My new wide-angle has arrived, my 18mm was never really wide enough, so took the plunge and bought the 14mm F2.8.
The build quality as usual is first class, nice weight, all metal contstruction, feels nicely balanced when attached to the camera. The aperture ring has full and half click stops. First gripe, the aperture ring is way too loose, and can easily be caught whilst shooting. The manual focus ring is nice and has a great feel. A bonus with the ring is that it switches from Af to Manual focus by pushing the ring forward or pulling it back. Overall the quality feel of the lens, the distance markings and the depth of field scale, reveal a superb attention to detail by Fuji.
So whats it like to use in the field, one word FANTASTIC. It’s pin sharp, with a great depth of field, shooting either in af or manual mode is easy, set it up for zone focus, or hyperfocal and it gives you the depth of field to make quick street shooting a breeze. A minor nitpick is the lens hood, just a little bit too big and shows up a little too much in the viewfinder, when shooting with the OVF. However minor niggles aside, it is a great lens, delivers punchy sharp images with great IQ. All I need now is the big zoom and I will be totally setup. Some images taken with the 14mm and the Fuji Xpro 1.
See more pictures on www.thebigpicturegallery.com
While we continue to shoot almost daily with the X100s and gather our thoughts about this camera, we decided to take a break from the topic and present some images from our recent trip to an unknown British Columbia.
Shooting with wide-angle lenses poses a challenge for many new photographers. This is not a “have it all in” lens. The general idea is to get closer to the subject and be very selective. However, it is not as easy as it sounds. Such an approach may be unnatural to many photographers, especially beginners. As with every lens, it all starts with observation and vision. Keep in mind that not every subject will be suitable for the wide-angle treatment! Our favourite photographs taken with this lens usually consist of a very large distinctive subject, which stands out from its surroundings. The picture with the old yellow house shows our point the best…..
See more pictures on olafphotoblog.com
As a genre, street photography defies a single definition. For some, it’s simply photography ‘that takes place in the street’, while for others, it’s about capturing ‘candid situations’, whether or not an actual street is their setting. These two definitions are somewhat in tension, but in practice there’s a large overlap in the work of most recognized street photographers. What exactly ‘candid’ means is not entirely straightforward, however. For some, it means taking a photo in which the subjects do not realize they’re being photographed; for others it means sticking a camera right in the face of their subject in order to provoke a reaction.
As far as I can see, the most celebrated examples of street photography fall into four types: surprising juxtapositions or visual puns, as often seen, for example, in the work of Elliott Erwitt; people glowering into the camera, as typified by many of Bruce Gilden’s shots; particularly pleasing combinations or correspondences of light, colour, and shade, as is the stock-in-trade of much work featured on Flickr’s, Hardcore Street Photography; or penetrating observations on class or social mores, as found in some of Henri Cartier-Bresson’s best work.
I find many of these photos fantastic, and recognize the special talent and extended time that must go into them. However, I’m not going to dedicate my life, or even the majority of my photography to this type of work. I’m as interested in photographing the everyday, the commonplace, as I am in capturing the extraordinary scenes that occasionally arise in a quotidian context.
For me, street photography is primarily an exercise in social documentary….
When I bought the x-pro1 I did so with a specific purpose in mind. I wanted a camera that would be fun to shoot, have a lot of easy to access controls, and be small enough to carry everywhere, without being “too” small. The x-pro 1 fit the bill perfectly. Add in the excellent XF 35/1.4 and I was set. I had no intention of turning this into a system, especially one that contained a zoom, a tele-zoom at that. Then along comes the Fuji XF 55-200 IS tele-zoom lens. I had no plans to buy one being that I already had the wonderful 70-200/4 IS for my Canon 6D. I wasn’t even interested at going to look at one. Low and behold the lens found me. I just happened to be at my local camera shop (props to Imagetech Thunder Bay) when the courier driver pulled up with one in his shipment. Once opened I had to take a peek. Really, who could resist? I didn’t want a consumer grade tele-zoom anyways. So what harm could just looking do……………………….
In the end I gave in to my better judgement and left with the lens. A lens I didn’t need or even want. A lens that hasn’t left my camera in two days, and wont for the foreseeable future. At $699 its not near as cheap as the 55-200 variations from Tamron, Sigma and Sony. It is far better built though, and is stabilized. The IQ is also in a different league from the budget zooms. Its closest rival would be the Canon 70-200/4. The Canon is faster at the long end (barely), has less range, and costs more, so again the Fuji wins here. Regardless, its all irrelevant considering the fact that the Fuji 55-200 is the only lens of the group that will fit on a Fuji body. Simply put, the lens is a must have……
See on photogenykstudios.com
The firmware update Ver.1.03 from Ver.1.02 incorporates the following issues:
- The phenomenon is fixed that in rare cases a grainy image like TV fuzz could appear on LCD under a certain shooting condition.
See on www.fujifilm.com
The Fuji X-E1 is the camera that started it all, and ended it all for me. When the Fuji X100 was announced two years ago, I immediately thought that it was the camera that I’d been longing for. It was small and light, housed an ample APS-C image sensor and offered a built-in, fixed 35mm (equivalent) f/2 lens (my favorite focal length). I thought it was perfect, and I was keen to the fact that it was made with metal parts as well as physical dials and levers like cameras of old. At the time though, I had wished that it came in black. Ultimately, I did not buy the Fuji X100 because of all the jumbled reviews, and I began to look elsewhere…..
Marcia, Marcia, Marcia
I started this informal review with the statement: “The Fuji X-E1 is the camera that started it all, and ended it all for me.” The X-E1 (Jan) is the camera that got me into the Fuji X system. I bought it first along with the 18-55 zoom. I’m not really a zoom guy except by necessity, and the flexible 18-55 will be an excellent stand-by lens for me for various assignments. I also bought the XF 18mm f/2 lens along with the XF 35mm f/1.4 lens (a 28mm and a 50mm for all intents and purposes) to carry most of the burden. In other words, the two prime lenses will be the lenses I turn to the most. I have decided that the X-Pro 1 is more suitable for me though, so I bought two X-Pro 1 bodies and sold my X-E1. The deciding factors include the amazing hybrid viewfinder, the larger, more substantial build, the missing flash (I don’t really like flash anyway, and it’s just one more thing to break), the superior rear LCD, the preferable rear command dial, the locking shutter speed dial, and finally, and most importantly, a play button that is in the CORRECT place. The X-E1 is a fine camera with some talents of it’s own, but at the end of the day, for professional work, I much prefer the bigger sister, the Fuji X-Pro 1 (Marcia).
See on streetphotoworkshops.com
A fun and uplifting book I recently read was “The Tao of Pooh.” To sum up the book, the author explains the philosophy of Taosim through (believe it not) Winnie the Pooh. Yeah, I know it sounds ridiculous, but the author does a superb job sewing the two concepts together– in a language relatable and easy-to-understand for the viewer. Having grown up on Winnie the Pooh, I can certainly say that it brought the concepts of Taosim to life for me. Similarly to Zen Buddhism, Taoism is a philosophy which was first introduced by Lao Tse in a book called: “Tao Tse Ching.” The philosophy of Taoism advocates staying calm and happy in all circumstances, no matter how difficult or arduous the outside world can be.
So what is the difference between Buddhism and Taosim?
- Buddhism sees the outside world in a much more negative light– describing “the bitter wind of everyday existence.”
- Taoism sees the world as “…not full of traps, but valuable lessons.” Therefore through Taoism we should appreciate, learn from, and work with whatever happens in everyday life.
A great analogy explained is the analogy of tasting vinegar. Many different people often taste vinegar, and complain of how sour it is and groan. However the Taoist would taste the vinegar and regardless of the taste, still smile. The takeaway idea is that we should turn negatives into positives, regardless of the situation. There are lots of insights I’ve gained through Taosim and especially “The Tao of Pooh” that I can relate back to street photography. Also note I am not an expert on Taosim, so please correct any mistakes I make in the comments below……
See on erickimphotography.com
Note to Fujifilm: your naming practices suck. I realize that you’re stuck with 8.3 naming conventions due to the absolutely out-of-date DCF specifications that have needed updating for over a decade, but that doesn’t mean you have to be dumb about your names. For example, FPUPDATE.DAT and FWUP0001.DAT. Which of these is for which camera? Plus, why is the lens firmware named the same way (FWUP0004.DAT)? And which firmware versions are these, because the numbers actually don’t tell us? Someone who has both cameras ends up with duplicate and similar file names after downloading several updates and no way to tell which camera or lens the update is for. How about XP1_204.DAT and XE1_105.DAT, and L18Z_101.DAT and L18F_101.DAT? Think that might help us users figure out what we’ve got if you did that? This isn’t rocket science, but I have to tell you Fujifilm, you’re not even practicing good rock throwing here, let alone rocket science. Yes, this is a rant. But your naming scheme is so 1970′s the rant is probably long overdue…..
See on www.sansmirror.com
I am a massive fan of long exposure photography and the only issue I have ever faced with my X100/X100s was the challenge of capturing long exposure photographs during the day light hours. I tried a few 49mm variable filters with little or no success and because the X100s system is all about simplicity the idea of struggling with step-up or step-down adaptors to attach an ND filter just didn’t make sense. To this end I found the X100s was my main everyday camera but I had to pack another system if I was planning long exposure captures. Welcome the Lee Seven5 Micro System. When it comes to filters Lee are the gold standard and their recently released Seven5 micro filter system now includes an option for Fujifilm’s X100 and X100s cameras. I should also make it clear at this point the Lee Seven5 micro system isn’t just for the X100s and I plan to employ it with the X-Pro1 with various lenses……
See on www.flixelpix.com