Fujifilm X-T1 firmware update includes a new AF system with upgraded autofocus performance

11 May 2015

Fujifilm X-T1 firmware update includes a new AF system with upgraded autofocus performance Firmware designed for Fujifilm X-T1 and X-T1 Graphite Silver Edition cameras

(this is an extract directly from the Media Release despatched by Fujifilm Australia)

FUJIFILM announced today that it is introducing new firmware Ver. 4.00 for the X-T1 and X-T1 Graphite Silver Edition cameras that will feature nine key changes aimed at substantially improving the AF performance and operation.

The new firmware Ver.4.00 will be available from late June 2015. The new AF system makes it easier than ever to capture moving subjects, dramatically increasing your shooting options. Features include:

Zone and Wide / Tracking modes to accurately capture moving subjects

- 77 autofocus points are used across a wider area to substantially improve the camera’s ability to capture moving subjects.

- Zone mode allows users to choose a 3x3, 5x3 or 5x5 zone from the 77-point AF area.

- When combined with the AF-C continuous focusing mode, the camera tracks a subject in the centre of the selected zone. - Wide / Tracking mode displays the area in focus identified automatically out of the 77-point AF area, and tracks the subject across the entire 77-point AF area. Focus can be maintained on subjects that move vertically, horizontally, or back and forth.

2. Improved AF accuracy for enhanced focusing performance

- Single point AF divides the focus area into smaller sections to more accurately determine the distance to the subject.

- Built-in phase detection pixels now have a detection range of 0.5EV (previously 2.5EV), delivering phase detection AF performance that enables fast focus in low light conditions and on low-contrast subjects.

3. Eye Detection AF for more beautiful portraits

- By activating Face Detection AF and Eye Detection AF, the camera automatically detects and focuses on human eyes even in difficult conditions.

4. Auto Macro Mode for convenient close-up photography

- This feature eliminates the need to press the Macro button before shooting close-ups, while maintaining the conventional AF speed, allowing the user to assign a different function for the macro button.

5. Improved AF in Movie mode for smoother video recording

- The optimised algorithm delivers a more natural and smooth AF action during movie recording.

6. Improved Shutter Speed Dial Operation

When the Shutter Speed Dial is set to T and the Shutter Type to Mechanical + Electronic, the command dial can be set to a full range of exposure times from 30 - 1/32000 seconds enabling you to change the shutter speed across a broader range without having to change camera position. This is useful when shooting in portrait orientation with the optional Vertical Battery Grip.

7. Exposure Compensation in Manual Exposure mode

You can use the Exposure Compensation dial to make exposure adjustments while shooting in the Manual exposure mode with the ISO Auto setting.

8. Finer Lines on the framing grid enhances visibility

The lines on the framing grid, which can be displayed in the Screen Set-Up menu, are now finer making it easier to view the subject.

9. Name of Silent mode changed

The Silent mode has been renamed to “SOUND & FLASH OFF” to avoid confusion.

FUJIFILM Australia Product and Marketing Manager - Electronic Imaging, Alex Zitser, said the nine key changes are a reflection of feedback from users.

“This demonstrates that Fujifilm continues to listen to customer feedback to boost the performance of X Series cameras. In particular, Fujifilm has taken the ability to capture moving subjects to a whole new level,” Mr Zitser said.

The new X-T1 firmware Ver.4.00 will be available from late June 2015.

About FUJIFILM

FUJIFILM is a world leader in imaging, information and document technologies. With a commitment to extensive research and development, FUJIFILM provides a leading edge range of products and services that incorporate proprietary technologies which contribute to the advancement of such fields as culture, science, technology and industry, as well as improved health and environment protection. Ultimately, FUJIFILM’s aim is to help enhance the quality of life for people worldwide.

www.fujifilm.com.au

Media Enquiries:

Deidre McAlinden M: 0417 758432

FUJIFILM Australia Pty Ltd E: deidre.mcalinden@bigpond.com.au

Read More

News Release - Digital Camera Warehouse now recognised as Google Trusted Store

Sydney, Australia – 22 April 2015 - Digital Camera Warehouse, which offers a specialist photographic retail experience both online and at dedicated city locations, was recently selected to join the Google Trusted Stores program. To help shoppers identify online merchants that offer a great shopping experience, the Google Trusted Store badge is awarded to e-commerce sites that demonstrate a track record of on-time shipping and excellent customer service.

When visiting the Digital Camera Warehouse website, shoppers will see a Google Trusted Store badge and can click on it for more information.

Lucinda Dalton, Director of Digital Camera Warehouse commented, ‘We’re thrilled to be recognised as a Google Trusted Store. Not only because it highlights our exceptional team and processes, but also because it gives our customers the confidence to know that Google, sees Digital Camera Warehouse as a trusted site. We do what we say we do. And if we don’t, Google protection will kick in. It’s a win-win for our customers.’

As an added benefit, when a shopper makes a purchase at a Google Trusted Store, they have the option to select free purchase protection from Google. Then in the unlikely event of an issue with their purchase, they can request Google’s help, and Google will work with Digital Camera Warehouse and the customer to address the issue.

As part of this, Google offers up to $1,000 lifetime purchase protection for eligible purchases.

Google Trusted Stores is entirely free, both for shoppers and for online stores. The program helps online stores like Digital Camera Warehouse attract new customers, increase sales and differentiate themselves by showing off their excellent service via the badge on their websites.

Digital Camera Warehouse is a specialist photographic retailer with stores in Sydney, Brisbane and Melbourne, and with a leading online presence. Digital Camera Warehouse sells D-SLR cameras, CSC cameras, compact cameras, video cameras, lenses, memory cards, and a range of accessories to the full spectrum of photography enthusiasts. The company has been operating online since 2001 with a reputation for high standards of service, exceptional knowledge and efficient delivery.

Digital Camera Warehouse

Tel: 1300 365 220

Address: PO Box 20, Canterbury, NSW 2193

Read More

TIPA Awards 2015 - TIPA Reveals Their Best Cameras and Imaging Products

The TIPA (Technical Image Press Association) Awards for 2015 have just been announced, covering their selection of the best photographic and imaging products launched in the past 12 months.

A couple of our favourites made it through to the list which we’ve highlighted below.

Best Photo Printer: Epson SureColor P600 A3+ Inkjet Printer

There’s nothing quite like a finished print on gorgeous, tactile paper stock. Having recently acquired the Foto Riesel print lab, we’re certainly getting addicted to it. The Epson SureColor P600 outputs some stunning prints, up to A3 in size.

We love its desktop size (our office printer is somewhat less so at almost 2 metres in length!) and the new Epson SureColor inks with exquisite blacks. Long live print!

Pro-tip: try out Canson Infinity Baryta or Platine Fibre Rag paper. They’re something special.

Best Professional DSLR Lens: Canon EF 11-24 f/4L USM

Canon EF 11-24mm f/4L USM is a stunning performer that shoots wider than ever. We love the dramatic perspectives and sweeping photos that come with this impressive focal range, just make sure you’re wearing nice shoes – they may well be in frame!

Best Photo/Video Camera Professional: Sony a7s

The Sony A7s, otherwise known as, the little camera that could. Featuring one of the best low light full-frame sensors to date coupled with 4K video, a silent electronic shutter, and the ability to adapt almost any manual focus lens to it, this camera is certainly accolade worthy.

Sony’s A7s pairs perfectly with the CSC or mirrorless prime lens category winner, the Zeiss Loxia 50mm f2 and 35mm f2 lenses, which bring the fantastically designed Carl Zeiss Biogon and Planar formulas to the digital mirrorless age. (The Biogan and Planar lenses are special order lenses at DCW).

Best CSC Professional: Samsung NX1

Samsung is onto a good thing with the NX1 – It’s fast, well-built, and packs some serious punch. There’s a lot to like about this camera, but some standouts include 15fps high speed continuous shooting with autofocus, a snappy AF system with 205 Phase and 209 Contrast Detect points, and 4K video at a cinematic 24fps.

Reviews for this camera have been wildly positive, and we’re very interested to see where Samsung goes from here.

Best Superzoom Camera: Nikon COOLPIX P610

With 60x Optical Zoom that starts at a wide 24mm and reaches an impressive telephoto end of 1440mm (in equivalent 35mm focal lengths), the Coolpix P610 is an incredibly versatile camera. 

We’re a fan of the 5-stop advantage vibration reduction which is necessary for getting the most out of the huge superzoom range. GPS, Full HD video and a host of other features make it a perfect companion for travel!

The Canon SX60 HS ultrazoom is certainly no slouch either. While it didn’t walk away with a TIPA award, its 65x Optical Zoom starts at a super-wide 21mm equivalent, and extends to 1365mm.

You can see the full list of TIPA Award winners for 2015 on their webpage. 

Read More

Photographing Your Car for Sale

by Daniel Smith

When photographing your car to sell you want to show it in the best way possible. Here are a few tips to show your car at it’s finest and maximise the interest in your ad.

Background

Pick a background that is pleasing to the eye. You do not have to photograph in front of a beautiful vista but utilising a nice beach, parkland or bushland as a background can be a good option. If you dont have access to a nice background something plain is a good option. If shooting in your street or an urban area try to avoid distracting elements in the background and foreground. Things like telegraph poles and post boxes coming out from behind the car can be distracting and something dissecting the car in front is certainly off-putting. If theming your shoot you could pick a background that suits the style of your car. A gritty industrial view is often utilised with high-end car photography but you may not want to overcomplicate things. A well executed series of images showing off the car is your best bet for a quick sale.

Clean Your Car

Give your car a wash and clean before photographing it. There is no need to detail it unless you are shooting some more close up shots of specific pieces but a general wash and clean will make a world of difference.

Lighting

The time of day that you photograph your car will greatly alter the way that it looks. Traditionally light in the middle of the day is more harsh and harder to photograph due to the harder shadows and highlights. Choose early morning or late afternoon for your photography as the light is generally softer and easier to work with. You are chasing indirect light that is still bright enough to shoot in. The correct light can help to enhance the paint work on the car and will add an extra dimension to the images. Once you get into late afternoon the light does turn orange so be wary of the possible colour cast, it could be used to your advantage.

Using flash on your shoot can be a good idea. Most cameras have a built-in flash that will provide a enough light that just fills in the detail that is in shadow. A larger flash on the camera or off to the side can provide more lighting. This light can be used to brighten the shot in front and create more depth. Used creatively flash photography can be very powerful. When shooting with onboard flash or a flash on top of the camera, a diffuser can be added in front of the light to soften it a little. In automatic modes your camera should be able to balance the flash with the available light (as long as it is not too dark).

Framing

When framing your shot you need to consider the angle that the car is on and it’s placement in the frame. Having the car with too much space around it will under-utilise the amount of room you have on your ad/listing but when shooting you also do not want to crop out pieces of the car unless shooting a detail shot specifically. Cutting off just the bumper for instance will make the shot look messy. A lower angle will generally give a better perspective for your front and side shots.

If your car is not in a perfect condition you do not want to focus too much on the imperfections and choose angles that are going to display your vehicle favourably. If your car does have some issues though it is worth making note of them in your listing and perhaps even having some close up shots to show the extent of the issues.

Have a look at some high end car ads for inspiration, there are certain angles that will show your car in the best possible way. The 3/4 view is a popular one, where your car is on an angle to camera. Often turning the wheels will add a dynamic element.

Here is a shot list of a few standard angles to shoot.

1. 3/4 View Front
2. Side-on view
3. 3/4 View Back
4. Interior Front
5. Interior Back
6. Dash View
7. Detail shot of elements that you want to show off (e.g rims, grill, speedo)

Watch the Reflections

Cars are shiny, well most of the time, so you need to be mindful of what is reflecting in the paint work and the windows. To avoid getting yourself reflected in shot use a long lens and get physically further back from the car or put your camera on a tripod and use a self-timer. This will give you time to get out of shot.

Equipment & Considerations

Your approach to your shot will depend on your camera set-up. The above tips you will will help you get good results with most cameras. Accessories can help to improve the results.

Here are a variety of camera types and accessories, and some products in each range.

Phone Camera

The phone camera, while the most accessible, will not provide the best results. Phone sensors are generally quite small and therefore provide a lower overall quality especially in low light. The absence of a powerful flash makes shooting in lower light difficult too. With the right amount of light though many phone cameras will take a reasonable photograph.

Sony Cyber-shot Smartphone Lens-style Camera DSCQX100 - $537

The Compact Camera

A compact camera provides a better quality than most camera phones while still being inexpensive. Overall picture quality is good and many compacts have manual and creative functionality allowing you to have more control over your images. Compact cameras can be placed on a tripod that will steady the shot.

Panasonic Lumix FZ70 - $454
Fujifilm XQ1 Premium Compact - $509

Mirrorless Camera

Mirrorless cameras sit in between compacts and DSLR cameras and provide much of the same manual functionality as DSLR but at a more compact size. These are better in low light and there are more lenses available which give you more options when shooting your car.

Olympus PEN E-P5 + 14–42mm f/3.5–5.6 II R Lens - $670
Sony A7R + Sony 28–70mm Lens - $2375

DSLR Camera

With the greatest amount of options for accessories and lenses, DSLR cameras are the perfect option for those wanting the most out of their photography. The high quality will show any car in the best light.

Canon 700D DSLR + EF-S 18–55 f/3.5–5.6 IS STM – Single Lens Kit - $706.00
Nikon D7100 - DX-Format DSLR - With Nikkor 18–105mm VR lens - $1448.00
Pentax K–50 + 18–135mm ED DA AL IF DC WR Lens - $1180

Tripods

Tripods come in a variety of shapes and sizes. As a general rule of thumb the larger units are heavier but able to hold the camera more steady. As the light is less at the optimal shooting times, morning and evening, a tripod will help to steady your shot as you are shooting at speeds that can be hard to hold steady. At the lower speeds you will not be able to hold your hand steady enough and the car will be blurry. A compact tabletop tripod can help to create a more stable shot when resting on something.

Manfrotto PIXI Mini Tripod - $50
Slik F153 Tripod - $39
Manfrotto MT190XPRO3 Tripod + 804RC2 Head - $499

Lenses

Extra lenses will alter the angle of view allowing for a different perspective.

A wide angle lens will fit more in, allowing you to get closer to the car. There is the possibility of some distortion close-up though.

A telephoto lens or long zoom can be good to provide some separation between your car and the background, and allow for close framing with less chance of being reflected in the paint work or window.

Panasonic LZ40 - $294
Canon Lens 70–200mm EF f/4L USM - $789
Sigma Lens 70–300mm f/4–5.6 DG OS - $527

Flashes

Extra flash units can provide that extra bit of light to fill in the shadows and make your car pop.

Canon Speedlite 600EX-RT Flash - $526
Metz Mecablitz 52 AF–1 Touchscreen Digital Camera Flash - $382
Olympus FL–600R Flash Unit - $329

Conclusion

Buying a $4000 camera kit may not be advisable if you want to photograph your $8000 car to sell. Working within your limitations with the above tips and you will get great results. If you are thinking about upgrading your kit anyway or getting that next accessory, then now could be the opportune time. If you have any questions please contact us on 1300 365 220 or through our website. Comments and questions are also welcome in the comments below. Happy shooting!

Please note: All prices are correct at time of post creation and may be subject to change without notice.

Read More

Digital Camera Warehouse: New Owners of the Iconic Foto Riesel

Sydney, Australia – 27 Jan, 2015 - Digital Camera Warehouse is delighted to announce it is the new owner of the Foto Riesel store in Sydney’s CBD. Foto Riesel is located at 360 Kent St, Sydney. Digital Camera Warehouse, acknowledging the importance of Foto Riesel as a specialist store in Sydney’s photographic retail industry, made a successful offer to purchase the business. The store will re-open as ‘Foto Riesel by Digital Camera Warehouse’ in the coming months.

Digital Camera Warehouse Director Lucinda Dalton, on the acquisition, said, ‘We’re excited to strengthen photo specialty retail in Sydney by becoming the new owners of Foto Riesel; such an iconic specialist retailer. We love its long history; it’s evolution through the changing face of the technology of photography and the retail industry. Purchasing Foto Riesel is part of our company’s growth strategy. We believe we will add significant value to photographers of all levels in Sydney’s CBD.’

Digital Camera Warehouse intends to maintain the majority of existing services offered by Foto Riesel. A strong driver for the acquisition for Digital Camera Warehouse is to ensure that specialist photography knowledge continues to be accessible for photography enthusiasts.

The new ‘Foto Riesel by Digital Camera Warehouse’ will utilise all of Digital Camera Warehouse’s existing processes, supplier relationships and long-established logistics practices. New and existing customers will benefit from competitive pricing, premium customer service, a dedicated Contact Centre based in Sydney and a greater range of the latest equipment.

More information will become available via Digital Camera Warehouse’s website and Facebook pages closer to the store re-opening.

www.digitalcamerawarehouse.com.au

https://www.facebook.com/digitalcamerawarehouse

Digital Camera Warehouse is a specialist photographic retailer with stores in Sydney, Brisbane and Melbourne, and with an established online presence. Digital Camera Warehouse sells D-SLR cameras, CSC cameras, compact cameras, video cameras, lenses, memory cards, and a range of accessories to the full spectrum of photography enthusiasts. The company has been operating since 2001 and has a reputation for high standards of service, exceptional knowledge and efficient delivery.

Foto Riesel is a specialist photographic retailer, which has operated in Sydney’s CBD, in various CBD locations, since 1957. It offers a range of photography services including retail, photo and fine art printing, second hand sales and film processing.

Digital Camera Warehouse is the new owner of the Foto Riesel store in Sydney’s CBD. Foto Riesel is located at 360 Kent St, Sydney. The store will re-open as ‘Foto Riesel by Digital Camera Warehouse’ in the coming months.

Contact: Mark McDonald

Position: Marketing Manager

Company: Digital Camera Warehouse

Telephone: 02 9789 9703

Email: mark@digitalcamerawarehouse.com.au

Post: PO Box 20, Canterbury, NSW 2193

Read More

Fuji X-100T - An Evening with Tim Georgeson

DCW recently attended the Fuji Film Australia event highlighting the new Fuji X100T and Fuji ambassador and photographer/creative Tim Georgeson. There were a series of Tim's images on display highlighting the quality of the new camera. The X100T offers an exciting advancement for compact mirrorless cameras. A nice blend of retro design, functionality and compact size.

A little more about Tim Georgeson:

Tim’s advertising, artwork and environmental portraiture feature in The New York Times Magazine, National Geographic, Rolling Stone and many more magazines. His avant-garde, award-winning print campaigns shot with agencies and clients such as Converse, Heineken, Levis have been internationally featured. He has won numerous prizes, including World Press Photo, NY Festival and Cannes. 

In 2010 Tim co-founded GuerrillaPop+MediaLab, a boutique media laboratory where he creative directs advertising campaigns, book ventures, design projects, editorials, exhibitions, music videos and film projects – and specialises in humanitarian causes.
Tim Georgeson is a multi-award-winning photographer, filmmaker and creative director. His street-inspired films that capture youth culture zeitgeist have established a cult following.

Read More

Olympus 40-150mm f2.8 Pro Lens - First Look

We were lucky to get a sample of the new Olympus 40-150mm f2.8 lens to try out. It was a pre-production model but performed very well all the same. Focus was nice and quick and did not falter often over 2 nights of testing.  Here are some photos we shot at the Sydney Night Noodle Markets last month. Some trying conditions considering the low light but the lens did very well.

The long zoom was impressive especially in conjunction with the fast 2.8 aperture. This made it perfect for the candid shots at the markets. Overall a very lightweight lens with pro applications that comes in at a good price. A good buy for anyone wanting to grow their Micro Four Thirds kit. We are hoping to see these lenses hit our central warehouse next week and we will then ship them out to stores. Preorder your Olympus 40-150mm f2.8 lens here - or the Olympus 40-150mm f2.8 lens and teleconvertor here.

All images shot with the Olympus EP-5 and 40-150mm f2.8 lens. Edited in Apple Aperture.

Read More

Interview with Photographer James Murphy

by Daniel Smith

I chatted with James Murphy, Newcastle based photographer and educator about his photographic practice and iPhoneography.

Daniel: Hi James. Can you tell me a little bit about your photographic practice? How did you get started in photography?

James: Hi Daniel. I got started in photography with a Yashica twin lens medium format camera my father owned when I was a teenager. At one point I set up a darkroom in my parents bathroom when they were away on holidays and spent the week developing film and printing photos in the shower recess. I later went to many different TAFE hobby classes and became more and more enticed by the black and white image. After attending many TAFE courses I enrolled in a Bachelors Degree in Fine Arts and continued my education in Photography and the Visual Arts.

Daniel: What is your camera of choice?

James: Since the beginning of the year I shoot with a Nikon df, and have just bought a new set of prime lenses 24mm, 50mm and and 85mm to work with and replaced the set of zoom lenses I have used for many years. I also have been carrying a Canon compact with me for a long while, mostly for portability but that is being left home more often now in favour of the Nikon. I’ve always been a Nikon user from the early days.

Daniel: I was quite taken by your iPhone images. Can you tell us how that fits into your overall practice? Is it the fact that you always have the phone on you that attracts you or is there something in the aesthetics of the iPhone images or processing options?

James: Thanks Daniel. The phone camera and Instagram are great because they get the images out there really quickly and I get just as quick a response from those who view the shots. It’s not that the phone is there all the time because I usually have to juggle the phone with the digital camera I am always carrying. The square format is interesting to use as a compositional tool or to crop to from a full frame shot. It’s just really good practice I think, particularly with composition. Sometimes I just crop and re-crop up to a dozen times until the image feels right to me. Using the phone camera as a regular imaging tool is again a way of experimenting for me, a way I can try new things. Every camera you use I think gives you a different take on your imaging.

Daniel: Can you tell me a little about your decision to upload your Instagram images in groups of three. What you see when viewing your feed is a series of triptychs that tie together visually like a mini-exhibition. How does this effect your style of shooting? Do one off images miss out or do you need to find companion pieces for them?

James: At Art school we were always encouraged to work in series. If you delve back into my Instagram feed you will find the point when I started working with triptychs. Prior to that it was just individual images and me getting a handle on what I wanted to do with this new (to me) medium. I enjoy the challenge of working with a series, of what to include and what to leave out. That if there are only two that work then the whole set doesn’t work and will be left on the shelf. I will shoot a one off image of something happening that I’d like to remember but otherwise if I’m shooting I’m always aiming for a set of three and I either get what I want or recognise that it’s not working and move on to something else.

Daniel: Can you tell me about a few of the  different projects that you have been working on. [e.g. Habitat, Two Chairs, The Distracted Sky, After the Fire, or others of your choice]

James: Photography for me, has always been documentary in nature. Whether of the inner or the outer landscape, or more usually both. After the Fire, exhibited earlier this year, was prompted by the fires that swept by the town where my family and I live. The fire came within 30 metres of our home and we were all evacuated and spent a terrifying 36 hrs not knowing what was happening in the town. The devastation caused by the fire brought about an emotional response from me as I wandered the burnt bushland in the months following the fire. The images were created as I walked everyday through the blackened landscape.

Two Chairs speaks to the idea of companionship and growing old together within a relationship. There is a photo I have of my parents both leaning forward and resting on the kitchen bench looking out through the back window. Both comfortable in their silence yet completely in touch with each other. This snapshot inspired this series as I started to notice the special places people reserve as a place to sit quietly in the company of a loved one.

The most recent series is one from a group exhibition called Transit Town. The series was guided by the notion of retaining the feeling of a moment now held only in the wash of memory. The images depict fictional travellers and moments that stick, moments based in the fact of a situation but often viewed through a fictionalised filter in their minds eye.


Daniel: You teach photography. What is the most important thing that you try to instil in photographic students? [or multiple things]

James: There are so many things to know especially with digital post production. Mostly though it’s about knowing what you’re after when you pick up the camera and recognising whether you have it or not in the view finder and then later when you’re editing the image.

Daniel: What pointers do you have for people starting out in photography?

James: Bury yourself in images. Just look at all the photographers you can. Work out what you like and what you don’t. Try everything until you work yourself out and know what you want to do with your images. In terms of technical, I read a lot and I have some authors that I feel simpatico with and I trust what they are saying in terms of editing images etc. Find an author who speaks to you and follow their advice on what’s what.

Daniel: Do you have any practical tips for getting the most out of shooting on the iPhone? [low light tips, good accessories, how to steady shots etc]

James: There are no accessories I use with my iPhone, though I bought a set of lenses for one of my kids last xmas. She is a pretty keen photographer and also enjoys the ease of use she gets from the phone and phone apps. I don’t like to shoot through apps as much as the phone camera though I do occasionally use Toon Camera to grab a shot. The only tip is to keep shooting until you get the shot right.

Daniel: How much post production is involved with each iPhone image and what apps do you use?

James: It usually goes quickly but there are times when I work across 2 or 3 different apps back and forth. Snapseed is almost always my first choice for editing and often the only app I use. The difficulty for me sometimes is remembering the values I use across three different images. Consistency is usually important so I’ll often write done the values - contrast, ambience, structure etc., so all three images come out with the same look.

InstaBlender, Toon Camera are pulled in some times and I’ll sometimes use Decim8 to redo a set of in a new way. This happens if I haven’t shot much and I want to post a set. I’ll review some old images and drag them into Decim8 and wait to see what comes out the other end. It’s pretty wild sometimes and I like the unexpected aspect of this.

More work by James can be seen on his website, Instagram and his blog.

Images copyright James Murphy © 2014

Read More