Voigtlander 18mm - The Most Exciting Lens For Fujifilm In Years!

Voigtlander 18mm f2.8 Color Skopar for Fujifilm X-Mount

I have been waiting for this for years! A small and compact, 28mm (full frame equivalent), manual focus lens, with focus tab. This just might be the best street photography lens for Fujifilm, ever!

As an owner of the Voigtlander 27mm f2 Ultron (review coming shortly), I already know that the built quality on the new 18/2.8 will be premium. The focus will be smooth and the aperture ring will have just the right amount of clicks stiffness. The 27/2 is a great little lens, but for street photography using zone focus, this will be amazing!

My one concern is the very short distance between 2 meters and infinity. The 27/2 has the same travel distance between 3 meters to infinity and I found that to be very short. But I did get used to it fairly quickly, plus the 18mm will have much more depth of field than the 27mm

I still love my original Fujifilm 18/2, but it’s never been the best lens for zone focusing on the street.

I’ll review this as soon as I get my hands on one, but needless to say…I’m excited!

One Frame: Sea Differently

A regular shot with the X100V and the WCLX100

This shot was taken at John O’ Groats in the far north of Scotland. It might look like two different horizontal shots, but it is one frame.

The lower half of the shot is a wall with the painting of the boat, while the van in the upper area is sitting on the pier a couple of hundred feet away. Using the Lensbaby Composer Pro with the Edge 50 optic compresses and allows both areas to be in focus, while blurring the sides, as though there were no distance at all and the scene was flat, without any depth.

This picture was made while on one of the greatest road trips in the world - Scotland’s North Coast 500!

 

SHOT WITH THE FUJIFILM X-PRO2 AND THE LENSBABY COMPOSER PRO & EDGE 50 OPTIC

Where Rivers Meet: The Synergy Of Art And Music

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Almost two weeks ago, I photographed a very special concert by The Scottish National Jazz Orchestra at the stunning St Giles Cathedral in Edinburgh (Scotland) called 'Where Rivers Meet'. The concert features artist Maria Rud painting live to the music of some great composers. The art was then projected onto the stained-glass windows of the cathedral.

The concert features four suites by the SNJO, which will go out on the internet over four consecutive nights and feature soloists Tommy Smith, Konrad Wiszniewski, Paul Towndrow and Martin Kershaw.

Go to livestream.snjo.co.uk to experience the visual and sonic world of WHERE RIVERS MEET from St. Giles Cathedral in Edinburgh.

12th May 7:15 PM

ORNETTE COLEMAN / MARIA RUD / PAUL TOWNDROW

music arranged by Tommy Smith

13th May 7:15 PM

DEWEY REDMAN / MARIA RUD / KONRAD WISZNIEWSKI

music arranged by Paul Towndrow

14th May 7:15 PM

ANTHONY BRAXTON / MARIA RUD / MARTIN KERSAHW

music arranged by Paul Harrison

15th May 7:15 PM

ALBERT AYLER / MARIA RUD / TOMMY SMITH

music arranged by Geoffrey Keezer

Maria Rud’s art created live and projected onto the stained-glass-windows of St Giles Cathedral, Edinburgh

Maria Rud’s art created live and projected onto the stained-glass-windows of St Giles Cathedral, Edinburgh

In-camera double exposure

In-camera double exposure

The Digital Contact Sheet :: Episode 8

X100F 23mm f2 - 1/150, f2, ISO 200

This Digital Contact Sheet and the next one will be from the same documentary shoot, but with very different pictures. The theme is life-changing surgery and it’s from a project back in 2019. I won’t rehash the details of the story here but you can read all about it by clicking HERE

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I tend to shoot with two (sometimes three) cameras for documentary work. For this shoot, I had the Fujifilm X100F and the X-Pro2. The X100F has a fixed 23/2 lens and I was using a 35/2 and 50/2 on the X-Pro2. With the 1.5x crop of the APS-C Fuji’s, that was giving me a 35mm, 50mm, and 75mm. I also had the WCL-X100 for the X100F in my bag, which would give me a 28/2, but I didn’t use that till the next day. These f2 lenses are not the fastest, but as I would be shooting in a hospital, I knew that it wouldn’t be too dark and nothing would be moving that fast.

As you can see from the digital contact sheet, I was trying to get wide shots, mid shots and close-up shots to tell the story. At one point I was drawn to Mai’s bag. Other than a holiday, when does someone take a bag with a change of clothes etc to cover the unknown? Although she was with her husband, it was obvious that she was very alone and scared; this was a journey that only she would be making.

[My X100F file numbers might look as though it was brand new, but it had actually been round the clock.]

I shot frame 100F0016 and the frame after with lots of headroom; I wanted to have Mai small in the frame as I imagined that’s how she must have been feeling. This is my favourite shot of this sequence as I think it conveys exactly what I was trying to achieve. It also has all sorts of leading lines that pull the eye toward the subjects.

Frame XPR20937 (below) is pretty much the same shot using the X-Pro2 with the 50/2 lens for a close-up, but it’s not as visually compelling as the wide shot, although still a get storytelling shot.

X-Pro2 & 50mm f2 - 1/125, f2, ISO 250

Frame XPR20937 (above) is pretty much the same shot using the X-Pro2 with the 50/2 lens for a close-up, but it’s not as visually compelling as the wide shot, although still a good storytelling shot. The 50/2 lens is such a terrific little lens that gets very little attention in my opinion. Although not as dreamy as my 56.1.2, the 50/2 is the lens that I carry with me pretty much all the time.

X100F 23mm f2 - 1/125, f2, ISO 250

100F0020 (above) is also a favourite from this set. Again, it shows the loneliness and fear; possibly more so because Mai is sitting by herself with an empty chair on either side.

The next Digital Contact Sheet will be based on the following day, post-op, and more dramatic; where fear is swapped for pain and discomfort.

Fujifilm X80 Or X100V 28mm Edition?

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X70

A lot of photographers (including me) have been patiently waiting for an update to the X70 camera. I was told by Fuji UK, back in my X-Photographer days, that because the old 18mp sensors had been discontinued in favour or the newer 24mp ones, a replacement for the discontinued X70 wasn’t so easy. The main reason being that the 24mp sensor requires the NP-W126 battery, which wouldn’t fit in the tiny X70 body.

X-E4

At first announcement of the X-E4, I thought that it could be a fantastic little street camera. But with the lack of a Focus Selector switch, View Button, and D-Pad, the X-E4 is a disappointment to me. Even the reviewers that are praising the camera (often trying a little too hard), are constantly making excuses for what this camera is lacking. For me, every time Fuji adds a new product, they are taking away my options.

X100V-28

Would it be too difficult to stick the 18.5mm (28mm FF equivalent) lens from the X 70 on to the X100V?

An updated X70 would be great for sure, but I would actually prefer an X100V with a 28mm equivalent lens. But here’s the thing; put a 28mm lens on the X100V, but DO Not change anything else. Produce identical cameras with two versions, 35mm and 28mm (FF)

Ever since the X-Pro1 was added to the X-Series, which at that point only included to X100, there has been a problem with Fujifilm constantly changing button position for no apparent reason. Just when you get a couple of models with the same layout, the next update will have a different position. Hands haven’t changed design for thousands of years, so I think ten years is more than enough time to decide on the best position for buttons. I don’t care too much where they are, I just want them to be the same place on my camera bodies. And don’t get me started on the D-Pad. I didn’t buy the X-E3 or the X-Pro3 because of the lack of the D-Pad, and only bought the X100V because, despite the lack of a D-Pad, the lens was finally improved!

A Propper Lens

So my wish would be a 28mm FF equivalent X100V with nothing changed on the camera. I would also be happy with the X70 lens on it. But if Fujifilm wanted to make a perfect street camera, they could create a new 28mm (FF equivalent) lens, hard stops at either end of the focus ring, a focus tab, and a proper depth of field scale.

Sales

I don’t see this X100V-28 making a negative effect on X100V sales; sure some might buy the 28mm version over the 35mm version, but some would also buy both (myself included). Fujifilm might even gain some of the Leica Q sales; sales that Leica might be gaining from Fuji’s X100V because of the focal length??

So obviously this post is just wishful thinking on my part, but surely the amount of R&D that would go into making this camera would be a fraction of that for new cameras like the L-shaped thing that came out recently?? Plus, the X100 series is tried, tested, and love. See, it’s a no-brainer :o)

Fujifilm Framing Outline Feature

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As a music photographer I often have trouble seeing where the edge of the frame is inside my viewfinder while shooting in dark venues. I often have pictures where my subject’s head is just touching the top of the frame where I thought I had allowed headroom.

So I was delighted when I found (by accident) a feature that is in the X-T2, X-T3, X100F, X100V, and I’m sure all the latest cameras. It’s called ‘Framing Outline’ and it puts a grey outline around the frame on both the electronic viewfinder and the rear LCD screen. Here’s where to find it.

SET UP - SCREEN SET-UP - DISP. CUSTOM SETTING - 'FRAMING OUTLINE (usually the last on the 4th page). Just make sure that’s ticked and you will see an outline on your frame.

This is not just a great feature for those of us shooting in dark music venues, but for portraits against black or dark backgrounds or any kind of night shooting. Give it a try and leave a comment below if you find this useful.

Will Sports Finder Mode Turn A 16mm f2.8 into A 28mm?

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I’ve had a recent comment on my review of the Fujifilm XF16mm f2.8 R WR from Kid Sodbrennen about using this lens with the Sports Finder Mode in the newer Fujifilm cameras. Kit reckoned it would crop in to match a 28mm. After doing a quick test, I replied that it was not as wide as a 28mm. But testing further for this post, I have come to change my mind. The problem was that I was basing my opinion on the 18mm f2, which is actually more like a 27mm.

The 16mm f2.8 is actually a bit wider than the 16mm f1.4. As you can see from the two example photos above, the f2.8 is more like a 15mm. 1mm doesn’t add or subtract to a longer lens, but on a wide Ange lens this can make a big difference.

As you can see from the image to the left, the 18mm with a 1.5x crop comes in at 27mm. The picture on the right shows the 16mm f2.8 using the X-T3’s Sports Finder Mode, which has a 1.25x crop. So assuming the 16mm f2.8 is actually a 15mm - 15 x 1.5 = 22.5. 22.5 x 1.25 = 28.1.

But if you compare the pictures above, one shot on the X70 and the other shot on the X100V with the 28mm WCL-X100 conversion lens, the 16mm f2.8 using Sports Finder Mode is indeed just like a 28mm.

The downside to this is that you are throwing away megapixels, but I’m still shooting street with my X70, which has a 16.3mp sensor, as opposed to the newer 26.1mp sensors in the latest cameras.

Apart from the X100V, my only camera with Sports Finder Mode is my X-T3, which I would never use for street photography. So I guess I won’t get the chance to make use of this setup. But I’m sure with the X70, X100V with the WCL, and the X-Pro2 with the 18mm, I’ll manage for now.

But imagine a new 18mm f2 mkII and an X-E4 with an X100V style flip-out screen (for shooting from the hip). That would be an awesome street camera!

UPDATE:

An X-E4 was indeed released with an X100V style flip-out screen. Unfortunately it has no front focus selector, no View Mode button, and of course, no D-Pad. Not only that, it has less Fn buttons that might have allowed to compensate for these short-comings. I really fear for the future of Fujifilm’s next generation of cameras. But at least it’s saving me money by forcing me to stick with older models :o)

Meike MK-XT3G Fujifilm X-T3 Hand Grip

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I’ve never been a fan of these metal grips for cameras, preferring a good old battery grip that has a more useful function of extra power. But I’ve been shooting a lot of video this year on a Zhiyun Weebill S gimbal and wanted to use a quick-release system rather than having to rebalance the gimbal every time I used it, each time I needed to change batteries. I started off using a Manfrotto quick release plate, but as I also shoot stills on the same gig, I didn’t like that square block attached to the bottom of my camera when not on the gimbal. Enter the Meike MK-XT3G hand grip for X-T3 (there’s an X-T2 version too).

Although Fujifilm makes there own version of this, like all Fujifilm accessories, it is a little overpriced. JJC produce a version of this grip too, but in the end, I opted for the Meike one as I preferred the design.

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BUILD QUALITY

Built quality is first class. It is solid and made of metal. The vertical part of the grip is also made of metal but has a plastic grip at the front. This thing is built well and should last for years.

LOOKS

Although I find the vertical grip part (that sits in front of the camera’s grip) is a little too glossy for my liking, which looks a little cheap on close inspection, this is the only downside but will hopefully look better with a little wear. Its finish is not a match for the X-T3’s more rubber look.

The bottom of the grip (the important part) looks nice and is well styled to suit the camera. It might even add to the looks of the X-T3. Rather than just putting a brick on the bottom of the camera, Meike has added a few design curves that give it a more expensive look and feel.

The logo on the back is a little oversized, but I’m just being picky now. Put up with it or add a little bit of black tape if you don’t like it.

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FUNCTION

Instead of having to screw a plate on to the bottom of the camera each time a tripod is required, the Meike grip just stays attached and simply locks into the quick release plate on the gimbal or tripod. It’s a functional grip when hand-held, or a tripod bracket when required. The front and rear of the grip has built-in rails Which allow the quick release plate to lock it in place on any Arca Swiss bracket. The simplest things can often be the best, and that little white line on the back of the grip that marks the centre position is great! I can use it to line-up with similar markings on the quick release plate to always lock my camera in the same spot, allowing my gimbal to be balanced each time.

On the bottom of the grip, there are two threaded holes that can be used to attach standard tripod screws or BlackRapid style straps. Each corner of the base is curved to make it more comfortable on the hands. The grip is also cut-away to allow the flip-out screen to move freely.

VALUE

At £39 on Amazon, this is outstanding value for money and a bit of a no-brainer if you need to use a tripod or gimbal with a quick-release Arca Swiss system. I paid a further £15 for the Arca plate to attach to the gimbal, so for a total of £59, this saves a lot of time having to re-balance the Weebill S each time I use it at a different location (which could be up to six times per day).

SHOULD YOU BUY ONE?

There are three good reasons to by the Meike MK-XT3G. 

  1. If you use a tripod regularly.

  2. If you use a gimbal, but don’t want to have to constantly balance it.

  3. If you find the camera a bit small in your hands.

If any of these reasons apply to you, it’s probably a no-brainer, especially at the price on Amazon. Time is money, so for me, this grip will more than pay for itself in very little time!

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One Frame 010: 3 Red Dots

The vernacular railway trip up the mountains to reach the Benedictine Monk Retreat at Montserrat in Barcelona, Spain is a spectacular journey. The cable car is another option but I would recommend going up by vernacular and coming back on the cable car. After reaching the top, the air is clear and the views are spectacular. There is also a peaceful quiet only interrupted by the church bells every so often.

I noticed these three red dots on the window before heading downstairs to the exhibition and decided to wait to see if someone would walk into the frame. I had imagined a single person or possibly a couple but a few seconds later these three people walked past and I captured this picture. I shot 6 more after this one but there was no point, I already had the shot I needed. Time plays tricks on you and I had it in my mind that this was the last picture of the sequence rather than the first.

See more pictures of Montserrat HERE

SHOT WITH FUJIFILM X100T & WCL-X100 CONVERSION LENS (28MM FULL FRAME EQUIVALENT)

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One Frame 009: Decisive Moment

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We’ve all heard about Henri Cartier Bresson’s ‘The Decisive Moment’ I guess. The shot of the man leaping over the puddle (or into it) springs to mind. But HBC just meant that you have to press the button at the right moment. A lot of the time if you see the picture - you have already missed it. So you have to anticipate the moment. But to be honest, sometimes you just get lucky!

This frame was shot during the second month of the Covid-19 lockdown when exploring places off the beaten track was not only fun - it was essential if you wanted to avoid contact with fellow humans. While walking with my wife and kids we came across this burned-out car. I was flying a drone at the time so I grabbed 7 frames of the kids playing on and around the car as the drone hovered above. I only took a single shot of my son jumping off the wreck, and this is that frame. I used the drone footage for my Coronatime film, which I was asked to make for the Fact Not Fear series (below).

SHOT WITH FUJIFILM X100F