In my last post I wrote about my joy of shooting with my Fujifilm X100T. I have since then been out and about using it a bit more and appreciating this quirky little beast for what it is – a highly capable compact camera.
Earlier this evening I was just checking over some camera settings and noticed that there was a (minor) firmware update from 8 years ago which I hadn’t applied. Whilst noodling around online I thought I’d check out pricing for the current latest iteration of this camera, the X100V. Not that I’m in the market for a replacement, I was just curious.
WEX were showing the X100V at £1,349 which I believe is around the RRP, but out of stock. So I took a look on Amazon and very nearly choked on my tea when I saw it listed at £4,510.
£4,510 for an X100V?
You could buy the medium format (Fuji are now calling it “large format”) Fuji GFX 100S for £4,799. Ok, you’d need to add a lens to that… but seriously?
Apparently the X100V has been trending on TikTok after somebody raved about it on that platform. Just goes to show what a powerful platform that is, not that I’d want to go near it.
The X100V is a lovely little camera and it has a few features I would appreciate but you would have to have way more money than sense to pay £4,500 for one.
Come to that my X100T (two generations older) is also a lovely little camera and I’ll continue to shoot with it and enjoy it. Hopefully I’ll have more photos taken with it to share here soon.
With a daughter studying at University of Nottingham I do often find myself visiting that city, often at short notice. Such an occasion occurred last Friday. I had recently had quite an extensive photo walk around this area lugging my full Fuji X kit with me. This time I just tucked my little X100T in my satchel for a less encumbered experience.
I’ve been a fan of the X100 series of cameras since the original model was released back in 2010. I still have my original X100 but I did “upgrade” to the X100T a few years later and I still use that model.
I love this little camera for several reasons. It has a fixed 35mm equivalent f2 lens. The viewfinder is unique to the X100 and XPro lines, a hybrid optical / electronic viewfinder, flick a lever on the front of the camera to switch between the two. There’s an integrated ND filter (which I didn’t use on this trip) and the fantastically quiet, very nearly silent, leaf shutter. There is also the option to use an electronic shutter which can be handy when shooting at f2 in bright conditions (as can that built in ND filter).
What I love most about it is the fact that it is compact and self contained. I can just sling it in a bag (or a coat pocket) and always have it with me. I have a wrist strap for this camera so when I’m out shooting with it I often have it constantly in my hand with my finger on the shutter release, ready to go.
Using this camera makes me shoot in a different way. I feel liberated. With any interchangeable lens camera there are all the options for lenses to consider. With the X100 series you have what you have and you shoot to try to take best advantage of that. It simplifies the experience which I find refreshing.
I remember back in 2012 I visited Rome with my family and I had the option of taking my Canon EOS kit but I decided to just take my X100 (the original model) and I thoroughly enjoyed my shooting experience. Of course, you can rule out any telephoto shots – no zooming in to statues up high on top of a roof etc. Having said that Fuji do have a couple of add on lenses for the X100, the TCL-X100 resulting in a moderate telephoto angle of view equivalent to 50mm and the WCL-X100 which results in a wider angle, 28mm equivalent. I don’t own either of these conversion lenses, they simply screw into the filter thread of the fixed lens so they’re simple to add but for me it would take me back towards shooting with one of my system cameras – adding more options and more kit to carry about.
I’ve resolved to get out and about more with my X100T. It is ideal for street / city photography and also for taking along on a hike in the countryside. The 35mm angle of view is pretty good for both environments. Hopefully I’ll take it along on a photo walk around Leicester soon.
On Friday 24th March 2023 I got back to something I have long enjoyed doing – taking photographs of musicians playing live at small local venues.
This was the first time I’d taken my camera to a gig since pre-covid days and it felt really good to get back to it. I headed down to The Soundhouse in Leicester where a variety of artists were performing that night (auditions for Leicester’s Western Park Festival this summer) .
It was also the first ever time I’d visited The Soundhouse. I’ve been following the Leicester music scene for around 35 years so this seemed something of an omission. I’ve haunted The Musician and The Donkey frequently and go back to the days of The Royal Mail and the folk club upstairs at The Spread Eagle. I really enjoyed my visit to Soundhouse and I’m looking forward to returning.
I shot using my Fuji X-H1 and a variety of lenses. The 100-400mm to get right in close, the 90mm f2 for slightly wider shots (and I enjoyed using this lens in combination with the IBIS provided by the X-H1) the 35mm f2 for something a bit wider and even the 10-24mm for much wider “whole stage” shots.
I love contrasty lighting so venues which employ spotlights make me smile. And at The Soundhouse they really put on an interesting light show for the size of the venue.
Why do I enjoy this so much? Many reasons. Of course, I love to hear the music and on an evening like this you get to hear a variety of styles. As I said, I like contrasty lighting. Not all venues employ a lighting rig like the one at The Soundhouse of course but when they do I like to take advantage of it. I’m also hopeless at posing people. When a musician gets up on stage they take care of posing themselves and then produce a variety of expressions invoking a range of emotions. Of course we no longer have smoke filled basement jazz clubs, but that’s the kind of venue I love to shoot. We still have the jazz clubs, just not the smoke filled ones since the indoor smoking ban came into effect in the UK in 2007.
I’m hoping I’ll be doing more of this soon. For personal reasons I’ve been absent from many things which I enjoy so much and it feels great to finally be getting back to some of it. I’ve added this post to several blog categories including “projects” as I see shooting live music to be an ongoing, life-long project.
More photos from the evening below. I ended up taking over 700 shots so just a small selection!
A couple of weeks ago I visited Calke Abbey in Derbyshire. Despite having lived just 30 miles away all of my life this was my first ever visit. I was inspired to visit by having seen photos taken there by a friend some years ago and the knowledge that the place had been “preserved” in the rather run down and shabby state that it was in rather than being renovated.
I took my entire bag of Fuji lenses and a couple of bodies, my X-H1 and my X-Pro2. As it turned out I used my 90mm f2 on my X-H1 and my 35mm f1.4 on the X-Pro2 for the entire duration. As they don’t like large bags in the place then I’ll know better what kit to take next time and leave the Think Tank Retrospective 20 camera bag at home.
I loved the lighting conditions inside the house and on this visit that’s all I did, explore the house. There are hundreds of acres of grounds and a church and heaven knows what else to explore and I’m sure I’ll be back regularly to seek out new photographic inspiration.
The rocking horse shown above was in a room that was used as a schoolroom. I was loving the way the sunlight was pouring through the window to the right and creating the kind of localised contrasty lighting I enjoy so much. I did a quick B&W conversion using a somewhat modified “Film Noir” filter in Silver Efex. A couple of others shots from the visit are shown below.
I’m very aware that it has been a couple of months since I posted anything here. Yes, it has been a busy couple of months and thankfully some of that has been photography busy.
This photo of Rick and Warren was taken during the interval at a charity gig I recently attended at The Donkey on Welford Road, Leicester. I was there to support the good cause of the night and also to support my friends on stage : Bellatones.
I still have loads of photos to work my way through from that night which was over a week ago now but this one stood out from the pack for me when I was browsing through to see what I had captured that night.
The vast majority of my photos were of the musicians on stage, that was what I had intended to shoot after all. But at the interval I got chatting outside with Warren (the landlord at The Donkey) and Rick and his good lady, Caroline. It was Caroline who told me that it was “Rick with a silent P” so I do hope he doesn’t mind me using that as the title of this post.
We had a bit of friendly banter during which time Rick, Warren and Caroline got talking about my photography and I snapped one of Rick and Warren together at their request.
It can often be tricky to judge the technical qualities of a photo from the tiny screen on the back of a camera but this one looked pretty good and after showing it to the subjects I ended up being persuaded to take quite a few more of Rick, Warren, Caroline and various of their friends.
It was dark out there.
I had been shooting the acts on stage at ISO 3200 but for these shots I was nabbing outside the venue I had to crank it up a notch to ISO 6400. I’ve always been wary of shooting at high ISO with any camera I’ve owned but I tend to think that it’s better to get something that may have some noise but is free of camera shake so these days I tend to just go with the flow and pump up that ISO as necessary.
And I was not disappointed.
Shot at 1/125, f2 on the X-Pro2 with the excellent Fujinon 90mm lens at ISO 6400. I was even able to focus using auto-focus without any trouble. The only lighting was provided by a string of light bulbs set along the top of the wall about 10 to 15 feet to my left as I shot.
Would this photo have been any better if I’d used my so called “full frame” EOS-6D? I doubt it. I don’t like the term “full frame”. If you mean 35mm sensor then say 35mm sensor. “Full frame” is meaningless – what is full? 2.25 inch square is bigger than a 35mm frame size so how can 35mm be “full”? How about 4×5 inch sheet film? How about 8×10 inch? That makes 135 film (35mm) look tiny. Where do you stop? (I tend to agree with Zak Arias’ point of view on this as expressed wonderfully here).
The best camera is the one you have with you – whether it has a 35mm sensor, an APS-C sensor, Micro Four Thirds or a phone’s camera. You just have to get out there and shoot with it.
This morning the sun was shining and as I ate my breakfast it looked like a great day to get out and take some photos. However I was suffering from my usual problem – not knowing where to go.
I had just about made up my mind to head into town and wander around aimlessly for a while when I got an SMS from my sister and during the exchange of messages she suggested I head out to Old John, a very well known Leicestershire landmark situated in Bradgate Park.
By the time I actually got in the car the clouds had blanketed just about all of the sky. But this was fine, I had my tripod and my 10 stop ND filter with me (Cokin Nuances) so I decided during the drive that I would try taking some long exposures.
As I set up my tripod for the first time I was soon regretting not having thought to bring gloves with me. It wasn’t long before I was fumbling with the controls of the camera and shoving my hands in my pockets did little to remedy this.
I stayed around the vicinity of the Old John tower for a couple of hours getting steadily more refrigerated before deciding that I’d done enough and that what I really needed was a huge mug of tea.
As I sat processing my photos in Lightroom and sipping my tea at home, I discovered that the sensors of both my X-Pro2 and my XT-1 really could do with a very thorough clean. Dust spots show up way more at smaller apertures and I tend to use smaller apertures when I’m shooting long exposures.
It’s maybe the one downside of interchangeable lens mirrorless cameras that I can think of – more sensor dust. There’s no mirror so there’s nothing to stop dust falling right onto your sensor. I had given both bodies a good dust out using a rocket blower before heading out. Maybe it’s time I dug out the swabs I bought but have never used?
This is the reason I have used my X100T for most of my Fujifilm based long exposure work in the past. The X100 range are mirrorless but the lens is fixed so there’s no lens swapping opportunity for dust to get inside. But sometimes you just want to shoot some long exposures at different focal lengths so it’s time to suck up the dust.
Just over a year ago I wrote about using a then new piece of software called Iridient X-Transformer which dramatically improved my results when processing photos from my Fujifilm X System cameras.
Back in January 2017 Iridient X-Transformer was in beta testing but the results were impressive enough for me to purchase the software right away.
Since then I have been using X-Transformer on a photo by photo basis where I think it will be of most benefit to the image.
I’m now beginning to think that I should just run all my Fuji photos through X-Transformer regardless. Why? Have a look at the screen shot below. This is one small section of a photo I took in York back in November, looking along Micklegate from Micklegate Bar. It’s not a great photo, I didn’t bother to process it at the time and I’m just using it as an example here. Click on it to see it at 100% or I doubt you’ll be able to see what I’m talking about and particularly look at the lettering on the red “shop to let” sign, but also at the brickwork and the little Christmas tree.
Which looks better / sharper / clearer / better defined to you? The image on the left or the image on the right?
To my eyes the version on the left is the clear (and clearer!) winner. No surprise then that the version on the left is the .dng file processed through X-Transformer whereas the version on the right is the default .raf imported by Lightroom.
I was originally planning to run all of my Fuji photos through X-Transformer as I stated in that original blog post but then I noticed how much more disk space the .dng file took up compared with the .raf file. In the case of the example shown the .raf file is 24.4MB, the .dng is 66.7MB. This photo was shot using my X-Pro2 and I use a (losslessly) compressed raw format so the .dng version is always going to be much larger as that compression is removed during the process of converting to .dng.
I am now thinking that it would better to accept the greater file size and just process everything I shoot on a Fuji camera (99% of my photography) through X-Transformer. I likely wouldn’t have used it to process this photo as I wouldn’t have viewed it as containing lots of intricate details – just a normal (and rather dull and uninteresting) street scene.
The difference is clear so I think it’s time for another change to my workflow. Process everything through X-Transformer before importing into Lightroom and I might as well stop using that compressed Fuji raw format on my X-Pro2 as there will be no benefit if converting to .dng anyway. Yes, the photos will take up more space but that might be a good incentive for me to be more ruthless with my “pruning” during the editing process.
I dont think this is “pixel peeping”. I think that Lightroom’s de-mosaicing of Fuji raw images is substandard and I’m not getting the full benefit of the image quality my Fuji cameras are capable of providing.
Adobe should be doing way better than this. I pay a subscription to use Lightroom, it’s not “cheap”. X-Transformer currently costs just £23.75 and is produced by a small, independent software developer. I do wish they produced their full Iridient Developer package for Windows, I’d be highly likely to switch from Lightroom.
I have considered and tried using Capture One and again the results are way better than Lightroom but at the moment I would rather not spend hundreds of pounds on new software and I don’t know how many hours learning to use it. I know Lightroom pretty well and get along with it fine, if I pre-process my photos with X-Transformer I can then just carry on as normal with Lightroom. I just wish to heck that Adobe would do something about its treatment of Fuji files. Good job Iridient are there to step in where Adobe fall short.
There were a few more photos I wanted to share from my amble around town on Sunday.
The first, above, was taken on Northampton Street looking towards Granby Street. The clock from which the photo gets its title belongs to the barber shop that my dad used to drag me into when I was a lad, not quite literally but it would be true to say that I didn’t like getting my hair cut. As I got older I kept going to the same place. It used to be “Shilton’s” and I did ask the obvious question about thirty years ago but no, no relation to the one time Leicester City and England goal keeper. I liked the conflict of the word “trim” with the state of the clock and the building at the end of the street which also looks rather the worse for wear.
I’ve only been inside The Curve twice in my life to date. Once to see “Of Mice And Men” and again to see “The Importance of Being Earnest”. I should check their schedules more frequently than I do but I’m often put off by the number of musicals they put on here. I’m “not a fan” of musicals. I love music. I love drama. The musical just seems like the lowest form of both to me. Anyway, I was passing by during my quest for street art and thought I’d snap a photo. The building to the right with the dome above the entrance and the tower block looming behind is called Alexandra House and features some rather elaborate carvings, particularly around the entrance.
Built in 1888, I don’t know anything of the history of these buildings. They are now shops and offices but the name makes me think of financial institutions. I like Victorian architecture and this is a fine example right next door to the Curve Theatre. Something tells me that the theatre might not look so grand after it has stood for 130 years.
The Black Boy stands (just!) on the corner of Albion Street and Chatham Street. I’ve never been inside, my memories of the place go back to the 1970s when I was a lad and my dad worked at the other end of Albion Street (more of which later). Sometimes my sister and I would be driven out by our aunt to collect my dad from work on a Saturday evening and we would park up along Albion Street to wait for him to leave work. The Black Boy would be lit up at the end of the road with people heading in there after work or just starting their Saturday night out on the tiles. I know somebody had been wanting to demolish the place to make way for yet more student flats but I think the planning application was turned down. Quite what will happen to this lovely old building I can’t guess. It would be great to see it restored to its former glory and used as a pub once again, but in the current economic climate and with pubs closing down in droves I sadly doubt very much that will happen.
Young’s Cameras was where my dad worked for most of his working life and stands at the corner of Belvoir Street and Albion Street, the opposite end of Albion Street to the Black Boy pub above. Young’s had started off as a chemist’s store in the late 18th Century and sadly closed down back in 2010. Eight years later the shop still stands empty, a sad testament to the “centre of gravity” in Leicester having shifted hugely towards the Highcross Shopping Centre across town and the fate of many bricks and mortar retailers as online shopping took trade away. As a kid back in the 70s I would occasionally have the treat of going into work with my dad when school was closed for some reason. I was trusted to be down in the basement alone, surrounded by heaven knows how many thousands of pounds worth of stock and deadly chemicals. The then owner, Mr Young himself, was a kindly man who I remember with great fondness. He would often come down into the basement to bring me a cake from the shop around the corner, a photo book I could have or maybe there was a little “job” I could do to “help out” (and keep me amused and out of mischief). I’m sure it wouldn’t be allowed today.
Today I took a stroll around Leicester with my X100T for two or three hours. The light was flat and dull so I decided that I would go in search of some colour in the form of street art.
I walk by a few eye catching examples on my way home from work each night so I knew which part of town I was aiming for – the “Cultural Quarter” near the Phoenix Arts Centre and The Curve Theatre. However I decided to park up near Victoria Park which is probably a mile or so away from my target area. That way I could wander down New Walk (a Georgian pedestrian path and much favoured location for the offices of solicitors and financial advisors) and nab photos of anything else that took my fancy on the way (and also I knew that particular car park is free to use on Sundays).
When daylight hours start to get a bit longer I can see myself walking in and out from home but that would add another couple of hours onto the round trip. The light was gloomy enough as it was today without the sun setting on me whilst I was out.
Along New Walk I had to pass New Walk Museum which currently has an Anne Frank exhibition running so I decided on the spur of the moment to pop inside and take a look (very well worth the visit). Last year they installed a new curved stairway leading up to the first floor of the museum so I stopped to grab a quick snap of that. Believe it or not even looking over the side to take this photo triggered my height issues so I didn’t really explore many angles.
I then continued on to Leicester’s Cultural Quarter and I wasn’t disappointed by the street art to be found. I knew of a few pieces already but there was more hidden away within car parks and around corners I wouldn’t have thought to turn unless I was specifically searching. A few of my favourites are to be found below along with the photo which I used at the top of this post. Many of these works (if not all) were painted in May of 2017 during a “Bring The Paint” festival.
I really do like having all this colour around. British streets are often so drab and dull when compared to the colourful scenes to be found elsewhere in Europe. A bit of colour like this really can give a place a lift and put a smile on your face. Well, it puts one on my face anyway.
Following this I started to head back to where I was parked and as I approached the car park I remembered that I had long intended to take a look at Evington Footway, a Victorian pedestrian pathway near to where I was parked. It’s dingy and feels rather like it would be a prime place to get mugged to be quite honest, although I spotted some CCTV cameras and maybe it would feel better on a bright sunny day. The thing is I like dark, narrow alleys, aesthetically speaking and of course those are the very places where Nefarious Acts take place. I have to say that as I walked down this footpath and met people coming the other way I felt that people might be expecting trouble from me rather than vice versa, being the rather large chap that I am.
To sum up I had a good afternoon photo walk without having to go far from home. The experience was enhanced by “travelling light”. The Fujifilm X100T is simply my favourite camera ever. Small, light, discrete and very capable. I’ve used it on several city breaks because I don’t have to bother lugging around several lenses. A 35mm equivalent prime f2 lens is ideal for city / street work and it can be simply stuffed into a general purpose shoulder bag or even a coat pocket when not in use. I also enjoy using Fuji’s hybrid viewfinders, switching from optical to electronic and back again depending upon the circumstances. I love getting a live exposure preview right in the viewfinder including whichever film simulation mode I have selected. Today I had this set to black and white with a red filter as I knew that anything other than the street art I would most likely be shooing in black and white anyway due to the general lack of light. Even though I was only shooting in raw mode (so full colour capture) the camera still honours the black and white “film” selection in the viewfinder which can be helpful.
Corn. Mile after mile of corn. I had been to The Cornhusker State previously but it had been 23 years before and at an earlier time in the year when the corn was less apparent in the fields.
After our concerns about “carmageddon” on the roads due to crazy eclipse crowds we actually had a very smooth journey from Thornton, Colorado to Hastings, Nebraska. We had a hotel room booked for the night before the eclipse and the plan was then to continue on the little way to the town of Aurora next day to watch the action – or if carmageddon occurred we would most likely stay put at Hastings.
After the dry air of Colorado the humidity in Hastings came as a bit of a shock and the skies were almost totally clear – a good omen for the following day. We had most of a day to kill so we looked around the campus of Hastings College where my wife had studied back in the day. I had visited here myself on one occasion and that was during my previous visit to Nebraska all those years before. It was amazing how clearly I remembered the place. We also had a wander around the town and the market stalls which had been put up as part of “SolFest“, the town’s celebration of the solar eclipse. It was a great atmosphere and expectations were running high for the following day.
August 21st dawned, the day of the eclipse. There was quite a lot of cloud about. We had two choices – drive around trying to find clear skies or head to Aurora as we had originally intended – and just hope we would be lucky. You could spend all day driving around trying to find the perfect conditions and still be defeated by the weather and my wife had friends (Dan and Tracy) who were running the Aurora eclipse viewing event – they were staying put and hoping for the best so that was what we did too.
The event had been organised at The Leadership Center, Aurora. Some folks had camped overnight but for those driving in on the day a free shuttle-bus service had been arranged, running from a nearby ball park where we left the car. Arriving at the Leadership Center we chose our spot in the shade of a couple of trees and I got my camera ready. I have to say I was very impressed with the event planning. Dan was providing a commentary during key phases of the eclipse but not so much that it detracted. Food and drink was available to buy at a very reasonable price with the proceeds making a contribution to the funding of the event. There was no charge for use of the shuttle bus and no charge for entrance to the event.
We still had concerns about the clouds. At first we had a clear view of the sun but that was something which was constantly changing, we would just have to hope. It seemed like we had been there for quite a while before I noticed the first sliver of the sun had been eaten away – first contact. From then on I was taking shots at regular intervals. I was bracketing my exposures to try and make sure I got at least something. The filter was working well and I was getting a good view of the ever diminishing solar disc but the clouds were quite variable and although most of the time we could make out the sun behind them I was having to adjust my exposures quite dramatically to compensate. It was difficult to notice the light levels dropping around us, it was so gradual. At one point I noticed that the cicadas had started chirruping as they do in the evening, a sure sign it was getting darker.
We were very lucky. Just moments before totality was due the clouds cleared enough for us to get a really good view. It was amazing just how bright it was right up until totality and then suddenly the light level fell to something similar to twilight as a “black hole” appeared where the sun used to be. I really don’t think any words, photographs or video can possibly do justice to the beauty and other-worldliness of witnessing a total eclipse. I felt like I was in a science fiction movie or a surrealist painting. We were in the shadow of the moon, the sun was a black hole above us with a rim of glowing plasma, stars and planets were visible in the sky during daytime and there was a 360 degree sunset extending all around us.
During totality there is no need for protective glasses or for my solar filter over the lens. I slid it off and carried on shooting whilst also trying to take in every moment of the experience.
It was true that no photo could adequately convey what it felt like but I had come all this way and I was prepared the best I could be so I fired away with my Fuji X-T1 and did the best I could. Yes, I needed a longer lens. A much longer lens. In hindsight maybe I would have been a little better off taking my EOS 7D with me just for the eclipse. That would have given me an effective 460mm (ish) instead of 300mm. What I really needed was a telescope. But I had what I had in terms of photographic kit, that decision had been made weeks before we left England and the most important thing was to experience the eclipse first hand, try to remember everything about it as clearly as I could.
I’m delighted that I was able to capture the photos below, inadequate as they are, I had to crop quite heavily due to my short focal length (click to see them larger). They are part of my memory of a unique event. It would be wonderful if I got the chance to see another total solar eclipse but I feel so fortunate to have witnessed one during my life and to have managed to capture anything at all on camera is a bonus. I was delighted that my DIY solar filter worked so well, much better than I ever expected it to.