Press photography with the FUJIFILM X-Pro2 and XF50-140mm lens

Nigel Farage

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Rachel Megawhat is a British photographer based in London. Having trained as a photo-assistant Rachel has worked both as a Fine art Photographer, and commercially focusing on Fashion, News and Portraits. Her work has been published in countless newspapers, magazines and books, both in the UK and Worldwide, including The Sunday Times, Financial Times, Guardian and The Sun


I’ve had the FUJIFILM X-Pro2 on loan for 2 weeks, along with the FUJIFILM XF50-140mmF2.8 and it’s been a real pleasure (and no, I don’t actually want to return it!). Normally I work with an X-T1 as my main camera and I still have my X-E1 as a back up so that’s what I am comparing with.

“I have to say I was very pleasantly surprised.”

One of the main differences is the dual function viewfinder, at first, I found it a little confusing and found myself automatically using the digital finder, but I realise it has its uses, especially with the longer 400mm lens. The ability to switch between the two is extremely helpful.

Without a doubt my favourite feature is the focus stick / lever. I quickly became so used to it that I was searching for it on my X-T1. This is such a user friendly design, perfect for fast shooting conditions.

The design aesthetic of this camera also really attracts the attention of photographers, I’ve had more people come over and ask what I’m shooting with than a year of using the X-T1!

The 2 card slots is also a major plus. I often shoot jpeg only as much of my work is online and the speed of the edit and distribution is vital, but the option to have separate cards with raw and jpeg makes it a brilliant piece of logic that works well for me. I can still have the speed of a card with only jpegs to upload, but backed up with raw.

The only thing that I did find a little fiddly was the ISO & shutter speed being on a combined dial, as there were times when I wanted to change the ISO but I accidentally moved the shutter speed instead. In most shooting conditions this isn’t an issue but when you need to change quickly back and forth it can be trickier.

I was worried with August being a slow news month that I might not have much interesting content for this review but I have used the X-Pro2 to photograph our two most marmite politicians (people either love them or hate them), a trip to the zoo and a studio shoot with a couple of fashion models.

I covered one of the many rallies that Jeremy Corbyn, Leader of the Labour party has been attending up and down the country. This one was in Kilburn and this shows the range of the 50-140mm lens, obviously 50mm on the left and a slight crop of a 140mm image on the right. As you can see I couldn’t resist experimenting with the distortion through the perspex podium.

The next morning I met with Nigel Farage. Some people will be aware that he recently grew a moustache so I had planned a very simple black and white shot hoping to feature that but unfortunately for me he had shaved. I used the Acros settings for this shoot. Here is a screen shot from Breitbart London.

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As I would have gone for something more creative had I not been hoping the moustache would be the main feature, here is an image from the shoot that I played around with just because.

Nigel Farage

I also managed to do a small studio shoot with a couple of young fashion models, Hazel Fuller and Nathan Taylor.

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My absolute favourite way to shoot is very low-light studio work and the Fuji cameras are a joy to work with in these conditions. In fact, it was shooting this that I decided that I have to own the 50-140mm lens asap.

I have also done a few daylight shoots, covered a few protests including two burkini protests in as many days. This man decided he needed a selfie of his ‘beach ready body’ in front of the burkini protest. I’m not sure what it all means.

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As well as looking and feeling very stylish the X-Pro2 proved to be a good workhorse of a camera, I think with longer to play with it I would get more out of its settings. I had assumed I would move from the X-T1 straight to the X-T2 but now I need to think seriously about whether or not the X-Pro2 is a better option for me. I guess I need to get my hands on the X-T2 to decide. Fun decisions to be making either way.

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Trip to the zoo

Flight of the Swans – X Series on expedition – Part 1

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X-Photographer strip BLACK

By Ben Cherry – Environmental photojournalist & Fujifilm X-Photographer.

I’ve been fortunate enough to be a part of the volunteer media team covering a project called Flight of the Swans. This is an ambitious conservation expedition, where Sacha Dench will paramotor from Arctic Russia back to the UK over 10 weeks following the flyway of Bewick’s swans.

This charismatic species was what encouraged Sir Peter Scott to set up Slimbridge and eventually the Wildfowl Wetlands Trust (WWT). Now though, the species is under threat having gone through a dramatic decline over the past twenty years. Between 1995 – 2010 the Europe population fell from 29,000 to just 18,000. The purpose of this expedition is to raise awareness of their plight, to confirm the key reasons for it, and hopefully create solutions.

This is the first of three blogs covering the project. Here we will focus on the lead up to the take off and the ground team reuniting with Sacha. Then there will be a blog during the expedition and one just as we all return to the UK.


How I got involved

Ambitious and ‘out there’ projects like this don’t come around very often so when I saw the advertisement online I jumped at the chance to get involved. I was lucky enough to be shortlisted alongside an amazing group of people and the next step was a selection weekend in Wales, where we were put through a series of exercises to see how well we can adapt and collaborate. This was a fantastic weekend, supervised by seasoned explorers and everyone came together, despite the competition and lack of sleep!

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Image courtesy of WWT/Jessica Mitchell

Once I was informed that WWT would like me to be a part of the media team, I became as available as possible to help where I could, leading up to the off. We have been put through a series of training exercises from remote first aid, to satellite phone tutorials, as well as covering some of Sacha’s specialist training, like having to jump into a simulation pool at RNLI College, Poole to see how well her flotation devices for the paramotor work! It does help that she used to be a professional free diver…

You can find out more about the selection process here – choosing our dream team  To read my personal reasons for joining the project you can see that here – Meet Ben Cherry, one of our media volunteers.

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Long road ahead! Autumn is about a month ahead of the UK in Russia, which is why the Bewick’s have started migrating. X100T

What kit I’m taking

I have two bag set ups for two different purposes:

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Shoulder bag/go bag

This is basically the first thing I grab when we arrive at a general location. It contains an X100T, X-Pro2, XF16mm F1.4, XF35mm F1.4, 56mm F1.2 and an SP-1 printer. The set up encourages me to be creative as well as being small and not intimidating when first encountering a new community.

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Backpack – Wildlife/assignment bag

When I know we are going out to find the swans or capture other aspects of nature, then this is the bag I grab. Inside is an X-T2, X-T1, XF10-24mm F4, XF16-55mm F2.8, XF50-140mm F2.8, XF100-400mm F4.5-5.6. As well as miscellaneous items like filters, cleaning kit and a flash set up.

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Having the two distinct bags means that I can keep my kit focused for particular types of photography, as well as not constantly overloading myself with gear. This particular project has so many interesting factors, from tracking the swans which are very timid in Russia and much of Europe, to engaging local schools, conservation and hunting groups. My kit has to be able to maximise each and every opportunity.

The rangefinder cameras are brilliant as they are particularly inconspicuous. I keep them together as I use my right eye with the rangefinder cameras, while I use my left eye with the SLR style cameras. The X-T range cameras are generally more flexible, particularly the X-T2. So from my perspective it makes sense to keep the most versatile lenses (zooms) and cameras together. Generally the X-T2 has the XF100-400mm attached inside the bag so it is ready in case we come across any wildlife suddenly or Sacha has to take off/land quickly. The advanced autofocus and 4K footage makes the X-T2 ideal for this kind of project.


How has it gone so far?

At the time of writing this (23rd September, now I will hopefully be running around the amazing tundra!) we the ground team have just arrived in Arkhangelsk, Russia. Referencing the map below, that is where the blue line from the UK has stopped, as well as the green line coming down from the tundra, that is Daisy Clarke, one of our satellite tagged Bewick’s! Sacha is the highest, turquoise line. To get the latest on our location be sure to regularly check our live satellite map – https://www.flightoftheswans.org/live-map/

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Sacha has made amazing progress so the ground team have had to work double time to make sure we join up and keep on schedule. We left on the 14th September, and have managed to cover over 2,500 miles during that time, along with a 32 hour stay at the Russian border.. We will hopefully reunite with Sacha tomorrow!

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Part of the ground team moving north in Russia

From there we will then steadily start heading back to the UK all together. Along the way we will be conducting lots of press, conservation and community events. Please be sure to follow our social media channels as we will be trying to make our presence known along route and could be passing nearby! I am in charge of the social media channels from the field team, so I will be sharing images straight to my phone via the FUJIFILM Camera Remote app and sharing them across our social media channels (see below).

Once we are back in the UK we will be visiting some of the fantastic WWT nature reserves as well as holding other exciting UK events. We will be running various live broadcasts too so be sure to stay up to date! You can find all the latest information via our social media channels:

Facebook – Flight of the Swans

Instagram – @wwt_swanflight

Twitter -@wwtswanflight

Next month I’ll be giving an update on the project, as well as offering a photo travel guide for the locations we have passed through. Our focus so far has been making as much time as possible, once we are all on the return leg then our media team can really get to work so I promise there will be plenty of photos to share in the next instalment.

Be sure to stay up to date! From Russia with love. 🙂

Ben Cherry

Twitter – @Benji_Cherry

Instagram – @Benji_Cherry

Facebook – Ben Cherry Photography

Fujifilm X-Photographer Page


 

Just how good is the XF50-140mm zoom lens?

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By Brian Rolfe

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.

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Shooting with the XF50-140mm

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!


The Shoot

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.

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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.

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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.

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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!Imogen - Ibiza 0928 web

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.

To see more of Brian’s work, click here. 


 

Motorsport Photographer Jeff Carter has his say about the NEW X-T2

jeff carterAbout Jeff Carter

Jeff Carter founded MacLean Photographic after leaving the Royal Air Force in 1996.  The company name is from Jeff Carter’s full name – Jeffrey Stuart MacLean Carter.

With over 20 years’ experience in several fields, including sport, landscape, wildlife and travel, Jeff is based in Dunbar, near Edinburgh in Scotland. However he travels the world with his work in the motorsport and automotive industry and is constantly on the lookout for that next great image to capture.

As well as providing photographic services to editorial and commercial clients, MacLean Photographic runs a number of Photographic Workshops and Tours for individual or small groups of photographers of all abilities in and around the South East of Scotland.

Landscape photography with the X-T2 in East Lothian
Landscape photography with the X-T2 in East Lothian

Belhaven Bay in East Lothian
Belhaven Bay in East Lothian

Why did you choose Fujifilm?

A camera is the tool of my trade and the best tool is one that becomes an extension of my creativity, something that I can use without thinking about how to capture an image. I have used all different types of cameras over the last 20+ years but, for me, the three X Series cameras I use are like an extension of my eye and brain.

The first X Series camera I bought was an X100 black limited edition for a business trip to Shanghai. The X100 was like a mini version of the Fujifilm GA645 medium format camera that I had used in the early 1990s and the fixed focal length camera put a spark back into my photography, it was a joy to use. The ability to travel light and still get ‘the shot’ really opened up my mind to the possibilities of the compact system camera. This led to an X-Pro1 a year later, then the X-T1, an X-Pro2 in 2016 and now the X-T2, with a good selection of XF lenses to match.

The X-T2, X-Pro2, X-T1 and X100 I currently use, along with the range of quality XF lenses, are tools that allow me the freedom to be creative but they have also put the joy back into the image making process.

 


How have you found the new Fujifilm X-T2 camera?

This is the camera I have been waiting for ever since I moved from Nikon to Fujifilm in 2014.  Each step that Fujifilm has made in the past four years have culminated into this camera.  It is like an extension of my arm and eye when working trackside or in the pitlane.  The X-Pro2 is a great camera and pointed the way to the next step. And the X-T2 doesn’t disappoint.

On track battles during the TCR International Series at Spa-Francorchamps
On track battles during the TCR International Series at Spa-Francorchamps

I can follow focus a car moving at 200mph and I can follow focus a bird in flight.  I can also switch focus from one subject to another quickly and seamlessly.  The Electronic View Finder is beautiful, a joy to use, and doesn’t black out when shooting long bursts.  The 11 frames per seconds on boost mode adds to the flexibility of the camera, as does the ability to shoot 4K video.

The 24MP sensor produces the same stunning image quality as the X-Pro2 and 6000 x 4000 pixel images gives greater flexibility to crop the image in post production.  The film simulations are to the same high standard as always with Fujifilm and gives me the option to take the images straight off the camera if speed is of the essence, which in sports photography is usually the case.

The quality of the images when shooting at high ISO settings is really outstanding and I have no hesitation in pushing the dial to 6400 or even 12800 when needed.

The ergonomics of the X-T2 have taken the best that the X-T1 had to offer and improved the overall operation of the camera.  The new dials and locking mechanism are really good to use and the joystick on the back of the camera also speeds up the operation in the field.  Finally the new tilting screen which means I can shoot in a landscape or portrait format from down low or above my head is a big plus point and something I was using all of the time at the 24 Hours of Le Mans.

The weather proofing got a thorough test at Le Mans too as it rained for most of the week leading up to the race and the X-T2 never missed a beat, which is more than I can say for the photographer!

For me this is the ultimate X Series camera!

Heavy Rain during qualifying for the 24 Hours of Le Mans caused the session to be stopped fo r20 minutes due to deep water on the circuit
Heavy Rain during qualifying for the 24 Hours of Le Mans caused the session to be stopped fo r20 minutes due to deep water on the circuit

What’s your most loved image taken on the X-T2 so far and can you tell us little bit about it?

Capturing the moment at a top international sporting event like the 24 Hours of Le Mans is hugely important for any photographer working in editorial photography, especially sport.  The new X-T2 allows me to react to a situation quickly and this was essential in capturing my favourite image so far.

The image is of the podium celebrations following the 24 Hours of Le Mans.  Porsche had a dramatic win in the final five minutes of the 24 hour race when the leading Toyota stopped on the final lap, allowing the Porsche to take the chequered flag.  The emotions on the podium were there for all to see.

The winning Porsche drivers Marc Lieb, Neel Jani and Romain Dumas were celebrating in true motorsport style and afterwards Romain Dumas was speaking to the circuit commentator on the podium after his second overall win at Le Mans.  While he was speaking he was ambushed by four of the other drivers and they tipped champagne all over his head.

I was able to react quickly and capture a whole sequence of images with the X-T2 and the XF50-140mm f2.8 + 2x converter.  This image sums up the relief and elation of winning the most famous motorsport event in the world and this is why this is my favourite image from my time with the X-T2 – so far!

Romain Dumas (FRA) celebrates winning the 2016 24 Hours of Le Mans for Porsche.
Romain Dumas (FRA) celebrates winning the 2016 24 Hours of Le Mans for Porsche.

What lens do you think best pairs up with this camera for your shooting style?

For sport most people would probably think I would say the XF100-400mm f4.5/5.6 but for me, the best all round lens is the XF50-140mm f2.8.  This lens gives me the greatest flexibility and produces images that can match anything produced on the XF56mm f1.2 or XF90mm f2 (which I own and use as well).

Photographing the Gannets of Bass Rock in flight. A good test of the AF capabilities of the X-T2 and 50-140mm lens
Photographing the Gannets of Bass Rock in flight. A good test of the AF capabilities of the X-T2 and 50-140mm lens

The XF50-140mm f2.8 coupled to the X-T2 is a powerful combination, especially with the improvements made to the continuous Auto Focus function on the new camera.  The ability to follow focus a fast moving subject, such as a race car, or a randomly moving subject such as a Gannet diving into the sea for fish, is a huge plus point for my work.

Another advantage of the XF50-140mm is the ability to fit the 1.4x and 2x converters, meaning I have a focal range of 50mm to 280mm available to me in a relatively small package.


To see more of Jeff’s work please visit his website and social sites:

Website:             www.macleanphotographic.co.uk

Twitter:               @macleancomms

Facebook:          www.facebook.com/macleanphotographic

Flickr:                 www.flickr.com/macleancomms/

Instagram:         www.instagram.com/maclean_photo/

India – The Good, The Great and The Downright Scary – Part 2

This is a two part blog into the adventures of Tom Corban and his trip through North & Northwest India, if you missed the original post you can view it here. 


As the trip went on and the temperature increased, I appreciated not having a rucksack covering my back. I began to realise that I was missing something. It was really brought home to me when we went north into the Himalayas to do some mountain biking. We were cycling downhill on a narrow bumpy mud track with a steep cliff face going up on one side and a sheer drop of over 1 kilometre on the other and I realised that there is only so much weight you want bouncing around on you, irrespective of how you are carrying it. I started fantasizing about my X-E2 with its kit lens, but more about that later.

Spiti Valley, Himachal Pradesh, India. Jo finishing a 26 km cycle ride which started at 3940 m, descended to 3413 m, then climbed back to 3627 m. Quite an achievement at that altitude.
Spiti Valley, Himachal Pradesh, India. Jo finishing a 26 km cycle ride which started at 3940 m, descended to 3413 m, then climbed back to 3627 m. Quite an achievement at that altitude.

One of the nice things about this trip was that it was a holiday. There was no pressure and no deadline for any images. This gave me the chance to experiment with the Fuji kit without worrying about making any errors. It may sound unprofessional to some people but I have been so impressed by the Fuji Jpegs that I now rarely shoot RAW files. I had not really explored the various film settings and tended to use the Standard and Velvia settings almost exclusively. Having now experimented with the film settings, I am developing a soft spot for the Black and white with a yellow (or in some instances red) filter and I have found that in the right setting the Chrome can be stunning. I had an almost childish delight in finding out what the camera could do.

A man sits on blue steps outside his house in Jodhpur Old City, Rajasthan, India. Jodhpur is also known as the blue city because of the large number of houses and walls painted blue which, according to the locals, repels termites which are a problem in the area.
A man sits on blue steps outside his house in Jodhpur Old City, Rajasthan, India. Jodhpur is also known as the blue city because of the large number of houses and walls painted blue which, according to the locals, repels termites which are a problem in the area.

We had decided to limit our travel to the north and north west of the country, travelling by train, bus and in the more remote areas, camel and 4 wheel drive. I was interested to see how the Fuji kit stood up to the rigour of travel and how it performed in some challenging environments. I was aware that my photography had already changed as a result of using Fuji cameras but it became much more noticeable on this trip. I made fewer images and I have become, on the whole, slower.  This is not a bad thing as I find that I am getting the results I want with the Jpegs straight out of the camera.

Delhi, India. India Gate at sunset, The 42 m high archway stands in the center of New Delhi and commemorates the 70,000 Indian soldiers who lost their lives fighting for the British Army during World War 1. It also bears the names of British and Indian soldiers killed in the Afghan war of 1919. The structure sits in a large expanse of green lawns which are popular for picnics and cricket on summer evenings.
Delhi, India. India Gate at sunset, The 42 m high archway stands in the center of New Delhi and commemorates the 70,000 Indian soldiers who lost their lives fighting for the British Army during World War 1. It also bears the names of British and Indian soldiers killed in the Afghan war of 1919. The structure sits in a large expanse of green lawns which are popular for picnics and cricket on summer evenings.

Slower behind the camera and then less time in front of the computer suits me well. I have also found that I have fewer “technical” rejects. I find that the focusing on the X-T1 is not as fast as the Canon 5D mk 3 so in some circumstances I have more out of focus shots than I would expect. However, for me this is more than made up for by the fact that I have far fewer unsharp photographs caused by camera shake in low light settings because of the wider aperture of the Fuji lenses, the lack of a mirror and the vibration it causes and the ease of holding the camera steady.

Phul Mahal (The Palace of Flowers) in the Mehrangarh Fort,Jodhpur, India. Built in the mid 18th centuryit was probably used as a private audience hall. A stunning room but with with very little light showing what the X-T1 can do in difficult lighting conditions.
Phul Mahal (The Palace of Flowers) in the Mehrangarh Fort,Jodhpur, India. Built in the mid 18th centuryit was probably used as a private audience hall. A stunning room but with with very little light showing what the X-T1 can do in difficult lighting conditions.

Perhaps if I were doing a lot of fast action work I would be more tempted to use the full frame camera but as things stand the Fuji suits me fine.

In low light settings such as religious services in Varanasi, the Fuji kit showed its strengths. Wonderfully sharp lenses and a camera that I could hold in my hands at slow shutter speeds.

Sunrise on the Ganges at Varanasi, Uttar Pradesh, India. Garlands of flowers and candles given as offerings float on the river as the sun rises.
Sunrise on the Ganges at Varanasi, Uttar Pradesh, India. Garlands of flowers and candles given as offerings float on the river as the sun rises.

The weather sealing stood up well in some difficult situations with temperatures of over 50 C in the desert and below freezing in the Himalayas, as well as rain, sand and huge amounts of fine powder dye during the Holi celebrations in Jaipur. There was a little wear on the camera body and the rubber cover that protects the HDMI, remote release and USB sockets has become a little misshapen with the heat but it’s a solid body built to last.

A man bathes in the river Ganges at Varanasi, Uttar Pradesh, India. Hindu's consider the Ganges to be the most sacred river in India and thousands visit the Holy city of Varanasi to cleans their sins in the spiritually purifying water. Environmentalists are concerned about the high levels of pollution in the river caused by the increase in population and the resultant increase in pollutants discharged into the river.
A man bathes in the river Ganges at Varanasi, Uttar Pradesh, India. Hindu’s consider the Ganges to be the most sacred river in India and thousands visit the Holy city of Varanasi to cleans their sins in the spiritually purifying water. Environmentalists are concerned about the high levels of pollution in the river caused by the increase in population and the resultant increase in pollutants discharged into the river.

Did I make the right decision to take the Fuji Kit with me on this trip?

Absolutely. It’s a joy to use. The full kit fitted into a small waist bag with the lens hoods still on the lenses, I had no difficulty keeping the sensor clean, the Jpegs were wonderful straight out of the camera and the film simulations are good (I mean really good). I can also hold it in my hands at low shutter speeds, the lenses are sharp and I had no trouble with chromatic aberrations.

With a kit that performed like that, what more could I possibly want?

Well my X-E2 with its kit lens really.

I said earlier that we had been lucky on this trip. Whilst that’s true, we did have some difficult times. We had a bag with my Fuji X-E2 and Jo’s phone in it stolen on a sleeper train from Varanasi to Agra. I had taken my X-E2 on a various trips around Europe during the past couple of years and was really fond of it. It was the sort of camera and lens combination that you could carry unobtrusively and I loved wandering around new cities with it. Heat, rain, fog – just tuck it under your jacket. As our India trip went on, I found myself wanting it as a second camera.  I know that this sounds a bit excessive but the option of occasionally leaving the full kit in the hotel and just spending some time wandering around with a smaller, lighter camera and the kit lens was very appealing and certainly would have been useful when we were cycling.

It had never been an option before as there was never anywhere secure that was large enough to lock up my full frame camera and lenses and, as a result, I would carry everything with me all the time. You do get used to it but it’s an ongoing nuisance and wonderfully liberating when you get home and don’t have to carry a heavy bag everywhere. To my delight, I found that the small safes that hotels all over the world use was large enough to fit all my Fuji kit in and still leave room for a backup hard drive and a few other odds and ends.

It’s a real game changer as it gives me the option of going out with the full kit or just the X-E2. Well it would give me that option if someone had not stolen the X-E2!  I will clearly have to replace it. Mind you I have not seen the X Pro2 yet but it certainly looks good on paper and the reviews are encouraging. Now, back in England, I find myself wondering if the X Pro2 will be the camera that finally makes me sell my Canon kit and move to Fuji completely.

Shimla, Himachal Pradesh, India. Young women in traditional dress during Himachal Day. Himachal Day celebrates the creation of the State of Himachal Pradesh after independence in 1948. Hima means snow in Sanskrit and Himachal literally means "The land of snow"
Shimla, Himachal Pradesh, India. Young women in traditional dress during Himachal Day. Himachal Day celebrates the creation of the State of Himachal Pradesh after independence in 1948. Hima means snow in Sanskrit and Himachal literally means “The land of snow”

And if you’d like to read more from Tom check out:  To Glastonbury and beyond featured here at fujifilm-blog.com.

See more of Tom’s work at http://www.tomcorban.co.uk/

The X-T2 gets a test drive with X-Photographer Damien Lovegrove

damien-lovegrove-profile-200x200Damien Lovegrove is considered by many to be one of the worlds most influential contemporary photographers. He is best known for creating portraits that make women look fabulous. He is a confident director and great fun to shoot with too. Damien’s lighting style is distinctive and his picture composition unique.

Damien is an official Fujifilm UK ambassador and a renowned Fuji X-Photographer.


It was in May 2012 that I ditched my SLRs for a Fuji X-Pro1 and the three prime lenses it launched with. From day one I utilised the mirrorless advantage to leap ahead of my competition. I had been using a Fuji X100 fixed lens camera for a year integrating it into my workflow alongside my SLRs and I loved the pictures I captured with it so the leap to mirrorless was a gentle one for me.

X-T2_BrochureImage_TopThe Fujifilm X-T2 is the camera I’ve been waiting for. It’s no surprise it’s here but what I love most is that the consultation period with X-Photographers has delivered a camera that is spot on mechanically. Everything that could have been improved on the X-T1 from the dial locks to the tilting screen has been perfected on the X-T2.

The Fuji X-Pro1 gave me mirrorless shooting and it rekindled my passion for photography. The X-T1 gave me the extra usability I craved, The X-Pro2 took the image file to the next level and brought the technical specification of the X system bang up to date. Now the the Fujifilm X-T2 has brought it all together and raised the bar again. The sum of all the tweaks and changes in this new camera make a huge difference and leave me not wanting more.

 

The Fuji X-T2 features that I love the most:

•    The locking buttons on the ISO and Shutter speed dials combined with the higher profile work perfectly. Being able to lock the dials in any position is genius.

•    The bi-directional tilting screen is wonderful. It’s a must for a portrait photographer.

•    The camera size and weight are spot on. The ultra reliable and compact W126 battery has been retained. The weight of the camera in the hand is really important to me. I never want my photography to feel like a chore again.

•    The media door has a newly designed latch that is really secure.

•    The joystick to move the focus position makes the shooting process faster.

•    The 1/250th second flash sync is welcome and is the new setting for all my studio flash working.

I team the Fuji X-T2 with the fast primes because I love a shallow depth of field combined with absolute resolution. A prime lens is lighter on the camera than the equivalent zoom and this suits my way of shooting well. I have the XF16mm f/1.4, XF23mm f/1.4, XF35mm f/1.4, XF56mm f/1.2, and the XF90mm f/2 lenses. There are times when a telephoto zoom is the perfect lens for a shoot and I use the XF50-140mm or the XF100-400mm lenses depending upon the assignment. The zooms offer optical image stabilisation and this really comes into its own at longer focal lengths.


And the results?

I had planned this first sequence of shots about a year ahead of the shoot. I bought the dresses from an Asian manufacturer via the internet and I transported them to the USA in my luggage. The location is in the high deserts of Arizona, USA. I used the XF100-400mm and XF50-140mm lenses to compress the perspective. These frames were all lit with natural sunlight.

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I spent 12 days touring the USA and in that time I shot about 5000 frames on the Fuji X-T2.

Arielle down on a farm in Utah. There were snakes keeping us company as we shot a wonderful sequence of images. XF50-140mm f/2.8 at f/4
Arielle down on a farm in Utah. There were snakes keeping us company as we shot a wonderful sequence of images. XF50-140mm f/2.8 at f/4
Arielle sits by a cattle coral in Arizona. The dust on the wind has turned the sky a shade of pink. This figure in the landscape style is one I want to further develop in the coming months and the extra resolution of the Fuji X-T2 really comes in handy when making big exhibition prints. XF50-140mm f/2.8 at f/5.6
Arielle sits by a cattle coral in Arizona. The dust on the wind has turned the sky a shade of pink. This figure in the landscape style is one I want to further develop in the coming months and the extra resolution of the Fuji X-T2 really comes in handy when making big exhibition prints. XF50-140mm f/2.8 at f/5.6

Since then I’ve added another 4000 frames in Europe to my camera testing routine. The camera feels just right in the hand and there is nothing I would change about the mechanics of the build.

 

Discover creative resources for photographers written by Damien Lovegrove at Prophotonut and Lovegrove Photography

 

 

India – The Good, The Great and The Downright Scary – Part 1

Jaipuri, India.
Jaipuri, India.

By Tom Corban

It spread through the air like static electricity, conducting from one person to another. Fear truly is contagious.

Everyone was running away from the rather skinny looking snake. Skinny or not, the guides and camel tenders were visibly frightened. You could feel the fear in the air.

We had just spent our first night in the Thar desert close to the border with Pakistan, sleeping on the sand dunes with four other travelers we had met the night before. The blankets we had been sleeping on had been piled up ready to be put on the camels. It was then that the snake was spotted.

Three Camels at dusk in the Thar Desert, Jaisalmer District, India. The desert, also known as The Great Indian Desert is the worlds 17th largest Desert. It was here where we had the encounter with the snake.
Three Camels at dusk in the Thar Desert, Jaisalmer District, India. The desert, also known as The Great Indian Desert is the worlds 17th largest Desert. It was here where we had the encounter with the snake.

Armed with sticks, shovels and an axe, the camel tenders returned. One of them went forward and nervously lifted the corner of the top blanket. No snake. He lifted it higher, then pulled it off the pile as he quickly backed away. The others moved in with clubs and axes ready to pounce. Still no snake. They retreated again. This process was repeated four times before the snake was found. Each man swung his stick or axe clubbing the ground wildly before running away, looking back to see if the snake was chasing them. The snake however had disappeared into the sand. We asked Mulla (our guide) how dangerous it was. “It’s a Lundi snake, very dangerous, very poisonous” he said.  The men, armed with shovels, moved in. I thought they were just going to chase it away but the process of digging, hitting and running away continued until the snake eventually received a blow from a stick and a man with an axe moved in to finish it off.

When we got back, we looked up “Lundi snake”. Lundi is the Urdu name for a sub species of Saw Scaled Viper. It is described as a very fast moving snake that strikes quickly & repeatedly, with reports of it chasing its victims relentlessly, and in India alone, it is responsible for an estimated 5,000 human fatalities a year.

Once the snake was no longer a threat, the camels were saddled up and our companions from last night started on their way back to Jaisalmer.

A monk sits on the steps at a Jain Temple in Jaisalmer, India. The temple, which was constructed in the 12 century, is built of yellow sandstone and is famous for its intricate stonework.
A monk sits on the steps at a Jain Temple in Jaisalmer, India. The temple, which was constructed in the 12 century, is built of yellow sandstone and is famous for its intricate stonework.

Jo, I and Mulla set off in the opposite direction, further into the desert. There are many things one can do on a camel but being comfortable is not one of them, well not at first anyway. It also seems a slow way of traveling but before you know it you have covered a considerable distance and things that were on the horizon are now beside you. It’s a bit like traveling by canal boat in Britain but with more pain and less tea. It was scorching by the time we stopped for lunch and took shelter from the sun as it was far too hot to move when the sun is at its height. Even at 5pm when we stopped at an oasis to water the camels, it was still 42.9 C degrees in the shade. We finally stopped for the night on a small group of sand dunes. As Mulla made us tea, we watched 8 Desert Eagles circle in the thermals above us. Eventually they lost height and settled in a tree from where they kept us company till the morning. We spread the camel blankets out on the dune and looked at the stars till we fell asleep. Even though we woke many times during the night, each time the night sky was stunning.

The next morning Mulla said that there had been a lot of Lundi snake activity during the night and there were snake tracks around the camels. He said that he was relieved that the camels had not been bitten as it would have killed them. We showed him some tracks where something had come up the dune to where we had been sleeping and passed just over a metre away from where my head had been. “That Lundi snake” he said. “A big one”. “But we were sleeping there!“ we exclaimed. “You very lucky” he said.


We were very lucky a lot on this trip. We had started off in Delhi before going to Varanasi, Agra and then Ranthambore National Park near Jaipur. We were told that you should book at least 6 safaris to stand a good chance of seeing a tiger. We booked 6. We saw 8 different tigers including a mother and her two 9 month old cubs.

A tiger emerging from the grass at Ranthambore National Park, Sawai Madhopur, India. The reserve was the private hunting reserve of the Jaipur Royal Family until 1955. The reserve is thought to have 43 adult tigers and 14 cubs although it is difficult to be certain as it is an "open" reserve which forms part of a larger "tiger corridor" in the region.
A tiger emerging from the grass at Ranthambore National Park, Sawai Madhopur, India. The reserve was the private hunting reserve of the Jaipur Royal Family until 1955. The reserve is thought to have 43 adult tigers and 14 cubs although it is difficult to be certain as it is an “open” reserve which forms part of a larger “tiger corridor” in the region.

We met funny and generous people who went out of their way to look after us and show us around. We were accepted into an Indian family to experience the Holi festival with them in Jaipur.

A child covered in coloured dye during Holi Festival, Jaipuri, Rajastan, India. Holi is a Hindu festival celebrating the beginning of spring. Bonfires are lit the night before Holi and offerings made to ensure a good harvest. The main Holi festival takes place the following day when people throw coloured dye on each other. It is often celebrated privately within family groups but in the streets anyone is fair game. Holi provides an opportunity to disregard social norms and young men have been known to act disrespectfully as the day goes on. Advice is given for single women to avoid going out alone and for tourists to be off the streets by early afternoon.
A child covered in coloured dye during Holi Festival, Jaipuri, Rajastan, India. Holi is a Hindu festival celebrating the beginning of spring. Bonfires are lit the night before Holi and offerings made to ensure a good harvest. The main Holi festival takes place the following day when people throw coloured dye on each other. It is often celebrated privately within family groups but in the streets anyone is fair game. Holi provides an opportunity to disregard social norms and young men have been known to act disrespectfully as the day goes on. Advice is given for single women to avoid going out alone and for tourists to be off the streets by early afternoon.

We then went on to Spiti valley where we met the Lama of the Kee Monastry who showed us around, unlocking rooms and ushering us in as he went. In one room there was a metal encased Stupa about 10 ft high,decorated with emeralds and other precious stones containing ashes of the 6th to the 13th Dali Lamas. Afterwards he took us into his private room and gave us tea and cake before giving us his blessing and waving us off.

Kee Monastery (also spelled Ki and Key), Spiti Valley, Himachal Pradesh, India. The Buddhist monastery, believed to be a 1000 years old, sits on a hilltop at an altitude of 4,166 meters. It has a collection of ancient scrolls and murals and is the biggest monastery in the Valley.
Kee Monastery (also spelled Ki and Key), Spiti Valley, Himachal Pradesh, India. The Buddhist monastery, believed to be a 1000 years old, sits on a hilltop at an altitude of 4,166 meters. It has a collection of ancient scrolls and murals and is the biggest monastery in the Valley.

On previous trips through Nepal, Vietnam and Cambodia I had taken my Canon kit. It had worked well but it was heavy and took up a lot of room. On the Nepal trip for instance, we had hired an extra porter as we were going into the Annapurna Sanctuary. It’s a long walk if you are carrying heavy gear and are not used to the altitude.

Spiti Valley, Himachal Pradesh, India. Buddhist prayer flags at Dhakar Monastery with the floor of the Spiti valley in the background.
Spiti Valley, Himachal Pradesh, India. Buddhist prayer flags at Dhakar Monastery with the floor of the Spiti valley in the background.

This time I wanted to travel lighter so I took the Fuji kit. This consisted of an X-T1 and three lenses. The XF 10-24 f4 lens, the XF 16-55 F2.8 and the XF 50- 140 f2.8. I also took a XF 1.4 Teleconverter and a Nissin i40 flash.

Spiti Valley, Himachal Pradesh, India. Farming in the Spiti valley near Kee (also spelled Ki and Key), The Valley is a high altitude cold desert. It is very remote and covered in snow for much of the year. Although this photograph shows tractors they were the only ones we saw in the valley where, because of the steep slopes, the type of cultivation is terraced and tractors are of little use.
Spiti Valley, Himachal Pradesh, India. Farming in the Spiti valley near Kee (also spelled Ki and Key), The Valley is a high altitude cold desert. It is very remote and covered in snow for much of the year. Although this photograph shows tractors they were the only ones we saw in the valley where, because of the steep slopes, the type of cultivation is terraced and tractors are of little use.

In practice this meant that I could carry the complete kit with ease in a waist pack. It was a bit of a tight fit when everything was in it, but when I was using the camera it was easy to change lenses or get the flash out. I found it much easier to manage the Fuji kit than it was to manage the Canon 5Dmk 3 with its lenses, where I needed a much bigger camera rucksack. Although the Fuji lenses I was using are not much smaller than the Canon Lenses, the X-T1 is significantly smaller than the Canon full frame. This meant that everything fitted into the waist bag even the lens hoods! The lens hoods may not sound like a big deal, but to me they are. Previously I had tried everything I could think of to accommodate lens hoods for my Canon lenses, ending up with collapsible rubber ones that I would keep in the top part of my camera rucksack and put on when I was using a particular lens. It was less than ideal. Changing lenses would usually require taking the rucksack off, opening the bottom compartment to change the lens and then opening the top compartment to get the lens hood.

Shimla, Himachal Pradesh, India. Housing on the hillside around Shimla. The town, built on seven hills, was the summer capital of British India, becoming the capital of Himachal Pradesh after independence.
Shimla, Himachal Pradesh, India. Housing on the hillside around Shimla. The town, built on seven hills, was the summer capital of British India, becoming the capital of Himachal Pradesh after independence.

With the X-T1 body and the Fuji lenses with the lens hoods fitted, all within the belt pack, changing lenses became much easier. It was certainly a lot safer when changing lenses in crowded environments where there were warnings of pickpockets operating.

The other thing that is worth mentioning is that although in practice there was not much difference in size and weight of the Fuji lenses compared to the Canon ones, the Fuji ones have an aperture of f2.8 as opposed to the f4 on my Canon lenses. As a travel kit, I found it worked wonderfully. I had a good range of focal lengths and a comparatively wide aperture when I needed it.

Kalpa, Himachal Pradesh, India. Tribal women in traditional dress in Kalpa village. The Indian government has given 'Tribal Status" to the area in order to give special focus on the social and economical development of most deprived class of society i.e Scheduled Tribes. The region is very remote with no air, rail or waterway links. Roads which can often be closed by snow, swept away by floods or closed by landslips, are the only means of communication.
Kalpa, Himachal Pradesh, India. Tribal women in traditional dress in Kalpa village. The Indian government has given ‘Tribal Status” to the area in order to give special focus on the social and economical development of most deprived class of society i.e Scheduled Tribes. The region is very remote with no air, rail or waterway links. Roads which can often be closed by snow, swept away by floods or closed by landslips, are the only means of communication.

Part 2 of Tom Corban’s adventure through India can be found here. 

And if you’d like to read more from Tom check out:  To Glastonbury and beyond featured here at fujifilm-blog.com.

See more of Tom’s work at http://www.tomcorban.co.uk/

 

XF100-400mm Vs Bruce Springsteen

By Tony Woolliscroft

tony-woolliscroft-jul-2014For music & concert photographers, restrictions have meant it’s become harder and harder over the years to get those great shots. So seeing the Fujifilm XF100-400mm lens come into the fold is a very welcome addition to the Fujifilm lenses lineup.

Along with bad photography contracts thrust upon us as we collect our photo passes, and image right grabs on the pictures we capture, we’re now being forced further and further back within a venue, which restricts what we can actually capture due to the distance we’re expected to shoot at. This makes the XF100-400mm essential to achieving good results.

 


Bruce Springsteen – Manchester

With Bruce Springsteen performing in Manchester, I looked forward to using Fuji’s new beast of a lens the 100-400mm. Even though we were expected to shoot from the ‘Golden Circle’ barrier at around 50 meters (164 feet) from the stage, it’s still quite a distance.

DSCF5436

The size & weight of this new lens was inline with all the Fuji X series cameras/lenses, well made, light in weight and weather sealed.

The one thing that did concern me though as I arrived at the City of Manchester stadium was the weather…… It was absolutely pouring down. I knew this would be a good test for both this new lens and my Fuji X-T1 camera!

DSCF5199

Once in position, I had 3 songs in which to capture images from the ‘Golden Circle’ barrier. Even from here it was difficult to gain a vantage point above the sea of waving arms, mobile phones and homemade signs that swam through the crowd as Springsteen performed.

Even though it is a larger lens than other Fuji lenses in their range, in comparison to Full Frame it’s still relatively light and having to shoot without a mono pod (as I was constantly moving to dodge the arms blocking my shot) I was able to do this and keep my camera steady without much shake.

The camera and lens handled the heavy rain perfectly, no problems there, and I also found that the lens focuses very quickly and especially when Bruce was standing directly in front of the big video screen (which can be challenging for cameras).


Once home and after a bit of time spent editing the pictures, I was extremely happy with how the 100-400mm lens performed.

It helped me capture some great moments in the allotted 3 songs slot I was given to shoot in, and the distance the lens covers from 100mm to 400mm was a massive plus as right at the end of the third song Springsteen stepped onto the lower stage and I was able to capture that moment too!

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Springsteen on the lower stage platform

Adventuring with Mother Nature and X Series

X-Photographer strip

By Daniel Malikyar

From the moment I truly began to pursue photography, I strived to distinguish my work from the millions of images flooding digital media across the world. In doing so, I’ve always been an advocate of doing whatever it takes to get the shot. Whether that means hiking a treacherous mountainside all night to capture the beauty of first light from an unseen perspective, or hanging from an abandoned bridge 2,000 feet above the ground, capturing timeless moments are what I live for. Through my experiences, I have learned that photography is a key factor in the difference between being alive, and actually living. Abiding by this principle, I set out on road trip from Los Angeles to Seattle accompanied by two talented friends and an arsenal of Fujifilm X Series gear.DSCF7316We left LA for Oregon on a Tuesday afternoon, and after a brutal sleepless 16-hour road trip, we made it to our first destination – Abiqua Falls. Fortunately our car for the trip was a 4WD Jeep, and allowed us to take the mile long off-road path to the trailhead for the falls. With tattered sneakers accompanied by a light rainfall, I ventured through Oregon’s lush landscape for my first time. The abundance of massive trees and greenery were like nothing I had ever seen before. The hike down to the river was pretty intimidating, and required you to scale down a lengthy and steep hillside that was only accessible by a rope tied to an old tree at the top. I went first, and discovered that the last hundred meters of the slippery, muddy terrain had no support rope. After my first step I went down with no control, and slid for about a hundred feet, ruining my clothes and scratching up my hands in the process. Nevertheless, we all made it down eventually and hiked alongside the river to our destination. I had never seen Abiqua Falls, so when we turned the corner that revealed it’s jaw-dropping beauty I was in awe.DSCF7013The picturesque landscape was surreal, and I immediately began planning out the perspectives I wanted to capture in order to do it justice. What I didn’t realize was how difficult the blistering backwash from the water crashing to the surface made it to snap a photograph without drenching the camera lens. The remarkable durability and weather-resistance of the X-T1 matched by the speed, precision, and quality of the XF10-24mmF4 R OIS conquered the conditions, and allowed me to capture my experience before the backwash fogged up the lens. From Abiqua, we drove through the countryside to two of Oregon’s most iconic waterfalls, Multnomah and Latourell. These two were conveniently located very close to one another, and neither required a difficult hike to get to. Their overwhelming size was a humbling reminder of the power of Mother Nature, and gave me a challenge to capture them true to scale. Running on no sleep in almost 48 hours, we left the falls and enjoyed the hospitality of a friend and Oregon local, who took us to a famous Portland brewery before getting a couple hours of rest to continue on our photographic journey.DSCF7041Several hours of sleep, a warm shower, and a cup of coffee later we were on the road again… this time headed towards Washington. We got up before sunrise to capture first light from the Rowena Crest. The dynamic range on the X-T1 did Rowena justice by capturing all the tones and colors of the current season. After a brief session at Rowena, we drove straight to Olympic National Park. We encountered wildlife along the way, including a bear and bison. It was my first time seeing such large animals up close, and thanks to compact size of the X-T1 I was able to take it out of my pocket in time to capture the moment. Olympic National Park had otherworldly nature-filled roads whose cinematic foregrounds looked like something out of Planet of the Apes. With the help of the XF16mmF1.4 R WR lens, I was able to capture the detail of the nature before me.DSCF7291After exploring through Olympic, we returned to the hospitality of a friend’s home in Seattle, anxious for the adventures that were to come the next day. After a few more hours of sleep we set off to catch the infamous abandoned railroad known as Vance Creek Bridge for sunrise. Vance Creek is very dangerous if you’re not careful, and trespassers of the area are given a hefty fine if caught by authorities. This didn’t stop us; we were determined to get to the bridge and get our shots as quickly as possible. Running on minimal sleep, the excitement of visiting Vance eliminated any sense of fatigue and gave us motivation to get through the hike to find one of the most amazing abandoned locations I had ever seen. I cautiously maneuvered all the way across the bridge, and after documenting every angle I could, I hung my body off the edge of the bridge to capture the vertigo-induced lookdown perspective that is seen throughout most of my travels.DSCF7374This image gives me a sense of conquering that location, and I strategically waited until I was done shooting to make my mark with the widest lens of my kit, the XF10-24mm. After leaving Vance Creek without any issues, we headed back to Seattle to take on the skies of the city in an R44 helicopter with Classic Helicopters. While I’ve had helicopter shoots across several cities in many different conditions, it was my first time shooting in harsh light, and in an unfamiliar city. Nevertheless the X-T1 and XF10-24mm combo proved their worth, showcasing the very impressive speed and accuracy of the auto-focus feature. About an hour after the flight concluded, the sun had set, signifying the end to an amazing few days spent with friends shooting in new environments with an awesome camera system. We returned to our friend’s house to catch some sleep before we set off on a 20 hour road trip back to Los Angeles.

In addition to my Pacific Northwest road trip, I also had the pleasure of shooting with Fujifilm X Series gear this past December in the winter wonderland that is Alberta, Canada. The camera withstood unbearably low temperatures, snow, and everything in between. I even hung my body out of the car at 100kmh in -20 degree weather to capture a symmetrical road shot during sunset on the way home from our final day, which consisted of a trip to Yoho National Park to capture a direct vantage point of an endless blue river. Although my winter hat flew of my head and my face turned bright red from the extreme temperature and heavy wind, the camera gear had no issues withstanding the harsh conditions and delivering excellent quality images.

In conclusion, the most valuable aspect of traveling for me has always been capturing my experiences. In doing so, I’m able to make my memories timeless and share them with the world. With the help of Fujifilm’s cutting edge X-T1 system and expansive Fujinon XF lens lineup, I was able to document my recent travels throughout Alberta, Canada and the Pacific Northwest. The durability of this mirrorless camera is incredible. The compact size and endless internal capabilities of the X-T1 also set it apart from any camera I’ve used before. One of my favorite design aspects is the moveable LCD; this made it much easier to shoot reflections and difficult perspectives that cannot be seen through a viewfinder. The XF lenses are also very impressive. Their power and design compliment the body by providing lightning-fast images of excellent quality, color and sharpness. The auto-focus feature is also remarkably consistent and accurate across all subjects, and allowed me to make the most of every rare photo opportunity Mother Nature presented along these two trips. I’m very grateful for the opportunity to work with Fujifilm’s X Series gear, and I highly recommend it to all photographers looking to take their work to the next level with a conveniently sized, sleekly designed system.