![\"Multiple](\"https:\/\/fujifilm-x.b-cdn.net\/wp-content\/uploads\/2023\/11\/X-STORY-DAVIDE-BERGAMINI-1.jpg\")
<\/a><\/p>\nPhoto 2023 \u00a9 Davide Bergamini | FUJIFILM X100F, 1\/750 sec at F7.1, ISO 400<\/p>\n<\/div>\n
\u201cIt\u2019s a process of varying technique that comes over time. Early on, you follow some basic rules and experiment with looks based on photographers you like. Eventually, you find a style of your own,\u201d Davide explains.<\/p>\n
\u201cPersonally, I don\u2019t see the need to reveal something about a subject. I prefer something that catches my eye and helps me express an idea. For me, it\u2019s about the visual pleasure.<\/p>\n
\u201cI started by isolating figures in a lot of negative space because I wanted to say something about humans in a big city. Sometimes we are alone, even if we\u2019re surrounded by thousands of people. After that, I went for reflections in windows, and the images became a little more chaotic \u2013 that showed another side of the city. That\u2019s where multiple exposures came in. I needed to find a more controlled way of capturing that, something more visually pleasing and easily readable. Multiple exposures can be easy to understand, even with a lot of elements in one frame.\u201d<\/p>\n<\/p>\n
<\/a><\/p>\nPhoto 2023 \u00a9 Davide Bergamini | FUJIFILM X100F, 1\/520 sec at F5.6, ISO 200<\/p>\n<\/div>\n
Despite such a multitude of options, finding compelling street subjects can pose a challenge. Finding a few to combine in a single frame is more difficult still. Through years of dedicated image making, Davide has developed perspective enough to help.<\/p>\n
\u201cTo begin with, I was looking for essentially the same image repeated. I wanted to recreate the reflection style of photo,\u201d he reveals. \u201cGetting out of that singular way of thinking helped, though. I looked back to my original style, with a lot of negative space, and realised I could fit another subject in that space.<\/p>\n
\u201cI got into a process where I wouldn\u2019t see just one scene any more, but ways two or more would combine. I\u2019d photograph windows, for example, then walk around for ten minutes and find the next street scene that would fit. That\u2019s quite tough to start with, but walk around the corner and eventually you\u2019ll discover the perfect subjects. You also can\u2019t focus on one central point like you would in a typical still image. Keep the negative space in mind. Often, I like to fill much of a frame with shadow. I find this combines better than a bright space when I make the next image in the multiple exposure.\u201d<\/p>\n<\/p>\n
<\/a><\/p>\nPhoto 2023 \u00a9 Davide Bergamini | FUJIFILM X100F, 1\/500 sec at F5.6, ISO 640<\/p>\n<\/div>\n
X Series<\/a> and GFX System<\/a> cameras feature a dedicated multiple exposure mode, with a choice of four options when it comes to image combination. Additive stacks exposures directly, while Average automatically balances lights and darks within the combined frame. Dark and Bright modes prioritise shadows or highlights respectively, as the images overlay. All are well worth exploration as a means of achieving different looks \u2013 even with the same subjects.<\/p>\n \u201cIf you find a scene with minimal contrast, you can underexpose a few stops so that the second image comes out a little better. But in my eyes, multiple exposures come together best when there is a dark area in the first image. Without that base, you don\u2019t have as much contrast in the final frame,\u201d Davide adds. \u201cI use spot metering to get the correct exposure on the brightest part of the first scene.\u201d<\/p>\n<\/p>\n Photo 2023 \u00a9 Davide Bergamini | FUJIFILM X100F, 1\/1600 sec at F8, ISO 400<\/p>\n<\/div>\n Whether used for multiple exposure photography or not, Fujifilm cameras offer countless in-camera look adjustment options, including a suite of refined Film Simulations. Within his particular genre, Davide leans into a bold monochrome look.<\/p>\n \u201cWhen you look at my images, you can see that black and white works best most of the time because there\u2019s no colour to distract from the contrast. You can push highlights and shadows as much as you want and still get a pleasing result. Sometimes colour works, but I feel it often adds visual chaos.<\/p>\n \u201cI love the ACROS Film Simulation, but all the options create fantastic looks. I like to achieve everything I can in-camera, and with the FUJIFILM X100F I can see the final result straight away. Most of what you see in my imagery is original JPEG.\u201d<\/p>\n It\u2019s not just multiple exposure competence that led to Davide\u2019s love of the X100F, however. Compact and ergonomic, it\u2019s perfectly at home on the streets.<\/p>\n \u201cI fell in love with this camera and it\u2019s shaped the way I view photography,\u201d he effuses. \u201cThe X100F is such a pleasure because it\u2019s a compact camera, but so powerful. Even the vintage look is so beautiful. Thanks to all the custom controls, I don\u2019t even look at the camera when I\u2019m using it. My finger just goes to the buttons, and they\u2019re all programmed to my needs.<\/p>\n \u201cThe other thing I love so much is the viewfinder. When I look through the viewfinder, I see the images exactly how they are. It\u2019s something I never thought could be so useful. I do own the FUJIFILM X-Pro2 with the FUJINON XF56mmF1.2 R WR<\/a>, which gives me a different perspective. But as incredible as that combination is, nothing fits my process like the X100F.\u201d<\/p>\n<\/p>\n<\/a><\/p>\n