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!”

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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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The New York Times: The First Female Photographers Brought a New Vision to The New York Times [paywall]

“As revolutions go, this one got off to a quiet and unassuming start in the early 1970s. It was achieved slowly, one female photographer at a time, each hired by The New York Times for her talent with a camera and her desire to practice the best journalism possible.

The men who hired the first of those women quite likely weren’t thinking about altering the prevailing concepts of photojournalism. But over time, as more women were hired and gained acceptance, they began to push successfully for publication of images that were different, for the truths they saw in people and events, for assignments that had once been denied them and for assignments that had not been envisioned before….”

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The Guardian: How today’s female directors broke out of ‘movie jail’

https://www.theguardian.com/film/2019/jan/31/female-directors-movie-industry-gender-discrimination

“Not one woman was nominated for this year’s best director Oscar. But some of the hottest forthcoming movies are female-led – so has gender discrimination in the industry been busted?…

… “I think you have a generation of women who will never know if they could have been successes because they never had the opportunity,” says Melissa Silverstein, founder of Women and Hollywood, which campaigns for diversity and equality. The factors preventing women from having sustained movie careers are numerous, Silverstein says. There is institutional sexism, conscious and unconscious, as well as motherhood….”

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National Geographic: How women photographers access worlds hidden from men

https://www.nationalgeographic.com/culture/2019/03/how-women-photographers-access-world-hidden-from-men

“There are benefits to being a photographer who happens to be a woman: you’re welcomed into secret worlds, invited into homes, and trusted with the most delicate subjects. Then there are the downsides: fighting to be taken seriously by a male-dominated industry, entering dangerous and unpredictable situations, and tackling stereotypes about where women should go and the topics they should cover. We asked National Geographic’s women photographers from across the world for memories and reflections on how gender is intertwined with their work, the opportunities for young women coming after them, and the future of their field….”

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Screen Australia: Meet the 15 ACS Accredited Women

https://www.screenaustralia.gov.au/sa/screen-news/2019/03-08-meet-the-15-acs-accredited-women

“We put a spotlight on these acclaimed Australian technicians – including their career highlights and how they shot them – as part of International Women’s Day.

To gain accreditation from the Australian Cinematographers Society (ACS) is no mean feat.

It requires a minimum number of years working within the industry and a body of work which represents not just that you can do the job, but with a level of creativity and innovation that exceeds the norm.

A sub-committee then assesses the work and from there you may be awarded your ‘letters’ – the ACS that appears after your name.

To date, 15 women have been awarded that elite title (only 5.6%), and the ACS hopes that will grow. As part of International Women’s Day, we celebrate their achievements, and hear in their own words about career highlights, cameras, lenses, and what draw them to cinematography (in order of accreditation year)….”

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BBC: International Women’s Day: Women behind the lens

https://www.bbc.co.uk/news/in-pictures-47441572

“Photographers Jennifer McCord, Iulia David, Holly-Marie Cato and Amy Shore are leading the charge to get more women behind the lens. They will be passing on their knowledge at the Women Who Photo event to be held at The Photography Show in Birmingham.

Here we showcase a selection of their work and learn what inspires them….”

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The Guardian: Women battling sexism in photography – a picture essay

https://www.theguardian.com/artanddesign/2019/mar/07/women-battling-sexism-in-photography-a-picture-essay

“Push-ups and photography aren’t normal bed partners. But when Cybele Malinowski was starting out as a young photography assistant in 2005, she was told to do 100 push-ups a day. The reason? To “match the strength of a man”….

… As her career gathered pace, Malinowski battled discrimination beyond heavy gear. Often when she arrived on set, the client would assume that her male assistant was the photographer, or that she was the makeup artist or stylist. More recently, when she became pregnant, Malinowski suddenly found herself losing jobs: clients told her they feared she just wasn’t “up to it”….

… Trying to get sexism off the couch has become Malinowski’s mission. Last year she co-founded Agender, a platform for female photographers designed to exchange ideas and advance careers, with the former investment banker turned entrepreneur Angela Liang. Their second annual exhibition, Balance for Better, will open on 9 March to mark International Women’s Day, with 50% of sale profits donated to Sydney Women’s Fund.

“This exhibition, on the one hand, is held to celebrate women and it’s also trying to put a mirror up on the industry itself: [to say] look at these incredible women, why are they still a minority?” says Malinowski….”

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ELLE Australia: Make #IWD2019 Plans To Check Out Some Super-Cool Female Art

https://www.elle.com.au/culture/agender-female-photography-exhibit-sydney-march-2019-20024

“Want to spend International Women’s Day with your BFFs, taking in some ~art~ and toasting to female empowerment? If you’re in Sydney you’re in luck, because an exciting new (free) exhibition filled with work by local female artists is opening this week and running for the whole of March.

Agender, an Australian-based collective that champions the work of female photographers, is putting on its second annual International Women’s Day show. With work by established and up-and-coming artists including Anna Pogossova, Cybele Malinowski, Cara O’Dowd, Leila Jeffreys, Yasmin Suteja, Michele Aboud and Carlotta Moye (among several others), the exhibition will have its opening night on Friday March 8 from 6pm to 8.30pm, then run from March 9 – 31, at Sydney’s Sun Studios….”

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The Conversation: Hollywood may be able to afford #MeToo, but it’s a stretch for the Australian arts

https://theconversation.com/hollywood-may-be-able-to-afford-metoo-but-its-a-stretch-for-the-australian-arts-111842

“…the larger task remains to engineer a genuine culture shift at the grassroots of the arts; to adequately support artist wellbeing in a competitive and under-funded sector. Real culture change doesn’t come cheap. It takes money, time and resources and on that front, Australia is a long way from Hollywood.

In our competitive and underfunded sector, power relationships are ever present. It is simply too easy for an artist to not be selected for future contracts if they are perceived to have had mental or physical health issues in the past. Young artists have very strong motivation not to disclose such issues and risk succumbing to career-ending illness or injury….”

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Screen Producers Australia: Australian Screen Industry Code of Practice – Discrimination, Harassment, Sexual Harassment and Bullying

Commentary:

This has, alas, all come about a bit too late.

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