“The sinew and texture of history are to be found in this grippingly detailed documentary by Peter Stephan Jungk, based on his 2015 book The Darkrooms of Edith Tudor-Hart. She was Jungk’s aunt: an Austrian-born documentary photographer and socialist, domiciled in Britain during and after the second world war, whose work brilliantly recorded the lives of the urban working classes in Vienna, London and the Rhondda valley….”
This documentary on the life and work of Edith Tudor-Hart is currently doing the rounds of cinemas and film festivals, and I hope that it will eventually become available for viewing or purchasing online.
Far too many historically important female photographers and especially female documentary photographers have been forgotten about and left out of the historical record, gallery shows and museums, and time is well overdue for Edith Tudor-Hart and so many others of her ilk to be recognized, racy political background or not.
Comments in the media about Edith Tudor-Hart’s reliance on a Rolleiflex Twin Lens Reflex aka TLR camera are interesting.
I used several Rolleiflex TLR cameras during the analog era and would have loved to have been able to buy one each of the most recent standard lens, telephoto and wide-angle lens versions of the camera, but Rolleiflexes were always hard to find and costly new or secondhand.
Their waist-level viewfinders and other viewing options made it possible to melt into the crowd when photographing in public or next-to-invisible when making portrait photographs in public or in the studio, aided by their relatively quiet leaf shutters.
There was no mirror slap as their twin lens reflex design meant they had a lower lens for making the photograph and the upper lens for viewing, with the viewing compartment mirror fixed.
Rolleflex and other brand TLRs such as those made by Mamiya and Yashica continue to be popular amongst certain documentary photographers who are blessed with access to good secondhand camera suppliers, but there are digital alternatives such as Fujifilm’s medium format GFX 50S with optional tilting EVF adapter and more affordably Panasonic’s Lumix DMC-GX8 and DC-GX9 Micro Four Thirds camera, both of which have built-in tilting EVFs.
It is also possible to make waist-level-style photographs with cameras having tilting LCD monitors, though I much prefer fully-articulated LCD monitors for the purpose and some Panasonic cameras have these too, on cameras including the DSLR-style Lumix DMC-GH4, GH5, GH5S and G9.
Given the choice between tilting EVFs, tilting LCDs and fully articulated LCDs, my preference by far is for cameras combining tilting EVFs with fully-articulated LCDs as they present the most versatile viewing options and thus the most ways of seeing and shooting stills and video.
Waist-level and tilting viewfinder cameras and users
Photojournalist Ian Berry of Magnum Photos using Panasonic Lumix DMC-GX7.
Photojournalist Thomas Dworzak of Magnum Photos using Panasonic Lumix DMC-GX7.
Australian photojournalist Daniel Berehulak using his Panasonic Lumix DMC-GX8 with fully-articulated LCD monitor.
Small tilting electronic viewfinder (EVF) on the Panasonic Lumix DC-GX9 rangefinder-style camera.
Fujifilm GFX 50S medium format digital camera with Fujifilm VG-GFX1 Vertical Battery Grip and tilting LCD monitor.
Fujifilm GFX 50S medium format digital camera with Fujifilm EVF-TL1 EVF Tilt Adapter.
Fujifilm GX680 II 6cm x 8cm format 120 roll-film camera, like a cross between a view camera with camera movements and a waist-level twin lens reflex camera, lovely for portraits and product shots. Photograph courtesy of Cambo.
Hasselblad 203FE with waist level finder. Photograph courtesy of Japan Camera Hunter.
Phase One XF 100MP cameras. Photograph courtesy of Phase One,
Rollei Rolleiflex 2.8 FX Medium Format Twin Lens Reflex Camera with 80 mm Planar f/2.8 HFT lens, now no longer in production.
Rolleiflex 4.0 FW Medium Format Twin Lens Reflex Camera with Built-in Schneider Kreuznach Super-Angulon 50mm f/4 HFT lens, now no longer in production.
Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.
Fujifilm GFX 50S Medium Format Mirrorless Camera – B&H – soon to be joined by the release of its larger GFX 100S and smaller GFX 50R siblings.
Fujifilm EVF-TL1 EVF Tilt Adapter – B&H – with the addition of this tilt adapter the Fujifilm GFX 50S in effect becomes a waist-level viewfinder camera.
Fujifilm VG-GFX1 Vertical Battery Grip – B&H – adding this battery grip helps turn the Fujifilm GFX 50S into a viable vertical/portrait format camera for handheld or tripod use for portraiture and documentary photography.
Fujifilm 64GB Elite II Performance UHS-II SDXC Memory Card – B&H – until this fast SDXC card appeared at B&H, I was unaware that Fujifilm also makes memory cards. Worth buying and trying.
Panasonic Lumix DC-G9 Mirrorless Micro Four Thirds Digital Camera – B&H
Panasonic Lumix DC-GH5 Mirrorless Micro Four Thirds Digital Camera – B&H
Panasonic Lumix DC-GH5S Mirrorless Micro Four Thirds Digital Camera – B&H
Panasonic Lumix DMC-GH4 Mirrorless Micro Four Thirds Digital Camera – B&H
Panasonic Lumix DMC-GX8 Mirrorless Micro Four Thirds Digital Camera (Body Only, Black) – B&H
Panasonic Lumix DC-GX9 Mirrorless Micro Four Thirds Digital Camera with 12-60mm Lens – B&H
Panasonic DMW-EC5 Eyecup – B&H – essential for getting the best out of the GX9’s small field sequential viewfinder.
Panasonic Hand Grip for Lumix DC-GX9 Mirrorless Camera – B&H – essential for safe, secure grip of the GX9 when using medium-sized to large lenses.
I chose the GX8 specially for its unique tilting electronic viewfinder (EVF) that allows me to shoot looking downwards like waist level viewfinders on some of my favourite analog cameras, or at a range of other angles.
Using a GX8 in this way permits placing the camera lower than eye level and makes it easier for subjects to ignore me.
The 25mm f/1.7 came with the GX8 as part of a promotion and it is a very sharp and well optically-corrected lens that focusses by wire as opposed to the Olympus M.Zuiko Pro 25mm f/1.2 lens that offers repeatable manual focus via its manual clutch focussing mechanism.
Another Panasonic lens to consider for this approach is the Lumix G 20mm f/1.7 prime that also focusses by wire.
I processed the raw files in Alien Skin Exposure X3 using the Kodak Panasonic-X and Platinum split-toning presets, with minimal further image adjustments.
I chose to emulate the look of platinum printing as I was reminded, on entering the gallery, of the many exhibitions I have seen overseas where the photographs were printed in the platinum printing process.
I love my Fujifilm X-Pro2 digital rangefinder camera and have no regrets buying it despite its current inability to shoot 4K video, relative lack of other videocentric features and unimpressive electronic viewfinder (EVF).
As a longtime user of rangefinder cameras in all formats from 8mm (movie film) and 35mm (stills) through various 120 roll-film aspect ratios (6×4.5cm to 6x12cm) up to 4″x5″, it has been such a relief to once again have a very capable rangefinder camera in my hands.
I wavered on the somewhat slow XF 18-55mm f/2.8-4.0 R LM OIS kit zoom and a shortage of funds finally made that decision for me, compounded with the Fujinon X-mount lens series’ current 18mm focal length situation.
A fast medium wide-angle of 18mm in Fujifilm’s APS-C format, equivalent to 14mm in the Micro Four Thirds (MFT) format and 28mm in the digital 35mm format (I refuse to use the silly term “full frame”) is my number one choice for immersive documentary photography in combination with a moderate telephoto focal length like 50mm in APS-C, 30mm or so in MFT and 75mm in 35mm format.
Fujifilm X-E3 rangefinder-style camera with Fujinon XF 14mm f/2.8 f/2.8 ultra wide-angle lens.
I have applied that moderate wide/moderate long combination to almost all formats and aspect ratios in the past, occasionally adding something in-between, preferably on the wide side of “standard” or “normal”.
In other words, 27mm in APS-C, 20mm in MFT and 40mm in 35mm rather than the more usual “normal” focal lengths of 35mm in APS-C, 25mm in MFT and 50mm in the 35mm format, all of which feel like short telephoto to me.
My choices can vary, though, in shooting video when a longer “normal” lens offering clutch focus functionality for repeatable, accurate manual focussing may override my creative preference for a slightly wider focal length.
The X-Pro2’s advanced hybrid optical viewfinder (OVF) was the clincher in buying into APS-C, aided and abetted by the existence of those 23mm and 56mm focal lengths.
Lenses are, for me, key influencers in camera choice, with sensor aspect ratios coming second followed by a myriad of other often interrelated usability and functionality factors.
I shoot documentary and portrait photographs and documentary videos, am self-funded, and the gear I need must be affordable, small, portable, self-contained and capable of the best quality possible.
No single camera system can provide all that so I use APS-C/Super 35 and MFT/Super 16 cameras and lenses.
Right now, the Lumix GH5 has the edge over Fujifilm for video by a long list of remarkable top-end professional moviemaking features, which is little wonder given Panasonic has been working on video since the GH1.
We have yet to see any Fujifilm camera approach the GH5 in terms of its video feature set and its self-contained usability, and one can only wonder what may turn up in the X-T2S or what might have been of the now-abandoned Fujifilm APS-C/Super 35 “super camera” project.
Playing the waiting game wears thin especially when gaps persist in both sensor formats’ lens and camera offerings, and each has its pros and cons.
The 3:4 (vertical) and 4:3 (horizontal) image aspect ratio is optimal for portraiture and I often find 2:3 (vertical) and 3:2 (horizontal) irritating for that purpose while it is much more suited to documentary photography in horizontal aka landscape orientation.
I love the 1:1 image aspect ratio for monochrome portraiture and urban documentary, combined with the tilting EVF built into only one current camera, the Lumix GX8, allowing me to shoot as I used to with my Rolleiflex twin lens reflexes (TLRs).
I prefer rangefinder and rangefinder-style cameras for photography and cameras with fully-articulated monitors for video.
The perfect lens set comprising the right focal lengths combined with manual clutch focus, stabilization and fast non-variable maximum apertures with excellent mechanical and optical construction remains something of a pipe dream.
So, I compromise on APS-C/Super 35 mostly for photography with MFT/Super 16 mostly for video with a mix of Fujifilm, Olympus and Panasonic cameras and lenses.
Right now I am prepping to photograph a human rights rally tomorrow, the sort of event I have often covered at the same time with gear from all three brands and in both sensor formats.
In a DSLR-fixated culture, event participants are effectively rangefinder-blind, allowing me to photograph centimetres away from them without objection.
At this event, I have some constraints imposed by carrying my gear in a small shoulder bag that I have received for review.
The bag is capable of carrying one mirrorless camera plus three lenses in its default internal divider configuration, or up to four small lenses, or two mirrorless cameras-plus-lenses with a minor divider rearrangement.
I don’t currently have the ideal one-plus-three, one-plus-four or two-plus-two set-up in either mirrorless sensor format, so may limit myself to my X-Pro2 with 23mm lens on-camera and 56mm ready to swap should the portrait opportunities for which that lens is best suited arise.
I would much prefer two cameras with an 18mm lens on one and a 50mm lens on the other but that ideal set-up must wait for our self-financing effort to bear fruit.
I could carry an MFT Lumix camera with fast fixed maximum aperture standard zoom lens attached to cover the event with all my desired focal lengths and more, but I relish the discipline of carrying a limited set of fast prime lenses, and this new bag warrants a realistic test according to its default design parameters of one camera and two to four lenses, size dependent.
The coming release of Fujifilm’s X-E3 has me musing on another possibility this bag presents via rearranging its dividers, X-Pro2 with 23mm on one side and X-E3 with 56mm on the other.
A less tight fit might be the 18mm on one and the 50mm on the other but let’s not get too far ahead of ourselves.
What remains to be seen is whether the X-E3 will be a worthy companion to the X-Pro2, filling the gaps that the other camera cannot fill.
Based on its specifications list, I suspect that might be the case, with one exception, Fujifilm’s crazy ongoing failure to add crucial exposure zebras functionality for stills and video to all its cameras’ firmware.
Video on X-E3 and other Fujifilm cameras
Although Fujifilm’s cameras have some way to go until they approach Panasonic’s video feature set, especially that of the GH5, they already possess certain advantages.
I enjoy shooting video via my X-Pro2’s advanced hybrid OVF with ERF in lower right of frame set to show the whole scene as seen through the lens, in close-up or in mid-view as desired.
Fujifilm’s manual clutch focus primes are a joy to use as are their aperture rings when needing to ride constantly changing available light.
Fujifilm’s film simulations that work so well for JPEGs apparently look terrific in video, as demonstrated by Andrew Reid at EOSHD with a still frame from a Fujifilm X-T20 which permits customization not currently possible on the X-Pro2.
The lack of 4K in the X-Pro2 is the only factor against using it more for video given I generally use multi-camera 4K set-ups for editing in 4K and increasingly, release in 4K, Australian fraudband’s lousy upload capabilities permitting.
All Fujifilm cameras have their persistent video annoyances, however, and Fujifilm does not appear inclined to correct them any time soon.
None has an integral headphone jack for audio monitoring.
Each has a non-industry-standard 2.5mm microphone jack, demanding the use of unreliable 3.5mm-to-2.5mm adapters or microphones with interchangeable audio cables like Røde’s more recent on-camera models like the VideoMic Pro+.
Interchangeable 3.5mm-to-2.5mm cables have proven hard to find but I eventually located and ordered several Beachtek SC25 coiled cables.
Fujifilm has proven deaf and blind to the crucial need for customizable exposure zebras for video and stills, instead substituting a blinking highlight overexposure indicator on the X-E3.
Cinematographer/director Paul Leeming explains how to use exposure zebras at his Leeming LUT One webpage.
While the exposure zebras problem can be remedied by a Fujifilm with a firmware update, the best solution right now for effective audio monitoring is by connecting compact audio adapters or field recorders beneath your camera.
Hmmm, looking at all the many themes and variations of acquiring top quality audio as a solo documentary producer/director/cinematographer, perhaps I should do an article on that alone given some cameras provide for audio acquisition and monitoring very well and others much less so.
ALL Fujifilm cameras need grips
One thing that was immediately obvious when I bought my first Fujifilm camera, the X100, is that it desperately needed a hand grip for better grip of the camera in all conditions when shooting on location.
My assessment remains the same for all subsequent Fujifilm cameras that I have tried out or purchased, including the X-T1, X-Pro2, X-T2 and X100F.
Fujifilm does not make a hand grip for the X100F, a truly bizarre omission given the camera’s very slight built-in grip and slippery leather-look plastic covering, which has contributed to placing the X100F lower down on my wishlist than it deserves.
Phase One has released its first major update of the year for raw processing powerhouse application Capture One Pro, making its latest version 10.1, and it brings a slew of new and improved features. My two favourites of the list are a major enhancement to CP1’s styles workflow and greatly improved, speed-boosted support for Fujifilm’s X-Trans sensor cameras such as the X-Pro2 and X-T2. But wait, there’s more, including improvements to CP1’s support for Photoshop .PSD files for those who finish their images in Adobe’s image editing software, a before/after function via a temporary adjustment’s reset, tokenized image watermarking and new Applescript support. Lastly, C1P adds support for a range of cameras including the Sony A9, Fujifilm X-T20 and the Panasonic Lumix GH5, and lenses from a range of camera and lens makers.
One of those newly-supported lenses is the Panasonic Lumix G 25mm f/1.7 Aspheric standard lens that came with my Panasonic Lumix DMC-GX8 in a Panasonic Australia marketing promotion. The 25mm f/1.7 is an underestimated lens that I have come to appreciate especially attached to the GX8 when I use it to simulate shooting with a Rolleiflex twin lens reflex camera, the GX8’s EVF tilted upwards for discrete waist level shots in city crowds. I look forward to seeing C1P’s support for it in action soon.
The GX8 and its tilting EVF may be the closest we will come to the Rolleiflex waist level shooting style in the digital era, though the Fujifilm GFX 50s’ optional EVF tilt adapter may be a good simulation in combination with the camera’s 1:1 aspect ratio setting and its GF63mmF2.8 R WR standard lens.
Capture One Pro 10.1’s much improved Styles and Presets functionality
Capture One Pro 10.1 in action. If you were a fan of the way previous CP1 versions handled the styles and presets dropdown menus, occluding the image like this, then you can use it in a similar way via the Adjustments/Styles menu item.
In my humble opinion the new Styles and Presets tool is a far better and much faster solution. I am a big fan of having plenty of styes and presets to radically speed up the process of editing raw images in CP1. Sliders can slow the process down considerably.
In this screenshot I am quickly trying out the look of various film simulation styles from Alexander Svet’s excellent Capture One Film Styles and Capture One Film Styles Extended collections. I finally chose 012 Kodak Portra 160 as the basis for the colour and tone rendering of this image.
Trying out Alexander Svet’s 006 Fuji Astia 100F v5 Winter film simulation style from his Capture One Film Styles Extended collection. I love shooting in Australia’s low winter sunlight.
For me the most impressive improvement in Capture One Pro 10.1 is its handling of styles and presets. In previous versions, whipping through and previewing the effect of presets and styles on your images was a messy affair with the image covered with dropdown menu items to the point where the image was barely visible. Version 10.1 locates all your styles and presets, built-in, custom and third-party, in its own Styles and Presets tool, neatly arranged to find them more easily without occluding the image upon which you are working.
For the next couple of days a Fujifilm GFX 50S, vertical grip, tilt adapter and the three lenses will be available to see and experience a hands-on with and then, some time after that, a GFX 50S kit will be added to L & P’s rental collection.
L & P also operates a compact rental studio at their Artarmon premises that once housed the studio and darkroom of Max Dupain, the late Australian modernist photographer known for his architectural photography collaborations with Austrian-Australian architect Harry Seidler.
Some Rough and Ready BTS Snapshots
My favourite monitor display option on the GFX 50S (and the X-T2) is the dual display featuring the full image at left and magnified image at right.
The GFX 50S’s histogram overlay is very useful too.
The Fujifilm GFX 50S, lenses and accessories are in great company at L & P, also one of Australia’s Phase One dealers.
L & P is already taking orders from professionals wishing to purchase or lease Fujifilm’s latest photographic innovation in the form of the GFX 50S.
My aim during the visit was to get a quick impression of the GFX 50S as a hand camera and not a stand camera, and not to create great photographs of the types of subject matter I would place in front of a camera like this. With luck that opportunity will come later and I will do a proper job of it.
I simply stepped outside the door during a brief interval between rain showers, made two shots with the GF 32-64mm f/4.0 R LM WR lens set to f/8.0 and the GFX 50S set to ISO 400 and 1/640th of a second, focussing on the foremost figure at left of frame. I made the first exposure at 32mm and the second at 64mm.
After exporting the largest JPEG file, I uploaded it to my Flickr account as I need to conserve media space in my website hosting account right now. Flickr has applied its own sharpness-reducing compression algorithm so please bear that in mind.
These snapshots are mediocre photographs but the GFX 50S is anything but a mediocre camera. Click the images below to see them large in my Flickr account.
Thoughts and Observations
A quick and dirty first test like this of a newly released camera can only tell one so much. But it satisfied my aims. I wanted to know whether the GFX 50S would meet my needs and be a viable option for renting, leasing or buying sometime in the future, bureaucracies and lawyers permitting. The ‘Untitled’ project self-financing saga is ongoing.
When I got back into photography after an absence enforced by ill health resulting from chronic photochemical allergy and extreme dermatitis, a major concern was whether then current digital technology would offer as much variety in ways of seeing and photographing as the variety that I had come to rely on with analog photography.
My first serious digital camera was a DSLR, the Canon EOS 5D Mark II, and it was not an easy fit as I had never been an SLR person. Rather, I had relied on a range of non-SLR rangefinder and technical cameras and these somewhat unconventional, even non-conformist, cameras had helped create my personal photographic vision. Or more properly, visions.
It was only with the arrival of Fujifilm’s Finepix X100 rangefinder-style camera that I began to feel comfortable with digital photography. The Fujifilm X-Pro2 cemented that comfort with a camera that, in many ways, recalls the 120 roll film rangefinder cameras I had so loved.
Likewise Fujifilm’s X-T2 is a reminder of the technical cameras that were so crucial to my development as a photographer just as Panasonic’s Lumix GX8 shares some of the traits of the waist-level Rolleiflex twin lens reflex cameras I adored for their own unconventional way of showing me the world as a square and from down below, via the GX8’s unique tilting EVF.
Now the GFX 50S, with its clear similarity to the X-T2’s shape and usability, offers a combination of features I relied on in my technical cameras and my Rolleiflexes, filtered through Fujifilm’s and Panasonic’s recent digital camera innovations.
The GFX 50S allows you to use it like a small hand or stand-mounted view camera, like an EVF camera, more or less like a DSLR but minus the mirror slap, or like a tilting EVF camera that is in itself the closest simulation we have now of the wonderful TLR cameras once made by Mamiya, Rolleiflex, Yashica and others.
My brief experience with the Fujifilm GFX 50S was enough to tell me this and remove the last concern I had about whether contemporary digital hardware can provide me with enough creative options to build a set of closely related personal photographic styles in the way analog hardware did.
One thing is certain, confirmed by my two snapshots above: the Fujifilm GFX 50S’ resolution and image quality equals that of 4″x5″ sheet film cameras and I suspect that its future GFX 100S descendant will rival the results from 8″x10″ sheet film cameras.
After covering an International Womens’ Day rally in the Sydney CBD, I dropped into digiDIRECT’s city store to take another quick look at the Fujifilm GFX 50S. They had the camera, three lenses, EVF and vertical battery grip and kindly allowed me do some snapshots of one of the staff members, Benny, below.
This photograph was made with the GF 120mm f/4 R LM OIS WR Macro lens and with the Vertical Battery Grip on the camera. I processed the raw file in Iridient Developer then exported it as a TIFF that I opened in Alien Skin Exposure X2 where I applied a Polaroid Type 55 preset and platinum split toning.
I chose f/5.6, AutoISO and aperture-priority, and the GFX 50S set 1/60th second. Although this is not a portrait as such, the experience of making it reminded me of how I loved to make frontal, full-face close-up portraits of artists, chefs, celebrities and businesspeople for the glossy magazines in Polaroid Type 55 positive/negative instant film, split-toning prints made on silver-rich baryta papers.
On considering the Fujinon GF lenses currently available and coming later in the year, I would choose the GF 120mm f/4 R LM OIS WR Macro and the GF 45mm f/2.8 R WR prime lenses as a very workable pair for full-face and environmental portraiture. The 120mm is roughly equivalent to 90mm in 135 aka 35mm format and the 45mm lens is close to 35mm in 135 aka 35mm format.
Although I often lit those editorial portraits with Broncolor flash units with spot grids and barndoors, nowadays I’d be more likely to use continuous light such as my Rotolight Neo three light kit with barndoors to narrow the beam down.
Other LED lights I want to investigate sometime are the Dedolights with variable beams that spread from spot to flood and take a range of light-shaping accessories.
While electronic flash has its advantages in freezing movement, it can be distracting when trying to really narrow down the beam and place the light with a high degree of precision but little time with a portrait subject.
Using continuous light allows you see exactly what the camera is going to see and permits building a closer relationship with your sitter, faster. The GF 120mm f/4 lens’ optical image stabilization means one can handhold the lens in continuous light and obtain enough sharpness, or one can of course place the GFX 50S on a tripod and use it somewhat like a small view camera.
“Save our Sirius,” said the man sitting on the pavement not more than three metres away from Sirius, the social housing icon of Brutalist architecture in Sydney’s historic The Rocks. “Why do they want to save a pub?”
The Sirius building is anything but a pub, as my first story about it illustrates, a fact that can be easily determined by those who care to glance upwards from their comfy perches.
More than a thousand citizens of all ages, who clearly do know what Sirius is and stands for, took part in a rally on September 17 to protest the imminent eviction of the last remaining longterm residents of Sirius and the planned sale and destruction of their homes.
People from all walks of life took part, including present and past residents of Sirius, Dawes Point and Millers Point, architect Tao Gofers who designed Sirius in the 1970s, local and state politicians, as well as architecture enthusiast and radio personality Tim Ross….
Fujifilm Australia had the innovative idea of inviting photographers to come and hang out together in the centre of Sydney for a few hours, and take on a challenge. Several hundred of them accepted the invitation and turned up, cameras in hands ready to accept Fujifilm Australia’s photographic challenge. Staff members had expected no more than a hundred of them.
Although Australia now has a more photographically active culture than it did when I came up with the magazine about which I write about on the About page, we don’t have the sorts of photographically-oriented events citizens of other countries and cities have come to take for granted. The ‘People with Cameras‘ concept is one of those….