I can't blame the Fuji for the problems here. The blue-tinted shot is SOOC - the lights on the building on the right of the picture were bright blue and the camera has captured them pretty accurately as far as I can remember. However, I wanted to warm things up a bit, lose some of the uninteresting foreground (only a tiny bit, mind), and at the same time thereby bring the focus of interest, the receding man in the hat, a little bit more to the fore (click through to see what I mean). Here, you can see how poor timing has played a part in losing some of the interest that would otherwise have been generated - a few seconds earlier and the man in the trench coat and hat would have been more visible and his 1940s look would have played more strongly in the alleyway. As it is, this only gets a C-; ten seconds earlier and a B might have been possible. IMAGINE A PARAGRAPH BREAK HERE. A bit of straightening, alongside the colour change, is the only other thing that I have done here.
The colour image is SOOC. Again, the advantages of near silent operation are obvious, though I'd add that this was taken as a reflection - the camera was pointing out the train doors into the darkness at the moment of capture and the two men are virtually behind me. The b&w shot has been a bit mucked about with, but not a whole heap. And you know what? I'm beginning to like some of these.... :)
1. Firstly, I am aware the face of the woman on the left is completely burnt out. I know, poor lighting choice - some fill flash might, paradoxically, have helped here, though I can't remember what metering pattern I had the camera set to. There is also a lot of shadowing on the face of the woman on the right, though her skin has come off well. The camera was set to black and white with a green filter I believe. So there you go, make of that what you will.
2. The photo probably wouldn't have happened at all had it not been for the Fuji (no bad thing you might think, given the quality). How so? Well, the X100 is, as you know, an appealingly designed little thing and people often comment on it if they notice it, as was the case here - the woman on the right immediately asked me about it when I walked into the bar and didn't care a jot when I asked if I could take a shot as it is so unthreatening. In fact, she was interested to see it in action and, like a lot of people, h…
Lacking in the aforementioned snap and pizazz, this shot from the camera is all about the "meh". Of course, that is largely, or indeed possibly almost wholly, my fault, but I can't help thinking there is a blandness to the shots I'm getting that isn't wholly attributable to my own lack of cojones when it comes to creating more memorable images. On the plus side, even the woman inches from the camera here had no idea a picture had been taken, a positive factor that should definitely not be underplayed.
Here is a good example of a bad shot from the Fuji / from the Fuji's owner :) This picture is all over the place. Not sharp, muddy colours, unexciting point of view. Mostly down to me, I guess, but somehow there is always something missing, a bit of bite, a snappy feel. Nope, this is the sort of shot I end up with far too often. Nice car of course - gull wing Mercedes 300 SL - now it is snappy, sharp and exciting.
PARAGRAPH BREAK - STILL NOT WORKING IN BLOGGER I am aware there are probably a dozen things I could have done to improve this shot - got something more contrasty behind the doors, for example, not handheld for 1/20th of a sec or whatever it happens to be, got a more interesting angle. I know all these things, but somehow the camera doesn't make any allowances whatsoever for my not having done so, if that makes sense. It is too literal, too WYSIWYG.
I had hoped that the X100 might herald something new, something different, in my photography (outside of the paid work that I am slowly building up that is). However, so far, nada. Sure, I have it with me, and sure, it isn't intimidating, but I find the need to go in so close off putting from the POV that it encourages close proximity to the subject, a proximity I find difficult to manage on the street. I shall continue to try, but if no results worth putting online (or at least, in my view, worth putting online - you may feel nothing here is worthy of attention - that's your privilege), if no results worth putting online appear before New Year I may well be forced to sell the beautiful instrument. Sure, I will miss it, but not as much as I miss going through my memory cards in the evening and finding images I am half-way pleased with.
UPDATE: OTHER ISSUES: Focus failure. Slow to align and set up for a shot - it somehow "looks" like it should be quick and easy but it…
Not sure this is a keeper, though worth a look at the large size maybe. You know, looking back over old photos isn't such a hot idea in many ways - lord but some of them make me cringe at the amateurishness of their execution. Not this one necessarily, but the cr*p I had to wade through to get one or two worth revisiting.
OK, so, it isn't going to change the world but since I can't paint, here it is anyway, another romantic view of Kew Gardens. I might stop at some point, but given that I still get some pleasure from posting pictures like this, indeed I get pleasure from seeking out the shot, taking it, post-processing and posting, I will continue for the time being.