Aug 132014
 

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.

~The Fujis~

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.

website: fjamesconley.com
twitter: @Philatawgrapher

—James

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A woman on the Paris Metro reads among a plethora of geometric patterns.

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Waiters take a break outside a cafe in Paris.

A Parisian couple has an intimate moment by a window.

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Aug 052014
 

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.

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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.

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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.)

International Balloon Fiesta

Incense

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.

Michal Adamczak

A few from the X100…

Super nanny / Super niania

Najlepsza knajpa na Tokashiki.

House with a view / Domek z widokiem

Bramy nocą

Japanese wedding

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and a few from the Dp2 Quattro

Nephila pilipes

Emerald Valley

Youzihhu

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Jul 072014
 

Fuji X100 Full User Report

By Matt Cole

Hi Steve,

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/

Cables

Cannes

London

Map

Metro

Paris

Tower

Tunnel

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Jul 022014
 

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.

Regards,

Olaf Sztaba

www.olafphotoblog.com
www.olafphoto.squarespace.com

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Jun 302014
 

An Indian Wedding – one body, one lens, no flash pictures

By Arindam Pal

Hi Brandon and Steve,

How have you been doing? I have been quite busy settling down in a city in my home country for a while. Fortunately, I found some respite from the humdrum when I attended one of my brother-in-law’s wedding in New Delhi. Then I thought, why not take this golden opportunity and challenge myself to a strict rule – shoot the wedding with one body, one lens and no flash. Wedding photography without artificial light – was it even possible? Wedding photography in India is yet to take off for the masses – barring a few, most of the photographers are underpaid for the amount of effort they put in and the shots are mostly about the thousand or so people who attend, the various religious ceremonies and so on. No emphasis on smaller stories and the quintessential mood of a vibrant Indian wedding. But they do carry strobes and monos that I could leverage if I position myself correctly. Instead of trying to shoot what they would capture, I chose to pursue a different PoV. So, out came the trusty Fuji X-E2 and the outstanding 35 mm f/1.4. Many folks complain about missed focus on the X bodies. Even when shooting at night at higher than average ISOs, I never had a problem. I left the OM-D E-M1 back home because I knew I needed the Fuji’s insane sensor to allow for 99% night shots. The E-M1 is great but I wanted to minimize noise as much as possible. Ever since I heard about the Sony A7S, I have been waiting for your detailed review to come out. Maybe, that has the prowess to fill every gap that I find lacking. Here are some of the stories that I wanted to highlight:

1. The groom was sweating profusely in the intense Delhi summer. The photographer wanted a picture of the two brothers without the sweat showing up – so, the groom’s brother (my other brother-in-law) quickly takes out his own kerchief and wipes the sweat off his brother’s face. I thought this would be the best position for me to show the real camaraderie between two brothers. It was a challenging shot because I was looking straight at the bright light on the left. But the ISO 2500 DR from the X-E2 was good enough to retain some details even in harsh lighting conditions. EXIF: f/1.8 1/500 @ISO 2500

AbhinayWedding-1

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2. Leading lines and symmetric split? And I knew no one was going to shoot the decor, the thousands of dollars’ worth of real flowers. I could have shot at a smaller aperture but the idea of one rose bouquet fading into another was just appealing. EXIF: f/2.8 1/420 @ISO 2000

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3. The bride and groom’s first dance together. I would normally focus on the couple as they venture into a new life together. However, the story here is not about the couple alone but on all the others around, showering blessings and cheering for them. So, I chose it be out of focus – critics will surely disagree. EXIF: f/1.4 1/420 @ISO 800

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4. An archetypal wedding portrait. My sister in law was all decked up and I wanted to see how well the 35 mm would hold up in the ambient magenta cast light. I opened up the door just a wee little bit to let the natural outdoor light seep through. At ISO 1600, there was hardly any noise creep. EXIF: f/2 1/70 @ISO 1600 EV -0.7

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5. And what Indian wedding is complete without showing some application of Henna tattoo? I got a small one made for meJ. This one shows one of my sisters-in-law waiting patiently as the Henna dries out and becomes permanent for a week or so. In the intense heat, 30 minutes was enough. EXIF: f/2 1/45 @ISO 2500

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6. The final one tells the story of the bride leaving her parents’ home to be with her partner for life. While everyone was focused on her, I was thinking of how my bro-in-law was feeling. He surely did not know how to react to his newly wed wife all in tears in her mother’s arms. A pinkish magenta light distorts the WB but according to me, the vivid color shows nothing but the confusion in his eyes! EXIF: f/1.8 1/70 @ISO 800

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Follow me on Flickr@

https://www.flickr.com/photos/ap_works/sets/

Thanks,

Arindam

Jun 262014
 

Shimmering Light in Venice with the Fuji X100

By Drew Raitt

Hey Steve!

Maybe your readers would be interested in my recent trip to Venice.  The shimmering light of Venice is extraordinary! I live in North Devon U.K. overlooking the Atlantic ocean and here the sea is normally cool grey or blue. But in Venice, in April, the water is a translucent green, reflected, subsumed and suffused into every nook and cranny of this lovely city.

As a landscape photographer it took a while to adjust to shooting buildings and canals where there is no horizon. Sure I took loads of shots across the lagoon but the inner alleys and waterways are where the best images are found. Here the light works magic, although colours are subdued every building seems to glow , faded paint and pastel shades come alive, in every shadow there is a glimmering, a warmth that feels unique to me. I carried only my brilliant Fuji X100 (purchased thanks to great earlier reviews by Steve and others on this site). I know things have moved on in the Fuji World and now I am hankering for maybe the XT1 with a 56mm lens but for Venice the 23mm on the X100/s is superb.

I shot pretty much in programme mode and even in the deepest dusk managed to grab the image I wanted. I felt I needed to take time over each shot, savour the light and the atmosphere. In the early morning and late evening Venice is subdued, like the light, calm and quiet and around every corner is a painting waiting to be explored. I only use the electronic viewfinder which to me seems clear and precise whatever I throw at it. With the back screen off I avoided the temptation to ‘chimp’. The exposure compensation dial is incredible, easy to access without taking your eye away from the camera and instantly responsive in the viewfinder. So plus or minus two stops enabled me to fine tune the image I wanted to take. Using Astia mode for a more natural look, plus raw mode, I shot 260 images in four days and still had plenty of battery power left. The enclosed shots are all Jpgs with shadows,highlights and tone curve adjusted very slightly in Lightroom 4. I suppose it is obligatory to visit St Mark’s Square where there are a thousand others making their images. I have never seen so much camera gear slung around, it seems, every neck and in every hand a smart phone. I am no street shooter, the concept is alien to a rural photographer, but I felt so inconspicuous with the tiny X100 every thing became possible. In this shot five Policemen walked across the square which seemed to empty for a second, one of them stopped for a moment so I took the opportunity to photograph him. The other images I enclose I believe speak for themselves about the wonderful beauty of this place. many regards and thanks for such a great website.

Drew Raitt

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Jun 232014
 

Canon FD 85mm f/1.2 on the Fuji X-Pro1

By Axel Friberg

Dear Steve,

This spring I bought the Canon FD 85mm f/1.2 from Ebay and a Metabones adapter for my Fuji X camera. Not the speed booster one. I wanted to get something close to a 135mm full frame equivalent on my APS-C sized sensor. A 90mm lens would have been ideal, but most 90mm’s out there have an f-stop of f/2.0 and I wanted something faster. I started looking at different 85mm lenses which would give me a 127,5mm FF equivalent. After some research, I decided to go with the Canon FD lens – The predecessor of the first generation Canon EF 85mm f/1.2L lens. Since I wouldn’t be able to use autofocus anyway, I went with the non-AF version. Here are some of my favorites so far:

Best regards!

Axel

1-250s, f-1.2 ISO1600 (overexposed by 1 stop)

1:125s f:1.2 ISO500

1:125s, f:1.2 ISO500

1:160s, f:1.2 ISO2500

1:850s, f:1.2 ISO200

1:4000s, f:1.2 ISO200

 

 

May 282014
 

Varanasi with FujiFilm X-E1

By Sunil Mehta

Hi Brandon and Steve,

I am long time follower of your website and appreciate service you are doing to the photo industry. My name is Sunil Mehta & leave in India. Recently I was in Varanasi (also known as Banaras), very ancient city and many Hindus visits for Pilgrimage. Known for its old streets and Ghats (River bank). Attached few photos of early morning and late evening activities near river.

Limit of photos to upload is 3, attached 6 photos with this mail kindly select that you find appropriate.

On technical side:
Camera Fuji X-E1
Fujifilm XF 18-55mm f/2.8-4 Zoom Lens
Fujifilm XF 55-200mm f/3.5-4.8 Zoom Lens
Nik- Silver Efax for post processing

Exposure details of each photo is as follows.
Varanasi-01: Riverside. ISO 800 – f/8 at 1/500 sec.

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Varanasi-02: Evening prayer at River. ISO 1600 – f /3.2 at 1/30 sec.

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Varanasi-03: Performing Morning Prayer. ISO 800 – f/4.8 at 1/160 sec.

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Varanasi-04: Mother and daughter. ISO 400 – f/4.8 at 1/420 sec.

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Varanasi-05: Practicing yoga. ISO 800 – f/8 at 1/460 sec.

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Varanasi-06: Street. ISO 800 – f/3.2 at 1/45 sec.

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Few more pictures are on 500px.com
http://500px.com/mehtasunil

Thanking you
Sunil Mehta

May 262014
 

NY with Fuji X Pro1

By Pieter Vermeulen

Hi Steve,

Long time reader from The Netherlands here, and I wanted to share some pictures.

After years of shooting with my Canon 5D and other big camera’s I bought a Leica M8.2 a little over a year ago along with two nice Elmarit lenses. In the end, it wasn’t for me. I loved shooting with and getting that Leica feeling, but the ISO performances were so bad that I could not justify it. Thought of buying a M9 instead, but even for the extra money I could not just do it. I also bought the Fuji X100S when it came out and loved it. I did sell it after 2 months because the fixed focal length wasn’t for me. So I sold everything and bought the Fuji X Pro 1 with the 18mm 2.0 and the 35mm 1.4. Fell in love with it. Wasn’t the Leica M but it was what I was looking for.

So when I went to New York for the first time in my life (actually flying for the first time in my life after being scared of flying my entire life) I brought the X Pro. One day… I will go back to Leica… but for now… the Fuji helped in capturing the people of New York. Just wanted to share!

Greetings
Pieter Vermeulen

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May 202014
 

Some Fuji x-t1 Images, A User Report

By James

Hi Steve,

Just thought I’d share some images I took the last week with the Fuji x-t1. I rented the body and the 56/1.2 lens for a trip with my daughter to Ashland Oregon. I own an x100 but it rarely came out of the bag this trip as the x-t1 was just too much fun to put down. Also it was raining quite a bit so I thought I’d give a test to the x-t1′s weather resistance, it performed great. The AF speed was surprisingly quick with the 56mm even wide open and I had very few misses. Still trying to figure out how to incorporate this rig into my pro (Canon) setup but getting an assortment of new lenses might prohibit that.

I shot in RAW+jpeg and just bounced back and forth from the Provia and BW with green filter settings. This was easy to switch on the fly with the Q menu. The jpegs looked so good I didn’t need to use the RAW files. These images here are pretty straight from the camera with just a few Lightroom tweaks, the BW images were done in camera and the color images were all shot with auto WB. I think the Fuji amps up the color a little on its jpegs but they look gorgeous straight out of the camera.

James

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May 012014
 

One is not enough – using both the m43 and X sensors

By Arindam Pal

Hi Brandon and Steve,

It’s been over a year I sent something to you. Those were pictures taken during a short visit to my native land in India. A lot has changed over the year, both personally and professionally. Last year, I was shooting with the OM-D E-M5 but did not much like the noise response and preferred the Fuji X Pro, in spite of it being slow.

Steve’s review on E-M1 was up by October of 2013 and I placed an order along with the 17 1.8 and 45 1.8. The E-M1 is a great addition to the family. It has improved upon the E-M5 in many ways. Love the large EVF, snappy autofocus and the rugged, all-terrain look. I was quite happy with the results, although I found low light noise to be an issue. I understand people have different preferences and opinions. Many would prefer the slight noise that the E-M1 produces at ISO 1600 and above. However, I personally find any amount of noise distasteful. Coming from a D3S, it’s a challenge to accept it.

So, I decided to get another body and ended up buying a lightly used X-E2 body along with the 23 1.4 and 14 2.8. I could not be happier. Now when I shoot in low light and want high quality noise free images, I use the Fuji and when I need a faster response, I just carry the OM-D. Both are equally fun to use. I also bought a Nikon adapter to use my existing Nikon primes. I found that the 85 1.8D Nikon lens goes very well with the Fuji.

Must say, I am tempted by the upcoming Sony A7S with its practically noise free images but hope Fuji or Oly will come up with something extraordinary very soon

Sending a few pictures chronologically. Hope you would like them enough to post them on your blog. I did not bother much about the technical details when I was shooting these – but they show the passion I have for my newly grown family! Please feel free to use any or all of them:

E-M1 and 45 1.8 @f/1.8 ISO 400 1/4000 with -1 EV to create the silhouette

The 1st one is of wife 36 weeks in pregnancy

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 X-E2 and 23 1.4 @f/2 ISO 1000 1/70

The 2nd one is our first daughter, Aarwen celebrating her 1st month on this Earth

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 E-M1 and 45 1.8 @f/1.8 ISO 400 1/200

The 3rd one – Aarwen again, holding on to her mother

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 X-E2 and 23 1.4 @f/2 ISO 1600 1/160

The 4th one – Aarwen with her first plaything

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 X-E2 and 23 1.4 @f/2 ISO 1600 1/25

5th – she likes to talk to Mommy

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 X-E2 and 23 1.4 @f/4 ISO 200 1/170

6th one is from my recent visit to Bangalore, a street vendor selling fresh young coconut water to beat the heat

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Thanks so much,
Arindam

Apr 262014
 

Turkish fisherman with the Fuji X100s

By Howard Shooter

I must be strangely attracted to fisherman:

The last post of mine you very kindly published was about the fishing town of Aldeburgh in Suffolk, England. In stark contrast I now find myself relaxing in a wonderfully self-indulgent week of all-inclusive heaven, in Dalaman, Turkey with my wife Karen and my three gorgeous kids. What I needed was ironically a week of no photography and some serious “R and R”, after an enjoyably punishing work schedule.

As a food photographer, I decided to leave the beloved Leica M240 at home, with all the lenses, filters etc, I needed a break from manual this and aperture that… Instead I took just a small Canon (for the kids shots), and my conflicted Fuji X100s. My Fuji conflicts with me because I am magnetically drawn to out-and-out quality over everything else and I was thinking of flexing the plastic, one more time to invest in the Sony RX1R. The quality of the Sony is Leica-esque and it’s cheaper than the 35mm Summilux. or Summicron. But the story doesn’t end there; the Fuji X100s must have been designed by a photographer. It just works beautifully. I would argue that the Fuji is more ergonomically designed than the Leica in some respects, mainly the exposure compensation dial, and it is a total pleasure to use. The quality, once stopped down by a stop or two is lovely, could be sharper, with a better dynamic range, but the information is there if you want to fiddle and faddle. (I made the word faddle up btw). On an all-inclusive I expected the usual anonymous beaches, impeccable cleanliness and lack of soul or character, hence no reason to Leica up… The hotel we’re staying at is wonderful and is more than we could have wished for actually.

… and then my family, after a day of rain, went to look at the views on the beach. These Turkish fisherman were so friendly. I approached them today and just took about ten shots of each man over a three-minute period. The Fuji performed incredibly well. It’s so unobtrusive that I didn’t feel like I was violating their private space. The dual viewfinder is just perfectly implemented and the 35mm is such a flexible focal length. The shutter lag is almost non-existent and the camera feels very intuitive and responsive. Suffice to say I don’t feel so conflicted now. I shall be putting my plastic to better use. The Fuji is an excellent companion and probably got me more hits than if I would have had the Leica with all those nets flying around. Oh well… the buffet beckons!

The shots were taken in raw and have been converted to black and white in Lightroom and the blue channel has been increased just a little.
Many thanks for looking.
Howard Shooter

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Apr 172014
 

The Real Digital FM3? Nikon Manual Lenses on the X-T1

by David Nash

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Hi Steve and readers.

Not being as young as many of you I still have a soft spot for small metal cameras with lots of dials (even if I don’t actually turn them) – and a bundle of Nikon lenses including one or 2 old bought cheaply at our local camera shop (yes we still have one in a city of 500,000!). So like many I was desperate to get my hands on the Nikon Df – and I did. But I was a bit underwhelmed and when it had to be returned because of an AF fault I took a refund rather than a replacement.

With the money I got back I’m now the delighted owner of a Nikon 24mm 1.4 and, arriving yesterday, a Fuji X-T1. And it’s definitely not going back…. But being a bit slow on the uptake I hadn’t up till now thought about using Nikon manual lenses on Fuji X cameras (I had an X-E1) and immediately ordered a Nikon fit adapter that arrived this morning. So I spent a couple of hours this afternoon shivering my way round the streets of Edinburgh with my brand new X-T1 and a 135mm f.3.5 Nikon that I picked up for less than £100. As you’ll see in the photo it’s really quite small for a 200mm equivalent focal length – but very solid and well made and quite sharp (though not in the same league as the 90mm Elmarit which I will be trying out next).

Here are few photos of bits of some of our local buildings. What I really enjoyed about using the X-T1 with the manual lens was how well the focus peaking worked (in most circumstances) and how easy it is to magnify the focus area with the focus assist button. You need to focus at max aperture to get the best result but it’s no hassle to stop the lens down a few clicks if you need some depth of field. But what I particularly like about using the X-T1 with a longer lens like is that if I turn the ISO dial to auto (yes I do actually use the dials a little) and the shutter speed to 180th of a second the camera will automatically change the ISO as I (manually) change the shutter. That way I can keep a high enough shutter speed and have complete control over the aperture. Smart! Oh, and I think you all know anyway that the Fuji sensor is rather good at high ISOs. And I did I remember to say the viewfinder is brilliant??

So – as many others seem to be saying – is this not what the Df should have been?
Thanks
David
www.davidnashphotos.co.uk

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Apr 142014
 

Fuji X-T1 Ergonomic DYI Improvements

by Ronald Grauer

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I will not talk to you about the quality of the camera, we all know it’s a good camera with some little problem like every camera has. Of course, I couldn’t do anything about what’s going on inside, but I could do something about 2 of the major problem I’ve found on it:

- The eyecup is to small and not deep enough. Mostly when shooting in bright light. And also after 3 years with the Sony Nex camera (Nex 7 than Nex 6), I missed a bit the left side EVF found on the Nex Camera

- The rear 4 pad, which has been discussed on every single review on the net… Almost a shame to design such a pad.

So If you want to try this little fix, feel free…

For the eyecup I used a Nikon dk-4. But I think most of the wide, round rubber eyecup should fit. Plenty of them on Ebay.

The eyecup is glued on the plastic base from the original Fuji eyecup. Unscrew the 2 screws to remove the Fuji rubber eyecup.

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But you need to use the Sugru material (I have nothing to do with them…!) or any other similar material. Cause just the glue won’t be enough. I’m not a glue expert, but I tried different very good glue, nothing could hold it. The rubber material is a porous material so you need to shape something on top of these 2 elements. And this will make them more homogeneous for the look.

It’s called ”Sugru”, www.sugru.com

I’ve also used this amazing product to customize the rear 4 pad.

It’s made in England.

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You have an hour or so to shape this “king of rubber”. Let it dry for 12 hours and it will keep the shape and have some elasticity. As sugru says, this material sticks to 99% of the material in the world.

It has been awarded as one of the most amazing material invented in the last years…

It cost around 15 euros for 8 little package…

Hope this post will help many other users…

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I’ll finish by telling you that after all, I’m a passionate photographer.

here is my website link: www.ronaldgrauer.com.

Keep with what you’re doing.

Regards,

Ronald.

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