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Posts from the ‘Personal’ category

Nussberg, 19. Bezirk, Döbling, Wien, Vienna, Austria, Österreich, fotoeins.com

23 for 23: Foto(ein)s in 2023

Above/featured: Vienna’s green vineyards on Nussberg, with Kahlenberg at centre in the background. Photo, 14 Jun 2023.

A year in review typically provides coverage spanning a period of six months or more; the period doesn’t even have to be a continuous stretch. But in this case, my highlights come solely from a period of six weeks in May and June. All else pales by comparison.

All of the images presented below have been corrected for geometric distortion and rotation, with further adjustments to image-crop, brightness, contrast, highlights, shadows, clarity, sharpness, vibrance, saturation, and colour levels. These images are as always best viewed on screens larger than a miniscule mobile.

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My Fuji X70: Kodak Color Negative (XTrans2 recipe)

Above/featured: Taunusanlage train station, Frankfurt am Main – 18 Jun 2023.

The Fujifilm X70 mirrorless fixed-lens prime camera has added a lot to my approach to photography for projects in domestic and international scope. To satisfy my curiosity about Fujifilm’s analog-film simulation (film-sim) recipes, I’ve provided examples of X70 images with the following recipes:

• CineStill 800T
• Ektachrome 100SW (saturated warm)
• Fujichrome Slide
• Kodachrome 64
• Kodacolor
• Kodak Platinum 200
• Monochrome Red

Here I show images made with the “Kodak Color Negative” recipe, which Ritchie Roesch describes in Fuji X Weekly:

… The aesthetic that I was hoping to achieve with this recipe was Kodak Portra 400. I don’t believe that I succeeded in faithfully mimicking that (sometimes there’s a similarity); however, it does seem to produce a Kodak-like color negative film look, perhaps more like Ultramax, but not exactly that, either. Whatever it does or doesn’t resemble, I personally really like the aesthetic produced by this recipe …

The recipe is for X-Trans II sensors and the built-in availability of “Classic Chrome”. The settings on my X70 are:

“Classic Chrome” built-in film-sim
Dynamic Range: DR200
Color: +2 (High)
Sharpness: -1 (Medium-Soft)
Highlight: -2 (Soft)
Shadow: -1 (Medium-Soft)
Noise Reduction: -2 (Low)
White Balance: Incandescent; +6 Red, -7 Blue
ISO: Auto, up to 3200

I assigned this recipe for my “indoor” setting as 1 of the 7 camera’s custom presets, but the recipe’s versatility allowed for additional tests at outside locations. The following JPG images are “almost” straight-out-of-the-camera: only minor adjustments to brightness level and a crop to a predefined image size have been applied, with no corrections to colour, contrast, geometric distortion, or rotation. The blue (“cool”) colour-cast is very real, which is especially evident on images made outdoors under sunny conditions.

( Click here for images )

My Fuji X70: Monochrome Red (XTrans2 recipe)

Above/featured: Gateway Gardens station, Frankfurt am Main – 11 May 2023.

The Fujifilm X70 mirrorless fixed-lens prime camera has added a lot to my approach to photography for projects in both domestic and international scope. To satisfy my curiosity about Fujifilm’s analog-film simulation (film-sim) recipes for varying “looks” and “palettes” applied to images, I’ve provided examples of X70 images with these recipes:

• CineStill 800T
• Ektachrome 100SW (saturated warm)
• Fujichrome Slide
• Kodachrome 64
• Kodacolor
• Kodak Platinum 200

I examine the Monochrome+R film-simulation recipe, which Ritchie Roesch describes in Fuji X Weekly:

… Back when I shot black-and-white film, I usually used a color filter to manipulate the shades of grey, and for landscape photography the Red filter was my most-used option. You cannot use these filters on your Fujifilm camera, but Fujifilm does provide you with three faux filters: +Y, +R, and +G. These mimic the aesthetic of using a Yellow, Red, or Green filter (sort of). In my opinion, +R doesn’t actually replicate the use of a Red filter very well; it’s more like an Orange filter. This recipe is intended to produce a look more similar to a Red filter on black-and-white film, which means that it will darken blues and lighten reds.

This recipe is for the X-Trans II sensor. My X70 settings are:

“Monochrome+R” built-in film-sim
Dynamic Range: DR400
Color: —
Sharpness: +1 (Medium-Hard)
Highlight: -1 (Medium-Soft)
Shadow: +2 (Hard)
Noise Reduction: -2 (Low)
White Balance: Fluorescent1 (day); -4 Red, +7 Blue
ISO: Auto, up to 6400

I had assigned this recipe as “general black and white”, with which I experimented in a variety of locations and settings. The following images are almost straight-out-of-the-camera; only adjustments to brightness level and size (2048 by 1365 pix) have been applied, with no corrections to colour, contrast, geometric distortion, or rotation.

( Click here for images )

My Fuji X70: CineStill 800T (XTrans2 recipe)

Above/featured: Archangel Michael dispatching the devil: St. Michael’s Church, Vienna – 1 Jun 2023.

The Fujifilm X70 mirrorless fixed-lens prime camera has added a lot to my approach to photography for projects in domestic and international scope. To satisfy my curiosity about Fujifilm’s analog-film simulation (film-sim) recipes for varying “looks” and “palettes” applied to images, I’ve provided examples of X70 images with these recipes:

• Ektachrome 100SW (saturated warm)
• Fujichrome Slide
• Kodachrome 64
• Kodacolor
• Kodak Platinum 200

Here I show images made with the “CineStill 800T” recipe, which Ritchie Roesch describes in Fuji X Weekly:

… CineStill 800T is Kodak Vision3 500T motion picture film that’s been modified for use in 35mm film cameras and development using the C-41 process. Because it has the RemJet layer removed, it is more prone to halation. The “T” in the name means tungsten-balanced, which is a fancy way of saying that it is white-balanced for artificial light and not daylight. … Even though the film that this recipe is intended to mimic is Tungsten-balanced, the recipe can still produce interesting pictures in daylight. It’s a versatile recipe, but it definitely delivers the best results in artificial light.

The recipe is for the X-Trans II sensor; the settings on my X70 are:

“Pro Neg Std” built-in film-sim
Dynamic Range: DR400
Color: -1 (Medium-Low)
Sharpness: 0 (Medium)
Highlight: +2 (High)
Shadow: +1 (Medium-High)
Noise Reduction: -2 (Low)
White Balance: 4300K; -3 Red, -3 Blue
ISO: Auto, up to 3200

I assigned this recipe for the “nighttime” setting as 1 of the 7 camera’s custom presets, but I also experimented in daylight at a variety of locations. The following JPG images are “almost” straight-out-of-the-camera; only adjustments to brightness level and a crop to a predefined image size have been applied, with no corrections to colour, contrast, geometric distortion, or rotation. I agree with Roesch’s statement about getting “best results” after dark in artificial light, but I got some interesting images in daylight as well.

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Kleinwasserkraftwerk Wehr 1, Neue Donau, 22. Bezirk, Donaustadt, Wien, Vienna, Austria, Österreich, fotoeins.com

22 for 22: Foto(ein)s for 2022

Above/featured: Vienna skyline from Kleinwasserkraftwerk Wehr I in early morning light. Photo, 7 Jun 2022.

For 2022, the act of looking forward and backward is dominated by a 4-week stay in the city of Vienna. In between the collected images is a reclaimed longing for the Austrian capital to which I was first introduced 20 years ago, but for which there was no camera and, sadly, no recorded pixels.

I’ve already described a set of images setting the urban scenes in Vienna from 2022. Below is an additional set of 22 images selected from a period of 35 days; the time interval represents only 10% of the year, but it appears to be a personally important “watershed moment” as well.

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