The X-E2 is the same size as the X100s, shares the same sensor, but has a lens mount enabling the use of the growing range of superb lenses made by Fuji and Zeiss. The X-E2 brings a whole host of new features to the ever expanding Fujifilm X system. Some of the features you will love and others you will rarely use. I mainly shoot portraits so I don’t expect to be using WiFi or the video functions that much but it’s good to know that they are there.

I’ve had the Fujifilm X-E2 for just a couple of weeks but I’ve already studied the camera and the manual in detail to work out how I’m going to shoot with it. Here are three main ways I have established for shooting portraits with the Fujifilm X-E2 camera. I got caught out at times on the journey to making the camera work for me but where there is a will there is a way. Here are my three set-ups in detail…

These are my Q menu settings that are common to all three shooting systems. They affect the jpeg output and the way the image is viewed on the LCD or EVF:

DR 100
NR -2
L 3.2
RAW-F
H tone 0
S tone 0
Colour 0
Sharp -1
LCD brightness 0
(The size of the jpeg recorded affects the maximum in-camera playback zoom)

Shooting System 1:

This is my natural or continuous lighting set up and uses aperture priority in conjunction with auto ISO. Here are my settings for that working method:

ISO set to 200 Auto on ~ max 6400 with a minimum shutter speed set for each lens as follows: 14mm ~ 1/60th second, 23mm ~ 1/100th second, 35mm ~ 1/160th second and 60mm lens ~ 1/250th second.
Shutter speed dial set to A
Aperture dial set to f/1.4 – f/4 as required
Jpeg Fine + Raw
Auto WB
Ns film simulation

AF set to S Activated on a half press of the shutter. I then move the focus zone around the frame as needed. I set the focus zone as the smallest square available as any background detail within the square during focussing might cause the lens to back focus.

With these settings dialled in I just pick up the camera, switch it on and start shooting. I adjust the shooting the exposure compensation as required via the very convenient dial, I change the focus zone to the best position for each shot and I reset the minimum shutter speed for Auto ISO in the ISO menu (Fn button) if I change my lens.

With the AF set to activate on a half shutter press I have to focus before every exposure. I rarely shoot multiple frames the same so I really don’t mind doing this.

I set the aperture and let the camera adjust the ISO from 200 to 6400 to suit the light level. When it runs out of ISO range it alters the shutter speed. I came to the values of minimum shutter speed using my simple formula* (See the section on shutter speed below). Occasionally I’ll dial in a higher shutter speed, especially when using the 14mm lens if the subject movement demands it. I just set the shutter speed dial to the value I want and the auto ISO continues to perform just as before.

Notes: Jpeg Fine added to the Raw format ensures a 100% speed zoom function on picture review. Ns film simulation gives me a natural rendition of the contrast recorded. I change the look as required in Adobe Lightroom.

Shooting System 2:

This is my studio flash method where the ambient light plays no part in the exposure. The camera is in full manual mode:

ISO set to 200 Auto ISO switched off
Shutter speed set to 180x
Jpeg Fine + Raw
White balance set to sunny day
Ns film simulation
Aperture set to f/11
Autofocus set to Manual
Focus using AF lock button
The AF position is moved around the frame as required
Preview exposure in manual mode set to off [ Menu > Set -up 1 > Screen set-up > Preview Exp. in manual mode > toggle on or off]

Notes: The exposure preview in manual mode is fabulous but in the studio it needs to be switched off otherwise the LCD and the EVF are just black. I shoot all my studio flash work at f/11 because my principal flash heads are at 1/4 power or so, they recycle quickly and have at least two stops of adjustment available in either direction.

Shooting System 3:

I use this set up when I am in the studio using continuous light or when I’m shooting interior portraits or using Speedlights on location where the ambient light is part of the exposure. Full manual exposure.

Aperture set to f/1.4 – f/2.8 for DOF requirements
Shutter speed set manually to at least 4x the focal length (primes) or 180x if using flash
ISO set as required. ISO adjustments are 1/3rd stop so I use this for exposure adjustment [Fn button assigned ISO]
Auto ISO switched off
Jpeg Fine + Raw
White balance set to Auto
Ns film simulation
Autofocus set to Manual
Focus using AF lock button
The AF position is moved around the frame as required
Preview exposure in manual mode set to on [ Menu > Set -up 1 > Screen set-up > Preview Exp. in manual mode > toggle on or off]

Notes: This set up is perfect if the light level is not changing often. Examples include when a bride is having her hair and makeup done or boudoir shoots in hotel bedrooms. Once the exposure is set using the ISO it can usually be left alone. With the ‘preview exposure in manual mode’ switched on it is easy to see any changes necessary before the shutter is pressed. What you see is what you get.

If I’m shooting dramatic location flash with the ambient light exposure cut by two or more stops I switch the ‘preview exposure in manual mode’ facility off otherwise I can’t see to compose. In sunlight or bright daylight I often use a NDx16 or NDx32 filter to get from f/11 or f/16 down to f/2.8. The great news is the brightness of the LCD or EVF on the Fuji X-E2 adjusts accordingly once the exposure preview is off so it’s business as usual. On an SLR it would be tough to see the picture with this amount of ND. Hence SLRs often need high speed sync to achieve a similar look. That option is not always possible when using big pro flash systems so the Fuji X and ND filter is the best all round solution. The Fuji X-100 has a handy NDx8 ( 3 stop) filter built in.

When working with the Fujifilm X lenses set to a wide aperture I adjust the position of the focus zone using the controls on the back of the camera. I use this system because the lenses are a flat field design. That is, the edges of the frame focus at a further distance from the camera than the centre of the image for any given lens position making the focus reframe method of shooting far less accurate. The great news with the X system is that unlike a dSLR the peripheral focus zones are very sensitive and are completely useable. One problem though is I have yet to find a way of setting the focus area to a smaller size on the X-E2 in Manual mode. It remains a big white rectangle. I think that this must be a system bug that will be corrected with a firmware upgrade soon. Fujifilm are very good at providing firmware upgrades on a regular basis.

*A note about shutter speed and focal length with Fujifilm X cameras. For hand held shooting I have found that the pixel pitch of a 12mp APS-C sensor (X100) requires a shutter speed of 1/ (3*F) where F is the focal length of the lens. So for the X100 where F=23mm I use a shutter speed of 1/80th second as it is the closest value I can set using the auto iso function above my calculated value of 1/69th second. When I’m shooting hand held using a manual exposure system I have to choose 1/125th second as the shutter speed dial is in whole stop increments. With an X Trans APS-C sensor of 16mp (X-Pro1, X100s and X-E2) the pixel pitch is smaller still and I find I need a shutter speed 1/(4*F) to get acceptably sharp pictures hand held.

The future: I hope that there is an X-Pro2 camera and it has in camera, or on sensor, stabilisation especially if the pixel count goes up to 21 million pixels on an organic APS-C  sensor. That will ensure the 56mm or 60mm lenses can be used hand held at 1/60th second rather than 1/250th second. Having to use a monopod is a bit of a pain that I can do without. I doubt I’ll ever be shooting the 56mm lens wider than f/2 except for full length portraits but we will have to wait and see.

I hope this first findings guide is useful. Being an early adopter of any system is a challenge in itself but I get the added advantage of a long service life from my cameras before they become superseded.

Feel free to comment on these settings and mention other ways you use the camera for shooting portraits.

Raw beauty with minimal make up and mostly lit with one light. That’s how I shot this set of images of new model Ellie Rhodes from Gingersnap. I was running a 1:1 training session for a documentary, travel and environmental portrait photographer who wants to take control of light or make it as required.

01. Simplistic lighting on Ellie set against a stark grey background. I tussled Ellie’s hair for effect. We did have a hair brush on set somewhere but I can’t remember us using it.

Here are 15 shots from this shoot…

Make up: Ellie
Styling: Ellie
Post Production: Lightroom tweaks of the in-camera jpegs

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03. In the viewing room we shot with window light balanced with a Lupolux Quadlight.

04. I shut the curtains and just used the Quadlight for the shot on the right.

05. A Speedlight in a Lastolight 55cm Ezybox was used for these shots.

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07. A Quadlight, and for the shot on the left I added a Lupolux LED 650 set at 20% with a Scattergel to light the background.

The X-E2 performed like a dream using my shooting systems mentioned here. I’m really into this less is more approach to photography at the moment. Especially when it comes to make up and Photoshop. The vision of a false perfection that photographers and retouchers create is definitely affecting the teenage generation. A  lack of self confidence and hangups over appearance is largely down to the over use of Photoshop since the birth of digital imaging.

Please feel free to comment below.

This set of 34 recent pictures was shot on a 1:4 training day. The delegates got to chose the date, their shooting partners, our model, the genre and the lighting equipment to be used. The delegates are all full time professionals who understand the need for personal development and investment. We had a great day of fun and creativity. The sunlight was created with a single Speedlight.

Enjoy…

Model: Clare Tombs
Hair and Make up: Clare Tombs
Corsets: Lisa Keating
Camera: Fuji X-E2 hand held using 23mm, 35mm and 60mm prime lenses
Filtration: Tiffen Black Pro Mist 1/8th on the 60mm lens
Post production: A quick whizz through Lightroom with the OOC Jpegs

Lighting kit used:
Canon 580EX2 Speedlight with Honl 1/4″ grid on a Lovegrove flash bracket
Lupolux Quadlight with grid diffuser
Sunbounce Pro reflector
Lupolux LED 1000 spotlight with ‘Crunch’ Scattergel™

If you would like to organise a group shoot or book me for a 1:1 training session please get in touch with Laura or Blaise on +44(0)1275 853204 We can also add you to our private Facebook group to meet other photographers looking to share training days. Email the Lovegrove team.

Please feel free to comment below.

Model: Zara Watson
Make up and hair: Zara Watson
Corsets: Lisa Keating
Styling: Zara Watson and Damien Lovegrove

28 pictures from our collaborative set…

Camera: Fujifilm X-E2 hand held using 35mm and 60mm lenses
Lighting: Lupolux Quadlight as a key light, Lupolux 650 spotlights as back lights and background light with Scattergel™
Filtration: Tiffen 1/4 Black Pro Mist filter on 35mm lens and Tiffen 1/8th Black Pro Mist filter on the 60mm lens

Zara is a fabulous model to work with and exudes a fun charismatic personality. We’ve been planning to shoot together for sometime and we finally got the chance to make it happen. These pictures are free from Photoshop. I’ve just used a splash of Lighting and a dash of Lightroom to allow Zara’s natural beauty to shine through.

I’m really getting to grips with the tiny Fuji X-E2 now. My shooting settings for continuous and flash use with the X-E2 in the studio are here.

Please feel free to comment on these pictures.

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An update on my X-E2 journey and 90 pictures from one shoot with the Fuji X system to enjoy…

I shot both my X- cameras side by side because I wanted to see how easy it was to switch between them. My conclusion is that the X-Pro1 and the X-E2 have such different operating set ups it was a challenge. However when the new firmware for the X-Series cameras is released next week most features will merge and the cameras will seem far more coordinated. At the moment they both have their strengths and weaknesses. The ‘exposure preview when in manual mode’ function on the X-E2 is fabulous and is due to become a feature on the X-Pro1 too along with the minimum shutter speed setting in auto ISO. I hope the X-E2 gets the X-Pro1 focussing characteristics when in manual mode because at the moment the focus zone on the X-E2 is far too big. Both cameras could do with the best bits of each becoming integrated into a more coherent firmware with common characteristics.

I used three prime lenses for this set of pictures. Every frame here was shot wide open. On the 23mm and 35mm lenses that is f/1.4 and on the 60mm lens it is f/2.4. I used ISO 400 to ISO 1600 depending upon the light level and exposure characteristics I wanted to capture. All the pictures were shot hand held and I much prefer the handling of the X-Pro1 with the RRS ‘L’ bracket and grip to the X-E2 with no grip. A bracket and grip will become available for the x-E2 soon enough.

Ever since I embarked on my Fuji X journey there has been a useable set of prime lenses. The original three offerings 18mm, 35mm and 60mm set me on my way 15 months ago and now with a system comprising of 12 lenses and counting there are still two primes that I am patiently waiting for. The 56mm f/1.2 portrait lens and the 90mm f/2 IS long portrait lens. The 56mm lens should be with us next month. The 90mm lens is in my dreams. How is it when faced with fabulous tools we always want more? I’m now carrying two X bodies with me to shoots, 4 lenses and filters too so I’m going to need a bigger camera bag when the 56mm arrives. I’ve lost count of my camera bags but this time I think I’ll have a hand me down. My Canon 5D2 kit with it’s primes is living in my Think Tank Retrospective 20 in Pinestone. This will be a perfect size for my Fuji X / prime kit. I will be able to carry 2 bodies, 4 lenses and accessories at about half the weight of one DSLR and just three lenses in the same bag.

A three prime set up is always going to be a compromise in my book but with the new Fuji XF 56mm just around the corner I’ll be using a four lens set up comprising the 14mm, 23mm, 35mm and 56mm lenses. Some photographers have asked me if I feel the 23mm and 35mm lenses are too close and ‘is there a need to have both’? I love this combination because I use the 23mm lens to capture the establishing shots, telling the story and I use the 35mm to capture the intimacy in my portraits. The intimacy comes from a close proximity to my subject. If I want to go tighter than head and shoulders it is the turn of the 60mm macro lens. I also use the 60mm lens when I’m wanting to create long shots with a feeling of distance and separation. The lenses are merely allowing me to express what I want in the image by the nature of my proximity to my subject.

Photography is perhaps more exciting for me now than at any time in my 30 year career to date. That brings me on to this assignment. I was booked for a 1:1 tuition day in Bristol. My client stayed at a boutique hotel for a couple of nights and we spent the day between shooting in his room. My delegate chose to shoot on a Nikon D800 and a D700 with a set of top shelf primes while I worked the Fujis. I collected Samantha from Temple Meads station on my way to the hotel and after a rapport building session over tea and coffee we were taking our first frames in natural light. I’ve never worked with Samantha before and I’ve no idea why that should be because she is a fabulous model, fun and kind. Thank you Samantha.

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Model: Samantha Engelbrecht
Photography: Damien Lovegrove
Lighting: Sunbounce Pro reflector in Silver/ white, Lupolux LED 1000, Lowel iD light
Filtration: Tiffen Black Pro Mist 1/4 filter on 23mm and 35mm and 1/8th on the 60mm lens
Make up and hair: Samantha
Styling: Damien Lovegrove and Samantha
Corsets by: Lisa Keating
Camera kit: Fuji X-E2, X-Pro1, 23mm, 35mm and 60mm lenses
Post production: Adobe Lightroom 5.3 – no Photoshop, no presets

Here are 90 of my pictures from the shoot. The misty look was created in camera by shooting into the light with the pro mist filters. What you see is what we shot. If you would like to book me for a 1:1 training session click here for more information and get in touch. There really is no better way to improve your photography than a bespoke learning experience.

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Well there you have it. There are more pictures here than in any other post on this blog. This represents a typical Lovegrove album selection. The energy and variety comes down to direction and the fabulous range in Samantha’s personality and acting ability. I’m sure she was laughing at me rather than with me at times. That’s okay, what matters is we had fun and it shows in the pictures. I’ll report back on the Fuji X cameras after my next shoot with the new firmware. In the meantime please feel free to take a look at my galleries of images here. There are 22 galleries to date containing just over 2000 photographs.

Please comment below

01. This pair of pictures were lit with natural light. This complete set has had no retouching beyond basic tweaks in Lightroom. ‘Keep it real’ – enjoy.

35 shots from my last bespoke training session of the year. It was a dull wet miserable weather kind of day, at the darkest time of the year. The good news for my four delegates was we had to light almost every shot. If you can create wonderful interior pictures in these conditions you are just about set for anything. What made the shoot a little harder was we worked 70% of the time with Speedlights at the request of the delegates. I never recommend Speedlights for this kind of shoot because there is no modelling light to use for focussing and the process becomes a lot of test, adjust, test again, adjust again etc. With continuous light, what you see is what you get. This was a deep end learning experience for us all.

02. After a natural light set in the bathroom we added a pair of Speedlights to simulate sunlight and we went from ISO 1600 at f/1.4 1/125th second to ISO 200 at f/2 and 1/125th second. Getting control of the contrast ratio is the key to success here. I showed the delegates exactly how to simulate a sunny day. It’s a technique I used at weddings on rainy days too.

Model: Clair Tombs
Hair and makeup: Clair Tombs
Styling: Damien Lovegrove and Clair Tombs
Corset by Lisa Keating
Post production: Damien Lovegrove using Lightroom

03. These pictures were all shot with a 1/4 strength Tiffen Black Pro Mist filter on either my Fujifilm XF 35mm f/1.4 wide open at f/1.4 or my Fujifilm XF 60mm wide open at  f/2.4. Those two lenses are a perfect combination for mid shots and close ups.

04. It’s all about light and shade. We were still working hand held to capture these bodyscapes. This lighting is perfect for nude and pregnancy photography too.

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08. Just 1.5m of bedroom wall and a Lupolux Quadlight with grid is all we used for this set of shots.

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11. It was time for a bit of fun so we resorted to a pillow fight. Corset by Lisa Keating. I lit Clair with a Lupolux 650 LED light with a Scattergel.

12. The shots on the right were lit with a Lowel iD battery powered tungsten light.

13. I put the Lowel iD light on a boom arm and rigged it above and behind Clair as she lay on the bed.

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There you have it. It was a tough session to light but we got there and the whole team learned a great deal along the way. We are already past the shortest day of the year as I write this so it won’t be too long before we are enjoying about three stops more light for interior shooting.

Please feel free to comment on these shots.

Here is a review of the Hollywood Portraits Remastered video made by my new video production partner Gwyn Cole.

Use the voucher code vivalto in the US$ shop for a $30 discount or use the same code in the UK£ shop for a £20 discount on the full Hollywood Portraits Remastered production.

Gwyn and I will be working on some exciting new projects this autumn and winter. On the cards for 2013/4 are a remake of the Natural light and flash on location videos. A Speedlighting in Manual mode production and boudoir with Speedlights. Please feel free to add your requests here.

*Voucher code discounts are valid throughout 2013

Claudia Lucia, a make up and body paint artist from Bristol suggested that we collaborate on a project. I’ve been fascinated by metallic paint for a while and I was keen to try the range from Mehron with the alcohol and an oil based carrier.

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Here are our pictures and my lighting techniques from the first session with Charlie.

2. Claudia started by applying the verdigris and building up the transitions into copper and bronze.

03. There is real control needed to assign the shadow tones following the muscle contours of Charlie’s back. I used a couple of Lupolux 650 lights to capture the painting process. I used the two point lighting method I wrote about here on Photofocus.

04. The painting process took just under 4 hours. The Mehron powders with the alcahol base dry very quickly so it’s best to mix small amounts at a time. Claudia blended 2 metallic powders to achieve the final result.

05. In the studio I used two Lupolux 650 lights as 3/4 backlights and an Arri Junior 300w tungsten light to add a splash of golden light. Later in the 1/2 hour shoot session I added a Lupolux 1000 with a scattergel.

06. Hard light from the Lupolux and Arri fresnel spotlights is perfect to highlight the beauty of Charlie.

07. Charlie had researched poses and looked effortlessly fabulous throughout the shoot.

08. I love the ‘runs’ of paint across the verdigris. It’s like war paint. I chose an above the eye line camera angle for the portrait.

09. I used a ‘Cappuccino’ background roll from Calumet and under lit it.

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11. The shoulder creases are just stunning. There is a real sense of metallic form like a bronze sculpture.

12. Claudia started by plaiting Charlie’s hair before working on applying paint to the body and finally her face.

13. Detail matters. All the photographs were taken on my Nikon D700 with a 24mm-70mm lens because Julie had borrowed my Fuji X-Pro1 to take to Fuerteventura. I so missed the Fuji on this shoot.

14. Artist Claudia with her artwork.

If you would like to offer yourself up for painting, Male and female, Claudia and I have many ideas to come to fruition and I have a warm studio on hand. Just drop Blaise or Laura an email.

Please feel free to discuss the pictures and techniques used.

This is a showreel of the photographs taken by Damien Lovegrove throughout 2013. The set comprises portraits, figure in the landscape and art nude genres shot in various locations including Singapore, Jakarta, Rimini, Dusseldorf, Fuerteventura, Northampton, Bristol, and Manchester.

The music is by Denys Rybkin and is licensed from SoundTaxi.net (License number 32787)

Ticket price just £18 (non profit event)

• Glasgow: Wednesday 19th February
• Newcastle: Friday 21st February
• St Albans: Thursday 27th February
• Exeter: Friday 14th March
• Winchester: Friday 21st March

Just follow this link or click on the banner for all the information you need.

01. Simple window light set up with fine control of contrast delivering silky smooth tones straight from Adobe Lightroom.

This is a set of pictures from one of my 1:1 training sessions of last week. My brief was to teach how I create my high key boudoir shots with minimalist lighting kit. My client had the foresight to invest in a Lupolux Quadlight and a Lupolux 800 HMI spotlight so that is what we used. These pictures were taken in a very dark basement flat in Clifton Bristol. It is typically the hardest environment to shoot in so the maximum learning experience was gained. It is easy to shoot boudoir in a bright apartment with big windows but here we lit almost every shot from scratch.

02. These frames were shot from the garden looking back into the house through the windows.

03. Increasing the contrast adds more intrigue and oomph to the pictures.

04. I used the Lupolux 800. I rigged it in the garden and shone it through the window. We started subtly then gave it a boot using the flood/ spot control.

05. These were shot with the 800 light either outside (right hand shot) or inside (left hand shot).

06. I used a Scattergel to give the light pattern some interest.

07. The Fuji 23mm f/1.4 is the perfect lens for creating scene setting shots like the one on the left. I then swap to the 35 or 60mm lenses for the close ups.

08. I  showed my delegate how to use a plain wall and his Lupolux Quadlight with grid. We had to unhook a picture frame and move a sofa to create enough shooting space. One light used well can make the most stunning portraits. These look even better in black and white. I’m putting in the odd colour set here and there to show you how these lights work with skin tones.

09. The same lighting set up was used for these high key shots that were given a Lovegrove look in camera.

10. The bedroom was both dark and small. So we cut out all the daylight, switched off the room lights and made our own sunlight using just the Lupolux 800 and a reflector.

11. Into the light is my favourite shooting / lighting strategy for boudoir.

12. The Lupolux 800 is out in the garden again here and the contrast is controlled optically with the use of Tiffen Pro Mist filters and lens hoods etc.

13. Low key shooting was on the agenda too so I set about creating some darker scenes for us to shoot.

14. By 4:00 in the afternoon it was dark so we used the Quadlight together with the room lights.

15. Classic lighting with intimacy and engagement is my system of choice for beauty shots.

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17. There you have it. Enough shots to make an album than can be taken in one small flat in winter. The shoot time would be about 2 hours plus hair and make up. For my 1:1 training we spent 7 hours shooting and Claire did her own minimalistic make up.

I shot all these using my Fuji X-Pro1 and three prime lenses. The 23mm f/1.4, the 35mm f/1.4 and the 60mm f/2.4. A lot of photographers will replace the 60mm lens with the new 56mm f/1.2 in the coming months so watch out for a bargain. The 60mm lens is the best performing Fuji X lens wide open. It has a fabulous bokeh and is a delight to use. I can get right in there for beauty detail shots of eyes etc without any close focus issues too. I for one will be keeping my beloved 60mm XF lens. A gallery of the shots I’ve taken with the 60mm lens is here. Take a look at the first frame in the gallery to see the fantastic characteristics of the 60mm bokeh. Click on the picture to see it big.

My interior portrait camera kit is detailed here.

The Lupolux 800 HMI is still available and is a favourite for colour discerning photographers despite most buyers opting for the Lupolux LED models. I still love the 800 HMI and it remains my favourite spotlight of choice. It has a wonderful colour rendition for skin tones and a super point source characteristic in full flood mode.

Model: Claire from Gingersnap Model Agency

1:1 or small group boudoir training by Damien Lovegrove information is here.

Please feel free to discuss or comment on the lighting or equipment used. What style of lighting do you prefer? If you were Clair, what picture here would you like the most?

01. It’s that time of year where all my interior portraits are lit. Even shots by a window are given the sunlight treatment. For this pair of pictures my light was out in the garden. It was dark in this basement flat and this set of French doors faces North. Once I take control of light anything is possible. I used a Tiffen 1/4 Black Pro Mist filter on my 60mm Fuji lens to capture this dreamy look.

These shots were taken on a 1:2 training day for delegates who wanted to learn how to take control of light. They were all shot using continuous lighting from Lupolux.  My delegates wanted to shoot high key and low key boudoir in the morning and a few nudes in the afternoon. They chose to work with two of our models Holly R (from Gingersnap agency) in the morning and Vicki Blatchley after lunch. Some of these shots show a departure from my usual style. I find 1:1  and small group sessions are great opportunities to share the new ideas that I’ve been working on.

Models: Holly R and Vicki Blatchley
Camera: Fuji X-Pro1 and X-E2 with 23mm, 35mm and 60mm lenses
Styling by Damien Lovegrove and the models
Corsets: Lisa Keating bespoke.

02. The Lupolux spotlight was set to simulate sunlight and you can clearly see the shadows from the window spars and Holly.

03. I’ve been playing with different set ups in Lightroom to try and recreate the film looks I get in camera hence the different colour renditions for these first sets of pictures. Adobe is currently working on the next generation of processing options for the X-Trans sensor cameras including full profiles for Fuji’s legendary film looks.

04. I brought the light inside when it started to rain and I used a Scattergel with a single Lupolux 1000 spotlight to set the scene.

05. Holly has a fabulous tattoo. The head shot on the right is lit with the Lupolux 1000 spotlight. The hard shadows emphasise the beautiful waves in Holly’s hair.

06. I treated the desk area of the flat with hard funky light created using one of the new Scattergel designs.

07. After the first high key session we shot low key. All the time we were using just one Lupolux light. Here we used a Lupo 1000 spotlight tightly doored in.

08. Holly in the kitchen wearing a fabulous corset by Lisa Keating.

09. Our last set before lunch was lit with a Lupolux Quad light (soft continuous light) in the garden.

10. I lit Vicki on the sofa from outside once again. It’s a very different look from picture set 04.

11. Again I used a Lupolux outside to simulate sunlight but I showed how to create high key and low key set ups in the same place with minimal tweaks of exposure and lighting. I used the Tiffen 1/4 black pro mist on my 60mm lens for the shot on the left.

12. The Lupolux light was still outside for this set of shots too.

13. I love venturing into the outer reaches of surreal or erotic and away from lifestyle.

Are you ready for a 1:1 or small group learning experience? I’m really easy going and my models are too. We have lots of fun, there is no pressure and it’s a great way to learn how to direct as well as how to light and shoot. I can teach the fundamentals, my delegates are rarely experts. All the pictures here are easy to shoot with the right know how. The lighting kit used costs the same as the new 56mm lens from Fuji or a 24-70mm zoom from Canon. Light really does have an impact on my style of picture making. It means I’m happy to shoot in a dark location in January or a bright location in June. We all think a new lens or camera will change our pictures but in reality the changes are often minimal. Training makes the biggest change. Training is the key that unlocks your potential. Knowing how to use or create wonderful light is a skill shared by the worlds greatest photographers. I shall be going to Belgium again this year to learn how to reflect light like a pro with Tom Museeuw and to Sweden to learn about beauty photography with Benny Ottosson. Keep learning and make it happen. Speak to Blaise or Laura on 01275 853204 about 1:1 and small group training. Ask for a special rate, you never know

Please feel free to comment below

01. Jammy Lou on fire. Lit with one Elinchrom 600 RX studio flash head and a beauty dish and grid I bought a couple of years ago on Ebay.

We started with a session of lighting set ups for corporate head shots and 3/4 body shots (not shown here) then we went on to the more creative studio lighting. We covered beauty, fashion and editorial lighting plus we managed to shoot some one light fashion nudes too. NSFW after the jump

Model: Jammy Lou
Make up and hair: Vicki Waghorn
Camera: Fujifilm X-E2 with PhotoMadd grip and 60mm lens for all the pictures.
My delegate shot with a Leica M and a Nikon D800

02. These were shot using my one light beauty rig. It is ever so striking and flattering on skin texture. Soft lighting like this widens faces while my favoured hard light narrows faces but when it comes to flawless beauty shots soft light wins every time.

03. Make up and hair was by my house stylist Vicki Waghorn.

04. A simple two light set up using strip light soft boxes and a separate unit to control contrast.

05. Using the same two strip lights we took the shots to another level. This kind of two light set up works well for pregnancy, boudoir and nudes in the studio.

06.

07.

08. I love the opportunity to shoot for print. Art paper prints require clean and detailed shadow areas to deliver the highest quality.

09. We swapped from shooting flash to shooting with one or two Lupolux LED spotlights. These were lit with just one LED 1000 light.

10. Life in the jungle.

11. I used two spotlights for this tutu sequence. My client has 5 Lupolux LED lights for his commercial work that he shoots on location throughout the world and this was a refresher day to maximise the potential of the Lupolux Spotlight in a controlled studio space.

12. I cross shot Cass’s torso and legs to deliver a bit of funkiness.

1:1 sessions are a great way to hone new skills, iron out camera handling weaknesses or to learn about light. I teach some of the most influential professional photographers on the circuit today. In return I take onboard training too. Self development is the most important part of an ongoing creative process. We have laughs, lots of creativity and plenty of excitement in a relaxed easy going environment. Ring Laura or Blaise for more information on 01275 853204. And Yes, I can come to you too.

Please feel free to comment on these pictures.

Here’s a bit of fun for you. I was asked to give guidance and to be on hand with lighting kit for a fully styled themed shoot. This is not my usual thing and I had to make sure I was not setting myself up to fail. Anyway to cut a long story short, creative, talented photographers both professional and amateur crafted wonderful pictures from the scenes conceived by Sue Fyfe Williams. Here are a few of my shots that I grabbed at various times throughout the day 

Italy on the day that war was declared

Model – Helen Diaz
Clothing – Clifton Hill Costume and Textiles
Hair Stylist – Lukas Szejka
MUA – Jessica Louise Mills
Hat/Beaded bolero UK Milliners Guild
Jewellery – Lodichka Jewellery
Flowers – The Wilde Bunch
Stylist- Sue Fyfe-Williams

Camera: Fuji E-X2 with 60mm lens
Lighting: Lupolux Quadlight and grid. Sunbounce Pro reflector

Norway

Model – Charlotte Roest-Ellis
Designer – Molly Mishi May
Hair stylist – Amy Harding
MUA – Jenny Davies
Jewellery – Lodichka Jewellery
Neck piece – UK Milliners Guild
Flowers – The Wilde Bunch
Stylist – Sue Fyfe-Williams

Camera: Fuji E-X2 with 23mm and 60mm lenses
Lighting: Lupolux LED 1000 spotlight with Scattergel and Lupolux LED 650 spotlight

Colonial Australia

Model – Iris Fitzgerald
Clothing – Clifton Hill Costume and Textiles
Hair stylist – Amy Harding
MUA – Jenny Davies
Jewellery – Lodichka Jewellery
Fedora – UK Milliners Guild
Flowers – The Wilde Bunch
Stylist – Sue Fyfe-Williams

Camera: Fuji E-X2 with 35mm and 60mm lenses
Lighting: Lupolux LED 1000 spotlight with Scattergel and Lupolux LED 650 spotlight

Mongolia

Model – Rachel Harvey
Costume – AMG Costumier
Hair Stylist – Lukas Szejka
MUA – Jessica Louise Mills
Headdress – UK Milliners Guild
Jewellery – Lodichka Jewellery
Flowers – The Wilde Bunch
Stylist – Sue Fyfe-Williams

Camera: Fuji E-X2 with 60mm lens
Lighting: Lupolux LED 1000 spotlight with Scattergel, Lupolux LED 650 spotlight and Lupolux Quadlight and grid

It was a fabulous day of creativity and fun. Sue Fyfe Williams is the organiser of these events as well as the stylist. Her vision and soul is in the very essence of what makes these events fabulous. If you are a competent photographer and want to join us please contact Sue for more details. The next Photography Location Day is at Clifton Hill House, Bristol on the 5th April 2014. All models will be cast for a cinematic/film noir theme.

1. Our location for the two Nordic Beauty workshops was an old farmhouse set on a small hill overlooking a Viking burial mound and a lake 100 miles long.

2. Camilla was our model and revelled in the sunlight that was bestowed upon us.

Here are 80 of my pictures shot using the Fuji X-T1 in jpeg mode. I shot RAWs too but don’t have a means of processing them yet. I switched the camera to monochrome and did any final tweaks in Lightroom. Jpegs have very little latitude for adjustment so I’ve pretty much left them as shot. Enjoy!

Location: Sveinhaug Gård
Model: Camilla
Hair: Chris Thomas at Kutt&Chriss of Hamar
Make up: Kathrine Holmen at Kutt&Chriss of Hamar
Project management in Norway: Chris Thomas
Project management in the UK: Blaise and Laura at Passion
Camera: Fujifilm X-T1 with 23mm f/1.4, 35mm f/1.4 and 56mm f/1.2 lenses
Lighting: Lupolux 800 spotlight, Scattergels, Canon 580EX2 Speedlight, Lastolite Ezybox

3. With hazy sun I could only manage an open aperture of f/2 with the 56mm lens even with the ISO set to ‘L’ and using 1/4000th second shutter speed. I suggest a 4 Stop ND filter is a perfect companion when shooting in sunlight if you want to work the 56mm lens at or near f/1.2

4. When shooting into the sun I showed the delegates my white shirt reflector trick. (56mm lens at f/1.2 for 1/2000th second at ISO 200)

5. Simple contré jour techniques need careful exposure.

6. I love working with shades of grey. I used the Bg film simulation in camera (monochrome with a green filter) along with H-1, S-1, NR-2, S -1 and DR at 100%

7. Sensitivity and fun captured effortlessly on the Fuji X-T1 camera and 56mm f/1.2 lens. This combination is so lovely to use. At no point did I feel at a disadvantage even with a group of  well equipped professional shooters  using a Hasselblad 5D, several top flight Canons and Nikons sporting their 85mm big guns. The Fuji was absolutely the right choice for me on this assignment. (56mm at f/1.4 for 1/1000th second at ISO 200)

8. The farmhouse was a great back drop for the exterior session. We had 5 photographer delegates each day plus a hair stylist and a make up artist.

9. We were really toasty warm when shooting the interiors because there were fully functioning vintage wood burning stoves throughout the building providing the heat. (top: 56mm at f/1.6 for 1/250th second at ISO 400)

10. I used a Lupolux 800 HMI spotlight provided by Chris the hair stylist and clipped a Scattergel to the barn doors to create this dappled effect.

11. I showed how I use a classic triflector to take control of contrast in back lit scenes. (56mm at f/1.2 for 1/160th second at ISO 800)

12. There were times I showed how I use a single Speedlight in manual mode to create beauty shots like these three on the right and bottom. Controlling the contrast is vital in order to capture printable files. I was working in jpeg so it was doubly important for me to get it right in camera. (56mm at f/2.2 for 1/180th second at ISO 400)

13. We shot low key and high key with the emphasis on getting the ‘look’ right in camera by using feedback or feedforward in the case of the X-T1 rather than using light meters or histograms.

14. The 56mm lens was perfect to capture these head shots.

15. The top picture is a reflection shot and all three shots are lit with a Speedlight. Two of them use a Lastolite Ezybox and the bottom right shot is lit with a barefaced Speelight.

16. These gems were lit with the Lupolux 800 Fresnel Spotlight with an ‘Alto’ Scattergel fitted. The Alto Scattergel has a cloud pattern inspired by Alto Cumulus. (top 56mm at f/1.2 for 1/180th second at ISO 640)

18. I believe that hard light from a Fresnel light really is the most beautiful light to use for portraiture. When it is combined with a wide aperture like f/1.2 it becomes a classic look  so different from the flashed portraits of the last 40 plus years.

19. Classic two point lighting is my style and here it is in a room set. I shot each scene wide on the 23mm lens before going in for the close ups on the 35mm and 56mm lenses. The halation on the bed head and foot boards is created with the aid of a Tiffen 1/4 black pro mist filter on the 23mm lens.

20.

21. The yellow bedroom proved popular. You’ll have to take my word for it because I shot everything black and white in camera. I have the RAW files too so I can process the images in colour when Adobe Lightroom gets full support for the X-T1 files. (23mm at f1.8 for 1/125th second at  ISO 400)

22. Every frame over the two days of workshops was shot hand held. I was expecting three stops less light and having to use monopods but we were blessed with rare sunlight that just rattled around the rooms. I made my own sunlight here with the Lupo 800 spotlight.

23. Camilla was a star entertaining my ideas as we created figure enhancing beauty shots. (56mm at f/2.2 for 1/125th second at ISO 400)

24. Various ways we shot through doors. The top two are lit with a Speedlight and the bottom shot is lit with reflected afternoon sunlight. (23mm at f/1.4 for 1/125th second at ISO 800)

25. All my interior pictures were filtered on the lens with Tiffen Black Pro Mists. I had a 1/4 strength on the 23mm and 35mm lenses and a 1/8th strength on the 56mm lens. You can see the ‘lift’ and halation I get from the filters quite easily in this set.

26. End of the day light (35mm at f/1.4 for 1/125th second at ISO 1600)

27. This is the blue room.

28. Simple beauty shots taken into the light with the 56mm lens wide open at f/1.2 (56mm at f/1.2 for 1/250th second at ISO 800)

29. The sunlight is from the Lupo 800. I closed the doors to block off any real sunlight and we started from scratch. The fill light is from a window just to the left of me. (35mm at f/2.2 for 1/180th second at ISO 400)

30. How much exposure? came the question. How much do you want? was my reply. There really is no right answer it is a matter of personal taste. I got what I want in camera because I knew there would be very little latitude with the jpegs in post production.

31.

32. (35mm at f/1.4 for 1/250th second at ISO 800)

33. A bit of fun was had by all :)

34. (56mm at f/1.2 for 1/250th second at ISO 800)

35. How simple can it get? Wonderful natural light is all around us. With the right know how and understanding finding perfect portrait lighting set ups in everyday places is easy. These soft light beauty shots were taken on the 56mm lens wide open at f/1.2. It’s not easy to nail the focus because the depth of field is so shallow. However with practice and care it should be fine.

My next boudoir adventure in Holland in May is already sold out for both days. Here are the details. Then I’m with Benny Ottoson in Sweeden on 6th and 7th May for Boudoir and ‘Into The Light’ training. Places are selling fast. Here are the details. If you would like me to visit your country to run boudoir, figure in the landscape or photographing couples workshops please get in touch with Blaise or Laura.

Wow! what a few days I had in Norway. Many thanks go to my creative team and hosts. Special thanks go to Åse Midtveit and Chris Thomas for wonderful hospitality. Chris Thomas – you are a star for making it happen, thank you. I’ll be back!

Please feel free to comment on these pictures or ask questions.

The post Nordic Beauty workshop shot with Fuji X-T1 with 56mm, 35mm and 23mm lenses appeared first on ProPhotoNut.

01.

Jake and Jolie are engaged to be married next year and agreed to model for my 1:2 training session with some clients from Scotland. We shot on the streets and in the bars of Bristol. I showed my clients how to find dry shooting locations if it’s raining and how to find amazing light no matter what the weather is doing. The day started with flat overcast light and ended with afternoon sunlight. These pictures were all taken using the available light and hand held.

02.

I know this new lens and camera from Fuji is hot property right now so I thought I’d show what it can do and how the pictures look when shooting portraits wide open or nearly wide open. To save you wading through lots of images here I’ve exported a web gallery from Lightroom. Just click on the graphic and you will be transported to the gallery. Some Lightroom templates don’t display correctly on Google Chrome browser but Safari, IE and Firefox seem fine. Click on the thumbnails to see the Exif data. I’ve included it so you can see the aperture set etc.

Click on the picture to go to the gallery. It contains all the 164 shots from this shoot and the EXIF data for your perusal.

I shot every frame on the Fujifilm X-T1 in manual exposure mode. I used the screen on the back or the big, bright viewfinder to set the framing and exposure of each shot before I pressed the button. This live preview is so much faster than the faff with an SLR of taking a shot, looking at it, adjusting settings etc and taking another one. I end up shooting far less pictures and get many more ‘hits’ in my output. It’s refreshing to have no ‘test’ shots that are under or over exposed etc.

03.

As you may know Lightroom doesn’t support the RAW files from the X-T1 yet but as the sensor and gubbins in the X-T1 is the same as the X-E2 I decided to fool Lightroom into thinking the RAWs were from the X-E2 and it worked a treat. I used an app called EXIF Editor from the Mac app store and batch changed the ‘Model’ field in the whole set of images. It took about 2 minutes and then I imported the files into Lightroom in the normal way.

04.

The pictures are pretty much as shot. There is no skin blemish removal, fake vintage or other preset applied. Just good old fashioned real photography that shows it as it is. This is the kind of set my clients pick their album pictures from and I’d expect to produce an album with about 70 – 80 pictures from this set of 164 shots.

05.

Shooting with the small and light X-T1 with the 56mm lens is so easy. I don’t even need to have a camera bag. This helps avoid being spotted as a professional and I’d expect never to get moved on. You don’t need lots of expensive gear to take great engagement pictures, just a good eye, an ability to build rapport, and some directing skills. This was the first time I’d met Jolie and Jake and after a swift Cappuccino we were having fun from shot one.

06.

The X-T1

So much has already been written about the Fujifilm X-T1 it seems little point to me to repeat the tech stuff here. I’m getting used to the ISO lock on the control dial. I’m getting used to the recessed command dial. Within the next week or so the X-T1 will seem instantly familiar. The key to getting the most from new kit is to embrace change not fight it.

I like:

• The big viewfinder. I don’t need to wear glasses to shoot.
• The tilting viewfinder. Perfect for high and low shots.
• The fast read write time with the 260Mb/s Toshiba cards.
• The small neat non slip grip.

I dislike:

• I’d prefer it in silver.

07.

The 56mm f/1.2 lens

I like:

• The f/1.2 look. It’s not as brutal as the Canon 85mm f/1.2 and I’d say the bokeh has a look similar to the Nikon 85mm f/1.4 lens at f/1.8
• The fast focus.
• The lens hood. It works and looks okay.
• The close focus is better than I’d ever hope for.

I dislike:

• Nothing. This lens is perfect for portraits.

08.

Here is the gallery with all 164 pictures. If you like the pictures do please leave a comment here. Thanks

Feel free to ask questions below. If you would like to spend a day shooting with me. Drop Laura or Blaise a call on +44(0)1275 853204 or email. We have an extensive list of resources and you get to choose the venue, the model, the genre. Let’s make it happen

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As part of my role as photographer to The Style Forum I capture the behind the scenes moments at their major events. Last night I shot their fashion show at the launch of the Audi A3 Cabriolet. I used the Fujifilm X-T1 with 14mm, 23mm, 35mm and 56mm lenses. I shot for about three hours sipping the occasional glass of Champagne to aid my creativity.

Here are 90 or so of my shots from last night. I just popped them through Lightroom 5.4 and uploaded them. Enjoy

The catwalk fashion photography was covered by two other photographers shooting on big hairy Nikons with mahoosive lenses but I had a play with the X-T1 with the 56mm and I’m quite pleased with the results. I’m not a dynamic photographer so photographing moving subjects is something else that I have yet to learn. Oh and the Bristol Rugby Team paraded the handbag collection. I love quirky things like that. We all had a fun night. 196 shots are now on my Dropbox for the Style Forum PR team to distribute.

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I lit Mina with a Lupolux Quadlight with grid attachment. It created a pool of beautiful soft light. The object d’art are lit with a scatter gel on a Lupolux 650 LED spotlight. Here are a few pictures from a recent styled shoot event.

Model – Mina Renoir
Gown – Molly Mishi May
Fascinator – Annabel Allen – UK Milliners Guild
Hair Stylist – Lukas Szejka
MUA – Red Roots
Styling – Sue Fyfe-Williams (Stylist SFW)
Camera: Fuji X-T1 with 23mm, 35mm and 56mm lenses (all wide open).

The Venetian stripes were created using a Lupolux 1000 LED spotlight through a Venetian blind attached to a lighting stand.

There is no retouching in this set, just a bit of dodge and burn in Lightroom recreating the same look and feel I used to create when printing by hand from film negatives back in the last century. This is very unforgiving but creates that timeless authentic look that skin softening etc in Photoshop kills. I edited each of these shots in 60 seconds or less. I used to be able to make 4 hand prints an hour under the enlarger. That’s why I love digital working so much. I do miss the smell of fix though

Please feel free to comment on the pictures or techniques used.

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Here are a few pictures of Claire Rammelkamp as a cabaret showgirl.

Model – Claire Rammelkamp
Black top – AMG Costumier
Hair Stylist – The White Rabbit
MUA – Jenny Davies
Styling – Sue Fyfe-Williams (Stylist SFW)
Camera – Fuji X-T1, 23mm, 35mm and 56mm lenses
Lighting – Lupolux LED 1000 spotlight, Lupolux LED 650 spotlight

Please feel free to comment below

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These 12 pictures are part of a creative photoshoot event hosted by stylist Sue Fyfe Williams at Clifton Hill House in Bristol. My role at the shoot was to lead the photography team and be on hand to light each scene.

I broke up the light from the Lupolux LED 100 on full flood by shining it through a plastic palm tree that I had bought online last year. I’ve attached my palm tree to a lighting stand for ease of positioning.

Model – Jess Sage
Gown – Pearl Bespoke
Hat – Ani Stafford-Townsend – UK Milliners Guild
Hair Stylist – Lukas Szejka
MUA – Red Roots
Styling – Sue Fyfe-Williams (Stylist SFW)
Lighting kit: One Lupolux LED 1000 spotlight and a plastic palm tree
Camera: Fuji X-T1 with 23mm, 35mm and 56mm lenses

And finally…

This last frame entitled ‘Driving in my Car’ was a tableau I set up of our models from the shoot in a vintage Austin 12 car. This shot was an instant hit on social media networks last week. Models from left to right: Jess Sage, Roseanne Barrett, Claire Rammelkamp and Mina Renoir.

Please feel free to post comments and questions below.

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