Month: October 2015

Are Fujifilm mirrorless cameras ready to replace your D-SLR system?

by Fujifilm EMEA October 9, 2015 Comments13

Fabio Camandona became a photographer in 2007 during a vacation, twenty years after the thought “I’d like to be a photographer” first entered his head. From there he embarked on an intense independent study of the art, which led to him becoming a Master of the Nikon School in just two years, holding many high-level workshops for the company and himself. He began photographing weddings almost by chance, and with the arrival of his wife Simona Pilolla, he opened a studio called CamandonaPilolla which has had great success across the nation. Member of Fearless Photographers, the official photographer for both the Reggia di Venaria and the Torino Polytechnic University, and testimonial for Fujifilm Italia, he continues to hold numerous workshops despite the many weddings he photographs every year. He defines himself as an extremely simple person who loves life and living it.

“I’ve owned a Fujifilm X-E2 for two full months, one of the most recent mirrorless cameras to be released by a company which gave a raison d’être to the mirrorless sector and managed to win over the market.

I’ve been following this sector for quite some time now. I’ve always harboured great interest in it and have been waiting for the moment when it would become possible to sell all my reflex cameras and continue to work using lighter and less invasive bodies.
I had some requisites that needed fulfilling however:

I didn’t want any significant loss in quality compared to the cameras I was using before. I have a Nikon D600 and D700, both of which are up for sale at the moment. They’re excellent cameras. They’ve allowed me to do things that have satisfied me personally and have helped me to produce images which have received appreciation in various countries around the world. With two great lenses in front of the sensor, I knew I couldn’t accept a decrease in quality. I needed something that was at least equal. Many have asked me, “why don’t you want more?” It is because I believe that there is a limit beyond which I would just be looking for trouble. Keep in mind that I am talking about MY personal photography. With these two cameras I was able to do everything I wanted. They were exceptional.
Reactivity. I do lots of weddings in the Kabul style. What does this mean? It means that our clients know very well that they need not pay any attention to us during their special day. As such, they dart back and forth from one part of the house to another, to the church and to the location, doing exactly what they want while we race behind them. (And rightly so: it’s their day!) For this reason, I need an autofocus that is both instantaneous and precise.
High ISO. Weddings are almost always in the evening. The locations are romantic and dark. High ISO is indispensable and 6400 is the bare minimum. I don’t expect every pixel to come out clean like at 200 ISO but I want my images to be useable. The D600 gave me what I wanted, the D700 didn’t.
Strobism. The technique of using flash controlled remotely via transmitter. I use it almost all the time. For me it’s fundamental.
Resilience. Ah yes, it’s important. Cameras and lenses fall, get wet in the rain and become victims of spilt martinis and flying sushi. It happens.

In short, a mirrorless had to give me everything I’ve listed above. However, I was also looking for a few extra characteristics that a reflex could never provide…

Discretion. Discretion as in not being identified as a crazy paparazzi. Discretion is something that can allow me to take NEW kinds of photographs and this is very important to me. Much more important than a crop or a shallow depth of field created by a Noctilux lens. Enormously important. New photos, new emotions.
Weight. Carrying around two catafalques for 12-14 hours was a lot. They were heavy; during the final hours I was always exhausted and a little bit aggravated. The desire to jump to my feet and photograph the bride being thrown in the air by her friends was purely psychological: my body, on the other hand, would be cursing me. We do lots of weddings but on top of that, we also engage in other services, workshops and of course, personal photography – in other words, a lot of shooting. About halfway through the season last year, I experienced a very strong inflammation of the meniscus and at the end of the season, I was completely burned out.
New incentives like the ones the iPhone gave me two years ago or the Fuji X20 (a super camera but not comparable to a reflex and thus appropriate for other purposes). There is always a need for new incentives and challenges.

Every year I tried the newest releases but there was always a missing link. Last year the X-E2 was released and as the slogan goes: the AF is lightning fast! (Well, more or less.) Interesting. The autofocus was one crucial aspect that Fujifilm always struggled with.

I wrote to Fujifilm, suggesting a one year project and they accepted. It was at that point I pleasantly discovered just how wonderful the company is. A company that keeps its promises. A company that goes above and beyond. I admit that I’m still a bit dumbfounded.

They sent me the X-E2 with three lenses: the 18-55mm kit lens, a 14mm wide-angle lens and a medium 60mm lens. I bought myself a couple of batteries and I was ready to go. I started to search for potential test shoots to verify whether or not my needs could be met.

The first: Its inauguration. A paid event similar to a wedding. The results? Excellent.
The second: A semi-sports photo feature at the Thay Boxe Mania event in Torino. A paid job. Again, excellent results.
The third: My best landscape workshop of the year, Snowscape. We’re talking serious landscapes. For the 14mm I bought ND filters, remote shooting etc. Excellent, just excellent.
The fourth: A photo feature at the fast-paced Orange Battle of Ivrea following the Devils under the floats. Excellent once again.

In between I had a few engagement, landscape and corporate jobs. The X-E2 shone every time.

In short, I’ve realised that I haven’t lost anything compared to my old gear. The images from the Fuji during the tests provided at least the same quality. In some cases, it was even better. Actually, sincerely speaking, it was always better but I repeat, going “beyond” the quality of my old gear simply isn’t important. I’m more interested in other features.

More than anything, I’ve released that I tend to take far more photos during the spare time between one service and another. It’s small, and it’s always on you. You naturally take photos with it.

One of the educational topics I often push at my workshops is just that: the act of taking photos. You have to take lots if you want to improve and this applies to anyone. With this camera, I’ve taken many more photos than I ever did before.

I tested the camera at high ISO speeds. I looked at the reactivity, the robustness, the quality of the files, the portability and its use for strobism. (By the way, the Yongnuo RF603 kit for Canon works just fine with the Fujis.)

But there was one aspect that made me reflect more than anything. I’ve always loved participating in photography groups and sites such as ArtFreelance, Shot Magazine, Full Frame, 500px, loveyourpix and so on. It’s something I do often. I measure the quality of my photos by how many times I am selected by the editors and by their placement in the various galleries some groups use. It’s useful, and the comparison continues. There are some very skilled people in these groups.

Let’s just say that since I started using the X-E2, the number of times I’ve been selected by the editors has doubled.

I’ve come to notice that I shoot much as I used to in some ways, but quite differently in others. I don’t really understand the reason but I believe it is also related to the question of chemistry. The positive attention I’ve received from Fujifilm has surely helped as well. In fact, it’s probably related to a number of things. But in the end, who cares? I’m producing better images for myself and my clients and that’s what counts. Nothing else matters.

Yes, I am selling my entire reflex system. The switch is effective as of now – I’m going mirrorless and the Fujifilm X-E2 is my camera of choice.

P.S. The question of chemistry is a fundamental one. I know many photographers (colleagues and friends) who for various reasons continue to use the reflex system. Reasons include being involved in a particular micro-sector of photography, the need for a large grip or a general indifference towards the gear used. Obviously if it works for them, then that’s fine.

This is my story and I cannot speak for everyone.

See more of Fabio’s work

www.fabiocamandona.com
www.camandonapilolla.com

Using flash to capture action

by Ben Cherry October 8, 2015 Comments3

I am currently in the middle of a six-month research stint with the Wild Macaw Association, gathering data on a scarlet macaw population for a study in Costa Rica, associated with Gent University. This remarkable opportunity allows me to study these birds closely and to explore the surrounding area during our two daily treks. To find out more about this very successful project, in which 75 macaws were released from 2002-2012, please check out this link here.

Scarlet macaws are incredible birds, with their bright colours and quirky behaviour making them very photogenic. However, they are often found within the rainforest and this often means in dark conditions, too dark for even the XF50-140mm F2.8 and high ISOs to capture any sort of motion. This problem will sound familiar to many of you in different situations, where OIS is redundant as the problem is subject movement, not camera shake. There is however one way to get around this: add artificial light. It may not be suitable for some situations but with a little bit of time and understanding this can allow for that otherwise impossible shot.

Here is a video showing how I developed my flying macaw photographs.

For me, there are two reasons to add flash to an action situation; we’ll take a look at both of these in a little bit of detail.

You need more light to freeze the subject/scene

In other words you simply can’t get a sharp image without more light. This is the most common reason to switch to flash. Most will start with the popup flash on their cameras and/or then get a dedicated flash and mount it on the hotshoe of the camera. There are photographers who can produce exceptional images using just this simple technique, and if you have a TTL (through the lens metering) flash then this becomes relatively quick and simple as the camera will communicate with the camera how much flash output there should be. Generally this will be fine for most needs, especially if you are short of time and need to take a variety of photos.

If you do have a TTL flash and you haven’t experimented with manual flash outputs before I would highly recommend that you give it a go. This slows you down and makes you think more about what you want to produce – do you simply want the flash to give a little bit of fill light to an otherwise correctly exposed scene? Or would you rather the camera underexposes the scene while the flash exposes correctly, so bringing the focus onto your subject and away from the darker background? These are all fun things to play with.

This all sounds great but flash photography can drive you around the bend if you’re not careful. On current X-Series cameras the maximum flash sync is 1/180sec (except the X100 series because of a leaf shutter allowing 1/1000sec flash sync). Anything more than this will not allow proper flash input. When it comes to action 1/180sec is pretty slow! There is one flash currently available, the Nissin i40, which is different. It offers high-speed sync (HSS), which allows you to use the flash up to 1/4000 sec, this is certainly helpful when adding some fill flash but it does cut the overall output of the flash. The reason for the downgraded power in this mode is because the flash sends out a series of very high speed flashes (instead of one, more powerful flash) that are fast enough to expose the subject within the maximum shutter speeds.

On camera flash — 1/180sec flash sync isn’t enough to freeze background movement when following a fast moving subject. This can be fine as it shows some motion. The illuminated subject should generally be sharp because a flash pulse is so fast. However this can be improved by using second curtain/slow sync that I will talk about soon.

If you want to freeze the subject and aren’t bothered by the background then what you want to do is find an exposure combination that creates a totally black image. For example 1/180sec (max sync), F11, ISO200 – a mix which should require too much light for a lot of scenes, thus leaving your image black/heavily under exposed. The next thing to do is to add the flash that will offer all the light on the subject. If your subject is moving quickly then you’ll want to cut the flash output, this sounds counterintuitive, but as you cut the light output say from 1/1 to ¼ then the flash time is four times faster than maximum 1/1 power. This ensures that the subject is completely frozen.

Stopping the feathers in mid-beat, using ¼ power of the flash ensured it froze the macaw. However, when you do this you’ll often need more than one flash to get enough light to illuminate the subject with the ‘ambient stopping’ settings and the fractional flash power output. — Stopping the feathers in mid-beat using ¼ power of the flash ensured it froze the macaw. However, when you do this you’ll often need more than one flash to get enough light to illuminate the subject with the ‘ambient stopping’ settings and the fractional flash power output.

The scene isn’t dramatic enough so you add artificial light

Sometimes a scene just looks flat and no matter what you do images just don’t ‘pop’. This is where some creative artificial light can make an image. In the rainforest undergrowth this definitely applies, as apart from being really dark, there is generally very little direct sunlight so the light is muted. Some images where I panned with the subject came out ok, partly thanks to the wonderful colours of the birds, but I still felt that it need an extra something. This is where the aforementioned video shows the progression from initial photos to more dynamic, off-camera flash images.

There are countless blogs on creative use of artificial light and I’m not going to pretend that I am a flash master, instead I’m simply going to show the set up I ended up using and why.

First of all I love off-camera flash, it opens up so many more opportunities compared to simple on-camera flash (this is just my opinion and not fact). So I very quickly knew that for the image I had in mind, I needed to use flashes off camera. I experimented from backlighting the birds to using the two flashes one from each side and then from slap bang in front. But the combination that created the image I really wanted involved having both flashes to the right-hand side, where the bird was flying. One flash was in line with where the birds fly over, while the other was slightly around towards me so giving a bit of light onto the side of the face towards the camera. This gave sufficient light onto the face to freeze the detail (especially as the face is lighter than the body) but didn’t cast enough light onto the rest of the bird to freeze more detail so creating motion. Here is a sketch to indicate what I did.

Different Flash Curtains

There are two curtains in a flash exposure. The first curtain reveals the sensor to the light coming through the lens and then the second that closes the sensor to light, completing the exposure. This is important to understand as it can greatly affect how you use flash.

First curtain flash

Where the flash is triggered as the first curtain opens. This is the most common set up, where your main priority is the flash. The go-to set up unless you’re using slightly slow shutter speeds with subjects or moving lights. It captures the exact action that you press the shutter to capture, if you use second curtain/slow sync then you could miss the split-second moment you were hoping to catch.

Second Curtain Flash

As the second curtain is about to come up and finish the exposure the flash fires making it effectively the last light to hit the sensor. This method does send off a flash initially to get a meter reading if used in aperture priority mode (no meter flash in manual mode). I generally avoid this method as it can give weird results (see video).

Look at the weird double freezes, by the metering flash and 2nd sync flash.

Slow Flash Sync

Slow sync is only available in aperture priority/auto-shutter speed modes, generally it is the same as second curtain flash but without the disruptive initial metering flash (note that it can only go down to 1/8sec). This is my favorite option for any kind of action photography and is the method I used for the panning images. The reason why this works best is it lets the ambient light reach the sensor first; correctly exposing the background and THEN the flash is triggered reaching and freezing the subject. This is preferential for panning/slow shutter speeds because it prevents ghosting – where the subject is flashed and but there is time afterwards for some light to reach the subject and any subject movement creates a bit of a psychedelic feel!

Conclusion

There concludes a rough/quick break down of different flash curtain types for the X-Series. To summarise there are a number of ways you can use flash to help your action photography:

Fill flash either up to 1/180sec or higher if using a HSS flash.
Causing a correctly exposed subject with a darkened/underexposed background.
Freezing a subject
Capturing motion with a bit of detail while panning with a moving subject.
Blending ambient light with directional flash light.

I hope that gives you a little bit of inspiration to get out there and try your hand at creative flash photography.

If you’d like to find out more about the Wild Macaw Association project or even donate to keep the project running then please check it out here – http://www.tiskita.com/macaw-conservation/

A little about Ben

Ben is an environmental photojournalist, zoologist and Fujifilm X-Photographer. His passion is showing the beauty and fragility of the natural world. Find more of his work at:

Filed under Be Inspired Photography Tutorials Wildlife

Five wedding photographers who made ‘The Switch’

by Fujifilm EMEA October 7, 2015 Comments13

So you’re thinking about making the switch to a Fujifilm mirrorless system. You’ve read the reviews, watched the videos and listened to people tell you how their experience of shooting weddings has changed since they halved the weight they carry around for 14 hours every Saturday. They might have also mentioned how much time they have saved with post processing due to the quality of Fujifilm’s JPG files. Or how many candid shots they are getting now since they blend in with the other guests.

But you’re still not sure.

Let these five professional wedding photographers tell you about their experience of making the switch.

If they can do it, why can’t you?

Ian Weldon – Ian Weldon Photography

“I had my Canon 5D II in my bag and a 580 EX-II Speedlight, just in case. My head was spinning all day and I must have opened that bag 3 or 4 times and had to force myself to not take the ‘easy way out’.”

“After that day, nearly 4 years ago, I’ve never used anything other than Fuji cameras for my wedding work. Light, inconspicuous and all round pretty cool. What more could a documentary style wedding photographer need?”

“80% of my wedding work is shot with the X-Pro1 and 18mm f2 and the rest, mostly dancing shots, are with the X-T1 and 18mm f2. I do switch to the 35mm f1.4 on occasion for that extra bit of reach and use a Nissin i40 flash with sync chord. That’s it, liberating!”

See more of Ian’s work

Website: http://www.ianweldon.com
Facebook: https://www.facebook.com/Ian-Weldon-Photography-124854627581367/timeline/ & https://www.facebook.com/ian.h.weldon
IG – @ianjweldon
ello – https://ello.co/ianjweldon
tumblr – http://ianweldon.tumblr.com

Paul Richards – Albion Row Photography

“I first used Fuji at a wedding way back with the original X-Pro & 35mm in July 2013, originally using it alongside a DSLR. I loved it, but it wasn’t until 2014 and the purchase of an X-T1 along with the 23mm & 56mm that the system really took over my wedding photography.”

“The Canon 5d3 was rather swiftly retired; there’s a lot that I love about the Fuji system but for me the main eye-opener that changed the way I work is the tilt-screen. I shoot weddings in a documentary fashion and the tilt-screen has become a firm favourite of mine. I love being able to move among guests in tight receptions with a wide-angle prime and the ability to shoot with the back screen as a waist level viewfinder. I get so many shots without people noticing I am there and without the intimidation of a camera raised to the eye. I can get closer and make shots with a feeling of intimacy and of being there – with a guest’s eye perspective.”

“For a wedding photojournalist I think the combination of image quality, ease of use, discretion and weight (or lack of!) that the Fuji system offers is outstanding. Nowadays I shoot with 3 X-T1 bodies and mostly the 16mm f1.4, the 35mm f1.4 and the 90mm f2 lenses and I am immensely happy with the system as a whole.”

See more of Paul’s work

Website: http://www.albionrow.com
Facebook: https://www.facebook.com/weddingphotocornwall
Paul has also written a couple of blog posts about his switch that you can find here and here.

Lord Parker – Lord Parker Photography

“I switched from Nikon to Fuji in the latter half of 2014, after Damien Lovegrove advised me this was the future. I’m a disabled Photographer, so the weight of the DSLR has always been a problem by causing me to be more unbalanced.”

“When I switched to the Fuji X-T1 I was astonished by the weight of the camera and the images that were coming out of it, in my opinion superior straight out of the camera compared with the Nikon. The Fuji X-System has really helped me with my disability, no more arm aches and back ache”

“I shoot all my weddings using nothing more than the Fuji X-T1 and the X-Pro 1 with the 27mm, 18mm and the 16-55mm lenses. I don’t use flash, unless I’m getting creative after the wedding with a Cactus for some off camera flash work, I find that the ambient light, a low F-Stop and an ISO of 6400 is easily manageable.”

See more of Lord Parker’s work

Website: http://lord-parker.co.uk

Steve and Samantha Vaughan – SSV Photography

“We are documentary style wedding photographers, based in Bicester, Oxfordshire. Our style is to photograph the whole day, from preparation to well past the first dance. We starting using Fuijfilm X-series equipment a couple of years ago, to lighten the load on a long wedding shoot, but to also make us less obvious during the day.”

“With our DSLR gear, we found guests would pose and point at us. Using our 2 X-T1’s and X100T we are able to mingle with the guests and take natural, relaxed images. It is truly liberating to shoot a whole wedding with just a small shoulder bag, two bodies and 4 lenses.”

“The image quality from our X equipment is fantastic, as are the lenses. We are totally committed to Fujifilm equipment now.”

See more of Steve and Samantha’s work

Website: http://www.ssvphotography.co.uk
Twitter: https://twitter.com/SSVPhotography
Facebook: www.facebook.com/BicesterPhotos
Instagram: https://instagram.com/stevevaughanssv/

Mike Riley – Michael Riley Photography

“I’ve been a commercial photographer for a while now but have recently decided to start offering a documentary style wedding coverage. I’ve thought about it before but I’ve always resisted as I’ve never liked the wedding pictures I’ve seen in the past – all grip and grin, faked smiles and endless group shots which don’t tell you anything other than what people wore on the day.”

“As a contrast to the highly technical staged commercial studio work I do I want to tell stories. To tell stories I have to be in the middle of the action or at least very close to it and so when picking kit to do this with I settled on the Fuji X system.”

“I already had an X-Pro1 for personal use and the quality was fantastic – so good in fact that its sometimes hard to match the jpg quality with a RAW edit. The X-T1 I’ve added to the kit bag now is even better as it its a more responsive in use and is completely silent with the electronic shutter allowing me to be stood right next to the registrar or vicar and shooting without them knowing about it.”

“I can be right in the middle of the action capturing the story of the day without people stopping and gurning at the lens. Because of the small size of the kit I can move fast and easily and not worry about a massive lump of glass and metal swinging around as I move. I’ve shot one wedding this way so far and look forward to many more.”

See more of Mike’s work
Website: http://www.michaelrileyphotography.com
Facebook: https://www.facebook.com/mikerileyphotography
Twitter: https://twitter.com/MRileyPhoto
Instagram: https://instagram.com/michaelrileyphotography/

Filed under Be Inspired Photography Reportage Wedding

Which focus mode should I use with my X-series camera?

by Fujifilm EMEA October 5, 2015 Comments10

Most people know what it means to focus with your camera lens. To do this, you adjust the distance of the lens (or an element inside the lens) from the sensor. There are two ways you can focus your camera – automatically (Autofocus or AF) or manually (MF).

As you probably already know, autofocus is there to do the hard work for you, and in most shooting situations this is all you will need to take great in-focus photographs. What you might not know is that there are different types of autofocus for different situations; this is what we hope to give you a better understanding of here.

Focus modes

The focus modes are generally set using a dial on the front of your camera. On some cameras this control is a switch on the side of the camera.

Single Autofocus (AF-S)

With single autofocus, once you half press the shutter button, the camera will focus on the closest object within the focus area (which we come onto shortly) on the screen. You can then take a picture knowing that the subject is in focus. This can be a very useful setting for portraiture, still-life, macro work and landscape photography.

Continuous Autofocus (AF-C)

When using continuous autofocus, half pressing the shutter button will focus on the closest object in the focus area, and then while you hold the shutter half pressed, will continue to refocus on that point. This mode can be very useful for sports, action, children & pets who are moving and wildlife photography – a great choice for moving subjects.

Manual Focus (MF)

As useful as the autofocus modes are, there are many situations where using manual focus could be the better option. Don’t worry, we’ll go into the manual focus mode in a bit more detail later on.

AF modes

The “Focus mode” lets you choose how often the lens will focus while the shutter button is held half-pressed, while the “AF mode” determines where in the frame the camera will focus.

Most of our Fujifilm X-series cameras offer 49 focus points. From this you can select a single AF point, a group of points, or even make all of them active. Let’s look at the different options available:

AF mode: Single Point

When combined with the AF-S focus mode, this delivers highly accurate autofocus on a specific area. You can choose one of the 49 available focus points and also change the size of the focus point to suit your subject. This is your “go to” focus configuration.

When combined with AF-C focus mode, this tracks a subject with a fixed direction of movement, e.g. moving straight towards the camera. Again you can choose which of the 49-point focus areas to lock onto and also change the size, however this time when you half press & hold the shutter button you activate the continuous tracking on that area. Fully press the shutter button when you want to take the shot.

AF mode: Zone

This setting is effective for a subject with moderate movement which the Single Point mode may have difficulty capturing. You start by choosing a 3×3, 5×3 or 5×5 block of AF area points and then position them where you want them in the frame. We recommend you choose the phase detection AF areas for faster autofocus speeds – these appear in a different colour and make up the middle 5 x 3 points.

When combined with AF-C mode, the camera will continue to refresh the autofocus while the shutter is half pressed and this is how we recommend you use this mode. This way you can “lock” onto your subject once it enters your chosen block size by half pressing and holding the shutter button, the camera will then continue to re-focus as you follow the subject with your camera.

If you use the Zone AF mode with AF-S, the camera will simply lock onto the closest object within your block of focus points once and then stay focused at the same point. If the object then moves it is possible your image will not be in focus.

AF mode: Wide/Tracking

This mode is perfect for capturing a subject that moves unpredictably up/down, left/right and closer/further from the camera, where you do not wish to move your camera around to “chase” the subject.

Decide the composition and layout of your shot first and then move the AF point to the point where you want to start tracking the object from. When combined with AF-C, half press the shutter button while your subject is within the AF point and the camera will lock onto the subject and follow it wherever it moves within the whole frame while the button remains held. Fully press the shutter button to take the shot.

Note: The Zone and Wide/Tracking modes are only available on the X-T10 and X-T1 (firmware 4 and above) cameras.

More about Manual Focus

Here are some examples of how and when MF might be used:

When the light is dim. The autofocus sensor in your digital camera needs light and contrast to perform properly. When you’re shooting in low-light, AF may not be able to see subtle, indistinct details, so it will have a hard time locking onto a specific area of your subject.

When you’re shooting fast action. With manual focus, you can set up your camera to capture a certain area. Then when your subject comes into the frame, you can shoot continuously to get the best exposure. This is ideal for shooting at races and can even be used for street photography.

When AF gets confused. Sometimes you are shooting something that has another object in front of it, like a fence or a branch. AF will try to focus on the closer object. This may also occur when another moving object moves into the frame. So, if you’re shooting animals in the wild or active children, manual focus often makes more sense.

For full maximum control. Some photographers actually prefer to use manual focus on a regular basis as it gives them more creative control. With advanced functions like focus peaking, techniques such as focus stacking and panning shots, MF allows the photographer complete control.

Filed under Tutorials

London Fashion Week with the Fujifilm X100T

by Guest Blogger October 2, 2015 Comments6

By Sinbad Phgura

The guys at Fujifilm asked me to put something together for fashion week, in the past I have shot for a few different designers & the principal sponsor of the event when it was held at the Natural History Museam & the opulent ‘Somerset House’.

This year it all moved into the heart of the West End, where the streets are the real stage!

“Fashion may come and go, But Soho’s always got Style”

Learn more

All of these images were shot on the Fujifilm X100T

See more of Sinbad’s work

http://www.sinbadphgura.com
http://www.facebook.com/sinbadphguraphotography
http://www.instagram.com/sinbadphgura

Tweets by sinbadphgura

Filed under Be Inspired Photography Reportage Street

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