Year: 2016

Announcement: New X-Pro2 Firmware Update – Version 2.00

by Fujifilm EMEA October 6, 2016 Comments1

Fujifilm Corporation (President: Kenji Sukeno) is pleased to announce that a free firmware update (Ver. 2.00) for the FUJIFILM X-Pro2 is now available to download. With the added performance provided by this firmware update, the FUJIFILM X-Pro2 rangefinder-style mirrorless digital camera will stand alongside the new FUJIFILM X-T2 D-SLR-style mirrorless digital camera as one of the “double flagship” X Series cameras.

Key X-Pro2 firmware version 2.00 features:

1. The new autofocus algorithm* that is implemented on the FUJIFILM X-T2 will also be implemented on the FUJIFILM X-Pro2. As a result, more accurate autofocus is now possible, and the AF tracking in AF-C mode will be improved. The number of focus point will be increased from 77 to 91 points (13×7) and from 273 to 325 points (25×13) to improve framing.
* Excludes the new AF-C Custom Settings functions.

2. Compatibility with the new hot-shoe mount flash EF-X500 will enable wireless multi-flash lighting with TTL control up to three groups and high-speed flash sync.

3. AUTO POWER OFF will now have 15 sec, 30 sec, and 1 min. options. AUTO POWER SAVE function, which was previously only available in ECONOMY mode, is now available as an option in HIGH PERFORMANCE and STANDARD modes to allow users to minimize battery power consumption.

4. AF point position interlocked with parallax will be displayed to provide a more accurate and easier-to-use Optical Viewfinder even when Corrected AF frame function is set to OFF.

More improvements

In our constant endeavor to improve user’s enjoyment of Fujifilm products, the firmware version 2.00 update will provide a total of twenty improvements to the X-Pro2. For a list of all improvements, please visit the link here.

Filed under Blog

Innovation in display of images: From medical diagnostics to color management

by Fujifilm EMEA October 5, 2016 Comments0

Fujifilm’s skill with images extends to 3D medical diagnostic imaging and to color management. SYNAPSE 3D is an image analysis system that helps physicians detect anomalies earlier and make diagnoses faster. It uses Fujifilm’s Image Intelligence technology to enhance the information value of images. On the color management side, the IS-100 and IS-mini perform color adjustments for motion pictures and videos, from shoot to mastering, with a single, consistent system.
Read more.

Filed under Spotlight

The primes of my life

by Roger Payne October 5, 2016 Comments4

Do you know which prime lenses you use more than any others? I do.

Things you and I already know about the Fujinon XF lens range:

1) They’re as sharply designed and as beautifully well made as the cameras they attach to.

2) They can, without exception, deliver outstanding results.

3) There’s already a superb line-up and it’s only going to get better.

But there was something that I didn’t know about my own use of XF lenses and felt that I really should; which lenses did I use for what subject and, perhaps more importantly, why. In order to find out, I decided to apply a small amount of science to this with the aid of Lightroom.

If you select Lightroom’s Library module, you can quickly see which lenses you’ve used and how many shots you’ve taken with them by selecting the Metadata option in the Library Filter bar. Once this option is selected, you can use the individual drop down menus below this bar to further refine your search. I did this and quickly discovered that I’d shot with a wide variety of XF lenses, but some definitely got more use than others. What follows here are my top five prime lens choices, in focal length order, what I use them for and why I love them. It’s worth pointing out before we get started, of course, that my suggestions may or may not be up your street. You can use the XF16mm for portraits just as much as you can use the XF90mm for landscapes, so be sure to experiment!

1) XF23mmF1.4 R

This is a firm favourite for plenty of X Series users, but based on my Lightroom-based search my primary usage seems to be in two main areas: landscapes and travel. Both of these are pretty obvious, I guess. The lens offers a modest, distortion-free wide-angle view that suits a whole range of subjects and flicking through my images it’s easy to see the appeal – the XF23mm is spectacularly sharp, right from F1.4. Delving a little deeper into the metadata, I discovered that I rarely used the lens at its minimum aperture, favouring the wide apertures more, except when I was striving for plenty of depth-of-field. I expect the new XF23mmF2 to get similar levels of usage once I get my hands on one (hint, hint…)

Find out more about the XF23mm lens here.

2) XF27mmF2.8

Given my regular use of the XF23mm, I was surprised to see that I also gave the XF27mm plenty of outings, too. Looking at the resulting shots, though, it was evident that I shot very different subjects with this more compact lens. It’s definitely the one I pick when I head into a city or town to shoot street images, or just want a lens that I can pop on a camera body and head out. There were an inordinate number of pictures taken with the XF27mm when I was out walking my dog (see the shot at the top of this post) and it was interesting to see that my use of the XF27mm had greatly increased when I was testing the X-Pro2. This duo make a killer combination in both portability and image quality.

Find out more about the XF27mm lens here.

3) XF56mmF1.2 R

The 35mm focal length lenses barely registered on my Lightroom search, so the next in my top five was this beauty in its non-APD form. Compared to the XF23mm and XF27mm, this is a real lump of a lens, but in a good way. It’s supremely well made and the optical quality is truly exceptional – if you’ve ever used one, you’ll know exactly what I mean. My use of it, however, was a little more surprising. Sure, there were a few portraits in the selection, but the majority of my shots were taken with the lens at its widest aperture (or thereabouts) to make the most of the tremendous bokeh effects it offers. Less than 10% of the shots were taken at an aperture of F4 or smaller.

Find out more about the XF56mm lens here.

4) XF60mmF2.4 R Macro

Another surprise, given its proximity in focal length terms to the XF56mm but, as with my 23mm/27mm lens scenario, the XF60mm gets used for a different set of images. In fact, I’ve shot a great deal with this lens, probably because it remains one of the sharpest in the XF line-up, despite being one of the first introduced with the X-Pro1 back in 2012. Weddings, portraits, still life images, close ups and product shots have all been shot with the Macro, and on a variety of X Series bodies, too. I even took some street images with it, but I guess it’s because I left the XF27mm at home that day…

Find out more about the XF60mm lens here.

5) XF90mmF2 R LM WR

A late entry into my list of top five primes largely because I’ve been shooting with it so much of late. This is an absolutely stunning lens that has a look all of its own and delivers outstanding image quality. I used it for a lot of shots in my Fun in the Sun blog from a couple of months ago and since then it has stayed pretty much permanently on a Fujifilm X-E2S body. Yes, it’s great for portraits, but I also found that I shot lots of close-ups and detail images with this lens, making the most of its fast focusing and high quality optics.

Find out more about the XF90mm lens here.

So, which one have I used the most?

This surprised me. Based on this Lightroom search, my undisputed king of prime lenses is the XF60mmF2.4 R Macro which beats the second most used lens (the XF23mmF1.4 R) by almost two to one. I’ve always loved the 60mm, but I never realised that I used it quite as much as I evidently do. It may not be the fastest focusing lens in the XF line-up, but it’s an optical gem which must be the reason why I keep on going back to it. Right, I’m off to do the same experiment for zooms…

Filed under Be Inspired Photography

A Day in Cuba with the X-Pro2

by Fujifilm X Series US October 3, 2016 Comments9

By Daniel Malikyar

I’m often asked, “How excited are you for your next trip?” The truth is, the anticipation for adventure never really kicks in until the abrupt lift off from the airport runway – signifying the beginning of a new chapter on my photographic journey.

After a 4-day long tour traveling with musical artist Marshmello through several states, we ended our final show at 3:30 AM in Las Vegas on a Sunday night. Immediately following the show I rushed up to my room to grab my bags and headed straight for the airport. After a 5:00 AM flight, I arrived at LAX where I met my cousin Haroon and childhood friend, Joon. Despite running on no sleep, we made our way to our connecting flight. A short layover and a several hour flight later, we arrived in Cuba.From the moment we exited the airport doors of Jose Marti International, taxi drivers lined the terminal swiftly coaxing the array of people to follow them to their cars. Being able to speak Spanish has proven valuable on many occasions, and helped us find a fair deal for such a late time of the night. The 30-minute drive from the airport to our apartment in the city of Vedado felt like Havana’s version of Tokyo Drift, lead by an aggressive local cab driver in his beat up old school car. Weaving through pedestrians, alleyways, and several animals we made it to our apartment in one piece. Upon arrival the driver insisted the price was higher than he had agreed upon, introducing us to our first taste of the local Cuban hustlers. After relentless persistence from the driver, we settled for a new deal and made it up to our apartment to call it a night. As I went to bed, I couldn’t wait to explore the city of old Havana, Habana Vieja, in the morning.Before I visit a new destination, I always do my research to ensure that I’m well prepared, know what to expect, and plan out locations to shoot. After taking our first cab ride in an old school car, or coche viejo, to Habana Vieja, I quickly learned that Cuba is by far the most unique country I’ve ever visited. The shock factor of wandering the post-apocalyptic streets of Habana Vieja made it nearly impossible to comprehend what I was seeing. The streets were lined with colorful decaying buildings guarded by locals who spend much of their day on their front porch observing their surroundings. From stray dogs to barefoot kids running through alleyways playing soccer to the cigar-selling hustlers on every street corner, the ambiance of the city was something you have to physically experience to believe.The most exciting aspect of this trip was the addition of my Fujifilm X-Pro2 to my X Series arsenal. After my first day with the camera, I immediately fell in love with the system. My favorite aspect of the X-Pro2 is the aesthetic of the body. The sleek, classic design avoided the intimidation of the locals when I kindly would ask for their portrait or to enter their residence. Whether the body was accompanied by the compact FUJINON XF10-24mmF4 R OIS, XF35mmF1.4 R, or the XF55-200mmF3.5-4.8 R LM OIS, the camera always stunned the locals when they asked to see the images.While I did encounter a couple strict denials from potential subjects, the sketchiest moment of the trip took place when I noticed a very interesting opportunity for a photograph of a mother and her infant son. When I approached what appeared to be their home, I realized it was the gateway to an entire storage lot of bike taxis. Slowly making my way forward, I called for the attention of the mother to softly introduce myself and ask for permission to take a photo. As she shook her head no, a dog that looked like a hyena out of The Lion King on steroids emerged from the darkness and bolted towards me, snarling and foaming from the mouth. I took off, and after a few blocks I made my way back to meet with my friends, avoiding whatever plans the mutant dog had for me.As the day continued, we explored just about every neighborhood we hadn’t seen in the area. Thanks to my cousin’s strong sense of direction, we continuously encountered new people, hole-in-the-wall restaurants, and a wide variety of subjects throughout the day. From the reflective puddles, to the daily life of the Cubanos, to the hissing hustlers of the streets, there were endless moments to photograph. We ended the day off along the seaside Malecón street for sunset. The array of classic cars, ocean views, and fisherman lining the Malecón made it one of my favorite spots in all of Havana. I was able to document the experience in all of its glory with the help of my X-Pro2 and FUJINON XF10-24mmF4 R OIS lens. After a very eventful first day in Havana, I could not wait to experience what the city would have to offer throughout the rest of the week.

Filed under Be Inspired Travel X-Photographer

Racing at walking pace

by Fujifilm EMEA October 1, 2016 Comments0

As well as shooting trackside and pitlane action, FIA World Endurance Championship (WEC) and European Le Mans Series (ELMS) official photo agency Adrenal Media are always looking to provide some very special images from each of the events.

Creative Director and Fujifilm X-Photographer John Rourke invited German race team Proton Competition to bring both of their Porsche 911 RSR 991 race cars to La Source at the recent ELMS weekend at Spa-Francorchamps in Belgium to photograph their car using a rig and a Fujifilm X-T2 to capture a shot of the two race cars from an unique vantage point.

The rig is a 6 metre carbon fibre four section boom made by UK firm Car Camera Rig that is fixed to the car using high powered suction clamps.

The camera, which is a FUJIFILM X-T2 fitted with the XF10-24mm ultra-wide angle zoom lens, is then fixed in position to the end of the boom. To achieve the correct exposure the camera is fitted with a Formatt Hitech filter system, in this case a Polariser and an ND Grad and then an ND filter to extend the shutter speed to around 10 seconds. This allows Adrenal Media to take images from a position that would not be possible to take when the cars are on track racing.

Using a long shutter speed of between 8 to 10 seconds the movement in the shot is achieved at walking pace by team members pushing the cars and the result is an image that makes it look like both Porsches are moving at racing speed.

“We started asking teams to provide us their cars back in May for these special images but this shot with Proton Competition is the first we’ve done with two cars from the same team,” said John Rourke. “The reason we use the rig is to take images of the cars from a vantage point that would be impossible to do in the real world.”

“Each shot takes around 20-30 minutes to complete once the rig is attached to the car,” John continued. “The rig itself is lightweight thanks to the carbon fibre construction so it doesn’t take long to put in position, the biggest issue we have is finding a place to attach the suction clamps to the bodywork of the car. Some cars are wrapped, so the suction clamps don’t have a perfect seal, so we usually do a pre-shoot recce with the team to ensure there are mounting points where the rig can be securely attached to the bodywork of the car.”

“The X-T2 is the perfect camera for this type of shot. The 24mp X-Trans III sensor gives us high resolution images to work with and the tilt screen is a real help when the camera is attached upside down to the end of the boom.”

“The biggest challenge with shooting with two cars was keeping both Porsches moving at the same speed and we did the shot a few times to make sure we had one that we were all happy with.”

Once an image is selected, it is then edited by John to remove the boom and other elements that shouldn’t be in the final shot. The result is a dramatic image that highlights the excitement of racing in the European Le Mans Series.

Fellow X-Photographer Jeff Carter was on hand with his Fujifilm X-T2 to capture some behind the scenes images of this photoshoot.

The next planned rig shot will be with the Toyota Gazoo Racing Toyota TS050 Hybrid LMP1 at Fuji Speedway when the FIA World Endurance Championship visits Japan on 14-16 October.

www.adrenalmedia.com

www.macleanphotographic.co.uk

www.europeanlemanseries.com

www.fiawec.com

Filed under Be Inspired Photography Sport X-Photographer

5 Tips for Sharper Images

by Leigh Diprose September 30, 2016 Comments2

You set up your shot, with its lighting and composition just as you want. But when you see your image, you find it is ruined by blur or debris. The lack of clarity in your picture may be caused by many things, such as a moving camera, incorrect focal range or dirty lens. Though difficult to detect as you shoot, these complications diminish your picture clarity.

Do not settle for little mistakes that defile your shots. Follow these five tips to make your images sharper.

(“It doesn’t get better than this” by @greyugly via tumblr, Fujifilm X-T1)

Get an extra leg (or three) of support.

Monopods and tripods are useful for all photographers, novice and expert alike. Invest in a sturdy tripod or monopod that you are comfortable maneuvering. In low-light situations especially, pull out your tripod. Its three legs are more solid than your two for steadiness when you’re also dealing with slow shutter speeds.

Even the best tripods aren’t perfect, though. Weigh down your tripod as needed and use your body to block any wind that might tip it.

(“Belmore Falls” by Brian Mann (@bmannphoto), Fujifilm X-T1)

Hold your camera with a sturdy posture.

Most blur is caused by mid-shot camera movement, however slight. If you are not using a tripod or monopod, at least use the best posture possible. Keep your camera in both hands and close to your body, with your elbows locked. When possible, support your balance with an external surface, such as a wall or tree.

Use a mirrorless camera or a lock-up setting.

Even when you do your part to maintain steadiness, your camera’s mechanics can foil the shot. Many DSLRs rely on mirrors, which swing as they send visuals from the lens to the viewfinder. Movement from that swing, known as “mirror slap,” can lessen image sharpness.

To avoid mirror slap, work with a mirrorless camera, such as any in the Fujifilm X Series, or select your camera’s lock-up mode, which swings the mirror into place well before you activate the shutter.

Set your aperture and ISO right for the moment.

Most lenses have an aperture that produces the sharpest images. If you set your aperture to either extreme of your lens range, you may have softness because of light diffraction. Whatever your lens, test it at various apertures to gauge its top performance. For a traditional lens, the ideal setting is likely in the middle of its range. For a wide-angle angle lens, it may be a small aperture (or large f number), because the lens is designed to capture a big focal range.

(It is definitely not an eyebrow-raising lens and will not attract a lot of attention, making it that much easier to grab a shot unnoticed.- Sven Schroeter (@bokehmonster)

Maintain a tidy camera lens.

Every so often, pause from shooting and clean your camera lens of dust and debris. Even material too small to detect with your plain eye can diminish a few pixels of your image. Clean the lens thoroughly, because smudges may warp the light in your shots.

With your camera steady and tidy, and with your lens working from its best range, you can take sharper images consistently.

Filed under Tutorials

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