So, this happened. The Fujifilm X-T2. WOOOHOOOOO!! But before I do the new camera dance, I must preface with: Those who know me have come to expect the type of piece I’m about to write. But for those who are new here (Hello, you!)… this first-look, hands-on review thing isn’t your typical one. It’s subjective and based upon my own personal experiences and preferences. If you’re looking for the splitting-of-pixels, comparisons of each f-stop and all that jazz, well, suffice it to say there are PLENTY of geeky types out there offering those. Google ’em and go git ’em! I’m here to share my initial thoughts and images from this amazing camera and the technical bits that have been relevant to me in creating my work so far.......
Ever since my six-month commitment to use the XT-1 exclusively was over and I jumped in with both feet, ridding myself of every other camera (digital) that I owned there's been one nagging issue… What to do about a backup camera.? I've waffled, rationalized, justified, even hovered above the "buy now" button on several different options. I've written about what might make sense. In fact I've yammered on about a back-up more than once. Much like my usual pattern I've gone and done something completely different than what my original logic, ill-logic, rationalizations, and thought process led me to think I would do....
My friends and I decided to have our buddy’s bachelor party in Iceland. We took Iceland Air to fly into Reykjavik and I couldn’t help but notice the flight attendant closest to us. Now, I know what you’re thinking, yes flight attendants are generally good looking and there’s selection bias when hiring one. However, this was different. It’s wasn’t the uniform or all the cliche stuff, it was her eyes, big and bright blue, contrasted by the fairest skin I had ever seen and hair so blonde it was almost grey. Wait, here comes another one, with bigger and bluer eyes, and fairer skin, and blonder hair!!! And another one!!! This time he was a man!!! And yes, I am comfortable enough with my sexuality to say he was one good looking mother*^%#. I started wondering, “is everyone from Iceland this beautiful?” ......
The Fujifilm 35mm F/2 R WR has grown on me ever since it entered the Resource office. Prior to using it, I was skeptical; always thinking about how it’s realistically a “50mm” lens because of the APS-C conversion factor. I love shooting at 35mm, that’s why I usually kee
Arnold Barr's insight:
I have not shot with this lens yet but my brother has and he loves the the results. I have the 1.4, and i've been very happy with the results, will need to check this one out.
With an XE-1 well past its prime and showing it, I pre-ordered Fujifilm’s newest flagship, and it was in my hands on March 8.
I had very little time to get aquatinted with the new box before heading to Italy to work on a few photography projects. During the trip, the XPro-2 and I became inseparable friends. (More on Italy in a later post!) The camera is quick and responsive, relatively intuitive to use, and the low-light performance is great. It initially felt much larger and heaver than the XE-1, but use eliminated that felling of difference.
Back stateside, it was straight to work shooting street fashion with Nicole Boychuck for Aoki Boutique. Shooting outside on another‘s schedule means working with the weather of the day. And the day we had brought super bright, super contrasty sunshine. I like contrast that I can control, but cloudless, sunny afternoons are always a challenge.
At least, it used to be.
Singin’ in the Range
There are many praises to sing about the X-Pro2 (and quite a few niggles), but one of the most important improvements is in dynamic range. It is, simply, remarkable. Even in bright sun that hurt the eyes, the new Fuji sensor captured a range of usable detail in both the highlights and the shadows. I was able to get excellent images in light that would have destroyed the X-Trans CMOS in the XE-1. (These images are all developed from RAW—which is the only way to maximize the camera’s files.)
The improved dynamic range isn’t just handy for recovering shadow and highlight detail. Instead, at least for me, it’s an invitation to find the limits. Because I know the camera is going to handle a wide gamut of light, I’m free to seek out even contrastier scenes that I previously would have avoided. This provides the opportunity to engage in new creative approaches, and not simply to improve on what I already do.
Bokeh by the Dozens
Shooting street fashion is always a challenge because I like clothes to have motion. Fashion isn’t static, and—for the kind of shooting I do—showing the construction and movement of the clothes is important. This means low shutter speeds and the lowest ISO. So long as I’m able to move with the model, I can overcome the additional depth of field that results from using smaller apertures.
It’s when the model is still that I need separation from the background, which means a wide aperture to get optical bokeh.
The problem with shooting in bright afternoon light is that the lowest ISO and the fastest shutter won’t be enough to get a very wide aperture. There are ways around this, like using ND filters, but I work fast and need spontaneous moments, so those “solutions” just present new problems. I need the answers all in the camera, and the answer has been to chase areas with less light.
At least, it used to be!
The X-Pro2 has a mechanical shutter that goes to 1/8000, and an electronic shutter that reaches all the way down to 1/32000 of a second. I have mine set to M+E so that the camera automatically uses the electronic shutter if needed, but otherwise sticks to the mechanical. Compared to the X-E1’s fastest speed of 1/4000, that‘s three more stops of light reducing power at my disposal. And that translates to getting wide-aperture bokeh even in bright light.
The most fashion-able of them all
I doubt Fuji set out to make a great camera for street fashion. But with its expanded dynamic range and high shutter speeds, the X-Pro2 is currently the most fashion-able camera of them all.
On Location in Philadelphia for Aoki Boutique
Model: Nicole Boychuck
Available: Aoki Boutique
Even a fully backlit image retained detail in the sun-drenched white bricks.
Silverstone 24hr with the 100-400mm - posted in Sports: I headed over to Silverstone on Saturday afternoon to shoot the Hankook 24hr Race with my new 100-400mm on my X-T10. It was a great experience and the kit worked superbly well, despite the challenging conditions...
I am slowly getting back into the swing of things after a short Christmas break. Ryan (Barrett) had approached me before the holidays with the suggestion to shoot an emotional story, involving a male & female model. As I still hadn’t had enough play-time with the Arri T1, I was more than happy to schedule…
I purchased a Fujifilm XE1 near the beginning of 2013. My initial thinking was that I wanted a smaller system for some overseas travel, so I got it well ahead of time in order to run it through its paces. The primary Fujifilm alternatives to the XE1 at that time were the X-Pro1 and the X100 bodies. All are wonderful cameras, and all use essentially the same 16MP sensor. (Fujifilm’s tends to use the same sensor across their entire line, at least among cameras using the same sensor format.) 16MP is plenty for most purposes, particularly for handheld photography. I know this because I had made rather large fine art prints from earlier cropped sensor cameras and later from the 12MP Canon 5D. Here is a quick rundown of the three models at that time.
- The X100 (along with its successors the X100s and X100t) was a simple fixed lens rangefinder style camera with 23mm lenses, equivalent to 35mm lenses on 35mm film cameras or full frame. - The X-Pro1 was an interchangeable lens rangefinder style camera that provided an ingenious hybrid optical/electronic viewfinder system. It was introduced as the high-end camera in the set. - The X-E1 (like its successors the X-E2 and X-E2s) is a very small (almost as small as the X100) rangefinder style camera with an electronic viewfinder and interchangeable lenses.
Recently, after relying on the X-E1 for over three years, I upgraded to the X-Pro2. I’ll have more to say about that below, but for now consider it much like the X-Pro1, though with a 24MP sensor and other improvements..........
On Thursday and Friday last week I had the privilege of being part of the European launch of the brand new Fujifilm X-T2 in Paris and at the Le Mans Classic. Fujifilm invited 200 guests from all over Europe to travel to Paris for the official launch of the camera with a press conference and then a chance to have a 'hands on' session with the X-T2 over a buffet and a few drinks. The press conference included a Q&A session with fellow X Photographer John Rourke with Fujifilm's Marketing Manager Andreas Georghiades. It was also great to see a set of images on display in the room which included my shot of Danny Watts sitting in the Strakka Racing Gibson in the Le Mans Pitlane in the pouring rain. A good example of how good the weather proofing is on the camera.
As a street photographer, I have always favored the X-T1 over the X-Pro1 and the X-Pro2. I prefer the extended direct controls, a slightly smaller body and the articulating screen. Like all Fujis, once you have the camera set up the way you want it, there is barely need to go back to the menu again. This allows me to concentrate on shooting rather than dealing with settings. The additional drive and metering mode dials on the XT-1 further make the menu obsolete while shooting. A hybrid viewfinder never really mattered to me but I definitely appreciate the amazing EVF on the X-T1. Also, the articulating screen is an absolute key feature to me. I often use it to shoot in a Rolleiflex top down style shooting mode. In general, I believe in a pragmatic approach to photography. Use the right tool for the job enabling you to shoot the way you want. Whatever your shooting style might be, it’s about getting the shot. This is especially true for street photography as nothing is staged or can be recreated. Get it or it’s gone. So the stakes are high when you choose a camera to fit your personal style of street photography. This is a review of the Fuji X-T2 for street style photography. I don’t focus on diagrams, technical analysis or charts. I let the experts do that........
Firstly, I am not a techie lens tester but a passionate hobbyist wildlife and landscape photographer. I have had my eyes on the Fujifilm 100-400mm f4.5-5.6 lens for a few weeks since its release and had read a few reviews, but few on its usage for wildlife photography, so I have decided to give it…
All over the internet there are many questions that keep popping up regarding the Fujifilm system and off camera flash. Which triggers are the best? How can I fully control off camera flash from my Fujifilm X Camera. Here I am going to show you which triggers that I have found the best, and how to set them up to work correctly on your Fujifilm X camera.
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