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Fujifilm releases minor firmware updates for seven of its XC, XF lenses

11 Jun

Fujifilm has released minor firmware updates for seven of its Fujinon XC and XF lenses.

The company doesn’t elaborate on what exactly was fixed in each of the firmware updates other than a ‘fix of minor bugs.’ Still, for the sake of keeping up to date and preventing any of these unmentioned ‘minor bugs’ from affecting your workflow, it’s well worth it to download the update(s) and apply them to your Fujinon lenses.

Below is a list of each of the lenses and a link to their respective firmware updates:

XF 10–24mm F4 — firmware version 1.13
XC 15–45mm F3.5–5.6 — firmware version 1.03
XC 16–50mm F3.5–5.6 OIS II — firmware version 1.12
XF 18–55mm F2.8–4 — firmware version 3.23
XF 18–135mm F3.5–5.6 — firmware version 1.12
XC 50–230mm F4.5–6.7 OIS II — firmware version 1.11
XF80mm F2.8 — firmware version 1.12

Instructions on how to install the new firmware are listed on each of the download links above.

Articles: Digital Photography Review (dpreview.com)

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Video: Photographer Alan Schaller offers seven tips for black and white street photography

12 Feb

Cooperative of Photography (COOPH) has published a new video featuring London-based photographer Alan Schaller, who introduces viewers to seven tips for shooting black and white street photography. The video packs the seven tips into five quick minutes.

Schaller’s tips are relatively straightforward, including the recommendation that photographers should go out and shoot in black and white on purpose, should focus on what makes black and white photography interesting and that they should change their perspective.

As well, Schaller recommends that budding black and white street photographers learn to adjust to the lightning situation, ‘make good use of’ their environment, shoot images with a ‘good range of contrast’ and, finally’ to ‘edit wisely.’

Articles: Digital Photography Review (dpreview.com)

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Canon launches its Sumire Prime collection with seven PL-mount cinema lenses

04 Apr

Canon has announced the Sumire Prime collection, a set of seven Canon cinema lenses that use the PL-mount — a first for Canon, who has previously only ever offered its cinema primes in its own EF-mount.

The Sumire Prime lens collection includes the 14mm T3.1 FP X, 20mm T1.5 FP X, 24mm T1.5 FP X, 35mm T1.5 FP X, 50mm T1.3 FP X, 85mm T1.3 FP X and 135mm T2.2 FP X. All of the lenses in the collection feature an 11-bladed iris, are color balanced across the lineup and have the same minimized focus breathing as Canon’s EF-mount cinema prime lenses.

Sumire — pronounced ‘soo-mee-ray’ — is a word of Japanese origin that is most often associated with ‘a floral gentleness and beauty,’ a characteristic Canon sees in its new lens collection.

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Beyond a whole host of third-party full-frame and Super 35mm PL-mount cameras, the Sumire Prime lenses will work with Canon’s entire lineup of Cinema EOS full-frame and Super 35mm 4K cameras as well. In the event an EF-mount is needed, Canon is offering the option to swap the PL-mount for an EF-mount at its Canon Factory Service and Repair center, a process that can be reversed if needed.

The Canon CN-E24mm T1.5 FP X, CN-E35mm T1.5 FP X, CN-E50mm T1.3 FP X and CN-E85mm T1.3 FP X lenses are scheduled to be available in Summer 2019; the Canon CN-E14mm T3.1 FP X lens in Fall 2019; and the Canon CN-E20mm T1.5 FP X and CN-E135mm T2.2 FP X lenses in Winter 2019/Spring 2020.

Press release:

CINEMATIC IMAGING REIMAGINED: INTRODUCING SUMIRE PRIME LENSES FROM CANON

The Company’s First Set of PL-Mount Cinema Prime Lenses Merge the Art and Science of Cinematography

MELVILLE, N.Y., April 3, 2019 – Covering the core range of focal lengths that cinema professionals desire, Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to announce the company’s first set of seven cinema prime PL-Mount lenses, aptly named Sumire Prime. Pronounced“Soo-mee-ray,” the word is of Japanese origin and is associated with a floral gentleness and beauty. Sumire Prime Lenses offer a unique artistically pleasing look with gentle and beautiful skin tones and smooth bokeh, designed for use with large-sensor cinema cameras, including 35mm full-frame cameras such as the EOS C700FF Cinema Camera.

In addition to bright T-stops and Canon’s renowned warm-color imagery, a unique optical design introduces a nuanced look as the lens aperture approaches its maximum setting – subtly modifying the textural renderings of the human face closeup. It also smooths the transition to the fall-off portions of the scene resulting in a pleasing bokeh. This combination adds emotional expressiveness and provides creative flexibility to create a memorable scene.

“Sumire in Japan is the name of a flower, and like the petals of a flower, our lenses are most beautiful when fully opened. This is the inspiration behind the Sumire look,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc. “The feedback from cinematographers is crucial and their voices have beenheard loud and clear – they asked Canon to introduce a set of PL-mount cinema prime lenses. We went a step further and our new Sumire Prime Lenses produce the beautifully cinematic and unique images professionals desire. We can’t wait to see how the lenses will contribute to the art of filmmaking.”

The new set of seven Canon Sumire Prime Cinema Lenses include the following:

CN-E14mm T3.1 FP X
CN-E20mm T1.5 FP X
CN-E24mm T1.5 FP X
CN-E35mm T1.5 FP X
CN-E50mm T1.3 FP X
CN-E85mm T1.3 FP X
CN-E135mm T2.2 FP X

All Sumire Prime lenses feature an 11-bladed iris and bright T-stops that allow users to capture images that feature a more natural circular-like bokeh from both maximum to minimum aperture. The use of an odd number of iris blades also helps to diffuse light rays and produce what is generally considered a more sought after, artistically pleasing and cinematic look with warmer colors. The lenses also achieve uniform color balance throughout the lineup, helping to reduce the need for post grading, even when a production is frequently changing lenses.

The highly durable Sumire Prime lenses feature the same outstanding operability and reduced focus breathing as Canon’s well-established EF-Mount Cinema Prime Lenses. Manual operation provides users with the resistance they desire to make precise changes in focus. A 300-degree focus rotation angle and gear position is consistent across the entire Sumire Prime series of lenses – eliminating the need to adjust gear positions when changing lenses.

“The new Sumire Prime lenses are the perfect blend of science and art,” says cinematographer Matt Porwoll, who shot the first U.S. footage with the lenses. “The bokeh comes alive in ways that weren’t occurring with other lenses I’ve used. Lens flares have a dynamic feel to them, rather than behaving in a formulaic manner. I wish I had these on my last project!”

The Sumire Prime Lenses are compatible with the complete lineup of Canon Cinema EOS full-frame and Super 35mm 4K cameras, including the EOS C700 FF, EOS C300 Mark II and EOS C200. In addition to Canon cameras, the new lenses are also compatible with the latest full-frame and Super 35mm PL-mount cameras from leading manufacturers. Additionally, the mount on the Sumire Prime Lenses is interchangeable and can be converted from PL-Mount to EF-Mount at a Canon Factory Service & Repair center. A Canon representative will be able to perform the service or even revert back to original PL-mount upon request at an additional cost*.

Availability

The Canon CN-E24mm T1.5 FP X, CN-E35mm T1.5 FP X, CN-E50mm T1.3 FP X and CN-E85mm T1.3 FP X lenses are scheduled to be available in Summer 2019. The Canon CN-E14mm T3.1 FP X lens is scheduled to be available in Fall 2019. The Canon CN-E20mm T1.5 FP X and CN-E135mm T2.2 FP X lenses are scheduled to be available in Winter 2019/Spring 2020.

For more information, please visit: usa.canon.com/cinemalenses.

Articles: Digital Photography Review (dpreview.com)

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Seven Steps for Post-Processing a Pure White Background

21 Mar

The post Seven Steps for Post-Processing a Pure White Background appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Photographs with clean, white backgrounds are extremely popular with

Stock agencies
Amazon
Graphic Designers
Magazines and websites

Seven Steps for Post Processing a Pure White Background Three Mangoes in a Bowl

The original background with a white border around it to clearly illustrate the contrast between pure white and off white

Producing pure white backgrounds is imperative. A background that’s not quite white looks terrible on a white page.

In this article, I will walk you through one method of post-processing I use to isolate subjects and give them a white background.

Choosing your photos carefully

Some photos are far more difficult to work with than others when you want a white background.

Any subject that’s fuzzy or hairy will be problematic. As will any blurred subject. Whether it’s focus or motion blur, you will have difficulty in obtaining a good clean transition with the background.

Smooth, clean edges are the easiest to work with. So if you want to sell wigs on Amazon, you are in for a tough time. It’s better to make sure you have a pure white background that requires no post processing with such subjects.

Seven Steps for Post Processing a Pure White Background Chicken Nerd

Step # 1

Choose your subject and photograph it against a clean, contrasting background. If the background is too busy, it will make isolating on white more difficult.

Keep your subject a good distance from the background. Use an aperture setting that keeps all your subject in focus, but the background is out of focus.

If your subject happens to be moving, make sure to choose a fast enough shutter speed to stop the motion. Making sure your subject is sharp will make post-processing much more straightforward.

Step # 2

Open your file in Photoshop. Make sure it’s the highest resolution jpeg file it can be. Working with low-resolution images is more challenging, but larger ones will slow your computer down.

You need to find a balance here. If you start working through these post-processing steps and find your computer is not handling it, downsize your photo and start again.

Choose the Select and Mask tool. You’ll find this in the Select Menu at the top of your window. Change the View Mode to an option that allows you to see your changes easily. I prefer the Overlay Mode.

Seven Steps for Post Processing a Pure White Background Select and Mask Menu

Choose the Select and Mask option from the drop-down menu.

Step # 3

With the Quick Selection tool, draw around the inside of your subject. Do this slowly, so Photoshop has time to render your action.

Pay careful attention to the areas you are selecting. You do not want to have any part of the background selected. If parts of the background are selected, paint over them with the Refine Edge brush.

Zoom in so you can see what you’re working on more clearly.

Seven Steps for Post Processing a Pure White Background Overlay Mode

Step # 4

When you’re all done and are satisfied your subject is masked, it’s time to output again to the main window in Photoshop.

Select New Layer with Layer Mask from the Output options and click OK.

Step # 5

Add a white background by clicking on the New Fill or Adjustment Layer icon at the bottom of the Layers Panel. Choose Solid Color and set it to pure white.

Step # 6

Check around the edges of your subject. Can you see any of the old background?

If you can, select the mask on your main layer in the Layers Panel. Choose the Brush tool and make the color Black.

Make sure the mask is selected.

Paint carefully over the areas where you can still see the old background. You may need to lower the opacity of the brush and adjust the feathering to achieve the best results.

If you have not done this before it can be challenging. However, don’t worry, if you erase parts of your subject, switch the brush color to white and paint back over them. They will re-appear.

There are various other methods and tools for erasing unwanted backgrounds. This is the best way I have found for images which are not too complicated.

Seven Steps for Post Processing a Pure White Background Clean Edges

Step # 7

Crop out any extra white space and save your new photo with your subject isolated on white.

Seven Steps for Post Processing a Pure White Background Clean White Background

Conclusion

This is one way to achieve a white background. As with most post-processing procedures, there is more than one sequence of steps which will provide an acceptable result.

Practice and experiment to find the workflow which works best for you.

Are you experienced in creating clean white backgrounds using other methods? Do you have any tips to share? Please share them in the comments section below.

The post Seven Steps for Post-Processing a Pure White Background appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

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Seven Great Ways to Control the Photography Background

29 Oct

Much thought goes into photographing an interesting, compelling main subject. In concentrating too much on the main subject though, it’s possible to neglect an equally important part of the photo – the photography background. The background needs to be controlled to achieve a great photo, and in this article, you’ll learn the various ways to do this. So let’s look at the various strategies you can employ.

1. Look to the light in the photography background

The creative use of light is what makes a good photo. That means you need to be in control of this key element. Control this, and your photo should be better for it. In the majority of cases that light is daylight though, of course, there are artificial light sources as well. Those looking to know where the sun is can use a great website called Suncalc, which is also available as an app. So how does this relate to your background? Well knowing where the sun is rising and setting means you can plan for sunset and sunrise skies in your background. Equally, you’ll know when the sun is in the optimum position to light up your main subject properly. Having a poorly lit subject often impacts the background, which is overexposed to compensate for an under-lit main subject.

Seven Great Ways to Control the Photography Background 1

One option for the background is to underexpose it. This woman is lit by a strobe to the left of the camera.

Low key photography background

A great choice to control your background, especially for street photography, is to underexpose it relative to your main subject. To achieve this, you’ll need to find somewhere that lets a beam of strong sunlight in, like a gap in the roofing at a market. Now the aim is to photograph your subject in that sunlight, and in so doing underexpose the background by -2 to -3 EV.

2. Things can change with the seasons

The position of elements in the sky, such as the sun, the moon and the milky way, all change with the seasons. Knowing when to visit a location so that the background lines up with your photo requirements is another crucial step to make. Once again, Suncalc can help you here, or for astrophotography, Photopils is a great resource. Good landscape photography takes planning. Some photos are only possible for a few days per year, and you’ll need luck with the weather on those days.

Seven Great Ways to Control the Photography Background 2

The Milkyway appearing behind Durdle Door during Spring.

3. Change the angle

Photography is the art of subtraction, and a busy background is an easy way of adding more elements to your frame than you need. A simple change in the angle can avoid such elements as wires or unwanted people in the background of your image. Keep your photo as simple as possible, with your background often needing to be a minimal element of the frame.

Seven Great Ways to Control the Photography Background 3

This photo is effective because the background and angle chosen help to frame the model.

4. Use leading lines

Closely related to changing the angle of your photo is using leading lines to your subject from your background. Those lines are a great way to bring the viewers eye to your main subject, thus, making that background an essential element of your photo. A photographers favorite is the use of tunnels, where lines lead from an infinity point to your main subject. Using this gives you more control over your frame and results in a photo with real impact. A shallow depth of field isn’t always necessary when using leading lines, as the lines hold the background together.

Seven Great Ways to Control the Photography Background 4

Leading lines and tunnels are a favorite of photographers.

5. Line up foreground and background elements

It’s not just about lining up leading lines and avoiding distracting elements in your background. Particular elements in your background can be lined up to compliment whatever you have in the foreground. An example of this is when your background is blurred out with bokeh. In that background, there can be lighter and darker portions. You can also position your main subject in front of a patch of brighter background to highlight this area, and provide a natural frame.

Seven Great Ways to Control the Photography Background 5

The center of the Japanese flag in the background makes and excellent frame.

6. Aperture controls the background

One of the most effective controls you have over the photography background is aperture. What this does is controls the depth of field, allowing you to blur out the background if you wish. Bokeh is the term given to the out of focus portion of an image, often in the background. You can produce bokeh by opening up your aperture, usually on a prime lens. It’s also possible to produce bokeh with a long focal length, as long as the background is some distance from the object you’re focusing on. So controlling the aperture is one of the easiest and most effective ways of controlling your background.

Seven Great Ways to Control the Photography Background 6

Background bokeh can be an attractive element of a frame.

7. Textured backgrounds

Another option available to photographers is to use a textured background. Find a background, like a wall, that has a pattern or texture to it. Photography backgrounds that work well include: brick walls, old decaying facades that have one color, or metal shutters that shops use when they’re closed. Chances are, you’ll be photographing a model in this situation, and a clean background works well for this style of photo.

Seven Great Ways to Control the Photography Background 7

A natural photography background can also work well. In this example, the grass in the background is blurred out.

What do you look for in a background?

There are many ways to create an excellent background in your image. Which of the suggestions in this article do you like to use? Is there a different way of controlling the background that you like to use? This article aims to make you think a little more about the background of your photo, the next time you go out with your camera. So please share your thoughts, and comments with us. Let’s see some of your fantastic photography backgrounds in the comments section!

The post Seven Great Ways to Control the Photography Background appeared first on Digital Photography School.

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Video: Seven ‘hidden secrets’ in Adobe Lightroom

16 Jul

It’ll be a little while before Adobe can deliver on its recent promise to make Lightroom faster, but that doesn’t mean you can’t still figure out ways to make the program work faster for you. Case in point: photoshopCAFE founder Colin Smith has put together this really useful video outlining 7 ‘hidden secrets’ in Adobe Lightroom that will definitely help you get more out of the Raw editor.

Some of these tips are genuinely useful, and we’re going to guess that at least one or two of them will be new to you even if you’ve been using Lightroom for years.

Smith covers the tips in detail (and shows you how to use them) in the video above, but here’s the TL;DW version:

Right click in the panels of the Develop module and enable ‘Solo Mode.’ This only allows one panel to stay open at a time, collapsing the rest.
Click and drag your panel sidebar out to the left to make your sliders longer.
Hold down Command (CTRL on Windows) and double click the center of a shape like a radial filter, and it will automatically snap to the edges of the photo you’re editing.
Right click and uncheck to hide both modules and panels you don’t use.
The Develop module doesn’t work on videos, but you can sync edits made to a single frame of that video onto the full thing. Just pull a frame, edit it, and then select the frame and video both and click Sync.
You can turn any collection into a ‘Quick Collection’ by right clicking it and selecting ‘Set as Target Collection.’ Now you can curate photos into that collection with a single click.
If you have multiple photos selected, you can still see the metadata for an individual photo without deselecting the bunch. Just click Metadata > Show Metadata for Target Photo Only.

And that’s it! Obviously these tips are easier to take in by actually watching the video, so click play, learn a little something and let us know which (if any) of these ‘hidden secrets’ were actually new to you.

Articles: Digital Photography Review (dpreview.com)

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Fujifilm X-Pro2 versus X-T2: Seven key differences

17 Jul

Fujifilm X-Pro2 versus X-T2: Seven key differences

In the X-T2 and X-Pro2, Fujifilm offers two flagship cameras that have a lot in common, but are designed for slightly different purposes. So which one should you buy? We’ve broken down the key differences.

Video

Let’s get probably the biggest differentiator out of the way right up front – the X-T2 offers 4K video, while the X-Pro2 makes do with standard HD. The addition of 4K to the X-T2 surprised us a little when we first saw it on the spec sheet, but it’s clear that Fujifilm sees this feature as an important ‘must have’ in a camera as versatile as the X-T2. The X-T2 can record video in clips up to 10min duration, or 30min when the optional power booster grip is attached.

The X-Pro2, on the other hand, is meant for a different kind of photographer – one who is more stills-oriented, and more likely to shoot with prime lenses than zooms. The addition of 4K to the X-Pro2 would have certainly increased its cost – and the engineers tell us that it would also have increased its size and weight as a consequence of the necessity for a beefed-up heat sink. So if you need 4K, the X-T2 is the camera for you.

Rear LCD screen

The X-Pro2, being the more ‘traditional’ of the two cameras, has a simple, fixed rear LCD. In contrast, and in keeping with its ultra-versatile ‘do anything’ design philosophy, the X-T2 features a complex, multi-articulating screen that enables easy framing from high and low angles in both landscape and portrait orientations. This articulating design is also more useful for video work.

The decision by Fujifilm (which actually manufactures capacitive membranes for touchscreens) not to include touch sensitivity in either camera is a little disappointing. Also a bit odd is the resolution difference between the screens on the back of the X-T2 and X-Pro2. The X-Pro2’s screen resolution is 1.6 million dots – somewhat higher than the 1.04 million-dot screen on the back of the X-T2 (it’s the difference between 900 x 600 rather than 720 x 480 pixels).

So in summary: If you want screen articulation, go for the X-T2. If you don’t mind a fixed screen, you’ll get slightly higher resolution from the X-Pro2.

Viewfinder

At a quick glance, the electronic viewfinder specifications of the X-Pro2 and X-T2 are very similar. Both are centered around the same 2.36 million-dot OLED display, and both offer a window on the world that is both sharp and detailed. But the X-T2’s electronic viewfinder is the better of the two, for a couple of important reasons.

First is the addition of ‘burst mode’ to the X-T2, which increases the refresh rate of the live view image in the camera’s viewfinder to 100fps. And second is the complex optical assembly (shown above) that focuses the viewfinder’s image into your eye. The X-T2’s EVF is one of the best electronic finder that we’ve ever used. Its unusually high magnification of 0.77X and 100% frame coverage place it a level above the 92% coverage and 0.60X of the X-Pro2.

But before we dismiss the X-Pro2 altogether…

Viewfinder

The X-Pro has one major trick up its sleeve – its viewfinder is a ‘hybrid’ type, that also offers a rangefinder-style optical view, which employs frame-lines to preview composition.

The difference between an optical and electronic viewfinder experience is hard to explain until you’ve compared them directly, but if you’re shooting with prime lenses between 28 and 50mm equivalent, the X-Pro2’s optical finder is a delight. Electronic manual focus assist in optical finder mode is an added bonus. The X-T2’s fully electronic finder is a better choice if you’re primarily a zoom lens user.

Ergonomics

While the basic control logic of the X-T2 and X-Pro2 is very similar (and more or less standard across the entire X-series) the two cameras are ergonomically quite different. The rangefinder-style X-Pro2’s viewfinder is positioned off to the left of the camera (with its back facing you) while the X-T2’s finder sits in a DSLR-style ‘hump’ in line with the lens axis.

Which of these designs appeals more to you is a matter of personal preference (skip back to the previous slide for a better explanation of the technical differences between the two cameras’ viewfinders) but the experience of shooting with them is subtly different as a result.

The X-Pro2 (shown above) is designed with stills shooters primarily in mind, and more specifically, stills shooters who like to use prime lenses. The X-Pro2 doesn’t handle quite as well with Fujifilm’s longer, heavier zooms, whereas these are the kinds of lenses that the X-T2 is specifically designed to be paired with. With the optional power booster grip attached, the X-T2 balances nicely, even with Fujifilm’s beefiest lenses. And of course, that grip also duplicates key controls for vertical format shooting.

Faster…

Of these two cameras, the X-T2 is the faster. Designed to cater to the needs of sports and action photographers the X-T2 boasts a maximum continuous shooting rate of 8 fps, with continuous autofocus. This can be increased to 11 fps in boost mode, with the optional grip. The fastest framerate with live view maintained is less, at 5 fps, but this is still plenty fast enough for most subjects. In fully electronic shutter mode, maximum framerate caps out at 14 fps.

The X-Pro2, in contrast, is limited to 8 fps with autofocus, and a mere 3 fps with live view maintained in the viewfinder.

These are different horses designed for different courses. The speed-oriented X-T2 also boasts a USB 3.0 interface, capable of considerably greater data transfer rates than the USB 2.0 interface of the X-Pro 2. In addition both the X-T2’s SD card slots are compatible with the latest UHS-II interface type, whereas only the #1 slot of the X-Pro2 can make full use of these cards.

…and longer

As well as increasing the X-T2’s speed and duplicating its controls for vertical format shooting, the optional power booster grip also triples the camera’s battery life. It’s not magic – the grip simply accommodates an additional two batteries, bringing the total number of available cells to three. Hence three times the endurance, to a rated ~1000 exposures.

The X-Pro2 lacks an accessory grip, and endurance caps out at around 250 exposures with the EVF, and ~350 when the optical finder is used (CIPA ratings in all cases).

Autofocus

The X-T2 incorporates Fujifilm’s most advanced autofocus system yet. It boasts 325 AF points (169 of which offer phase detection) which work in concert to offer a ‘hybrid’ autofocus system. Extensive customization of the X-T2’s continuous autofocus performance is made possible with Canon-style AF setting ‘sets’.

For now, the X-T2’s AF is superior to the very similar system found in the X-Pro2, but this is Fujifilm we’re talking about – the most firmware updatey company of them all (except perhaps Samsung – RIP). As such, we’re told that the X-Pro2’s autofocus system will be brought up to par with the X-T2’s in terms of baseline performance by way of a firmware update scheduled for autumn.

Autofocus

Note that the X-T2’s AF-C customization options (above) will remain unique to this model though, meaning that the X-T2 will remain a better choice if AF performance – or action photography in general – are your priorities.

Which one should you buy?

If you’re in the market for a new camera and the Fujifilm X-Pro2 and X-T2 are on your list, chances are that both will keep you pretty happy. As far as image quality is concerned, we’re very pleased by the output from their 24MP APS-C sensor, and in video mode, both models are lightyears ahead of previous-generation X-series cameras. The X-T2 scores over the X-Pro2 in terms of video simply by the addition of a pretty impressive 4K specification, and both cameras produce good-looking HD footage.

Beyond the basics, the X-Pro2 is probably a better choice for prime lens photographers, thanks to its off-center hybrid viewfinder which offers both electronic and optical viewing options. If you mostly shoot candids, street portraits or non-moving subjects in general, its lower maximum shooting rate, (slightly) more basic AF system and non-articulating LCD screen might not bother you at all.

In contrast, the faster, more action-oriented X-T2 is a better all-rounder. It can take pictures more quickly, its viewfinder can refresh more quickly, the rear LCD articulates in useful ways, and with the optional power booster grip attached, it offers a vastly better battery life. It’s also much more comfortable to use with Fujifilm’s heavier zoom lenses than the boxier X-Pro2.

Did we miss anything? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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Seven more DIY photography tips using household objects

12 Jul

The Cooperative of Photography received a lot of attention recently for a video featuring seven easy photographic hacks using household items. Now they’ve released a follow up video with seven more neat tips and tricks. It might just help you kick of a fun weekend photo project. Learn more

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Seven photographic hacks, one short video

08 May

Screen_Shot_2014-05-07_at_10.08.35_AM.png

Photographers love simple solutions to challenging problems. How many of us have saved a shoot with a strip of duct tape and a piece of cardboard? This three-minute video shows seven clever photographic ‘hacks’ – from using an egg timer and GoPro for a panorama to creating a Gary-Fong style diffuser with a Tupperware container to creating a neutral-density filter out of welder glass and rubber bands. Learn more

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