Yes, gear acquisition syndrome (GAS) seems ever-present in some photographers.
I have rented or used many different camera systems over the last few years, including Sony a7, Fujifilm X-T1, Fujifilm X-E1,Fujifilm X-T2, Olympus, Panasonic, Canon 5D Mk II, etc. because I was always curious. But switching cameras system is expensive and would have meant a learning curve to adjust to the new tool. I stuck with Nikon and worked to learn how to use what I had.
I recently switched to Fujifilm. I did not do this frivolously. I did not switch to a new camera system because Nikon sucks, and Fujifilm is fantastic. My decision was well considered.
My Nikon DSLR broke last winter, and I did not have the budget to replace it immediately. I waited until the summer, and I spent the intervening months considering my options - purchase a Nikon D500, or Nikon D7200 or Nikon D5600. I realised that perhaps I should look at other options outside Nikon.
I borrowed a friend's Canon, and while I was getting used to the difference in menus and controls, I started thinking about how I use a camera. I realised that the modern DSLR was not to my liking. Flipping into menus or holding down a specific combination of buttons to change things like ISO and shutter speed was a drag. I rented some Fujifilm X cameras a few years ago, and I liked how the controls felt in my hand. I felt some nostalgia for my younger days when my father took us on day trips in his Volkswagen Beatle and took photos with his Asahi Pentax SP II. For me, this realisation wasn't new.
I had long felt that the D40, D5100 and other cameras I had rented/borrowed over the years were more like gadgets than cameras. When Fujifilm came around the corner with the Fujifilm X-Pro1, Fujifilm X-E1 and started to develop a new system with apparently excellent lenses, I was very close to switching when they released the Fujifilm X-T1. But since I was not too fond of the first version of this camera for various reasons, it took me another four years until I finally decided to concentrate on only one system in the future.
My main subjects of importance were the usability (the pragmatic point) and the fun (the emotional end) that I felt I could obtain from working with this system. My desire for this intensified over the years. For me, the Fujifilm X-T2 has been the best in terms of usability for the last 2.5 years. I think it’s the perfect symbiosis of form and function.
Mechanical dials are provided for key operation, including the shutter speed, ISO sensitivity, exposure compensation, drive and metering modes. The settings can be adjusted even when the camera is turned off so that you can always be ready for the next shot.Fujifilm X-T2 website
I finally bought a Fujifilm X-T2 and the Fujifilm XF16-55mmF2.8 R LM WR lens. The switch was not because of technical specs but because of how the Fujifilm cameras feel when operated. My choice of camera is about how I prefer to interact with my camera. This Fujifilm X-T2 is mostly all metal and has actual, dedicated, single-purpose, individually marked dials for ISO, aperture, shutter speed, exposure compensation and metering mode. It feels great in hand to have a real metal camera with actual dials rather than a plastic thingy with one dial. With the controls/knobs at my fingertips, the Fujifilm feels "right". I like the layout of the controls, the retro-styled knobs and such, which allow me to make quick changes without jumping through menus.
I have only one camera body and one lens. Over time I want to acquire a few more lenses, namely:
- Fujinon XF27mmF2.8 - With a 41mm full-frame field of view, I think this would be a great travel/street photography lens. I just wished it was weather sealed and had an aperture ring.
- Fujinon XF8-16mmF2.8 R WR - The 16mm end of the Fujinon XF16-55mmF2.8 R LM WR may not be wide enough for most landscapes cityscape photography.
- Fujinon XF50-140mmF2.8 R LM OIS WR - A camera system isn't complete without a sporting lens, but I'm not sure about this one. I rarely shoot sports (but I attend the high school games to support the band) and dislike big, heavy lenses.
- Fujinon XF80mmF2.8 R LM OIS WR lens for macro work.
- Fujinon XF100-400mmF4.5-5.6 R LM OIS WR lens for wildlife photography, primarily birds for me.
While I save up, I can rent a Fujinon XF100-400mmF4.5-5.6 R LM OIS WR for bird photography when needed. But I most likely won't need it regularly. I also want a Fujifilm X100F when Bhavna gets annoyed that the bulk of the Fujifilm X-T2 and XF16-55mmF2.8 R LM WR have occupied the dinner table when we eat out; but also for personal [photowallks].
A flash unit, L-bracket and strap are on my shortlist of items to purchase for my new kit. I don't know much about how well the Fujifilm EF-X500 flash units perform. I am willing to consider third-party flash units so long as they are fully compatible with all the functionality possible with the Fujifilm X-T2. I haven't researched to find out what's available.
My Nikon L-bracket was from Really Right Stuff, so I expect to purchase from the same brand. I have been getting by without one, but I am annoyed that I can't shoot vertically on my tripod. The Really Right Stuff BXT2 plates for the Fujifilm X-T2 are currently out of stock.
Khürt Williams
10th March 2022 at 3:12 PMOne of the appeals of photography is the ability to capture fleeting moments. As photographers, we see a scene or even unfolding, and we desire to preserve that moment. It takes awareness of time and space (composition), attention to detail, practice and patience. It takes time to learn and master the camera and lens settings and the interactions of reflected light. The photographer must learn to work within the limitations of the equipment and their knowledge and experience. The photographer must learn to see how the camera sees. It can be rewarding and frustrating.
When my first child Shaan was born Bhavna, I tried to capture as many of these moments as possible. In 1999, we used my Pentax P3, a 35mm manual focus single-lens reflex (SLR) film camera I purchased in 1988 for a college photography course. Before our kids came along, I used that Pentax to document our college post-college experience, travel and events. There was no screen to check the photos, and only after the 35mm film roll had been processed and printed could we see what we had captured. As the parent who spent most of the time with Shaan, Bhavna used the camera more than I did. We developed a lot of rolls of 35mm film, and we caught a lot of memorable moments. But Bhavna was not as adept at using the Pentax as I was. There were a lot of missed moments, and it was an expensive endeavour to purchase, develop and print each roll. Our keeper rate was relatively low. We stopped getting prints and requested scans saved to a compact disk to reduce costs. But I wanted more.
Drew University, 1988 | Pentax P3 | SMC Pentax-A 50mm f/2 | Kodak T-MAX Professional 400
Circa 2001, we bought our first digital camera, a Sony DSC-S70. The point-n-shoot was easier for Bhavna to use. Our keeper rate went up, and with autofocus, the 3.4-megapixel sensor produced images suitable enough for standard size prints1. I had very little control over aperture, exposure, no control over ISO, and no manual focus capability. All images were recorded as JPEG. I soon outgrew the limitations of that fully automatic camera. I wanted more.
Shaan | 2 October, 2001 | Sony DSC-S70 | Carl Zeiss 7-21mm f/2-2.5
In 2006, I bought a Nikon D40, my first APS-C digital single-lens reflex (DSLR). The Nikon D40 had double the pixel count of the Sony, used interchangeable lenses, a sensor with better dynamic range and colour, which could use larger memory cards. I took a lot of photographs with that camera. I was immediately able to check the screen to see the result. If I didn’t like the result, assuming the moment had not passed, a quick change in aperture, shutter speed, or ISO and a push of the shutter button allowed for correction. The instant feedback loop was encouraging. I learned quickly. My keeper rate went up. I wanted more.
Salisbury Road, Montgomery Township | 26 January, 2011 | Nikon D40 | 35 mm f/1.8
I would take hundreds of photos on any given shooting day. The idea was to pay attention (via the LCD screen) to what was going on in the camera and the frame to have more “keepers” and less junk to sort through at the end of the day. Patience and the process of creating the image have always been essential to every legendary pro, notably nature photographers2 who are known to spend hours in the same place to capture a cherished moment. As I grew more confident in capturing those moments, I found myself snapping at the right time instead of all the time.
The Statue of Liberty, Liberty Island, New Jersey | 15 August, 2012 | Nikon D40 | 18-55 mm f/3.5-5.6
I bought more lenses, and in 2011, I upgraded my camera body to a Nikon D5100, a 16 mega-pixel DSLR with a faster frame capture rate, better dynamic range, and live view. Live view allowed me to see the scene or subject as the sensor saw. It allowed me to adjust camera and lens settings dynamically. My actions became more deliberate. I experimented with different types of photography – macro, high dynamic range, landscape, portraits, nature, action, etc. I learned faster. My keeper rate went up, and my confidence increased. I wanted more.
Duke Farms, Hillsborough Township | 27 April, 2013 | Nikon D5100 | 18-55 mm f/3.5-5.6
Rock Brook, Montgomery Township | 31 July, 2016 | Nikon D5100 | Tokina AT-X 116 PRO DX II 11-16mm F2.8
In 2018, I accidentally dropped my Nikon, breaking the mirror box. I sold all my lenses and bought into the Fuji X camera system. More megapixels, an even higher dynamic range, because it’s mirror-less, the Natural Live View inside the viewfinder allows me to see what the camera sensor sees. The Fuji system camera controls (shutter speed, ISO, and exposure compensation) and lens controls (aperture) are right at hand. As I adjust the settings on the camera, the viewfinder dynamically changes to show the scene exactly the way the camera’s sensor would record it. I no longer had to guess, imagine, or be concerned about how the photography would be recorded. I took fewer shots. My keeper rate went up. I wanted more.
Red Mill Museum and Main Street Bridge, Clinton Township | 26 January, 2019 | FujiFilm X-T2 | XF16-55mmF2.8 R LM WR
In 2020 I bought an old Minolta 35mm film camera and lens, and I tried shooting 35mm film alongside my Fujifilm. I am not good at it. I once again have to learn to imagine what the camera sees. What I see through the viewfinder bears no resemblance to what will be recorded onto the frame of 35mm film. My vision is worth nothing. It is still an expensive endeavour to purchase ($8-$10), develop ($5-$7), and (now) scan ($4-$5) one roll of 35mm film. That doesn’t include shipping. My keeper rate is low.
I know how I learn. I learn best with feedback. Instant feedback. My photography improved rapidly when I switched from 35mm film photography to digital photography. The improvement encouraged me to learn more. Once the equipment is purchased, there is no cost to expose a frame in digital photography. One-shot or 100 shots. The price is the same. I learned faster because I could look at the result on the screen, adjust the settings and try again. Rinse later repeat. With Fuji’s Natural Live View feature, I can see the results in real-time BEFORE I push the shutter button. I am more deliberate with my photography. The results encourage me to continue to learn and grow. My keeper rate is higher.
With 35mm film, none of this is possible. This is frustrating to me. I am re-learning at a snail’s pace, and with each roll of 35mm film I develop, I think to myself, “what a f**king waste of money”. The photos below are from a 36 exposure roll of Kodak Professional T-MAX 400 35mm film. One of three 35mm film rolls (the other are FPP and New Classic EZ400) that I exposed between January and February. By the time I finished telling the roll of film, shipped it for development, got the negative back and scanned them, I had forgotten “why”, “how”, and “when” I took each frame. I know I used my XD-11 and MD Rokkor-X 45mm lens, but I know nothing else.
I need to reset my expectations. I think I’ll put the 35mm film photography on the shelf for a bit. I’ll continue to shoot 35mm film but at a slower pace, maybe expose a few rolls over a month. My Fujifilm digital mirror-less camera makes me feel like “I can do it”. The 35mm film camera makes me feel like an idiot.
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
January 2020 | Minolta XD-11 | MD ROKKOR-X 45mm F2 | Kodak Professional T-MAX ISO 400
In the 1990s, that would be either 4?x6? or 5?x7? prints. ?
I learned a lot about patience when I first tried bird photography. ?
Fujinon XF27mmF2.8 by Khürt Williams on Island in the Net
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Focus Stacking on Island in the Net
21st February 2021 at 6:05 PMWhen I saw Frank’s challenge keyword, stack, I immediately thought of the focus bracketing feature of the Fuji X-T2. In macro and close-up photography, obtaining sharp results right across the image frame is challenging. Still, focus bracketing, followed by photo stacking and blending in post-production, can produce good results, with subject areas in focus.
When I bought my pre-owned Fuji X-T2 two years ago, I had just enough budget for the body and one lens, the Fujinon XF16-55mmF2.8 R LM WR. I wanted a macro lens, but the Fujinon XF80mmF2.8 R LM OIS WR Macro and Fujinon XF80mmF2.8 R LM OIS WR Macro lenses are expensive. I considered buying an extension-tube for macro photography as I did with my Nikon D5100, but I remembered the challenges of doing focus stacking with the extension tubes. Last August, after I rented the XF80mmF2.8 R LM OIS WR Macro, I decided that it was best to save my money and budget for a [native Fujinon macro lens.]
With the 1.52 crop-factor of the APS-C sensors of Fujifilm X-series cameras, the Fujinon XF16-55mmF2.8 R LM WR has a focal length of around 24-85mm (in terms of a 35mm camera), which is similar to the well-known “standard” zoom lenses with a 24-70mm focal range. The XF16-55mmF2.8 R LM WR has a minimum focus distance of roughly 30cm. The focus distance isn’t as close as the 25 cm minimum focus distance of the Fujinon XF80mmF2.8 R LM OIS WR Macro lens but is slightly closer than the 26.7cm minimum focus distance Fujinon XF60mmF2.4 R Macro. The 55mm focal length is almost the same as the 60mm focal length of the XF60mmF2.4 R Macro, so why not try to create some focus stacked close-ups using the XF16-55mmF2.8 R LM WR?
With a quick refresher on photo stacking in Adobe Lightroom, I picked a few objects, slapped on the L-bracket, and set up my tripod to use the light from the kitchen window. On my Fuji X-T2, focus bracketing (FOCUS BKT) is in the SHOOTING SETTING -> DRIVE SETTING -> BKT SETTING menu. Scroll and select FOCUS BKT. My shooting setup was FRAMES 50, STEP 5, INTERVAL 0, with my image quality set to RAW + FINE JPEG. I set the lens aperture and focal length to 2.8 and 55mm, respectively. I set the camera was to auto-focus and auto-exposure with ISO 200.
After importing the JPEG images into Adobe Lightroom, I selected the photos I wanted to photo stack from the Library module’s filmstrip. I clicked Photo->Edit in->Open as Layers in Photoshop to open the selected photos in Adobe Photoshop from the Lightroom menu. Once in Photoshop, I selected all the layers in the Layers panel, then clicked Edit->Auto-Align Layers in the menu. I was sure to have select Auto in the Auto-Align Layers dialogue before pressing OK. The Auto-Align Layers process took over 10 minutes on my iMac (27-inch, Late 2013, 3.5 GHz Quad-Core Intel Core i7,32 GB 1600 MHz DDR3, NVIDIA GeForce GTX 780M 4 GB). I surmised that photo stacking the JPEG images would take even longer.
I selected all the layers in the group and then clicked Edit -> Auto-Blend Layers from the Photoshop menu. In the dialogue, I selected Stack Images and clicked OK. The process consumed and additional 10 minutes. When completed, I had my focus-stacked image shown as a layer mask. The resultant image was too large to save back to Lightroom, so I flattened the layers into one.
What do you think of the results? Have you used focus stacking in your macro photography?
Sunday February 21, 2021 | FujiFilm X-T2 | XF16-55mmF2.8 R LM WR @ 55 mm | f/2.8 | ISO 200
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