Unlike other mirrorless system providers, Fuji follows a top down approach in terms of target audience. Thus they are creating interest among professionals and prosumers first. After the release of 3 high quality prime lenses they are now tackling the mainstream market with a standard zoom lens – the Fujinon XF 18-55mm f/2.8-4 R LM OIS. You may argue that it is just another kit lens but unlike its remote cousins it is obviously one stop faster. If you buy it as part of a camera kit it is pretty affordable but its naked price tag of more than 650EUR/US$ makes it obvious that Fuji still doesn’t want to play in the low end market. Interestingly the lens features an image stabilizer which is the first time Fuji has implemented this in a XF lens…..
The Fujinon XF 18-55mm f/2.8-4 R LM OIS may be the hottest reason to enter the Fuji system. It is amazingly sharp throughout the zoom and relevant aperture range. The amount of lateral CAs is generally quite low with the exception of 55mm @ f/4. The Fujinon is not without flaws, of course. Technically it suffers from a high barrel distortion at 18mm and the vignetting is a bit too high at max. aperture. However, these aspects are taken care of either by the camera itself or external RAW converters so you don’t need to worry from a user perspective. The quality of the bokeh (out-of-focus) blur is pretty good for a standard zoom lens but it cannot rival the best prime lenses, of course. The build quality is on a very high level but then you also expect no less from a lens in this price class. It is a bit worrisome, however, that this is the 2nd out of 5 tested Fuji lenses with a rather significant centering defect. We hope that this is not a trend that we will have to confirm once more in the future. Interestingly Fuji has modified the AF mechanism in this new lens. Unlike the gang of 3 prime lenses (18mm, 35mm, 60mm) it is quite fast and basically silent so Fuji is definitely on the right track here. Fuji’s new image stabilizer is, of course, also a welcome new feature. In a nutshell – you can’t go wrong with the Fujinon XF 18-55mm f/2.8-4 R LM OIS … if you can get a good sample.
Optical Quality: 3.5 to 4 / 5
Mechanical Quality: 4 / 5
Price/Performance: 4 / 5
See full review on www.photozone.de
This week’s photos are taken with the Minolta Rokkor 50mm F1.4 lens mounted on the Xpro-1 via an adapter. The camera was set to manual focus, auto ISO and a mixed shutter speed of 250 to 500. The EVF was sufficiently bright for focusing and once I fixed the plane of focus, I can switch to using the OVF to conserve battery. Despite the age of the lens, the focusing ring is smooth and responsive and I was able to achieve a relatively fast “focusing” speed that is sufficient for action and street photography.
Shooting with a manual focus lens is different. You need to be more deliberate and choose your subjects and environment carefully. Anticipation, pre-focusing and letting the subjects walk into the scene are important elements to nail a shot. Focusing manually also preoccupies your mind with the technically aspect and free your mind of the fear of shooting people up-close. I have a higher percentage of people shots while “struggling” with focusing.
See more pictures on lucpher.wordpress.com
There is a growing trend amongst digital photographers to use their digital SLR cameras to capture stunning high definition time-lapse films. I thought I would start to explore the process using my X-E1 camera but I would stress this post is not a presentation of work, the film at the top of the post is merely my first and very rough experiment. This post documents my first attempt to capture a time-lapse video and process the images in Lightroom 4 to create a high definition time-lapse film.
If you want to explore this technique then in addition to a camera and tripod you are going to need an intervalometer. An intervalometer is a piece of hardware that all trigger your camera at a preset time interval. These range in price from around £15 through to over £100 if you opt for a wireless system. I have purchases the cheapest intervalometers I could find.
Intervalometer – X-E1
The X-E1 features a mic/release connector. I tested a canon remote release cable with the X-E1 and it triggered so I took a risk and purchased an intervalometer with the same Canon interface. This unit cost £19 and works perfectly.
Shooting the time-lapse….
See full article on www.flixelpix.com
Nothing too definitive as yet, just a few samples from my new 14mm lens. It seems very, very sharp and distortion free. It isn’t a 35mm equivalent focal length I’m familiar with (21mm) but it is wide, which is why I wanted it. All I can say is that I’m very happy with it thus far, I just want to find a landscape to use it on.
See more pictures on sgoldswoblog.wordpress.com
Oh goody! I just received my Fujinon 14mm f2.8 lens today. I’d been waiting for it since September. Hopefully, if the temperature is not too brutal for my old bones, I’ll get out and shoot with it this weekend. When I was shooting film with my Leica M6 my favorite lens to use was the Leica 21mm, the equivalent to the Fuji lens in focal length. So I’m going to have a chance to dig deep into my bag of tricks (that’s a euphemism for trying to remember old techniques). We shall see…..
Both these shots were made with the 18-55mm zoom lens. I would like to have been able to zoom out wider for the first image, but street happens so fast that’s not always possible. Would have been a much better shot with some space at the top of the frame. But I still like her expression. I caught this gentleman with the very cool beard on 34th Street just after leaving a critique session at B&H Photo. There’s just something about facial hair, whether on a man or woman, that’s so much fun to shoot.
See on genelowinger.blogspot.de
Google Translater (ENG)
Inside the gates to cimitero the Bonaria so struck by two things. It never ends. The match continues. The national temperament shines through even after the journey now. The place is almost a little magic this rainy and windy day in January. Anywhere you see something. The eye receives almost panic. The area is filled to bursting with statues and crosses in all its forms.
The wealthy have not let conserve wealth. The poor have carved the name of the family in the wet concrete.
And everywhere portraits. Small photographs of the rest in the wall or under the surface. At first a little morbid sense but after a while it falls into place. Why would a people totally without shyness avoid this when it comes to memorials.
See more pictures on kristerhalvars.blogspot.it
Overall, the Fuji X-E1 is an extremely interesting proposition that we can see being incredibly successful. Combining the fantastic technology of the Fuji X-Pro1 with a more consumer-friendly price and a smaller, more streamlined CSC body will surely appeal to a wide range of people. Adding a new 18-55mm kit lens to the lineup of the X range is also a smart move, which is again likely to appeal to a new crowd looking for something a little more versatile. It’s nice to see that Fuji’s premium quality and build has gone into the design of the kit lens, elevating it far above the realms of the usual bundled optic.
The improved autofocus speeds that Fuji’s new firmware brings, coupled with the 18-55mm kit lens, make this a fantastic camera to easily take on its DSLR rivals.
There’s not many things to dislike about the camera, with just a few small niggles keeping it from perfection. It would be nice to have seen a touchscreen, while the autofocus speed when using other lenses could do with being improved.
The premium end of the compact system camera market is now looking extremely interesting. This new camera competes much more closely with the Olympus OM-D and Sony NEX-7 than the Fuji X-Pro1 was able to. As such, other manufacturers are likely to carefully watch Fuji’s proposition. Currently, Nikon and Canon don’t have anything in this niche segment of the market, while Panasonic’s cameras arguably sit just underneath. It’ll be interesting what kind of responses we see to the camera in the coming year. With the X-E1, Fuji has brought the next evolution of the X series of interchangeable lens cameras. As the system is set to grow in the coming year, we can see this camera appealing to a large group of people.
See full article on tech.blogsvoice.com
Fuji X-Pro1 long exposures from the San Francisco Bay Area. Final processed photos shot over 7 days, while visiting San Francisco and Marin County. Locations included the Bay Bridge, Sutro Baths and China Camp …
See more pictures on doncraigphoto.wordpress.com
Am letzten Tag haben wir uns das Kap der guten Hoffnung zum Ziel gesetzt. Vorab, das Kap selber ist relativ unspektakulär, aber die „Reise“ dahin, die ist sehr schön.
Der Weg ist das Ziel, sozusagen.
Wir fuhren bei strahlendem Sonnenschein von unserem Hotel los mit dem ersten Ziel Muizzenberg. Der Ort ist vor allem für seine bunten Strandhäuschen bekannt und Fotos davon sind in jedem Reiseführer und/oder Prospekt zu finden. Das war eigentlich auch der Teil auf den sich meine Frau am meisten gefreut hat und dies sogar Teilweise zur Bedingung für ihr mitkommen gemacht hat. Doof war bloß das das Wetter sehr schnell Umschwung von klarem Sonnenschein zu tief hängenden Wolken.
Dass dies fototechnisch nicht die erwarteten Motive nach sich zog leuchtet sicher ein. Wir befürchteten schon, dass der letzte Tag unseres Trips ins Wasser fallen wird – zumindest fototechnisch.
Danach ging es weiter über Simon‘s Town nach Cape Point. Auf dem Rückweg planten wir die Fahrt über den Chapman‘s Peak Drive, einer der schönsten Küstenstrasse der Erde und nicht umsonst hat diese Strasse diesen Ruf.
Die letzten zwei Bilder entstanden kurz vor Sonnenuntergang und der Wind der da wehte war mir als Großstädter gänzlich unbekannt.
So nebelig und trist der Tag in Muizzenberg begann so herrlich und eindrucksvoll zeigte uns das Western Cape an diesem Tag warum es als einer der schönsten Flecken Erde bekannt ist…..
See more pictures on www.qimago.de
These are the first tests I shot with the new Fujifilm XF 14mm f/2.8R wide-angle on my X-E1. All shots were processed in Phase One’s Capture One Pro v7.02 with some slight post-processing in Adobe Lightroom v4.3. Some perspective distortion correction was applied on a few of the night shots, but no corrections for barrel distortion were applied, nor were they needed. Note that it was windy, so there is some movement and blur in trees and foliage on some of the night shots. The XF 14mm is equivalent to 21mm on a full-frame body and quite simply, this new lens is very nearly the best ultra-wide prime I have ever shot with. The only lens I’ve used that is in the same league optically, and that is wider than 24mm (full-frame equivalent), is Canon’s EF 17mm f/4L TS-E and it, of course, is manual focus as well as big, heavy and very expensive. As mentioned, none of these photos have had any barrel distortion correction. The XF 14mm seems essentially free from any sort of field curvature, there is virtually no detectable chromatic aberration and only the barest hint of purple fringing along extremely high-contrast boundaries, for example, with power lines or branches against a white, blown out sky. Even the edges of the frame are essentially tack sharp wide open at f/2.8, with the extreme corners following by f/4 already. There is also no green/magenta bokeh fringing and what little background blur one can get with an ultra-wide at f/2.8 (see frame 9), looks to be very smooth and pleasing as well. Internal reflections seem well controlled, contrast is good… although I have yet to see how it performs in daylight with the sun shining on the front element or when the sun is included in the frame. The only noticeable flare spots I saw in all these photos that were due to the lens itself, are below and the bright light in frame 22 and over the pillar in frame 33, although there are a few shots where there is some reflection off the inside of the front protective filter (frame 32 for example). The resolution of this lens is so consistent and even, that one can take a series of tripod shots, zoom into an extreme corner and flip through images shot from f/4 to f/11 and there is virtually no detectable change or improvement in corner sharpness, presuming there are no depth of field issues there of course. Only at f/2.8 in the extreme corners, is there a hint of contrast and sharpness loss, and beyond f/11, diffraction starts taking a visible toll across the entire frame. I would say it is actually sharpest in the f/4 to 5.6 range, which is truly superb for such a wide-angle lens. The XF 14mm f/2.8 R has exceeded my wildest dreams and is truly an exceptional performer!
See more pictures on www.sublimephoto.com