Fujifilm USA Creates ‘Create Forever’ Free Storytelling Workshops and Video Tutorials Campaign in Collaboration with Muse Storytelling

This is the first time I have covered what is essentially a marketing campaign for a camera maker but  have done so because Fujifilm USA’s ‘Create Forever’ tutorial videos and free storytelling workshops offer more than mere marketing bumf about Fujifilm’s in-body image stabilization-equipped GFX 100 medium format hybrid stills and video camera. 

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ALPA XO Exoskeleton aka camera cage for Fujifilm GFX 100 medium format camera, for use in shooting video.

“Fujifilm’s driving force behind the Create Forever campaign is to encourage creators to go forth in the pursuit of making something that matters to them. In order to equip creators with all of the possible tools to tell authentic stories, Fujifilm partnered with Muse Storytelling to develop a series of tutorials that teaches viewers about the marquee elements of the Muse Storytelling Process that helped to tell the stories featured in the series.”

Links

  • Fujifilm X USACreate Forever – campaign microsite
  • FUJIFILM Cameras North AmericaWhy we chose to make Create Forever – video – “The Create Forever content series is a celebration of storytelling. It’s a celebration of being in the moment, doing what you love, and building a legacy that will be enjoyed by generations to come. We want to inspire you to tell your story, teach you how best to tell it, and provide you with a stage to share it from.”
  • FUJIFILM Cameras North AmericaCreate Forever with Alison Conklin – video – “Alison Conklin is a professional wedding and editorial photographer who has spent her career chasing a desire to document genuine moments that feature real people.”
  • FUJIFILM Cameras North AmericaCreate Forever Tutorial – Seeing People Better – video – “The tutorial, Seeing People Better, takes influence from Wedding Photographer Alison Conklin. The focus of the tutorial is to discuss how to truly “see” the people around you and what people mean to one another. The Create Forever team shares insights about how to closely pay attention, learn people’s stories and pick up on details that allow you to think differently about how you see someone.”
  • FUJIFILM Cameras North AmericaCreate Forever with Ira Glass – video – “Ira Glass is the host of one of America’s most loved radio shows and is widely considered as one of the most prolific story-tellers of our generation. He began his career in public radio back in 1978 and, while his roots are not in image-making, his message transcends all creative mediums and speaks to the creative spirit within us all.”
  • FUJIFILM Cameras North AmericaCreate Forever Tutorial – Developing Your Voice – video – “The tutorial, Developing Your Voice, is influenced by prolific storyteller Ira Glass. The focus of the tutorial is to give insights on how you develop the most important element of being a creative – your perspective, your intention and your why. The Create Forever team shares a keyword exercise that they go through for every project to set the intention at the onset of the project.”
  • FUJIFILM Cameras North AmericaCreate Forever with Susumu Minami and Tetsuro Aishida – video – “Fujifilm color specialist Susumu Minami lives and breathes color. Every place he visits and every picture he makes is another step forward in his pursuit of perfect reproduction…. Tetsuro Ashida has spent his career exploring the intricacies of sharpness and color theory, with the goal of creating an image quality that does justice to every photographer’s work, from amateurs right through to professionals.”
  • FUJIFILM Cameras North AmericaCreate Forever Tutorial – Why We Create – video – “The tutorial, Why We Create, is inspired by all of the amazing creatives in the Create Forever series. In this piece, we explore how to develop what you want your work to say. Patrick from the Create Forever team shares his why – well told stories can change the world and offers insights about how to define yours.”
  • FUJIFILM Cameras North AmericaGFX100 Product Sizzle – video
  • KickstarterALPA XO – The Exoskeleton for the Fujifilm GFX 100
  • Muse StorytellingHow we landed one of the most powerful campaigns I’ve ever been a part of – article
  • Muse StorytellingREVIEW: Why the new FUJIFILM GFX 100 medium format camera is a real innovation. – article
  • Muse StorytellingReview of the 100 Megapixel FUJIFILM GFX 100 for filmmakers – video – “We’re so pumped because the FUJIFILM GFX 100 has a MASSIVE medium format sensor (that’s 1.7x the Canon 5D) along with a super impressive in-body-image-stabilization. This means some amazing handheld options in such a small package. So much so that we shot this entire review handheld. Like macro shots, moving shots, the talking head interview portion–all of it handheld.”
  • This American Life – “Mostly we do journalism, but an entertaining kind of journalism that’s built around plot. In other words, stories! Our favorite sorts of stories have compelling people at the center of them, funny moments, big feelings, surprising plot twists, and interesting ideas. Like little movies for radio.”

BTS Instagram posts from Muse Storytelling

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Fujifilm Global: Fujifilm introduces the stylish “FUJIFILM X-A7” with newly-developed image sensor – UPDATED

https://www.fujifilm.com/news/n190912_01.html

“Tokyo, September 12, 2019 — FUJIFILM Corporation (President: Kenji Sukeno) announced that it will launch the “FUJIFILM X-A7” (“X-A7”) in Autumn 2019, a new addition to the X Series of compact and lightweight mirrorless digital camera that deliver outstanding image quality with the company’s unique color reproduction technology.

Weighing just 320g*, stylish X-A7 carries a newly-developed 24.24MP APS-C sensor to deliver premium image quality with the company’s proprietary color reproduction technology. The sensor uses copper wiring to enable high-speed data readout, and features phase detection pixels across the entire sensor surface to enhance AF speed and accuracy. This enables AF tracking of a moving subject as well as Face / Eye detection AF with ease. The camera also records smooth 4K/30fps video and high-speed video, catering to the ever-growing need for high-quality video for use in Vlog** and other media.

The camera has a large 3.5-inch LCD monitor with the maximum luminous intensity of approx. 1,000 candelas to guarantee intuitive operability on the rear panel. Furthermore, this is the first X Series model that features a “vari-angle” monitor that users can adjust to any angles. It can be used in conjunction with the Portrait Enhancer Mode for self-portraits of advanced quality. The X-A7 is a perfect choice for those who want to upgrade their photography from smartphone pictures, offering a broad range of applications from casual snapshots of everyday scenes to travel photography and full-fledged photographic creations.

*Including the weight of memory card and supplied battery
**A coined phrase combining “video” and “blog,” referring to a blog in the video format…”

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Fujifilm X-A7 with fully-articulated aka Vari-Angle LCD monitor and Fujinon XC 15-45mm f/3.5-5.6 OIS PZ Lens.

Commentary

At least three developments in Fujifilm’s entry-level viewfinder-less LCD-only X-A7 camera promise good things coming to the company’s higher-end models – a fully-articulated LCD monitor, phase-detection pixels across the whole sensor and apparently radically improved object tracking as well as improved eye and face autofocusing.

I have been asking for fully-articulating LCD monitors on all Fujifilm cameras ever since I had to take a detour away from the company’s products when it delivered an X-Pro1 that was, for me at least, semi-usable at best with its lack of built-in viewfinder diopter correction, and when I needed to shoot pro-quality video.

I chose Panasonic with its fully-articulated monitors on the Lumix DMC-GH4, its companion camera the Lumix DMC-GX8 and subsequent cameras in both product lines as well as others, and instantly discovered the many benefits such LCD monitors bestow whether shooting stills or video.

Going back to fixed monitor cameras suddenly became all the harder, and the fixed, two-way or three-way tilting monitors that then began appearing on Fujifilm, Panasonic cameras and Blackmagic Design cameras proved to be annoying and even inadequate for many of my needs.

Fujifilm refers to the X-A7’s LCD monitor as “vari-angle” or capitalized as “Vari-Angle” while online commentators use the fairly non-descriptive word “flippy”, but I am sticking with the more description term “fully-articulated”.

Fujifilm, I want to see you release the much-requested X-H2 professional-level video and stills photography hybrid camera with a fully-articulated aka “vari-angle” LCD monitor as well as all future cameras.

I know what full articulation can do and I want it on more than just your entry-level camera.

Fujifilm X-A7 with Fujifilm’s very first fully-articulated aka “flippy” aka “vari-angle” LCD monitor

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Three Blind Men and An Elephant Productions: FujiFilm X-Pro3: Dangerous!

“A modest dissertation on the X-Pro3 development announcement, clickbait and the diminution of language.”

fujifiom_x-pro3_preproduction_01_1080px
Image of pre-production Fujifilm X-Pro3 from video of Fujifilm X Summit Shibuya 2019 on September 20, 2019.

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bigheadtaco: First Look: Fujifilm XF16-80mm f/4 R OIS WR

“It’s been a while since Fujifilm released a wide to medium range zoom lens, especially with both OIS and WR. Previously, the only general range zoom lens that had both features was the big and bulky XF18-135mm lens. My hope was that Fujifilm would re-make the XF18-55mm f/2.8-4 R LM OIS lens to be XF16-55mm f/2.8-4 R LM OIS WR. Instead, Fujifilm decided to keep the original kit lens and create the new XF 16-80mm f/4 R OIS WR. Who is this lens for? It really depends. If you own the X-T3 and you really want a mid-range zoom lens with both OIS and WR, this is the only option you have. However, if you own the X-H1, would you be better off with the XF 16-55mm f/2.8 and put up with the size and weight of a professional lens? “

fujinon_xf_16-80mm_f4.0_r_wr_ois_06_1024px.jpg
Fujifilm X-T3 with Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens.

Commentary

Good to see that photographers are receiving pre-production copies of Fujifilm’s Fujinon XF 16-80mm f/4.0 R OIS WR and, as usual, even more reviews will be appearing when production versions of the lens make their way into the world.

When I was photographing the climate strike rally in Sydney on September 20, I found myself wondering how the 16-80mm f/4.0 zoom lens might change and even improve the way I cover such subjects.

See my personal Instagram account for documentary photographs of the rally and other events, recently mostly using prime lenses on Fujifilm cameras as Panasonic Lumix camera and lens loaners have been in short supply.

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Fujifilm X Summit Shibuya 2019 and the Fujinon XF 33mm f/1.0 Super Fast Prime Lens

First topic to be tackled at Fujifilm’s X Summit Shibuya 2019 on September 20 was lenses and specifically the Fujinon XF 33mm f/1.0 superfast standard prime lens so often requested by Fujifilm aficionados in online polls such as those run by Patrick Di Vino of Fuji Rumors. 

Before tackling that lens, though, the soon-to-be-released Fujinon XF 16-80mm f/4.0 R OIS WR standard zoom lens was displayed onstage and its size and apparent weight hinted at it soon being a very in-demand lens and a viable alternative to Fujifilm’s three other standard zoom lenses, the Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit lens, the Fujinon XF 18-135mm f/3.5-5.6 R LM OIS WR travel lens and the Fujinon XF 16-55mm f/2.8 R LM WR Red Badge premium-quality lens. 

The surprise of the lens segment, though, was the 33mm f/1.0 being shelved in favour of a Fujinon XF 50mm f/1.0 prime lens due to size and weight problems Fujifilm encountered in the design process. 

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Leica worked out the best prime lens focal length line-up for documentary photography and photojournalism in 35mm years ago and it remains the benchmark and role model for other lens makers to this very day. The only focal length missing from this lens collection is 40mm, which Leica made for the Leica CL rangefinder camera which was later taken over by Minolta as the Minolta CLE with 40mm standard lens as well as a 28mm and 90mm lens. Too many contemporary lens makers leave out 28mm and 75mm lenses and their equivalents for other sensor formats. Why? Both these focal lengths are the most essential for documentary photography and photojournalism.

I was not cut up about Fujifilm swapping the 50mm f/1.0 for the 33mm f/1.0 given I have never been a fan of 50mm and thereabouts standard lenses and their 33mm to 35mm equivalents in APS-C/Super 35 sensor cameras.

I much prefer 40mm equivalent “perfect normal” standard lenses due to their versatility and and proximity to the effects of human vision, finding 50mm lenses a little too much like short telephotos.

I often carry an X-Pro2 with Fujinon XF 27mm f/2.8 “pancake” lens attached and love this focal length as much for use in video as stills photography, for portraiture and interviews as much for multiple figure documentary work.

I even rely on my 27mm f/2.8 lens for handheld product shots, though in other camera systems and sensor sizes I tend more towards 50mm equivalents due to these lenses often being given away with the camera or at least at give-away prices.

I would love it if Fujifilm produced a weather-resistant aperture ring-equipped 27mm lens with manual clutch focus in line with the company’s commitment to pro-quality video production, to sit alongside the similarly-designed XF 14mm f/2.8 R, XF 16mm f/1.4 R WR and XF 23mm f/1.4 R lenses.

While Fujifilm’s X-mount Fujinon MKX 18-55mm T2.9 and MKX 50-135mm T2.9 parfocal cinema zoom lens pair appears to be an excellent solution for video production, we also need prime lenses more suitable for cinematography and stills photography on Fujifilm’s hybrid cameras.

Fujifilm’s surprise XF 50mm f/1.0 would make a suitable 75mm equivalent lens for stills and video as would a revamped XF 35mm f/1.4 R so long as both are also equipped with manual clutch focus.

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Nikon Micro-Nikkor 105mm f/2.8 manual focus, manual exposure macro lens, the lens with which I became a portrait photographer.

If Fujifilm’s lens designers can retain the optical qualities of the current 35mm f/1.4 lens, often referred to as the “god lens”, but encased inside a fast autofocusing, weather resistant, manual clutch focus housing then we would have a decent set of matched primes  for Fujifilm’s X-Tn and X-Hn series cameras as a viable alternative to the MKX zooms.

Even better would be if Fujifilm produced a fast maximum aperture 70mm prime lens, equivalent to 105mm in the 35mm sensor format.

Although portrait photography benefits from access to a range of standard or normal to longer focal lengths, from 40mm through 50mm, 75mm and 105mm to even longer ones contained within the Fujinon XF 50-140mm f/2.8 R LM OIS Red Badge zoom lens, my personal preference for most portrait work is 105mm given I started in portraiture with Nikon’s Micro-Nikkor 105mm f/2.8 in my art school days and still yearn for a Fujinon APS-C equivalent.

A wider maximum aperture than f/2.8 would be even better, something closer to Sigma’s 105mm f/1.4 DG HSM Art lens than its 105mm f/2.8 Macro lens.

I might add that the 18mm focal length in APS-C and Super 35, equivalent to 28mm in the 35mm sensor format, is my number one preference for documentary cinematography and stills photography, and the lack of a professional quality 18mm prime lens in Fujifilm’s X-mount system is a constant thorn in my side.

If such a lens existed it would take up permanence residence on my prime documentary camera with a, preferably, fast 75mm or even a 105mm equivalent lens on my second cameras in a two-camera, two-lens documentary set-up.

Think Nick Nolte’s photojournalist in Under Fire or David Douglas Duncan with a long lens on an SLR and a wide lens on a Leica M-Series rangefinder camera.

Imagine a matched set of top-quality lenses for stills and video to choose from consisting of 14mm, 16mm, 18mm, 23mm, 27mm, 35mm, 50mm, 56mm and 70mm, all with weather resistance, manual clutch focus, fast autofocus and aperture rings.

No more hoping that third party lens makers might somehow see fit to come up with a full set of matched manual focusing optics so that Fujifilm’s Super 35-shooting X-mount cameras might have the video prime lenses they so richly deserve.

Documentary photographs using a two-camera, two prime lens set-up

Prime lens alternatives to the Fujinon XF 50mm f/1.0

My first two lenses for the X-Pro2 were the Fujinon XF 23mm f/1.4 R and Fujinon XF 56mm f/1.2 R, and my choice was based on the available light documentary-style wedding photography practices of Kevin Mullins as generously shared on his website f16.click.

My budget was limited so other lenses on my list for consideration then, the Fujinon XF 18mm f/2.0 and Fujinon XF 18-55mm f/2.8-4.0 R OIS kit zoom, had to be excluded.

Over the years I have found the XF 56mm f/1.2 R to be an excellent portrait lens with the aperture set at or near f/1.2.

The 56mm’s downsides are the slowness of its focusing motors, its lack of manual clutch focus, that its closest focusing distance is not close enough for my full face portrait style, and its 84mm focal length equivalence means I often must step back too much when framing groups of people in crowds for images like the ones above.

Kevin Mullins’ style is not mine and it has been a long time since I photographed weddings to put myself through university art school.

Mr Mullins appears to mostly photograph weddings with wide open aperture, in program mode, and in search of a blurry, gritty, grainy, funky look whereas my ways of seeing and photographing derive from the deep focus and laser beam sunlight-lit places in which I grew up.

I have tried the Fujinon XF 50mm f/2.0 R WR out for urban documentary and it performed well, alone and in combination with the Fujinon XF 18mm f/2.0 and that pairing has worked in a similar way to when I relied on Leica M-Series rangefinder cameras with 28mm and 75mm Leica lenses.

The Fujinon XF 50mm f/2.0 R WR in combo with the Fujinon XF 18mm f/2.0

If only Fujifilm would at least update its 18mm f/2.0 to match the optical and mechanical quality of its 50mm f/2.0, or even better come up with an f/1.4 18mm manual clutch focus alternative for video production and stills photography.

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Fuji Rumors: Some LOVE the Fujifilm X-Pro3, and Here is Why!

https://www.fujirumors.com/some-love-the-fujifilm-x-pro3-and-here-is-why/

“Today I thought I try to balance out the X-Pro3 sh*tstorm, by sharing a few stories of people, who actually either like or understand (and hence accept) the new X-Pro3 hidden tilt screen concept.

If you ask me personally, I admit that my first reaction was also something like “what the heck is this?”

But you know what I have learned from reading the massive (and brilliant) essays of Michel de Montaigne?

I have learned that we should try to “suspend our judgment”….”

live-from-tokyo-x-summit-shibuya-2019--fujifilm-01185515_gigapixel
The tilting LCD monitor on the Fujifilm X-Pro3 digital rangefinder camera. Still frame from live streaming video of Fujifilm X-Pro3 from Fujifilm X Summit on 20th September 2019.

Commentary

fujifilm_tx-1_35mm_panorama_camera_01_1024px_60pc
Fujifilm TX-1 35mm panorama camera. Image courtesy of Japan Camera Hunter. Fujifilm has been producing cutting-edge rangefinder cameras for decades.

Suspension of judgement is exactly what is needed in this moment between Fujifilm revealing the X-Pro3 at its recent X Summit Shibuya 2019 and the first appearance of production versions of the camera in the specialist media and retailers.

Fujifilm is clearly going through a process of differentiation and granulation with its current and coming camera offerings, pushing the X-Pro series even further into rangefinder photography camera territory.

When the X-Pro1 was released, there was no X-Tn series and certainly no X-Hn series, and no mention at all of any possible GFX medium format cameras.

All our hopes were in the one basket but now there are non-rangefinder-style alternatives like the X-T3, X-T30 and soon, hopefully, the X-H2 to realize all the promise revealed in the X-H1 that was thwarted somewhat by its X-T2 generation sensor and processor.

I still love shooting 4K video with my X-Pro2 when needed and when it is the only camera I am carrying at the time, which is almost every day, and was saddened by the limited video functionality Fujifilm gave us in the relevant firmware update, but heavy video production requires the use of cameras with heavyweight video firmware functionality.

Right now, the Fujifilm X-T3 makes an excellent Super 35 video camera for use with gimbals and other forms of traditional stabilization via hardware, and OIS-equipped zoom lenses are also a good solution when shooting handheld video.

The coming Fujifilm X-H2 needs to take a leaf from Panasonic’s book, learning the lessons of the Panasonic Lumix DC-GH5, the GH5S and the S1H and then surpassing them with all the hardware features and firmware functionality required for handheld or heavily-rigged video production.

I am looking forward to learning more about the X-Pro3’s improved optical viewfinder and especially its improved electronic viewfinder, the latter one of the weakest aspects of the X-Pro2 despite its other many strengths as a documentary camera.

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David Thorpe: A Look At The Panasonic G90 Micro Four Thirds Camera

“The Panasonic G90/95 sits between the smaller and cheaper GX9 and their top range G9 and GH5 models. Its predecessor, the (still available) 16Mp G80 met with many accolades. Does the 20Mp G90/95 render obsolete the G80? Or should you skip this one and wait for a G10?”

panasonic_lumix_dc-g90_g91_g95_01_1024px
Panasonic Lumix DC-G95 with Panasonic Lumix G Vario 12-60mm f/3.5-5.6 Aspheric Power OIS zoom lens and Panasonic DMW-BGG1 Battery Grip.

Commentary

Former Fleet Street newspaper and magazine photographer David Thorpe is one of the best and most quietly-spoken video reviewers of Micro Four Thirds cameras and lenses, lately supplemented with Panasonic’s L-Mount 35mm sensor-equipped mirrorless cameras and lenses, and I cannot recommend his sensible, down-to-earth video reviews highly enough.

I have yet to experience the Panasonic Lumix DC-G95 aka G91 and G90 depending on territory, and so greatly appreciate his thoughts on this value-for-money camera that appears to be an excellent lower-cost alternative to the Panasonic Lumix DC-G9 or GH5.

In my experience, Micro Four Thirds cameras are ideal for immersive documentary and photojournalism work as well as Super 16-style documentary moviemaking, and Panasonic’s high-end and mid-level Lumix cameras are great solutions especially as they appear to be almost invisible to onlookers and subjects more accustomed to 35mm sensor DSLRs, especially if designed with the pro-quality Panasonic Lumix GX8’s size and form factor.

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TheSnapChick: IBIS, Dynamic Range and a Clever Coyote! Fujifilm X-H1 is an X Series Gem

“I ran around with the Fujifilm X-H1 for three weeks. I loved it. More detailed thoughts and photos/videos in the review!…

My channel is about photography as an art form and as a lifestyle, with a healthy dose of technology thrown in!”

fujifilm_x-h1_50-140mm_01_1024px_60%
Fujifilm X-H1 with Fujinon XF 50-140mm f/2.8 R LM OIS WR professional zoom lens.

Commentary

Longtime Canon and Nikon DSLR user Brittany Leigh has published a series of video reviews of Fujifilm’s X-Mount APS-C/Super 35 mirrorless cameras and I hope she will review more Fujifilm cameras and Fujinon lenses including the company’s new three medium format G-Mount cameras.

Female reviewers of photography and cinematography gear are far too rare, and female reviewers working in documentary photography, photojournalism or documentary moviemaking are even more rare.

Ms Leigh appears to photograph mostly landscape and wildlife, neither of which are genres I practice, but her technical and usability insight is excellent especially given her DSLR and SLR background, very useful for those from the same background contemplating modernizing by joining the mirrorless revolution.

I have just discovered Brittany Leigh via her TheSnapChick Youtube channel, and so far her analyses of the Fujifilm X100F, X-H1, X-T3 and, I assume, the X-T30, are spot on.

I have yet to experience the X-T30 but given how remarkable its larger sibling the X-T3 has proven to be, the former is doubtless just as remarkable in its own way.

Fujifilm is rather unique in the way it produces cameras with not dissimilar internals to fill a range of usability niches, suiting a wide range of users across all genres.

Fujifilm is not a one-size-fits-all camera and lens maker, and I hope that the granularity of its current offerings becomes even more apparent in future cameras and lenses.

Using the X100 series is a pure photography rangefinder-style experience with all the benefits of a fixed lens in one of the most useful focal length equivalents, a Fujinon 23mm f/2.0 prime at the equivalent of 35mm in the 35mm sensor format.

I do not use the misleading “full frame”, “full format” and “crop sensor” terminology, product of the marketing department rather than designers and engineers, by the way.

The X-T3, and one assumes the X-T30, is a brilliant state of the art Super 35 video camera as well as an APS-C stills camera capable of producing image quality rivalling 35mm sensor-equipped cameras.

The X-H1, which I have been trying out thanks to the kindness of Fujifilm Australia and its PR agency, is a harbinger of pro-level things to come and had I the spare change for one of the current amazing deals comprising camera, vertical battery grip, lens and accessories, then I would snap one up immediately to fill the gaps between the X-Pro2 and the X-T3.

There being no one-size-fits-all camera in the Fujifilm X and GFX systems, each camera needs to be considered for its strengths and weaknesses.

When working professionally, one needs to carry a range of cameras and lenses, often with some degree of overlap should the worst occur on location, and the size, weight and relative affordability of Fujifilm’s APS-C/Super 35 X-Mount cameras and lenses makes it possible to transport it all in a backpack or hard case.

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Rotolight Set to Announce New Titan LED Light for Photography and Video, Releases Rotolight Illuminator Umbrella-Cum-Softlight

Rotolight produces some of the most impressive, most beautiful and most colour-accurate LED lighting products for use in cinematography and photography, and I have been a Rotolight user since the release of their first product the RL48 way back when. 

If I could afford to have all of Rotolight’s lighting products then I would, without hesitation, though I might also want to add a set of Dedo Weigert’s DedoLights for those times I need narrowly-defined beams of continuous light. 

I have pretty much given up on relying on electronic flash units aka Speedlights and Rotolight’s LED continuous and now HSS flash lighting is, essentially, why.  

Accordingly I am looking forward to seeing what Rotolight has had up its sleeves in the form of the Titan, to be unveiled on the 10th September 2019 . 

rotolight_titan_tease_01_1024px
Titan by Rotolight, a new era of cinematic lighting, 10th September.

Rotolight recently released the Rotolight Illuminator aka The Illuminator, and it starting two fin its way into the hands of photographers like Luke Woodford of creative duo Luke & Mandy, who is featured in the video below.

Rotolight’s Illuminator appears to be a radical evolution beyond Photek’s not dissimilar SoftLighter II, recommended only for use with electronic flash, whereas the Illuminator can be used with flash as well as all of Rotolight’s LED lights released so far.

The Illuminator by Rotolight

Rotolight has several brand ambassadors aka Masters of Light in the form of photographers Greg Gorman, Mark Mann, Peter Müller and Jean Noir though I would love to see the company add some cinematographers and especially females to that lineup.

Photek SoftLighter II and legendary Tiltall tripod, as used by Annie Leibovitz

I would especially love to see the Rotolight Illuminator and Titan in the hands of the Masters of Light to obtain a better understanding of how they work and their benefits.

Nothing like seeing a product being used well by those who know what they are doing, the reason I bought a Photek SoftLighter II and Tiltall tripod after seeing both being used by Annie Leibovitz.

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