I am planning out a roadmap for a photo kit. I may be going into the Peace Corps at the end of the year and want to get an idea on an ideal kit to have. Obviously my finances available may change.
My current line up:
7d mark II
Canon 400 5.6
It's a very limited set up right now. Because of some changes in my life I got away from any serious photography for a couple years. I do like the x-pro 1 but it has it's limitations. The 7d mark ii is new and I got it with the 400 for wildlife, specifically birding and wasn't confidant the fuji system was up to it yet. I already had the Canon lens and upgraded the camera.
I like to shoot street, landscapes, and photography. Going into the peace corps would lean towards a travel photographers kit. Compactness is important but quality is very important. To get a well rounded kit I was thinking of adding the new 23mm f2 and the upcoming 50mm f2, both for the price savings over the faster versions and the size and weight as well as the WR. I also would love to get the x-t2 for better performance and WR. If I do that I am thinking of converting the x-pro 1 to IR for fun. That set up with my current stuff would cover a lot of street and travel use.
I think I would also like a macro lens. Since the current fuji macro isn't a "true" macro I was thinking the new 80mm macro would be good. But I have also considered using the fuji for street and landscapes and the canon for wildlife and macros. I know that may seem weird to some.
I really just want to get some advice on how people utilize a kit for different purposes. I know my wants and needs are a little vague but since I only have experience with the kit I have, other than shooting an x-t2 in a store for about 5 minutes I don't have a ton of hands on experience to steer me one way or the other.
I've been having a great time roaming the streets at night with my X-T10, EOS LTII and K-mount Pentax SMC 50mm 1.4. But I have to be careful, because if I focus too far away, the rear element of one collides with the front element of the other. For street work, this is generally not a big issue, but I'm thinking about a replacement, for safety's sake. The obvious and affordable suspects are the Pentax-M 50mm f/1.7 (because the sensor can't go any faster than an effective f/1.1 anyway) and the Takumar 55mm f/1.8 and these will certainly get tried quite soon.
But I was also considering the C/Y Zeiss 50 Planars (1.4 and 1.7), their close QBM relatives in the Rollei and Voigtlander lines (1.4 and 1.8) and their C/Y cousins the Yashica ML 1.4 and 1.7. There's lots of opinion online about their relative merits, but very little about whether they collide with the front element of an EOS LTII. All except the Yashicas are said to have issues with the mirror of a Canon 5D, but the only documented evidence on the LTII is that the Yashica ML 1.7 is apparently OK.
So two questions:
(i) Can we deduce anything (one way or the other) about EOS LTII compatibility from all the well-documented facts about lenses and full frame mirrors?
(ii) Can forum members fill in any of the gaps from their experience? It seems plenty of people have tried these components at different times, there's just no clear story emerging about which ones worked together and which did not.
Thanks for any insights!
I can't seem to find any amount of substantial information or comparisons for the two bit depths for cameras. Just wondering if someone smarter than I or more experienced in the matter could provide a better explanation of the actual differences between the two.
As a new XT-2 owner I am building my lens collection. Just got a used 14mm and today had a chance to shoot with it outdoors. Wow what a gorgeous lens. I am really going to enjoy this one.
Since its a touch screen and 3", is this the same screen sizewise as on the X70? Be a big help to use the same screen protectors!
What is the difference between the two batteries. I'm using an X-Pro2 camera? Is it worth $10 more for the newer battery?
Just looking at this at 100%. I know shot at lower ss but it is lit with artifical light. I don't see anything special and it says ISO200. Am I missing something:
I do like the detail and shadows at the bottom in this one:
I’m a volunteer photographer for several local non-profit organizations. This past week I was asked to shoot a Celebrity Chef event with 40 local ‘celebrities’ and approx. 500 in attendance. I used the X-T1 and X-T2 with the 16/1.4, 35/1.4, 56/1.1 and my newly acquired Rokinon 12/2 – I was able to purchase that a month ago on one of those Amazon quick deals ($239 USD). At the cookoff, it was very crowded, and while I did get a few shots of the chefs during their preparation, I wanted to get a few different shots from a higher angle. I put the 12 on a monopod and used the self timer and was able to get a few shots from a much higher angle.
I did not pay as close attention to my settings as I should have as I did have a depth of field problem with some of the wider angle shots of the entire crowd. Hyperfocal at f2 is around 12 feet, but I thought perhaps that some of the raised shots would be closer than 6 feet (1/2 hyperfocal) ….
Here are a few examples – including one of the shots where you can see the DOF dropoff…. For fun I’ve also included a shot of a young child who obviously doesn’t like his parent’s food. (taken with the 35) …. Also, had another lesson learned: I was able to sample a few of the offerings, which included a nice sloppy pulled pork. I noticed in post processing that a few of my images were blurry on the left side … thought perhaps I had a lens problem – well I did – was smeared with bbq sauce..... lesson learned ....either don't eat during a shoot, or be sure to check your equipment more often.
Final preparations are underway in St. Petersburg's Bayboro Harbor as the newest addition to Sea Shepard's fleet, the M/V Jules Verne, readies for her first campaign. Formerly the USCG Block Island, this decommissioned Coast Guard Cutter is slated to engage poachers off Costa Rica's Cocos Island.
M/V Jules Verne by David Jones, on Flickr
So, not much talk about this camera. I'm not surprised as the x-T10 when announced went down like the proverbial lead balloon on this forum.
I like my x-t10, admittedly I bought it as a low cost alternative to the x-T1, so I'm very interested in x-T20 (and I'm having to bat off the GAS).
Whilst the "big news" with the x-T20 seems to be 4k video! That is great, but looking at the specs, there is more for me to get excited about.
The x-T10 is more of a " crippled x-T1 in a smaller package", whilst the x-T20 seems to have been promoted closer to an " x-T2 in a smaller package". Sure it doesn't have the all the X-T2 features, but the x-T20 gets the same processor, new focus system, lossless compressed RAW, similar (if not same) buffer for continuous shooting (one of the major cripplings of the x-T10!), ACROS film simulation and obviously the new sensor.
I've not yet read whether it has the lower blackout periods as the x-t2 - but using the same processor, I would have thought so!
Some times the simple things can be the most pleasing.... I like how they have replaced the awful movie record button with a standard fn button and added the movie mode to the drive mode dial. It should have been like that on the x-T10 and I've never understood how it wasn't picked up when developing and testing the camera.
I generally don't like to use guidelines as I like an unobstructed view of my subject. However, they are useful when some part of the subject, a building or the horizon, has to be perfectly aligned vertically or horizontally. For this reason, I find I'm toggling them on and off very frequently.
The problem is that I haven't found a way to do this easily with the X-T2. I have added the "Framing Guideline" menu item to My Menu, but that allows me to choose the type of guideline, but not to disable them.
To turn them on and off, you need to go to SETTING MENU -> SCREEN SETTING -> SCROLL TO 2ND PAGE -> DISP. CUSTOM SETTING -> FRAMING GUIDELINE. I have not found another way to do it.
Has anybody found a shortcut for this?
+ Download Catalogues for X100F, X-T20 and GFX
Complete X Series Guide: http://www.fujifilm.com/products/digital_cameras/pdf/x-complete_guide_01.pdf
Fujifilm X-T20 Catalogue: http://www.fujifilm.com/products/digital_cameras/x/fujifilm_x_t20/pdf/index/x_t20_catalogue_01.pdf
Fujifilm X100F Catalogue: http://www.fujifilm.com/products/digital_cameras/x/fujifilm_x100f/pdf/index/x100f_catalogue_01.pdf
Fujifilm GFX Catalogue: http://www.fujifilm.com/products/digital_cameras/gfx/fujifilm_gfx_50s/pdf/index/gfx_catalogue_01.pdf
Mainly a frequent lurker rather than poster, still loving my X100T. Hats off to Fuji though, for releasing some great looking camera's, the F looks fantastic. I've read lot's of positive reviews in the last 24 hours, good stuff.
But one thing now bothers me - when Fujifilm release the next iteration of the X100, what will they call it, the X100F mark2, X100Fii, X100Fs?
Also, a gratuitous photo I made a few days ago in chilly Prague.
I'm not a professional photographer. Sure, I've made a few bucks here and there doing photography, but my main source of income is decidedly un-glamorous - I do construction. Filthy dirty work most days, and rarely involves creative thinking. Or much thinking at all. It could be described as "uninspiring", but the prefix, "un" usually denotes the absence of something, where, I lately I feel like the work I do is actually the *opposite* of inspiring. Like... it actively destroys inspiration. I believe the term "soul crushing" applies.
Whatever, it pays the bills and I have more than enough going on - raising a toddler and in the process of moving, to name two things - to take on a career change anytime soon, so it'll have to do. Photography and parenting have been fulfilling my need for a creative outlet, but lately I'm almost too exhausted to take photos. I've literally brought a camera (ok, let's be honest - TWO cameras, one film, one digital) to work with me for well over a year now. These past few months, I'm lucky if I pop off two frames by the time I'm home. 80% of my recent work has been shot from the driver's seat of a car. And not always stopped at a red light, or using auto-focus, mind you.
So.... what's the point of this rant? OH YEAH!! So, the missus and the kiddo took the car to her mom's house, so I've been taking the bus and/or subway to work. The first couple days, I lugged my camera bag (complete with an extra-large ziplock bag to keep the dust at bay while working, but... same story. Barely shot a thing. This morning, I had this thought that I should just say "screw it" and leave the camera(s) at home. But habits are hard to break, and along they came. A Pentax MX and a Fuji X-E1. A CZJ Flektogon 35 and a Takumar 55. A roll of cheapo Fujicolor 200 and an 8 gig card. Just in case. I remembered something Ira Glass once said about soldiering through those times when you feel like your art is just crap ("...because you still have good taste" and headed off to this never-ending sh*tsccape of a rehab job we're trapped in.
We finished up early and my coworker took off. I washed up and decided to take the long way to the subway. Threw a strap on the Fuji/Tak combo and... lo and behold... I started seeing things. Things which called to be captured. Shapes and movement and color and texture. Faces which hid secrets and shared stories. Here's a smattering, including a #NODAPL protest I happened upon (true story) and another random guy with an X-E1.
Thanks for reading.
Just had to share Palle Schultz's X-T20 review!
His vids are well worth a look!
The X-T1 sits next to it. Lovely and efficient. Works well with aging eyes, shares its goods on my phone, and tilts its screen in all manner of accommodation with eagerness to please.
The Ricoh GR is next to it. A friendly, true grab and go companion. Sharp, light, fun, small-but-big and so capable. Better at pictures than me.
And then the unobtainable film cameras from my youth - Nikon, Mamiya, Voigtlander, Retina, Olympus (love them), Canon - that were bought with a wink for pennies on the dollar that I get along with oh so well - as I knew we would as film has a life unto itself and is so forgiving - that stare at me with an imploring, please-choose-me-I'm-beautiful-and-analog look.
Yet, there that X-P1 defiantly sits. It refuses to be sold - or mastered - or not feel good in the hand - or look bad with brassing, thumb grip and splotchy touchup paint - or slow-down epistemology. It laughingly says, "Told you I was too much." Still a siren that demands to be chosen first.
So this is going to be quite the random question.
Does anyone know where to get the little leather eyelet protective covers that came with the x-e2? My searches have come up empty.
Hope it's the right forum and my question wasn't already answered in the past. I did a search but didn't see anything matching my question... I have a few of these batteries since I bought GS X-T1. One battery stopped charging while the other 3 are fine. After years with Nikon batteries, I've never dealt with dead ones. What would you do, dispose of it? Call Steve at Fuji? Thanks for your input!
Heading west on Rt. 20 I found this train, car and truck. The man that owns this land died last year. He liked collecting old stuff. He moved a diner onto his property and built an old general store/museum along with other old stuff.
Train, car and truck. A few more photos to follow.
OK, OK, I know the answer--it depends on whether you feel like you need to change lenses, what you shoot, etc.
But given that I already have an X100S (and an X100, for that matter), and since the price points are similar for the X-T20 kit and X100F (and also since I suspect my Luigi case isn't going to fit the X100F well, so I need new accessories anyway), what do the folks here think is a good choice? The F seems to have a lot of things I really want--better AF, better film simulation, of course better sensor, but then the X-T20 has those as well...
I would like to remind professional photographers that it is quite easy and a normal thing to rent Hasselblad and/or other medium format equipment today. Actually, this has been true for 50 years already. (ask me how I know this) I would hope this will sooner than later become true for the GFX 50s. However, as the title suggests, this brings to mind a broader perspective about medium format and professional work.
The rental of 6x6 or later, 645 equipment was at one time a strictly urban possibility. In the states, it was pretty much a New York, Chicago, Los Angeles thing for some time, then it seemed to expand to a very few other cities that had professional stores. With the internet and today's rapid delivery service to almost anywhere, the rental opportunity has opened up for good talent located almost anywhere.
I seldom needed medium format, but always rented a three lens, two back, 500c setup when the need arose. This became a 4-5 times a year thing. This will 1) allow you to shoot jobs you otherwise could not do for existing clients and 2) is a way explore the advantages and limitations of larger '645' size cameras.
This latter point brings out two discoveries I made using 6x6 film equipment. The first is never be afraid to break out a tripod with any camera, even in this hi-ISO era. I shot a lot of day long and multi-day location work. I was the 'photographer', there with a minder and a plan, so it was completely appropriate to take some time getting it sharp and in focus. Of course, often a more photo-reportage style was permissible and even desired, but this totally depends on the client. You get more work if you can go both ways.
The second thing was, I soon discovered that sharp was not the whole story. Tonality, that slippery effect of interesting light, turns out to be the key to success. I slowed down the shooting pace this became immediately and almost painfully clear. It quickly occurred to me to learn two and three head strobe techniques. I wound up owning a (relatively) portable lighting setup, pretty much in lieu of a owing a larger format camera. This is what using a 6x6 film era camera taught me.
per usual, just my 2 cents.
I walk the dogs early in the morning through some apple orchards and often see the roe deer there. Early this morning as the sun was still rising I was lucky enough to see this young Buck. I'm trying to get some experience in with my new xf 100-400 - and especially getting used to holding it steady. The settings on these were f8/s60 - iso 400 & 500 hand held (didn't have time to get the monopod on).
I have both the xe2 and the xt10 and I find the xe2 is better with this lens hand held as I can hold it steady up against my nose and still look through the viewfinder since it is off set (the viewfinder not my nose) - can't do that with the xt10 !!!
I picked up this lens for my X-E2s and – as expected – love the portability. There's just one limitation on how I use my camera. With other lenses I'll often use the rear dial to nudge the shutter speed and select values between those available on the SS wheel. Of course, with the XF27, the rear dial changes to an aperture control.
Does anyone know a workaround I can use so I can still select incremental shutter speeds?
As the owner of XT1 and XT2 I am wondering if trading in the XT1 for XT20 may be worth it?
The wife has an XT10 so can get a feel for how XT20 will handle size wise.
I picked up the XT10 during black friday sales, after part exchanging my xe2, then getting trade in bonus and double fuji cash back the XT10 on cost £29
Hi All, I currently use an XT1 and own a 16mm 1.4 and 56mm 1.2. Recently, I've found myself using the 56mm a lot to take pictures of cars and objects. I tend to use the 16mm only when I go on trips which is rare. I also never really bring two lenses at a time. This is starting to tempt me to just dump both lenses and get a 18-135 or 16-55. Do you think these lens can replicate close to the quality of both primes? Im not a professional, most photos are just shared online. Please check @leevanf on instagram to see what I take. Thank you!
I'm currently testing but I have a question for Brian that others will certainly also ask.
>>In addition this update also adds a few new features including the ability to disable any default Lightroom sharpening and/or noise reduction
I'm wondering how this works. Currently, I have changed the Lightroom default settings for my X-Pro1 so that sharpening and noise reduction (both color and luminance) are set to 0. In order to test the new feature, I have reset the Lightroom default settings to their standard values and checked the 3 new options ("Turn off Lightroom...") and indeed, all 3 cursors where set to 0 after I imported the test DNG into Lightroom.
I was not aware of this capability. So the DNG files may contain metadata indicating to which value a given cursor should be set in Lightroom or ACR ? Is this related to the DNG Baseline tags ?
Thanks in advance.