See on Scoop.it – Fuji X-Pro1
One of the things that I have found the X-Pro1 has enabled me to explore more is the possibility of a new approach to my jazz photography. Because it is so good in low light shooting at 6400iso, and because it is so unobtrusive in use, I have been able to move amongst musicians in a way that I have not felt able to do before. There is also another ‘low noise’ side of the camera, the sound of the shutter firing is so minimal that it is not like the gun shot of a DSLR. In fact, at the touch of a button, it is totally silent. Musicians concentrating in an empty auditorium can find that sound of a DSLR shutter very distracting – and recording engineers or film crews will threaten to lynch you if you are not careful! Clarinetist Evan Christopher is from New Orleans (although born in California) and is one of the best around. These are two of the images I took at sound checks/recording of his group Django a la Creole a recent concert in Southampton using the 35mm lens at 1/125th @ f1.4. The iso was 6400, and I processed the image in Lightroom 4. I find that Lightroom is great for handling the raw files from the X-Pro1, and the black and white conversions are very simple. The tone control is as good as Evan manages on the clarinet!
See on gerrywalden.wordpress.com
I’m not a PixelPeeper. seriously not. But even I noticed the amount of “watercolouring” in some X-Pro shots containing very fine details, when processing them in Lightroom 4. I achieved the best results in terms of details and sharpness with the SilkyPix software that came with the X-Pro, but wasn’t satisfied with a “2-app-workflow” consisting of SilkyPix (->16bit Tiff->) and Lightroom. This becomes a pain in the arse as soon as you have to edit more than 3 images per session. So like most of us X-Trans users, I was waiting/hoping for Adobe to improve the support for our beloved .RAF files in LR 4.2…
Officially, there was nothing changed in the updated demosaicing/processing engine. They just added the new Fujifilm X-E1 to the list of supported cameras. so actually, I was expecting to see the “same shit” even on new RAWs in the latest version of Lightroom. But I gave it another try, and took a shot of my sleeping pug and his very fine detailed coat for a single PixelPeeping-session. Even though they changed nothing (or at least claimed they haven’t), I’m quite happy right now with the results I get out of LR 4.2 when processing and handling X-Pro.RAFs just like “normal” RAW files.
See on patrickbraun.net
You can barely hear anything from the street, just a faint and distant heartbeat when the rhythm rises. Several inches of padding and a few thick doors have done the trick. It’s nice to be back here, moving amongst the amplifiers, the instruments, the suitcases and makeshift sound makers as the band experiments with grooves and various sonic realities. There are no limits, no preconceived formats. It’s a limitless canvas, crazy full of the eclectic & the odd, the screeching & the Felliniesque. Fat synth pads to rattle your bones and guitars that scream & wail. I could do this all the time. I could shoot musicians, dancers, actors in this intimate act of performance and experimentation day in, day out. I’d never get bored. Ever. I could live inside the incubator.
See on www.laroquephoto.com
Over the past two days I’ve had some time to work with the new Fujifilm X-E1. I am shooting the camera with the Fujifilm XF lenses 18mm, 35mm, & 60mm. ISO is varies from 200-2000. Here are some images from the Fujifilm XF lenses the other night for the World Trade Center memorial beams of light. They are a bit faint in the distance, above. If you’d like to see what the beams look like check my other post here –http://brandonremler.blogspot.com/2012/09/world-trade-center-twin-tower-beams.html. These are all quick jpegs.
See on brandonremler.blogspot.it
Nach dem ersten Sneak Peek aus Zürichs Nacht ist nun endlich die Serie fertig. Entstanden alles auf dem Rückweg von einem Abendessen zum Hotel. Ich ging zu Fuss, vernachlässigte das Taxi. Denn: Ich hatte meine neue Fuji X-Pro1 dabei.
Ergo hab ich mir das 35/1.4er geschnappt, Blende (meist 1.4, ab und 2.0) und ISO (meist 1.600 oder 3.200) fixiert. Der Belichtungszeit ließ ich dann mal freies Spiel. Und bevor die Schlauen um die Ecke kommen:
Ja, ich weiß, dass das nicht optimal für die Bildqualität ist. Besser wäre sowohl Blende als auch Belichtungszeit fix. Aber ich hatte gute Gründe für dieses Setup. Natürlich.
1.) So umgeht man den Quirk mit dem Auto-ISO bei X-Pro1.
2.) Ich wollte einfach mal die X-Pro1 bei hohen ISOs testen. 6.400 kannte ich schon, geht — nutze ich aber nur in Ausnahmefällen.
3.) Ich hatte 4 Spritz intus. Da denkt es sich im Dreiklang Blende — Belichtungszeit — ISO einfach nicht mehr so leicht.
See on leichtscharf.de
Balladrum Music Festival near Inverness in Scotland is a pretty interesting place and it’s full to the brim with interesting people. I was there as a musician playing last on the second stage..
There’s no fear at shooting 3200 iso with the X-Pro1! There’s also no fear shooting at wide apertures, you just simply compose and let the camera do the rest. This first shot was at f2 and 1/60 of a second. I was shooting the performers in the background playing with fire, but I found the foreground more interesting.
Dereks great black and white shots on his 35mmstreet site:
You don’t need carrots to see in the dark – you simply need a Fujifilm X-Pro 1. Hopefully the photos and story show just how this camera performs in low light when using high ISO – no need for those carrots anymore!
Motionless, beat up and lost the door stood as a gateway into a darker world. The urban rustic weathered paint was a reminder of the harsh abandoned life this building had become custom to. The distant street light shed new life on the neglected doorway. My X-Pro 1 picked up the little available light with ease. ISO 5000 had never looked so clean against a decrepit dirty background….
You don’t need carrots to see in the dark – you simply need a Fujifilm X-Pro 1. Hopefully the photos and story show just how this camera performs in low light when using high ISO – no need for those carrots anymore! The soles of my shoes were wearing thin. Darkness surrounded me, I was now in the back streets of Fremantle. Rain was softly falling wetting my brow as I clutched my Fujifilm X-Pro 1 protecting it from the unknown surrounds. My backpack felt light as I picked up my pace. The sound of crackling leaves burst into the air as I stepped along the long cobbled paved path. Winter still had a hold on the air as I grasped my jacket ensuring zips were closed. The engineered 35mm lens was fixed tight onto the camera and my ISO control was set to extremely high. As I gazed around me the leaves on the trees were hanging onto flexing branches desperate not to fall.
My first outing with the Fuji (after selling all my Nikon D700 gear) for a test shooting in Cologne: 8 x 3 Shots (+1 / 0 / -1 BKT) with 60mm in Velvia Film Simulation and DR200.
I stitched each set of exposures first then loaded the single-exposure-panoramas as layers and played around a bit with masks
I find the resolution from the in cam panos is to low. The benefit of high res is that you can use iso 6400 for example and still get impressive print sizes… At least that was the case with my d700 and the xpro is compareable if not better due to more megapickles…
The reason for the 60 mm was the distance to the object of at least 300 or more meters…
See on forums.dpreview.com