{"id":64359,"date":"2021-11-24T14:34:07","date_gmt":"2021-11-24T05:34:07","guid":{"rendered":"https:\/\/fujifilmnxtc.wpenginepowered.com\/?post_type=xstories&p=4195580"},"modified":"2024-05-02T00:56:16","modified_gmt":"2024-05-01T15:56:16","slug":"golden-moments","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/no-no\/stories\/golden-moments\/","title":{"rendered":"Golden Moments"},"content":{"rendered":"

Crafting the glow and gleam of a transient sun, Emily Endean discusses her top tips for photographing \u2018magic hour\u2019<\/h5>\n

At dusk and dawn, dreamlike configurations of light split the skies, casting the shadow of the day in a warm, gold-leaf hue. As the sun sits atop the horizon, rays permeate the atmosphere at a lower angle than usual. Glimmers of light pass through droplets of water and dust, filtering with a softened, dampened contrast. Denser aspects of the atmosphere scatter blue and violet wavelengths, decreasing the sun\u2019s colour temperature as deep, orangey reds become more prominent and pronounced. Without question, it\u2019s a startling sight, and something of an age-old favourite for photographers and filmmakers alike.<\/p>\n

Fleeting and short-lived, this time of day features some of the most striking forms of natural light, producing a remarkable array of colour and shade. It\u2019s a perfect canvas for the visual artist. Joining us to discuss the perfect golden landscape, Emily Endean is one such practitioner of this style. Based between Dorset and Hampshire, her work focuses on dazzling seaside landscapes and sumptuous coastal portraits, encapsulating the crispness of an outstretched ocean, peeling away from the shore. Outlining the differences between spontaneity and planning ahead, she stresses the importance of integrating both approaches into the creative process. \u201cI always head out with some kind of plan in mind. I check the relevant apps for weather, tide and swell forecasts, then visualise the type of scene I want to shoot. That being said, it\u2019s important not to be too rigid when on location. Sometimes curveballs are thrown \u2013 you just have to follow what\u2019s presented. I try to let my creative eye do the heavy lifting. I\u2019ll experiment until I land on something that I feel really works. That might mean remaining in place, or moving and adapting to constantly changing conditions. Ultimately, it\u2019s a process that depends entirely on the situation.”<\/p>\n<\/p>\n

\"Man<\/a><\/p>\n

Photo 2021 \u00a9 Emily Endean | FUJIFILM X-T3 and XF55-200mmF3.5-4.8 R LM OIS, 1\/125 sec at F7.1, ISO 320<\/p>\n<\/div>\n

Finding the ideal place is hard at the best of times, but it can prove especially difficult when trying to pinpoint a backdrop that complements the tint and tinge of golden hour aesthetics. \u201cIt\u2019s always good to find a prominent subject or landmark, or even some leading lines, to start you off,\u201d Emily notes. \u201cBe on the lookout for aspects of the environment that might correspond with the rising or setting sun. When I\u2019m in unfamiliar territory, I use Google maps \u2013 a lot! A good amount of cloud, with a break on the horizon, usually allows through the perfect amount of beautiful golden light. From here, you can illuminate your subject and set it off perfectly.\u201d<\/p>\n

A multifaceted procedure, Emily considers the factors at play when shooting in such exacting conditions. \u201cThere are lots of things to consider,\u201d she considers. \u201cBut, most importantly, pay attention to the direction of the light, and how it\u2019s behaving. For instance, you might have no access to direct light before sunrise, but be confronted with a beautiful red sky. Logistically, this kind of scenario presents a challenge. Once it\u2019s risen, the sun can be impossible to shoot without encountering flare. You also have to deal with the unavoidable silhouettes that are bound to appear, due to the dynamic range of the scene. Filters can help, but I\u2019d always recommend getting it right in-camera. Post production can be an invaluable tool, but I prefer to do as little editing as possible.\u201d<\/p>\n<\/p>\n

\"Man<\/a><\/p>\n

Photos 2021 \u00a9 Emily Endean | FUJIFILM X-T3 and XF55-200mmF3.5-4.8 R LM OIS, 1\/125 sec at F18, ISO 200<\/p>\n<\/div>\n

Opting to establish the look and feel of her images in the camera itself, Emily\u2019s compositions are largely determined by what she does before taking an exposure. \u201cMy camera settings depend on location and what I\u2019m looking to achieve. Most of the time, I\u2019m either on the shoreline at sunrise, or submerged in the water with my FUJIFILM X-T3<\/a> underwater housing,\u201d she explains. \u201cI\u2019ll think about whether I want to freeze the waves, or use a slightly slower shutter speed to showcase the movement. I love to get creative and try out different techniques. Playing around with shutter speeds is probably my main setting variation.\u201d<\/p>\n

Though more focused on the act of shooting itself, Emily does speak to some of the post-processing techniques she utilises. \u201cAs I mentioned before, I always aim to get everything sorted in-camera. It makes things much easier to deal with afterwards. The dynamic range of sensors is pretty good these days, so highlighting both the shadows and subject is easy to accomplish.\u201d Ensuring that her images don\u2019t become artificial or contrived, Emily endeavours to keep her edits minimal, and her adjustments subtle. \u201cI try not to change the image too much. I use Lightroom and make sure it resembles what I originally saw with my eyes. I like to keep it real, so I only really fine-tune with light tweaks: shadows, highlights, textures, sharpening, etc. I shoot in auto white balance, which works really well on my X-T3. If you want my advice, always shoot RAW. It allows you to push the image further in post.\u201d<\/p>\n<\/p>\n