The new Fujifilm X-T1 has been greeted with great enthusiasm. Based purely on specifications, the newer camera seems to be at the top in Japanese manufacturer’s line-up, at least until X-Pro2 comes along. In this article, I will compare the new X-T1 mirrorless camera from Fujifilm to Olympus’ top offering, the OM-D E-M1.
The Internet has been buzzing with details about the new Fujifilm X-T1 mirrorless camera, yet we are still excited to see it officially unveiled. Slotting between the flagship X-Pro1 (see our review) and the capable X-E2 (see our review), the new model takes a formerly vacant spot in the line-up of attractively designed, innovative cameras from the Japanese manufacturer. But it is not just the price tag of $1,299 that differentiates the X-T1 from its siblings. Its design and ergonomics also hint at, possibly, new priorities.
Hasselblad Lunar is a camera that many have heard about, many have seen images of, yet we never spoke about it here at Photography Life. We have not compared it to any other camera nor even let you know about the announcement as we usually do with high-end cameras. And the Lunar is indeed a high-end camera, a good one at that (if you choose to ignore one or two facts, more on which later). So… Why didn’t we ever mention it? I will be honest – we don’t like it all that much. No, that is kindly said. Actually, we think it is utterly, utterly pointless.
Yet here I am, writing about it. Why now? Well, there is a good reason to. In fact, I think this is the only reason to ever talk about the Lunar. The heading of this article should have given you a good idea on what I’m on about. You see, there is a good chance that the silliness is about to stop – Hasselblad has replaced its CEO (a while ago, actually) and announced a proper camera, the CMOS-sensored H5D-50c. So then, let’s talk Lunar. Let’s talk Hasselblad.
With Library Module holding such a large collection of tools, tabs and panels, there is no other way to write a proper, thorough overview article but to split it into several parts. In the first article, I did my best to talk about the left-side panel (or the Navigation Panel, if you like) and all its capabilities in detail. In this article, we will focus on the center section of the Library Module – mainly the Image Grid/Loupe View, and the Toolbar.
The center section of the Library Module shows the images that you’ve navigated to using the left-side panel, and provides the main way to review image files. There are a lot of things you can do using just this one section, so please bear with me while I try to explain it all. We start with the Image Grid, which basically dominates the center section of the Library Module.
1) Image Grid/Loupe View
This part of the Library Module is used to review the images, but its capabilities extend far beyond simple image display. One of the better things about it is the choice of Grid View and Loupe View modes. Loupe View is also present in Develop Module and basically shows a large preview of a selected image, but the Grid mode allows you to see several images at once and you can change the size of thumbnails to fit more images for quicker browsing, or less images to see them better. We will get to that a bit later. What matters now is that it basically makes the Film Strip redundant in Library Module as the Grid View is so much more practical to use.
In the previous Mastering Lightroom series article, “Lightroom Grid View Options”, we learned how to set-up Cells in Grid View so that they display the information of your choice. Grid View options are only available in Library Module, but that is not the only view mode available in Lightroom. In this article for beginners we are going to learn how to set-up Loupe View, which is available in Library Module and is also the default and only view mode in Develop Module.
In Lightroom, image information, such as Metadata, can be overlaid on a photograph in some Modules. It helps you find out information you might need at a glance, such as aperture and shutter speed at which that particular photograph was taken. Such information can be overlaid in Grid and Loupe View modes in Library Module, and Loupe View mode in Develop Module. In this article, I will discuss the Grid View options, which are available in Library Module only. Loupe View mode, which is available in Library and Develop Modules, will be discussed in detail in a follow-up article.
Lightroom Grid View Information Overlay
In Grid View mode, the additional information display modes are called Grid Extras. The Grid Extras are further split into Cell Extras, as there are two types of Cells – Compact Cells and Expanded Cells. You can set different information for both types of Cells and toggle between them by hitting “J” key while in Grid View mode. Doing so will toggle between bare Cells that show no Grid Extras at all except for Color Label; Compact Cells that show Flags, Star Ratings, Quick Collection Markers, Thumbnail Badges that show whether that particular file was edited, and an additional piece of information of your choosing; and, finally, Expanded Cells that show more additional information that you can specify, such as file dimensions, date the photograph was taken on and so on.
A side note: a Cell is the area that surrounds and contains image thumbnail along with additional information in Grid View mode, but is not the thumbnail itself.
When asked what gear I use most for my work, I will first of all give tribute to the classic fifty and talk about how useful and versatile it is for my style of shooting. And yet I would never willingly rely on that lens alone, no matter how much I liked it. Nor should someone else, really. In this follow-up article I will describe the two most popular lens combinations used among professional wedding photographers. Both of these lens combinations are enough to cover the biggest part of the wedding and, in that context, can be called workhorse lenses. One of the duos is used primarily by fixed focal length lens shooters, the other is very successfully used by photographers who largely prefer zoom lenses. Each of the combinations has their advantages and disadvantages when compared to the other, but whether one is better than the other remains very subjective. Please note that lens choices presented below are a result of a mini-research, where we asked a number of wedding photographers what two lenses were their favorite / most used.
While talking about these lens combinations, I will also try to objectively highlight their biggest strengths and weaknesses when compared to each other.
The rate at which Fujifilm X-mount compact camera system is growing is simply remarkable. I admit, I am very drawn to the system and really like what Fujifilm is doing (thus pardon any subjectivity that might creep in at times). To think that it was launched such a little while ago and yet already has such a versatile selection of cameras and lenses, it is beyond what we’re used to seeing in modern digital camera market. The two most recent Fujinon lenses – the XF 10-24mm f/4 R OIS and XF 56mm f/1.2 R – filled in what was arguably the biggest gaps in the system. The first one addressed the wide-angle issue in what we think is a very well-sorted package, while the second finally offers both the aperture and focal length suitable for close-up shallow depth-of-field portraiture. We are excited about both these new lenses along with the XF 23mm f/1.4 R and those soon to come.
Alas, they have not yet reached our hands, so the reviews will have to wait a little longer. On the positive side, Fujifilm has decided to treat us with some eye-candy from the widest lens currently available for the X-system. If you’ve been holding back your pre-order fearing it might not be as good a performer as one might hope, these official full resolution image samples should help you with your choice. Images are taken at various focal lengths and aperture values. If they are to be trusted, the XF 10-24mm f/4 R OIS really does perform admirably. Clicking on the images will take you to the full-resolution (several megabytes) file on Fujifilm’s website. The image files also contain EXIF information.
We sort of missed the new Sigma 50mm lens in the sea of recent announcements. And we should not have. Because, despite that, like its predecessor, it is very heavy by 50mm f/1.4 class standards and very big, this is not an old lens in a new frock. The Sigma 50m f/1.4 DG HSM Art lens is a completely new and very complex design. Worth your attention? Perhaps, if you are into the classic fifty. And, if recent Sigma lenses are of any indication (Nasim adored the 35mm f/1.4 Art), it should be extremely good.
It seems like ever since the first Fujifilm X-mount camera was launched, the X-Pro1, we can’t help but admire the progress Japanese manufacturer has been making. And it is not just the release of well thought-through line-up of cameras Fujifilm’s relentless attempts to improve models with firmware updates. Not just the pleasing design or quality of lenses. It is also what they have in store for us in the upcoming year. Fujifilm has just updated its X-mount lens roadmap for 2014 (and the start of 2015). And it looks bloody brilliant.