In my recent blog post, titled Bring Back The Shadows: The Case Against HDR, I talked about how shadows bring the important elements of subtlety, innuendo and abbreviation into your imagery.
Like any art form, the power of creative photography lies in the process of suggesting your scene and engaging the imagination of your viewer. By only showing a limited portion of your subject matter, you invite your audience to think about what’s NOT there. This allows them to fill in the rest of the story in their minds, and in some cases, attach their own meaning to your image.
By not giving them everything, you allow your viewer to WONDER. That’s the key, because once you do that, you’ve suddenly brought them in as an active participant. In fact, anytime you engage your viewer’s brains, you’re gone a long way towards creating a more successful image.
To equate this to other art forms, think about a favorite song. Music, especially good songwriting tells enough of a story to bring you in and equate the narrative to your own life. The songs that really move us are the ones that make us think and feel. Songs that fail to deliver any kind of meaningful message, or more importantly, allow us to take something way are simply noise. Those aren’t the ones that last.
It’s the same with powerful fiction (and movies). Clive Cussler novels and other summer brain candy aside, a good story isn’t just about engaging descriptions and plot, it’s a narrative that resonates with us somehow and incites is to think about the world in a different way.
I’m not saying that simply by including lots of shadowed areas in your photo, you’ll suddenly create a visual best seller, but you will go a long way towards making a more compelling shot, if not for the implied story or subject matter itself, but because of a fundamental compositional rule.
By placing bright colors against a dark background, the brain perceives those colors to be more saturated than if they’re set against a bright background. Simply using shadows in your scene helps you create more bold imagery.
Imagine how this shot of the bikers might look if they were set against a white overcast sky, or some other brightly colored environment. The black adds a tremendous amount of visual power here, and it helps saturate those rich reds in their jerseys and helmets. All that black adds a ton of drama to the scene.
Next try to picture what this photo would look like if I had exposed for and shot it while they were still inside the shade. You’d see everything- the trees, the road, the other riders in the background, maybe a street sign and one or two spectators. Like an HDR photo, nothing would be hidden- everything in the scene would be out there in plain sight. Do you think that would make for a compelling composition?
Shadows are your best friend in photography. They’re perhaps the most powerful visual and creative tool you have in the whole process, so don’t cast them aside. Look for them out in the wild and use them to their fullest potential.
For a long time, most serious outdoor and travel photographers only considered two or three tripod brands: Manfrotto, Gitzo and Benro. Most of the other brands out there were either too heavy for travel and backpacking use or else they just didn’t offer the kind of quality and stability you need for taking great landscape photos.
Times have changed, and a number of other companies have come out with high quality, affordable tripods. Now, when you run into your fellow shooters out in the world, you’re just as likely to see them with a variety of other brands, in addition to Gitzo and Manfrotto.
I’ve led a number of workshops and photo tours during the past few years, and these are the most common tripods I’ve seen with my students and fellow photographers. The common design of all these models is that their legs fold back on themselves, so they all pack quite small. If you’re looking for an awesome travel tripod for a lightweight camera gear setup, I recommend checking out one of these.
Of course, if you’re serious about your photography and you want the best and most stable tripod around, or if you have a heavier setup, the Gitzo GT1545T Series 1 Traveler is still the best quality and most stable travel tripod around. It’s not cheap, but you’ll never regret buying a Gitzo. Ask anybody who owns one.
In fact, I recently bough my first Gitzo tripod- the ultra compact GT0545T Series 0 Traveler. It’s 2 sizes down from the popular 1545, but for mirrorless gear, it’s rock solid.
I’ve probably seen more of these than any other tripod during all the photo torus I’ve led this summer.
I can totally understand why, made by longtime tripod maker Benro, the MeFOTO Aluminum Roadtrip is a very compact tripod that extends to 61″, folds down to only 15″, weighs 3.6lbs, offers very good stability and costs less than $200, including the attached quick release ball head.
The four twist-lock legs lock in two positions, so you can easily set it up on uneven ground, tight spaces or even low to the ground. And they fold back over the center column, so the whole tripod packs quite small; it even comes with its own nylon carrying case that has a shoulder strap for easy transport and storage. And it comes in tons of cool looking anodized colors.
In addition, the RoadTrip has a couple of really cool features: You can remove one of the legs and attach it to the center column, which converts the tripod into a full-size monopod. This is great when you just want extra support when shooting with longer, heavier zoom lenses, like when photographing wildlife or sports.
With a bubble level, foam grip on the monopod leg, a 360-degree pan ball head, and a center column hook for hanging a heavy bag for increased stability, the MeFOTO RoadTrip is easily one of the best values around. Overall, it’s a great little travel tripod for the money, and it’s great for DSRLs and mirrorless cameras.
Siuri is another tripod company that has seen huge growth in the past few years. It’s easy to see why, they make some pretty decent gear.
While they have a wide variety of tripods and ball heads in their catalog, the Siuri T2005X is probably the best all around lightweight tripod that offers decent stability, especially of the price- only $139 without head.
With five twist-lock leg sections that also fold back on the center column and can be set to 3 different angles, the T2005X extends to 60″, folds down to 14.6″, weighs 3.1 lbs,
With forged aluminum legs, it offers a surprisingly high strength-to-weight ratio, which is what you want in a tripod. It also comes with a carry case.
Overall, I’ve been impressed with Siuri tripods, and I’ve seen quite a few of them out there. You’ll need to get a head with the T2005X tripod, this is the one I recommend.
Made in Italy by a longtime and very reputable tripod company, the Manfrotto BeFree aluminum version is a great addition to their line, and it’s one of the best travel tripods around.
As with the previous two models above, the BeFree’s legs fold back on itself, which makes this tripod only 15.8″ long when packed up. That’s short enough to fit in most roller bag suitcases and carry on bags.
The four flip-lock leg sections extend to 48″ tall, and the can be set to two different angles. With the center column up, the BeFree extends to 57″. Load capacity is about 8.8 lbs, which is perfect for mirrorless cameras and just about any lightweight DSLR. Probably not the best model for pro DLSRs and long lenses, though.
The Manfrotto BeFree comes with an Arca style quick release ball head, it has a rubberized grip on one of the legs, which makes it more comfortable to carry, and it comes with a nice carrying bag.
Support this site:If you’re thinking about picking up a new tripod, or any new gear for that matter, please consider shopping through these links. It’s your way to let me that you find these reviews helpful, and it doesn’t cost you anything extra. In other words, it’s like a virtual 👍 button. Thanks! – Dan
This past weekend, I ran my Midnight Sun Overnight Glacier Photography Workshop, here in Alaska, and we had a blast! In short, the workshop involved helicopters, camping out in the wild, kayaks and a few million tons of ice. Add all that up, and how can you not have a great time!
With six awesome and enthusiastic participants, we had a nice small group. This allowed for a high level of personal interaction and camaraderie between everyone, and lots of time for me to work with each person on techniques, creative ideas and camera settings.
We started with a great dinner and a photography presentation at the lodge during the first evening, which was followed by amazing sunset. This is a shot looking down the Knik River valley, which provided a gorgeous backdrop for the intense, colorful sky.
On Saturday morning, we loaded into the helicopters and flew over the toe of the massive Knik Glacier out to our campsite on a hillside above Lake George in the heart of the Chugach Mountains. With doors-off on the heli, we were able to shoot clear, unobstructed aerials of the giant ice towers and jagged formations on the Knik. Four of the six people had never been in a helicopter before, let alone shoot photos from one. As you can imagine, everyone was pretty psyched.
After being dropped off on a beautiful, remote hillside above the lake, we set up camp with the help of our wilderness guide. Our location for the next 24-hours gave us clear view across the lake of Colony Glacier, which continuously cracked, crashed and boomed as giant icebergs calved off from the face.
Many of those icebergs drift across the lake, and we spent much of Saturday exploring and photographing these massive ice blocks up close with the use of kayaks and a raft. Everyone captured some amazing images during the course of the day.
In the early evening, we took some time to relax a bit and enjoy a great meal prepared over the campfire. Of course, with our super long days, we had another extended evening photography session. Some people went out in the kayaks again and paddled around the icebergs, others photographed on land- some did both.
We were treated with another beautiful sunset, and a long couple hours of twilight. In my mind, one of the great things about this workshop is being outside in a gorgeous wilderness setting during a full 24-hour light cycle. We were able to photograph an array of impressive scenery not only in a variety of light, but in the very best light possible.
If photography is all about light, it makes sense to try and maximize your opportunity. That’s the main reason I love running with this format- it isn’t just about seeing and shooting cool subject matter, it’s about immersing yourself in the scene and witnessing how different qualities of light affect the subject around you, and learning how to use that light to your advantage.
Although this wasn’t in any way a dedicated Fujifilm workshop (people had a variety of gear), I brought out a handful of Fujifilm X Series cameras and all of my lenses for people to try if they wished. The two Fuji shooters on the trip were able to borrow and test a wide range of glass. For the non-Fuji shooters, I’m fairly knowledgeable about most camera gear, so I can usually help people out with their gear, even if it’s not Fuji.
On Sunday morning, we enjoyed camp breakfast and had a couple more hours to explore and photograph before our heli-pickup. On our flight back, we looped back around the toe of Colony Glacier to shoot some closeup aerials of the massive ice wall that had been our distant backdrop all day and all night long.
We even saw a huge ice serac calve off and crash into the lake right as we flew past. Although we couldn’t hear the crash over the sound of the rotors, we knew how well the boom would have carried across the lake. In fact, the other three people who were still at camp confirmed that they indeed heard the calve!
Once back at the lodge, we had time to quickly download, preview and share a few photos of the trip with each other, and then enjoy lunch and beers on the deck before our drive back to Anchorage.
For me, this was one of the most fulfilling photography workshops I’ve run. Not only does it take place in an amazing setting, it closely matches the exact areas I like to explore on my own and the WAY I like to adventure and shoot. It’s a great mix of adventure photography, aerials and landscapes.
Also, I like small groups, because it gives me the time and opportunity to work with each person and help them with their photography in the way THEY want to learn. I’m not out to teach people how to take photos like I do, my goal is to help other photographers improve and shoot the best images possible in the style that matches their own vision, no matter what gear or background they have.
It’s here. After months of unsuccessfully trying to dodge the rumor mill, the new Fujifilm X-T2 finally shows its face. Does it live up to the hype? My answer, with absolutely no hesitation is yes.
The X-T2 is so bad-ass, I don’t even know where to begin.
Having shot with the X-T1 ever since the day it arrived on my doorstep in February 2014, it’s been hard for me to imagine how another camera would ever capture my fondness like my trusty, beat-up, black X-T1 that I affectionately call “Number One.”
Believe me, I was in no hurry to upgrade. Life with the X-T1 was good and if it took another few years for the “2” to come out, I wouldn’t care.
And yet all that changed the minute I pulled the X-T2 out of the box and turned it on.
The brand new Fujifilm X-T2 truly represents the next generation of X Series cameras; it has been refined and optimized for maximum performance in nearly every single way.
As game changing as the X-T1 was, the X-T2 has set the bar even higher. Anyone who’s been waiting for a truly professional grade mirrorless camera, your wait is over. This is it.
I’ve been shooting with the X-T2 for a few weeks now, so I’ve gotten to know it very well. I’ll start with my initial “first 5-minutes with the camera” impressions, which should give you a quick idea of what’s been added.
Body has a bit more heft. Feels more solid. Only a hair bigger than the X-T1, though.
The shutter sound is even more powerful and substantial.
325 AF Points and 169 Phase Detect pixels.
Reduced black out time when shooting photos.
Slightly more pronounced thumb grip.
Top deck dials have more solid detents.
ISO and Shutter Speed dial both feature lock buttons. Awesome.
ACROS film sim is unbelievably gorgeous!!! As are the new “Grain” settings.
AF/selector joystick way cool. And it frees up the D-pad buttons for other Fns.
Dual card slot – Yes!
Sideways/vertical LCD flip screen option. How fun is that?!
CL shooting mode either 3, 4 or 5 fps. CH is either 8, 11 or 14 fps. Wow.
Both Uncompressed and Lossless Compressed RAW.
1/8000 sec mechanical shutter.
New +/-EV C option, which allows for +/-5EV.
It appears to charge via USB.
And the list goes on… I’ll do my best to cover the main features here, but look for more posts in the coming weeks that cover specific aspects of the X-T2 in more detail.
24 MP Sensor and New Image Processor
We’ll start with the most notable upgrade. Built around a 24.3 MP X-Trans CMOS III sensor and the new X-Processor Pro image processing engine, (both of which were introduced in the X-Pro 2 earlier this year), the X-T2 produces unbelievably sharp, high resolution imagery (6000 x 4000 pixels) with extraordinary depth, color rendition and improved gradation.
With Fuji’s proprietary non-Bayer pattern pixel array and no optical low pass filter, the unique design of the X-Trans sensor allows it to produce images that equal the sharpness of most full frame cameras, and easily exceed the sharpness of many other APS-C cameras.
And now, with 24MP instead of 16, the X-T2 has definitely upped the ante with their two top of the line models. Of course, this is what everyone has been waiting for. It’s always about pixel count, isn’t it?
I actually love the look of the 16 MP X-Trans sensor images that come out of the X-T1, X-T10 and X70. With a pixel size that matches that of the Nikon D810 and no optical low pass filter, the original 16MP X-Trans sensor produces beautifully sharp photos, and it does extremely well in low light.
The new 24 MP X-Trans III sensor does an even better job. Not only do images hold a tremendous amount of detail, especially when shooting RAW, they have finer color gradations, and combined with the new image processor, they have better color accuracy. You’ll especially notice that in the reds.
Anyone who’s shot X Series cameras in the past knows they sometimes have trouble with deep, rich reds and magentas; images tend to over-saturate and lose detail. This has been fixed with the new image processing system in X-T2 and X-Pro 2. Red are less washed out and they hold finer detail, even in bright sun.
With the exception of the bottom aerial sunset photo below, all of the photos in this review are straight-out-of-camera JPEGS. With aerial, the first shot is a straight JPEG, the second was converted from RAW where I brought up the shadows a bit to show more details in the trees.
In addition to helping increase image quality, the new X-Processor Pro, which is rated to be 4x faster than the previous generation processor, also does the following:
Decreases Start up Time to .3 seconds (.5 sec on the X-T1)
Reduces shutter lag and black out time between shots. (Less than half that of the X-T1)
Reduces delay when tracking moving subjects
Increases AF speed
Increases EVF refresh rate from 54 fps (X-T1) to 60 fps, and 100 fps in Boost Mode.
Q: Looking ahead to the cameras that will replace the X-T1 at the top of the X-series lineup, what is the biggest thing you want to improve?
A: “The key challenge is how to improve autofocus…And as we move into the telephoto lens area for wildlife photography and so on, those customers definitely need a better autofocus system.. Just introducing a telephoto zoom is not a solution. Focus accuracy and speed has to be there. “
As an action shooter, I depend heavily on autofocus so this is good news to me, and it’s evident that the Fuji engineers have been working hard to bring their AF system up to the standards we’re used to seeing with high-end DSLRs.
The X-T2 has a number of significant autofocus advancements, which are built around a vastly increased number of AF pixels. Where the X-T1 has a 77-point area, including 15 Phase Detect pixels, the X-T2 has a whopping 325 AF points, 169 of which are the fast phase detect points. (This is over twice as many as number of AF points on the Nikon D5.)
In Single AF mode, you can select either all 325 AF points, or reduce the number of 91 AF points for easier selection. In Zone AF, the system uses the 91 pixel array.
Also, where the X-T1 has a 3×5 phase detect pixels that are geared towards the center of the frame in Zone AF, the X-T2 has much wider PDAF array that covers about 40% of the frame: 13×13 points in Single AF and 7×7 points in Zone AF. This dramatically increases AF performance when shooting in Continuous Mode.
The X-T2 also has the new AF/Selector Joystick that was introduced on the X-Pro 2. Not only does this allow for fast AF selection when you’ve got your eye up to the viewfinder, it frees up those four D-Pad buttons on the back of the camera to act as additional Fn buttons. Uncoupling the AF system from those four D-Pat buttons obviously increases the overall level of customization and ease of operability on the cameras.
When using the Joystick to select your AF zone, pressing it brings your green AF selection box back to the middle. You can also use the joystick to navigate any of the camera menus and image review options.
Faster Tracking and AF Performance
This is where things really get bad ass. I hope they gave Mr. Iida and his techs a huge bonus, because X Series autofocus means business now. The whole system has been seriously upgraded on the X-T2; in fact it even has its own menu, including a dedicated AF-C Custom Settings menu option. That’s how much control you have.
I’ve tried to throw everything I can at it, and I’m blown away by how fast and accurate it is. It keeps up with incredible speed and precision. It’s also much more sensitive in low light. Whereas the v.4 X-T1 AF system will accurately focus down to -.5EV, the X-T2 will focus down to -3EV.
So far, I’ve shot road bike racing, mountain biking, motocross, erratically flying birds, hiking, and trail running, and it keeps up like a true champ. Tracking performance is rock solid, even with fast moving subjects and very long lenses. Fast action with the 100-400 lens and 1.4x teleconverter? No problem. Bikers flying down the trail towards me? Nailed it. Arctic terns zipping and darting around the sky in dim light? Done.
AF-C Custom Settings Menu
The new AF-C Custom Settings Menu lets you just the following parameters: Tracking Sensitivity, Speed Tracking Sensitivity and Zone Area Switching. You get five presets and an empty slot to configure your own custom settings.
Multi-Purpose
Ignore Obstacles and Continue to Track Subject
Accelerating/Decelerating subjects
Suddenly Appearing Subject
Erratically Moving & Accel/Decel Subject
Custom/User Defined Setting
I’ve played around with these options and I’m impressed with the level of control the give you. Given that these types of options were previously found only on high-end DSLRs, this is yet another indication of how serious Fujifilm is about making professional grade cameras. A few years ago, mirrorless camera autofocus still had a long way to go before competing with DSLR autofocus.
With the X-T2, the gap has finally been closed, and based my tests, it’s fully capable of handling just about any kind of action, even pro sports. Of course, AF is affected by your lens choice, but even with some of the older and slower XF lenses, like the 56mm 1.2, which doesn’t have very fast AF on the X-T1, performance and speed is definitely increased.
To me, this series, shot with the 100-400, does a great job illustrating the AF tracking capabilities and performance of this camera. Even though the subject leaves the initial zone, the cameras keeps tracking tall the way through the frame, even when he moves towards the far right edge.
Boost Mode – This One Goes to 11
Combined with the impressive autofocus system, the X-T2 features an expanded array of Drive settings. In Continuous Low, you have the option to shoot at either 3, 4 or 5 fps. In Continuous High, you have the same 8 fps that was available on the X-T1.
If you add the dedicated VPB-XT2 battery grip to the X-T2 and use the new Boost Mode, and you can up that to 11 fps. Switch to the Electronic Shutter, and you can achieve a frame rate of 14 fps. You also get two spare batteries to add to your overall power consumption. That helps. In addition, with the 9VAC adaptor that’s supposed to come with the grip, you can plug it into the wall and charge two batteries at once.
11 fps is fast. Very fast. We’re talking the kind of fast that’s usually only found in the really expensive camera neighborhoods. By comparison, the D500 only shoots at 10 fps. Not that 11 is really any different than 10, but it once again shows just how capable the X-T2 is.
You can also use Boost Mode without the grip- this increases AF speed by .02 seconds, EVF frame rate from 60 fps to 100 fps, and reduces black out time, shutter lag and shooting interval. And of course, it increases battery drain. 🙂
I have to say, though, the grip is pretty nice. It’s not something I’d use very often, because 8 fps is plenty fast for most things I shoot. That said, 11 fps gives you a bit more precision for nailing the optimum moment when you’re shooting very fast action. This photo of the biker jumping was shot at 11fps with the grip.
I also shot this picture of a bird pooping with the vertical grip at 11 fps; it was the 2nd shot of a series of 3 frames. This stuff happens pretty quickly and a super fast frame rate lets you capture just the right moment. Even if you’re not blasting away frame after frame, very short bursts at 11 fps allows you to grab the height of the action or a fleeting expression that’s gone in the blink of an eye.
Buffer
The X-T2’s buffer is pretty impressive too. In one quick test, I was able to shoot about 54 RAW frames at 8 fps before filling the buffer. When I switched to JPEG, I was able to fire 500 frames with no slowdown, before I simply got tired of holding down the shutter button. That’s with a fast UHS-II card. With a medium speed UHS-I card, the numbers are about 27 RAW and 85 JPEGs.
ACROS Film Simulation and Grain Effect
The X-T2’s more powerful image processor is also the key behind the the new ACROS Film simulation, which has been included in the X-T2. Patterned after Fujifilm’s very highly rated Neopan ACROS black and white film, it’s simply gorgeous. Compared to the traditional Monochrome film sims, ACROS producers much smoother gradations with deep blacks and silky smooth tones.
It also has a different noise reduction algorithm and a more complex structure that accurately replicates the intricate quality of film grain when you use higher ISO speeds. ACROS isn’t just regular old black and white mode, it’s a carefully crafted product of 10 years of research and development, and a strong commitment to perfection. It’s very film-like, but it apparently requires lot of processing power, so it probably won’t appear on the older X Series cameras.
I don’t have an X-Pro 2, so I was pretty curious about ACROS. So much so, that the first thing I did with the X-T2 was set the film sim to ACROS and turn around to grab a photo of my guitars. I absolutely love the tonality in this picture- to me it looks like color in black and white.
Fujifilm has worked hard to faithfully infuse their 80+ year film legacy into the X Series cameras. To many photographers, this is one of the things that truly sets the system apart. Color and tone have always been the lifeblood of photography, and Fujifilm’s efforts go so far behind “Normal,” “Vivid,” and “Monochrome” settings that you find on many cameras.
Designed from the exact profiles of some very classic films, Fuji’s film simulations offer a wide range of color palettes and tonality, each of which imparts a unique look on your imagery. Depending on what kind of subject you’re shooting, you can choose a look that best represents your style and creativity, with the idea being that you can walk away with a photo you love, instead of shooting flat and trying to bring it out later in RAW.
ACROS is just one of 15 Film Simulation modes included on the X-T2, including Velvia, ASTIA and Classic Chrome. In addition, the X-T2 has a bulit-in Grain Effect, which lets you add film-style grain to any of the film sim modes. The two options are Strong and Weak.
ACROS film simulation, ISO 6400 w/ Grain effect – STRONGThe X-T2 using ACROS film simulation.
High ISO Performance
The X-T2 has native ISO range from 200-12800, expandable to 25600 and 51200. Or course, increasing resolution by 1.5x on the same size sensor yields smaller pixels, and given that pixel size is a determining factor in how well any camera performs in low light, Fuji would have to make that up somewhere.
Once again, we turn to the new X Processor Pro chip. Despite a higher pixel count, the X-T2 features two and a half years worth of enhanced signal processing technology. Noise reduction keeps getting better on just about every camera system, and the X-T2 certainly shows improvement over previous X Series models.
The moose below was shot at ISO 3200. At “web size” you can’t see any grain. Zooming into 100% still reveals an image with very low noise and extremely fine detail.
X-T2, ACROS, ISO 3200X-T2, ACROS ISO 3200, 100% Zoom
I shot this portrait at ISO 12800. Zooming at full size here definitely shows noise, but it’s not at all offensive, especially if you were to take in the entire image instead of just focusing on one small part. Doing that, you’ll see that the noise is actually very grain like.
X-T2, ACROS, ISO 12800X-T2, ACROS, ISO 12800 100% Zoom
Both of these shots above are straight JPEGS made using the ACROS film simulation. It’s clear that the the black and white images do an excellent job controlling noise and appearing very film-like. Now lets see who the X-T2 does with color images shot at high ISO.
X-T2 ISO 6400 100% ZoomX-T2 ISO 12800 100% ZoomX-T2 ISO 25600 100% Zoom
The high ISO noise on color images seems to be a bit less appealing than the wonderful grain-like noise on black and white photos from the X-T2, but this is pretty much the case with every camera, just as it was with film. High speed color films never looked as good as high speed BW film.
ISO 6400 still holds a high degree of sharpness. You start to see visible noise at 12800, but it isn’t until 25600 when things start break up. However, it’s still not bad, and certainly not unusable. Color quality remains very consistent, even at the highest speed.
It’s like turning up a tube amp. At low gain settings/volumes, the sound is crisp and clean. At mid to high settings, you find that sweet spot when the signal breaks up and you get that wonderful, creamy overdrive/distortion. Turn it up too high and it just gets muddy. With higher ISO settings, that’s exactly what you’re doing- amplifying the signal.
I’m very impressed with the ISO performance of the X-T2. Even with smaller pixels, the new images processor clearly does an amazing job with noise reduction. I’ve found myself shooting quite often at ISO3200, and I feel comfortable shooting all the way up to 12800, especially in black and white.
The X-T2 is the first X Series camera to shoot 4K video. To shoot video, you simply turn the Drive dial to Record and press the shutter. (The Record button is gone). In total, the X-T2 has 8 video modes.
Video recording times are pretty impressive, normal capture time is 10 minutes, but this is extendable to 30 minutes when you use the vertical grip. You can use the different film simulations when shooting video, or you can shoot in Wide Color Gamut. Video output is either to an SD card or direct out of the HDMI port. There will be a stereo microphone available, which plugs into the camera’s 1/8” jack.
As a guy who doesn’t shoot much video, I don’t have much to report other than these specs.
Look, Feel and Operation
The X-T2 is nearly identical to the X-T1, with just a couple of design tweaks. The “2” is a tiny bit bigger by about 1/16” in both height and depth, and it’s a few grams heavier.
Button/dial layout is the same between the two models, with the exception of the X-T2’s joystick lever. This will obviously help make for seamless switching between the 1 and the 2 for photographers who end up using both models. I can see that being the case with many shooters.
To make room for the joystick, Fuji did away with the Focus Assist button on the 2. Like all the other X Series cameras, Focus Assist is now achieved by pressing in the Rear Command dial.
The most noticeable difference is that the top deck dials are taller. Not by much, though. If you look very closely at the tiny rows of textured patterns on the sides of the dials, the X-T2 dials are taller by only one single row. We’re talking MAYBE one millimeter. Still, this adjustment adds to the more substantial feel of the camera and makes them a little bit easier to turn.
Even more noticeable, though, the way they operate. On the X-T1, the ISO and Shutter Speed dials are locked by default; you have to press the little button on the top of the dial in order to turn it.
Top Deck and New Flip Screen with Vertical Option
On the X-T2, that little button locks and unlock the dials. This is a REALLY nice feature; if you’re making lots of adjustments, you can unlock the dial to make things a little easier. When you’ve got your setting (wait for it…) dialed in, you can lock to keep from accidentally changing settings.
Just as on the X-T1, the EV+/- dial on the 2 doesn’t have a lock, but it is a little stiffer. Also, in addition to the regular adjustments, it features a new “C” position. Select this, and you now have up to +/-5 stops of adjustment, which are made via the front command dial, which you can also lock and unlock by pressing the dial. Another great feature.
In Use
The X-T2 feels comfortable and solid in your hands. Dare I say, it’s even better ergonomically than the X-T1, mostly because of the addition of the AF joystick. When holding the camera, your thumb is anchored in the perfect place for easy navigation between the AF stick, the Q Menu, the Rear Command Dial and the D-Pad Fn buttons.
What I like about this is that each of those controls has a unique feel- you won’t mistake one for another when you’re lost in the moment. Also, I LOVE the new dials, they’re so much easier to manipulate. And I don’t miss the Record button. On all my other Fuji cameras I have it set as a Fn button. With the D-Pad now opened up, that’s a non-issue.
I love the new vertical option on the flip screen and I’ve already used it a ton. The real time Live View LCD is such a useful tool on these cameras and with the kind of photography I do, having it flip up, down and now sideways makes it so much easier to shoot using different vantage points.
Coming from the X-T1, I fell right into the X-T2 with no trouble. The transition is seamless, and with the new design tweaks, it feels even more capable and, yes, even more fun.
Fn Buttons
With the four D-pad buttons now freed up from AF duties, you have 8 customizable Fn buttons, including the AF-L and AE-L buttons. This lets you personalize the camera to your own shooting style and subject matter. Add in the Q menu and you’ve got even more customization.
Dual SD Memory Card Slots
Again, showing their dedication to creating a truly professional product, Fuji has built the X-T2 with dual SD card slots, both of which support UHS-II for faster write speeds. You switch between the two by simply pressing the joystick twice when in playback mode.
The slots can be configured for “sequential,” “backup,” RAW on slot 1 and JPEG on slot 2, or as video output. I’ve mostly been shooting in “sequential mode,” but I can definitely see a use to run the second slot as a backup. I suppose RAW+JPEG could come in handy for certain applications as well. The point is, you have options.
Menus
The X-T2 uses the new overhauled menu system found on the X-Pro 2. It’s easier to see and navigate, and it’s broken up into six sections.
The customizable My Menu can be filled with the items you use most frequently, sort of like an additional Q Menu. As soon as you’ve loaded items into the My Menu, that’s the first menu that comes up whenever you hit the Menu button.
Uncompressed RAW and Bigger File Sizes
Of course, with the higher resolution sensor come bigger file sizes. Full size JPEGS average about 10-15MB, and uncompressed RAF files are around 50MB. You can also shoot Lossless Compressed RAF files, which average between 20-35MB, depending on the detail and light quality of your scene.
Final Analysis
I’ll say it again: The Fuji X-T2 is totally bad ass. With its compact, lightweight design and traditional styling, coupled with a hot rod motor and an impressive array of features under the hood, the X-T2 is truly the X Series evolved. Or rather, it’s the X Series all grown up and ready to stand alongside the best cameras in the world in terms of quality and performance.
This hardly comes as a surprise, though, right? We already knew that X-T2 image quality would be stunning; it has the same sensor and image processor as the X-Pro 2, which blew everyone away when it came out earlier this year. We knew it would have the ACROS film sim. We knew it would have an upgraded AF system, we were just waiting to see just how much better it would be, and what else they’d stick in there too.
They added a lot. In over two months of solid use, I’m blown away by what the X-T2 can do. The autofocus system is second to none, and when you throw in Boost Mode, 4K video, incredible ISO performance, dual card slots, AF-C Custom Menu, compressed RAW, 63 points of weather sealing on the body and the new vertical grip, you’ve got a true powerhouse. With regards all the features and capabilities that are packed into the rugged, all magnesium chassis, the X-T2 is a professional grade camera every way.
And we haven’t even talked about the new flash system that’s coming later this year. Looking through the menus, it appears that the X-T2 will have some pretty advanced TTL functions. I can’t wait.
It’s also the most fun camera I’ve ever used. Between the improved color rendition on the film sims, ACROS, the gorgeous grain you get at higher ISO settings, and of course, all the standard Advanced Mode filters, and the excellent X Series lenses, there’s endless creativity to be had here. Having started with the X10 back in 2011, I feel like I’ve been slowly working up to this one, and now I’m so excited that it’s finally here.
What about the X-T1?
The X-T1 is still an amazingly capable camera. The 16MP X-Trans sensor is a thing of beauty, and even though it has fewer pixels than the X-T2 sensor, the X-T1 produces gorgeous looking photos and it does exceptionally well in low light. It’s compact, very rugged, it has a fast, accurate AF system and nearly all of the other features you’ll find on the X-T2.
I still love the X-T1, and I’ll still use mine in conjunction with the X-T2. If you recently bought an X-T1, rest assured- you’ve got an awesome camera that will let you enjoy your photography in a big way. It’s like anything else, just because something new comes along that might be better, it doesn’t suddenly mean your most recent gear is now obsolete.
The bottom line is that every camera in the system is capable and lots of fun to use. Upgrading is never mandatory, but for those who do want the latest features, very best image quality and best performance, the X-T2 is worth a look.
Who Will Want the X-T2?
I see the X-T2 being the camera that brings even more people over to the mirrorless world. There are a lot of photographers and DSLR users out there who have been really curious about the Fuji system, but for variety of reasons, they’ve been waiting to see what came next before they jump in.
Some have been waiting for a higher MP body that will compete with Sony. Some, like pro sports and wildlife photographers, have been waiting for better autofocus that will truly compete with Nikon and Canon. Some photographers were amazed by the X-Pro 2, but maybe a rangefinder just isn’t their style- they prefer an SLR-style body.
If you identify with any of these people, or if you’ve simply been eager for an upgrade to the X-T1, your wait is over. The X-T2 is all that and more.
Fujifilm waited five years to upgrade the X-Pro 1 to the “2”, but I can totally understand why they sped things up and brought out the X-T2 this year. Camera technology is charging ahead at a very rapid pace right now and Fujifilm clearly wants to stay out in front of the game with their flagship model.
Of course, for us photographers, it’s not a game, it’s our passion, and in some cases, our livelihood. In the end, we just want a camera that works, that lives up to the challenge, that helps us push our creativity, and most importantly, that makes us WANT to keep pursuing and experiment with our photography every single time we pick it up.
The X-T2 is that camera. No matter what type of photography you do, it’s capable of just about anything.
Given the price of the competition, in both the DSLR and mirrorless realm, $1,599 seems like a very fair price for the performance and quality the X-T2 offers. That’s $100 less than the Sony a7II and $400 less than the Nikon D500.
By purchasing gear though my referral links, you’ll get the lowest prices available and you’ll also be helping me out with a small commission. This comes off the back and, and it won’t affect your price at all. Think of it like a virtual high-five that tells me you appreciate the time and effort it takes me to compile me reviews and share my insight. Thanks! -Dan
Your advice on lenses and on why you switched to the Fuji have helped make my decision to continue investing in the system. I do a lot of hiking, mountain biking and skiing, but at first was a little apprehensive on committing to the system. Your review of the X-T2 was very helpful.
Michael Lutfy
I have just bought an X-T2 so your articles on the Fuji X system have been very useful.
Your review of the Fujinon 18-135mm lens helped me decide to include it in the minimal, lightweight system I wanted to shoot with ( I decided to go with just that and the 10-24mm - so far, anyway!).
[iframe]<iframe src=”https://danbaileyphoto.exposure.co/bikepacking-in-transylvania/embed/cover?embed=true” style=”width:100%;height:600px;margin-bottom:5px;border:solid 1px #ccc;border-radius:2px;”></iframe><br><a href=”https://danbaileyphoto.exposure.co/bikepacking-in-transylvania”>BIKEPACKING IN ROMANIA</a> by <a href=”http://adventures.danbaileyphoto.com/”>Dan Bailey</a> on <a href=”https://exposure.co” style=”text-transform:uppercase”>Exposure</a>[/iframe]
Last fall, I did a 6-week bikepacking trip in Romania. We spent most of our time exploring and riding around the backroads of Transylvania, pedaling village to village through a wonderful and diverse landscape.
I posted the story on my adventure mini-site, adventures.danbaileyphoto.com.This site is designed to offer a clean, bold presentation and a simple design. As much as I love writing about my adventures here, there are some topics I feel require this treatment for maximum visual impact.
I knew very little about this part of the world before I went over there, aside from the legends and fiction we’ve all seen in classic Dracula movies. However, I during our bike tour, I learned that Romania, and especially the northern region of Transylvania are filled with incredible scenery, rich culture and history, diverse geography and very friendly people.
Check out the story here, and subscribe to be notified when I post future adventure photo essays.
I’ve always been fascinated by Henri Cartier-Bresson’s phrase, “The Decisive Moment.” Over the years, it has become a familiar term among photographers, a few of which have even incorporated the term into their wedding photography businesses names. (To me, the term would seem more appropriate for a action photographer, but maybe I’m just biased.)
Essentially, The Decisive Moment refers to a single fleeting moment that is captured by a photographer who was in the right place at the right time. In real life, that “decisive moment” might have gone by so fast that most of us probably didn’t see it happen, or if we did, we just saw it within the context of the rest of the unfolding action. However, the photographer clicked the shutter at the precise moment and preserved the instant forever as a still image.
Capturing a Fleeting Moment
A “decisive moment” doesn’t have to be an action shot, or even an “exciting” moment. The term simply refers to pressing the shutter at just the right time so as to freeze a “special moment.” ( I can’t believe I just used that term!!) Portraits certainly qualify, and capturing a fleeting expression or an intimate moment between two people fits the definition.
A VERY “Special Moment.”
A Defining Image
The Decisive Moment also refers to a powerful image which ends up becoming a part of our visual vocabulary. It refers to an image that ends up describing our own ideas about a particular event or subject, even if we were there to see it for ourselves.
However, not all great photographs are rooted in capturing and freezing a specific moment in time. In fact, many powerful images are based on a photographer’s personal interpretation and unique representation of a subject that has been seen, and perhaps photographed by many other people. Travel photos and landscapes usually fall into this category.
Here are a few examples of images from around the web that fall into this category
All this really means is that you should strive to capture the most compelling photos you possibly can, and more importantly, strive to capture those specific instances when the action is at its peak or your model’s expression is the most telling. This is one of the benefits of shooting short bursts at high frame rates in continuous mode.
This may sound like empty advice, but if you think about the concept of The Decisive Moment whenever you take pictures, it might help you see the world and your subject matter in a different, more creative and introspective way.
My journey with the Fujifilm X Series camera began with the X10. It was so much fun to hike and bike with that little camera; I felt so liberated and I loved the color and look of the images it produced.
Problem solved. This year, Fujifilm revamped the line and introduced the X70, which brought full X Series image quality and performance into a pocket sized camera. With the 16MP X-Trans sensor, the X70 is essentially an entry level version of the X100, and even though it has a slightly wider lens, it still has the same classic design and produces the same image quality as the X100 and almost every other model in the line.
Being such a huge fan of the X10, of course, I had to get one of these. And guess what? I suddenly felt that same sense of liberation that I felt with the X10, only I didn’t have to sacrifice image quality.
This is huge. As much as I love the compact nature of my X-T1 and X-T10, there are some times when I simply don’t want to lug around an interchangeable camera. It’s super easy to carry the little Fujifilm X70 in my pocket, which means for minimal effort, I can still shoot full quality photos if I find myself in front of great subject matter or great light.
Right when I got the X70, I took it out on a glacier hike in stormy weather. I had my X-T1 in my backpack, but it was just so much easier to whip out the pocket camera when I felt like shooting. I got some photos I really like that day, and I didn’t use the “big camera at all.”
In late March, I took a week long trail running vacation in Oregon. We just drove the rental car around and when we came across a good trailhead, we got out and took off running or hiking for a few hours.
For most of these runs, some of which were close to 10 miles, just carried the X70 in my hand. It fits perfectly in my palm, and it’s always at the ready.
I like to joke that my new favorite camera bag with the Fuji X Series cameras is the strap, even though it’s not really a joke. Well, with the X70, my new favorite camera bag it’s my hand.
I’m a huge proponent that accessibility is the number one thing that will help you get great images- if can get your camera into your hand within seconds, you’ll be able to grab those lighting quick moments that occur. If your camera is already in your hand, well then you’re already halfway there.
Little
My friend Josh teases me when I refer to it as “The Little X70” in my Facebook posts and stuff. He says that takes away from how powerful it really is.
I totally get what he means, but to be fair, the X70 is indeed little. It’s pretty tiny, and that’s a big part of its appeal. Like I pointed out, it’s an X-Trans sensor camera that fits in your pocket. Or your handlebar bag, or your Revelate Designs Gas Tank. Or your whatever. You get the idea.
At roughly 4.5″ x 2.5″ and only 340g (12oz), it’s the most portable full quality camera you can buy. To compare, the Sony RX100 is a hair smaller, but it only has a 1″ sensor. That’s quite a bit smaller than APS-C. (This comparison image from Cameradecision.com shows you the size difference)
Most other point and shoots and very compact mirrorless cameras use at least M4/3 and smaller, so ounce for ounce the X70 gives you the biggest sensor for how small the camera is.
Powerful
The Fujifilm X70 is indeed a very powerful camera despite its rather diminutive size. It has the same firmware as the X-T1, X100T, X-T10 etc…, so in terms of performance, you get all the same goodies- the film simulations, exposure modes, advanced filters, ISO performance, menu options, wireless transfer/control, 8 fps CH shooting rate, and so forth.
You also get a Q menu and 8 assignable Fn buttons, which adds to the highly customizable nature of the camera.
In addition, the X70 has a traditional aperture ring as well as a “Control Ring,” which you can set to control any one of the following parameters: ISO, White Balance, Film Simulation or Digital Tele-Converter.
The Digital Tele-Converter is a new feature and it’s pretty cool. Essentially, it functions like a digital zoom and allows you to shoot at either the native 28mm view, 35mm or 50mm. However, there’s some pixel wrangling computations going on under the hood, and the quality is actually quite good.
Sure, if you’re pixel peeping, you notice that you’ll lose a little bit of sharpness when you zoom in, but the loss of quality is pretty minimal and it’s certainly good enough for any kind of web or smaller print use. There are times when this feature will come in handy.
Autofocus
The X70 has the same hybrid single/zone/tracking focusing system, as all the other cameras in the line and functionally, it operates the same as the higher end cameras. It doesn’t perform quite as well as the focus on the X-T1, and X-T10; it definitely hunts when you’re using the contrast detect AF points; less so when using the phase detect AF points near the middle, but you’d expect some sacrifices from any camera that comes in at this price point.
That said, the AF system is still very good on the X70 and for most things you’ll find it to be surprisingly adequate, if not right on. It will indeed track moving subjects at 8 fps in CH and AF-C mode, but with really fast, or erratic subjects, it won’t perform with the same accuracy as the higher end models.
Once you get a feel for how to use the AF system, though, you’ll get pretty good at working with its minor limitations. Just keep firing away and you’ll get what you’re going for.
Control
The X70 shares the traditional style layout that have made the X Series cameras so popular. Not only do they have that classic, retro look, they’re very easy to control. With shutter speed, aperture and EV+/- right at your fingertips, you can make quick exposure changes with minimal effort.
All four exposure modes are available (P, S, A, M), and you have an Auto switch that puts the camera into Full Auto mode, which gives you Wide/Tracking AF and Scene Recognition exposure mode.
The easily accessible Drive button lets you select your single or continuous low and high shooting mode, exposure, ISO and Film Sim bracketing, panorama and the Advanced Filter modes.
Screen
The Fujifilm X70 doesn’t have an optical or electronic viewfinder, it only has the LCD screen. However, it’s the first X Series camera to feature a touch-screen LCD, which lets you focus, shoot and browse pictures with touch gestures. In addition to the normal tilt positions, the vari-angle screen also flips all the way up into “selfie mode.” Or you could call it “shoot behind you mode.”
Lens
The X70 has a fast fixed FUJINON 18.5mm f/2.8 lens, which gives you the classic 28mm angle of view- just a little bit wider than what you get on the X100. It’s great for just about any kind of subject matter, and like all the other Fuji primes, it’s very sharp.
No, it’s not a zoom lens, and that might deter some people. I’m a sucker for fast primes, so I really like the fixed lens aspect of this camera. It adds to the simplicity of having a pocket-sized camera- you with it out, frame your subject, grab the shot and you’re done. There’s no time spent trying to figure out what zoom setting you’re going to use, you just point and um… shoot.
It’s kind of a sweet spot focal length that works for landscapes, portraits, travel, even wide angle action. It’s not a macro lens, but it does focus pretty close too, so it’s decent for shooting details. And, as I pointed out, it has all of the Fuji film simulations and Advanced filters, so even with the single focal length, you have a wide variety of creative options with this little…, I mean “Powerful” camera.
Overall
Pros: The Fujifilm X70 is a really fun camera; it’s light, small, and very capable. Image quality is excellent, and it does extremely well with high ISO when shooting in Low light.
The pronounced thumb grip makes it very easy to handle, and ergonomically, it’s quite easy to shoot with one hand. You’ll probably want to use two hands if you need to change any settings, though. And it also charges via USB. Big plus.
Considering that it has the same size sensor and nearly all of the features of the more expensive X Series cameras, the X70 is a pretty good value.
Cons: The extremely small size might be challenging for big photographers with big hands. Also, if there’s one slight design hiccup, it’s that the left Fn is a little too close to the edge of the flip screen. It’s a little hard to press sometimes, especially with bigger fingers.
Also, the rear command dial is not really a dial, it’s more of a switch. I works like a dial, but it has a lightly different feel than what you might be used to. Neither of these things are deal breakers, though. I just see them as two small ticks against total perfection. On the other hand, with a camera this small, it’s amazing they found enough room for all of the controls. That took some pretty careful design.
I think the X70 an ideal choice for anyone, (not just existing Fujifilm camera owners) who wants a compact camera. I performs well enough to be your primary camera for lightweight travel or inconspicuous shooting situations, and it makes an excellent second camera or backup for a bigger camera like the X-T1.
if you’re already an X Series shooter, you’ll feel right at home with this thing. If not, it’s pretty easy to figure out. I’ve had a lot of fun with mine, and I think you would too.
Bought the X70 last week as I needed an APS-C sensor P&S camera as a backup to my X-T1 and X-E1. Took a chance with the X70 and was blown away with the jpeg image quality and I never ever ever shoot jpeg until now!! Would highly recommend.
Maurice Colyer
You keep saying little, tiny and itty bitty, and it sounds demeaning... why not powerhouse, unprecedented, or revolutionary?! This camera stands next to, not under, the X-T1 & X-T10. Just a thought from an observer and X70 user 🙂
Josh Spice
Support This Site: If you’re thinking about buying the X70, or any piece of gear, please consider shopping through these links. You’ll still get the lowest prices available and it will help me out with a small commission on the back end. It’s one way of showing your appreciation for the time and effort it takes me to compile reviews like this. -Thanks!
About 25 years ago, I read a little book called “The Seven Laws of Money” by Michael Phillips, and it had a profound impact on me.
I don’t usually get into self-help type books, but this one really struck a chord in me. I read it right around the time I went to Nepal with Galen Rowell as an aspiring professional photographer, and I still live my life according to the insight I gained from this brilliant little 130-page manual.
The first law of the book is based on the whole “Do what you love, and the money will follow” concept. The actual title of the chapter is “Do it! Money Will Come When You’re Doing The Right Thing,”
Now we’ve all heard that saying many times, but it’s important to understand what it really means, and how it can affect your life. First, however, let’s quickly establish what it doesn’t mean.
Just doing what you love isn’t an automatic recipe for getting rich, or finding success. This rings so true especially with photography and any creative idea, but that’s not why we do these things. In fact, if you enter any creative or propreneurial venture with preconceived notions about money or income, then you’re not doing it right.
The whole concept behind being a propreneur vs, an entrepreneur, is that you end goal is not to make money, it’s to spend your life doing what you enjoy, and this, according to the first law in Michael Phillips’ book, is the key to success.
“Do what you love and the money will follow,” basically says that money will come when you are doing the right thing. What is the right thing? It’s the thing that you love to do, and the craft, skill or area of knowledge that you’re willing to put in whatever time and energy are necessary in order to perfect.
The notion behind “Do What You Love” is about focusing almost all of your energies on your passion instead of worrying about the money. Sure, we all need money to survive, but if you truly have the passion and commitment to succeed at your skill, then you are likely to be resourceful enough to overcome whatever obstacles get thrown in your way.
Let’s equate this to photography. If you’re smart enough to figure out all the technical aspects of composition, lighting, and are able to find models, master the intricacies of light and expertly operate your camera with confidence, chances are you’re smart enough to figure out how to bring in the necessary cash to keep you afloat along the way. You’ll also be driven to make your life be what you want it to be, which could mean living more frugally in order to make this all work.
Keep in mind, this isn’t really about making money, it’s about finding success, and that doesn’t necessarily have to mean you’re trying to making a living at your creative venture. If you truly love what you do, your passion and dedication will open doors for you in the world, and every new door leads to a new opportunity.
And more importantly, even if you didn’t make money at it, or find success, whatever that means, you’d still be doing this thing because you love it so much. That’s how you know it’s THE RIGHT THING.
If you want to see a good example of this concept, check out the movie “Julie and Julia.” Based on a true story, the plot revolves around a young woman named Julie Powell who decides to follow her culinary passion by cooking all 524 recipes in Julia Child’s French cookbook and blogging about her experience as she goes along.
(Minor Spoiler Alert) The blog eventually gains a following and in the end she finds a certain level of success and recognition for her efforts. Of course, her road is not without a number of bumps and challenges, but that’s what makes everyones’ journey worth the effort, right?
They key here is that Julie didn’t set out to find success, she set out to complete a personal project she felt passionate about. She loved what she did, just as I love taking pictures. Sure, I make money at my craft, but when I find myself in the outdoors with my camera in my hand, money is that last thing I’m thinking about.
25 years later, my passion and drive for photography is still carrying me, and every year, I achieve a new level of success that has built on efforts that I made in the past. Nearly every aspect of my photography business revolves around carrying forth with an idea in the best way possible, and seeing where it takes me, and every day, I strive to be better at what I do, whether it’s shooting action photos, blogging about photography, or teaching workshops.
And it never ever feels like work.
Ultimately, success comes to those who are good at what they do. If you decide that photography is really what you want to do in life, even if it’s just your hobby and you have no intention of going pro, then focus on being the best photographer you can possibly be. Spend vast amounts of creative and intellectual energy honing your technical abilities, style and knowledge base about photography.
Most importantly, don’t worry about the money.. Be confident that you’ll figure out how to make ends meet. Worrying only saps energy that is better used for your photography. If you’re smart enough to be a self employed photographer, then you’re smart enough to figure out how to pay your bills.
Bottom line- if you pour your heart and soul into your photography, you’ll make the doors open yourself.
The Explorer: The role that searches for new information.
The Artist: The role that turns information and resources into original ideas.
The Judge: The evaluative and critical role
The Warrior: The role that puts the creative ideas into action.
When it comes to innovation and creativity, these roles can either be occupied by the same person, or in the case of organizations that have separate departments, they are often filled by different people.
As self employed photographers and artists, we wear all four hats all the time. When creating new imagery and coming up with original ideas about how to make, present, market or sell it, we fill all of those four roles. We are the research department, the creative department, the critique session and the worker bee, all rolled into one. This usually works well for us, because we have an intimate, firsthand connection and personal control with our photography projects from start to finish.
However, what happens if you get hung up on one particular role, or if you start to lose balance between the four roles? What happens when, for some reason, you experience an artistic block, or if you suddenly become too critical of your own work, or if you can’t seem to find the motivation to move forward with your ideas? Your process slows down or stops completely, and you find yourself unable to fully exercise your creativity.
It takes enough mental effort to be creative, and if you run a business too, that brings even more challenges to the whole process. It’s only natural that sometimes we’ll all experience those slowdowns. Sometimes I return from what I feel was a successful recent photo assignment, but still go through a two-day period of being extremely judgmental about the job that I did. It’s easy to get down on myself thinking about the photos, angles and perspectives that I didn’t capture during the assignment, instead of focusing on what I liked about the photos that I did shoot.
When it comes to my other creative pursuits like my guitar playing and songwriting, I sometimes find myself full of what I think are great ideas, however, I can’t seem to motivate myself to actually record them. There is probably some sort of imbalance between my Judge and Warrior. During those times, I get through the block by mentally building up my Warrior’s confidence as I plug my guitar in and boot up Logic Pro. Usually that’s enough to get me started, and once I get going, I’m fine.
I always seem to have a strong Judge, but fortunately, with photography, my Warrior sense is usually strong enough to counter any overly self-critical instincts that I might have. I do find that sometimes my Explorer tends to be a bit stronger than my Artist, which often needs strong visual motivation to get things going in that role.
Creativity, innovation and the ability to bring it out of your mind and into real life requires a strong sense of balance between those four roles. If you personify those roles, as Roger von Oech has done, it might help you sustain that balance and work efficiently within your creative process. It might also help you work through any temporary blockages that you might have. Those blocks are natural, though, so just remember to go easy on yourself when they do happen.
Question to readers: In evaluating your own creative blocks, which roles are the ones that tends to break down or that take over in your own creative process?
And if you’re into the idea of stretching your creative mind with some fun exercise, I recommend checking out Roger’s book.
Here’s a recent photo I shot of Eagle Peak in the Chugach Mountains of Alaska. End of the day, dramatic subject matter, vibrant colors, great light, what’s not to like? A scene like this is the reason we love color photography. Imagine how this would look as a large format metal print?
Hold on a minute, though… What if we shot this in black and white?
You mean get rid of the color? Why on earth would we want to get rid of that beautiful pink light? Simple; when you reduce a scene to black and white, your bring the elements of shape, shadow and tone to the foreground. This forces your viewer to focus on the simplicity of light and form without being distracted by all the pretty lights.
Also, by removing the “realistic” aspect of color, you create a symbolic representation of your scene, which increases the mental engagement of your viewer’s imagination. No matter what you’re shooting, that’s the real power of photography. It isn’t about perfectly reproducing a subject, but rather representing it in an artistic way that matches your own creative vision.
So, by removing the element of color, you can actually increase the impact of your photograph and create a more powerful image. Basically, if it works in color, it should work in black and white, because drama is drama, and great light looks just as good in BW as it does in color. At least that’s what Ansel taught us.
With that in mind, here’s the same scene shot in black and white. What do you think? I guess the important question to ask is, if you looked at this version only, would you miss the color?
Of course, there are some scenes that look strikingly better in black and white. These are usually scenes shot under less dramatic light.
Here’s a mountain I shot a few hours before the good light hit. It doesn’t do much in color, but the black and white version is a little bit better. Add in some adjustments in Lightroom, and suddenly I’ve got a much more remarkable image!
Of course, this is all subjective. Ansel Adams shot in in black and white. Galen Rowell shot in many of the same places, but exclusively in color. There is no right way, there’s only what excites you and your passion for photography.
Whether you shoot in black and white mode on your camera, or if you shoot in RAW and convert on the computer, the next time you have a dramatic scene, try creating some black and white images, it will make you perceive the scene a little differently, and that can help improve your creative eye and your images.
In my recent blog post, titled Bring Back The Shadows: The Case Against HDR, I talked about how shadows bring the important elements of subtlety, innuendo and abbreviation into your imagery.
