The Fuji X Files

If you have been around the Fujifilm ecosystem for any length of time, you will be well aware of the Lightroom vs Capture One for RAW processing debate. I've looked into this myself in the past here and decided that the dreaded Fuji 'worms' problem with RAF files wasn't so much a Fuji issue as it was an Adobe Lightroom issue. And therein lies the problem. Dorothy Falls , processed in Capture One Pro As an Adobe user myself, I have been loathed to change from Lightroom. I'm used to the UI, and until recently, I liked the results that I have been getting from Lightroom (more on that later). When I looked into the worm issue, I concluded that as long as you didn't oversharpen the files in Lightroom, then you would be fine. But, maybe I was wrong about that? Because recently I decided to test three cameras' image sensors against each other (see that post here ) - the full frame Sony a99, my APS-C Fujifilm X-E2, and an Olympus micro four thirds OM-D E-M5. Much t...

In my last few posts I've been preparing for my 'one lens, one camera' reduction to my photography kit. And finally, after only a few days, the wait is over. My 'new' Fujinon XF23mm f2 R WR arrived - all packaged up in its original box - safe and sound. The image on the left is of the actual lens, purchased off of an NZ Fujifilm Facebook group member (thanks Clint). I think it looks beautiful in all-silver to match my silver and black X-E2, although previously I would probably have been an all-black kinda guy. Having only ever used the XC lenses thus far on my Fujifilm cameras, I was immediately struck by the extra attention to detail on the 23mm f2, as well as the extra heft. Even though the XC16-50mm actually weighs a little more than the 23mm f2 (15 grams more to be exact), the prime ends up feeling a little heavier (or should that be more solid), because of its metal construction. Morning walk, Cobden. Fujifilm X-E2 with Fujinon XF23mm. f5.6 @ 1/750th, ISO 200 ...

In my last post I outlined my move to a one camera, one lens setup with the Fujifilm X-E2 and Fujinon 23mm f2 prime. It hasn't arrived as yet (any day now), but in preparation for when it does, I thought I would go out in the weekend and shoot around my local beach area using just the 23mm setting on my XC16-50mm zoom lens. Cobden Beach Walk . Fujifilm X-E2 with XC16-50mm @ 23mm (35mm fov equivalent) I've said before that I'm not really a prime lens kinda guy - preferring the versatility of a zoom lens over the possible limitations of a fixed lens perspective. And yet, over the years - and seemingly as I get older - I've come to realise that the 'bring everything so you don't miss anyhting' attitude is something of a flawed (and expensive) premise. No matter how much you try, it's simply not possible to cover all your bases so that you're always ready for 'the' shot. And yet people will still try to achieve exactly that. I should know, since...

It's been almost two weeks since my last post - a post where I outlined my likely 'upgrade' path of my X-E2 to the more SLR-styled X-T20. A lot can happen in two weeks - and indeed a lot has happened. More than enough to make me want to change my mind about my last post. Let me explain... Old School House, Okarito. Fujifilm X-E2 with XC16-50mm First, I should say that I don't disagree with anything I wrote in my last post here . I believe every word of it. If I was to 'upgrade' my X-E2 body, I would choose the X-T20 (considering present budget constraints). But I also said in my last post that I am not unhappy with my current X-E2, and that any upgrade was more for firmware/software reasons than any megapixel or performance update. Having established that, if I kept everything exactly as it was and simply swapped out the X-E2 for an X-T20, would I really notice a difference in my images? Seriously? After some fairly serious self-reflection and a very timely yo...

Swans and Cygnets. Fujifilm X-E2 with Fujinon XC50-230mm. f/7 @ 1/2000th I absolutely love using my Fujifilm X-E2. Just like I loved using the X-E1 before it. I'm surprised by how much I enjoy the rangefinder-style ergonomics, especially with the lightweight XC lenses, even though I come from a predominantly SLR camera-style background. That being said, I do prefer to use the X-E2 with an additional grip attached. As well as the thumb rest that attaches to the hotshoe. With these in place, handling is about right for such a small camera. Without them attached, it's just too small - even though I have average sized hands. Since it has a range-finder style body, the evf is off to the left of the camera - instead of in the middle as with SLR style bodies. You would think that this would be a positive - just raise the camera up to your right eye to shoot and the whole left side of your face is free. No nose-smudging of the lcd screen. Unfortunately, I'm left-eye dominant, and ...

I'm quickly getting through the custom film simulations that I have programmed into the seven slots on my Fujifilm X-E2. And so far, so good. Recently on this blog, I've covered my Kodak Ektachrome E100SW recipe in the prime C1 slot, Fuji Acros recipe in C2, Kodak Gold 200 recipe in C7, and my Fuji Velvia film simulation in the C5 slot. That leaves just three to go; two more colour and one monochrome film simulation. Greymouth River. Fuji X-E2 with XC16-50mm + polariser. f/8 @ 1/70th, ISO 200. Agfa Optima In this post I want to look at the film recipe I have programmed into slot C3 - Agfa Optima 200. Agfa Optima 200 was a professional print film produced by Agfa from 1996 to 2005, and was their sharp, fine-grained print film with natural colours and pleasing skin tones. To be honest I never shot a lot of Agfa colour film, but I did shoot a lot of their black and white film back in the day as they were a supplier to school darkrooms across the country. So why do I have an A...

It's my first week of shooting in Jpeg-only with custom film simulations on my Fujifilm X-E2, and I've already completely rearranged my recipes! Cobden Lagoon, early evening . X-E2 with 16-50mm XC. f/8 @ 1/20th, ISO 3200. Velvia recipe In my last post I explained how I've set up the seven custom slots to allow for white balance adjustments for each film recipe. This relies on heavy use of similar film stocks that use the same WB channel adjustments. Mostly, this meant using Kodak film recipes. But when I took a series of test images (again, see last post), I came away feeling that there wasn't enough variance in the final results. All the images looked a bit too similar.  So, I decided to start from scratch, and have now programmed in a whole new set of recipes that are hopefully going to give me a bit more variance between 'looks'. I've kept the first two film simulations from my previous set (Kodak Ektachrome 100SW and Fuji Acros), and have add...

In my last post I discussed 'going 100% Jpeg'. This may sound scary to some photographers for who shooting Raw is almost a religion (and yes, that was me too). It's really only been made possible - for me at least - by shooting with the Fuji custom film simulations (or recipes). Fujifilm expects you to play around with film simulations and create your own - that's what their X-Raw Studio software is all about. Unfortunately, my X-E2 is not compatible with X-Raw Studio (I presume it only works for X-Trans III sensors and above?). Fortunately, others have done the hard work for me already, and there are a plethora of film simulations on-line to choose from (check out the amazing Fuji X Weekly blog). All sorts of parameters can be tweaked to create a 'look' you're after; from highlight and shadow tone, to sharpness and colour - and even grain and clarity on the latest Fuji camera models (alas, again, not my X-E2!) To get the very best out of these ...

Yeah, I know - the Jpeg vs Raw debate is about as old as Canon vs Nikon - and about as interesting (not). Any photographer worth their salt will tell you that you should only ever shoot in Raw, and if you absolutely HAVE to have a Jpeg (for some bizarre reason), then shoot in Raw + Jpeg (and then throw the Jpeg away). I'm one of those photographers, to be honest. I've pretty much only ever shot in Raw since picking up my Nikon D70 sixteen years ago, and have never really understood the Raw + Jpeg argument. If you've shot Raw, what on earth would you need the (inferior) Jpeg for? Ok - maybe sports photographers had a case for shooting jpeg once upon a time (when cards were measured in Megabytes and not Gigs). But for 99.99% of the rest of us, just shoot Raw. Job done. But... (isn't there always a but)... more recently - and I mean only in the last few years - the allure of shooting Jpeg-only has been brewing. More and more 'serious' photographers ...

Every year, a group of men from my local anglican church in Cobden, go away to Okarito for a 'mens weekend'. This usually involves lots of fishing (for trout and whitebait), lots of walking (around the lagoon and up to the Okarito Trig Lookout) and lots of cards (500 seems to be the card game of choice). I've only been once before, six years ago, so I thought it was high time I went away again. And of course, my focus (excuse the pun) was always going to be on one thing only - photography. Okarito Boat Shed at pre Dawn. Fuji X-E2 with Fujinon XC 16-50mm. F/11 @ 6 secs, ISO 200. To get away for a whole weekend, no other pressures or concerns, to concentrate 100% on photography is practically unheard of - for me at least. And an amazing luxury. So I was determined to make the most of the opportunity. Unfortunately, the long-range forecast one week out didn't look promising. There was, in fact, Civil Defence rain warnings in place, especially for the Fr...