10. Advanced Features
ISO 400 • 1/600 sec. • f/2 • 23mm lens
Creativity 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.
Poring Over the Picture
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.
ISO 400 • 1/400 sec. • f/2 • 19mm lens
Poring Over the Picture
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.
ISO 200 • 1/125 sec. • f/4 • 23mm lens
Spot Metering
The X100S has three metering modes: Multi, Spot, and Average. We discussed the metering 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 ignoring the rest of the viewfinder area.
ISO 400 • 1/320 sec. • f/16 • 23mm lens
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 creative with the camera to produce shots that will impress.
1. Press the AE button on the rear of the camera.
2. Using the command dial, select Spot.
3. Using the command dial, select OK.
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, ignoring the walls and background completely.
ISO 320 • 1/125 sec. • f/2.8 • 23mm lens
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.
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)
ISO 320 • 1/125 sec. • f/2.8 • 23mm lens
Figure 10.3 Using Spot metering mode allowed me to create an image that kept the bright sand and sea from overpowering the detail in the cloudscape. This also allowed the reflection to show more clearly.
ISO 200 • 1/125 sec. • f/16 • 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.
• Portraits where the person is standing in front of a very dark wall
Bracketing Exposures
One of the options in the X100S’s Drive menu is AE BKT (AE bracket), or exposure bracketing. 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.
4. Press the Menu/OK button to confirm.
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).
ISO 320 • 1/12 sec. • f/11 • 23mm lens
Figure 10.5 This image, taken using the AE bracketing feature, is underexposed by one stop.
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.
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.
3. Using the command dial, select either +-1, +-2/3, or +-1/3.
4. Press the Menu/OK button to confirm.
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.
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 simulation 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.
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).
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 simulation 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.
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).
ISO 400 • 1/60 sec. • f/2 • 23mm lens
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.
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.
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.
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 photography, you’ll gain a whole new perspective on seemingly boring subjects (Figure 10.11).
ISO 2000 • 1/60 sec. • f/2 • 23mm lens
Figure 10.10 Creative, close-up composition can make striking imagery—even standard portraits take on a new dimension.
ISO 1250 • 1/125 sec. • f/2 • 23mm lens
Figure 10.11 Macro photography can make interesting studies out of seemingly uninteresting subjects.
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.
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.
ISO 2000 • 1/25 sec. • f/2 • 23mm lens
Figure 10.12 Taking close-up images of delicate items, such as flowers, with slow shutter speeds requires stabilization of the camera and the subject.
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.
ISO 200 • 1/180 sec. • f/11 • 23mm lens
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.
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 exposures 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 decision 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).
ISO 400 • 1/210 sec. • f/13 • 23mm lens
Figure 10.14 Underexposing this image resulted in more detail in the sky and lighter areas.
ISO 400 • 1/50 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 • 1/125 sec. • f/13 • 23mm lens
Figure 10.15 This is the normal exposure as set by the camera meter.
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 represented 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 process 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.
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).
5. Using the command dial, select either +-1, +-2/3, or +-1/3.
6. Press the Menu/OK button to confirm.
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.
Chapter 10 Assignments
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.
Share your results with the book’s Flickr group!
Join the group here: flickr.com/groups/fujiX100S_fromsnapshotstogreatshots