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Opinion: Fujifilm’s decision to omit the headphone jack on the X-T4 is a mistake

28 Feb

Want to monitor audio while shooting video on the Fujifilm X-T4? You’ll need a dongle.

Just a quick warning: I’m going to clobber Fujifilm a bit in this column. But not until I praise Fujifilm.

A few short years ago, Fujifilm was the last camera company I associated with great video. At a time when competitors’ cameras were capturing serviceable 1080p footage, Fujifilm’s models slotted in somewhere between the Fisher Price Elmo video camera and the iPhone 4 in terms of video quality.

A ‘worst to first’ story?

My, how times have changed.

Today, Fujifilm is a shining example of what’s possible when a traditional camera company decides to tackle the challenge of video. There’s no complacency here, and in recent years the company has not only caught up with, but surpassed, many of its competitors in key areas. Recent models deliver beautiful 4K video, 10-bit color and support the H.265 codec up to 400 Mbps. F-Log gamma provides post-processing flexibility, and the gorgeous Eterna film simulation delivers beautiful cinematic footage.

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Fujifilm’s early efforts at video were less than spectacular. In recent years, however, the company stepped up its game and is a top contender in the mirrorless arena.

With the X-T4, Fujifilm dials it up a few more notches. In-body image stabilization, separate menus for stills and video, F-Log view assist for visualizing a LUT in-camera, 240 fps recording, a dedicated Q-menu for video and much more show that Fujifilm is serious about appealing to video shooters.

That’s why its decision to omit a headphone jack from the X-T4 is simply mind boggling, especially considering that the X-T3 includes one. Here’s the problem: being serious about adding features that people want and recognizing how customers actually use your product are two different things.

Being serious about adding features that people want and recognizing how customers actually use your product are two different things

For all the great improvements – and they are great – the X-T4’s design overlooks one of the most basic principles a video shooter cares about in the field: a reliable workflow with as few points of failure as possible. Every time you introduce something like an adapter between connectors you increase the risk of something going wrong. Some things will always go wrong in the field, but there are certain key things that just can’t go wrong, and the ability to monitor audio is one of them.

I’ve been here before

I was an early adopter of mirrorless cameras for video work and embraced models like the Panasonic GH2. There was a LOT of room for improvement in that camera, but I found reasonable workarounds for most things.

However, it had a big Achilles heel, and it’s almost the same one as the X-T4: it used a non-standard 2.5mm microphone jack that was incompatible with the standard 3.5mm plug on most hot shoe microphones (like the Rode VideoMic series).

I ordered a couple adapters and threw them into my bag, but adapters and dongles have a habit of disappearing or failing without warning. As a result, I subsequently ran into several situations where I couldn’t connect a microphone due to a missing or, in at least one case, a defective adapter. Was it the end of the world? No, but it was very disruptive and frustrating, particularly since the camera included a jack – just a non-standard one.

Requiring an adapter to monitor audio on the X-T4 is reminiscent of Panasonic’s decision to use a non-standard 2.5mm microphone jack on the GH1 (above) and GH2 – something that wasn’t popular among videographers.

When this happened, it didn’t matter how capable the GH2 was when it came to video quality. The fact that it introduced a point of failure to one of the most fundamental parts of my workflow did. Where will you be when you discover you’re missing the USB adapter for the X-T4? I don’t know, but the things I do know are 1) it’ll be precisely when you most need it, and 2) USB to 3.5mm adapters aren’t the easiest thing to replace quickly, unless you’re lucky enough to be close to a big box or electronics store.

If fairness to Fujifilm, there’s one way to get a headphone jack on the X-T4: you can use the battery grip. This may appeal to some people, but unless you need the grip it’s basically a really big dongle. The headphone jack should really be an integral part of the camera.

Why Fujifilm needs to get this right

Some may argue that the X-T4 isn’t a ‘real’ video camera, and therefore omitting a headphone jack isn’t a big deal. You’re right: it’s not a C200 or an FS7 or anything else in that class. It doesn’t have XLR inputs, SDI connectors or any number of other things. Also, one could fairly argue that the Fujifilm X-H1—a camera we praised for its video capabilities—had the same limitation, so why complain?

Because the basic definition of what a video camera is has evolved, particularly in the prosumer market; whether for size, budget or just familiarity, many creators—including enthusiasts exploring the world of video—are now using mirrorless cameras to produce content that would have required a pro video camera in the past.

Fujifilm, if you want to appeal to videographers please don’t introduce a potential point of failure to a critical part of the workflow.

I’m convinced that Fujifilm is trying to appeal to these users, and it’s certainly getting their attention with a product like the X-T4. Not only can it shoot beautiful video, but it’s a pretty self-contained, stand-alone solution thanks to all the tech packed into it.

Which is why removing a feature that’s so critical to the video production workflow, and which was included on the camera’s predecessor, is simply baffling. It suggests that while Fujifilm has done an amazing job of adding features that videographers will love, it still doesn’t quite understand how they work.

Despite what I’ve written here, I’m really looking forward to using the Fujifilm X-T4 to shoot video. It’s an exciting camera and I already know I’m going to love it, but I’ll have several USB to 3.5mm adapters in my possession before I commit to using it for anything serious.

Articles: Digital Photography Review (dpreview.com)

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How to Avoid This Travel Photography Mistake: Taking Snapshots

10 Dec

The post How to Avoid This Travel Photography Mistake: Taking Snapshots appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

When I teach travel photography workshops, I am always quick to encourage people not to rely on interesting subjects. An interesting subject does not always make a good photo. A good photographer does. So, in this article, you’ll learn to avoid just taking snapshots.

Travel snapshots

Taking snapshots when you travel is so easy. You find yourself in different, stimulating environments. They’re packed with exotic, compelling subjects provoking you to squeeze a quick photo as you rush by. Thinking the impressive subject is enough to create an appealing photograph is a mistake.

Pay attention to lighting, timing, and exposure. Taking snapshots without this care rarely hold anyone’s interest. You might find the most fascinating subject and not do it justice due to a lack of attention or time given to it.

Also, be careful of misconceptions about camera equipment. There are two main ones I notice.

‘I have a professional camera, so I take professional photographs’.

Just as a good subject does not make the photograph, nor does a good camera. A good photographer makes good photographs. Don’t rely on your camera to be creative. It cannot be. It is smart, that’s for sure. The artificial intelligence in modern cameras is phenomenal, but they are not creative. You are.

‘I only have my phone or compact camera so I can’t take good enough photos’.

You don’t need to stick to taking snapshots with a compact camera or phone. Don’t limit your creative expression because of the equipment you use. Sure, there are limitations with that kind of camera. You can still creatively capture interesting subjects when you put your mind to it.

Take your time

Slow down a little and think about how to make whatever it is that’s interesting into a great photo. Don’t rely on the subject alone. Every place you go, from Thailand to Turkey, you’ll find compelling subjects.

Something iconic needs to be treated with more imagination because everyone photographs it. To capture a photo of a monk in Chiang Mai or the Istiklal tram in Istanbul, you need to think outside the box. Everyone who’s been there has snapshots of these subjects.

Take your time when you find something engaging to photograph. Think about the lighting. Consider the best angle to photograph it from. Check out the background and make sure it’s relevant. Look at it for a while and ask yourself why you want to take a photo of it.

Don’t take only one photo

The first composition you make will not always be the best. Often it will be the most clichéd. The one everyone else takes.

Experiment with different angles and lens focal lengths. Make horizontal and vertical compositions. Try a dutch angle or two.

Always think about filling your frame. What’s within the edges of your viewfinder or monitor? Is everything you can see relevant and supporting your main subject? If not, do something about it. Change your angle, aperture or lens. Or wait. Sometimes you have to pause for people or traffic to move out of the background space. This will help your subject will stand out.

Be in control of your camera

Relying on an auto exposure mode and averaged metering gives you predictable results. Your camera is programmed to make even exposures. It’s not going to choose to expose for the highlights and let what’s in the shadows fall into blackness. Nor is it going to selectively slow down your shutter speed and purposefully allow motion blur to happen. You have to do these things.

Knowing your camera and how to control it will help you intuitively see when you can incorporate creative techniques. This will diversify the photographs you take. If you’re happy to use your camera like a point-and-shoot, then snapshots will fill your travel photo albums.

Taking your camera off the auto settings can force you to slow down (until you become more familiar with it). You can then think about all aspects of picture-taking at a more relaxed pace. Great photos are rarely quick.

Even most of the best street and travel photos are not taken on the spur of the moment. They are planned. They are preconceived. They are anticipated before the action happens, or the light becomes perfect.

When you do see something amazing happening and must react quickly, flick your camera back to auto. Take a few photos, and then, if you still have time, pop it back onto manual mode. Now you can get creative with your aperture and shutter speed.

Take a travel photography workshop rather than a tour

Many people use their camera predominantly when they travel. People have more time to take photos of interesting subjects when they travel. The problem is remembering all those settings. How can you get the most out of your equipment when you seldom use it?

Taking a travel photography workshop at the start of your vacation or journey will kickstart your creative process. You can learn to be more confident with your camera when you have a better understanding of how it works.

Picking up your camera and being stressed because you’re uncertain if it’s going to do what you want is not fun. A good tutor will walk you through the essentials of using your camera and build your confidence to do so.

A workshop will also give you hands-on experience on location. You’ll learn how to see the most interesting subjects and what to do with them. On a photo tour, all you usually get is a guide showing you interesting things to point your camera at. A workshop will equip you to take great photos wherever you go because you’ll learn how to use your camera in a multitude of different situations.

Avoid photographic clichés

It’s not difficult to avoid photographic clichés when you stop and think about it – even with iconic subjects. Slow down and enjoy the moment. Create a beautiful memory of it by thoughtfully composing your photos instead of taking snapshots.

Diversify your research. Don’t rely on Instagram to show you where the best photo opportunities are to be found. These are the places everyone will go and take the same boring pictures.

Think outside the box. Infuse your photos with creativity by looking for alternatives. Even if your subject is iconic, make it fresh and new in the way you choose to photograph it.

Do you have any other tips on how to avoid taking snapshots when doing travel photography? Do you have any stories to share? Please do so in the comments section.

The post How to Avoid This Travel Photography Mistake: Taking Snapshots appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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The Fujifilm X-Pro 3: Marvellous or Mistake?

29 Sep

The post The Fujifilm X-Pro 3: Marvellous or Mistake? appeared first on Digital Photography School. It was authored by Carl Spring.

Image: A marvelous innovation or a stupid mistake? Whatever your opinion, the new Fuji X-Pro 3 defin...

A marvelous innovation or a stupid mistake? Whatever your opinion, the new Fuji X-Pro 3 definitely has people talking.

Cameras are pretty similar these days. We all want the same things. Better dynamic range, better high ISO performance, and better autofocus.

Really, if you look at the majority of cameras out there at the moment, there are few things that set them apart. That was until Fuji dropped the X-Pro 3.

They did what with the screen?

In an incredibly bold move (or stupid, depending on which blogs you read), Fuji has done away with the standard rear LCD screen of the camera. They’ve replaced it with a much smaller screen.

It simply displays the key exposure information, or in a nod to the film cameras of days gone by, an image of the film simulation you are using.

The rear screen is not entirely gone though (although they apparently considered it). Instead, it is hidden from view and accessed via flipping it down from the rear of the camera.

Fuji claim this is to stop photographers spending time “chimping” and spending more time with the viewfinder to their eye instead, concentrating on making images.

Pure photography

Fuji launched the camera at the recent Fuji Summit where the Fujifilm X-Pro 3 was announced with a theory of Pure Photography.

The 3 elements of pure photography are:

Carry and access

You need to carry the camera and access the subject. This stated the camera has to be small, light and discreet. They state the camera should be an extension of your eye. This is then followed by talking about the durability of cameras.

Find and frame

You need to find the subject and frame it to get the best composition. Fuji stated that the viewfinder is the most important part of finding your composition.

Shoot to express

This is simply pressing the shutter and capturing the photograph. You don’t need to check a rear screen or distract yourself, you simply need to press the shutter.

This concept is definitely summed up in the Fujifilm X-Pro 3. Personally, the idea of removing distraction is appealing, and I’m sure I’m not alone. However, whether this camera has mass-market appeal remains to be seen. Fuji’s X-Pro line (including the x-Pro 1 and X-Pro 2) has always been a favorite of street photographers, and this is how Fujifilm are marketing the camera and the pure photography concept. They are marketing to those who want discretion and to focus purely on making the image.

I can imagine many wedding photographers loving this camera too. Not only for the discretion it offers when shooting, but for the fact that you will be thankful for the lack of a screen every time a tipsy relative asks, “give us a look.” It may even suit travel photographers.

OK, they killed the screen, but what else?

The Fujifilm X-Pro 3 had a couple of other things that are worth mentioning – starting with the choice of materials.

The use of titanium is something that Fuji has surprised many with. Titanium is more durable and lighter than the alloys seen in most modern cameras. Titanium is also notoriously hard material to work with, so we should applaud Fuji by the use of this in the X-Pro 3.

This means that the XPro 3 should stand up to the beating a working professional will give it.

Not only is it made of titanium, but it gives you three color options. You can get the X-Pro 3 in black, DURA black and DURA silver. DURA is a special type of coating that is ten times stronger than stainless steel in terms of scratch resistance.

It feels like Fuji built this camera for war zones.

Image: Available in 3 different finishes, two of which are designed to make the titanium body even m...

Available in 3 different finishes, two of which are designed to make the titanium body even more resistant to wear and tear.

The X-Pro 3 has Fuji’s hybrid viewfinder system. Fuji has upgraded this for the new model. It is set to be clearer, with a wider field of view and less distortion than previous models. The electronic viewfinder is also upgraded (as you would expect) to offer a higher frame rate, higher contrast, and a wider color space – finally, a set of specs that fit into the traditional camera upgrade.

The lack of a screen is something that differentiates the X-Pro 3 in Fuji’s camera lineup. In fact, this differentiates them from the camera market as a whole right now. Fuji has aimed this camera at a specific type of photographer. It remains to be seen whether there are enough of their market to allow this camera success.

If you want to watch the whole of the XSummit announcement, you can view it below. If you’re just interested in the X-Pro 3, skip to about 1:10 or so.

What are your thoughts on the Fujifilm X-Pro 3? Is it something that you are intrigued by? Or, did Fuji just make one hell of a mistake? Let me know in the comments below.

The post The Fujifilm X-Pro 3: Marvellous or Mistake? appeared first on Digital Photography School. It was authored by Carl Spring.

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6 Mistake to Avoid When You’re Starting Out in Photography

15 Jan

Like most hobbies or professions, every photographer started out somewhere. This usually means they also made mistakes along the way from which they have learned.

The thing to remember is that everyone makes mistakes – even seasoned pros might on the odd occasion get things wrong, but the key is to learn from your mistakes and move on. As you become more experienced the mistakes will get less and less, but in the meantime, here are six mistakes to avoid when you’re just starting out in photography.