This week I’m using my 23mm with my xpro3 and I’ll be using my Classic Chrome based custom setting. Somehow, the entire setup feels quite foreign today. It is strange given 23mm is one of my favourites. Maybe what I feel is guilt.
Guilt that comes from admitting I ran away from my responsibilities in Singapore.
Something’s up. Sun is shinning, I’m feeling positive and grateful. After a tough last week, I’m glad to have this stretch of good days to hit the streets and take photos. Let’s hope this consistent run of good vibes carry on.
Speaking of consistency, I thought I try shooting with the same film recipe to see if I can achieve the same look and feel to my photography. It’ll also give me a chance to understand the effect of pushing my jpg with different aperture, iso and shutter speed variations on the same file recipe.
A month ago, I discovered that the car park across the road from my office was a gem of a photography location. However, I think that I only scrapped the surface of possibilities. As such, I thought I change my usual approach of walking around town to exploring what I can do at the car park. It is multi storey carpark with an open air top floor. Here are the results of this afternoon’s shoot.
I’m pretty sure the rainy and windy Saturday evenings are not the best time to test Fujifilm jpeg settings. Anything I try is likely to suit those gloomy settings. However, procrastination like some good intentions lead to a sad, cold, wet, windy and bad place. I could go on… No time like now to get things done.
Ritchie Roesch has kindly published many custom settings aka recipes, that allow Fujifilm camera owners to replicate the look of different film stock. I’m trying to work out what appeals the most to me. I’m also very partial to the look (and story) behind Luis Costa’s Classic Negative based recipe. Kevin Mullin’s YouTube video also provided a very useful “Meyerowitz” and “Padilla” look that caught my eye.
Most of the film stock simulations that I like are variations of the Classic Chrome or Classic Negative film simulations. In good strong light, the pictures look magical. However, in Auckland’s dreary winter and overcast environment, the jpegs can look too warm for my liking.
I decided to test out how I can customise Ritchie’s Kodachrome II and Kodachrome 64, Luis’ Classic Negative setting and Kevin’s Meyerowitz. Over the course of 30-60 mins, I tried different settings and walked around downtown Auckland. It became quite clear to me that I tended to prefer Ritchie’s Kodachrome II for dark winter nights.
So here comes the dilemma. the Kodachrome II simulation is good. But I wanted a cooler look. So I tweaked it. And then I worked on the raw file at home and realised, I prefer an even cooler variation. Now I’m stumped. Here are the three files I produced.
I thought I would be confused with the three variations and bash my head against the wall. But this has been a good exercise. I’ve decided to create and store a cooler variation of Kodachrome II and identified the other 5 film settings that I’ll store in the camera. They are:
Luis Costa’s Classic Negative Setting
Kevin Mullin’s “Padilla”
Kevin Mullin’s “Meyerowitz”
Ritchie Roesch’s Porta 400
Plain Vanilla Classic Chrome
In addition to these settings, I’m also very comfortable editing in raw and enjoying the process. Now I’ll just wish for some good weather to test this combination out.