Foto 2026 \u00a9 Rebecca Douglas | FUJIFILM X-T5 en FUJINON XF16mmF1.4 R WR, 1\/1000 sec bij F5.6, ISO 1250<\/figcaption><\/figure>\n\n\n\nHoewel zeegezichtfotografie vaak wordt geassocieerd met weidse groothoekbeelden, gebruikt Rebecca regelmatig lenzen met een langere brandpuntsafstand.<\/p>\n\n\n\n
\u201cWat ik altijd interessant vind aan fotografie, is het idee van wat een traditionele foto precies is\u201d, zegt ze. \u201cIk denk dat bijvoorbeeld fotografieprijzen soms een valkuil kunnen zijn, waarbij sommige foto’s nogal stereotiep zijn. Tenzij je een foto op een bepaalde manier instuurt, wordt deze niet in overweging genomen. Dat heeft vervolgens invloed op de manier waarop mensen fotograferen.\u201d<\/p>\n\n\n\nFoto 2024 \u00a9 Rebecca Douglas | FUJIFILM X-T5 en FUJINON XF50-140mmF2.8 R LM OIS WR, 1\/500 sec bij F5.6, ISO 1600<\/figcaption><\/figure>\n\n\n\n\u201cIk woon in een stedelijk gebied omgeven door natuur. Ik wil eigenlijk niet al die huizen, straatverlichting en weet ik wat nog meer in mijn foto’s, dus dan zoom ik iets meer in. Op die manier kan ik nog steeds de sfeer pakken en het gevoel van aanwezigheid in die ruimte, zonder de ruis en storende elementen.<\/p>\n\n\n\n
\u201cIk vind bredere landschappen soms een beetje saai. Iedereen heeft een mobiele telefoon, en dat perspectief is altijd breed. Zo zien we miljarden beelden van plaatsen \u2013 die brede momentopnamen. Ik weet dat niet alle brede foto’s zo zijn – er kan veel voorbereiding en planning bij komen kijken – maar we zijn er zo aan gewend om dingen op die manier te zien, dat verschillende lenzen mensen dingen op een onbekende manier kunnen laten zien.\u201d<\/p>\n\n\n\nFoto 2023 \u00a9 Rebecca Douglas | FUJIFILM X-T5 en FUJINON XF50-140mmF2.8 R LM OIS WR, 1\/200 sec bij F6.4, ISO 200<\/figcaption><\/figure>\n\n\n\nLees het licht<\/h2>\n\n\n\n Voor Rebecca draait het bij zeegezichtfotografie om het inspelen op de omstandigheden die zich voor haar afspelen en het gebruik van het beschikbare licht om het gevoel van aanwezigheid op die plek over te brengen.<\/p>\n\n\n\n
\u201cIk heb in mijn werk niet veel gebruikgemaakt van filters en langere sluitertijden; ik speel liever op een andere manier met het licht\u201d, zegt ze. \u201cIk vind het leuk om tegen het licht in te fotograferen, bijvoorbeeld tijdens het \u2018gouden uur\u2019, en te zien hoe het licht afsteekt tegen het opspattende zeewater. De textuur die je in de lucht kunt krijgen, geeft een verbazingwekkend diffuus gevoel.<\/p>\n\n\n\n
\u201cIk wil het natuurlijke licht gebruiken \u2013 ik wil het vastleggen, zodat het precies voelt als de eerste keer dat ik het zag. Dat betekent dat je je niet al te veel zorgen hoeft te maken als dingen wat overbelicht zijn, als dat is hoe het er in het echt uitzag.\u201d<\/p>\n\n\n\nFoto 2024 \u00a9 Rebecca Douglas | FUJIFILM X-T5 en FUJINON XF50-140mmF2.8 R LM OIS WR, 1\/2000 sec bij F4, ISO 250<\/figcaption><\/figure>\n\n\n\nDe vertrouwdheid die Rebecca met haar omgeving heeft, is een van haar grootste voordelen geworden. \u201cHet is verbazingwekkend hoe lang het nog licht blijft bij de oceaan wanneer de schemering in aantocht is\u201d, zegt ze. \u201cHet is alsof je in de sneeuw bent \u2013 het daglicht lijkt gewoon wat langer te reflecteren.<\/p>\n\n\n\n
\u201cEr is een soort aangeboren wijsheid die naar boven komt als je je verbonden voelt met een plek. Je stemt af op deze natuurlijke cycli, en die zullen bepalen hoe en wanneer je fotografeert. De manier waarop het licht in de loop van het jaar verandert, zal verschillende kansen bieden, en die zul je leren kennen. Rond de winterzonnewende schijnt de zon bij zonsopgang bijna rechtstreeks vanaf de zee op onze weg. En omdat we ons op het uiterste puntje van Kent bevinden, zien we ook een paar weken per jaar de zon ondergaan.<\/p>\n\n\n\n
\u201cDat kan je een echt gevoel van vrijheid geven, omdat je op dat moment gewoon helemaal kunt opgaan in het zeegezicht. Ik denk dat daar de emotionele band vandaan komt.\u201d<\/p>\n\n\n\nFoto 2025 \u00a9 Rebecca Douglas | FUJIFILM X-T5 en FUJINON XF150-600mmF5.6-8 R LM OIS WR, 1\/800 sec bij F7.1, ISO 160<\/figcaption><\/figure>\n\n\n\nDe wisselende getijden veranderen ook het zeegezicht ingrijpend. Rebecca legt hun hoog- en laagwaterstand vast en gebruikt dit als inspiratiebron voor haar creatieve keuzes.<\/p>\n\n\n\n
\u201cDe getijden veranderen met de maan, dus tijdens springtij kunnen ze echt hoog en laag zijn, terwijl er bij doodtij in het midden van de cyclus niet zo veel verschil is\u201d, legt ze uit. \u201cSoms zijn er van die overgangsweken waarin het tij heel laag is omdat het springtij is, en je weet dat het licht precies goed zal vallen op een bepaald landschapselement \u2013 dan besef je dat alles samenvalt. Je hele leven lang wacht je stilletjes op die kleine momenten waarop alles op zijn plek valt.\u201d<\/p>\n\n\n\n
\u201cIk word nieuwsgierig en wil weten wat dingen zijn en waarom ze er zijn\u201d, concludeert Rebecca. \u201cIk denk dat dat zorgt voor een veel diepere verbinding met de natuur en de kustomgeving.\u201d<\/p>\n\n\n\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
Visuele verhalenverteller Rebecca Douglas reflecteert over rust vinden aan zee en een diepere band opbouwen met de kust Rebecca Douglas is fotograaf en visueel verhalenverteller, en in haar werk onderzoekt ze de relatie die mensen hebben met de natuur. \u201cIk heb niet het gevoel dat ik \u00e9\u00e9n bepaald ding doe\u201d, begint Rebecca. \u201cOmdat ik in […]<\/p>\n","protected":false},"author":147,"featured_media":366028,"template":"","category":[2084,1006,1202,1055,3211,3309,320,3162,1986,565,5808,7180,9238,7670,8013,8160,8748,3358],"post_tag":[],"b2b-solutions":[],"class_list":["post-366641","story","type-story","status-publish","has-post-thumbnail","hentry","category-be-inspired","category-cameras","category-category","category-lenses","category-x-series-mirrorless","category-x-mount-prime","category-products","category-x-mount","category-x-series","category-stories","category-x-t2","category-x-t5","category-xf150-600mmf5-6-8-r-lm-ois-wr","category-xf16mmf1-4-r-wr","category-xf16mmf2-8-r-wr","category-xf27mmf2-8-r-wr","category-xf50-140mmf2-8-r-lm-ois-wr","category-zoom"],"pp_statuses_selecting_workflow":false,"pp_workflow_action":"current","pp_status_selection":"publish","acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-07-27 09:47:49","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/story\/366641","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/story"}],"about":[{"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/types\/story"}],"author":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/users\/147"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/media\/366028"}],"wp:attachment":[{"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/media?parent=366641"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/category?post=366641"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/post_tag?post=366641"},{"taxonomy":"b2b-solutions","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/b2b-solutions?post=366641"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":365564,"date":"2026-07-10T05:00:00","date_gmt":"2026-07-10T05:00:00","guid":{"rendered":"https:\/\/www.fujifilm-x.com\/?post_type=story&p=365564"},"modified":"2026-06-25T06:26:53","modified_gmt":"2026-06-25T06:26:53","slug":"reala-ace-fs-recipe-x-vueey-le","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/nl-be\/stories\/reala-ace-fs-recipe-x-vueey-le\/","title":{"rendered":"REALA ACE\u00a0FS RECIPE\u00a0x Vueey Le"},"content":{"rendered":"\n
Light is always the first thing I notice when I walk into a space. Before I think about composition or even raise the camera, I\u2019m already watching how light moves across a table, how it wraps around a plate, and how it falls on skin. In food photography, light and colour carry most of the story. When they feel natural and considered, everything else tends to fall into place.<\/p>\n\n\n\n
My priority when photographing food has always been balance. I want dishes to feel fresh and inviting without looking overworked, and I want the people in the frame to look like themselves. Natural skin tones matter just as much as the colour of the food. Whether the images are viewed online or in print, that sense of honesty is what keeps them feeling timeless rather than trendy. That way of seeing is what led me to REALA ACE.<\/p>\n\n\n\n
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FILM SIMULATION:<\/strong> REALA ACEMONOCHROMATIC COLOR:<\/strong>N\/AGRAIN EFFECT:<\/strong> OFFCOLOR CHROME EFFECT: <\/strong>WEAKCOLOR CHROME FX BLUE: <\/strong>WEAKSMOOTH SKIN EFFECT: <\/strong>OFFWHITE BALANCE: <\/strong>5200K\/ R-1, B-2DYNAMIC RANGE: <\/strong>DR200D RANGE PRIORITY:<\/strong>OFFTONE CURVE: <\/strong>H -1, S -2COLOR: <\/strong>+1SHARPNESS: <\/strong>-1HIGH ISO NR: <\/strong>-4CLARITY: <\/strong>OFF<\/p>\n\n\n\nREALA ACE has become my go to Film Simulation because of how well it handles colour across different environments. My work often moves between food, lifestyle, and travel, where lighting conditions are rarely controlled and scenes change quickly. What I appreciate most is how clean and balanced the colours feel straight out of camera. There\u2019s a natural calm to the palette, with just enough contrast to give shape and depth.<\/p>\n\n\n\n
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For this shoot, I allowed myself to experiment a little more, particularly with greens. Rather than pulling them back as I often do in my commercial work, where colour is kept clean and almost stock-like, I chose to embrace them. The green tones became part of the atmosphere, sitting softly in the background and almost forming a gentle halo around the scene. It gave the space a more airy, lived-in feel and allowed a more personal layer to come through. REALA ACE handled this beautifully, letting the greens shine without overwhelming the frame, while skin tones and food remained natural and grounded.<\/p>\n\n\n\n
Another reason REALA ACE fits so naturally into the way I work is how effortlessly it responds to light. I often shoot with ambient and window light, where highlights appear and shift without warning. With REALA ACE, those moments never feel harsh or distracting. Light rolls through the frame gently, allowing the image to stay open and calm. It gives me the confidence to commit at the moment of capture, knowing the photograph already feels finished.<\/p>\n\n\n\n
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Over time, REALA ACE has become more than just a Film Simulation in my workflow. It feels instinctive, almost like second nature. I don\u2019t have to think about how it will behave or how much I\u2019ll need to correct later. It lets me stay present, focused on what\u2019s happening in front of me rather than what might need fixing afterward. That familiarity creates an emotional connection to the way I shoot, where trust in colour and light becomes part of the process.<\/p>\n\n\n\n
This project was a reminder of how powerful restraint can be. When colour and light are treated with care, images don\u2019t need to demand attention. They draw you in quietly, allowing small moments to hold their own. REALA ACE supports that approach by stepping back and letting the scene breathe.<\/p>\n\n\n\n
This FS RECIPE is ideal for anyone drawn to images that feel clean and natural, with just enough glow to add character. It\u2019s a subtle balance that rewards patience and intention, and it\u2019s what keeps me coming back to REALA ACE as a foundation for the way I see and photograph the world.<\/p>\n","protected":false},"excerpt":{"rendered":"
Light is always the first thing I notice when I walk into a space. Before I think about composition or even raise the camera, I\u2019m already watching how light moves across a table, how it wraps around a plate, and how it falls on skin. In food photography, light and colour carry most of the […]<\/p>\n","protected":false},"author":135,"featured_media":365583,"template":"","category":[2084,1006,1202,13607,1055,3211,3309,320,13918,3162,1986,565,13936,8209,7719,8307],"post_tag":[],"b2b-solutions":[],"class_list":["post-365564","story","type-story","status-publish","has-post-thumbnail","hentry","category-be-inspired","category-cameras","category-category","category-film-simulation","category-lenses","category-x-series-mirrorless","category-x-mount-prime","category-products","category-reala-ace","category-x-mount","category-x-series","category-stories","category-x-t30-iii","category-xf18mmf1-4-r-lm-wr","category-xf27mmf2-8","category-xf33mmf14-r-lm-wr"],"pp_statuses_selecting_workflow":false,"pp_workflow_action":"current","pp_status_selection":"publish","acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-07-27 09:47:49","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/story\/365564","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/story"}],"about":[{"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/types\/story"}],"author":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/users\/135"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/media\/365583"}],"wp:attachment":[{"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/media?parent=365564"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/category?post=365564"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/post_tag?post=365564"},{"taxonomy":"b2b-solutions","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/nl-be\/wp-json\/wp\/v2\/b2b-solutions?post=365564"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":366330,"date":"2026-07-09T05:02:00","date_gmt":"2026-07-09T05:02:00","guid":{"rendered":"https:\/\/www.fujifilm-x.com\/?post_type=story&p=366330"},"modified":"2026-07-14T05:23:29","modified_gmt":"2026-07-14T05:23:29","slug":"bts-gf19-35mm-eleven-productions-x-commercial-magic-city","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/nl-be\/stories\/bts-gf19-35mm-eleven-productions-x-commercial-magic-city\/","title":{"rendered":"[BTS] GF19-35mm Eleven Productions x Commercial “Magic City”"},"content":{"rendered":"\n
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What happens when the roaring crowd goes quiet, the house lights fade, and a global pop icon is left entirely alone with their own reflection? That is the haunting question at the centre of Broken Idols<\/em>, a striking new cinematic short film that live ssomewhere between a commercial, a music video, and high-fashion filmmaking.<\/p>\n\n\n\n<\/span><\/div><\/div><\/span><\/span><\/button><\/div><\/div><\/figure><\/div><\/div><\/div><\/div>\n\n\n\n
The film tells a deeply personal and poignant story about the crushing weight of stardom and the profound loss of identity that comes with it. It tracks the painful contrast between an idol’s glittering public persona and the hollow, isolating reality of the aftermath of fame.<\/p>\n\n\n\n
To bring this intense, interior psychological landscape to life, the production team paired the GFX ETERNA 55 with Fujifilm’s compact GF 19-35mmT3.5 and GF 32-90mmT3.5 Power Zoom lenses.<\/p>\n\n\n\n
<\/span><\/div><\/div><\/span><\/span><\/button><\/div><\/div><\/figure><\/div><\/div><\/div><\/div>\n\n\n\n
Speed, Scale, and Intimacy on Set<\/strong><\/h3>\n\n\n\nOperating with a lean crew setup typical for music videos and commercials, efficiency and agility on set were paramount. Director of Photography Flo Berwanger, BVK relied on a two-lens package covering everything from 19mm to 90mm to maintain momentum without sacrificing creative choices.<\/p>\n\n\n\n
\u201cBy having two lenses with overlapping focal lengths, we could easily change the framing of the shot with minimal lens changes.\u201d says Berwanger. \u201cThis helped us a lot on set to be very quick. The 19-35mm gave us the opportunity to take the camera and put it really close to our character, Julie, but still see the whole set.\u201d<\/p>\n\n\n\nControlling the Aesthetic: From T8 Precision to Nostalgic Looks<\/strong><\/h3>\n\n\n\nBecause Broken Idols<\/em> hinges entirely on the main character’s internal emotional journey, the visual formula required a heavy emphasis on portraits. The optics allowed the crew to drastically alter the emotional texture of a scene simply by adjusting the aperture.<\/p>\n\n\n\nTo make the character\u2019s high-fashion makeup and jewellery truly pop, Berwanger stopped the lens down to a crisp T8. Conversely, when a scene called for a softer, more vulnerable tone, opening the lens to T3.5 delivered a beautifully smooth focus fall-off toward the edges.<\/p>\n\n\n\n
The technical versatility of the system also allowed the team to experiment with formats and stylistic eras on the fly. While they chose the open-gate 4:3 GF mode for maximum flexibility, switching to a Super 35 crop allowed them to repurpose the 90mm focal length to capture unique perspectives while maintaining pristine image quality.<\/p>\n\n\n\n
\u201cWe knew we would have this shot of a tree, but we wanted to translate our image formula from a very modern perspective into a Y2K look,\u201d explains Berwanger. \u201cThe 19mm especially helped us get a very creative composition, turning the tree into more of a road our character could walk through.\u201d<\/p>\n\n\n\n
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