They stand silently, but yet menacingly above the homes they provide to. Giant creatures turned to stone as they moved between a multitude of houses. One of them alone holds a million gallons of water elevated to the birds domain. They have become part of the landscape and accepted by the occupants below. Without height there is no pressure. Without pressure there is no water. Without water there is no life. I had a fantasy more than 30 years ago that one day I would convert one of these water towers into a house and retreat from the world. It would just be H2o on stilts, me, a saxophone and a camera. I would live high in the air, away from society and shoot anyone that dared come within range of my lens. Within range of my H2OME………
I’ve been photographing weddings all over the world since 1999. Prior to that, I was shooting for the Seattle weekly papers and doing portraits. In high school, I was the yearbook photographer and developed my own film for my high school newspaper and wrote record reviews. It was only interesting to me, so I’ll skip the details. This is an article about equipment, but I take the same photographs, regardless of the camera. Hasselblad, Leica, iPhone, Holga. I will think about composition differently in it’s a square format or a panoramic format, but I’m always me. The photographer makes the photograph. Photographers should let go of fetishizing the tools used and redirect that energy into the final image. When digital started taking over around 2003, I used to be obsessed with shooting film and considered digital to be an affront to that……
We as Fujifilm users have a bit of a love hate relationship with Adobe and Lightroom. The combined asset management and image development makes for a great workflow environment, but the way Fujifilm X files are handled can be a little tear inducing at times. Previews especially take much longer to generate and read than normal Bayer Array based sensors. Even at Import, you have to wait while the tiny thumbnails load one at a time into the image preview area. If you’re Importing from a card where images have already been imported, it also takes ages for Lightroom to find the ‘Suspected Duplicates’ and show them as already imported. Other camera systems seem to zip along in comparison. Once the previews have been created on Import, everything runs the same as any other camera system……
I’m really digging what I can do with the not so heavy XF100-400 lens around town. The lens is pretty versatile from grabbing birds in flight to shooting flowers as I showed in the previous post highlighting the lens. This series is a range from XF10mm in the first one then XF16mm all the up to the end of the XF100-400 at various focal lengths. Going out to a for reaching 560mm which starts to have issues with general air pollution and haze. The 560 is reached with the 400mm and the 1.4xTC – so an X focal length of 560mm or converted to conventional 35mm this would be equal to approximately 840mm. There is a street sign sort of lower left of center which I zoom in on as we look at the high power view…….
Earlier, I reviewed the excellent Godox Ving V850 manual flash. It still is one of my favorite flashes for off-camera flash photography in general and on my Fuji system in particular. However, recently, I’ve also been working a lot with another manual system: the Cactus RF-60 flash and the Cactus V6 transceiver. As this is a manual system, it isn’t exclusive to Fuji users: almost any camera with a central firing pin on the hotshoe can use it. That’s the beauty of manual flashes: they work on every camera. In this blog post, I’ll focus on the V6 transceiver……
I am currently running Fuji X cameras alongside a Canon 5D Mk3 although I suspect this will not last for long, I feel so much more comfortable with the X-T1 and X-Pro2 and the lesser weight of the Fuji X system suits me too. With the Canon I needed the 100mm Lee Filter System but I experimented with the Seven5 on the Fuji X cameras. I have wondered for some time what I would take with me when I sold the Canon and so it seemed sensible to make a comparison of the graduated filters and weigh up the pros and cons. First step was to make a proper comparison of the extent of the graduation and see how much difference there is in the fall off; simple enough to do by placing identical strength filters from each system along side each other. The pictures tell the story quite clearly. Now what of other considerations? …….
I think it’s about time that I updated my Cotton Carrier review (and a few others, probably) since switching to the Fujifilm X-series of cameras. In January 2014 I made the ‚move to mirrorless‘ that so many other wedding & portrait photographers have done, and ended my days with Canon DSLRs as I built up an arsenal of Fujifilm X-series bodies & lenses. My reasons were simple: Firstly, the quality of the images the Fuji cameras, and their excellent XF lenses, produced were stunning! Secondly, the reduced amount of weight I had to carry was an added bonus. I began with the X-Pro1 and eventually added a pair of X-T1’s and an X100T (watch out – those wee Fuji cameras are addictive!) However, all in the garden wasn’t rosy as I discovered one major issue – for me at least……
In the last part (click here) we looked at Jpegs and Raw, the benefits of each, and why (in my opinion) you should shoot both. This time we’ll take a look at the Dynamic Range (DR) feature and it’s relationship to ISO. It can be a contentious subject.. Certainly the online forums are full of questions and debate about its function and its value. Some swear by it, others swear at it. Am I about to end that debate? Will this article once and for all answer whether or not to use it? No of course not! As with everything camera related, it’s about understanding the function, then deciding if it works for you (or not) Let’s start with a quick explanation of Dynamic Range (DR) This is the easy bit! DR (within a photographical context) is the amount of light and dark that can be captured before detail is lost. When the LIGHT detail exceeds the DR abilities of the camera (or film) the image will display only WHITE. When the DARK detail exceeds the DR abilities of the camera (or film) the image will display only BLACK……..
Often I hear photographers and reviewers remarking that a certain lens is not sharp in the corners. But is it really not sharp? Or maybe what you are seeing is the result of a curved field lens being tested against a flat subject. I wrote about curved field lenses versus flat field lenses with some illustrations on the difference here.. If you are interested, please follow the link and read it.Here is a practical example of what I mean. The image above was made using the highly touted Fujifilm 23mm f/1.4 XF lens. The lens is very sharp, even wide open and contains an aspherical element. I used it to demonstrate that, looking at the image above, one may wrongly conclude that the lens is not sharp in the corners……
I can still remember the day I heard the news about the coming Fujifilm X-Pro1. It’s four years ago but it’s still a clear memory. I could see that all I had wished for in a digital camera was in the X-Pro1. I just knew I had to have it and I wanted to be the first. My love affair with the digital Fujifilm cameras started already with the X100 in 2011. I had been looking for the perfect digital camera for almost ten years and tried a lot of different brands and models but none of them came close to my demands. I wanted a camera that would perform the image quality and handling of a professional but with the size of almost a compact camera. When the date for the release of the X-Pro1 came up I contacted my professional camera dealer ProCenter in Stockholm and told them, I need to have the first X-Pro1 that you get! I called them every day and demanded to know, when will you have the camera! So I got the first sample and I’m convinced it was the first in Sweden………