Fujifilm, in their eight years producing X Series cameras, have developed a reputation for producing digital cameras with a tactile feel and a few features that no other manufacturers are offering. While they still remain the underdog in terms of market share, their cameras have a loyal user base. In a concept straight up stolen from Alex Cooke’s series (with his blessings, of course), today, I’ll talk about three things I appreciate about Fujifilm’s cameras.
Articles written by Dylan Goldby
If there's one thing that the internet photography community loves to do, it's call gear manufacturers out for the various "bad" design choices they make. Fujifilm's new GFX 100 has certainly not been spared this. In this video, Cinema 5D heads over to the Fujifilm design labs to find out about the process of the design of their new flagship large (er-than-35mm) format camera.
Lens mount adapters are available in huge numbers for mirrorless cameras thanks to the reduced flange distance they offer. Nearly all Full Frame and Medium Format mounts have been adapted to the Fujifilm GFX series of cameras now, and today we'll take a look at the middle-of-the-pack Fotodiox Pro Nik(G)-GFX Lens Mount Adapter and discuss what it is and what it isn't to see if it would fit the bill for you.
It can be a struggle to produce our best work during the busy season. Once we’ve answered all the emails, backed up yesterday’s session, edited and processed last week’s session, worked on some social media posts, and, heavens forbid, got ourselves a cup of coffee and taken a short break, it can be daunting to head out and meet a client for a session. Today we’ll talk about a few ways to make each session count.
The photograph is a two-dimensional expression of a three-dimensional world. As photographers, part of our job is to ensure that the illusion of three-dimensions is given to the viewer where needed. There are myriad ways to do this, and we'll look at a few in this article today.
Fstoppers writer Andy Day recently published his thoughts on why Canon and Nikon should get into the full-frame fixed-lens camera segment and what that would mean for us as photographers. The Slanted Lens also did a great comparison of three existing options for a compact fixed-lens camera.
The decision to purchase a DSLR or mirrorless for new users, or the decision to switch from one to the other, is one that can be difficult to make. In this video, Engadget explore the key differences with a couple of discussions that will interest even photographers with advanced knowledge.
I would hazard a guess that most working photographers will tell you that talent has very little to do with a successful photograph. Somewhere along the way, you've probably heard the words “Genius is one per cent talent and ninety-nine per cent hard work.” It's that hard work that brings about good photography. Let's explore the roles that effort and perseverance play in our photography today.
Chinese lens manufacturer Zhongyi Optics have released some excellent lenses in their Speedmaster series for various systems over the past few years. Recently, they have added an f/1.4 lens for the Fujifilm GFX system to their lineup. Today, we'll take a look at the Zhongyi Mitakon Speedmaster 65mm f/1.4 for Fujifilm GFX.
Fujifilm have placed themselves squarely at both ends of the sensor-size war, skipping 35mm full frame altogether and instead concentrating on APS-C and medium format. In this review we'll be taking a look at the second addition to their GFX series of cameras, the rangefinder-styled GFX 50R.
Fujifilm has become quite well known for it’s excellent APS-C lens lineup and now has enough lenses that several of them overlap significantly. One pair of lenses that bare consideration for many getting into the Fujifilm X system are the “kit” XF 18-55mm f/2.8-4 R LM OIS and the “professional” XF 16-55mm f/2.8 R LM WR. Let’s take a look at the differences between them.
One type of question we see on social media and photography forums again and again is the “do you prefer this or this?” or “which image do you like best out of this set?” These sorts of questions are completely meaningless as they disregard the most important part of the decision: the photographer’s intention. What were you trying to achieve?
At some point we will all get stuck. We will all feel like we’re not developing as creatives. These ruts can drive us down or they can be a wake-up call to do something different. How we handle them determines how we function as creatives afterwards. In this article, we’ll discuss the power of doing something different.
The popularity of adapting lenses from one system to another is undeniable. One thing you might want to do is adapt a lens designed for a larger sensor to a small-sensor camera. For example, adapting a full-frame lens to an APS-C sensor. This is where focal reducers like the Zhongyi Lens Turbo II come in.
Aperture is one of our strongest technical creative tools as photographers and filmmakers. Although it’s simply just a hole for light to pass through, it can be used to create so many different effects in our images. By considering the effects it has and working with them, we can intentionally make very different images just by changing our aperture.
Each and every photographer has their own unique way of working and the finished image they try to achieve. For some, this may be purely aesthetic beauty, for others, a mood or feeling. In this video, the i-D Meets team spend time with three photographers from the U.K. to discover how and why they work.