On Tuesday 13th November a large group of predominantly female professionals from the world of Photojournalism gathered in London for the very well attended “Women In focus”, hosted by Reuters and International Center of Photographyat The Ned.
From the August Bank Holiday with Frightfest through to the start of October via the Liberal Democrats and Labour to the Conservatives is always a ridiculously busy time for me.
The final week always catches up with me but at least this year I had something to smile about, the loan of the latest “big” lens from Fuji, the XF200/F2. The images below are not the most exciting or even (depending on your political viewpoint), the most lovable, but these were my subjects for the week and as I always use images from my every day work in the real world of press photography, these are all I have.
Let’s start with some things this lens is not… It is NOT a walk around lens (despite being on my shoulder for the best part of 4 days).. It is not a subtle lens (its BIG and light in colour unlike all the other black Fuji lens) … It is not just a sports lens (as I have heard quoted) … It is not cheap (with a list price of approximately £5400.00) … Bottom line.. it is not your typical mirrorless camera lens…..
That’s the negativity out of the way…
So what is this lens? In short.. It’s BIG … It’s smooth (to focus) … It’s quiet … It’s snappy … The Aperture ring feels lovely … It feels worth every penny of that price tag … every penny (if you will use it often enough to justify it).
My original plan was to keep the lens locked away when walking around the conference venue, only taking out to use in the main halls but once I had shot a few frames out and about including at an Anti-BREXIT demonstration and taken a look at the images, it stayed on my (protesting) shoulder all the time.
This meant I was walking around with 3 X-T2’s loaded with a 16-55/2.8, the 50-140/2.8 and the 200/2.0. As it was pointed out to me multiple times over the past few weeks, “what was the point of saving weight by switching to mirrorless if you just carry more kit”. They had a point. Of course the key is, at no point did I need to switch lenses, I traveled with 3 bodies, 3 lenses, job done.
The configuration 200mm F2.0 has quite a history with both Canon and Nikon having versions going back to the 1980’s which are often still raved about by photographers that have used them (in fact Canon had a 200/1.8). One Nikon shooter commented to me “I’ve never thought of that, putting a 200mm on a crop body to make a 300/F2” … That is, in a nutshell, the point of this lens. On the crop body of an X-T or XPro , the result is the equivalent field of view and depth of field of a 300/2.8, but letting in the amount of light of an F2! In low or difficult light situations it’s wonderful!
The above pictures of Jacob Rees-Mogg were taken in very low light (particularly the second one), in a smaller fringe event off of the main conference. I had absolutely no problems focusing or hand-holding the lens in this light.
The above picture of Liam Fox was taken the more “helpful” light (TV broadcast light) and below is a 1:1 portion.
In the hall, having the additional 2 – 3+ stops of light over my usual XF100-400 enabled nice, bright images at a lower ISO than I would normally use, giving me the confidence to send initial images direct from the camera, via shuttersnitch on the iPhone, without editing.
I love the depth of field of these images, although the Theresa May image probably shows I should have used the Facial Recognition option more (when I did use it, it worked well), as well as AF-C.
The product image at the start of this piece showed the lens along with the 1.4TC which was included in the package. Adding this to the lens (a smooth and easy fit, a change I was able to complete somewhat quicker than I am able to fit the 1.4TC to my XF100-400), increases the focal length to 280mm, a Full Frame equivalent of 420mm, although sacrificing some light. Mind you a 400/F2.8 is a very useful lens and as there is very little drop in sharpness, its a very usable package.
All of the images above are edited as I sent them from the conference, mostly with the middle of the tone-curve lifted, a bit of clarity added and black/white levels adjusted. The lens is not only sharp but it felt like it was one of the more contrasty of the Fuji line up, producing punchy images and nice colours. In the main hall images, with a screen behind the speakers, fringing is visible but not at an alarming level and nothing that could not be reduced in Adobe Camera Raw/Lightroom.
This lens is an amazing addition to the Fuji line-up and I feel shows a huge commitment, not just to the large main markets but also to the more specialist, lower grossing markets such as press, sports and wildlife.
At the moment I don’t have the capital nor the justification to purchase my own, if I could, I would not hesitate. However you will see me using this lens again, when the task at hand suits it, as soon as it’s available for hire… It’s a brilliant lens and I would not hesitate to recommend it.
In July two of my assignments were covering President Donald Trump meeting our Prime Minister Theresa May and then two days later, The Queen.
It was no surprise that on such high level jobs, that most (if not all) the other photographers were using the traditional press photographer kit of “Nikcanon” with 400/500mm glass – big heavy kit…
I travel on my bike.. 2- X-T2’s a 16-55mm, 50-140mm and the trusty 100-400mm – the lens that I knew would be the workhorse for these two events… So thats 2 bodies and 24mm – 600mm equivalent..
Being lightweight and easy to transport though does not mean a thing if the kit does not do the job…
The 100-400mm is a stellar lens, it’s pretty quick to focus, handles well on an X-T body with a grip attached (it’s very unbalanced on bodies without the grip) and the impressive OIS means I rarely need to reach for a monopod to keep it all steady.
The event at Windsor Castle was covered by a limited number of UK photographers (plus a few of the US press corp) in strategic positions, with pictures going out worldwide. Being one of a few photographers to cover such a major event always adds a further level of stress meaning that the kit just has to work, you really have no time to worry about it…
So how did it go?
Versions of this image (by other photographers & I) are probably the most widely reproduced of these events..
For a wider selection of images from both events see here…
The kit, as always just did what I asked.. Hopefully what I asked of it were the right questions….
Due to an overwhelming number of requests, here is more detailed guide of using ShutterSnitch with Fujifilm X-Series Cameras.
This is probably my most information-laden post to date. There is a lot of information here as it details configuration of the camera and software taking the image from the camera to the client via ShutterSnitch.
I am going to ignore SD card import as when use the SD Card I tend to move the images though Lightroom Mobile before transmitting via ShutterSnitch (so joining this workflow at the point of adding the metadata and transmitting).
Previously ShutterSnitch was heavily based on Actions (a series of actions carried out on an image either upon receipt of the image or by user action). With the addition of the Image Adjustment and Metadata Editing add-ons (accessible from the options menu), my use of the software has shifted slightly.
‘Snitch can connect to the x-Series cameras to receive images exactly the same way as the Fuji app, with both Push from Camera and Browse and Download both being available via the Camera WiFi button. In addition the app can also serve as a tether server, receiving images directly from the camera as they are shot. As I have covered the standard WiFi functionality in the past here, I will step through the tether setup quickly.
In ShutterSnitch, ensure support for Fujifilm WiFi is enabled, accepting only jpgs.
Whilst in the settings, it may also be a good time to look at your jpg compression settings (for resizing & sending).
Next to set up the camera. Tethering is where the iPad really works. Enable the hotspot and connect the camera to this hotspot through the connection settings. It is not the simplest and will probably require a couple of attempts (apologies for the poor images – they were taken with the phone whilst on a train):
Note in the image above how the Resize for SmartPhone 3M is turned off. This setting has been responsible for a great many queries on “my images are small” (I’ll be honest, I have also sent smaller than planned images to Picture Desks also).
To connect to the iPad you will need to use the Manual Setup option, waiting for the Camara to find the Wireless HotSpot.
Once setup it is easy to flip between the normal mode of saving images to the card (PC Shoot Mode – Off) , or tethered to the iPad (PC Shoot Mode – Wireless Fixed). Remember, the app will only connect to a camera when in a Collection. The small LED on the camera will indicate the state of the tether:
With the app in a collection and PC Shoot Mode set, the LED should flash red, then amber as it looked for the app, finally flashing Green when ready.
Note: The camera will switch to a single shot mode when tethering – CL & CH modes are not supported.
All of the information I have seen suggest that in Tethered mode all images are sent to the host application and none remain on the card. My findings point to that being true on an X-T2 with no battery grip. However (and this is a key feature for me), with a battery grip and the camera sent to record both RAW & JPG with Save Data Setup set to RAW / JPEG (ie. RAW images to slot 1 and JPG to slot 2), the JPG images are sent to the iPAD whilst the RAW images remain on card 1. This enables me to do a quick edit and send from the JPG’s on location, with the safety of being to go back over the RAW images when I have time for a more considered edit at the office.
Finally the images are on their way to ShutterSnitch but what now?
This is where Actions may first be applied. Before you enter your collection, from the Options menu, Select Actions and decide what the app will do with every image as it receives it.
My workflow here assigns basic Metadata for the images I’m shooting. I create my basic metadata in PhotoMechanic on my Mac, saving it to a transfer folder on Dropbox. Moving to Dropbox on the iPad, select the relevant file and then the Export option picking Copy to ShutterSnitch (you may need to enable that in the sharing … More )
And create an Update Metadata Action (note can also save as a Metadata Editor Preset for later):
Title the Action, double check the Metadata and back to Tasks to save.
Moving the pointer to this task will ensure it is run on every image as recieved.
As stated above, switch to a collection and the camera (in tether mode) should find the app. If using the traditional WiFi connection, Start the WiFi on the camera and connect the iPad to the camera’s hotspot before moving to the collection – as you move you will be prompted wether to Browse and Download or Push from Camera.
Images will appear, with Jump to New Images enabled (button at the right end of the filmstrip), the latest image will show. The description may or may not be displayed depending on a setting in the main options.
Once loaded the image may be edited with the Image Adjustments add-in, accessed from the top title bar.
Most of the adjustments are obvious- one interesting aspect is the crop/zoom at the top. The usual iOS interface of using 2 fingers to zoom and pan the image work here – if in zoom mode, it is the standard zooming in and out to check the image, in crop mode, the image is being cropped as displayed. The aspect ratio may be selected from the lower right.
A useful shortcut when cropping is the 2-finger double-tap – this will rotate the image back straight (well as straight as you took it), i.e. zero rotation, leaving the zoom as it is.
The Metadata add-in is also selected from the Titlebar.
Again, this is mostly self evident. The buttons under the image enable moving from image to image as well as filtering the images and tagging the current.
The buttons under the data are:
- Apply Preset (either created earlier as discussed as above or from the current data)
- Choose which fields should be displayed and in which order (move the most import data to the top).
- Revert to original Metadata.
- Copy MetaData
- Paste Metadata
If I am working on a very urgent job, I send images individually as I edit them and I have a specific action for this. Otherwise I send in a batch, using Colour Tags and filters to display my selection for sending.
Pressing the standard iOS share button on the title bar enables the selection of images for the action.
One of my favorite features here is the select all following option, I select the 1st image of my set to send, then press the select all following to select the the rest.
Pressing the actions (cog) icon on the titlebar displays the available actions. The key here is just to press the action you need, DO NOT move the pointer as this will select the action to be run upon image import!
I have a number of export actions which work in different ways depending on the recipient.
They are all similar, renaming the file using the collection name and then sending to a particular outlet.
Note the Pre-Process option under the Export Location, this enables the resizing of images to suit the use (compression settings are in the main options as mentioned above).
As well as the image delivery action for clients, you will see I have archiveactions which copy the images to a folder in dropbox for me to add to my main Lightroom catalog back in the office.
While the editing and captioning tools are not as comprehensive as say the combination of PhotoMechanic and Lightroom/Photoshop , this workflow does provide a very workable and light-weight way to process and transmit images very quickly.
As ever, I hope it makes sense. Any question, please comment below 🙂
The next posts will feature my thoughts on the 27mm Pancake lens on both the X-T1 and X-T2 and long term thoughts on the 100-400 with the 1.4 converter.
It’s been a while since my last iPad (Pro) workflow post and I thought it was time to share how it’s changed and how I have moved on.
This time last year I posted how I was using the iPad for all of my editing, captioning and sending from out on location, I detailed how well it was working at Cannes 2017. Then something changed. Specifically IOS11 came along.
IOS 11 was touted as the great update that will make the iPad a real contender for replacing the laptop (which I had already done), it would make running multiple programs easier, moving information from one app to another would be easy. Yep – this was the “update we were waiting for”. So in September/ October last year I installed it… and the crashes started… I assumed it was Lightroom not updated for 11 so I waited for an update.. then I assumed that maybe IOS11 did not like my SD reader so I got the new and latest. Still it crashed, still it would not read JPG images off of the SD card.
Finally I gave in and went back to an Apple Store “Genius”, showed them the crashing. They got out a brand new empty iPAD Pro with IOS11. Again crashed reading the JPG’s. Dug around and found an iPAD in stock with IOS10 installed. Bingo, 900 JPG images imported no problem. Back to IOS11 – crash! SO they replaced my iPAD with the “new” one running IOS10.
This replacement worked for a couple of days, until it decided not to allow me to connect to the mobile network unless I updated to IOS11 – It seems once your account has updated to the latest OS there is no way back.
So here I was, left with a £900.00, powerful, fantastic device that would not pull more than 156 Fuji JPG images from an SD card.
The problem was reported to Apple back in November 2017. If you want my support case number, it’s 100365002050 its been open since then. My support engineer (yes I have an assigned engineer at apple), whom I contact after every update to let him know that I have tested it again and its still not fixed. No still not fixed after Apple have logged in and connected to my iPad 3 times. They have had the files that I am trying to import, the crash dump files from my iPAD, a video showing the crash. They have acknowledged the problem, my engineer is very pleasant but the bottom line is 6 months later and my iPAD will still only import 156 JPG images from an SD card (RAW / RAF files are fine).
My iPad is not totally useless though, I did write this on it. Actually its not that bad – I still use it when traveling for non-urgent work where I would work in RAW and I also use it for smaller news jobs where I will be importing less than 150 images or where I will be using WiFi to transfer the images.
ShutterSnitch is still my main stay here. With this simple switch to enable the Fuji WiFi on the app, I can either connect as normal and transfer selected images or I can wirelessly tether to the iPad and transfer every jpg as it’s taken.
The images import into a collection where I can edit them using the recent in-app-purchase of image adjustment to do basic crops and corrections.
I can apply a metadata preset and edit meta data using the Metadata Editor in-app-purchase
Before exporting via FTP or Dropbox to wherever I need them.
ShutterSnitch has come a long way over the past few months meaning for live news work, it is now a one-stop-shop. (So I no longer have to work with the unsupported PicturePro) .
I am more than happy to do a detailed review and technical post on ShutterSnitch if anyone is interested – let me know if you do!
As I am just finishing this post, Adobe Lightroom Mobile has just been updated, my initial look indicates its almost there in terms of capabilities now – cloning and custom presets are supported! I’ll look at this in a future post also. Let me know what you would like to know about first!
I look forward to your comments.
May brings the annual Cannes Film Festival, it’s a tough job (no really, it is!) but someone has to do it!
Last year I was just switching to the X-T2’s and shot the festival on a mixture of X-T1’s and X-T2’s, sometimes teamed with a borrowed 90mm/F2. This year I was offered the chance of the X-H1 and I thought that the un-stabilised 90mm would be the perfect partner for testing.
That left me traveling to the south of France for 2 weeks with 2 X-T2’s, an X-H1, a 16-55, 50-140, 100-400, 56 and 90mm, plus the usual collection of flashes, batteries, cards and laptop. It’s a wonder there was room for clothes (don’t worry – there was!).
Unpacking the X-H for the first time, it feels bigger, more chunky and heavier than the X-T but putting them alongside each other shows that the actual size difference is quite small. At first the shape is quite alien; the grips are more pronounced, there is a top LCD, the shutter button is quite a way forward (and has a very light touch).
The menus are *mostly* the same however it took me quite a time to set up the buttons how I like them. The main issue was with the front dial, I usually have this set to switch between ISO selection and exposure compensation but the compensation is handled in a totally different way now – having no dial (the LCD is in the same location as this dial is on the X-T), instead exposure compensation is adjusted with its own button a-la DSLR. Pressing this button allows the compensation to be adjusted on the rear dial. The front dial can be assigned multiple functions (I think the idea is that you press down to switch), but the only way I could get it working how I like was to assign both functions to ISO.
Whilst on the subject of menus, the connection set-up is also very different with the camera also supporting Bluetooth. In the end I did not use the WiFi connections at all as I just did not have time to “play” and understand them.
Apart from that I was able to configure the camera the same as my X-T’s (it would be so nice to be able to use SD cards to transfer settings between cameras). Film simulations, white balance etc etc are all handled the same and as the sensor / processor are the same as the X-T, image look, feel and quality is identical.
Once in Cannes it started to become apparent the real difference with this camera compared to the X-T’s is speed! It is much more like how I remember a DSLR to be. Mounting the 100-400 to shoot tight headshots the focusing felt far more snappy, in fact with all the lenses, just in general, the camera felt quicker to use… The bigger, heavier lenses I tend to use felt more balanced on it, it was nicer to hold – especially when not shooting (I know, that sounds silly but I have a habit of hanging my cameras from my finger tips when walking or waiting – the bigger grips made this easier and more comfortable). The lighter shutter is nice but when using in conjunction with an X-T I did find I was making accidental shots.
In use on the first day, being unused to the button layout, somehow I managed to switch the image size down from max to 2000×2000 px. I can’t remember the size on the menu but the pixel size is ingrained on my brain after the panic when I got back to edit. Now no doubt this was my inexperience with the camera, but, I have been using Fuji’s for a long-long time, in high pressure situations, using both new and old cameras together and I have never managed this before. I was shooting jpg/jpg so there was even no going back to the raw. Luckily this was only one of three cameras I was using at the time, it had the 90mm mounted and I was shooting the “arty” stuff so it was the camera with the least important images (in theory). It also meant on this camera I was being very particular with composition etc. Luckily every image I liked did not need any cropping and could be sent out as it was shot (well, probably with some exposure tweaks and curves).
The rest of the time it did everything I asked. I shot slow with rear-sync to use the in-body stabilisation, I tried all of the lenses I had with me. It just worked. As the festival carried on I found myself reaching for this body before either of my X-T’s, it did feel better in the hand (despite my initial worries).
The add-on battery grip also has the more pronounced shape and with it’s two batteries I found it lasted most of the day, although it still suffers from what seems like inaccurate battery condition indicators. Having these on the top panel LCD though is a huge improvement, being able to see the (supposed) battery condition without turning the camera on and either looking at the LCD or EVF is much better. I still find the grip on this (and most other grips) poorly designed. Hanging it just off of the tripod mount screw without any other mechanical lock (apart from alignment spigots) just seems inadequate. They always work loose over the day, especially if the camera is being used in the portrait orientation. Why a small hook type spigot (I.e. push in and slide along to align) cannot be designed in to aid the screw I do not know.
Whilst mentioning the EVF I should mention the new Natural Live View. For the first day or so I was trying to understand why the X-H1 was not showing me the full film simulation as well as the exposure and white balance, it was previewing the exposure but the display looked very natural, far more natural than I was used to. DOH! Once I remembered about and disabled the Natural Live View, the EVF matched the X-T. This new mode is great but being able to see exactly what I am about to record to the memory card is one of my main loves about the Fuji. Undoubtedly the new mode gives a great view, being very natural and flowing and much more like an optical finder but once I had realised, I disabled it and did not go back. If I was using just the X-H1 or not trying to match the look and feel of what I was shooting between cameras maybe I would have stuck with it. I’m sure those switching to mirrorless from SLR’s will find this much easier to get used to.
This camera is another great step forward. The more I think about it the more impressed I am with it. Mixing it with X-T’s is a bit of an issue, so if I were to change I would need to change all three cameras at once.
From an X-T1 it’s a huge step forward and I think the transition to mirrorless from DSLR will be far easier if the mirrorless is the X-H.
For me? trading up from the X-T2’s? For the sort of work I do there is no doubt it is a great step forward again but I’m not sure its worth the financial hit this year. As I have said before I work carefully within a cycle where every new piece of kit and upgrade has to justify itself financially. The X-H will do everything I am doing now, faster but it won’t do anything new, I can’t see it enabling me to get shots I would not get without it. If I did video however, it would be a totally different matter!
That said, I am feeling really good about the (what was a risky) choice a few years ago when I made the switch to Fuji. This camera is very very good and there may well be something better when my next upgrade cycle comes around. In the meantime the lens roadmap looks great also.
Here is a small selection of monochrome images that I produced at the festival.
As soon as I say this I will be corrected “but I was able to do HSS with Cactus and …. ” etc etc. So let me clarify.
“At last we have a flash system for our Fuji X-Series cameras that scales easily from quick snaps with on-camera flash with TTL to a full system for location or studio with High Speed shutter Sync”
I’ve been working with the system for about 6 weeks now and I’m happy.
Firstly, the important stuff, the colour temperature of all the lights seems fairly constant. They are stated to be 5600k but I have found on the X-T2 with no tweaks this is a little orange and needs pulling back slightly. If shooting with a WB card they come out at about 5500 and a tweak…
The TTL is also, again, consistent and much in line with what the Nikon SB900 / SB800 used to offer on my old Nikon systems.
The system I have put together consists of:
- 2 x AD200
- XT-32 (manual only)
- Canon off camera TTL flash cable (I state this to clarify what is needed)
- Also the Canon XS – cable is the one you need to connect to a ProPak 960.
First things first.
I unpacked the 685, AD200 and XT-F on the same day and the first issue was firmware updates for the AD200 and AD600 to enable them to support the Fuji’s fully. This is not the easiest task with two different firmware loaders required (G1 or G2) – one to update the AD600 and another for the AD200. Another issue is the firmware uploader(s) only work on Windows based systems, which, as a Mac user made life really difficult as I could not even get the software to work on a parallels virtual machine. In the end had to resort to my partners windows laptop. Also note that the firmware(s) are very model specific – particularly the AD600 vs AD600M, these are not interchangeable as I found out!
Setting Up / Using.
As with most other systems, the control signals are sent out on one of 32 channels (1-32) so the first stage is to set all of the units (flashes and controllers) to the same channel.
- X1T-F: There is a button marked CH, press this and rotate the dial.
- AD200: Hold down the GR/CH button until the channel number flashes. Rotate the dial
- TT685: Press the Right-hand most button to enable one of the wireless modes and then one of the centre buttons is labeled CH, press this and rotate the dial.
Next are the Groups. This is a way of enabling the trigger to fire multiple flash heads at different flash values. Setting a number of flashes to the same group will ensure they fire at the same setting. Setting flashes to different groups enables them to be fired at different settings (i.e. manual power, a TL ratio or turned off). As at the moment I have 4 lights, I have set each light to a different group to allow them all to be controlled individually from the trigger.
- Group A: AD200
- Group B: AD200
- Group C: AD600
- Group D: TT685
The 2 AD200’s are on the first two groups as these are the most used off-camera units. The AD600 is on Group C as the trigger in the TT685 can only control Groups A to C (+ itself). The X1T can control groups A through E. All of my units have a letter on them to remind me of their setting.
Once set, the output value on each flash may be set on the X1T trigger.
- Use the dial control to select (underline) the group to adjust.
- Use the Mode button to cycle between the modes: TTL, Manual Power, Off (–)
- Press the GRoup button to select the group and with its value flashing, use the dial to adjust the output power (or TTL ratio). Press the GRoup button again to confirm the setting.
The day I unpacked the units I had a photocall in the evening, a BBC photocall in a hotel for the new Dr Foster series. Biting the bullet, I took an AD200 (with the fresnel head), TT685 & X1T-F (after full testing obviously). My initial setup was to use a single camera with the X1T firing both flashes (mainly because I had not tried or tested using the TT685 as a controller). Having a bit of time to spare before the talent arrived, I was able to work out using the TT685 as a controller and so ended up with the “long” camera for headshots firing only the AD200 and the “standard” camera firing the AD200 & the camera-mounted TT885 for fill in.
The really nice thing was having the AD200 fire at totally different values from one camera to another as I swapped between them (with no further input).
In anger at Frightfest.
At the end of August it was my annual trip to Frightfest in London. I have been photographing the event for the organisers for 7 years now and a few years back we added live social media from the red carpet (using the iPad workflow).
The festival runs over 5 days during during which I shot 41 separate “red carpet” photocalls. The setup was again an AD200 (this time with a standard reflector over the open bulb) with the TT685 for fill-in (and controller). The units were set to TTL (+0.7 & +0.3 to compensate for the white step & repeat board) and worked flawlessly for the many thousands of shots over the 5 days.
I altered the direction of the shadows by moving & turning the subjects – i.e. more straight on and flattering for the women, turning away from the light for harsher shadows on the men. (easier to do when you co-run the media wall and so are able to fully direct it). The battery life of the AD200 was good, lasting a full day with an overnight charge and both units kept up with the 5fps, 3 frame burst I tend to shoot.
One other thing I had not tried with the XT-2’s until this weekend was the additional sync mode’s, the flash control screen allows HSS, front curtain and rear curtain. HSS as I have mentioned before, allows better control of the ambient light whereas the two “curtain” modes control when the flash fires in relation to the shutter opening. Front curtain fires the flash as the shutter opens, freezing any action at this point and if the shutter is open long enough, leaves a trail of any moving object away FROM the frozen object. Rear curtain is the opposite, firing the flash at the end of the cycle so that the blurring leads TO the frozen object. I played with this a bit at night… using Rear curtain to capture “Frightfest Ghosts” moving through the foyer.
When writing an article like this, it is so easy to miss points out but hopefully that gives you a good idea of how capable the Godox units are when used with Fuji system. Please ask any questions below via the comments and I will do my best to answer them all.