I’ve been very lazy/slow in processing photos from my trips, but I have decided it is time to get back to the basics. Early April this year, I decided to embark in one of my mountaineering trips, this time to climb Island Peak (6180m) in Nepal. I will be posting photos from the trek and from the summit push in the coming week, but in the meantime, I am posting some of my personal favourite shots of the streets of Thamel, the iconic neighbourhood of Kathmandu. All the photos were taken with my X-Pro1 and either my 35/1.4 or my 18/2.0 Fujinon lenses. The last time I went mountaineering, I took my 5D and 35L lenses – what a difference it makes, not to the extra weight of a DSLR! Anyway, enough of this and on to the photos. I hope you enjoy them as much as I did taking them…..
See more pictures on www.stephangeyer.com
There’s a lot of talk these days, both good and bad, about the Fujifilm X Series cameras: the X-Pro1 and the X-E1. I’ve been using the X-Pro1 for exactly one year now. Back when I first gave my initial impressions I wasn’t sure how I would feel about this camera long term. Well, the jury is out and the verdict is I love it… a lot! So much so, I took it for a month of shooting, an assignment in Africa for The Kilgoris Project then to India for my latest Rajasthan Photo workshop. In Africa I used both my X-Pro1 and my Canon 5D MKIII. Why? Fujifilm just doesn’t have the lenses for this little guy to go on Safari. But, then even my 70-200 mm with a 2x converter didn’t really deliver on the safari either. The main reason for being in Africa was The Kilgoris Project. I shot this assignment completely with the X-Pro1 and only two lenses: the Fujinon XF35mmF1.4 R and the XF18mmF2 R. After Africa I went to India to lead my workshop where I shot exclusively the X-Pro1. The main difference in India was I was able to borrow Piet Van den Eynde’s new XF14mmF2.8 R and this helped with any frustration I was having not being able to shoot wide enough. Remember, the X-Pro1 and the X-E1 are both cropped APS-C sensors and thus a 18 mm is a 27 mm in a 35mm equivalent. After shooting for a four weeks, two of those weeks with Piet shooting his X-Pro1 and X-E1 and a slew of lenses, I thought it would be a great idea to record Piet and our impressions about the camera, it’s lenses and other musings. I also thought you might like to see a gallery of 40 plus images we shot with these camera over the two weeks in India….
Hear the podcast on www.thedigitaltrekker.com
They come to tame the dragon, deep in the heart of its den. I follow them into a half-light I’ve come to associate with ceremonial spaces; this is a temple to motor oil, dust and gasoline. The machine is massive, built to plow through dense northern trails thick with freshly fallen snow. But today it refuses to budge. Its steel frame shudders in fits and hiccups but the motor won’t start; such a capricious old beast. Get the tools out. Sharpen those swords. Screw this, loosen that. I’m circling & lurking as the ritual takes place. It’s all very quiet, the silence only broken by muffled questions & puzzlement. There’s no banter, just slow, rational work: from one to two, then two to three. Connect the dots. Solve the puzzle. Suddenly, without warning, the Thing roars. Exit the warrior priests…..
See more pictures on www.kagecollective.com
London photographer Dave Kai-Piper, who is an one of the more active members of the Fstoppers Facebook group took off to explore the United States this summer with his Fuji X-Pro1. He traveled super light on his journey and rarely used anything more than natural light to journal his expedition. I love his series that he has slowly been revealing through our FB group so I caught up with him over chat to share some of his work with you guys. Click the jump for photos and a word from Dave. Enjoy!
“The shot in the subway is particularly fun. Shot under under Times Square NYC, this just uses the natural light from the Subway. Being able to really open up the lens to 1.4 /2.8 can really help you work with available light, Playing about with your white balance can also help at times to create interesting lighting. As I think over the gallery, 90% of the images are shot just with natural light. I guess this is mostly due to the shooting style of the X-Pro 1. Most of the time when I am travelling, there is just no time to set up lights or space to carry them. Also, I found that it is quite refreshing to just leave all the kit behind and travel super light. The photograph of Stephanie in the swimming pool was shot using some fill light from an Orbis ringflash. Using the same set up as the cover shot for Photo Professional last year, most of the shot is natural light with a tiny amount of fill being provided from the flash. Having the extra light from the flash does help add a little gloss and shine also….
See more pictures on fstoppers.com
My 14mm/2.8 lens arrived just before the start of King Norodom Sihanouk’s cremation ceremony and I was finally able to capture beyond what the 18mm lens could see.
The 14mm has superb build quality and the best feature would be the pull MF ring and seeing the DOF scale. Aperture click stops were a little too smooth and easily moved accidentally though.
This lens will prove to be a top-performer in anyone’s travel bag and I can’t wait for the 55-200mm to complete the kit later this year.
All of the photographs in this link are with the X-Pro 1 with two from the OM-D and one from the 5DM2
See great pictures on 500px.com
Last week in Omotesando Hills, near Harajuku Station in Tokyo, I saw an exhibition of photographs produced by some quite famous photographers (“heavyweights”) using Fujifilm X-Series cameras.
And the photographers certainly are heavyweights – namely, William Eggleston, Martin Parr, Nan Goldin, Stephen Shore, Ryan McGinley and Terry Richardson.
The exhibition itself, produced by Fujifilm (& some co-sponsors), was called “⎡Photography⎦ Fine Art Photographer x Fujifilm X Series.” It will open in New York at the Aperture Gallery (opening reception tomorrow evening), where it is simply called Photography. I must admit that I felt somewhat ambivalent about the whole affair as I was travelling into Tokyo. Upon learning of the show, my first thought was “cool!” Later however, I began to feel sceptical. Clearly, there was a marketing element to this whole production, and I started to wonder just how much I would be seeing of “art” and how much would be “images as advertising?”
I could envisage several possibilities. Foremost in my mind was the possibility that it might simply be a cold and cynical ploy from a marketing department.
Happily however, that was not the case. Clearly, all involved are benefiting from this. The photographers (presumably) get access to free equipment (and possibly more), and both sides of the party get exposure. But the whole deal had more of a mutual “this is exciting” feel to it, rather than cold calculation.
I was quite taken by some of the photographs, and the whole day’s adventure was well worth the effort. So much so, that I want to talk more about the photographs themselves in a separate post soon. Here’s some overview shots of the show (click on them to see larger).
See more pictures on fujifilmxseries.wordpress.com
Lady in Ray – Black and White Image by Rinzi Ruiz
Visit his website at: http://www.rinziruizphotography.com/
See more pictures on streetzen.tumblr.com
Just before Christmas I spend a long weekend in London, the main reason was to visit as many photographic exhibitions as possible. Friday Day 1 I spent looking around the victoria and albert museum where they have the Light from the Middle East: New Photography exhibition on. Plus all the other exhibits in the victoria and albert museum are well worth seeing. After that I had time to look around the natural history museum, a museum I haven’t been to since I was at school. Saturday Day 2 had a delayed start due to 3:30am late night in Camden at the Underworld with some great friends, but I did manage to get to The Tate Modern where they had a William Klein and Daido Moriyama exhibition. Sunday Day 3 was just spent walking around London doing the bit of Christmas street photography using my Fuji x pro 1 and a 18mm F2 lens, here are a few images from my three day London trip, shame the weather was so bad but I did get some great skys, well it is England in December! I would encourage anybody to spend a day or two in London looking around the Art galleries and Museums, most are free to enter.
See more pictures on blog.peterhearlphotography.co.uk
I’ve read a few reviews of the X-Pro1 dismissing its use in the studio, confining it purely to the realm of event and documentary photography. Obviously this a genre at which it excels and the core of the system’s philosophy. But as most of you know these cameras have now become my main system, not merely a fun add-on. Which means they ARE used for studio jobs. All kinds of studio jobs.
I recently did a shoot for Serdy Media, a production company which owns several specialized TV stations in Quebec — namely Zeste and Évasion, the french food and travel channels. This was a studio product shoot for their new online boutiques. After thoroughly testing the setup, I decided to again forego my Nikon kit and do the entire session using only the X-Pro1 and the 35mm Fujinon XF f/1.4 lens. It worked beautifully.
The X-Pro1 actually has several things going for it for this type of work:
- The ability to use the rear LCD for live view without changing how you usually work with the camera.
- The two zoom levels with built-in sharpening to pinpoint the focus.
- Large focus point coverage.
- Horizon line and framing guides.
- The ability to switch the same lens to macro mode for detail shots.
- No mirror to deal with. Combined with the timer function this is as stable as it gets.
All of this makes for a very easy going experience and allows for extremely precise work. The two points of contention when it comes to shooting this camera for studio and/or flash photography are 1) sync speed and 2) tethering. The sync speed obviously wasn’t an issue in this case. As for tethering, I’ve discussed my solution in another post already: an Eye-Fi Pro X2 card. To be honest this was definitely the weakest link in the chain, and I was very fortunate to work with a client who didn’t mind the glacial speed at which photos were getting transferred to the computer. But I didn’t like it. I made jokes about it but it bugged the hell out of me the entire time. I’m glad further testing has revealed an ad-hoc network to be exponentially faster. I won’t get caught with this problem again.
See full article and more pictures on www.laroquephoto.com
Bolivia, Santa Cruz de la Sierra, December 2011. The camera stares at, grins at me lying on my hostel bed in tropical heat–I shoot angry glares back. The camera has been kicking my butt every day for some weeks and I hate it right now. Despise photography. But I need to pick it up and go create something. Need an outlet. A dark storm hovers in my mind, I am depressed, all purpose seems lost and recent events including a suicide made me fall in a black hole devoid of all light. I walk the world feeling completely disconnected from human life. Despising myself and my existence. As always, light this bright casts some very dark shadows. Despite an abundance of sun light in tropical Santa Cruz I have been in the shadows for days. I like extremes–I seek extremes. Fitting then I guess, that I am in the darkest of moods in the brightest of warm tropical weather. Get out. Walk. Standing still never worked for me. Must keep moving. Or shadows catch up. Grab the damn camera and walk, walk the streets of this hot, weird and interesting melting pot of a city. Get out of this hostel from hell. Walk, damn legs, walk. A market appears. A gigantic chaotic market bigger than any market I have seen in Asia or anywhere else. A world inside a world. No hiding here. Not a single gringo in sight anywhere. I break out the camera. Channel my darkness into looking, seeing, shooting, making images…..
Memories are funny. These words are written about a year after the images were made. And I want to return to Bolivia. Have been on my mind recently. Calls me back. It is one of the hardest places to work in that I have experienced. I was in a dark, dark place for the 10 days I was there. But it was a very interesting place filled with awesome people and places of contrast and extremes. That’s why I want to return of course. The challenge. And I need the extremes. To create. To feel alive.
See on www.flemmingbojensen.com