A slight intrusion into the workflow posts because the number of posts I have seen with this “loosing their soul” comment is making me smile. I do wonder why people are so blinkered nowadays and feel that “change is bad” or “this works for me so I cannot see why it does not work for everyone”
Top View X-H2S
The thing that has upset everyone is the change in the top-plate dials. Gone are the separate shutter speed and iso dials and in their place, a PSAM dial & secondary display.
As you readers know, I’m a press photographer – I drive my cameras hard and need to change settings fast all of the time (I say this just to hilight I am not a studio photographer where the settings on the camera can be stable for the whole shoot).
I switched to Fuji with the X-T1 for work because I loved the colours in the images, the lightness and it was obvious that mirrorless was the way forward. I also loved the look, the feel and the dials – especially the aperture ring but to be honest – wonderful as these dials are – they are just not fast enough – in my world i need to be able to change the settings – all the settings – without removing the camera from the eye. My current X-T3’s are both set with the ISO on’A’ (so it can be adjusted with the front command dial) and the Shutter on ‘T’ (rear command dial), with the aperture on the lens ring.
If you are designing a camera that is all about speed (X-H2S – the clue is in the S) then having the default way of using to be the way I have my X-T’s set up makes sense, in which case, from a designers point of view, (logically speaking) what is the point of the dials? If the dials are of no use, then why have them? It’s just another possible location of a water ingress or other failure. Lets use that space for something else (when I used the X-H1 I loved being able see the state of the batteries without turning the camera on).
So have they lost their soul? Have Fuji abandoned their roots? I will argue no. My argument is not based on the dials, not based on going after financial rewards or entering difficult markets, it’s based on one fact.
The camera features a 26.1MP BSI X-Trans 5 stacked sensor. Not a bayer sensor, an X-Trans sensor! Its the sensor that is responsible for the look of the images that Fuji produce that we love so much, and having that sensor in this camera indicates, to me, that Fuji has without doubt not changed it’s path. The image is everything.
This is a professionals camera, a tool, that enables Fuji to operate in a market that it was not able to. We have to remember that the camera interface is just like everything else in the world. One size does not fit all.
I’m sitting here writing this the Thursday after Glastonbury and (just about) starting to get over COVID (It hit me hard on the Tuesday evening after testing negative on the Monday, I tested positive on the Wednesday morning).
We had arrived at Glastonbury a week ago to this wonderful (not) notice.
Closed pits for all headliners as displayed in the press tent
This was a first and to be honest, although we expected a couple of closed headliner pits, we did not expect all of them to be closed. I think this tainted my experience of the whole weekend.
The wording there is fairly specific “closed pit” not “no photography” so my colleague and I headed out into the crowd at the end of Sam Fender’s set and took up a position. The Fuji’s with the 100-400 are quite easy when working in a crowd, being smaller but of course do slightly suffer with resolving power and focusing (X-T3) compared to full frame bodies and faster 400mm lenses. We stayed long enough to ensure we got a reasonably varied set of images before fighting our way out of the crowd and filing.
The strategy worked….
Billie Eilish images images on the 3 UK “broadsheet” websites.
So what was the workflow here? As I mentioned in my last post it followed my basic routine:
Create Collection in Lightroom for job
Import from memory cards direct into collection
Select and edit photos in lightroom
Add titles
Create a collection in ShutterSnitch for the job
Share images to ShutterSnitch collection which completes the captioning and sends via ftp
Archive the images
Folder and Albums in Lightroom Mobile (showing all 4 days)
You can see from the above image, I created a folder for the whole event and then a separate Album for each day, using my standard naming format.
Creating Folders and Albums
The Lightroom Mobile tool is basically a web tool, wanting to store all of its images in the cloud. This is a real issue when speed is of the essence (and when you have a slow internet connection – which for some inexplicable reason at Glastonbury this year we had the worst connection at a major event I think I have ever known). There are 2 key steps to managing this.
First, when leaving on a trip I always pause the sync.
The next step is on each folder, I enable the Store Locally option. To do this requires that there is an image in the album so if pre-shooting, I copy an existing image into each of the albums and then the Store Locally switch is available from the three dots options to the right of the album name
Now I am ready to import the images from the camera card into the Album (inserting the card/card reader into the usb-c slot normally displays the import options. If not the import is available in the lower right). The bottom line is the images do not touch the apple photos app at all. They go direct from the card into Lightroom and they may be RAW or JPG with no issues. In fact the Billie Eilish images were all processed from Fuji Raw (RAF) as I thought I might need more shadow & hilight recovery. The only difference between importing RAF and JPG is that in the import window, JPGs are previewed whilst RAF are just shown as empty boxes (no preview).
Importing images into the current folder.
In this post I have covered how I set up the iPad / Lightroom Mobile and import the images. The next post will discuss selecting & editing the images.
As I finish this post I have just had a conversation with my supplier about my first X-H2, apparently I can collect it next week. Well that has cheered me up from my COVID slump..
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.
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 / F2.850-140mm @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.
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).
It’s seems I always have something new to understand when I go to Cannes. (Well thats a general in life – the day we stop learning/have something new to understand is the day we die).
As usual this will not be a really technical write up (there are far more techie blogs and better writers for that), what follows are a few of my thoughts and experiences.
V1 Light pattern – from 69mm to 18mm (taken once home on the outside wall of my studio from about 2M, using a GFX50R and Laowa 17mm – so 13mm equivalent)
The first thing to talk about and one of the real reasons for getting this flash is the quality of the light. Not only is the fall off of the light at the edges far more pleasing, the hotspot in the centre seems, well less hot and more flat. (The above images have had the white and black points expanded to hi-light the fall off pattern.)
The second thing to talk about is the quality, this flash feels solid, well made, very similar to the AD200 and a definite improvement over their other on-camera units.
The battery is chunky and comes with it’s own USB-C charger which charges quite quickly. That said, even with heavy use (on the evening of amFar) I do not think I used more than one bar.
This quality and battery add up to a unit that is quite heavy and when top mounted on an X-T3 (even one with a fully loaded grip and 16-55/F2.8) the result is very top heavy. As my main use for flash during red carpet events is to shoot full length images, I use a custom flash bracket CB Mini-RC and in this configuration it does not feel to bad at all).
Actually using the unit took a little getting used to. Although it does support High-Speed Sync and has TTL Metering, in red carpet situations I found this combination to be a little sporadic and the additional power required for HSS meant slower recycling (and the manual states that the thermal cutout is likely to cut in earlier). In slower situations this has not proved to be a problem.
Sharon Stone at amFar . X-T3/16-55 : 1/200 @ F5 & 320iso
Once in manual the unit really is consistent (see the two images above). With a bit of experimentation I came to the power setting of 1/16 +0.7, which allowed the unit to keep up with my X-T3 in High Burst Mode for the short bursts I shoot (Its a technique to try and ensure no other flashes and open eyes on the subject).
With the manual power set and the shutter fixed between 1/200 & 1/250 (so not using HSS) I worked back to get a suitable iso from the selected F-Stop.
Gemma Chan attends the Closing Ceremony Red Carpet. X-T3/16-55 : 1/250 @ F4.5 & 400iso
As the subject distance varied on the carpet, I needed to allowed for the fixed output of the flash by opening the aperture slightly (maybe 1.2 a stop) so I think the zoom head was also helping as little in this regard.
Overall I am very happy with the unit and its a great addition to my Godox kit, adding to the two AD200’s , the TT685 and single AD600. Like the other units it can act as a slave, controlled by any of the Godox Remote Controllers. Or it can act as the Master in a multi-flash set-up (which is how I will use it for portraits with the AD200 at the up-coming Frightfest where I will be returning as the house photographer)
Covering Cannes this year provided a couple of firsts for me.
It was the first full-on red carpet event since the start of the pandemic (Although I was in Venice last August, I cant really count it as a full-on event as the restrictions compared to normal were quite extreme (justifiably).
It was the first travel time traveling into the EU since the UK finally left it.
As you can imagine – both of these points had a significant impact on working the event, all around COIVD-19.
During the 74th Cannes International Film Festival on Wednesday 7 July 2021 at Palais des festivals, Cannes. Covid-19 test results or proof of double vaccinations being checked as a requirement to enter the Palais. Picture by Julie Edwards/LFI/Avalon.
For anyone to access the event, COVID-19 status (Vaccination or Negative PCR test) had to be proved (a type of COVID-19 passport that is currently under debate in the UK), this had to be proved using the French app (TousAntiCovid ) or a printed QR code . This is where we experienced the first real impact of Brexit, the TousAntiCovid system does not recognise non-EU vaccination records. This meant that all non-EU nationals had to undergo testing every 48 hours whereas EU nationals did not.
During the 74th Cannes International Film Festival on Wednesday 7 July 2021 at Palais des festivals, Cannes. The Covid-19 testing site provided for festival attendees free of charge. Picture by Julie Edwards/LFI/Avalon.
For all of the Festival, good anti covid measures were in place, distancing, cleaning, mandatory masks.
Festival attendees in masks at the “Benedetta” Red Carpet during the 74th Cannes International Film Festival on Friday 9 July 2021 at Palais des festivals, Cannes. All attendees to the festival are required to wear masks in the Palais des festivals including on the red carpet. They are removed for photographs to be taken. Picture by Julie Edwards/LFI/Avalon.
However consider how working red carpet photographers have to operate; spacing measures just cannot be implemented. Photocalls and Red Carpet events had us standing shoulder to shoulder and pushing like in the good old days, for hours at a time. Black masks were mandatory (to tie in with the evening dress code) but let’s be honest, most masks are not really adequate in this situation.
Palais des festivals, Cannes, France. 9 July 2021. Photographers working at “Benedetta” Red Carpet. Photographers working on the Red Carpet are in close proximity to each other and are required to wear masks. Picture by Julie Edwards
If you are planning to work in the EU, it might be an idea to consider the following (assuming where you are working might have the same regulations):
If an EU national had caught COVID-19 (still possible even with double vaccinations), due to the proximity of other photographers at events it would have spread. The EU nationals , with their vaccination passports would continue to work (untested) while the non-EU nationals, when tested would be found to be positive and unable to work.
The bottom line is – in modern times, the UK being an island is only a physical attribute. For so many , our work is cross border and for work of any kind to be able to continue whilst COVID-19 is still a factor, a world-wide passport system needs to be developed.
Palais des festivals, Cannes, France. 11 July 2021. Bella Hadid attends the “Three Floors” Red Carpet. . Picture by Julie Edwards
The next post will talk more about actually shooting the festival on the X-T2 & X-T3’s .
Finally I have upgraded one of my X-T2’s to an X-T3!
X-T3 / 27mm@F3.6 / ISO2000
The delay was down to a number of factors: Firstly I run my business in a cycle, needing to ensure each investment improves the business and pays for itself over its lifetime and my X-T2’s have been doing the job more than adequately.
X-T3 / 27mm@F3.2 / ISO2000
Secondly, having used and loved the X-H1 I was hanging out for news on an update to that form factor using X-T3 technology. Unfortunately the X-H2 seems unlikely at the moment according to the rumours and the opportunity arose for a “cost effective” upgrade.
Christmassy selfie’s. X-T3 / 27mm / ISO2000.
This led to my Christmas wander around the west end being the first chance I had to get aquatinted with the X-T3.
X-T3 / 14mm@F2.8 / ISO2000
Moving from the 2 to the 3 is painless, I configured the buttons and menus on the new camera within 30 minutes and the only real issues were getting used to stiffer front and rear dials plus a new way of transferring images wirelessly.
X-T3 / 27mm@F3.6 / ISO2000
This later model is definitely more responsive than the model it replaces.
X-T3 / 27mm@F2.8 / ISO2000
As I was walking around Covent Garden on a dark, wet evening I was using higher ISO’s, aiming to show the Christmasy atmosphere. Despite the file size being bigger there feel much cleaner than from the “2”.
X-T3 / 27mm@F3.6 / ISO2000
It has been widely documented that the focusing is much better – I totally agree and the face recognition is way quicker working in lower light. The image below was shot through a bus window as we passed, I’m not sure the X-T2 would have focused quick enough.
X-T3 / 56mm@F1.2 / ISO80
The lower ISO’s are also very useful when working wide open with the faster lenses like the 56mm/F1.2.
Overall despite using the X-T3 without a battery grip (which I always to on my X-T2’s), I was very impressed by its responsiveness and the clean images. This does still leave me in a quandary though, especially with a lack of indicators coming out of Fuji on the future of the more robust professional X-H body. Fuji are brilliantly open with their lens roadmap which really helps business planning, it’s just a shame the openness is not being carried through on the camera bodies (although I do understand this as it is more competitive).
X-T3 / 14mm@F3.2 / ISO2000
So the question remains… Do I upgrade my remanning 2 X-T2s’ or do I continue to wait?
I am just back from 3 weeks of party political events, photographing the autumn conferences of our largest political parties; starting with the Liberal Democrats in Bournemouth, moving on to Labour in Brighton before finishing up with the Conservatives in Manchester.
It’s a gradual build up of importance culminating in the Prime Ministers speech – arguably the most important event of the 3 weeks (especially this year with BREXIT and the stories circulating about our Prime Minister Boris Johnson).
I headed up to Manchester having the 200mm/F2 Fujion lens on hire again, along with the 1.4TC (giving the equivalent of 300mm/F2 and 420mm/F2.8 on my Fuji X-T2 bodies). Added to that I took my normal supply of 3 x X-T2, the 14mm/F2.8, 27mm/F2.8 pancake, 90mm/F2 and the 50-140/F2.8 (just in case but the plan was not to use it).
My workspace on the final day – taken using the “miniature” filter on the X-T2 with the 14mm
On the morning of the PM’s speech, we arrive early for a briefing that informs us of the plan for the speech; entrance, exit, timings, security arrangements (where we can stand, where not) etc.
With the stories circulating about the PM it was clear that “the picture” of the day would be Boris and Carrie (his girlfriend) leaving at the end of the speech. However the briefing made it clear that getting this image clearly would be very difficult and as the pool photographer would get it perfectly, it was not worth worrying about.
So I formulated a plan..
I would start at the rear at the top of the stadium seating to photograph the PM as he enters, I would then bit by bit move around the rear of the hall, over the stadium seating at the other end before working round to the rear quarter, photographing Boris “conducting” his troops before working my way back to the original position for his exit.
Arriving in the hall before a good while before the speech I was pleased that as I suspected, most of the photographers covering the event had opted for the central positions to shoot the “traditional” speaker image. I was happy to be sitting up at the back near the entrance alone, hoping the others had missed a trick and that my plan was not totally unworkable.
Waiting, I shot a few images of party members around me and the general atmosphere. Then the moment arrived, the PM walked in alone down a dark part of the hall below me to greet members down the bottom of my seating area.
Atmosphere before the Prime Minister, Boris Johnson, makes his keynote speech to the Conservative Party Autumn Conference on Wednesday 2 October 2019 at Manchester Central, Manchester. . Picture by Julie Edwards/LFI/Avalon. X-T2 + 14mm
My plan with the blog post now was to show two totally out of focus images showing that we all make mistakes totally contrary to how we are supposed to portray ourselves online. However going back through the images I have found one that was in fact useable, one that I missed in the heat of the moment editing on the day…
Prime Minister, Boris Johnson, enters to make his keynote speech to close the Conservative Party Autumn Conference on Wednesday 2 October 2019 at Manchester Central, Manchester. X-T2 + 90mm @ F2
Starting with establishing shots on the 200, 90 and 14….
Prime Minister, Boris Johnson, makes his keynote speech to the Conservative Party Autumn Conference on Wednesday 2 October 2019 at Manchester Central, Manchester. . Picture by Julie Edwards/LFI/Avalon. X-T2 + 14mm Prime Minister, Boris Johnson, makes his keynote speech to the Conservative Party Autumn Conference on Wednesday 2 October 2019 at Manchester Central, Manchester. . Picture by Julie Edwards/LFI/Avalon. X-T2 + 90mm
Then adding the TC on the 200 (giving an equivalence of 420/F2.8) before moving down the back and shooting through spaces between the seating. A quick nod with one of the PM’s security detail to confirm all was ok with the location (next to him) , staying there for 5 minutes or so before moving on to the next location …
Prime Minister, Boris Johnson, makes his keynote speech to close the Conservative Party Autumn Conference on Wednesday 2 October 2019 at Manchester Central, Manchester. . Picture by Julie Edwards/LFI/Avalon. X-T2 + 200mm/1.4TCPrime Minister, Boris Johnson, makes his keynote speech to close the Conservative Party Autumn Conference on Wednesday 2 October 2019 at Manchester Central, Manchester. . Picture by Julie Edwards/LFI/Avalon. X-T2 + 200mm/1.4TC
Having been briefed that the speech would be 40-45 minutes I allowed myself approximately 5 minutes in each location before moving on, getting the the far point on time for the “conducting” shot, before returning via the same method to my original position.
Prime Minister, Boris Johnson, makes his keynote speech to close the Conservative Party Autumn Conference on Wednesday 2 October 2019 at Manchester Central, Manchester. . Picture by Julie Edwards/LFI/Avalon. X-T2 + 200mm/1.4TCPrime Minister, Boris Johnson, makes his keynote speech to close the Conservative Party Autumn Conference on Wednesday 2 October 2019 at Manchester Central, Manchester. . Picture by Julie Edwards/LFI/Avalon. X-T2 + 200mm/1.4TC
Once back, I was joined by one other photographer in this position for the exit but as there were about 8 positions reserved for us there was plenty of room. Planning for a “melee” image as the PM leaves, I removed the TC….
Prime Minister, Boris Johnson, exits the Conservative Party Autumn Conference on Wednesday 2 October 2019 at Manchester Central, Manchester. Boris huged Carrie Symonds, his girlfriend, before greeting activists as he exited the hall. Picture by Julie Edwards/LFI/Avalon. X-T2 + 200mm
In all, photographing the speech and editing took about 6 and a half hours; from entering the hall at 8am for the briefing , planning, re-entering the hall at 10:30am through to leaving it at about 12:45 and then finishing my edit with all images with the agency by about 2:30pm. All for a set of photographs that I knew were unlikely to make the front page the next day because, as I said, the story was Boris and Carrie.
Not every paper went with the pooled “couple” image.. but most did…
Luna and I had been talking about getting together for a photoshot for a couple of years now. We met working together at Frightfest where she is one of the presenters of Frightfest TV.
When discussing the shoot we decided we needed a prop or two. She suggested she could use a Mustang GT for the day and so I outline planned an outdoor shoot. I say outline planned as with this kind of arrangement I only like to put together rough ideas as when heading outdoors weather is a a major consideration (especially in the height of summer in the UK). I also like to spend some time with the model, chatting and gauging their mood on the day before firming up my shots.
Lady Luna Wolf and Mustang. Picture by Julie Edwards. X-T2+18-55@1/2000,F4
There are a number of ways to shoot a darker, gothic feel type style on a bright sunny day, my preference being for high shutter speeds with high power flash units. I worked with a couple of AD200’s combined with the X-T2’s on High Speed Sync.
The first set of images we shot right in the centre of worthing, near home, with my “assistant” holding a Godox AD200 with a beauty dish, just to get a feel of the light and how the shoot would go.
Lady Luna Wolf and Mustang. Picture by Julie Edwards. X-T2+18-55@1/3200,F2.8
Now I had a feel, we packed a couple of the flash units, a couple of lightstands, modifiers and lenses and headed out of town (to the mighty burble of the 5.0L engine).
Lady Luna Wolf and Mustang. Picture by Julie Edwards. X-T2+18-55@1/1000,F5
On the day, the light was really variable and most of the time I was having to use the Godox at full power (some of the shots had a second light) whilst waiting for the clouds to help with the light also.
Lady Luna Wolf and Mustang. Picture by Julie Edwards. X-T2+18-55@1/4000,F3.2
I wanted the images to have a “film” quality to them and so back in the office I edited the RAW images in Lightroom using either the Classic Chromeor Astia simulations before moving them in to Photoshop for retouching. These two simulations gave me a choice of base tones (especially skin tones, where Astia is my favourite).
Lady Luna Wolf and Mustang. Picture by Julie Edwards. X-T2+18-55@1/4000,F3.6
The final look was applied using the NIK collection (now owned by DXO) running inside Photoshop. I learned a thing or two here as well; It had always frustrated me how adding a NIK layer to a PS image was a “one hit” action. If I decided I did not like the look after I had applied it (or subsequent edits), with my old workflow it was a case of deleting the layer and restarting. However a quick goggle on a train this week revealed the “magic” recipe. Convert the source layer to a smart object first and then the NIK filters are applied as Smart Filters meaning they can be edited with a right-click..
As you can see above, I used a combination of Colour Efex Pro to get the contrast and colours where I wanted them before adding a subtle film look and grain with Analog Efex Pro.
Lady Luna Wolf and Mustang. Picture by Julie Edwards. X-T2+XF56@1/8000,F1.2
The style may not be to everyones taste but we had a loot of fun shooting these and they definitely work with Luna’s style.
I know it’s a few weeks ago now but I have finally managed to get round to adding this years Festival du Cannes images to my website.
Leila Conners and Leonardo DiCaprio poses at on the red carpet for Oh Mercy! on Wednesday 22 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Leila Conners , Leonardo DiCaprio. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon.
Quentin Tarantino poses at a photocall for Once Upon a Time In… Hollywood on Wednesday 22 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Quentin Tarantino. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Quentin Tarantino and Daniela Pick poses on the red carpet for Once Upon a Time In… Hollywood Premiere on Tuesday 21 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Quentin Tarantino , Daniela Pick. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Elle Fanning poses on the red carpet for Once Upon a Time In… Hollywood Premiere on Tuesday 21 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Elle Fanning. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Winnie Harlow poses on the red carpet for Once Upon a Time In… Hollywood Premiere on Tuesday 21 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Winnie Harlow.Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon.
Aishwarya Rai waits before walking on the red carpet for La Belle Epoque ( The good times ) on Monday 20 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Aishwarya Rai. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Leyna Bloom and Cast poses at a photocall for Port Authority on Sunday 19 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Leyna Bloom, Transgender . Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Nick Jonas and Priyanka Chopra poses on the red carpet for The Best Years of a Life on Saturday 18 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Nick Jonas , Priyanka Chopra. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Pedro Almodovar, Penelope Cruz and Antonio Banderas poses at a photocall for Pain and Glory (Dolor y gloria ) on Saturday 18 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Penelope Cruz, Penélope Cruz, Antonio Banderas, Pedro Almodovar, Pedro Almodóvar. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Antonio Banderas and Nicole Kimpel poses on the red carpet for Pain and Glory (Dolor y gloria ) on Friday 17 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Antonio Banderas, Nicole Kimpel. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Street Life – Wednesday 15 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: . \
Amber Heard poses on the red carpet for Pain and Glory (Dolor y gloria ) on Friday 17 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Amber Heard. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
Amber Heard poses on the red carpet for Les misérables on Wednesday 15 May 2019 at the 72nd Festival de Cannes, Palais des Festivals, Cannes. Pictured: Amber Heard. Editors Note: This image as been converted to monochrome. Picture by Julie Edwards/LFI/Avalon. All usages must be credited Julie Edwards/LFI/Avalon.
This week I had the need to return one of my X-T2’s for a repair. It has been worked hard and for some reason had developed an intermittent fault where it would not turn on.
Luckily I qualify for FPS – FUJIFILM Professional Services. Logging on to the page ( https://fujifilm-connect.com/en/fps.php ) , I selected the camera from the list of my registered bodies, entered the fault and accepted the quote. After paying online the booking was confirmed.
As the repair was not too urgent, I waited for the pre-paid packaging that Fuji send out (otherwise I could have sent in urgently myself). Fuji send a pre-paid Royal Mail Special delivery bag with custom box and packing for the item being returned which just needs dropping at the post office. 2 days later the camera was back in my hands having been delivered by courier back in the custom packaging. Nice and pristine it looked too, obviously having had a good clean as well as the main circuit replaced (according to the delivery note).
I have read varying comments on the Fuji service but I have to say my experience was very positive once I understood how it worked.
FUJIFILM Professional Services is also free for all people that register two qualifying X Series cameras and three qualifying XF lenses or free for all people that register a qualifying GFX camera body and a qualifying GF lens. It’s worth taking a look at . ( here )
Julie Edwards-X 