![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/Andy-Mumford-X-Story_01-1024x683.jpg?width=1024&height=683\")
Pr\u00f6va sig fram<\/h2>\n\n\n\n
Enligt Andy sj\u00e4lv var hans f\u00f6rsta f\u00f6rs\u00f6k inom landskapsfotografering inte s\u00e4rskilt lyckade. Men ist\u00e4llet f\u00f6r att bli nedslagen fascinerades han av att f\u00f6rs\u00f6ka lista ut varf\u00f6r vissa bilder var b\u00e4ttre \u00e4n andra.<\/p>\n\n\n\n
\u201dJag minns att vi brukade ta med oss en filmkamera p\u00e5 semestern n\u00e4r jag var liten. N\u00e4r vi hade framkallat bilderna brukade vi s\u00e4ga: \u2019Den h\u00e4r blev bra, men inte den h\u00e4r.\u2019 Men jag undrade aldrig vad det betydde\u201d, s\u00e4ger Andy. \u201dVad betyder det att en bild blir bra eller inte, och vad kan det bero p\u00e5? Varf\u00f6r blev bilden suddig eller \u00f6verexponerad?\u201d<\/p>\n\n\n\n \u201dJag b\u00f6rjade unders\u00f6ka saken och f\u00f6rs\u00f6kte lista ut varf\u00f6r jag tyckte om vissa bilder medan andra var usla, s\u00e5 jag gick med i n\u00e5gra av de f\u00f6rsta fotogrupperna p\u00e5 n\u00e4tet. Det var s\u00e5 jag l\u00e4rde mig, och jag blev snabbt som besatt av att ta b\u00e4ttre och b\u00e4ttre bilder \u2013 l\u00e5nga exponeringstider, att v\u00e4nta p\u00e5 gyllene timmen och s\u00e5na saker. Jag l\u00e4rde mig p\u00e5 egen hand, men det handlade framf\u00f6r allt om att jag \u00e4lskar att vara ute i naturen.\u201d<\/p>\n\n\n\n K\u00e4rleken till naturen inneb\u00e4r att k\u00e4rnan i Andys fotografi handlar om att f\u00f6rmedla k\u00e4nslan hos en plats snarare \u00e4n att skapa en dokument\u00e4r skildring av landskapet.<\/p>\n\n\n\n \u201dMan fotograferar egentligen inte platsen\u201d, s\u00e4ger han. \u201dMan f\u00f6rs\u00f6ker fotografera den k\u00e4nsla som platsen v\u00e4cker hos dig. Det \u00e4r det slutgiltiga m\u00e5let med varje foto, s\u00e4rskilt inom landskapsfotografering.\u201d<\/p>\n\n\n\n \u201dJag h\u00e4nger inte upp mig p\u00e5 teknisk perfektion. Jag brukade oroa mig r\u00e4tt mycket f\u00f6r att h\u00f6gdagrarna skulle bli utbr\u00e4nda och s\u00e5na saker, men n\u00e4r man blir s\u00e4krare p\u00e5 sin fotografering l\u00e4r man sig att utnyttja ofullkomligheterna\u201d, s\u00e4ger Andy.<\/p>\n\n\n\n \u201dJag kan till exempel fotografera en vy d\u00e4r ingenting h\u00e4nder p\u00e5 himlen. P\u00e5 m\u00e5nga av de platser d\u00e4r jag arbetar, till exempel i Namibia, \u00e4r himlen oftast v\u00e4ldigt tom. Det inneb\u00e4r att det i grund och botten inte \u00e4r ett intressant inslag i fotografiet\u201d, s\u00e4ger han. \u201dD\u00e5 kan man ist\u00e4llet rikta in sig p\u00e5 att \u00f6verexponera himlen s\u00e5 att den blir vit och disig.\u201d<\/p>\n\n\n\n \u00c4ven om man kan leka med de tekniska aspekterna anser Andy att man inte f\u00e5r kompromissa med kravet p\u00e5 en stark komposition. \u201dDet m\u00e5ste k\u00e4nnas som en harmonisk komposition\u201d, s\u00e4ger han. \u201dDet finns massor av regler f\u00f6r komposition, men vad det i slut\u00e4ndan handlar om \u00e4r att skapa n\u00e5got med visuell balans. Det m\u00e5ste finnas en harmoni i hur de olika delarna passar ihop.\u201d<\/p>\n\n\n\n N\u00e5got som \u00e4r avg\u00f6rande f\u00f6r ett bra foto, men som det \u00e4r sv\u00e5rare att s\u00e4tta fingret p\u00e5, \u00e4r st\u00e4mningen. \u201dSkillnaden mellan ett bra foto och ett utm\u00e4rkt foto \u00e4r st\u00e4mningen\u201d, s\u00e4ger Andy. \u201dF\u00f6r det beh\u00f6vs r\u00e4tt f\u00f6ruts\u00e4ttningar, och det inneb\u00e4r att det finns ett inslag av tur i det hela.\u201d<\/p>\n\n\n\n \u201dEfter hand som jag har utvecklats har jag l\u00e4rt mig olika s\u00e4tt att hantera d\u00e5ligt v\u00e4der och platt ljus f\u00f6r att hitta eller skapa st\u00e4mning, antingen genom underexponering eller i efterbehandlingen f\u00f6r att \u00f6ka kontrasten. St\u00e4mning beh\u00f6vs f\u00f6r att lyfta en bild. Det \u00e4r s\u00e5 viktigt att \u00e4ven m\u00e4nniskor som saknar den tekniska kunskapen eller intresse f\u00f6r fotografi l\u00e4gger m\u00e4rke till det och kan k\u00e4nna n\u00e5got n\u00e4r de ser bilden.\u201d<\/p>\n\n\n\n I landskapsfotografins v\u00e4rld \u00e4r planeringen avg\u00f6rande, s\u00e4ger Andy: \u201dJag har en kollega som inte uppskattar spontana bilder. Han l\u00e4gger s\u00e5 mycket tid p\u00e5 att titta p\u00e5 v\u00e4derprognoser och Google Earth att hans tillfredsst\u00e4llelse kommer fr\u00e5n att se hur alla bitarna faller p\u00e5 plats precis som han f\u00f6rutsp\u00e5tt.\u201d<\/p>\n\n\n\n \u00c4ven om Andys arbete ocks\u00e5 kretsar kring noggrann planering f\u00f6redrar han att l\u00e4mna plats f\u00f6r det of\u00f6rutsedda i sitt fotograferande. \u201dDet finns oftast n\u00e5got man inte v\u00e4ntar sig att f\u00e5 se. Man vet att ljuset kommer att bete sig p\u00e5 ett visst s\u00e4tt, men vissa f\u00f6rh\u00e5llanden kan lysa upp en viss del av scenen p\u00e5 ett s\u00e4tt man inte hade r\u00e4knat med, och d\u00e4rf\u00f6r m\u00e5ste man vara flexibel och redo att anpassa sig.\u201d<\/p>\n\n\n\n \u201dI en bild har man ofta en f\u00f6rgrund cirka 6 m framf\u00f6r sig, medan motivet kan ligga flera kilometer bort. Mellan f\u00f6rgrunden och bakgrunden kan det h\u00e4nda en hel del. Det kanske inte finns n\u00e5got ljus alls i f\u00f6rgrunden, medan bakgrunden \u00e4r v\u00e4l upplyst genom en lucka i molnen eller n\u00e5got annat som man inte kunde ha f\u00f6rutsett.\u201d<\/p>\n\n\n\n \u201dI det fallet kan man ta av vidvinkelobjektivet och anv\u00e4nda n\u00e5got i stil med FUJINON XF70-300mmF4-5.6 R LM OIS WR<\/a> f\u00f6r att ta bort f\u00f6rgrunden, zooma in p\u00e5 landskapet i fj\u00e4rran och b\u00f6rja komponera om bilden p\u00e5 ett annat s\u00e4tt.\u201d<\/p>\n\n\n\n \u201dN\u00e4r jag t\u00e4nker p\u00e5 min portf\u00f6lj s\u00e5 \u00e4r m\u00e5nga av bilderna planerade \u2013 vi \u00e5ker dit, v\u00e4ntar p\u00e5 r\u00e4tt ljus och tar sedan bilden. Men \u00e4ven d\u00e5 handlar det ofta om att f\u00f6rs\u00f6ka hitta en viss f\u00f6rgrund som fungerar med den bakgrund vi redan har rekognoscerat, eller s\u00e5 beter sig ljuset p\u00e5 ett ov\u00e4ntat s\u00e4tt. Det \u00e4r bara att t\u00e4nka: \u2019Okej, det h\u00e4r kommer att fungera.\u2019\u201d<\/p>\n\n\n\n Inom en disciplin d\u00e4r fotografering kan kombineras med dagar med l\u00e5nga vandringar m\u00e5ste Andy v\u00e4ga b\u00e4rbarhet mot optisk kvalitet n\u00e4r han v\u00e4ljer utrustning. \u201dKamerorna och objektiven \u00e4r s\u00e5 mycket b\u00e4ttre j\u00e4mf\u00f6rt med n\u00e4r jag b\u00f6rjade f\u00f6r 15\u201320 \u00e5r sedan\u201d, s\u00e4ger han. \u201dVi \u00e4r otroligt lyckligt lottade. Generellt sett \u00e4r objektiven med h\u00f6gst kvalitet tyngre, s\u00e5 jag anv\u00e4nder GFX-systemet<\/a> n\u00e4r jag verkligen vill satsa p\u00e5 kvalitet.<\/p>\n\n\n\n \u201dN\u00e4r jag vill ha en kompakt kamera v\u00e4ljer jag FUJIFILM X-T5<\/a>. Och Fujifilms billigare objektiv \u2013 de som inte tillh\u00f6r toppskiktet \u2013 passar utm\u00e4rkt f\u00f6r mina behov. I st\u00e4llet f\u00f6r att ta med de b\u00e4sta och skarpaste fasta objektiven och F2.8-zoomarna v\u00e4ljer jag normalt det som \u00e4r l\u00e4tt.<\/p>\n\n\n\n \u201dJag har alltid en vidvinkelzoom med mig, till exempel FUJINON XF10-24mmF4 R OIS WR<\/a>, och jag tar ocks\u00e5 med en telezoom, till exempel XF70-300mmF4-5.6 R LM OIS WR. Mellan dem har jag en standardzoom. Den jag anv\u00e4nder \u00e4r FUJINON XF16-50mmF2.8-4.8 R LM WR<\/a>. Det \u00e4r ett fantastiskt objektiv som bara v\u00e4ger 240 g. Tillsammans med ett objektiv som XF70-300mmF4-5.6, som bara v\u00e4ger 580 g, f\u00e5r jag en l\u00e4tt utrustning med fantastisk r\u00e4ckvidd.\u201d<\/p>\n\n\n\n \u201dJag \u00e4r inte besatt av att anv\u00e4nda de absolut skarpaste objektiven. Om jag gjorde det skulle jag anv\u00e4nda objektiv som FUJINON XF50-140mmF2.8 R LM OIS WR<\/a>, XF16-55mmF2.8 R LM WR II<\/a> och XF8-16mmF2.8 R LM WR<\/a>. Det \u00e4r otroliga objektiv med fast bl\u00e4ndare p\u00e5 F2.8, men tyngre.\u201d<\/p>\n\n\n\n \u201dDe flesta kommer aldrig att l\u00e4gga m\u00e4rke till den d\u00e4r lilla extra sk\u00e4rpan i mina verk. Jag kanske m\u00e4rker det om jag zoomar in till 100 %, men i de tryck jag s\u00e4ljer eller de bilder jag tar f\u00f6r webbkampanjer ser man ingen skillnad.\u201d<\/p>\n\n\n\n \u00c4ven om det \u00e4r viktigt att ha r\u00e4tt utrustning f\u00f6r uppgiften s\u00e4ger Andy att det \u00e4r l\u00e5ngt ifr\u00e5n det f\u00f6rsta som nyblivna landskapsfotografer ska t\u00e4nka p\u00e5. \u201dHaka inte upp dig p\u00e5 det,\u201d s\u00e4ger han. \u201dDet man ska fokusera p\u00e5 \u00e4r att utvecklas som fotograf.\u201d<\/p>\n\n\n\n \u201dGolfaren Gary Player brukade s\u00e4ga: \u2018Ju mer jag tr\u00e4nar, desto mer tur f\u00e5r jag.\u2019 Ju oftare man ger sig ut, desto oftare hamnar man p\u00e5 platser d\u00e4r man har en chans att ta bra bilder. Man beh\u00f6ver inte g\u00e5 l\u00e5ngt,\u201d s\u00e4ger Andy. \u201dMycket av det jag l\u00e4rde mig p\u00e5 egen hand kom fr\u00e5n fotografering l\u00e4ngs kusten n\u00e4ra Lissabon, bara 45 minuter fr\u00e5n d\u00e4r jag bor. De flesta bor inom k\u00f6ravst\u00e5nd fr\u00e5n n\u00e5gon sorts natur.\u201d<\/p>\n\n\n\n \u201dDet viktiga \u00e4r att ge sig ut vid tider som inte n\u00f6dv\u00e4ndigtvis \u00e4r bekv\u00e4ma. Att stiga upp i kylan f\u00f6r en soluppg\u00e5ng \u00e4r inte trevligt. Att vara ute f\u00f6r en solnedg\u00e5ng kan inneb\u00e4ra att man \u00e4ter middag v\u00e4ldigt sent. Men det \u00e4r v\u00e4rt att v\u00e5ga sig in i den d\u00e4r obekv\u00e4ma zonen.\u201d<\/p>\n\n\n\n \u201dFast det kr\u00e4vs mer \u00e4n att bara ta bilder f\u00f6r att bli b\u00e4ttre: att reflektera \u00f6ver sitt arbete \u00e4r en avg\u00f6rande del av processen\u201d, s\u00e4ger Andy. \u201dMan m\u00e5ste ocks\u00e5 ha ett kritiskt \u00f6ga f\u00f6r vad som fungerar ur kompositionsh\u00e4nseende. Med dagens kameror \u00e4r det relativt enkelt att f\u00e5 till r\u00e4tt exponering och sk\u00e4rpa. D\u00e5 \u00e5terst\u00e5r kompositionen, som det \u00e4r oerh\u00f6rt sv\u00e5rt att f\u00f6rst\u00e5.\u201d<\/p>\n\n\n\n \u201dDet \u00e4r det som \u00e4r sv\u00e5rast att l\u00e4ra ut. Det \u00e4r som att f\u00f6rs\u00f6ka f\u00f6rklara f\u00f6r n\u00e5gon varf\u00f6r en viss kombination av toner bildar en vacker melodi, men att det l\u00e5ter fel om man byter plats p\u00e5 tonerna. Det \u00e4r n\u00e5got vi k\u00e4nner n\u00e4stan omedvetet. Varf\u00f6r \u00e4r vissa former tilltalande? Varf\u00f6r \u00e4r ett ensamt tr\u00e4d mer tilltalande \u00e4n fem tr\u00e4d? Man m\u00e5ste \u00f6va, och forts\u00e4tta att titta p\u00e5 sina bilder f\u00f6r att l\u00e4ra sig vad som fungerar och vad som inte g\u00f6r det.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":" Landskapsfotografen Andy Mumford diskuterar utrustning, teknik och bildtips Andy Mumford m\u00e5 vara baserad i soliga Lissabon, men hans bildskapande har tagit honom till avl\u00e4gsna platser runt om i v\u00e4rlden. Han \u00e4r en erfaren landskaps- och resefotograf och dessutom en engagerad fotografil\u00e4rare som delar med sig av sina kunskaper genom att leda workshops f\u00f6r blivande kreat\u00f6rer. […]<\/p>\n","protected":false},"author":114,"featured_media":354187,"template":"","category":[2084,1006,1202,1055,3211,320,3162,1986,565,7180,8503,9140,9238,9189,3358],"post_tag":[],"class_list":["post-355428","story","type-story","status-publish","has-post-thumbnail","hentry","category-be-inspired","category-cameras","category-category","category-lenses","category-x-series-mirrorless","category-products","category-x-mount","category-x-series","category-stories","category-x-t5","category-xf10-24mmf4-r-ois","category-xf10-24mmf4-r-ois-wr","category-xf150-600mmf5-6-8-r-lm-ois-wr","category-xf70-300mmf4-5-6-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":"2026-04-24 19:14:36","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/story\/355428","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/story"}],"about":[{"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/types\/story"}],"author":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/users\/114"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/media\/354187"}],"wp:attachment":[{"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/media?parent=355428"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/category?post=355428"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/post_tag?post=355428"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":354231,"date":"2026-04-10T05:00:00","date_gmt":"2026-04-10T05:00:00","guid":{"rendered":"https:\/\/www.fujifilm-x.com\/?post_type=story&p=354231"},"modified":"2026-04-08T00:27:40","modified_gmt":"2026-04-08T00:27:40","slug":"velvia-fs-recipe-x-dominic-stone","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/sv-se\/stories\/velvia-fs-recipe-x-dominic-stone\/","title":{"rendered":"Velvia FS RECIPE x Dominic Stone"},"content":{"rendered":"\n For traveling outdoor photographer Dominic Stone, photography is a way to \u2018engage with the mystery of life\u2019 that surrounds him. Dominic\u2019s work, which puts him in the heart of the action at major surfing and running competitions, is a reflection of his own deepest passions. It\u2019s an exchange with the natural world \u2013 one he\u2019s been having since long before he ever picked up a camera.<\/p>\n\n\n\n Recently, Dom created a custom FS RECIPE on FUJIFILM X-E5, using the famously saturated Velvia as his foundation. The process was an exploration of tension that blended Velvia\u2019s vibrancy with a softer, more subtle mood to create images that feel beautiful and impactful. The result is a genuinely personal take on color.<\/p>\n\n\n\n Dominic admits that he used to despise the beach, associating it with hot sand and long family car rides. But that changed when a 1940s-era beach cottage joined his family, providing a foundation for a relationship with the ocean. It was there that his love for surfing began. \u201cOnce I stood on a surfboard for the first time, I never looked back,\u201d he says.<\/p>\n\n\n\n Yet, it wasn\u2019t until he was 26 years old that a camera found its way into his hands. With a bit of money saved and a few weeks to spare before starting a master\u2019s program, he walked into a camera store.<\/p>\n\n\n\n Dominic began documenting surf photography, and a chance encounter at a local longboard contest led to a sponsorship for a waterproof housing. Suddenly, he was in the water, creating the perspectives he had grown up romanticizing in magazines.<\/p>\n\n\n\n \u201cI remember the first session I swam out with my camera; I don\u2019t think I\u2019ll ever forget it,\u201d he says.<\/p>\n\n\n\n Dominic\u2019s creative style has an appreciation for color, so he was excited to build a FS RECIPE from Velvia\u2019s base with X-E5.<\/p>\n\n\n\n While he was confident that it would work perfectly for landscapes, he was curious to see how it would render the blues of the ocean. His goal was to balance the Film Simulation\u2019s intensity with a gentle touch, letting its personality shine through without creating an \u2018overcooked\u2019 image.<\/p>\n\n\n\n He describes his FS RECIPE choices.<\/p>\n\n\n\n \u201cTo bring a bit of softness to an image that I expected to have stronger contrast than I\u2019m used to, I knew I wanted to reduce the CLARITY in my FS RECIPE.<\/p>\n\n\n\n \u201cI lifted the blacks just a touch to really lean into that softness, sort of working in tension with Velvia\u2019s character.\u201d<\/p>\n\n\n\n Finally, he reduced the overall saturation slightly while adding a strong COLOR CHROME EFFECT for the blues. The aim was to create a FS RECIPE that was \u2018subtle yet steadfast in its impact\u2019.<\/p>\n\n\n\n Dominic views his finished photos as a kind of Trojan horse, \u2018being pretty and easy on the eyes at first, but unleashing something with a bit more impact once we\u2019ve softened enough to receive it\u2019.<\/p>\n\n\n\n Creating a finished look in-camera was an engaging and freeing experience for Dominic. \u201cAs soon as I decided on my FS RECIPE, I made sure my camera was only making a single image at a time,\u201d he notes, compared to his usual burst mode preference.<\/p>\n\n\n\n The entire process, the feel of the camera, the view through the EVF, and his custom FS RECIPE encouraged him to slow down and be intentional with his composition.<\/p>\n\n\n\n This approach stands in contrast to his typical workflow of creating with RAW files and pulling details from the shadows in post-production. Dominic found the process of creating a straight-out-of-camera image he was happy with \u2018really liberating\u2019.<\/p>\n\n\n\n \u201cI love editing, but it was nice just to transfer a photo to my phone wirelessly and have it ready to go,\u201d he says. It\u2019s a method Dominic sees lending itself to photojournalism, travel, and even providing real-time turnaround at competitions using X-E5.<\/p>\n\n\n\n What keeps Dominic inspired is a perspective that life and art are a \u2018conversation with the unseen and unknowable\u2019. For him, every moment is an expression of something flowing through us.<\/p>\n\n\n\n Dominic\u2019s goal is not just to make a picture, but \u2018to create imagery which will somehow translate the ineffable and transcend our concepts of self, to strike us deeply at our core\u2019. The only way to achieve that, he believes, is to continue the dialogue with nature.<\/p>\n\n\n\n That\u2019s what keeps him going.<\/p>\n\n\n\n By taking the legendary look of Velvia and carefully molding it to fit his vision, Dominic crafted a look uniquely his. Creating a finished image directly in-camera gave him the freedom to stay in the moment and focus on the story he wanted to tell, one frame at a time.<\/p>\n\n\n\n FILM SIMULAITON: <\/strong>Velvia FS RECIPE for rich, impactful results in the outdoors For traveling outdoor photographer Dominic Stone, photography is a way to \u2018engage with the mystery of life\u2019 that surrounds him. Dominic\u2019s work, which puts him in the heart of the action at major surfing and running competitions, is a reflection of his own deepest passions. It\u2019s […]<\/p>\n","protected":false},"author":135,"featured_media":354241,"template":"","category":[2084,1006,1202,13607,1055,3211,3309,320,13922,3162,1986,565,13898,13836],"post_tag":[],"class_list":["post-354231","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-velvia","category-x-mount","category-x-series","category-stories","category-x-e5","category-xf500mmf5-6-r-lm-ois-wr"],"pp_statuses_selecting_workflow":false,"pp_workflow_action":"current","pp_status_selection":"publish","acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-04-24 19:14:36","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/story\/354231","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/story"}],"about":[{"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/types\/story"}],"author":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/users\/135"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/media\/354241"}],"wp:attachment":[{"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/media?parent=354231"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/category?post=354231"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/post_tag?post=354231"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":354218,"date":"2026-04-10T05:00:00","date_gmt":"2026-04-10T05:00:00","guid":{"rendered":"https:\/\/www.fujifilm-x.com\/?post_type=story&p=354218"},"modified":"2026-04-07T08:33:19","modified_gmt":"2026-04-07T08:33:19","slug":"velvia-fs-recipe-x-rommelbundalian","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/sv-se\/stories\/velvia-fs-recipe-x-rommelbundalian\/","title":{"rendered":"Velvia FS RECIPE x Rommel Bundalian"},"content":{"rendered":"\n I\u2019ve been shooting long enough to remember Velvia in its original form, a roll of film with colors so rich and saturated it could make a cloudy day look like a postcard. When Fujifilm brought it into the digital age, I was hooked all over again. The colors still had that punch, the contrast still had that drama.<\/p>\n\n\n\n But Velvia is a strong character. Left untamed, it can run away with your highlights, sink your shadows, and push colors a little too far. I wanted to keep its soul but give it a touch of restraint, something I could trust in any light, from the quiet countryside to the vibrant streets of the Philippines. That is how \u201cKanto Khromatiks\u201d came to be.<\/p>\n\n\n\n The name comes from two words: kanto<\/em>, the Filipino word for \u201cstreet corner,\u201d and Khromatics<\/em>, meaning \u201ccolors.\u201d Together, it means \u201cstreet corner colors,\u201d a nod to the life, movement, and vibrance you find in everyday scenes, whether it is a busy market, a quiet alley, or the glow of streetlights at night.<\/p>\n\n\n\n I keep the Film Simulation on Velvia with DYNAMIC RANGE on AUTO. Highlights are pulled GRAIN EFFECT is WEAK and SMALL, just enough to whisper back to my film days without getting in the way. COLOR CHROME EFFECT and COLOR CHROME FX BLUE are both on WEAK, keeping the colors full but not heavy-handed. WHITE BALANCE stays on AUTO, as Fujifilm gets it right more often than not, whether I am in midday sun, shade, or under warm caf\u00e9 lights.<\/p>\n\n\n\n Out in the field, this setup keeps Velvia\u2019s drama but reins it in just enough. Midday shots hold detail in the highlights. Golden hour turns the skies deep and painterly while the greens stay rich. At night, high ISO paired with that subtle grain gives me clean, cinematic frames without harsh noise.<\/p>\n\n\n\n The result is still Velvia: bold, colorful, alive, but with a balance that makes it work anywhere. From bustling street markets to quiet coastal roads, \u201cKanto Khromatiks\u201d carries the same magic I fell in love with decades ago, now with the control I have learned to appreciate over the years<\/p>\n\n\n\n \u201cKanto Khromatiks\u201d: My Velvia FS RECIPE I\u2019ve been shooting long enough to remember Velvia in its original form, a roll of film with colors so rich and saturated it could make a cloudy day look like a postcard. When Fujifilm brought it into the digital age, I was hooked all over again. The colors still […]<\/p>\n","protected":false},"author":135,"featured_media":354247,"template":"","category":[2084,1006,1202,13607,1055,3211,3309,320,13922,3162,1986,565,13898,7866],"post_tag":[],"class_list":["post-354218","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-velvia","category-x-mount","category-x-series","category-stories","category-x-e5","category-xf50mmf2-r-wr"],"pp_statuses_selecting_workflow":false,"pp_workflow_action":"current","pp_status_selection":"publish","acf":[],"publishpress_future_action":{"enabled":false,"date":"2026-04-24 19:14:37","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/story\/354218","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/story"}],"about":[{"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/types\/story"}],"author":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/users\/135"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/media\/354247"}],"wp:attachment":[{"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/media?parent=354218"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/category?post=354218"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fujifilm-x.com\/sv-se\/wp-json\/wp\/v2\/post_tag?post=354218"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":345905,"date":"2026-04-07T01:00:00","date_gmt":"2026-04-07T01:00:00","guid":{"rendered":"https:\/\/www.fujifilm-x.com\/?post_type=story&p=345905"},"modified":"2026-04-13T02:40:26","modified_gmt":"2026-04-13T02:40:26","slug":"roundshot","status":"publish","type":"story","link":"https:\/\/www.fujifilm-x.com\/sv-se\/stories\/roundshot\/","title":{"rendered":"When Japanese Precision Meets Swiss Engineering"},"content":{"rendered":"\n There are places where technology reaches its limits \u2013 and others where it shows what it is truly capable of. Mount S\u00e4ntis undoubtedly belongs to the latter.<\/p>\n\n\n\n At an altitude of 2,502 metres, where wind, ice, UV radiation and extreme temperature fluctuations are part of everyday life in the Alpstein region of Eastern Switzerland, a panorama is created that fascinates people all over the world today \u2013 transmitted by a ROUNDSHOT livecam.<\/p>\n\n\n\n More than 1,000 livecams <\/strong>are now installed <\/strong>worldwide<\/strong><\/a>. Many of them have been in continuous operation 24\/7<\/strong> for years. The livecams are not only used by weather services or mountain railways such as the S\u00e4ntis Schwebebahn<\/a>. The case study on the ROUNDSHOT livecam on Mount S\u00e4ntis vividly demonstrates what becomes possible when four worlds come together:![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/Andy-Mumford-X-Story_02-768x1024.jpg?width=768&height=1024\")
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/Andy-Mumford-X-Story_03-768x1024.jpg?width=768&height=1024\")
Skapa en st\u00e4mning<\/h2>\n\n\n\n
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/Andy-Mumford-X-Story_04-683x1024.jpg?width=683&height=1024\")
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/Andy-Mumford-X-Story_05-1024x683.jpg?width=1024&height=683\")
Inslag av spontanitet<\/h2>\n\n\n\n
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/Andy-Mumford-X-Story_06-1024x683.jpg?width=1024&height=683\")
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/Andy-Mumford-X-Story_07-1024x640.jpg?width=1024&height=640\")
Andys utrustning f\u00f6r landskapsfotografering<\/h2>\n\n\n\n
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/Andy-Mumford-X-Story_08-683x1024.jpg?width=683&height=1024\")
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/Andy-Mumford-X-Story_09-683x1024.jpg?width=683&height=1024\")
S\u00e5 h\u00e4r f\u00f6rb\u00e4ttrar du dina landskapsbilder<\/h2>\n\n\n\n
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/Andy-Mumford-X-Story_10-768x1024.jpg?width=768&height=1024\")
FS RECIPE for rich, impactful results in the outdoors<\/strong><\/h2>\n\n\n\n
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/US_Dominic-Stone_Stories_01.jpg?width=1024&height=682\")
An Intuitive Leap into Photography<\/strong><\/h2>\n\n\n\n
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/US_Dominic-Stone_Stories_02.jpg?width=1024&height=682\")
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/US_Dominic-Stone_Stories_03.jpg?width=1024&height=682\")
Crafting a Softer Velvia Film Simulation<\/strong><\/h2>\n\n\n\n
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/US_Dominic-Stone_Stories_04.jpg?width=1024&height=682\")
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/US_Dominic-Stone_Stories_05.jpg?width=1024&height=682\")
Straight-Out-of-Camera Freedom<\/strong><\/h2>\n\n\n\n
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/US_Dominic-Stone_Stories_06.jpg?width=682&height=1024\")
Going Beyond the Image<\/strong><\/h2>\n\n\n\n
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/US_Dominic-Stone_Stories_07.jpg?width=1024&height=682\")
Dominic Stone\u2019s \u201cPacifica 100\u201d FS RECIPE<\/strong><\/h2>\n\n\n\n
MONOCHROMATIC COLOR: <\/strong>N\/A
GRAIN EFFECT: <\/strong>STRONG, SMALL
COLOR CHROME EFFECT: <\/strong>WEAK
COLOR CHROME FX BLUE: <\/strong>STRONG
SMOOTH SKIN EFFECT: <\/strong>OFF
WHITE BALANCE: <\/strong>AUTO \/ R +2, B -2
DYNAMIC RANGE: <\/strong>DR100
D RANGE PRIORITY: <\/strong>OFF
TONE CURVE: <\/strong>H 0, S +2.5
COLOR: <\/strong>-1
SHARPNESS: <\/strong>0
HIGH ISO NR: <\/strong>+1
CLARITY: <\/strong>-2<\/p>\n","protected":false},"excerpt":{"rendered":"\u201cKanto Khromatiks\u201d: My Velvia FS RECIPE<\/strong><\/h2>\n\n\n\n
![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/PH_Rommel-Bundalian_Stories_01.jpg?width=682&height=1024\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/PH_Rommel-Bundalian_Stories_02.jpg?width=1024&height=682\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/PH_Rommel-Bundalian_Stories_03.jpg?width=682&height=1024\")
<\/figure>\n\n\n\n
back just half a step to save the bright spots, shadows lifted a notch to keep depth without losing detail. Color sits at +2, lively but not exaggerated. Noise reduction stays at 0 so the fine textures stay intact. SHARPNESS is at +1, CLARITY at +2 for that crisp, tactile feel that makes an image come alive.<\/p>\n\n\n\n![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/PH_Rommel-Bundalian_Stories_04.jpg?width=682&height=1024\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/PH_Rommel-Bundalian_Stories_05.jpg?width=1024&height=682\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/PH_Rommel-Bundalian_Stories_06.jpg?width=682&height=1024\")
<\/figure>\n\n\n\n![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/04\/PH_Rommel-Bundalian_Stories_07.jpg?width=682&height=1024\")
<\/figure>\n","protected":false},"excerpt":{"rendered":"![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/01\/B2B_Case-Study-14_Roundshot_02.jpg?width=1024&height=682\")
<\/figure>\n<\/div>\n\n\n\n![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/01\/B2B_Case-Study-14_Roundshot_03.jpg?width=682&height=1024\")
<\/figure>\n<\/div>\n\n\n\n![\"\"](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/01\/B2B_Case-Study-14_Roundshot_04.jpg?width=1024&height=682\")
<\/figure>\n<\/div>\n<\/div>\n\n\n\n
They offer travellers, nature enthusiasts, adventurers and interested viewers an unobstructed view \u2013 no matter where in the world they are located.<\/p>\n\n\n\n
Swiss precision, decades of alpine expertise, state-of-the-art Japanese FUJIFILM camera technology \u2013 and, above all, people who clearly love what they do.<\/p>\n\n\n\n![\"B2B_Case](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2026\/01\/B2B_Case-Study-14_Roundshot_main_01.jpg\")