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.
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.
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.
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.
So, it's barely Monday. It's a new moon. Comet Neowise is further down on the horizon. Jay and I are gonna camp at Stampede Pass, hoping to align the galactic core with Mt. Rainier and the west fork valley of the White River. Our last trip found ourselves literally behind the 8-ball, without a view of the summit, and under skies polluted with moonlight. Add to it the beginning of the work week, we're hoping we get the area to ourselves. Since we haven't scouted the location prior to today, we have no idea if Comet Neowise will be visible from our location and if there's anything interesting between us and it. I'll be bringing a 1200mm long setup just in case we do.
Back to gear... I got my 2 person tent and Shimoda Explore 40 back from Craig, a large version 2 camera unit from Shimoda and a 3 filter kit from PolarPro that integrates an ND and polarizer into a single body, allowing the combo to be used on wider angle lenses than previously. While that's the general benefit, the main goal was a set that fit my 23mm ƒ/4 lens and it's 82mm filter thread. The hope is the infrared response follows the same curve set by my Wine Country Cameras filter kit so I don't need to recreate presets for post processing. 10 days have elapsed and I've still yet to get any shots with these new filters. Initial impressions of these filters are on pause as I wait for an opportunity to really utilize them but even now I have a huge cartful of thoughts on them. The packaging alone spurred a thousand words but I wait so I can hopefully produce a measured reaction.
I'll make this quick: this is the best middleweight backpack I've found for photography so far. It's not the fastest or most rugged, but it's the most versatile and comfortable. Let me explain.
A quick comparison between two products designed mostly to perform the same function. In case you're not familiar with an L-bracket, it's function is purely to allow rotation of your camera by 90 degrees while keeping it balanced on the X axis of your tripod. This is especially important for panoramas so the camera yaws directly over the center point rather than circumnavigating it, which alters the perspective enough to make stitching the result more difficult or even impossible.
While I often strayed away from repeatable testing to include a healthy amount of subjectivity, I'm now embracing my biases and forgoing all pretense of being "unbiased," and here's why: I have my skin, aka wallet, in the game. Unlike others who are receiving review units, renting, being gifted items to review or receiving some form of compensation, I'm reviewing stuff that I've actually bought. These are things I've intensely researched, bought, used, and intend to keep. Sometimes I buy purely out of objective needs, like my ND filters. Other times, I'm driven by subjective factors, like my choice to use Fujifilm bodies and lenses. Either way, my purchases are made based on a conclusion I've formed from equal parts objectivity and bias.
I am biased. My reviews are biased. I'm not justifying my purchases to anyone but I simply cannot claim to be unbiased when reviewing my own gear.
The goal of my reviews are to identify potential pitfalls to avoid the expense of experimentation. It's not my goal to tell you what to buy; my desire is to expose aspects of an item only an owner would notice. There can be things that you're blind to upon purchase, features and issues that can make or break it for you, and this jeopardy goes up exponentially as the price increases, especially if bought used.
This is my choice to be an advocate and to avoid being an "influencer."
As you may know, Fujifilm offers an AC adapter for the GFX series and it's priced at a whopping $97. However, there's another option for AC wall charging as long as you know the power specs.
A more versatile option is a power bank with pass through charging. You can power the GFX with the battery pack in the field while simultaneously charging the installed battery. When you’re near an outlet, you can also connect the power bank to AC power and continuously power the camera without depleting the power bank itself. By functioning as an AC wall adapter you won't need to buy a wall adapter specifically for the GFX while having all the benefits of a portable battery pack.
Where the Sigma 85/1.4 is a home run, the 35/1.4 is a bit of a mixed bag. For most people, it should be fine. For some, like me, it's borderline acceptable. For those few, it will be unacceptable. In 35mm crop mode, it works just fine, but for any other mode, it will require a bit of cropping and correction. At wide open, there is a bit more smearing in the extreme corners that sharpen up by ƒ/4 to 5.6.
The Sigma 85mm seems to cover all of the imaging sensor with no hard vignetting. Fitment of a Wine Country Cameras 100mm filter holder does cause some very light vignetting at the extremes but is easily correctable. Image quality at the extreme corners and edges is a bit compromised at wide open but shapes up when stopped down to ƒ/4.
Despite white wall tests of the Canon EF 28mm and 135mm lenses showing acceptable levels of vignetting, my first real world use of them ended in failure.
Eye-AF works pretty well with this combination. Focus is slow, but it's able to find and lock onto an eye. Because of my experience with the X-T3, sometimes my expectations can be a bit skewed; face and eye detect on the 2018 X-T3 is quite good, especially on distant (small) faces as Fujifilm has improved by leaps and bounds in this area. How quickly I forget the GFX 50S is over a year and a half older, with an imaging processor based on the X-Processor 3 design in the X-T2 and not the current X-Processor 4. Combined with other hardware limitations, plus the fact that the latest firmware update was over a year ago, eye AF on the GFX 50S (or 50R, for that matter) cannot be expected to perform anywhere near that of my X-T3.