One of the Secret of Life is to Make Steeping Stones out of Stumble Blocks
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Objectified | shooting products with the X-PRO1 | Patrick La Roque

Objectified | shooting products with the X-PRO1 | Patrick La Roque | One of the Secret of Life is to Make Steeping Stones out of Stumble Blocks | Scoop.it

 

I’ve read a few reviews of the X-Pro1 dismissing its use in the studio, confining it purely to the realm of event and documentary photography. Obviously this a genre at which it excels and the core of the system’s philosophy. But as most of you know these cameras have now become my main system, not merely a fun add-on. Which means they ARE used for studio jobs. All kinds of studio jobs.

I recently did a shoot for Serdy Media, a production company which owns several specialized TV stations in Quebec — namely Zeste and Évasion, the french food and travel channels. This was a studio product shoot for their new online boutiques. After thoroughly testing the setup, I decided to again forego my Nikon kit and do the entire session using only the X-Pro1 and the 35mm Fujinon XF f/1.4 lens. It worked beautifully.

 

The X-Pro1 actually has several things going for it for this type of work:

- The ability to use the rear LCD for live view without changing how you usually work with the camera.

 

- The two zoom levels with built-in sharpening to pinpoint the focus.

 

- Large focus point coverage.

 

- Horizon line and framing guides.

 

- The ability to switch the same lens to macro mode for detail shots.

 

- No mirror to deal with. Combined with the timer function this is as stable as it gets.

 

All of this makes for a very easy going experience and allows for extremely precise work. The two points of contention when it comes to shooting this camera for studio and/or flash photography are 1) sync speed and 2) tethering. The sync speed obviously wasn’t an issue in this case. As for tethering, I’ve discussed my solution in another post already: an Eye-Fi Pro X2 card. To be honest this was definitely the weakest link in the chain, and I was very fortunate to work with a client who didn’t mind the glacial speed at which photos were getting transferred to the computer. But I didn’t like it. I made jokes about it but it bugged the hell out of me the entire time. I’m glad further testing has revealed an ad-hoc network to be exponentially faster. I won’t get caught with this problem again.


Via Thomas Menk
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Jonathan Ryan's curator insight, December 12, 2012 5:08 AM

X-Pro 1 shines once again.  Beautiful to see what an accomplished photographer can do with it under controlled light.

Andrew Brown's comment, December 12, 2012 9:35 AM
used in a studio shoot and loved it also. Much better than the old 5D2's
Rescooped by Naganene Haru from Fuji X-Pro1
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Fuji X-Pro1 on Vacation | Santa Fe, New Mexico | David Moore

Fuji X-Pro1 on Vacation | Santa Fe, New Mexico | David Moore | One of the Secret of Life is to Make Steeping Stones out of Stumble Blocks | Scoop.it


There’s travel photography, and then there’s vacation photography. In the first you’re traveling to shoot, and your time and gear is chosen carefully to deliver great images. In the second, you’re just on holiday and like everyone else, you want to bring a camera along. This is specifically a review of using the camera on a family vacation – I wasn’t sent to England and France on assignment, nor did I spend lots of time there specifically going out to shoot. But I did want to bring a camera that wasn’t going to annoy me. Those of you who have been following along for a while will remember that it was a vacation trip to California last year that pushed me into looking for a smaller but high-performing camera. The willing but somewhat limited Olympus EPL2 has now been and gone, and it was the Fuji X-Pro1 (and 18mm F/2.0 and 35mm f/1.4 lenses) that made the trip with us across the Atlantic...

 


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