Embracing Skill and Vision Over Gear in Photography

The True Essence of Photography: Skill and Vision

In the pursuit of photographic excellence, a prevalent misconception exists the belief that the latest and most expensive gear is synonymous with capturing superior pictures. However, this materialistic approach is far from the truth. The heart of photography beats not through the camera's lens but within the photographer's skill, vision, and creativity. These are the elements that transform a simple picture into a memorable image.

Icons of Photography: Mastery Over Machinery

History's iconic photographers – Henri Cartier-Bresson, Ansel Adams, Dorothea Lange – have consistently demonstrated that extraordinary photography is less about advanced equipment and more about an unparalleled understanding of the craft. Consider Cartier-Bresson's "Decisive Moment," captured with a basic Leica; it wasn't the camera's sophistication but his ability to foresee and frame the moment that made it iconic.

Understanding the Basics: The Core of Great Photography

At its core, photography is an art form rooted in the fundamentals – composition, lighting, subject matter, and the photographer's unique perspective. These are the true building blocks of remarkable photography. A simple exercise for any photographer is to focus on one basic element, like lighting, and experiment with it in various settings to deepen their understanding and creativity.

Debunking "The Best Camera" Myth

The 'best camera' is a subjective concept that varies with the photographer's style, subject matter, and project needs. For example, a camera perfect for landscape photography may not be ideal for capturing the nuances of street life. Remembering that the camera is a tool; the real magic happens in the artist's vision.

Creativity Flourishes Within Constraints

Limitations often act as a catalyst for creativity. Restricted by their equipment, photographers are compelled to think innovatively, finding new ways to convey their vision. This creative challenge can lead to a more profound understanding of the art and significant development of one’s style.

Technological Advances in Entry-Level Cameras

Today's entry-level cameras boast features that were once exclusive to high-end models. Image stabilization and improved low-light performance are now common, making quality photography more accessible and emphasizing that skill and creativity are paramount.

Personal Stories of Skill Triumphing Over Gear: "The Sunset Shot"

A photography challenge: capture the best sunset photo. Among the participants were Sarah, armed with the latest camera, and Alex, with his trusted old DSLR. Sarah focused on optimizing her camera's features, while Alex scouted for the perfect location by a lake.

Sarah's photo, though technically flawless, lacked originality. Alex's photo, with its natural mirror effect in the lake and silhouettes of trees, told a captivating story despite its technical limitations. His understanding of light, composition, and timing showcased depth and emotion that transcended the capabilities of his camera.

Wisdom from the Masters

Often, well-known photographers have advocated that vision and creativity are more important than having the latest gear. Ansel Adams once said, "The single most important component of a camera is the twelve inches behind it." This encapsulates the essence of photography – it's not about the camera but the vision and skill of the photographer.

Chase Jarvis's quote, "The best camera is the one that's with you," emphasizes the importance of seizing the moment with whatever camera you have.

Edward Steichen's insight, "A portrait is not made in the camera but on either side of it," reminds us that the essence of a great photograph lies in the connection between the subject and the photographer.

Conclusion: The Power of Vision and Creativity

While modern equipment offers certain advantages, it's not the cornerstone of great photography. The essence of capturing compelling images lies in the photographer's ability to uniquely perceive the world and translate that vision through their skills and understanding of the medium.

Remember, the most powerful tool in photography is not the camera but the creativity and vision behind each shot.

Choosing the Right Lens

Every owner of an interchangeable-lens camera is faced with the pleasant dilemma of picking the most appropriate lenses to buy, then deciding which to use. However, there are no rules to go by; much depends on your personal style and what you already own. To help you decide which lenses to buy and how best to use them, we offer the following.

Every owner of an interchangeable-lens camera is faced with the pleasant dilemma of picking the most appropriate lenses to buy, then deciding which to use. However, there are no rules to go by; much depends on your personal style and what you already own. To help you decide which lenses to buy and how best to use them, we offer the following.

Normal lenses: Today, many 35mm photographers opt for a short zoom instead of a 50mm, but both have their virtues. If you need a fast, general-purpose lens in the f/1.4-f/2 range for available-light work, nothing can beat a 50mm. Positives: Usually more compact, lighter than a short zoom; often less costly; generally very sharp; provides brighter viewing image. Negatives: No zooming; you must compose by moving the camera.

Short zooms offer framing flexibility, often in a package not much larger than a 50mm lens. A 35-70mm f/3.5-4.5 is usually the smallest and least expensive, but a 28-70mm f/3.5-4.5 is more useful for shooting interiors, vistas, and cramped quarters because it gets down to 28mm. If you shoot portraits, nature, or sports at close range, consider a compact 35-105mm or a 35-135mm zoom. Normal zoom positives: Equivalent to two or more single focal length lenses in a handy, responsive package, it provides intermediate focal lengths; there's less need to switch lenses. Normal zoom negatives: Moderate aperture (typically f/3.5-4.5) limits low-light shooting and focusing precision with manual focus, affects viewing brightness. Zooms tend to be larger, heavier, more expensive than 50mm lenses.

Wide-angle lenses: They range from 24mm (bordering on ultrawide) to 35mm (bordering on semiwide). As with normals, the choice is between very compact, single-focal-length lenses of relatively wide aperture (f/2-f/2.8, a few f/1.4s) and moderate-aperture zooms (around f/3.5-4.5), which provide superior framing flexibility. For positives and negatives on both types, see normal-lens section above.

Many wide zooms, such as 24-50mm, 25-50mm, 28-50mm, etc., encompass normal as well as wide-angle focal lengths, which is an advantage. A few (for example, 21-35mm, 18-28mm) combine ultrawide (21mm and below) and wide focal lengths (see ultrawide section below). Many are not much larger or heavier than a 50mm. Although 25-50mm or 21 -35mm may not sound as impressive, it's the zoom ratio (long divided by short focal length) that counts. If you need a really fast wide-angle (for example, 35mm f/1.4, 28mm f/2, 24mm f/2) for available light or shooting handheld with slow film, stick to single focal lengths.

Ultrawide-angle lenses: With focal lengths of 21mm and below in 35mm format, they provide extreme angular coverage of 90 degrees or more. Positives: Ultrawides, by virtue of low image magnification, provide great depth of field; more likely to yield sharp-looking images when handheld at slow shutter speeds. Excellent for expanding tight interior spaces, capturing vistas; for intimate photojournalism, street photography. Negatives: Apparent perspective distortion, though useful for dramatic or comic effects, is problematic in portraiture. Avoid placing subjects near edges of the frame or prominent features, such as noses, in the foreground.

Medium tele lenses: Sometimes called portrait lenses, these optics in the 85-135mm range are fine for portraiture, minimize apparent perspective distortion, and provide convenient working distance when shooting faces close up. Many tele zooms work well in this range, but they're heavier, longer, and slower than single focal length lenses. If you shoot a large percentage of portraits, you should consider getting an 85mm f/2, 100mm f/2, or 105mm f/2.5, even if you own a tele. Positives: They allow discreet photography of people without the perspective-flattening effect of long teles; single focal length type combines fast aperture, bright viewing image, good image quality. Negative: For zooms, see above; for single focal length, fairly specialized.

Long tele lenses: Traditionally, any lens over 135mm for 35mm photography is a long tele. Today, the most popular by far are zooms in the 80-200mm or 70-210mm range. Unless you need a lens that's very fast and very long (such as the optically superb but large, heavy, and very expensive 300mm and 400mm f/2.8s used by professional sports photographers), a tele zoom is the most flexible and economical choice. For many photographers, a 70-210mm f/3.5-4.5 (especially one with macro) is the only long tele they'll need. Positives: Reasonable size, weight, and price, wide range of usesónature, sports, people, portraits, scenics. Negatives: Moderate and variable aperture; mediocre performance unless stopped way down. A number of suprisingly compact 100-300mm f/5.6s are now offered for those who need a bit more reach, and there are a few fine 200-500mm f/5.6s for those who need really long teles for such things as long-distance sports close-ups. Long tele zoom negatives: larger size and weight.

Budapest Camera Stores

Hungary’s photography history is full of prodigious visual artists as André Kertész, László Moholy-Nagy, Robert Capa, and Brassai – all of whom are immortalized in Budapest museums such as the Capa Center and the Mai Manó House, where various exhibitions and books popularize historic and fresh photography to this day. Budapest is also a stunning city with countless marvels, sights, faces, and places to capture.

Anyone with artistic or photojournalistic aspirations can find a gadget to their liking in the various camera stores found around downtown – whether they are old-fashioned film fanatics or digital devotees – along with photo-printing businesses offering everything from oversized high-definition prints to passport snapshots.

These are my fav. shops in Budapest:

OPTICAM

This small shop in Bajcsy-Zsilinszky Street is not at all obvious at first glance, but stepping in, customers find themselves facing a small but impressive collection of mostly secondhand cameras, but occasionally a few brand-new pieces are mixed in. They have different cameras, lenses, cases, film, and flashes as well, all part of a vast assortment that turns over regularly, as, despite the small size of the shop, there are still a great number of customers due to the central location. The staff is helpful, and they also take repair orders to bring broken cameras back to life.

Address: Budapest 1051, Bajcsy-Zsilinkszky út 20
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F8

Cool interior full of vintage cameras. Helpful and knowledgeable staff. They can develop and scan negatives for you professionally.
It's a dog-friendly place, which is also a plus. I can recommend them wholeheartedly.

Ó u. 9 (210.19 km) 1066 Budapest, Hungary

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CAFÉ ANALÓG - LOMOGRAPHY

The Budapest Embassy of Lomography, Café Analóg is a tiny coffee shop on chaotic Kazincy Street, with a clean interior enhanced with a huge and colourful lomo wall. The whitewashed shelves of the small shop are crammed with photo-related relics, such as cameras, films, canvas bags, t-shirts, tools, box camera keychains, smartphone photo accessories, and many other exciting items. Visitors can browse the shelves of the shop for real treasures while sipping on a nice cup of coffee or hot chocolate, having a slice of cake, or reading retro photography magazines. Fans of analogue photography will surely find something to their liking here, as besides Lomography equipment, they feature instant film for Polaroids, 135 and 120 mm film for analogue cameras, and they also take orders for photo developing. This café is more than just a regular shop, as the very helpful and friendly staff often organizes workshops and tours, where photo fans and amateurs alike can try out different cameras they might not have used before, take lomograhphs, and in case they enjoyed the experience, even get a brand-new Lomography camera in the shop.

Café Analóg - Lomography

1072 Budapest, Kazinczy utca 35.

SOOS Foto

Soós Fotó has been standing strong since the ’80s, enticing everyone into their store with an eye-catching secondhand camera collection in the shop window. The assortment is even more amazing inside, as the shelves are crammed with treasured antiques like working Rolleiflexes, Zorkis, FEDs, and occasionally even deluxe Leicas. Besides cameras, they also offer lenses, cases, functional enlargers, trays, light meters, photographs, postcards, telescopes, and random knickknacks, such as plates, silver trays, toys, and even occasional pieces of furniture. Their main profile is selling secondhand products, so this is a must-do visit for retro lovers in Budapest, whether or not they are into photography. The staff is friendly, helpful, and knowledgeable, as they gladly show customers the different mechanisms, and they also take orders for photo developing and scanning. Soós is found on Wesselényi Street just steps away from the Dohány Street Synagogue, and it is open from Monday through Saturday.

Address: Budapest 1077, Wesselényi utca 10
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LEICA Boutique Budapest

I shoot mainly with Leica cameras so it is always reassuring to know there is a Leica store in town, no matter if is to try a new camera, for an opinion or a friendly chat. The Leica Boutique in Budapest is small in a very positive way with lots of cameras including the latest and friendly staff ready to help and assist. Not to mention is super central and easy to find!

Address: Váci utca 61.
1056 Budapest, Hungary

PRINTS

Lab4art’s professional team makes analogue prints from the first steps of enlarging through developing and stop wash to fixing, scanning, and printing on quality paper – with all of that available from all formats, as well as digital photos fitted to the size and printed with a professional printer. These services are a bit pricier, but they always produce excellent-quality prints, keeping the customers’ wishes in mind at all times. Brave DIY devotees can even rent their labour with or without assistance for a friendly price, but in the course of their “Analog Saturday” workshops, they provide enthusiastic photographers with the know-how, tips, and tricks of developing.

Address: Budapest 1062, Aradi utca 11
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My Fav Settings for Fujifilm XT2

I love my Fujifilm XT2 and these are the settings I tend to use most

I Shoot RAW + Fine JPG - set to M (12Mp) size so I get a full 24Mp RAW plus a super clean super sharp 12Mp JPG which is good enough a lot of the time for event work

To avoid Haloing in the JPGs I have sharpness to Minus 2 .... Noise reduction to Minus 3 seems to be a good balance between detail and leathery low NR artifacts - using the 12Mp size on these settings is superb and reminds me of the old Bayer 12Mp X100 and its almost Perfect ultrasharp JPG engine , if I need to crop or more rez, I`ve got the RAW..

I set boost to ON

Smallest single AF point with the full number of points available set in the menus

Choose Film sim depending on shoot / subject ..

For portraits I love the look of Astia with DR200 and +1EV.  It brings up the mid tones and preserves the highlights.

tags: Fuji Photography, Fuji Camera Settings, Fuji X-T2, Fuji X=, Fuji X-Pro 2, Fuji Film North America, Fuji X Photography, Fuji X Passion

This is some text! Hi everyone, and welcome to this blog post on the camera settings I use with the Fuji X System. This is a question I have received several times and it often comes up during workshops where I see so many folks struggling with their cameras and settings. Now, while the focus of this post is centered around my Fuji cameras, I will say that the best set-up is the one that works for you and makes you feel confident as you operate your camera. And in order to do that you need to learn the operations of your camera system forwards and backwards, develop an understanding of how you want to approach your photography, and then practice until it becomes automatic. The last thing you need to be doing during the moment of capture is to fumble with your camera or the settings. I set up my X-T2 and my X-Pro 2 in exactly the same way. The reason for this is simple; no matter which camera I grab out of the bag, I know what the settings are and that the two camera bodies will function in the same way. With only some subtle variations, I use the same settings and set up for all of my various photographic endeavors - landscape, street, architecture, and portraits. It is all about simplicity my friends. I can take any of my camera bodies out of the bag, and with confidence, know that I can be shooting within seconds of turning the camera on. Fuji X cameras have a lot of technology under the hood but once you have settings established you rarely have to go back to the menus for anything. The three main things you really need - aperture, ISO, and shutter speed - are right on top of the camera. So let's take a look at the settings I use. Basic Settings, Set-up, and Functions File Type: For landscape work I shoot in RAW Mode only. All files will be processed from RAW using Lightroom, ACR, or Iridient Developer, and then finished in Photoshop. RAW Recording is set to Uncompressed. For street work, or people, I will use RAW + JPEG Fine and I will employ the Fuji Film Emulations. White Balance: Auto. I hardly ever vary this as it can be manipulated in post processing. Noise Reduction: I have this set to 0 as my default. Long Exposure Noise Reduction: Off. I never have this on unless I am shooting a very long exposure such as a star trail. Dynamic Range: I leave this set to DR100 as my default. Brackets: I will occasionally shoot a defined bracket set of images. More often than not I don't do this as I am always making my brackets while looking at the histogram. But if I need a quick bracket set I can switch to this in the Drive Mode. I have my Exposure Brackets set to 1-Stop apart. So this will be one shot at my defined exposure, then at shot 1-Stop Under, and a shot that is 1-Stop over. I do wish Fuji would change the Firmware to allow 5 to 7 stop differences. Brackets in the X-T2 can be set in the Shooting Menu > Drive Setting > Bracket Setting. Brackets in the X-Pro 2 can be set through the Drive Button on the top D-Pad of the camera. Color Space: Adobe RGB Card Slots: Both my X-T2 and the X-Pro 2 have dual card slots, one of the endearing features I love about these cameras. My Card slots are set to Sequential, which means, that when one card fills up, the camera switches to the other card. You can set it to BackUp and RAW/JPEG as well but I never use these. On occasion I used the BackUp Mode but I usually do not sweat card failure. Image Size: I typically leave this at the default range of L3:2. Any relevant cropping I will perform in post-processing Film Emulations: I love the Fuji Film Emulations and use them often when shooting in the RAW + JPEG Mode. But I use them even in shooting RAW as a Live View Screen setting to get a sense of what a final image might look like. The Velvia and Astia Emulations give the LV Screen image a color boost and the ACROS Emulation lets me view the potential of a B+W image. Function Buttons: The Function Buttons are a way for you to customize the settings you want close at hand. For my camera's I have made sure that the button assignments I use are the same on each camera body. There is a slight difference in what you can assign on the X-Pro 2 versus the X-T2, relative to the Front FN Button and the top of the D-Pad. But the other buttons set up the same for each camera. You can assign the various FN Buttons by going to the Set Up Menu > Button/Dial Setting > FN/AE-L/AF-L Button Setting, and work through the diagrams. The following list is how I assign my buttons: Front FN Button On my X-T2 it is set for Face and Eye Detection. On the X-Pro 2 it is set for Bright Frame Simulator and indicates image framing when using the OVF; FN Button > Wireless Communication; Left D-Pad > Film Emulation Mode; Right D-Pad > Timer Setting; Having this handy is very useful when I am shooting a longer exposure without or without my electronic shutter release. Bottom D-Pad > AF Mode; This is Single Point, Zone, or Wide Tracking Top of the D-Pad > AF Custom Settings on X-T2, (This is similar to the Drive Mode on the X-Pro 2). The Drive Mode on the X-T2 is just under the ISO Dial. AE-L Button: This is set to AE-L Only AF-L Button: This is set to AF-L Only Having these set in a similar fashion for both cameras just keeps the mental gyrations while shooting to a minimum. I think setting Function Buttons comes down to your personal way of shooting and camera operations you want at your fingertips. Focusing: I switch between S, C, and Manual focus depending largely on what I am shooting. In operation the S Focus Mode puts the focus at a single point or zone. The C Focus Mode continually seeks focus and is good for moving objects. For my landscape work I shoot in entirely in Manual Mode - manual focus and manual settings - and at the native camera ISO of 200. (more on some of this below). For street work I typically use AF and utilize the Joystick to move the focus point. I will often switch to C Focus Mode and select Continuous Low CL, or Continuous High CH Modes which fires the shutter in high speed bursts when shooting sporting events. CL will shoot from 3 to 5 burst frames and CH will fire from 8 to 14 burst frames. In addition you can couple this with one of the five Custom AF Settings in the X-T2. I am not afraid to work the ISO when shooting on the street and invariably go over 800 to 1000. For Manual Focus I use Focus Peaking. This coupled with the Focus Distance Scale is a great way to dial in your focus and know you have the shot. To set Focus Peaking go to AM/FM Setting > MF Assist > Focus Peak Highlight > Then select your Peaking Option. I use the Red (High). The portrait/street images below were all captured using the concepts I am discussing in this post. All were shot in either AF, S Mode, or Manual Mode using Back Button Focusing, and I used the Joystick to place the Focus Point exactly where I wanted it to be. I love having this kind of control that allows me to craft the image I want. You will notice that I have pushed the ISO around quite a bit and especially so in the lead image of the Lincoln Memorial. While I could set the camera to Auto ISO and set ISO parameters, I tend not to do this and simply select the ISO I feel is right for the scene I am photographing, or to react to my sense of the light, and perhaps what shutter speed I might need for a clean and sharp capture. Jason Masi • Breaux Vineyards, West Virginia. Fuji X-Pro 2 and a Fujinon XF34mm f1.4 R. Image exposed at ISO 200 at f 3.5 for 1/800 of a second. Karolin • Bradenton, Florida. Fuji X-T1 and a Fujinon 55-200mm f2.5 at 120mm. Image exposed at ISO 200 at f4.5 for 1/500 of a second. Nathan • Downtown St. Louis, Missouri. Fuji X-Pro 2 and a Fujinon XF16mm f1.4 R. Image exposed at Iso 400 at f4 for 1/250 of a second. Skyline • Downtown St. Louis, Missouri. Fuji X-Pro 2 and a Fujinon XF16-55mm f2.8 R at 16mm. Image exposed at ISO 200 at f11 for 1/250 of a second. Abby and Maise • Montgomery County, Maryland. Fuji X-Pro 2 and a Fujinon XF16-55mm f2.8 R WR at 23mm. Image exposed at ISO 200 at f4 for 1/500 of a second. Free to Move About the City • Downtown St. Louis, Missouri. Fuji X-Pro 2 and a Fujinon XF16-55mm f2.8 at 23mm. Image exposed at ISO 200 at F5.6 for 1/500 of a second. Kevin • Denver, Colorado. Fuji X-Pro 2 and a Fujinon XF23mm f1.4 R. Image exposed at ISO 800 at f2.8 for 1/100 of a second. The Power of "T", Back Button Focus, and the Distance Focus Scale Now, let's take a look at some other incredible components built into the Fuji X cameras. But, before we go there, I want to talk about the Screen and Viewfinder set-up. The screen set-up is entirely customizable on the Fuji's and can be accessed in the Toolbox Menu. Aside from the usual things you might want such as AF Mode, Film Emulation, and File Type, the four items that are set on each of my cameras, both in the Viewfinder and on the Live View Screen, is the Electronic Level; the Exposure Compensation, set to Scale; the Histogram; and the Manual Focus Scale, set to Feet. Everything else notwithstanding these four singular settings are the most important to my shooting. I almost always shoot in Manual Mode, and to be clear I set the Aperture, the ISO, and the Shutter Speed. I work quicker this way and it is the way that my mind thinks while in the process of making an image. My Exposure Mode is set to Evaluative Metering and I take my light readings using the Exposure Compensation Scale and the Histogram, and more so than not I base my exposure judgements on the Histogram. For street work I will periodically check the meter readings using the Exposure Compensation Scale and set it to 0. This usually gets me to within a stop or so of the right reading when I take a shot. Despite what camera you shoot with I believe having the Histogram viewable while you are making exposure adjustments is a must. With aperture and ISO set then it is a simple matter of just turning the Shutter Speed Dial to manipulate the exposure while looking at the effect in real time using the Histogram. After choosing a shutter speed you can use the front Command Dial to adjust the exposure, up 1-stop and down 1-stop, in 1/3-stop increments. This is quite handy for micro manipulation of the Histogram. But, here is where the Power of the "T" can simplify this even more. The "T" is located on the Shutter Speed Dial, and when set it allows you to use the Front Command Dial (or rear if you set it that way), to manipulate the shutter speed ranging from 30 seconds all the way to 32,000. So, with my aperture and ISO set, and the Shutter Dial set to "T", (see the image to the left), the only thing I have to manipulate is the Command Dial. It could not be more simple and I can quickly change aperture to suit conditions, and manipulate the exposure quickly while using the Histogram. Because the Command Dial moves in 1/3-stop increments as well, I can make micro adjustments to the exposure too. I have both of my cameras set this way and with the turn of the on-button, and a quick read of the light, I am shooting instantaneously. I think at the heart of this set-up is simplification - to simplify the mechanical process and make it automatic - so that I can concentrate on making images. Back Button Focus Now a small word about Back Button Focusing. If you are in Manual Focus Mode and you have the AF-L Button set to AF-L Lock you can use the Button to Back Button Focus. This is a great help for street photography or even for shooting portraits. When in Manual Mode you can use the Joystick to move your focus point, and once you have it where you want it, hit the AF-L Button. The camera will lock focus at that point and you can then press the shutter button as many times as you wish without the camera changing focus. Additionally, if you go to the Set-Up Menu > Button/Dial Setting > AE/AF Lock Mode, and set it to AE&AF On/Off Switch, this will decouple the buttons and allow you to lock focus and exposure when the camera is set to C or S, AF Mode, and you are in Aperture or Shutter Priority. So, much like the Back Button Method, once you have achieved focus, you can select the AF-L Button and it will lock focus until you press the button again. This is the same for the AE-L Button. You will know you are locked in when you see the AF-L and the AE-L indicator in the lower left corner. In the image below I had already locked focus in the zone around the grill using the Back Button Focus, and when Chef Chris hit his Usain Bolt pose, which caught me completely by surprise, I was ready to make a capture without worrying about the autofocus kicking in and perhaps missing the moment. Striking the Pose • Shepherdstown, West Virginia. Fuji X-T2 and a Fujinon XF35mm f2 R WR. Image exposed at ISO 200 at f4 for 1/400 of a second. Fuji's Distance Scale is nothing short of brilliant. Shown below on my Live View Screen, it is the linear graph at the bottom of the screen, just above the shooting data. The White Tick Mark on the graph is the point where I have focused the lens, in this example at 2 feet. The blue line indicates the hyper focus zone of the lens, in this case from just inside of a foot to 5 feet. Since Fujinon lenses are all chipped this information is conveyed to the camera for each focal length. I use this information in concert with Focus Peaking for all of my landscape work and it is extremely accurate. Much like the other settings described in this post this is another technical innovation from Fuji that allows me to focus on image making and not wondering if I am in focus or actually where my hyperfocus zone is located. The Depth of Field Scale has two options - Pixel Basis, and Film Format Basis. Pixel Basis is for images that will be viewed on screens and Film Basis is for images that will be printed. For my work I use the Film Format Basis. To set this go to the AF/MF Setting Menu > Depth of Field Scale > Film Format Basis. The Distance Scale can be set in feet or meters based on your preference, and to set this go to the Set Up Menu > Screen Set Up > Focus Scale Units > Feet. The image below illustrates the base set-up for my Live View Screen which is also mirrored in my Viewfinder. To the left is the Exposure Compensation Scale; to the lower right, the Histogram; and the Focus Distance Scale along the bottom. The Green Line is my Horizon Level Line. Additionally I have the Composition Grid set in thirds. To set up your screen go to the Set Up Menu > Screen Set Up > Disp. Custom Settings and place a check in the box for the items you wish to display. The landscape images below were all shot using the various tools and settings I have outlined. The only real difference comes from my all-manual process when shooting landscapes. This is largely centered around crafting an image with good foreground to back ground sharpness. Utilizing the information in the Focus Distance Scale and Focus Peaking you can achieve some amazing depth of field images, such as the Datura and Cabin image below. I think the creation of the image, and in fact the best images, come when you are free to experience and react to the situation. This can only happen when you are engaged with the scene before you and not buried deep in your menus. In photographic terms, almost nothing is worse than missing the key moment because you were not able to respond to the changing conditions or were buried within the camera settings. In my honest opinion, and largely one of the reasons I made the switch to Fuji, the beauty of the X System is that they have engineered cameras for photographers, that once set-up properly, magically get out of the way of making images. Hopefully the information contained in this post will give you some insights in to how I set up my cameras and help you see the possibilities for customization. The best camera is the one you have in your hands but it is even better when it gets out of the way of making images. It can be a painful process to go through your camera manual, and honestly, I would rather do anything else but wade through them. But if you tackle it in chunks it is not too bad and it will help you gain control over your camera. And when you have control of the camera , it does not have control over you. If you have any questions please drop me a comment. As always thanks for stopping by and I appreciate your support.

Fujifilm X-E3 my review

Fujifilm designed the new X-E3 to be an ultra compact rangefinder-style mirrorless camera you can slip in a pocket and get professional-quality results with. The idea seems to have been to craft a super-portable point-and-shoot that even casual users can carry anywhere, without sacrificing the image quality X-series users are accustomed to. If that was the intent, then Fujifilm has hung the moon.

Fujifilm X-E3: Specifications

• 24.3MP X-Trans CMOS III sensor
• X-Processor Pro engine
• Fujifilm X mount
• ISO 200-12,800 (ISO 100-51,200 extended)
• 4K UHD video recording, 30/25/24p
• 325 AF points, upgraded tracking capabilities
• 0.39in OLED viewfinder, 2,360,000 dots
• 3in fixed touchscreen, 1,040,000 dots
• Focus lever
• Film Simulation modes
• Wi-Fi and Bluetooth Low Energy
• SDHC/SDXC card slot (inc. UHS-I)
• 350-frame battery life
• 121.3x73.9×42.7mm
• Approx. 337g (without lens, inc. battery and card)

Look and Feel

As a physical object, the Fujifilm X-E3 is a thing of beauty. Measuring just 4.8 x 2.9 x 1.7 inches, it's significantly cut down in size from the other X-E series cameras, and running your hand over it gives you nothing but flat planes and smooth curves. There's almost nothing on the surface of this camera to snag on your pocket if you're grabbing it in a hurry, and at just a whisper less than 12 ounces, it's clear Fujifilm was thinking more about pockets than gear bags when they designed it.

User Interface

One of the ways Fujifilm got this economy of size was by getting rid of the pop-up flash and eliminating the bulky EVR hump over the sensor aperture. The design team also made the radical (for Fujifilm) decision to eliminate the D-pad control switch in favor of a surprisingly intuitive touchscreen swipe control with all the same functions. This works surprisingly well, and after a little practice thumb-swiping while peering through the viewfinder it feels as natural as the D-pad ever did.

Ease of Use

The X-E3 is almost embarrassingly easy to use. Basically, this camera has two modes: automatic and manual. All the custom settings a professional photographer could want are there in manual operation, which lets you control every detail of the shutter speed, depth of field, and other factors that affect an image. Or, you can switch it over to automatic and the X-E3 will handle all of that for you, remembering to restore your settings when you switch back out of automatic mode.

Accessories

The Fujifilm X-E3 retains the X-mount front of the other models in its line, so it works seamlessly with around two-dozen official Fuji lenses that are already on the market. If you happen to have a lens already, you can order the X-E3 as-is, without the two available kit lenses. Lacking a built-in flash, your only option for lighting up a scene is to mount the included EF-X8 flash on the X-E3's flat top, though its hot shoe works just fine with whatever aftermarket lighting rig you feel like putting up there.

Image Quality

Image quality doesn't seem to suffer at all with the X-E3. It uses the same sensor as the other X-E-series Fujifilm cameras, and nothing has changed about its broad dynamic range and super-sharp resolution. Colors are vibrant and rich straight out of the camera, whether you're working with jpegs or RAW files, and relatively little touch-up is needed, even for professional-quality images.

Walking the dog...early morning...in Venice (Fujifilm XE3)

Fujifilm clearly intended the X-E3 to be a lightweight, versatile lifestyle and travel camera that anybody could use to get great results, even if they know next to nothing about digital photography when they pick it up. By cutting away most of the distractions from the already-slim X-line of cameras, and by combining a sleek, intuitive user interface with an automatic mode that does the much of the thinking for you, they have made something close to the ideal casual carry camera for professional and amateur photographers alike.

Fujifilm XE3 final verdict

The Fujifilm XE3 is a very satisfying mid-range mirrorless camera it will suit anyone entering the World of interchangeable lens photography. For the seripus amater or professional I would suggest to stick to the XT-2. For sure the XE3  feels responsive, handles well, and delivers great-looking 24 Megapixel photos and 4k video with minimal effort. It features a built-in viewfinder, touchscreen with clever gesture controls, an AF joystick for those who prefer a more conventional touch, and Bluetooth to aid with Wifi connections to your phone. 

Leica M10 - My impressions

I have owned and used a Leica M10 for about 2 months and these are my impressions

Leica has listened to their users and addressed many of their concerns. The highly anticipated Leica M10 is slimmer which makes it easier to handle and more comfortable to hold. A slew of other features that were upgraded with this camera include:

• Thinner and lighter body
• Bigger and brighter rangefinder
• Configurable Favorites menu replaces the Set menu
• Higher resolution rear LCD with a changed aspect ratio
• Simplified button layout
• Redesigned and dedicated ISO dial
• Improved weather sealing
• Faster buffering, processing and writing to disk
• Continuous shooting is lightning fast
• Superior high ISO capability
• Shoot wide aperture in good light with ease with the 100 ISO base
• Equipped with the Visoflex EVF for higher resolution and bright and clear images
• Less shutter lag and blackout with the live view feature
• Ability to move the exposure and zoom focus point while in live view

You get all these great features that the other cameras do not have and the only sacrifices you'll have to make are reduced battery life and no video.

This great little camera is about 50 grams lighter than the previous camera with dimensions being identical to the M6ttl and the M7. The thumb grip is a little deeper for a better grip and adds to the comfort level.

The redesigned rangefinder is about 30 percent larger and has a magnification of .72 versus the .68 found on previous cameras. This subtle improvement means you can see the 28 mm frame lines more easily and focusing is much easier with the high magnification.

Weather sealing makes shooting in bad weather easier. You still have to protect the camera when shooting in the rain because the M10 cannot be entirely weatherproof. But, the camera will be fine even in the rain if handled with care.

When you press the Menu button, it brings up the Favorites menu which replaces the Set menu in previous cameras. The Favorites menu is a handy option since you can add any options you choose to this menu. Even better, you can configure a Favorites menu for each of your User Pre-Sets.

The ISO dial has a nice look and feel. And, with all three principle variables for exposure - shutter speed, aperture and ISO - intelligently made visible on the outside of the camera, using the camera has never been more convenient. The dial has options for 100, 200, 400, 800, 1600, 3200 and 6400 ISO. The auto option is marked by a red A while an M marks the option for Menu. The figures on the dial always override what is set in the Menu.

Although battery life is shorter than in previous cameras, Leica has improved battery life reporting. You start getting warnings from about 5 percent that you are low on battery life. The battery life remaining reduces evenly and the camera works until the battery dies. The INFO screen shows the battery life remaining as a long bar and as a percentage. The bar will be coloured green at 100 percent and will gradually go through yellow to red once you reach 5 percent.

One thing I must say puzzels me

Leica Partnered up with Huawei Android phone. For the M10 there is an iPhone app not compatible with Android. Selling in same-store Android phones AND a camera that cannot use the android app!  This questions logic big time!  And will there be one? In order at least  to restore logic? My Fuji has no problem in connecting with Andorids or IOS ;-)

I have sold my trusted M240 that I will occasionally miss, sold my Leica Q (I never liked, preferred one of my Fujifilm) and kept my Monochrom!

If you're looking for a great camera that has made some drastic improvements, then the Leica M10 is for you. It is designed for easy handling and the upgrades ensure you'll get the best shots.

Interviewed by Fixation

An old interview that appeared on Fixation 

Link is here https://www.fixationuk.com/profiles/marco-secchi/

Thanks to everyone at Fixation!