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
Da wir auf Hochzeiten selten im Studio zu finden sind haben wir mit der Fuji x100s und der Fuji X-E1 Lutz Graichen von Windflüchter Surfboards besucht um etwas realere Bedingungen für einen Test zu haben als Schärfetafeln oder Stilleben. Der studierte Sportwissenschaftler baut seit 2008 in Rostock an der Ostseeküste Windsurfboards unter dem Namen Windflüchter. Und so wie sich die Form eines Windflüchters, eines Baumes dessen Wuchsform stark durch die Winde an der Küste beeinflusst wird, passt Lutz seine Boards nach den Wünschen seiner Kunden an. Ausgeglichenheit, Liebe zum Detail, Präzision und die Leidenschaft für das Handwerk sind allgegenwärtig wenn man bei ihm in der Werkstatt ist. Allerdings erwarten die Kameras in seiner Werkstatt auch flackernde Neonröhren und viel Staub. Nicht gerade das wir normalerweise auf Hochzeiten vorfinden, aber ein recht extremer Test für die kleinen Fujis da sie keine wirkliche Versiegelung haben. Zwar hat meine X-E1 auch schon den einen oder anderen Regen überstanden, aber wer weiß. Am meisten war ich auf den neuen Autofokus und natürlich das “digitale Schnittbild” im manuellen Fokus gespannt. Soviel sei gesagt: Ja, der Autofokus der x100s ist schneller als der, der X-E1, aber unter erschwerten Bedingungen noch nicht mit einer DSLR Vergleichbar. Vielleicht in der nächsten Generation von Fuji Kameras. Intelligent Hybrid AF nennt Fuji die neue Methode zur “Scharfstellung” und meint damit eine Mischung aus “TTL Phase detection” und “TTL contrast”. Die Bewegungen von Lutz beim Shapen des Boards einzufangen ging der kleinen Fuji dann aber doch nicht so einfach von der Hand wie erhofft. Sicher kann das den schlechten Lichtverhältnissen geschuldet sein. Ein weiterer Test mit spielenden Kindern in der Sonne wäre wohl notwendig bevor wir die kleine mit dem neuen 16.3 MP X-Trans CMOS II Sensor zu einer Hochzeit ausführen. Wenn man die Ruhe des Moments nutzt sitzt der Fokus natürlich perfekt, keine Frage. Zeit also das Fokus Peaking und das “digitale Schnittbild” im manuellen Fokus zu testen. Einer der vielen Punkte auf der Wunschliste der Fuji Nutzer ist das Fokus Peaking und siehe da, Fuji hat die Gebete erhört. Zumindest teilweise. Denn wenn wir mal ehrlich sind ist ein Fokus Peaking mit weißen Kontrastkanten dann doch im realen Leben weniger hilfreich als erhofft. Grün oder Rot wären wohl die bessere Wahl gewesen. Wer weiß, vielleicht liefert Fuji hier per Firmware noch nach. Eine neue Welt eröffnet das momentan “weltweit erste Fokussystem, das eine sensorbasierte Phasenerkennung nutzt” – Zitat Fuji. Soll heißen, wenn die Kanten der dargestellten Bildhälften aufeinander liegen, ist der entsprechende Bereich scharf. Anfangs ist es etwas ungewohnt, aber es funktioniert perfekt wenn man sich erst Mal daran gewöhnt hat. Im Direkten Vergleich der Schärfe zwischen dem 23mm f2 der x100s und dem XF-35mm f1.4 an der X-E1 verliert das fest an der x100s angebrachte Objektiv. Nichts desto trotz ist die Kombination der 35mm äquivalenten Kleinbild Brennweite am X-Trans Sensor eine Wucht bedenkt man das Kamera und Objektiv locker in die Hosentasche passen. Und darin besteht momentan auch der Vorteil gegenüber der X-E1, die vom Body her eine ähnliche Größe aufweist, aber durch die wechselbaren Objektive eben wesentlich “sperriger” daherkommt. Hier will Fuji noch dieses Jahr mit dem 27mm f2.8 Pancake eine Hosentaschen Variante anbieten. Das Rauschverhalten haben wir ja schon in anderen Blog Einträgen bis ISO 6400 gezeigt. Und wer sich über Randunschärfen unterhalten möchte kann sich auch unseren Vergleichstest ansehen. Die folgenden Bilder sind alle mit ISOs zwischen 1600 und 2500 bei Aperture Priority aufgenommen. Die Fuji x100s musste dabei bei komplett geöffneter Blende, also f2 belichten. Die X-E1 konnte mit dem XF-35mm f1.4 auf f2 abblenden. Ein Bild mit ISO6400 hat sich eingeschlichen. Wer’s findet darf es behalten. Eines muss noch zu den Farben gesagt werden. Beide Fuji Kameras haben es geschafft bei den schlechten Lichtverhältnissen, ständig wechselnden Farbtemperaturen im und automatischem Weißabgleich perfekte Farben zu generieren. Timos betagte 5DMKII hatte da sichtlich ihre Probleme und man konnte von 3 Bildern hatten alle 3 einen anderen Weißabgleich im Auto WB Modus……
See on www.jungetrifftmaedchen.de
I’ve had my X-Pro1 for about five months now, and I’d like to think I’ve put it to good use. Up until recently, all I had was the 35mm lens, which I’m very fond of. I’ve been wanting a wider lens for a while, but I was torn between Fuji’s 18mm and the 14mm. The difference in focal length was only one of the reasons I chose the XF 14mm 2.8 R. I first put it to use on my trip to Trinidad & Tobago. My very first shots were taken at Reagan National Airport, but I used it quite a bit throughout the whole trip. When my friends and I got to the beach, I had the 14mm locked in. I wasn’t too pleased with a lot of the shots I got, but one of the main reasons for that was the overcast weather. At first, I wasn’t sure whether or not the lens or the weather were to blame, but now I’m sure it was the latter. I took many other pictures in Trinidad, mostly on the beach. Unfortunately, I didn’t do any street photography on the entire trip, but when we got the beach in Tobago, I put the 14mm to the test once again. Unfortunately, the weather wasn’t cooperating as much as I would have liked, but I still think I got some good shots. The 14mm was often my lens of choice during the trip, not because I preferred it to the 35mm, but because I wanted to put it to the test as much as possible. But while I was shooting with it, I sometimes found myself wishing I had the other lens on. The opposite wasn’t true as often. Don’t get me wrong, the 14mm is a great lens, but the 35mm has it beat when it comes to image quality. The larger aperture surely has something to do with it, but that can’t be all. I’m no technical expert when it comes to lenses – I just go by what I see. The shot below was taken a little past 3am. It’s an 8.5 second exposure that was shot wide open at 2.8. I was trying to shoot the moon, and my friends’ shadows got in the way. When we saw the image in the viewfinder, we decided to position ourselves in the shot. The results were pretty cool……..
- nice and wide with very little distortion
- great bokeh when shooting objects up close
- distance and depth of field indicator
- smooth manual focus ring
- superior image quality
- solid build and feel
- great lens hood
- price $900
- somewhat heavy
- outside gathers dust very easily
- not always as sharp as one would like
- sometimes yields problems with blown highlights and shadows
This is a great lens, although I’m still not sure that I wouldn’t have been better off with the 18mm. I’m all about the image quality, and it seems the 14mm might lag slightly behind in that regard. But the extra width and other features make up for the slight difference in sharpness between the two lenses. The images shot with the 14mm look great and they’re virtually free of distortion. Manual focusing is very smooth, and the sliding ring that reveals a distance and depth-of-field indicator is a very useful feature. The 35mm is still my preferred lens of the two, and although it is my choice for a walk-around lens, I will be using the 14mm a lot more in the weeks and months ahead. I’m looking forward to seeing what it can do with sweeping landscapes and on the streets. Of course I’ll be sharing the results. I don’t think I’ll be buying anymore lenses anytime soon.
See more on blog.karimhaddad.com
Post process: Fuji RAW (RAF) + Adobe Lightroom 4 + VSCO PX-70 and PX-680 film simulation + Adobe photoshop for architecture/Barrel Distortion for 14mm lens.
See more pictures on faranstudio.com
The other day I had to make a call I never wanted to have to make. At 28 I needed to see a chiropractor – some would call it the photographers curse, a curse that unfortunately goes with the territory. Lugging heavy camera gear around, usually with it hanging from the neck, waist or one shoulder eventually takes its toll. This realisation along with some other vague and equally suspicious excuses was one of the reasons I’d been interested getting myself one of Fujifilm’s X-Series cameras – the thought of having a camera that was small and light and could maybe even supplement my heavy old SLR was appealing. I knew they would probably never replace my SLR for work but as everyday cameras they seemed to offer a good compromise. In 2011 I bought the Fujifilm x100, a camera I loved to hate, a camera that for me was so nearly there in terms of what I personally was after but somehow not quite. It looked fantastic (for some reason more of an appeal to me than it really should be) and contained pretty much my perfect carry around set-up; packing an equivalent of 35mm f/2 lens. It was almost too silent when it took a photo (to the point where at times I wasn’t even sure it had taken) but is small size and discretion were a big plus for me, the whole thing could slip in my pocket and yet it felt good in the hand with a nice weight. The whole manual shutter and aperture operation were a total winner for me. I think Fuji had finally realised that most camera manufacturers seemed to have failed to realise, photographers are creatures of habit, we are by and large dinosaurs, and we like what we know, and what we know works. So many cameras that come on to the market aren’t aimed at dinosaurs, they are aimed at the mass consumer. Manual shutter dials and aperture rings disappeared from all but ‘pro’ cameras because they seemed archaic. This may well be the case but equally they were a tried and tested function that had been the norm for decades, and yet within a matter of years digital cameras had consigned them to the graveyard, much to the annoyance of the dinosaurs. Fuji it seems finally cottoned onto this and their x-series cameras are evidence of that – they’re a nod to a system that is tried and tested. Nevertheless with the x100 they still managed to get a few things wrong. They may have designed the hardware well but the internals, the menu system, was a generally nonsensical and the camera had a habit of not responding particularly fast, it was sluggish, not much but just enough, and it acted at time likes a despondent child. Luckily Fuji were a company that actually listened to its customers and the firmware updates did start to tackle these problems…….
See more pictures on www.focus52.blogspot.co.uk
Since a few month I use a Fuji XPRO1 (before I used a Leica) and I opended this folio – Romain
See more pictures on www.diaryandmemories.com
Late last year, I was fortunate to get hold of a Fuji X Pro 1 from Fuji UK for a week and write a review based on my experiences with it. The review was in 2 parts and you can read Part 1 here and Part 2 here. I was so impressed, I fell in love with it, well, not love, but you know what I mean..hopefully! Being so busy in the following weeks, I finally settled down to buy one and heard news of the imminent arrival of the X100s. I decided to hang fire on the X Pro and wait for the X100s. As soon as I could afford it, I sent off for one. After my time with the X Pro 1, it was fairly easy to “get into” using it. However, I simply wasn’t expecting or prepared for what I was about to discover. I used it around the house for the first couple of days and just couldn’t put it down. I ran the battery flat several times as it was seemingly attached to me! We had a wedding coming up and I decided I loved the X100s so much, I would take it along and see if I could use it confidently in the pressured environment of a full day wedding shoot. Normally, I use a Nikon D3s and mainly a 24-70 2.8 which I l.o.v.e! However, it is heavy, obvious and, well, just big! So my thoughts were…would I be confident to use the X100s over the Nikon? Would it suit our documentary style of photography? What would the reaction of the couple and guests be? Would I feel “less” professional? Would it help with my “tennis/ photographers elbow”??? Anyone other photographers suffer with that? Mine is agony and using the X100s is a blessed relief…..
So, here are my answers, then some images with all the settings for all those who want to pixel peep. As soon as I started shooting the groom prep images, it was hard to stop. it just felt so natural, so “right” and it really did make me feel less obvious. It certainly suits our style of photography, being almost exclusive documentary. The couple didn’t really notice it to be honest and it was other guests and “uncle Bobs” who seemed the most interested. In fact, one guest asked me”that’s a bit of a comedown isn’t it? Not a pro’s camera is it?” I just laughed it off and said something about paintbrushes and paper and being able to paint….
I couldn’t care less really what people may think or say, as long as the clients trust us to produce emotional and creative documentary wedding photography then a camera is just a tool for me to do that, and the Fuji X100s is a pretty good tool. Is it perfect? Well, have you ever got that “perfect” shot? Is that your fault or the camera’s? Oh yea, it will certainly help relieve the pain in the elbow, though I’m not sure it will part of a prescription on the NHS any time soon…imagine that!! It is a joy to use. I can’t help but agree with the reviews by Zack Arias and Bert Stephani…this is the best camera I have used. It’s small, feels right, looks right, produces stunning images and feels like an extension of my eye/ mind/ heart/ soul. It’s the best, in my opinion, not because of one outright performance factor, but because of the sum of the parts. It really just gets out of the way and allows you to shoot. I had a short street photography trip a couple of days after it arrived and you can see the results on my personal project site A Simple Mind. So much has been the impact so that it has made me think about what my gear bag may contain in the next couple of years. At the moment, I can honestly see us covering complete weddings with a couple of these and maybe an X Pro 1, which I could get for less than the price of, say, a new Nikon D4. The summer is going to go a long way to help making that decision as I use it more and more at weddings…as I’m writing this down, I’m finding it hard to believe I’m saying these things, but there you go. Sometimes, one just knows when something is right, and, for me, the X100s is simply that, right. We’ll see what happens over the coming weeks and months…..
See more pictures on ianmacmichaelphotography.blogspot.co.uk