Extreme sports with the FUJIFILM X-T2 and X-Pro2

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Daniel Tengs

dt_self-portrait_daniel-tengsI am a Norwegian extreme sports photographer and a Fujifilm X-Photographer. I was lucky to get a call from Fujifilm in the beginning of 2016 regarding switching to Fujifilm. I got to try their gear and immediately fell in love.

I was curious of how the equipment would work for my use but as it turned out it worked great.

When I started the transition to Fujifilm, I brought my full frame setup with me just in case the Fujifilm system didn’t perform the way I needed it to. Lets just say that the full frame system quickly found a shelf in my office.


Small and lightweight:

One of the first and very important things I noticed when switching from full frame to the mirrorless system was weight. That is a considerable change and a massive advantage, when hiking, not only in the back country but also in ski resorts. When I am shooting in a resort for example, I usually ride snowboard with the camera in my hand, it goes without saying that I need a camera that is durable and can withstand rough treatment, and I really feel that has been the case with both the X-Pro2 and the X-T2.

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I do most of my work in harsh conditions around the world, but Norway is usually the biggest challenge, with both snow and humid weather. It really puts the equipment to the test. I was struggling a bit, with my previous setup, with moisture in my lenses, and they would fog up when I was shooting in sunlight, but I have not had any problems with that after switching, which has been great for me. That is mostly thanks to the WR lenses that Fujifilm are producing.

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Electronic Viewfinder (EVF)

Together with being lightweight, the EVF is a huge change when switching from a standard full frame camera to a mirrorless camera. It took me two days to fully adjust, but once I did, I have never looked back.

On sunny days up the mountains with snow all around, using the screen to check focus, details, or just look at your picture used to be a big challenge because of all the ambient light. But now I just look though the EVF, browse my photos, check details, sharpness exposure, just to name a few, and all that without ambient light spilling on to the screen.

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The EVF also gives you a live exposure, which means that you see the final result with the settings you have chosen on the camera. That has made me a better photographer. I don’t shoot over or underexposed files any more. When a cloud covers the sun for only a brief second I am adjusting to get the perfect exposure, because I can see the smallest change. That is also a serious advantage when working with snow, which can so easy be over exposed.

Sometimes I shoot sequences. I do that to show a trick, or a big jump. When you are shooting a high-speed trick you need a quick shutter. That is exactly what the X-T2 has to offer. When you use the camera without the grip it produces 8 fps, but when you put the grip on, and turn on the boost button, you get 14 fps. Which is ridiculously fast!

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Favorite lenses

In my line of work I sometimes just put one or two lenses in my jacket pocket and ride with the camera in my hand. That is why I am very dependent of flexible zoom lengths. So the three mostly used camera lenses I have are the XF50-140mm, XF16-55mm and the XF10-24mm. Those three I rely on with most of my field shooting but I do love to play around with prime lenses and I do it more and more. I just love the XF35mm for portraits and lifestyle. I bring it with me everywhere I travel.

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Feeling

You know, when you are holding a Fujifilm camera. You just want to go out and play with it. I could definitely recognize that when I picked up my first Fujifilm – the X-T1. I fell in love with the way Fujifilm makes their cameras. Shutter, ISO, Aperture, all on the outside. It is the feeling of crafting a picture with you own hands, and it looks beautiful.

I am really looking forward to a full season of shooting with both the X-Pro2 and the X-T2.  And the old bulky and heavy full frame setup is out for sale.

I am not saying that you have to go and buy a Fujifilm camera, but I can strongly recommend everyone considering a new camera to have a serious look at the Fujifilm X-series.

To see more of Daniel’s work, please visit: www.tengsphoto.com

 

90mm vs 50-140mm vs 100-400mm – Size doesn’t matter

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X-Photographer strip BLACK

By John Rourke

As a Motorsport Photographer and the Director of Adrenal Media, the Official Photographic Agency for the FIA World Endurance Championships and the European Le Mans Series, I spend a lot of my time shooting at many different race circuits around the world. a lot of these race tracks we have to cover are big! And I mean BIG!

This means we need big glass to cover the distance from the edge of the track to the car. Circuits vary massively in width, with many of the race tracks having large run-off areas or fencing to keep the car within certain boundaries of the track. These also keep us photographers safe and out of trouble… Mostly!

While it’s always great to be safe, the drawback is that we are kept further from the action than we would like to be. To compensate this we use big glass.

Fujifilm answered our prayers when they introduced the Fujinon XF50-140mm with the 1.4x tele-converter and then when they brought the XF100-400mm into the mix as well – This brings us in line with DSLR photographic ranges. I also use my favourite lens, the Fujinon 90mm F2. This lens has a place at the track too and should not be ruled out. All three of the lenses are not only perfect for the racetrack but are also exceptional in the pit lane.


The XF90mm

Okay, Okay, I admit the 90mm has limitations on the track itself but for those places where you can get closer, the F2 aperture provides a stunning shot. I also like the 90mm for the environmental images. For example the car with track included so the viewer will know which circuit the car was racing at. This is an important image in our ‘shot list’ as part of the race week narrative.

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Taken on the XF90mm

In the pit lane the 90mm is mind blowing. For pit lane portraits, detailed shots and subject isolation, such as a car standing on its own in the pit lane, the F2 aperture helps pull the eye through the frame to tell the story. This lens replaced my 135mm F2 when I switched over from the DSLR system of old. However, I really wish it was able to take the 1.4 converter like the old 135 could. This would be my only negative thing I can find on this lens. I frequently use this lens for effect, isolation and arty images.

Taken on the XF90mm
Taken on the XF90mm

Find out more about the XF90mm lens here.


The XF50-140mm

The XF50-140mm is my workhorse, if you could buy only one lens… oh, okay you really do need that 18mm F2 in your life too! That and a 50-140 you can shoot anything! Well, okay get the the 1.4 converter as well then you really can shoot anything – so anyway I digress and the shopping list grows.

The 50-140 or 75-210 equivalent is for everything! Stunning at f2.8 with an awesome image stabiliser to go with it. The pull on this lens is great on the track and in the pit lane night and day. You can attach a 1.4x converter and you then have a 70-196mm F4 lens that you can carry in a coat pocket giving you a total range of 75-297mm in a 35mm equivalent that’s money well spent if you ask me. This lens is really fast focusing, the camera can react quickly to oncoming and passing cars and pitlane action, this is my go to for track and pitlane.

“I would not leave the media suite without this on one of my cameras.”

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Taken on the XF50-140mm
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Taken on the XF50-140mm
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Taken on the XF50-140mm

Find out more about the XF50-140mm lens here.


The XF100-400mm

Then you have the XF100-400mm, well what can I say? This is all manners of Boom Shakalaka! This lens on the track is just mind-blowingly sharp. The money shot for me has to be a few cars fighting on the corner for a lead or ‘battle shot’ as we call it. Many photographers shoot catalog style at the track, that’s one car per frame, for me it’s boring! Thankfully our clients tend to think so too. We love battle pictures, they really show the dynamics of the race, the tension, drama and emotion…this is the lens for that!

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Taken on the XF100-400mm
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Taken on the XF100-400mm

Even if you have a 50-140mm already, don’t worry you will still want a 100-400mm in your life for sure…. This lens will pick out details in the heat – the shimmer around the cars and in the sharpest of action details. Images shot at the 400mm end have a gorgeous bokeh and lens compression that really helps to isolate any subject matter whatever the distance.

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Taken on the XF100-400mm with XF1.4x Teleconverter

When I first got the lens I thought I would struggle with the f4.5 to f5.6 aperture, but now I’m used to it I can use the lens all day long. It will even take the 1.4 converter, this takes the equivalent 150-600mm focal length, with the 1.4x to 840mm that’s pretty awesome if you ask me in such a compact lens.

I have used this lens a lot since I got it and even in the pit lane the versatility of this lens makes it worth buying. Shooting through pitlane clutter to pick out details and action is so easy and stunning.

Find out more about the XF100-400mm lens here.


As you can see the differences are clear enough but all are usable in motorsport. It’s really just down to personal preference of the individual, to which one you use and the style of image you require, if you have any one of these lenses you could easily walk away with some epic shots from the day.

To see more of John’s work please visit:

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Press photographer & Canon user David Hedges shoots Glastonbury with the Fujifilm X-T1

By David Hedges

Revelers watch the sun rise from the Stone Circle as Glastonbury Festival comes to an end at Worthy Farm, Somerset. June 29 2015.
Revelers watch the sun rise from the Stone Circle as Glastonbury Festival comes to an end at Worthy Farm, Somerset. June 29 2015.

FUJI_HEADSHOTLike the cliche of many photographers, I got into taking pictures by means of my dad letting me have a go on his camera, which he then struggled to get back. I ended up taking photography all the way to University, doing a degree course at The University of Plymouth and graduating with a first in 2011. I was lucky enough (and through spending my summers doing work experience at local papers) to be offered a job coming out of university for South West News Service (SWNS), one of the largest agencies in the UK, and for the last four years that’s where I’ve been, covering news and features for the national papers.


One of the highlights of being a press photographer in the South West of England is having the opportunity to shoot Glastonbury Festival each year. If ever there was an event that you could fill your entire photography portfolio within a matter of days, this would be it. Everything from portraits, to music, to all the quirky stuff that happens there, it’s a photographers dream. The last few years I had been shooting on my Canon gear, and believe me, after 5 days of lugging it around a mud strewn festival site that spans the size of a small City, you start to feel it. So this year I planned something different, I thought I would try using the Fujifilm X-T1 system to cover the festival. Armed with the X-T1, 16-55mm 2.8, 56mm 1.2, 50-140mm 2.8 and the 23mm 1.4, I took to the, for the most part, sunny fields of Glastonbury for one of the biggest festivals of the year.

Revelers enjoy the Friday night atmosphere at Glastonbury Festival on Worthy Farm, Somerset. After a deluge of rain, the sun broke through for the headliners. June 26 2015.
Arcadia bursts into life as revelers enjoy the Friday night atmosphere at Glastonbury Festival on Worthy Farm, Somerset. After a deluge of rain, the sun broke through for the headliners. June 26 2015.
Arcadia bursts into life as revelers enjoy the Friday night atmosphere at Glastonbury Festival on Worthy Farm, Somerset. After a deluge of rain, the sun broke through for the headliners. June 26 2015.
A dressed up woman poses for a photograph as revelers start to make their way home as Glastonbury Festival comes to an end at Worthy Farm, Somerset. June 29 2015.
A dressed up woman poses for a photograph as revelers start to make their way home as Glastonbury Festival comes to an end at Worthy Farm, Somerset. June 29 2015.

The first obvious thing I noticed was just how light the little X-T1 was, even when paired with a long, fast zoom. It made light work of the arrival shots, which was of course the somewhat predictable shots of guys and girls arriving with too many bags and crates of booze.

Revelers arrive at Glastonbury Festival 2015. June 24 2015.
Revelers arrive at Glastonbury Festival 2015. June 24 2015.

That evening, it was a trip up to the stone circle as thousands of people watched the sun set over the massive site by the Glastonbury sign. I tried out a few panoramas here using the built-in mode on the X-T1, which worked perfectly and really gave a good sense of scale to the site, which is the size of a town!

The sun sets over the festival site on the first evening of Glastonbury 2015. June 24 2015.
The sun sets over the festival site on the first evening of Glastonbury 2015. June 24 2015.
The sun sets over the festival site on the first evening of Glastonbury 2015. June 24 2015.
The sun sets over the festival site on the first evening of Glastonbury 2015. June 24 2015.

Throughout the rest of the festival, it was a classic mix of music and colour shots. Come rain, shine, night or day I was out and about with the camera. And, the size & weight of the camera really meant I didn’t feel like crawling into my tent for a rest. Well, at least not until the wee hours of the morning. I was also blown away by the quality of the images produced as well. For a non full frame camera it was fantastic in low light with very usable high ISOs, and when it came to editing some of the built in film emulation presets made it easy to give a stylised look to the images.

Edvinas Meilutis performs various flips as revelers relax at the Stone Circle as the sun sets at Glastonbury Festival 2015, on Worthy Farm, Somerset. June 25 2015.
Edvinas Meilutis performs various flips as revelers relax at the Stone Circle as the sun sets at Glastonbury Festival 2015, on Worthy Farm, Somerset. June 25 2015.
Florence and the Machine performs on the Pyramid stage at Glastonbury Festival 2015, on Worthy Farm, Somerset. Florence was moved up the running order due to the Foo Fighters having to drop out. June 26 2015.
Florence and the Machine performs on the Pyramid stage at Glastonbury Festival 2015, on Worthy Farm, Somerset. Florence was moved up the running order due to the Foo Fighters having to drop out. June 26 2015.
The who perform on the Pyramid Stage to close the festival at Glastonbury Festival on Worthy Farm, Somerset. June 28 2015.
The who perform on the Pyramid Stage to close the festival at Glastonbury Festival on Worthy Farm, Somerset. June 28 2015.

After using the camera and lenses for the best part of a week, I found my favourite lens to be a fight between the 16-55mm and the 56mm. But the 16-55 might have just stolen the show with its weather sealing. It was much needed come the Friday when the heavens opened for the first of two deluges that weekend. I was confident enough that the camera and lens wouldn’t give up, even though the rain really was coming down and the mud started to build up in true Glastonbury style.

Two girls shelter under a shop sign as heavy rain descends at Glastonbury Festival 2015, on Worthy Farm, Somerset. June 26 2015.

I think the key to photographing Glastonbury is to approach it with an open mind. There are pictures everywhere you look. Interesting people, music, and just the vast site that the festival is based on. Having a camera with you at all times means you’ll never miss a shot and that’s what I really loved about the Fuji system. I could carry around a body and a couple of lenses and not feel like I needed a trip to the chiropractor afterwards. Oh, and of course the main thing to remember when covering Glastonbury…wellies. NEVER forget your wellies.

Revelers play in the mud as the sun comes out, following an hour of heavy rain at Glastonbury Festival 2015, on Worthy Farm, Somerset. June 26 2015.

If you would like to see more of my work, please visit:

Twitter: @dhphotography
Instagram: @pressphoto
Web: www.davidhedgesphotography.com

Revelers watch the sun rise from the Stone Circle as Glastonbury Festival comes to an end at Worthy Farm, Somerset. June 29 2015.
Revelers watch the sun rise from the Stone Circle as Glastonbury Festival comes to an end at Worthy Farm, Somerset. June 29 2015.
Revelers begin to head home through a sea of rubbish near the Pyramid Stage as Glastonbury Festival comes to an end at Worthy Farm, Somerset. June 29 2015.
Revelers begin to head home through a sea of rubbish near the Pyramid Stage as Glastonbury Festival comes to an end at Worthy Farm, Somerset. June 29 2015.

The Ugandan gorillas and chimpanzees

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by Peter Delaney

Bio

11830097_1148874931796385_1664940048_nIn 2001, I made a decision to quit a career in finance to pursue my dream of travelling Africa in a 4×4 Landcruiser. The sheer size and magnitude of this continent was overwhelming. I travelled the forests of Bwindi to the peaks of Kilimanjaro, to the shores of Lake Malawi and the red dunes of the Kalahari. I have spent many months in the African wilderness looking for that unique photograph to showcase the rich variety of wildlife and beautiful landscape that Africa has to offer.

Africa has become the new chapter in my life and I have dedicated the last 15 years photographing this diverse continent.

My dedication to the craft has been rewarded with publications in the National Geographic, Deutsche Geo and many others. My photographs have won numerous awards including the prestigious BBC Wildlife Photographer of The Year in 2011 & 2013.

Photography has become my life, it maybe a cliché, but it’s true. I live and breathe photography. No matter where I am, “my minds eye” is making photographs. It has taught me to see the world in a different light, and for that, I am so grateful.

Recent assignment and what I was hoping to capture

In June, I spent a week on assignment for a client who asked me to photograph Ugandas Gorillas and Chimpanzees. The brief was to photograph the impact of conservation tourism on local communities and the Wildlife. It was a fantastic opportunity to photograph Mountain Gorillas, whose numbers are less than 1000 worldwide, and Chimpanzees whose numbers are under increasing threat from habitat lost due to logging and oil drilling.

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When I photograph my subjects there are few things on my mind. First and foremost is the well being of my subjects, I never want them to feel threatened that they may enter a “fight or flight” scenario. The other is that I photograph my subjects aesthetically, so that my photographs resonate with the viewer.

fishing-boat-lake-victoria-3On assignments there are always opportunities to photograph different subjects, on my photography wish list I have always wanted to photograph Fishermen casting nets from old wooden boats.
On this trip I had an hour waiting for our transport to a nearby island. It was a surreal morning with huge storm clouds approaching over calm waters. Local fishermen were fishing close by. I had one chance to get the photograph that I always wanted. I am glad to say I succeeded.

What kit did I take why?

Since 2007, up until last year, all my work was photographed with pro DSLR body.

To be honest, I was never truly happy with this bulky equipment, I would often come back from trips and be dissatisfied with the lack of sharpness and detail. This was mainly due to vibrations from the mirror and shutter.

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I have been monitoring the mirrorless platform intensely over the last few years. When Fujifilm brought out the X-T1 and a lens roadmap, I got in contact with Fujifilm South Africa. I had a wonderful meeting with their team and I was convinced by their passion, commitment and dedication not just to the products, but to the Fujifilm community too. The support I have received from Fujifim has been amazing and I’m so excited about the release of the upcoming “big lens” from Fujifilm. I am sure it will live up to my expectations.

On this trip I packed the following gear:

  • 2 x Fujifilm X-T1’s
  • XF18-55mm
  • XF50-140mm
  • Laptop
  • Hard drives
  • SD cards
  • Spare batteries & chargers

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I knew photographing the Mountain Gorillas and Chimpanzees was not just going to be a challenge physically for me, but also to push my Fujifilm equipment to the limits.
I have to admit, I was a little bit apprehensive but I needn’t have been. I cannot emphasise enough how well the X-T1 and the 50-140mm coped with low light, high contrast and wet, humid conditions. It performed beautifully.

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Carrying these cameras and lenses around for hours while trekking the Chimpanzees and Gorillas I never once felt tired, or that my equipment was too heavy and cumbersome as it use to be in the past with my old DSLR.

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Since I was working for a client, knowing whether the trip was a success or not was down to their reaction. I found my client to be ecstatic with the results, and so was I.

This trip put to bed any lingering thoughts I had about making the switch to Fujifilm “exclusively”. I love my Fujifilm equipment and I love being part of the Fujifilm family as Fujifilm’s X-shooter in South Africa.

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General tips

First and foremost, enjoy your Photography.

Secondly, no matter how good you think you are as a photographer, you can always be better, never stop learning.

Thirdly, respect your subject, be ethical in your approach and remember your reputation is everything.

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What’s next for me ?

I’m just back from a self imposed year off as I became a father for the first time. And I am now slowly weening myself off fatherhood and getting back out into the field.

Because I love to travel and explore, I am planning trips to Asia, Europe and of course my beloved Africa. I have further work booked with clients who love giving me challenging briefs. I am hoping to work with Fujifilm South Africa next year coinciding with the release of their “big lens”. I love sharing my stories and passion for my photography so I will be giving short presentations both locally and internationally.

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Email – delaneypeter@icloud.com