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………
Twenty months ago I bought a Fujifilm X-Pro 1 camera. I was so impressed by it that I also bought an X-T1. Since then I’ve hardly used the X-Pro 1, which was relegated to the status of backup camera / second body. When I started out in photography I read repeatedly that you should always have a backup body, in case your main one stops working. That could be the worst advice I’ve ever read. I can understand why pros need second bodies (it would be foolish to go on a commercial shoot without a backup of some sort) – but not only have I never had a camera go wrong, I always end up using one camera all the time, and the other one just doesn’t get used. The way digital cameras depreciate, that’s just wasted money. I did have the idea that I could use the X-T1 and X-Pro 1 in conjunction, each with a different lens, and just switch when needed. But the cameras operate so differently that it’s hard to move from one to the other. Plus, the extra body adds weight and I prefer to travel as light as possible. I thought about selling the X-Pro 1 body, but even before the X-Pro 2 was released the resale value wasn’t very high………
These days, there are a whole lot of different remote TTL flash setups on the market. Every once in a while, though, we see a product which is just a little bit different, and that certainly looks to be true of the RoboSHOOT TTL trigger for Fuji X-series cameras. In fact, we’ve already revealed one unique attribute of the RoboSHOOT in our opening paragraph: As of right now, it’s your only option for wireless TTL flash on the X-series. There are a fair few other remote flash systems out there for Fuji shooters, but they all require manual flash control. Perhaps even more impressively, though, one variant of the RoboSHOOT is also cross-brand compatible…….
Fujifilm has been a niche player for many years, producing professional quality cameras and lenses, many with unique designs such as the ranges of medium format film rangefinder cameras. Now it seems they are on a bit of a roll with their digital range, with a steadily increasing arsenal of fine cameras and lenses. This new 100-400mm extends that range to wildlife, sports and other long range applications, so let’s see how it performs and handles in practice. The new Fujinon lens is reasonably compact for its focal length range, equivalent to 152-609mm in 35mm-format terms. This is an amazing range on APS-C format and gives us a very powerful telephoto zoom, that nonetheless balances very well using the Fujifilm X-Pro2 body supplied for this review. From the front of the lens moving back to the camera body, we first have the very substantial bayonet fit lens hood, very deep and highly effective. It clicks into place easily and firmly and has a catch that has to be depressed to remove it. There is also a window provided to allow access to rotating filters such as polarisers. This is better than a removable cover, as found on some other marques, as there is no piece of plastic to lose. The filter thread is 77mm………