SEVEN DAYS WITH THE FUJI X-PRO1

The Fuji XF35mm (53mm equivalent), F1.4 lens did a great job. 1/1000, f2.8 at ISO 200.

I was headed to New York City on a seven-day assignment to cover Fleet Week for the Navy and thought it would be the perfect time and location to test a Fujifilm X-Pro1 outfitted with an XF 35mm f1.4 lens I rented from  BorrowedLenses.com.

I have been a fan of the Fuji X cameras since I purchased an X-10 in 2012. Then after spending in 2013, I immediately ordered one for myself and I still carry and shoot with it almost daily. Would I love the X-Pro1 as much as these previous cameras?

The X-Pro1 is not a new camera, in fact, it has been around since March 2012 and there is no shortage of reviews and testimonials from photographers who really like this camera. So why am I just writing about it now? Well maybe it's because I was so wrapped up in my X100S that I never really considered another APS-C camera, or maybe it's because I started seeing rumors about an X-Pro2. Whatever the reason, I figured it was time – probably long overdue, that I gave this camera a try.

A little bit of rain didn't bother the X-Pro1, but did offer some nice scenes to photograph. When shooting on the streets in large cities, I find crosswalks and street corners offer plenty of opportunities. 1/125, f5.6 at ISO 640.

Since there has already been so much written about the X-Pro1, and it really is similar in functionality to the X100S, I decided to skip most of the technical details about this camera and concentrate more on how I set up and used this camera during a week of street photography in New York City. But don't worry, I will still point out the differences to the X100S as they come up.

Of course, there is one major difference between the X-Pro1 and the X100S, interchangeable X mount lenses. In 2012, Fuji originally offered three lenses; a 60mm (91mm) f2.4 macro, 18mm (27mm) f2 and the aforementioned 35mm. As of this posting, there are now at least nine additional lenses, including zooms and offerings from other manufacturers, including Carl Zeiss. It never bothered me that the X100S was a fixed 35mm equivalent, since you work with what you have, but perhaps on a few occasions it would have been nice to have options. That said, I only had the 53mm lens available to me during the trial period, so I made that work and admit I enjoyed the change.

In street photography, you have to always be ready to shoot. In this case I noticed the Fleet Week sign and the man loading kegs as I walked by. I quickly turned and got off about a dozen frames before I moved on. 1/125, f5.6 at ISO 500.

FIRST IMPRESSIONS

The X-Pro1 has a great feel, classic look and you get the sense that it is just made for the streets. Physically, it is slightly larger and a bit heavier than the X100S, but continues to feel comfortable and natural in your hands. The XF35mm lens did protrude from the camera body more than I expected and took me a while to get used to. I've noticed many of the new lens offerings look huge and somewhat awkward on these APS-C cameras.

The Hybrid Viewfinder is similar the X100S, except it will update views based on lens choice. I still prefer the Optical viewfinder (OVF) over the Electronic viewfinder (EVF). I find the EVF darker than I would like and just a bit artificial. The OVF feels open and I like how I can see what is happening just outside the frame which is helpful, especially in street photography.

I was still able to get that wide angle feel I'm used to with the X100S even though the XF 35mm is a 53mm equivalent lens. 1/1200, f5.6 at ISO 200.

Again, the button layout and functionality is also similar to the X100S. I think the placement of the AE/AF-lock button is in a better location and therefore, I found myself using it more often. You can also choose a focus area quickly by pressing the AF Button and then using the selector to move your focus point within the frame. Pressing the MENU/OK Button will return the focus point to the center. It takes some practice, but getting used to the focus features on the X-Pro1, like the X100S, is key to getting the most out of your camera.

MY SETTINGS FOR SHOOTING ON THE STREETS

Set the AF Illuminator to OFF. The purpose of this light is to assist with autofocus in low light situations, but using the camera in lowlight situations is also the time you probably don't want to draw attention to yourself, or telegraph that you are about to take a photo. I didn't notice any focus issues, even in some fairly low light, with the AF Illuminator off.

Place gaffer's tape over the Indicator Lamp. For the same reason I set the AF Illuminator to OFF, I prefer to cover over the Indicator Lamp on the back of the camera. I'm not so worried I'll be discovered or afraid of the interaction, however, if I can get a few frames off without being noticed, I prefer that.

Set Operational Volume off. Are you seeing a trend here. Plus no shutter noise is a real advantage of mirrorless over DSLR. Even my Nikon's quiet mode can't compete with silence.

Using Auto ISO meant that I could shoot all day in and out of the shadows and then well into the night without thinking about it. 1/125, f1.4 at ISO 2500

Use Auto ISO. I like the thought of moving in and out of various lighting situations and not having to change ISO each time. You can assign ISO to the Fn (function) Button which speeds up the process, but if you don't have to worry about it, why do so. Within auto ISO, there are a few considerations you need to take into account, though. For instance, I set the max ISO to 3200, but the lowest shutter speed to 1/125. Prior to making that choice, the camera would favor ISO and I found my shutter speed kept dropping too low which in some cases resulted in blurred photos.

New York City and Times Square is a busy and crowed place. The small form factor of the X-Pro1 is perfect in these situations and most people hardly notice you taking photos. A real advantage in street photography. 1/125, f2.0 at ISO 320.

Set Film Type to Monochrome.  Just like with the X100S, I set up the camera to shoot both raw and jpeg allowing me to shoot and preview my photos in black and white, but still have the color originals available during post production. I further set the film simulation mode to monochrome plus yellow filter which offers slightly increased contrast while toning down the brightness of the sky. I've always associated street photography with black and white which why I favor this setup.

I used continuous shooting (burst mode) set to six frames per second (max for this camera) to capture this photo in Coney Island. 1/300, f11 at ISO 200.

Remaining settings. Aperture-priority AE (A) mode, turn off display back (Viewfinder Only), focus mode set to Single Focus. 

SOME FINAL THOUGHTS

The X-Pro1 did seem to focus quicker than the X100S, but there was still a bit of lag when coming out of standby mode. I missed a few shots because of this which was a reminder to always make sure the camera is awake and ready.

UPDATE:

Under Power Management turning the Quick Start Mode to ON is supposed to reduce camera start up time except I failed to test this and only noticed it in the instruction manual recently. And sure enough there is a similar feature available on the X100S, so I may have found a solution. More to come.

In street photography, scenes like this happen quickly and having the camera awake and ready to shoot is key. 1/125, f1.4 at ISO 2500.

What appealed to me about the X100S was its simplicity. And I wondered if adding interchangeable lenses would detract from that? Hard to answer since as I mentioned previously I only had the XF 35mm available to me during the trial period, but even if I had other options available, I tend to pick a lens and stick with it. Although picking a Fujifilm XF 60mm f2.4 macro lens  one day and then a Zeiss 12mm f2.8 Touit series the next would be a fun option to have.

I know there are other new X offerings from Fuji like the XE-2 and the XT-1, but I really love the rangefinder styling of the X100S and X-Pro1. The XT-1 has been getting a lot of favorable reviews and I'm looking forward to testing it in the future.

However for now, I've gone back to shooting with my X100S and really am not looking to change anytime soon. That is unless the X-Pro2 rumors pan out.

IS THAT A LEICA?

My Fujifilm X100S complete with gaffers tape.

As an owner of theFuji X100S for the past five months I've heard that question more than a dozen times. Second only to "Wow, do you still shoot film?"

It's a fair question. The Fuji X100S does somewhat resemble the Leica digital M9 or the M3 film camera and maybe that was what Fuji designers had in mind.

Somehow I think the X100S secretly likes this question. It's like watching a cover band that sounds just like the real thing and knowing that I only had to pay a fraction of the cost and had just as much fun. And just maybe that cover band breaks out and becomes famous on their own one day. Then goes from famous to classic.

Steam Whistle Brewery in Toronto, Canada.

The first time I heard this question was in Toronto, Canada, during my first ten days with an X100S I rented from Borrowlenses.com. My guide during a beer tour (on the record, this was a personal shooting assignment) of the city actually combined the top two questions by commenting how cool that I was both using a Leica and shooting film.

Heron Marsh Trail in the Adirondacks, New York.

A couple of months later on a trail in the Adirondacks as a couple approached I could see the husband eyeing my camera. Just as we came together he commented that it had been a while since he had seen someone using a Leica. What really made this special was that he asked that question with a heavy German accent.

Red scooter and sign in Brussels, Belgium.

In Brussels, Belgium, as I was checking out of the hotel the desk clerk clearly was talking about something other than my bill. I was having a bit of trouble understanding him with his French accent until I heard the word Leica. Then it was clear, he was telling me that he hoped one day to afford one. Once again I took great delight in showing him that it was not a Leica, but in fact, the new Fuji X100S. Score one for international relations.

Randy's Donuts in Inglewood, Calif., near Los Angeles International Airport.

Then just the other day on the shuttle from the rental car agency to LAX I could feel the man across from me looking at the camera in my lap and sure enough, he finally asked which Leica I was carrying. I'm not sure even now he believes me that it was not what he thought it was.

Perhaps the 10mm red metal soft shutter release button I've recently added subliminally makes one think of the Leica emblem. Given that the red shutter button costs 96 cents,* combined with the $1,299 price of the X100S, I have a few more cameras to buy before my Leica 'impostor' equals the cost of an actual Leica M9. But this classic is mine.

*While the button costs $0.96, there is a $4.99 shipping cost. Also, there seems to be an issue losing the button which did happen to me, although I was lucky enough to find it in the bottom of my bag. I have since used super glue.

TAKING THE FUJI X100S TO THE STREET

The Parlamentarium. 1/13 @f2.0, ISO 1600.

The lure of street photography for me is all about the moments, moments that happen hundreds of times a day, happen all around us and happen in an instant. Moments that happen whether you are there with your camera on not.

The goal then is to capture those moments. To do that you must be aware of what is happening around you and be ready with your camera at all times.

I mentioned in the blog post

Ten Days With the Fuji X100S

 that if I wanted to use this camera on the streets I was really going to have to spend some time becoming familiar with it. Along the way I've missed plenty of those moments though. That's natural. With any new camera or piece of gear, you have to use it and use it over and over so that operating it becomes second nature. This is especially true in street photography.

Patience allowed me to capture a clear shot of the Manneken Pis framed by a band and officials during a ceremony. 1/140 @f8.0, ISO 400.

Fortunately, the learning curve is not steep with this camera and after four months of shooting, including these photos from three days in Belgium and one day in Amsterdam, I've come to appreciate the challenges as well as the positives shooting with the Fuji X100S .

What you see.

I use the optical viewfinder (OVF) display instead of the electronic viewfinder (EVF) which means there is no display lag when I bring the camera to my eye and it also gives me a larger field of view than that of the lens. This means I can keep track of what is happening just outside the frame without ever removing my eye from the viewfinder.

However, there is still a second or two lag before you are able to release the shutter, especially when the camera has gone to sleep. One way I overcome this lag is to keep the camera turned off and then turn it on as I bring it to my eye. Using this technique, I have found the camera seems to be ready to shoot as soon as I get it to my eye.

Take time to stop and just wait for things to happen. I was originally photographing the two women window shopping for chocolate in Brussels when a mother and child exited. 1/50 @f5.6, ISO 400.

Again, in street photography you have to be ready for that moment and a second too soon or too late makes all the difference.

Monochrome or color?

One thing that I really like about the X100S is the monochrome film simulation mode and the quality of those black and white images right out of the camera. For me black and white and street photography go together, so one of the first things I did was set one of the custom functions to monochrome, which then made it easy to switch between modes. I soon found that switching between modes throughout the day takes both time and can compromise creativity. That was until I inadvertently found a solution.

This scene at the Brussels airport train station is all about the color. Shooting JPEG plus RAW meant I had the color data available to me even though I had the camera set to monochrome. 1/9 @ f4.0, ISO 800 +0.33EV.

Initially I was only shooting in JPEG FINE mode, however more recently I have been shooting JPEG FINE plus RAW allowing me to keep the camera set to monochrome, stay in that frame of mind creatively, all the while knowing that there is a RAW file containing original data, including color information. If I come across a scene where color plays a part, I can take the photo without having to go into my custom settings.

This scene at Amsterdam's Central Station, like the photo above, works because of color. Again, I knew it was about color  even though the camera was set to monochrome, but not having to switch saved me time before the buses moved and the moment passed. 1/160 @f2.8, ISO 400.

Size matters.

The Fuji X100S' size and feel are perfect for street photography. Not as threatening as a full frame DSLR with lens, the X100S presents itself well and feels right in your hands. When walking the streets I like to wrap the camera strap around my hand and carry the camera at chest level so when I see a scene developing, I'm only seconds away from being ready to shoot. I've also added the Fotodiox Pro Thumb Grip which helps me hold the camera securely. Then once I start shooting, I keep shooting and moving in order to get the best possible picture.

Even when noticed by the subject, I'm not given the same look as if I was pointing a large 'professional looking' DSLR camera at them. The added advantage on this camera of having a preview appear in your viewfinder means you know what you are capturing without having to remove your eye from the viewfinder.

Outside the European Union in Brussels. I liked the shadow and shapes created by this overhead walkway, so I waited until a person walked by. Timing is key and if I waited for the subject to take two more steps this would have been a stronger image. 1/100 @f8.0, ISO 200.

And since the X100S doesn't draw any attention to itself (from non-photographers anyway) I also find that I'm able to shoot in locations that I would previously have had to worry about being stopped and questioned like a mall or store.

I don't think I ever had any real doubt that this camera would be a perfect street camera for me and the more I shoot with it, the more I'm convinced of it. I'm feeling more like a photojournalist then when I actually was a photojournalist. What more can I say.

See you on the street.

Body parts for sale in Amsterdam window. 1/25 @f2.0, ISO 400.

Previous Fuji X series camera posts:

- FUJI 100S AND LANDSCAPES - PERFECT TOGETHER

- TEN DAYS WITH THE FUJI X100S

- TIME FOR AN UPGRADE? FUJI X10 or X100S

- INTRODUCING MY FUJI X10

CHASING THE LIGHT - AND PHOTOGRAPHING IT

Golden light hits the Chesapeake City Bridge. 1/160 @ f8, ISO 400.

Photography is about light. For me, it's the first thing I see, or don't see, when I'm making a photograph. Good light is why I get up early or stay out late. Light can guide us through an image or place emphasis where we want it. Light is everything in photography.

Sometimes light is what makes me grab the camera in the first place. That was the case on a recent morning in Chesapeake City, Md., when on the second day of a three-day transit moving a friends trawler from Cape May, N.J., to Northeast, Md., I found myself awake just before sunrise. I originally had no intention of taking photos that particular morning until I saw the light hitting the Chesapeake City Bridge. This was light, golden light.

The Chesapeake City Bridge and Chesapeake City, Md., are separated by100 years in time but inextricably connected today. 1/105 @ f5.6, ISO 400.

It was around 6:40 a.m. when I grabbed my camera, left the marina and started making my way through the town, pausing to take pictures along the way. Always heading towards the beautiful light on the bridge.

When covering an event I take a picture of the subject, move, take another picture, observe, take another photo and so on, until I feel I have documented everything about the event. My approach to the bridge that morning was no different. Take a photo, move, take another and so on, all the time hoping the golden light would last long enough for me to reach the bridge.

The bridge soars over the historic city and dominates the skyline. 1/125 @ f8, ISO 400.

I was intrigued by how the bridge, which was completed in 1949 and town, incorporated 100 years earlier, seemed connected. I wanted to show that relationship. The bridge dominates the skyline and while the bridge was beautifully lit, the town remained in the shadows. This allowed me to easily distinguish between the two, with more emphasis on the dominating presence of the bridge. Since this bridge soars right over the town, I have a feeling some residents feel that dominance as well, so, in this case, the lack of light on the small historic town is just as important in telling the story. Or at least the story I imagined that morning.

The sun just lights the top of the reeds and provides a nice soft contrast to the hardness of the bridge supports. 1/45 @f8, ISO 200.

Chesapeake City isn't big, so after about 20 minutes I had made it through town and was standing at the base of the bridge. I just keep looking for interesting angles, still concentrating on the light and shadows, but now it was all about the bridge and that wonderful light.

After an hour, the sun had risen high enough that the light which made me grab my camera was gone and it was now time to return to the marina and prepare to get underway. Heading back I still took advantage of some nice open shade and made a few more photographs, but the golden light was gone.

Even though the golden light had passed, the open shade of a porch provides nice even light on this old toy tractor which judging by the license plate is still being enjoyed today. 1/15 @ f5.6, ISO 400.

Seek the light and you just may find yourself grabbing your camera and turning an ordinary morning or evening into an hour long photo walk with magical results.

FUJI X100S AND LANDSCAPES - PERFECT TOGETHER

Even when viewing the results on the back of the camera I knew that the Fuji X100S was capturing the landscape as I was seeing it. 1/1000 @ f8, ISO 400.

Much has been written about the Fuji X100S and its capabilities as a street camera and the look and feel of this camera certainly can evoke thoughts of roaming the streets in search of light and subjects. And I've previously written on this blog  about getting back into street photography and how I too thought this was the perfect camera.

What is overlooked though is that the quality of the images produced by this camera make it ideal for just about any type of photography, and that includes landscapes as I recently found out after spending a week hiking in the high peaks region of the Adirondacks.

This camera excels in black and white mode. I have added a custom setting for black and white so that I can quickly transition when the mood strikes me. 1/550 @ f8, ISO 400.

For this trip, I was prepared to take my DSLR, assorted lenses and tripod. But the more I thought about that, it became clear that this trip was more about getting away and while I enjoy taking photos outside of work, I didn't want to put the pressure on myself that sometimes comes when I bring all my gear. And after all, one of the reasons I decided to purchase the X100S after reviewing it for ten days was because the quality rivaled my DSLRs.

Rocky Falls is a two-mile hike from the Adirondack Loj. Hand holding the X100S was easy even with a slow shutter speed in order to add motion to the waterfalls. 1/25 @ f16, ISO 200.

Because of the size and weight, I was able to carry this camera over my shoulder while hiking and by running the camera strap through a carabiner attached to my backpack harness, I did not have to worry about the camera hitting the ground if it happened to slip off. Another reason it stayed on my shoulder is that I replaced the manufacturers strap with a double-sided non-slip strap from Think Tank Photo.

Panoramic view of Heron Marsh located at the Paul Smith's College Visitor Interpretive Center. I'm sure this would be spectacular with early morning or late afternoon light, but the X100S did just fine at noon. 1/850 @ f8, ISO 400.

This was also the first opportunity I had to really use the panoramic settings on the camera and was impressed with the results. The features are not much different than other cameras, but the setting is easy to get to quickly and understand. You decide camera orientation and direction of the pan, along with how many degrees you want to cover. Once set, you pick the starting point, press the shutter and the camera provides visual cues needed to maintain the correct speed as you complete the pan.

The early evening light highlights swimmers at the public beach on Lake Mirror located in Lake Placid, N.Y. 1/300 @ f8, ISO 200.

Something else that really impressed me was that almost all of these photographs were made between 10 a.m. and 3 p.m., normally not the best time to photograph landscapes. So what did I do to make up for the lack of golden hour light? Well not much, but nature did help by providing cool crisp air, nice big clouds and plus I underexposed most shots by a third to one full stop. This helped deepen the colors, eliminate bright spots and add some contrast.

Lake Placid, N.Y.  1/1100 @ f8, ISO 200.

All of these photos did pass through Adobe Lightroom 4, however only minimum corrections were applied. The results straight out of this camera are so close to perfect, post production is a breeze.

So while I don't think the Fuji X100S will replace my DSLR camera for all my landscape photography, it was an attractive alternative knowing I had miles to hike and was looking to shed some pounds. I think the results speak for themselves.

Previous Fuji X series cameras posts:

- TEN DAYS WITH THE FUJI X100S

- TIME FOR AN UPGRADE? FUJI X10 or X100S

- INTRODUCING MY FUJI X10