Lens in the Bag

One of the most annoying questions I see (almost every day) posted in Facebook groups and the like are “what lens should I buy next”, often with very little explanation. (I am willing to accept that this is my issue and lack of tolerance).

With this question in mind, this post is a run-through of the lenses I took to Cannes along with quick explanations of how I used them along with samples.

This is the list of lenses I used and image count of each from this years Cannes folder (taken from Lightroom)

Tackling that list in order, I start with the workhorse; the 16-55/F2.8 Of all the lenses, this is the lens that is probably of most use in general purpose photography. From a wide angle through to a slight telephoto (full frame equivalence of approximately 24-70), it is suitable for almost everything and should (almost) be the starting point for any kit bag.

In Cannes, my main use of this lens is on the Red Carpet, mounted on a X-T3 with the V1 flash fitted for shooting the full-length fashion type images as well as half-length portraits.

16-55 @ approx 16mm / F3.5
16-55 @ approx 32mm / F2.8
16-55 @ approx 52mm / F3.5

At the start of the week, I experimented using the 27mm pancake lens on the Red Carpet – mostly I use it as a camera body cap and walk-around lens. The way it deals with light coming directly into the lens (flare control) means it was not really suitable on the carpet or at gigs

27mm @ F3.6

Both of these lenses are perfectly good and produce nice contrast images (if you set your camera up appropriately) but for me, they show up the limitation of using an APS-C sensor, there is a limitation on getting a shallow depth of field. For this reason my two really favourite lens are the 56mm/F1.2 & the 90mm/F2 . I use both of these in a similar way.

The 56 is a great portrait lens, the distances involved on the Red Carpet means I usually create 3 quarter or half-length images with it, always shooting wide open. After all there is no point using a nice fast lens and then not making use of the shallower depth-of-field.

56mm @ F1.2

The 90mm I use in the same way, just tighter images (normally on the X-T2 body as the focal length leads to the images rarely needing much cropping). One thing I will say is the 90mm does seem to produce richer images than the 56.

90mm @ F2

The 50-140 telephoto lens is another real workhorse lens, enabling me to get fairly tight portraits when the subjects are at a closer range or full-length group shots up on the staircase. I think (on my X-T3’s with grips) that this lens handles fantastically, the zoom ring is lovely and smooth.

50-140mm @111mm / F2.8
50-140mm @140mm / F2.8

Because of distances, crowds, my love of tight portraits and less posed images, my 100-400 is my second most used lens (after the 16-55). With it I can shoot the talent in the crowds at the head of the carpet, create really tight and personal looking portraits on the carpet as well as head-shots up the stairs.

100-400mm @400mm / F5.6
100-400mm @400mm / F5.6
100-400mm @234mm / F5
100-400mm @190mm / F5

Hope this post gives a little insight on how my use of lenses helps to create different images and gives me more creative options.

Next week I will write my guide to back restorative exercises needed after carrying them all around for 2 weeks. Actually I will probably write about the GFX50R which I purchased last winter during the lockdown with the prime aim of shooting more landscapes (and for use in the studio shooting portraits).

Happy Shooting. J

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.


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

Working: Gig Photography

I’m still working on the White Balance post; so much I want to cover in it, I will probably have to split it into two.

To keep the blog rolling though, here is a quick look at my work last night. I was at the Brighton Dome to cover City and Colour with Lucy Rose as the support.

Browsing around the inter-web as we do I come across lots of discussions about “Can’t use this camera for so-and-so”, “thats the wrong lens for that”, quite often with no follow up argument (yes trolls). Quite often the discussions are about using Fujis in low light or in Gig situations.

Last night I started with the 16-55/2.8 & 50-140/2.8 “Red Label” lenses getting the basic shots, for the 3rd song I switched to the 56/1.2 basically because I had not used it in a darkish gig and wanted to see what I could get…

Lucy Rose plays Brighton Dome on 18/02/2016. Picture by Julie Edwards.  X-T1, ISO800, 1/180th @ F1.2, Astia Simulation

Lucy Rose plays Brighton Dome on 18/02/2016. Picture by Julie Edwards.
X-T1, ISO800, 1/180th @ F1.2, Astia Simulation

Making Waves

If I see another 10 Stop, dreamy, long exposure seascape I’m going to scream! It’s been done! Move on! Try something new!

Well this is the antidote to that, the anti-long exposure seascape.

From my last post (and if you have looked at any of my previous work on my website) you will see I photograph a lot with shallow depth of field. In fact I probably do it too much. At WOMAD I was playing with the 56mm wide open (F1.2) in the bright sun. I thought I needed to play with it more, to see what was possible, maybe I could use it in other circumstances, so, I did what I always do when I want to test and play, I headed to the beach. Of course it helps I live 2 minutes walk from the sea but it does mean I end up with far too many photographs of seaguls and kite-boarders (testing focus tracking) and seacapes (well, because thats where I live).

The tide was comming in and the waves were breaking quite nicely. Set the ISO to 400, Aperture Priority and F1.2.

Full frame:

Worthing Sea: X-1T, 56mm, F1.2 @ 1/32000

1:1 Crop:

1:1 Crop from Centre (and rotated)

Look at the patterns, the droplets and overall the detail! I’ve of course photographed waves breaking at fast shutter speeds butnever this fast! The electronic shutter opens up new possiblites that was only possible using flash in the past. I’m sure that the speed effects themselves are going to add much to my day-to-day work in itself however the fact that I can now shoot wide open at almost any time without filters is a huge benefit.

As for the anti-long exposure seascape? I love something about this; just the single groyne post sharp. Even Classic-Chrome has it’s use sometimes….

Breaking Waves: X-1T, 56mm/F1.2 @ 1/15000, Classic Chrome