One of the things I've said I'd never do, in the past, was self portraits. Some of this is pandemic related, but much of it is girlfriend related. She doesn't really care to move into a larger space and therefore torpedoes my every attempt to bring up the subject. Our current condo was supposed to be temporary; we've now been here for 8 years and long since outgrown it. I have no space to work.
For the past few years, I've been using my Gitzo Series 1 Mountaineer as my primary tripod. It served me well when my primary camera body was the Fujifilm X-T2, X-T3 and X-H1. Once I bought the GFX 50S to use alongside my X-H1, I became acutely aware of the tripod's shortcomings. The Gitzo Mountaineer Series 1 GT1542 is an excellent tripod. Combined with the lightweight Arca-Swiss p0 head, the tripod weighed in at just under 3 lbs and featured a very slim profile when folded down. The 25mm max leg diameter contributed to this slim profile, and while it works well with entry-level DSLRs and mirrorless camera bodies, the slim legs are just a bit too thin for a heavier, professional level body like the GFX 50S. Most people with a larger, heavier camera would be perfectly served with any Gitzo Series 1 tripod, as they only need it for single shots in adequate lighting. In my case, I use it primarily for landscape photography, astrophotography, night photography, etc... situations that require long exposures and/or multiple exposures for stacking, exposure blending or panoramas. This requires greater demands on my tripod as any movement between shots can ruin an exposure. It becomes difficult, if not impossible, to work with multiple, misaligned exposures in post-processing, thus a lighter-weight tripod can cause problems as any flexing will result in misalignment. While I haven't gotten rid of my Series 1 Gitzo, I recently bought a Gitzo GT3542 Series 3 Mountaineer.
As I specified in a previous blog post, it took me a long time to convince myself that this was a necessary accessory. I didn't want to buy it only to use part time because of the high price... the only way it would earn its worth is to make itself a nearly permanent part of my camera. Right off the bat, I find it to be exceptionally useful for my needs. I prefer using the EVF whenever possible and with the tilt and pan capability, along with the extra length, I can now use the EVF in more positions than ever before. Combined with the magnification, the EVF's display quality is much better than the rear LCD. That's not to say the rear LCD is bad, it's just that the EVF is that much better.
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?
I finally bought it and it’s on its way. At $569, it was a hard sell, as I waited nearly a year before deciding its value overcame the price tag for me. The Fujifilm EVF-TL1 viewfinder tilt adapter for the GFX 50S and GFX 100 is attached between the removable electronic viewfinder and the camera body, allowing you to tilt the eyepiece up to 90⁰ upward to use the camera in a waist-level/chest-level viewfinder mode or pitched ±45⁰ when in portrait orientation. It gives the EVF far more versatility to be used in awkward positions where you'd normally have to resort to using the 2½-way rear LCD.
The ZX1 is a $6000 time bomb set to go off in 2 years. It won't even be sellable in 2 years, much less for even half the price, as the hardware required to run the software will be considered "legacy." Zeiss will have to scrap and refresh the internals every 2-3 years to keep pace with the smartphone industry that ARM, Google and Adobe are tied to. I'm afraid Zeiss has failed to truly consider all of this; Samsung, who has their own smartphone division, tried this years ago with the Galaxy NX line of point and shoots and APS-C mirrorless and scrapped it when faced with the choice between trying to sell outdated cameras for a profit versus annual camera refreshes that made them unprofitable. Ultimately, the product cycles of digital cameras and smartphones were just too dissimilar to be profitable. If I'm not buying one for $6000, and you're not buying one for $6000, who's buying this camera?
Usually the 85mm, or equivalent, lens offered on a system is one of their best lenses optically due to its popularity for portrait photography. The Fujifilm GF 110mm ƒ/2 is no different in this regard. Despite being one of Fujifilm’s first 3 lenses for the GFX system when it was released in 2017, the formula still holds up. The hype surrounding the GFX 100’s release last year also caused a resurgence in this lens’ profile and popularity. It’s reputation has reached near mythic proportions and for good reason: this is an excellently performing lens. It’s not without its flaws, but it has the right combination of flaws to give it character.
It took a fair bit longer than I’d implied but I’ve finally started on those lens reviews. If you’re new here, my reviews are really laid back and non-technical. I tend to focus more on the impact they’ll make on your photography and whether they’re worth your investment. For those outside the Fujifilm system, they’re a sampling of what you can expect from the brand.
Waiting intensely for an ultrawide zoom lens for GFX, I was forced to get something, anything, for certain landscapes and astrophotography. So, until that lens appears I’ve decided on the only lens available: the GF 23mm ƒ/4.
Giving up a stop of light in exchange for 100mm of zoom range, the GF 100-200mm manages to be light and compact. For more range, it’s compatible with the $850 GF 1.4x teleconverter, bringing the maximum focal length to 280mm but at a minimum ƒ/8. Not all is bad news though: you get excellent OIS and weather sealing, a 67mm filter thread for more reasonably priced filters, a removable tripod foot, a slim profile that’s smaller than most 70-200 ƒ/2.8 lenses and a price of just $1999 USD.
You may have heard that Fujifilm has opened the door slightly to third-parties regarding their APS-C based X-mount. It seems they've finally given in to both unrelenting pressure from their users and the reality of being able to fully flesh out their lens lineup with more niche lenses in a timely and profitable way. One example: poor sales of the $5995 XF 200mm ƒ/2 with 1.4x Teleconverter, a specialty prime designed for sports and wildlife photographers. It seems very few people "clamoring" for that sort of lens actually put their money where their mouths are and has made Fujifilm gun shy about serving up more high performance, expensive, niche lenses. However, the result is Fujifilm opening up X-mount to approved third parties...
Stuck in both a depressive state and a creative rut, with each feeding off each other to create a negative feedback loop. The former isn’t necessarily tied to the latter, although the latter is a symptom of the former. Also affecting the situation is my stress induced psoriasis negatively impacting my desire to go out and attempt to break the cycle, further deepening my depression and lengthening this creative dry spell. My first notion was to sell everything and find a new hobby. It also doesn’t help that my penchant for landscape, nature and astrophotography are heavily impacted by my inability to drive; this reliance on others is a constant source of both anxiety and depression for me.
My real issue is the lack of an ultrawide zoom. 3 years on and Fujifilm continues to neglect all of the landscape photographers they try to market this system toward. There have been rumors of a 20-36mm ƒ/3.5-4.5 but nothing official has been announced. You’d think this would be a priority... instead we got a 50mm pancake, 30mm ƒ/3.5 and the 45-100mm ƒ/4. The latter filled a huge hole in their lineup but the other 2 seem to serve only the GFX 50R buyers. Landscape users are left in the lurch for yet another year, unrewarded for our patience and dedication.
Now is an excellent time to get into medium format digital. However, there are a few things you need to know about it. Ignorance to these facts can result in an extreme level of dissatisfaction and regret if you don’t know what you’re getting for what’s inarguably still a large chunk of change. You’ll also need to honestly evaluate what sort of photographer you are and your expectations. While all of the technological and photographic principles are the same, medium format is a whole different beast.
The last argument for enthusiast and professional level APS-C bodies has been about the balance between size and performance. The best APS-C cameras have been able to provide 95% of the image quality and speed while taking up only 66% of the size and weight of a 35mm “full frame” body. With the introduction of Sony’s α7C, has that argument now been mooted? Has Fujifilm been left alone on the dance floor? Let’s be realistic: like megapixel counts, sensor size has become the latest dick matching spec. And just like the desire to compare dicks side by side, even if you win, you’re still in the closet. There are some tangible benefits to a larger sensor, no doubt, but does the beginner photographer actually benefit? There are also situations where the crop factor of the smaller sensor can benefit a potential owner and there’s also lens size to contend with. However, the former can be added as a software feature and the latter has been addressed long ago with simpler, more compact optical formulas.