.8 if the aperture value appears in red, it means the exposure can’t be achieved and you should try a different exposure.

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Let’s set up the camera for S mode and see how we can make all this come together.

Setting up and shooting in Shutter priority mode:1. Turn on the camera and turn the aperture ring to align with the red A.

2. Turn the shutter speed dial to the shutter speed of your choice.




6. While the meter is activated (and assuming you have not set Auto ISO or Auto Dynamic Range), rotate the command dial on the back of the camera to select intermediary shutter speeds.

7. Start shooting.

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Aperture Priority (A) Mode

Aperture Priority (A) mode is essentially the opposite of S mode. In S mode, you control

the shutter speed and the camera controls the aperture. In A mode, you control the

aperture and the camera controls the shutter speed.

Aperture Ring

Shutter Speed Dial

Aperture Priority is probably my favorite shooting mode, and that of many professional

photographers, because it’s aperture that helps control depth of field. Depth of field,

along with composition, is a major factor in how you direct your viewer’s attention to

what is important in your image (see Chapter 8, “Creative Compositions,” for more on

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71

this). Although the X100S is a crop-sensor camera, meaning it doesn’t have the same

depth of field capabilities as a full-frame camera, shooting at wide apertures such as f/2

and f/2.8 can still allow creative use of depth of field.

To put the camera in A mode, set the aper-

ture ring to the aperture of your choice

and set the shutter speed dial to the red

letter A. The indicator in the viewfinder

will switch to A with a red background

(or no colored background if using the

optical viewfinder). The aperture you have

selected will appear in the shooting data

area, along with the shutter speed that

the camera has chosen (Figure 4.9).

Although Aperture Priority is used primar-

ily to minimize the depth of field and cre-

ate a blurred background, of course it can

be used for the complete opposite effect.

Whereas a large aperture of, say, f/2 will cause a blurred background depending on the

distance to the subject, a smaller aperture of, say, f/8 will ensure that the subject is crisp

and sharp. For this reason, I tend to use A mode when shooting portraits (Figure 4.10).

(See more on this in Chapter 5, “Say Cheese!”)

Figure 4.9 the a exposure setting indicates you are shooting in aperture priority mode.

Figure 4.10 using aperture priority mode and setting the aperture to f/11 ensured that the subject appeared pin-sharp. the camera chose the shutter speed that would make a good exposure.

ISO 200 • 1/500 sec. • f/11 • 23mm lens

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Aperture Priority is useful in controlling depth of field, but it’s also very important in

determining the limits of available light in which you can shoot. The X100S has a maximum

aperture of f/2, which is reasonable for low-light shooting. The larger the maximum aper-

ture, the less light you need in order to make a properly exposed picture (Figure 4.11).

You may recall when we discussed Shutter Priority how the speed of the shutter can be

directly responsible for the presence of blur or camera shake in an image. With a wide

aperture of f/2 like the X100S has, you can let in lots of light all at once, which means the

camera can use faster shutter speeds. This is why lenses with large apertures such as f/2 or

even wider are often referred to as “fast” lenses.

Figure 4.11 using aperture priority in an extreme low-light situation meant the camera reduced my shutter speed in accordance with my wide aperture and iSo setting to ensure i got the shot.

ISO 6400 • 1/60 sec. • f/2 • 23mm lens

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Because of the limitations of the leaf shutter and very fast shutter speeds (mentioned

later in this chapter), it can be a challenge to shoot wide open with a very fast shutter

speed. In these cases, I will often shoot with the Neutral Density (ND) filter in place

(Figure 4.12).

On the other hand, bright scenes may require the use of a small aperture, such as f/16

(the X100S’s smallest aperture), especially if you want to use a slower shutter speed. That

small opening reduces the amount of incoming light, which requires the shutter to stay

open longer (Figure 4.13).

Figure 4.12 Setting my aperture to f/2 meant i could emphasize the cactus leaf and throw the background out of focus. the camera decided on the shutter speed of 1/1000 as it was a bright day, and shoot-ing at a wide aperture meant it needed to restrict the light hitting the sensor.

ISO 200 • 1/1000 sec. • f/2 • 23mm lens

Figure 4.13 With such perfect light, i used a mode to select a very small aperture of f/16 to get the whole scene in focus. the camera chose the shutter speed accordingly.

ISO 200 • 1/180 sec. • f/16 • 23mm lens

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Consistent with P mode and S mode, if you have ISO or Dynamic Range set to Auto, the

camera will establish the correct shutter speed only when you press the shutter button

halfway. Setting the ISO and dynamic range to physical numbers will result in the camera

displaying the shutter speed dynamically in the viewfinder’s shooting data area. And once

again, if the exposure is not going to be reliable for a good exposure, the shutter speed

will appear in red as a warning—remember, the shot can still be taken, though it’s best to

get the exposure correct, if possible.

You will remember that with S mode you can make intermediary adjustments to the

shutter speed by rotating the command dial on the back of the camera. Similarly, for

A mode you can make adjustments to the aperture by using the command control, which

is the black rocker switch at the top right of the back of the camera.

As with Shutter Priority, Aperture Priority mode has a few limitations. For example, the

camera will not allow a shutter speed of 1/1500 of a second (or faster) unless the aperture

is f/4 or smaller, and it won’t allow 1/3000 or faster unless the aperture is at f/8 or even

narrower. According to the X100S owner’s manual, the slowest shutter speed allowed in

A mode when OVF Power Save Mode is on is 1/4 of a second (see Chapter 1, “The Fujifilm

X100S Top Ten List”).

F-Stops and aperture

The numeric value of your lens aperture is referred to as an f-stop. The f-stop is one of the old pho-

tography terms that, technically, relates to the focal length of the lens (e.g., 23mm) divided by the

effective aperture diameter. These measurements are defined as “stops” and work incrementally

with your shutter speed to create the exposure. Lenses generally use one-stop increments to assist

in exposure adjustments, such as 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, and 22. Each stop represents about half

the amount of light entering the lens as the larger stop before it. Although most modern lenses use

electronics to perform the adjustments, the X100S still has the aperture f-stops on the lens barrel.

Setting up and shooting in aperture priority mode:1. Turn on the camera and turn the shutter speed dial to align with the red A.

2. Turn the aperture ring on the lens to the aperture of your choice.




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6. While the meter is activated (and assuming you have not set Auto ISO or Auto Dynamic Range), nudge the command control on the back of the camera to select intermediary apertures.

7. Start shooting.

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depth of Field preview

In Aperture Priority (and Manual) mode, you can configure the Fn button to activate Depth of Field

Preview (see Chapter 9 for more details on the Fn button). Essentially, when this is configured, the

viewfinder will set the camera’s physical aperture to the selected value, enabling you to see in the

electronic viewfinder or the LCD panel what effect the aperture will have on the depth of field.

Manual (M) Mode

As its name suggests, Manual mode gives you manual control over both shutter speed

and aperture. This mode is most popular with photographers who want complete control

over the exposure. I use M mode quite a lot, especially when shooting weddings, and

like any other feature of the X100S, it should be treated as a tool that can be learned

and mastered.

Aperture Ring

Shutter Speed Dial

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When your camera is set to Manual mode, the camera meter will give you a reading of

the scene you are photographing. It’s your job, though, to set both the aperture and

the shutter speed—no helping hands in M mode. Remember from the exposure triangle

discussion in Chapter 2 that if you need a faster shutter speed, you will need to make a

reciprocal change to your aperture. Using any other mode, such as Aperture Priority or

Shutter Priority, would mean that you have to worry about only one of these changes,

but in Manual mode you have to concentrate on doing it all yourself.

This can seem a bit daunting, but spending time getting this right will make you a better

photographer, as you will need a complete understanding of how each change affects

your exposure. I tend to lean toward starting with the value that is most important to

me for that image. If depth of field is going to be primary, then I set the aperture first.

If I’m shooting a motion shot or trying to freeze something in the frame, I’ll start with

the shutter speed.

To put the camera into Manual, select

a physical shutter speed on the shut-

ter speed dial and an aperture on the

lens’s aperture ring. When shooting in M

mode, the indicator in the viewfinder will

switch to M with a red background (or

no colored background if using the opti-

cal viewfinder). The aperture and shutter

speed you have selected will appear in the

shooting data area at the bottom of the

viewfinder (Figure 4.14).

We will discuss exposure compensation in

the next section, but I want to mention

here that the exposure compensation scale

that appears within the viewfinder behaves differently when shooting in Manual mode.

At the left of the screen is the scale, with values from +2 to -2 and a status pointer. In the

other modes, this indicates exposure compensation; but in Manual mode, the scale gives

you a visual indication of how close your settings are to the camera’s metered settings.

In Figure 4.15, the scale is indicating that my exposure will be very dark. I would need to

adjust my shutter speed, aperture, or both to get the pointer to the zero, which would

indicate a good exposure. If the pointer goes above the central point, it indicates my image

would be overexposed. But keep in mind that this is just a guide. Especially if shooting

RAW, I very purposefully aim to have the pointer just under the central mark, which indi-

cates the image would be underexposed. It’s better to have an underexposed image than

Figure 4.14 the m exposure setting indicates you are shooting in manual mode.

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an overexposed image, because you can recover details in the shadows—but you can’t

recover details from totally blown-out areas.

Remember the intermediary adjustment tools we talked about in Aperture Priority and

Shutter Priority? Well, those work in Manual, too.

All in all, Manual is a mode I use most when I have more time to consider the light and

the shooting environment (Figure 4.16). I don’t use it consistently, but if the lighting is

mixed or difficult and I have the time, I will shoot in Manual (Figure 4.17).

Figure 4.15 the scale is indicat-ing a very dark exposure.

Figure 4.16 exposing this image manu-ally allowed me to take into consideration the foreground hill as well as the back-ground mountain. i managed to get an exposure that kept detail throughout the whole image.

ISO 200 • 1/1000 sec. • f/16 • 23mm lens

Figure 4.17 exposing this image manu-ally ensured i could keep the rainbow in detail as well as the foreground pool and the light on the hotel itself.

ISO 400 • 1/100 sec. • f/16 • 23mm lens

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Setting up and shooting in manual mode:1. Turn on the camera and turn the shutter speed dial to the shutter speed of

your choice.

2. Turn the aperture ring on the lens to the aperture of your choice.




6. Keep an eye on the exposure gauge in the viewfinder. Try to keep the dial central or a little under the center mark.

7. Start shooting.

n

a note about Fast Shutter Speeds and aperture

Page 40 of the Fujifilm X100S Owner’s Manual states that fast shutter speeds may not be available

at large apertures. Essentially, because the camera uses an internal leaf shutter, shooting at very

fast shutter speeds at large apertures will likely affect the bokeh in the image. This is because at

this speed the shutter is able to uncover only part, rather than the full diameter, of the aperture.

When shooting in P mode, for example, you will see that if you are shooting in bright sunlight at

f/2, the camera will refuse to shoot at a shutter speed of 1/4000, stopping down to 1/1000 instead.

However, if you are shooting manually, you can shoot at any exposure value you wish—so, for

example, if you want to shoot at f/2 at 1/4000 of a second, you can. The shutter speed in the view-

finder will appear in red, a warning from the camera that you are creating an exposure that may not

be perfect.

In truth, I shoot manually a lot, and I frequently shoot at large apertures with fast shutter speeds

for creative reasons. In fact, a few of the images in this book have been shot in this way. I find that

unless you examine the images microscopically, they are usually fine. But if I’m working a commer-

cial shoot or a shoot where the images are going to be printed large, then I will generally follow the

guidelines on page 40 of the owner’s manual. Just be aware that if you want to shoot at fast shutter

speeds using a large aperture, you have to shoot in Manual and effectively override the camera’s

decision on the best exposure.

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Exposure Compensation

The metering modes in the X100S are amazingly accurate, but sometimes they can be

fooled by dramatic or wildly changing light, or scenes with a high concentration of dark

or light areas. The camera may deliver an exposure that is close, but perhaps not quite

what you envisage for the final image. In these situations, you can adjust the exposure

when using P, A, or S mode (Figure 4.18). This is known as exposure compensation.

Exposure Compensation Dial

Using the exposure compensation dial, you can decrease or

increase the exposure in increments of 1/3 of a stop. You can

compensate exposure by a maximum of two stops in either

direction. Rotating the dial counterclockwise increases the

compensation; rotating it clockwise decreases the compensa-

tion. Monitor the compensation that is being applied by looking

at the compensation dial, or in the viewfinder by looking at

the exposure compensation scale (Figure 4.19). The scale in

the viewfinder will have a +/- above it. If the dial is below the

central marker, that means you are reducing the exposure.

If it is above the mark, it means you are increasing the exposure.

If the mark is at the central point of the scale, no exposure com-

pensation will be added to the image.

Figure 4.18 You control exposure compensation using the exposure compensation dial on the top of the camera.

Figure 4.19 in this case, we are reducing the exposure by one stop using the compensation dial.

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When you are in P mode, the amount of compensation may impact both the shutter

speed and the aperture. In A mode, the camera will apply the compensation by changing

the shutter speed only (because you are controlling the aperture). In S mode, the camera

will apply the exposure compensation by changing the aperture (because you are control-

ling the shutter speed).

For example, let’s say you are shooting in A mode and the camera is providing an exposure

of 1/125 at f/5.6, but when you review the image in the viewfinder or LCD panel, the subject

looks too dark (Figure 4.20). In this case, you can increase the exposure by compensating

it by +1 stop using the exposure compensation dial. The camera will reduce the shutter

speed to 1/60 of a second, which is the equivalent to one full stop of exposure. So now

your image will be exposed at 1/60 of a second at f/5.6, which gives a good exposure

(Figure 4.21).

Figure 4.20 the subject is underexposed in this image, because the camera’s metering system is tak-ing into account the bright wall and its dominance in the frame.

ISO 400 • 1/125 sec. • f/5.6 • 23mm lens

Figure 4.21 adjusting the image by one full stop using the exposure compensation dial allowed me to correct the exposure quickly and easily.

ISO 400 • 1/60 sec. • f/5.6 • 23mm lens

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Exposure compensation can be used for both increasing and decreasing the exposure

when necessary (Figure 4.22).

Remember, in M mode you have complete autonomy over the shutter speed and aperture,

so the exposure compensation dial is, in effect, redundant.

Figure 4.22 the camera made a good effort of metering this image, but i wanted to have the tV aerials in focus yet silhouetted, so i decreased the exposure using compensation.

ISO 400 • 1/120 sec. • f/11 • 23mm lens

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Exposure Lock

The camera is constantly metering the scene in front of it. As you move the camera, the

shutter speed and aperture combinations will adjust as the contents of the scene change

when you are shooting in P, S, or A modes. In M mode, the metering will change, but the

shutter speed and aperture will remain fixed to the values you have selected. Generally,

you want the camera to meter the scene continually; however, in some cases you may

need to recompose an image without changing the exposure. This is where exposure lock

comes into play. Exposure lock is facilitated by the Focus Lock/Exposure (AFL/AEL) button

(Figure 4.23).

Figure 4.23 the Focus lock/exposure button is located on the back right-hand side of the camera.

Your configuration setting of the AFL/AEL button in the Shooting Menu 4 (see Chapter 9)

determines how the button operates. It can lock either exposure or focus, or lock both.

It’s a simple concept, but a very powerful one. Essentially, when you point the camera at

an object, it will meter for that object. Perhaps the primary focus of your image is going

to be in the bottom left of the frame, but you want the camera to expose for that object,

rather than for something else in the frame before you recompose. Simply point your

camera at the subject, then press and hold the AFL/AEL button (or press and release it,

depending on how you have configured the menu option) (Figure 4.24). The focus and/or

exposure information will be locked into the meter and you can recompose your image

and shoot. Again, depending on how you configure the menu options, you will need to

either hold down the AFL/AEL button to keep the exposure data locked (releasing the

button will release the lock), or press the button to lock it and press it again to release it

(in the case of toggle mode).

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Figure 4.24 this office worker would have been overexposed in a composition with so much shadow and dark area. By metering the scene and locking the exposure, i achieved the look i was aiming for.

ISO 1000 • 1/125 sec. • f/8 • 23mm lens

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Notes About Auto ISO

As you know from Chapters 1 and 2, ISO plays a pivotal part in the exposure triangle.

The X100S has a very neat feature called Auto ISO, which I use quite extensively. Similar to

the exposure modes mentioned throughout this chapter, Auto ISO allows the camera to do

some of the work for us. In the case of Auto ISO, it will choose an appropriate ISO level

based on other exposure settings and the light, of course.

Setting the auto iSo level:1. Press the Menu button on the back of



3. Using the command dial, scroll down and select ISO (A).

4. Press the command dial to the right to enter the submenu.

5. Select the Auto option at the bottom of the list (B).

6. Press the command dial to the right to enter the Auto ISO configuration.

7. Configure your Auto ISO settings accordingly (C).

8. Press the Back button to confirm your settings.

n

B C

A

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Essentially, by following these steps you are dictating a set of preferred limits to sensi-

tivity and shutter speed. I say “preferred” because actually, if the camera cannot work

within these boundaries, it will lower the shutter speed to try and obtain an exposure.

You configure the Auto ISO by first setting the default sensitivity; this can be set anywhere

between 200 and 6400. The camera will use the setting you choose here as its base ISO

setting (when you are in Auto ISO mode). This means that the camera will avoid raising

the ISO above this level if possible to avoid a slower shutter speed. The next configuration

to set is Max. Sensitivity—and this is the highest ISO level the camera will achieve under

Auto ISO settings. This can be set anywhere between 400 and 6400. The final piece of this

jigsaw is Min. Shutter Speed; this, of course, is the minimum shutter speed the camera

will shoot at and can range from 1/4 of a second to 1/125 of a second—no faster than

1/125, unfortunately. Note that the minimum shutter speed affects shooting only in

A mode and P mode. This is because in S mode and M mode you are controlling the shutter

speed manually.

Using Auto ISO can be very beneficial, especially if you are shooting in rapidly changing

lighting conditions. Suppose you are out shooting on a day with broken heavy clouds.

You may be in A or P mode and shooting good exposures when the sun is covered by

clouds and the environment becomes much darker. In this case, the camera will attempt

to use the Auto ISO settings to increase the ISO and adjust the shutter speed to compen-

sate for the change in light and achieve a good exposure. In manual mode, as mentioned,

the only parameter of the exposure triangle that Auto ISO will adjust is the ISO level

itself, and you would need to keep an eye on the exposure gauge in the viewfinder to

ensure accurate exposures.

How I Shoot: My Preferred Settings

In this section, I’m going to run through the way I generally shoot in relation to the expo-

sure modes we have just talked about. I will also discuss some of the other features we

have referred to throughout the chapter, such as dynamic range.

Primarily I’m a documentary photographer, which means I like to take story-telling images

rather than posed studio shots. So, for the majority, I shoot in Aperture Priority and Manual

modes. Occasionally, especially if I’m trying to emphasize motion, I will use Shutter Priority

mode. I rarely use Program mode, as I find it too restrictive of my creative options. However,

Program mode is a great place to start, and I would encourage you to investigate this

mode if you are new to shooting with the X100S.

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The reason I shoot a lot of my assignments in A mode is that the depth of field is usually

a factor in the image I’m making—whether that’s a shallow depth of field for a portrait

where I’m trying to emphasize the subject within the frame by shooting at f/2 or f/2.8,

or a street scene where I will use a small aperture such as f/8 or f/16 to maximize the

detail and sharpness of the subject throughout the frame. When I’m shooting like this,

I’m always keeping one eye on the shutter speed. Even though the camera is controlling

the shutter speed in Aperture Priority mode, I need to make sure it doesn’t drop too low,

especially if I’m shooting handheld, to affect the sharpness of the image.

When I’m facing a challenging lighting situation, or I want to be very creative (for exam-

ple, to make a silhouette), I will shoot in Manual mode. I’ll also shoot in Manual mode

if I want to obtain a constant exposure across a range of images. So, for example, if I’m

shooting a wedding ceremony I may meter the scene at the start, lock my exposure in the

camera, and shoot the whole ceremony with the same manual exposure settings. This will

offer uniformity to the exposures and help me when it comes to postproduction.

If I have time, I’ll usually create a test shot and check it on the LCD panel first. If I notice

areas that are overexposed or shadows that are too dark, I can adjust my exposure

accordingly. If I’m happy with the results, I’ll keep shooting.

In most cases, the camera will get a very good exposure for me. If I’m in S or A mode and

I need to adjust the exposure slightly, I can always resort to exposure compensation to

fine-tune the brightness of the photograph.

Dynamic RangeI’ve mentioned dynamic range quite a bit throughout this chapter and, indeed, through-

out the book. The dynamic range of an image is the range between the light and dark.

The X100S’s Dynamic Range setting, on Shooting Menu 1, in essence allows you to set

a level at which the camera will handle shadows and highlights. Cameras have a fairly

restricted dynamic range compared to humans, which is why High Dynamic Range (HDR)

images need to use multiple exposures (see Chapter 10) to try and composite an image

with a higher dynamic range than a single exposure allows.

There are four settings in the Dynamic Range menu: Auto, 100%, 200%, and 400%. Auto is

the default and can be used only when shooting in P, A, and S modes. In some circumstances,

Auto Dynamic Range will be unavailable, such as when shooting multiple exposures.

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Setting the dynamic range:1. Press the Menu button on the back of the camera to bring up the menu list.


3. Using the command dial, scroll down and select Dynamic Range (A).

4. Press the command dial to the right to enter the submenu.

5. Select the option you want (B).

6. Press the Menu/OK button to confirm your settings.

n

A B

Essentially, selecting Auto commands the camera to decide which of the dynamic range

options (100%, 200%, or 400%) to use. Of course, you can select Auto or choose the

dynamic range yourself. The higher dynamic range options are useful for scenes where

there is a clearly defined separation or contrast between the dark areas and light areas.

At 400% dynamic range, for example, the camera will increase detail in darker areas

and reduce brightness in lighter areas, thus trying to achieve a better tonality across the

image. The only time I change dynamic range from Auto is when I have a heavily con-

trasting image, perhaps one where a subject is half in shade and half in daylight. If you

shoot RAW, you can adjust all of this after the fact, of course.

It’s worth noting that the dynamic range setting does affect RAW files. As a broad rule of

thumb, if you are shooting at 400% dynamic range, your images will be two stops under-

exposed. At 200% dynamic range, the images will be one stop underexposed.

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Other Shooting OptionsThroughout the book I discuss all the

options available in the X100S’s menus.

A few are very subjective and come down

to personal taste, but I thought I’d share

my “standard” shooting configuration

here (Figure 4.25). Bear in mind these

options affect only JPEGs and reflect my

personal preferences. I encourage you to

try combinations and settle on a system

that works for you.

• Color: I set this to +1 (Medium High).

This option simply allows you to

adjust the color saturation of the JPEG

images. I shoot in black and white a lot, but when I shoot in my preferred color film

simulation of Velvia, I like to see the colors a little more vividly than the standard.

• Sharpness: I set this to +1 (Medium High). This option has the same settings as Color

(Hard, Medium Hard, Standard, Medium Soft, and Soft). I prefer to see my images with

more defined edges and sharp lines, as opposed to slightly softer.

• Highlight Tone: I set this to -1 (Medium Soft). The setting affects the overall contrast

in the lighter parts of an image. I prefer to set this to -1, as I want a clear separation

between light and dark areas of the image.

• Shadow Tone: I set this to -1 (Medium Soft). The opposite of Highlight Tone, this set-

ting affects the overall contrast in the darker parts of your images. I prefer to set this

to -1 for exactly the same reason as I set Highlight Tone to -1; I don’t want the dark

areas in the images to be overly emphasized unless I’m looking for a particularly dark

and gritty effect.

• Noise Reduction: I generally set this to -1, as I find the standard noise reduction that

the camera adds a little harsh. It’s not possible to switch off noise reduction completely,

and the camera will always apply some level of noise treatment to the JPEG files.

Figure 4.25 i like to adjust the Color, Sharpness, highlight tone, Shadow tone, and noise reduction settings.

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894 : t h e p r o F e S S i o n a l m o d e S

We have covered a lot in this chapter, and by now you should be getting up to speed with your X100S

and the amazing features it has to offer. If you want to grab some quick snaps, Program mode is always

an option. But if you want to get more creative and have more control, then the Shutter Priority, Aperture

Priority, and Manual exposure modes are worth investigating.

let’s start with program mode

Put your camera in Program mode and start shooting! Keep an eye on the ISO, shutter speed, and aperture

that the camera decides upon.

Control depth of field with aperture priority

Try setting up several similar items in a row, extending away from you—perhaps chess pieces or at least

items of similar sizes. Focus on the middle item and set your camera to a medium aperture such as f/5.6.

While holding focus on the middle item, start shooting with an ever-smaller aperture until you are at

the smallest aperture of f/16. Now, come back down the scale until you reach the largest aperture of f/2.

Take a look at the images and get an idea of how the depth of field has affected the overall pictures.

Shooting in Shutter priority mode

Find some moving objects (kids are always a good bet!) and put your camera into Shutter Priority mode.

Start with a slow shutter speed of, say, 1/4 of a second, and then shoot faster and faster until you reach

the higher end of 1/2000 and 1/4000 and you can totally freeze the action.

Be Brave—shoot manually

Knowing what you do now about the exposure triangle, go out on a sunny day and set your camera to

Manual mode. At all times keep an eye on the exposure dial in the viewfinder or on the LCD panel.

Now head indoors or to a shaded area, and without changing your settings, shoot again. The exposure

will be notably different. Using the shutter speed dial and aperture dial, adjust your exposure accord-

ingly to get a reasonable exposure.

Compensate the exposure

Try to find a light subject that has a light background (a child in a white dress against a white wall, for

example). Set your camera to P, S, or A mode. Shoot and, after the first exposure, use the exposure com-

pensation dial to increase the exposure by +1 and +2. Then reduce the exposure by -1 and -2. Compare

the images to see how the light areas look, paying particular attention to any overexposed areas.




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ISO 400 • 1/35 sec. • f/2 • 23mm lens

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91

5Say Cheese!Settings and features to make great portraits

What’s the most photographed subject on the planet? Yes, you guessed it:

people. Many of you will have purchased the Fujifilm X100S to capture

some lovely portraits of friends and family. Although the X100S has a fixed

lens, it offers a range of versatility beyond that of many other cameras,

which makes using the X100S to photograph people and make engaging

portraits easy and fun.

Shooting portraits involves much more than just awareness of your camera

settings—it’s also about human interaction, backgrounds, and lighting.

Taking pictures of people is one of the great joys of photography. You

should experience a great sense of accomplishment when you capture

the spirit and personality of someone in a photograph. In this chapter,

we will cover all the key factors in making you a great portraitist.

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Positioning myself at an angle to the background, I was able to use the lines to help guide the viewer’s eye.

Shooting in black and white allowed me to focus more on the subject and less on the distractingly colored background.


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ISO 200 • 1/500 sec. • f/2 • 23mm lens

To emphasize my niece, Katie, I moved in close and used a large

aperture to minimize the depth of field, which blurs the background.

By focusing on her eyes, I was able to ensure critical sharpness while

making the eyes the focal point of the image.

Choosing an area of shade provided me with a soft, diffused light, which illuminated the subject well.

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Placing my subject centrally but aligning his face along a “third” helped with the composition of the image.


I used Aperture Priority mode to take complete control over the depth of field while keeping an eye on the camera’s shutter speed.

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ISO 200 • 1/2000 sec. • f/8 • 23mm lens

The background is often just as important as the subject. A poor

choice in background, as well as poor lighting, can destroy an image.

In this image, I used a simple garage door to help frame my subject,

Tim. The contrast between the white garage and the clothes he is

wearing helps draw the viewer’s eye to my subject and his expression.

I kept an eye out for backgrounds that would complement the subject and help create a better portrait.

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Using Aperture Priority Mode

Aperture Priority (A) mode, discussed at length in Chapter 4, “The Professional Modes,”

is the mode that is most often the best choice for creating portraits. Even though the

X100S has a fixed lens, Aperture Priority still gives you complete control over depth of

field and allows you greater control over the look of your image, whether it’s a tightly

framed headshot or a wide environmental portrait (Figure 5.1). The choice of aperture

achieves more than simply a good exposure; it also becomes the means by which you

begin to creatively control the look of your portraits (Figure 5.2).

Figure 5.1 Choosing to place my subject inside the garage added context to this environmental portrait.

ISO 640 • 1/125 sec. • f/2 • 23mm lens

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5 : S ay C h e e S e ! 97

Not only will a large aperture such as f/2 give you the narrowest depth of field, but it

will also allow you to shoot in lower light with lower ISO settings. Of course, this doesn’t

mean you always have to use the largest aperture for your portraits (environmental or

otherwise). A good place to start is around f/4 or f/5.6. This will give you enough depth

of field to keep the entire face in focus while also providing some background blur, also

referred to as the “bokeh effect,” to eliminate potential distractions in the background.

Shoot environmental portraits Wide

An environmental portrait is an image that goes beyond a simple headshot to encapsulate the subject

and their environment. You can create portraits that emphasize someone’s hobby or job, for example,

by including a sweeping backdrop. For such images, I suggest not coming in too tight. Allow the

environment to become the canvas of the image, and place the subject within that canvas.

To get images that are a little wider than the 23mm lens that is standard with the X100S, you may

want to consider the wide conversion lens (WCL-X100). Using the WCL-X100 will give you a 19mm

focal length that may be more appropriate for some environmental portraiture. (See Chapter 12,

“Pimp My Ride,” for more information.)

Figure 5.2 using aperture priority mode to control depth of field allowed me to make an engaging portrait with the background blurred, drawing more atten-tion to the subject.

ISO 200 • 1/800 sec. • f/2 • 23mm lens

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98

Lighting and Background

Whenever you make a portrait, you should always consider the background and the

lighting available to you. Even before I’ve shot an image I’m constantly thinking about

the best location to shoot the portrait in terms of background and light.

Lighting can come from many sources: on-camera flash, off-camera flash, natural light,

ambient light sources, etc. Generally, most of us shoot with available or natural light,

perhaps with the added use of the on-camera flash for some fill light from time to time.

When shooting outdoors during the day, usually an open shade area—generated by a

building or a tree, for example—is going to result in the best and even light (Figure 5.3).

Placing the subject just at the cusp of the shadow and light area generally will produce

good results, as the subject is protected from the harsh light but also benefits from some

softer light as it blends into shadow.

Figure 5.3 Shooting in the shade of a building or a tree not only creates a nice back-drop for the image, but also creates nice, even light across the subject.

ISO 200 • 1/900 sec. • f/2 • 23mm lens

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5 : S ay C h e e S e ! 99

The other major consideration when shooting portraits is the background. You should be

able to address any issues with the background and distracting objects by either clearing

the distractions, moving the subject, or using depth of field to mitigate the distractions

(Figure 5.4). I usually try and choose as simple and clean a background as possible, and

I won’t hesitate to ask my portrait subjects to move if it means the background—and the

portrait—will be better.

Figure 5.4 pets can be subjects too! in this portrait, it wasn’t possible for me to move my dog, nor address the background, so i resorted to a narrow depth of field for creative effect and to clear out the distracting background.

ISO 400 • 1/15 sec. • f/2.2 • 23mm lens

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White Balance and ISO

If I’m shooting in open shade, I will usually set my white balance to the Shade setting.

With this setting, the camera will attempt to maintain a flattering look in the skin tones.

I find if the white balance is set to Fine, the images have a bluish tint because shade

naturally has a bluish tint. Setting the white balance to Shade adds a little warmth to the

image, which compensates for the colder shade colors (Figure 5.5).

When shooting in open shade, usually I will also end up increasing the ISO slightly. It may

be only from 200 to 400—it depends entirely on the quality of the light available and how

that is affecting my shutter speed. If I’m shooting at a smaller aperture, such as f/5.6 or

even f/8, more than likely I will have to increase my ISO further to maintain a fast-enough

shutter speed to keep the image sharp and in focus. With all these considerations made,

I can concentrate on building the composition of the image and a rapport with my subject.

Figure 5.5 Keeping an eye on your white balance will reduce work in postproduction. When shooting in open shade, set your white balance preset to Shade.

ISO 400 • 1/1000 sec. • f/2.5 • 23mm lens

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5 : S ay C h e e S e ! 101

Metering Modes

The X100S has three different metering (or photometry) modes: Multi, Spot, and Average.

Multi is regarded as the general setting useful for most shooting conditions and is where

the camera will evaluate the brightness of the image throughout a scene, specifically how

the bright areas are distributed through the scene itself.

Spot metering (discussed in further depth in Chapter 10, “Advanced Features”) takes into

account only the light inside the middle section of the scene. Spot metering is very useful

in difficult lighting conditions where harsh light may be falling on certain parts of the

image and you want to meter for that.

The last metering mode is Average, when the camera takes an average of the measure of

light across the whole scene to generate the exposure. Generally, this mode is useful for

situations where there is not a lot of dramatic light contrast in a scene, such as landscapes

and even portraits.

Changing the metering mode:1. Press the AE button on the rear of

the camera.

2. Using the command dial, select the metering mode you wish to use.


n

As mentioned, Multi metering mode is

perfectly fine for most of my shooting

requirements and generally results in

usable exposures. If I’m using Aperture

Priority, Shutter Priority, or even Program mode, I can always resort to exposure compen-

sation (as we discussed in the previous chapter) to adjust my images accordingly.

photometry or metering?

Fujifilm prefers to use the word photometry throughout the X100S camera and manual rather than

the word metering, which most other camera manufacturers use. These have essentially the same

meaning, so don’t worry about the difference between them. For those of a very scientific nature,

here is the Wikipedia definition of photometry: “the science of the measurement of light, in terms

of its perceived brightness to the human eye. It is distinct from radiometry, which is the science of

measurement of radiant energy in terms of absolute power.”

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On some occasions, however, I may switch to Average metering when I want to emphasize

my subject for the basis of the exposure. This will take an even meter reading, meaning

the camera will always meter for the subjects (Figure 5.6).

Figure 5.6 in this low-light scene, to ensure a good exposure for the portrait of my father and my son, i chose to meter the scene using average metering mode.

ISO 800 • 1/150 sec. • f/2.5 • 23mm lens

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5 : S ay C h e e S e ! 103

If the area behind my subject is heavily backlit, then I will look at using Multi metering

mode or even Spot metering to isolate the exposure on my central subject (Figure 5.7).

In some cases, this may result in the background being blown out, which means the high-

lights are fully exposed. However, if the background is of little importance, it is often better

to get a good exposure that focuses primarily on the subject.

Figure 5.7 this was a test shot for a studio shoot, and the light com-ing from an open window behind me made for a tricky exposure before i switched to flash. in this case, Spot metering helped even out the expo-sure as the camera isolated the exposure on the model’s face.

ISO 1600 • 1/400 sec. • f/2.8 • 23mm lens

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104

Locking Exposure

Sometimes it’s handy to be able to lock your exposure settings in the camera to stop the

meter from reevaluating the scene. This may come up, for example, if you want to recom-

pose your image because you’re in an environment where there is sufficient lighting on

your subject but the background is significantly darker (or brighter) (Figure 5.8). The meter-

ing in your camera will change depending on where the center of the viewfinder is aimed.

If you try to compose the image so that the subject is off-center, the camera will meter for

the wrong part of the scene.

To alleviate this, you can meter for one part of the image (your subject), lock those settings

so that they don’t change, then recompose the image and shoot the image. For more infor-

mation on this, check out Chapter 4.

Figure 5.8 Because so much of this image contained shadow, it was important to lock the exposure to get a correctly balanced image in terms of shadows and highlights.

ISO 200 • 1/1000 sec. • f/2 • 23mm lens

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5 : S ay C h e e S e ! 105

Getting Creative with Film Simulation

The X100S has an array of built-in film simulations, which I discuss several times throughout

the book. These film simulation modes can give your portraits an added dimension and

certainly help them stand out. I’m a big fan of monochrome and sepia images, and I often

shoot my family portraiture using the Sepia setting (Figure 5.9). There is something very

timeless about black-and-white portraits; this style eliminates the distraction of color,

especially if the background is cluttered, and puts all the emphasis on the subject.

Figure 5.9 in this image, i chose to use the Sepia film simulation to add an element of vintage film to the image.

ISO 200 • 1/1000 sec. • f/2 • 23mm lens

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Selecting the Sepia film simulation:1. Press the Menu/OK button.

2. Using the command dial, navigate to Film Simulation on Shooting Menu 1.

3. Press the command dial right.

4. Use the command dial to select Sepia.


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As mentioned in Chapter 10, there are ten film simulation modes in total, and I would

encourage you to investigate them all. Each one will be subjective in its appeal, but

often a film simulation can really make the difference between liking an image and

loving an image.

The film simulation modes apply only to JPEG images. If you are shooting in RAW, the

picture that shows up on the LCD panel or in the viewfinder during image review will

resemble an image with the film simulation applied, but it will appear as a color image

when you open it in any RAW processing software. So, for example, if you are using

Adobe Lightroom to edit and process your images, the RAW image will appear as an

unaltered, color image; you will have to use Lightroom to convert it to black and white.

If you want to compare how an image will look using three different film simulations,

you can try the film simulation bracketing feature, discussed in Chapter 10.

Focus: It’s All About the Eyes

The eyes are, quite simply, the most important feature of any portrait. They are the very

first place we are drawn to when we look at an image of a person. The same is true of

paintings, and it’s no coincidence that the great artists took a lot of time and attention

getting the perspective, size, and shape of the eyes in their masterpieces perfect.

As a result, eyes almost always need to be the sharpest element in the frame. If the eyes

aren’t in focus, the viewer’s experience of the portrait can be diminished. In order to

ensure they are in focus, you need to fully control your focusing because, regardless of

how sophisticated the camera’s autofocusing is, it doesn’t guarantee that the subject’s

eyes will always be the most in-focus part of the frame.

When it comes to making a portrait, I prefer to set up the camera with the smallest focus

point, allowing me to really nail the focus on the eyes (Figure 5.10).

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5 : S ay C h e e S e ! 107

Changing the focus point size:1. Using the focus mode selector on the

left side of the camera, switch the cam-era to single autofocus mode (AF-S).

2. Press the AF (up) button on the back of the camera to reveal the focus point selector.

3. Use the command control to decrease the size of the focus point.

4. Press Menu/OK to confirm your setting.

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Figure 5.10 i used the small-est focus point to ensure i locked on the eyes and, thus, made them the sharpest part of the image.

ISO 200 • 1/180 sec. • f/5.6 • 23mm lens

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Using this focus mechanism enables you to really concentrate on getting those eyes in

focus. Further, if shooting close-up portraits, using the smallest focus point and macro

mode will allow you to get in close to your subject and create a very intimate portrait

(Figure 5.11).

Which eye?

As you change the composition of your photograph, the focus point may need to be changed

accordingly. If the subject is slightly turned away from the camera, it’s best to focus on the eye

closest to the camera. If you are using a very shallow depth of field, such as f/2, the focus is critical

and any movement of the subject may cause your focus point to shift, so be even more aware of the

eyes—and the focusing—when shooting at large apertures.

Figure 5.11 Getting in very close, and using a small focus point and macro mode, enabled me to create a very inti-mate portrait.

ISO 200 • 1/640 sec. • f/5.6 • 23mm lens

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5 : S ay C h e e S e ! 109

The images in Figures 5.9 and 5.10 were shot in a studio environment with subjects who

were stationary, which helped me focus on their eyes. In such situations, using the smallest

focus point is ideal. However, if you are shooting candid portraits or portraits of children

who may not be so patient in front of the camera, you may need to experiment with the

tolerance level of the focus point that suits you the most, given the shooting situation.

It may be worth noting at this point that the X100S does not feature “face detection”

AF technology. Prevalent in many modern cameras, face detection helps track a face within

the scene and automatically focus on it. There is a face-detection element of image play-

back, however. If the camera has detected a face within the scene when you are reviewing

images on the LCD panel, it will inform you of this. However, there is no focus assist with

face detection.

Focusing and Recomposing

Typically, I will use the single AF for focus selection when shooting portraits (as opposed

to manual or continuous focus). There are 49 focus points on the X100S that allow you a

great deal of choices when it comes to deciding where to focus within the frame.

However, personally I find it easier to place the focus point directly on the location where

my critical focus should be established and then recompose the shot. Even though the

focus point can be placed anywhere in the frame, generally it takes longer to figure out

where the focus point should be in relation to the subject. By using the center point, I can

quickly establish focus and get on with my shooting.

Setting your focus to a single point and shoot:1. Using the focus mode selector on the left side of the

camera, switch the camera to AF-S mode.

2. Press the AF (up) button on the back of the camera to reveal the focus point selector.

3. Using the left, right, up, and down buttons on the back of the camera, choose your active focus point (generally the center one for me).

4. To shoot using this focus point, place that point on your subject’s eye and press the shutter button halfway, until the focus is achieved.

5. While still holding down the shutter button halfway, recompose and take the photograph.

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Using Fill Flash for Reducing Shadows

A common problem when taking pictures of people outside, especially during the midday

hours, is that the overhead sun can create dark shadows under the eyes and chin. You could

have your subject turn his or her face to the sun, but of course, that is not comfortable

for the subject. So, how can you have your subject’s back to the sun and still get a decent

exposure of their face?

The answer is by using the X100S’s built-in flash unit (discussed in more detail in Chapter 7,

“Low Lighting”). Using the built-in flash can turn a shadow-filled image (Figure 5.12) into

a more flattering image where the shadows are mitigated (Figure 5.13).

Figure 5.12 Without fill flash, there are harsh shadows across the nose and upper-lip area.

ISO 400 • 1/320 sec. • f/13 • 23mm lens

Figure 5.13 applying fill flash on the camera mitigates much of the shadow across the face.

ISO 400 • 1/400 sec. • f/14 • 23mm lens

Using Off-Camera Flash

Despite its diminutive size, the X100S is a very capable studio camera. In fact, it has a

flash sync speed in excess of 1/1000 of a second, which is far quicker than most DSLRs and

significantly quicker than other cameras in the Fujifilm X-series range. The X100S can be

used with professional studio lighting systems via the use of “triggers,” which sit in the

camera’s hot shoe—a socket that is situated at the top of the camera and has contacts to

allow it to connect to various accessories (such as triggers and flash units)—and are used

to trigger the studio lights.

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5 : S ay C h e e S e ! 111

Although I rarely use flash photography, one of the accessories that accompanies me

pretty much everywhere is the EF-X20 flash unit. This little gadget, with a guide number

(GN) of 20, can sit in the hot shoe, or it can be used as a slave flash unit, meaning it can be

triggered using the X100S onboard flash acting as a commander, and used very creatively

(Figure 5.14). (The GN is an approximation of the strength of the light from the flash unit.

As a rule of thumb, the higher the number, the stronger the light.)

The setup and configuration of off-camera flash units is beyond the scope of this book,

but I wanted to cover it a little here to give you an insight into the advanced flash control

functionality that the X100S can offer.

Figure 5.14 the eF-X20 flash unit on a boom arm in a studio lighting situation. the flash is triggered by the X100S’s onboard flash.

ISO 400 • 1/1000 sec. • f/8

Silent mode and the hot Shoe

If you decide to use the hot shoe for a trigger, or for any peripheral in fact, note that if you have the

camera set up in silent mode, the hot shoe is disabled.

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112

Setting up the X100S as a commander:1. Press the flash/right button on the

back of the camera.

2. Choose Commander.

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Working with an off-camera flash can be

fun and offers a great avenue for creative

output. Using flash units that are more

powerful than the X100S’s built-in flash

will enable you to produce professional-

level photographs. You can even use multiple flashes to set up shots such as that in

Figure 5.15.

Figure 5.15 using an off-camera flash can create very professional results, despite the X100S’s diminutive size.

ISO 200 • 1/640 sec. • f/5.6 • 23mm lens

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5 : S ay C h e e S e ! 113

Turning Off Exposure PreviewIf you intend on using an off-camera flash with your X100S, I strongly advise you to

ensure that your camera has the very latest firmware (see Chapter 2, “First Things First”).

Introduced in the X100S’s firmware’s version 1.10 was the ability to switch off the image

preview in Manual mode.

Before I explain how to do this, it may be worth explaining why you need to do it. In fact,

many X100S users I have met who shoot with an off-camera flash are unaware of this feature.

When you are shooting manually in a studio or with an off-camera flash (or, in fact, the

onboard flash unit), you will often underexpose the ambient light. For example, in a

studio environment, you may configure the camera to 1/60 at f/5.6 knowing full well that

the flash is going to provide the light necessary to illuminate the subject. When you press

the shutter halfway to focus the image, the viewfinder will automatically give you an

“exposure preview.” In general shooting conditions this is a good feature, but as you can

appreciate, when shooting with a flash, the preview is going to be very dark—remember,

the flash is going to illuminate the subject. This can make focusing and composing the

image very difficult.

Fortunately, in firmware 1.10, Fuji introduced a menu option with which you can switch

off the exposure preview in Manual mode.

Switching off the exposure preview in manual mode:1. Press the Menu/OK button.

2. Using the command dial, navigate to Screen Setup on Setup Menu 2.

3. Press the command dial right.

4. Use the command dial, select Preview Exp. In Manual Mode.

5. Set it to Off.


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Setting Preview Exp. In Manual Mode to Off instructs the camera not to show you the

exposure preview when you press the shutter button halfway, which, in turn, allows you

to continue to focus and compose your images.

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Candid Portraits on the Move

As alluded to earlier, not all portrait subjects will sit still and wait patiently for you to press

the shutter button. Sometimes you might want to get an action shot that says something

about the person, similar to an environmental portrait.

Children especially are constantly on the move, and there is no need to fight this. When

I’m creating portraits of children being children, I always make sure I’m in Shutter Priority

(S) mode and set a relatively fast shutter speed of a minimum of 1/125 a second. I put the

camera in continuous autofocus (AF-C) mode using the focus selector switch on the side

of the camera. Then I put the camera in continuous shooting (or burst) mode and just fire

the shots. As with most shoots that involve increased drive modes and focusing, there are

quite a few throwaway images, but usually you can get some good shots that exhibit the

behavior you are trying to capture (Figure 5.16).

Figure 5.16 as my daughter rarely sits still, shooting in Continuous focus mode and burst shooting enabled me to get this shot, even in very low light conditions.

ISO 6400 • 1/60 sec. • f/2 • 23mm lens

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5 : S ay C h e e S e ! 115

Setting up the camera to shoot fast-action portraits:1. Using the focus selector switch on

the side of the camera, select AF-C (continuous autofocus).

2. Press the Drive button on the back of the camera.

3. Using the command dial, scroll down to the second option and choose 6.0 or 3.0fps (frames per second).

4. Focus on your subject, and keep the focus point on the subject as it moves around.

5. Press and hold down the shutter button to take rapid, multiple images.

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Shooting Better Portraits

Here are a few extra portrait-taking pointers

that don’t necessarily have anything to do with

the physical controls and settings of the camera.

Many books and online resources cover subjects

such as portrait lighting, posing, and so on, but

here are a few general ideas that may make

your portraits look a little better.

Look for the LightUnless you are specifically shooting with flash

units for creative reasons, you will still need to

look for the best light for your images. As with

landscape photography, the best light is often

at the start or the end of the day. Using flatter-

ing soft light will enhance your portraits. Don’t

be afraid to use blinds, curtains, and shades as

light diffusers or mechanisms for sculpting the

light onto your subject (Figure 5.17).

Figure 5.17 using shades and blinds while keeping an eye on the natural light outside the room allowed me to create a well-composed portrait without the need of a flash.

ISO 400 • 1/60 sec. • f/2 • 23mm lens

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Watch the CutoffThere is an old rule about photographing people: Never crop the picture at a joint. This

means ankles and knees if at all possible. If you have to crop the legs, the best place is

mid-shin or mid-thigh (Figure 5.18).

Go with Portrait OrientationMost people are longer than they are wide. And so it follows that most people will look

better in a full-length portrait rather than a horizontal one (Figure 5.19).

Catchlights

A catchlight is that little sparkle that adds life to the eyes. When you are photographing a person

with a light source in front of them, you will usually get a reflection of that light in their eyes—

whether it’s your flash on the camera, an off-camera flash source, or the sun. The light is reflected

off the surface of the eyes as bright highlights, which brings attention to the eyes.

Figure 5.18 (left) a good crop for people is mid-thigh or mid-shin. avoid cropping at ankles or knees.

ISO 200 • 1/500 sec. • f/5.6 • 23mm lens

Figure 5.19 (right) a vertical portrait orientation shot is often more flatter-ing than a horizontal full-body shot.

ISO 200 • 1/500 sec. • f/5.6 • 23mm lens

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1175 : S ay C h e e S e !

Photographing people is fun—and people are probably the subjects you will spend most of your time

capturing. We’ve covered a lot in this chapter and, hopefully, you will be able to move forward and take

portraits with a greater knowledge of how to make them look good. Let’s put some of this newfound

knowledge into practice.

use depth of field in portraits

Start simple. Grab your partner or a friend and start experimenting with using different aperture settings.

Shoot wide open at f/2 and then stop down to f/8 and f/16. Look at the difference in the images—specifically

the depth of field.

Discover natural light

Wait for a nice sunny day and try shooting some portraits in the bright midday sun. Now move the sub-

ject into an open shade area where they are just enclosed in the shade, but still exposed to some of the

sunlight. Notice how the hard shadows disappear and the light is much more flattering on the subject.

meter correctly

Find a very dark or very light background and place your subject in front of it. Take a couple of shots,

ensuring that plenty of the background is on show in the images. Now, using the Photometry options,

switch between each of the three metering modes. What differences do you notice in the exposures?

Fill in the shadows

Again, wait for a bright sunny day and take your subject out for a photo shoot. Using the X100S’s

onboard flash, try to eliminate any harsh midday shadows that may appear on your subject’s face.

Create a timeless black-and-white image

Using the Monochrome or Sepia film simulation, produce a timeless portrait where color is not a feature.

Watch out for shadows and highlights, as they are often more prevalent in black-and-white images.




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ISO 200 • 1/4000 sec. • f/8 • 23mm lens

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6Landscape PhotographyGetting the most out of your landscape photographs

The countryside where I live is beautiful, and it’s a great place to capture

stunning landscape photographs. Landscapes offer a great training ground

for photographers, particularly in the areas of light and composition—

and if you enjoy spending time outdoors, what better way to do so?

But landscape photography isn’t just about capturing fields and skies—it

includes cities, beaches, and seascapes, too. In this chapter, I will outline

some of the features of the Fuji X100S that will improve your landscape,

cityscape, and seascape photography.

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Shooting in JPEG using an auto white balance allowed me to take advantage of the X100S’s beautiful in-camera image processing.


ISO 400 • 1/50 sec. • f/2 • 19mm lens (WCL)

Once I spotted this gorgeous early evening sunset over a London park, I knew I had to

work fast to capture it before the light disappeared. I used a sturdy tripod and a remote

release cable to ensure sharpness of the photograph.

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Including the plane trails offers context to the image.

By placing the tree line in the far bottom of the frame, I am using extreme composition, giving the image an added dynamic. The sunset is the main feature, but the silhouetted trees add interest to the photograph.

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Although not taken during the “golden hours,” accurate metering allowed me to show detail even in the shadow side of the valley.


Shooting landscapes doesn’t have to be a preplanned exercise. This image presented itself

to me while I was skiing. As the clouds rolled into the valley, I realized this was a shot I

needed to get. Always be aware of the environment around you.

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Using the Fine white balance setting gave me accurate colors.

A small aperture allowed me to keep everything in focus throughout the frame.

ISO 200 • 1/125 sec. • f/8 • 23mm lens

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Sharp and In Focus

We talked about stabilization techniques in Chapter 7, “Low Lighting,” but it’s worth going

over some detail again here, as it’s imperative that you have your images sharp and in focus

when shooting landscapes.

Apart from your camera, the most essential part of your kit for serious landscape imagery

will be a tripod. You may be able to shoot some images without a tripod, of course (for

example, the second Poring over the Picture in this chapter was shot handheld), but for

serious shooting you are likely to need a sturdy tripod.

Many of the best landscape photographs are made at sunrise or sunset, when the light levels

are quite low. When shooting at these times of the day, you need to increase exposure time,

which will result in a slower shutter speed and, thus, may be too slow to handhold. If you

take such photos with your camera handheld, you’ll likely get some camera shake. Using

a tripod is the best way of alleviating this problem.

Also, with landscape photography you often want as much of the image in focus as possible.

To achieve this, you are going to need to use very small apertures (f/11 or f/16, perhaps),

which will require you to compensate with a longer, slower shutter speed.

Additionally, if you are bracketing your images with the intention of creating an HDR

(High Dynamic Range) composite, then you will absolutely need to use a tripod to keep

your scene stable and correctly aligned throughout the three exposures. Many people

also shoot long exposures of the night sky or try and capture water in motion; for both of

these you will need a very good tripod to keep the camera steady during the exposures.

Let’s quickly review why using a tripod is so important when you have a slow shutter speed.

As you know by now, the physical shutter in your camera opens and closes to capture

the light coming through your lens. The longer the shutter stays open, the more camera

shake and blur you could potentially add to your image if the subject moves. With land-

scapes your subject shouldn’t be moving, so by keeping your camera still, you prevent

adding blur to your image. Keeping your image sharp and in focus is probably the most

important element of shooting a beautiful landscape photograph.

Slowing Down

One of the benefits of using a tripod is that essentially it forces you to slow down, which can be a

very good thing. Compositional judgment should be part of the process of every landscape photo-

graph, and using a tripod will help you spend time considering all the elements of the image before

locking the camera in position. Also, it forces you to carefully evaluate everything in the frame,

which will increase the likelihood of making a great photograph.

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6 : l a n D S c a p e p h o t o G r a p h y 125

Minimum Sustainable Shutter SpeedThe “rule of thumb” for when to place the camera on a tripod is when your shutter speed

is approximately the same as your focal length (or slower). For example, if you are using

the standard 23mm lens and your metered exposure indicates a shutter speed of 1/25 or

slower, you should consider using a tripod to make the picture.

Choosing a TripodTripods are seemingly as numerous as camera models, and because a tripod can poten-

tially last you for years, it makes sense to research and get a suitable one for you. The

heavier the tripod, the sturdier it will be. If you are shooting landscapes, you are likely

to be in exposed conditions where even a slight gust of wind will have an impact on the

exposure. You may sometimes find yourself needing to plant the legs in water, too, so it’s

really worth investigating the best option for the photographs you want to create with

your X100S.

It’s also worth considering a tripod that can extend to and beyond your eye level. This will

save you from having to bend down to compose your images, and it enables you to shoot

from higher up with added stability.

A tripod itself is useless without a head that you can use to affix the camera to the tripod.

Personally, I prefer ball heads with quick release plates. The quick release plate attaches to

the tripod fix on the bottom of your X100S, which, in turn, sits in the head on the tripod

itself. The quick release plate allows you to remove the camera easily from the tripod should

you need to do so quickly.

tripod Stability

Most tripods have a center column that allows the user to extend the height of the camera above

the point where the tripod legs join together. This might seem like a great idea, but the reality is

that the farther you raise that column, the less stable your tripod becomes. To get the most solid

base for your camera, always try to use it with the center column at its lowest point so that your

camera is right at the apex of the legs.

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Selecting the Correct ISO

One of the most important things you’ll learn about landscape photography is to shoot

with the lowest ISO possible. The lower the ISO, the better the image quality (Figure 6.1).

The higher the ISO, the more noise will appear in your image (Figure 6.2).

Figure 6.1 By using a very low iSo, i was able to avoid noise and keep this image very clean.

ISO 200 • 1/210 sec. • f/16 • 23mm lens

Figure 6.2 using a high iSo setting created a lot of digital noise in this image, resulting in a loss of detail.

ISO 5000 • 1/500 sec. • f/16 • 23mm lens

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Noise can detract from the color and quality of a photograph’s fine details. When shoot-

ing landscape images, you will want to preserve as much detail as possible. Shooting with

a lower ISO forces you to shoot at a slower shutter speed, which is even more relevant

when stopping down to apertures such as f/16 to maximize depth of field.

Setting the iSo:1. Press the Menu/OK button.

2. Using the command dial, select ISO.

3. Using the command dial, select the lowest ISO you can achieve in the exposure.

4. Press Menu/OK to confirm the ISO setting.

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Remember that, as you’ll often be shoot-

ing under low light conditions, a tripod

will allow you the freedom to shoot at

lower ISO settings than if you were handholding the camera. Because of the stability that

the tripod offers, you can shoot at a low ISO and still produce sharp images.

Using Filters

Sometimes, if you are not shooting in low light, you may find the X100S doesn’t have a

fast enough shutter speed to enable you to create an image without overexposing it. The

quickest possible shutter speed for the X100S is 1/4000 of a second, which may not be

enough to avoid overexposing the image, especially if you are shooting at large apertures

such as f/2.

You may also want to use a very slow shutter speed to add creative effects to your image,

such as blurring moving water or shooting a scene with a very bright sky but a darker

foreground area. Cameras cannot deal with the dynamic range that we humans see, so

you may need to resort to filters to manage these types of situations.

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The Built-in ND FilterThe X100S has a very handy built-in feature called an electronic Neutral Density (ND)

filter, which essentially cuts down the amount of light that can reach the sensor. ND filters

are common in landscape photography and often are physical pieces of glass that are

screwed, or somehow fixed, in front of the lens element to achieve the same result of

reducing the amount of light that can reach the sensor.

The built-in ND filter is useful, as discussed, if you need to shoot at wide apertures but the

lighting conditions are too bright for, say, a 1/4000 shutter speed to have any reasonable

effect on the image exposure. It’s also very useful if you need to use a slow shutter speed—

for example, if you are trying to shoot moving traffic and want to represent motion using

a shutter speed of perhaps 1/4 of a second. Even if you use the lowest possible ISO, you still

may not be able to get that image if the ambient light is too much (Figure 6.3). In these

situations, you can activate the built-in ND filter, reducing the light hitting the sensor

by three stops. This great feature gives you the latitude to get images that perhaps you

wouldn’t be able to without a physical filter (Figure 6.4).

Figure 6.3 Without using the nD filter, my image is badly overexposed.

ISO 200 • 1/140 sec. • f/4

Figure 6.4 With the nD filter in place, the image is exposed correctly.

ISO 320 • 1/125 sec. • f/2

using the Fn Button

Quite often when I’m out shooting in bright environments I will program the Fn button to activate the

ND filter. This way I can access the ND filter at the touch of a button and can activate it or deactivate

it very quickly. You can read more about the Fn button and how to configure it in Chapter 9, “Hitting

the Streets.”

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Switching on the nD filter:1. Press the Menu/OK button.


3. Using the command dial, select ND Filter.

4. Press Menu/OK to confirm the setting.

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Using Physical FiltersAlthough the X100S’s built-in ND filter is a very useful feature, sometimes it doesn’t offer

as much light blocking as a professional set of third-party filters would. Perhaps you really

want to slow down an exposure or shoot a scene where light is very bright. In these cases,

I use third-party filters that screw onto the front of the X100S and offer varying degrees

of creative control as well as light blocking.

In the case of trying to represent motion within a water scene, for example, it’s impor-

tant to have a shutter speed slow enough to blur the water, so it doesn’t just look like a

choppy waterfall (Figure 6.5). In order to achieve this image, I used a Big Stopper filter

from Lee Filters. This filter simply attaches to the front of the lens and offers an addi-

tional seven stops beyond the built-in ND filter, providing a ten-stop reduction in light

hitting the sensor.

Figure 6.5 using a physical nD filter allowed me to restrict the amount of light that hit the sensor.

ISO 200 • 2.1 sec. • f/16 • 23mm lens

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In Figure 6.5, initially the camera had set an exposure of 1/500 of a second to expose the

waterfall correctly. Clearly, that would not have illustrated the motion in the water or

allowed for the blurred effect. Using the Big Stopper allowed me to shoot at just over

2 seconds without affecting the ISO or aperture. Shooting the image at this shutter speed

without the filter in place would have resulted in an extremely overexposed image.

Another type of filter is an ND graduated or grad, filter, which landscape photographers

commonly use to keep detail in a highlight area of an image, such as a sky (Figure 6.6).

Grad filters also offer different stops of light blocking, but the filter has a gradient to

allow more light to hit the sensor at different parts of the image. Different types of grad

filters offer varying degrees of “hardness.” As a rule of thumb, the hard filters should

be used for images with a distinct visual separation between elements, such as a horizon

line in an image. Softer grad filters could be used for less defined elements, such as when

shooting in mist or woodland.

Figure 6.6 using an nD grad filter allowed me to keep a well-exposed sky and retain the moodiness without compromising the foreground exposure.


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White Balance

Getting an accurate white balance is important when shooting any photograph, perhaps

especially so with landscape images. There are likely to be many tones and colors in the

image, and you will want to ensure that these accurately reflect what you saw before

your eyes when you took the picture. Just like a camera can’t see the same dynamic

range that we humans can, it can’t identify colors like we do. Cameras “see” images and

the hues within as “temperatures” of light, and it is the temperature of light that is the

underlying control point of white balance. This temperature is measured in Kelvin (K).

Cool, or bluer, temperatures have a lower K value, whereas warmer images have a higher

K value.

Like most modern digital cameras, the X100S offers a set of white balance presets along

with the ability to use an auto white balance. The choices for white balance with the

X100S are: Auto, Custom, Color Temperature, Fine, Shade, Fluorescent Light 1, Fluorescent

Light 2, Fluorescent Light 3, Incandescent, and Underwater.

Selecting the white balance:1. Press the down (WB) button on the

back of the camera.

A popup menu will appear with the white balance choices.

2. Using the command dial (or pressing the up and down button), select the white balance you want to use.

3. Press Menu/OK to confirm your setting.

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Auto white balance is fairly self-explanatory:

It allows the camera to make a best guess at the white balance. Although this is useful in

some shooting conditions—for example, if shooting street photography where you need

the camera to react very quickly—it is generally not the best choice for landscape work

where you have more time to get the white balance correct in camera.

The Fine white balance option is essentially direct sunlight, and Shade is used when shooting

in shade or subdued natural lighting. There are, somewhat confusingly, three Fluorescent

Light settings. One is for daylight lamps, two is warm white lamps, and three is cool white.

I often find I have to do a little bit of test shooting before getting the correct fluorescent

light white balance setting. Incandescent and Underwater presets can also be used under

those particular lighting conditions.

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On occasion, you may need to set the white balance manually, for example, when faced

with difficult or mixed lighting scenarios, by choosing Custom. However, remember that

light can change very quickly. If you select Custom and the light changes (even slightly),

you may need to redo the custom white balance.

Setting custom white balance:1. Press the down (WB) button on the back of the camera.


2. Using the command dial (or pressing the up and down button), select Custom.

3. Press Menu/OK.

The Custom WB screen will appear (A).

4. Press OK.

5. Point the lens at a white or neutral gray surface that fills the square on the screen.

6. Press the shutter button.

The camera will display “Completed!” if the white balance has been set correctly (B). If the camera displays “Under!” or “Over!” instead of “Completed!,” then the light was either too bright (over) or too low (under) to register the custom white balance, and you should retry the procedure.

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A B

Each of the white balance settings, including Custom, allows you to “shift” the white bal-

ance slightly. This can be quite useful if you want to adjust a setting by a small amount, or

if you want to create a white balance setting with a custom warm or cool tint effect.

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Shifting the white balance:1. Press the down (WB) Button on the

back of the camera.


2. Using the command dial (or pressing the up and down button), select the white balance you want to use.

3. Press the right button to take you to the Shift screen.

4. Use the four direction buttons to adjust the color according to your requirements.

5. Press the Menu/OK button to lock the white balance shift adjustments.

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These shifts will affect any image where that particular white balance setting is in place,

so remember to reset the dot to the central position if you no longer wish to use the

white balance shift function.

The final white balance setting is Color Temperature. You can set a specific Kelvin (K)

value if you know it.

Setting the color temperature white balance:1. Press the down (WB) button on the

back of the camera.


2. Using the command dial (or pressing the up and down button), select Color Temperature.

3. Press the right button to select the Kelvin (K) value that you want to use.

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The X100S Owner’s Manual that came with your camera has a table that lists the Kelvin

number for certain light temperatures. For example, it states that sunlight is 5000K. You can

use this table as a guide to which Kelvin temperatures to set the camera’s white balance.

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White balance is a powerful and creative tool, and you should take time to understand

and master it. Using white balance correctly will result in images that accurately reflect

the colors of the scene you shot (Figure 6.7). An incorrect white balance can result in a

lot of unnecessary post-production work or even the total loss of otherwise fine images

(Figure 6.8).

Figure 6.7 using the Fine white balance setting, i created an image with an accurate color and hue balance that’s the same as the scene at the time i shot the picture.

ISO 400 • 1/500 sec. • f/16 • 23mm lens

Figure 6.8 using Fluorescent 1 white balance resulted in an image that appears much warmer than the actual color of the scene at the time the image was taken.

ISO 400 • 1/500 sec. • f/16 • 23mm lens

White Balance and raW

Remember, if you shoot in RAW mode, you have much greater latitude when attempting to change

the white balance in post-production. If you shoot in JPEG mode, it’s much more important to get

the white balance correct at the time of shooting (although tools such as Adobe Lightroom still

allow a degree of adjustment after the fact).

Even if you shoot RAW, however, I encourage you to avoid using auto white balance and to get it

right at the time of shooting. It’s good practice and will also make your editing easier later on.

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Beautiful Black-and-White Landscapes

Black-and-white imagery can be timeless and is a great option for capturing gorgeous

landscape images. The X100S has a set of film simulation modes (discussed in Chapter 5,

“Say Cheese!”), and when I’m shooting black-and-white landscapes I like to choose the

Monochrome+R filter. According to the Fuji description, this “enhances contrast and

darkens skies considerably.”

Selecting the monochrome+r film simulation:1. Press the Menu/OK button.

2. Using the command dial, navigate to Film Simulation on Shooting Menu 1 (A).

3. Press the right button.

4. Use the command dial or down button to select Monochrome+R (B).


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A B

I also make a minor adjustment to the image settings. I detail my preferred settings in

Chapter 4, “The Professional Modes,” but it’s worth going over the settings I adjust when

shooting for landscapes in black-and-white mode: I set both the Highlight Tone and Shadow

Tone to -1. This keeps an extra level of detail in the contrast of both the shadows and

highlights. This is especially important with a monochrome image, since it is essentially

composed of highlights and shadows. Having a setting of +1 here will make the shadows

much darker and the highlights lighter. If I need to do any post-processing of the shadows

or highlights, I give myself a little more latitude by selecting -1 for these settings.

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Setting the highlight and shadow tones:1. Press the Menu/OK button.


3. Press the right button.

4. Use the command dial or down button to select Highlight Tone.

5. Press the right button and select -1 (Medium Soft).


7. Repeat for Shadow Tone.

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Of course, you should experiment to create your preferred configuration for shooting

landscapes in black and white. There are various other monochrome and sepia film simu-

lations to choose from, and you can adjust the Highlight Tone and Shadow Tone settings

according to taste. Personally, I love shooting in black and white with the X100S, which

produces wonderful black-and-white landscape images (Figure 6.9).

Figure 6.9 using the X100S’s built-in film simula-tions allows you to create beautiful black-and-white landscape images.

ISO 200 • 1/500 sec. • f/2 • 23mm lens

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The Golden Light

The best times to shoot landscapes are early in the morning, around sunrise, and later in

the evening, around sunset (Figure 6.10). Also referred to as “the Golden Hour” or “the

Magic Hour,” technically these are the times immediately before sunset or sunrise. The light

from sunrise to about an hour afterward, as well as from an hour before sunset until the

sun slips below the horizon, is the most commonly used light in landscape photography.

At these times, the sun is at an extreme angle to the earth, casting long shadows, and

because of all the atmospheric debris it must pass through at these angles, the light is

warm and enhances existing color (Figure 6.11).

Figure 6.10 this sunset’s gorgeous colors were available for only a short period of time.


Figure 6.11 the sun at dusk, hitting the rock, makes a beau-tiful golden light that is perfect for capturing this landscape.

ISO 200 • 1/50 sec. • f/13 • 23mm lens

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Clear, or bald, skies are nice when shooting with golden light—shooting toward the north,

the sky will become an even deeper blue. But unique cloud formations can also enhance

landscapes at these times of the day, adding structure to skies that may otherwise lack

interest (Figure 6.12).

Figure 6.12 cloud structure can often add interest to an otherwise seemingly dull photograph.


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Focusing

Pretty much every time you shoot a landscape image you are going to want as much of

the image in focus, from front to back, as possible. From the foreground to far-off points

in the distance, you will want all the details pin sharp. This means you need to think care-

fully about your focusing when shooting landscape images. If you focus on an image too

far in the distance, it may result in an image whose foreground details are soft and out of

focus, even if you are using a smaller aperture to maximize depth of field.

In order to get it right, you may want to use the smallest aperture of the camera (f/16

on the X100S). As we know, shooting at a small aperture such as f/16 is likely to lead to a

slower shutter speed and require that you use a tripod to take the image. Using a tripod

will allow you to concentrate on where to focus to achieve maximum depth of field. This

is where something called hyperfocal distance (HFD) comes into play. HFD is the closest

point of focus to the lens where the remaining distance, all the way to infinity, will be

sharp. If you combine practicing HFD with a small aperture, you will get images that are

tack sharp every time.

A simple way to achieve this is to focus on an object that is about one-third of the way

into your frame (Figure 6.13). This is probably the easiest way to remember HFD and is

the way that most professional landscape photographers operate.

Figure 6.13 By focusing on an object around one-third of the way into the frame and using a small aperture of f/14, i have enough depth of field to ensure the image is sharp from front to back.

ISO 200 • 1/60 sec. • f/14 • 23mm lens

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easier Focusing

The X100S’s autofocus (AF) mechanism is very good, but sometimes you may need to turn to

manual focus to fine-tune your composition. This is especially true when shooting on a tripod, as

it may not be possible to select an AF point easily that matches your HFD calculations. This situ-

ation often arises when you have a foreground element that is fairly low in the frame. One way to

address this is to use a single focus point set low in your viewfinder and then pan the camera down

until it rests on your subject. You would then need to press the shutter halfway to focus the camera,

and then try to recompose and lock down the tripod—which is not an easy task. However, a much

easier way to get the focus right is to use autofocus, and then focus the lens manually to fine-tune

your composition.

Composition and the Rule of Thirds

We talk extensively about composition in Chapter 8, “Creative Compositions,” but it’s

worth taking some time here to discuss the relevant elements for landscape photography.

As the photographer, it is your job to lead the viewer through the picture. You accomplish

this by utilizing the principles of composition, which essentially is the arrangement of ele-

ments in the scene that draws the viewer’s eye through your image and holds their attention.

There is a general order in which we look at elements in a photograph. The first is bright-

ness. The eye wants to travel to the brightest object within a scene. So, if you have a very

bright sky, it’s more than likely the first place the viewer’s eye will travel. The second order of

attention is sharpness. Sharp, detailed elements will get more attention than soft, blurry

areas. And finally, the eye will move toward vivid colors while leaving the dull, flat colors

until last. If you can keep these features of image reading in mind, you will be in a good

position to create well-composed and visually appealing landscape images (Figure 6.14).

The simplest of all compositional “rules” is the rule of thirds. The premise of this rule is

simply to divide an image into thirds by two horizontal and two vertical lines that divide

the frame equally. The key to this method of composition is to locate your main subject

near, or on, one of the intersecting points of the lines. As a general rule, try to avoid placing

your subject right in the middle of the frame. Occasionally this can work, but it requires the

right subject matter and overall scene to work well. Otherwise, the image will likely be less

visually appealing and may not hold the viewers’ attention, because it doesn’t convey to

the viewer which element carries visual importance. Similarly, when you shoot landscapes,

you should position the horizon one-third of the way up or down in the frame (Figure 6.15).

Splitting the frame in half is usually not as effective as dividing the image based on the

rule of thirds.

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Figure 6.14 the compositional elements in the frame pull the viewer’s eye around the image leading from the sky to the vivid area of blue water in the center.

ISO 200 • 1/60 sec. • f/16 • 23mm lens

Figure 6.15 placing the horizon line at the top third of the frame allowed me to create an interesting, but simple, composi-tion focusing on the reflection of the set-ting sun in the sea.

ISO 800 • 1/125 sec. • f/14 • 23mm lens

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Framing Guidelines

The X100S allows you to set up framing guidelines in the electronic viewfinder, which makes

composing using the rule of thirds a breeze. Check out Chapter 3, “The Viewfinders,” for more

details on how to configure this helpful feature.

Advanced Techniques to Explore

Although the X100S with its fixed lens may not be everyone’s ideal landscape photogra-

phy camera, it is certainly able to produce beautiful images. With careful consideration

of composition, structure, and light, you will be able to migrate from snapshots to great

shots in no time. Moreover, the X100S does have a couple of very neat features up its sleeve

that many other cameras don’t. Let’s explore motion panoramas and advanced filters.

Shooting PanoramasThe X100S has an incredible built-in panorama system that essentially takes multiple

images and stitches them together, in camera, to produce one panoramic image (Figures

6.16 and 6.17). Using a tripod with a panning head will yield the best results, but it’s cer-

tainly possible to shoot panoramas without a tripod.

Figure 6.16 using the X100S’s motion panorama feature, i was able to capture a sweeping scene from the bay right out into the ocean.

ISO 400 • 1/125 sec. • f/8 • 23mm lens

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Figure 6.17 using the motion panorama feature, i was able to capture the whole bay, from one side to the other, in a 180-degree coverage.

ISO 400 • 1/500 sec. • f/16 • 23mm lens

Shooting motion panoramas:1. Press the Drive button on the back of

the camera.

2. Using the command dial, navigate to the last option, Motion Panorama (A).

3. Per the prompt on the next screen, press the command dial to the left to choose the angle and right to choose the direction (B).

4. Press the command dial left and select 120 or 180 Degrees (C).

The degree selection screen will disappear automatically.

B C

A

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5. Press the command dial right to go to the direction selection screen (D).

6. Use the command dial to select the direction.

The screen will disappear and it will be time to shoot the image.

7. Aim at the start of your panoramic image and, keeping the camera as steady as possible, follow the line through the arc of the panorama.

When you have completed the arc through the panoramic scene, the camera will stop shooting and make the image by stitching together all the exposures it created during the shot.

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It’s important to note that the exposure of the whole panorama is set with the first

frame. Also, the camera may stop while shooting the panorama if it senses you have

moved wildly off the central line or if you press the shutter button during recording.

You are fairly restricted in terms of how the panorama image is created. Although the

option to shoot a motion panorama will be available in the Drive menu, if you are in

RAW shooting mode the image created will be a JPEG. Additionally, you can’t use flash,

expanded ISO, self-timer, or advanced filters when shooting in this mode.

Advanced FiltersAdvanced filters are built-in special effects that give you a creative outlet for making

images with considerable flexibility. The advanced filters are available only for JPEG files

and are accessed via the Shooting Menu 4’s Advanced Filters option. Once set, if you wish

to switch off Advanced Filter shooting, return to this menu and select Off.

D

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Selecting an advanced filter:1. Press the Menu/OK button.


3. Select Advanced Filter by pressing the command dial to the right.

4. Select the filter you wish to use.

5. Press Menu/OK to confirm the selection.

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When you shoot using the advanced filters,

along with shooting only in JPEG, you will not be able to adjust many of the camera set-

tings such as dynamic range, film simulation, ISO, sharpness, color, etc. This makes sense,

as the advanced filters themselves will adjust these settings internally to create the image

in the designated filter.

There are 13 advanced filters to choose from:

• Toy Camera

• Miniature

• Pop Color

• High-Key

• Low-Key

• Dynamic Tone

• Soft Focus

• Partial Color (Red, Orange, Yellow, Green, Blue, and Purple)

Each filter has a different effect. For example, shooting with and without the Dynamic

Tone filter, you can see the dramatic effect that some of the filters have (Figures 6.18

and 6.19). Some filters are likely to be more appealing than others, and choosing which

to use depends, to a certain extent, on your artistic taste. So let your creative juices flow

and enjoy experimenting with the filters to add a very different and dynamic flair to your

landscape images.

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Figure 6.18 Before the Dynamic tone advanced filter is applied.

ISO 400 • 1/500 sec. • f/8 • 23mm lens

Figure 6.19 after the Dynamic tone advanced filter is applied.

ISO 400 • 1/500 sec. • f/8 • 23mm lens

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1476 : l a n D S c a p e p h o t o G r a p h y

We’ve covered a lot in this chapter, including getting your landscape images sharp, using the lowest ISO,

using filters, taking panoramas, and even playing with advanced filters. Landscape photography is all

about conveying your artistic vision for an image to the viewer. Let’s see what you’ve learned and put

some of that new knowledge into practice.

Keep it sharp and in focus

To create landscape images that are filled with detail and in focus, we know that we need to use a small

aperture (f/11 or f/16, for example) and the lowest ISO possible. Try shooting these images handheld,

and then shoot the same scene using a tripod without changing the exposure settings. You should see

that the images are extremely difficult to shoot handheld without upsetting the image quality.

use a filter

If you intend to take landscape photography seriously, you could invest in professional ND and ND grad

filters. I use ones that Lee Filters builds for the X100S; however, the X100S does have a three-stop ND

filter built in.

Find a scene with fast-moving water and create an image illustrating the motion of the water. First shoot

without the ND filter (or screw-on filter if you have one) and then with the filter. You should be able to

shoot longer exposure times, allowing you to create a lovely, smoky water movement.

White balance your scene

Using the camera’s white balance features, take several images of the same scene using different white

balances and even a custom white balance. Note the difference in the hue and temperature of the image.

Try and “shift” the white balance to create a warmer image, then a cooler one.

Shoot at different times

Try shooting a landscape image at various times of the day, ensuring that you shoot at the Golden Hours

(dusk and dawn). How do those images differ to, say, an image shot at midday?

create a panorama

Using the camera’s Motion Panorama mode, create two sweeping images of the same scene. Shoot one

at 120 degrees and the other at 180 degrees. If you are shooting handheld, hold the camera firm, plant

your feet, and swivel at the hips. You should see quite a difference between the image shot at 120 degrees

and the one shot at 180 degrees.

experiment with advanced filters

There are 13 advanced filters to experiment with. My favorite ones are Dynamic Tone and Miniature. See if

you can shoot the same scene with each of the 13 filters to get a great overview of what each one looks like.




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ISO 3200 • 1/60 sec. • f/2 • 23mm lens

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149

7Low LightingShooting when the lights get low

For a camera so small, the Fujifilm X100S is exemplary when it comes

to low-light shooting situations. The X-Trans CMOS II sensor allows you to

shoot at much higher ISO levels than were even thought possible a few

years ago, while retaining sharp and high-contrast image quality. Low-light

shooting used to be the realm only of those well versed in Flash, but

now it’s possible to produce superb images in the most challenging of

lighting conditions.

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ISO 6400 • 1/15 sec. • f/2 • 23mm lens

Shooting in low light requires a steady hand or a tripod to achieve

accurate exposure. For this image, I had to shoot at 1/15th of a

second to get enough light into the camera. Using the flash would

have ruined the mood of the image, which is lit entirely by a

television to the left.

Noise control on the X100S is excellent. This image was shot at a very high ISO but exhibits little digital noise, which might have been the case with a lesser camera.

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Photographing scenes like this requires steady hands and a slow shutter speed.

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Understanding High ISO Capabilities

As light fades, it’s likely that you’ll need to raise the camera’s ISO settings. The X100S

has a native ISO range of 200 through 6400, and you may need to use ISO levels of 1600,

3200, or even 6400 to achieve a good exposure for the shutter speed and aperture combi-

nation that you desire. Such was the case in this shot of a local band playing in a dark bar

(Figure 7.1).

Not so long ago, shooting in very low-light situations without resorting to flash was virtu-

ally impossible. But recent developments in camera technology have led to substantial

improvements in terms of low-light shooting capabilities. Having the power and versatility

of the large ISO range is one of the most important features of modern digital cameras

(Figure 7.2).

Figure 7.1 i used a fast aperture of f/2 in combina-tion with a relatively slow shutter speed, as well as a high iSo to ensure the correct exposure in this dark environment.

ISO 3200 • 1/60 sec. • f/2 • 23mm lens

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7 : l o w l i G h t i n G 153

Digital single lens reflex cameras (DSLRs) set the flash-free path in motion with amazingly

high ISO sensitivity in the sensors. Now, mirrorless cameras are meeting, and in some cases

beating, those benchmarks with their ISO capabilities. It’s now possible with cameras like

the X100S to produce images that can stand up to enlargement and substantial post-

processing editing even at higher ISOs. I’m never afraid to lean on increasing the ISO,

preferring to do this in almost all cases over using the built-in flash or off-camera flashes.

I much prefer the more natural look of ambient light.

Your ISO choice is closely related to the shutter speed at which you are shooting. This is

especially important for handheld shots. The X100S is small and light with a fixed lens, so

handholding it at 1/60 of a second is likely going to result in much better exposures than

handholding a large DSLR with a 200mm lens attached. This is because the smaller camera

will allow less camera shake due to the sheer lack of weight imbalance. If you are holding

a much smaller body and lens, you will likely hold it steadier than you would a heavier

body with a long lens attached. Even simply pressing the shutter button can have a major

effect on the movement of the camera, so the less camera shake, the better (Figure 7.3).

Whether you are shooting in a high school, local bar, or out late at night, low-light condi-

tions will always require that you consider increasing the ISO in order to achieve a good

Figure 7.2 in the past, i would have used a flash to capture this image. instead, i can expose this shot handheld at 4000 iSo to get the image i want.

ISO 4000 • 1/125 sec. • f/2 • 23mm lens

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Figure 7.3 in this relatively dark church, i was able to shoot at a high iSo but with a slow shutter speed, enabling me to shoot the image without relying on a flash.

ISO 1000 • 1/60 sec. • f/2 • 23mm lens

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exposure. Good-condition shooting generally takes place between 200 and 800, whereas

indoor shooting with ambient light may require a setting of 1600 or higher. Depending

on where you take your camera, of course, you will probably need to think about low-

light shooting only sparingly. However, it’s very important to understand when, where,

and why you may need to increase the ISO in your X100S. For example, you may need to

increase the ISO if you simply need a faster shutter speed to capture fast-moving action

in a low-light environment. Remember, as discussed in Chapter 1, “The Fujifilm X100S

Top Ten List,” the ISO, shutter speed, and aperture settings all directly affect each other.

Increasing the ISO can allow you to shoot with a faster shutter speed, but it will introduce

noise into the image.

Increasing the ISO level essentially increases the camera’s sensitivity to light by amplify-

ing the image signal. The downside is that this amplification also increases the risk of

amplifying the impurities in the image. Using the zoom feature on the LCD monitor when

reviewing your images will help you establish how much noise is evident in the images.

Also, if you are shooting JPEG (as opposed to RAW), the camera will apply a certain

amount of built-in noise reduction. I generally set this to -1, as I find the standard noise

reduction a little harsh. Essentially, I’m asking the camera to apply a little less noise reduc-

tion. This affects only JPEG files, however; RAW files are unaffected. Remember that

shooting in RAW is going to result in a totally unprocessed image, whereas shooting in

JPEG will allow the camera to make certain processing adjustments to your images, such

as noise reduction. If you shoot in RAW+JPEG mode, you will get one processed image

and one unprocessed image. I often shoot like this if I’m unsure of how the final JPEG will

end up, which gives me more latitude in post-production.

auto iSo

When the X100S’s ISO setting is set to one of the Auto values, the camera will adjust the ISO

accordingly as the ambient light levels change. For situations where you need to react very quickly,

this can be beneficial. However, where the ISO level is critical (and in low light it always is), I sug-

gest setting the ISO manually and not using the Auto ISO feature. Setting the ISO manually means

you are very aware of the exposure settings and the surrounding light. It will also ensure that all

your shots under the same lighting conditions remain consistent with regard to noise.

Natively, the X100S will allow you to shoot between the range of ISO 200 and 6400, and

in most cases this will be sufficient. However, in some cases you may find yourself in such

low light that using a flash is not an option, and in order to get the shot, you need to use

the expanded ISO. The expanded ISO for the X100S extends two more levels to 12,800

and even 25,600. At such high ISO levels as these, you simply can’t expect the images not

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to suffer dramatic image degradation. There will be a lot of noise, but if the choice is

between getting the shot or not, it’s worth using these levels (Figure 7.4).

Note that when using the expanded ISO levels, the letter “H” appears in the ISO setting

display, indicating a high ISO. Conversely, if you are shooting in very bright light, you can

extend the lower range of ISO also—down to ISO 100—and this is preceded with an “L”

(for low) in the ISO display.

Figure 7.4 this image was shot at the expanded iSo range of 12,800. it’s remarkably noise-less considering the elevated iSo level.

ISO 12,800 • 1/40 sec. • f/11 • 23mm lens

Setting up iSo expansion (jpeG mode only):1. Press the Menu button.


3. Using the command dial, scroll down and select the ISO option.

4. Select either H(12800) or H(25600).

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7 : l o w l i G h t i n G 15

As mentioned, using the expanded ISO levels should be a last resort, as you will see a

noticeable degradation in image quality and an increase in noise within the photograph.

To that end, I also encourage you to set the in-camera Noise Reduction setting to +2 if

you are shooting at these expanded ISO levels.

Stabilizing the Camera

The X100S is a fixed-lens system, meaning you can’t change lens options depending on

shooting scenarios. Camera systems that offer interchangeable lenses often offer “image

stabilized” or “vibration reduced” lenses.

Because the fixed lens of the X100S is relatively wide at 23mm, in most circumstances it

should be possible to handhold and shoot. However, in some cases, when shooting in low

light you may need to open the shutter (expose) for longer than it would be possible to

handhold without introducing camera shake. In this shot of Malmesbury Abbey (Figure

7.5), I wanted to include as much ambient light as possible, and so I had to shoot at a very

slow shutter speed. To achieve this, I used a Gorillapod tripod system, which attaches to

the tripod thread on the base of the camera.

Figure 7.5 Stabilizing the camera mitigates camera shake and thus aids in getting sharp shots. in this image, i used a long exposure to capture all of the ambient light fully and a tri-pod was necessary to minimize move-ment in the camera. this allowed me to shoot at a more reasonable exposure as opposed to an exposure that may introduce noise.

ISO 200 • 30 sec. • f/8 • 23mm lens

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Focusing in Low Light

One of the greatest challenges you may encounter when shooting in low light is simply

focusing the camera. The camera may struggle to focus if there is insufficient ambient

light or contrast against which it can detect focus points. This is often the case when

shooting in low-light scenarios. Utilizing a higher ISO to control the shutter speed while

holding the camera steady will give you a better chance of focusing during low light

(Figure 7.6).

As an example, consider trying to focus your camera on a solid white wall. It is unlikely

the camera will obtain a focus point, as there are no contrast elements within the scene

for it to focus against. If you find a situation where the camera is constantly “hunting”

for focus, chances are there is not enough light or contrast for the lens to focus against.

Figure 7.6 in an environment where a flash would be intrusive, i used a high iSo to give me an exposure that i could shoot handheld.

ISO 6400 • 1/120 sec. • f/2 • 23mm lens

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7 : l o w l i G h t i n G 159

phase-Detection autofocus

When the X100S was announced, one of the standout features compared to the previous X100 was

the introduction of on-sensor phase-detection autofocus (AF). Essentially, this means that in good

light, the X100S will use the more accurate phase-detection system (applicable in the central 40

percent of the frame), as opposed to contrast-detect AF. When the light or contrast is more difficult

for the camera to handle, it will automatically revert to the older contrast-detect AF as seen in the

original X100. Phase detection is faster than contrast detection, as it uses only one motor move-

ment of the AF system, whereas contrast detection often hunts back and forth when searching for

a focus point.

When I have trouble finding focus in low light, I will usually make sure my focus point is

set manually—depending on the subject’s location within the frame, of course. If the sub-

ject is on the left of the frame, I will select a focus point on the left of the frame rather

than using the central focus point and

recomposing (Figure 7.7). Initially, I will

attempt to lock focus by holding down the

shutter button halfway and preparing to

shoot when the focus is locked.

Another technique is to focus on some-

thing else that does have enough contrast

and that is approximately the same dis-

tance away as the subject you want to

shoot. Detect and lock focus on this sub-

ject, recompose for the actual subject,

and shoot.

Alternatively, you can focus manually using

the Focus Peak Highlight and enlarged

view features (advanced manual focus

is discussed in more detail in Chapter 9,

“Hitting the Streets”). By switching the

camera focus to manual and selecting the

Focus Peak Highlight option, in the view-

finder you’ll see the currently focused area

of the scene via the shimmering section of

the image (Figure 7.8).

Figure 7.7 adjusting the focus point in the viewfinder can aid focusing in low-light conditions.

Figure 7.8 using Focus peak highlight is a great way of ensuring focus accuracy when autofocus is not possible. You can make out the white dapples in the image that indicate the focus point.

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enabling Focus peak highlight:1. Using the focus mode selector on the left side of the camera, switch the camera to

manual focus (MF).

2. Press the command control and hold it down for approximately 2 seconds untilFocus Peak Highlight is displayed.

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You can use the focus ring on the lens to move the correct part of the frame into focus.

Because you are in MF mode, you can even press the AFL/AEL (focus lock/exposure) but-

ton on the back of the camera to quickly snap the focus into place, and then use the

focus ring to manually adjust or correct the designated focus. You may even prefer to

use Digital Split Image or the enlarged focus point when focusing manually (again, these

features are covered in Chapter 9).

Shooting Long Exposures in Low Light

As you now know, shooting at elevated ISOs in low light reduces noise in images. However,

it is possible, in certain circumstances, to shoot in low light and remain at a low ISO for

optimum quality. It depends on the subject and the light within the subject. For example,

if you are shooting fireworks and you want to capture the light and movement, you can

utilize a combination of low ISO and a long shutter speed (Figure 7.9).

Figure 7.9 a low iSo is required in low-light scenes where the subject is a bright object. in this image, i used Bulb mode with the camera on a tripod to capture the fire-works’ motion and brightness.

ISO 200 • 3.2 sec. (Bulb mode) • f/11 • 23mm lens

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If you use the X100S to shoot very long exposures in low light, the shutter speeds are going

to be much longer than you could possibly manage by handholding the camera. In cases

like these, essentially you have three options:

1. You can shoot using a predefined shutter speed.

2. You can shoot using Time (T) mode (allow a selection between .5 and 30 seconds).

3. You can shoot using Bulb (B) mode, which effectively allows you to create an exposure

for any length you see fit.

To get started, when shooting in JPEG mode and making long low-light exposures, make

sure the Long Exposure NR (Noise Reduction) menu is set to On. This enables the camera

to handle some of the noise and artifacts that inevitably appear when shooting long

exposures, especially in low light.

Once you have turned on Long Exposure Noise Reduction, make sure that your camera

is on a tripod or on stable ground (not handheld), and put your camera into Bulb mode

or set the timer to the exposure time you wish to achieve. You can set the aperture to a

relatively large value (F11 or F16), especially if the subject is going to be some distance

away. Set the ISO low, something like 200 or 400, to maximize the quality of the image

and reduce the amount of noise. If it is too dark to focus, consider focusing manually.

And if you have a cable release on hand, use it to ensure optimum stability during the

exposure (just the motion of pressing and depressing the shutter button can cause cam-

era movement). Once the image is created, you may notice a delay in the time it takes to

appear on the LCD monitor or image review. This is because the camera is applying the

noise reduction.

You can experiment with long exposures using Bulb mode, or alternatively, use Aperture

Priority (A) mode and concentrate on setting the aperture yourself. Using Aperture Priority

will give you control over the length of time the shutter stays open, but only at the avail-

able speeds on the shutter speed dial. To use anything slower than those settings, you will

need to use Time or Bulb mode.

Using the Built-In Flash

Sometimes it’s just not possible to get an acceptable exposure in low light without adding

more light artificially. The X100S has a small integrated flash unit, which actually packs

a powerful punch. A flash is there to light the subject, while at the same time retain as

much of the ambient light as possible.

The X100S uses a TTL (through the lens) metering system, which means that flash meter-

ing is done via the camera lens. In short, the flash evaluation is based on what you (or the

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camera) are actually seeing and metering for through the lens itself. To identify the correct

amount of flash necessary, the camera emits an initial test flash, which it uses to calculate

the reflected light. Along with the other information the camera has established from

the exposure settings and focus distance, this information is used to generate the perfect

amount of flash necessary for the subject to be lit and exposed correctly. TTL flash meter-

ing can be used in all kinds of lighting situations, for example, shooting outside to illu-

minate a backlit subject (Figure 7.10) or when shooting indoors and requiring additional

light to fall on a subject (Figure 7.11).

Figure 7.10 on a gloomy day, with the natural light behind the subject, i used the built-in flash to “fill in” the shadows so i could shoot from beneath these berries.

ISO 400 • 1/125 sec. • f/2 • 23mm lens

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7 : l o w l i G h t i n G 163

Figure 7.11 For this image of a wedding cake, i decided to use a flash instead of increasing the iSo levels to get the image i required.

ISO 200 • 1/200 sec. • f/2 • 23mm lens

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To control the built-in flash on the X100S, press the command dial to the right to display

the following options. Then rotate the dial, or press it left or right, to highlight the desired

option and press the Menu/OK button to select it.

• Auto: The flash will fire as and when the camera thinks it is necessary. This flash mode

is available only in Program (P) automatic exposure mode. Before the camera resorts

to using the flash in this mode, it will do everything technically possible under the

current exposure settings to avoid using the flash. Part of this process may include

the camera adjusting the ISO, adjusting the shutter speed, and widening the aperture

before ultimately setting the flash.

• Forced Flash: The flash fires every time a picture is taken and is available in all expo-

sure modes. In Forced Flash mode, the camera will still aim to light the subject correctly

by adjusting the exposure settings, but will always result in the flash being fired.

When using Aperture Priority or Program mode, the camera will attempt to use an

exposure that will not exceed 1/30 of a second.

• Suppressed Flash: The flash is off and will not fire, even if the image will be severely

underexposed.

• Slow Sync: The camera tries to capture both the ambient light in the background and

the subject. This flash mode is available in Program or Aperture Priority mode, because

the camera has to be able to control the shutter speed. In this flash mode, the camera

may choose to expose the image at slower than 1/30 of a second (which is what differ-

entiates it from Forced Flash).

• Commander: The built-in flash can be used to control optional remote flash units.

• External Flash: Select this option when you have an external flash unit mounted to the

hot shoe.

Note that the flash will not fire if your camera is in silent mode. Also, it is wise to remove

the optional lens hood if it is attached when using the flash, as this can cause shadowing

within the image.

In most circumstances, the Auto flash mode will be sufficient, and you will see that the

X100S produces even and well-balanced light across the subject (Figure 7.12). If you

require the flash to fire regardless (even in bright daylight, the flash can often help lift

out shadows—a technique known as “fill flash”), set the camera to Forced Flash. In some

situations, you will want to illuminate the main subject and keep some ambient light in

the background using Slow Sync (Figure 7.13).

Often, you can create much more attractive and artistically modified light using external

flash guns both on the hot shoe and remotely. I discuss using external flashes in more

detail in Chapter 12, “Pimp My Ride.”

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7 : l o w l i G h t i n G 165

Figure 7.12 this image was shot using auto flash mode. note the red-eye as well as the lack of detail in the building in the background.

ISO 400 • 1/35 sec. • f/2 • 23mm lens

Figure 7.13 this image was shot with Slow Sync, which allows the camera to capture the ambient light in the background.

ISO 400 • 1/8 sec. • f/2 • 23mm lens

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Removing Red-Eye

All the flash modes allow you to use a feature known as Red-Eye Removal. Red-eye is

caused by the reflection of the flash’s light off the subject’s eye, and can be exhibited in

humans and animals alike. Red-eye is often a problem with internal flash systems because

it is difficult to avoid shooting the flash directly at the subject. This effect can be miti-

gated when using external flash systems, as they allow a much more directional approach

for the flash.

The X100S has an excellent Red-Eye Removal feature that uses both a physical method

and a software-based method of reducing red-eye. In the first instance, when Red-Eye

Removal is activated, the camera will fire a short pre-flash, which forces the subject’s

pupils to shrink or constrict. This in itself reduces the reflection from the eye’s retina.

Then, when generating the JPEGs, the camera will use software to remove any further

remaining red-eye issues in the image (Figure 7.14).

Figure 7.14 unlike the image in Figure 7.13, this image was shot with the red-eye removal option on, which removes red-eye in most circumstances.

ISO 400 • 1/8 sec. • f/2 • 23mm lens

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7 : l o w l i G h t i n G 167

Setting up red eye removal:1. Using the command dial, navigate to Shooting Menu 5.

2. Using the command dial, select Red Eye Removal.

3. Select On and press Menu/OK to confirm the selection.

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Shooting manually

When using a flash, if time allows, I usually shoot manually. I set my shutter speed to 1/125 and

my aperture accordingly. I always avoid using Auto ISO; generally I set my ISO at a level that will

give me the ambient light I want, often starting at ISO 800 and adjusting if necessary. Working

this way gives me complete control over the built-in flash, and I can use the results displayed on

the LCD monitor, or in the electronic viewfinder, as a guide. I can create the exposure and make

adjustments to the flash compensation as necessary by viewing the image on the LCD monitor and

making an informed guess.

Compensating for Flash Exposure

Although the X100S’s built-in flash system is an excellent provider of fill light and flash, and

ordinarily produces a good exposure, sometimes the camera’s metering of the scene results

in a flash that is too light or too dark. In such cases, when the metering system is having

problems with the exposure, you may need to adjust the flash’s output to suit your desired

exposure. Unlike exposure compensation, which is controlled by the exposure compensa-

tion dial on top of the camera and can be adjusted by up to two full stops, flash exposure

compensation can be adjusted by a maximum of two-thirds of a stop.

adjusting the flash:1. Press the Menu button.

2. Using the command dial, select Shooting Menu 4.

3. Using the command dial, select Flash.

4. Select the level of compensation you require. A positive amount will increase the flash output; a negative amount will decrease the output.

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Now that you are familiar with shooting in low-light scenarios, it’s time to put all this new knowledge

to the test. These assignments should test your knowledge of low-light shooting both with and without

a flash.

Steady hands?

It’s important to understand just how slow a shutter speed you can control yourself by handholding the

camera. Find a static subject and, with the camera in your hand, set your camera to Shutter Priority and

take a few shots at 1/8 of a second, 1/30 of a second, and 1/60 of a second. Next, place the camera on a

steady base or a tripod and repeat the shots. Compare your images to see how much camera shake you

are creating by handholding at lower shutter speeds.

push the iSo boundaries

Ensure your camera is set to the Fine JPEG quality setting. Find an area to shoot where the natural or

ambient light is low (outdoors after dusk or indoors in a dark room). Configure your camera to use the

exposure mode of your choice and begin making a series of photographs. With each shot, increase the

ISO one full stop (200, then 400, etc.) until you get to the ceiling of 25,600. Look at each image and

especially make note of the noise in the shadowy areas.

remove noise

Again, ensuring your camera is shooting in JPEG mode, set the Noise Reduction to +1 or +2 and repeat

the preceding assignment. Only you can personally decide which levels of noise are acceptable with and

without the High ISO Noise Reduction feature turned on.

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take long exposures in the dark

Using a tripod, find a suitable place to experiment with long-exposure shooting. Set up your camera

using Aperture Priority mode, and use Time or Bulb mode to activate the shutter release (if you have

a cable release, even better). Shoot in an area that has some levels of natural or ambient light, such as

traffic lights, a block of buildings, or even a full moon. The idea is to get some dramatic low-light shots,

perhaps with moving traffic streams.

Focus in low light

Find a low-light scenario—indoors perhaps, or after dusk in an area with little ambient light. Locate a

subject that has little contrast and detail, such as a brick wall or the hood of a car. Attempt to focus on

the subject as you would normally using autofocus. If you experience difficulty, move the camera into

manual focus mode and use the Focus Peak Highlight feature to focus the photograph manually.



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ISO 400 • 1/800 sec. • f/2 • 23mm lens

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171

8Creative CompositionsImproving your pictures with compositional flare

Creating well-composed images involves more than just using the “rule

of thirds” to control to a certain extent the viewer’s experience of your

images. Composition is about understanding how people view an image

and how you can use those elements to your advantage to create pleasing

and interesting photographs. In this chapter, we will examine some of

these compositional techniques to see how you can use them to—often

dramatically—improve your photographs.

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The main subject of the image resides on the axis of two of the “thirds.”

The vertical lines in the building help draw the eye down to the cyclist, who is the main subject.


ISO 200 • 1/180 sec. • f/10 • 23mm lens

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Being aware of what draws the human eye can allow you to make photographs

easier for a viewer to “read.” Knowing that the eye is drawn to isolated objects

and contrasting areas of color allowed me to build a composition where the cyclist

became the heart of the image, yet remains very small in the frame.

Using negative space helps give a sense of size and perspective.

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ISO 250 • 1/125 sec. • f/5.6 • 23mm lens

Creating a good photograph isn’t just about the camera settings—it’s also about

framing the image. I wanted a cityscape shot of London and decided to get as high

as possible to get a birds-eye view. However, height wasn’t the only attribute: I used

the city’s natural elements, such as the skyscrapers, bridges, and rivers, to help form

the overall composition of the image.

The core subject of the image is on the axis of two “thirds” in the image.

A wide-angle focal length and large f-stop allow the image to remain sharp throughout.

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The curve of the river helps the viewer navigate through the whole image.

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Depth of Field

One primary element of sound composition is depth of field. Selectively focusing is a

great way of emphasizing your subject by controlling the depth of field, and by using a

wide aperture on the X100S, you can blur the background to do just that (Figure 8.1). This

allows the viewer to understand what the photographer considers the most important

element within the photograph. In this example, the partial reflection in the table also

enhances the composition, and the background, even if it’s blurred, provides context to

the scene.

Figure 8.1 the use of a wide aperture has thrown the busy bar background out of focus and allowed me to focus exclusively on the primary subject in the image.

ISO 400 • 1/400 sec. • f/2 • 23mm lens

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8 : C r e at i v e C o m p o S i t i o n S 177

Shooting reflections

A mirror or reflective surface has two dimensions, so why do you have to focus at a different dis-

tance from the image in the reflection? The answer, as with many things in photography, is related

to light. When you focus your lens, you are focusing the light being reflected off a surface onto your

camera sensor. So if you want to focus on the reflective surface itself, you would focus from one

distance, but if you wanted to focus on the subject being reflected, you would have to account for

both the object’s distance from the reflective surface and its distance to you. Remember that the

light from the subject has to travel all the way to the mirror and then to your lens. This is why a

smaller aperture can be required when shooting reflected subjects.

I used a small aperture to increase the depth of field when photographing this tower

so that as much of the frame as possible would appear sharp (Figure 8.2). Although this

image is quite solitary in its subject choice, other elements such as color, contrast, and

negative space all play a part in the successful composition of the photograph.

Figure 8.2 the depth of field provided by the f/9 aperture helped to emphasize the tower’s height. the negative space and contrasting color also enhance the composition by helping to draw the viewer’s eye to the subject.

ISO 200 • 1/2000 sec. • f/9 • 23mm lens

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Angles

Strong angular lines in an image can add to the composition, especially when they are

juxtaposed to each other (Figure 8.3). This can create a tension that is different from the

standard horizontal and vertical lines that we are so accustomed to seeing in more tradi-

tional photographs.

Figure 8.3 the strong lines of the balconies create a dynamic composition.

ISO 200 • 1/1000 sec. • f/5.6 • 23mm lens

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Light

Perhaps the most complex yet necessary compositional element is light. Brightness (high-

lights) and darkness (shadows) can really come together in an image to make a dynamic

compositional piece. All photographs should be a study of the presence and absence of

light; a pleasing aesthetic is achieved when light and dark are balanced harmoniously

(Figure 8.4).

Viewers’ eyes are drawn to the brightest elements in an image. This is something that

painters use to their advantage on their canvases, and it’s something we, as photogra-

phers, can keep in mind, too. So it’s often best to ensure that the subject or part of the

subject is in the brightest element of the frame. If something in the background or a

secondary element is brighter, it can compete too heavily with the primary subject for

the viewer’s attention (Figure 8.5).

Figure 8.4 the shaft of light illuminating the office workers and the contrast with the dark areas help lead the viewer’s eye.

ISO 800 • 1/500 sec. • f/8 • 23mm lens

Figure 8.5 the brightest element of this frame is the pile of snow. this distracts the viewer from the core subject, the man on the left of the frame. ensuring the key subjects are brightest in the frame will result in a much better composition.

ISO 800 • 1/500 sec. • f/8 • 23mm lens

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Point of View and Perspective

Sometimes the easiest way to influence your photographs is simply to change your per-

spective. Instead of always shooting from eye level, try moving your camera to a place

where you would not normally see your subject. Try getting down very low, or at least

placing the camera very low. This low angle can completely change how you view your

subject and create a new interest in the scene (Figures 8.6 and 8.7).

Figure 8.6 placing the camera at ground level gives a different perspec-tive to an otherwise normal image.

ISO 640 • 1/125 sec. • f/2 • 19mm lens

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Figure 8.7 By lying on the ground and photographing my little boy in the car, i get a more unique perspective of the scene.

ISO 400 • 1/755 sec. • f/2 • 23mm lens

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Color

Color works well as a compositional tool when you have saturated colors to work with.

The primary colors of red, green, and blue work especially well together, as they can be

juxtaposed to create visual tension (Figure 8.8). This compositional mechanism adds drama

and excitement to the scene and, when combined with other compositional elements,

will aid in the creation of an excellent photograph.

Highly contrasting or saturated colors such as white and blue, and red and yellow, can add

visual appeal (Figure 8.9). Saturated colors also have a vibrancy to them that can draw the

viewer into the image easily. Whether you are working with clothing, buildings, or simple

everyday objects, color can be a very effective tool in your compositional arsenal.

I often create images that are dominated by one color, which helps with the structure and

composition of the image as a whole by giving the eye a lot less information to take in

before being drawn to the primary subject (Figure 8.10).

Figure 8.8 heavy blue skies against another primary color (the green grass) work well as compositional elements.

ISO 200 • 1/210 sec. • f/8 • 23mm lens

Figure 8.9 Direct sunlight provided hard light that empha-sized the contrast between the wall and the sky. the sun also created a shadow that brought some depth to the image.

ISO 200 • 1/125 sec. • f/16 • 23mm lens

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Figure 8.10 the façade’s deep red color against the black of the door and the lady help control how the viewer looks at the image, as the colors help lead the eye toward the central subject of the photograph.

ISO 400 • 1/125 sec. • f/5.6 • 23mm lens

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Contrast

Areas in a photograph where light meets shadow can be very compelling to the viewer.

Whether it’s a contrast of shape, color, or a silhouette, contrast can be a great vehicle for

drawing the viewers’ attention to the story within the frame (Figure 8.11).

Of course, contrast doesn’t have to be about light and dark; it can be a juxtaposition of color

or even shape. But, ultimately, it’s the contrast that will make an image visually interesting.

Figure 8.11 utilizing the contrast between dark and light creates this atmospheric silhouette.

ISO 400 • 1/160 sec. • f/16 • 23mm lens

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Leading Lines

Directing the viewer’s eye to the subject of an image is an import facet of compositional

structure. One way to do this is to include leading lines in your images (Figure 8.12).

A leading line essentially draws the viewer to the subject via elements of the image that

are not necessarily part of the core story within the frame.

Figure 8.12 the leading line of the escalator rail draws the viewer’s eyes to the subjects within the image.

ISO 400 • 1/640 sec. • f/2 • 23mm lens

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Backgrounds

All too often it’s easy to concentrate too much on a shot’s main subject, and to forget

about how the rest of the frame affects the image. Backgrounds are a constant in every

photograph, and it’s important not to let the background compete with the primary sub-

ject if it’s not intended to do so (Figure 8.13). Generally, you can shift your position or the

subject to eliminate distracting backgrounds. By avoiding background clutter and distrac-

tions, you can help the viewer focus on the main subject.

Figure 8.13 use the macro mode and a wide aperture to throw the background out of focus, preventing a cluttered background from distracting from the image’s subject.

ISO 400 • 1/125 sec. • f/2 • 23mm lens (macro)

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Bringing It All Together

We’ve talked about the core elements of composition, including color, contrast, perspec-

tive, backgrounds, angles, and leading lines. In some cases, just one of those compositional

elements is all that is needed to make a good image. However, if you can combine many

good compositional practices into one image, you can achieve a very visually appealing

result—even from a relatively simple image.

The image in Figure 8.14 works because it utilizes several key compositional elements.

The red color contrasts strongly with the white of the mocha, and the background stands

out with its simplicity and vivid color. Also, shooting from above the cup offers an unusual

perspective, and the shadow highlights angles and leading lines directing the viewer to

the primary subject of the image.

Figure 8.14 this simple image is visually strong, as it incorporates many elements of good composition: color, contrast, clean background, and perspective.

ISO 6400 • 1/45 sec. • f/2 • 23mm lens (macro)

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If you apply the shooting techniques and tools that you have learned in the previous chapter to these

assignments, you’ll improve your ability to incorporate good composition into your photographs. Try to

experiment with all the different elements of composition and see how you can combine them to add

interest to your images.

See color and lines

Take your camera for a walk around your local town. Look for contrasting colors and leading lines.

Don’t worry so much about getting great shots, just look for the color and lines, and develop your eye

for these details.

the aBCs of composition

Photographer Vincent Versace suggests shooting the alphabet to enhance your compositional skills.

This is a tough challenge, but grab your camera and go out and look for letters. Don’t necessarily find

printed letters; rather, look for objects that have the shape of letters. (Hint: Study tree branches and clouds.)

using aperture to focus attention

Depth of field plays an important role in defining your images and establishing depth and dimension.

Practice shooting wide open (perhaps close-up in macro mode) using the largest aperture available in

your environment to get a good exposure.

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1898 : C r e at i v e C o m p o S i t i o n S

Shoot low or high

Changing your perspective when shooting will enable the viewer to see a scene from an unusual angle.

Get down very low and shoot. Then shoot the same scene from eye level. Is there any more composi-

tional impact from the image shot down low?

exploit the light

Go for a walk around an hour before sunset. You will likely see lovely golden light that breaks between

buildings and falls in pools on the ground. Try and utilize this light to throw the focus directly onto the

main subject of your image.

Combine compositional elements

See if you can create an image that pulls in three, four, or even all of the compositional elements that we

have discussed in this chapter. Does the image work? If not, why?



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ISO 800 • 1/60 sec. • f/2 • 23mm lens

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191

9Hitting the StreetsThe art of candid photography

One of the things that attracts so many photographers to the Fujifilm

X100S is its amazing form factor. Its retro look, tactile buttons and func-

tions, and ability to shoot quickly in difficult situations make it a perfect

tool for street photography.

Candid photography, in its rawest form, is a way of shooting a subject

who is unaware that a photograph is even being taken. Of course, candid

photography does not have to take place on the street, much like street pho-

tography does not have to be candid. Many excellent street photographers

tell their stories through portraits, and some wedding photojournalists—

myself included—shoot candidly when photographing weddings.

This chapter will cover the mechanisms of candid photography and also

help you get the most out of some of the advanced features of the X100S

that will aid you in any form of shooting. So let’s get going!

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Focusing here and using a shallow depth of field (f/2) ensures the sharpest focus point is at the front of the frame.


ISO 400 • 1/340 sec. • f/2 • 23mm lens

Using the walls and alcoves on the station helped with the composition of the image, breaking it down into layers for the viewer.

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The X100S is a perfect companion for street photographers, enabling

you to shoot quietly and discreetly. As with all images, it’s best if the

photograph tells a story. In this shot, I wanted to capture a study of

“modern life,” showing how almost everybody on the platform is

interacting with an electronic device.

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What Is Street Photography?

You can define most types of photography quite easily. Sports photography, wedding

photography, landscape, and portraits are all specific genres, and the range of how the

photographer shoots is relatively fixed. Street photography, however, is much more dif-

ficult to define because it can—and often does—encompass many types of photography

along the way. The rapid reactions of a sports photographer, the compositional elegance

of a landscape photographer, and the subject-appreciation skills of a portrait photogra-

pher are in the arsenal of a good street photographer.

Often, people assume that street photography is just “candid shooting” on the streets.

For the most part, actually, this is true. But if you ask professional, working street pho-

tographers of today, almost always they will each give you a different definition. To me,

“street photography” is just a term for a photographer’s style, and it certainly doesn’t

have to be restricted to shooting on the streets. Storytelling should be the foundation,

and the building blocks of telling the story are the moment, the composition, and the light.

Including all three of those attributes is almost always going to result in a great image.

Constructing a Great Street Image

For me, street photography, while not restricted to the cities we live in, should revolve

around people. People—and their behaviors and mannerisms—are what interest me

when I’m looking at street photography. Of course, that doesn’t mean people have to be

in every street photograph, but it’s important to focus on the human world, and capture

and tell people’s stories—their creations and the world they live in. As mentioned above,

at the core of street photography are these elements: moment, composition, and light.

The Moment This is what storytelling photography is all about. The “decisive moment” is a concept

termed by Henri Cartier-Bresson as a way to describe his style of street photography,

which recognized that every event has a clear, defining moment. Photographs should

involve composition and light, but without a “moment” to pull those two attributes

together, you won’t truly be able to call it a great street photograph. For me, the moment

is more important than the composition and the light when it comes to street photography.

The story, or the moment, should form the fabric of why the image exists and, ideally, the

image should need no words to give it context.

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195

Composition One of the “rules” of photography is composition. A seemingly good image can be

deemed unusable if the composition isn’t quite right. In street photography, composition

is almost as important as the moment itself. Mess up the compositional structure of the

image and you could ruin a potentially brilliant photograph.

The composition of any image is made up of constituent parts. These could include the

focal subject, leading lines, or the negative space that is part of the overall composition

(see Chapter 8, “Creative Composition”). What makes good composition is often subjective,

but you can’t get away from the fact that a well-composed photograph, coupled with an

interesting moment, is going to make a rewarding image.

Light Photography literally means “playing with light.” Light can fall in all directions, can be

soft or hard, can be angled or baffled away… but the one constant is that light is essen-

tial to creating photographs. Of course, images can be made without great light, but ask

any landscape photographer about the “golden hour” and what it means to them. If you

ask a street photographer, you are likely to hear a similar story. Light is good most of the

time, but it’s only great some of the time.

If you can capture an image that has wonderful light, brilliant composition, and a decisive

moment, you have a winning formula for a strong photograph (Figure 9.1).

Figure 9.1 the skills needed for street photog-raphy can be used anywhere. at this wedding i waited for the right moment, composed the image, and had excellent light to work with.

ISO 3200 • 1/60 sec. • f/2 • 23mm lens

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the Decisive moment

Henri Cartier-Bresson’s book The Decisive Moment (1952, Simon & Schuster) is a celebrated body of

work for street photographers the world over. Famously, Cartier-Bresson explains that “photogra-

phy is not like painting. There is a creative fraction of a second when you are taking a picture. Your

eye must see a composition or an expression that life itself offers you, and you must know with

intuition when to click the camera. That is the moment the photographer is creative. Oop! The

Moment! Once you miss it, it is gone forever.”

Beating the Fear

Getting out and about on the streets is all well and good, but you need to be able to

conquer street photographers’ greatest problem of all: the fear of shooting in public,

namely of being caught taking photographs of people, and the consequences should

that happen. As a wedding photojournalist, it’s my job to blend in with my surroundings

and shoot the wedding story unfolding in front of my eyes. As a street photographer, your

goal is the same—but the stage for the story is different. It may be difficult to simply pick

up your camera and start photographing the public straight away; you will need patience,

stealth, and a lot of discretion. But with a little practice, you’ll get the hang of it.

Essentially, things may get problematic only if you are spotted taking a photograph. In that

case, many people will just ignore you, but in all other cases the best weapon on you at

that point is your smile (Figure 9.2). In this scenario, I had photographed the gentleman

as I walked toward him. After I took the shot, he looked at me and I simply smiled and

nodded slightly. I find smiling at people disarms a potentially tricky situation and, if it’s a

candid portrait you have shot, you may even offer to show the image to the subject.

Different countries have different rules on what you may or may not use in terms of

images photographed on the street. It’s wise to understand your local laws, as you may

need a model release to use the images online or elsewhere. A model release is simply a

signature from the subject that grants you use of their image. Generally speaking, images

taken in public places, of the public, are considered fine to use—but be safe and sure of

local jurisdiction rules.

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9 : h i t t i n G t h e S t r e e t S 197

Work the light

“Patience is a virtue,” or so they say. Certainly in street photography it is. If I come across a scene

that has great light but little action going on, then I wait. And then I wait some more. Hopefully,

eventually something engaging will happen within the scene that is worth making a picture of.

If not, I move on, but at the very least I give a scene with beautiful light time to mature into a work-

able photograph.

Figure 9.2 it’s better to wait for an image than to chase it, and reciprocate with a smile if necessary.

ISO 400 • 1/280 sec. • f/2 • 23mm lens

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It’s Not Always About People

While street photography involves studying humans and their behaviors, it should also

reach beyond them to the wider environment, which means that not all good street pho-

tographs have people in them (Figure 9.3). The environment that we live in and create

should also be part of the canvas available to street photographers.

A good tip is to give yourself a topic for your day’s street shooting. This could be the

color yellow, cars, or something more elaborate like the study of human communication.

Whatever you choose, by giving yourself a focused topic, you are more likely to home in

on the shots you want to capture. Without this plan, you may find yourself overshooting

and searching for images that just aren’t there.

Also, when I’m out shooting, I try not to repeat subject matter ideas too often. The largest

city near to me is London, which is a huge canvas with multitudes of ideas and subject

areas to investigate.

Figure 9.3 Street photogra-phy doesn’t always have to be about people. Selecting a topic for the day often works; in this case, my theme was transportation.

ISO 20 • 1/15 sec. • f/16 • 23mm lens

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It’s also worth remembering that you are not going to get award-winning photographs

with every click of the shutter button. Sometimes you will come back with no images

worth keeping, and other times only a few. The great photographer Ansel Adams once

said, “Twelve significant photographs in one year is a good crop.” It’s worth bearing that

in mind if you return from a fruitless street photography day (Figure 9.4).

Be inspired

Great street photographers of the past, such as Henri Cartier-Bresson and Eugene Atget, and mod-

ern custodians of the art of street shooting, such as Martin Parr and Bruce Gilden, all offer different

styles and approaches to shooting on the streets. Whether you adopt a more abrupt style such as

Gilden’s or a more considered and structured approach such as Cartier-Bresson’s, street photogra-

phy remains an art form that photographers all over the world continue to explore and enjoy.

Figure 9.4 the real purpose of street photography is to capture inter-esting moments. using the X100S allows you to get very close to people without them even noticing, or to get a quirky shot like this one.

ISO 200 • 1/250 sec. • f/2.8 • 23mm lens

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Using Focus Modes

The X100S is armed with three focus modes, each of which can be used for different types

of photography, but all of which can be especially useful when shooting candidly or rapidly

in any environment. These include:

• MF (manual focus)

• AF-S (single autofocus)

• AF-C (continuous autofocus)

Use the focus mode selector to

choose the mode you wish to use

(Figure 9.5).

Understanding all of the focus

modes will help you get great

shots when you are out shooting.

Do you need to use continuous

mode all the time? Is there any place for manual focus in a fast-moving shooting scenario?

Is single AF mode going to slow you down? Let’s investigate the focus mode options.

AF ModeBefore we review the focus modes fully,

it’s worth taking a moment to consider the

AF Mode menu option (Figure 9.6). This

option allows you to select how the cam-

era chooses a focus location in the scene

when you are using AF-S focus mode.

The X100S has 49 possible focus points if

you are using the electronic viewfinder or

LCD panel, and 25 focus points if you are

using the optical viewfinder. Essentially,

the choice between the two is one of

control over automation.

To move the focus point around, press the

AF button on the command dial (up button) and move the focus frame selectors by using

the selector buttons. Confirm your focus frame selection by pressing the OK/Menu button.

When you focus now, you will hear a beep and the focus frame will turn green to indicate

focus lock. Occasionally, if the camera can’t achieve focus, the frame will turn red. In this

Figure 9.5 the focus mode selector.

Figure 9.6 the focus mode menu.

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case, you may be too close to the subject (the minimum focus distance on the X100S is

80cm, unless you are in macro mode).

In area mode (see next section), you can also adjust the size of the focus frame, which

helps if you are shooting subjects where focus is critical. For example, if you are shooting

a portrait you may want to ensure the focus is on the eye, so you might consider making

the focus point smaller. To adjust the focus point size, press the AF button on the com-

mand dial (up button), then use the command control to make the frame smaller or

larger as required.

Single AutofocusAF-S is probably the widest-used focus mode on the X100S. In this mode, the camera will

not attempt to achieve focus until you press the shutter button halfway. At this point, the

camera will lock focus and exposure if it is able. The focus area frame will turn green, and

the indicator lamp will also appear green when good focus is achieved. If the indicator

lamp flashes green, this indicates that there may be an issue with exposure, such as blur

caused by a very slow shutter speed. In this case, unless that is exactly what you are trying

to achieve, check your exposure before reattempting the shot.

At this point, focus is locked for the duration you keep the shutter button pressed half-

way. Of course, if the subject you are shooting moves, focus is likely to be lost. Pressing

the shutter button fully shoots the photograph.

Single AF mode is often the quickest mode to use when taking street or candid photographs.

Changing the focus point using the command dial each time is fine when shooting in a

controlled environment, but when shooting on the streets or candidly at a wedding, for

example, you simply will not have the time to change the focus point for each image.

multi and area aF modes

In AF-S mode, you have a choice of Multi or Area for the AF

mode. If you choose Multi, when you press the shutter button

halfway, the camera will not give you a focus point option;

instead, it will guess based on the frame it sees and what it

decides is the main subject, and focus on that. When the cam-

era has established focus on a subject, it will display a green

focus frame at that location and lock the focus (Figure 9.7).

The area AF mode allows you greater latitude in selecting

the focus point. Further, you can choose any of the 49 focus

points in the electronic viewfinder or LCD panel view, or the

29 focus points in the optical viewfinder. Once chosen, the Figure 9.7 a green focus frame appears when the camera establishes focus on the subject.

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camera will focus only using the selected focus frame. Personally, I prefer area mode, as it

gives me much more control over focus point selection.

With the camera configured with area AF mode and the focus frame set to the center,

I usually shoot using the “focus and recompose” method (Figure 9.8). Although the focus

point is set at the center of the camera, not every subject I want to shoot is going to be

in the center of the frame. So I focus using the center frame, then recompose the image in

the viewfinder or on the LCD panel.

Figure 9.8 using aF-S and the “focus and recompose” method is a very quick way of getting in close, taking a shot, and moving away without interference.

ISO 200 • 1/1000 sec. • f/2 • 23mm lens

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Continuous AutofocusThe AF-C mode essentially instructs the

camera to track a subject continually, even

if the subject moves away from or toward

the camera until the point of focus lock.

This mode of focusing is best used when

you are sure your subjects are going to

move, for example, when photographing

sports or children. When shooting using

AF-C, you will notice that the focus box

becomes a white crosshair (Figure 9.9),

and you may also notice a whirring noise

from the lens mechanism. This is perfectly

normal and is a result of the focus mecha-

nism readjusting depending on the move-

ment of the subject.

While the X100S’s continuous AF mode is not as responsive as the equivalent on profes-

sional DSLRs (such as AI Servo mode on Canon cameras), it certainly presents you with an

opportunity to get shots in focus that you may not have managed with single AF mode

(Figure 9.10).

Figure 9.9 the focus box becomes a white crosshair when shooting in aF-C mode.

Figure 9.10 using aF-C, i could focus on the lady who was moving away from me, and the camera tracked her position reliably until i was ready to shoot the image.

ISO 200 • 1/2000 sec. • f/5.6 • 23mm lens

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The focusing in AF-C mode is instant, meaning you don’t need to press the shutter button

halfway before it starts to hunt for the focus point. When you do press the shutter

button halfway, focus is locked, much like in single AF mode, and the crosshair will turn

green to confirm the focus. It’s important to note that after this point, the camera no

longer performs focus tracking.

The AF Mode menu option (Area or Multi) is not enabled when shooting in AF-C, because

there is no focus frame that can be selected when using continuous focus.

Manual FocusManual focus (MF), or the thought of it, often fills photographers with dread. We have

become accustomed to cameras with rocket-fast autofocus that essentially takes the pain of

focusing away from us. However, many seasoned street photographers insist on using man-

ual focus, and I use it all the time when shooting weddings as well as street photography.

This is because with manual focus, you have complete control over the focusing and can

fine-tune it very precisely. In low-light situations where you can’t rely on flash light, it’s often

the only way to obtain focus, as there may not be enough contrast for the AF mechanism

to work with. Also, when shooting close-up macro photography, for example, you may be

able to achieve focus on the area of the subject you want only by manually focusing.

When you activate MF using the focus mode selector, it’s important to take note of the

focus distance scale in the viewfinder. You adjust the focus by turning the focus ring to

the left or right. The focus distance scale will give you an indication of the focus distance

from you in a range of feet or meters. Note that this is an approximate focus distance,

but I always find it to be very reliable.

In Chapter 2, “First Things First,” we discussed exposure, how the aperture chosen affects

the depth of field, and how much of an image will be in focus given that aperture. Using

that knowledge, many street photographers preset their manual focus to a given distance,

say 8 feet, and set their aperture moderately wide, say f/8. This means that everything

around 8 feet away, give or take a few feet in front and behind, is likely to be in focus.

If the aperture was set to f/2, then there would be much less of a focus range to work

with, and moderately less of the distance in front and behind the 8-feet marker would

be in focus (Figure 9.11).

Setting up your camera like this means that you can simply press the shutter button imme-

diately and the camera will not try to autofocus; instead, it will very quickly take the frame

(Figure 9.12). You can even “shoot from the hip” using this shooting philosophy, keeping

the camera down by your side, holding it at waist level in front of you and firing shots.

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Figure 9.11 using manual focus, i was able to prefocus on the area of paving stone that i wanted to shoot. then i just had to wait for the subject to come into the frame and shoot.

ISO 1000 • 1/80 sec. • f/2 • 23mm lens

Figure 9.12 Waiting for the right moment is all part of candid and street photography. i knew at some point the block tower would collapse, so i waited for it to occur before shooting.

ISO 400 • 1/1000 sec. • f/2 • 23mm lens

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In some cases, when using manual focus, you may want to determine if you can achieve

accurate focus by pressing the command control. The display area will enlarge, enabling

you to fine-tune the focus very precisely. Press the command control once again to return

to normal view.

You may also use Digital Split Image and Focus Peak Highlight as focus aids (see Chapter 7,

“Low Lighting”). A really neat way of having the best of both worlds in terms of focusing

on the X100S is to use the AFL/AEL (focus lock/exposure) button on the back of the camera

to “snap” focus, while in manual focus mode. This essentially allows the camera to autofocus

for you, but you can also use the focus ring to fine-tune the focus further if required.

Shooting Through the Moment

The moment is key in any image, whether you’re shooting on the street, at a wedding,

or just candidly around the home. An image that doesn’t stir any emotion, comment, or

thought is not likely to have a strong moment occurring within it.

If you consider that a moment in time occurs instantaneously, sometimes it’s a good idea

to try and shoot “through” the moment. By that, I mean shoot some frames before and

after the perceived “moment” based on the understanding that you will have a greater

chance of capturing the perfect moment among the mix of frames shot.

The X100S’s burst shooting mode is perfect for this and enables you to shoot several

frames rapidly as you hold down the shutter button. The X100S has two burst speeds:

6 frames per second (fps) and 3 fps.

Setting up burst mode:1. Press the Drive button on the back of

the camera.

2. Using the command dial, select the Burst Shooting icon.

3. Choose either 6 or 3 frames per second.

n

In order to shoot at 6 fps, the camera must

be shooting at greater than 1/100 of a

second; for 3 fps that drops down to 1/10

of a second.

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Exposure is locked based on the first frame the camera shoots in this mode, so shooting

in burst mode in an environment where the light is changing rapidly will not yield consis-

tent results.

While burst mode is a very good feature to use when the time is right, I wouldn’t suggest

using it all the time. You will notice that it can take quite some time to buffer the images

to the card when the shooting is complete and, also, shooting in this mode can drain the

battery quickly.

Tips for Shooting Quickly

When you are out shooting for prolonged periods of time, you need to be able to rely on

the camera at all times to get the shots you want. The X100S has some great features that

allow you to use it quickly and effectively.

AFL/AEL ButtonYou can configure the AFL/AEL

button on the back of the cam-

era to function essentially as an

autofocus override (Figure 9.13).

It decouples the autofocus mech-

anism from the shutter release

button, so shooting becomes

more rapid as the focus is locked

once (when pressing the AFL/AEL

button) and the shutter button

becomes responsible just for firing

the shutter. Often referred to as “back button focusing,” this is used by many photojour-

nalists and sports photographers to speed up shooting.

To get the camera completely set up for this type of shooting, however, there are a

couple of menu changes that need considering. First, and most important, this method of

shooting works only when the camera is in manual focus mode.

Figure 9.13 the aFl/ael button.

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Configuring the camera for back button focusing:1. Using the command dial, navigate to

Shooting Menu 4.

2. Scroll down to the AE/AF-Lock Mode and set it to AE&AF On/Off Switch.

3. Press the Disp/Back button to go back to the shooting menu.

4. Scroll down to AE-AF-Lock Button and set it to AE/AF Lock.

5. Press the Menu/OK button to save and exit.

n

Now when you shoot, it is imperative to remember to use the AFL/AEL button as your focus

button. Shooting this way is much more responsive as you lock the focus using the AFL/

AEL button, and you can shoot more rapidly by pressing the shutter release button quickly.

The Q ButtonThe Q button (A) is an amazingly handy tool that lets you configure much of your shoot-

ing options all within the same place. Pressing the Q menu in shooting mode will present

you with the shooting configuration options (B).

This button provides quick and easy access to many of the shooting options available,

including ISO, white balance, image quality, etc. Use the direction buttons to select the

option you want to change; to change the setting, turn the command dial.

BA

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Holding down the Q Button without releasing it for about 2 seconds will turn on Outdoor

mode, which essentially brightens the LCD monitor, useful for bright sunny days. To return

the LCD monitor to its normal brightness, hold down the Q button for another 2 seconds.

Custom SettingsCustom settings include a range of options that you can store for any given shooting

scenario, and recall at any time without having to set up the camera completely from

scratch. You can store three custom settings: Custom 1, Custom 2, and Custom 3.

Creating custom settings:1. Using the command dial, navigate to

Shooting Menu 3.

2. Scroll down to Edit/Save Custom Setting.

3. Press the command dial right to choose one of the custom settings.

4. Configure each option in this menu with your desired settings.

5. Once you are satisfied with your configuration, press Disp/Back.

You will be presented with an option to save the custom setting.

6. Highlight OK and press the Menu/OK button to confirm.

n

Most of the settings you configure here affect JPEG files only; however, it’s a really great

way of setting up a working environment for multiple shooting scenarios. For example,

you may set up one custom setting for shooting in really low light with a high ISO, or you

may set up one to shoot in black and white.

When you are ready to call upon a custom setting you have saved in the past, you use the

other menu in this group, Select Custom Setting.

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Choosing a custom setting:1. Using the command dial, navigate to

Shooting Menu 3.

2. Scroll down to Select Custom Setting.

3. Choose the custom setting you want to use and press Menu/OK to confirm.

n

The Function ButtonThe Function (Fn) button is a very

useful, programmable button that

allows you to call up a single option

that you have configured and to

adjust that setting without digging

through the menu options first

(Figure 9.14).

Setting up the Fn button:1. Using the command dial, navigate to

Shooting Menu 3.

2. Scroll down to Fn Button and press the command dial right to select it.

You will be presented with a list of options to which you can set the Fn button.

3. Scroll to find the option you want.

4. Press Menu/OK to save and exit.

n

Typically, I set my Fn button to ISO, as that

is the setting I change the most. You can select a multitude of options, of course, and next

time you press the Fn button you will be taken immediately to the configuration screen

for that setting.

Figure 9.14 the Function (Fn) button.

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A Few Final Thoughts on Street Photography

Street photography or any kind of candid photography can be very rewarding, but spend-

ing prolonged time out on the streets can put physical constraints on your body. It’s also a

challenge to be both creative and fearless as you get started. Here are a few tips to help

you succeed:

• Always wear comfortable, waterproof shoes.

• Carry a bottle of water with you at all times.

• Don’t be afraid to take the shots you want to take, within reason of course. Always

respect any laws or privacy issues, and if a subject appears to be uncomfortable when

you are shooting, simply move on.

• Remember that the city is a canvas and the painting unfolding on that canvas is there

for you to capture in camera.

• Look for anything that is unique and attention-grabbing—interesting angles, humorous

images, or social commentary (Figures 9.15–9.17).

Figure 9.15 Keeping an eye out for humorous images can be very rewarding.

ISO 400 • 1/1000 sec. • f/2 • 23mm lens

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Figure 9.16 just watching the environment around you will yield interesting pictures of the people who make up the fabric of your community.

ISO 400 • 1/1000 sec. • f/2 • 23mm lens

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Figure 9.17 look all around you—you may find some lovely geomet-ric shapes, lines, or patterns simply by glancing up.

ISO 400 • 1/200 sec. • f/8 • 23mm lens

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The X100S has quickly become a favorite of amateur and professional street photographers

alike due to its unobtrusive looks, light weight, and amazing image quality. If you ever

find yourself wondering what to shoot next, just pick up the camera and wander the

streets. You may be amazed by what you find (Figure 9.18).

Figure 9.18 Shopping centers or malls can be a great place to photograph candid images of the world in motion. look for pleasing images that make you smile.

ISO 2000 • 1/80 sec. • f/2.8 • 23mm lens

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2159 : h i t t i n G t h e S t r e e t S

Now that you know how to use the X100S as the perfect candid camera, it’s time to put your newfound

knowledge into practice. These assignments will help you break down the fear factor with street

photography and produce some images to be proud of.

overcome your fears

If you are not comfortable shooting on the streets, you will never become an accomplished street photogra-

pher. Remember, the X100S is a perfect camera for street photography, so try and put it through its paces.

Find a very busy part of your city, perhaps a fair or music festival. Consider stopping three or four

complete strangers and taking their portrait. Ask politely and offer to send them an image afterward.

You will be amazed at how reciprocal most people are.

Shoot from the hip

Set up the camera to manual focus at around 8 feet. Set the aperture to f/8 and, depending on the light,

consider increasing the ISO. You want to be able to shoot at least 1/80 of a second.

Now, with the camera at hip level, go for a walk and shoot images that you think will make good stories.

You can shoot freely, as very few people will realize you are actually shooting with the camera at your

hip level. Now adjust your aperture to f/2 and try again. Comparing the two sets of images, how many

more of the images shot at f/8 are “keepers” compared to those shot at f/2?

take the test

Professional street photographers test their strongest images very simply: by captioning the image. Take

an image, look at it briefly, and then write down a short caption for the photograph to convey the emotion

or story within the frame. If you struggle to write a caption, then likely the image isn’t a strong one.

Back button shooting

Configure the camera to use the AFL/AEL button as the autofocus button. Remember to keep the camera

in manual focus mode. Hit the streets and shoot for a period of time. Notice how you can shoot more

rapidly using this method. Now switch the camera to AF-S and shoot again. Do you notice it slowing you

down when shooting?

Find the canvas

Find an area with great light, perhaps where there are strong shadows, or at dusk in the city. Then wait

until something happens within the scene that is engaging enough for you to take the shot you have

been waiting for. Note that the shot may never happen; the art of street photography is often in the

patience involved in capturing the shots you want.




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ISO 400 • 1/600 sec. • f/2 • 23mm lens

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217

10Advanced FeaturesCreativity within the controls

We have focused on many features of the Fujifilm X100S, but before we

move on to the next chapter (Chapter 11, “Making Movies”), it’s worth

discussing some more advanced features of the camera that you may find

valuable in your photography. You may never use some of these features,

and some you may not even have known existed, but nevertheless they

are there for you to explore and call upon should you wish to expand

your skill set and the creative possibilities of your photography.

By shooting with a camera like the X100S, you have chosen to use a

machine that empowers you to take not only snapshots, but great shots,

too! Don’t be afraid to explore the camera thoroughly. You can become

very creative with features such as spot metering, macro mode, auto-

exposure (AE) bracketing, and panorama modes.

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ISO 400 • 1/400 sec. • f/2 • 19mm lens

Being able to use the X100S skillfully means you can capture great candid shots like this

one from a wedding. By preconfiguring the camera to ensure an accurate exposure and

sharp photograph, I was able to bring the camera to my eye, frame the image, and make

the photograph quickly.

Using an aperture of f/2 ensured that my main subject remained sharp, but that there was front and back detail in the image, too.

The in-camera black-and-white mode produced a pleasing monochrome image.

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With Spot metering mode on, the camera used the central subject as the base for its exposure evaluation.

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Using the built-in macro mode on the X100S allows you to take close-up shots

that, depending on the aperture chosen, feature a pleasing depth of field and

bokeh. Getting close to the subject and focusing manually helped me achieve

the look I wanted in this image.

I used an aperture of f/2 in this macro image to create a shallow depth of field and pleasing bokeh in front of and behind the focal point.

The camera’s Multi metering mode was a good option for handling the wide exposure range in this image.

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ISO 200 • 1/125 sec. • f/4 • 23mm lens

Converting to black and white—this time in software—again creates a pleasing aesthetic result.

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Spot Metering

The X100S has three metering modes: Multi, Spot, and Average. We discussed the meter-

ing modes in some detail in Chapter 5, “Say Cheese!” Generally speaking, Multi and

Average metering modes will provide accurate metering information for most of your

photography. They do an excellent job of evaluating the scene and then relaying the

proper exposure information to you. The only problem with any metering mode on the

camera is that it doesn’t actually know what it is looking at and makes educated guesses

based on the levels of gray, light, and dark in the scene.

There may be specific circumstances in which you want to get an accurate reading just

from a portion of a scene and discount all of the remaining area in the frame. To give you

greater control of the metering operation, switch the camera to Spot metering mode—a

very powerful mode when used correctly (Figure 10.1). Spot metering allows the camera

to take a light reading from a very small area in the center of the viewfinder, while ignor-

ing the rest of the viewfinder area.

Figure 10.1 Seeing a scene in a different way from how most people would view it is part of being a good photographer. think about getting cre-ative with the cam-era to produce shots that will impress.

ISO 400 • 1/320 sec. • f/16 • 23mm lens

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Selecting Spot metering mode:1. Press the AE button on the rear of

the camera.

2. Using the command dial, select Spot.


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So when would you need to use spot

metering? Think of a dark room that has

spot-lit tables (Figure 10.2). In Multi and

Average metering modes, the camera

would see the whole scene and try to

adjust the exposure information so that the walls and other areas of the image were

exposed to render a lighter wall. This means the scene would actually be overexposed

and the subject would then appear too light. To correct this, you can select Spot metering

mode; the camera will take a meter reading right from, and only from, the subject, ignor-

ing the walls and background completely.

Figure 10.2 using the camera’s Spot metering mode meant the bright walls in the background did not interfere with the exposure of the table settings that i was aiming to photograph.

ISO 320 • 1/125 sec. • f/2.8 • 23mm lens

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Other situations where spot metering would be beneficial include:

• Beach environments or snowy scenes where the overall brightness level would

potentially cause problems for the camera meter (Figures 10.3 and 10.4)

• Portraits where the person is standing in front of a very dark wall

Figure 10.3 using Spot metering mode allowed me to create an image that kept the bright sand and sea from over-powering the detail in the cloudscape. this also allowed the reflection to show more clearly.

ISO 320 • 1/125 sec. • f/2.8 • 23mm lens

Figure 10.4 in this image, spot metering on the clouds allowed me to bring out the details there while silhouetting the rocks in the foreground.

ISO 200 • 1/125 sec. • f/16 • 23mm lens

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Bracketing Exposures

One of the options in the X100S’s Drive menu is AE BKT (AE bracket), or exposure bracket-

ing. With AE bracketing, when you press the shutter button, the camera takes three images,

each with differing exposure levels. The exposure value options range between a full

stop, two-thirds of a stop, and one-third of a stop. The camera handles each change of

exposure automatically, eliminating the need for you to make an exposure adjustment

for each image. The amount of exposure adjustment between individual images will

depend on how wide an exposure range you need to capture. For example, a very high-

contrast scene might call for a full-stop exposure change.

There are a number of reasons why you might want to take several versions of the same

scene, but with differing exposure values. You may:

• Be concerned about ensuring a single image has the best exposure. By taking three

exposures, you are likely to find the “sweet spot” amongst the images created by

the camera.

• Want to have images with different exposure values so you can merge selected areas

of the image into a final composite.

• Want to use all the images to create a High Dynamic Range (HDR) image in post-

processing. An HDR image is often used to create composite images that are beyond

the dynamic range limits of the camera’s sensor.

Setting up ae bracketing:1. Press the Drive button on the rear of

the camera.

2. Using the command dial, select AE BKT.

3. Using the command dial, select either +-1, +-2/3, or +-1/3.


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When you press the shutter button after composing your image, the camera will take

three exposures in quick succession. You do not need to hold down the shutter button;

simply pressing it once will command the camera to take the three exposures (Figures

10.5, 10.6, and 10.7).

Note that the shutter speed varies across the three exposures. This is because I shot the

images in Aperture Priority (A) mode, and the camera uses the shutter speed to alter

the exposures of the images.

Figure 10.5 this image, taken using the ae bracketing feature, is underexposed by one stop.

ISO 320 • 1/12 sec. • f/11 • 23mm lens

Figure 10.6 this image is exposed at the metered value.

ISO 320 • 1/6 sec. • f/11 • 23mm lens

Figure 10.7 this image is overexposed by one stop.

ISO 320 • 1/3 sec. • f/11 • 23mm lens

ISO Bracketing

ISO bracketing (ISO BKT on the Drive menu) is very similar to AE bracketing. While AE

bracketing adjusts the shutter speed or aperture to adjust the exposure, ISO bracketing

adjusts the ISO levels for the three images

in the sequence.

Setting up iSo bracketing:1. Press the Drive button on the back of

the camera.

2. Using the command dial, select ISO BKT.



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You have exactly the same choices in terms of stop intervals in ISO bracketing as you do

in AE bracketing. The fundamental difference between the two is that AE bracketing

forces the camera to take three separate exposures, yet ISO bracketing forces the camera

to take only one exposure—the two other images (with the positive and negative ISO

adjustments) are created in the camera automatically.

iSo Bracketing and raW

ISO bracketing works only for JPEG images. If your camera is set to create RAW files, you will not be

able to use ISO bracketing, and the ISO BKT option will not appear in the Drive menu. Even in JPEG

mode, you can bracket only at the lowest range of 200 and the highest range of 6400.

Film Simulation Bracketing

As with the AE and ISO bracketing, film simulation bracketing allows you to set up the

camera to shoot three exposures, each with a different film simulation setting. You can

select from the ten film simulation choices: Provia, Velvia, Astia, Pro Neg. Hi, Pro Neg. Std,

Monochrome, Monochrome+Y, Monochrome+R, Monochrome+G, and Sepia. I use film

simulation bracketing if I specifically want to capture images in both a color simulation

and a black-and-white simulation.

There is a two-step process to configuring this bracketing option correctly. First, select the

film simulations you wish to use in the sequence. Second, set up the camera to use the

Film Simulation BKT option in the Drive menu.

Setting up film simulation bracketing:1. Press the Menu button and select Film

Simulation BKT from the Shooting Menu 1.

2. Select Film 1 and choose the film simu-lation you wish to use (A).

3. Press the Menu/OK button to confirm the selection.

4. Repeat steps 1 through 3 for Film 2 and Film 3.

5. Once you have set all three, press the Disp/Back button to set the bracketing option.

A

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6. Press the Disp/Back button one more time to exit the menu system.

7. Press the Drive button on the rear of the camera.

8. Using the command dial, scroll down and select Film Simulation BKT (B).

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Just like with ISO bracketing, once you

have composed your image and pressed

the shutter button, the camera will take

only one photograph, then create the

other two images in the camera. And as

with ISO bracketing, the Film Simulation

Bracketing option is available only when

shooting in JPEG mode.

Dynamic Range Bracketing

When you select the Dynamic Range BKT option from the Drive menu, there is no stop

option or further setting to configure. The camera will create three images at the dynamic

range options of 100%, 200%, and 400%. Like AE bracketing, the camera will take three

separate shots with the three different Dynamic Range settings. Yet like ISO and film simu-

lation bracketing, dynamic range bracketing is available only in JPEG mode.

Setting up dynamic range bracketing:1. Press the Drive button on the rear of

the camera.

2. Using the command dial, select Dynamic Range BKT.

3. Press the Menu/OK Button to confirm.

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B

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Multiple Exposures

Although tricky to master, capturing multiple exposures is a very rewarding technique for

creating images that will wow others. The Fuji X100S’s Multiple Exposures feature takes two

photographs, each with a slightly different scene or with a subject in a different position,

and the camera blends the images into one ghostly photograph (Figures 10.8 and 10.9).

Creating a multiple-exposure image involves a few steps and can take a bit of practice

to get right. If you are shooting in RAW, you can still select Multiple Exposure; however,

the camera will revert to JPEG mode. You can use Multiple Exposure very creatively, for

example, shooting someone walking through a door, perhaps, or even shooting a skier

at the top and the bottom of the hill.

Figure 10.8 using the multiple exposure feature allowed me to create the illusion of having two knives in this image, when in fact it’s the same object just moved slightly.

ISO 400 • 1/60 sec. • f/2 • 23mm lens

Figure 10.9 using the multiple exposure feature allowed me to photograph the book closed, and then opened to a page.

ISO 400 • 1/60 sec. • f/2 • 23mm lens

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creating a multiple-exposure image:1. Press the Drive button on the rear of

the camera.

2. Using the command dial, select Multiple Exposure.

3. Compose your image and press the shutter button. The camera will display the image and give you the option to retry the shot (press the command dial left) or take the next image (press OK).

4. Press the OK button to continue to the next shot. In the viewfinder you can see the second image superimposed over the first.

5. Make any changes or movements of subjects and press the shutter button to capture the second image. The camera will give you the option to retake the second image (press the command dial left) or store the second image, as well as the first, as the final multiple exposure.

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Macro Photography

Like most modern digital cameras, the X100S offers a macro mode, which enables you

to take close-up images. The subject is often, but not always, small, like a flower or an

insect. Using macro mode on the camera opens up substantial opportunities for creativity,

and will also encourage you to consider subjects that perhaps you hadn’t thought about

shooting before, such as parts of your garden or objects in your kitchen.

You can use macro photography to offer a different dimension to standard photography,

such as portraiture (Figure 10.10); and if you are a nature lover, you have a never-ending

source of artistic opportunities right in your backyard. When you shoot with macro photog-

raphy, you’ll gain a whole new perspective on seemingly boring subjects (Figure 10.11).

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Figure 10.11 macro photography can make interest-ing studies out of seemingly uninter-esting subjects.

ISO 1250 • 1/125 sec. • f/2 • 23mm lens

Figure 10.10 creative, close-up composition can make striking imag-ery—even standard portraits take on a new dimension.

ISO 2000 • 1/60 sec. • f/2 • 23mm lens

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Shooting in macro mode:1. Press the command dial to the left

(denoted with a flower symbol).

2. Press the command dial to the left again to lock the camera in macro mode.

3. Focus on your subject and shoot the picture.

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With the camera in macro mode, Fuji claims

you can shoot as close as 4 inches from

subjects; in some cases, where images have high contrast, I have been able to focus even

closer than 4 inches. As a point of interest, even in non-macro mode, the X100S can focus

at a very close distance. However, in macro mode the focusing speed is greatly enhanced,

so it’s always best to shoot close-up objects in macro mode—but don’t leave your camera

in this mode when shooting regularly, as it can slow down your shooting and AF speed.

Although Fuji recommend not shooting macro images at an aperture greater than F4,

shooting with faster apertures does work and in fact produces wonderful results. If you are

shooting very close-up to delicate objects such as flowers, you may want to consider using a

tripod (Figure 10.12). You may also consider other stabilization methods that we discussed

in Chapter 7, “Low Lighting,” such as a cable release and the camera’s self-timer functions.

Figure 10.12 taking close-up images of delicate items, such as flow-ers, with slow shut-ter speeds requires stabilization of the camera and the subject.

ISO 2000 • 1/25 sec. • f/2 • 23mm lens

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Avoiding Lens Flare

Lens flare is one of the problems you may encounter when shooting in the bright sunshine.

It’s useful to understand lens flare, how to avoid it, and how to use it creatively to the

advantage of the image being created.

Lens flare will show up as bright circles or odd appearances of color on an image

(Figure 10.13). Often you will see multiple circles in a line leading from a very bright light

source, such as the sun. The flare is a result of the sun bouncing off the multiple elements

of optical glass in the lens and then being reflected back onto the sensor.

Figure 10.13 the bright sun in the upper part of the frame has created lens flare that appears as circles radiating down into the image.

ISO 200 • 1/180 sec. • f/11 • 23mm lens

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You can avoid the problem of lens flare by using one these methods:

• Try to shoot with the sun coming from behind you, not in front of you or in your scene.

• Use a lens hood, which can be purchased for the X100S. A lens hood will help to block

the unwanted light from striking the lens. You don’t have to have the sun in your

viewfinder for lens flare to be an issue; all that has to happen for lens flare to occur is

the light to strike the front glass of the lens.

• If you don’t have a lens hood, try using your hand or some other object to block the

light (be careful the object you use does not enter the frame).

High Dynamic Range Photography

Relatively recently there has been a trend in digital photography to blend multiple expo-

sures into one High Dynamic Range (HDR) image. When you photograph a scene that

has a wide range of tones from shadows to highlights, typically you have to make a deci-

sion regarding which tonal values you are going to emphasize and adjust your exposure

accordingly. This is because the X100S (in fact, almost all cameras) has a limited dynamic

range compared to our human eyesight.

HDR photography allows you to capture multiple exposures for the highlights, shadows,

and midtones, and then combine them into a single image using software (Figures 10.14

through 10.17).

Many software applications allow you to combine the images and then perform a process

called tone mapping, in which the complete range of exposures are blended and repre-

sented in a single image.

For my HDR example in this chapter, I used Adobe Photoshop’s HDR functionality. The

software details are beyond the scope of this chapter, but I will take you through the pro-

cess of shooting a scene to help you render properly captured images for the HDR process.

I strongly suggest you use a tripod to give you perfect alignment of each image.

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Figure 10.14 underexposing this image resulted in more detail in the sky and lighter areas.

ISO 400 • 1/210 sec. • f/13 • 23mm lens

Figure 10.15 this is the normal exposure as set by the camera meter.

ISO 400 • 1/125 sec. • f/13 • 23mm lens

Figure 10.16 overexposing this image ensured the darker areas are exposed to get details in the shadows.

ISO 400 • 1/50 sec. • f/13 • 23mm lens

Figure 10.17 this is the final hdr image that was rendered from the previous three images.

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Setting up for hdr shooting:1. Set your ISO to as low as reasonably

possible, given the light. This will help ensure noise-free images (A).

2. Set your camera to shoot in RAW. This will give you the most dynamic range available and a much larger range of exposure values than a JPEG file (B).

3. Press the Drive button on the back of the camera.

4. Using the command dial, select AE BKT (C).



7. Focus the camera, compose your shot, secure the tripod if you are using one, and hold down the shutter button until the camera has finished its three exposures.

8. Use a software program such as Photoshop or Google’s HDR Efex Pro to process your exposure-bracketed images into a single HDR file. There is no functionality to create HDR images inside the camera itself.

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A

B C

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We’ve covered a fair bit of ground in this chapter, and I hope you’ve discovered some aspects of the

X100S that you may not have used before. Photography is all about creating memorable images, and

using some of the advanced features we talked about here will get you images that perhaps others would

not even attempt.

Spot meter in awkward light

Find a subject that is awkwardly lit, perhaps a friend or model with light hitting them from behind.

First, shooting in Multi metering mode, try to get a good exposure on their face. Now adjust the camera

to shoot in Spot metering mode. Do you notice a difference? How can you enhance the background of

the image this time?

make your exposures spot-on

Using Spot metering mode can give accurate results, but only when the subject has a middle tone.

Try adding something gray to the scene and taking a shot. Switch back to Multi metering mode and

notice the difference in the exposure.

take some bracket shots

Shoot a range of images using AE bracketing. Next, shoot the same set of images using ISO bracketing.

How does the camera behave differently? Do you notice a difference in the images created?

create some hdr images

Find an interesting scene, perhaps a landscape or cityscape. Using an AE bracket of one full stop,

generate a High Dynamic Range image in a post-processing software tool such as Adobe Photoshop.

Can you see how blending different exposures can allow you to create images outside of the natural

boundaries of the camera’s dynamic range?

play with multiple exposures

Have some fun with multiple exposures. Try creating a multiple exposure of a closed door that has

opened, or of a person in two places at the same time in a room. You may want a tripod for this to

stabilize the image.

Get close-up

Macro photography is best practiced on stationary subjects such as flowers. Enable the camera’s macro

mode, and experiment with how close you can get to the subject and achieve good focus.




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ISO 200 • 1/2000 sec. • f/8 • 23mm lens

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11Making MoviesIt’s Hollywood time

Almost all modern digital cameras, whether they are high-end DSLR

(digital single-lens reflex) cameras or simple point-and-shoots, have the

ability to record high-definition (HD) video. While the video-recording

functionality of the X100S is not as capable as that of a high-end DSLR

or camcorder, it does offer a great system for capturing movies on the

go or for short movie projects.

Shooting movies involves many of the techniques and topics that we

have already discussed in the book, such as understanding light, creative

composition, and being able to achieve the correct exposures. However,

as you will find out in this chapter, shooting movies often requires a

subtle mentality change and other considerations.

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Poring Over the LCD Monitor

A Recording Time Remaining

B Full HD Indicator

C Virtual Horizon

D Aperture

E Movie Mode Indicator

F Exposure Compensation/Indicator

A

B

C

DE

F


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Movie Settings

Before you can start recording your first blockbuster, you need to understand the

intricacies of the X100S’s movie-recording features as well as some movie-making jargon

and techniques.

Getting StartedUnlike a lot of other cameras with video

functionality, the X100S doesn’t have a

simple “record” button. Instead, to acti-

vate the Movie mode, you must press the

Drive button and select Movie from the

menu. Alternatively, if you are likely to be

shooting a lot of movie footage through-

out the day, you can configure the Fn

(Function) button to Movie, which means

that you can switch between Movie mode

and stills mode at the touch of the button.

Once you have selected Movie mode, many of the same principles of shooting stills with

the X100S apply: adjusting exposure, starting and stopping the recording, and various

other settings that control the video recording.

to get shooting straight away:1. Using the focus mode selector on the side of the camera, select AF-C. This will force

the camera to autofocus continually throughout the recording.

2. Using the aperture ring, set the desired aperture. I suggest setting it to A (Auto) to allow the camera to work out the best aperture during the recording.

3. To begin recording, press the shutter button fully down. You will see the time remaining of the recording on the LCD. The indicator lamp will be constantly orange during the recording.

4. To stop shooting, press the shutter button again.

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Movie ModeAlthough the X100S’s video-recording capability is fairly rudimentary, there are some

video-specific settings that are worth discussing so you can make the most of the avail-

able shooting features.

Your camera has two video-recording modes that essentially allow you to choose the

frames per second (fps, or frame rate) at which the camera will record. As a rule of

thumb, 60 fps is preferable to 30 fps, but in order to decide which is right for your shoot-

ing scenario, you need to understand the differences between the two recording rates.

If you have good light, or are intending to shoot for slow motion, then 60 fps is the best

choice. If you consider the number of frames shot per second, it makes sense that the

faster speed will result in less jittery footage, especially if you are shooting fast-moving

subjects like an athlete or a passing train.

Of course, unless it’s for a creative reason, you will want your movies to be as smooth as

possible; 60 fps is likely to offer that quality. However, remembering back to our discussions

about low-light shooting (Chapter 7, “Low Lighting”), you will recall that the faster the

shutter speed, the less light reaches the

sensor. For example, at 60 fps (1/60 sec-

ond), less light is reaching the shutter than

at 30 fps (1/30 second). So, if the ambient or

available light in which you are shooting is

not bright enough, you may need to use

the 30 fps option.

Selecting movie mode:1. Select Movie from the Drive menu

and press the Menu/OK button.

2. Using the command dial, navigate to Shooting Menu.

3. Using the command dial, select Movie Mode.

4. Select the Movie mode of your choice (60fps or 30fps).


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Audio

Have you ever considered what the movie Jaws would be like without the epic soundtrack?

Or Star Wars? What about the movie Psycho? Most iconic movies owe their success, at

least partly, to their soundtracks. If you think of any of those movies, you will automati-

cally recall the unique-sounding music.

Some professional filmmakers will tell you that, when it comes to making a great movie,

audio is actually more important than visuals. From the soundtrack to the dubbing (mak-

ing sure the words are in sync with the speech), the audio needs to be at the forefront of

any movie being produced.

With the X100S, you can record audio

either directly to the SD (Secure Digital)

card via the built-in microphone or an

external microphone tethered to the cam-

era (such as the Fujifilm MIC ST1 shown in

Figure 11.1), or to a separate sound device

and then sync the audio in postproduc-

tion. My preferred method is to record

directly to the SD card in the camera, as

it avoids any syncing difficulties you may

have later on in production.

The built-in microphone on the X100S is

adequate for most small videos that you

may shoot, especially indoors. However,

if you are looking to record high-qual-

ity sound, I recommend checking out

Fuji’s MIC ST1. Its audio quality is of a much higher level compared to the built-in mic.

Additionally, this microphone has a windscreen that comes in handy when recording

outside, as it eliminates most noise that wind makes when whistling past the microphone.

Further, unlike when recording audio with the X100S’s built-in microphone, you will not

hear all of the operational or focusing noises that the camera makes on the recording.

In terms of controlling the audio within the camera itself, the Mic Level Adjustment

feature lets you set the level of the sound between a low level of 1 and high level of 4.

When you open up the Mic Level Adjustment, you will see the two volume meters. These

meters will react to any noise the camera is picking up (whether it’s from the internal

microphones or an external microphone).

Figure 11.1 using an external microphone, like the Fujifilm miC St1, is a much better audio-recording solution than recording to a separate device and syncing in production.

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You need to set this microphone level such that the indicators are not turning red at the

top. If the indicators are turning red (Figure 11.2), the audio will likely be clipped and

possibly not useable at all. Orange, the level below red, is also a warning indicator for

me, and I like to adjust the levels until the indicators are not showing any red or orange

at all (Figure 11.3).

Figure 11.2 Gauge the audio level being received by the camera using the microphone level adjustment.

Figure 11.3 having no red or orange in the audio bars will yield good results.

Setting the microphone level:1. Select Movie from the Drive menu and press the Menu/OK button.

2. Using the command dial, navigate to Mic Level Adjustment.

3. Using the command dial, select the level you are comfortable with.


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Exposure and Focus

It’s crucial to understand the differences between shooting stills and shooting movies.

Not only is the mindset different, but you also need to address certain elements of expo-

sure and focus so you can make creative and awe-inspiring movies with your X100S.

Controlling ExposureWhen shooting movies with the X100S, it’s important to understand what level of control

you have over exposure. You have some, but not as much as when you are shooting

stills. Understanding these limitations when recording movies will mitigate frustration

when shooting.

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First, selecting the shutter speed is redundant when shooting movies. You will have already

decided on 60 fps or 30 fps in the Movie mode menu, and you cannot override this at all

using the shutter speed dial. For peace of mind, I tend to set the shutter speed dial on A,

just to avoid confusion if I happen to glance at the dial.

In many circumstances, when you are not

looking to shoot creative depth of field

effects, you may want to set the aperture

ring to A. This effectively puts the camera

into Program mode, which means that

when shooting the movie, the camera will

control exposure to the best of its ability

in order to create a well-exposed movie

clip. Personally, I love to utilize aperture to

create dramatic depth of field in both my

stills and also in movies that I shoot with

the X100S. You can use the aperture ring

just like when shooting stills to create a

narrow or wide depth of field (Figure 11.4).

As we know from Chapter 7, a lower f-stop will allow us to shoot in lower light. So shoot-

ing at f/2 or f/2.8 not only produces a blurred background or foreground, but also may be

the difference between shooting at 60 fps or 30 fps if the light is fading. Note that when

the movie is rolling, you can’t adjust the aperture. This means you can shoot each clip at

only one particular aperture; adjusting the aperture ring when the movie is rolling will

have no effect.

The rules of exposure still apply when shooting movies,

so keep in mind that the aperture you are using and the

light in which you are shooting may not be conducive

to achieving a good exposure. To check this, keep an

eye on the aperture reading on the LCD monitor while

you are recording. If the aperture reading appears red,

that means the camera is having difficulty exposing

the movie at that aperture (Figure 11.5). If this is the

case, you will have to do one of the following:

• Adjust your aperture.

• Increase the ambient light.

• Adjust the exposure using compensation (again, this must be set before you

start shooting).

• Consider shooting at 30 fps instead of 60 fps.

Figure 11.4 using aperture to create depth of field works well in movies as well as in stills.

Figure 11.5 a red aperture reading indicates the camera can’t create a good exposure.

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exposure Compensation in movie mode

Exposure compensation, where you increase or decrease the brightness of the scene, affects

movies just like it does stills. The primary consideration, however, is that you need to set the expo-

sure compensation before you start recording your movie. Rotate the exposure compensation dial

(on the top of the camera) to the positive values to increase brightness or the negative values

to decrease brightness.

Selecting a Focus ModeYou can use all three of the X100S’s focus modes when shooting video; however, there

are some limitations. If you choose to use AF-C, as mentioned earlier in the chapter, the

camera will attempt to autofocus throughout the video recording. The camera will always

use the central focusing point when using AF-C, and you cannot adjust this manually.

This focus mechanism might be useful if your focus points are likely to change within the

movie, or if the subject itself moves within the frame (for example, if you are shooting a

person walking toward you).

You can use the AF-S mode to prefocus on a spot before the recording commences. For

example, if you’re filming a faucet of running water, you would likely focus on the faucet

using AF-S to lock the focus in place before pressing the shutter button to start recording.

Assuming the camera doesn’t move (as we know the faucet won’t), then you can be sure

the focus will be correct throughout the video clip.

For ultimate creative control, however,

focusing manually will yield the best results.

Focusing manually means you can adjust

your focus point while the camera is record-

ing, which can have a very powerful effect

on the final movie. In professional film

making this is known as “rack focus.” You

may notice only subtle focus shifts at smaller

apertures like f/16, but using a bigger

aperture such as f/2 can often yield dra-

matic effects (Figures 11.6, 11.7, and 11.8).

Figure 11.6 using manual focus, i can start recording while focusing on a subject at the back of the scene.

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White BalanceYou should also be aware of your white balance settings when shooting video. It’s really

more crucial than when shooting stills, because correcting white balance in movies in

postproduction is a far more complicated job than correcting it in stills.

You cannot use a custom white balance when shooting video, and generally I keep the

white balance set to Auto when shooting video. Unless you are confident that your light-

ing is not going to change, and one of the presets (such as Shade) is the correct white

balance for the shoot, then auto white balance will do a good job.

Getting Creative with Film Simulation

One of the great joys of the Fuji X100S is its built-in Fujifilm film simulations, which are

authentic in-camera replications of famous traditional “film” looks. Fujifilm is world

renowned for its film stock and color and black-and-white renderings—and, just as with

shooting stills, you can shoot movies using these film simulations.

Professional filmmakers may spend hours color grading their movies to get the look and

feel that they want in postproduction. However, you have a great opportunity with the

X100S to add a bit of creative magic right in the camera using its film simulations. If, like

me, you are a sucker for black-and-white movies, now you can produce beautifully ren-

dered black-and-white footage straight out of your camera.

Figure 11.7 rotating the focus ring moves the focus point toward me.

Figure 11.8 and finally, as i’m using a large f/2 aperture, the closest item in the frame becomes the focal point.

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You can choose to film in Provia, Velvia, Astia, Pro Neg. Hi, Pro Neg. Std, B&W (with or

without filters), or Sepia. I have found that it’s very difficult to get anything resembling

the Provia or Velvia filmic finishes in postproduction using any other recording device.

Using cameras that don’t have the film simulations built in means you will need to edit

the movie substantially to try to emulate those film stocks.

Technicalities

Shooting movies on the X100S is rewarding, and given patience and your newly acquired

skill, you will be making beautiful movies that you can enjoy. There are a couple of tech-

nical elements of shooting movies that you should be aware of, however, to get the most

out of the camera and its features.

Recording TimeIt’s worth noting that the maximum recording time for any one sequence on the X100S is

10 minutes. You will find that all “still cameras” that shoot video have a limit of just under

30 minutes, because equipment that can shoot more than 30-minute bursts must legally

be referred to as a “video camera.” The X100S falls somewhat short of the 30-minute

maximum offered by most other still cameras that shoot movies. However, if you look at

any professionally produced movie or TV show, you’ll notice that it is extremely rare to

see a scene that is more than a few minutes in length.

You can, of course, shoot multiple sequences, up to the capacity of your memory card

(an 8 GB card will give you approximately 25 minutes of shooting time). Whenever I shoot

video, I tend to use a 32 GB card to give me more recording time. It’s wise to use a card

with a rating of 10 or more, which will give you enough speed to buffer the movie to the

card adequately. A slower card speed is likely to cause problems, as the camera needs to

buffer the footage to the memory card as fast as possible. It’s worth investing in faster

cards even for still photography, but it’s essential for video recording.

Resolution and Aspect RatioAll movies recorded on the X100S are in full HD at a resolution of 1920x180 pixels and a

16:9 aspect ratio (this looks wonderful in wide-screen format). You have no control over

the pixel resolution or aspect ratio.

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File FormatsAll X100S movies are generated using the .MOV file format (Apple QuickTime), which can

be read on all modern computers and imported into all postproduction software suites

such as Adobe Premiere and Apple Final Cut Pro.

Watching Your Movies

To watch your videos, simply press the

Playback button and select the movie.

If your card contains a combination of

still shots and movies, you can tell the

ones that are movies by the gray sprockets

down the left- and right-hand sides of the

preview (Figure 11.9).

Once you can see the preview of the movie

you wish to watch, press the Down button

on the command dial to commence play-

back. You will see the movie on the LCD

monitor, and the gray progress indicator

bar will tell you how much of the movie

has expired and how much is remaining.

Similarly, to pause playback, press the command dial down; to stop the movie completely,

press it up. You can adjust the playback volume by rotating the command dial. You can

also skip through frames when paused by pressing the dial left and right.

Of course, the best way to experience your movies is on a computer screen after the movies

have been copied from your card. You move the video files from your camera to your com-

puter in much the same way as you do still photographs. You can even use asset management

software such as Adobe Photoshop Lightroom to import the movies for you. Remember,

however, that movie files are likely to be much larger than the still files you may be used

to, so you may need more storage space or an external drive to hold the files. Once the

movies are offloaded, you can watch them in exactly the format produced by the camera,

or you can choose to edit them (see the next section) to add even more cinematic wow.

Figure 11.9 movies are easy to identify in playback due to the film-like sprockets on the left and right.

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Editing and Workflow

If you wish to enhance your movies further, you can use post-processing tools that are

readily available. On the Apple platform, iMovie offers basic but useful editing opportu-

nities, as does Microsoft’s Movie Maker on the Windows platform (Figure 11.10).

Using these tools, you can perform basic enhancements such as clipping and splicing

(chopping up your movie and putting scenes into an order), add fades and transitions,

and even do some basic color grading. Color grading refers to using software to alter the

look of the movie in terms of its overall color and tone. For example, in postproduction

you can change a movie from color to black and white. You can also use these tools to

add sound files and text clips to use as credits.

Figure 11.10 using tools such as Windows movie maker (shown here) or imovie, you can make enhancements to your movies very quickly.

If you fancy yourself the next Steven Spielberg, you can consider some more advanced

editing tools such as Adobe Premiere Elements, which will give you far more flexibility in

your editing and final output. Using a more complex tool like Premiere Elements allows

you to get creative with slow-motion editing, animated titling, and specialized film effects.

For asset management of stills as well as video files, I tend to use Adobe Photoshop

Lightroom. Lightroom is a great tool for cataloging and grouping your digital assets, and

you can even make some basic adjustments to video files from within the software itself.

If you wish to provide a viewing platform for the wider world, you can even use most of

these tools to upload your video in Internet streaming formats (such as .MP4) to video-

hosting sites such as Vimeo or YouTube. The benefits of using these hosting solutions are

many and varied. For example, for the most part, hosting is free unless you are planning

on storing a lot of movie content online. You can also embed and share movies seamlessly

into social media streams such as Facebook and Twitter, giving you a great platform to

show off your newfound filmmaking skills.

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2511 1 : m a k i n G m o v i e S

Now that you understand the creative opportunities available to you as a moviemaker using your Fuji

X100S, it’s time to put those newfound director talents to the test! These assignments will take you

through the essentials of movie making while encouraging you to explore your creativity and sense

of adventure.

Shoot your first movie

Find a well-lit environment, perhaps the backyard or a local park. Using the Drive menu, switch the

camera to Movie mode. Set the focus switch to AF-C, set the aperture ring to A, and press the shutter

button fully to start recording your first movie. Walk around and move the camera as you walk. Preview

the video and watch how the camera automatically adjusts its focus point for you.

Shoot in low light

Take your camera to a low-light environment, perhaps a bar or a theater. Set the aperture to f/2 and

adjust the exposure using the exposure compensation option if necessary. As the light fades further,

put the camera into the 30 fps mode. Review your movies. Do you see any difference between 60 fps

and 30 fps? Is the 30 fps a little more jittery during playback?

Focus creatively

Using manual focus, create a movie at a large aperture, such as f/2 or f/2.8, and concentrate on moving

focus between subjects during the recording. Keep steady with the focus ring!

make a black-and-white documentary

Using all of the techniques you have acquired in this chapter, shoot a short documentary or interview

with a friend. Use one of the black-and-white film simulation modes for added creative flair. Shoot

several scenes and copy them all to your computer. Using a video-editing tool, splice and cut your first

movie. Sit back, grab the popcorn, and enjoy!




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ISO 2000 • 1/125 sec. • f/2 • 23mm lens

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253

12Pimp My RideUpgrades and accessories to expand your camera’s creative potential

Many people are attracted to the original Fujifilm X100 because of its

retro looks and old-style manual features and functions. That theme runs

true through some of the available accessories and tools that you can

add to your X100S to enhance your shooting experience. In addition to

making your camera look very cool, these accessories—some of which

I use on a daily basis—make the art of photographing with the X100S

easier and even more pleasurable.

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Adding foreground interest often adds to the image composition, as the bird and the leaves do here.


The X100S is a perfect camera for shooting candidly on the street, family holidays,

commercial assignments, and landscape photography. With its great image rendering,

dynamic range, and high ISO capabilities, it has become the camera of choice for many

professionals. Hopefully, you can now use your X100S and make the migration from

“snapshots” to “great shots”!

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ISO 800 • 1/125 sec. • f/16 • 23mm lens

Using the wide conversion lens allowed me to include more of the scene without having to move position.

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Wide Conversion Lens

Although the X100S is considered a fixed-lens system, Fujifilm does offer a lens-adjusting

accessory for the original X100. The wide conversion lens (WCL-X100) works perfectly well

with the X100S, and essentially converts the 23mm lens that is standard with the X100S

to a 19mm wide-angle lens. In 35mm equivalent ratios, it converts the lens on your X100S

from a 35mm to a 28mm.

The wide conversion lens attaches directly onto the X100S and opens up a whole new

chapter for your shooting style. I’ve found the lens especially useful for landscape shoot-

ing and street photography when I’ve been in very close proximity to my subject but

wanted a wider field of view (Figure 12.1). In situations where you can’t step back any

farther, this lens allows that added width that might make the difference between having

some of the image cropped (Figure 12.2) and including everything you want in the image

(Figure 12.3).

Figure 12.1 using the wide con-version lens for this image allowed me to include the house as well as the decora-tive garden feature on the lawn.

ISO 200 • 1/1000 sec. • f/2 • 19mm lens

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Figure 12.2 Without the wide conversion lens attached, i could not include the tree to the right of this frame.

ISO 200 • 1/75 sec. • f/8 • 23mm lens

Figure 12.3 using the wide conversion lens for this image allowed me to include more of the tree to the right of the frame and achieve the shot i wanted.

ISO 200 • 1/75 sec. • f/8 • 19mm

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If you can’t move farther back physically to include all the elements in a frame that you

would like, you will end up chopping off certain elements of the image with the stan-

dard 23mm lens. With the 19mm that the WCL-X100 offers, usually you can mitigate that

(Figure 12.4).

When using the WCL-X100, it’s important to set the Wide Conversion Lens option in the

camera’s shooting menu.

Wide Conversion lens and Sharpness

Often, adding adapters and lens-adjusting mechanisms to camera systems will result in a lack

of sharpness or some other image degradation during the exposure. However, the WCL-X100

delivers superb optical quality and maximizes versatility of the X100S by ensuring comparable

image quality, even at the f/2 wide aperture setting, while retaining the original optical character-

istics, including the attractive bokeh effect the lens exhibits when shooting “wide open.” Often,

I shoot the whole day with the WCL-X100 attached to the camera.

Figure 12.4 the wide conver-sion lens fixed to my X100S.

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tele Conversion lens

At the time of this writing, Fuji has just announced a new Tele Conversion Lens (TCL). The TCL

will be very similar to the Wide Conversion Lens, with one difference: instead of widening the

view of the lens, it narrows it.

The Tele Conversion Lens will be an adapter that connects to the X100S in exactly the same way

as the WCL, and it will allow you to shoot at the 35mm equivalent of 50mm with your X100S.

If you have both conversion lenses, you will effectively have a system of 19mm, 23mm,

and 35mm—a great combination.

Bags

You’re not a real photographer if you haven’t pored over bags, cases, and straps. If you

are anything like me, you will have a whole closet stacked full of bags and other items

that aren’t “quite right.” So, how do you choose the right bag for you?

Well, to a certain extent it depends on the type of shooting you are planning to do. But

because the X100S doesn’t offer an interchangeable lens, it’s unlikely that you will need

a very large carrying system for this

camera.

With this in mind, my personal favorite

for shooting for prolonged periods of

time is the Think Tank Retrospective 7

(Figure 12.5). It’s got a large central cargo

area, which is plenty big enough for the

camera and accessories like the wide

conversion lens. Often, I will take a char-

ger with me, spare batteries of course,

and lens wipes as well. The bag has a

rear pocket that is perfect for my tablet

and plenty of secure storage for mobile

phones, wallets, etc.

If you’re shooting with the X100S, I really

don’t think you need anything bigger than

this. That said, if you need to carry tripods,

wet weather gear, and other supplies, you

might need something a little larger.Figure 12.5 loaded with my X100S, charger, and wide conversion lens, my think tank photo retrospective 7 bag still has plenty more space.

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Hoods and Straps

The X100S doesn’t come with a lens hood, but I recommend purchasing a compatible one.

A lens hood is useful primarily to help block out some of the light that could come into

the lens and cause flare by striking the elements

within the lens. Additionally, a lens hood helps

protect the lens from bumps and scratches. I have

added the official Fujifilm LH-X100 lens hood and

adapter ring to my X100S. The adapter ring that

comes with the lens hood is needed if you want to

add additional filters to your lens (filters, such as

UV filters, can also be purchased, though personally

I don’t use them).

There are plenty of aftermarket lens hoods out

there that you may consider. But for me, the

Fujifilm LH-X100 lens hood, while quite expensive,

is worth it, as it is made from the same magnesium

alloy as the X100S, making it sturdy and reliable

(Figure 12.6).

Almost as important as the lens hood is the strap that you use with the camera. The

branded strap that comes with the X100S is fine for casual use, but, if like me, you prefer

to carry your camera over your shoulder (rather than around your neck) when you use it

for a prolonged period of time, you’ll notice that it’s very easy for the camera to slip off

your shoulders. When shooting on the street or at a wedding, you need to be able to rely

on your camera not to slip and always to be available for capturing those great shots.

So for my work, I prefer to use a different strap. Of course, lots of straps are available. I use

an aftermarket strap by UPstrap USA called the RF Nylon Web Camera Strap (Figure 12.7).

UPstraps are made of Kevlar and are virtually nonslip, so I can shoot comfortably for the

whole day without worrying about the camera falling off my shoulder.

Figure 12.6 the Fujifilm lh-X100 lens hood for the X100S helps to avoid lens flare while also protecting the lens.

Figure 12.7 a stable camera strap is an essen-tial addition to your accessories list, especially when shooting for prolonged periods of time.

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1 2 : p i m p m y r i d e 261

Thumb Grips

A thumb grip can help with the stability

in handling of the camera. Especially if

you shoot one-handed, the thumb grip

can bring great support to the camera in

landscape (horizontal) or portrait (vertical)

mode. Thumb grips are usually curved,

offering a much more natural position for

the thumb while not hindering operation

of the camera (Figure 12.8).

Soft Release Buttons

The X100S has a threaded shutter button, which means you can add accessories like soft

release buttons. A soft release button allows you more leverage on the shutter button by

essentially creating a larger shutter button. Added stability from the soft release button

also helps during long exposures.

Soft release buttons come in many sizes and designs, too, so you can choose one that

adds a splash of color or makes a design statement. Personally, mine are bright red

(Figure 12.9).

Image Stabilization Tools

One of the most important things to do when taking photographs is to ensure that your

camera is stable. There are plenty of ways to reduce camera shake and, in turn, increase

image sharpness.

Tripods and Tripod HeadsFew accessories for your camera are more essential than a tripod. A tripod is the perfect

tool for reducing camera shake and capturing rock-steady images. It can make your

images sharper while enabling you to shoot in any lighting condition (see Chapter 7,

“Low Lighting”).

Figure 12.8 adding a thumb grip to your X100S will aid with stability when shooting in either portrait or landscape orientation.

Figure 12.9 Soft release buttons make the shutter button more tactile and can add a bit of personality to your X100S.

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When shopping for a tripod, you have a plethora of options to choose from, so how do

you pick the right one for you and your X100S? Primary considerations should be weight,

height, and the tripod head (often sold separately).

For starters, weight. One key advantage of an X100S is the compact size and weight of

the camera itself. It may seem awkward to couple the camera with a very heavy or large

tripod, and to a certain extent the size of the tripod will likely determine how far you

travel with it. There are many types of materials used to build tripods and, as usual, you

get what you pay for with the high-end, more expensive carbon-fiber options. But you

may also consider an aluminum tripod that is both heavy and sturdy enough for the

light X100S.

Second, height. Make sure the tripod extends to a height that is tall enough to allow you

to shoot from your standing position. Some tripods are great for people who are 5 feet 6

inches tall, but not so great for those who are 6 feet 5 inches tall. Because the X100S is not

very heavy at all, the taller the tripod, the sturdier it needs to be to maintain a rigid base.

Next, you’ll need to consider the head that you use on the tripod. There are two main

styles to choose from: ball and pan. Ball heads use a ball joint mechanism that allows

you to position the camera freely and secure it according to the image you are trying to

make. Pan heads usually swivel and use hinged joints that allow the camera to pan left

and right, or move up and down. Often, handles or levers are used on these heads to

allow accurate positioning of the camera. The pan head is probably the most widely used

head by photographers.

Gorillapods

If you don’t want to carry around a tripod and are unsure if you will need one on your shoot, consider

a Gorillapod. A Gorillapod is a small and flexible tripod that you can bend and rotate, offering a

range of positioning possibilities for your camera. It is very lightweight, with the added bonus of

having legs that can wrap and attach themselves to almost any surface type. A Gorillapod can fit

easily in your camera bag, and as long as you are happy with its limitations (shorter and less sturdy

than a full tripod), it may be the perfect companion for your X100S when you’re out shooting.

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Shutter Release CablesThe obvious piece of equipment to use to reduce camera shake is a tripod, but remember

that other options are available. A shutter release cable enables you to shoot in Bulb (B)

mode or long-exposure images without the risk of camera shake being introduced while

pressing the shutter button. A shutter release cable is by no means an essential accessory—

in fact, in its absence you can always use the X100S’s self-timer feature. But if you are going

to be doing any serious landscape, cityscape, or long-exposure work, consider investing in

a shutter release cable as an added weapon in the quest for shake-free images.

Flash Systems

Although the X100S has an onboard flash, which works in harmony with the camera’s

exposure controls to create well-lit and exposed images, it is limited in power. Also, it’s

a fixed flash with no means of changing its position. However, a number of options are

available if you want to experiment with the creativity that dedicated flash units offer.

All modern external flashes offered by Fujifilm work well with the X100S, thanks to the

camera’s hot shoe, the mounting point on top of the camera. While used primarily for

mounting an external flash unit, the hot shoe can also be used for other accessories such

as the thumb grips mentioned earlier in this chapter.

If you want a TTL (through the lens) flash, you can choose between the EF-20, the EF-X20,

or the EF-42.

• The EF-20 is a very small, portable flash unit that aesthetically works very well aboard

the X100S. The EF-20 sits in the hot shoe. Crucially, it can be tilted, unlike the onboard

flash; this enables the use of bounced flash. Bounced flash is exactly as the name sug-

gests: flash (or light) that is bounced off a reflective surface. You may bounce the flash

off a light-colored wall, for example, to soften the harshness of the light and allow it

to spill around the subject more evenly. The EF-20 also sports a built-in diffuser, which

is great for, well, diffusing the light, especially for wide-angle shots.

The EF-20 has a guide number (GN) of 20. The GN refers to the flash’s ability to illu-

minate the subject. Broadly speaking, the higher the guide number, the stronger the

flash. The X100S’s built-in flash has a GN of approximately 4.5.

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• My personal favorite flash unit is the EF-X20

(Figure 12.10), which also has a GN of 20. Usually,

I have it in my bag at weddings, as well as when

shooting in very low-light situations on the streets.

This tiny TTL flash fits in the palm of your hand

and features what Fuji calls “unique flash control

technology,” automatically optimizing the amount

of light suitable to every shooting condition. You

can use this flash unit in a number of ways: sitting

in the hot shoe on the camera just like the EF-20, handheld and triggered as a slave

unit by the built-in flash (in this case, the X100S’s built-in flash triggers the EF-X20;

the X100S is the master, and the EF-X20 is the slave), or via a hot shoe cord (I use the

Canon OC-E3 Off Camera Shoe Cord, which works perfectly). The hot shoe cord gives

you complete control over the flash’s position. You can use it to bounce flash back at

the subject or for creative lighting situations such as ghoul lighting, where you shine

the flash directly up under the subject’s face to create a ghoulish effect (namely, dark

shadows around the eyes, similar to a ghoulish caricature).

• The EF-42 is a far more powerful flash, with a guide number of 42, and its flash head

can be rotated left to right as well as tilted up and down. The benefit of the EF-42 is

in its power, though for some, the sheer size and weight, coupled with the X100S, may

be a little unwieldy.

What about the onboard Flash?

The X100S’s built-in flash performs adequately well for everyday shooting (see Chapter 7, “Low

Lighting”). In situations where you need fill flash or don’t require the additional flexibility of an

off-camera flash system, the X100S’s onboard flash is perfectly suitable.

Figure 12.10 the eF-X20 flash unit.

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2651 2 : p i m p m y r i d e

This chapter introduced you to some of the accessories that I use with my X100S on a daily basis.

Of course, whether you choose to use them or not is entirely up to you! If you do, here are a couple

of tasks to help you get started with them.

Go wide

If you purchase a wide conversion lens, find a subject to photograph that would restrict your physical

movement, such as a small room or a theater where you are restricted to shooting from your seat. Shoot

with the standard lens, then add the wide conversion lens and shoot the same image. Compare both

images and notice how much more of the scene you captured with the wide conversion lens.

Shoot without shake

With a soft release cable attached to your X100S, set up the camera in Bulb mode and take a low-light

image that requires absolute sharpness, for example, a nighttime shot of a lit-up city. (If you don’t have

a soft release cable, consider shooting the image using a tripod to avoid camera shake.) Once you’ve

shot the image, take another shot, this time handheld. Notice the difference in clarity and sharpness

between the two images.

use a handheld flash

With a slave flash such as the EF-X20 in your hand, use the X100S’s onboard flash to trigger the flash

unit in your hand. Try holding the flash above, below, and to the side of a subject, and look at the differ-

ent effects that can be created simply by moving the flash around the subject.




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Indexaabout this book, xiii–xvaccessories, 253–265

bags, 259conversion lenses, 256–259flash systems, 263–264hoods and straps, 260shutter release cables, 263soft release buttons, 261thumb grips, 261tripods and heads, 261–262

action portraits, 114–115Adams, Ansel, 199adapter ring, 260Adobe RGB color space, 14advanced filters, 144–146, 147AE bracketing, 225–226AF Mode menu option, 200–201AF-C mode, 13, 114, 203–204, 246AFL/AEL button, 82, 206,

207–208AF-S mode, 13, 109, 201–202, 246ambient light, 153, 155, 167angles, compositions using, 178Aperture Priority (A) mode, 12,

70–75assignment on using, 89author’s preference for, 86camera configuration for, 71Depth of Field Preview in, 75exposure compensation in, 80long exposures using, 161photo examples taken in, 71,

72, 73portrait photography and, 71,

96–97setting up and shooting in,

74–75shutter speed limitations

in, 74situations for using, 71–73

aperture settingsadjusting, 48depth of field and, 38, 39,

70–71explained, 11, 34exposure and, 34, 35focusing attention using, 188f-stops and, 11, 74landscape photography and,

139portrait photography and,

96–97shutter speed and, 38, 69,

74, 78street photography and, 204video recording and, 245X100S examples of, 31, 32

area AF mode, 201–202aspect ratio, 8, 9, 248Atget, Eugene, 199audio recording, 243–244Auto Dynamic Range setting,

86, 87Auto flash mode, 164, 165Auto ISO feature, 10–11, 84–85,

155Auto Power Off feature, 7Auto white balance, 131autofocus (AF) modes, 13automatic modes, 62Average metering mode, 101, 102

Bback button focusing, 207–208,

215backgrounds

blurring, 97, 176composition and, 186portrait, 96–97, 99

backlit subjects, 162back-of-camera features, 3

backup battery, 7bags, camera, 259ball heads, 262barrel distortion, 33battery

backup, 7charging, 6

battery indicator, 6, 47beach scenes, 224Big Stopper filter, 129–130black-and-white images

landscapes as, 135–136portraits as, 92–93, 105, 117

blurbackground, 97, 176motion, 36, 37

blur warning icon, 52bokeh, 36, 97bounced flash, 263bracketing exposures, 225–228

AE bracketing, 225–226assignment about, 237dynamic range bracketing,

228film simulation bracketing,

227–228ISO bracketing, 226–227

bright frame, 47brightness, 140, 179buffering process, 5–6built-in flash, 161–165, 264Bulb (B) mode, 12, 160, 161burst mode

action portraits and, 114street photography and,

206–207

Ccamera shake, 124, 153, 157, 168candid photography, 191

action portraits as, 114–115

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i n d e X 267

annotated examples of, 192–193, 218–219

focus modes for, 200–206See also street photography

captioning images, 215Cartier-Bresson, Henri, 194, 196,

199catchlight, 116charging the battery, 6 chimping, 17clipping, 46close-up photography. See macro

photographyclouds in photos, 138color composition, 182–183, 188color saturation settings, 88color space settings, 14–15color temperature, 133colors

contrasting, 182eyes drawn to, 140saturated, 182

command control, 65, 74, 206Commander mode, 112, 164composition, 171–189

angles and, 178annotated examples of,

172–175assignments on, 188–189backgrounds and, 186color and, 182–183combining elements of, 187,

189contrast and, 182, 184depth of field and, 176–177landscape, 140–142leading lines and, 185light and, 179point of view and, 180–181portrait, 116reflections and, 177rule of thirds and, 140–141street photography, 195

continuous autofocus (AF-C) mode, 13, 114, 203–204, 246

continuous shooting mode, 52action portraits and, 114street photography and,

206–207contrast-detect AF, 159contrasting elements, 182, 184

Corrected AF Frame option, 17, 50–51

crop factor, 33cropping portraits, 116crop-sensor camera, 71custom settings, 209–210Custom white balance, 132customizing viewfinder displays,

54–56

ddecisive moment, 194, 196depth of field

aperture settings and, 38, 39, 70–71

bokeh and, 36, 97composition and, 176–177focusing attention using, 188landscape photography and,

139portrait photography and,

96–97, 117preview option for, 52, 75X100S lens and, 31

Depth of Field Preview option, 52, 75

Detail Information view, 18Detailed display mode, 56digital negatives, 8Digital Split Image option, 206Display Custom setting, 54, 55distance indicator, 47distortion, barrel, 33documentary photography, 85Drive button, 52, 206DSLR cameras, 153dynamic range, 47, 86–87, 234dynamic range bracketing, 228Dynamic Tone filter, 145, 146

eediting videos, 250EF-20 flash unit, 263EF-42 flash unit, 264EF-X20 flash unit, 111, 264electronic viewfinder (EVF), 17,

52–53assignment on using, 57

illustration of options in, 45overview of functions in,

52–53environmental portraits, 96, 97equivalent focal lengths, 33expanded ISO levels, 11, 155–157exposure, 33–36

bracketing, 225–228definition of, 33elements of, 11, 33–34locking, 48, 82–83, 104long, 67, 68multiple, 229–230reciprocal settings for, 35–36video recording and, 244–246

exposure compensation, 48, 79–81

assignment on using, 89dial for controlling, 79exposure modes and, 80–81flash exposures and, 167scale indicating, 76–77, 79video recording and, 246

exposure lock, 48, 82–83exposure modes, 12, 48, 59–68

See also professional modesexposure preview, 113exposure triangle, 33exposure value (EV), 33External Flash mode, 164

See also off-camera flashEye Sensor view mode, 54Eye-Fi cards, 52eyes

catchlight in, 116focusing on, 106–107, 108

Fface detection, 109fast lenses, 72fast shutter speeds, 69, 78fill flash, 110, 117, 164film simulation bracketing,

227–228film simulation modes, 47,

105–106Monochrome+R, 135Sepia, 105, 106video recording in, 247–248,

251

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filters, 127–130advanced, 144–146, 147neutral density, 48, 73,

128–129, 147third-party, 129–130

Fine white balance, 131, 134fireworks, 160firmware updates, 27, 29–30, 41fixed lens, 30flash

bounced, 263built-in, 161–165, 264choosing modes for, 47exposure compensation for,

167fill, 110, 117, 164low lighting and, 38, 161–165manually shooting with, 167off-camera, 110–113, 164,

263–264, 265options for controlling, 164red-eye removal for, 166–167TTL metering for, 161–162

flash exposure compensation, 167Flickr group for book, xv, 19Fluorescent white balance, 131,

134Fn button, 75, 128, 210focal length, 30, 33focus distance scale, 204focus frame, 47, 200–201Focus Lock/Exposure button, 82focus modes, 200–206

assignment on exploring, 215continuous autofocus, 13, 114,

203–204focus frame adjustments,

200–201manual focus, 48, 140,

204–206single autofocus, 13, 109,

201–202video recording and, 246–247

Focus Peak Highlight option, 159–160, 206

focus pointschanging the size of, 107EVF vs. OVF, 12, 200low-light photography and,

159

portrait photography and, 107, 109

steps for setting, 13focusing

for landscape photography, 139–140

for low-light photography, 158–160, 169

for portrait photography, 106–109

for street photography, 201, 202, 203, 204–205, 207–208

for video recording, 246–247, 251

Forced Flash mode, 164formatting memory cards, 28,

29, 41frame rate for video, 242framing images, 142freezing motion, 36, 37, 67front-of-camera features, 2f-stops, 11, 34, 35, 74

See also aperture settingsFujifilm website, 29Fujifilm X100 camera, 26, 27Fujifilm X100S camera

features illustration, 2–4firmware updates, 29–30Fujifilm X100 compared to, 26items included with, 5viewfinders, 15–17, 43–57

Function (Fn) button, 75, 128, 210

Ggift icon, 28Gilden, Bruce, 199golden light, 137–138Gorillapod, 157, 262graduated filters, 130

hhandheld photography, 153, 157,

168, 265heads, tripod, 125, 262High Dynamic Range (HDR)

photography, 234–236assignment on shooting, 237

bracketing exposures for, 225setting up for shooting, 236tripods required for, 124

High Performance option, 7Highlight Tone settings, 88,

135–136histograms, 46, 48, 57horizon line, 140, 141hot shoe, 110, 111, 263humorous images, 211hybrid viewfinder, 15, 43, 57hyperfocal distance (HFD), 139

iimage formats, 8–9image quality settings, 8–9, 47image size settings, 8, 9, 47iMovie program, 250Incandescent white balance, 131internal memory indicator, 48ISO bracketing, 226–227ISO settings

assignment on exploring, 168Auto ISO feature, 10–11,

84–85, 155expanded, 11, 155–157explained, 10, 33exposure and, 33, 34, 35landscape photos and,

126–127low-light photos and, 152–157noise in images and, 126–127,

155portrait photography and, 100sensitivity options, 48, 85shutter speed and, 153, 154,

155steps for selecting, 11, 127

jJPEG file format, 8–9

advanced filters and, 144, 145film simulation modes and,

106ISO bracketing and, 227noise reduction and, 155

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i n d e X 269

llandscape photography, 119–147

annotated examples of, 120–123

assignments on shooting, 147black-and-white, 135–136composition in, 140–142depth of field in, 139filters for, 127–130, 144–146,

147focusing for, 139–140golden light in, 137–138hyperfocal distance in, 139ISO settings for, 126–127manual focus mode for, 140panoramas and, 142–144, 147sunrise/sunset in, 137–138tripods used for, 124–125,

139, 147waterfall shots in, 129–130white balance settings for,

131–134, 147LCD monitor

Detailed view, 56video recording display, 240view modes using, 54zoom feature, 155

leading lines, 185, 188lens barrel distortion, 33lens flare, 233–234lens hood, 234, 260lens on Fujifilm X100S, 30–33

accessories for, 256–259assignment on exploring, 41

lightingcomposition and, 179, 189portrait photography and,

98, 115street photography and, 195,

197See also flash; low-light

photographyLightroom, 106, 134, 249, 250lines, leading, 185, 188locking exposure, 48, 82–83, 104London cityscape photo, 174–175Long Exposure Noise Reduction,

161

long exposureslow-light photography and,

160–161, 169Shutter Priority mode for,

67, 68lossy compression, 8low-light photography, 149–169

annotated example of, 150–151

Aperture Priority mode for, 72assignments on shooting,

168–169built-in flash for, 38, 161–165flash exposure compensation

for, 167focusing for, 158–160, 169ISO settings for, 152–157long exposures for, 67, 68,

160–161, 169noise reduction for, 155, 161red-eye removal for, 166–167stabilizing the camera for, 157tripods used for, 157video recording and, 251

luminance histogram, 46

mmacro photography, 52, 230–232

annotated example of, 220–221

assignment on exploring, 237macro mode for shooting, 232

manual focus (MF) mode, 13, 204–206

fine-tuning compositions using, 140

Focus Peak Highlight option, 159–160

OVF icon indicating, 48video recording using,

246–247Manual (M) mode, 12, 75–78

assignment on using, 89camera configuration for, 76Depth of Field Preview in, 75exposure compensation scale

in, 76–77fast shutter speeds and, 78

flash photography in, 167photo examples taken in, 77setting up and shooting in, 78situations for using, 77, 86turning off exposure preview

in, 113Max. Sensitivity setting, 85memory cards, 27–29

buffering to, 5–6capacity considerations, 27characteristics of SD, 5formatting, 28, 29, 41tips on using, 27–28video and, 243, 248

metering modes, 47, 101–103, 117Average, 101, 102Multi, 101, 103Spot, 101, 103, 222–224

microphones, 243–244Min. Shutter Speed setting, 85mirrorless cameras, 153model release, 196Monitor Sunlight mode, 52Monochrome+R film simulation,

135motion

blurring, 36, 37freezing, 36, 37, 67portraying, 22–23, 38, 40,

67, 68shutter speed and, 36, 37,

38, 40motion panorama feature, 142,

143–144.MOV file format, 249Movie mode, 241, 242, 246

See also video recordingMulti AF mode, 201Multi metering mode, 101, 103Multiple Exposure feature,

229–230, 237

nnatural light, 117ND (neutral density) filter

built-in, 128–129OVF icon indicating, 48third-party, 129–130, 147

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noise in imagesISO settings and, 126–127,

155, 156long exposures and, 161

Noise Reduction settings, 88, 155, 161, 168

ooff-camera flash, 110–113

exposure preview and, 113handheld flash as, 265how it works, 110–111setting up for, 112units recommended for,

263–264optical viewfinder (OVF), 16, 44,

47–51assignment on using, 57benefits of using, 49Corrected AF Frame option,

50–51illustration of options in, 44overview of functions in,

47–49parallax effect and, 49–50, 51

Outdoor mode, 52, 209overexposed images, 76–77

ppan heads, 262panoramas, 142–144, 147parallax, 17, 49–50

assignment on working with, 57

Corrected AF Frame option for, 50–51

optical viewfinder and, 49–50, 51

Parr, Martin, 199performance level settings, 7peripheral vision, 49perspective, 180–181, 189pet photography, 99phase-detection AF, 159photometry, 101Photoshop, 234, 236, 237Playback button, 18, 249point of view, 180–181, 189

portrait orientation, 116portraits, 91–117

action shots as, 114–115annotated examples of, 92–95Aperture Priority mode for,

71, 96–97assignments on shooting, 117backgrounds for, 96–97, 99black-and-white, 92–93, 105,

117composition of, 116depth of field in, 96–97, 117environmental, 96, 97fill flash for, 110film simulations for, 105–106focusing for, 106–109ISO setting for, 100lighting for, 98, 115locking exposure for, 104macro photography for, 231metering modes for, 101–103,

117, 224off-camera flash for, 110–113tips for shooting, 115–116white balance for, 100

Power Management option, 7Premiere Elements, 250preparedness for shooting, 34professional modes, 59–78

Aperture Priority mode, 70–75assignments on using, 89Manual mode, 75–78Program mode, 62–65Shutter Priority mode, 66–70

Program (P) mode, 12, 62–65assignment on using, 89Auto flash mode and, 164camera configuration for, 63exposure compensation in, 80limitations in, 64, 78photo example taken in, 64program shift in, 65setting up and shooting in, 65situations for using, 64, 65

program shift, 65

QQ button, 208–209quality settings, 8–9

r.RAF file extension, 10RAW file format, 8–9

color space and, 15dynamic range setting and, 87film simulation modes and,

106Fuji X-Series files and, 10HDR photography and, 236ISO bracketing and, 227noise reduction and, 155white balance and, 134

RAW+JPEG option, 9, 155reciprocal exposures, 35–36recomposing portraits, 109Red-Eye Removal feature,

166–167reflections, shooting, 177resolution

image, 26video, 26, 248

reviewing images, 17–18assignment on, 19Detail Information view

for, 18duration setting for, 18

rule of thirds, 140–141

Ssaturated colors, 182scene modes, 62screen display. See LCD monitorSD cards, 5, 27–29, 243

See also memory cardsSDHC cards, 27SDXC cards, 28self-timer, 52, 263sensitivity, ISO, 48, 85Sepia film simulation, 105, 106Shade white balance, 100, 131Shadow Tone settings, 88,

135–136shadows

composition using, 179fill flash for reducing, 110,

117, 164sharpness of photos

aperture settings and, 38, 39eyes drawn to, 140

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i n d e X 271

hyperfocal distance and, 139option for adjusting, 88wide conversion lens and, 258

shooting configuration options, 208

shooting from the hip, 204, 215Shooting menu, 9, 11, 51, 55, 84Shutter Priority (S) mode, 12,

66–70action portraits and, 114aperture limitations in, 69assignment on using, 89camera configuration for,

66–67exposure compensation in, 80photo examples taken in,

67, 68setting up and shooting in, 70situations for using, 67–68

shutter release cables, 161, 263, 265

shutter speedadjusting, 48, 69aperture settings and, 38, 69,

74, 78explained, 11, 34exposure and, 34, 35fast vs. slow, 69intermediate selections for,

69ISO setting and, 153, 154, 155minimum setting for, 85motion and, 36, 37, 38, 40tripod use and, 124, 125

silent modeEVF indicator for, 52hot shoe disabled in, 111

single autofocus (AF-S) mode, 13, 109, 201–202, 246

slow shutter speeds, 69Slow Sync flash mode, 164, 165soft release buttons, 261Spot metering mode, 101, 103,

222–224assignments on exploring, 237situations for using, 223–224steps for selecting, 223

sRGB color space, 14storytelling photography, 194straps, camera, 260

street photography, 191–215annotated examples of,

24–25, 192–193assignments on shooting, 215back button focusing for,

207–208, 215beating your fear of, 196–197,

215burst mode for, 206–207choosing topics for, 198composition of, 195configuring features for,

207–210decisive moment in, 194, 196definition of, 194elements of, 194–195focus modes for, 200–206inspirations for, 199light used in, 195, 197patience required for, 197tips for shooting, 211–214

sunlightlens flare from, 233–234portrait photography and,

110, 117Sunny 16 Rule, 36sunrise/sunset photos, 137–138Suppressed Flash mode, 164

tTele Conversion Lens (TCL), 259temperature warning icon, 48Think Tank Retrospective 7 bag,

259third-party filters, 129–130thumb grips, 261tight spaces, 31, 32Time (T) mode, 12, 161Time Value Priority (Tv) mode, 66tone mapping process, 234top-of-camera features, 4triggers, flash, 110tripods, 261–262

advice on choosing, 125, 262ball and pan heads for, 262landscape photography and,

124–125, 139, 147low-light photography and,

157

shutter speed for using, 125stability considerations, 125

TTL metering, 161–162

uunderexposed images, 76–77Underwater white balance, 131updating the firmware, 27, 29–30,

41

VVersace, Vincent, 188video recording, 239–251

assignments on, 251audio for, 243–244editing tools for, 250exposure for, 244–246file format for, 249film simulations for, 247–248,

251focus modes for, 246–247, 251frame rate for, 242LCD monitor display for, 240maximum time for, 248memory cards and, 243, 248Movie mode for, 241, 242, 246resolution and aspect ratio

for, 248setting up and starting, 241,

251watching/reviewing, 249white balance for, 247

View Mode button, 53–54Viewfinder mode, 54viewfinders, 15–17, 43–57

assignments on using, 57customizing, 54–56electronic, 17, 45, 52–53explained, 15–16, 43histogram in, 46, 57optical, 16, 44, 47–51selecting, 19, 53switching between, 53–54

virtual horizon, 47

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Wwater, showing motion in,

129–130WCL-X100 conversion lens, 97,

256–258white balance settings

color temperature and, 133creating custom, 132displayed in OVF, 47landscape photography and,

131–134, 147portrait photography and, 100presets available as, 131RAW file format and, 134shift function for, 133steps for selecting, 131video recording and, 247

wide conversion lens, 52, 97, 256–258, 265

Windows Movie Maker, 250

YYokohama, Japan, 60–61

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Fujifilm X100s Snapshots to Greatshots

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