Fujifilm X Magazine – Issue 1 reader images 3/3

X-series users from across the globe share their finest images and the stories behind them

Here’s another selection of users’ images published in our Fujifilm X Magazine. If you would like to see your images in our magazine, and if you’re an X-series user, we’d love to see your shots. Email your images, along with details of the story behind them and some information about you and your photography to: xmagazine@bright-publishing.com

 

ERALDO MOSTINI – KORNATI

eraldo mostini
Camera: X-E1 Lens: XF55-200 at 128mm
Exposure: 1/800sec at f/14, ISO 200

Eraldo took this shot during the summer on a trip to the Croatian archipelago of Kornati. Attracted by the silhouetted shapes set against the glistening sea, he used his X-E1 and XF55-200mm telezoom lens to capture the scene.

I’m not a professional photographer, but I love using my X-E1 for shooting a wide variety of images,” he says. “It’s so lightweight, and offers an excellent electronic viewfinder that makes framing images really simple.

Picture quality is excellent, as well. I shoot mostly JPEGs, which look great straight out of the camera and the XF55-200mm telezoom delivers impressive levels of sharpness.

PRASHANT BUDHATHOKI – OLD WOMAN

Prashant Budhathoki
Camera: X100S Lens: 23mm fixed
Exposure: 1/1000sec at f/2, ISO 200

As soon as Fujifilm announced the X100S, I put in an order for one and I haven’t been disappointed. The image quality is what I love most, both JPEG and Raw. It’s a great all-rounder and I carry it everywhere with me, whether I’m taking street images or shooting landscapes. Thanks to the X100S, I’ve been able to explore a new side of photography that I was finding hard to achieve with my big DSLR.

This old woman was begging for food in the Pashupatinath area of Kathmandu. I offered her some money and then stayed for a while to take a few shots. I chose to work in Monochrome mode because I wanted to show the age lines on her face. I don’t think shooting in colour would have had the same impact.

PAUL REMMELTS – CHILDHOOD MEMORY

Paul Remmelts
Camera: X-Pro1 Lens: XF 35mm f/1.4R
Exposure: 1/340sec at f/3.2, ISO 200

I went to a local park and spotted this boy burning his name into a piece of wood with a magnifying glass. It reminded me of my own childhood, so I asked if I could take his picture. Having the X-Pro1 puts people at ease – because it’s smaller than a digital SLR, my subjects seem to be more relaxed.

Photographs like this always start with a conversation, then I just work with what is around me at the time. It’s hard to say where my ideas come from specifically, it’s just what feels right at the time.

Before I got the X-Pro1, I had an X100. It took great pictures, but I prefer the handling of the X-Pro1 and I’ve even used it for some of my commercial projects.

http://paulremmelts.tumblr.com/

Advantages of using a Compact System Camera over a DSLR

We made this little video outlining the benefits of a small mirrorless camera compared to a big bulky DSLR camera. Please leave your thoughts in the comments

Focusing with the X-Pro1 and X100S using the OVF

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By V. Opoku

I shoot fujifilm exclusively; I use two X-Pro 1’s and a X100s for my wedding work and travels. This set up works for me, however there was a learning curve involved, as the concept of these X-Series cameras were different from the D-SLR’s that I was used to.

The biggest challenge I faced was learning how these cameras acquired focus, I spent hours online seeking relevant information and even more time applying what I read and testing things out. YES, they actually do focus, they just do it differently to my old D700 and a friend’s 5D2 I had right next to it for comparison.

As a result of the information I gathered and my personal experience over the last 8 months, I decided to put this article together and I hope that fellow X-Series users out there and those considering buying one of these cameras might find it useful, especially in regards to focus accuracy.

Like ZACK ARIAS, I believe that the Optical Viewfinder is a big deal on these cameras. The hybrid viewfinder is innovative and each mode serves a purpose, i.e for close ups where the Electronic Viewfinder is the better option. Nevertheless, I find myself using the Optical Viewfinder 90% of the time, I truly love it. The focus on this article will be focusing with these cameras (X-Pro 1 & X100s) with the Optical Viewfinder.

PARALLAX:

“The effect whereby the position of a object appears to differ when viewed from different positions. In this case, the different positions are the lenswhich is at the centre of the camera and the viewfinder window which is to the left and above the  centre of the camera.

 

FUJIFILM OVF FINAL-01

 

VIEWFINDER WINDOW:

We have established that the viewfinder window is positioned to the left and above the centre of the camera, thus being positioned to the left and above the lens.

The viewfinder window (when in optical mode) is designed to have a larger Field Of View than whatever lens you attach to the camera body. Because the Field Of View of the viewfinder is larger than the Field Of View of the lens, you are able to see things that are outside your frame and not just what is inside it – the OVF is under inclusive.

 

FUJIFILM OVF FINAL-02

CORRECTED AF FRAME:

 

The different positioning of the viewfinder window and the lens means that we have to overcome parallax when it comes to nailing our focus. To aid us in doing so, these Fuji X-Series cameras have a brilliant tool called “Corrected AF Frame” ; this is optional but I strongly suggest that you turn it ON and leave it ON.

FUJIFILM OVF FINAL-03

 

BOX 1 : Represents the focus frame at infinity – This is where the OVF will naturally perceives focus to be.

BOX 2 : Represents the focus frame at the OVF’s minimum focus distance – the closest the OVF can focus before it hits the macro range. (This is about 2.6ft for the X-Pro 1 and about 1.6ft for the X100s)

This is how I have the Optical Viewfinder (OVF) set up in all three of my cameras:

 

FUJIFILM OVF FINAL-04

 

My custom OVF displays have quite a lot of information overlay which I have become used to, however for the rest of this article, I will “turn off” most of these information and only “leave on” those which I believe are relevant to acquiring focus with these X-Series  cameras.

 

FUJIFILM OVF FINAL-05

 

We are now left with a much cleaner looking OVF, with just the Focus Frame at infinity (BOX 1) and Corrected AF Frame (BOX 2) as well as  theDistance indicator on.

The distance indicator is pretty useful since the distance of our subject is used to calculate the amount of parallax compensation that is needed between the viewfinder window and the lens. So having an idea of how far or close our subject is can help us to acquire our desired point of focus with greater accuracy.

 

THE ESSENTIALS:

1. Due to the different positioning of the OVF and the lens, they naturally see focus at different points.

2. However, the camera has ONLY ONE REAL FOCUS BOX, which shows up at different locations within the OVF.

3. When we turn Corrected AF Frame on, the two boxes (BOX 1 & BOX 2) that shows up in the OVF represents the RANGE within which the REAL FOCUS BOX could be.

4. The RANGE  within which the REAL FOCUS BOX can be is BETWEEN infinity (BOX 1) and the focus frame  at the OVF’s minimum focus distance (BOX 2)

5. The RANGE for the X-pro 1 is infinity and 2.6ft

6. The RANGE for the X100s is infinity and 1.6ft

 

FUJIFILM OVF FINAL-06

 

 

7. When we press the shutter down halfway to auto focus, the camera calculates the distance of our subject and a GREEN BOX appears diagonally between the RANGE.

8. This GREEN BOX is the REAL FOCUS BOX.

9. Exactly where the REAL FOCUS BOX appears within this RANGE depends on the DISTANCE of our subject – in other words, where the REAL FOCUS BOX appears between BOX 1 and BOX 2 depends on how far or near our subject is.

 

FUJIFILM OVF FINAL-07

 

The GREEN BOX is the REAL FOCUS BOX – this is the actual point where the camera focuses the lens, and it will be located slightly below and to the right of where the viewfinder window perceives focus to be.

Remember that the viewfinder window and the lens are positioned at different locations –  and even though we are seeing our subject through the viewfinder window, we want our final image to be how the lens sees our subject. 

We want the focus point of the image we capture be where the lens focuses – the GREEN BOX is our parallax compensated FOCUS BOX, it sees our subject how the lens sees it, hence why it is the REAL FOCUS BOX.

The RED BOX (RANGE BOX) is solely for the purpose of this article and it will not show up in the camera.

Here is the same image as above but without the range box:

 

FUJIFILM OVF FINAL-08

The distance of our subject is what determines where the REAL FOCUS BOX appears within our RANGE ; the distance indicator tells us how far or near our subject is, therefore knowing our subject distance is useful.

 

 

Let’s assume with an X-Pro 1 + the 35mm lens, when we press the shutter halfway, the camera calculated that our subject was 5ft away, and where the REAL FOCUS BOX  has shown up in the illustrations of this article is a representation of that, so where the GREEN BOX has appeared between the RANGE so far is because our subject is 5ft away from us.

What if our subject was 3.6ft or 12ft away? Where between the RANGE will the GREEN BOX appear?

 

FUJIFILM OVF FINAL-09

 

With our subject at 5ft away, the GREEN BOX appears relatively central between BOX 1 and BOX 2.

With our subject at 3.6ft away, the GREEN BOX appears down to the right, away from BOX 1 much closer to BOX 2.

With our subject at 12ft away, the GREEN BOX appears further up and to the left, away from BOX 2 and much closer to BOX 1.

This demonstrates that the GREEN BOX moves diagonally between BOX 1 & BOX 2 ; and exactly where it appears between these two boxes depends on the distance of our subject.

 

What happens if our subject is further than 12ft away or closer to us than 3.6ft?

 

FUJIFILM OVF FINAL-10

 

With our subject at 30ft away, the REAL FOCUS BOX will show up within BOX 1.

At 2.6ft away, the REAL FOCUS BOX will show up within BOX 2.

Why does the REAL FOCUS BOX appear within BOX 1 & BOX 2 at these extreme distances? Beacause :

BOX 1 : Represents the focus frame at infinity.

BOX 2 : Represents the focus frame at the OVF’s minimum focus distance – which is is 2.6ft for the X-Pro 1.

Remember the RANGE BOX? let’s go back to it:

 

FUJIFILM OVF FINAL-06

 

The REAL FOCUS BOX can appear anywhere within the RANGE BOX – the GREEN BOX can appear anywhere between BOX 1 & BOX 2.

When our subject is further way, i.e 30ft from us, parallax is not an issue and the couple of inches between where the viewfinder window naturally perceives focus to be and where the lens naturally perceives focus to be is meaningless.

So with subjects further away, the REAL FOCUS BOX is more or less identical to BOX 1; the viewfinder window and the lens perceives the same REAL FOCUS POINT at far distances,  that is why the GREEN BOX  appears within BOX 1.

 

If our subject is much closer i.e 3.6ftparallax becomes an issue and the couple of inches between where the viewfinder window naturally perceives focus to be and where the lens naturally perceives focus to be now matters; however at such a close distance, parallax is so great that you are better of switching to the Electronic Viewfinder.

If our subject was 2.6ft from us, the REAL FOCUS BOX is more or less identical to BOX 2, this is the closets the OVF can focus before it hits the macro range,  but parallax is great at this distance so use the EVF! The camera automatically switches to the EVF when one uses the macro function.

If our subject is at a midrange distance, i.e 5ft from us the REAL FOCUS BOX appears at the appropriate area between the RANGE BOX.

 

SUMMARY:

The camera’s viewfinder window and lens are positioned at different locations and as a result we have parallax.

The camera has only one real focus box, when you turn on Correct AF Frame, two boxes shows up in the OVF.

These two boxes represents focus at infinity and the OVF’s minimum focus distance – this gives us the range within which the real focus box can show up once the shutter is pressed halfway.

The distance of our subject determines  exactly where within the range that the real focus box appears.

When the shutter is pressed halfway, the camera calculates the distance of our subject, compensates for parallax and shows us where the REAL FOCUS is.

 

This same principle applies to any of the 25 different focus points that we can chose from in the middle 2/3rd of the OVF’s frame.

 

FUJIFILM OVF FINAL-11

 

I used the middle focus point throughout this article for simplicity, however, this is how things should look when we select other focus points:

FUJIFILM OVF FINAL-12

 

MOVING FRAMELINE:

When we press the shutter down halfway, the camera calculates the distance of our subject and compensates for parallax for both the focus frame and the frameline – this gives us an accurate representation of how the lens sees everything.

 

FUJIFILM OVF FINAL-15

 

How much the frameline moves  down and to the right depends on the distance of our subject.

For a subject far away, i.e 20ft, the frameline moves very little, in fact if our subject is beyond 20ft, i.e 30ft, the frameline doesn’t move at all. The closer our subject is, the greater the movement of the frame line.

The closer our subject is to us, the greater the parallax, hence the greater movement of the frameline ; the further our subject is away from us, there minor the parallax, hence the little movement of the frameline.

 

DIFFERENT LENSES:

Each lens has a different Field Of View, however, the Field Of View of the Optical Viewfinder will always be larger than that of the lens attached to the camera. This is the same for the X100 and X100s albeit with a fixed 23mm lens.

 

FUJIFILM OVF FINAL-13

 

CAVEAT:

The Framelines, are an approximation and just like the Corrected AF Frame and the Distance indicator, it is a tool to aid us. It might take some time getting used to it, but it is totally worth it and will become second nature in due time. The OVF is pure joy to use!

Here is a small selection of images taken under various conditions using the OVF:

V.

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X marks the spot: The Lake District, UK

One photographer, one Fujifilm X-series camera, a whole lot of great images

Ian Allington
Ian Allington

The Fujifilm X-M1 was made for photographers who like to travel light. Incorporating all the best elements of the X-series, including the superb X-Trans sensor, its compact dimensions and light weight set it firmly in the sights of photographers who don’t want a day in the field to result in a bad back or poor-quality images. Photographers like England-based Ian Allington (right), in fact, who regularly treks many miles in the picturesque Lake District to combine his two great passions: walking and photography.

We gave Ian an X-M1 along with the XC 16-50mm to accompany him on his latest trip into the hills and asked him to report back on his findings as he walked around the famous Old Man of Coniston. Click on the map to see his images and read his thoughts about the X-M1 and lenses.

1.The old man and dow crag

The old man and dow crag
Lens: XC16-50mm at 35mm setting
Exposure: 1/50sec at f/10, ISO 200

I decided on an early morning start and took this shot of The Old Man (on the right) and Dow Crag (on the left) from Torver before I started climbing. At this time, there was a deep shadow across the lower fields whilst the top of the hill was enjoying some early morning sun, so I was interested to see how the X-M1 coped with these conditions. As you can see, it’s coped extremely well with the contrast, retaining detail both in the shadows and the sunlit peak.

The camera offers different Dynamic Range settings to cope with strong contrast like this. Although this was taken with the standard 100% setting, 200% is available at ISO sensitivities of 400 and above, while the highest 400% setting is available at ISO 800 and above.

2.Winch cable tower

Winch cable tower
Lens: XC16-50mm at 16mm setting
Exposure: 1/200sec at f/9, ISO 200

One of the most striking features on the landscape in this area is the number of slate mines dotted around the hillside. I’ve taken many pictures here before, but what I particularly liked was being able to take pictures from ground level without having to lie on my stomach in the mud! Thanks to the huge three-inch tilt LCD screen on the X-M1, getting creative with low-level shots was a piece of cake. This is a picture of one of the old winch cable towers and the X-M1 has captured plenty of detail in the cables and the distant spoil heaps on the slopes of The Old Man of Coniston.

3.Old winch room

Old winch room
Lens: XC16-50mm at 30mm setting
Exposure: 1/350sec at f/6.4, ISO 320

Climbing up from the ruins you get a view down on the old winch room, or what’s left of it. The area below is known as Smithy Bank, which was one of the platforms used to transport the slate down the mountain. Here, I tried some of the X-M1’s in-camera filters. The first of these two shots was taken with the Miniature setting and gives an impression of the hut being a model, similar to the tilt shift function created by Photoshop editing, but much quicker and simpler! The second image was taken with the Toy Camera filter giving the effect of being shot with a plastic lens camera. The filters are fun to use and can change a simple image into something far more interesting.

4.Summit of the old man

Summit of the old man
Lens: XC16-50mm at 50mm setting
Exposure: 1/350sec at f/10, ISO 200

After a short climb from Low Water, which nestles below The Old Man, I finally reached the summit which stands at 803m. This view over the summit trig point is looking towards Wetherlam with the Eastern fells in the distance partly obscured by low cloud. I had been mainly shooting in the manual exposure mode up to this point, but here I took the opportunity to switch to the Landscape function on the camera. Comparing results to ones taken in Manual, there was very little difference so the X-M1 can clearly be relied upon for point-and-shoot simplicity. Again, the tilt screen was used to get a low down shot across the summit. My very first Fuji camera – the S9600 – had one and I’d forgotten how useful it could be!

5. View of low water

View of low water
Lens: XC16-50mm at 16mm setting
Exposure: 1/320sec at f/11, ISO 640

Time to start heading back down, and I took this picture looking over the edge towards Low Water below. The village of Coniston is visible nestled just at the end of Coniston Water with a glimpse of Windermere beyond. The colour reproduction is excellent with the greens in the distance well displayed. All the images today were taken using the standard setting as the light and natural colours were vibrant enough, but there are also a range of Film Simulation modes that replicate popular Fujifilm emulsions, should I have wanted to boost or mute colours. I’m sure in the future I’ll be pressing these into service.

6. The Scafell massif

The Scafell massif
Lens: XC16-50mm at 50mm setting
Exposure: 1/320sec at f/11, ISO 200

I descended via Goat’s Water, mainly because I love this view across England’s highest mountains; the Scafell massif. From left to right Scafell, Scafell Pike, Broad Crag, Ill Crag and Great End viewed across the dappled flanks of Grey Friar. The X-M1’s 49-point AF system with the ability to select your focus point was very useful when composing shots like this. Normally, I would select the focal point in the image, half depress the shutter then recompose before shooting. With this facility it was so easy to select the correct point without the need for recomposing. Just press the AF button on the back of the camera, then use the selector buttons to choose the focusing point on the rear LCD.

7.The cove

The cove
Lens: XC16-50mm at 16mm setting
Exposure: 1/125sec at f/14, ISO 200

After leaving Goat’s Water, the footpath leads you across the Cove. This shot was taken looking back at the imposing face of Dow Crag and the wonderful blue skies above it; I made no adjustment to the saturation on this shot, another example of the vibrancy of the images produced from the X-Trans sensor.

By this point, I’d spent some time with the camera round my neck. I usually store my DSLR in a camera rucksack as I walk because of the weight and the bulk, but the X-M1 is so light and compact it was no problem. It also speeds up picture-taking, as does the inclusion of the Q button, which provides quick and easy access to all the major features of the camera.

Why sensor size is more important than the sheer number of megapixels

This video explains the benefits of larger camera sensors such as the 2/3inch EXR-CMOS II in our compact X20 and XQ1 cameras and the APS-C sized sensor used in our X100S and Compact System Cameras.

Fujifilm X Magazine – Issue 1 reader images 2/3

X-series users from across the globe share their finest images and the stories behind them

Here’s a few more users’ images published in our Fujifilm X Magazine. If you would like to see your images in our magazine, and if you’re an X-series user, we’d love to see your shots. Email your images, along with details of the story behind them and some information about you and your photography to: xmagazine@bright-publishing.com

 

MATTHEW HART – FESTIVAL TIME

MATTHEW HART
Camera: X100 Lens: 23mm fixed
Exposure: 1/1250sec at f/5.6, ISO 250

I had a press pass for the Africa Oyé festival and this image was taken from the press pit. The event is the largest African music festival in Europe and is held every year at Sefton Park in Liverpool. This lady was just dancing in the crowd, so I grabbed a shot then processed the resulting image using Adobe Lightroom and Silver Efex Pro 2.

I’ve been blown away by the X100, not only does it look great but it’s all you need when you are out and about. I’ve been so impressed with the image quality that I sold all my Nikon DX bodies and lenses. It really is that good!”

http://www.lighttraveler.co.uk

ALAN FEGENT – VICTOIRE

ALAN FEGENT
Camera: X20 Lens: Zoom at 28mm
Exposure: 1/1000sec at f/2.2, ISO 100

I’ve owned an X20 for a couple of months and it has put the fun back into my photography. I always want to go out and shoot more! It offers a 1:1 format, which I like to use on my portraits, plus I love the fact that it’s both small and light but doesn’t limit my creativity in any way.

Victoire is my partner’s grand-daughter. For portraits like this, I prefer to work like a photojournalist, trying to seize the moment. I just left her to have fun while I took photographs using the available light – I wanted her to completely forget about me and the camera.

I try to keep post-production to a minimum. Here I used Lightroom 5 to convert the Raw file and Color Efex Pro 4 to add the contrast and colour.”

http://www.flickr.com/photos/alanfegent/

MICHAEL GREENE – HOME FROM CALIFORNIA

Michael Greene
Camera: X100 Lens: 23mm fixed
Exposure: 1/250sec at f/2, ISO 640

This is my son’s friend Tommy who had just returned from an extended trip to California. I wanted to get an image of his tattoo, but didn’t want just a record of the artwork. This guy has a beautiful form and his face is classic. I realised while looking through the viewfinder that parts of all those elements just looked right. The shot I took afterwards, with his face in it, isn’t half as compelling to look at.

As soon as the X100 was announced, I sold the digital camera I was using. I don’t need program modes and I don’t need the camera to do the thinking for me; give me an f/stop, shutter speed and ISO control and that’s it. I have the X100 with me all the time – that’s no exaggeration. The camera is built well and stands up to daily use; I don’t baby it. The image quality is just amazing, too – there’s a lustre to the photos that I really can’t describe, it just fits with how I see the world.

http://www.thesleepingimage.com

Interview with Alex Lambrechts

Internationally-renowned photographer Alex Lambrechts insists on excellence – so naturally he uses X-series cameras

Alex Image 1
Camera: X-Pro1 Lens: XF 35mm f/1.4R
Exposure: 1/500sec at f/6.4, ISO 250

Photographer Alex Lambrechts will turn 40 later this year, but seems to have lived more lives than most people have had hot dinners. When reading his biography for the first time you’d be forgiven for thinking there’s been a horrible error at the proofing stage, resulting in a mash-up of the life stories of seven, maybe eight individuals – but this is all Alex. He’s achieved excellence in martial arts, running his own training school at the age of 19 at the same time as setting up and managing several bars and restaurants in Sydney, before slipping into the mysterious world of personal protection and joining the private security details of several Hollywood A-listers and international businessmen. In the nineties Alex switched paths again and rose to the top as Creative Marketing Director for British American Tobacco – a modern-day Don Draper of sorts – before returning to his restaurant roots and a career behind the scenes of several high-profile eateries. He attends the Cannes Film Festival every year and runs private parties for discerning individuals – past clients have included Quentin Tarantino, Naomi Campbell and Paris Hilton – and amongst all of this, he’s also found time to become an internationally-renowned photographer. He’s making the rest of us look very bad indeed.

Alex image 2
Camera: X100S Lens: Fixed 23mm
Exposure: 1/400sec at f/8, ISO 640

A man of the world

Born in Uruguay and raised in Australia, Alex lived in London for the past ten years but is currently to be found in New York, where he’s quite sure that he’s found the ideal space for him at this time in his life. “This is definitely where I want to be at this stage in my career – I think I will be here for some time,” he says. “I do travel all over the world for work though and photography is great like that – you can just pick up your gear, jump on a plane and go!”

Having first picked up a camera in earnest at the end of 2009, Alex is a relative latecomer to professional photography – but as he grew up amongst his parents’ photographic printing labs he found he had years of experience to draw upon. “I was using 35mm SLR cameras from a very young age,” he explains. “I left photography for many years, until four years ago when I started shooting friends at parties I was hosting in London.” At this stage, Alex was shooting with rangefinders and larger, bulky DSLRs – but by his own admission he prefers the smaller rangefinder-styled cameras such as the Fujifilm X100S. Nowadays he shoots with various cameras, depending on the assignment’s unique requirements – but his favourite and most-often used camera is still the X-Pro1. “I love this camera,” Alex enthuses about the Fujifilm CSC.

“I try to use it first at every opportunity. I’d say I use it on every job. But it’s not only about cameras for me: the lenses are really important. If I have a big job on, I have the usual spare lenses – always prime lenses, I’m not a fan of zooms. How [the lenses] behave, what kind of unique qualities they have – this is usually what I think about before [I think about] which camera. And the X100S has the perfect lens built in,” he smiles.

Alex image 3
Camera: X100 Lens: Fixed 23mm Exposure: 1/500sec at f/8, ISO 400

A lifetime of inspiration

Lambrecht’s varied career has influenced his image-making by providing him with a wealth of references to draw upon when approaching a new commission. “Everything I have done in my life comes into play when I pick up a camera: my ability to be vigilant and observant, looking for nuances in everyday life, looking for subtext, knowing how to work with brands – it’s all of invaluable benefit,” he says. “I think it definitely gives me an edge when working in teams and especially when working with clients, as I understand their requirements on many levels.”

As you’d expect from someone with a background

in top-end corporate marketing, Alex is a keen follower of the creative fields – particularly art and fashion – and is currently experimenting with more physical forms of artistic expression. “I’m currently experimenting with painting, combined with my street and documentary photography,” he hints. “I have a couple of galleries which are eager to show and sell my work here in New York, however I haven’t released this to the public yet, so that’s as much as I can tell you about that until the launch…”

Alex image 4
Camera: X-Pro1 Lens: XF18mm f/2 R
Exposure: 1/125sec at f/5.6, ISO 640

Shooting the Big Apple

New York is a city that’s hard to resist, and every corner seems to present a new photographic opportunity – so it’s no wonder that Alex is choosing to spend his time indulging his love of street photography. He’s just one of many Fujifilm-using photographers enjoying the fast-paced hunt for the “decisive moment”, but tends to keep his pure street photography for himself as a break from his day job pictures. Alex’s moody black & white street work is filled with emotion and impact, and the X100’s diminutive size yet powerful performance makes it ideally suited to this demanding type of picture-taking where travelling light is the name of the game. “I shoot street photography every single day,” he says, “especially here in New York. My street photography is a very personal project for me and I am extremely critical of my own work, and set strict standards for myself. I shoot a lot of commercial work so it’s nice to have [street photography] that I can do completely on my own terms. I follow my own rules and I don’t expect others to understand – I am definitely my own harshest critic!”

Alex’s interest in street shooting spills across into to his approach to all his image making, with his biography describing his characteristic style as both ‘raw’ and ‘street’. “I tend to add a little more subtext [to my images] than your typical fashion photographer might – I like to have a fly-on-the-wall feel to my photography whilst not being voyeuristic… trying to stay true to the subject matter,” he says. “I guess my images convey my style better than I can describe it – it’s natural for me, and I tend not to think too much about it. I want the viewer to be drawn in and gradually work out the various messages encoded both intentionally and intuitively.”

Alex image 5
Camera: X-Pro1 Lens: XF18mm f/2 R
Exposure: 1/250sec at f/4, ISO 200

Secret of his success

Alex now works with many commercial clients who love the engaging, emotive imagery that he can create, such as the vividly striking shoot for children’s fashion line That’s Not Fair, all of which were shot on the X-Pro1. Yet when pushed for advice, it transpires that the secret to his unique photography doesn’t actually rely on Alex’s many lives-worth of experience: for those looking to try their own hand at creating portraiture like Lambrecht’s, the photographer has these simple pointers. “Spend time getting to know your subject and shoot them as they are, without imposing too much of your own experiences and preconceived notions into the image. That’s the challenge,” he says.

Images from Alex’s shoot for “That’s not fair”:

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The Fujifilm X100s One Year On

By David Cleland

x100s-flixelpix

Visit the official product page for the Fujifilm X100S

In December 2012 I received my first X100s, a pre-production camera and was tasked to capture some images of Northern Ireland in advance of the world launch in February.

As a big Fujifilm X100 fan I was obviously excited to see how the latest release performed and boy did it perform!  I posted my first “Hands on the X100s” post in January and since then little camera has gone literally everywhere with me.

I pack my X100s in the original X100 leather case and it rarely escapes compliments from people often when it is still in the stylish leather case. The leather case offers a great deal of protection yet manages to keep the whole package small and portable. I can carry the camera in my everyday bag without the fear of damage.

I love everything about the X100s, the 35mm focal length is perfect for documentary photography, it is a versatile camera capable of capturing stunning images in everyday situations without drawing the fear factor often associated with a DSLR.

All of the following photographs were captured either on days when I wasn’t setting out with the aim of taking photos or in the case of the music photography images the X100s was acting as a second camera. I take the X100s literally everywhere, not just for the portability but for the fact I can rely on it to capture stunningly sharp and vibrant images. Click on any of the photos to view large on flickr.

Towards the Mournes
This image of the Mourne mountains was taken during the Easter break after one of the heaviest snow falls in a decade.
Early Morning
This mono image was captured on White Rocks Beach in County Antrim during a cold morning just after Christmas 2012. This photo was captured with the pre-production camera and I was struck my the sharpness and speed at which the camera performed.
The Duke of York
Stripes were definitely in last June. This lowlight image was captured during an evening out and a visit to the brilliant Duke of York in Belfast.

You can see more images on David’s blog here: http://www.flixelpix.com

About David

David Cleland is a documentary and landscape photography from Ireland. To see more of his work you can follow him on Twitter and Facebook or subscribe to his blog.

Fujifilm X Magazine – Issue 1 reader images 1/3

X-series users from across the globe share their finest images and the stories behind them

Here’s a selection of users’ images published in our Fujifilm X Magazine. If you would like to see your images in our magazine, and if you’re an X-series user, we’d love to see your shots. Email your images, along with details of the story behind them and some information about you and your photography to: xmagazine@bright-publishing.com

 

VICENTE DASÍ LÓPEZ – STROLLING WITH MY X100

VICENTE DASÍ LÓPEZ
Camera: X100 Lens: 23mm fixed
Exposure: 1/250sec at f/2, ISO 640

Vicente won his X100 in a Fujifilm-sponsored competition. “The theme was street photography and I entered an image taken in Valencia using my X10,” he says.

Now that I’ve got the camera, I often go walking around Valencia and take it with me; that’s where I took this image. I find the X100 is really comfortable to carry and delivers excellent results with the high-performance Fujinon lens; it’s perfect on detailed subjects like this. There’s very little noise when working with high ISO settings and I like the way the controls are distributed – the design helps me enjoy taking every shot and encourages my creativity.

http://vdlfotografo.blogspot.com.es/

 

BERND TWIEST – DUNCAN

BERND TWIEST
Camera: X-Pro1 Lens: XF 35mm f/1.4R
Exposure: 1/125sec at f/1.4, ISO 200

This is my dog, Duncan. It was one of the first shots I took when I went out testing my new X-Pro1 in a forest near our home in Holland.

I love black & white photography, even more than colour. This image was taken using the Monochrome Film Simulation mode and I tweaked the colour temperature in Adobe Lightroom to give the image a real vintage look.

The X-Pro1’s size and weight are crucially important to me. My health limits how much photography I can do and if the camera was too heavy, I wouldn’t be able to take pictures at all. I also like the image quality – the pictures are sharp straight out of the camera. 90 per cent of the time, I shoot JPEG instead of Raw because the quality is that good. The ISO performance is magnificent, too

I don’t feel scared to push it to ISO 6400.

 

SHANEA GAIGER – FRECKLES AND SPECKLES

SHANEA GAIGER
Camera: X-S1 Lens: Zoom at 55mm
Exposure: 1/160sec at f/4.5, ISO 100

This is my daughter Derryn who has for a long time had some severe body dysmorphic issues. We had talked about a ‘demon-confronting’ shoot for a long time and the idea was to create a few images of her without make up, without retouching, just using natural light, so she could see how beautiful she actually was, despite her own feelings. It worked, so well, in fact, that she gained enough confidence to take up modelling as a part-time hobby.

I moved to the X-S1 from an S100FS and it feels much more solid and produces better results. I was recently asked to do a basic photography lesson with a young autistic lad interested in photography and we used the X-S1. He had never attempted to use a ‘real’ camera before but he found it really easy to get to grips with and by the end of the day he was talking about buying one himself.”

http://harpyimages.deviantart.com