I very rarely know what I am going to have presented to me when I go out to photograph a landscape. I know what I would like but we don’t always get what we want. Not only are we dealing with nature’s finest creations, we are trying to balance it with whatever the ‘greatest lighting man’ throws at us. This can often please or displease in equal measures. Continue reading Take A Different View: 14 Variations of the Same Location
One of the most common questions I receive from new photographers is which lens to use when photographing food. When choosing gear there is never a correct choice; it all boils down to the type and size of the food, your workspace and setup, the style you hope to achieve, along with how you want your final image will look. Each lens will have advantages, and even disadvantages, depending on your setup. Here is a list of a variety of lenses, along with why you might choose each type of lens for food photography.
A macro lens is an obvious choice for photographing food. You can get really close to the food to highlight certain elements, and also easily photograph and fill the frame with small items, like berries or tiny bites of food. Depending on the camera you use, macro lenses come in different ranges of focal lengths.
Keep in mind that a macro lens is not always necessary to photograph food. With full-frame cameras it is sometimes necessary to use a macro-capable lens in order to get close enough and fill the frame. And, in some cases, getting too close to your dish may not be the best way to photograph it. With crop-frame cameras, such as with the FUJIFILM X-T2 used for this photo, a macro lens is not always a requirement. Because of the crop factor there is the perception that the camera is closer to the subject, and so a macro lens is only a real necessity when you want to get really close and fill the frame with small items.
In most cases a wide lens will be best for overhead setups. The space I use to photograph food in my home is too small for a wide-angle lens to be used without including other elements, such as the window or reflectors. Instead I reserve the wider focal lengths for overhead shots.
A mid-range lens, especially one that has a close focusing distance, can be a good option for food in any environment. I like to use this type of lens when I know I will want to photograph my dinner while traveling (for example). It is long enough to compress and blur the background, but narrow enough to not include too wide of an angle of view. I can also still sit quite close to the food; with a longer lens I need to move back a few feet, which can be difficult when sitting at a dinner table.
Medium Telephoto (90–120mm)
The medium telephoto lens, also known as a good range for portraits, is also a great focal length range for food photographs. One of my favorites is the FUJINON XF90mmF2 R LM WR; I can get in close to the subject, and also compress and blur the background quite well.
When you have a lot of space to work in and really want to compress and blur your background, then a telephoto lens might be a good option for you. This type of lens will typically work well with crop-frame cameras, which is great news for Fujifilm users! On full-frame cameras, however, you may find that the focal length will not allow you to get close enough to the subject to get it in focus. However even with this setup (a small item of food) I was unable to get a tight shot of the bruschetta with my FUJIFILM X-T2 because of the limited focusing distance, but with a larger dish this lens might work well.
Which XF zoom lenses are regulars in your gadget bag – and why?
You join me in the midst of a fascinating experiment. The kind folk at Fujifilm UK asked me to write a couple of blogs on which lenses you should you use for what subject, but I think that’s been done a few times already. So, as an alternative, I’m using the power of Lightroom to uncover which lenses I use the most and explain why. My last blog, which you can read here was all about my favourite primes, I was somewhat surprised to find which my most popular prime lens choice actually was. This time, I’m turning to my XF zoom options.
If you’re a Lightroom user and fancy trying this experiment yourself, it’s easy enough to do. Just select the Library Module and then in the Library Filter bar at the top, choose Metadata and you’ll be presented with a series of drop down menus that you can further refine. As with the primes, I’ve used a fair few of the XF zooms; all of them, in fact. But Lightroom showed that four stood out more than others and, as with my prime selection, there’s nothing saying that I’m putting the lenses to their optimum uses shooting what I do. From widest up, they were as follows:
1) XF10-24mmF4 R OIS
It’s no surprise that this is on my hot list as it’s such a versatile lens and – in the 10mm setting – reaches extremes that XF primes lenses currently can’t touch. Compact, lightweight and capable of outstandingly good results even in my hands, it’s a go-to lens for landscape and architecture photographers. Naturally, I’ve shot both of these subjects regularly with the XF10-24mm, but I’ve also pressed it into service when I’ve been overseas; it saw a lot of action on the streets of Rome and San Francisco, for example. Some may bemoan the F4 maximum aperture, but the addition of OIS cancels out any drop in light gathering capabilities and it’s often one of the first lenses in my gadget bag.
Surprised not to see the XF16-55mm? Yes, so was I, but although the wider and faster premium zoom was used, this more modestly sized optic saw many more frames rattled through it. Normally, I’d be reluctant to use a standard zoom lens to capture images, but the quality of this compact optic really is everything it’s cracked up to be. It’s a true all-rounder, too. As images below show, I’ve used it for a range of images from shooting on the street to shots of architecture and the optical image stabiliser gives low light confidence, too. In my opinion. No X Series user should be without this lens.
The zoom that thinks it’s a prime, the XF50-140mm is a real favourite for me. It can be used for some many different applications and, with the added versatility now offered by the 1.4x and 2x teleconverters, can be used to capture pretty much anything from sport to distant details. Before I did my Lightroom test, I would have thought my shots with this lens would be very portrait heavy but, in reality, I couldn’t have been more wrong – I’ve shot pretty much everything but portraits with it! Time to line up some models and redress the balance!
Much like the XF90mmF2 R LM WR which has become a recent favourite in prime lens terms, so too has this monster. It’s the lens that X Series users had been crying out for and although the mainstay of the lens’s capabilities are primarily sports and wildlife that I’m hopeless at, I’ve just modified my shooting and tried it on other subjects – including landscapes. Picture quality is tremendous and with the extra power from the compatible teleconverters, I can see why this lens has quickly become a favourite for many. Despite my having the XF16-55mm for longer, the XF100-400mm has seen many more frames!
Again, I was a little surprised. I expected it to be the XF10-24mm, but Lightroom told me otherwise confirming the XF18-55mm as my most regularly used zoom. It’s no surprise, it’s a great little lens, but what this exercise does confirm is that my photography is largely working in rather tight parameters, lens-wise. I think I need to branch out a little more and see the world from a slightly wider (and more telephoto) viewpoint.
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.
By Chris Upton
There has been no bigger advocate of the Fujifilm XF18-55mm f2.8/4 zoom lens than me. With it’s diminutive size, robust build, superb image stabilisation and excellent image quality it seems disparaging to refer to it as a “kit lens”.
As a travel photographer, where weight is an important factor, and one of the key reasons for me moving to Fuji in the first place, it has been my mainstay lens. Covering key focal lengths from wide angle to modest telephoto it is a perfect “walk around” lens.
So when Fujifilm launched the XF16-55mm f/2.8 R LM WR I dismissed buying one pretty quickly, mainly because of the increased size and weight and lack of Optical Image Stabilisation. Fujifilm apparently decided not to incorporate OIS as it would compromise image quality and add to the size, weight and cost. It should be noted that the major DSLR competitors equivalents do not include this feature either.
However, when Fujifilm offered me the opportunity to try out the 16-55 I jumped at it, intrigued to see for myself how it performed and if it could justify its premium price point versus its smaller sibling.
When it arrived I was immediately struck by the obvious! It was much bigger and heavier than the 18-55 weighing in at 657g versus 310g, up to 130mm long v 98mm and featuring a 77mm filter thread v 58mm. All in all a beast of a lens and one that seemed to fly in the face of the compact system concept.
There was no image stabilisation but the lens did feel reassuringly solid. The weight is a result of the sheer amount of glass Fujifilm have used to construct this lens. With 17 elements in 7 groups and a metal body it has a real “pro / workhorse” feel. I should declare at this stage that I also own a Canon DSLR and some L lenses including the 24-70 f2.8 mkII – the full frame equivalent of the Fuji lens. Though consigned to the cupboard and waiting for the inevitable eBay listing, it was interesting to compare the two lenses. Suddenly my “new” Fuji lens felt like a nimble lightweight and I was eager to test it out.
Mounting the lens onto my X-T1 meant that I had a weather resistant pairing, really useful for any photographer shooting outdoors. The aperture ring has definite clicks in 1/3 stop increments, there is a red marking on the lens to denote its position as a premium lens and I noted that the filter thread was metal, important with frequent use of filter systems like Lee and Hitech.
Although this lens is wider by only 2mm versus the 18-55 for me this is important as I quite often find that 28mm equivalent is not quite wide enough and I have to swap to my 10-24mm. Not a big issue but having a 24mm – 85mm equivalent is much more useful.
I had the perfect opportunity to test it out on a trip to Cinque Terre where I wanted to not only check out the image quality but also how it felt to manage the increased size and weight.
I was determined to use the lens as much as possible and to do a direct comparison with the 18-55. So what were my findings?
Using the lens was a dream, uncomplicated, reassuringly solid and a quality feel. If I’m honest I think that the lens looks just about OK when mounted on the X-T1, it certainly looks better and feels more balanced when using the VG X-T1 battery grip – a pity I sold mine as I didn’t want the extra bulk! The petal shaped lens hood worked well too.
A slight downside for me was using filters. As a Lee Seven5 filter system user on the smaller lenses I had to use my 100mm filters on this lens which duplicated the filters and added slightly to the weight and bulk of my kit.
Of course an f2.8 lens throughout its zoom range means that you can achieve some pleasing bokeh particularly at the longer end of the zoom range when close to your subject. Though on a crop sensor you get the equivalent of roughly f4 on a full frame. The autofocus was fast, quiet and accurate and internal so that the front element doesn’t rotate, again important for filter users.
Bokeh with the XF16-55mm lens
Bokeh with the XF16-55mm lens
Bokeh with the XF16-55mm lens
However, ultimately what’s most important is image quality and here the 16-55 didn’t disappoint. It is an extremely sharp lens throughout the focal lengths with very little fall off or distortion and the contrast and colour rendition, in common with all Fujifilm lenses, was stunning. Several images were shot into the sun and I was impressed that the ghosting and flare was minimal due to the nano GI coating on the front element.
As for testing there are various websites that show detailed performance MTF charts but for my field test I shot comparison images of Vernazza, Cinque Terre on an X-T1 body, tripod mounted at 23mm. I shot the same view at f2.8 – f11 on both the 16-55 f 2.8 and 18-55 f2.8/4.
I then ran a further test photographing Southwell Minster on an X-Pro2 using both lenses at a range of popular focal lengths 16 / 18mm, 23mm, 35mm and 55mm and at apertures of f2.8/4, 5.6, 8, 11 & 16.
In summary both lenses produced excellent results though, no surprise, the 16-55mm delivered stunning image quality at virtually every aperture.
The 18-55 performed best, looking at centre and edge sharpness, at f8 at 18mm and 23mm and f11 at 35mm and 55mm. When shooting landscapes I use a tripod, selecting f11 or f8 for many of my shots, so it is not a surprise therefore to see why I have been so pleased with its performance. As you might expect that performance falls away a little at f4 particularly in the corners. That is where the 16-55 comes in. The 17 elements and lens coatings combine to deliver a performance that is superb with amazing sharpness in the centre and edges especially at apertures of f5.6 and f8. The lens is not quite as sharp in the corners at f2.8 and diffraction starts to set in at f16, in common with most lenses, though still acceptable.
100% centre crop at 16mm
100% centre crop at 22mm
100% centre crop at 35mm
100% centre crop at 55mm
Directly comparing the two lenses I would say that at their optimum apertures they perform similarly but the extra quality in the 16-55 delivers better results at the wider apertures and extremes of focal length in both the centre and at the edges.
Here are some results showing 100% crops of the RAF file with no processing, though it should be noted that Lightroom automatically applies lens correction for chromatic aberration and distortion.
100% edge crop at 16mm
100% edge crop at 22mm
100% edge crop at 35mm
100% edge crop at 55mm
So which one should you choose? That’s perhaps a tricky one as it really depends on what’s important to you and what you shoot.
If weight, bulk, image stabilisation, smaller filter sizes and very good image quality (excellent at certain apertures) and not forgetting of course the price is important to you, then the 18-55mm will serve you very well.
However, if it’s ultimately all about image quality and you would benefit from weather sealing and don’t mind the extra weight and lack of OIS then the 16-55mm is a stunning lens. A zoom that performs like a prime, it is well worth the extra money.