“Discover the life and work of Garry Winogrand, the epic storyteller in pictures who harnessed the serendipity of the streets to capture the American 1960s-70s. His “snapshot aesthetic” is now the universal language of contemporary image-making. …”
American documentary photographer Garry Winogrand was called “the central photographer of his generation” by photography curator, historian, and critic John Szarkowski and this documentary movie provides some insights into how and why he earned that accolade.
Winogrand was a key member of the generation that established the snapshot aesthetic as applied to photography in public as a genre in its own right, alongside Joel Meyerowitz, Lee Friedlander, Tony Ray-Jones and others, all relying on Leica M-Series rangefinder cameras and often the 28mm focal length.
Now that street photography has become even more established as a genre and in some manifestations as a cult, practitioners would do well to study its beginnings at the hands of artists like Winogrand and his colleagues back in the 1960s and 1970s, starting with Garry Winogrand: All Things are Photographable.
Some of the many things I miss from my time in the United Kingdom and the rest of Europe include the many wonderful agent and artist show-and-tells, art and photography festivals, book launches, face-to-face interviews, gallery and museum shows, meets-and-greets, movie premieres, new venue openings, portfolio reviews, presentations, private members’ clubs meet-ups, product launches, professional organization events, sneak previews, trade shows and private meetings with fellow moviemakers, photographers and other artists at all stages in their careers.
That sense of belonging to a constantly active and vibrant creative community is crucial to the development of any artist and is as important as the mutual respect shared amongst students, starters, established and late-career artists alike that I observed many times overseas.
I experienced a reminder of all that when I attended a presentation by Ray Martin, Australian journalist and television presenter, at the recently opened photography concept store Ted’s World of Imaging in Pitt Street, Sydney, last Saturday.
Mr Martin described himself as a street photographer and related his late start as a photographer while working as a journalist, carrying a superzoom bridge camera on location during assignments.
After starting to take photography more seriously, he invested in a range of cameras and lens brands including Canon and Panasonic, and over a year ago was given a Fujifilm GFX 50S for use on location in travels around Australia with landscape photographer Ken Duncan.
Portrait photography of Ray Martin made by Karin Gottschalk with Fujifilm X-Pro2 and Fujinon XF 56mm f/1.2 R in available light as seven HDR bracket raw files merged in SkylumAurora HDR 2019 then finished in Skylum Luminar 2018 and Adobe Photoshop.
Other photographs made with Panasonic Lumix DMC-GX8 with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro lens.
PV: Many members of the ‘Personal View’ community are shooting with the Micro Four Thirds (MFT) system digital cameras including many of the Panasonic MFT system products. Therefore when during the Leica and then Panasonic press conferences prior to the opening of Photokina 2018 we have learned about new L-mount alliance, many of our community members become concern that MFT system is in danger because of these new series of L-mount cameras. Can you give us some insight on the destiny of the Panasonic MFT products?…
… PV: Will the new L-mount system affect the Panasonic development of new MFT products, for example will some of the proposed MFT lenses be delayed? Another concern is that the MFT could be refocused primarily towards the basic entry-level of cameras, eliminating the semi-professional MFT category of products. Will the MFT cameras have the same attention from the best Panasonic engineers and designers, or it will suffer from lack of resources?…
… PV: How do you see the future development of the MFT cameras? For example, one of my favorite MFT camera series is a rangefinder-style GX line, such as GX8. I have noticed that in latest GX-series release, the Lumix GX9 camera is more GX7-alike than GX8, similar to GX7 in size and less advanced in some of its features than GX8, such as weather-sealing, OLED viewfinder, fully articulated display, or availability of external microphone port. Can we expect another series of the compact rangefinder style MFT camera with more advanced features, or all future MFT cameras with advanced features will be solely designed in GH5-style of camera bodies?…”
Panasonic Lumix DC-GX9 with optional screw-attached hand grip that must be removed to access SD cards and batteries. The DC-GX9 reportedly has short battery life so you may well be unscrewing this hand grip many times throughout the day.
Optional normal-sized eye-cup for Panasonic Lumix DC-GX9 on tilting EVF is a must the shooting in daylight outdoors.
Panasonic Lumix DMC-GX8 professional rangefinder-style camera with Panasonic Lumix G X Vario 12-35mm f/2.8 Aspheric Power OIS lens.
The Panasonic Leica DG Summilux 12mm f/1.4 Aspheric prime lens is well-balanced on the GX8.
The Panasonic Lumix DMC-GX8’s fully articulated monitor beats any tilting or fixed LCD monitor screen especially in combination with its tilting EVF.
There is much more to the conversation between Personal View’s Igor Drozdovsky and Panasonic’s Adviser for Technical PR Mr Michiharu Uematsu, the Imaging Section’s Ms Emi Fujiwara and Engineer Mr Taku Kariyazaki than the questions above of whether Panasonic will be dropping development of the professional cameras in the GX series and whether the company will also cease development of its Micro Four Thirds cameras and lenses in favour of the 35mm sensor cameras and lenses of the recently announced S Series.
I recommend reading the interview in full for those of us with the same questions as asked by Mr Drozdovsky, and I hope that answers about the future of pro-quality rangefinder-style GX cameras will soon be provided by Panasonic.
I seriously hope that Panasonic will not be trying to tell us that pro-quality DSLR-style cameras must now somehow replace pro-quality tilting EVF rangefinder-style cameras just as I hope the company will not try to convince us that 3-way tilting monitors must now always replace fully articulated monitors.
Since when is a reduction in capability somehow an advance in capability, other than in the imaginations of marketing department managers?
A new lens is a new way of seeing the world and if that new lens is a focal length far away from those you are most accustomed to using then it can be exciting, even liberating.
Ms Winfred has relied on some of the longer Fujinon XF focal lengths for some years – 23mm, 27mm, 35mm and 56mm – and felt the allure of 18mm while borrowing one a couple of times.
That I can well understand.
I felt the same after buying into the Leica M-System with a secondhand Leica rangefinder camera and a new Summicron-M 35mm f/2.0 lens, the perfect one camera, one lens combination for environmental portraits, cityscapes and documentary work.
The 35mm focal length – 23mm in Fujifilm APS-C, 17mm in Micro Four Thirds – is a great one prime lens compromise along with the slightly longer 40mm lens – 27mm in APS-C and 20mm in M43.
I felt the 28mm urge – 18mm in APS-C and 14mm in M43 – after getting deeper into documentary photography, needing to better share my close proximity to the people, events and emotions in which I was embedded.
My 28mm Elmarit-M 28mm f/2.8 lens was my documentary go-to lens for years, and when Fujifilm finally released its first interchangeable lens rangefinder camera, the X-Pro1, I hoped that the 18mm lens released with it might have qualities located somewhere in that particular ball park.
Fujifilm’s Fujinon XF 18mm f/2.0 R is quirky, what some commentators refer to as a character or art lens with properties that suit some subjects and photographic styes but not others.
Especially not the sort of photographs I like to make where every single part of the photograph is important and the whole visual field needs to be in sharp focus, near to far, left to right and right up into all four corners.
If I want radical bokeh or a curved image field instead of flat, then I will consider an art lens or two, some day.
A number of other documentary photographers have expressed the hope that Fujifilm will finally release a Fujicron style Fujinon 18mm f/2.0 R WR to go with its current Fujicron 23mm, 35mm and 50mm lenses and the coming 16mm ‘Fujicron’ prime.
I would prefer to see Fujifilm release an 18mm lens in the style of its excellent 14mm f/2.8, 16mm f/1.4 and 23mm f/1.4 lenses with their manual clutch focus mechanisms, so useful for video and available light photography with the aperture wide open.
Why can’t Fujifilm issue two or more versions of some focal lengths, just like other lens makers do?
They are about to do exactly that with the 16mm focal length, a focal length I do not particularly like, that is so wide it draws undue attention to itself and detracts from what it depicts, and that I find so distorting for human subjects that I must apply volume deformation correction to images I have shot with 16mm or equivalent lenses via DxO ViewPoint.
Fujifilm, keep the current 18mm f/2.0 semi-pancake lens, by all means, for those for whom quirky is an essential creative character trait, but please, please, please Fujifilm, give us a professional-quality 18mm lens too.
What have you got to lose?
Not as much as I have by not being able to have a good enough 18mm prime lens on my X-Pro2.
I hope that Ms Winfred gets hold of her own Fujinon XF 18mm f/2.0 R lens very soon as its immersive, wide but not too wide focal length can be a real liberation after years of narrower ways of seeing.
Fujifilm, are you reading this?
Some views of Chatswood with a borrowed Fujinon XF 18mm f/2.0 R on my X-Pro2
The folks at Fujifilm Australia kindly loaned me a subset of Fujinon XF prime and zoom lenses a little while ago and one of them was the Fujinon XF 18mm f/2.0 R.
I took it out for a spin several times but found it frustrating to use in making my usual urban documentary photographs as above, and found I needed to bend my usual way of processing raw files shot with it into more of a quirky, funky direction than I like, substituting clarity all across the frame with something a little more retro, an almost 1980s analog style.
Not my favourite era, frankly.
One of the other loaner lenses was the Fujinon XF 18-135mm f/3.5-5.6 R LM OIS WR zoom lens and I found myself relying on that mounted on a loaner Fujifilm X-T2 on preference to the Fujinon XF 18mm f/2.0 R mounted on my X-Pro2 when needing the 18mm focal length.
I have yet to try Fujifilm’s Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens but note that veteran photojournalist David Alan Harvey spoke of using that lens at its 18mm focal length setting during Fujifilm’s X-Pro2 launch event in Tokyo.
I have also tried out the Fujinon XF 10-24mm f/4.0 R OIS zoom lens on a Fujifilm X-T1 at the 18mm focal length setting and found that a very satisfying experience too, even though my needs are for rangefinder and rangefinder-stye cameras with prime lenses that do not protrude into those cameras’ optical viewfinders if they have them.
Theoretically the Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom should provide a decent match for the X-Pro2 in its optical viewfinder aka OVF mode given the OVF’s brightline range from 18mm to 56mm, but I suspect the 58mm filter diameter of the lens may protrude into the OVF’s lower right somewhat.
That is a problem that can be palliated to some degree by using the X-Pro2 in M for manual focus mode with the EVF-in-OVF switched on to give you an overall view of the scene, or in S or C autofocus mode with the focusing area set to smallest.
Some urban documentary photographers render the Fujinon XF 18mm f/2.0 R more usable by taping its aperture and focusing rings up on selected settings while others use the lens untaped-up and set for zone focusing, like Sydney urban documentarian Steve Dimitriadis in his article below.
I have tried using the Fujinon XF 18mm f/2.0 R for the up-close, immersive, available light documentary projects for I which I also loved to use my Leica Elmarit-M 28mm f/2.8 but found the 18mm even more frustrating in use than for urban documentary at a distance from my subjects.
As a result of this article I have been accused online of demanding that Fujifilm must now make two versions of every lens that they currently make, one with a wide maximum aperture and one with with a less wide maximum aperture, and thus that I am demanding that Fujifilm bankrupts itself.
Reference to some facts is in order.
I am asking Fujifilm that they consider releasing the updated 18mm lens design that has apparently been on their internal lens release roadmap for some time since it was first reported by Fuji Rumors.
Given Fujifilm is about to release a 16mm Fujicron lens to sit alongside its current 16mm f/1.4 lens, surely it is not outside the bounds of imagination that the company may be capable of having two 18mm lenses in its collection, a quirky and characterful 18mm art lens and a professional-quality 18mm lens.
If two different 16mm lenses are unlikely to bankrupt Fujifilm then perhaps two different 18mm lenses may not bankrupt Fujifilm either.
Other lens makers manage to issue two and sometimes even three different versions of the same focal length without bankrupting themselves.
I would hope Fujifilm is capable of doing the same.
Voigtlander Ultron 28mm f/2 Lens – B&H – Cosina makes excellent lenses under its own brand name, Voigtlaender, as well as on commission from camera and lens companies. Voigtlaender lenses for Leica M-mount tend to be far more affordable than Leica own-brand lenses
ZEISS Biogon T* 28mm f/2.8 ZM Lens – B&H – Zeiss ZM lenses for Leica M-Mount rangefinder cameras and adapters are an excellent, more affordable alternative to Leica’s own lenses and tend to have more neutral colour rendering than Leica’s warmer colours.
Quincy’s Fujifilm X-Mount OEM and third-party brand lenses lists are kept up to date and are drawn upon by Patrick at Fuji Rumors for articles, and I go there when I need to research current and coming X-Mount lenses for my articles.
I have been struck by how the number of third-party X-Mount lenses keeps increasing, with most of them being manual focus lenses often designed and manufactured by Chinese companies, but so far my biggest ongoing disappointment with the Fujifilm X-Mount system remains unassuaged by Fujifilm itself as well as by third-parties making native or adapted X-Mount lenses.
Other than Fujifilm’s Fujinon XF 18mm f/2.0 R semi-pancake prime lens, nobody but nobody is making a prime lens that is equivalent to 28mm in the 35mm sensor format.
This searing blindspot is not just a Fujifilm X-Mount APS-C problem; it applies to the Micro Four Thirds sensor format as well wherein Olympus does not make a 14mm lens at all and Panasonic’s Lumix G 14mm f/2.5 II pancake lens appears to have gone missing in action from many retailers.
The 35mm sensor format’s 28mm focal length and its APS-C and M43 equivalents of 18mm and 14mm respectively has been a staple of the documentary, photojournalism and street photography genres for years now including those when I relied on them on Canon, Leica and Nikon rangefinders and SLRs, but it seems that contemporary lens makers just do not give a damn.
Yes, one may wish to slap a 14mm, 18mm or 28mm inclusive zoom lens on to one’s camera as I do with my Panasonic Lumix DMC-GX8 and the excellent Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro or the usually underestimated Panasonic Lumix G Vario 12-32mm f3.5-5.6 Aspheric Mega OIS collapsible zoom lens, but using those focal lengths on a zoom and as a prime lens are two very different things.
Especially if the said prime lens allows easy setting of hyperfocal distance via manual focus or manual clutch focus mechanisms like those in some Fujinon prime lenses and Olympus’ excellent M.Zuiko Pro primes and zooms.
There are some close but no cigar choices for non-Fujifilm cameras, such as Panasonic’s Leica DG Summilux 15mm f/1.7 Aspheric prime lens, but for now I will stick with my two M43 zoom lenses rather than fork out for yet another no-cigar substitute.
What I am really after is a decent 18mm prime lens for my Fujifilm X-Pro2 for use as my number one documentary lens.
Given the premium price Fujifilm charges for its elderly Fujinon XF 18mm f/2.0 R, no way am I going to throw good cash down that particular black hole.
Getting back to close but no cigar, independent cinema lens company Veydra lists a 19mm Mini Prime cinema lens amongst its options, and it is available with a Duclos-designed Fujifilm X-Mount that can be DIY-attached onto an M43 version of the lens.
Sigma released a 19mm f/2.8 Art lens in the M43 and Sony E mounts some years ago, but the company has never shown signs of coming out with a Fujifilm X-Mount version.
The Sigma lens is affordable but the Veydra costs over twice the price of Fujifilm’s 18mm.
Veydra’s is an excellent geared cinema lens but its greater size and wide front diameter compared to the Fujifilm and the Sigma makes it a poor choice on my X-Pro2 given I rely on the camera’s excellent optical viewfinder for documentary photography and oftentimes video too.
This ongoing dilemma would not be one if Fujifilm simply went along with their customers’ longstanding request for an updated 18mm lens but I often find myself wondering if the company even cares for its documentary, street photography and photojournalist customers.
Two X-Pro2 cameras equipped with an 18mm lens on one and a 50mm lens on the other is, in my experience, the closest one can get to a perfect two-camera, two-lens documentary photography and photojournalism set-up.
Why provide half of the equation, Fujifilm, when you could so easily give us both even if each lens might be Fujicron-style f/2.0 compacts instead of the maximum versatility of f/1.4 manual clutch focussing alternatives?
The problem of Fujifilm’s ageing, substandard Fujinon XF 18mm f/2.0 R lens
Fujinon XF 18mm f/2.0 R
Leica Elmarit-M 28mm f/2.8 Aspheric prime lens for Leica M-System cameras, for me the archetypal 28mm documentary and photojournalism lens. I want something similar for my X-Pro2.
Duclos Lenses came up with a Fujifilm X-Mount option for Veydra’s Mini Primes that can cover the APS-C format.
Veydra Mini Prime 19mm cinema lens available in Sony E-Mount, Micro Four Thirds mount and Fujifilm X-Mount.
Panasonic Lumix G Vario 12-32mm f/3.5-5.6 Aspheric Mega OIS collapsible standard zoom lens
Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens, one of the most versatile top-quality professional zoom lenses made.
Panasonic Lumix G 14mm f/2.5 II Aspheric pancake prime lens, which appears to be missing in action from most if not all retailers now.
Panasonic Leica DG Summilux 15mm f/1.7 Aspheric prime lens. Narrower than a 28mm-equivalent 14mm lens in Micro Four Thirds format, but at least it is generally available whereas Panasonic’s 14mm pancake lens seems to have vanished.
Sigma 19mm f/2.8 DN for Sony E-Mount APS-C and Micro Four Thirds. Sigma, please release this in a Fujifilm X-Mount version.
Zeiss Distagon T* 18mm f/4.0 ZM Leica-M-Mount lens. A solution for the well-heeled in combo with an M-Mount to X-Mount adapter?
Fujifilm M Mount Adapter. Will this work with the Zeiss Distagon T* 18mm f/4.0 ZM lens?
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Fujifilm 18mm f/2.0 XF R Lens – B&H – The least impressive Fujinon X-Mount lens in Fujifilm’s collection and one that badly needs to be replaced with a new Fujicron-style lens or better yet a wide aperture manual clutch focussing alternative for professional photography and video work.
Leica CL Mirrorless Digital Camera with 18mm Lens (Black) – B&H – This APS-C rangefinder-style camera with interchangeable 28mm equivalent lens is another possible solution to the ongoing problem of Fujifilm’s substandard Fujinon XF 18mm f/2.0 R lens.
I have always set up my cameras to zone focus by simply going into manual focus mode, setting the focusing distance scale to my desired focusing distance and shooting away. The problem with this approach is that it is difficult to keep the focusing distance consistent because more often than not I am accidentely bumping the focusing ring. However using the settings I describe below I have been able to circumvent both of these issues and have a reliable zone focusing setup….”
I made heavy use of zone focusing via setting hyperfocal distance during a years-long urban documentary project during the analog era when relying on a pair of Leica M-Series cameras and mostly 28mm and 35mm lenses.
Of the two my preference was the 28mm lens as its medium wide-angle focal length allowed me to be right in the middle of crowds and close-up to my human subjects while still revealing telling details of the environment in which they and I found ourselves.
Narrower or wider than 28mm or 35mm does not cut it for that approach, as I have proven to myself many times before and since, and ultra-wideangle lenses like the otherwise excellent Fujinon XF 14mm f/2.8 R and Fujinon XF 16mm f/1.4 R WR with their 21mm and 24mm equivalent focal lengths impose a so-called “lensey” look on the image the perspective distortion of which draws undue attention to the lens and not to the subject matter when using it up-close and in-deep in the street.
Setting one of two hyperfocal distances for either closer or more distant action with the 18mm-equivalent 28mm Leica lens was a brilliant solution to the need for maximum speed and meant I could concentrate on seeing and getting into the zone, achieving maximum flow, achieving extraordinary outcomes that evaded a slower, more deliberate approach.
My term for this high-speed, highly-focused approach to urban documentary photography was “visual athletics” and it produced challenging, heavy-muscled images that upset the denizens of my then-local art and photography community and challenged them in accepting my work as art much less as being in any way creative.
More fool them, now that photography is understood as an art form in its own right and that so-called street photography has become an acceptable creative practice.
It can be a thankless task, though, to be something of a provincial pioneer in any art form.
As I have written here a number of times, I am not a fan of Fujifilm’s ageing 18mm almost-pancake lens and have been waiting far too long for its modernized replacement.
A Fujicron-style Fujinon XF 18mm f/2.0 R WR lens would be an acceptable upgrade especially for urban documentary photography but even better would be a far more versatile professional-style manual clutch focus lens in the manner of the Fujinon XF 14mm f/2.8 R, XF 16mm f/1.4 R WR and XF 23mm f/1.4 R for stills and video.
Fujifilm, where is the Fujinon XF 18mm that Patrick of Fuji Rumors has been telling us is coming for ages now?
Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.
Breakthrough Photography X4 Brass UV filters – B&H – I rely on this brand’s beautifully-made non-binding knurled traction frame UV filters to protect all my lenses with filter diameters from 39mm up to 105mm.
Fujifilm XF 14mm f/2.8 R Ultra Wide-Angle Lens – B&H
Leica CL Mirrorless Digital Camera with 18mm Lens (Black) – B&H – Leica’s APS-C sensor digital rangefinder-style camera with 28mm-equivalent f/2.8 interchangeable lens is one possible solution to Fujifilm’s lack of a decent 28mm-equivalent 18mm lens.
Leica Q (Typ 116) Digital Camera – B&H – Leica’s 35mm sensor digital rangefinder-style camera with 28mm f/1.7 fixed lens is another possible solution to Fujifilm’s lack of a decent 28mm-equivalent 18mm lens.
“When Hong Kong-based photographer Xyza Cruz Bacani started making street photographs, she read about the subject on social media and saw a lot of arguments about rules, and about the definition of the genre. At first she thought parameters might be good for her as an emerging photographer. But before long, she said “fuck the rules.” What appealed to her about street photography was that it’s “very freeing. It’s up to you what you really want to photograph, it’s how you see the world….”
“Equivalence. It’s the bugbear of anyone who reviews Micro Four Thirds lenses. You are being conned says the incoming mail. Your f/1.4 lens is really an f/2.8. And your so called shallow depth of field is commensurate with f/2.8, too, not f/1.4. It’s an argument I’ve heard so many times and while factually true, is pointless and irrelevant. The only rational response is -so what?…
Put simply, a native Micro Four Thirds lens is just that. A native Micro Four Thirds lens. It isn’t a Full Frame lens. It won’t fit a DSLR and if it did it wouldn’t cover the whole frame. I’ve tried more and more to describe lenses according to their angle of view since that is universal. If you know what angle of view you want, you can choose a lens to get it. Thus, I know that I like as a standard prime a lens with a moderate wide angle, around 54° horizontal. A quick calculation at Points In Focus Photography tells me that for a Micro Four Thirds sensor it would be 17mm, for FF 35mm and for Medium Format 55mm. Easy.”
Former Fleet Street newspaper photographer David Thorpe is in my humble opinion one of the best and most useful writers and reviewers on Micro Four Thirdscameras and lenses though it is a pity that camera and lens makers don’t give him the credit and access to review gear that he deserves.
Mr Thorpe comes from a 35mm and 120 roll-film single lens reflex (SLR) background during the analog era whereas I have always relied on rangefinder and view cameras and prefer digital cameras that give me some semblance of those unique ways of seeing and photographing.
The other big difference between Mr Thorpe and I is that I rely on all my cameras, to varying degrees, when making photographs as well as videos and video is better served by fully manual lenses or at least manual clutch focus lenses such as those made by Fujifilm in APS-C X-Mount format and Olympus in M43.
As a result there are M43 lenses, especially small, light and relatively affordable prime and zoom lenses, that I quite like for stills photography but that are ruled out for serious video production, and more specialized M43 lenses such as those made by Veydra in their Mini Prime range, and those made by Olympus under their M.Zuiko Pro brand.
“… I can understand and agree with every reason put forward for those big, expensive optically superb f/1.2. And yet, in my heart, ever since I bought into Micro Four Thirds I’ve retained my original reasoning. Put an Olympus 17mm f/1.8 on a Panasonic GX9 body and go out street shooting in Soho. Now go out with a 17mm f/1.2 on the front. What can I say? Little and good, big and bad….”
Not quite, insofar as hybrid street shooting goes.
Although I have been tempted by the idea of the Olympus M.Zuiko Digital 17mm f/1.8 given its focal length is my own perfect all-in-one go-to, in reality this lens is apparently a little too compromised for documentary video production, according to a number of pro video reviewers.
I have yet to lay my hands on one for serious try out and review, but the first thing to consider is the practicality of attaching fixed or variable neutral density filters to its 46mm filter diameter via a step-up ring.
I have standardized on 77mm and 82mm diameter variable and fixed NDs in order to keep down costs, but need to maintain a selection of step-up rings to fit those NDs on a range of lenses.
Experience has taught me to stick to brass step-up rings to avoid binding, preferring brands that knurl the outside of their rings for best grip in challenging conditions but then that narrows brand choice down to Breakthrough Photography, Heliopan, PolarPro and Sensei Pro.
Of those only Heliopan makes rings for smaller filter diameters like 46mm but they don’t step-up to 82mm; for that you will need to attach a 77mm to 82mm step-up ring for which I would automatically choose the one made by Breakthrough Photography.
The same goes for other small M43 lenses some of which may be more suitable for video production such as Panasonic’s Lumix G 42.5mm f/1.7 Aspheric Power OIS with its 37mm filter diameter, the Lumix G Vario 14-42mm f/3.5-5.6 II Aspheric Mega OIS with its 46mm filter diameter, the Olympus M.Zuiko Digital ED 12mm f/2.0 with its 46mm filter diameter and manual clutch focus, the Olympus M.Zuiko Digital 25mm f/1.8 with 46mm filter diameter but no manual clutch focus and the Olympus M.Zuiko Digital 45mm f/1.8, again with no manual clutch focus but with a 46mm filter diameter.
Some made by Olympus, some by Panasonic. some with manual clutch focus, some without, none with wide filter diameters and all needing one or two step-up rings to get them to the magic 77mm or 82mm filter diameter, the latter of which I have chosen as my new default given better ND filter choice in that size now.
Digital Trends – Olympus M. Zuiko F1.2 Pro lenses prove there’s life left in Micro Four Thirds – “Naturally, these lenses are fantastic for portraiture. The sense of depth they give at f/1.2 is like nothing else we’ve ever seen on the format. In fact, the remark that kept coming to mind was, “This looks like film.” It is probably the first time we’ve ever felt that way about Micro Four Thirds…. Olympus’ goal with the F1.2 Pro series was to craft a specific quality of blur, which the company calls “feathered bokeh.”
Digital Trends – Olympus M.Zuiko 17mm F1.2 Pro review – “… until now, there hasn’t been a fast, wide-angle prime that really targeted high-end and professional users. The Olympus M.Zuiko 17mm F1.2 Pro changes that, combining the largest aperture of any wide-angle lens available for the format with exceptional build quality.”
Digital Trends – Olympus M.Zuiko 25mm F1.2 Pro review – “… [the] Olympus M.Zuiko 25mm F1.2 Pro, however, is a technically excellent lens that may also just be special enough to inspire you emotionally. It highlights the impressive move that the Micro Four Thirds system has made into the world of professional photography.”
Digital Trends – Olympus M.Zuiko 45mm F1.2 Pro review – “… the 45mm is perhaps the most exciting entry in the series — everything about it is finely tuned for portrait photography… In fact, it is our favorite portrait-length lens for the MFT system.”
“FUJIFILM Corporation (President: Kenji Sukeno) will release free firmware updates for the FUJIFILM X-H1 (“X-H1”), FUJIFILM X-T2 (“X-T2”), FUJIFILM X-Pro2 (“X-Pro2”), FUJIFILM X-E3 (“X-E3”) and FUJIFILM X100F (“X100F”) X Series digital cameras. Due for release late April and May, the updates reflect the feedback received by FUJIFILM X Series users with regards to improving usability and adding new functions….
… FUJIFILM X-Pro2 (Ver.5.0.0) – due May 2018
1. Enlarged and customizable indicators or information
The upgrade allows users to enlarge indicators and information in the viewfinder and/or LCD monitor. This upgrade will also enable users to customize the location of where the information is shown on the display.
2. Enhanced Phase Detection AF
Latest updates to the AF algorithm provide the following performance enhancements
(1) The low-light limit for phase detection autofocus has been improved by approximately 1.5 stops from 0.5EV to -1.0EV, raising the precision and speed of autofocus in low-light environments.
(2) The range at minimum aperture has been expanded from F8 to F11. For example, even when using the XF100-400mmF4.5-5.6 R LM OIS WR with the tele converter XF2X TC WR, phase detection autofocus can now be used.
(3) Major improvements have been made to the AF-C performance while operating the zoom, which provides major benefits when shooting sports and other scenarios in which the subjects moves unpredictably.
(4) Finely-detailed surface textures of wild birds and wild animals can now be captured at high speed and with high precision as a result of improvement in phase detection autofocus.
3. Addition of “Flicker Reduction”
For enhancing the quality of indoor sports photography, the upgrade allows users to reduce flicker in pictures and the display when shooting under fluorescent lighting and other similar light sources.
4. Addition of “Select Folder” and “Create Folder”
Enable to choose the folder in which subsequent pictures will be stored. And also enable to enter a five-character folder name to create a new folder in which to store subsequent pictures….”
Fujifilm has done it again with its commitment to continually improving the functionality of most of its cameras long after their initial release with firmware updates that squash bugs, introduce major new features and update major and minor core functionality.
As an X-Pro2 owner my interest in the current round of announced and already released firmware updates is primarily to do with that camera but I note the usefulness of Fujifilm’s updates for the X100F, X-E3, X-T2 and X-H1.
I am grateful that with X-Pro2 Firmware Version 5.00 Fujifilm will be adding the ability to enlarge information and indicators in the X-Pro2’s remarkable Advanced Hybrid Multi Viewfinder and its LCD monitor as some, under the current firmware, are a little too small to be as useful and easy to read as they could be.
I am looking forward to the coming enhancements to the X-Pro2’s Phase Detection Autofocus although I tend to prefer using back-button autofocus in Manual mode for precision focussing when shooting documentary stills in available darkness.
The X-Pro2 is nothing if not versatile given its four different viewing methods – LCD, OVF-only, EVF-in-OVF and straight EVF – that effectively make it four cameras in one, and I use it for a range of other subjects and shooting conditions which call for improved AF-S and AF-C focussing functionality.
As the cliché goes, my X-Pro2 may well feel like a while new camera again, yet again.
The addition of a flicker reduction feature will also be very welcome.
I am based in a country with 50 Hz mains power and despite following the common advice to select shutter speeds that are multiples of 50, banding or flicker can be a constant problem especially in places lit by ageing fluorescent lights or mixed lighting that includes flickering light sources.
The ability to choose folders or enter five-character folder names on my SD cards is one the usefulness of which I have not considered but it may be worth trying if I am shooting two or more different subjects or projects in the same day to otherwise needing to keep files clearly separate.
X-Pro2 Firmware version 5.00 does not, however, include improvements that we have been waiting a long time for now.
Foremost of these is pixel-level view of photographs to ensure accurate focus of critical image elements, an essential professional-quality feature even the X-E3 comes with straight out of the box.
Second is exposure zebras for fast and accurate exposure-to-the-right aka ETTR, instead of the blinkies that appeared in an earlier X-Pro2 firmware update.
Blinkies on already shot images are fine when chimping in poor visibility but diabolical when actually shooting.
The X-Pro2’s blinkies often drive me mad especially when used in conjunction with focus peaking for manual focussing which also blinks in unison, a needless distraction that should, at the very least, be able to be switched off in the menu settings.
Thirdly, the EVF badly needs improving if that can be done in firmware alone so that its clarity and colour cast can be made to approach if not match the quality of non-Fujifilm EVF cameras such as those made by Panasonic or by Fujifilm in its also-flagship X-T2 and X-H1 cameras.
If this problem with the X-Pro2’s EVF is a hardware issue, then I hope it will be fixed in the X-Pro3 when it arrives, perhaps, sometime in 2019.
Missing feature number four is the ability to apply picture profile customizations to video in the same way currently exists for JPEGs.
I am grateful to Fujifilm for finally giving us the long-promised 4K video in X-Pro2 firmware version 4.00 but they forgot that decent quality video also requires the ability to customize Noise Reduction, Highlight Tone, Shadow Tone, Color and Sharpness exactly the same as exists in Fujifilm’s other stills and video-capable hybrid cameras.
Lastly, and as firmware wishlist item number five, I would love to see the X-H1’s Eterna film simulation come to the X-Pro2 as a more viable alternative to Fujifilm’s more stills-appropriate film simulations.
Other useful features come to mind but these five are first and foremost for me as a documentary stills and video creator who needs all her cameras to be as capable and as feature-rich as possible.
As a purely self-funded independent visual storyteller, I no longer have the commissions nor the budgets to maintain a number of different camera systems in parallel, nor do I have the physical strength to carry two complete sets of cameras and lenses with one for stills and one for video on any given project.
Accordingly, each camera system that I have must be capable of producing good enough stills and good enough video as the project, the subject and the often unpredictable circumstances of the day demand.