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.
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.
I also managed to do a small studio shoot with a couple of young fashion models, Hazel Fuller and Nathan Taylor.
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.
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.
Photokina 2016 kicked off with something rather special. We held a press conference to tell the world about a little project we’ve been working on for a few years now.
The world’s press gathered in the Koelnmesse in Cologne, Germany in eager anticipation to see what we were planning to bring to the world of photography.
Toru Takahashi, Senior Vice President of Fujifilm Corporation, was welcomed to the stage to talk about our long history of launching amazing products at Photokina.
Although Photokina started in 1950, Fujifilm’s first appearance was in 1966 and has attended the show, which runs every two years, for every show since.
1968 saw us launch the FUJICA 690 medium format rangefinder.
1978 was the launch of the “FUJINON W Series” of large format lenses.
1988 saw the world’s first digital camera, the DS-1P.
2010 saw the announcement of the X100 – the launch that combined our analogue legacy expertise with our digital future.
We hope that 2016 will be another historical landmark in our Photokina announcement history, as this was the year that we announced our new format – GFX – which will be available from early 2017.
The FUJIFILM X Series is focused on the perfect balance of size, mobility and image quality and has brought back the joy of photography to many people.
GFX, with its large sized sensor, will provide the ultimate image quality, whilst also inheriting a lot of “X DNA”.
These two systems will complement each other perfectly. They are the two answers from Fujifilm for this era of photographic creativity.
Once the video finished playing, Toshi Iida, General Manager for Sales & Marketing was welcomed up onto the stage to explain more about this new camera format.
“G Format” – the name comes from Fujifilm’s heritage of Medium Format cameras – the G690, GS645, GX680 etc…
The sensor that will be in the first G Format camera will be a huge 43.8 x 32.9mm in size. It’s 1.7x bigger than a standard 35mm sensor and the first generation sensor will record 51.4 million pixels. This means that if you compare it to a 35mm sensor of the same pixel count, each pixel is 70% larger which allows them to capture a larger amount of light.
Toshi went on to explain that the sensor is completely brand new. It has been designed and customised for the G Format. It has specially shaped micro lenses that will collect light very effectively and the silicon process has also been optimised to maximise resolution and widen dynamic range.
This new sensor will sit behind a newly designed mount called the “G Mount”. This mount will have a 4mm thick plate to ensure it is strong and stiff, and will be equipped with a 12-pin terminal to supply power to support the AF speed.
There is no mirror in the G Format system. One reason for this is mirror shock which affects image quality. Additionally, the mirror constrains lens design. The typical flange-back distance on a Medium Format SLR is about 70mm. This will be approximately 26.7mm which will give us more flexibility to design high quality, small lenses.
The back focus can be as short as 10mm so there is less drop-off on the light’s final part of the journey onto the sensor’s surface.
Toshi then spoke about the shutter. The mount is equipped with a focal plane shutter so the maximum shutter speed will be 1/4000th to allow capture of fast moving subjects or shooting in bright scenes with wide aperture settings.
Moving onto lenses, Toshi introduced our new range – “GF Lenses”. This large sensor is going to need high quality lenses as without excellent glass, there is no point having such a large sensor.
The lenses should last many decades after launch. To ensure they are future proof they have been designed to confidently operate with sensors of up to 100 megapixels in the future.
We set ourselves new standards that the lenses must meet. Normally, MTF of 35mm lenses is measured at 30 and 10 lines per mm. When converted to 33×44 sensor, this would be the equivalent of measuring at 20 and 7 lines per mm. However, the MTF of GF Lenses will be measured at 40 and 20 lines per mm. All GF Lenses will have to exceed this standard.
All lenses will be designed to be sharp regardless of the aperture setting and thanks to a large sized sensor, the image will hardly be affected by diffraction at all..
Our philosophy for lens design has always been to minimise correction of signal processing. Our XF Lenses for X Series are a good example. This philosophy will be applied to the GF Lenses.
The system will ideally be launched with the following lenses available:
GF63mm F2.8 Prime Standard
GF32-64mm F4 Zoom Standard
GF120mm F4 Macro
And the following lenses will hopefully be available before the end of 2017:
G – Fujifilm’s Medium Format heritage
F – Film-look image quality
X – Design and operability of X Series
The first GFX camera body will be the GFX 50S. With the weight of around 800g, it’s incredibly small and light compared to existing Medium Format cameras and even lighter and smaller than most 35mm DSLR cameras. With it’s tilting LCD you will be able to shoot at waist level.
You can attach the Electronic Viewfinder that is included with the camera to shoot in an SLR style.
You can even add a tilting adaptor between the EVF and the camera and can shoot in any angle with your eye on the viewfinder which helps with low-angle shooting.
To allow you to precisely control focusing you can also use an optional external screen.
Toshi finished his presentation by saying that GFX is here to re-invent Medium Format.
“We will look back on Photokina 2016 in the future and I believe we will say it was a game changing event.” – Toshi Iida, General Manager for Sales & Marketing
Photokina 2016 is on until 25th September 2016 and the GFX camera and GF lenses can be seen behind a glass show case on our booth in Hall 4.2.
What better way to celebrate 5 years of Fujifilm X series than by hosting our own event at our head office in Tokyo?! I was lucky enough to be here so I’m sharing the experience with you.
The event started at 13:30 local time, while most (but not all) of you were probably tucked up fast asleep. We had a countdown that had been running on our X-Pro1 website for the last ten days.
At 13:30 sharp [3m 9s], Fujifilm President Shigehiro Nakajima gave an introduction speech about how our company has evolved in recent years. Film sales peaked in the year 2000 and since then has quickly declined. We took our core competencies and technologies and the diversified our business to ensure survival of the company. At the heart of our company is, and always will be, photography. This is why the X series is so important to us.
Afterwards, the top man in the whole Optical Division, Mr Takahashi, [13m 21s] took to the stage to explain in more detail about the last 5 years of X series. He explained the key benefits of using our APS-C system, including image quality, operability, and portability. He thanked all of the Fujifilm X users across the world, with a special nod to the Official X-Photographers, for not only using our products, but for helping us design future products. It has been the constant feedback that has enabled us to make these products we all love so much.
Toshi explained and demonstrated the advantages of the Hybrid Viewfinder. We all know that an EVF is great because it shows you the image you are going to get, including your exposure settings and any other Film Simulation or White Balance options you have changed. But in a world where EVF refresh rates and LCD resolution seem to make Optical Viewfinders redundant, why on earth would an OVF be required anymore? Toshi explained how having a Rangefinder style OVF allows you to see what is going on outside the frame. This is something that cannot be done on a D-SLR, nor by using an EVF.
Also, two ‘problems’ still exist with using an OVF: “Parallax”, where the angle of the Viewfinder is slightly different from that of the lens making it hard to know precisely where the edge of the frame will be, and Manual Focus is virtually impossible because changing the focus ring doesn’t affect the OVF on a rangefinder. The X-Pro2 has overcome both of these problems by displaying a small LCD panel in the bottom of the frame. This can be used to either show the entire frame in a miniature form, or it can be used to zoom in to the focus point to allow manual focus while in OVF mode.
The X-Pro2 contains the new X-Trans CMOS III – the third generation sensor, which at 24-megapixels, has 50% more resolution that our current. It contains technology that allows faster transfer allowing lower noise at higher ISO.
80 years of film development gives us the expertise to recreate skin tones and other colours with exceptional realism. Toshi also talked about the new Acros film simulation monochrome mode that features smoother gradation, deep blacks and beautiful textures
Next up, Toshi invited Magnum and National Geographic photographer David Alan Harvey onto the stage to talk about how he has found the X-Pro2 since using a prototype for the last few months. Here is the short movie that was played just before he joined Toshi on stage
David’s approach to photography is nothing short of inspiring. David likes simplicity. He wants his camera to be as simple to use as possible, while achieving the quality he needs to do his work. He used the camera in full-auto mode most of the time, wanting to spend more time worrying about the content of the image than what shutter speed to use. This attitude towards photography is exactly what we are trying to get to when we made this camera. We want people to enjoy photography and in order to do this you need to not think about the camera, and instead think about your art.
Next up, Toshi introduced the new X-E2S camera. It’s basically a rangefinder brother for the X-T10. All of the technical features that made the DSLR-style X-T10 a more attractive camera have been matched, leaving the user to choose between the style of camera rather than the specifications.
If you want to be able to shoot with your right eye leaving your face fully exposed to engage with your subject, or you want the classic retro look of a rangefinder of days passed, the X-E2S will be for you. If you prefer the more modern look of a D-SLR, plus the advantage of having a tilting screen for shooting high or low angles more comfortably, the X-T10 will probably be your preference.
Either way, you now get to choose your camera based on who you are, rather than which one was better on paper. Current X-E2 users can also rejoice in the fact that the software enhancements in the X-E2S will be coming to the X-E2 via a FREE firmware update in the very near future.
Jeff has been a professional photographer for many years and he switched to Fujifilm on a recommendation of a peer. His chosen subjects to shoot vary massively from shooting at The 24 Hours of Le Mans race, to shooting landscapes near his home in Scotland. He’s been fully converted to the X system since 2014 and has most of the lenses in our lineup and finds a use for all of them. They went through a number of Jeff’s shots and discussed the lens lineup and direction and also his reasons for making his final switch and going full-Fujifilm X.
Toshi ended his interview with Jeff by talking about a product meeting Jeff had attended a few months ago. (You may or may not know that Fujifilm REALLY listen to their users for product feedback). He asked him if he remembered a particular request that Jeff had. This particular request was for a flashgun that could fire continuously and would also be weatherproof to suit his X-T1. Jeff confirmed that he remembered the request, to which Toshi then presented the next product…
The only product not due to be released in February is the EF-X500 flash. Similar to our lens roadmap updates, we wanted our users to know that we listen to their feedback and we are working on a hotshoe mount flashgun to compliment the X series.
It’ll have a low-profile design that is perfectly suited to X-Series cameras, and will support high-speed sync up to 1/8000 sec. (the same speed as the shutter in the new X-Pro2). It will also be weather and dust resistant, just like the X-T1 and X-Pro2 cameras.
The final product that was presented was the X70,. This camera is essentially an X100T + WCL-X100, in a tiny body. It doesn’t have a viewfinder, which is the reason it can afford to be so small, but it does have a tilting LCD screen to compose your shot with.
The same sensor as the X100T, the same processor as the X100T and an amazingly high-quality lens made by Fujinon (like the X100T). Now you can have a camera in your pocket at all times that won’t sacrifice image quality at all. Coupled with a 180° tilting LCD that’s pretty handy for selfies, the X70 really is the ultimate travel camera for someone that really needs to travel light but wants great results still.
So here’s some exciting news, the official X-Photographers website has been updated!
Six of our UK X-Photographer’s have seen further images added to their current galleries to bring even more beauty to the site. So relax, grab a cuppa and take a moment to discover some stunning new works of art within the Fuji realms.
Damien Lovegrove left his role as a cameraman and lighting director at the BBC back in 1998 after 14 successful years to create the renowned Lovegrove Weddings partnership with his wife Julie. Together they shot over 400 top weddings for discerning clients worldwide. In 2008 Damien turned his hand to shooting beauty and portraiture and has since amassed a dedicated following for his distinctive art. Damien now divides his time between teaching the next generation of photographers and photographing personal projects. His book Chloe-Jasmine Whichello is highly regarded as a portrait style guide and his website galleries have over 2000 images to browse through among the 30 categories.
Described as a living legend, Damien is on a roll with the best of his work yet to come.
David Cleland is a landscape and reportage photographer based in Belfast, Northern Ireland.
He is best known for his landscape and documentary photography which has featured in a number of photographic exhibitions. His solo exhibition, an exploration of the decay of a 400-year evacuated mill received critical acclaim. David also teaches film and animation applying the rules of still photography to the art of moving image.
David’s work has been accepted by Getty Images and been published in a number of national publications and used in numerous book covers.
David has written for a number of publications on the importance of photography in education and also produced tutorials and papers on a range of photography techniques.
MacLean Photographic was founded in 1996 and takes its name from owner Jeff Carter’s full name – Jeffrey Stuart MacLean Carter.
With over 20 years experience in several fields, including commercial, sport, landscape, travel and photo-journalism, Jeff Carter 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 East Lothian.
Kevin is pure documentary wedding photographer. He started shooting weddings professionally in 2008 and since then has photographed weddings right across the UK and Europe. Shooting in a documentary style he strives to tell the story of the wedding through photojournalism, rather than “traditional” contrived wedding photography.
Kerry is an award winning fine art equestrian photographer, shooting commissions across the UK and worldwide. Her work has also been published in a number of UK and international magazines, websites and blogs. Kerry was also the first female UK photographer to be named as a Fuji X-Photographer, joining a group of brand ambassadors worldwide.
Matt is a black & white street and event Photographer based in Liverpool, England.
His journey through photography has been over 40 years mostly using film. He still shoots film, but most recently he prefers the freedom and flexibility of the digital medium striving to retain the integrity of the original image.
Annual projects have helped him to focus on his personal development within the industry, constantly challenging his own ideas and concepts and forcing him to learn new skills. In 2013 he carried out a Year of Black and White project, this made him rethink his whole style and camera system.
Matt’s stock images have been used in advertising all over the world, his work has also been published in many books and magazines, including many photography magazines.
Matt runs Street Photography workshops and courses around Liverpool and other UK cities passing on his tricks and techniques in Street Photography and processing in black and white.