The Inimitable Beauty of Fuji Colors :: Photojournalist (and X-shooter) Aristide wins World Photography Arts&Culture Award!

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 photo winner_zps8gry2sir.jpg

image courtesy: Aristide Economopoulos

There is something special with the Fuji Colors… they have a unique character and inimitable beauty that stands out from the rest of the crowd. And before you start saying it’s just Fanboy bla bla bla, just read this short story.

As many of us in these days, also FR-reader Haye was checking out and enjoying the wonderful pictures that won the World Photography Awards 2015. And while he was clicking from image to image, he stumbled on an amazing picture and thought: “These are Fuji Colors, it must have been shot with a Fuji!”

So he dropped an email to Aristide Economopoulos, the Photojournalist who won the World Photography Arts & Culture Award, asking him if that image had been taken with an X-series camera.

And guess what? Haye was right. Aristide Economopoulos photographed the blond lady with the Fujifilm X-T1 and XF 18mm!

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Haye told me about it and I immediately wrote an email to Aristide, asking for permission to share his image and this story on FujiRumors. Aristide was very kind and shared some more information about his 10 frames “Prom Essay” series, which, as said above, gained the 1st Place in the Arts & Culture section of the World Photography Awards 2015 (Congratulation!).

“7 of the 10 photos were shot with my Fuji X-T1 or X-PRO1. […] The photo of the blonde girl was shot with my X-T1. I like to shoot with the Velvia setting since it was one of my favorite films. I was using the 18mm f2 lens for that photo. Work provides me with Canon gear which is great but I like the small, quiet, non intimidating Fuji cameras. The files they produce are nice and lenses are sharp.

This past summer I shot my whole essay on the resort beach area of Coney Island in New York City with my Fujis and most of my Cuba work is also with them.

I recommend you to check out Aristide’s website www.aristidephoto.com!

Now, according to the poll launched last year in October, the Fuji colors are one of top three reasons to own an X-series camera. And if you still didn’t vote, then here it is again.

enjoy your weekend and Capture the nice Spring Colors with the Great Fuji Colors ;) … feel free to share your shots on the FR-facebook timeline (“add Photo/Video”)

and stay tuned on FujiRumors… more rumors are coming soon… very soon!
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Which X-series Camera do you use most? (max. 2 selections)

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  • Gil

    I love my X100S, though I mostly use the B&W jpegs. Still waiting for a B&W only Fuji X100BW!

    • Chris

      Leica just released one : D

      • Gil

        I know, if only I could afford it… The reason I bought the X100S was the price of the digital Leicas. For the same reason I would buy a “X100BW.” Tough the X100S already produces awesome B&W jpegs.

      • MJr

        *another one : D

    • MJr

      That would be so great. But please, name it X100M for Monochrome. BW sounds silly. It’s more than just black and white, it’s mostly greys! ;-)

      • Gil

        Better indeed.

    • Antonio

      I would like to try one but there is one point that raises some doubts: with no color array it will not offer the possibility to make certain adjustments in post and like film it will bring back the need for color filters on the lens. Therefore, no more possibilities to change your mind about the effect of a red, yellow, green or orange once you take the shot or to play with channels looking for certain effects.
      Now you can choose one of three filters for your Jpeg B+W but if also shooting RAF you can simulate many different filters afterwards.
      Will IQ gains be good enough to compensate for the flexibility trade-off?

    • Chris

      Is it because a B&W camera does not need color filter, it produces sharper pictures?

      • Gil

        Exactly for that reason, yes.

        • Chris

          Foveon X3 might worth your attention

  • Chris

    I am surprised that so many voted for lens quality. I am not saying Fuji lens are not good. It is just I don’t think they are unmatched. So this is not something unique. The most important and unique features that made me keep investing in Fuji is portability (small and light prime lens and body), gorgeous EVF, and Fuji’s color rendering (less efforts in LR).

    • Patrick

      when my photographer acquaintance restituted me my Fuji X-T1 a few days ago (I lend him my X-T1 for 2 weeks), we met at the bar, he showed me the images on LR6 CC and said: “Look at that, these are basically finished images, I don’t have to (almost) anything in post!”

      btw… it was the first time with a mirrorless for him, and he loved it.

      • nzswedespeed

        Hi patrick, was your friend shooting raw or jpeg? I must admit I am 90% converted to shooting jpeg with my Fuji!

        • Patrick

          RAW+JPEG… and he shot Full Manual since he said it’s so easy and such a fun with the X-T1 ;)

        • I recommend shooting RAW and converting to Jpeg using the in-camera converter. Then, you can choose the film simulation afterwards. I wish Fuji provided the option to convert the files to 16-bit TIFF .

    • Marc Grimm

      While most manufacturers have some lenses in their lineup that just don’t provide a satisfying performance, Fuji created a lineup of lenses with an overall unmatched average quality. Even the “bad” lenses like the 18/2 or the XC lenses provide sufficient image quality to call them good. The good ones can only be called outstanding. Personally, I chose Fuji for the lens quality and the usability.

      • Chris

        You also have to pay more on Fuji lens. Let’s look at options around $1000 USD. I believe Fuji does not have much advantages here.

        • MJr

          The advantage is that they make these kinds of expensive lenses for APSC. While it would be difficult to find APSC equivalents elsewhere as others seem to reserve their best for fullframe only, at about 1.5x the size and weight.

          But of course it’s the complete package. If it was the only reason to buy Fuji their great optics would be a moot point, but it isn’t. It is all the other points combined that makes the Fujinon lenses get this kind of appreciation most of all.

          Plus the fact that it isn’t just one or two good Fujinons, but all of them. So again, resulting in a system that we can trust.

          • Chris

            I think I don’t entirely trust Fuji, even though I only spend money on Fuji now. I don’t think Fuji has many lens you could appreciate when using at maximum aperture. Still they are APSC lens, say, a 35mm lens physically but has a field of view of 50mm FF lens. This brings distortion and less shallower DOF. Only a few lens has WR and now Sony’s entire FE line has it.

            In terms of system, Sony is even equipping bodies with stabilizing system, which means you have stabilizing anytime, even when using vintage lens.

            I really hope this becomes a pressure for Fuji to improve itself and lower prices.

          • MJr

            These are all random points, mostly opinions. Is there a moral of the story? There are disadvantages to every system of course, and Fuji is certainly not the best for everybody, and is not perfect for me either.

            Personally i wouldn’t want Fuji aiming to please everybody and become just another camera system going through the motions. How boring would that be. A camera is more than just a tool for me.

            We know it’s expensive by now, but not as extreme as some people seem to suggest, or unfittingly so. While i find it’s also nice to have something that you know only the people that are serious about it would invest in.

            Personally the only price that i find out of place so far is the 27mm, while it’s performance is great, such a huge premium just doesn’t fit a lens like that.

          • Marc Grimm

            You really need to get your physics straight. A 35mm lens on an aps sensor does not have more perspective distortion than a 50mm on a fullframe camera.

          • Chris

            In reality I don’t think that statement is always valid. Lens design and production count. If you pay significantly more, lens performance is much closer to theoretically what it should be. 50mm normal lens has very mature design and you get good performance with relatively lower cost. WA and UWA are totally different.

          • Marc Grimm

            Seriously, you didn’t get the point at all.

          • Chris

            The point is, when all lens are perfectly matched theory, distance is the only thing that matters. But seriously, go find 2 lens and compare. I have a 20mm lens that has smaller distortion than a 24mm lens at the same distance.

          • Marc Grimm

            You’re mixing up distortion as an optical aberration and perspective distortion, it seems. You cannot correct perspective distortion as it is inherent in the field of view the lens delivers.

    • If it wasn’t for lens quality, I wouldn’t have migrated from Sony/Canon to Fuji. If you have to spend an age trying to sharpen soft images so they are accepted by clients, then I’m not interested.

      Sony had portability but I wasn’t fussed on their styling but I could’ve lived with it if they’d only had a quality lens selection. The old saying, “Invest in Glass not cameras” Is key. Camera’s, processing styles / colours come and go and to a degree, can be recreated with styles and presets. But if the quality of the images is low, then any processing will result in artifacts and other processing anomalies that will result in work be rejected.

      Top two for me, Image quality + Portability. The rest are all important to create a finished package but without these two, it’s a no show.

      • Chris

        Sony has some good lens now, in terms of sharpness. Higher pixel counts also provided more freedom in post-processing. Sigma has a decent line as well. But if you migrated a long time ago, that’s another story.

        • They do but they don’t have a system. They need to have a good selection of lenses across a wide focal range (16 – 300mm) that are at a Pro level. They have a habit of taking an age to release lenses and when they do, tend to be underwhelming. Too often I was caught out with the, Ziess / Sony lenses, that turned out OK’ish after spending £1k+. They still don’t have an UWA lens of what I would call Pro quality. They are to busy releasing new cameras it seems to worry to much about getting a good collection of lenses. Fuji have got this right. Glass is king, cameras come and go.

          • Chris

            Sony kinda has a complete line now. 16-35, 28, 35, 55, 90, batis 25, 85, loxia 35, 50, 70-200. If you are okay with a-e adapting you have a wider choice. While Fuji… 14, 16, 18, 23, 27, 35, 56, 60, 10-24, 16-55, 18-135, 50-140. If you think carefully they are almost the same. Now Sony recently gain 5-axis stabilizing and all FE lens are weather seal, that’s an plus to me. Sony also has an edge in DOF and some lens are usable at maximum aperture. Price wise, Fuji’s price tag is really close to some of those FF lens.

          • AceFlibble

            Hell, if you look at full frame price-wise, Fuji are a bit of a joke in comparison; the 56mm f/1.2 costs three times what the equivalent Canon and Nikon lenses cost, and while yes, it’s a very nice lens, it’s not ‘three times’ nice. The less said about how the 35mm f/1.4 stacks up against its 50mm FF cousins, the better. The new 16mm f/1.4 is the only lens in the Fuji line which is priced favourably compared to the Canon & Nikon equivalent lenses. (And even that is actually still beaten by the Sigma ART lens.)

            I love my Fujis—I wouldn’t check this site multiple times each day if I didn’t—but boy are the lenses not a good reason to switch systems. If your priority is investing in glass that will last you a lifetime, neither Fuji nor Sony are really going to cut it. There’s a reason why you could buy a Canon 400mm in 1993, use it for two decades and still sell it on today for 75% of the new price.

          • Chris

            I really want the 16mm. I almost pulled the trigger on 16-55.

  • Enjoyed viewing Aristide’s work. Beautiful!

    Yes Fuji has fantastic colors and IQ. No one can argue that. I wish Fuji made the sensor for my Leica M240’s. (And I wish Leica made the controls for the Fuji X-E1’s)

  • AceFlibble

    Honestly, I look at that image and think “looks like Canon, with the saturation slider bumped up too much in LR.” Meh. Whatever floats your boat.

    As far as the poll, for me it’s all in the combination of unintrusive noise in a small form factor. At this point, lens manufacture is so tight that even the mid-range lenses from the ‘budget’ third party brands are better than the top lenses of the major brands of the 60s, 70s and 80s; the most basic camera now completely kicks the ass of the most professional camera of 10 years ago. We have more control than ever, they’re faster than ever, they’re higher quality than ever before.

    So, for me, the only things which really matter is how it actually physically feels in the hand and how far I can push it before the images totally break down. To that end, I love my Canon 1D-series and I love the Fujis. Both I can confidently use at ISO3200 without thinking twice, and 6400 is usable in most situations. I like the big grips and rugged build of the 1D and I like the light weight of the Fuji, so which I pick up depends on where I’m going. 1D owns the studio, Fuji owns the event floor.

    If I really cared about lens quality & colours, I’d take my Mamiya RZ67II everywhere. No ‘simulation’ profiles there and no ‘we’re only using the middle of the glass’ lenses. But digital has completely liberated colour choice and nobody makes a clunker of a lens anymore, other than the very, very cheapest zooms, so you can get away with damn near anything in those regards.

  • Your poll doesn’t have a “Color rendering” option.

    • MJr

      Yeah would be better if the “X-Trans Sensor & FujiFilm colours” were separate options. Two different things, and only one i would vote for.

      • Patrick

        this is true, but too late to change now. I would have to launch a new poll, where these two options are separated.

        • MJr

          That’s what i thought. It said i had already voted, that must have been a while ago, and not what i would vote today.

  • gr

    Fuji color are just as good as Olympus/Canon. They are to me all good not one significantly better than the other. Then again I know how to work the color so this sounds like hype to me.

    • Patrick

      Sure, all great cameas, all have nice colors and great IQ.

      What I want to say is that Fuji has it’s own and unique character and beauty… and FR-reader Haye recognized it amongst hundreds of other images… that’s pretty cool I think

      And it was also an occasion to link to the World Photography Awards and to Aristide’s work (definitely worth to check out!)

    • It’s a matter of taste. However, for me the key word here is “unique”. Which for the working pro means that if you shoot Fuji and your second shooter uses something else, you gonna have a major PITA in post.

      • True, I’m glad I work on my own. Consistency between files is important if you have 2 people working on the same job. For that reason I use 2 X-T1’s for consistency of files and, just as important, buttons & functions. It’s a PITA trying to remember what camera you’ve picked up and what buttons do what for it! You just want to pick it up and shoot. Hopefully Fuji get some consistency across models!

    • mma173

      Fuji has better skin tone rendering.

    • ChatNoir

      What are the ‘true’ Fuji colors? What we see in jpegs? Or the main setting you get out of the RAW files, adjusted with the film simulation presets in Lr? Anything else? Maybe what you’ll see using the standard Adobe color setting, which has been developed using quite some dedication? Or the conversions you’ll find using Silkypix, C1, Iridient, Apple Photos,… (each convertor delivers a quite different result…btw not only true for Fuji). I think a lot of people ‘liking particular colors so much’ didn’t ever use color calibration tools for their monitor. Certainly not for printing. Or maybe to start with, for accomplishing a right color representation when using a series of different cameras. For me, these Fuji film simulation settings are just a gimmick. Dealing with colors is one of the most complex matters in the digital era and ‘out of the box – first time right’ doesn’t exist. Really not.

  • Marty4650 .

    Great colors?

    You must be kidding! It looks just like someone shot in daylight and had the tungsten white balance setting on by mistake.

    I realize that taste is subjective, but there is absolutely nothing natural, appealing or attractive about orange skin tones. But I will admit this much… it really is unique!

    • someone shot in daylight and had the tungsten white balance setting on by mistake

      You should try it someday.

  • Gary_Sebben

    Generic blonde woman checks generic smart phone in generic end of day lighting. This is what wins photojournalism awards? Really?

    • People are fed up with Ebola.

      • Aristide

        John Moore’s work on Ebola won the top prize in this contest. This work was awarded in the arts and culture category

        • Obviously I have absolutely no perception of arts nor the culture… Nevertheless, people are fed up with Ebola. And of course I know about Moore’s work on that topic.

        • Gary_Sebben

          Don’t try to argue with a known troll. He’s proud of how disgusting he is. It’s amazing how he finds opportunities to display it.

    • Hector

      The award is granated for a series and for it’s meaning, not for a single preThe image, the series has a relevance and meaning a single image can’t express.

      • Gary_Sebben

        I can’t imagine the rest of the series is much better. Honestly, if that’s the best of them I can’t be bothered to look.

        • Hector

          You are missing the point, it’s a documentary series, not a collection of pretty pictures.

          • Gary_Sebben

            You call it what you want. I’ll call it what it is.

  • Aristide

    My work was shot on the Velvia setting. It was one of my favorite films I shot prior to going digital. As you can see the photo was taken at sunset with a yellow wall behind us that was reflecting warm light back.

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