Fuji X-Pro1

Lightroom 5 beta brings a raft of new features including offline editing |
Imaging Resource

A little more than a year ago, Adobe released its most recent major update to Photoshop Lightroom — the company’s flagship photography workflow application — after a two-month open beta program. Today, the company takes the wraps off a beta release of the followup, continuing a tradition of public beta that stretches right back to Lightroom’s formative days. The latest Lightroom 5 betabrings several interesting new features, including a radial gradient tool, a more advanced healing brush and a clever automatic perspective correction tool. But for our money, the feature which stands out is support for offline image editing, or what Adobe calls Smart Previews.

If you’re one of the many photographers who take advantage of Adobe’s license terms allowing use of a desktop and laptop on the same Lightroom license, chances are you’ve hit a certain dilemma. You’re out in the field with the laptop, yet you want to browse your existing catalog and perhaps tweak a few photos — but you’ve not brought the catalog’s contents with you. The laptop drive doesn’t have enough storage space for all your photos, and you didn’t think you’d need to carry your bulky external drives with you. Or perhaps you’re not even using external drives — maybe your catalog is shared across the network from your desktop machine. Either way, you don’t have access to the files you need. That’s the problem Smart Previews aims to solve. Lightroom 5 public beta can automatically generate reduced-resolution copies of your images on external drives and network shares, suitable for the smaller storage space available on your laptop. And it will let you edit these images just as if the files were online. Of course, some edits won’t be meaningful on reduced-res previews. For example, you’ll likely want to forgo tools like noise reduction and sharpening, where information at the pixel level is key. However, for many tools such as cropping, tweaking color and so on, that reduced-resolution file will still be enough to get the job done, or at least to get you in the ballpark while an editing idea is fresh in your mind. The clever bit happens when the offline media comes back online — go back into the images, and your edits are applied to the originals automatically. This is very clever stuff, and something we have a feeling many photographers will welcome with open arms…..

See on www.imaging-resource.com

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Fuji X-Pro1 – Wedding Photographs – The Beauty of Black and White |
Craig David Butler

I noticed that I have been using more and more the Fujifilm Xpro-1 at weddings. It was fast becoming my go to camera for Black & White photos and detail shots. I have enjoyed the camera not only for its lightweight and rangefinder profile but also for its image quality. With a 400% Dynamic range option and a huge amount of latitude on the highlight and shadow tones I found very fast the detail it could record was much better than the Canon’s I had been using. The noise or grain in low light is very similar to that of film that I had really missed at high ASA (of film). I know many people have talked about whether the camera would be suitable for wedding work with regard to image quality and speed. So below are a few of my findings with this awesome little camera: Quality – The Xpro-1 has incredibly sharp images straight out of the camera. I typically shot every image in raw with a JPG. I have found that the JPGs are awesome and very little tweaking is ever required from the Raw images. The sharp image quality is primarily due to the lack of the low pass filter. The low pass filter helps eliminate moire’ from a patterned array of pixels in traditional SLR cameras such as most Canon’s and Nikon’s. Fuji has a new pattern array which helps eliminate this patterning and ultimately the evidence of moire. Next, in wide apertures such as 1.4 there is no evidence of chromatic aberration (hugely evident in most of Canon’s lenses). While it is a 1.5 crop / APS-C sensor the print and image quality is very close if not better than my 5D Mark III. Color – I have used several cameras over the years from Kodak’s, Nikon’s, Olympus, Fuji’s and Canon’s. Each were very good in many respects. The Fuji Xpro-1 is the first to nail color almost dead on every time. The image quality is very film like with respect to color and dynamic range, in my opinion. Electronic Viewfinder – One of the features I have loved in this camera is the electronic viewfinder. If you are unfamiliar with this feature it is a small digital display of the image in the viewfinder rather than a pentaprism or reflected image you get from standard SLR cameras both film and digital. Why I love this is it displays the images you will be capturing prior to actually capturing it. The reason why I love this so much is when the image is captured it looks like what I was looking at through the viewfinder. Why I love this so much is I no longer have to look at the image on the back of the camera to check, not that I did that much but it has made the use of the camera much more analogue or film camera like feeling. Speed – As many of you know I am focused on the emotional moments during a wedding day and speed is of the essence as these moments happen so quickly and then are gone. The Xpro-1′s focus speed is much slower than my Canon’s and therefore I typically am reaching for the 5DIII for the moments in between. If you have a few moments the Fuji works amazingly well.
See more pictures on cdbsi.net

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Are the X-Pro1 & X100s Mirrorless? | Dean Johnston

Well, yes, they technically are, in the sense that they are not reflex cameras. But I have to confess, it bothers me every time I hear or read about them and they are referred to as ‘mirror-less.’* Why? Well, it seems to me that currently the term ‘mirror-less’ has come to mean, by and large, micro four thirds cameras (aka M43, M4/3, etc.). The X-Series cameras as a whole are certainly not this. As far as the X-Pro1, X100s, and X-E1 go, not only are their sensors larger, but also decidedly different. The X20 also sits in the decidedly different camp. Further, in a wider sense, mirror-less could mean any camera that is not a reflex camera, and this would include point and shoots. The X-Series cameras are certainly not this either, with the exception of the XF1 of course.

So, I find the term misleading. Not only for the above mentioned points, but also because the X-series cameras, in particular the top four (X-Pro1, X100s, X-E1 & X20), are quite different in operation from M3/4 mirror-less cameras (let’s exclude for a moment the XF1 and X-S1). Most notably they all have built in viewfinders and, with the exception of the X-E1, they all have an optical option. As well as this, they are also all far more “manual film camera-like” than any of the M4/3 offerings. Basically, their whole gestalt is different. In fact, to be more linguistically accurate, they actually have a gestalt. I feel the same applies to Leica digital M series cameras. Not many people refer to these as mirror-less, but some do. I suspect it seems really wrong for many to conflate M4/3 cameras and Leica digital Ms with this term, and for me it seems no less wrong with the Fujifilm cameras in question.
So, what term to use instead? That indeed is the question. Perhaps something like “rangefinder-like cameras” or “rangefinder style cameras.” They all seem a bit awkward though. Personally, I’m all for following the Leica tradition here. Just as we talk about “Leica Ms,” “digital Ms,” “digital Leia M cameras,” etc., why can’t we just refer to these cameras as “Fujifilm X-Series cameras,” or more simply, “X Cameras,” “X-Series cameras,” “Fuji Xs,” etc.? Surely, these cameras are unique enough, distinct enough and, not the least, stylish enough to have not only their own class but their own class defining name. There is a kind of zeitgeist here, and as I mentioned above, their sum is more than their parts – they have a gestalt.**

Typed with a little help from Radiohead (this song incidentally, is about exactly the same age as the second hand camera I am awaiting delivery of this morning)

* my computer and my education insist that ‘mirrorless’ is wrong and that ‘mirror-less’ is correct

** having said all that, I do think Fujifilm muddies the water somewhat with the inclusion of the XF1 and X-S1 in the X-Series. These cameras don’t really seem to belong here. Not only are they externally / operationally different, they don’t even really share the internal defining features

See on fujifilmxseries.wordpress.com

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tulip festival + fuji = COLOR! | VanEarl Photography

Every spring the Wooden Shoe Tulip Farm in Woodburn, OR holds a festival where visitors can come and enjoy the beauty of their tulip farm. I thought it would be fun to go and have a look this year (my first visit ever and totally not the last!). What I saw was beyond mind blowing. The colors, man. THE COLORS! What a sight. I brought along my Fujifilm X-Pro1 and really wanted to capture the vibrance of the tulips. Hope you enjoy!

See on vanearlphotography.com

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Les rues de Tokyo avec le Fuji Xpro 1 | Nicolas Lambert


Ca va faire une semaine et demi je que suis à Tokyo. Voici quelques images prises avec le Fuji Xpro 1.  Au début je transportais le D4 avec un 24 1,4, un 50 1,4 et un 85 1,8. Maintenant il reste dans ma chambre et mon épaule me remercie chaque soir.J’ai fait les images cette après midi. Pour donner une idée à ceux qui connaissent Tokyo. Départ pour le Tokyo Metropolitan Government Building, passage par le 45 ème étage des 2 tours (gratuit). Ensuite départ pour Ikebukuro avec la Yamanote line pour rejoindre la tour Sunshine et son observatoire au 60 ème étage (685 Yen).


Les photos sont prises avec le Fuji Xpro1, avec le 35 mm 1,4 et le 18mm 2. Elles sont passées dans Lightroom pour le noir et blanc. Ajustement des niveaux, courbes, clarté,… Exportation pour le web.

Google Translater (ENG):

See more pictures on www.nicolaslambert.be

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Asahi Pentax Super-Takumar 135mm F3.5 with Fuji X-Pro1 |
Jonne Naarala

I have had two M42 screw mount Super-Takumars (55mm F1.8 and 135mm F3.5) for a few weeks now. I almost immediately felt home with 55mm Super-Takumar but my initial feels with 135mm one were quite mixed ones. It felt too long for manual focusing with X-Pro1 which do not have any kind of focus peaking to help focusing. I usually use 3x focus magnification to check the proper focus (10x magnification is way too wobbly). Fortunately, i am usually able to get nice focus straight in without using any focus magnification. Now that I have little bit more experience with the 135mm I think it is usable with X-Pro1 but you have to accept increased amount of non-keepers as compared shorter focal length manual focus lenses. I can use it even wide open (f/3.5) indoors in quite dim light and get at least some good and reasonably sharp shots. Not bad. Outdoors it works very nicely with apertures 8-11 or so (of course wide open is nice for bokeh and blur too).

See on jonnenaarala.wordpress.com

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Working with the Fuji X-Pro “Monochrome” | Don Craig

Black and white images shot with my X-Pro 1 “Monochrome” account for much of my photographic output. That includes my work photography.

Somehow, in a world where smartphone photos of dubious quality are uploaded minutes after an event ends, my black and white photos have become a welcome addition to the record of government activity. While I might be shooting an event with a DSLR, often with flash, I also carry my XP1 “Monochrome” with the 35mm or 18mm lens attached. This allows me to capture shots with available light and to work unobtrusively in crowds. Shooting wide open (or close to it) and at high ISO, the XP1 M produces fabulous monochrome images. Of course, unlike shooting with film or with that other, expensive Monochrome camera, I have the colour information available to me, since I shoot RAW. Typically, I set the XP1 M to shoot in “Monochrome” film simulation, whether or not I am also shooting small JPEGs along side of the RAW photos. This provides me with a monochrome image preview, so I get to see the photo in black and white. Once imported into Lightroom, I have multiple options for converting the photos into black and white. Having happily used Silver Effects Pro for a couple of years, I have migrated to VSCO Film because of their great support for X-trans files created with the XP1 M. This method also saves me disc space, as I don’t create another file as one does with SEP. Although this might be old news to some, it seems worthwhile to once again demonstrate the superior image quality of the XP1 files, be they “M”onochrome or not.

See more pictures on doncraigphoto.wordpress.com

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Pre Dawn Shooting With The X-Pro 1 – It Must Be Love! |
Roxanne Sahlin

Let me say right now, I am so not a morning person! I need heavy infusions of coffee, toothpicks to hold my eyes open (until the caffeine kicks in) and a quiet atmosphere to survive early alarms. I have to get up before 6:00 AM for my work days and I need a good reason to crawl out for a sunrise shoot that requires us to  arrive at our location at dark and wait for the light to arrive when I have a precious day off! We got up at an time so obscene that I can’t even write it down and were in place while the street lights were still on at our first shooting location this Sunday morning. There was prediction of heavy fog and I love shooting in it so much that I was willing to crawl out of bed and stumble out of the door in search of the elusive stuff. We started our shoot at a local marina and while there was a misty look in the distance….no fog to speak of. In fact, due to the cloud cover there was also no pretty sunrise to alleviate the pain of having gotten out of bed at such a rude hour for no good reason. That’s what it felt like at the time anyway! As it turned out the clouds provided us with a wonderful light diffuser for our early morning shoot and unlike us, the fog slept late and instead of arriving as early and dissipating by 8:00 AM (as predicted by the weather folks), it slept late, had coffee and rolled in later in the morning. The wonderful cottony blanket of mist arrived while we were shooting at another waterfront area that we like. Finally it was here! We had a wonderful shoot, a delicious breakfast afterwards and memory cards filled with images to play with on our return home. Bliss!

See more pictures on dougplusrox.com

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A Journey Through Venice: The Fuji X100s Review | MirrorLessons

What I like about the Fuji X100s

  • Wonderful design, excellent build quality
  • The aperture ring on the lens, the shutter speed dial like old film cameras
  • The hybrid viewfinder
  • Amazing quality of the RAW files
  • Beautiful colour rendition, especially with the Astia Film Simlation mode
  • Great dynamic range
  • Tiny, lightweight, quiet, it is a perfect tool for street photography

What I don’t like about the Fuji X100s

  • Autofocus still needs some improvements
  • Poor battery life. I highly recommend buying a second battery if you plan to be out all day.
  • Video mode only automatic, quality could be better given the great X100s sensor;
  • The lens isn’t extremely sharp at f/2 (but is still usable) and has some distortion. I had hoped that Fuji would have improved on it.

Despite a few weak points, I really enjoyed using the X100s and it is definitely a camera that I will bring with me for day-to-day photography. It is fast, silent and discreet, and you can even choose to silence the shutter button. No one will notice you when you use it. However, at the same time, it will never become my main camera system. The reason is probably personal, but if I were to visit a place for the first time, I would probably miss a wide angle lens and a medium telephoto lens as I like to diversify my shots and represent a place from different angles and perspectives.

I liked shooting with it in Venice as I had already visited the city. Moreover, thanks to the Fuji X100s’ fixed lens, I was able to concentrate on one single type of photography (street photography), and this proved to be a very good exercise. As I said before, it is a niche camera – you have to know why you are buying it and for what you intend to use it. If street photography isn’t your genre of choice, the x100s probably isn’t the best camera for you. I have to admit that I am not an avid street shooter, and sometimes all I wanted was to be closer to my subject (I did some cropping in a few pictures). The RAF (Fuji RAW) files are another aspect that really impressed me. The dynamic range is huge and the amount of detail you can recover in both the shadows and highlights is stunning. I rarely work with such good RAW files coming from a camera like this one. You can really see the quality of the X-Trans sensor. High ISO images have little noise and an overall filmic “look” that is quite pleasant to the eye.

See more oictures on www.bestmirrorlesscamerareviews.com

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Fujifilm X-series studio comparisons updated with new ACR 7.4
raw process | Digital Photography Review

Following the recent public release of Adobe Camera Raw 7.4, we’ve updated our studio comparison database with new raw conversions of files from the Fujifilm X-Pro 1, X-E1 and X100S. We’ve been using the release candidate version of ACR 7.4 for some time, which contained significant improvements to Adobe’s treatment of files from Fujifilm’s X-Trans sensors. The official public release version of ACR 7.4 brings some further (very minor) tweaks. Follow the links below to the studio comparison pages in our X-Pro 1 and X-E1 reviews, and X100S preview, now with final ACR 7.4 raw conversions.

See on www.dpreview.com

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