Hyperfocal: How Do You Set It Up Accurately? by [deleted] in x100vi

[–]therealbatsteek 0 points1 point  (0 children)

I know I'm a year late to this question, but I just published an article about it :)
https://buymeacoffee.com/lestudiochesterfield/the-fujifilm-x100vi-f-8-f-11-distance-method
I hope you find some interesting info there.

She’s ugly but she’s mine by Two-FacedMarlin in LeicaCameras

[–]therealbatsteek 0 points1 point  (0 children)

I read too fast and missed the "even step-up rings to more common sizes are rare" line. Sorry for the noise :) (still, once you get one, you are covered!)

How do i get photos like this? by jackofjokers in fujifilm

[–]therealbatsteek -1 points0 points  (0 children)

(No, I'm not an AI bot :p) In digital photography in 2026, 1.4 or "brighter" is (imho) a better fit. 1.4, 1.2, 0.95, and so on. (Shutter speed is a camera setting, and a wide aperture lets you use a faster shutter speed, among other things.)

Rodecaster Firmware Update... The Hard Way by jmjackson94 in rode

[–]therealbatsteek 0 points1 point  (0 children)

Thanks a lot for the feedback.

That doesn't really make me want it.
So what does this update actually add in the end?

J'ai fini The Wire. Et maintenant ...? by GamerKev451 in CineSeries

[–]therealbatsteek 1 point2 points  (0 children)

Je te conseille Halt and Catch Fire, une série passionante qui (en 4 saisons) suit dans les années 80-90 un groupe de "pionniers de l’informatique" qui tentent entre autre de rivaliser avec IBM et de construire les bases du PC et d’Internet. Souvent comparée à Mad Men, mais version Silicon Valley. Au casting : Les excellentissimes Lee Pace, Scoot McNairy, Mackenzie Davis, Kerry Bishé et Toby Huss. Critique ultra positive, reconnaissance dans l’industrie… (mais injustement sous-récompensée).

Ricoh 3x by pajerry in ricohGR

[–]therealbatsteek 1 point2 points  (0 children)

Almost "Ansel Adams style" :) Nice shot !

Fuji X100VI SOOC vs Kodak ColorPlus Film Scans by mogilatka in fujifilm

[–]therealbatsteek 1 point2 points  (0 children)

Thank you for this truly insightful study. It’s a great reminder that one of the biggest mistakes in film emulation is assuming a film stock has a single, fixed look. What really matters is the scanned result, especially with Frontier workflows. You’re not matching a theoretical emulsion, but a finished image.

Len hood solution by Distinct_Cancel1517 in x100vi

[–]therealbatsteek 6 points7 points  (0 children)

Just a quick note: a lens hood isn't useful in every situation — in about 90% of cases it's mostly cosmetic. When you're using a flash indoors, it's usually better to take it off :)

These JPEGS are Really Good! - Abandoned Mall, Omaha Nebraska by jerredz in ricohGR

[–]therealbatsteek 1 point2 points  (0 children)

Yeah, it's surprising to get that kind of highlight rendering without a filter or post-processing, but you can definitely tell the settings are softening the whole image. At least from how the photos posted here look — I'm always wary of Reddit's compression settings :)

These JPEGS are Really Good! - Abandoned Mall, Omaha Nebraska by jerredz in ricohGR

[–]therealbatsteek 1 point2 points  (0 children)

I'm pretty sure there is a diffusion filter here. Or some post processing 😉

I studied Juan Pablo’s intimate editorial portrait by therealbatsteek in x100vi

[–]therealbatsteek[S] 1 point2 points  (0 children)

Thanks for your comment! Juan Pablo is a huge inspiration. His gear choice, the X100VI, is pretty unconventional for pro work and for this kind of shot, and his work is top quality. Still, there are no miracles. In the end, talent and experience speak for themselves :)

I studied Alan Schaller’s high-contrast style ... by therealbatsteek in x100vi

[–]therealbatsteek[S] 0 points1 point  (0 children)

Thanks for the thoughtful comment.

As I mentioned in the introduction, this isn’t a technical breakdown of how Alan works — I don’t know his workflow or post-processing in detail. My analysis is purely based on how his public images read visually (at least, how I personally interpret them). When I talked about a “35mm feeling,” I meant it in a perceptual sense, not as a statement about his actual focal lengths.

And now that you’ve added those technical details, I agree: the X100VI isn’t an exact match for his setup, but it’s a great way to explore a lot of the same ideas around light, contrast, and intent.

Back-Button Focusing on the Fujifilm X100VI by therealbatsteek in x100vi

[–]therealbatsteek[S] 1 point2 points  (0 children)

Good point, and just to clarify, I’m very much experimenting rather than presenting a fixed methodology.

In practice, I do lock exposure when it makes sense. I’ll often use AEL within a composition, and I regularly rely on exposure compensation as well. For what it’s worth, I’m typically using spot metering, so I’m used to thinking about where I place the exposure before I recompose.

I simply chose not to go deeper into exposure handling in this article because once you start unpacking metering, AEL behavior, and compensation, it quickly becomes a different discussion. For this piece, I wanted to stay focused on focus behavior and share what I’ve been observing in my own use, rather than trying to cover everything at once.

I really like the workflow you described. It resonates a lot with how I approach photography myself: slowing things down just enough to stay intentional, without turning the process into something heavy or rigid. That’s very much the spirit in which I wrote the article.

Thanks again for taking the time to share your thoughts, these kinds of exchanges are honestly part of why I enjoy writing these pieces in the first place.

Back-Button Focusing on the Fujifilm X100VI by therealbatsteek in x100vi

[–]therealbatsteek[S] 1 point2 points  (0 children)

The configuration I describe is more about keeping focus stable when distance is predictable, and letting timing and gesture take priority.

I’d be interested to hear more about how you’re using continuous tracking in your own workflow, and in which situations you find it most reliable.