The Fujifilm XF Lens Roadmap hasn’t been updated since last year. Now rumors are about that they going to be producing a XF 8-16mm F/2.8 lens sometime this year. It makes sense to me as that completes the Pro series equivalents of constant F/2.8, 12-24mm, 24-70mm, and 70-200mm lens other manufacturers offer. For night sky photography wide angle fast glass is the way to go. Last night I dashed outside to capture a few images of Orion and the surrounding stars. I used my XF 10-24mm F/4 R OIS lens and I really did wish I had that extra stop of aperture. At F4 i had to keep the shutter open for 20 seconds at ISO 1600. You may not notice it (in fact you may not see many stars in the small image presented but click on the image for a larger image) but there is definite movement at that shutter speed. With a lens the opens to F/2.8 I would have been able to cut the exposure time down to 10 seconds and it probably would have made a difference in the sharpness of the image.
I’m not one that is enamored with cameras that can see in the dark. I could care less about cameras with claimed ISO ratings that go up to 200000 megawatts or what ever.. My personal philosophy is always find more light. However, in some cases, I will let myself become a high ISO fan boy. If you ever get near the Kennedy Space Center Visitor Center in central Florida, there are a couple of photographic opportunities that you will really appreciate having a bit of extra ISO in your camera.
The first thing you need to see there is the Space Shuttle Atlantis exhibit. You can’t miss it, as it is dominated by the external fuel tank, which you pass on the way into the parking lot. Outside you don’t need to worry about ISO especially on a bright sunny day.
I have to say the people at the KSC Visitor Center have perfected the art of the reveal with the Atlantis exhibit and also with the older Saturn 5 exhibit that is a bus ride away from the center. I’ve seen Atlantis at least 4 times now and I still get emotional as Atlantis is revealed. In fact I’ve hidden the revealed Atlantis on a separate page so you can experience seeing it for the first time there. If you can’t wait, click here to see Atlantis.
Once inside you have great access to Atlantis and to a full size mockup of the Hubble Telescope. The great thing about Atlantis is that they have preserved it just as it was when it landed for the last time in 2011, complete with scorch marks.
You can bring a tripod into these exhibits but they do ask you not to use flash. Having the capability to shoot at ISO 1600 – 3200 and get clean files makes it more enjoyable than lugging a tripod around. The Fujifilm X-T2 is a perfect camera for hand held shooting in this context. If you are an HDR person by all means bring the tripod and work with longer exposures and lower ISO’s (especially hand with shooting the tiles under the spacecraft.)
The lighting inside is all over the place and it probably best to just accept the color casts and go with the flow. This is also a good environment to convert to black and white.
The ACROS film simulation was applied here where the tungsten and bright blue lighting were hard to control. You have all the time you want to discover the spacecraft and you can walk underneath the shuttle to get a good close look at the tiles. There are a number of other things to see within the exhibit. It is a great learning experience for the kids too.
When you’ve finished viewing Atlantis, get over to the buses and head out to the Saturn 5 exhibit. The bus ride takes up to 40 minutes . Our ride included a view of the Vehicle Assembly Building (huge, huge, huge) and a drive past Launch Pad 39B where the Shuttles were launched. This might not be the same route you have as the occasionally they do launch rockets from these active launch pads. While the ride is bumpy you can get a shots of the launch pads. You just have to compensate for the green tints in the bus windows.
While the shuttle seems big up close the Saturn 5 rocket that launched astronauts to the moon (and back) just goes on and on. I think most people could stand inside of one of the first stage rocket motors of the Saturn 5.
The building that houses the Saturn 5 exhibit does have a row of windows on the south side of the building which adds daylight or sunset light to the mix of multiple light sources. Once again go with the flow. The above images was a bit hard in that if you corrected for the white ball on the upper left of the image, the yellow outer band turns green. Just let things play out, it’s all about the images you can make.
Here again playing with the Fujifilm ACROS film simulations in post production.
The Kennedy Space Center Visitors Complex is a wonder full place to visit and one that you can get some stunning images with the Fujifilm X-T2.
For the most part I shot the images with Auto ISO and shutter speeds, I default mine to a minimum of 1/125 of a second and a maximum ISO of 3200. Worked here with all but one image where I had to let the shutter speed go to 1/30 of a second and held the camera very very steady.
Digital cameras have all sort of things to assist you in making images. Automagical stuff like focus assistance and white balance determination. Informational stuff like current shutter speed, aperture, and ISO. The information you can display while you are looking thru the viewfinder or at the LCD screen can be very helpful, and sometimes it can actually distract from your image making.
Most of the Fujifilm X series cameras have all sorts of things you can put on the screen before and after you have taken a shot. One of the things that I came to rely on is the Electronic Level1. It was the first thing I turned on when I got the X-T1 and also the X-T2. The Level as well as a rule of thirds, ninths,twelve grids can be turned on by check boxes on the Display Custom Setting menu on the Tools -> Screen Setting -> Disp. Custom Setting menu.
When the Electronic Level check box is checked there is a line across the view screen that shows as white when not level and green when level. Get the line level and you image will come out level, not needing any post processing adjustments to the frame.
And the other day I turned it off. The reason I no longer use it is that it becomes distracting when shooting. If, like I was, you are looking at the line to make sure its green you are no longer looking at the image. Getting the line to go greens may mean that the image that the camera is capturing is not the image you saw in you minds eye. Subtle shifts may introduce distractions along the edges or as I tended to do, move the fram up or down missing important details. As a photographer you are responsible for the entire image not just that it is straight. So I’m getting used to taking the energy I was using making sure the camera is straight to making sure the image I capture is the image I wanted.
I am finding that I am not usually off by more than a degree or two. Of course there are some situation where you don’t even want a level image. Then the level just gets in your way.
One of my personal projects is shooting clouds. If I don’t have any references in my image to the ground, buildings, trees or the what not, I really don’t care what is level.
I would also suggest ignoring the grid layouts as you should concentrate on the image and not necessarily if it matched the rule of thirds or any other distracting rules. Actually I would suggest you work at getting images that look balanced to you without any aids then use post production to see how close you are to the “RULES”.
If you are doing landscapes (or any other image type for that matter) on a tripod by all means turn on the electronic level and get your self all set up to make the best picture you
can. You can alway turn off the display if it starts to bother you.
This past week Adobe released Lightroom CC 2015.8. The new release has some fixes, new camera profiles, and a new feature that allows you to compare the image currently being processed in the Develop Module against a reference image. The reference image can be another image including another copy of the same image. The reference images is not modified by any changes to the active image. I’ve come up with three reasons (there are more) to use this reference feature.
Compare image as processed with all the tweaks you need against the straight out of camera image or unprocessed raw image.
Compare image as finished processing in Lightroom with an image that has been further processed in Photoshop or through a plug in.
Compare image in color versus black and white.
Here are three images to further explain what I would use each reference photo for and other details.
Compare straight out of camera image.
The active image is a raw file that has my normal camera profile, sharping, and vibrance adjustments. I then made a virtual copy of the image and clicked on the reset button to put the virtual copy to the default processing done when Lightroom imports my Fujifilm X-T2 raw file. This zeros all the sliders and sets the camera profile to Adobe Standard. I would use this one to verify how the eye moves thru the processed file that might not be evident in the unprocessed file. Does your Lightroom processing do enough to invite your viewer in?. You could also use this feature if you are shooting in Raw+JPG mode and see how close you can come to the image processed in camera to jpeg.
Compare image with Lightroom processing with image processed in Photoshop.
I usually use Photoshop to apply any plugins to my images. I open the image in Photoshop as a Smart Object then apply any plugins. This work flow means I can go back and tweak the image any number of times as the Photoshopped image is added to the catalog as a psd or tif. In any case you can reference your Lightroom processed images against all the changes in Photoshop. Depending on the image I can sometimes overcook the plugins in Photoshop. Having the Lightroom processed image give me a chance to go back into the Photoshop image and fix any issues I had with the processing. Once again does the processed image succeed at moving the eye around the image as you intended?
Compare image in color versus black and white.
Sometimes you need to look at both color and black and white to determine which is better for the story you are telling. Create a virtual copy of the processed color image then convert to black and white within Lightroom or a plugin. In this chase I applied the Fujifilm ACROS+R camera profile to the virtual copy. Of course because you made a virtual copy you can have the best of both worlds. In this image I like the black and white because it removes the distraction of the red shirted guy in the left of the image and the people a little further up the river also on the left.
This is an image I shot on my recent vacation. In this shot I was able to visualize the outcome before I even framed it up in the camera. I knew what I wanted to capture and was able to get the result I was looking for. The Mrs and I were sampling a bit of Merlot in the Italy Pavillon at Epcot in Walt Disney World.
I saw the shadow on the wall which show the lighter areas of the sun passing through the glass of the lamp. I liked the tonality. I shot a couple of shots and this was the one that best matched what I was seeing.
Emotionally I think the image has impact. The balance was good and the colors match what I saw as I was sitting there.
Afterwards I was thinking about photographic rules and which one I had followed and the ones I broke. I shot this about 1pm on a crystal clear day. It wasn’t about waiting for better light as the light I has was perfect to creating the shadow of the lamp. I think I may have got the rule of thirds about right as the lamp itself was in the upper right third while the shadow was in the lower left.
If all you can say about an image you took is that “I Nailed the rule of thirds” that rule probably doesn’t matter. What really matters that the image tells the story. In this case it did for me.
On a bit of a holiday (with a great view) I tried a panorama out the window. For some reason Lightroom could not produce a result with the four images that I shot. I think it might have something to do with the monorail moving in the middle two shots. I was able to get Photoshop to stitch the images together when passed from Lightroom using “Merge to Panorama In Photoshop”. Which hints that there is a fundamental difference in the engines for building panoramas in the two programs.
You always need to experiment and push the boundaries otherwise you don’t learn stuff.
When you build a panorama you can end up with a lot of pixels, sort of like using a bigger sensor. When creating a panorama don’t forget about going vertical.
This image was built from 4 images starting at the top and working down. The panorama was stitched together in Lightroom. Full image is 5132 x 6428 pixels or about 34 megapixels. Shot with the Fujifilm X-T1, a 16mp camera. You can build large image files using panoramas, don’t just think left to right only, think up to down too. Click on the image to see the full 11mp jpeg.
I’m really conflicted by Instagram. Everyone says as a photographer you need to be on Instagram for the exposure and that is probably true. The problem is that Instagram doesn’t make it easy as a photographer to post pictures and once posted Instagram’s interface leaves a lot to be desired. If you are using Instagram as a portfolio you need to have absolute control of the image before it is posted.
First off is getting your images to Instagram. Unless you take your images directly on your phone and do all your post processing there you have to jump thru hoops to get you images published. If I have a choice between processing an image on a profiled 27″ monitor or a smart phone screen I will pick the monitor 100% of the time. My workflow for getting a image on to Instagram is as follows.
Process image in Lightroom and (if necessary) Photoshop on 27″ iMac.
Publish jpeg to a Google Drive Folder then wait for image to sync.
Open Google Drive on Nexus 7.
Navigate to the same Google Drive Folder.
Click on image to load it to device.
Click on the three dots in upper right of image.
Click on Send Copy To
This will bring up the image in Instagram. You can then change the crop from square to correct aspect ratio for the image. You can also apply one of the Instagram filters although I can’t see any reason for changing the image that you have already processed. Then add your caption and post.
While this will get your images into Instagram there are a number of things about Instagram’s interface that still bug me. Like the fact there is no way to quickly get back to the top once you’ve scrolled down through the stream of images from the people you follow. On the web based Instagram you normally can click on the header of a page for a refresh but not with Instagram. You can not zoom into an image to get detailed look. On the iPad/Nexus 7 you can only view the images in portrait mode which means an iPad with a keyboard attached makes it very hard to enter text for captions as you have to sort of tilt your head to see what you’ve written or try to type accordion style with one hand on the keyboard. And on the iPad you can look at the images at 1x, the same size as an iPhone, or at 2x which reduces the quality of the to fill the screen.
Instagram seems to make it much easier to post a badly lit over processed selfie then your good work.
Well I’m glad I got that off my chest. And BTW my here is link to my Instagram account.
For those of you wondering how I publish directly from Lightroom to the Google Drive here is how I’ve got things set up in Lightroom’s Publishing Manager.
Even with the best of intentions you sometimes get really interesting images by accident. I apparently did not have the tripod head tightened down when I clicked the shutter. The camera drooped down during the 2.5 second exposure.
Which brings us to the point that when you have 2.6 seconds to play you can make some interesting images. Another possibility would be to zoom the lens during a long exposure. Always experiment, always be looking for the unexpected. There is no such thing a a mistake once the shutter button is pressed.