Fuji X100T IN STOCK at Amazon NOW (Prime)
Hey guys, the Fuji X100T is NOW IN STOCK at Amazon and they have FOUR Left in black only. Let’s see how long these last!
Fuji X100T IN STOCK at Amazon NOW (Prime)
Hey guys, the Fuji X100T is NOW IN STOCK at Amazon and they have FOUR Left in black only. Let’s see how long these last!
The new Fuji X100T is IN STOCK now!
Enough Said…go get it..
and yes, I will be reviewing this one as I do all X100 cameras. The X100 series is my FAVE of all Fuji’s, period.
Fuji Deals. Hot Fuji lenses and cameras ON SALE now!
Looks like there are some Fuji items on sale!. The 23 1.4 is one of my favorite Fuji lenses, the 56 1.2 is a fantastic portrait lens and the 10-24 is for all of you who crave a wide-angle. The following three lenses and cameras are now available, brand new, for $$$ off. Get ‘em while you can!
Fuji GX 617 panoramic camera
by Dirk Dom
I want to share some shots made with my Fuji GX617 panoramic camera.
This monster, pictured here next to a Minox, yields 6 x 17 centimeter slides or negatives on 120 film, 4 images on a roll which you can blow up to insane dimensions. It all started in my photo club, where someone showed 1 meter big prints from Schotland. These landscapes were so incredibly detailed and rich they totally overwhelmed me, they hit me like lightning. They were taken with a Linhof 6×17 panoramic camera.
I wanted to do this, too, and started researching panoramic photography. The price of the 6×17 camera’s was so high, however, that I couldn’t possible buy one. The, in a local photo shop, this Fuji for sale. With a 90mm (90° image angle) and an 180mm (45° image angle) A search on the Net confirmed that this, with its interchangeable lenses and good viewfinder, was probably the best 6×17 camera. The price was good, too, 5,000 Euro’s! Impossible. Every time I drove by there, that camera sat there, just to annoy me. I had it taken out one more time, what a piece! In the end I couldn’t bear it anymore and I took out a bank loan.
In the photo club they had told me that finding compositions in the 1 by 3 aspect ratio was extremely difficult. I didn’t dare shoot the camera. After three months of hesitation I decided it was enough and I took it for a spin. All worked fine. That day the lid was off the pot, I shot all day, went to four locations. Then the moment of truth: got my slides back.I can tell you that absolutely nothing matches the impact of a sparkling 6×17 Velvia slide on the light table. The detail was insane. I can tell you I was hooked, then.
The 1×3 aspect ratio came very natural to me and soon I began to shoot worthwhile images. I ran into another limit: The images screamed for really big printing, at least two meters, and such a print, mounted, cost about 400 Euro’s. I got a few made, which were overwhelming, but when I tried to sell them, no one wanted them. First of all, the price (everyone buys posters at the IKEA for 6 Euro’s) and second, no one could hang such a monster print. I could hang one in my small home.
So, there I was, totally frustrated, with 60 mind-blowing images I couldn’t do anything with. Should I sell the camera? I decided on a moratorium of a year.
I found out after a year that I don’t need 2 meter big prints to enjoy the camera. Half meter images also show that there’s something different going on from your regular DSLR images. The detail and colors are much richer. So I started shooting the camera again. Technically, the camera is extremely basic: distance (no rangefinder), speed, opening, transport. It requires very strict discipline to shoot it. That make it a very enjoyable experience, because you’re in total control. The lenses are very, very sharp.
Well, enough talk, let’s see some images! All shots are from Antwerp, Belgium.
This is Antwerp, with the cruise ship Europa in front of it. I read in a local magazine it ‘d be in town for just one day and I went out to shoot it. The original slide is just not sharp enough to read the licence plates of the cars parked. Because the 2 minutes exposure you see no people. At 1PM the boat’s horn went off and a firework started. I had crossed a perimeter to do my shot, and a continuous rain of firework debris fell on me. I was afraid for my lens. I was too close to the firework to make decent images.
That you make one image, complete, at exposure, is vastly advantageous to stitching in a DSLR. You can take action shots. One of my panorama’s is a flock of pigeons passing over at close distance.
This image I stood on the road, waited for a car coming to me, another coming from behind and exposed for 30 seconds.
This is the image of the fireworks of the inauguration of the MAS (Museum Aan de Stroom, museum at the river) I was at the other bank of the river, used the 180mm; To my amazement I was the only one there, which makes this shot unique.
I had set up, needing 2 minutes’ worth of exposure.
While exposing, a flash went off. A guy with a point and shoot. My exposure was ruined. I waited until he was gone and started over. Another flash. The guy had come back! Started over again, a third flash. The guy had come back again. I explained that he ruined my exposures and asked him to not to flash anymore. Without a word he turned away.
The petrochemical industry downtown. On the slide, you clearly see a crane cable two kilometers away.
The Antwerp cathedral. To make this shot, I went downtown five or six times to get the clear sky. Then I waited until the light was all balanced.
This is a shot hyperfocally set. The cathedral tower could be a little sharper because of it, but still you see the cement bonding the stones together at the top.
The Greek Holidays with a Fuji X100s
By Joao Marques
My name is João Marques i`m an amateur photographer living in Lisbon and i would like to tell about my experience, this holidays, in choosing which camera to take.
So this year my vacations were on the beautiful greek islands of Santorini and Mykonos. When i was making my bag i had a hard decision to make, wich gear should I take? My options were carrying my heavyweight equipment: canon5d2+zeiss 21 2.8+sigma 35 1.4+ canon 70-200 2.8 IS II+manfrotto tripod+ lee filter set. Or go with my every day camera, the small, beautiful and excellent Fuji X100s. Since I had to take 7 flights in total, the choice was pretty easy, those were not a “photographic” vacations, my plan was to relax and bathing on the warmer mediterranean waters.
I chose only to take the Fuji.
Let me say now that I made the right choice, this small camera is the ideal tool for an uncompromised work with a good image quality in a very light package, instead of carrying KGs of equipment and being worried all the time of being robbed in the hotels, the 500gr of the Fuji let me use it all the (at the beach, night, etc). Another reason that everyone has already talked about, is the casual look that you have when you photograph with one of this beauties on your hand, it’s completely different when you approach someone with heavyweight cameras and lens, people tend to be intimidated with that kind of equipment.
There were a few times that I missed my other gear, specially in some pictures were I wished more DOF and in some sunsets, but the happiness of being free of the extra kgs, surpass every tiny feeling for the canon.
One and a very important thing, my girlfriend loved the idea of me just having the small camera at my disposal, she knew that I wouldn`t take too much time setting the tripod, filters, lens etc. It was a winning decision in every angle :)
Now for the best part the photos, when I arrived I didn`t know what I want to photograph, but one thing I was sure, I didn’t want to go for the classic postcard photographs that you see from Santorini or Mykonos, and didn`t want also to have the pressure of photographing, so I decided to go with the flow and be alert to whatever events I might encounter. I set the camera to b&w and these were the moments that I was fortune to capture.
Hope you enjoy it.
Wish you all the best,
The Fuji Monochrom
By James Conley
A major impediment most new photographers face is that color is the default mode of expression. Not only are we inundated by color images in every possible medium, but digital cameras presume color as the chosen palette. The tragic fact of these defaults is that it interferes with the development of seeing subjects and places emphasis on the impossible task of trying to capture a color reality which makes little natural sense in two dimensions. The result is a great deal of frustration when the captured image doesn’t match the experience of color.
Few cameras are available that address this problem. The Leica Monochrom is one of few. The Monochrom only records in black and white, and only displays its menus and previews in black and white. It’s the gold standard for capturing black and white—after film. However, the Monochrom body alone costs about $8k. That’s a lot of money to get rid of color. There are cheaper ways.
The cheapest way to shoot black and white, of course, is to switch to film. Using a film rangefinder is one of the fastest routes to improving the composition and content of images, and you don’t even need a darkroom if you shoot Ilford’s excellent XP2 C-41 process film.
But I’m unable to buy into a Leica Monochrom. The next best thing is the Fuji X100s. The X100s contains all the elements needed to work strictly in black and white. To wit:
• A rangefinder, with an electronic viewfinder which can be set to display only in black and white.
• A fixed lens with a 35mm field of view.
• Small and light.
• Silent. (More silent than my Leica M6.)
• Monochrome JPEG modes with yellow and red filters.
All the images in this post are JPEGs shot on the X100s.
Learning to see in black and white is the process of evaluating the luminance of an object instead of its color. Simplistically, luminance is how much light is reflected from an object. People are often surprised when converting a color image to black and white because a bright color often has more or less luminance than expected and doesn’t appear as one would expect. Through the practice of reviewing the monochrome images you make, you’ll develop your luminance sense and start to better anticipate how a tone will translate into black and white.
A way to speed up that process is by using a monochrome viewfinder. When set to capture monochrome JPEGs, the Fuji X100s will switch its LCD back and EVF displays to black and white. This makes evaluating the scene much easier, and will helps to quickly adapt and recognize luminance values.
Photographers are blessed with a nearly infinite variety of camera bodies and lenses, which can be shuffled into various combinations to address very specific needs. Photographers are likewise cursed with all those options. Options are choices, and choices are decisions. Having to make decisions is an active process in the consciousness, and it leads to a lot of distraction from the subject. In discussing the thought process behind a “decisive moment,” Henri Cartier-Bresson said:
It’s a question of concentration. Concentrate, think, watch, look and, ah, like this, you are ready. But you never know the culminative point of something. So you’re shooting. You say, “Yes. Yes. Maybe. Yes.” But you shouldn’t overshoot. It’s like overeating, overdrinking. You have to eat, you have to drink. But over is too much.
Making choices about lenses is just as distracting as making choices about color. One lens is enough, and your body can be the zoom. Having to move within space and time to frame your subject makes for far better pictures than standing in one place and letting a variety of lenses do the work of seeing for you.
The X100s’s f/2 Fujinon lens would be fantastic on any camera. Fuji has a storied history in making high-end lenses for a variety of camera makers, and Fuji glass is world-class. The X100s can use autofocus, or a very smooth manual focus. It also has an excellent macro mode.
Having a small camera means you’ll have it with you, which is the most important ingredient in making any photograph. The smaller and lighter a camera is, the more likely it will be with you. The X100s is smaller and lighter than my Leica M6.
Other than opera or a royal wedding, the best way to do things in life tend to be subtle. That’s especially true for photographers, who are dependent upon other people living their lives so that an image may be made. Unless you’re shooting in a studio, pay respect to your subject by being unobtrusive. Being silent is part of that respect, and an X100s shutter is quieter than my M6.
Photography is about capturing a moment and then capturing the next . . . and the next . . . and the next. Spending time tweaking and playing with images is decidedly not photography—modifying an image is working with software. The goal of any tool should be to do work so you don’t have to. As my dad always advises about using a saw, “Don’t push so hard. Let the saw do the cutting.” If your camera is making you spend more time post-processing than you do taking pictures, it’s either not a good tool, or you’re pushing too hard. Since we can’t get Adobe to make decent software, however, we can use the tool better by putting the work back into the camera and let it produce quality JPEGs that we merely need to review. This not only speeds up the process of selecting good images, but it also lets you learn the capabilities of the camera just the way you would learn about the qualities of a particular film. This is vital knowledge that helps you see better when you’re out taking pictures, meaning you get better results, which sets up a lovely, positive feedback loop.
With Fuji already announcing new X-Series cameras, ifyou don’t already have an X100s, you should be able to pick one up for a good price.
Once you get it, go to Shooting Menu 1 and select Film Simulation B with a yellow filter. (Red is another option, and will result in more contrast. Start with yellow.) Scroll down to Shooting Menu 2, and change Highlight Tone to +1, and Shadow Tone to +1. This will give you a decent starting place for your JPEG’s. They should require minimal development work after you import them into a computer. (**You can set the camera to shoot both RAW and JPEG files. This is a good crutch to get you comfortable with the idea of shooting only in monochrome. However, you’ll quickly discover that the Fuji’s JPEGS are very high quality and the RAW files are just a crutch.)
Use the EVF. It will display in black and white and get you started on seeing the world that way. (Later, you’ll be able to take advantage of the X100s’s rangefinder.)
As you’re taking pictures, keep your thumb on the Exposure Compensation dial and ride it like you stole it. You’re shooting JPEGs, so work at getting the final product the way you want while you’re shooting.
With a few camera setting tweaks, you’re off to a better world in black and white! You’ll now:
• See luminance instead of color
• See shapes, forms, and shadows
• Cut down on development
• Spend more time working on your ideas and making stories
The purpose of taking a photograph is to capture an image which conveys your impression of an event and tells the story. The purpose is decidedly not about tweaking, playing, collaging, and otherwise twisting the image into something unnatural. So, if you want to become a better photographer, you have to practice seeing what matters. Seeing what matters happens easiest with a rangefinder shooting monochrome images. Long live the X100s. (At least until those Leica Monochrom prices come down!)
The most Interesting Pre-Photokina Releases so far…to me.
With only a few days to go until Photokina kicks off we have already had some pre announcements from Fuji, Sony, Olympus and others. Nothing MAJOR and nothing WOW but I feel these big announcements will come VERY soon ;) They better! So far we have the below announcements that are somewhat interesting, but nothing ground breaking.
As I reported the other day, Fuji has announced the X100T, the new 56 1.2, new X-T1 color/finish and even the X30. The X100T is an ongoing evolution of the X100 series camera and for me, the best Fuji has announced yet (more to come i am sure). Me, call me nuts but I prefer the original X100 even today over the X100s. After using both side by side I feel the sensor in the original is a bit more organic and dare I say..more Leica like? The X100T uses the same sensor as the X100s, which is also a fabulous camera that many swear by (my review is here). The X100 series for me is where it is at for Fuji. While I like the X-T1 a lot, the simplicity and classic lines of the X100 is what gets my blood pumping to shoot. For me, it is about simplicity. Period. Simple, clean, easy to use and shoot, fixed 35 f.2. What more can you ask for besides a full frame sensor? (See Sony RX1 for that). The X100T is available for $1299. Priced right for a super camera system.
The new X30 is also an evolution of the X10, X20 and appears to be a super little camera as well. New EVF, new told LCD, new Classic Chrome simulation and new Large capacity battery that will give you a powerhouse 470 shots makes it sound like the little X30 may be the bang for the buck in the Fuji lineup. It looks sweet as well, the best X10 type camera to date in the design department I think. The cost is also right at $599.
Olympus has some new goodies on the way as well…a few that I can not mention just yet but so far they have announced a minor release or two. For example, one is the all black 12mm f/2. The 12 f/2 has long been one of my fave Olympus lenses but to date they have only released it in Silver and a black limited edition that had some extras but also was extra in the $$ department. Olympus has now released the black for normal production so you can get one for $799. This lens is so good on a Olympus body and has given me some fantastic shots. But the lens is nothing exciting if you are looking for something new and fresh. Let’s wait and see what the official Olympus releases will be as compared to the rumor sites :)
Sony has announced a new QX camera, the QX1 which is actually an E-Mount in the size and shape of a lens. Basically it helps to turn your iPhone into a high-end APS-C camera. You can use it as is or with your phone. Me, I was never a fan of these oddball cameras. Many love them but for me, if I am going to have something like this, I think I would just use my phone as it is. I love what Sony is doing with the A and RX series but am not sold on the QX yet. Maybe once I give it a try I will enjoy it :) Coming it at $398 you will also need to add an E-Mount lens to this QX1. It is rumored that Sony will be saving its big WOW announcements for 2-4 months AFTER Photokina. Is there truth to this? NO idea but if so it seems odd as they would miss the Christmas season with those big releases. The last two years were huge for the Sony A7 and RX1 with huge holiday sales at launch. I am anxious to see the rumored new RX2 ;)
As I posted about last week, Zeiss has announced two new full frame manual lenses for the Sony E-Mount system. The Loxia 35 and 50 f/2 will be superb I think and give Sony A7 users more choices when it comes to a high quality fast prime lens, and Zeiss is a name that means quality. I use Zeiss ZM with my Leica’s and love them. Zeiss also announced the 85mm OTUS which has already been tested by DXO and they claim it is the best portrait lens ever made. Coming in at $4,490 IT IS NOT cheap! But damn, it will venice. The Nikon mount can be converted to use on Leica or Sony cameras. Zeiss rocks for sure but be prepared to pay for the Otus if you want the best!
What is to come?
I feel that this Photokina will not be as ground breaking as previous years. I see Fuji bringing out the X-Pro 2, which is just about due for a full on refresh new EVF, sensor, etc. I also see Sony releasing new FE lenses for the A7 series, as that is what is needed for the A7 cameras! More fast primes IMO! Olympus will be releasing new lenses I am sure..maybe some pro zooms that are expected and possibly a new prime or two. Panasonic I feel will not be doing anything huge this year and Leica, well, I think they will be releasing something really cool, really expensive and really limited edition. I also feel some new T lenses will be shown as well. The new 28 Summilux will also be announced but I expect it to come it at around $7k. Also, MAYBE a new X camera and D-Lux? Maybe. I think Sony has some big guns that will be special on the way but not sure when they will make them official. Pentax, Nikon, Canon, Samsung…I have not heard anything major going in with any of them though Samsung may have something really interesting coming in a few days.
I guess we will find out VERY soon, so I am looking forward to seeing what actually is announced!
More on the Fuji X100T!
Check out the video below where the Fuji Guys go over the new features of the X100T. I am really digging this EVF in a big way. This is something that Leica should be doing with their next M model in a couple of years!
The New Fuji X100T, 56 1.2 APD, Graphite X-T1 and 50-140 Zoom.
The new X100T – The new flagship X100 – $1299, November ship date. Buy Here.
Well, the new Fuji stuff has been announced and so far it is everything I have been told it would be. Cool updates but nothing really “WOW” or groundbreaking..yet. Today’s announcement brings us a new version of the X100 that will replace the “S” version, yes the X100T is now a reality. Basically it has a better build and improved Hybrid viewfinder. In reality, a rehash of the X100S. Coming in at $1299, this now Flagship version of the X100 will be shipping in November in black or silver. The X100T has the same sensor and IQ as the X100s and will still work with all X100 accessories such as the wide and tele adapters.
The X100 is a classic and IMO the best camera in the entire Fuji lineup. I’d take an X100 over any other Fuji camera made today. I expect the T will do well, but since it is a rehash, I doubt it will sell in the same numbers as the X100s or original X100. You are gaining a new Hybrid VF, enhanced controls and faster shutter speeds. Will be available in black or silver.
Press Info for the X100T
“The X100T comes newly equipped with an advanced Hybrid Viewfinder with an Electronic Rangefinder that now gives users reduced display lag times, automatic brightness controls and a Natural Live View shooting display.
The new FUJIFILM X100T blends award-winning image quality with a renowned design that gives enthusiast and professional photographers the most important controls and functions at their fingertips. The X100T combines the resolution and power of the APS-C X-Trans CMOS II Sensor and EXR Processor II with a bright FUJINON 23mm F2 fixed lens for optical excellence.
And to give photographers a new type of film simulation to work with, the X100T ships with Fujifilm’s new ‘Classic Chrome’ film simulation that delivers muted tones and deep color reproduction for beautifully dramatic images.
Advanced Hybrid Viewfinder with Electronic Rangefinder
The FUJIFILM X100T uses an improved Advanced Hybrid Viewfinder with Electronic Rangefinder that allows focusing as if using a mechanical rangefinder. While in optical viewfinder mode, pushing the OVF / EVF switching lever to the left will switch the viewfinder to electronic rangefinder mode. Additionally, Focus Peak Highlight and Digital Split Image can be selected, and the magnification of the focused area can be changed. Compared to the X100S, the frame coverage in the X100T has been increased from 90% to 92%, and the field of view can now be accurately checked closer to the actual subject. The X100T also uses Real-time parallax correction for more accurate image composition. Reframing after bringing the image into focus is no longer necessary, allowing for a seamless shooting experience.
Photographers also now have access to Shooting Effect Reflection settings within the Hybrid Viewfinder to recreate selected camera effects, including Film Simulations. When turned off, users can see the natural view. The image within the finder is displayed at the maximum frame when shooting under dim light and dark areas such as night scenes, enabling shooting while looking at a smooth image, all while greatly reducing display lag time.
Range of controls expanded, upgraded body
The FUJIFILM X100T now allows photographers to set the aperture to 1/3 steps using the aperture ring, while the exposure compensation dial has been extended to ±3 stops. Also, the command lever has been changed to a command dial, and through the adoption of a 4-way controller to improve operability. The X100T is also now equipped with 7 customizable Fn buttons for a truly personal shooting experience.
The FUJIFILM X100T has an upgraded body that is die-cast magnesium on the top surface and bottom of the body for a highly durable and functional design. The X100T’s aperture ring, shutter speed dial, and exposure compensation dial now have a groove shaped pattern for an improved feel and grip. The X100Talso features a high-definition 1.04M-dot 3” LCD has for extraordinary visibility.
New “Classic Chrome” film simulation
Fujifilm’s unprecedented image quality has been cultivated through the development of photographic films over the past 80 years and helps to reproduce warm skin tones, bright blue skies and rich green trees, just as photographers remember the scene. The X100T ships with the new ‘Classic Chrome’ film simulation mode, which delivers muted tones and deep color reproduction.”
The Fuji X-T1 Graphite Edition – $1499, shipping in November 2014. BUY HERE.
Fuji has also announced and are releasing a new flashy version of the X-T1 in a graphite finish and other enhancements over the original X-T1. I think it looks nice but you can check out the press info below:
“The new special edition FUJIFILM X-T1 Graphite Silver, a weather-resistant premium interchangeable lens camera with a large OLED electronic viewfinder (EVF) that delivers an instant image preview. The X-T1 Graphite Silver also includes the latest generation 16.3 Megapixel APS-C X-Trans CMOS II sensor and the segment’s fastest autofocus of 0.08 seconds*1 for professional photographers and enthusiasts who want the ultimate in image quality in all weather conditions.
Triple layer coating for a remarkable Graphite Silver finish
The new FUJIFILM X-T1 Graphite Silver edition uses a triple layer coating to give it a unique and durable fit and finish. Following an antioxidant treatment on the magnesium body, a matte black undercoat (primer) is applied to the X-T1 as a first coat. The black undercoat tightens the colors of the shadowed areas and makes the highlighted areas stand out. Then, the X-T1 body is rotated at a high speed while thin coats of ultra-fine paint particles are layered using a computer controlled “Thin-film Multilayer Coating Technology” for a smooth and luxurious Graphite Silver finish. Finally, the X-T1 is given a clear coat for extra durability and a deep gloss finish that subtly changes its appearance depending on how it is struck by the light.
Natural Live View and increased shutter speed
The FUJIFILM X-T1 Graphite Silver edition has been upgraded with a new Natural Live View in the EVF that displays images just as the naked eye sees them. With the X-T1 Graphite Silver edition, users can disable the Preview Picture effects from viewfinder image while shooting to display a truly natural image composition just as they would see with an optical viewfinder.
The FUJIFILM X-T1 Graphite Silver edition is now equipped with a high-speed electronic shutter that has a maximum speed of 1/32000 second that can be set in 1/3 steps when using the FUJINON XF23mmF1.4 R, XF35mmF1.4 R, or the XF56mmF1.2 R lenses. Additionally, the mechanical shutter will not operate when any speed for the electronic shutter is selected for a completely silent shooting experience.
New “Classic Chrome” film simulation
Fujifilm’s renowned image quality has been cultivated through the development of photographic films over the past 80 years and helps to reproduce warm skin tones, bright blue skies and rich green trees, just as photographers remember the scene. The FUJIFILM X-T1 Graphite Silver edition ships with the new ‘Classic Chrome’ film simulation mode, which delivers muted tones and deep color reproduction.
Exciting firmware update coming December 2014 (X-T1 Graphite Silver and X-T1 Black)
Fujifilm will release a free, comprehensive firmware update in December 2014 specifically for the new FUJIFILM X-T1 Graphite Silver and the original X-T1 Black that will give users exciting new features and controls to dramatically enhance their X-T1 shooting experience, including:
AF Area direct selection – Users can select the focus area with the 4-way controller, without pressing the Fn Key.
Function replacement for the AE-L/AF-L buttons – The currently locked AE-L/AF-L button function will now be interchangeable, depending on the user’s preference.
Focus Area size variability during MF – Users will be able to change the focus area in Manual mode during One Push AF with the AF-L button.
Macro Mode direct selection – Users will be able to directly turn ON or OFF the Macro function in Auto Focus mode to expand the distance measurement range to the short-distance range. This will be possible without accessing the pop-up menu screen.
Q Menu customization – The update will render the items and layout of the Q Menu, used for quick access of frequently-used items, changeable to the user’s preference.
Video frame rate selection – In addition to the existing 60fps and 30fps selections, 50fps and 25fps, as well as a 24fps selection will become available to users. 50fps and 25fps allow video editing in the PAL region, such as Europe and elsewhere, without converting the frame rate. The 24fps will offer movie-like video capture and play back.
Video manual shooting – Users will be able to select ISO sensitivity prior to shooting videos, as well as adjusting the aperture and shutter speed during video shooting.
Phase Detection AF support for One Push AF – With One Push AF, operated by pressing the AF-L button during manual focusing, the update will enable Phase Detection AF with quicker focusing speeds.
Metering area focus area interlocking – The update will enable users to interlock the AF area position with the metering area when spot metering is selected.
Expansion of the Program Shift setting area – The update will enable the current Program Shift, in which the low-speed side is 1/4 second, to be shifted to a maximum of 4 seconds.
The new Fuji 56 1.2 ADP – $1499, ships in December. BUY HERE!
Then we have another Fuji rehash! A new version of the 56 1.2 that will have better 3D pop and smoother Bokeh because of the “Apodizing Filter”. When the Nocticron beat out the original Fuji 56 1.2 Fuji must have decided that they needed to update the lens, which is not even old, leaving original 56 1.2 owners out in the cold. For $1499 you can now have the 56 1.2 APD version, with a better/smoother and more blurred Bokeh. Press info is below:
“The new FUJINON XF56mmF1.2 R APD (Apodization) is a fast and nearly silent lens for FUJIFILM X-Series CSC’s that has a maximum aperture of F1.2 to make it the world’s brightest autofocus lens for digital cameras with an APS-C sensor. In addition, the new apodizing filter makes it the ideal choice for portrait photography where every detail is crystal clear, with images set on a gorgeous bokeh with smooth outlines for pictures with a three-dimensional feel.
The XF56mm F1.2 R APD is constructed of 11 glass elements in eight groups, including one aspherical glass molded lens element and two extra low dispersion lens elements. Spherical aberrations are corrected by the aspherical glass element to deliver high resolution at the maximum aperture setting. Additionally, thanks to the combination of two extra-low dispersion lens elements and three cemented lens elements, chromatic aberrations are greatly reduced.
The 50-140 F/2.8 Zoom – $1599, ships in December. BUY HERE!
Finally, a new Zoom has been announced from Fuji, the 50-140 f/2.8 with a price tag of $1599. This will be like a 76-213 f/2.8 lens, so one for the tele zoom guys who love their 2.8 aperture. Press info is below:
The new FUJINON XF50-140mmF2.8 R LM OIS WR has a focal length equivalent to 76-213mm, and a constant F2.8 aperture throughout the zoom range. The length of the lens barrel remains constant throughout the entire zoom range, and features a weather resistant and dust-resistant finish that can also work in temperatures as low as 14°F. Thanks to a high-performance gyro sensor, a unique image stabilization algorithm and the bright F2.8 aperture, hand-held photography is possible in a wider range of shooting conditions. The XF50-140mmF2.8 R LM OIS WR also now uses the world’s first Triple Linear Motor for fast and quiet autofocusing and shooting.
The FUJINON XF50-140mmF2.8 R LM OIS WR has a lens construction of 23 glass elements in 16 groups, which features five ED lens elements, and one Super ED lens element with low dispersion to substantially reduce chromatic aberrations. The XF50-140mmF2.8 R LM OIS WR also uses a new Nano-GI (Gradient Index) coating technology that ensures this high-performance lens delivers the outstanding imaging results that photographers have come to expect from the award-wining X-Series.
So there ya have it, new stuff from Fuji just announced and super scorching off the press!
Japan and Fuji XPRO-1
Dear Brandon and Steve,
I am Massimiliano, and italian photographer and lover of your blog and I am glad to submit you some picture taken by my last travel to Japan this August. Few weeks before moving to Japan I did a very strange deal, I sold my Leica M9 and took a Fuji XPRO-1 and 35mm f/1.4. Why? I am not sure but I was in search of something different from the greatness but sometimes frustrating Leica M9 limitation (I still use an M2 if I want to use Leica camera).
Over all I love Japan and Tokyo is one of the best place were to shot but I was worried to be unable to catch the beauty of the city with a new gear on my hands. What follow are few shot I have chosen that prove to myself again that the XPRO-1 is a really incredible camera well made and with all the feature necessary to modern photography. Most of the shot are taken in the area that goes between Harajuku and Shibuya few weeks ago. When I shot I try to go as close I can to my subject being sometimes intrusive but able to catch what I think is important because I love Japan and I would like everyone knows this wonderful country.
A Fuji X100S report
By Lachlan Burrell
I’ve been using the Fuji X100S for about 16 months now, and I believe it’s one of the greatest digital cameras ever made! Obviously not everyone is going to agree with me on that, but here’s why I think so highly of this little camera:
Firstly, I’m a die-hard film shooter, and lover of traditional manual cameras. I learnt the ropes on great 1980’s era SLR cameras like the Olympus OM1 and Nikon FM2, and I still find the direct manual controls and simplicity of these kind of cameras such a joy to use, not to mention the wonderful tones and colours I get from film. So I was never quick to jump into the digital camera market. I got some very nice results from Nikon DSLR’s like the D200 and D3; both were and still are great cameras, but were a very different beast to the old film cameras that I loved.
Then along came the X100 and really caught my eye. Could this be the missing link between nostalgia, classic design and a practical, digital tool? Not one to rush into the latest thing, I waited to see how this camera would be received and how it would perform in the real world. Turns out there were some issues, as there often is with the first generation of any product. When the highly anticipated X100S was announced, I thought it was about time I took the plunge.
It didn’t take very long to warm to this little camera, most of the controls were very familiar and intuitive. I started playing around with the RAW files in Adobe Lightroom using VSCO (Visual Supply Company) Film presets that I had tweaked a little. It was then that I started getting a bit excited! Not only was this a beautiful camera to use, with traditional controls I was accustomed to, the images were the closest thing to film I’d seen come out of a digital camera. I’ve used the VSCO Film presets on the Nikon D3, but I’ve never been able to achieve a film look like I can with the X100S. There’s something about the Fuji sensor that lends itself to the tonality and feel of film. Some might argue, why bother trying to make the images from a digital camera look like film? Well that’s fine if you’re happy with a digital look, but to me digital often looks a bit “plastic” and surreal compared to a film image, and the colours don’t always appear to be rendered naturally. For those of you who are interested, I’ve outlined a few key changes I make to the standard VSCO preset settings in Lightroom. I don’t make any drastic changes, but as a general guide using the Kodak Portra 400 preset, for example, I add about 5 points more Saturation overall. Then I go to the HSL panel and into the individual colour saturation I nudge up the reds, oranges and yellows by 5-10 and knock the green down by about 5. In the hue settings I also nudge up the orange hue by 5-10 points, and knock the yellow, green and purple hues down by 5-10 points. In the luminance panel I knock the yellows and greens down a bit and nudge the purple and magenta up slightly. This all helps achieve a more natural creamy-warm skin tone. Another important adjustment I make is in the Split Toning. As a guide I set the highlights hue at about 40, saturation 5, and the shadow hue at about 210, saturation 5. This really gets close to emulating true negative film tonality. Play around with the grain settings to your own taste; for Portra 400 I have it set at 30, 30, 40. I use the Portra presets for most of what I shoot, but I’ve also customized presets for Kodak Tri-X black and white, Fuji Velvia, Fuji Astia and a couple of the Polaroid presets, which can be very interesting and moody. It really comes down to individual taste, but having shot film for so many years, I have a visual target to aim for when customizing the presets.
As far as my personal camera setup goes, I never use the accessory case, it just adds bulk and gets in the way. I also ditched the lens cap and attached the accessory filter adapter and a top quality B+W UV filter, primarily to protect that beautiful front element. I never use a lens hood, as lens flare isn’t an issue for me…I actually like the effect, and the Fuji lens doesn’t seem to suffer from it excessively.
In addition to the beautiful image quality the X100S can achieve, there are other things about this camera that just rock, in my opinion!
1. The exposure metering is superb; it nails it almost every time. And the rare times it doesn’t due to very challenging lighting, the dynamic range of the RAW files is huge, allowing highlight and shadow detail to be easily “rescued” later. The highlights don’t tend to blow out harshly, but fall off very gradually and naturally, something I haven’t experienced with other digital files.
2. The hybrid optical/electronic viewfinder is just lovely to use. I used to be a little irked by electronic viewfinders, but this one has changed my attitude. I still prefer the optical for general everyday shooting, but there are times, particularly when framing is critical or when the lighting is dim, that the electronic option really shines. The ultimate would be to have a true optical rangefinder with manual focusing, like so many popular consumer cameras made in the 60’s and 70’s. I don’t believe it has to remain the exclusive domain of Leica with a price tag to match. I wait in hope for a manufacturer to break the mould!
3. The compact size and near silent shutter is just perfect for travel and street shooting! I don’t believe there’s any other serious competitor for this camera, i.e. compact, light, full manual control, classic styling and design, delivering professional results.
Is this the perfect camera? I don’t think there is such a thing, because the needs of photographers are so diverse, but this comes close for a travel/street/documentary shooter. If I could change one thing about the X100S what would it be? The fixed 35mm equivalent lens can sometimes seem a limitation, but it’s also what gives the camera its unique appeal. I’ve often felt that a 40mm or 50mm standard would be more useful; I’m not a big wide-angle fan. But now with the option of 28mm and 50mm conversion lenses, I think Fuji have it covered quite nicely!
A Pair of Fujis in Paris
By James Conley
France’s importance in the history of photography cannot be overstated. Some of the most significant documentary images in the history of photography were made in Paris, and it was the home of photographers like Henri Cartier-Bresson and Robert Doisneau. Today, the city is full of commercial galleries dedicated to photography. During any given week there are dozens of elaborate exhibitions and public displays of images. Photography is respected as an art, and it is actively promoted. Indeed, France is home to Jean-François Leroy, the founder and sponsor of Visa pour l’Image in Perpignan. Paris is at odds with itself, however. It’s an easy city to shoot, but a frustrating city to shoot in.
~First, the backdrop.~
Paris is divided by the Seine. The right bank is to the north, and the left to the south. The left tends to be rather rich (read: touristy) and the right bank tends to be more artsy (and frequently seedier). The right has interesting places like the medieval-streeted Marais, and the left was Hemingway’s stomping ground. The right is hillier, the left flatter.
Regardless of where you go, though, Paris is a victim/beneficiary of Georges Eugene Haussmann. Until the middle of the 1800’s, Paris had the same structure as it had during the Middle Ages—small, interwoven streets and cramped buildings. In 1794, under the influence of the miasma theory of the day that the tight quarters were the cause of illness, a Commission of Artists came up with a plan for redoing the streets. Nothing happened with the plan until Louis-Napoléon Bonaparte became emperor in 1852. He wanted the government to better control a capital where several regimes had been overthrown since 1789, and wanted wide avenues through which to move troops.
Napoleon III tasked Haussmann with reurbanization, and gave him broad powers to implement the plans. Haussmann used that power to seize property, require owners to make changes to building facades, and to completely level and rebuild parts of the city. Haussmann defined the maximum height of buildings, and their features—including balconies and roof pitch—was mandated. Neighboring buildings had to have floors at the same height, as well as matching exterior lines. Quarry stone was mandatory along the avenues. Wide boulevards, landscaped gardens, and monuments were designed to frame France’s imperial history. The plan and its result made the city look like an extensive palace.
What all this means from a photographer’s point of view is that the city provides a fetching backdrop for almost any picture, no matter what part of the city you’re in. It also means that no matter what part of the city you’re in, it runs the risk of looking remarkably like any other part. The buildings are beautiful in their own way, but they lack individuality. It’s as though Disney had the power to reface a major city.
Paris has some of the worst traffic of any major city. Cars are numerous, but mopeds and motorbikes are a close second. They are everywhere. Vehicles clog the streets and they park in any available place. Because of the chaos of so much traffic, Paris has placed a seemingly infinite number of three-foot tall poles to block walkways from vehicle parking. Parking on the streets is relatively unlimited, however, and there is almost no street that doesn’t have cars or mopeds lining it. This means that nearly every street scene will be blocked by either a pole or a vehicle.
Light is also an issue. Paris is a very northerly city. It is on a latitude similar to that of the U.S./Canadian border. In the autumn, this means that the sun is low in the sky, but it’s very bright. Shadows are strong, and highlights are glaring. Dealing with the contrast is not an insignificant challenge. Partly overcast is a friend to the limited dynamic range of a digital sensor.
Most of the traditional sites are worth seeing, even if their inspiration to make images is low. The Eiffel Tower is impressive. The Louvre is stunning. (Outside, at least. I think the Met is better curated, regardless of the difference in volume.) The city’s elaborate gardens are interesting and relatively attractive, if a rigid approach to horticultural design appeals to you. The streets are obtuse and there is no grid, which makes for convenient backdrops. The Latin Quarter and Ile Saint Louis stand out as particularly photogenic. As discussed below, however, many of the sites aren’t accessible to photographers. For example, Sacre Coeur doesn’t allow photography inside, nor does the Shakespeare & Co. bookstore. The Louvre, however, does. Most storefront businesses do not allow photography—including of the street. Most people out on the street will wave you off if they see you taking pictures.
~Second, the law.~
Contrary to France’s very welcoming approach to photography as art, it is also the home of two laws which restrict it: Droit d’image and La Loi Vie Privée. Basically, a French citizen can sue a photographer for using any image which includes the citizen or his property in the picture. So, for example, you see an interesting farmhouse in Versailles. You snap a picture, and then want to use it on a blog which has advertising from which you profit. Unless you have the written permission of the owner of the property, under French law you can’t use the image. And what if the property gets sold later? That’s right—you have to get the new property owner’s permission.
The law against using someone’s likeness commercially is not particularly different from the protection other countries provide: you can’t associate someone with a commercial product without a model release. The French people, however, generally fail to understand that taking pictures of someone in a public space and using it for an artistic or editorial purpose is allowed. The French assume they have the right to interfere with all photography.
This confusion has led many photographers to avoid France, and to not publish their work in France. Whether or not these laws would be enforced against a particular photographer with a particular image, it certainly casts a pall over the desire to make images.
~Third, the people.~
Paris is a busy city. The streets are full of a variety of shops. People live in the city, and despite their cars, they shop very locally. The Haussmann design leaves little interior space for working at home, so people are out and about. Cafe tables are plentiful, and people loiter for hours working or talking. Pedestrian traffic is heavy, as is bicycle and motorized transport. Shops tend to close around 6 p.m., but cafes and restaurants are open later.
Despite (or because of) the number of tourists, people tend to be fairly aware of photographers. More so than in cities like New York, Parisians seem to be constantly on the lookout for someone taking a photo. There are few smiles in Paris, and even fewer when a camera is around. Shopkeepers will confront you if they even see a camera. They’ll also come out of the store if they see you taking pictures in the street. Signs forbidding photography are everywhere.
Outside of stores, the people on the streets are less confrontational, but it’s wise to be aware and not push the issue. It’s best to follow the fancy footwork of Cartier-Bresson and blend blend. He was a master at taking photos fast, with his subjects unaware they were being photographed. Zone focusing and the use of the rear LCD display on cameras so equipped is required practice. Waiting in the right spot for the right time is also handy—people get used to your presence and pay less attention.
I took an XE-1 and an X100s to Paris for two weeks. and racked up over 100 miles of walking around the city and its environs. I shot with two lenses on the XE-1: an 8mm Rokinon and 18-55mm Fuji. The X100s has a fixed 23mm. I found the Fuji X cameras to be very adept at the kind of speed required for Parisian street photography. The small bodies go unnoticed, and as mirrorless cameras the Fujis are quiet. The X100s is particularly easy to adjust for zone focusing and is virtually silent. The rangefinder style X series in general are well-suited to be quick to the eye, making stealth shooting easier.
Like any city, the best way to approach Paris as a photographer is to walk. There are opportunities for images on the plentiful buses and metros, but the action (as always) is out on the street. Having lugged 35mm and DSLR equipment for more years than I care to remember, the small and light Fujis are much easier on the shoulder and the back for extensive city walking.
Paris is a great city. The air and the water make delicious pastries and bread. The streets are picturesque, and there are interesting places to see. The art is impressive and ubiquitous. It’s worth a visit to the galleries and museums. But it’s a tough city to work in. The people are not friendly to photographers, and the traffic and poles make it a challenge to find a clean foreground, much less a background. The pollution is horrendous, and the noise is incessant. The most photographed places are the most accessible, which means being original is not just a challenge—it’s risky. Having a street confrontation in a foreign language does not a good trip make. But Paris is worth the challenge, and forewarned is forearmed.
USER REPORT: Shooting the Sigma Dp2 Quattro and Fuji X100
By Michal Adamczak
Hi Steve and all,
I wanted to share my experience with Fujifilm X100 and Sigma DP2 Quattro. Attached are the pictures I took during my last trip with X100 as well as during my first trip with DP2Q. Note that the X100 pictures were developed from RAWs, while in case of Sigma they all are out of camera JPEGs (except for the balloon picture which I developed from RAW with corrected exposure). That may be not a fair comparison but I don’t really mean to compare them against each other. While I have been shooting RAWs only with X100, for practical reasons I plan to change my workflow with my new camera and use the OOC JPEGs most of the time. The size of the Sigma RAW files and the speed of their PhotoPro, the only software supporting the camera, make working with the DP2Q RAW files quite troublesome.
Back in 2011 I decided I would not carry a DSLR during my next trip. I though I would buy the best P&S I could find, one with a fairly big sensor and ideally with a bright prime lens – if there was such a camera. I had not been really following the market and was happy to found out that Fuji just released X100 – the camera I dreamed up and it was just a few clicks away from being mine! (Obviously the Fuji product managers must have dreamt about it a year or so before I did.) The camera looked great and felt good; even more so with the leather case which covered some of the plastic parts. Nothing is perfect but the camera was very close it to. I was happy with the image quality; the ergonomics and controls were great too – no need to enter menu while shooting. If I could change anything that would be the Manual Focus which I found out not really useable. I would love to have a mechanical focus ring in a “street” camera.
Fujifilm X100 felt great and I love shooting with 35mm yet I found it limiting at times and wanted to change perspective. If the tele conversion lens for X100 was available a few months ago – I might have ended up buying just it. But it was not. I was in Japan when Fujifilm XT1 was released and if it was available in a small photo shop in Okinawa I visited – I would probably have bought it. But it was not. Then I found some pictures from Sigma DP Merrill cameras and knew what would be my next camera. And it turned out an updated version was about to be released!
Sigma DP2 Quattro is very well made. I like the futuristic design though I would still prefer they kept it shorter, even if thicker and taller, to make it more pocketable (which it is not). The camera feels a bit weird to hold at first but personally I find the ergonomics good *if* using both hands; it is not comfortable to use with one hand only. The menu and buttons are well organised, LCD is good except.. that in no way it is a substitute for a viewfinder. I was using EVF 90% of the time on X100 and that is probably what I miss most in DP2Q. I have read a lot about how slow Sigma Merrill was. I cannot compare it with Merrill, Quattro is not a speed demon but I don’t find its speed a huge problem either. Autofocus is fairly fast in good light (similar to X100) but can be very slow in low light (then again – it is not a low light camera). It takes about 8 seconds to write a single photo and there is a buffer for 7 pictures. Depending on shooting style it can very little or just enough. Personally I don’t remember filling the buffer while shooting. I find it very annoying, however, that the camera is not useable 2 seconds after taking a shot.
Sigma DP Quattro offers quite a few usability improvements over Merrill but at the same time have somehow compromised Foveon sensor with low resolution Red and Green layers. It was a hard choice to make , but eventually I could not resist and decided to take the blow and test DP2Q myself. One of the reasons was supposedly improved JPEG engine (especially considering that the Sigma RAW files can be process only with Sigma’s own software). So how the image quality live up to the hype? Well, see for yourself. Overall I like the rendering, it’s smooth and have somehow painting like feeling. While I find the default sharpening too aggressive, there is definitely a lot of details there – just check the people on the beach or next to the balloons. Disappointingly there is a noticeable smearing in some parts of the pictures – check the grass in the shadow on the balloons picture. The camera gets very noisy starting from ISO 800 – check the incense picture; I find the B&W part very nice, however the red colour is washed away. (For a comparison ISO 3200 picture from X100.)
Retro X100 and futuristic DP2Q – the cameras are quite different to use and have different strengths. I find it a good opportunity to “change a perspective” which after all was the reason to change my camera. I am still learning about DP2Q. I have a bit mixed opinion regarding the image quality – there is a lot of “good” there but some “bad” as well. I was considering using the low resolution JPEGs (without extrapolation) but while 19MP is more than I need, 6MP is a bit too little. The camera feels good though and I am looking forward to using it during my next trips. I will probably buy an optical viewfinder which shall solve its biggest, usability wise, problem.
A few from the X100…
and a few from the Dp2 Quattro
Fuji X100 Full User Report
By Matt Cole
I am a 21-year-old film student from Canada who has always had a passion for cameras and photography. Like many photographers I struggled to find a subject that I liked to shoot and a camera that I loved. I started off with the Fuji X10 several years ago and moved on from there. Over the past 3 years I have gone through more cameras than you would imagine; I have owned a Canon Rebel T2I, Sony NEX-3,6&7, Fuji X-E2, Olympus E-M5, Panasonic GX7, and a Leica M8&9. But to me, none of these cameras could hold a candle to my beloved Fuji X100. There was something special about the X100 that just made me want to go out and shoot and my problems of finding what I liked to shoot slowly melted away as I fell more and more in love with this magical little camera.
Recently I was lucky enough to have the opportunity to travel through Europe for 2 weeks by myself and 2 weeks with my girlfriend and when it came time to choose what camera came with me on the trip there was not even a question; without a single hesitation I packed up my camera bag with my X100, 2 extra batteries and a lens hood, and that’s it! This camera is the do-it-all wonder; it is small, well-built, and the 35mm equivalent lens is the perfect all around lens for landscapes, street, and portraits. Not to mention the lens is extremely sharp and renders images in a spectacular way!
I know this has been said so many times, but one of the things I love most about this camera is its retro look. As a new photographer that is what originally attracted me to the camera before I knew much about it. Now, as with everything in life, nothing is perfect; as many have stated before the autofocus is not the fastest and the menus are not the most intuitive, but this camera is so amazing that it allows me to look past its flaws and see it for what it truly is. One remarkable camera that will be remembered for years to come!
Although the X100 is quite old (in the digital era), it has dazzling low-light performance and the ooc jpg’s have great color! During my whole month spent in Europe I did not encounter a single situation this camera could not handle. I brought the camera everywhere with me from walking on the beach to late night adventures on the streets of Cannes with some new friends. The X100 powered through it all, and with great ease. Not to mention, the hybrid optical viewfinder was an absolute joy to use late at night when the evf would lag slightly due to the low lighting conditions!
On the whole, this camera is the best camera I have owned; not to say that the others I have owned were not fantastic. I found that this was the best camera for me, for others there will probably be a better camera it really just depends on who you are and how you like to shoot. I find that the best camera is the one that makes you want to go out and shoot and for me that is the Fuji X100.
Here is a link to my Flickr page: https://www.flickr.com/photos/123579812@N06/
Shooting The Palouse with the Fuji X-T1 & X100S
By Olaf Sztaba
Brandon and Steve,
Thank you for sharing our previous submission with your readers. It is a truly great experience to be a part of your growing community of passionate photographers. Recently, Kasia (my wife) and I travelled to the Palouse.
The Palouse is an agricultural region in southeastern Washington, which produces mostly wheat and legumes. We couldn’t find the origin of the name “Palouse.” Some sources claim that the name comes from the Palus tribe, only later converted to Palouse by the French-Canadian fur traders, which means “land with short thick grass.” Later the name was changed to the current Palouse.
It is a land like no other. The abundance of shapes, patterns and colours produces dream-like visuals, which might overwhelm your senses at first. However, if you cut yourself off from the noise of your everyday life, turn off your cellphone, disconnect from the Internet and let your senses wander, you will find yourself in awe. Rolling yellow fields against the blue sky, whirling patterns of cut hay and huge expanses of sand dune-like hills are all a feast for the eyes. While well-known parks like Yosemite or Yellowstone have their own mega-popular spots, the Palouse offers you the unknown. Every dirt road hides a visual gem for you to discover and this is what makes this place so special. We photographed this visual paradise with the Fuji X-T1, Fuji X100S, XF 14mm F2.8, XF 55-200mm F3.5-4.8 OIS lenses.
Here are a few images, mostly JPEGs (Velvia film simulation) straight from the camera (only minor contrast adjustments). We have also included some photos using the new Fuji film profiles in Lightroom 5. They are identical to what the X-series cameras produce, but offer some extra room for adjustment.