Posted by LAMPSOLS
Posted on 10:00 PM
with No comments
One feature I am starting to really appreciate on the X cameras is the way the focus point can be moved into even the furthest corners of the image frame. When photographing people I like to put the focus point on their eye. With most other cameras this is often difficult to do when the model's face is near the edge of the frame.
The fuji X cameras have 49 focus points scattered over most of the image frame making it easy to place one close to the edge of the frame. Plus the size of the focus rectangle can be change on the fly by turning the rear command dial. While many pro DSLR cameras have even more focus points than the X cameras, these points are usually grouped towards the middle of the frame leaving a large border along the edges of the frame without any focus coverage. DSLR photographers have learned to "grab focus" and then move the frame to compose the shot. With a Fuji X camera that isn't necessary, and that is one reason I like it for lifestyle photography.
Usually I do my lifestyle shootings with a Nikon D4, which is what I used to take the photo above with the model holding my Fuji X-Pro1. The rest of the shots below were taken with the X-Pro1 she is holding. The washed out effect was achieved by not using any fill for the strong daylight coming from the back lit window.
In the sample images below of a lifestyle shoot I did with one model in the studio today, notice in how many of the situations the model's eyes are not near the center of the frame. In every scene I was able to place a focus point where I needed it without having to "grab focus" or re-compose the photograph because the X-Pro1 always had a focus point where it was needed.
Another feature I like on the X cameras is the square crop mode. I used to shoot a 6x6 Hasselblad and have always loved composing with a square.
To keep the colors warm and add more detail to the face in this harshly back lit scene, I added large silver/gold reflectors in front of the model.
The lighting in the scene is essentially the same at the photo above it except that the reflectors were removed to soften the contrast. I also re-adjusted the color temperature in post-processing to enhance the mood by moving the temperature slider to the bluer side and dialing down some of the color vibrancy. In the photo below I greatly exaggerated the blue, while in most of the other images the color was kept evenly balanced, pretty much as it came directly from the camera.
This photo is the only one in this series taken with artificial light. I used a 1000 watt tungsten lamp with color correcting blue gels on it and bounced it from the gym ceiling to evenly light the room. All the rest of the images were taken with available daylight, usually with backlighting.
This blur action shot of the model with everything else in focus was taken at 1/15 second with the camera on a tripod and focused on the foreground boxes. I use a variable ND filter to dial in the exposure with the shutter speed and lens aperture where I want them to be.
In this photo the model's face is up along the edge of the frame, yet I had no trouble placing a focus point on one of her eyes with the X-Pro1. With the Nikon D4 I normally use for lifestyle shooting I would never be able to reach this focus point without grabbing focus and holding it while recomposing the shot.
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Description: The focus advantage of a Fuji X camera for lifestyle photography
Rating: 3.5
Reviewer: LAMPSOLS
ItemReviewed: The focus advantage of a Fuji X camera for lifestyle photography
Posted by LAMPSOLS
Posted on 7:30 PM
with No comments
First photo of the Fujifilm X-T1 camera. Controls on the left appear to be similar to those of an X-E2, but balancing the body style out nicely on the right is a new, quick-change knob for selecting ISO settings. Also appears to be a flash sync on the right and another wheel on the right.
Fujifilm put out a teaser photo today of its newest X camera due to be announced next week, the Fujifilm X-T1. The knobs on top of the body give it an SLR retro look a bit reminiscent of the recently released Nikon DF. The X-T1 is expected to fit in the X line up between the Fujifilm X-E2 and E-Pro series. The main body difference is in the SLR-type finder. From a report I heard form someone who has handled the X-T1, its EVF finder is supposedly excellent, producing a very large image with high refresh rate coupled with a high eye point making it possible for eyeglass wearers to see the full image with their eye a considerable distance from the finder window.
The X-T1 is expected to have the same 16.3MP sensor in the other top X cameras, and accept Fuji X mount lenses. Other anticipated features may include continuous shooting up to 8fps, improved AF and low-light AF, a high speed USH-II SD card slot, internal Wi-Fi connectivity, weather resistant body, and tilt-screen. Anticipated price is expected to be in the $1300 range for the body.
The X-T1 will be announce on January 28th and available in stores mid-February. Stay tuned.
Description: First view of the new Fujifilm X camera, the X-T1
Rating: 3.5
Reviewer: LAMPSOLS
ItemReviewed: First view of the new Fujifilm X camera, the X-T1
Posted by LAMPSOLS
Posted on 9:00 PM
with No comments
A little while ago I wrote a blog column speculating about future development of accessories that could jump the Fuji X camera series up a notch with a fuller range of lenses having characteristics that many pros require. Most specifically I was referring to medium and long zooms with fast apertures of at least f/2.8, and some extra long and fast telephotos. I am not sure if someone from Fuji read that column (doubtful), or if I was reading the minds of the planners at Fujifilm (just as doubtful), but the new lens roadmap for the X series cameras contains all the lenses I suggested.
Of course, making a speculation like this is not rocket science. If we look at any pro lineup of lenses, it is bound to include just these types, and with good reason. Where we don't find such a lineup is for the smaller APS-C sensor cameras. Another recent post of mine mentioned Sigma as addressing this exact issue with its new Art series zooms, the super fast18-35mmf/1.8, and the 50-150mm f/2.8long zoom, both very high quality lenses intended specifically for APS-C sensors. What all this does show is that the APS-C sensor size has reached a maturity level where pros are beginning to accept it for mainline work.
Amen to that.
New Fujifilm X mount lens roadmap:
The two most important new lens announcements from Fuji are the mid-range XF 16-55mm f/2.8 zoom (24-83mm equivalent), the XF 50-140mm f/2.8 long tele zoom (75-210mm equivalent), a fast long super telephoto yet to be revealed, and a fast aperture wide angle. Also introduced is an all-around zoom, the variable aperture XF 18-135mm f/3.5-6.7 (27-203mm equivalent).
This extension to the Fuji optical lineup coupled with recent and continuing X camera improvements reinforce Fujifilm's commitment to the X camera system, and goes a step further in establishing the APS-C sensor, mirrorless cameras as a workable pro genre - something most current X camera enthusiasts already knew.
A camera system is only as good as its lens support base. As Fuji X owners have come to realize, much of the appeal of the X system is that the manufacturer listens to its users and makes course corrections to accommodate them. This new optical lineup shows them doing it again. I, for one, want to say thanks.
Description: Some thoughts on the new Fuji X Mount lens roadmap
Rating: 3.5
Reviewer: LAMPSOLS
ItemReviewed: Some thoughts on the new Fuji X Mount lens roadmap
Posted by LAMPSOLS
Posted on 10:09 AM
with No comments
Now that the rumor mill is buzzing with the idea of Fujifilm introducing a full frame X-Pro2, I find myself wondering about what that will mean in terms of change to the classic X-camera design.
Despite the introduction of newer, improved models culminating in the very latest X-T1, I've grown fondly attached to my X-Pro1, and threatened by the prospect of an updated, full frame version. I feel a little like Paul Simon when he sings, "Please don't take my Kodachrome away."
My X-Pro1 is beginning to show signs of hard use. In other words, it is developing character with the promise of an interesting story behind every dent and ding, and a tale of constant trekking in the rubbed off paint and scuffs. I don't think I will ever trade it in on a newer model. Instead, once it has out-lived its usefulness, I'll end up putting it on a shelf where I keep my Leica M2, M4, Nikon Ftn, and Contax G2, and several other cameras that hold special memories of enjoyable shooting sessions.
Of course sensor technology will continue to change while the X-Pro2 is still in design stage so it would be foolish to speculate too much on what it might become. Basing speculation on the design philosophy of the X-series, would argue for a full frame sensor that is good in low light, a step up in megapixels, and something that does not bog down the camera with excess processing -- perhaps a jump up to 24mp. At that level the X-Pro2 would go head-to-head with the Sony A7 and Leica M 240.
A bigger question for me is whether an X-Pro2 will keep its basic style with a hybrid optical/EVF viewfinder. I sure hope so. That is one of the main features that makes the camera so appealing as a cult classic. The other question is whether an EVF finder incorporated into an optical system can have the same excellent characteristics of viewfinder size, refresh rate, and image quality as the X-T1. I'm guessing the engineers at Fujifilm are working on that question right now.
Will a full frame X-Pro1 design be plagued with the same lens conundrum Sony faced with the A7? I am not talking about how Sony dropped the ball by introducing a camera with only the shallowest of lens support. I don't think Fuji would ever make that mistake. Instead, I am thinking of the inherent problem with designing lenses for full frame, which is that they must be larger to cover the larger sensor area and this flies in the face of keeping mirrorless systems compact. Modern lenses are also bulked up by all the auto-focus and stabilization engineering now shrouding the interior optics -- something the manual Leica lenses do not have to include. To make the lenses intended for the A7 full frame series in a size that does not over-power the small camera, Sony had to down-size the maximum zoom apertures to f/4. The new pro zooms coming out for the X-series will be f/2.8 -- larger glass than the variable zooms, certainly, but still reasonably small due to the smaller APS-C sensor they have to complement.
The X-Pro2 will most assuredly accept Leica M lenses. Focus peaking coupled with image magnification now make using manual lenses far more practical. If the X-Pro2 can maintain the optical viewfinder as well as the EVF, it is going to become a very attractive, and much less expensive alternative or supplement to the Leica M.
Fujifilm prides itself, and justly so, on listening to its client base. My guess is that this philosophy of listening will influence the X-Pro2 design as it begins to take shape and reactions come in from the user pool. Not everyone is going to be pleased by going up to full frame. Fuji has mastered the smaller APS-C sensor to a point where serious pro photographers are having no compunction about making the switch from full frame DSLR to Fuji APS-C. The Fuji cameras are really that good.
I have mentioned repeatedly in my reviews of many mirrorless cameras that I feel the manufacturers have gotten caught up in a trendy competition to see who can make the smallest one. To me the nice thing about the X-Pro1 is that it is slightly larger than the rest of the X lineup -- not a lot larger, but enough to make it easier to hold and operate the controls. Maybe instead of moving the X-Pro to full frame, Fuji could consider keeping it as a slightly larger alternative to its other models, perhaps even giving it a beefed up APS sensor. This would add more versatility and choice to the X-camera lineup, and the larger size would allow Fuji to fit in a better EVF finder as well as some more dials -- not to mention it would allow all of us to use the same lenses.
Fuji revolutionized camera design when they introduced the now classic X-Pro1 mirrorless body by tuning into the marketplace, which only begs the questions on a full frame X-Pro2: Can they do it again? Should they do it at all? Are they still listening?
I sure hope so.
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Description: Speculating about a full frame Fuji X-Pro2 and fate of the X-Pro1
Rating: 3.5
Reviewer: LAMPSOLS
ItemReviewed: Speculating about a full frame Fuji X-Pro2 and fate of the X-Pro1
Posted by LAMPSOLS
Posted on 5:44 AM
with No comments
There is no doubt in my mind that the new Fuji X cameras can be used professionally so I decided to give it a trial workout in a real situation. We had a beauty shoot scheduled with one model and I thought that would be as good an opportunity as any to see what the camera could do.
I had the Fuji X-E2 and three lenses: the 55-200mm Fuji zoom, Fuji 35mm f/1.4, and a Leica 50mm f/1/4 Summilux with a Fuji Leica M to X mount converter. On the APS sensor of the Fuji the 50mm lens was equivalent to 75mm, and I used it as my main portrait focal length. The enhanced focus-peaking combined with the split-image rangefinder mode of the X-E2 made it a snap to achieve pinpoint focus with the manually focusing Summilux lens.
For this shot I wanted a high contrast look and the color red to be the dominant color with the model's skin over-exposed to white. Normally I would have used a strobe for this effect but the X-E2 does not have a flash sync connector. Instead I used the built-in camera pop-up flash as the source of illumination.
Two important changes in the X-E2 over the X-E1 made this shoot easier to pull off. The first was the ability to move the auto-focus point in AF-C (continuous focus) mode. When photographing models I strive for a pinpoint focus on the eyes, which means having a small focus point coupled with the ability to move it around for placement on the eye. The full screen grid of focus locations on the X-E2 was very helpful in achieving this. Most cameras have focus points congregating in a central area so it is sometimes hard to position one over an eye that is located in the corner of the image frame. The second important change was in the refresh rate of the EVF finder in the 3fps drive mode. This allowed me to actually see what was changing in almost real time.
The longer Fuji 55-200mm zoom lens was used here to compress the perspective a bit, while stopping it down a bit increased the depth of field.
The model had very beautiful, smooth, light skin that I wanted to emphasize. With the exception of the red lips shot above, I kept the contrast low and enhanced a monochrome color cast in each situation in keeping with the predominant coloring of the styling. I photographed in our daylight studio using all natural light. The only exception is the red lips shot where I used the camera flash. The X-E2 does not have a built-in flash sync so studio strobes were not an easy option.
For an ethereal look with low contrast I shot backlit against a strong window light with no fill whatsoever from the front. This meant opening the lens up to slightly over-expose the model.
For the fuller body shots I switched to the Fufi 35mm using it mostly towards its more open apertures settings.
For all the tight beauty shots I relied on a 50mm (75mm eqivalent on the X-E2) Leica Summilux lens, which I used fairly wide open in the f/1.4-f/2.8 range.
Strong backlit window light provided the only illumination here. There was no front fill, but in this instance I kept the exposure down to for a darker foreground than I achieved in the ethereal blue portrait shot done in the same situation.
This is the camera/lens combo I used for most of the beauty shoot - a Leica 50mm f/1.4 Summilux lens mounted on the Fuji X-E2 camera using the Fuji Leica M to Fuji X mount adapter. I have to say, the Summilux looks really nice on the X-E2 body.
Posted by LAMPSOLS
Posted on 11:00 PM
with No comments
What's more appropriate than using the retro-styled Fuji X-E2 to take some still life images of actual retro film cameras. The off-axis focus in some of the shots was caused by moving the tilt-shift adapter opposite to the normal plane of focus. The shallow depth of field is a result of using a Nikon 50mm f/1.4 lens wide open. To come in close I used an old Nikon 3T close-up lens mounted on the 50mm. The images were processed later for a platinum effect.
A Rolleiflex I, the first commercial model of this twin lens reflex camera dating to the 1930's.
A Nikon S2 rangefinder dating to 1954.
The Kodak Bantam Special, an art deco design by Walter Teague made from 1936-48. It used 828 roll film, which was the same size as 35mm but in a roll.
Another view of the Bantam Special. It was an excellent camera with rangefinder focus and high quality optics.
Zeiss Ikon Super Ikonta 531 rangefinder camera. It took a 6x4.5cm image on 120 roll film.
Very early Contax I from 1935.
One of the first SLR cameras, a 1950's Exacta Varex with a Kilfitt Makro Kilar 4cm lens.
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Description: Using a retro-styled Fuji X-E2 and a tilt-shift lens for a nostalgic look at old film cameras
Rating: 3.5
Reviewer: LAMPSOLS
ItemReviewed: Using a retro-styled Fuji X-E2 and a tilt-shift lens for a nostalgic look at old film cameras
Posted by LAMPSOLS
Posted on 10:30 PM
with No comments
Comparing the Fuji X-Pro1 and X-E1 : I have been using the Fuji X-Pro1 since it first came out, and have to say I am more than pleased with the the way this camera works, not to mention the excellent quality of its images. When if first came out, the X-Pro1 drew some criticism for is slow focus. In the interim, Fuji has remained faithful to the brand and has continually issued firmware updates that have improved the speed of auto - focus along with adding sophisticated focus peaking for improved manual focus.
In addition to consistently introducing new lenses, both primes and zooms, to support this system, Fuji has also introduced new models that can also use the same set of accessories. While the X-Pro1 remains the more expensive flagship model, there are now three other models below it that use the same lenses. The bottom two models, the X-A1, and new X-M1 are specifically aimed at entry level users, but the X-E1,which is the model just below the X-Pro1 shares many of the features of its bigger brother but lacks its hybrid viewfinder. Because these cameras are essentially the same inside I am not going to present comparative images from them. The results would be the same. Instead, I will concentrate on the different features of each camera to see why someone would want one over the other. Of course another interesting consideration would be to own both.
Part of the success of the Fujifilm X-series cameras is their handsome retro look. In the photo above is the top of the line X-Pro1 on the left, with an X-E1 resting next to it. A post-WWII Hallicrafter S-38 shortwave radio serves as the backdrop. You can almost imagine these cameras being used by spies or journalists in the post-war years.
In the days of shooting 35mm film, most pro photographers would carry two camera bodies - sometimes more - with different lenses on them. We have gotten away from this in the digital age. One reason is expense. Digital cameras are much more expensive that film camera bodies were. Another reason is that zoom lenses are now more prevalent. So one camera body with a mid range zoom can cover a very large area. In the earlier days of film there were no zooms so a photographer wanting to change quickly from one focal length to another had to have at least two cameras with different lenses mounted on them. A good example of this is the Leica M2 and M3. The M2 had viewfinder frames for 35mm, 50mm, and 90mm, while the M3 had frames for 50mm, 90mm, and 135mm. The cameras were meant to be used together, not separately. The Fuji X system may be tending in that direction when we note the large number of excellent prime lenses that Fuji is making for it.
The principle difference between these two cameras is their viewfinders. The X-Pro1 has a hybrid finder that can switch between optical and electronic. Those of us who grew up with rangefinder cameras are familiar with optical viewfinders and their frame lines corresponding to the lens mounted on the camera. Modern electronics have done away with all that by introducing a small video image in place of the actual image in the viewfinder. However--and this is a big HOWEVER--an electronic image behaves very differently from an optical image of a scene.
An electronic image has a lag time that can never approach the speed at which an actual visual scene is changing. Coupled with this is the lag in processing time. So, if your camera is set for motor drive instead of single shot, you will experience what I call, "image drag". The electronic image cannot keep refreshing itself in real time. So what you are seeing in the electronic finder as the camera clips along at 3 or 6 frames per second, is a jerky, blurred image of the scene that is impossible to compose. This is the main reason I am not a big fan of electronic viewfinders.
The Fuji X-Pro1 has a hybrid finder. It can be either electronic, or optical with framelines, your choice with the flick of a switch. I happen to like this feature, particularly for the reasons outlined in the paragraph above. That said, electronic finders are getting better--meaning clearer with faster refresh. As these things go, Fuji X camera finders perform well until you hit a fast changing subject and have to switch to 6fps. In which case, you might as well give up all hope of seeing your actual subject through the electronic viewfinder as you move the camera moves to follow it.
It may not look like much here, but the X-E1 on the bottom feels much smaller in your hands than the X-Pro1 above.
I think I am getting more used to the electronic finders available in mirrorless cameras today, and have to admit it is sometimes nice to be able to precisely align elements in a composition, something that is impossible with an optical finder. I include the sun in many of my photographs. Usually it is peaking through some tree branches and bursts into a soft star. Without actually seeing this scene through the viewfinder it would be almost impossible to accomplish such an alignment. So I have a love/hate relationship to the electronic viewfinder. This is an area where I hope to see improvement as digital cameras continue to improve.
One reason I like having an electronic viewfinder is for capturing images like this, where the precise placement of the sun just peaking out from behind a leaf is extremely critical. A shot like this would be completely hit or miss with an optical finder.
The sensors and functions of these two cameras are almost identical. They both have a 16.0MP APS-C X-Trans CMOS sensor delivering and ISO range of 100-6400 in RAW, and up to 25600 in JPG. The sensor is uniquely designed to eliminate moiré so no low-pass filter is needed. This improves resolution.
In low light, the Fuji X cameras are top of the breed. While many cameras today boast of high ISO abilities of 6400-25600, in most cases images above 1600 need a lot of post processing work to make them acceptable for large print usage. Fuji X cameras are the only models I know of where images shot at 25600 are usable with only minor tweaking. One reason is that above ISO 6400 the Fuji X cameras only take a smaller image and in jpg format only. Nonetheless, this is Fuji being practical. Better to acknowledge the limitations and cap them where they are truly possible than promise a low light capability that is unattainable.
Below are a series of downloadable high res files shot on the Fuji X-E1 from ISO 400-25,600. You can judge the results for yourself.
High resolution versions of this test image done at various ISO's are available using the links below. Although taken with the X-E1, both camera models produce the same results.
The LCD panel on the X-E1 (right) is only slightly smaller that that of the X-Pro1 (left). This is to accommodate the smaller body.
The dials and menus of the two cameras are similar but somewhat different in size. You can see the foot print of the pop-up flash of the X-E1.
The eyepieces of the two cameras are different. The X-Pro1 (left) does not have a vision adjustment like the dial on the X-E1. Instead you need to buy screw in diopter correction lens for the finder.
Conclusion:
In terms of image results, these two camera models are equal. The only differences are in a few of the features and, consequently, in the size. Being a newer model, the X-E1 came out with an improved auto-focus ability that Fuji has been attempting to correct with firmware updates in the X-Pro1.
The biggest difference between the two cameras is that the X-E1 has an electronic viewfinder only, but it is an improved OLED version with higher resolution than the X-Pro1 LCD electronic finder. The lack of a hybrid finder allows the X-E1 to be much smaller than the X-Pro1. If you can live with an electronic finder only, the X-E1 is probably the best bet. It is smaller, has a better electronic finder, and includes a pop-up flash. If you are like me, and occasionally need an optical finder, then the larger X-Pro1 is the way to go, keeping in mind that it is also more expensive. At the time of this writing an X-Pro1 camera body is selling for $1199, while an X-E1 is $799. That is a big difference, almost enough to pay for a lens.
I like both of these cameras, and if this were my only camera system, and I could afford a second body, I would opt to have both as a throwback to the early 35mm film days when working pros usually carried two cameras, each with a different lens to make for quicker shooting. Ahhh...nothing like the good old days.
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Posted by LAMPSOLS
Posted on 5:09 PM
with No comments
Fuji X-Pro1 and Leica lenses : On my walk today I took the Fuji X-Pro1 to test with some Leica lenses, notably the 135mm Telyt f/3.4. This lens is difficult to use on a Leica M9 because the long focal length is so small within the viewfinder window. With the Fuji, however, you can switch to the electronic view finder. This magnifies the image, and, although the lens is strictly manual focus, it is easy to see and adjust in such a large format. On the APS sensor of the Fuji a 135mm lens comes out to slightly over 200mm in effective focal length. Adding this lens and the 90mm -- with its effective 135mm focal length on the X-Pro1- greatly extends the lens complement of the camera system.
There are several off-brand adapters available for making conversions to the X-Pro1, but the adapter actually made by Fuji, although more expensive, works best because it can relay the information from the lens to the camera and the others cannot.
Leica M9 with Leica APO-Telyt 135mm lens mounted using the Kipon adapter. With the 1.5x multiplication factor of the X-Pro1's APS-sized sensor, this lens is equivalent to just over a 200mm focal length when mounted this way.
Kipon makes adapters for mounting various lenses onto the Fuji X-Pro1. These adapters are readily available on eBay. All lenses are manual focus when mounted this way, but they are easy to use with the cameras EVF finder.
You cannot see it here because of the small size of the images, but the use of the Leica lenses resulted in incredibly sharp photos. So my initial thinking on this camera is to use it as a companion body to my Leica M9. The Fuji accepts all the Leica lenses, has the benefit of extending the focal length range out to 200mm, and adds macro focusing with its own lenses, a feature that the Leica does not have.
In addition, the Fuji has exceptional low-light capability, much better than most cameras today. It can easily be used at ISO 3200 and even 6400 with only moderate tweaking in post-processing to remove residual noise. Together the Leica system plus X-Pro1 make a very complete package.
All of these photos were taken in late afternoon light with the Leica 135mm Telyt lens mounted on a Fuji X-Pro1.
I live close to the Empire State Building and often include it as a test for sharpness t in my camera and lens tests. Taken from a position south of the Empire State Building this photo shows the late afternoon sun reflecting off of the building's surface.
This view was taken from the north, shooting directly into the late afternoon sun. This blasted out all detail in the sky and left the buildings in a high-key light.
In Madison Square Park pink blossoms frame the clock of the Metropolitan Life Building in the background, as another addition to my Nature in the City photo series
Title : Fuji X-Pro1 to Test With Some Leica Lenses
