“As the #MeToo movement as shown, no industry sector is immune from the throes of gender inequity. In editorial and commercial photography, men still largely outnumber women, despite the fact that much of advertising and is geared towards a more feminine audience. However, the status quo may not endure much longer; photographers, producers and creative directors are fighting for change, either through personal endeavours or collective undertakings. Five photographers and art producers, in discussion with Heather Morton, explain why and how….”
“Key organisations from across the screen industry have made a united and formal commitment to work towards building a more inclusive sector….
… To join the SDIN, all of the organisations have had to officially commit to a charterthat enshrines equal opportunities, regardless of age, gender, sexual orientation, nationality, religion, disability or geographic location.
The charter obligates each organisation, inter alia, to reflect the diversity of Australian society in both who they hire and stories they create, to establish benchmarks around diversity, and to commit to seeking out and supporting diverse emerging talent….”
Fujifilm kicked off a global digital photography revolution when it released the X100 fixed prime lens rangefinder-style mirrorless camera in 2011 at a time when digital photography was dominated by big DSLRs made by the then two biggest camera manufacturers.
How things have changed, in some quarters at least. DSLRs still dominate the local newspaper industry but most photojournalists and documentary photographers of my acquaintance here and overseas left the DSLR world for the mirrorless realm some years ago.
Little wonder. Recently I showed a DSLR-dedicated friend one of my mirrorless cameras and he began wondering why he had put up with his DSLRs’ heaviness and old-world features for so long.
With Fujifilm’s announcement of the X100 series’ fourth iteration, the longevity of the original X100’s concept is demonstrated yet again.
The original X100 is a camera I use to this very day, especially when needing to be extra discrete, even more invisible than usual.
That original X100 has ably handled demonstrations, protests, festivals, conferences, travel and urban documentary projects.
Its autofocus is slow compared to the current generation of mirrorless cameras but not impossibly so, and its sensor is far from the biggest going, but the old adage holds true, that you only need 6 megapixels for a double-page spread or a single-page portrait.
Exhibition prints and 48-sheet posters are another thing altogether but Fujifilm now has those bases amply covered with its GFX 50S medium format masterpiece.
Moving up a notch
The X100F has moved up a notch to the same sensor as its X-Pro2 and X-T2 sisters, all 24.3 megapixels of it, and that is something of a minor miracle in such an affordable, professional-quality, small-bodied camera.
We are lucky to be living in the digital photography age, one no longer beset by golfball grain and beautiful though ultra-slow films – Kodachrome 25 and Panatomic-X anyone? – if the project demands sharpness and high resolution.
That a camera the size of the X100F can deliver image quality rivalling if not surpassing Fujifilm’s analog era mirrorless or SLR-based GX680 series 120-format cameras, especially when using faster films in them, is no small miracle.
I can see why photojournalism-style wedding photographer Kevin Mullins will be adopting an X100F alongside his two X-Pro2s equipped with XF 23mm f/1.4 and XF 56mm f/1.2 lenses as part of his core wedding photojournalism kit.
It’s all black for me
Mr Mullins’ style is based on almost-straight-out-of-camera (almost-SOOC) JPEGs with his JPEG settings dialled down for a gritty hardness perhaps partially inspired by great British photographer Bill Brandt, but Mr Mullins’ photographs are almost grain-, or in reality digital noise- free.
Like Mr Mullins, I would definitely choose a black X100F over the silver one for its contribution to a photographer’s anonymity and near-invisibility.
Like him also, I consider the X100F as a complement to the X-Pro2, a fixed lens camera with the advantages that fixed lenses can bestow such as leaf shutter, high-speed flash sync, built-in ND filter and small form factor.
X100F and X-Pro2 compared
Photographs are not to scale.
Accessories for the X100F
There are three Fujifilm-brand accessories I consider essentials for the X100F, the WCL-X100 II Wide Conversion Lens, the TCL-X100 II Tele Conversion Lens and an L-grip.
I would also add a Peak Design Clutch and Cuff camera strap pair, the latter a wrist-strap and the former a hand-strap, both ensuring good grip and safety if the camera falls out of your hand.
I have yet to see a Fujifilm brand L-grip for the X100F, similar to the FUHGX100T grip for its three predecessors, make its appearance online but surely it is a matter of time. I have used the X100 with and without this hand grip and, given the camera’s tiny built-in grip and slippery surface, consider it a necessity. Otherwise a few third-party alternatives will doubtless be available soon.
As usual, the proof of the pudding is in the trying and I look forward to giving an X100F a good roadtest sometime in the near future. For those who enjoy specs charts, a specifications spreadsheet PDF is available further down this page.
Meanwhile, I wish to hail the Fujifilm X100F as the rightful heiress to the classic that the X100 was in its day, and that may itself be a future classic in the waiting.
Fujifilm’s global YouTube.com channel FUJIFILMGlobal appears not have received the memo about female gender equality in its product videos given that all fifteen of its video feature male photographers with not one woman photographer in sight.
On the other hand, the Fuji Guys Channel run by Fujifilm employees based in several different countries including Australia has featured two female photographers so far, both in the USA.
Let’s hope more videos featuring women appear very soon, with at least one of them being Australian.