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#1243. That SOOC Industrial Look
By Ian Varkevisser | How-To
Apparently Fujicolor 100 Industrial is a negative film only sold in bulk in Japan.
Something interesting about Fujicolor 100 Industrial film is that it has a Tungsten emulsion (with a Kelvin temperature of 3200), but it is daylight balanced because the dye colors have been shifted to account for the cooler temperature. It turns out that you can do the same thing in a Fujifilm camera using white balance shift, and it creates a similar aesthetic. In a nod to it over at Fuji Weekly Ritchie Roesch has created a few recipes to emulate this film stock one of which is Classic Negative Industrial. I was recently ticked off by a world famous photographer here on this blog in the comments section - who made the suggestion “Gear up, man. Stop half-arsing it!” Well as luck would have it since the old X-T10 is getting a little long in the tooth and showing signs of wear, Xmas is just around the corner, and the model 2 1/2 generations advanced from it was on the market at a decent price how could could I not take such good advice. I took the plastic out of mothballs and reluctanctly ordered the X-T30 mk ii. That's my story and I'm sticking to it. Having taken the plunge and wanting to simply my workflow I was on the hunt for recipes which would work for me SOOC. I happened upon the one above and it looked sufficiently industrial - I dare not use the word "grungy" - programmed it in and duly set off to try it in my local haunt under a number of conditions. The deep slightly desaturated punchy tones ,weak film grain and contrast are a winner in my book and it will become a permanent fixture in the custom setting list for the foreseeable future .
Since the Zombie shoot with the ageing X-T10 and lensbaby turned out so well this camera will not be discarded but has been repurposed as my new Fujifilm Noir Camera. Until such time as it gives up the ghost altogether that is.
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Ian, thanks. Mind blown, once again.
Although this post is a cautionary tale about being careful what one speaks in the comments, let me risk a little man crush here : https://www.youtube.com/watch?v=htuQSE1o-uE Check out the part at 15′, when Jason slaps in his Fuji Industrial. Gorgeous stuff.
As for the SOOC worflow, no sure I’ll ever manage it. When I eventually die from growing allergies to political dumbf…ry, I want my homie Ansel to be waiting for me at the pearly gates. Which won’t happen if I permanently renounce the Negative and the Print. But I’ll give it a try, who knows. Plus it’s rumoured the parties are much more fun in the other neighbourhood, where the film tribes probably reside.
Hi Pascal, the last blog on the Zombies was black and white jpeg in camera – with tone curving in Lightroom since I need to work on the highlight shadow preset a little to get the look more to my liking. Also because the lensbaby the images required in instances texture/clarity /dehaze adjustments. I do hope to settle on B&W recipe for the Noir camera though which will only require minor exposure adjustment. Although I didnt I suppose a little brush dodging and burning in LightRoom could be considered much the same as film development – would that still qualify as straight out of camera in your esteemed opinion ?
Ian – If anything the colour pallet looks more “realistic” than the traditional saturated punchy colours SOOC. I Like it!!! Now I’ll just have to crank up one of the Fuji bodies and see how this works in my part of the world … its coming on winter here now, so no outdoor markets.
Hi John, I suspect that the recently blogged shots you took would suit this particular recipe. Not sure if you are familiar with the Fuji X Raw Studio but once you program a recipe in there you can bulk convert images on your hard drive. I do bring the jpegs into lightroom to watermark and border them – and possibly make a slight exposure adjustment where required – which I would consider much the same as pushing or pulling film during developing.
Ian, love the image and the “feel” they have. Like Pascal, I doubt SOOC will happen with me as well, but as they say never say never.
Hi Dallas, I am happy to experiment and am not here to preach the gospel and convert all and sundry though. There are definite instances though when I would shoot raw and still post process. I am however quite keen to settle on a recipe for run of the mill street photography though.
“I was recently ticked off by a world famous photographer here on this blog”. Oh dear! I didn’t know anyone on this blog did such things! Only a few hours ago, I told someone else on the internet that I’ve never done what I was told! It would be like having someone else take over your body, and do their own thing with it. I prefer doing my OWN thing, thanks very much.
Which – it would seem – is exactly what you HAVE done, Ian. And very nicely, too.
Someone on this blog once told us you can’t BE “original” any more. Everything anyone could have have photographed has already been done to death – photographed a thousand times over. Really? Well I’ve never seen any of these photos before! Nor, for that matter, anything in the style of these photos.
This camera seems to have a unique colour format – consistent throughout, but quite different from anything I’m familiar with. I might be able to reciprocate in the not too-far distant future – I’m lining up to get hold of one of those Foveon sensors, as soon as SIGMA finally releases its FF Foveon.
The subject matter is pretty clearly a seaside town – and I love the graffiti – two great messages there, “think outside the box” and the kid in the final shot.
For quite a while, I used to shoot FUJI in my 35 mm days, but I’ve never had a FUJI camera as such, so it’s quite fascinating to see what you’ve been able to do with it.
SOOC is a wonderful goal – not, in my case, always achievable, but that’s partly because of some of the subject matter of my shots. Increasingly, however, I do find that “less is more” – post processing can be very tempting (and in some situation quite unavoidable). But – that said – over the years I’ve found myself increasingly doing “less”. Using an external meter helps – some cameras are distinctly better on that score than others, but some definitely need a fair bit of support from an external meter.
Hi Pete, As mentioned in a comment above even the SOOC images have required an exposure adjustment in LightRoom on some of the images. However I guess if i slowed down and paid more attention to the histogram on each shot that too could be avoided. Alternatively of course one does have the luxury of shooting 3 images in camera with exposure bracketing somewhat defeats the object of simplifying the work flow I suppose.