We were live this morning discussing the Olympus E-M1X and answering questions from our community. You can re-watch the video here, and we’ll try to address those questions we couldn’t get to, in the comments below.
Tag: About
-
7 Things I’ve Learnt About Photography From Pablo Picasso
One of my favorite photographers, Ernst Haas, said we should seek inspiration from anywhere and everywhere. Listening to music, looking at paintings and sculptures, and reading books feeds your imagination more profoundly than just looking at the work of other photographers.
I think this is true. Exploring the work of a painter I love is as enriching to me as exploring a new city at sunrise. Similarly, wandering through a forest and photographing the sunlight filtering through the trees.
Our minds are hungry beasts. We think around 60-70,000 thoughts every day, with the majority of them being the same thoughts we had yesterday (and the day before). That’s scary. You can see how easy it would be to live life on autopilot.
We can choose to think the same thoughts as yesterday, or we can feed our minds with new ideas – be they visual, sensory, words or music.
One artist who has inspired me with his work and ideas is Pablo Picasso. When he spoke about the artistic process, he articulated many of my core beliefs about taking photos.
He reminded me of the most exciting and essential elements of living a creative life. In the busy-ness of life, I so often forget.
Today I’d like to share some of Picasso’s ideas that are incredibly inspiring and impactful on any photographic journey.
1. “Art washes away from the soul the dust of everyday life.” – Pablo Picasso
This quote of Picasso’s sums up why I dedicated my life to photography. Why I let it be almost everything that I am.
There is something about photography that deeply stirs my soul. I feel more alive while taking photos than I do with most other things.
Playing with my kids or talking to my teenage son deep into the night about challenges he faces, brings a similar feeling of purpose. However, very little else matches the feeling I get in the act of creation.
Photography is a life-affirming pursuit. It makes me feel I am not just skating on the surface of life – rushing to and fro, writing emails and filling in forms.
Of course, there is nothing wrong with either of those activities, but do they really make you feel alive?
We all have to live and do necessary mundane tasks. But, we can also commit to making a vast amount of space in our lives for things that create deeper satisfaction in ourselves.
2. “Inspiration does exist, but it must find you working.” – Pablo Picasso
This quote of Picasso’s is a testament to say: take photos even when you’re not in the mood, even when you’re only getting rubbish images. The only way to get that fantastic image is to keep going.
You never know when the light may dramatically change, making the scene before you look eerily beautiful. Alternatively, an intriguing stranger might walk past doing something peculiar!
Even though I am a professional photographer, I sometimes suffer from procrastination as much as the next person. I intend to go out shooting but get distracted by my kids or get too tired after a heavy meal.
I realize if I’m not out there, I’ll never know what experiences, and then what photos, I’m missing. That seems like an insane waste of life.
Keep going. Continue searching for that great scene, interesting person, or a beautiful landscape. Whatever it is that floats your boat, go and find it.
3. “Art is the elimination of the unnecessary.” Pablo Picasso
I look at thousands of photos on my workshops. One thing I see regularly is people making images too complicated. When your images are too complex, you are not defining your subject correctly.
There’s a myriad of compositional ideas you can use to help define your subject. For example, Rule of Thirds, creating clean backgrounds for your portraits and breaking the world down into elements.
The overarching concept in all of these ideas about composition is to eliminate all that is unnecessary.
Photography is a process of choosing what to put in the frame, and what to take away. It is wise to make your composition, then look and think. What isn’t working here? What do I need to remove?
For example – one common mistake many photographers make is not checking their corners. It’s amazing how often people spend so much time composing their subject, but not checking all around the frame, especially the corners, to see that everything within it should be there.
Therefore, creating images is not just – ‘what do I put in the frame?’ But also – ‘what do I take away?’
4. Creating Feeling Within Your Images
“There are painters who transform the sun to a yellow spot, but there are others who, with the help of their art and their intelligence, transform a yellow spot into the sun.” – Pablo Picasso
The same is true for photographers. You can photograph any number of things, and it looks entirely real. However, what does it feel like when you look at your photograph?
It is all too easy to just document, without creating any sense of what it feels like to be in that hot and humid city, to look at that face, to feel the textures of the buildings you are capturing.
Photographing a cold winter’s morning is simple. Nevertheless, to translate the feeling of what it would feel like to stand in a misty field, with cold biting your face and a deep feeling of eeriness as fog rolls in across the land – that is another skill entirely.
Ultimately, the success of any photo is whether it creates an impact for your viewer. The only question you need to ask is, ‘does this image invoke a feeling?’
It’s not just what we see that creates an impact, but the feeling that is created within our bodies when we see something that we love, dislike, or invokes joy, or sadness.
Feelings are what we remember. Images have no sense of feeling are instantly forgettable.
5. “I am always doing that which I can not do, in order that I may learn how to do it.” – Pablo Picasso
One of the things that surprised me about being a parent is how quickly young children latch on to the idea, ‘I can’t do this now, so I’ll never be able to do it.’
Once you have allowed that thought into your mind, it can quickly mushroom until you are utterly convinced that you can’t do something. Never, ever.
I see it in my children, and I see it in 70-year-old clients who come to my workshops. I have to say that, ‘I can’t do this, so I’ll never be able to it,’ is one of the most destructive ideas for your photography.
Of course, the technophobe might never become the most skilled camera person alive. In contrast, they can overcome their self-perception and become competent and confident with their cameras. I see proof of this regularly.
One of the most exciting ideas I have noticed coming out of the science community in recent years is the idea of Neuroplasticity.
Instead of the old belief that our brains become ‘fixed’ and unchangeable as we enter into adulthood, we now understand that brains are completely changeable.
In fact, at any point in life, one is able to totally rewire thoughts and beliefs we hold about ourselves.
“The man who thinks he can and the man who thinks he can’t are both right.” – Confucius
Think of all the things you believe you can’t do with your photography, and go out and challenge those beliefs.
If you believe you can’t do street photography, but would secretly love to try it, do it!
If you think you’ll never master manual mode, read up on it. Go out as often as you can. Make a ton of mistakes. You’ll get it eventually.
If like me, you think, ‘I’m not a nature photographer, but I’d love to try it,’ go and spend time in nature. Experiment, play and try new things.
As long as you approach the world with the attitude of ‘I can,’ you probably will.
6. The World is Rich With Ideas
“A piece of space-dust falls on your head once every day… With every breath, we inhale a bit of the story of our universe, our planet’s past and future, the smells and stories of the world around us, even the seeds of life.” – Pablo Picasso
Of course, photography starts as a technical exercise. You need to use a machine, often with a little computer in it. Fully get to know the machine you are using. At least to the place where you are comfortable.
Photography is a union of the technical and the creative. The creative part of photography comes from an ethereal place within you that is unique.
Your creative vision flows from everything that has made you who you are – your experiences, your life, what you love and what you detest.
It also comes from the world around us; from the feeling of history we experience when we walk through old city streets; from the awe of looking at a majestic five hundred-year-old tree.
The world isn’t a flat surface. Everywhere we look we see the ‘moment;’ the weather; the time of day. We also know that in a few hours everything we are currently seeing can change.
Most people are so locked in their minds and focused on themselves that they don’t open themselves up to the mysteries of the world.
There are stories and ideas all around us that can inspire us in our photography, can provoke new ideas and adventures for us.
All we have to do is pay attention and commit to the awesome power of photography.
7. “Only put off until tomorrow what you are willing to die having left undone.” – Pablo Picasso
The older I get, the more I feel like I need to demand of myself. That by the end of each day I want to be profoundly and truly satisfied. Not just to be content, or to have my to-do list full of check marks.
I want to have created something. Something that is entirely my own. A creation that no one else could have, because they are not me.
Photography gives us that, and I love that it does. It can give us opportunities to see, feel and experience more of the world.
Without photography, life would not be anywhere near as rich and meaningful as it is.
When faced with either sleep or the chance to catch an amazing sunrise – I get up to photograph the sunrise.
Our lives are speeding along and, although we are aware of this, we become complacent. In a subconscious part of ourselves, we truly believe we live forever. The possibility of not existing doesn’t seem right.
Our time on this planet is finite. If we acknowledge that we are organic beings, it can motivate us to demand more of what we truly want from our lives.
For me, it’s exploring and taking photos. It’s creating art and sharing it with others or showing people what beautiful things I see all around me.
Of course, your photography journey is different from mine.
You may record the breathtaking journey of your children from babies into adulthood or documenting the joyous color of flowers.
Alternatively, you may be climbing snowy mountains and showing the world the awe-inspiring landscapes you witness. You may be documenting the strange and humorous things we humans do when out in the world, inhabiting our little bubbles as we move around the streets, unaware of the world watching us.
There are so many ways to be a photographer. So many things to document, explore and see. Follow your own path.
Just be open, and inquisitive. Look around you and open your mind to everything you don’t usually notice.
By showing yourself and others what you see in this world, you open up other people’s perspective of the world around them. You take them out of their hectic bubble – full of the 24/7 news, the list of things to do, the emails and daily demands of daily life.
You give them a gift of seeing — a gift of taking a moment to stop and stare in awe at what the world has laid out before us.
It’s a pretty exciting, amazing and incredibly life-enhancing pursuit taking photos.
Have these ideas fed your creative soul? If they have helped you demand more from your photography, and to take more time out of your life to commit to this fantastic pursuit, let me know below. It’s always great to hear from you.
The post 7 Things I’ve Learnt About Photography From Pablo Picasso appeared first on Digital Photography School.
-
The Truth About Becoming a Professional Family Photographer
So you’re growing restless with your place in life, and thinking of becoming a professional family photographer? You know it’s what you want to do, but there seem to be a lot of obstacles holding you back. If only you could take a quick peek into the future and see if it will really work out for you.
Unfortunately, there’s no way to see the future. But would hearing from a photographer a few years ahead of you help?
I’ve been there myself and encouraged others along the way. And I hope I can inspire you too.
My first photography job had me working with dozens of kids every day. I didn’t know how to work the camera. Everything in the studio was preset. But what I did learn was how to work with people, especially kids. That is one of the most valuable parts of my family photography business.
Am I Good Enough?
Chances are many of your doubts relate to one question: ‘Am I good enough?’ But keep in mind that’s different from asking, ‘Are my photographs good enough?’
Are your photographs good enough? Do you know how to work your camera, and take the photo you envisage in your head? Do you get good responses from people when you put your photos out there? Do other photographers give you encouraging feedback?
If you can’t answer ‘Yes’ to these questions, then you probably need to improve your skills. But if you can, then you are good enough. And you’ll keep getting better through experience. Eventually, you’ll know you’re good enough because everyone who hires you will love their photos.
Begin with competence, and the confidence will come with time.
Along the way, you may be really hard on yourself. You might be a great photographer who pleases the families that hire you, and yet you still feel inferior. Learn to be honest with yourself, and start assessing your work from other people’s perspective.
At first, it may feel really awkward taking photographs of families you don’t know. Learn to embrace that awkwardness and be comfortable with new people, silences, and the occasional tears.
I Don’t Have a Defined Style Yet
You don’t need a defined style when you’re starting out. You’ll develop your style along the way. You don’t really know what you’ll encounter yet, so keep yourself open to surprises. Your style will reflect your unique vision (which you’ll be developing your entire life) and the experiences you’re drawn to.
Compared to other photographers well ahead of you, your style and vision may seem weak. But if you ask, they’ll tell you it took them a while to develop their style too.
I knew nothing about ‘golden hour’ photography when I first started my business. Now I love this time of day for photography.
I Need to Have the Right Gear First
Don’t go into debt for thousands of dollars to start your photography business. Use what you’ve got to the best of your ability. It’s probably better than you think.
Yes, you need to have good gear. But most new photographers over-purchase and buy gear they never use. Start with a good camera and a 50mm lens. Then upgrade and expand your gear as you get more experience.
No photographer is as good as the simplest camera — Edward Steichen.
I use a Fuji XT1 and 56mm lens for most of my photos.
Where Can I Get a Logo?
You don’t need a logo to get started. Nobody really cares about your logo. When people are looking for a photographer, it’s not your logo that will convince them to hire you.
Spend your energy building and showcasing your photography, and leave the logo for later.
How Many Facebook ‘Likes’ Should I Have?
When you’re starting out you should use every avenue possible to let people know you’re in business as a photographer – social media, networking, word of mouth and, of course, a website.
But don’t worry about the number of ‘likes’ you have. It’s the people who hire you that count, not the people who click ‘like’.
In the beginning, social media and word of mouth were critical for me. But now my website brings in most of my business. Create a simple website showcasing your photography, and tell people why they’ll love hiring you as a photographer.
Should I Quit My Job?
No.
Ease yourself into becoming a professional family photographer, and then leave your day job when you’re confident it’s the right decision.
I had seasonal jobs that allowed me to pursue photography in the summer. After about three years I decided to quit my job. I’m introverted and find it difficult to promote myself, so it took longer than it needed to. It might be much quicker for you.
Occasional sessions on evenings or weekends is a great way to get started. Prove you really want to be professional and that you can make your business work, then quit your job.
The more you focus on your photography instead of things such as logos and likes, the sooner you’ll be able to transition into your own business.
What Should I Charge?
I guarantee you’re thinking about this the wrong way. You’re thinking about how much you should charge per session, aren’t you? But you really have no idea. You’ll make assumptions about how much people are willing to spend. And you’ll settle for way too little.
Instead, you should:
- Decide how much you’d like to earn in a year.
- Decide how many sessions you’d like to do each year. (How many sessions can you handle each week or month?)
- Use those numbers to calculate how much you need to charge per session.
Suppose you’d like to earn $ 50,000 per year and want to do only one session a week.
So that’s $ 50,000 / 50 sessions, or $ 1000 per session.
Maybe you’d settle for $ 20,000 each year and 100 sessions (two per week).
That’s $ 20,000 / 100 sessions, or $ 200 per session.
Keep in mind expenses. I use minimal gear and work on location, so my costs are quite low. But some photographers make a lot of money and then lose a lot of it due to expenses.
Above all, don’t assume you have to be cheap. People value photography, and when you’re a great photographer with excellent people skills they’ll be happy to pay you.
And don’t worry if your friends think you’re charging too much. Believe me when I say you shouldn’t start out cheap and then raise your prices over time. By all means, start off cheaper for a month or two to build your portfolio. But when you start you should already have your correct pricing in place.
Any Questions?
I’d be thrilled to answer any questions you might have. Leave them in the comments and I’ll answer them for you.
The post The Truth About Becoming a Professional Family Photographer appeared first on Digital Photography School.
-
Five ways the Canon EOS R could be improved (hint: it’s all about the operation)
A critique, not a conclusion
The EOS R is Canon’s entry into the full-frame mirrorless camera market and, while it doesn’t look all that revolutionary at first glance, looks can be deceiving: this is a big step for the world’s largest camera manufacturer. The EOS R comes with a new mount, a new lens lineup, and some new functionality. Most crucially, it’s capable of capturing fantastic photographs.
But as we approach the completion of our full EOS R review, we wanted to address a few areas where we believe it could be improved (just like we did with Nikon’s Z7). These principally concern usability and, to a degree, ergonomics, too, but also include limitations of some of the features included the EOS R as well as limitations imposed on the user by features that have been left out.
While some of these issues have been a feature of Canon’s various lineups for some time, the EOS R – and the fresh start it represents – are a great opportunity for the company to take a fresh look at how it can make the camera more usable for more people.
So without further ado, here’s what we’d like to see Canon try to improve in the EOS R.
Add the Register / Recall Shooting Function option
This function, shown here on an EOS 5D Mark IV and which at first glance looks a little like a blue camera flying away, is incredibly powerful.This tongue-twister of a customization option is absent from the EOS R, but is something we’ve found incredibly useful on Canon’s existing cameras as well as competitive models. It allows the user to instantly adjust their choice of exposure settings, white balance, metering, and crucially, autofocus parameters and autofocus activation at the press of a button.
This option allows the user to instantly adjust autofocus parameters at the press of a button
We love having this option on Canon’s high-end DSLRs. It allows us to instantly swap from, say, a zone of AF points and Servo (continuous) focus, to a single, pinpoint AF point and Single focus. As an example, this makes it easy to quickly switch from photographing fast action to a portrait while ensuring the most accurate autofocus behavior for each situation.
These two screengrabs depict the array of AF options available on the EOS 5D Mark IV when using Register/recall shooting functionAlthough this feature is usually reserved for Canon’s higher-end cameras, we think the midrange EOS R would really benefit from it. This is because even though the EOS R’s on-sensor autofocus system is very capable in Servo AF, the spookily accurate Pupil Detection option is only available in Single AF. Being able to rapidly switch between those two with a single button press would greatly speed up our shooting, and ensure our wide-aperture portraits are precisely focused.
Allow us to choose the number of selectable AF points
The four-way controller is one way to move around your AF area, but it’s too slow to be the primary means for doing soAmong the EOS R’s headline features is its 5,655 AF points. While that makes for a great press release, it doesn’t necessarily make for a great user experience. This is because with all those points, it’s extremely slow to use the four-way controller to move your AF point around. Competing systems such as those from Fujifilm and Nikon allow the user to limit the amount of selectable points, effectively allowing you to quickly move your AF area around at the expense of some precision.
Those who prefer to use the four-way controller to move the AF area will find it’s simply too slow
To the EOS R’s credit, there are two other ways to move your AF area – you can use the touchscreen, or you can hit the AF Selection button and use the two control dials to move the point vertically or horizontally. But still, the latter strikes us as a little cumbersome, and the former isn’t an option if you happen to be using gloves (or if you’re just touchscreen averse). It would just be nice to have more control over how the four-way controller allows you to interact with your AF area.
Which button for what function?
Shown above is the interface for the Dial Func options; the bottom row represents the options that have been added and you can use the back dial to scroll through them, and the top row lets you use the front dial to manipulate whichever option you’ve chosen.While the EOS R is a pretty customizable camera, there are – for whatever reason – some custom options available for some buttons, but not for others. It’s frustrating and makes the camera more difficult to set up for your style of shooting than it could be.
Drive mode, for example, can be included in the Dial Func options shown above, but cannot itself be assigned to a button press. Exposure compensation can be assigned to the AF Selection button, but not to the AE Lock button. The ‘LOCK’ button on the top of the camera cannot be customized to do anything but lock various control points. You can assign a number of buttons to allow you to enter the main menus, but in what must be a sort of safety feature, you can’t then assign the menu button to another function. So you just end up with two ways to enter the menus.
The bigger point here, is this: if a manufacturer is going to provide for controls to be customized, we think that in a $ 2000+ product, they should just go all in and allow users to set up the camera as they see fit.
Desensitize that darn eye sensor
Like many other cameras, the EOS R includes a proximity sensor near its viewfinder (in this case, just beneath it, as shown above) to allow the camera to automatically switch from the viewfinder display to the rear screen, depending on whether or not the camera is held up to your eye. The problem is that you cannot customize the sensor’s sensitivity, and the camera cannot detect when its screen is folded out to the side.
Accidentally tripping the eye sensor can cause you to miss a shot
This means that if you have the screen flipped out to shoot from the hip, you’ll find yourself accidentally tripping the eye sensor if the camera moves too close to your body. In other words, you can easily miss a shot as the screen goes blank at the crucial moment.
And yes, you can assign one of the function buttons to manually switch between the two, but we’d love to at least be able to customize the sensitivity of the sensor. In the end, it remains best practice is to simply disable it when the screen is flipped out. After all, how likely are you to have the screen at an odd angle and use the viewfinder at the same time?
Enough of the arbitrary limitations (and the M.Fn bar)
We mentioned this earlier, but the EOS R’s Q menu cannot be customized. This would not only be nice for the sake of adding frequently-accessed settings, but it’d be great to be able to remove rarely-used options. For example, by default, ‘Flicker Reduction’ is an option in the Q menu. This is really handy if you regularly shoot indoor sports, but a lot of photographers will never need it.
We’d like to see Canon institute the AF ‘cases’ on its mid-range cameras like the EOS R. Even though the EOS R has options to customize its ‘Tracking sensitivity,’ ‘Accel./Decel. tracking’ and ‘AF pt auto switching,’ there’s an awful lot of possible permutations of those three parameters. But oddly the more advanced Canon cameras adjust these three parameters in a series of ‘AF Cases,’ with clear descriptions of when you should use each one. Having this sort of organization would arguably be more beneficial to less advanced users.
The cases offered by the EOS 5D IV offer users a more accessible way to manipulate the AF system than manually adjusting the parameters. Lastly, we’ve already said that we find the M.Fn bar to be of limited use. But aside from that general point, we’ve also noticed that it doesn’t offer a consistent experience. Sometimes, it will ignore your inputs, or respond to them too rapidly. If Canon can smooth out the touch bar’s operation, that would go some way toward encouraging people to experiment with it and perhaps incorporate it into their manner of shooting.
Oh and the EOS R is yet another Canon camera that omits an intervalometer, for time-lapse shooting. This would be permissible if we could at least gain this function through the Canon Camera Connect app, but the app has no provision for it either. Why, Canon? Why?
Summing up
While at a passing glance the EOS R looks rather like some of the company’s DSLRs, the controls are a pretty radical departure for Canon. While this means there’s bound to be a bit of a learning curve, even for existing Canon users, it’s also not surprising that there are a few hiccups in the camera’s operation.
To be sure, there’s a lot that the EOS R gets right, and the future looks bright for the RF system (the lenses, in particular, look stunning). Canon has promised regular firmware updates to the EOS R to improve functionality, too, which is good to hear – and that’s one reason why we’re writing this article in the first place.
We’re not saying that Canon needs to redesign the EOS R to make it useable, but a firmware update or two to smooth over the operation would be very welcome.
We’ll be putting the finishing touches on our full EOS R review in the near future, but in the meantime, what do you think? Are there any other changes you’d like to see in the EOS R? What do you want to see in the next camera for the system? Let us know in the comments.
-
The thing that impresses me most about Leica? Its innovation
Ok, so maybe there’s still room for innovation when it comes to memory card access. It might sound odd to discuss the innovations of a company whose best-known product is anachronistic to the point that you have to take the baseplate off to change the film memory card, but I’m serious.
I know I’m supposed to be impressed by the company’s history, its (rather outdated) use as a press camera and the stellar reputation of its lenses. But I’m not, especially*.
I love that Leica doesn’t just have crazy ideas, but that it turns them into workable, purchasable products.
It’s not that the lenses aren’t great. It’s just that I’m not terribly impressed a company’s ability to make single focal length, manual focus lenses good when money’s essentially no object and you can individually correct every one if you have to. My experience of working as an engineering journalist always reminds me that it’s many times harder to produce a kit zoom that has to offer decent performance at multiple focal lengths, offers fast autofocus for both stills and video, includes image stabilization and can be made with a degree of consistency for something like $ 35.
But while I’m not that fussed about all that ‘red dot’ business, I love that Leica doesn’t just have crazy ideas, but that it turns them into workable, purchasable products. Even if they’re not necessarily the most affordable ones.
Take an ‘e’ (off the word Monochrome)
The Bayer color filter array is amazing. It lets spectrally-indifferent sensors perceive color and does so with a good level of resolution and fairly few downsides. Except that it steals around a stop of light.
I love the idea of a mono-only second camera. But perhaps not one that costs more than my (admittedly ludicrous) road bike. So why not make a mono-only camera? None of the softness and noise that comes from demosaicing, and better, cleaner image capture because you’re not letting a series of color filters absorb half your light. That’s a great idea, why doesn’t someone do that?
Well, Leica has, with the Monochrom series of cameras. They do exactly what you’d hope: produce super-detailed mono images.
Of course, given that you have only one ‘color’ channel, it becomes more important than ever to avoid clipping, so I wish there was monochrome camera that didn’t meter by looking at the light reflected off the stripes painted on its shutter blades. Also, since it would need to be a second camera for me, I’d prefer it to cost less than a small car. But I have to applaud Leica for doing it, rather than just thinking about it.
What’s the opposite of Iconoclasticism?
Again, who would have thought it’d be Leica: a camera brand that added a faux winder lever onto its latest camera, that would design one of the most innovative user interfaces of the past decade?
Love it or hate it, the icon-led touchscreen interface of the Leica T series is one of the few genuine attempts we’ve seen to completely re-think how you should interact with a camera and its settings. Interestingly, the person I’ve met who dislikes it most is also one of the few I know who owns a digital Leica rangefinder (though that could be because the first iteration had some interesting quirks). Personally, though, I thought the design struck a good balance between command dials that controlled the primary exposure parameters while letting you tap and swipe the settings, just as you might on a smartphone. Certainly an ambitious thing for a ‘traditional’ camera company to do.
Settings? There’s an app for that
On the subject of smartphones, it’s long been suggested that they might provide a solution to the uncontrolled menu sprawl that’s overwhelming even the best-designed modern UI. Connecting cameras to smartphones over Bluetooth and Wi-Fi is becomes ever more easy and ever more commonplace, just as the complexity of menu options becomes unbearable, so why not pass-off responsibility for settings to the phone?
Handing off responsibilities for camera settings to a smartphone app makes great sense. I’m not sure the same is true of taking away the rear screen or adding a faux-winder ‘thumb rest.’ And, if looked at from a certain angle, that’s what Leica’s M10-D does. I’m not necessarily convinced that it made sense to keep going and take the entire LCD screen away but pushing set-and-forget settings off to a smartphone app I could get behind. An app can offer a nicer interface with better guides and instructions, meaning the on-camera interface can be stripped back to focus on the main shooting parameters. But perhaps leave me a screen, eh, Leica?
You can’t be serious?
I don’t want flippant tone to completely undermine my sincerity. I genuinely am more impressed with Leica’s innovative thinking than the specifics of its products. I’d love to see some of them more widely adopted. Like having a 36 x 24mm image capture area, that might take off.
* Full marks to every comment or blog post concluding that I don’t ‘get’ Leica. To be clear, I love shooting with its rangefinders. They deliver a unique shooting experience that every keen photographer should strive to have. Even if I wouldn’t necessarily recommend spending the cost of a hatchback (or a nice road bike) on one. [Return to text]
-
Greater freedom: Canon’s engineers talk about the EOS R project
The launch of Canon’s EOS R gave us a chance to talk to a group of the engineers involved in the project. The company put forward an engineer from each of the main parts of the development process: physical design, optical design, UI design and overall product design. They talked of being given more freedom than ever before but also of the need to build on the EOS system’s strengths.
Left to right:
Koji Yoshida – Lead Engineer/Architect, Integrated Design Department 232
Manabu Kato – Deputy Senior General Manager, ICD Optical Product Development Center
Shintaro Oshima – General Manager, ICB Product Development Div 1.
Hironori Oishi – Lead Specialist, Product Design Div 1.A new, short and wide mount
Canon has been consistent across its launch, when it’s said that the important announcement isn’t the EOS R, specifically, or the fact that there’s no mirror, but in what the RF mount allows them to do.
Manabu Kato sums up the freedom they’ve gained in terms of optical design: “people who’ve been working on lenses for a really long time have, with this new system, been able to make lenses like the 28-70mm F2 comparably easily, compared to how they had so many challenges in the past.”
“By having [more] data being transferred between the camera and lens…you can improve the autofocus, metering and image stabilization performance”
As well as allowing more ambitious optical designs, the RF mount also adds data bandwidth, moving from eight communication channels to twelve. “During shooting there’s a massive amount of data going between the lens and the camera, so making sure that was smooth was another challenge,” says Kato. “By having that huge amount of data being transferred between the camera and lens, you can improve the general performance in relation to autofocus, metering and image stabilization. And you can also add features such as the control rings on the lenses.”
The RF 28-70mm F2 lens, combined with pupil detection AF is a powerful combination. ISO 100 | 1/5000sec | F2 | Canon RF 28-70mm F2 @ 70mm (Pre-Production lens) “You can also use DLO without any problems,” he said. Digital Lens Optimizer – Canon’s name for digital lens corrections – previously required that the camera look up the data in a database, meaning that camera firmware needed to be updated to accommodate new lenses. It’s now supplied in real time by the lens itself, so there’s no need for a look-up step.
Video, as well as stills
This real-time data flow allows the use of Digital Lens Optimizer and distortion correction in video for the first time. And it’s clear that, despite the EOS R’s comparatively modest specs in that area, Canon has done a lot of thinking about the needs of video shooters.
“Getting rid of [the mode dial] was a big decision that required a lot of consideration”
“In relation to the optical system, we gave consideration to focus breathing*, and also aperture control: you can change the aperture in 1/8th stops,” says Kato. “also the Nano USM, it’s very quiet and quick: the first time in an L lens.”
Difficult decisions
Trying to accommodate the needs of video shooters ended up leading the removal of the camera’s mode dial, says Koji Yoshida: “if you have a mode dial then the [exposure] settings will be the same for both stills and movies.”
The decision not to offer a mode dial on the EOS R was not taken lightly. “We consulted with a lot of different people and talked about this a lot, and decided to have different settings this time,” he says. But it’s clear this isn’t a decision made lightly: “[The mode dial] is a function that’s been common in the past, so getting rid of that was a big decision that required a lot of consideration,” said Shintaro Oshima. “There was a lot of internal discussion about this point,” concurs Yoshida.
The challenge of legacy
This tension between novelty and legacy is a constant theme of our conversation. “Our aim was to carry on the traditional parts of EOS but then bring in new innovation at the same time,” says Hironori Oishi: “our biggest challenge was making this look like an EOS camera with just a single glance, you can see that it’s an EOS camera, based on the traditional styling of the EOS cameras. And also the feeling, when you hold the camera – as soon as you hold it in your hand, you know it’s an EOS.”
The M-Fn button is one of the most obvious ways in which the EOS R introduces new thinking to the EOS experience. It’s fair to say we’re not convinced by the way it currently works. This extended to the user interface, says Yoshida: “the challenge we faced in terms of the software or the interface was making sure that it’s got the same basic controls as an EOS: to carry on that operability that EOS users are used to, then also implementing new elements into that design at the same time.”
The answer was to blend features from Canon’s existing live view and DSLR experience:, he says: “We used the mirrorless AF modes but we also also included features from the 5D Mark IV AF, like Expand AF area and large zone AF: this is the first time this has been introduced in a live view camera from Canon.”
Opportunity for innovation
The solution to these tensions seems to have been to look for opportunities to innovate while maintaining continuity: something made clear in the challenges of maintaining EF lens compatibility. Despite the EF mount already being fully electronic, Kato says: “it was difficult ensuring that compatibility. But we think that’s a big plus for the system.”
Whatever we might think of the rest of the EOS R experience, we love the idea of adding a control dial or filter mount in the EF-to-RF adapters. Tellingly, the team looked for ways to add new features. “We also achieved the control ring adapter which brings additional value to EOS lens users,” says Kato: “The same applies to the drop-in filter adapter: it gives added value to those who already have EF lenses. We wanted to make sure that we looked after our current users of our EF lens system.”
“The control ring adapter brings additional value to EOS lens users…the same applies to the drop-in filter adapter”
Oshima stresses that the need for continuity didn’t hold the new camera back, though: “another focus was the low light limit performance. That’s a point of evolution from the EOS cameras.”
“Another focus was the low light [autofocus] limit performance”
This eye for an opportunity to innovate is perhaps most clearly seen in the way the EOS R, unlike any other mirrorless camera, closes its mechanical shutter when shut down. “we wanted to protect the sensor as much as possible from dust and light hitting the sensor,” explains Oshima: “The light coming through the lens affects the sensor in the long term. The color filter array and microlenses and also the photodiodes can all be damaged by light [if the sensor is always exposed].”
Another bright idea: Canon’s engineers worked out that if you stop-down the lens aperture blades, it reduces the risk of damaging the shutter blades, at which point you can close them to keep light and dust off the sensor. To then protect the shutter blades, the camera stops its lens down and displays a warning not to leave it facing towards the sun, without a lens cap. “The aperture cannot be closed completely, so that message is kind of a safeguard,” explains Kato: “We’re kind of proud of the fact that with a simple idea, we’ve been able to increase value for customers.”
Just the beginning
As usual, no one was able to discuss future products. When asked whether there was any chance of an APS-C RF-mount camera, Oishi was suitably non-committal: “we’re thinking about it, but we can’t answer in detail,” he says. But the individual engineers did all discuss what they were looking forward to.
“We want to surprise and astonish you, so please expect big things”
“It gives more structural freedom in terms of design, because it doesn’t have a pentamirror”, says Oishi. “I’m excited about improvements in Digic image processor and functions that create more value and make easier to use,” says Yoshida. But it’s optics specialist Kato who seems most enthused: “This is just the start of the system,” he says, talking about F2.8 zooms and other possibilities, before settling on a broader-reaching point: “We want to surprise and astonish you, so please expect big things.”
Editor’s note: Richard Butler
Nearly ten years ago I wrote a blog post suggesting camera makers should go back and take a ‘blank sheet of paper’ approach to the way their cameras operate. Simply suggesting it is the easy bit. Actually doing it, and having to find clever solutions is quite a different matter.
Throughout our conversation, it was obvious that Canon had given its engineers more freedom than usual in this project but that there’s still a careful balancing act to avoid confusing or alienating your existing users. The nods of recognition around the table as Mr. Oshima spoke about the difficulty of decision to eliminate the mode dial said a lot about how seriously these decisions were taken.
It’s difficult to talk to people who’ve worked so hard to make a great camera and then have to publicly report that it doesn’t work as well as they’d intended. But that’s the reality of our experiences with the EOS R so far, across the DPReview team.
If nothing else, though, the team’s responses show how seriously Canon is taking the RF system as a chance to improve and innovate.I really hope we’ll see that reflected in updates to the EOS R and future products in the system.
* A change in field-of-view as the lens focuses – a minor concern for stills shooting, but potentially distracting in video [Return to text]
-
Photokina 2018: Sony interview – ‘I don’t care about competitors, I care about customers’
Kenji Tanaka, VP and Senior General Manager of Sony’s Business Unit 1, Digital Imaging Group, pictured at the Photokina trade show in Cologne, Germany last month. At last month’s Photokina trade show in Cologne, Germany we made time to speak to senior executives from several major manufacturers, including Sony. In a broad-ranging conversation, Kenji Tanaka talked to us about competition in the full-frame mirrorless market, the value of APS-C, and future plans for the a7S lineup.
Is there a customer group that you feel you could reach more effectively?
There are many customers in the field of photography, and we want to create products for all of them. Recently, we launched products for sports photographers. That’s just one example. One by one, we want to expand.
What is Sony doing that’s unique?
We are the world’s largest manufacturer of image sensors, and have developed many unique sensors. Looking at the Alpha 9, the stacked CMOS sensor is a good example of both a unique and innovative product. These kinds of things are a strength compared to our competitors.
But the stacked image sensor in the Alpha 9 is kind of like the engine in a formula 1 car. If you only had the engine, the car wouldn’t work. You also need good tires, a good chassis, and a good driver to control the machine.
Our vision is […] to expand the market
How do new competitive full-frame mirrorless cameras affect your planning?
I welcome the shift in the market. Our vision is not to move the customer [from DSLR to mirrorless], it is to expand the market.
I don’t know what the impact of [Canon and Nikon entering the full-frame mirrrorless market] will be but we remain focused on creating new customers. That is our priority. Honestly speaking, I don’t care about competitors, I care about the customers. If customers need more functionality, or more quality, we’ll try to do it.
The Sony a7 III is a high-performance full-frame mirrorless interchangeable lens camera aimed at enthusiast photographers and videographers. According to Mr Tanaka, Sony is more interested in expanding the market than in responding to what his competitors are doing. Is there anything that surprised you about the announcements from your competitors?
No, not really. I already predicted that Canon and Nikon would join the market, and even Panasonic. It wasn’t a surprise to me. But thinking about innovation in cameras, every company should join the mirrorless market, as this is where there is the most opportunity to innovate.
There are five fundamentals to mirrorless – lens, image quality, speed, battery life – some of our competitors especially struggle with that one – and compactness and light weight. These are areas that everyone is trying to improve, but right now I think Sony is in a good position.
Do you see any customer demand for sensors larger than full frame?
Right now there are a lot of things still to do with full-frame sensors, so at the moment I don’t have any ideas about starting work on new larger imaging sensors.
Sony’s 24mm F1.4 G Master is an impressively compact, but stunningly sharp full-frame wideangle prime lens. On Sony’s APS-C cameras, it offers an equivalent focal length of 36mm. We’ve been enjoying using your 24mm F1.4 G Master lens. Do you have plans to create more, smaller, lenses in this lineup?
Of course, yes. Some customers want small size as well as high quality, so that’s one of our targets.
Do you have any plans to release new APS-C lenses?
Yes, APS-C is a big market for us. Recently most of our new lenses have been full frame, but APS-C remains a key target.
What are the advantages of APS-C?
Mobility, and ease of use.
The APS-C market is very important for us, […] but we need to ask customers what kind of models they want.
What is your long-term strategy for APS-C and will we ever see another NEX-7 equivalent camera with dual dials ?
We have to get customer feedback. The dual dial on the NEX-7, some customers appreciated it, but some customers didn’t. The APS-C market is very important for us, so we will create new models in the APS-C market, but we need to ask customers what kind of models they want.
Do you think APS-C could be a professional format for Sony in the future?
Professionals have many cameras. Of course, full-frame is usually their main camera, but for a long time, they’ve also used APS-C as their second camera, so of course, APS-C cameras for professional use must exist.
Will we ever see another ‘professional’ APS-C camera from Sony, in the mold of the erstwhile NEX-7? According to Mr Tanaka, the strengths of APS-C are size and weight, and ease of use. But professionals do use APS-C cameras as ‘second’ bodies. Do you have a different design approach for APS-C and full-frame lenses?
No. Our strategy is unique – one single mount. For example, future APS-C customers might use our G-Master 24mm F1.4. So our lens design should be consistent for all types of models.
Do a lot of your APS-C customers buy full-frame lenses?
Yes.
Some Sony shooters tell us they want improved weather-sealing. Is that something that you’re working on?
Yes, of course. We’ve heard from many customers. We’re trying.
Someday the a7 III will come down in price and it’ll be easy to buy for anybody
Do you think the price of full-frame mirrorless cameras needs to come down, to make them more accessible?
I can’t speak about pricing strategy, but if we want to increase the number of customers, of course some will accept cameras in the $ 2000-3000 range, but others won’t. Recently, our a7 II was priced at around $ 1000. So I think our customers are pleased with our wide price range in full-frame.
Someday the a7 III will come down in price and it’ll be easy to buy for anybody. A lot of customers want the a7 III, but it will take time.
Why is Sony sticking to SD memory cards?
Memory card performance is related to image processing speed. Right now, processing speed is slower than SD UHS-II, so using SD is OK. But in the future, for example in any camera with 8K/30p video, SD won’t be enough. But for right now, SD is OK. Recently we announced SD ‘tough’ cards, for professionals that need more durability.
Why do your cameras use two card slots?
There are a lot of use cases for dual card slots. For example using one card as backup, or one for JPEG and one for Raw. Dual card slots are very useful to the customer, we think. Some customers are OK with just one card, but from our research we think that many people will want two slots.
The Sony E-mount is ‘open’, to the extent that other lens manufacturers can apply to use the standard. Sigma’s 70mm F2.8 Macro is one of a growing range of lenses from third-party manufacturers that are available in FE mount-compatible versions. How important are third-party lens manufacturers to your long-term growth?
As you know, the E mount is an open mount. And of course competition will happen. If the customer can choose between many high quality lenses, that is a good thing.
Can you describe your relationship with third-party lens manufacturers?
We have a contract, and if a lens manufacturer wants to create an E-mount lens, they apply to Sony. Then we disclose the specification to that manufacturer. Sony does not approve lens designs, we just disclose the mount specification.
We’re planning a future a7S model right now, but it will take time.
4K is becoming a standard across all categories now, and the a7S II is getting rather old. Are you still interested in this market segment?
Of course, yes. Our a7S II customers want to create many things, and to meet their demands we are thinking about creating a successor model. But the next model should of course be more than they expect. So we’re planning a future S model right now, but it will take time.
What do your existing a7S II customers want to see improved?
They want 4K/60p, 4:2:2 10-bit, and of course more battery power, increased AF accuracy – many things!
The Sony a7S II is aimed at videographers, but in the three years since its release, its capabilities have in some respects been superseded by more conventional a7-series cameras, and the a9. According to Mr Tanaka, an a7S III is on its way, possibly offering 4K/60p, but ‘it will take time’. Do you think it’s necessary for the a7S II successor to be a hybrid camera, or could it be a dedicated video model?
In my personal experience, the a7S II is a good stills camera. The pixels are very large, so the dynamic range is very wide. There is demand for still camera features I think.
You’ve said that artificial intelligence will play more of a role in future Sony cameras. Can you elaborate on that?
I can’t give you an exact answer, but we feel that AI is useful for many customers. Currently we’re planning upgrades to existing models, and of course future models that will contain new AI features.
Cameras should support creators. Focusing on eyes or focusing on other shapes is a very complex action. Photographers just want to think about composition, or capturing a moment. So I want to remove the need for focus manipulation, or other manipulation. When it comes to autofocus, Sony is very dedicated to developing AI.
Editor’s note: Barnaby Britton
Our meeting with Mr Tanaka last month followed Canon and Nikon’s long-awaited entry into the full-frame mirrorless market, after five years during which Sony effectively had the field to itself. When I spoke to him in Japan earlier this year, Mr Tanaka predicted that both companies would make the leap before the end of the year, and it doesn’t sound like he was surprised to see Panasonic joining in, too. Either way, in his own words, ‘I don’t care about competitors, I care about the customers’.
The a7 III isn’t going to become a poor camera once a future Mark IV version comes out
That should be encouraging news for users of Sony’s well-established a7-series and a9 cameras, who might be justifiably interested in what Canon, Nikon and Panasonic have to offer in the coming years. Also encouraging, for consumers willing to wait a couple of years before buying into new technologies, it seems that Sony will continue its strategy of keeping older models on the market at reduced prices. The last-generation a7 II is a bargain right now, and the a7 III isn’t going to become a poor camera once a future Mark IV version comes out, even if future AI-assisted cameras make photography even easier than it is now.
Speaking of AI, this particular comment is highly significant and worth quoting again in its entirety:
“Cameras should support creators. Focusing on eyes or focusing on other shapes is a very complex action. Photographers just want to think about composition, or capturing a moment. So I want to remove the need for focus manipulation, or other manipulation. When it comes to autofocus, Sony is very dedicated to developing AI“.
Mr Tanaka also had good news for fans of APS-C camera users, and users of the video-oriented a7S II. On the APS-C side, he admits that full-frame has been a major focus recently, but ” APS-C cameras for professional use must exist” and “APS-C remains a key target”.
Mr Tanaka’s list of customer requests serves as a strong hint at features that could make it into an a7S III
The a7S II is a highly specialized camera, intended to satisfy the needs of enthusiast and professional videographers. It’s been due for an upgrade for a little while, and Mr Tanaka’s list of customer requests serves as a strong hint at features that could make it into a Mark III version. Perhaps at next year’s NAB show in spring? Here’s hoping.
-
How To Feel Confident About Having Your Photos Critiqued
We all like other people seeing our photographs, but not many photographers like to hear what other people really think of their photos. Getting a ‘thumbs up’ on Facebook or a ‘heart’ on Instagram is okay. Even a few emoticons can be very encouraging.
But while they might make you feel good for a little while, they won’t help you grow as a photographer. Deep down you know most people have just scrolled past your photo. And your mother always sends a smiley face.
©Kevin Landwer-Johan
Taking the bold step of asking for a genuine critique on your photos is a lot different.
It can be incredibly encouraging. You may get unexpected positive feedback on an aspect of your photography you weren’t fully aware of.
But you may also be devastated. Someone who shows little empathy and no care while sharing their thoughts about your photos can do more harm than good. You may also start feeling negative from the words of someone who isn’t experienced enough in photography.
Here are some steps to help you make a good choice in asking someone for an appraisal of your work.
Before you offer any of your photos for review, do some research.
- Is the person offering critique an experienced photographer?
- Do you like their photographic style?
- Do you appreciate their approach to critiquing photos?
- Do they ask questions about your experience before critiquing?
- Do they express a balanced perspective?
©Kevin Landwer-Johan
How Can Having Your Photos Critiqued Help Improve Your Photography?
A constructive critique of your photographs can help you see them from another perspective. A good critique will include a healthy balance of positive encouragement and constructive feedback on how an image could be improved.
Something good can almost always be said about a photo. But beware of falseness. No-one wants a fake review of their work. A helpful positive analysis is more than just a few nice adjectives. The critic should tell you why they like your photo and describe the outstanding aspects.
The best constructive feedback is carefully worded and gentle. Honesty isn’t kind if it’s delivered with brutal assertion. And negative feedback spoken harshly doesn’t help anybody. It may make the critic feel superior, but being on the receiving end isn’t encouraging. A critique of anyone’s photos should’t be about the person offering the analysis. It should be about the photo, and directed primarily to the photographer.
A good critique should include a clear explanation of the weaknesses in a photo, along with suggestions of how it could have been improved. Sometimes when talking about a photo I’ll share ways it can be improved simply by a different crop or alternative post-processing.
©Kevin Landwer-Johan
Choosing the Right Critic for You
Being confident and comfortable with the person offering their opinion is important. We all see the world differently, and express what we see in diverse ways. Finding the right person to learn from as they talk about your photos is essential to it being a positive experience.
To help find an appropriate person, ask yourself these questions.
1. Is the person offering critique an experienced photographer?
Having someone less experienced than you are, or minimally more experienced, will rarely be helpful. Having a group of friends to hang out with and discuss each other’s images is different because the relationship is casual.
Find a mature person with a good deal of experience. They’ll be able to offer their opinion in positive and helpful ways based on their experience.
©Kevin Landwer-Johan
2. Do you like their photographic style?
There’s not much point asking someone who only photographs landscapes to comment on your street or sports photos. Hopefully you can find someone whose work is close to your own style (or what you are aspiring to) and have them critique your photos.
You should be able to see enough of their work to help you make this choice. Having an appreciation for the type of photography they create will help you relate more easily.
©Kevin Landwer-Johan
3. Do you appreciate their approach to critiquing photos?
Accepting and appreciating the way a critic expresses themselves is very important. They may be extremely knowledgeable and experienced, but if they come across as arrogant their critique won’t be easy to receive.
If you can attend a session where they’re reviewing someone else’s photos, go along and observe. Maybe they have some video or written critiques online. Check them out and see if you’re confident they’ll be honest and respectful about your photos.
©Kevin Landwer-Johan
4. Do they ask questions about your experience before critiquing?
If they know nothing about your experience or you want to express, the critique may not be helpful. I find it helpful to know a photographer’s experience level before offering my thoughts on their photos.
This information gives insight into the technical experience, and sometimes the creative expression. Most of all, it will give the critic the depth of information to offer. Giving a beginner too much detail about how to improve their composition may be detrimental. You need to clearly understand what the critic is telling you. For the same reason, I avoid using too much photography jargon when making critiques.
©Kevin Landwer-Johan
5. Do they express a balanced perspective?
Receiving a balanced appraisal of most (if not all) aspects of your photograph is helpful. But this may not be possible (or even necessary), depending on the photo.
I always look to include commentary on:
- Exposure
- Composition
- Color
- Tone
- Timing
- Feeling
The best photo critiques include a balanced mix of technical and creative – left and right brain perspective.
©Kevin Landwer-Johan
Where to Find the Right Critic
The easiest way to find someone to critique your photos these days is online. Do a search on Google or YouTube, or check out the link in my bio.
You could also try your local camera club. It will be worth doing your research carefully first. Sometimes these groups offer a group critique of members’ photos. You need a pretty thick skin to endure this. You’ll have people with a range of skill levels and temperaments all wanting to give their opinions.
©Kevin Landwer-Johan
Be Encouraged
Give it a try. Having your photos critiqued can be extremely helpful to your development as a photographer. I regret not having much of an opportunity for my photos to be looked over and spoken about. Now I enjoy being able to offer this as a service to encourage photographers.
The post How To Feel Confident About Having Your Photos Critiqued appeared first on Digital Photography School.
-
Tamron issues warning about Nikon Z7 compatibility
Tamron has issued a warning to its customers that some of the company’s Nikon F-mount lenses do not work with the new Nikon Z7 and FTZ adapter. Saying only that ‘issues’ have been discovered, Tamron promises that it is investigating, and will provide further compatibility updates once a solution has been found.
Meanwhile, Sigma has confirmed to DPReview that its Nikon F-mount lenses should work without limitation on the new Z7 and Z6 using Nikon’s FTZ adapter.
Read Tamron’s full statement
-
What you need to know about the Fujifilm GFX 50R
What you need to know about the Fujifilm GFX 50R
Fujifilm’s latest digital medium-format camera is the GFX 50R, a rangefinder-styled interpretation of the GFX 50S that was announced at Photokina 2016.
Bearing more than a passing resemblance to some of Fujifilm’s medium-format film rangefinders, the GFX 50R is 145g (0.32lb) lighter than the 50S, and is 25mm (0.98″) thinner. The smaller size and redesigned controls serve to make the 50R handle very differently from its elder sibling.
What you need to know about the Fujifilm GFX 50R
But before we get into the handling, let’s take a quick look over what isn’t new on the GFX 50R. Compared to the 50S, we have the same sensor, processor, battery, film simulations and viewfinder panel (though EVF magnification takes a dip, at 0.77x compared to 0.85x).
This means that you’re getting the same impressive image quality as the 50S in a smaller, lighter package and for less money – $ 4500 USD, to be precise. So while the hardware itself isn’t the most exciting, the 50R does represent a new low price of entry to the world of medium-format digital imaging. There’s still a question as to the advantages of this larger format over existing full-frame cameras, but there’s some silver lining in that the 50R grants you access to Fujifilm’s excellent lineup of sharp, well-built GF lenses.
What you need to know about the Fujifilm GFX 50R
As you can see, the GFX 50R slots in nicely between Fujifilm’s X-E3 and an old Fuji GW690 III from the 1990s in terms of size. Though the 50R approaches the Hasselblad X1D for compactness and is much smaller than the Pentax 645Z, it’s still a substantial camera. The 50R’s rangefinder styling necessitates a smaller grip than the GFX 50S, and as a result, the 50R is best used with two hands.
What you need to know about the Fujifilm GFX 50R
Here, you can more clearly see the resemblance in controls between the GFX 50R and the X-E3. Both come with AF selection joysticks and a similar array of buttons, and both eschew a ‘standard’ four-way controller in favor of using directional swipes on the touchscreen. Despite our fears of Fujifilm’s touchscreen interface mis-reading those directional swipes, they work just as they do on the X-E3, which is to say, rather well.
This layout, which places most of the direct controls within reach of your right thumb, isn’t as convenient on the 50R as on the X-E3. With a suitably compact lens, the X-E3 can be easily operated one-handed. The extra heft of the 50R, regardless of which lens is attached, means you’ll likely be supporting the camera with your left hand and manipulating controls with your right.
What you need to know about the Fujifilm GFX 50R
Along the bottom of the camera are a few other changes. The battery slots in here, rather on the side like the GFX 50S. There are also ports for AC power and USB-C behind a rubberized door. The GFX 50R does not support USB charging, but it does allow for tethered shooting and is fully compatible with Capture One.
Fujifilm has confirmed that there won’t be a battery grip option for the GFX 50R, and as such, there are no connectors for one on the camera.
What you need to know about the Fujifilm GFX 50R
The top-plate controls on the GFX 50R are likewise similar to the X-E3. There’s no dedicated ISO dial, but the front dial that surrounds the shutter button can be configured to serve that purpose. By default the rear dial biases the shutter speed in 1/3-stop increments above and below the chosen whole-stop value on the dedicated shutter speed dial. There are also plenty of physical customizable buttons, though they’re not always easy to find with your eye to the finder – they’re small, and sit nearly flush with the body.
As a staff, our views are mixed regarding the On/Off switch. In truth, no one is really a fan of it, but some of us are more indifferent than others. Whichever side of the fence you’re on, there’s no denying that it’s on the small side and a little awkward to reach.
What you need to know about the Fujifilm GFX 50R
Getting back to the inside of the camera, we should note that because the GFX 50R has the same processor as the 50S, the camera exhibits some slight lagginess not present on the likes of the X-T3. This is particularly noticeable when enabling the Color Chrome effect, as an example.
But as we said at the start, the processor / sensor combo in the GFX 50R is capable of really stunning image quality, and the camera remains overall quite responsive.
What you need to know about the Fujifilm GFX 50R
So at its core, the GFX 50R is a smaller, cheaper 50S. But to make your GFX 50R kit as compact as possible, you’ll want to pick up the GF 50mm F3.5 pancake prime when it’s released in 2019. It’s one of three lenses from Fujifilm’s updated roadmap, and should pair well with the 50R.
Pictured above, the GF 50mm F3.5 is extremely compact, and offers a field-of-view equivalent to 40mm and a depth-of-field equivalent to roughly F2.8 on a full-frame 35mm sensor.
What you need to know about the Fujifilm GFX 50R
Our full GFX 50R review is already underway, so stay tuned for updates to our sample gallery as well as further studio testing in the coming weeks. You can get your very own GFX 50R when shipping begins in November.