When the X-H1 was introduced, it was described as a sibling lineup; specifically an approximately 60/40, video-weighted hybrid that also shot great stills. It had a larger body and grip, not just to facilitate the IBIS system, but to give it better balance with larger cinema lenses for owners seeking a capable video camera. The X-T series was defined to be exactly the opposite ratio; a stills-centric camera that also shot great video. However, like the odd inclusion of a factory adjustable leaf spring shutter switch on the X-H1, a feature that's more coveted by stills shooters, the X-T4 has also incorporated a couple of weirdly out of place features that betrays Fujifilm's original description of the X-T series being stills-focused.
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.
The biggest news was the purchase of a Fujifilm GFX 50S, GF 45mm ƒ/2.8 lens and TechArt autofocus EF-GFX lens adapter. It arrived just before Xmas and I was able to use it for parts of both latter shoots. I also gave it a couple of runs, one from Kerry Park that was foiled by fog, another from Rizal Bridge that wasn't. The increase in resolution is shocking. Shots taken from the bridge could be cropped down to 8mp and were still crystal clear. Also shocking: the size of the uncompressed RAW files at ~140MB each.
I've been really busy lately, traveling up and down western Washington State, hiking and photographing both beaten and unbeaten paths. It began by trying to take advantage of a streak of good weather and morphed into chasing the autumn colors as the weather got colder. Hikes include: Alpine Lake Wilderness, Denny Creek, Mount Fremont Lookout, Annette Lake, Lake Twentytwo and Artist Point. All of these on consecutive weekends, and even some weekdays, over the past 3 weeks. And in that time I think I've posted just once. Maybe twice. So, here are 3 photos from the past week.
Today, despite watching others do this for years, I've finally started using it for its intended purpose: modifying photographs to create images that don't exist in real life. I guess you can infer by my tone that I'm not a huge fan of photo manipulation, and you'd be correct. There's a fine line between photography and art and I feel wholesale manipulation of the image to create something that cannot be captured in whole, within the camera, as dishonest. However, I draw that line at profitability. If you're profiting from a reputation as a photographer while creating digital art and misrepresenting it as a photograph, I take issue with that. If you're creating art for the sake of it and representing it as such, for profit or not, I have no problem. The gray area is of course the line between reality and art. What I did, while photorealistic, is what I would classify as art because you couldn't recreate my result in a single photograph.
My friend Craig and I have been planning to hit Keekwulee and Snowshoe Falls on the way to the Alpine Lakes Wilderness in Mt. Baker/Snoqualmie National Forest for 2 years now and it's never come to pass. However, I recently was able to hit Keekwulee Falls with my girlfriend last weekend. It would've been better with more water, say after the spring thaw or between autumn rains, but that would also make it far more difficult to reach as you have to ford the very stream the waterfall is upstream of. Despite the unimpressive flow, the granite formations were spectacular. There were also enough pikas running around and whistling to fill a Disney movie.
Single row panoramas have always seemed to thwart me. Either the scene was never appropriate or they wouldn't stitch for one reason or another. After getting the stuff I needed to establish the nodal point on a couple of my lenses, I decided to give it another go from Kerry Park.
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.
Just a few photos of the local deer on our last morning in Long Beach. They came by for breakfast, the doe bringing her two fawns, approaching our balcony as if she’d remembered that I was out feeding them apples the night before. They sat patiently below our balcony as we dropped bananas and apples for them, posing for photos before moving on to the next set of condos. These deer definitely have us trained well.