DXO / NIK Suite

Today is my last full day in Cannes for this year and tiredness has caught up. Luckily I had a few hours this morning to relax before heading out for the amFar event.

Its quite obvious from the work I post here and to instagram (@edwards_photo) that I love to work in black and white. Although my personal “walk around” fuji at home is set to the ACROS film simulation and I therefore shoot in monochrome, whilst working, I have to shoot colour and so use Silver Efex Pro, part of the NIK collection now owned by DXO to convert copies to Black and White. (My shooting style does not change , colour or mono, my images are still very much driven by light and shade).

Silver Efex Pro is included in a suite of products that also includes Colour EFex Pro and Analog Efex Pro. I originally purchased the suite back in the days when it was still owned by NIK (before the days of it being brought by Google, released for free and treated very poorly). Luckily DXO have now taken it on board and are moving forward.

Although I use Silver EFex all the time, I rarely play with the other applications, despite having them all set up as export/edits in my Lightroom.

In my free time this morning I decided to play with the other tools, looking back over some of the images I have taken on the streets of Cannes this year whilst moving between venues.

Combining the tools allows a large number of effects to be added, either subtly or completely over the top.

Filters and the like are scorned on in professional photography circles and of course a severe no-no in the press photography world but it’s always nice to have some creative fun and additional tools in the armoury do not hurt.

Storage

I’m going to make a confession….. I like tech… I like it when I find a new piece of technology that can improve what I deliver to my customers, that speeds up my workflow, that makes nice images or just makes my life better.

Thats not all tech though. My confession is not the liking tech (most photographers do) its that I hate one particular type of tech: Storage! Hard disks! Big, small, fast, slow, firewire, usb, thunderbolt, it does not matter, I find it boring and annoying. Why? Just look at the reasons I gave for loving tech, storage meets none of these. Its just a constant, a necessity that grows year on year, each year needing more space, each year replacing older failing drives, not actually adding value to the business, just providing something that the business cannot do without.

So what has brought on this rant? I have known I was running out of storage space for a while now and I had been trying to work out the best way forward. Then, last week, my OWC Thunderbolt 3 dock failed. Totally. A few exchanged emails and I have sent it back for exchange. A quick visit to Amazon.co.uk and I was working agin, with all 4 thunderbolt ports on my MacBook in use; Power, External SSD, DisplayPort and Ethernet/USB3 and a right mess it looked too. Every time i needed to back up the system, I had to choose which device to remove whilst I plugged in the Time Machine disk.

Back to the storage situation. Most of my storage solutions are LaCie, I like how they look and they use high quality drives internally. I know they are a “marmite” company, with as many swearing at them as those who swear by them. It was whilst browsing their site, thing about how I could expand my storage and backup that I came across the LaCie 2Big Thunderbolt 3 Dock (the name  just trips off the tongue doesn’t it). So I started to re-think my workflow and storage to see it this might be a solution.

My practice has always been, ingest into the local disk on the MacBook, edit there and when complete and delivered drag the folder(s) onto my server based “Library” disk (within Lightroom). The server then runs nightly backups making sure I have 3 copies of everything (a phrase I will never forget and I live by – if you do not have a file 3 times, you do not have it at all). The server is a Mac Mini with USB3 and Firewire connected drives, running Carbon Copy tasks each night to complete the replication. The problem with this solution is some of the jobs I work on are too large for the space on the MacBook disk, so I have to work on an external SSD which in my mind is just too messy. I have never had a large external disk attached to my main working computer, always only as an archival deice on the network.

Old Workflow

The smallest of the Lacie Dock’s features 2 x 4TB drives that can either be RAID0 (striped for speed) or RAID1 (mirrored for redundancy). It also features a daisy-chaining Thunderbolt 3 port, a DisplayPort and card readers, which would mean it could handle most of my devices whilst I was waiting for my OWC to be returned. Much googling and reading later and I came to the conclusion that maybe I could totally change my workflow and for once, invest in a storage solution that I found mildly interesting. The reviews pointed to the LaCie being extremely fast in RAID0 configuration and with 8TB in this format, it would fit my main library and leave masses of “working” space. It’s clear that the target market for this device is video editing and it is not designed as a long term storage solution (especially in RAID0) but if I am fastidious in my backup regime I am pretty sure this is a good solution.

New Workflow

So now I have a very fast Thunderbolt 3 LaCie dock as my main working disk holding the main library also. A single Carbon Copy task wakes up the MacBook overnight to mirror the data to the server with the Carbon Copy Safety Net future enabled to keep all data for 90 days, so even if I delete a file from my working working area, it should be on the server for 90 days. (unless of course I delete it before it’s backed up). The main library is also mirrored to a third disk as before. When working at home, new jobs are ingested straight into the working area on the LaCie, if out then as soon as I get home, they are moved from the MacBook internal drive onto the LaCie. Not only is it providing storage, whilst my OWC dock is being replaced, it is also connecting my MacBook to my 27″ monitor and the ethernet, meaning I am only using 2 of the 4 thunderbolt ports on the MacBook. Its much neater.

I have been running this solution for a week now and so far I am very happy: the speed of the system is great. This morning, having the main library available on a fast disk was a great boon as well: In the run up to the the 20th FrightFest this year, I have been asked to share some of my favourite photos (having covered the event as official photographer for 10 years), being able to go back to an image that is 10 years old, edit it quickly in Lightroom, bring it up to the my latest standards, then share it to social media at the same speed as if I had shot it yesterday was great. Finally a storage solution that makes me smile.

I’ll finish with that 10 year old image. With this being a blog about using Fuji X-Series, I really should not as I was not using Fuji cameras back then as they did not exist! However, the image has made be smile so here is Myleene Klass being attacked by Zombies at Frightfest 2009 (and no – the colours in this image are not as good as the colours we now get from Fuji).

Zombies attack Myleene Klass at the Film 4 Frightfest at The Empire Leicster Square

 

Shooting interiors with the GFX50S

I mentioned in my last post that I had hired a GFX50S for a major interiors photoshoot (well, I’m not sure if I mentioned interiors).

Looking down on myself. BFI Southbank. GFX50S, 32-64/F4

Given that I am mainly a press photographer, you might consider it a bit strange I am shooting interiors, the short line is, I actually started out many years ago shooting and teaching very technical architectural and historical building photography including producing rectified images that could be used for measuring features.

Back to the present day and I have reinstated building photography (well actually venue photography) to help grow my business (new website coming soon).

This led me to using the GFX50S with the 23mm and 32-64mm on a Tripod in the BFI Southbank in the second week of March.

Bar & Restaurant , BFI Southbank. GFX50S, 32-64/F4

Working in mainly performance venues and cinemas, my typical subjects have very bright lights (stage lights and projectors) in very dark rooms (with typically black dark walls). This means a very high luminosity range in most scenes and therefore my go-to method in the past has always been a form of HDR, bracketing all shots and then choosing how I combine them to get the get, most realistic result back at the office.

When I moved over the the X-Series cameras, shooting bracketed series became so much easier. On my old cameras I could set the bracket but I still had to press the shutter for every exposure i.e. Correct exposure, +1, +2, -1, -2 having to count each shutter press, every now and then I got out of sync and had to start again. With the X-Series (and now the GFX) this became so much easier, turn on the bracketing, switch to continuous and a single press fires the 5 shots. So much easier!

I shot the BFI with a mixture of X-T2 and GFX. For the larger auditorium the X-T2 and 14mm was mounted on a correctly set nodal ninja to produce a wide panoramic image (interesting note – although Lightroom has introduced panoramic blending, ptGui still does a better job with more control in my opinion).

NFT1 of BFI Southbank. X-T2, 14mm, Nodal Ninja

I triggered both the GFX and X-T2 using a Pocket Wizard PlusIII with a cable plugged into the 2.5mm socket. One thing to note that although the pocket wizzard can trigger the Autofocus, it is far more reliable to manually focus each shot, making use of the focus peaking to check the DOF. (For panoramas I never refocus, I choose an appropriate aperture and use hyperfocal).

So how is the GFX an improvement over the X-T’s for this work? If we ignore that the fact that the camera is producing bigger images there are 2 key points.

1. Detail. I know this has been covered to death but this camera really does capture all the detail and nuances of the scene in front of it. Even thought the delivered image might be no bigger than a file delivered from an X-T, the detail in even the downsized images still exceeds that rendered by it’s smaller cousins.

2. Dynamic Range. This to me is the real game changer. Scenes where I would still have typically used a second exposure just to add shadow detail, I could just lift the shadows on the GFX files. There really is so much more in the files as the comparison below shows.

Riverfront Upstairs BFI Southbank GFX50S, 23MM, Single RAF vs HDR comparison.

Whilst there are a number of DSLR’s now with around 50MP, offering a similar sized file, what the GFX50 offers with its larger sensor are less tightly packed pixels compared to standard full frame (simplifying it somewhat) . This very visibly leads to better quality pixels, resolving more detail and packing a greater range of light sensitivity, giving greater detail and smoother graduations in colour and light/shadow.

Obviously there are downsides. Autofocus is not fast enough for my press or red carpet work (although I have ideas here). It is expensive (compared to the remainder of the X series, less so it comparing to the high end professional Full Frame Nikons & Canons like the D5 & 1DX). I am going to try the GFX50R next to see how it compares which at it’s lower price point, may be a more viable option (although no vertical grip may make this too much of a compromise).

BFI Southbank GFS50S, Handheld 32-64/F4

So the bottom line, what value will it add to my business? Would it just be improved image quality or are there other benefits? Would these improve my profitability? These are the difficult questions every professional photographer has to consider when new cameras and technology are released.

At the price point, this camera in my mind is without comparison for photographing interiors and I will ensure I price all future work of this nature to enable me to hire this in. In such a technical genre of photography, this camera can feature as a sales point as well as production tool. The same is true for studio based portrait work where again, I will hire it in for the higher-end shoots.

The Riverfront , BFI Southbank. HDR GFS50S, 32-64/F4

At the moment I cannot quite justify adding this system to my owned arsenal but should the pricing change with the introduction of the GFX100 (100MP version), this point of view might change.

If you photograph buildings or landscapes, I highly recommend trying this camera if you have not already.

GFX50S – First Touch for a digital medium format 1st timer.

Next week I have the first of a couple of large interiors architecture shoot. As I was planning the shoot I realised this would be the ideal test bed for the Fujifilm “medium format” GFX50S camera.

Until this week my only experience with medium format is my vintage Rolliflex, so I have never shot with anything other than Full-Frame or APS-C on digital. With this in mind I arranged to hire a GFX with the 23mm and the 32-64mm for a good few days before the shoot. My plan was to carry it with me instead of a little X-T to get the feel of the camera.

The first day I had it I needed to pop up to Gatwick Airport. Shot with the 23mm at F20, ISO800 (Not the ideal settings, I was rushing!!) , this JPG was shot in ACROS. I love the graduations in the greys, which given it is a JPG with it’s limited grey levels is quite an achievement.

I was struggling to find the limits of focusing, reframing and at what speeds I could hand hold the camera. It’s not really that much bigger or heavier than the full frame Nikon’s I used for years but there is a whole different feel (especially where depth of field is concerned) . This is another ISO800 JPG.

(Sorry for mixing colour and monochrome, a big no-no normally).

I’m sure every photographer has a long suffering partner that is asked to pose of “just look up” again and again and again. This RAF was shot hand-held at 1/40th on the 32-64 at 64mm. At 3200ISO and F4, using the Classic Chrome profile in lightroom mobile I love not only the colours and the graduations from light to dark, but also the way the sharpness in the eyes transition to the milky soft out of focus areas.

Its this transition in sharpness that give medium format its “almost 3D” quality.

This final picture was shot this morning, at 1/3000, F9, ISO100. The RAF edited in lightroom mobile has had the Velvia Profile applied and a couple of selective edits. This is only a small version of the image, you will have to take my word on how much detail there is in the wave.

So after a couple of days, what are my initial thoughts?

It’s not as big and as heavy as I thought it would be, its not much worse than say a D800 with a decent lens on it. Of course it is slower than its smaller Fuji cousins but I kind of like that, it reminds me to slow down and this about the shot I’m taking, I cant take 2 or 3 frames at high speed so I have to concentrate on the moment.

I was nicely surprised on how well Lightroom Mobile handled both the JPG and RAF files on my 2018 generation iPad Pro . Sure the previews took a while to build in the photos application import but copying over was fast, as was the ingesting into lightroom and editing.

The only real niggle I have at the moment is a user interface issue. The GFX50S has most of the buttons (in similar places) that the X-T range have. Why then can I not assign the front dial to ISO like on the smaller cameras. I could argue with myself that “well fast use is not what it is designed for, you are probably not going to be following action with the GFX50S up to your eye needing quick adjustments”. This is true, on a tripod or in a studio the top-plate dial is fine but why limit it? It’s only software. Why are these things not more consistent??

I had avoided this camera since its release because I was worried that I would love its image quality, I was right to worry….

More to follow….

Fujinon XF 200mm F2 and the Dancing Queen

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.

XF 200mm F2 with 1.4TC

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.

Conservative Party Conference: 200mm/F2.0 1/125 at 100ISO

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!

Jacob Rees-Mogg: 200mm/F2.0 1/160th at 2500ISO

Jacob Rees-Mogg: 200mm/F2.0 1/125th at 4000ISO.

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.

Liam Fox: 200mm/F2.0 1/250th at 400ISO

The above picture of Liam Fox was taken the more “helpful” light (TV broadcast light) and below is a 1:1 portion.

Liam Fox: 200mm/F2.0 1/250th at 400ISO at 1:1

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.

 

Prime Minister, Theresa May: 200mm/F2.0 1/320th at 1600ISO

Esther McVey: 200mm/F2.0 1/320th at 1250ISO

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.

Philip Hammond: 280mm/F2.8 1/320th at 1600ISO

Boris Johnson: 280mm/F2.8 1/320th at 1250ISO

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.

IN CONCLUSION.

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.

J x

IPad Workflow (Again!) – IOS11 & ShutterSnitch

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.

Julie x

12 Days in Cannes… with the X-H1

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.

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X-H1 / XF100-400

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).

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X-H1 / XF90mm @F2.0

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.

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X-H1 / XF90 @F2.0

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.

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X-H1 / XF56 @F1.2

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.

X-H1 / XF50-140 @F3.2

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).

X-H1 / XF100-400 @F5.6

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.

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X-H1 / XF90 @F2.0

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.

X-H1 / XF16-55 @F3.6 + GODOX FLASH

BOTTOM LINE.

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.

X-H1 / XF90mm @F2.0

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!

X-H1 / XF16-55 @F3.6 + GODOX FLASH

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.

Happy Days