Gonna make this quick... I finally had a chance to take the Fujifilm GF 80mm ƒ/1.7R WR lens for GFX out on a photowalk to peer thru it from an urban landscape and street photography perspective. Let's say I'm a little more than impressed. There's something about this lens that gives everything a 3 dimensional quality. The subject just pops right off the page. Sure, that's what large bore portrait lenses do but there's something special about this lens, a quality my GF 110mm ƒ/2 lacks. Even compared to the Sigma Art 85mm ƒ/1.4 I previously owned and adapted onto the GFX 50S, the GF 80mm exceeds it in lifting the subject out of the frame.
Thanks to Glazer's Camera here in Seattle, I was able to get my hands on the fujifilm GF 80mm ƒ/1.7R WR on release day. Since then, the weather's been shit, so I haven't been able to test it. I have been able to take some sample shots in my home, running all the way through its ƒ/1.7 to ƒ/22 aperture range and from minimum focusing distance to infinity. I've also shot it with both of my macro tubes, for shits and grins. The 80mm was a lens GFX owners have been screaming for for years now. It's a common focal length in medium format portraiture and one of the most common focal lengths you'll see if ever shopping for a medium format film camera. It's odd Fujifilm has chosen to ignore it for as long as they have and I'm assuming it's due to some internal strife over how it should have been engineered... a fight between ultimate resolution versus ultimate character. In the end, they seem to have landed on a mix of both and you'll see why as you read this review.
You may be thinking, "what an odd focal range," and you'd be right. It covers approximately 36-80mm in 35mm terms, with a significant overlap with the 32-64mm lens in coverage. Judged purely by the range, it's obvious this lens is designed for handheld portraits, covering the popular portraiture focal lengths of 35, 50 and 80mm. Judged by what the Fujifilm lineup lacked at the time of its release, it's also a potential landscape and all-purpose lens as it fills the aforementioned hole in the range, especially at 70mm, a focal length landscapists use often via the wide end of a 70-200mm or the long end of the 24-70mm. Priced at $2299 USD, just like the 32-64mm and 80mm ƒ/1.7, it's like you're getting stabilization for free. Should you own both lenses? Am I missing out by not owning both the 32-64mm and 45-100mm? That depends. If you deal primarily in portraits, fashion or travel, this could be the ideal, single lens solution. However, if you're into landscapes, astro or urban photography, it may not be wide enough for many occasions. I own all 3 zoom lenses and for the first 2 weeks of using the 45-100mm, I found myself carrying it with the smaller, lighter 23mm ƒ/4 prime lens rather than in tandem with the 32-64mm. For one, it cuts my filter pack to half as the two lenses share the 82mm filter thread, compared to the 32-64's 77mm diameter. Another convenience is being able to share the 23mm's lens hood; while the hood may be shorter, it still offers enough protection from both flaring and impacts to be useful on the 45-100mm, plus it helps to slim down my bag a bit. In the end, what I discovered was that I didn't miss the 32-64mm one bit by carrying this tandem.
This is not a review of the lens. This is purely a single first impression I have of it. Reality is that the weather has t been great in Seattle at the right times for me to give it a proper test. Hopefully that changes after this weekend, though, and I'll be able to compile a proper review. What I HAVE done is give the optical image stabilization a quick once or twice over. By that, I mean that I've sat and aimed my camera around my sitting area, seeing how slow I can set the shutter speed and still acquire a perfectly focused image. What I've discovered is that this lens' OIS is amazing.
I purchased my first ever creative filter: a Tiffen Black Pro Mist 1/4 for diffusion. It should soften up direct light sources and skin while holding sharpness... or at least that's what it says on the tin.
Volunteered for Kate on a photowalk to the Seattle waterfront recently. After spending the past few months doing lonely portraits to practice using strobes in 1, 2 and 3 light configurations, it felt good to go out and do some of the type of photography I'm most passionate about. So, why did I volunteer and for what? Since Seattle is still under a pandemic lockdown that limits group sizes to 5 people, I chose to help by leading a group so more people could participate via proxy groups. Pier 62 reintroduces a location and perspective that's been missing since it closed for reconstruction. While somewhat pedestrian, the addition of new attractions and changes to the skyline have given it more value when compared with similar locations, both old and new. However, like those other locations, it offers a limited perspective and thus limits its overall value, long term, as a photographic location. It's one that will become over saturated by the end of the summer as a landscape and cityscape destination, even during a time of reduced foot traffic due to the pandemic, but will easily persist as a street, tourist and especially portrait photography location for years to come. Once the new waterfront master plan is completed, Pier 62 could become one of the premium destinations for environmental portraiture and street photography, due to its prime location, identifiable backdrop and potential for high foot traffic.
So, I bought the URL "oakie.photo" today. I've spent the last few months trying to decide if, and how, I'd want to monetize the 4-5 photos I've taken that seem to hold value for people besides me. Why "oakie.photo"? Well, it's simple. That's it, it's simple. Simple to remember and promote. Two words, one dot, and it makes for equally simple subdomains and links. I considered the ubiquitous, "Name Here Photography" for a split second and quickly canned it; just adding 6 more letters to type into an address bar disqualified it, along with being a flashing sign of having no creativity. Sure, you could argue my choice is equally uncreative, but it's efficient and easy to remember. Lack of pluralization may compromise elegance for efficiency but who knows?
After spending a few weeks with the Sigma 50mm ƒ/1.4 Art, I've come to realize maybe Sigma lenses aren't the solution for me. At least the 50mm has a very short focus throw, making manual focus a tedious process, even with focus aids like focus peaking and focus zoom. Autofocus is just too unreliable and slow to depend on for all occasions, making manual focus capability a priority.
A week before the Fremont hike, I grabbed a Shimoda Designs Explore 40 kit from Glazer's Camera. After transferring my gear from the LowePro to the Shimoda, I weighed it and it came out to only 24 lbs. Once I fully loaded the pack with extra clothes, food, water and the extra photography gear needed, it topped 42 lbs. Despite the extra weight, and with a pair of hiking poles, I made it up and down the mountain with my back in far better condition than the previous 2 weekends.
Just wanted to throw up the photos I took during the Glazer's Photowalk on June 8th to support Photography Center Northwest's "Chase the Light 2019" event. The walk was organized by Kate and meandered through Capitol Hill, from the PCNW studio, to Cal Anderson Park, and back. These are just a few of the photos I took along the way. I was feeling square.
Cold, wet... a lot more rain fell than originally expected when I left the house. It was an absolute mess but Fujifilm proved to me how well they sealed the X-T3. Combined with the 16-55mm ƒ/2.8, the combo remained water-tight in steady wind and rain with no attempt at protection. Because of the weather, I was obviously a bit low on inspiration, but figured I'd post what I got for the sake of others who took part.
It'd been a while so I decided to attend the Glazer's Photowalk on Sunday, Jan 13th in West Seattle. The weather cooperated despite being in the bowels of winter but it was a bit TOO sunny, creating harsh shadows and contrast for the outdoor exercise. I chose to shoot with my 85mm equivalent, the 56mm ƒ/1.2, allowing me to keep some distance between me and my subjects while permitting me to fill the frame with subjects should I choose to do so. The large aperture also allowed for shallow depth of field shots. To do so, I used a 6-stop ND filter, giving me the ability to shoot with a shutter speed that prevented motion blur despite the bright, cloudless skies. It also gave me enough leeway to add blur by drilling down the aperture only a bit.