Xpert Advice: How to Effectively Focus and Recompose When Capturing Candid Moments

While companies put loads and loads of autofocusing points into their newer cameras, veteran photographers may still prefer the tried and true focus and recompose method. Sometimes it’s just flat out faster vs trying to move your Fujifilm X Pro 2 or Fujifilm X-T2’s joystick to get from one focusing point to the other. With these cameras, focusing and recomposing works really well simply due to the way the system is set up.

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Xpert Advice: Telling More Effective Stories Through Depth of Field

One of the most effective ways to tell stories in your images is to use depth of field. It’s a cinematic technique filmmakers have been using for years and years. The fundamental way story telling has worked is by having very specific things in focus for the viewer to pay attention to. This isn’t only a cinematic technique though, it’s also one that photographers have been using for years. It goes all the way back to the film days when photographers were using Fujifilm Astia, Velvia, Acros and other emulsions to tell their stories.

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Xpert Advice: Creating Sharper Portraits in Camera

The secrets to getting sharper portraits in camera are a lot simpler to figure out than you’d honestly think. There are three key components: light, contrast, and stability.

To start, we always recommend stopping your lens down just a bit. With Fujifilm’s lenses and the X Trans Sensor’s 1.5x crop factor though, you generally don’t need to. Part of this is due to a slightly deeper depth of field vs medium format or full frame 35mm sensors. If you have a camera with the company’s 24MP sensor like the Fujifilm X-T2 and Fujifilm X Pro 2, then you’re guaranteed to get really sharp results to begin with. That’s easy, right?

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Xpert Advice: Gaining Confidence With Street Photography By Using the LCD Screen

Some of the most experienced street photographers wouldn’t dare not look through a viewfinder and let someone know that they’re in the act of capturing a photo of them. But when you’re just cutting your teeth, Street photography is a very intimidating task. There is that natural fear that you’re not going to know how people will react to you. For that reason, many street photographers like shooting from the hip. In truth though, many don’t leave this method because of the viewing experience that it allows. With the Fujifilm X-T2, you can use the tilting LCD screen to do just that with ease.

The Fujifilm X-T2 has an LCD screen with various displays. We recommend the Live View preview and slinging the camera around your shoulder or cross body. Then, simply go about shooting in the same way that medium format photographers used to: but looking down at the screen, focusing, composing and shooting. Be sure to choose a focusing point beforehand and set it to the largest focusing point setting; as that’s the easiest way to ensure that you get your subject in focus. The X-T2’s screen goes even further by also flipping out to the side, which can make photographing people at a higher level (in the case of sitting down and waiting for folks to go by) even easier by opening up more creative possibilities.

Before I go on, just a little bit of a disclaimer: street photography is all about intent. If you are photographing in this way because you simply want to document a beautiful candid moment, then please proceed. Be ready to explain yourself, apologize, possibly delete an image, or use the camera’s Wifi to beam the image to the person’s phone. Photography (especially street photography) is people work!

To make this even easier, we recommending using a wide angle prime lens from Fujifilm’s great offerings. These lenses have a focusing ring that shifts backwards and lets you do something called zone focusing. It’s a sort of manual focusing that lets you always get the subject tack sharp in focus as long as you keep a certain distance away from them. It’s how photographers have shot for years!

However, the wider lenses are also great because they focus faster. Due to the laws of physics and depth of field effects, the X Trans sensor inside the X-T2 has a 1.5x crop factor that makes an f1.4 lens have the same depth of field as an f2.1 lens in full frame standards. To that end, more is in focus and you can shoot at a faster shutter speed–making it better for street photography.

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Xpert Advice: Less is More – Using Color Effectively in Portraits

If you look at the work of some of the master portrait photographers, you’ll notice that much of their work tries to keep the use of color very minimal. Why? Portraiture is a type of photography that involves putting an emphasis on a person or thing and when the colors in the scene are very complicated, the scene can be distracting to the viewer. In fact, specific films were developed to create better skin tones and colors for portraiture. Some of the best from Fujifilm were Astia and Fujifilm Pro400H.

So how do you make that happen in-camera?

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Xpert Advice: Capturing Fast Moving Subjects With Your Camera

Fast moving subjects can be incredibly tough to capture no matter what camera system you use. One of the best things that any photographer can have is foresight into knowing and predicting what’s about to happen in front of you–and that requires paying a lot of attention to the scene.

But capturing fast moving subjects can be done in a variety of different ways and can use a large number of creative image techniques to get the scene. First and foremost, lots of photographers will obviously use a variety of autofocus techniques. Luckily, Fujifilm’s autofocus on the new X-Pro 2 and X-T2 are super fast–even in the dark and with older lenses with firmware updates. A great idea is to use the center focusing point/group area, focus as quickly as you can on your subject, and immediately take the photo. Just ensure that the point/area covers the subject entirely and for the best results, you may want to use continuous autofocus.

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Xpert Advice: How to Tell a Story with a Camera

Chris Gampat The Phoblographer Fujifilm Xpert Advice Telling a story with a camera (1 of 1)ISO 2001-250 sec

For the photojournalist, telling a story with a camera requires careful attention to the scenes and building a series of photos that always stick to the point. Though each story is very individual to their own ends, there are images that are essential to any sort of documentary or photojournalistic story. Some of those are:

  • Establishing shot: to tell us where all of this is taking place
  • Cover shot: doesn’t at all have to be the first photo, but it needs to be the single strongest photo of the series that makes someone really want to pay attention to it.
  • Detail shot: photos of close details such as hands, objects, etc.
  • Closing shot: the image that ties everything together in the end and closes the story. Doesn’t necessarily need to be the last photo that you’ve taken.

This is why photojournalists who use Fujifilm cameras will probably reach for the company’s 16-55mm f2.8 R WR and a 50-140mm f2.8 R WR lens. Alternatively, Fujifilm’s 23mm f1.4, 35mm f1.4, and 16mm f1.4 are all solid choices for storytelling. These lenses also let a photographer make use of creative story telling techniques such as depth of field (bokeh.) More of these can be found in the Phoblographer’s guide to Fujifilm lenses.

When working for newspapers or wires, you’re most likely going to be shooting a lot of filler images that help tell the story. Whatever you do, just make sure that they help keep the flow of the story moving. Also be sure to provide captions for each image that help an editor tell what’s happening. That way, if they need to make the appropriate crops to make the images stronger, they’ll know what to focus on. With Fujifilm cameras, you can even start to send images right to your phone and upload them to the company’s Instagram if they give you the permission and you’ve built that level of trust with them.

The images that will really sell your story are ones that involve intimate moments, emotional moments (as in eliciting an emotion out of someone immediately when they see the image) and the newsworthy–i.e. the most important moments of it all.

Be sure to keep these in mind when you head out to photograph your next local story or big documentary project. And always remember: stick to the story!

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Xpert Advice: Composing Photos by Color in Autumn

Chris Gampat The Phoblographer Xpert Advice Autumn Composing by color (1 of 1)ISO 4001-105 sec at f - 2.0

The very last bits of the Autumn are among us–have you gone out and photographed it in all it’s gorgeous beauty? If you haven’t that’s quite sad; it gives you the opportunity to try a new method of focusing.

To start, this requires looking at the world and the way that colors play out and contrast from one another. Indeed, contrast is one of the biggest parts of composing by color–the method we’re focusing on in this edition of Xpert Advice. Using the Fujifilm Velvia Film color profile may help out the most here.

Everyone knows about using the rule of thirds– and your Fujifilm camera not only has a rule of thirds composition display but also a 24 grid display option that can help even further. These compositional aides can help when composing a scene by color. This is a different method and often involves:

  • Positioning specific colors on an intersecting line of the rule of thirds to grab the viewer’s attention. You can also just move it along the grid until the scene looks artistically pleasing. It’s best to think abstract here.
  • Putting a color that really stands out in the scene as something prominent in the photo overall so that folks pay attention to it
  • Balancing the use of positive and negative space to actually make this color stand out and draw someone’s attention to the scene.

The simplest way to do this is by using the rule of thirds but by specifically putting a super punchy color on that intersecting line. Composing by color also involves things like the use of depth of field to get the most out of it. In general, it’s best to go on either extreme with super shallow depth of field or everything totally in focus. Also, try choosing a certain color and simply moving your camera around in all sorts of angles and directions.

Go get out and shoot before all the leaves are gone!

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Xpert Advice: The Art of Using Spot Metering

Chris Gampat The Phoblographer Xpert Advice Using Spot Metering (1 of 1)ISO 4001-1250 sec at f - 2.8

There are three different types of metering modes that your camera has. In general, everyone uses and defaults to the evaluative metering setting–but that isn’t always the most useful mode for all situations. The three metering modes that Fujifilm cameras have are:

  • Evaluative: which analyzes an entire scene and makes the best estimation for how the camera should expose the scene.
  • Center-Weighted: which meters the scene based on what’s available around the center.
  • Spot metering: Which meters a specific area of the scene of your choosing.

In many situations, spot metering is a highly desired setting. It’s most popular with portrait photography since when you’re taking a portrait, the most important subject in the photo is often the portrait subject itself.

So why spot metering? One of the best reasons has to do with a very popular portrait technique using natural light: backlighting. Backlighting involves placing the sun or any sort of strong light source behind your subject so that they’re not squinting into the camera. But in the evaluative metering mode, the camera will most likely try to meter for the highlights and darken any sort of shadow detail into obscurity. In manual mode, you’re then going to need to overexpose by at least one stop depending on how strong the backlight is.

When using spot metering, placing the AF point over a subject’s eye or face meters for that area. This way, the subject is perfectly exposed and you can just keep on shooting. Depending on which Fujifilm camera you’re using, you’ll have either a switch to change the metering type or you’ll need to access this through the menu system.

So what about the highlights that are being blown out? The truth of the matter is that anyone that isn’t a photographer won’t sit there looking at the image complaining about the highlights being blown out. All they’ll see is a beautiful portrait; and that’s what matters. The main priority here is that your subject is perfectly exposed. Just keep in mind that not every photo needs to be an HDR image–especially not portraits.

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Xpert Advice: Shoot for the Midtones When Working with Landscapes

Chris Gampat The Phoblographer Xpert Advice Landscapes (1 of 1)ISO 2001-2700 sec at f - 2.0

For many years, landscape photographers considered Fujifilm Velvia film to be the cream of the crop. As photography evolved and digital became more popular, new methods developed in the image creation process. Lots of the time, landscape photography is filled with technical questions that can get in the way of simply taking a better photo. All you really need is just a good lens and your camera, but extra accessories like a graduated ND filter, a variable ND filter, and a sturdy tripod can also help.

Oh right, and always shoot in RAW!

One of the keys to shooting and creating better landscape images has to do with shooting for the mid tones. Mid tones are typically associated with the colors in a scene that aren’t at the extreme ends of an image’s exposure range. To make this simple, if you’re shooting in black and white: white would be associated with the highlights, black the shadows and gray would be for the mid tones. It gets more complicated when shooting in color and varies greatly based on the individual scene you’re photographing.

Generally what you’ll want to do is look at the scene carefully on your camera and check the histogram reading. Luckily, Fujifilm X series cameras let you display that information in the viewfinder or on the LCD screen. Once you’ve metered the scene to what the camera thinks is perfect balanced based on the evaluative metering mode, consider the following:

  • If the scene is mostly dominated by highlights, then underexpose according to the mid tones to get more from the highlights.
  • If the scene is mostly dominated by shadows, then overexpose according to the mid tones to get more from the shadows.

Of course, how much you overexpose or underexpose varies according to each individual scene and how much light is really present. However, in our tests, we’ve found that Fujifilm’s X-Trans Sensor is highly capable of capturing more information in the highlights than typical CMOS sensors can. This is also where a graduated ND filter can really help since it can lessen the effects of the highlights and create an image with less contrast in the scene–which is what we’re aiming for.

Most of the magic of landscape photography happens in the post-production phase where you start to crush the highlights, boost the shadows, or add contrast while boosting clarity. If you’re using Adobe Lightroom, then working with the individual color channels and applying the Fujifilm Velvia color profile can also really help.

Have fun shooting!

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Xpert Advice: Making the Most of the Golden Hour for Portraits

Chris-Gampat-The-Phoblographer-Xpert-Advice-Portraits-during-the-golden-hour-photo-without--(1-of-1)ISO-2001-500-sec-at-f---2.0-use-this-one

The Golden Hour–it’s when so many photographers take to the streets to photograph landscapes and portraits. The Golden Hour, also known as sunrise or sunset, is a pretty long period of time where the sun’s rays bathe the Earth in golden and orange hues. These tend to look great with skin tones, but making the most of it can be tough to do.

First off, we recommend not front lighting a portrait subject. This will cause the person to squint and generally create unflattering shadows on their face and under the chin. Instead, try backlighting your subject. Backlighting is when the key or primary light source is behind your subject. The process that we’re using blows out lots of details in the highlights and gives you beautiful colors that compliment skin well. This is best done by using your Fujifilm X-series camera in spot metering mode. For some cameras, you’ll need to go into the menus while others like the X-T1 have a dedicated switch/dial. Then manually choose a focusing point.

If you don’t feel like backlighting a subject, try to find shadow coverage under an awning, tree, building, or somewhere else. This gives you much more even lighting to work with. Again, you’ll be using spot metering and manually choosing a focusing point. The Golden Hour light will still make the skin glow and look wonderful.

With your Fujifilm camera, we recommend working with the Classic Chrome or Astia film renderings. For many years, Astia was a favorite of studio and portrait photographers for its softer colors but just enough contrast to give the images some extra pop. If you’re shooting in RAW, you can always apply the camera profile to the image later on in post.

So what lenses should you use? The Fujifilm 56mm f1.2, 60mm f2.4 Macro and 90mm f2 lenses all give you the best results. Be sure to check out our guide to Fujifilm’s lenses for even more.

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Xpert Advice: In-Camera Multiple Exposures Made Simple

Chris Gampat The Phoblographer Fujifilm Xpert Advice Multiple Exposures Made Simple (1 of 1)ISO 4001-50 sec at f - 4.0

Multiple Exposures, otherwise known as Double Exposures, are a creative option that many manufacturers implement into their cameras. These images take two or more photos and stack them on top of one another to create one single photo. It allows for many creative possibilities but they can also be a bit tricky to do.

With some cameras like the Fujifilm XT-1, you’ll be able to switch the drive dial to the multiple exposure mode and quickly get to shooting. When using other cameras like the X Pro 1, you’ll need to enable the setting in the menu.

Creatively speaking, there are two different types of common multiple exposures. The first type is basically inserting many elements into a scene to create a final image that looks very natural. One example would be creating a singe image of your dog side by side through layering one photo of the pup on top of the other with the dog beside itself. There are many possibilities with this method, and some great examples are from photographer Benjamin Von Wong.

The other more well known example of multiple exposure photography has to do with using contrast in images. First, by using your Fujifilm X series camera in manual mode, shoot a silhouette of something. Make sure that there is strong backlighting and the background is as white and clean as can possibly be. When you feel that you’ve created as much contrast as possible, press OK. After this, shoot a pattern of some sort such as leaves, blueberries, leather, or anything else that just looks plain interesting to you. This photo should have ample front lighting. Play with the exposure until you find something that you really like. Sometimes it’s best to just shoot another silhouette. We’ve found the best results to be with both subjects having a white background of some sort.

“Very simply put where dark spaces overlap the resulting part of the image will also be dark, but where light and dark overlap, the light will erase according to its intensity,” photographer Robin Vandenabeele told us in a previous interview. This is why one needs to shoot in manual mode and preferably with spot metering on. Robin continues to say that where light and light overlap it will be light on the resulting double exposure. So in order to visualize the end result you really have to know what makes your image, the light or the dark parts.

Once you’ve got it, press okay to accept and have the camera merge the images. If you’re not happy with your exposure, you can press the back button to start over with the second exposure. This method is used mostly by conceptual photographers to create really cool looks.

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Xpert Advice: Shoot Wide and Low for Better Architecture Images

Chris Gampat The Phoblographer Fujifilm Xpert Advice Shooting Low with Architecture (1 of 1)ISO 2001-60 sec at f - 5.6

Think back to the last really cool building that you’ve seen. What was it? Did you simply just look up at it, point your camera and shoot? Most people do this when they’re so caught in the moment, and don’t think about how they can get a better photo.

The next time that you’re captivated by beautiful architecture, consider how you can make the building look even better. To quickly get this out of the way, expose for the highlights because you can easily bring back the shadows in post-production.

Before you even start to think about an interesting composition we’re going to implore you to get down low to the ground maybe even with a tripod. Most people tend to photograph a building from eye level, and to that end everyone’s images look the same. Assuming that you can’t afford a helicopter to fly you right above the building for you to get a much more breathtaking photo, get down even lower to the ground. What this does is get much more of the building in the field of view. If you’re not using a tripod, Fujifilm’s cameras like the X-T1 also have a tilting LCD screen that can help you get the shot in a tricky position.

Shooting from a much lower perspective can help you get even more details like doors on the ground floor, logos and so much more. It also allows you to get more interesting compositions not necessarily using the rule of thirds but also through a balance of positive and negative space.

When shooting lower, always use a wide angle lens. Amongst Fujifilm’s lineup, the 10-24mm f4 R OIS, 14mm f2.8 and 16mm f1.4 are great options that give the Fujifilm APS-C sensor a very wide field of view.

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Xpert Advice: Slightly Stop a Lens Down When Focusing on The Eyes in Portraiture

Chris Gampat the Phoblographer Fujifilm Xpert Advice Portrait Lens Photo (1 of 1)ISO 4001-125 sec at f - 2.4

Lots of folks will tell you that you should always focus on the eyes when shooting a portrait. Why? Because eyes are the metaphorical windows to the soul. It’s very easy for those photographers to also get caught up in shooting portraits with their lenses wide open all the time.

Don’t do that–especially when working with portraits.

If you’re shooting a portrait and the eyes are all that’s in focus, you’re not giving your portrait subject more depth. Instead, try stopping down just a little bit to ensure that the eyes are not only tack sharp but that you also have a bit more in focus–like their face. Sure, the eyes can tell you a lot but so too can the face.

With Fujifilm’s X series interchangeable lens cameras, you don’t need to stop down a lot. Because of the 1.5x crop factor of the APS-C X Trans sensor, you’ll have more in focus at a given aperture than you will with a full frame camera. That means that at f1.2 on the 56mm f1.2 lens, you’ll have the equivalent depth of field of 1.2 x 1.5 which = f1.8’s equivalent depth of field with a full frame camera. So try getting more of your subject in focus rather than just concentrating on just their iris.

For even better results, use Fujifilm’s Astia film rendering. This film was developed for portraiture due to the soft colors and the way that it handles skin tones. We’d also be doing you lots of injustice if we told you to not worry about lighting. Backlighting your subject is often a great method, but try to go for softer light like that from a window.

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Xpert Advice: Overpowering the Sun Using a Leaf Shutter

Xpert Advice Overpowering the Sun with a Leaf Shutter (1 of 1)ISO 8001-15 sec at f - 4.0

One way to naturally add extra punch to an image is to increase the contrast. When you do this, you make the viewer concentrate more on specific areas of the scene–and what better way to do this than to overpower the sun or natural light around you. So how do you do that with your Fujifilm camera? You’ll need to remember some basic parameters first.

To overpower the sun, you’ll need a flash of some sort like a Fujifilm EF-42 (or maybe two of them.) Then keep in mind your exposure parameters:

Shutter speeds: control the ambient lighting, in this case that’s the sun and the natural light around you.

Aperture: Controls depth of field and how much of the flash’s output affects your scene.

ISO: Controls the overall sensitivity of the scene.

When this flash is mounted to a camera like the Fujifilm X100T or the X30, it becomes so much simpler to overpower the sun because of the leaf shutter inside. This means that the shutter unit is in the lens as opposed to the camera body and allows you to shoot at faster shutter speeds with a flash firing than a DSLR or other mirrorless cameras can normally.

By using this setup, you can easily make the natural light appear darker by underexposing it while evenly illuminating your subject by adding output from a flash. This is even simpler to do because the two different types of lighting are linked to different camera settings.

Use this for portraits during the Golden Hour, at weddings, when trying to make a product that you’re about to sell on eBay more appealing, and for many more types of photos like macro shooting. Here’s more on overpowering the sun and more results.

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Xpert Advice: How to Use Fill Flash for More Even Lighting

Chris Gampat The Phoblographer Xpert Advice Fill flash (1 of 1)ISO 6401-15 sec at f - 1.4

Using the on-camera flash can be tough to do if what you want is soft, even lighting. However, it’s totally possible to do just by taking a few quick steps before you shoot. First off keep in mind the main rules of exposure when working with a flash:

– Shutter speeds control the ambient light

– Aperture controls the amount of light from the flash that affects the scene

– Flash output is a consistent setting when manually managed

– ISO controls the overall sensitivity to the scene

To start off, we encourage you to shoot with your camera in manual mode or aperture priority and get a balanced exposure of your scene. Before you shoot, turn on the flash and go into the menu of your camera (like the Fujifilm X100T) and select fill flash. Then you’ll need to fine tune it, so find the flash compensation menu. Turn the flash power down quite a bit; -2/3rds is a great place to start. Then take the photo.

From there you can either choose to open the aperture up or raise the flash output. But no matter what you do, the shutter speed won’t affect the flash output. It will only affect the ambient light, so you’ll need to find a way to blend the ambient lighting, aperture, flash output, and ISO.

This is easier to do if you attach a flash to your hot shoe and use something like the wide angle diffuser that it includes. The key to this is that it spreads the light over a larger area–therefore making it seem like you’re working with a larger light source and in effect a softer light. While a low power output with the wide angle diffuser can work well, so can bounce flash.

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Xpert Advice: How to Get Your Pet to Look Into Your Camera Lens

Chris Gampat The Phoblographer Xpert Advice Photographing a Pet (1 of 1)ISO 4001-60 sec at f - 2.8

Getting a pet to look into your camera lens can be a bit of a hassle. Some pets are camera shy and some just don’t know what you’re putting in their face. This makes getting a portrait of your pet really tough sometimes.

So how do you do it? We first off recommend getting down low to their level to make it more interpersonal, though your creative vision can surely call for standing. Before you even start to take the picture, you should know that this needs to be done quickly. To facilitate the process, start out by choosing a focusing point based on the composition that you have in your head. When you’ve done this, grab a treat, toy, or something else that your pet loves. Dogs and cats love treats!

Get the pet’s attention with the object, then grab your camera start to slowly move the object around. Hold the object right on top of the lens and watch as your pet’s head moves and follows the object. Place the selected focusing point over your pet’s eye and shoot quickly. If you’re not quick enough, your pet will become impatient, try to snatch the object or get frustrated.

Photographers shooting in manual mode should try to have their exposure ready before hand by metering off of the coat of your pet to start. Otherwise, aperture priority or shutter priority combined with an ISO level a bit higher than you’d normally use can help you capture the perfect pet photo.

To make this simpler, we recommend shooting wide. Check out Fujifilm’s wide angle offerings in our lens guide for even more.

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.

Xpert Advice: Using the Zone Focusing Method for Street Photography

Chris Gampat The Phoblographer Xpert Advice Zone Focusing (1 of 1)ISO 1001-20 sec at f - 5.0-2

When it comes to street photography, one of the best ways to make sure that you have your subject in focus is to use the zone focusing system. This is also called hyperfocal length focusing; which involves using the depth of field and focusing scale on your camera or lens to get the scene and subject sharply in focus. It’s a tried and true method: Bresson and a number of other famous photojournalists used it to capture some of the most iconic photos.

Ever heard the statement “F8 and be there?” Well, that’s pretty much it.

To do this, we suggest starting out by stopping the lens down to anywhere between f5.6 and f11. Then as you focus further out from the camera, more of your scene will come into focus. By looking at the scale, you can see what distances will be in focus. For example, at f8 anywhere between five feet and eight feet may be in focus at f8 with a Fujifilm 23mm f1.4. Then as you move around, just remember to pay attention to the distance that your lens is set to. As subjects and scenes move in and out of it, snap photos and keep moving.

As an added tip, raise the ISO levels up a bit depending on your lighting situations. Aperture priority also helps to make this easier.

Give it a try, the zone focusing method is a tried and true way of coming back with more candid photos.

Xpert Advice is a monthly collaboration between the Phoblographer and Fujifilm designed to teach you photography tips and tricks in a bite-sized package.