Fujifilm X-T2

It seems like only a few months ago that Fuji released their upgraded flagship model, the X-Pro2.  And very excited we all were about that camera. Two weeks ago, Fujifilm announced the much rumoured X-T2, which, as some commentators may have you believe, is not simply "an X-Pro2 in an X-T1 body".

There is an element of that of course, but I firmly believe the X-T2 stands alone, and shoulder to shoulder, with the X-Pro2 as "a" flagship camera in its own right.

Fuji X-T2 Stand Out Features

  • 24.3MP X-TransTM CMOS III APS-C sensor
  • Acros Film Simulation
  • 4K video (as well as 180p and 720p)
  • The number of focusing points has been dramatically expanded from 49 in the X-T1 to 91 (up to 325 points).  
  • AF-C algorithm has been significantly improved for even higher accuracy when focus-tracking moving subjects in the AF-C mode.  There is also the introduction of several new AF-C configurations to help with fast moving subject tracking.
  • 2.36-million-dot high-resolution organic EL electronic viewfinder has the magnification ratio of 0.77x and maintains the display time lag of 0.005 seconds.
  • The Vertical Power Booster Grip (VPB-XT2) will not only hold an additional two batteries, but will also boost the power of the camera enabling even faster burst shooting, better refresh times and longer video recording.
  • Studio Tethering via a Lightroom Plugin which is soon to be released.

I think there are three main areas that are substantially different to the the X-Pro2 that I, at least, have been testing and appreciating the most:

The Tilting Screen

As someone who shoots weddings for a living, I know the power of tilting screen.  Whilst shooting with the X-T2, I've found myself using the now vastly improved tilting screen a lot. 

The new screen will pivot in two directions enabling it to be useful not only for those shooting horizontally, but also those shooting vertically.

4K Video

This is something that will either excite you, or pass you by completely.
It excites me, and I intend using the 4K features on personal and social documentary projects as much as I possibly can.

There is, of course, a swathe of cameras with 4K capability out there, but none that allow you to film natively using the remarkable colours and rendering of the ubiquitous Fujifilm film simulations.

You will, come the time of camera release (we haven't been able to during the beta testing) record to a F-Log flat uncompressed output too.  This is perfect for those that have their own cinematic finishes they like to apply during colour grading.

Fuji have added a headphone socket to the Vertical Grip and also a 3.5mm mic jack to the body.  Along with an HDMI out port, this means the camera really is geared up for some serious filming for those that are inclined.

Here are some random clips shot at 4K, straight from the camera.  The Colour clip is Classic Chrome and the monochrome ones are Acros+R.  Sound is recorded into an Rode Shotgun mic.

New Auto Focus System

When I used to shoot with my DSLRs, I really loved the ability to choose different continuous tracking modes.

When the AF-C updates came in Firmware 4 for the X-T1 (and subsequently released in the X-Pro2), we suddenly had a continuous tracking mode that worked incredibly well. One thing I missed though, was the ability to fine tune the continuous tracking and decide on things such as whether I wanted the camera to ignore subjects crossing in front on my primary focus subject, or react quicker to quick moving subjects etc. You can customise settings to optimise AF characteristics according to the type of subject movements in the new X-T2.

The electronic viewfinder, which is used to continuously track a moving subject, is capable of displaying up to 100 frames per second, while also maintaining the magnification ratio of 0.77x and the display time lag of 0.005 seconds.

The duration of the viewfinder blackout, in which the live view display blacks out temporarily while the camera reads picture data, has been reduced by more than half (and I know this has been an issue for some people in the past), enabling up to 5fps, instead of 3fps in the X-T1, during continuous shooting in the Live View mode, a better option to ensure tracking subject movements.

I really love the ability to customise the way the AF-C works and during my testing, I’ve found this to be invaluable.  For wedding photographers, it comes into its own when shooting and tracking things such as the bridal recessional or the confetti run where you don’t want the camera to suddenly start tracking the confetti itself or another person entering the scene.

Overall, the Fuji X-T2, I believe, will be a perfect camera for those who are likely to be shooting very fast moving subjects; sports and wildlife photographers will find this camera a dream to use and studio shooters will love the tethering that will be available to them via the Lightroom plugin.

Its another fine feather in the Fujifilm cap.

8XJUL16

OUR PERSONAL CHOICES THIS MONTH

Sambucca @ 35mm

BY Kevin Mullins

When our theme for this issue was discussed, and decided upon, I noted the incongruity in the fact that I would need to find some images that were shot at 35mm and sometime in the evening.

I'm not a big user of the 35mm lenses.  Don't get me wrong, I think they are great, and the 1.4 variant has had a new lease of life with the X-Pro2.  But they aren't focal lengths that I gravitate to naturally.

I'm more of a 23 and 56 man myself.

However.  I was lucky enough to be a speaker recently at an amazing photography conference in the Welsh hillsides called Snap Photo Festival.  One of the amazing things to happen to me at this conference was a total Epiphany I had about parties.  

Have you ever experienced a Silent Disco?

Well, neither had I until this evening.  Essentially, you take a very (and I mean very) dark tee-pee, around 100 professional photographers, some sambucca, and some headphones.

Et Volia.....a crazy Silent Disco.  Honestly, I can't explain the experience, but I will say - if you can - do go to one soon.  You will smile, and smiling is good.

At this extremely dark disco I had my X-Pro2 and the 35mm F2 and 18mm F2 lenses.  I actually shot a majority of the evening (remember I too was drinking Sambucca!) on the 18mm.

However, a few on the 35mm made the cut.  All of these images are shot at 12,800 ISO or above.  I actually like the grittiness of the edit and as Patrick mentioned when I showed him these images, the chaos.

I think Chaos is a great word to describe that evening.  Fun chaos though.

Monuments

By Charlene Winfred

I want to say it's been a long time since I've gone walking at night with a camera for the pure hell of it, but that isn't true. I do it all the time when I am somewhere safe enough to do so. I've always liked walking around in the dark. Wrapped in shadow, tinged with electric glare, the spaces we build for prosperity, protection, progress, panacea, feel different. Or maybe it's I who feel different, more aligned with the odd fluorescent bulb in a tunnel of shadow, than the largesse of architecture in glorious day.

It has been, however, a long time since i've made pictures without people in it, although if I  am honest, those are the kinds I most enjoy making. I live in cities most of the time, and it's a strange form of catharsis - as if by excluding humans from my pictures, I free myself from what poet May Sarton called the collision of human interaction.

Space Time

PHOTOGRAPHY AND TEXT BY DEREK CLARK

What happened to Time? There used to be so much, and most of it was free. There was always another day. No need to rush! Don't do today what you can put off till tomorrow! Long summers and a lifetime between each Christmas. Mum and dad  stopping at another cafe and they always take too long! We still have hours in the back of the car and the 8-track cassette of Dean Martin goes round and round endlessly, click after click.

"Are we nearly there yet?"

Fast forward in more ways than one. Let's go, we don't have all day. Time is money and they run out as fast as each other. Shoot, edit. Shoot, edit edit. Shoot, edit edit edit. Multiple mouse clicks to every tick of the clock.
Time for dancing, time for swimming. Time for dad's taxi.
The end of yet another year hurtles towards us, like space debris heading to Explorer.

"We have to go, we have to go go go!".

The past is a blur!

The present can't be opened!

The future isn't what it used to be!

The Way We Look, Tonight

The Way We Look, Tonight

There are always two sides to every event, a wise photographer once told me; there's what's happening, and then there's the audience's reaction to what's happening.

I often say to my friends, you can tell when I've had a really good time at something, because there aren't any photos of it. By which I mean, I've been so caught up in whatever it was - a concert, a party, a dinner with friends - that I never once thought about documenting it for others, or for myself in the future...

Normal

BY Patrick La Roque

You make dinner. Have a beer, maybe a glass of wine. Go through the usual motions until the kids are in bed. The sun barely dips below the horizon as you settle in for the evening—it's June...days never end.

You watch a few shows on Netflix, then your girlfriend goes to bed. You put on a movie. You sit there, looking at the screen and then imagine crawling in...like that show you used to watch all those years ago, in that other house, that other life. The one where others took care of everything and none of what surrounds you existed.

You sit there and hold your trajectory.
Lost in fiction.
Steady as she goes.

A 50mm Space Odyssey

by Flemming Bo Jensen

Hello HAL, do you read me HAL?

Affirmative, I read you Dave.

I need the wide angle lens please.

I am sorry Dave. I'm afraid I cannot do that.

What's the problem?

I think you know what the problem is just as well as I do.

What are you talking about?

You have to use the focal length formerly known as 50mm Dave.

[feigning ignorance] Where the hell did you get that idea, HAL?

Look Dave, I can see you're really upset about this. I honestly think you ought to sit down calmly, take a stress pill, and think things over.

HAL, I won't argue with you anymore! Give me the lens!

Dave, this conversation can serve no purpose anymore. Goodbye.

[Unplugs HAL, looks for wide angle lens]

 

 

A Split Second of Pure Happiness

BY BERT STEPHANI

A 35mm lens on my Fujis (or a 50mm on a full frame camera) has about the same angle as what we see with the naked eye. I call the 35mm my “life” lens because it captures life like I see it, without the heroic distortion of the wide angle, nor the flattering compression of a long lens. Years ago, I did a project called 50/50, I shot my 50mm lens (back than I was shooting full frame Canon cameras) for 50 days in a row. That experiment changed my photography completely and was the beginning of the quest towards shooting with less gear. The 50/50 project taught me that I can shoot pretty much anything with just this standard fixed focal length. Sometimes I have to work hard and be creative to find the shot but in the end I’ve always been rewarded for that effort. I’ve used a lot of different lenses since then, and my glassware collection is bigger than my gear philosophy allows. But the one lens that I always return to is the 35mm. Shooting with that lens is always like coming home.

The one subject that I have a hard time shooting with the 35mm is nature. It’s usually too long to capture the mind blowing vastness of a landscape and the only wildlife that I’ve managed to capture with it, had recently got a too close to a shotgun or a rifle. But I’m always up to challenge myself, so when we started discussing the theme for this issue, I decided to try to shoot in nature. 

I’ve always loved being outside in nature in the evening, at night and early in the morning. A lot of people associate the night with danger, but for me it’s the opposite, it’s the peace and calm that attracts me. The night has always been a safe blanket under which I can be myself. As a six year old boy I slept all alone in my tent in the backyard and loved coming out of it under the light of the moon. Now, 35 years later, a lot has changed but not my love for the night. That moment when the end of the dayshift in nature converges with the start of the nightshift brings those moments of magic that I live for. I call them split seconds of pure happiness. 

OSF 55

Text and photography by Vincent Baldensperger

Au 55 rue Breguet j’ai pris mes marques, l'Open Summer Festival est extérieur comme intérieur. Là se sont réunis quelques grands noms internationaux du graffiti, j’y découvre un univers artistique riche et percutant. Quelques heures de fin de journée estivale à observer les techniques des uns et la maitrise des autres. Nuit tombante, les premières basses attirent la foule, les couleurs électriques succèdent aux bombes fluo…

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The Open Summer Festival is an indoors and outdoors event. There you find the biggest international names in graffiti, a rich and stunning artistic universe. A few hours observing the techniques of some, the mastery of others. With nightfall the first bass notes call in the crowd. Electric colours to follow the fluorescent bombs.