New Firmware Features (1): Using AF+MF

_ _ _

New Firmware Features (1): Using AF+MF

by Rico Pfirstinger

Talk to Rico (open forum for questions & feedback)

Fuji X Secrets Workshops – Rico’s Flickr Sets

The Fujifilm X-E2: Beyond the Manual (use coupon XPERT40 for a 40% discount)

This Thursday (18 DEC 2014), Fuji is releasing new firmware for the X-Pro1, X-E1, X-E2 and X-T1. This is the first of three articles explaining the changes and enhancements brought to you by these updates. Let’s begin with the single new feature that affects all four X camera models: AF+MF.

What is AF+MF?

AF+MF allows you to autofocus in AF mode, then adjust the focus manually by turning the focus ring while holding the shutter button half-depressed.

In order to access this feature, the camera needs to be updated with the latest firmware (at least version 3.40 for the X-Pro1, 2.40 for the X-E1, 3.00 for the X-E2 and 3.00 for the X-T1). Then select SHOOTING MENU > AF+MF > ON to enable the new feature.

How to apply AF+MF

In order to use AF+MF, your X-T1 or X-E2 have to be in AF-S autofocus mode. Users of X-E1 and X-Pro1 cameras may also select AF-C using the focus mode selector switch that is located at the front of the camera.

Here’s how AF+MF works, step by step:

** CLICK HERE to Read the Rest of the Article **

First Look: Fujinon XF 50-140mm F2.8 R LM OIS WR

 photo 2992_zps5dc3b6b4.jpg

XF 50-140 IN STOCK CHECK
USA:
BHphotoAmazonUS / Adorama / EU: WexUK / WexDE / PCHstore / AUS: CameraPro

_ _ _

First Look: Fujinon XF 50-140mm F2.8 R LM OIS WR

first impressions / practical review / shooting experience by Rico Pfirstinger

Talk to Rico (open forum for questions & feedback)

Fuji X Secrets Workshops – Rico’s Flickr Sets

The Fujifilm X-E2: Beyond the Manual (use coupon XPERT40 for a 40% discount)

Rico’s XF 50-140mm F2.8 R LM OIS WR Sample Images – Specs

A few weeks ago, I had the opportunity to get my hands on a pre-production copy of Fuji’s new “professional grade” tele zoom lens, the XF 50-140mm F2.8 R LM OIS WR. Since the lens is already available in many regions and will soon start shipping in North America, I’d like to take this opportunity to share my observations during a brief period of testing.

** CLICK HERE to Read the Rest of the Article **

Using the Fujifilm X100T

 photo asd_zps7d5c30dc.jpg

Fujifilm X100T: USA: BHphoto / AmazonUS / Adorama / EUROPE: WexUK / WexDE / PCHstore / AUSTRALIA: CameraPro

_ _ _

Using the Fujifilm X100T

first impressions / practical review / shooting experience / tutorial

by Rico Pfirstinger

Talk to Rico (open forum for questions & feedback)

Fuji X Secrets WorkshopsRico’s Flickr Sets

The Fujifilm X-E2: Beyond the Manual (use coupon XPERT40 for a 40% discount)

Rico’s X100T Sample ImagesX100T Specs

As the Fujifilm X100T is about to become available all over the world, I think this is a good time to share my first impressions with this classic, modern camera. I was able to evaluate a pre-production model for several weeks, going through a few revisions of beta firmware in the process.

 

 

Same, Same, But Different

The X100T uses the same 16.3 MP X-Trans II sensor and 23mm (35mm full-frame equivalent) lens as its predecessor, the X100S. Despite that, it often feels like a different camera—in a good sense. How’s that even possible? It appears that Fujifilm kept what made the X100 and X100S popular (and also quite unique), so the DNA remains intact. On the other hand, there is a plethora of enhancements affecting both hardware and firmware. They all seem to share one common goal: to make the camera more accessible and user-friendly, to make sure that the camera doesn’t get in the way between you and your photography, and to be a genuine pleasure to work with.

X100T – Lightroom 5.6.
Click on the image for larger sizes.

** CLICK HERE to Read the Rest of the Article **

Apple Camera RAW, X-Trans and EXR

by Rico Pfirstinger

Talk to Rico (questions & feedback)Rico’s Flickr photosteam

Considering the lively discussion that is going on about Apple Camera Raw and Aperture finally supporting Fujifilm cameras with X-Trans sensors, earlier reports about Aperture’s death appear to be a bit premature. As was to be expected, most of the discussion focuses on heavy pixel peeping, so this is what I am not going to talk about in this edition of my X-Pert Corner column. That’s because with all the pixel peeping, it’s easy to lose sight of the big picture. There’s more to processing a RAW file than looking at perceived artifacts in 100%-400% magnification modes. Let’s instead focus on the following:

  • How usable is Apple Camera Raw for highlight recovery?
  • How is Apple Camera Raw dealing with digital lens correction and RAW metadata?
  • How is it handling RAW files that were taken in extended dynamic range modes, like DR200% and DR400%?

If you open a “standard” (that is DR100%) X-Trans RAW file in Apple Aperture using the latest Apple Camera Raw, chances are it won’t look that much different from a standard Provia SOOC JPEG file. Why bother, then? We could just use the JPEGs from the camera (maybe with additional tweaking in its internal RAW converter) and carry on with our lives, right? Yes, we could, at least in many instances. However, there are situations that the camera’s built-in JPEG engine cannot handle. This is where external RAW processing options shine—at least some of them, because not all external RAW processors are equally well-suited for specific tasks, such as highlight recovery.

Let’s have a look at a practical example. This is a (cropped to taste) SOOC JPEG image I recently recorded with a XF55-200mmF3.5-4.8 R LM OIS prototype lens:

You can immediately see that the dynamic range of this subject grossly exceeds the range of the JPEG: shadows are blocked, highlights (clouds and sky) are blown-out. No matter how you deal with this RAW file in the camera’s internal converter, you won’t get a balanced result showing the full tonal range of the scene. For example, redeveloping the JPEG in-camera with soft (-2) shadow and highlight tone settings won’t rescue the clouds:

Neither will “pulling” the image -1/3 or -2/3 EV using the built-in converter’s push/pull function:


-1/3 EV


-2/3 EV

It is important to note that both -1/3 EV and -2/3 EV versions shown here don’t induce any any clipped highlight warnings, neither in the camera’s “info display” view nor in Apple Aperture. This means that no matter how much further I might pull the RAW in-camera, the texture in the clouds won’t magically re-appear. The internal RAW converter simply cannot rescue this shot. However, a state-of-the-art external converter can.

I shot this sample using the basic “ETTR exposure technique for RAW shooters” that I am recommending in my book. This means setting the camera to DR100% and using the live histogram to set the “right” exposure, clipping the relevant highlights in the histogram just so much that they can still be recovered in Lightroom/ACR or, in this case, Apple Camera Raw and Aperture.

Here’s what the standard import of the RAW file looks like in Apple Aperture:

** CLICK HERE to Read the Rest of the Article **

Studio X

by Rico Pfirstinger

Talk to Rico (questions & feedback)Rico’s studio samples set

Taking your X-series camera to a studio is easy. All you need is a well-equipped location, a stunning model, great make-up, amazing dresses, beautiful lighting and the talent to put it all together.

Obviously, I’ve got none of that.

That’s why I turned to Damien Lovegrove, who’s not only a master of the trade, but also a keen and experienced X-series user. When others shoot with bulky Canikons, Damien will use his classic (black) X100 or his X-Pro1. Many of his images are nothing short of spectacular and can be admired on his blog, and unlike other well-known pros, he’s not paid by Fujifilm for using and endorsing their products. Shooting the little Fujis is his choice. Here’s Damien with one of his beloved Lupolights, posing as a stand-in model:

Once I learned that Damien was coming to Munich for a lighting workshop at Radmila Kerl’s studio on April 3rd, I quickly secured myself a spot. After all, it’s just a 90 minutes drive from where I live. I brought my X-Pro1, X-E1 and X100S cameras along with a full set of lenses, eventually using Fuji’s trusted kit zoom (which Damien uses a lot), the F1.4/35mm and a classic Voigtländer Heliar F1.8/75mm with Leica M mount, which has become one of my favorite portrait lenses. Damien quickly fell in love with it, as well, but he was struggling with the manual focus of the lens. So let’s begin with a 75mm high-key shot of our stunning model Wlada Schüler from Berlin:

DSCF7393

Lit with a single Profoto flashlight from above/behind, I used ISO 1250, f/2.8 and 1/125s flash sync on my X-E1 along with some heavy overexposure that is required for this look. Here’s another example, this time with Fuji’s kit zoom lens at 55mm and f/4.5, dialing up the X-Pro1’s ISO to 1600:

DSCF3895

Apart from the initial Voigtländer image, all samples in this article are based on factory-setting OOC JPEGs (Provia), although I dialed down the highlight tone to -2 for several shots. The JPEGs were swiftly processed in Apple Aperture (no fancy stuff or layer work) and uploaded to Flickr.

** CLICK HERE to Read the Rest of the Article **