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Ready for some camera p*rn?
Ready for some G.A.S.?
I’m now in possession of the new Fuji XT-1 and I’m about to hit the road and skies for a month to put it through the paces. My travels will be taking me to Vegas, Dubai, and Morocco. When I return I’ll have a full review ready to go and it will be living at my new site, DEDPXL.
First impressions? The EVF (electronic view finder) on this thing is amazing. I’m really not an EVF fan to be honest. I use the EVF on the x100s and X-Pro1 a good bit when I have to, but I fell in love with the Fuji X series because of that amazing hybrid viewfinder that has such a great OVF (optical view finder) in addition to the EVF. I was first introduced to the X-T1 last year on a trip to Japan to meet the fine folks at Fuji. I was shown a plastic non-working model of the X-T1 and the designers described the tech they were planning on putting inside.
Honestly, I wasn’t super excited about it. I was thinking it was going to be the X-E2 part 2. Do I hate the X-E2? No. It’s a damn fine camera and it’s really popular with folks. I just love the OVF and I wasn’t interested in an EVF only camera. Just give me an X-Pro2 damn it! Fast forward to this January and I was able to handle a working X-T1 at CES. As soon as I smashed my face against that camera and looked through the EVF I was sold. This EVF is the greatest I’ve ever seen. It’s HUGE. It’s fast. And as much as I love my X-Pro1, as much as I prefer the form of the X-Pro1, as much as I love the OVF — The X-T1 has replaced it in my bag.
Fuji has really knocked one out of the park with this camera and the new 56mm f1.2 lens. My 60mm is hitting ebay as soon as I get home. I’m still keeping my X-Pro1 as a backup to the X-T1 and I’ll be selling my X-E1.
Best parts of the new X-T1
• The EVF. You have to see it to believe it.• Focus is the fastest of any X camera I’ve worked with.• Dedicated ISO dial. It’s not just a retro design. It’s a fantastic addition. • The front function button. I have mine set up to select AF points. • Weather sealing.• Built in intervalometer.• Wifi tethering and camera control to an iOS device is great. (Android available as well)
Worst parts of the new X-T1
• We’ve lost the threaded cable release on the shutter button.• The USB port is not standard thus the off brand electronic shutter release I used on the X-E1 can’t be used. • I wish the 4 buttons on the d-pad in the back were larger or more pronounced. I’d like them to be identical to the ones on the X-Pro1.
I know I could show a few shots of Carl and some kitschy crap from the thrift store but I’m just not interested in doing that. I want to put this camera through real world use. I have shot it on one job but I can’t release those images yet. I really can’t wait to take this to Cuba when I head down there with Santa Fe Workshops in April. (By the way, if you are interested in joining me in Cuba you need to sign up sooner rather than later so the paperwork is in order.)
First impression? The X-T1 is the new king of the hill for the Fuji X lineup. Well done Fuji. Well done. I still want my X-Pro2 though so don’t forget about that!
More to come.
I have been DSLR free for about two months and all is well. During the past two months I’ve been to Cuba, New York (x2), and Arizona. I feel I have hit just about every type, and kind, of job I do and my little Fujis have performed flawlessly. I really relied on them in Arizona where I was shooting for Land Rover. I shot that job with a mix of Fujis and the Phase One. Everything else has been Fuji only.
I have no clue how many miles I have put on my Think Tank Airport Security roller bag. I love that bag and it has been everywhere with me for four or five years as my main camera bag. For the past two months I’ve mainly been living out of the Think Tank Airport Essentials backpack. Here’s a fully packed bag that fits under the seat in coach. I never have to worry about it getting gate checked.
Packed in there is a Fuji X-Pro1, X-E1, x100s (x2), a Fuji 60, 35, 14, and the new 55-200, Kung Pao (Yongnuo) 560, an external battery pack for the Kung Pao (JJC), Fuji EF-X20 flash, Wein Safe Sync IR transmitter, an OCF Gear 5 meter Canon cord, a Rainbow Imaging intervalometer and remote release controller (for the X-E1), a Fuji M mount adapter, Macbook Air, external drive, and misc other bits and bobs. Strapped to the side is a Phottix 36″ double fold umbrella, and a one foot length of 1/2″ copper pipe with a small swivel adapter. That’s A LOT of gear in a small bag.
Let me go through a few things in this bag that I haven’t talked about before on this blog.
The Fuji X-E1 :: I got this to be a back up to my X-Pro1. The X-Pro is still my go to camera when I need the variety of focal lengths it gives me. A LOT of people ask me which I prefer. I prefer the X-Pro1. The optical view finder is fantastic and it feels better in my hand. It has a better balance to it and it is definitely my preferred camera compared to the X-E1. One interesting difference between the two, though, is the X-E1 has a port on it that allows a remote to be connected. I’m using the Rainbow Imaging Remote. I’m using it for its intervalometer function for time lapse and remote firing. $27 FTW.
Wein Safe Sync :: This is an IR transmitter.This little guy sits on your hotshoe and fires a light with a built in optical slave. The $73 Yongnuo flashes I’ve been using lately have such a slave and the two work together quite well. Even in bright sunlight. The reason I have this is for the x100s. Being that it can sync at stupid fast shutter speeds, my Pocket Wizard Plus III’s can’t keep up. The radio latency is too slow. Nothing beats the speed of light though so the IR sync is one way to go.
OCF Gear 5 Meter Cord :: ocfgear.com Syl Arena started making these long TTL cords and the Canon version works great with the Fuji. The Nikon probably works as well. Because I’m not dealing with TTL all I need is the center pin to fire and both Nikon and Canon have center pins. Syl makes these things as long as 33 feet! This is here for fast syncing again. Just in case the IR goes south then I can hardwire to a flash. I’ve used this on a job recently and it works flawlessly. I’m catching my flash at 1000th – 2000th of a second. It’s also a very inexpensive alternative to using radio slaves.
Phottix 36″ Double Fold Umbrella :: In my search to build a bag that can do everything and fit under the seat in coach I’ve been trying these small umbrellas that David Hobby has long been a fan of. Count me a fan of them as well now. The 1/2″ copper pipe with a swivel adapter is basically a handheld solution to hold a light in one hand and a camera with the other. We’re talking no light stands! And questions from TSA as to why there’s a pipe in your bag. So far so good. Here’s a shot with an x100s, the Kung Pao fired by the Safe Sync, and the Phottix.
That’s 3pm full sun behind her. That’s f 2.8 with the internal 3 stop ND filter engaged. That’s 640th of a second on the shutter.
Fuji M Mount Adapter :: The one thing I need right now is a kick ass portrait lens. Something around 90mm. I have just gotten the new 55-200 Fuji lens and the jury is still out on that one. Even though it’s a big ass lens and slow on the long end , it’s sharp as a tack and the image stabilization is great. However, I’ve yet to really run it through the paces.
I’m looking for a good prime portrait lens right now and I’m about to pull the trigger on a Leica 90mm Summarit. I’ve tried all the Leica 90’s and I think for quality / size / and price I’m going to go with the Summarit. It’s a 2.5 lens. It’s kick ass and I love the small size of it. The 90 APO is fantastic but I’m not dropping $3-$4k on a lens for my Fuji. $1k range is a little more reasonable.
I think Zeiss screwed the pooch by releasing the wrong X mount lenses right now. They should have come out of the gates with a portrait lens. The Fuji 60mm works but it ain’t great. I’d really like to see Fuji redesign that damn lens. It’s a pain in the ass when focusing. When you get it focused it’s awesome. The rest of your time you’re cussing the damn thing. I’m just going to ditch it when I get a Leica lens. If Zeiss had an 85 something or another lens coming out I’d be first in line for it. Right now they are offering comparable focal lengths to already great Fuji lenses (12mm, 32mm, 50mm). I don’t get it.
As to the other X mount lenses I have been using… That new 14mm is effing amazing. I love that lens. The 35mm is still my favorite of all of them but that 14 is a close second. A very close second.
Fuji EF-X20 Flash :: Party flash. Nuff said. A nice little TTL / manual flash to sit on the Fuji’s when you want that hipster/scenester sort of vibe. I pulled it out of the bag at a late night dance club in Cuba. It was an awesome night. I think it was. I was told it was a great night.
Yeah. Get to Cuba. It’s amazing there.
I’d like to share some other images with you but alas, I have contractual embargos on them. I can’t share them until the client releases them first. I’ll do a Land Rover post once I can. That was a fun job. Here’s a shot from Cuba with the X-Pro1 and the 14mm.
I’ve got a whole blog post to do at some point about Cuba. OMG. The photography and art that is being made in that country is unreal.
So. The Fuji x100s. Capable on jobs? Hell yes. The AF is so much better than the first version. The image quality is great. Shooting RAW or JPG. Fuji has been working with Adobe on the RAW conversions and things have gotten much better on that front with Lightroom 4 and 5. High speed sync is fantastic. A few folks have told me recently via Twitter that they are getting Plus III’s syncing faster in HFS mode. I haven’t tried that yet. Right now the Wein and the OCF cord are working like a charm. PW’s are also a little top heavy when put on an x100 so I prefer the Wein.
Print quality is also very important when I’m looking at a camera system. My Q&A book is now shipping (blog post on that this week) and I had several images sent to the printer for tests before final layout. I had every kind of image printed from every camera I’ve shot in the last ten years. Nikon, Canon, Fuji, and Phase. CMYK is the great equalizer. I have to know that these images hold up in print for magazine and commercial clients. For the test prints, the Phase images stood out, as they tend to do, but I tell you what… from Canon to Nikon to Fuji… they all held up equally in CMYK printing. I’ve done lab tests and Epson tests and the Fuji’s stand side by side with DSLRs in print quality.
Right now, this is my desert island rig…
Just looking at that kit makes me smile.
I was recently asked on my Q&A blog whether I was switching to Fuji just to be different and not because they are better. I replied saying it is part of the equation. Not a large part. Not even half of the part, but yeah, that’s part of it. Who has a DSLR these days? Everyone. Moms, grandpas, clients, kids, that guy in accounting, everyone. Nikon this. Canon that. DSLRs are a dime a dozen these days everywhere you look. While everyone is chatting, talking, flaming, and trolling about this camera or another in the DSLR world, I’ve snuck out the back door and I’m not associated with any of that any longer. Bye.
Does it make a difference? It does. It’s mostly a mental departure from how I’ve done things for a long time and how much of the rest of the photography world works. It makes a difference with my clients and subjects as well. DSLRs are so generic these days that when you show up with something different like a Fuji or a medium format people take notice. They ask questions. These cameras start conversations. When I shot DSLRs I always heard about what camera my client or subject had. “Oh. You shoot Canon. I have a Nikon.” Etc. Etc. And then those conversations would take place. Not any more. “Wow. What is that? I’ve never seen one of those.” is now the opening line. Especially the Phase. Even folks who don’t know much about photography want to talk about that thing. (Meg here. Hi. He isn’t making an exercise in hyperbole. I assisted Zack on a job today and the client was ogling the Phase and Fuji’s and asked, “What kind of cameras are those?” I watched it happen!)
Are you kidding me? I couldn’t have staged that shot above better. I damn near got ran over trying to get that shot.
Photography is as much a mental and emotional art form as it is a technical artform. We rely on a certain amount of tools to do our job. When you change those tools there’s a mental change as well. The retro styling of the Fuji cameras isn’t just for show. There’s a reason cameras have been set up like those for decades. There’s a very practical reasoning behind dedicated aperture dials on the lens and shutter speed dials. I can “feel” where my settings are. A quick glance at simple analog dials tells me a lot as I’m pulling the camera to my eye. There’s also a — how do I say it? There’s a feeling of heritage to the Fuji’s. I don’t want to call it retro. It’s a modern day digital connection to the past that feels right. That’s another reason I prefer the X-Pro1 over the X-E1.
I say all of this to say I’m emotionally connected to my Fujis. I’ve never been emotionally connected to a DSLR. Ever. That connection matters. It’s not on a spec sheet. It can’t be tested in the lab. I look at my Fuji cameras and I want to go shoot. I want to make photos. They don’t belong in a bag. They belong on in my hand. I have been pursuing photography for 16 something years. I’ve been full time for ten years. I’m proud of what I’ve accomplished in the last ten years. I’m now heading into my next ten. It is time for me to go deeper down the rabbit hole and evolve and grow and push and change and morph. I’m not leaving what I’ve done behind. I’m going to build on it. I want the next ten years of my photography to depart from the last ten though. Changing my tools is part of this process…. for me.
Maybe it’s not for you. Maybe it is. Not if you’re a full time sports photographer though. I recently got an email from a full time sports photographer. It was a 12 paragraph diatribe on why he would never leave DSLRs because mirrorless cameras will never be capable of shooting action like his pro bodies and 300 and 400mm lenses can do. Really? No kidding.
I stepped on some toes when I claimed that Fuji is the new Leica. I’ve been asked over and over that if price wasn’t a concern would I shoot Leica instead? Unless any of you are offering Leica M class cameras for $1,200 new with an f2 lens then I can’t really answer that question can I? If price wasn’t a concern I’d be driving a different car. I’d live in a different house. I’d have a different studio. I have shot with Leicas. M6, M8, M9 and M9 monochrome to be specific. I’ve had a Fuji in one hand and a Leica in another. Hand on my heart… I’d chose the Fuji.
Some think I’m paid to say this stuff. Trust me. One hand on my heart and the other hand on the FCC laws regarding endorsements and advertising on blogs like this one… I’m not paid by Fuji to say this stuff. I’m not paid by them to review their gear. I have shot jobs for them. I’ve stood on their platform and talked about my experience with the cameras at industry events. That’s it. Once the images or videos are delivered to them my job is done. Just like all of the other jobs I do. Fuji didn’t pay me to sell all my L glass.
Leicas are great cameras. Amazing cameras. Their lenses are fantastic. They too elicit an emotional response when working with them. That’s part of the reason they are at the top of the gear food chain. The heritage of the Leica brand has been one of thoughtful and provocative documentary work, street photography, and photojournalism essays. Even if you weren’t shooting that kind of work simply owning a Leica could give you a feeling that you were connected to that work made by others. The working stiff photographer of old could hustle some cash together to build a Leica kit. These days the brand is that of a boutique camera company with their products glistening from within glass showcases. I’ve heard them called dentist cameras. The only docs they are shooting these days are the medical kind. Basically it would seem that Leica is now thought of as making cameras for people with a good bit of disposable income. Working photographers usually aren’t equated with people who have a lot of disposable income.
Exhibit A:: Leica stores.
It’s akin to artists moving into a bad part of town because the rent is affordable. Then they make that bad part of town cool. Then people start pouring in and shops and restaurants open up. Rent goes up to the point that the people who made that place cool can no longer afford to live there and they have to go find a new place to live. Fuji is that new place to live.
In this day and age it is much more difficult for the working Joe and Jane to get a solid Leica kit together. They’ve never been cheap but they were attainable. They’ve kind of moved out of the “attainable” status. You’re a working photographer that needs to travel, shoot, and have to have the best quality you can from a small, quiet, and unobtrusive camera kit. Fuji is now that. From form to function to price Fuji is this new globe trotting documentary camera. From portraits to events to breaking news… these cameras can handle it. Need it to run double truck? Done. Want to exhibit 30×40 prints? Done. Want to run full page in a wedding album? Done again. I’ve lusted over Leica cameras and lenses many times. I could never ever ever justify the cost though. The jump in image quality over a DSLR was never great enough to even think about it. I just wanted one because they’re cool and sexy and come from good blood so to speak.
Build a good kit with Leicas. Used M9 prices are hovering around the $7k mark on ebay right now. I’m told you can find them for around $4k from other places. I’m not really in that market so I’m not sure. Suffice it to say, the used prices on them are in the pro DSLR price range. Buy two of those. Then three good lenses. We’re talking medium format gear now as far as cash laid out. I’ll take a medium format camera any day over a Leica kit. Any. Day. Oh. In fact. I did get a medium format over a Leica system. No way in hell I’d trade my Phase for a Leica. Ever.
Where Fuji really seems to “get it” is in the quality of their sensors, lenses, and their ability to build a solid working system with really tough cameras. I put my cameras through hell and they keep going and going and going. My X-Pro1 has hit the pavement three times in the last year without a single thing breaking on it.
Lastly… a lot of folks asked where Pentax was in my initial x100s review. Yeah. Sorry I left her out. Pentax wasn’t at the bar. She was over at Hasselblad’s house. Poor Hasselblad. She recently went to Japan to see Sony and got some botched cosmetic surgery done by Dr. Lunar. Pentax was over there trying to console her. Pentax is a good friend. Hasselblad should have never hooked up with Sony. That was a mistake. 😉
Here is the strangest gear review I have ever written.
Let me set the stage… Picture a bar scene…
There’s a distinguished looking ol’ fellow sitting at the bar. He has silver hair and laugh lines around his eyes. He’s well dressed. Well groomed. Well traveled. You can tell he’s seen a lot in his time. His classic Morgan is parked outside. There’s a pretty young girl on his arm listening to his stories of being a globe trotting documentary photographer. He sips his 50 year old Chivas Regal. His name is Leica. Yeah, he’s the world’s most interesting man.
In the corner we have Olympus, Panasonic, and Sony. They’re in a heated debate about Dungeons & Dragons or something. Sony is smart. He’s a brilliant guy. Ugly as hell. Clunky. Clumsy. Out of balance… but very smart. Olympus is more fashionable than his friends Sony and Panasonic but you can tell he’s just trying too hard. He’s cute, but sitting next to Sony shows he’s not that smart. Panasonic is just staring into his beer. A single tear drops into his IPA. He just released the GF5 and has realized it’s a total pain in the ass of a camera and wishes he could go back to the good ol’ days of the GF1.
“Remember when I created cult followings guys? Remember that? Remember?”
Sony and Olympus share glances and mumble something about the wizard losing his potion. “Hey, at least we aren’t those two assholes over there.” as they point to Canon and Nikon.
Canon and Nikon. They’re the two old men at the bar who are always arguing. You can’t tell if they’re the best of friends, brothers, or sworn enemies. Either way, there they sit… every night… arguing and arguing and arguing. One says he can drive a car faster. One says he got laid at the ’84 Olympics far more than the other. The other talks about how big his lens is. The only thing they ever agree on is they are both sick and tired of all the young kids in the bar these days taking their space. You get a feeling that if they just melded into one the world would be better for it. Please don’t get either one started about iPhone and her friend Instagr.am.
There’s a sound of an old shovelhead rolling up in the parking lot.
A young good looking kid walks in the door. Tattered 501’s. Grease stained tee. Three days of scruff. He walks with confidence. All the ladies take notice of him. The cougar den at the table next to Sony, Oly, and Pana all perk up and freshen their lips and shorten their skirts. His name is Fuji and everyone but Leica avoids making eye contact with him. Leica turns on his bar stool and gracefully nods his head to Fuji. Fuji, knowing he’s in good company at the bar, fires a grin and a wink at the old man. Leica sees himself as a younger man in this Fuji kid. Back before he opened his stupid boutique stores and started a line of t-shirts and baseball caps. (Leica should have never listened to his old friend Ferrari.)
Fuji orders a classic English bitter and starts talking to the two girls next to him.
Phaseone pulls the perfect pint and serves it up. No one serves it up better than Mr. Phase. Phase then tells Polaroid to take the trash out. Polaroid goes out the back door and stops to share a smoke with Kodak. Kodak asks if Polaroid could spare some change. “Sorry man. Not today.”
The young girl that was sitting with Leica heads out the door but not before slipping her number into Fuji’s back pocket.
Fuji sips his beer and quietly tucks it deeper into his pocket so he doesn’t lose it.
And that folks… is why I say Fuji is the new Leica and the x100s is the greatest camera I’ve ever owned.
I’ve just finished three weeks of travel with the new Fuji x100s. Along side the x100s I had my Fuji X-Pro1 with the new Fuji 14mm 2.8 bolted on to it. I’ll talk about that near the end of this post. For now, I’ll concentrate on the x100s. I’ll share some photos, share some measurebating 100% crops, and share a link to an image you can pixel peep to your heart’s desire.
The original x100 was my entrance into street photography. I’ve always loved this genre but I never participated in the “sport” as I call it. I’ve walked the streets with a DSLR and would shoot portraits from time to time but the DSLR either intimidated me or those around me too much for me to get into street work. That feeling of intimidation melted away when I started shooting the x100. It’s small. Dead quiet. Perfect. I just finished teaching two street photography classes in Dubai and there’s no other camera I’d rather have with me than an x100. Now that the x100s is out… that’s the king of cameras for me. It’s fast. Agile. Responsive.
After my frist day of shooting with the new S I realized something. Fuji really listens to all of us. Every single complaint that many had about the original x100 has been addressed. Everything I have seen people request in the update is there. The autofocus is leaps and bounds beyond what it was. Manual focus… get this… actually works! Image quality is fantastic. Same perfect focal length on the 23mm f2 fixed prime. It’s just an awesome camera.
I’ve read the first reviews of the camera and many folks say it’s the same body and layout as the previous but that’s not quite right. It’s pretty much the same with a few tweaks. Here’s the back of the new x100s…
Two MAJOR improvements are here. First, the Q menu button from the X-Pro1 has arrived to the x100s. It accesses a quick menu to change a number of things on the camera like WB, file type and size, film simulation, etc without having to dig into the menu system. That’s a great addition but we all knew it would be there. The greatest update on the backside is the new placement of the AF point selection button. Previously you’d have to use both hands to change the AF point in the viewfinder. You’d push the AF button on the left of the camera and adjust the area on the right side of the camera. Now you simply push the AF button on the top end of the dial and move the AF area to wherever you want it… all with one thumb. I can’t tell you how much this one improvement has made in day to day shooting. That one change is worth an upgrade. Otherwise it is the same body as the x100 with a few tweaks here and there. One nice tweak is the exposure compensation dial is stiffer than the original. It’s not as easy to accidentally bump to a new setting. Oh, see the gaff tape on the read/write light? I put that there because I’m a left eye shooter. When I shoot it starts blinking in my right eye and that’s annoying. It also brings attention to the camera at night so I just gaff tape it.
Leaf shutter lens y’all. I can grab flash up to 1/800th of a second with a Pocket Wizard and a hotshoe flash. The image above is at 500th. The image at the beginning of this blog post is 800th! While I was in Istanbul I had the opportunity to photograph promotional portraits for radio DJ, TV host, and writer, Esin Görür. Want to hear something else that’s interesting? The small flash I’m using these days? The Yongnuo 560II. Or as Rob Milton named it… the Kung Pao 560. Yeah, that’s the name I’m going to run with from now on. I’ve put that $73 flash through workshops and shoots in the last month and it’s… awesome! Anyway. That’s for another time. David Hobby (AKA Strobist) is also a huge fan of the x100s and echoes my opinion on it being the new Leica. Check out his review of the camera and how he’s pushing sync speed further and combining that with the built in three stop ND filter.
As I talked about in a previous post leading up to this review it was this night in Istanbul where it clicked for me.
When Galatasaray beat Schalke and I found myself in a roaring crowd of football fans is when I realized that Fuji is the new Leica. Not once did I wish I had another camera with me. The DSLR is dead to me. Yes, yes, yes. I have a Phase. That’s my workhorse camera for editorial and commercial work. Other than that? Even for some magazine work… the Fuji is it. Buy Canon? Nope! Bye Canon! You see, for decades Leica was the shit for the traveling journalist, street shooters, documentary photographers, etc. They are fantastic cameras with an undeniable heritage. But here’s the deal. The folks who put Leica on the map can’t afford them any longer. They are a boutique camera company. The working stiff can’t shell out close to $10,000 for a body and a lens. Go price out 2 M’s, a 20mm ish lens, a 35mm, and a 75mm. Go price that out. Then price out an x100s, an X-Pro1, and the Fuji 14mm, 35mm, and 60mm lens. You still haven’t spent the price of a single Leica body yet. Let alone two of them. And glass.
Would I use the x100s at a wedding? Hell yes I would. Wouldn’t think twice about it. Would I shoot it on a magazine assignment? Yes. Portrait shoot? Yep. Promo shoot? Yep. And have.
Walking the streets of Istanbul with the x100s, an X-Pro1, and the Fuji 14mm and 60mm made me realize that so much work could be done with a tiny little kit like that. You’re traveling light. You’re inconspicuous. You’re silent. You’ve got a ton of options between these two small cameras and these three lenses. You’ve got kick ass sun killing sync speeds with small flash. Sharp optics. Great sensors. Tough as nails bodies. My X-Pro1 has taken three major falls in the past month. I have two scratches and a shattered lens hood to show for it… oh yeah, and a perfectly working camera. The x100s has taken one good hit to the ground from a table top. It’s fine. Didn’t skip a beat.
What is the soul of this camera? It’s the styling. That’s the first part of it. Then it’s the feel of it. Then it’s that damn amazing hybrid optical viewfinder. It’s attention to details. It’s listening to the community. It’s a perfect camera. I can not wait for whatever is coming down the pipe for the X-Pro. I have no idea. While Fuji has hired me to shoot with their camera, I have not signed a contract with them nor have I signed an NDA. I have no idea. When I left Istanbul my job with them was done. They’re not paying for this review. But, yes. I got paid to shoot with the x100s. So, take that however you want. I know for some of you that paints me as a sideshow salesman. That’s fine. I get that. I’m leery of paid spokespeople as well.
I’m tellin’ you though. From my heart. The x100s is my desert island camera.
Ok. You know what time it is! Grab the KY, fire up the forums, put your glasses on, and start pixel peeping! Let the measurebating begin!
I already see people questioning Fuji’s use of the X-Trans sensor thing in the new x100s. Some love the X-Trans. Some hate it. It is true that Adobe and others have had a difficult time trying to figure out the RGGBYBRRBGYT$SR pixel layout thing with this new sensor that first showed up in the X-Pro1. I can say that Lightroom 4.4 is really really really close to getting the RAW conversion correct. I typically shoot my Fuji cameras on jpg. I know. I know. But you know what? Fuji does it right. They always have. Anyway… I love the X-Trans sensor. It’s sharper than my Canon full frame sensors. So… here’s a picture of the Grand Mosque in Abu Dhabi. Straight from camera. JPG. So yes, you are seeing a JPG of a JPG. We’ll all survive.
And the problem with the X-Trans sensor is what again? Someone let me know what the issue is because I ain’t seeing it. Am I supposed to read the serial numbers of the lights up there? Is that what I’d get from a Sony?
Mmmm. Yes. I see. Hmmmmm. It IS perfectly obvious that the third millionth pixel from the left shows signs of herpes. You’re right!
No review is complete without what? That’s right. A squirrel and some kitschy shit that folks on photography forums can argue about.
Now, let’s go ahead and run the x100s up against a Canon 6d, the original x100, the X-Pro1, and heck, let’s drop the Phase into the mix.
Click the image above or click HERE to get the FULL size comparison image. It’ll be up as long as my dropbox account is.
So… technical notes. Each image was shot at an aperture at a shutter speed at the native ISO of the camera used at similar but not equal focal lengths. I did MINIMAL post processing of the RAW files in Lightroom 4.4. Just color corrections. No other adjustments were made. I’ve left little notes throughout the images that can only be read at 100% viewing. Remember you’re looking at a JPG from the Interweb. Hopefully you’re on a good monitor that’s calibrated. If you’re viewing this on your mom’s PC, then, well. Anyway.
Am I happy with the image quality of the x100s? Absolutely. I’d like to see RAW conversions get better. I imagine the good folks at DXO labs will get it figured out first. If I were Fuji… or Canon, or Nikon for that matter… I’d leave the software up to Adobe. I’d give them everything they need and not worry about providing software for cameras. Especially Nikon and Canon. They suck at writing software. Just let Adobe do the job. Anyway.
Check out my 500px x100s set to see more photos from this camera. Click the image below to go to that gallery.
Would I change anything about the x100s? No. Not really. If I had any requests it would be to add an intervalometer for time lapse stuff. Including the lens hood in the box would be a nice touch. I buy third party ones on Amazon now for $12 or something. Built in WiFi / Bluetooth to connect to iOS or the like would be cool. The 6d has that and it’s awesome… until you want it to fire a @#$%#$ Pocketwizard! Jeebus! It won’t fire a trigger in WiFi mode. Seriously? Anyway. I wouldn’t change anything. I don’t need more pixels. The AF is plenty fast for me. Peaking added to manual focus is a God-send! It’s fantastic. Maybe I’d request to be able to change the color of the peaking. Currently it’s white. Maybe red / green / pink would be good options to have in the menu. But yeah, manual focus is legit now. I prefer the peaking to the digital split image.
Oh. Yeah. The 14mm on the X-Pro1? Awesome! Worth the price for sure. Absolutely. My second favorite lens for the X-Pro1 behind the 35mm.
My Fuji X Series buying guide.
x100s – Buy it. Done.
x20 – Nice camera. It ain’t the x100s.
X-Pro1 – The more I use the Pro the more I love it. It’s a perfect companion to the x100. It’s more of a “work” camera since you can change lenses. Now that the x100s has the same sensor they can be switched back and forth on a job without any issues other than the bodies and buttons are totally different. I’d love to see Fuji finalize button layout on the X cameras and make them the same.
X-E1 – Pretty much the same as the X-Pro1 but has a better EVF but it loses the optical viewfinder. It’s “slightly” smaller. I have one. It’s nice…. but…. It’s not the X-Pro1. That optical viewfinder is absolutely worth the price.
Best performing camera in the current lineup? The x100s. Now the X-Pro1 and X-E1 have to play catch up. I have NO IDEA when that may happen.
Is it worth it to upgrade from the x100 to the x100s? I’m with Hobby on this one. If you use the x100 a lot then yes. Upgrade. If you use it occasionally then keep it. It’s STILL a great camera. Hobby and I are asking Fuji to bring some of the upgrades to the original x100. Things like a Q menu (accessible from the Fn or RAW button) and focus peaking. How awesome would that be? Can we do this Fuji? You show that you still love your current client base and they will show you that they love you back.
Thanks for reading! I’ll update this review as things come up. Firmware updates and the like or if I see a lot of the same question. There’s a video in the works of my trip to Istanbul with this camera. Similar to the one I did in India last year. I’ll post it here when its up.
OH CRAP! Can’t have a review without photos of your kids! Jeez! Can the x100s deal with a three year old named Hawke Danger? Yes. Straight from camera jpgs.
Yeah. I know. It’s not about the gear. I know. Yep. Uh huh. Damn I love this camera. And yes. All you red dot lovers… Fuji is the new Leica. I’ll meet you in the back alley and we can fight it out if you want. Kodak could use a little entertainment.
ETA – 3/26 – I don’t think I got my point across clearly enough about Fuji being the new Leica. I’m going to be making a follow up blog post about that next week to spell out my opinion on the matter. Also! I figured out where Pentax was. SHE wasn’t at the bar. She was with another friend of her’s. It’s a sad story. I’ll update all of you on what’s going on with her and her friend. Tragic really.
I’m currently on a 22 hour layover in Paris. I’m on my way home from Istanbul. I was sent there by FujiFilm to give the new x100s a run for its money. I am working on a full review of the camera but until I have that up I’ll be making a few posts with photos.
I was having a beer at a pub a few nights ago and I heard an explosion of chants and cheers from around the corner. I had already been on the streets for about 10 hours that day and I was just trying to steal a moment of solitude and rest in the pint glass of a Guinness. The sounds I heard though made me grab my stuff (including said pint) and run to see what the deal was. The “deal” was football.
Galatasaray (Turkey) beat Schalke (Germany) that night and advanced to the quarter finals. What that means to non sports people like myself is that sh!t went crazy.
As all the fans poured out of every bar they were singing, and chanting, and lighting flares. I was caught in a mob of thousands of people and not once… not for a single frame… did I wish I had another camera with me. Not once did I curse my little x100s. It did what I needed it to do. In the middle of all of this it clicked in my brain.
Fuji is the new Leica.
I’ll talk more about that in the upcoming full review of the camera.
I’m on my first day of a five day trip with the brand new Fuji x100s.
It’s no secret that I fell in love with the first edition of this camera. I called it the greatest digital camera ever made. It has it’s “quirks” for sure but I love that camera dearly no matter how much of a pain in the ass it can be.
The new one? The S? Well… I can’t give a full review yet because I’m still putting it through hell on the streets but let me say this…
They did it. It’s the greatest camera I’ve ever owned. No. Freaking. Joke. It’s perfect. I wouldn’t change a thing.
More to come when I get home.
Fuji X100s :: 2.8 @ 60th ISO 200
I’ve had my hands on the new FujiFilm X-Pro1 for a little over a month now and I have put it through the paces in three countries and on various jobs. If you are a frequent reader of this blog you know the deal. If you are a new reader of my blog let me explain the deal. I don’t pixel peep, shoot side by side comparisons, show images of color checkers and resolution charts, or talk about the new technology packed into whatever camera. Heck, I really don’t do “reviews” that often.
This review is more of a “how-does-this-thing-work-in-the-real-world-and-is-it-something-that-excites-me-or-does-it-just-become-a-photographic-appliance?” kind of review. Also, let me state for the record that I was hired by FujiFilm Middle East, and was paid in camera gear and cash to take this machine for a joy ride. The first thing I said before taking this gig, though, was if I was going to blog about it they needed to understand that I would say whatever I wanted to about it. The good folks at Fuji said they expected nothing less. Especially after my x-100 review. It was that review that put me on their radar in the first place and it was the good folks at Gulf Photo Plus that convinced them they should send me to India. I’ll be doing some stuff with Fuji North America as well. So, full disclosure now aside, let’s get into it after the jump…
How have I gotten hold of the new Fuji X-Pro1?
[montypython]The Lady of the Lake, her arm clad in the purest shimmering samite held aloft the Fuji X-Pro1 from the bosom of the water, signifying by divine providence that I, Zack, was to test the new X. [/montypython]
That is exactly what happened. Well, not really. The X-Pro1 isn’t waterproof. I got an email asking if I’d be interested in using the new camera since I loved the x100 so much. Will this system have the same soul as the x100? I won’t reveal that yet but as I unboxed it I think I said OMG 26 times in a row. I’ve never been asked to test a pre-production camera before so this is going to be fun. I’m also allowed to say anything I want to about it. I can love it, hate it, or be indifferent.
I will be running the camera and it’s three new lenses through the paces on assignments and personal work over the next three weeks and will report my findings here. If you have specific questions about this camera please let me know in the comments. Many of you have already been asking questions on Twitter. Focus speed, manual focus, ISO performance, lens performance, overall image quality, is it worth the money, is it a DSLR killer, does it eat M9’s for breakfast, etc, etc. As always, I won’t be counting pixels or describing bayer patterns or burning villages because of menu layouts. I’ll let you know how it actually works in the real world instead of a testing facility with Macbeth color charts and thrift store knick knacks. Off to find some squirrels.
In the mean time, check out Quiet Hounds. They played their first show last night to a packed house and I have to say they are one of the best new bands I’ve heard in recent history. Meg has been going on and on about them and she’s right. (She’s always right) The show was amazing. Sign up on their email list and get their music for free.99. The image above was shot under extremely challenging lighting with the X-Pro1 and the 35mm f1.4. F1.4 @ 50th @ ISO 1000. Shot B&W jpg in camera, cropped in PS, slightly sharpened for downsizing for web. (.2 pixels @ 80% @ 0 threshold) Blah, blah, blah.
I’ve recently moved to a digital medium format system and I thought I’d blog about the process of choosing a system and why making this jump was worth every hard earned penny to do so. But first, let’s enter the way back machine. If you are fairly new to photography and DSLRs have been your entrance into this industry then this an important part of the blog post. Bear with me. All of it after the jump. (If you don’t see the video above just hit refresh. Not sure what’s going on with the embed code)
I recently wrote in length about my switch from Nikon to Canon. I thought I’d update you on a few things since making that switch.
#1 – Lately I find myself predominantly shooting with the 35mm f 2.0 and 85mm 1.8. You could weld one of those on each body and I’d be set for life I think. Except that 35mm f2. When I made the full switch I kept the “decent” Canon 35mm f2 and bought the crockstar 24mm 1.4 lens. I now wish I would have switched that decision. I’m just not shooting that 24 nearly as much as I thought I would. I’ll be replacing that 35 at some point. It doesn’t have to happen tomorrow because the f2 is still an amazing lens but I’ve tried the 1.4 and I know that would get welded to a camera body to never be removed. Live and learn right?
#2 – I really miss the in-camera multiple exposure feature in Nikons. I didn’t think I would but once you don’t have it you want it. Multiple exposure images are easy enough to do in post production but it takes the fun out of it. When doing it in-camera you either get it or you don’t and there’s lots of room for really interesting mistakes and WTF moments to happen that you just don’t get when doing it in post. Oh well. I don’t shoot it that often but I do wish I had it. The image above is a “triple exposure” done in post. I try to not tweak things too much. I want the chips to fall where they may as though I did it in-camera.
#3 – I thought I would shoot the 135mm f2 more than I do. I’m surprised I go to that cheap little 85mm 1.8 so often but that 135mm f2 lens is one of the finest lenses I’ve ever owned. For me I like to have a healthy amount of space to use that thing. Many of my assignments lately have had me in pretty tight quarters so it hasn’t been put to use that much but there is zero regret in getting that lens. Oh. Emm. Gee.
#4 – I do miss the D3 body but I’m still happy with my switch. Aside from that lens decision I would reverse I’m pleased with my switch. I most love having one complete system instead of two half assed systems. If I were to add anything to this kit it would be the 14mm f2.8 lens. That is a beast of a lens but I’m good without it.
And… I’m done with 35mm DSLR buying for a long time to come. Bring on the five dee mark three point two sub paragraph nine whatever. I’m good.
PS – Yes… I’m on my annual social media hiatus. I find I need to unplug from most things as we head into the darkness of winter. It’s my time to figure out what in the hell I’m doing with myself. That’s hard to do with all the noise. I’ll be blogging and despite it falling in the social media genre, I’m still on Instagr.am. Hope you are all doing well!
I made a “what’s in my bag” post in 2009 about my mixed kit of Nikon and Canon gear. I’ve recently sold my Nikon gear and have gone 100% Canon to the surprise of many including myself. I’ve fielded lots of questions on Twitter about it, many I have not gotten to, so I’m making this blog post to cover your questions and to take the time to talk about why I am doing all of this. In this post I’ll talk about my past kits, my current kit, why I made the switch, the gear on my wish list, and why none of this matters all that much. Be warned, this is fairly wordy.
Let me get this out of the way… The Fuji x100 is the greatest digital camera ever made and may just be the greatest camera I have ever owned. You’ll have a hard damn time convincing me otherwise. I can state with confidence that this is my favorite camera I have ever owned. Period. End of story. Done. Best. Camera. EVAR. OMG. Etc. Note that I am not sponsored by Fuji, I have no relationship with Fuji, and I paid for this camera with my own money. I have nothing to gain in services, advertising, affiliations, or monetary value by writing this review.
I’ll break this down after the jump …
In case you haven’t read my 1,000 something tweets about how much I love the new Fuji x100, then I need to let you know that I love the Fuji x100. I’m working on a full review of the thing right now. It will NOT be a pixel peeping, button counting, megapixel masturbation fest of flowers and cats. It will be more of a review about how it fits in the life of a working photographer and how to work around the number of “quirks” the thing has.
I’m in New York this week getting my book looked at and stuff. It’s a fantastic process and I’m meeting some fantastic people. The brand is done. The site is 98% complete. I’m having some issues with the portfolio PDF download. Working on it.
Here are a few more from the streets of NYC. It’s a little series I’m calling #de_VICE. We are tethered to our devices to the point they may be a vice. I know I struggle with it. Once you are in the iWorld it’s amazing how unaware you become of your surroundings. Like, some guy taking your picture of you doing whatever it is you are doing there on your device.
More images to come with the review. It’s an awesome camera and a total pain in the a** at the same time. I absolutely love it.
Ok. Are you ready to get your nerd on? Calling all pixel peepers! Here are the images for the modifier run down we went through on Day 03 of the creativeLIVE studio lighting class. I’m not sure which took me longer… Shooting all of these images during the class or prepping them for the web.
Before we get started with the images there are some things I want to go ahead and cover with you before you check these out.
This isn’t the most comprehensive light modifier test in the world. It isn’t even half way scientific in approach. There are real issues with comparing modifiers like this. I’m telling you right now that this isn’t the true proper nerded out way of doing this kind of thing. While we strove for consistency and Dan and I spent some time in the morning before the broadcast testing things out, remember there can be variations 1/3 of a stop from pop to pop with those Alien Bees. That’s why they are affordable. With all that said let me now say… if you run through some modifiers in this way you’ll learn a lot. I do this kind of stuff when I’m checking out a new modifier.
Why do I feel the need to give this big disclaimer? To ward off the measurebators that are about to descend on this post. The guys who look at photos on the photon level and lose all the soul of this craft. I like to nerd out from time to time and discuss CMOS vs. CCD but never at the cost of losing the soul of the craft. So… enjoy this comparison. There are things to learn.
Things to look for ::
• Take a look at how the modifier effects the exposure on the subject and the background. • Watch the transition from highlight to shadow. How hard is that line? • Take a look at the catchlights in the eyes. • How effecient is the modifier in terms of lost light from the standard? • Look at the difference in the quality of light when some of them are moved closer than the standard shooting point. • Moving the light closer to the subject changes exposure so I didn’t list the change in aperture for those images since they deviated from standard position.
I’ve highlighted a few areas here to watch in the photos below… Look at this crop between the 7′ and 4′ Octabanks…
Notice how the transition from highlight to shadow is much more gradual with the larger 7′ Octa. Notice how the shadows are more open with the 7′ as compared to the 4′. Notice the 4′ Octa has a brighter catchlight. Notice they have about the same effect on the exposure of the background. The background is important to watch with these. There are times I pick a modifier based on how it is going to throw light on or flag light off of the background. Here is the same image without the circles. From modifier to modifier some areas will change dramatically and some will barely be noticeable.
The following image is the “standard” for this test. It is an Alien Bee with its standard 7″ silver reflector in place. The standard exposure for this at this distance is f13. We then paraded different modifiers off of the same light stand position. At times I moved the stand to demonstrate a distance I would more likely be using that particular modifer.
Here is a crop of the 7′ Octa (our largest modifier) in comparison to the standard 7″ reflector. Notice how light from the Octa wraps all the way around to her ear.
Want to pixel peep? Here you go!
If you look at a few of these and say “I can’t really tell any difference between the $30 modifier and the $800 modifier!” then note the disclaimers above. There are ways of shooting a shoot through umbrella in this kind of situation and make it look a whole lot like the Octabank. Then there are times that one will absolutely run circles around the other and the difference is night and day. To walk through each of these drastic and subtle usage changes would have taken the entire three days of teaching. Your goal is to get to know YOUR modifiers and be educated about the basic differences between different kinds so you can make educated choices the next time you go buy one of these.
As Bill, one of the creativeLIVE crew members, said so well… “There’s no morality in choosing a light modifier.” Let that sink in. Sometimes I pick a modifier based on… “Ummmm. How about…. Uh. This one.” Other times I walk in a room and I know that I want my 28″ Westcott Apollo and there is no other modifier in the world that will do the job. Sometimes I pick a modifier because it is more efficient with light than another that is similar to it in look. Note how the reflective umbrella lost 2 stops of light as opposed to the 4′ Octa. Sometimes that stop is a make or break situation on a job.
At times there’s “just something” about one modifier over another. You can’t quite put your finger on it but you just like “that thing” about that modifier. That’s how I feel about the 22″ beauty dish. I could get a very similar look from the 28″ Apollo or a small silver umbrella but there is just “something” about how the light feathers and falls off with the beauty dish that makes me pull that out over a small softbox. Sometimes I just like the catchlight more.
I like circles.
Other times I like rectangles.
There’s not a moral issue on the table here.
Another issue with this test is we aren’t shooting full length. You’d see a BIG difference between a 60″ umbrella and a 7′ Octa when shooting full length. I tested that out and went back and forth on it. The reason I decided against it was our awesome subject, Lou, would have been standing in one spot for a long time. That little stool she was on was bad enough. I felt standing for as long as we needed to run through this would have been too much to ask. Remember, we are in the service industry. Serve your clients. Make them as comfortable as possible. I guess I could have had her lean on something. That would have been a light stand or a broom handle. Neither make for the best props.
My last caveat to all of this… Go shoot your own lighting tests! Seriously. You’ll learn so much doing this. Change the distance, the angle, the height, etc. Watch what your modifiers do full length vs. head and shoulders. LEARN YOUR GEAR!!!
All the images and download links after the jump….
I just finished editing my first music video this week. I shot this in New York last fall thanks to the help of friends, twitter, and Kmart. Read a little story about it after the jump.
I had a few extra days in New York last fall and I spent those days shooting as much personal work as I could. I was in the area to shoot a wedding with Marc. Assistant and intern extraordinaire Brian Hall was along for the ride as well. I reached out to as many people I knew with connections in NYC to find musicians to shoot. It turned out that Snowden frontman, Jordan, was in the city at the same time. Snowden is one of my favorite bands in the world and I’m blessed that they are from Atlanta and I’ve been able to work with them a few times.
Jordan and I decided we would meet up Sunday night and shoot some new promos for him. He sent me a few of his new songs for me to listen to before our shoot. I heard this song Lemon Peel and loved it right away. Saturday night I’m riding the train and I decided we should shoot a music video instead of portraits. I sent Jordan a text and he was down for whatever. Sunday morning I put out a message on Twitter that read something like,
“I need a rooftop. In Manhattan. Tonight. With a garden hose.”
Ten minutes later I get a message from Neil at Nomadic by Design. He had access to a rooftop on the upper west side and it most definitely had a water hose we could use. The only caveat was we couldn’t make a lot of noise because we would be standing over his friend’s apartment and their two year old would be asleep. So no screaming, jumping, playing loud music. Ok. No worries. I thank Neil for helping me out and we plan to meet at his place later that evening.
Now then, I had flashes for portrait work but I sure didn’t have any video lights with me. The 5d MkII does pretty well in low light but not in no light. I knew that I wanted to build off of the water references in the song and I knew that water looks best if it can be back-lit. I also had to do this on a budget of “not much”. Like, less than $50. I went to the Kmart at Penn Station and bought six flashlights. I would have bought some more but that was all they had and I still had another band to shoot AND take 10 portraits of 10 strangers so I didn’t have a lot of time hitting up the entire city looking for more flashlights. On a tech note, these are those focused LED beam lights and they were making odd patterns of light on the roof behind Jordan. I needed to diffuse them to get rid of the pattern so I used the white plastic Kmart bag they came in to do that. I ripped the bag up and put pieces of the plastic over the front of the flashlights and that got rid of the patterns. Ghetto Video Dot Com!
Marc and Brian came along for the evening. Marc was on the flashlight lighting Jordan. Brian was on the water hose. Everything and everybody was soaked by the end of the sixth take. The wind was really unpredictable and we just had to deal with it. Jordan’s MacBook playing the song was wet, the 5d was dripping wet, and Brian turned out to be just as soaked holding the hose as Jordan did getting hit by it. All in all… it was a great night.
So why did it take me so long to edit? Because the idea I had for the edit sucked and I couldn’t re-envision the project. I had it set in my head that it was going to be one way but that way turned out like crap and I couldn’t “see” anything different. That happens to me a lot. I get an idea for a shot. I see it in my head. I pick up the camera. I take a photo. The photo sucks. It is nowhere close to what I see in my head. In photography I have learned to let those things go until another day. I couldn’t let this one go until one evening this week. I’ve been editing images for a new portfolio and this Snowden video was bugging the hell out of me. Jordan froze his ass off for this video and I still haven’t pulled anything out of it. I divorced myself from my first plan and just started fresh and new without a plan and I knocked it out in one night. Seriously. One night. Done. WTH? It’s like doing taxes. No, no it’s not.
So yes… my first music video. I’m happy with it. I’ll hate it soon enough but for now I’m really glad I dropped my first idea for the edit and went in a different direction with it. Am I going to sell my self as a music video director? Nope. Do I want to do more of these? Absolutely. Yes. Just spoke with a past client last night about another one of these. Hip to the hippity hop!
PS – I won the last GOYA shoot out! I really thought it was going to be Robin (photographer E). I’ll do another post later.
(for a higher quality version of this screencast view the source file here.)
I. Love. Photo Mechanic. End of story. This one program has saved hours and hours of my post production time in the last six months that I’ve been using it. How do I use it? Well, as I state in the screencast above, I only scratch the surface of what it can do but just watch how fast this program is. I can not say enough great things about it. It is available for Mac and PC.
Read below for a $10 discount code on Photo Mechanic!
In this screencast I walk you through my process from start to finish. I have recorded, encoded, uploaded, and ditched this project three times this weekend with the third attempt being my final. Workflow and post production is far from being the funnest and coolest part of our jobs. There is only so much you can say or do to make it the least bit interesting yet it is crucial to our day to day jobs. The more efficient we can be in post production the more time is added to our lives.
Please note that I am not the end all be all workflow guru. Far from it. I do what I do and it works for me. I’m sure many of you are going to leave some comments here teaching me a thing or three about workflow and how I might skim a few more minutes here or there off of my time working with my images. I welcome that. Let this be a conversation about workflow instead of a teaching lesson coming from me.
I want to mention that the Lexar UDMA FW800 card reader I refer to in the video is currently on sale at B&H for $53.99. That sale ends March 6th. That is more than $20 off the retail price! Do yourself a favor and pick up a few of these. You can daisy chain up to four of them per firewire port. I avoided these for a long time due to the price point but now that I’m using them I don’t know how I lived without them. I wish I would have bought them a long, long, time ago.
I also mention my tutorial on shooting on white seamless on this blog post. You can find the begining of that tutorial here if you have not already seen that.
Many of you asked on Twitter about my thoughts on LR 3, Aperture, and archiving. I can answer that quickly here. I have not really looked at LR 3 yet. I’ve read Kelby’s ongoing posts about new features and I’m excited to see it once it goes public … and … a few months after that since there are always bugs to figure out once a large update is released. I’m too busy to test new software, deal with glitches, and throw up my hands to only go back to what I know and wait for the glitches to disappear. I am interested in the new Aperture 3.0 since it can sync libraries between multiple computers. Aperture has always been a resource hog though. Not that LR is anything but 100% efficient but I only have one editing machine I feel could make the most of Aperture and I’m not convinced that I need to convert from LR to Aperture just yet. I know plenty of you use it and love it with a capital LOVE. I get that. Their brushes look far more intuitive than LR’s brushes. I typically can not afford to jump from application to application when I’m not convinced it is what I need. I was happy in bridge until I sat in a two hour workshop covering LR. Once I saw what it was capable of I switched from Bridge to LR. Maybe the same would happen if I attended an Aperture workshop.
As for archiving, I have decided that should be a post of its own.
For more information about the deeper features of Photo Mechanic, check out the great tutorials on PhotoMetaData.org.
I hope you enjoy this screencast more than I did making it. Actually, it was a fun process until I watched the final, uploaded, ready to go versions before this and decided they were far, far, far too boring. I decided it needed 100% more hip hop and down tempo. Side note – I’m now using Affix Music for my soundtrack needs. They are a new music licensing company who specialize in urban and electronic music. Their catalouge is growing and growing. Check them out. Would you all be interested in a discount code with them? Let me know and I’ll see if I can swing one. They are an amazing service!
BTW – Caleb sat next to me on this one and he wants you to tell me in the comment section if it was boring or not.
Photo Mechanic Discount Code ::
All you have to do is ask…. I called the good folks at Camera Bits, makers of Photo Mechanic, and told them I was doing a screencast based on PM and asked if there was some sort of discount they could offer all of you. They were more than willing to give me a code that is good for $10 off the price. You get to pay less than I did! In the name of full disclosure… I’m not getting anything from Camera Bits. This is not an advertisement. I pay for my software.
Call 1 503 547 2800 or email (sales @ camerabits [dot] com) to order and use the code PMzarias. This code is only good for emailed and phoned in orders. They currently do not have a promo code box when simply ordering online. This code is good until March 15th, 2010. (EXPIRED)
PS – I know curves are a great way of dealing with exposure issues but at times, brightness and fill does the job for me. As with all things post production, there are 10 different ways to do the same thing.
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