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.
Shot the Blue Angels performing on Sunday from the top of my condo building. This year, I benefitted from both the autofocus speed of the Fujifilm X-T3 and the reach of the XF 100-400mm ƒ/4.5-5.6 lens. The result was being able to actually see into the cockpits during some of the low passes around downtown. This is also without the 2x teleconverter installed, whose 2 stops of reduced light gathering would have slowed down the shutter speed to being nearly unusable.
After a day's break from the trip to Forks, Craig and I took advantage of a break in the rain to hit Roozengaarde in Skagit to photograph the tulips before the festival began. About half of the tulips were in bloom and the daffodils were still out, though they looked ready to wilt. Fortunately the weather and time of day seemed to keep most people away. This also gave me a chance to use my Leofoto tripod on different terrain. Again, things just happened to work out for us as the rain held off and the clouds helped give the photos a dramatic, almost ominous look that contrasts with the burst of colors below. Too bad the stiff breeze prevented any chance of getting a longer exposure, but that's fine. For tulips, it's all about the colors.
Out of the box, the Leofoto LN-324C made for an intimidating presence. Fully extended, it was clearly as tall as advertised and the weight seemed about right. Looking more closely, all the details looked right. Tearing it down exposed finely machined parts all around and a carbon weave that didn't betray it's "10 layer" claim; the weave was consistent throughout with no waviness or warping of threads and no pitting or cracks in the resin. All of the aluminum bits are finely milled with no tooling marks. Parts that may have originally been cast were finely machined to remove any casting seams and cuts into it were obviously milled. The anodizing is consistent all around and all of the included optional hardware is of similar quality. No flashes, splinters or metal shavings anywhere. Metal on metal contact points showed evidence of lubrication and glided through their movements smoothly.
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.
Every year for the Seafair air show, the Boeing Museum of Flight holds their Jet Blast Bash, inviting fans of aircraft of all types to watch the U.S. Navy's Blue Angels preflight demonstration and takeoff. Although you don't get a view of the actual air show demonstration that takes place in the box over Lake Washington, it's a great alternative to the endless crowds at Genessee Park if you care more about the airplanes than the hydroplanes.
I decided to climb up onto the roof of my condo to catch their second practice on Thursday. The weather was shit, so they practiced their "low show," a flight demonstration that is performed mostly below 3000' MSL, so I got a lot of opportunities to get close range shots.
Every year when I'm in Seattle, I do my damndest to attend Seattle Buddhist's Obon Festival and this year was no different. It's something my family has been doing for as long as I can remember and one of those cultural touchstones in my life that reminds me of who I am. This year however, I decided to give myself a shooting challenge by limiting myself only to shutter dragged shots as a way of emphasizing all of the action, movement and colors associated with Bon Odori.