Fuji X-Pro1
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Aspects of Digital Photography focusing on the Fuji X-Pro1, X-E1 and X100s - photographer, reviews, samples and more ... | http://www.tomen.de
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Fujinon XF 35mm f/1.4 R Fuji X Pro 1 Super EBC | ERPhotoReview

Fujinon XF 35mm f/1.4 R Fuji X Pro 1 Super EBC | ERPhotoReview | Fuji X-Pro1 | Scoop.it


This lens has quickly reached cult status, does this standard live up to the hype? This lens is a beautifully built standard, constructed entirely of metal. At least anything you touch, including the filter threads, which is a nice departure from the standard plastic these days. The aperture ring is reminiscent of older lenses with nice metal knurls and nice positive 1/3 stop click stops. The focus ring is similar quality, also with all metal knurled grip. The hood is nice and positive and the lens has two caps. One that goes on the hood since it is not a reversible style, and a second that goes on the filter thread. Thankfully the cap on the threads can still be removed with the hood in place. The hood has a nice positive bayonet mount which makes it easy to take on and off even with the lens cap on. The lens is a modern design 8 element lens with 1 aspherical element, and a nice 7 curved bladed diaphragm, which remains fairly circular until about f/2.8 or f/4. By f/5.6 it is mostly polygon. The 52 mm filter threads are standard for many large aperture standard lenses, so filters are easy to find. The lens has a typical minimum focus distance of about 0.3 m and a maximum magnification of 0.17x. It is well weighted at about 187 g, feeling not too heavy nor too light. This lens is nearly the same size as a classic 50 mm f/1.4 lens from the film camera era. In use, the AF motor is a stepper motor style, and it does make audible focus noise, on par with a quieter screw drive system. Focus remains quick if the lens doesn’t have to hunt the range, but if it does it takes just over a second to go full range. The lens seems to have a long throw, so it should be very precise, but take a little longer to go end to end. In normal circumstances the lens will focus in just a fraction of a second. The manual focus ring is slightly slippery due to the metal knurls. I think rubber would provide a better grip, but wouldn’t last as long or feel as high quality. If you are used to doing quick back and forth motions to manually focus, and stopping on the sharpest point in an instant, this lens won’t work great for that. You have to slow it down as it takes a fraction of a second for the motor to respond. The best way to manually focus is to prefocus using the AE-L/AF-L button and tweak manually, but turning quickly back and forth will work if you slow it down just a bit to compensate for the “lag”. Now how about the optics in a 35 mm f/1.4? The only other standard class f/1.4 lens designed for APS-C at this time is the Sigma 30mm f/1.4, which is notoriously bad in the corners. Does this slightly longer standard lens do better?

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True Creativity Requires Originality and Self-Expression | John Neel

True Creativity Requires Originality and Self-Expression | John Neel | Fuji X-Pro1 | Scoop.it

Photography is a creative process that calls for new ways to see the world.

 

Like all artistic endeavors, photography thrives on new perspectives, new ideas and new ways of expression. A great book, a great painting, or a great piece of music is important primarily because it provides us with something new to see, hear or understand. Most of what we see on the web, in magazines, and even in galleries, looks like so many other images we’ve already seen. Don't get me wrong. There are vast numbers of amazing works being done today. There are real creative people doing really wonderful things. However, at the same time, I see huge numbers of images that fall way short of what is possible. That is the subject of this article. Much of what I see is far less self-expressed than it is a product of someone else's idea of what an image should be.  In many ways, creativity has become the product of an engineer, a camera type, the technology or a social style and less the work of a real artist. Instagram and cell phone apps have contributed to the flood of images we are seeing. Some of it is good. Some of it is great. Most of it simply adds to the confusion. Magazine images, tutorials and 'how to' books have also contributed to the problem.  By watching others, we tend to think that there is only one way to do anything creatively. Easy to produce effects and add on styles are trite in part because the effects are ubiquitous. Hype too, does not make for good photography. Advertising, the king of hype, is a collaborative creation between an agency and a client. It is not usually a product of sincere personal insight. Stylish, hot, cool, slick, trendy and beautiful offer little or nothing else to the experience of a viewer. They offer nothing of reality other than fantasy and diversion from truth. They are usually simplistic and extremely shallow.

Every category of image making is guilty of producing those who follow the trails of others. There are painters who imitate other painters and photographers who echo photographers. There are groups on Flickr and other social media sites, that emulate any number of great image makers. We tend to emulate what we like. In most cases, so did the artists who are followed.

We are attracted to the look and feel, so we copy it and call it our own. While it may seem a form of flattery, it is actually a form of stealing. Not so much from others, but from oneself. It is a robbing of ones own ability to express.

For the newbie, following the lead of others is a way to acquire a useful set of technical skills. Also, in a very basic sense, it is a way to begin the process of seeing photographically. More likely however, it is a way of seeing certain types of subjects as portrayed by their mentors. That kind of seeing may lead to a fairly narrow viewpoint.  I believe that at some point, it is more important to find ones own path........

 

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