A guide to two point lighting for city street portraits

By Damien Lovegrove

Contemporary portrait and X-Photographer Damien Lovegrove is no stranger to shooting portraits on-location. In this useful article, he gives you all the tips you need to create his two point lighting set up, specifically when shooting portraits on city streets.


The Equipment

Continue reading A guide to two point lighting for city street portraits

Conquering your fears in street photography – Part 1

By Brian Lloyd Duckett

Brian Lloyd Duckett is a professional street photographer who runs workshops across the UK and Europe. He shoots exclusively on Fujifilm, the X100F being his weapon of choice. In this three part guide, which aims to build your confidence, Brian gives you an insight in to what he teaches to help you become a better street photographer. Continue reading Conquering your fears in street photography – Part 1

How Fujifilm Builds Strong, Quality Cameras

A world leader in optic technology, Fujifilm has been building cameras since the 1940s. Today, our Fujinon lenses are used in medical equipment, satellites and high-end filming devices, as well as countless additional products.

While Fujifilm is well-known for analogue photography, we’ve made major strides into the digital realm, and our flagship cameras include the X-Pro2, X-T2 and the recently released GFX 50S. Known for their strength and durability as well as their unmatched photo quality, these models are all assembled in our Taiwa factory in Sendai, Japan. Here’s how.

 

Made in Japan

 

A sign of quality, craftsmanship and reliability, we proudly etch “Made in Japan” onto all of our flagship models like the Fujifilm GFX 50S, X-T2 and X-Pro2. Among other products, the X100F, X-T2 and X-Pro2 all undergo final assembly in our Taiwa plant about 20 miles outside of Sendai, the largest city in Japan’s Tohoku region, roughly 370 kilometres northeast of Tokyo.

 

From Raw to Refined

 

Our optics division is also the only company in the industry that handles every step of the production process, from raw materials to finished product. Fujifilm Optics Co. has three more factories in Japan that mould glass, process barrels and polish lenses.

 

Handmade with Care

 

As our visitors can attest, very little automation occurs in our Taiwa facility. Skilled workers carefully assemble and test every lens, barrel and finished camera, ensuring the highest degree of precision and craftsmanship. One lens may take several hours to produce, and the production process includes at least seven different tests and inspections. Even our more hazardous, automated processes are watched over by skilled workers and managers.

Image by @azul_zaidi via Instagram

 

An Eye for Details

 

That level of handiwork also requires exquisite attention to detail. Small devices in and of themselves, each camera contains hundreds of tiny components, each of which must be properly placed to produce a functioning product. In particular, aligning the image sensor is the most important and difficult part of the process, requiring a trained eye, patience and several in-process tests.

 

Safety and Cleanliness

 

Getting dirt on your lens is bad enough. It would be terrible if you opened a new camera to find grit in the lens, or to realize its moving parts weren’t working because of debris. To ensure the cleanest, safest production environment possible, we require all of our workers to wear lint-free fabrics, and some technicians also don double-layered hoods, surgical masks and padded booties. When making precise, highly sensitive lenses and cameras, no precaution can be spared.

Image by @danielrucci via Instagram

 

Rigorous Quality Control

 

Last but certainly not least, our rigorous quality-control process all but eliminates the chance a customer will receive a faulty product. Each assembled lens passes through quality control, where it is tested for mechanics and sharpness. Any failed unit is adjusted and readjusted until it renders the test image correctly. Even then, 10 percent of all packaged lenses are randomly selected, unpackaged and loaded onto a camera to ensure they’ll operate properly for customers.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Love At First Sight – Fine Art in Venice with the GFX 50S

By Giuseppe Foti

Giuseppe Foti is a Fine Art and Landscape photographer based in York UK, who constantly travels the world in search of his next photo opportunity. His aesthetic is based on his love for simplicity, minimalism and beauty. Find out whether it was love at first sight for Giuseppe in Venice, Italy with the FUJIFILM GFX 50S. Continue reading Love At First Sight – Fine Art in Venice with the GFX 50S

Wide vs Tele: From one extreme to the other

By Mark Gilligan

Everything we do in photography is a matter of perspective. My view is different from yours. We can stand side by side and look at the same thing but we don’t view it in the same way. We might recognise the exact features our eyes see but how we perceive and construct it is never the same.

Aren’t we lucky because if we all saw it exactly as each other surely the world would be a boring place? Continue reading Wide vs Tele: From one extreme to the other

FUJIFILM GFX 50S: A Professional’s View

By Steven Hanna

Professional photographer and current PPANI Landscape Photographer of the Year 2017, Steven Hanna is from Northern Ireland and specialises in wedding and landscape photography. The FUJIFILM X-T2 and FUJIFILM X-Pro2 are his usual weapons of choice, however eager to try out the FUJIFILM GFX 50S, Steven recently put the medium format system through its paces. In this interview, we find out how he got on.


Continue reading FUJIFILM GFX 50S: A Professional’s View

The Best Photography Kit

Australia strip BLACK

Is there such a thing as the best camera or perfect lens?

Maybe for some, but for most you will find that no camera and lens will provide you with what you want. Many professional or enthusiast photographers and videographers would have experienced the question that always seems to be unanswerable when asked by a friend or family member.

The question that typically gets asked is…

What is the best camera or lens to get?

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You have to admit it is a valid question, but really it is a hard one to answer. In order to attempt at answering the ‘how long is a piece of string’ question, you have to ask a question rather than an answer. Here’s a good example:

What are you intending to take photos of and what would you like to do with the photos after you have captured them?

It is the final response that will determine what the best camera for them will be.

Technology does play a part in the solution, though, and it is one of those things that will always develop over time. A good example of this is when you look back 10 years, when the Fujifilm Finepix S5 Pro was released on September 25th, 2006. Back then 6 megapixels was amazing and a frame rate of 1.6 frames per second seemed incredible. This to many at the time was a leap in the right direction. The specifications and skin tones produced by the camera seemed very adequate for most portrait and wedding photographers, but for those who required a fast frame rate, like sports photographers it just wasn’t enough.

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Fast forward to Fujifilm’s recent X-T2 release and the image quality jumped four times to 24 megapixels while the frame rate increased to 14 frames with the electronic shutter. Now, clearly, with the increased frame rate and megapixels this should be enough to cater for the portrait, wedding and sports photographers out there.

Some will agree with this and others might not. That’s the thing when making a camera – you can never cater for every user out there. Instead, Fujifilm goes the step further to try and provide cameras based on user feedback in response to the questions above. It’s certainly not everyone but it’s the vast majority.

Part of what being a photographer and videographer is all about is learning how to use the equipment to get the best results – despite the specifications.

So, if someone were to ask you – what is the best camera or lens to get – the first reply should always be what are you intending to photograph and use it for?

Based on this information you will be able to guide them with the correct camera and lens combination that will suit their needs. This is why we recommend you visit a camera store, because unlike online where the prices may seem better – you can never put a price on the excellent knowledge and service provided by an expert.

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To help you with your decisions while you read this, a free PDF buying guide has been provided in case you have any questions about the current range of Fujifilm cameras (a lens guide is also in the making). In the guide, we take you through each available model, including the new Fujifilm X-T2 and attempt to best describe whom the camera would be good for in a real world situation.

Once you have read through the magazine styled pages, we encourage you to visit our store locator (if you are in Australia) to find the nearest Fujifilm X Stockist where you can ask questions and get a direct response from an expert. On top of this if you are unable to visit a store we encourage you to call us directly on 1800 226 355 and choose option 4, where an expert from our Fujifilm X Series digital help desk will be able to assist.

Lastly, if you own a Fujifilm X Series camera, tell us why you choose your camera and how it best suits your needs. We would love the feedback!

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Lightweight landscape photography with a reportage head

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By CAMILLE MCMILLAN

Epic mountains.
Granite walls clung to by a finger…
Night sleeping in a hammock hung by Carabiners on a vertical 500m drops.
Scaling a waterfall turned to ice in -10 conditions, Ice axes, crampons.
The north face of the Eiger.
Base jumping.
No, no thanks, not for me…

I live in and love the mountains, the French Pyrenees. I am very happy to climb , walk and explore, but when the need for Carabiners and ropes happen, that’s when I take another route. I’m not an Alpinist, this makes me a lightweight, and as I’m a lightweight I wish to carry lightweight kit. No “Landscape photographers bad back” for me.

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Recently I took a trip to the other side of France, the Alpes-Maritimes, tracing the old border of France and Italy. A border that shifted with the end of WW2. The old border line in the Alpes-Maritimes are on ridges, peaks or cols, sometimes on the road, but mostly the car can only get you so far, then its hiking.

I approach landscape photography with a reportage head. I am not the kind of photographer that has the patients or time to hang around at a location, ponder, wait for the light, pause for dusk or sleep out all night for dawn. Maybe I’m not a proper landscape photographer, maybe I just lack the patience, I am however very much interested in narrative, the Journey.

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When on my journey, I see something, I stop and take a picture and move on. Hopefully the light is good on the subject at that moment. I’m much more about the story. That’s where the X100T is so good. I see the work I’m doing now as a journal, making notes. Maybe some day I could return with more equipment (a tripod ) maybe even camp out the night , but only with light kit, keeping the no humping kit bad back rule.

I shoot jpegs now (I spoke about in my last entry) and I’m right back to my early E6 (transparency film) days, I bracket. A few years ago I would have scoffed at the idea of bracketing and would have been horrified that I am shooting jpegs.

The f-stop bracketing with the X100T is great, 1/3rd of a stop work really well. This is not ‘in camera ‘ processing for a bracket, its a true 3 exposure event. I struggled with this at first as I would start to move looking for the next picture before the 3rd shot had fired. I am learning to be patient.

For me its important to know which in film simulation to use and not just shoot with the very seductive Classic Crome or the old school landscape photographers favourite Velvia (Even if you can shoot it at 800 ASA !) You can bracket film simulation modes with the X100T, and it is a one exposure event. Film simulation bracketing is a very good learning tool on how the different film simulations will look in different lights, however you can not Film simulation bracket and f-stop bracket at the same time. In my opinion, the characteristics of the film stock very much influences how the story is read. I make the decision which film simulation to use on a project and keep it that way. Sometimes the film simulation I have chosen is not the best for the light in a situation, but I feel the continuity of the colour and tonal range is of an over riding importance. Okay, you can call me old school.

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I’m not the photographer that enjoys the capture one / light-room / photoshop part of photography. I just want to get the image correct in camera and then print it. The dream is to send it to the printer from in the field…

I should however invest in an ND grad filter, Seven 5 by Lee filter probably and the WCL-X100 wide conversion lens, a pro ipad and a carbon tripod.

I’m searching for perfection in camera and escape the tyranny of post production.


See more of Camille’s work

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Learn more and buy now

Click here to find retailers selling the Fujifilm X100T