Landscape photographer, Mark Bauer lives near Dorset’s Jurassic coast, which is world renowned for being stunningly beautiful. This part of the country, as well as travelling with photography provides him with a constant source of inspiration. Mark recently visited the captivating Italian lakes. Armed with a FUJIFILM GFX 50S he captured some stunning images. In this blog he talks about his experience with medium format, and how the GFX was the perfect companion for his trip. Continue reading Shooting the Captivating Italian Lakes with the GFX
Beautiful interiors are no longer only to be seen in interior design magazines. From restaurants and cafes to hotels and offices, every business, no matter its nature, is making an effort to incorporate some type of style and design to their interiors. We can’t deny there is a big trend to make spaces look simply beautiful. Interiors are one of my favourite subjects to photograph. As in any other type of photography, lighting is the Continue reading Capturing interiors – a photographers guide
Do you know which prime lenses you use more than any others? I do.
Things you and I already know about the Fujinon XF lens range:
1) They’re as sharply designed and as beautifully well made as the cameras they attach to.
2) They can, without exception, deliver outstanding results.
3) There’s already a superb line-up and it’s only going to get better.
But there was something that I didn’t know about my own use of XF lenses and felt that I really should; which lenses did I use for what subject and, perhaps more importantly, why. In order to find out, I decided to apply a small amount of science to this with the aid of Lightroom.
If you select Lightroom’s Library module, you can quickly see which lenses you’ve used and how many shots you’ve taken with them by selecting the Metadata option in the Library Filter bar. Once this option is selected, you can use the individual drop down menus below this bar to further refine your search. I did this and quickly discovered that I’d shot with a wide variety of XF lenses, but some definitely got more use than others. What follows here are my top five prime lens choices, in focal length order, what I use them for and why I love them. It’s worth pointing out before we get started, of course, that my suggestions may or may not be up your street. You can use the XF16mm for portraits just as much as you can use the XF90mm for landscapes, so be sure to experiment!
1) XF23mmF1.4 R
This is a firm favourite for plenty of X Series users, but based on my Lightroom-based search my primary usage seems to be in two main areas: landscapes and travel. Both of these are pretty obvious, I guess. The lens offers a modest, distortion-free wide-angle view that suits a whole range of subjects and flicking through my images it’s easy to see the appeal – the XF23mm is spectacularly sharp, right from F1.4. Delving a little deeper into the metadata, I discovered that I rarely used the lens at its minimum aperture, favouring the wide apertures more, except when I was striving for plenty of depth-of-field. I expect the new XF23mmF2 to get similar levels of usage once I get my hands on one (hint, hint…)
Given my regular use of the XF23mm, I was surprised to see that I also gave the XF27mm plenty of outings, too. Looking at the resulting shots, though, it was evident that I shot very different subjects with this more compact lens. It’s definitely the one I pick when I head into a city or town to shoot street images, or just want a lens that I can pop on a camera body and head out. There were an inordinate number of pictures taken with the XF27mm when I was out walking my dog (see the shot at the top of this post) and it was interesting to see that my use of the XF27mm had greatly increased when I was testing the X-Pro2. This duo make a killer combination in both portability and image quality.
The 35mm focal length lenses barely registered on my Lightroom search, so the next in my top five was this beauty in its non-APD form. Compared to the XF23mm and XF27mm, this is a real lump of a lens, but in a good way. It’s supremely well made and the optical quality is truly exceptional – if you’ve ever used one, you’ll know exactly what I mean. My use of it, however, was a little more surprising. Sure, there were a few portraits in the selection, but the majority of my shots were taken with the lens at its widest aperture (or thereabouts) to make the most of the tremendous bokeh effects it offers. Less than 10% of the shots were taken at an aperture of F4 or smaller.
Another surprise, given its proximity in focal length terms to the XF56mm but, as with my 23mm/27mm lens scenario, the XF60mm gets used for a different set of images. In fact, I’ve shot a great deal with this lens, probably because it remains one of the sharpest in the XF line-up, despite being one of the first introduced with the X-Pro1 back in 2012. Weddings, portraits, still life images, close ups and product shots have all been shot with the Macro, and on a variety of X Series bodies, too. I even took some street images with it, but I guess it’s because I left the XF27mm at home that day…
A late entry into my list of top five primes largely because I’ve been shooting with it so much of late. This is an absolutely stunning lens that has a look all of its own and delivers outstanding image quality. I used it for a lot of shots in my Fun in the Sun blog from a couple of months ago and since then it has stayed pretty much permanently on a Fujifilm X-E2S body. Yes, it’s great for portraits, but I also found that I shot lots of close-ups and detail images with this lens, making the most of its fast focusing and high quality optics.
This surprised me. Based on this Lightroom search, my undisputed king of prime lenses is the XF60mmF2.4 R Macro which beats the second most used lens (the XF23mmF1.4 R) by almost two to one. I’ve always loved the 60mm, but I never realised that I used it quite as much as I evidently do. It may not be the fastest focusing lens in the XF line-up, but it’s an optical gem which must be the reason why I keep on going back to it. Right, I’m off to do the same experiment for zooms…
May this year I picked up a second-hand graphite silver edition X-T1 and wanted a good excuse to go out shooting with it.
So.. I arranged to meet a model I’ve known for 5 or 6 years now, Imogen Leaver who’s with Nevs Models in London. We got chatting and I mentioned a friend of mine who’s a makeup artist that had just moved to Ibiza, well she’d been on my case to fly out and shoot on the island, it was something I’d been wanting to do for a long time.
To cut a long story short, we were both fairly quiet work-wise so we looked into flights and within a few days that was it, flights were booked and we were going to fly out the following week for 3 days!
The next thing to decide was what gear to take?
You see my switch to regular use of the Fuji X System was still pretty fresh, my Canon 5D MkIII was and still is part of my kit but I’d only used it once in about 4 or 5 weeks, even in the studio I’d been reaching for the X-T1.
Honestly, I thought I might have deliberated more over what kit to take but I wanted to travel light and I already knew how much I loved Fuji in natural light from past experience so that was that – I took the X-T1, the X100T, my 35mm and 56mm.
I’d also been hearing great things about the XF50-140mm zoom, but being a prime shooter I wasn’t too sure if it would work for me, but Fujifilm kindly loaned me one for the trip so I could try it out and see what all the fuss was about, I wasn’t expecting to use it much – how wrong I was!
First day out we drove to a beautiful beach, Sa Caleta the sun was shining & we were ready to get going, the rocks and cliffs were a beautiful golden colour I just knew would give amazing tones and colour to Imogen’s skin.
We started with a bit of fashion on the water’s edge before heading up into the cliffs, at this point I pulled out the 50-140mm lens as I thought it would be good to stay fixed to one spot rather than moving around the rocky terrain with the camera to my eye and tripping.
Well, I really wasn’t prepared for how much I was going to fall in love with that lens, it performed like a prime, fast to focus, sharp and the Optical Image Stabilisation (OIS) was a real plus. I’ve not got the steadiest hands so when I’m out in natural light it can be so easy to miss a shot due to camera shake, but with this lens every shot was in perfect focus.
I was also surprised how balanced it felt in the hand for a large zoom, when you compare it to something tiny like the 35mm F2 you’d expect it to feel very heavy and just a bit odd on a small body, but I found it really easy to use and very comfortable.
Day one was the last time I used my primes, seriously.
The zoom did not leave my camera for the rest of the trip as after reviewing the images on my MacBook Pro every evening I noticed they appeared to have more depth to them, almost a 3D quality. Maybe it was the beautiful Ibiza light I don’t know, but there’s something I can’t quite put my finger on that’s different to the primes and whatever it is, I love it.
I really did put it to the test on this trip as well, some strong winds on the second day really showed how the OIS helps. We shot alongside those famous Ibiza sunsets where Imogen modeled swimwear out upon a jetty with the sunset behind her – I experimented quite a bit here as it’s not something you get to shoot everyday!
I’d shot sunsets in the past but throwing a model into the mix really offered up a new challenge for me, and I knew Imogen really wanted some sunset shots too… no pressure!!
I exposed for the sunset initially leaving Imogen in silhouette but then found a good middle ground exposure to be able to have enough light on her while still capturing the beauty of the sunset, the colours and reflections on the water. I also tried exposing for the model and blowing out the sunset more and I have to say they all worked out very well.
You don’t get more than maybe 20 minutes to get those shots and yet I was still spoilt for choice with the results. I knew I could push things in post but I’m a bit of a stickler for getting things as close in camera as possible & having all the dials on top of the camera really helps to make those quick adjustments.
I think the ultimate test was as we were driving away from the beach on the cliff road, Lauren, our make up artist and host pointed out to the sun just about to disappear into the water behind us, I wound down the window grabbed the XT and with my upper body hanging out of the moving car I took a shot, as you can see it came out beautifully!
I have to say that I truly missed that lens when it went back to Fuji and I think I’m very likely to get myself one in the near future. The whole trip was a great success and we’ve had great feedback from the images that were taken.
I’d like to thank Fuji for providing the lens for this trip as well as my friends Lauren Buckley make-up artist and Imogen Leaver for making the trip such a successful and memorable one.
It’s not every day that you get the chance to photograph a person who is directly involved in creating a product that has changed the world. And it’s even rarer to have this person’s undivided attention for a few minutes just before getting mic’d up to take the stage.So, when I first got word that I’d have exactly this opportunity to photograph Apple co-founder Steve Wozniak in Manchester, England, at Business Rocks, I knew I had to be prepared and have everything ready to go the minute he came out of the green room. Striving for absolute image perfection, my choice of gear was clear: The Fujifilm X-Pro2 and XF56mmF1.2 R.
While I’m generally a fan of the SLR body format, e.g. my X-T1, utilizing the new technology and features in the rangefinder format X-Pro2 was too good to pass up. And when combined with the XF56mmF1.2 R (in this case at F8) the results are razor sharp, crystal clear, and absolutely stunning. I’d even venture to say that the XF56mm is the best headshot lens I’ve ever used.
Knowing that I had very little time with Steve, I had prepared my lighting setup in advance, and fired off a few quick test images with a colleague. Given that our time together was to be quite short, I knew that simplicity would be key. Building on this simplicity, I found a plain white wall between the green room and stage and used a slow(er) shutter speed to capture the ambient lighting to help illuminate the background.
Initially, I had a black background setup, but decided at the last minute to go with white. With the black background I could use a fast shutter speed, as ambient light wasn’t needed or wanted. However, with the introduction of the white background, I did want to capture the ambient light generated by the speedlights. At f/8, a shutter speed of 1/60th of a second was just right.
For my headshot with The Woz, I used 1 key and 1 fill triggered via a wireless transceiver in an off axis clamshell lighting setup. The key light is diffused inside a Lastolite Umbrella Box, and the fill light diffused via a standard umbrella.
Depending on the look you’re trying to create, the fill light might not even be necessary. In this case, I’ve used it to fill and soften the shadows the key light would be casting.When shooting with speedlights and any FUJIFILM X Series camera, one crucial menu option you want to turn off is the Preview Exp./WB in Manual Mode. If this option is on, you’ll be presented with things exactly the way the sensor sees things, normally a good thing, but here, without compensating for the light the speedlights are going to generate.
Right. Settings set, lights lit, The Woz ready to go. Let’s make some magic!
I generally turn to humor to get the ball rolling, and always have a joke or two ready. I’ve got a few really, really bad one liners that are just so horrible, there’s really no choice but not to laugh at them, and so far, they haven’t let me down. With The Woz, I actually had to resort to joke number two, as he gave me the punch line to joke number one before I could even finish the sentence. Ever the prankster. All in all, I’d estimate that Steve and I did 4 shots together in a time period totaling less than a minute. And even though our time together was short, The Woz has been one of my favorite sessions yet. Not only is he an iconic figure, but a true gentleman, as for when I sent him the images we did together, he replied within minutes, stating, “It was great to watch you work. I love seeing great technical skills of all kinds.”
Thank YOU Steve for a great collaboration!
For me, when it comes to quality, portability, and forward thinking, the Fujifilm X-Pro2 is the camera that always makes it in my bag.
Day 1: Hey! You remember as a child when your parents explicitly told you not to pet stray dogs? All the CDC warning about rabies? If your first reaction after breaking these basic rules is to sacrifice your trigger finger over your X-T1… there might be a greater issue then the inability to follow directions. The X-T1 was my camera of choice because I needed something as reliable as Imodium, yet flexible enough to condone creativity – all while still resembling the look of film. I mean, come on! When you’re worried about the possibilities of your body failing, health, or basic safety, you don’t have time to second-guess about gear.I’ll spare you the details about the sobering reality of needing to trade my personal snacks for battery space. If you’ve ever encountered the luggage scale of doom in an airport, then you understand the seriousness of airline weight restrictions. Now, imagine restrictions for a 4 or 6 seater plane and the tired muscles of the sweet mules that will inevitably carry the still-too-heavy load.Let me back up a second. Journaling is my way of processing overwhelming amounts of information. Figuring out what works and what does not work, and why. Last September I was lucky enough to join an incredible group of individuals from around the globe to set off on a month-long expedition in the lesser-known mountains of Dolpo, Nepal. The group, called the Nomads Clinic, was created by Joan Halifax and serves some of heartiest, most salt-of-the-earth humans who live in some of the most remote places in the world and are in need of medical aid. There was no set storyline or plan for photographs except to document the journey. It can be challenging to narrow down your focus when everything and everyone is interesting. It’s also tricky to think at high altitude (10-18,000ft) so doing a solid amount of planning and research ahead of time is an integral part of my process. There is a lot to be said about visiting a place and meeting the people before deciding what your story is truly about.
Just as an illustrator uses multiple pens or a chef has his favorite knives, cameras bodies and lenses are no different. Prior to this endeavor I made a list of criteria my gear must meet in order to have the best chance of success. The gear would need to be: lightweight, quiet, have a high ISO range, be durable and weather resistant, have external controls easy to change and most importantly all of these functions needed to come in something small and compact. The camera is a tool, a tool to think with, understand with, initiate conversation with, but it works against you if it’s intimidating or hinders maneuverability. The rotating LCD was also pivotal. Really. Just as the ability to shoot from the hip without it looking like your hip took the shot- fantastic! The X-T1 not only met my basic criteria, but also went beyond and far exceeded expectations.
2 Fujifilm X-T1 Mirrorless Bodies
1 Fujifilm XF10-24mmF4 R OIS WR Lens
1 Fujifilm XF18-55mmF2.8-4 R LM OIS Lens
1 Fujifilm XF50-140mmF2.8 R LM OIS WR Lens
12x Extra Batteries for X-T1
1 X-T1 Vertical Battery Grip
1 GoPro4, 8 batteries for GoPro
Started with 10, 34GB SD cards and bought more out of anxiety at every airport
Two battery chargers with extra cords for both Fujifilm and GoPro.
Goal Zero Sherpa 100 solar charger w AC converter
Circular Polarizers and UV haze filters
Peak design backpack clip
1 XS pelican case
Things Left at Hotel
2 G tech portable HD’s
Day 17: The clinic is roaring! Mothers carrying infants and men of all ages waiting to be treated. Waiting to be seen. Be heard. Their bodies aged by years of physical labor, scorched, wind-whipped faces with lines as sharp and jagged as the mountains they live in. A baby calf is wailing for it’s mother, the air is starting to smell like rain and dark clouds make the dust start to churn. I tell you this to paint a picture, one that requires all of your senses and mental faculties to pay attention to the life, the art that is happening before your eyes and not a giant pelican case full of electronics.
Day 18: Dolpo, like many other places people explore with cameras is a microcosm of issues and stories waiting to be told. There’s not only climate change but people change. Change in cultural practices, identity, wants and needs. Not everyone believes in climate change and that’s okay; maybe the climate isn’t changing, maybe it’s purely evolving as it has been shifting and morphing for centuries, since the beginning of time. This land is akin to the first camera and now I’m standing in a home with no electricity, no running water or toilet but the father of the dwelling has a smartphone and the children a TV to watch. What allows technology to grow here but not food?Day 19: Development is moving faster then the land can handle. There is no fossil fuel, no waste disposal methods; the first signs of growth came in the form of a handful of motorbikes, cup o noodles, soft drinks, beer and a various assortment of cell phones. There are a few crude health clinics, rarely staffed and stocked with outdated medications. Migration is increasing and thus the population is growing.Traditional annual migrations are being challenged due to severe weather and lack of food. No food for humans, no food for animals. Animals cannot transport goods and become ill. People lose money. People live in close proximity with animals and animals eat trash left by humans. Humans eat the animals. Imported and exported goods are slowed or stopped. Imported foods are primarily packaged increasing waste. New illnesses like typhoid and chicken pox are being introduced because of changes in the climate and migration, which has increased: AIDS, Hepatitis and STD rates. Increased births demand more food and water then the land can yield. Water is not sanitary because that is where waste is thrown and animals bath. Children suffer from blistering lesions caused by lack of hygiene and the spreading of endemic skin diseases. Water scarcity, deforestation, below average snowfall, rainfall, drought, and bad soil, the burning of dried dung, smoke inhalation. A strong alcohol is made locally from barley. Everyone drinks. Muscular skeletal pain is common from hard labor started at a young age and injury, alcohol decreases their pain. Women drink during birth to ease the pain. Women drink during pregnancy causing birth defects. Diets are high in oils and spices and rock salt from Tibet. Stomach issues are common and everyone is dehydrated or has gastritis, hypertension and goiters. They seldom care about their health until it hinders their ability to perform daily functions. Or if they care, is there anything that they can do about it? Anyone to help them? All of these thoughts dance in my head as I try to sleep. 5 am comes all too quickly though and I’m soon reminded of the immense beauty here. The moment you realize you’re finally hydrated can actually have unexpected photographic advantages.Day 20: After a number of intense yak run-ins, I was ready for a little down time. I felt the need to make sure I’d backed up all of my images. Just in case. My incredibly patient and understanding tent mate made the remark that at dusk when batteries are charging and cards are downloading our tent resembled that of a rocket launching station. The launch pad was rarely needed however. Not dust, nor rain, freezing temperatures or scalding heat could interfere with the life of my batteries. They traveled between thick socks, down jacket pockets and sleeping bags. Just as I need my morning coffee to wake up, they would occasionally need a few minutes as well. Then we were off!Day 21: There are people on your right and people on your left, donkeys behind and cliffs in front, you can’t move yet everyone is standing in place photographing, you get this funny sensation… is everyone shooting the same thing? Or, is my gear properly attached? Did I drop something into the dusty abyss? A Peak Design backpack clip was the perfect solution. The X-T1 with my heaviest lens was light enough to attach to my backpack strap without hindering my questionable balancing abilities. In a pinch it could hang from my neck, be carried by hand or clipped to my hip without the feeling of being instantly obese on those skinny cliffs.Before I knew it: I was on a flight back home furiously downloading cards on my computer, backing them up and backing them up a second time, praying they were all there, feeling for my rescue recovery disk in my backpack just in case. Feeling the swelling in my knee caps and how difficult to impossible it would be to ‘re-shoot’ anything and how the moments never exactly happen the same way twice anyway. Dreaming about how the life of my cards would have been so much better if I only had a second card slot. And BOOM, the X-Pro 2 specs! Back at home: When a project starts to take on a life of it’s own… You’re driving to the market, driving to yoga, driving to work, sitting at the doctor’s office, sitting in bed, laying down in savashsna, and you can’t stop thinking about the place, the people, the culture, their needs, their dreams, and you’re mentally exploring various angles that would have better served your subject visually, how to show others everything you felt, everything you heard, how to more eloquently express the issues, tell the stories of the humans behind the faces, the smells of spices cooking. If I did this again would I change my gear setup? Telephoto? Prime? Zoom? One of each? Two of each? Same body? Different bodies? You get where I’m going with this. A project has begun. During the first two weeks I shot 2576 photos. I figure if I edit 5 or so a day you could potentially view them on my website in 2030. Right. Thank you Fujifilm for allowing this journey to begin.P.S. High performance mode makes a wonderful difference. Turn it on.