Out & About With The Fuji 50-140mm f2.8

I went walkabout the other day while there was a bit of good weather, and by that, I mean dry and bright, because it certainly wasn't warm. I wanted to try out the Fuji 50-140 f2.8 in daylight. I've already reviewed the lens under studio conditions which you can see HERE. I ended up shooting some street photography and capturing something I wouldn't have thought possible, handholding at the equivalent of 210mm at 1/28th of a second and getting a sharp image. I had to double check the Exif Data on this one because I thought I was seeing things. As you can see from the crop above, this is again very sharp and I'm shooting wide open at f2.8. You can see the street shots I took processed in B&W using Silver Efex Pro over at 35mmStreet. But have a look at some colour shots before you go.

Before I reached the streets I went for a walk near the Science Centre by The River Clyde in Glasgow (Scotland). The next few pictures should show how sharp this thing is. It does take the X Series on a different direction because when the 50-140mm is attached to an X body, gone is that feeling of small, discreet, fly on the wall photography. It's a big lens and it feels and looks like a 70-200mm. The size of the camera doesn't really matter. I was using the X-T1 with the battery grip.

Colour, as always with Fuji, looks great. It was late afternoon, but the sun was already dropping fast

I'm not that into the look of these trees in the background, it’s a bit jaggy and distracting. But I think this is more to do with the shape of the greenery, rather than the lens. I say this because the next photo (bellow) is not like this at all.

I love the articulated screen on the X-T1, but I didn't think I needed one until I used it on the X-M1 when it came out and loved it. At f2.8 and with the camera so low, you can see just how buttery this lens can be. Focus is fast, silent and locks on easily on even the most difficult scenes.

I tried hard, but I just couldn't get any lens flare at all. The sun was bright and I was shooting towards it, but between the glass and that deep hood, there was zero flare.

When I shoot street photography with a 35mm, I mostly keep moving. But with this long zoom I found it lends itself to finding a good spot and waiting for interesting subjects to pass through. I can't say that I felt comfortable walking around with this lens attached to the X-T1 with battery grip, as I like to be as invisible as possible with my X100S or as I was when the sun went down on this day, with my X-Pro1 and the 18mm f2. But as this won't be a regular thing, I actually enjoyed it for what it was.

No problem shooting from across a busy street, as although it's a large lens, you can be a good distance away. Again you can see more street photography with this lens over at 35mmStreet

Fuji 50-140mm f2.8 :: It Thinks It's A Prime

Warning. If you don't want to to spend more money on gear, do not read this post!

All of these portraits of my kids are straight out of the camera. I have not adjusted contrast or sharpness. This is what you get from an X-T1 and the 50-140mm f2.8. I will do a follow up post to show how great the shallow depth of field looks, but I wanted to get a review out as quick as possible and it's been a dark grey weekend. This won't be a technical review. You can find plenty of specs on the web if you need them. Specs are fine, but if they're not engineered properly, they don't mean a thing!

It seems nobody told this lens that it's not supposed to be as sharp as a prime. Come to think of it, nobody told Fuji that you can't make a zoom that performs like a prime lens either. But I'm glad, because they have pulled it off. Click on any of the portrait shots to see a full size version on Flickr.

Ok, so the shot above is sharp, very sharp. But look below and you will see that this is just a small crop of the original photo. Not only that, but as I said above, this is SOOC. These portraits of my kids were shot with the Fuji X-T1 and the new 50-140mm f2.8. With a full frame equivalent of 75-210mm, this is Fuji's answer to the classic professional workhorse 70-200mm f2.8. Now I own a 70-200mm Nikon and it's a fantastic lens (as is the Canon version). It's the reason I've held on to my Nikon D800, because I need that 200mm reach for my jazz photography. Fuji's other long zooms are too slow for what I need and my longest prime is the awesome 56mm f1.2. I'm looking forward to my next jazz shoot with an all Fuji setup!

So this shot of my son wearing his first tour t-shirt from our first father and son gig on Saturday (War Of The Worlds) is enough to show the amazing quality that the X-Trans sensor and the 50-140mm can produce. These portraits were lit using a Lastolite Hotrod Stripbox with a Nikon SB700 inside. I also used a Lastolite Trigrip 8 in 1 reflector to get clamshell style lighting. The Flash was triggered by the Flashwave III Radio Triggers. More information on using Flash with Fuji can be found in my 3 part post starting HERE.

The first thing you notice when you see this lens in person is the size of it. Although not as large as the Nikon or Canon version, it is however, a 70-200mm f2.8 (FF), and that means bulk. Compared to other X-Series lenses, this one is big and it's heavy. Not in a DSLR sense, but for mirrorless. But this is not a lens that you take with you every day. No this is the big gun that goes to a paid job and does the business. It's a wedding or portrait photographers must have piece of glass and it will be the lens that allow a large number of DSLR shooters to jump ship to Fuji mirrorless. There will be some that need an equivalent to a 24-70mm f2.8 before that jump, but don't worry because there's a 16-55mm f2.8 coming early 2015.

So here is how the lens looks on three Different bodies. On the left is the X-T1, which with the battery grip, will be my preferred camera with this big lens. In the middle we have the X-Pro1 and on the right is the smallest of the three, the X-E1. As you will notice from this Triptych, Fuji have put some thought into this and included a removable square (see centre image) on the lens hood. This is to give access to a polarising filter so that it can be turned. I would recommend using the hood with the hole at the bottom to keep out sunlight.

I'm really pleased that Fuji has went with an aperture ring that has the f stops marked on it and has a dead stop at either side, rather than the un-marked continuous ones found on the other zooms. The zoom ring is nice and stiff and very grippy. And on the subject of zooming, as this is a professional lens, all zooming movement is internal, so there are no unwanted protrusions at the front end.

A metal tripod mount Is included and attached, which is essential if you shoot landscapes etc. The lens is heavy and it doesn't matter which of the X bodies you use it on, there would be too much strain on the cameras lens mount if attached to a tripod via the bottom of the camera. As I only use a tripod now and again, I prefer to remove the tripod mount until required. This is easily achieved by removing two screws (they stay attached to the mount, so no chance of loosing them). I found the best way to reattach the tripod mount is to hold it in place with a thumb and turn both screws simultaneously. When I tried to do them one at a time, the second one was always a bit reluctant to go in. The tripod mount is attached to a ring on the lens that allows the camera to rotate for upright portraits. This locks into position by a single thumbscrew. A small wish for the tripod mount would have been a quick release system similar to the Nikon 70-200mm rather than the two screws....but it's no big deal!

I often use a BlackRapid Yeti double strap and I really wish Fuji had included a threaded hole for a tripod on the base of the lens as well as the tripod mount (other 70-200mm's have this). I would feel better about hanging my camera upside down from a BlackRapid FastenR with the rubber bush, than the two thumb screws holding the tripod bracket to the lens. It may be absolutely safe, but I'll be keeping an eye on it for the first few shoots.

My seven year old daughter played her first two gigs at the weekend. So the real reason for taking some studio pictures was really to mark the occasion. It was just good timing that Fuji released this lens at the same time. Ho did they know?

The focusing ring is well suited to portraits as you can make really fine adjustments without overshooting the distance. This is due to the focusing ring having a longer travel, something welcome on this lens, but not so much on a shorter focal length prime.

My time to shoot pictures of my son is limited, as he doesn't stop moving long enough. So I told him I would shoot 15 frames and he was done. This was the last shot and in response to me asking him to give me the James Bond look. As you can see from the catch lights in his eyes, the strip box is above and the reflector below.

 So in conclusion: The Fujifilm 50-140mm is just outstanding! We've waited a while, but the wait was well worth it. I keep thinking that Fuji has peeked with the quality of their lenses, but as soon as I do, they bring out something that just blows me away! Sure it's a big lens on such small cameras, but it is smaller than the equivalent Nikon or Canon (see comparison pic to the left). Apart from wishing for a quick release on the tripod mount and a threaded hole to allow direct tripod/BlackRapid mounting, the only other thing I would have wished for would be a soft or hard case to have been included, rather than the usual cloth bag.

But those are in no way deal breakers. The XF 50-140mm f2.8 R LM OIS WR (to give it it's full title) is value for money when you consider the quality and comparison to the price of the big two's 70-200mm f2.8 glass. If Fuji can pull off the same feat with the upcoming 16-55mm f2.8, they will have arguably two of the best zooms for the working professional. It's amazing to think how little time has passed since the launch of the first interchangeable lens X camera. But in such a short time Fuji has produced an unbelievable system. Let's hope they're working on a great wireless flash system to go with it.

Click these links to see what the 50-140mm looks like in daylight and with shallow depth of field.

Out & About With The Fuji 50-140mm f2.8 And Now For Something Completely Different :: Street Photography With The Fuji 50-140mm f2.8

Wide Angle Wizardry :: Fujifilm XF 10-24mm f4

I have fond memories of shooting with a Sigma 10-20mm and 10mm fisheye a few years ago on DSLR's. Super wide angle lenses are great fun and sometimes it's the things they say you shouldn't do with a wide angle that turn out to be the most interesting and fun. I got that familiar, but at the same time forgotten tingle of excitement when I attached the Fuji 10-24mm f4 lens to the X-T1, similar to how a piece of music takes you back to a memory tucked away in the back of your mind. A super wide angle lens is an epic way to see the world!

In full frame speak, this would be a 15-36mm, so it can be a decent documentary lens, especially in tight spaces. It could be used for street photography too, but it's a bit too big compared to the 23mm f1.4 or 18mm f2. But if landscape or architecture work is your thing, then this is the lens for you. I haven't managed to get anywhere near the sea since having the 10-24mm, but I'm sure it would produce epic seascapes.

At 87mm's long and with a filter size of 72mm, the 10-24mm can be a bit front heavy on most of the X-Series cameras. But with the battery grip attached to the X-T1 it feels about right and with the lens getting bigger toward the front, it feels both comfortable and secure when holding it in both hands. I'm so glad Fuji chose to make this a constant wide aperture of f4. Although 2.8 would have been nice, I much prefer a constant f4 to the variable f3.5-f5.6 of the 18-135mm. In my mind pro lenses don't have variable apertures.

On the subject of Aperture, I don't know why Fuji chose to have an endless aperture ring without f numbers marked on the lens. I get that you need this on the 18-55mm or the 18-135mm because the widest aperture is variable as you move through the range of the zoom. But as the 10-24mm is a fixed widest aperture of F4 all the way through, I don't see the point. I'm so glad to see that the upcoming 50-140mm f2.8 has an aperture ring like the primes, with the f stops etched on the lens and a dead stop at either end. Because the 10-24mm has an endless aperture ring, it does note have an A for Auto. So like the 18-55mm, there is a seperate switch to select manual or automatic aperture.

One slight gripe I have (personally) is that the focus ring is so far forward that it makes manual focusing awkward when turning the focus ring to the left (focusing closer), if like me, you prefer to hold the lens from below, rather than above. This is only a problem with the battery grip attached to the X-T1 as the heal of your hand hits against it. That won't be a problem with any other body.

Image stabilisation maybe not as crucial on a super wide angle lens as on a telephoto, but thanks for adding it Fuji. As on the 18-55mm, there's a constant (almost inaudible) hiss from the lens, with or without OIS switched on. Weight is spot on in my opinion for a lens of this type and size. Build quality, as on all Fuji XF lenses, is extreamly high and I couldn't wish for anything better.

 

The 10-24mm f4 is one of the quietest autofocus lenses I have ever used. It is practically silent! This will be great in conjunction with the Silent Shutter Mode available as part of a firmware update in Dec 2014.

So it's another big thumbs up for Fuji glass. They make fantastic cameras, but the quality of their lenses is breathtaking. The original three X-Series lenses, the 18mm, 35mm and 60mm, were and still are sharp, compact and well made. the 35mm f1.4 is already a classic in my opinion. But since those early lenses, Fuji have  taken things to another level and produced lots of amazing glass, including my all time favourite, the 56mm f1.2.

Next on my shopping list is the 50-140 f2.8 (75-210mm in full frame), which will be perfect for my long term jazz project. I reckon this will be the lens that make a lot of DSLR users jump ship to mirrorless. Watch this space for a full review soon.

Disclaimer: I am an Official Fujifilm X-Photographer and have done some work for them. However, I am not paid to review gear or promote the Fuji brand. I have been talking and writing about the X-Series since the X100 found it's way into my hands and long before Fuji knew who I was. The X-Series changed the way I shoot and has opened many doors for me.

I'm Now An Official X-Photographer

I'm very happy to announce that Fujifilm has invited me to be an official X-Photographer. I've known about this for some time now, but kept it hush hush until I was added to Fuji's X-Tog site. You can see my bit HERE.

I've been a Fujifilm user since the X Series began and was lucky enough to get my hands on the original X100 as soon as it was available. Looking back at the pictures I've shot since then surprises me a bit. The time has flown and I'm pleased with what have produced so far. The cameras have come on leaps and bounds and with the firmware update coming this December, it looks like everything I've wished for is finally coming (to the X-T1 at least).

I'm looking forward to whatever comes next.

WCL-X100 & TCL-X100 for Fuji X100 S & T

The Fujifilm X100 was a real game changer in my photography. I was in need of something small, light and above all else, great in low light. But I got more than I bargained for and the X100 took me on a journey and made me realize the direction I really wanted to go. I still have my original X100, but after including many other X cameras to my kit, I've recently came full circle and rekindled my love of the X100 with the addition of an X100S. Although I have five X series cameras and many lenses, I have had an urge lately to carry less....much less. So I've limited my personal photography to the X100S (although not exclusively). But although I love the 35mm field of view (full frame wise), Sometimes I can be restricted in zooming with my feet and then have to take another body and lens(s).

Thankfully Fuji have answered the prayers of X100 shooters with the introduction of two great converter lenses. The WCL-X100 (wide angle version) came first, and then more recently the TCL-X100 (telephoto version). Both are built to the same high quality as the X100 and feel so good in use. They attach to the original fixed 35mm lens by screwing on to the (external) filter thread. If like me, you have the Fuji lens hood attached, you must remove both the hood and the adaptor before attaching each of the converter lenses.

WCL-X100 The WCL-X100 takes the 35mm field of view down to 28mm. This doesn't seem like a lot, but it can make all the difference in a lot of circumstances. I know there's a lot of street photographers that prefer a 28mm field of view to a 35mm and for cityscapes or landscapes this is just the ticket. The WCL is the smaller of the two and as slim as the X100's fixed lens. It also accepts the original Fuji lens hood (without the need for the adapter ring. The WCL looks 100% like it's part of the camera and although extends the length and weight, the camera still feels pretty well balanced and small.

Even Leica Man couldn't take his eyes off the X100S with the WCL-X100

Fuji have done a great job getting rid of distortion on a lens this wide.Even at the edges, it doesn't pull and flatten out as much as a lot of 28m lenses.

TCL-X100 The TCL-X100 takes the X100/100S up to a 50mm and into the zone of portraits without distortion. Although it still looks like it's part of the camera, rather than a screw on converter, the size and weight ads quite a bit and makes the camera quite a bit more front heavy. But because of it's funnel shape and larger front end, it is really comfortable to hold both when shooting and holding. Sadly the TCL doesn't have a built in lens hood mount and the original lens hood would be much too small anyway. But it would have been great if Fuji had added a mount and included a larger version of the X100 hood. This request is not just for looks or even to prevent lens flare, but to protect the front element from scratches. The front of the TCL is large (68mm filter) and the front element is so close to the surface, that a UV filter is a must, even for a shooter like me that has no filters on any lenses and don't want any either. But after shooting for a day or two with the TCL, I bit the bullet and added a filter, even though this was a review copy sent to me by Fuji.

CONCLUSION So from what you've read above, it looks like the WCL has no flaws, but the TCL has a few. But if I can only have one of these it would be the TCL. Some people saw the fixed 35mm lens on the X100 as a downside. I thought it was great to not have to think about focal length and just shoot. In a way these new converter lenses kill that idea slightly, but that is a small price to pay in exchange for opening up the capabilities of the X100/100S and I'm excited about that. After having the original X100 for a few months, I fantisized that Fuji would bring out a 50mm or 85mm version of the camera, which would be a perfect combination of a fixed 35mm on one shoulder and a 50mm or 85mm on the other. Fuji has done even better with giving us an option, even if we only own one camera.

THE FUTURE When I bought the X100S, I was a bit sad that my X100 would become redundant and stay in the box until my kids are old enough to use it. But I now have a reason to use my original X100 with the X100S and have a different focal length on each. My Fuji wish list now includes an 85mm conversion lens, but I'm not sure if that would even be possible? But I'm glad to see that the X100 and X100S not only live on, but have a new lease of life. Although these units are for review purposes, I've already made my mind up that I will be adding the WCL-X100 and the TCL-X100 to my Fuji arsenal as soon as possible. For the last few weeks I've been carrying my X100S and these two converters in the small but perfectly formed Rob The Traveller bag by Millican (read my review here). It's really easy on the shoulder and well worth checking out if you're planning a bit of travel photography.

UPDATE ****************

Stewart asked (in the comments below) if the TCL-X100 is suitable for portraits. I'm more than happy to shoot portraits with a 50mm lens. The TCL handles portraits well...as you can see from the handsome beast above :o) This was taken in a portacabin/dressing room backstage at a festival, with Florissant strip lights. X100S with the TCL, 1/125sec, f4 at ISO 2000.

GoPro Hero3+ Black Edition

The makers of the GoPro Hero range have carved out a nice niche with these nifty little cameras. Aimed mostly at the sporting world, but used in a huge variety of ways from street photography (POV videos) to big budget television production. I've had my eye on one for a long time, but, not being into sports much, I wasn't sure if it was something I would use. I kept being drawn back time after time with all those great videos of people jumping out of planes and scuba divers swimming with sharks (two things I have no intention of doing). Finally the stars aligned, the time was right and a nice new GoPro Hero3+ Black edition arrived curtesy of Clifton Cameras in the UK. I bought my Fuji X-E1 from Clifton, so I knew they were quick and the service is fantastic. The Black edition is the highest spec of the GoPro cameras, but if you're on a budget there is also the White or Silver edition. Surf and Music editions are also available if that's your thing. I opted for the standard black edition as it has a wireless remote included.

When it comes to accessories for your GoPro, there are many available with a wide range of possibilities. Being a musician, the first thing I bought was the Jaws Clamp. It consists of a clamp with a mount on top that can be used as is, or with the included GorillaPod style bendable arm. The Jaws Clamp is ideal for attaching the Hero camera to instruments like guitar, saxophone and drums. There's some fun footage on line that has the GoPro attached to the slide of a trombone with the camera zooming in and out of the players face every time the slide is moved.

The hardest part for me was finding the time to shoot and edit, but luckily a trip to Corfu was on the horizon. A quick shopping spree on the net and more accessories arrived at my door the day before leaving. A Tripod kit and Anti-mist patches were just what I needed, but shock horror, I forgot to get the all important extendible pole, but. Luckily there were GoPro accessories available at the airport duty free and a POV Pole by SP was bought for £35.

The video at the top of this post is my first attempt at putting together a a short film with the Hero3+ (Click on HD to watch it in better quality on Vimeo). Picture quality from the Hero3+ is amazing. It's hard to believe that something so sharp comes from a tiny little box that looks like a cheap kids toy. For the video above, I set the camera to 1080 at 60fps with the Wide setting. I knew that I wanted slow motion, but I also wanted to keep great picture quality, so I ruled out 120fps at 720 until I could test and compare the quality settings. I inserted two Anti-fog patches inside the waterproof housing and had zero problem with fogging in the water. The SP POV Pole performed fantastic and is probably the best accessory available for the GoPro. One of the great things about a GoPro is that a lot of the time your subject become the camera operator. Stick one on a guitar and let the player do their thing. Being aware of the camera usually means they will move around and make sure to include things around them. The same goes for this film of my kids, give them a pole with a GoPro and they perform brilliantly.

I edited the footage using the free GoPro Studio app (downloadable HERE) and although it was my first time using the software, it didn't take long to get the hang of it. I think there are a few clinches in the software, but it could be my inexperience with a new app, so I'll need to do more editing to find out. GoPro Studio outputs the finished film for Vimeo, youTube of even just a high resolution version to sit on your hard drive.

The short clip above is a quick test of the time-lapse feature (Click on HD to watch it in better quality on Vimeo). I set the camera to take one picture every two seconds and left it on the GorillaPod Focus for ten minutes. I'm happy with the results and I'm looking forward to shooting more time-lapse soon using an Ikea egg timer with my GoPro mounted on the top via one of the included self adhesive mounts. The egg timer allows the camera to rotate for up to an house when shooting time-lapse. So not only will it produce cool stop motion video, but it will pan smoothly at the same time.

The GoPro range of cameras and accessories are available from Clifton Cameras in the UK. Click HERE for the Hero3+ Black Edition that was used for this review. These things exceed expectations in quality and performance. The biggest limit is your own imagination.

VSCO Keys :: Pimp My Keyboard

A recently wrote a first look review of VSCO Keys that you can find HERE if you missed it. I hadn't used VSCO Keys for long at that point, but I knew it was going to be a real time saver. But after using it for a couple of weeks, I started to notice that my original VSCO keys layout was close, but not quite where it needed to be. I was finding it wasn't as intuitive as I would have liked and as I was using it in banks across the keyboard (W up, E down. R up, T down...), I noticed that it was too easy to lose where my fingers were supposed to be as I got to the centre of the keyboard.

So I decided to pimp my Apple keyboard for a little visual help. I bought a sheet of Black (Non Transparent) Keyboard Stickers from Amazon and after adjusting the positions of my shortcut keys using the layout section of the VSCO website to a more intuitive system, I placed the stickers where I thought they would give me the best indication of where things were. The stickers are black with white lettering, which is the opposite from my white Apple keyboard. It was so successfulI that I now have a set of white stickers for my black Macbook Air keyboard.

As you can see from the photo, the first group of keys (from left to right) are black with the top two being Exposure - & + (Q & W) and then Shadows (A & S) and Blacks (Z & X) below. The next group are Contrast at the top (E & R) with Highlights (D & F) and Whites (C & V) below. So the dark stuff is (mostly) on black keys and the lights are (mostly) on white keys. Blacks and Whites also sit side by side. It's simple things like this that make me remember things easier, but whatever works for you. The next row of (black) keys are Temperature, Tint and Vibrance (from top to bottom). After that it's a mixture, but again the stickers are all placed to make it easier to remember individual keys, which can be as simple as placing a black sticker in the middle of three keys doing non related functions.

As you probably know, adding the Control, Alt, Shift, Command or Fn keys gives a completely different function to each key. I try to keep similar things mapped to keys, like Saturation is under Vibrance, sharpening is under Clarity...etc. Number keys 1-0 are left for star and colour ratings, but also apply presets when the Cmd Key is added.

So VSCO keys has dramatically speeded up my workflow and it's still on the increase. I still like to use the Logitech G13 for culling, but I find the two systems work well together. There is one thing I'd like in VSCO Keys that I cant find in the Layout software. In Survey Mode you add photos to the selection by pressing Shift and using the arrow keys. I'd love to have the < & > keys set to this function, but without the need for the Shift Key. Maybe it's in there, but I can't seem to find it. You can download a free 30 day trial of VSCO Keys HERE, so there is nothing to loose and everything to gain. You can buy keyboard stickers from Amazon, but make sure to get the Non Transparent ones or you will see double letters on each key.

Project Jazz :: Instrumental Interview

I had the pleasure of being interviewed by Michael at INSTRUMENTAL recently. The interview was about Project Jazz, my long term project to document today's jazz scene. Michael asked a lot of great questions that forced me to think a little deeper than I had about this project. I also had to go through the jazz pictures that I've shoot in the last 12 months and look at them from more of a portfolio point of view, rather than during the editing phase. I'm very pleased with what I have so far and I can see a nice body of work coming together.

My aim with Project Jazz is to carry on the tradition of shooting black and white photographs of jazz musicians in the same way as the great players of the 40’s, 50's and 60's were captured. If you haven't had the chance to see some of these pictures, you can have a look HERE and the Instrumental interview is available HERE.

Freedom Through Photography :: Part 4

Back in September I had the pleasure of shooting a project with Fujifilm UK and Millican. The two companies had teamed up to produce a couple of camera bags for the Fuji X Series and they invited myself and fellow photographers David Cleland and Andrew James to the picturesque Lake District to shoot a project called Freedom Through Photography. The idea was that each of us shot a subject that tied in with the landscape and how it was used. The X-Series is small and lightweight, while Millican's products are all about getting out into the countryside and having an adventure, so the two companies pair fairly well. David's mission was to shoot The Landscape itself, which meant a very early rise, while Andrew had the task of shooting someone who works in the landscape. I had the pleasure of doing a documentary project on Alan (Al) Wilson, someone who uses the landscape for their passion. Portrait Of A Photographer is the third in this series and features me shooting Al with the X-M1 and a few different lenses.

ALAN WILSON Sophie (my awesome sidekick for the day) and I met Al at the Bowder Stone. It was my first visit to this amazing 2,000 ton rock, but Al had been here many times before. He has climbed and studied this rock for years, practicing and perfecting moves that could take him to the top using all sorts of routes. A few minutes talking to Al about the Bowder Stone and you know he has an obsession with this place. He talks about rock climbing the way photographers talk about photography and you can see the passion in his eyes. He also has a fair bit of respect for The Bawder Stone, as if it lived and breathed. It was a privilege to photograph Al doing the thing he loves and I hope I did him justice in the photographs you see in the film.

FUJIFILM, MILLICAN & FREEDOM THROUGH PHOTOGRAPHY The purpose of the Freedom Through Photography project was to showcase the collaboration between Fujifilm UK and outdoor bag company Millican. Thanks to the great folks at Millican (especially founders Joritt and Nicky), we X Series shooters now have a dedicated bag for all our great Fuji cameras and lenses. The bag featured in the film above is the ‘Christopher’, but there is also the option of the smaller ‘Robert’ bag. These bags are really high quality and will last for years. The Fuji bags now come in two colours and you can see them at Millican HERE.

THE CREW As I've mentioned before, director Giles Brown and camera guys Andrew Lawrence and James Barns did a fantastic job on all of the films. I’m sure you will agree that the quality of these films are fantastic. Credit to Sophie Crewdson, for not only co writting the screenplay with Giles for these films, but Sophie was also my guide while shooting my part at the Lake District.

THE GEAR All three of us used the Christopher bag from Millican (the larger of the two bags made for the X-Series). Like all Millican products, it's made for the great outdoors at a very high standard that will last for many years. These bags are tough, good looking and above all else functional. Freedom Through Photography isn't just a nifty slogan by a PR department either. Having spent the weekend with Millican founders Jorrit and Nicky, I know they are totally dedicated to producing quality kit for people who love the outdoors. Millican also do a complete range of outdoor bags for hillwalking and many other outdoor persuits.

The Fuji gear we were using was the X20 and the X-M1. The X20 is a solid little camera that just oozes quality, but I think all three of us shot most of the projects with the X-M1 and a verity of lenses. Not having a viewfinder was a bit alien to me and I really missed not having one, but you adapt to the gear you have and it didn't take long to get the hang of holding the camera out in front. It did force me to use my glasses though and I was glad I had my eyes tested a few weeks before:o). I made a conscious decision to use a variety of settings to show how the camera handled things like high ISO etc...

This was my first weekend with the 14mm and I was impressed with how it performed. It's the one lens in my kit that I feel I haven't used enough yet. The 23mm and now the 56mm are the shiny new toys and two of my favorite focal lengths (35mm and 85mm in old money), but I'd like to spend a few weeks with just the 14mm (for my personal stuff at least) and really get to know that lens better.

THE EXIBITION Some of the photos shot by David, Andrew and myself will be part of an exibition at the Keswick Mountain Festival in the Lake District, which will run from the 15th of May until the 22nd of June (2014). I'll be dropping in to see the exibition on the 17th of May and would be happy to talk about Fuji, Millican or anything photography related.

THE COMPETITION You could also be included in the exibition by sending your own Freedom Through Photography photos in for review. Click HERE for full details on how to enter. The winning prize is a Fujifilm X-M1 and a Christopher X-Series camera bag.

LINKS Click on these links for more information. More on this project. David Cleland (Flixelpix) Andrew James Fujifilm UK Home Of Millican

A big thanks to Katie, David and Marc at Fujifilm UK for taking an interest in what I do.

VSCO Keys :: Speed Up Your Workflow

There's been a buzz surrounding VSCO presets for Adobe Lightroom and Apple's Aperture for some time now. I can't say I've had much experience with them, but lots of photographers swear by them. Even my buddy Patrick La Roque is a self confessed VSCO addict. But I had a look on the VSCO website recently to see what the new Film Pack 5 included and came away with something I hadn't bargained for.

VSCO Keys is a workflow dream and I thought you guys would be interested in something that can drastically reduce the amount of time we spend editing in Lightroom. VSCO film presets get lots of exposure on the web, but VSCO Keys, maybe not so much. So here is a quick look at what VSCO Keys can do for you.

VSCO is basically a plugin that maps your Mac or PC keyboard to the sliders in Lightroom. Once installed, all you have to do to activate VSCO Keys is hit the Esc key on your keyboard and you're good to go. The VSCO Keys icon in your Menu Bar with be grey when inactive and colour when active. There are two templates available from VSCO the 'Simple' one that changes very little on your keyboard and the 'Standard' all singing all dancing template that changes most of the shortcut keys on your keyboard. The best bit is that you can make your own template on VSCO's website and not only download it to your computer, but they also supply a PDF diagram of all your shortcut keys (like the one below). Probably the easiest way (and the way I did it) was to take one of VSCO's templates, duplicated and save it with your own custom name. Then you can tweek and change the things you dont like and keep the things you do.

It doesn't take too long to get the hang of where everything is and the difference it makes to editing time is pretty significant. Remember that you don't just have one set of keys on your keyboard, when you press Shift, Control, Alt/Option or Command, you have a different set each time.

One of the best features is the ability to assign any preset to a key on your keyboard. VSCO preset shortcuts are included in the program (not the VSCO presets though, you have to buy them), but you can easily assign your own custom presets or any 3rd party ones you download. If, like me, you're on a Mac, it makes life easier to have your F keys (F1 - F12) set to work without having to press the Fn key first.

VSCO Keys is available from www.vsco.co. You can download a restriction free 14 day trial and if you like it (and why wouldn't you) there's a one off cost of $59.25 (regular price is $79). This is one of those workflow time savers that are worth their weight in gold (I know downloaded programs weigh nothing, but you know what I mean). I'm running the free trial at the moment, but I'll definitely be handing over my credit card this week. There's no going back! [embed title="Quickstart Guide Walkthrough"]http://vimeo.com/50731350[/embed]