Trigger Happy :: Flashwave III Radio Triggers

I've been a heavy user of Nikon's Creative Lighting System for the past few years and it has worked well for me...if I'm shooting Nikon. But these days I need a radio system that would work equally well on the Nikon and the Fuji X-Pro1, X100 and now the X-E1. The latest pocket wizard plus iii's were looking like the direction I was going to go, but the system was a bit messy as the transceivers needed to be hung from the lights by lanyards. The Pocket wizards were also working out pretty expensive as I would have needed six units.

I was turned on to the Flashwave III system after reading that Billy 'the Fuji Guy' used these units and recommended them for the X cameras. I ordered two sets from Warehouse Express to try before buying the rest of the receivers that I required. A set consists of one very small transmitter for the camera hotshoe and one receiver to trigger a flash. One of the plus sides of the Flashwave system is that the receiver has it's own hotshoe that a strobe can be mounted on, plus because it has a flat base, the receiver also doubles as a Speedlight stand. These units can also be mounted on light stands via a threaded socket on the base.  A set of Flashwave III's also come with an impressive array of cables and adapters that most companies would charge as extras.

Built quality is pretty good and although the units are plastic, they have stainless steel plates on the flat areas that give them a quality feel. I get quite a few miss-fires with the Nikon SU800 commander unit (probably due to it being infrared line of sight), but the Flashwave's fire every time. Channels are controlled by 4 dip switches on all units, which gives a total of 16 channels. So if you do events with other photographers, both of you can select a different Channel and avoid firing each others lights.

It's great to use two cameras with a Flashwave transmitter on each! With a 50mm on one and an 85mm on the other, I can get through a full portrait session without having to change a lens. I used to either switch lenses or switch off cameras and move the SU800 from one to another.

The downside of using generic radio triggers is that you can't change power from the transmitters, they simply trigger and nothing more. But on the up side, I find that my lighting is more consistent when I come to editing a shoot, as I'm less likely to try to micro adjust power settings. Which of course means that photos can be adjusted in batches as the exposures are all the same.

We Are The Kage Collective :: An Announcement

I'm proud to announce the launch of The Kage Collective (pronounced Kaji), a project I'm involved in with fellow photographers Patrick La Roque (Canada), Paul Pride (England, UK) and Robert Catto (Australia), with me (Scotland, UK).

As you will see from the Kage Collective website, we are a group of international photographers shooting documentary projects about a wide variety of subjects. The one common thread that runs through the project and the thing that not only brought us together, but also binds us, is that we shoot with the Fujifilm X series cameras. At the moment the X100, X-Pro1 and X-E1 are the models being used by the collective, but I'm sure other models will become available to us, and of course we can't wait to get our hands on the new XF lenses as they come available.

Kage Collective has been simmering away in the background for a few months, taking shape and getting refined ready for todays launch. It's been difficult not to let it slip a few times, especially on Twitter. I'm excited and thrilled to be a part of this collective and couldn't wish for a better group of photographers to collaborate with. To say we're on the same wavelength would be an understatement! So please take a look at the brand new Kage Collective website (built by our very own Patrick LaRoque) and have a look at our launch stories. The site will be updated regularly and will definitely give us all a bit of pressure to go out with our Fuji X cameras and document life as we see it!

The photo above is taken from my first story on the Kage site 'Running Into Darkness' which was shot on the streets of Italy this year. As you can see, my style is my style, so if you're a regular on my 35mmStreet blog and you like my black and white photography, you should take a look at the Kage website. If you're not familiar with Patrick, Paul or Robert's work, you really are missing out on some great photography. Let me know in the comments what you think.

Nikon D800 :: It's Not You, It's Me!

I've had a strange relationship with the D800 ever since it was first announced. I bitched about all those megapixels right from the start and feel that I've been forced into an arranged marriage that I should hate!. The trouble is, it's the best DSLR I've ever shot with! I still say that 36mp is too much (for me), but after having a hands on with the D600 and being unimpressed by it's lack of pro feel and features (great sensor though) I had only three options, D800, D700 or 5Dmkiii. If Nikon had put the D600 in a D300s body, I would have bought it right away!

The D700 is a fantastic camera, but lacking in two features that are crucial to me, dual card slots and quiet mode. Canon came so close to having another The 5Dmkiii user. It's a fantastic camera in the hands, so comfortable to hold, but the draw backs for me were just to many. I use custom white balance all the time and Nikon have a really easy way to handle this feature and is so quick. Canon on the other hand, use a reference photo (that you have to move to manual focus to take when using an ExpoDisc) that you then have to delve into the menus to find. It's just to many steps! Moving focus point is done by pressing a button first, a small thing, but one step more than Nikon. What it came down to in the end was that I have worked my way up to owning the best prime lenses that Nikon produce and I am so deep in Nikon's CLS lighting system that it would have been crazy to move. It was always kind of obvious, but sometimes you just don't see the woods for the trees! My friend Patrick LaRoque took the chainsaw out and made a small clearing...just enough to see the Nikon forest.

So the D800, the camera I said I wouldn't own is the body that I now think is pretty awesome! I've shot portraits and product shots with it and have been blown away by the quality and sharpness. My 85mm f1.4G is outstanding on the D800! In fact all my Nikon Primes have suddenly shown their true potential. My big problem with the D800 will be when shooting weddings. I probably shoot less pictures than a lot of photographers at weddings and I'm always trying to be selective on the day by composing as carefully as possible and definitely not praying and spraying! I'd rather spend my time in post editing, rather than wading though hundreds of images that won't make the cut. But at around 103 raw photos per 8gb card, my workflow will have to be adjusted. The up-side is that I actually shoot more shots at a wedding on the Fuji X-Pro1, so that takes a lot of the pressure of my hard drive.

Click on the photo above to see the full size jpeg and then the one below to see the full size of the crop.

So as you can see from the shots above, the D800 is a camera with amazing resolution. It's also the DSLR with the biggest files.  The  Raw file for this photo was 43.3mb and the jpeg was 12.6mb. I've been shooting  jpeg with the Fuji X100 and X-Pro1 and never once wished I had a Fuji raw file, so I'm thinking of shooting  jpeg on the D800 for weddings on one card and raw on the other. I'll import the jpegs into Lightroom and unless I need to recover any blown highlights (vary rare), the raw files might never get used.

The Fujifilm X-E1 :: Hands On Review

There's more similarities between the X-E1 and the X-Pro1 than not, so I won't go over old ground here. You can find plenty on both the X-Pro1 and the X100 elsewhere on this blog, so I'll just give a brief roundup of the few differences and how this new camera feels.

I chose the black version for one reason...stealth! I recently tried to take photos at a murder scene and only had the X100 with me. Although it was dark, I was we'll aware that the silver body would be noticed by the police around the area far more than a black camera would, so for me, the X-E1 had to be black. I will probably put black Gaff tape over the front name plate of the camera to cover the white letters too.

First reaction when I unboxed the camera was that the packaging was a big drop down from the X-Pro1 (which was a drop down from the X100’s). The second thing I noticed was how light the camera was. I've had this initial feeling with all the X's, but like the X-Po1, when you add the battery and a lens, it starts to feel quite nice! I'm eagerly awaiting a Gariz half case to be made available, which will not only protect the body, but add a bit of weight and make it a bit more comfortable in the hand. The X-E1 is almost identical in size to the X100, but feels a bit easier to grip, thanks to the front rubber grip and the raised section that houses the Q button. Like the X-Pro1, I feel that the AE-L button would have been better placed to the left of the thumb wheel (where the View Mode button is). I would have liked the play button to have stayed in the same place as the X-Pro1 (just for consistency between cameras).

You notice the OLED viewfinder is obviously much higher resolution as soon as you look through it! The addition of a diopter is great too, but the one big thing that annoys me (apart from the lack of minimum shutter speed setting in auto ISO) is that unless you are using the rear LCD screen for shooting (why would you?) when you press the Q button or Menu button, you have to look into the viewfinder to see the display. This is a bit un-natural. For me the viewfinder is for shooting and the LCD is for menus. I know I'm not alone in this as I've read the same thing on blogs about the X-Pro1 when using the EVF.

The X-E1 is a cracking little camera and in my opinion the best in it's class! A firmware updates could sort out a couple of niggles, but there's nothing that should prevent anyone from buying this camera. If I didn't own any X cameras, I would buy the X-pro1, but if you're looking for something smaller, lighter, less expensive or to compliment an X-Pro1 or X100, then this is the one to buy. I have the 35mm f1.4 on the X-Pro1 and the 18mm f2 on the X-E1 right now and it's a pretty sweet setup. I'll buy the 23mm when it comes out next year as I love the 35mm point of view, but for now, this is a s good as it gets! Fuji are on fire right now and there commitment to existing products and customer feedback is unmatched by any other brand in my opinion.

One thing I should point out is that although the shutter sound is as awesome as the X-Pro1, there is an extra noise as the shutter closes that sounds almost like a rapid wind on of film, very short, but I wasn't sure if it should be there. I checked with Fuji UK and they confirmed that it was the sound it should make.

Fujifilm X-Pro1 v2.0 :: What We Got - What We Need

Christmas has come early with the release of firmware version 2.0 for the X-Pro1 and all the X Mount lenses. There are a few things we still need, but this is by far the biggest jump in performance Fujifilm has made in any firmware release.

WHAT WE GOT Focus has been improved by a long way. It really is amazing what Fuji has done with just a firmware upgrade, it feels more like a hardware upgrade! I'm seeing the biggest jump in the 18mm f2 lens. It used to be slower and could hunt a bit, but it's now fast and locks on really quick, even in rooms with bad lighting.

Manual focus is now really really really good and now has 3x as well as 10x magnification. I can now manual focus quickly and accurately through the viewfinder even without using the magnified view. It feels more like I've had laser surgery on my eyes that a firmware update! Things pot right into focus with less turning of the focus ring, although I would say that slightly less again would be even better. That said, I'm not complaining in the least.

The speed at which the files are written to the SD card has doubled, but the thing that is most noticeable is the speed you can flick through photos on the LCD, it's super fast and no longer pauses every few images when you hold the pad down.

Auto ISO now goes up to 6400, but that leads me to the one thing that's missing and what we really need. So Fujifilm is you're reading this, thanks for making the X-Pro1 and lenses even better, but here is a list of what we need IMO.

WHAT WE NEED

  • 1. Minimum shutter speed limit when using Auto ISO (like in the X100).
  • 2. The ability to use the Exposure Compensation Dial in Manual Mode.
  • 3. The option to set Macro from the Quick Menu and have the four way pad constantly active for moving focus points without pressing the AF button first (like on a Nikon DSLR).

 

When shooting these cameras, it is crucial that they can be operated without having to press any of the left hand buttons (i.e. To select focus points), it's very slow and causes shots to be missed. Focus points are moved a lot more than Macro Mode!

Again, this is a huge leap for the X-Pro1 and I'm now looking forward to the X-E1 even more.

Fujifil X-E1 :: What It Holds For Photographers & Fuji?

The Fujifilm X-E1 is the newest member of the X family and is more like a baby X-Pro1 than the successor to the future classic X100. Although the body is almost the same size as the X100, it's looks and features are closer to the X-Pro1, plus it shares the amazing X-Trans sensor so the quality will be exactly the same. What it doesn't share though is the Hybrid viewfinder that was one of the biggest selling points with the other two cameras. It only has an electronic viewfinder, but the resolution has took a big leap in this body. But I don't want to make this post about the features as you can find them all over the web. Instead I'd like to talk about what this camera will do for Fuji (especially the X-Pro1) and for photographers.

I'm wondering if the new beast will kill a huge chunk of the X-Pro1 sales due to many improvements. The biggest of these being that the focus time is reported to be 0.1 seconds and the shutter lag will be .005 seconds, But these times are only available with the new 18-55mm f2.8-f4 R LM OIS lens due to it's new linear motor. I'm not sure yet if the new 14mm f2.8 lens has the same motor and performance, but as there isn't much info, I'm guessing not. There is a firmware due to be released for the X-Pro1 on the 18th of September (the start of Photokina 2012) and the rumours say that there will be a big improvement in focus speed, but this might be with the new zoom lens. I don't use zoom lenses so I'm hoping that there will be an improvement with existing lenses and that all future lenses will have the new linear motor too.

In fact the only drawback from buying this over the X-Pro1 would be the lack of an OVF. The new 2.3 million dot EVF almost makes up for it, but there's something special about an optical viewfinder, although the X-Pro1's is not as good as the big bright OVF found in the X100. So apart from the lack of OVF, the X-E1 has a much better EVF, fast autofocus (at last), almost no shutter lag (that's fantastic too) and this new model comes in both black and silver. Silver is lovely, but the black is more stealth, it all depends on your intended use...or taste.

So for Fuji this could either turn out to be the most amazing camera that proves that they are up there with Canon and Nikon and posssibly the leader when it comes to sensors, or it could end-up killing off their flagship camera that hasn't even been out for a year. Time will tell, but I really hope that Fuji reap the rewards for coming up with game changing cameras, maybe even life changing!

But what about us photogs? For me it could mean that I finally move away from DSLR's altogether. The main reason I've been using both the X-Pro1 and a DSLR was because moving subjects (especially coming toward the camera) were near impossible to capture with the X-Pro1. But shooting with the X-E1 as a second body might be a perfect duo. As I was about to make the jump from Nikon to Canon this could save me a fortune.

So if you're new to the Fuji X's and you can do without an OVF and you don't mind the small size of the body, then the X-E1 looks like the way to go. But if you want an OVF and a bigger body then it's the X-Pro1, but auto focus speed and shutter lag is something you will have to live with. If you already have an X-Pro1 and need a second body, then it's a no brainer...as long as the auto focus lives up to the hype (remember they said that the AF on the X-Pro1 was smokin' fast). I really hope for our sake and Fuji's that the X-Pro1 firmware update will take a big leap in focus performance, I'd hate to see the camera being killed by it's own brother.

If the X-E1 is as good as they say in the focus department, my camera bag might look like this next year:

  • X-Pro1 Body with the 35mm f1.4 (50mm in full frame speak)
  • X-E1 body with the 23mm f1.4 (35mm in FF and due in 2013)
  • 18mm f2 (27mm in FF).
  • 56mm f1.4 (84mm in FF due in 2013)
  • EF 42 Flash (just in case)

I'd like to say that it's not about the gear, but in the case of the X100, X-Pro1 and now the X-E1 (I'm leaving the X10 out as it's a point and shoot) it is sort of about the gear. The X cameras have thrown a lot of our worlds upside down, they are game changers. they change the way you shoot and in a lot of cases what you shoot. I kinda wish I had been around in the early Leica days when guys like Bresson, Robert Frank and Frank Cappa were trailblazzing small 35mm cameras. It's a romantic era in photography, but in some ways Fuji are giving us that same thing back with a jacket on. It's an exciting time for photographers, but even more so for street and documentary photographers as these small cameras give us all the good points of a Leica, but without the price tag.

X-Pro1 At 3200 ISO:: Belladrum Festival

There's no fear at shooting 3200 iso with the X-Pro1! There's also no fear shooting at wide apertures, you just simply compose and let the camera do the rest. This first shot was at f2 and 1/60 of a second. I was shooting the performers in the background playing with fire, but I found the foreground more interesting.

The photo of the crowd (above) was shot at f2.8 and 1/125th of a second. As Travis performed on stage, whipping the crowd into a frenzy, the X-Pro1 performed on the ground.

I don't know the name of this comedian, but he was a pretty funny guy. If only the crowd were as good!

I could have shot photos of this comedian all night long.

Not something you see everyday...not on this planet anyway.

This shot was taken at f 1.4 and 1/30th of a second. With a full frame eqivelent of a 50mm,  1/30th is half the shutter speed that you would need to shoot this on a DSLR. Another great reason to shot mirror-less cameras.

This last shot was taken with the 18mm at f2 and 1/30th of a second. I wouldn't dream of shooting this sort of event with a DSLR, not with mine anyway! Have a look at more black and white 3200 iso shots on my street photography blog 35mmStreet

Second Shootr v1.2

In March 1976 Francis Ford Coppola started filming a little movie called Apocalypse Now. Filming was set for five months, but due to all sorts of problems and delays it was three years before a version was first shown, a version that wasn't quite what anyone involved in the movie expected or the promised end result. In the end, it's arguably one of the best Vietnam Movies to come out of Holywood. So what does this have to do with an iPad app?

Second shooter is an iOS app that helps photographers get and stay Organized? It has been available for the iPhone and iPod touch for a couple of years now and it's a very useful app and the best of its type I have tried on the iPhone. Second Shootr 1.1.1 was released back in June 2010 with version 2.0 being mentioned on the SS blog as far back as Feb 2011. But there has been long gaps with only the occasional blog post to reassure users that v2 was on it's way and that it would include an iPad and desktop version that could all be synced together...it sounded perfect.

An update to Second Shootr has now been released and is available on the App Store, but it's not the promised v2.0, it's v1.2. The great news is that it's now made to work on iPad as well as iPhone and iPod touch and it takes advantage of the Retina Display. The iPad version is really nice and it's very tempting to start using it exclusivly. Entering data is so smooth and intuitive that you acctually enjoy typing in new client data.  Sadly there is no desktop version, but the apps makers say that SS v2.0 is still in the pipeline and will be coming in the near future. In fact their photography business Plinkk Photography has been put on hold so that more time can be spent on the big SS update.

So the big dilema for me and I expect for a lot of other uses now, as iPad & iPhone/iPod Touch versions can't be synced, is to go with one of three options.

1. Start using the iPad version, which is much easier to input data.

2. Ignore the iPad version and stick to the iPhone, as the phone is the device that goes everywhere with you.

3. Input data twice and use both devices.

Well done to the people behind Second Shootr for getting this great app finally on to the iPad, but please please give us the ability to sync between OS devices. A Desktop version would be the icing on the cake!

If you haven't tried Second Shootr yet, go to the app store download it...it could make your life easier! Well worth £4.99 (uk).

The Vanguard Heralder 38 :: Bag Review

If you are in the market for a large modular camera bag that holds a lot of equipment and is easy to work from, then the Heralder 38 from Vanguard deserves your undivided attention. The 38 is not a bag you would carry around with you everyday, it's a bag you would take on a shoot, especially if you need everything but the kitchen sink. This review is a little overdue, but I really wanted to give the 38 a proper field test to see just how good it was. When Vanguard sent me this bag, I was a bit surprised how big it was. I had expected something smaller, but as soon as I opened the box I was impressed with both build quality and features.

Exterior The outside surface of the bag is made of a tough black nylon that should wear well through the years. The zips have heavy duty black tabs with a single orange stripe on each that means seeing the zippers in the dark won't be a problem. The rear of the bag has a zipped pouch that contains a rain cover tethered by an elastic cord. The rain cover struck a chord with me as I recently had a shoot in heavy rain and the bag I was using got soaked right through. The 38's rain cover pouch is also big enough for an iPad. Another welcome feature on the back is the built in strap that allows the bag to be slipped over the handle of larger rolling camera bags or suitcases. There are also ICS compatible D rings and loops to tie the bag down.

  

On one side of the bag there's a large neoprene pouch that could easily be used to store accessories or a place to keep a water bottle. I found it to be most useful as a lens pouch for swapping lenses on the go. Round the opposite end there are three handy straps that can take lens pouches with slip lock attachments. I tried attaching a couple of mine and they were very safe and secure. I would recommend lens pouches with double velcro locking. I'd love a slip lock attachment for my Zoom audio recorder so that it could hang it on the side of the bag and collect ambient sound.

The top lid functions in two ways. The first is a zip that runs across the length of the bag and is used for quick access and probably the one that you would use most when shooting with the bag on your shoulder (see photo at the top of this post). There's also a magnetic flap to secure the zip when closed (photo above). The second way the lid functions is to lift it right over, which gives complete access to everything inside. To open it this way, you unclip the plastic fastener and then open the zip that runs from the back of one side to the back of the other side. The zip is also under the flap of the lid, which although makes it a little awkward to find, it does add a large amount of weather proofing. I tend to use the clip when I'm shooting but also close the zip when the shoot is complete.

One of the best features on the outside of the bag is a tripod holder that tucks away when not in use, in fact you wouldn't know it's there. My tripod is old, large, chunky and heavy, but the 38 carried it without any problem. This feature alone would make it a great bag for landscape photographers.

Interior Inside the Heralder 38 is a four section memory card storage pouch on the underside of the lid. There is also a section at the front that would take an iPad, some pens and some odds and ends in a transparent zipped pouch. The rest of the inside consists of two padded sections that can be removed if you need to utilize as much space as possible. I would liked to have seen more padding on the bottom of the bag when the inserts are removed, although to be honest it can't say I'd ever use it without inserts.

The insert at the rear is big enough to take a 15" laptop and also has a flap that can be closed and secured by Velcro, so you could easily use this as a separate carry around case for your laptop. The main insert can be divided into eight sections that are deep enough for a 70-200 f2.8 lens. The padded dividers Velcro to the sides of the insert, so the configurations are vast. My one gripe with this bag is that if you shoot with primes (as I do), a 35mm and a 50mm could fit stacked in one compartment. So my one wish for this bag would be for Vanguard to include eight small square dividers and two oblong ones. Then smaller lenses could be stacked on top of each other with these smaller inserts attached by velcro between them without the risk of scratching or denting. I tried it out with pads from another bag and it let me pack even more lenses. Similarly, oblong pads could be used to sit on top of camera bodies to allow light items to be placed on top.

It's amazing how much equipment the Heralder 38 can hold, but it's also amazing how comfortable it is to carry. This is mostly thanks to the heavily padded shoulder strap. There's obviously a lot of thought went into designing and manufacturing this bag. If you're a wedding photographer, it's a great bag to keep all of the days kit in the back of the car and use it to feed a smaller bag for different parts of the wedding.

The photo above shows the gear that I was carrying in the Heralder 38, but it was by no means full. The 70-200mm f2.8, 85mm f1.4 and the 35mm f1.4 are quite chunky lenses. In fact I have a couple of bags that won't accept the 85mm because of the diameter. So to come back to where I started. If you're in the market for a large camera bag, The Heralder 38 is definitely worth checking out. You can see more of this bag and others like it at the Vanguard website and you can buy it from Amazon UK or from B&H in the US.

Gariz Leather Half Case For Fujifilm X-Pro1

I just received the Gariz leather half case for the X-Pro1 and I have to say it's pretty cool. The orange one looks awesome but doesn't really fit in with the cameras stealth looks. So I opted for the black one and I'm really pleased with it.

The half case attaches to the Base of the camera via a small screw that fits into the tripod mount. There's been a lot of criticism on the web because the tripod mount on the X-Pro1 is off to one side (it has to be as the lens mount is so close to the bottom of the camera) so those people will love that Gariz have put a tripod mount in the centre. Another great feature is that the battery and SD card are both accessible without removing the case, thanks to a hole in the metal base plate. Speaking of the base plate, the brushed metal looks fantastic and the engraving adds a touch of class.

The top part is all leather with holes cut out for the focus selector switch (front) and the pc sync flash socket (side). The back part is completely open with no leather strap above the LCD screen to get in your way (unlike some eBay knock-offs). There's also an embossed logo on the side that stops it from looking bland and also provides a bit of grip under the right palm. As the case attaches via the tripod mount there are no annoying straps wrapped around the strap hooks, so the strap is able to move freely.

If you're in the market for an X-Pro1 half case, then this is probably the one. Before you even see it, you can tell from the packaging that it's a quality item and for those that think the camera is a little Iow in weight, this adds just that little bit of heft and even makes it feel more solid. I would be quite happy to buy another Gariz half case for my X100, although I do like the ability to quickly snap on the top part of my Fuji case. But the fact that I need to remove the bottom part of my present case to change battery or SD card means that there's a good chance of a second Gariz coming my way.

The Gariz XS-CHX1PM Half Case for the X-Pro1 is available on eBay from Gariz and is the best way to buy it as their website is in Korean. I paid £75 and opted for the paid for postage, rather than the free one as I wanted to protect my X-Pro1 as soon as possible. I bough mine on ebay HERE and it was delivered within a few days.