XF35mmF2 was announced and released prior to X-Pro2, but the product planning took place concurrently. The fact is, the product planner of X-Pro2 and XF35mmF2 is the same person. Furthermore, the product designer is also the same person. Here is the „Design spec sheet“ for the product planning of X-Pro2. You can see that the XF35mmF2 was always attached to X-Pro2. Likewise in the planning sheet of XF35mmF2, the X-Pro2 was dominantly present. Just as you figure it out, X-Pro2 and XF35mmF2 were planned and developed to be the best match for each other. Up until the announcement of X-Pro2, we have been asked on numerous occasion, „When will the X-Pro1’s successor come out?“ And we have replied „When we see an advancement in all aspect.“ The answer did not only mean the sensor, processor, finder, and etc., but also a best matching standard prime lens…..
Designed specifically for FUJIFILM X70* to achieve premium image quality comparable to that of the original lens even when wide open at F2.8. Does not affect the minimum working distance in macro photography.
- Using the same design as FUJIFILM X70 lenses‘ barrel (color, surface treatment, material) to offer a premium texture consistent with the looks of the camera body.
- Does not require an adapter ring to fit the conversion lens…..
Sometimes you collaborations between camera bag companies and camera manufacturers (like Leica and ONA) and this time around we’re seeing just time. Fujifilm and Domke are partnering to create new editions of two of their camera bags. The Domke F-5XB and the F-803 are receiving a special refresh for these reasons with special Fujifilm X series branding on the bags. The branding is subtle and sticks with Domke’s overall low profile look. The bags have waxed cotton canvas and leather accents. They come in a RuggedWear sand color and are available in a 10 inch and 13.5 inch variety…….
The new Film Simulation „ACROS“ has a good reputation, a real good one. We’ve heard people say they would buy the camera just for ACROS alone. We are flattered to hear such comment, but X-Pro2 is too good of a camera to only take monochrome pictures. There are also PROVIA and Velvia in addition to ACROS and B&W. Let’s also not forget about ASTIA, PRO Neg. Hi, PRO Neg. Std. and everyone’s favorite CLASSIC CHROME. These color film simulations also have evolved with the X-Pro2. One of the evolution is the toughness against color supersaturation. All color film simulations saw improvement in the regard, and it is particularly noticeable in Velvia. That vivid Velvia color is still maintained, but the change in color is more expressive with the new algorithm. You can say that it has more „depth“……
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……
It’s been exactly a year ago, when these photographs were taken. Sometimes I wonder, why it takes me such a long time to share them. I think it’s the combination of procrastination and being lazy. It’s not that I don’t want to share, or think these are bad images…. I mean I wouldn’t be sharing them at all if I thought they were bad. Just that I have a huge back log of images that just sitting in a dropbox folder, all dusted and almost forgotten. It seems that I must be taking too many images :) I think it’s also a little bit of a memory lane. Going through the old images and think about the times they were taken. Funny thing is, I remember exactly what I was doing at that time. What me and Kasia were talking about. Yet I can’t remember what I did last week. Funny 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? …….