If you have read my Fujifilm X-Pro1 review (which, by now, you should have), you’ll know that I was very impressed. So going into this review, and knowing what I knew of the camera, I was somewhat sceptical of the X-E1 living up to my demands. (SPOILER ALERT!) Sadly, I have to confess that my fears were not completely unfounded. In short, the X-E1 is not the camera for me. I’d rather just pony-up the extra $400 to get the X-Pro1. To me, the X-E1 is missing of bit of the magic that the X-Pro1 has. While a little quirky, the X-Pro1 is a splendid camera to use. The saving-grace of the X-Pro1 is its brilliant hybrid viewfinder. It makes every other minor quibble…well, minor. But, without the hybrid viewfinder, I found the overall experience of the X-E1 less to my liking……
While I might not love the X-E1 like I do the X-Pro1, it’s hard not to at least like it. After all, it performs like a champ, uses the same great range of Fujinon XF lenses as the X-Pro1, is small and light-weight, and looks like a million bucks! For some people, I think the X-E1 is probably the perfect compromise It has most of the same professional features as the X-Pro1, but is a smaller, lighter, more consumer-friendly package, and would certainly be a welcome gift by any photo enthusiast…..
See more pictures on www.jrbernstein.com
A little blog about shooting Mixed light set ups with the Fuji X-Pro
It seems to be that most people first looked at the Fuji X -Series cameras as street style cameras or reportage cameras. At least this might of been how they were first marketed. It was quickly very evident that the camera system was more than capable for much more. A fashion photographers dream is a quick, simple, stripped down camera that packs a punch. Super sharp and super punchy. Shooting natural light is a lot of fun with these cameras as it does let you travel with smaller kit bags and encourages freedom and movement. Being able to use the “photographers eye” to work with natural light can be super rewarding.
For my work, I love to create a mix of the two. As much as I love the lighting styles of people like Joey L and Damien Lovegrove. I am trying to work out what my lighting style still is. Maybe one day I might work it out !! The Fuji works great in the studio, on location and a mix of the two. Which is what I like to to.. Using speed lights, mixing them with naturally created light and additive lighting styles is just so much fun. Playing about with light can be very rewarding. When syncing the X-Pro, you have a number of options. It is great having the back up Sync port for a cable, but I use the Pocketwizard triggers. I do find that keeping the shutter around 1/60th of a second works well compared to the 1/125th that most people would be used to with a DSLR. Also.. when in the studio or using strobe lighting, I tend to go for the 18-55 zoom lens for some reason over the faster primes. I think this is the idea that if I don’t need a fast lens I might as well have the OS lens or the chance to zoom. It would be nice to have the X-Pro shoot using some kind of tethering to Lightroom or Capture one though, maybe some day !! The other thing that would be nice, which I am sure they will change for the next iteration of the X-Pro is to have the screen show the exposure rather than balance the LCD and only leave you to gauge exposure using the +/- meter. Trying to balance out all your tones can be hard, and shooting with colour filter or grad filters is not much fun either. Maybe also a dedicated X- Sync mode would be nice.. Kinda something like Pentax have. I am a big fan of the Pentax shooting modes…..
See more pictures on www.davepiper.org.uk
I’ve been planning to do a spring themed editorial shoot with Ali Tate at Milk Management for a while now, but due to London’s current awful weather conditions we have been holding off a little; however last weekend we decided to take a leap of faith and head down to Columbia Road Flower Market with the Fuji X pro 1 in hand…it took all of 15 mintes to discover that it was just way to cold to either conceive of an on location shoot and get a spring like feel. So using our noodle we decided to purchase a few flowers from the market and head back to the studio…Despite the cold it was still light so I managed to get all the shots using purely natural light from my patio doors with the Fujinon XF 35mm lens open wide at F1.4. See the results below…..
The small island of Fuerteventura is just off the coast of Africa and while it was snowing in the UK we basked in 26º sunshine. This is just the second time I’ve shot with Carla so I arranged a recce and a practice shoot the day before the workshop. I had done a provisional recce of the island and a shoot with my mate and fellow tutor Martin Hill at the same time in 2012. So we knew it was going to be amazing. This recce with Carla was just to refresh my memory and check that everything was still okay. Together we mapped out our shoot locations, decided on the styling for each zone and planned the lighting set ups…..
See on www.prophotonut.com
Late Night shoot with the effortlessly stunning Chloe-Jasmine Whichello featuring Lingerie from Fred & Ginger, Dresses are by the lovely Claudette Joseph.
As this was a very unplanned shoot, in fact zero planning whatsoever, Chloe-Jasmine found ourselves shooting one evening as I still had the Lingerie with me from a shoot the day before. The Fuji X-Pro always is with me and it was lucky that I also had my Nano Lighting with me also. Totally loved how well it all came out in the end!
We thought we would try something a little ‘Newton’ ish…
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I didn’t have a videographer for today’s shoot but I captured some clips during the shoot and shot a little intro, just to show you my set up for the shoot. Hope you enjoy !
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The pictures in this post were shot on my recent ‘Film Noir’ workshop in Northampton. I’ve been researching the genre for some 4 months and I was generally unimpressed by the lack of great reference images on Google. It was upon this discovery that I knew I was onto something. The Wikipedia entry for Film noir is “…a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasise cynical attitudes and sexual motivations.” Hollywood’s classical Film Noir period is generally regarded as extending from the early 1940s to the late 1950s however it often depicted scenes from just after the great depression of 1929 – 1933. I’ve been shooting with a classic Hollywood style since I completed my lighting director training at the BBC way back in 1992. But is has only been since 2008 that I’ve integrated this style of photography into my lighting and portraiture workshops. The vintage style has been the trigger for this resurgence of interest. I’m not a fan of vintage with Instagram looks or altered colours, however I do predict that pure monochrome Hollywood style portraits like those crafted by Studio Harcourt in Paris will be a future product genre to line the pockets of professional studio based photographers. I’m often asked what makes a portrait ‘Hollywood’ in style? My answer is the light sources and lighting in general. Vintage Hollywood also needs appropriate hair, make up and fashion styling to complete the look. There is a new genre opportunity that takes classic Hollywood lighting and fuses it with modern fashion styles like the exciting emerging SteamPunk movement. What makes this Hollywood lighting special is the use of traditional spotlights with fresnel lenses and barn doors. These luminaries produce crisp hard light that is controllable using a flood/ spot system and by shaping of the barn doors. That sums up pretty much everything you can’t do with studio flash without expensive fresnel adaptors.
The great news with fresnel lensed lighting is it has come of age and is now more convenient and better value than ever before. Arri, 150, 300 and 650 fresnel spotlights cost less than Nikon or Canon Speedlights and even the powerful daylight balanced units from Lupolux are a comparable price, pound for Lumen. The Lupolux spotlights use HMI or LED sources, are cool running, can work off batteries or inverters and produce enough light to use sensible shutter speeds for hand held shooting. This innovation is exciting for stills photographers because we can tap into the kind of lighting that was the reserve of film crews with mega budgets. The numbers in the Lupolux range of lights refer to their equivalent power when compared to tungsten spotlights. All the Lupolux units emit a cool pure daylight balanced light of between 5200k and 5600k depending upon the light. The Lowel and the Arris are warm tungsten balanced lights of 2950k and 3100k respectively and are used primarily after dark when tungsten room lighting becomes the principal light source of the set.
Model/ actress: Chloe-Jasmine Whichello
Makeup and hair: Claudia Lucia Spoto
Styling: Chloe-Jasmine Whichello, Lisa Keating and Damien Lovegrove
Location: Pipwell Hall, Northamptonshire
Camera kit: Fujifilm X-Pro1 with 18-55mm OIS f/2.8-4 zoom and 35mm f/1.4 lenses.
Filters: Tiffen Black Pro Mist ¼ on all pictures.
Lights: Arri 150 and Arri 300 junior spotlights. A Lowel iD battery light with lithium power supply. Lupolux DayLED 650 and 1000 spotlights. Lupolux HMI 800 and 1200 Spotlights. …..
See more pictures on www.prophotonut.com
Yesterday I was up before the sun to shoot a music video for a young folk singer/songwriter ‘Issy Ferris’. I serendipitously heard her song ‘My Treasure’ on youtube and knew instantly I HAD to make a music video for it. A lot of emails and production later I found myself on-set at dawn in the beautiful Warwickshire countryside ready to film and photograph this young rising star. I kept the Fuji X-Pro1 in my pocket throughout the day and recorded what was happening on my set! I hope you like the photos as much as I enjoyed the experience. Now this image has impressed me, not only because Issy is stunning and the light is beautiful but because the file is seriously impressive. This single picture has given me massive confidence in the Fuji X-Pro1. The file is of high enough quality to deliver to a client, with a size of 47.5mb processed with Capture One, its not the biggest but for a small camera it certainly is good. The sharpness in the eyes is great, recently I have been struggling with focus roaming the streets, but here with ample daylight and a bit of time its lovely and sharp and didn’t struggle to find focus. I chose not to use the Fuji for the press shots on this shoot but now I know I could with confidence should I need to. If I was doing a head shot session or some portraits the X-Pro1 would be the perfect kit, light, portable and very capable as long as you are able!! This backstage portrait was shot with a 18mm lens, I adjusted the perspective slightly in Photoshop to combat the wide angle. I can’t wait to shoot some portraits with the 35mm Fujinon lens, it’s on the shopping list! Would I swap my Canon Kit for the X-Pro1 kit?? NO…. I find the X-Pro1 to be the perfect camera to have in your kit as a backup/2nd/3rd/4th? camera or for situations you need subtlety. There are definitely situations where the X-Pro1 is an advantage. I will be shooting my sister’s wedding in 2 weeks solely on the Fuji so keep an eye out for that post, I believe in that situation it will be the perfect camera for me to capture some magic moments. Now lets have a look at my behind the scenes images. I must comment on how professional Issy was for a 16 year old. Even running through mud barefoot on a freezing February day! ……
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I shot all of these 33 pictures using the Fujifilm X-Pro1 with the 18-55mm zoom lens and a Tiffen Black Pro Mist 1/8th filter attached. One camera, one lens and up to two lights at any time for a simple yet stylish shoot. I had 5 delegates with me and we shot all day in the sumptuous Hilton Hotel in Manchester. We were in the Cloud 23 bar all morning and then after a delightful lunch we moved to the corridors and reception areas for the afternoon shoot.
Dresses: Lisa Keating
Makeup and hair styling: Emma MacKenzie
Model: Carla Monaco
See more pictures on www.prophotonut.com