FUJIFILM TIPS and TRICKS is a 5,000-word eBook that’s designed to help you get the most from your Fuji X Series camera, no matter what model you own.
Not only are the Fuji X Series cameras extremely fun to use, they’re amazingly capable tools that produce professional quality results. They’re also very easy to operate, since many of the primary controls are easily accessible via top-deck dials, Fn buttons or Q Menu items.
While some of the main features are fairly straightforward, these cameras contain a number of extremely useful and powerful features that may not be apparent to you.
With that in mind, I’ve put together this in-depth guidebook to help you get the most out of your Fuji X Series camera. With almost five years of use with Fujifim X cameras and extensive experience with a number of models, I’ve gotten to know the system quite well.
During that time, I’ve figured out my favorite settings and modes that help me capture the best images possible for the style I’m shooting at any given time, and since I love helping other photographers succeed with their own image making, I’m happy to share them with you.
While the exact specifications vary between the particular models, all of these 10 tips apply to all of the current Fuji cameras, from the X-Pro 2 to the X70. Some of them are available on the X-M1 and X-A2. With firmware updates, some of these settings and modes are even found on older models, like the original X100.
The guide is free, and all you have to do to get it is to sign up for my newsletter. You’ll get the Fuji guide, and you’ll also get a monthly digest filled with free outdoor photography tips and insight, news about my upcoming workshops and recent work, and a variety of exclusive deals, content and links that are all designed to help you become a better photographer.
That’s a fair tradeoff, right? If you already get my newsletter, you can still sign up here to get the guidebook. The system is smart enough so that you won’t get duplicate copies of the newsletter emailed to you.
Last thing, please make sure you confirm your subscription. After you sign up, you’ll get an email. Simply click the link in the email and you’ll be taken to the page with your download link.
I have both your X series unlimited and Fuji tips and tricks ebooks - I refer to them all the time. I'm still finding my way around the various camera settings, so often use your books to guide me in my thought processes
Because you care about your readers and want them to succeed with their photography goals - from a personal point of view, you recently took time out of your busy schedule to help me by responding to an email query - its that personal connnection which makes your blog and newsletters so appealing
Quite honestly though, anything you write on your blog is helpful - I'm like a sponge at present - soaking it all up!!! Thanks for your support Dan - hope my comments help.
Galen Rowell was undoubtedly the father of modern day adventure and outdoor photography. He pioneered the style of going light and fast with small cameras in the mountains and paved the way for guys like me.
Having started his career with manual Nikon F bodies, he later moved up to the higher end pro Nikon SLRs like the 8008, N90, F4 (sans grip) and the F100. However, he wasn’t a huge fan of the F5; he considered it too heavy for fast and light use since it didn’t have a removable battery grip. (Here’s a complete list of his preferred camera gear.)
Unfortunately, his untimely death in 2002 meant that he wasn’t around to see the photography world move to digital. Ironically, he was once quoted as saying:
“Small, portable digital cameras that exceed the performance of an off-the-shelf Nikon using 35mm slide film are further away from current reality than the proposed NASA manned Mars mission, although I expect both to happen sometime during my lifetime.”
Well, we haven’t gone to Mars yet, but small, portable digital cameras that exceed the performance of film-shooting Nikons are the norm today. The reality is that just about every digital camera on the market these days out resolves film.
As someone who has been heavily influenced by Galen over the years, I’ve often wondered how he would have navigated the digital camera world. For years, I always assumed that if he were still alive he’d be shooting with Nikon DSLRs. After all, he was a longtime Nikon guy.
However, Galen was also a huge Fuji guy. Anyone who’s familiar with his work knows that Velvia was his favorite slide film; he loved the bold color palette and rich blacks it produced.
You can see where this is going, can’t you…?
Given his style, what do you think that Galen Rowell, the father of light-and-fast photography would think of a camera like the Fujifilm X-T1? (Or the brand new, updated X-T2). It’s small, rugged, weather-sealed, highly capable, simple to operate, with its top-deck dials and SLR-inspired body, it takes gorgeous, incredibly sharp photos and has a Velvia film simulation mode built right in.
I’m betting he’d be pretty intrigued.
As a former mechanic, constant tinkerer and creative visionary, Galen wasn’t the kind of man to remain beholden to any one brand, he used Nikon SLRs because that was the best gear available during his time.
That doesn’t necessarily mean he would have always stayed with using Nikon gear in perpetuity. After all, he once switched from Kodak to Fuji, so it’s entirely plausible that he might have switched camera systems at some point if he found something that better matched his style.
So here’s my question, and I’d love to get reader input on this. If Galen Rowell were still alive today, what do you think he’d be shooting with? More importantly, if the digital photography industry had evolved with him still in it, what kind of influence do you think he would have had with regards to innovation and modern camera design?
Here are the options I’ve come up with. Feel free to comment and add your own.
Scenario #1: He’d Still Be Shooting with Nikon Cameras
Given their current lineup, my guess is that in this scenario, Galen’s camera of choice would be the Nikon D750. It’s their best non-battery grip full frame DSLR, it’s lightweight and has a number of pro features. For some subjects, like wildlife and extreme telephoto sports, he might even use the new DX sensor D500, although the D7200 is WAY lighter, and it still has lot of pro-quality features.
Scenario #2: He Would Have Switched to Fuji Cameras
Given the size, weight and performance of the Fuji X Series cameras and lenses, and the fact that the cameras have Velvia built right in, it’s easy to see why Galen might be really attracted to a camera like the X-T1. Or even the new X-Pro2, which has an even higher megapixel sensor.
And don’t discount the X-T10, which has the same sensor and image processor, and most of the same features as the X-T1, but in a smaller, lighterweight body. Or even the X70, which has the same APS-C X-Trans sensor as all the higher end models, but in a body that fits in the palm of your hand and has a fixed wide angle lens.
It’s well known that Galen often ran with his camera inside his Photoflex chest pouch. Some of his favorite images were shot during his quiet morning runs when he carried just one body and lens. He also loved using wide angles, so how could he not like a camera like the X70, or even the X100?
There are a lot of reasons why Galen might have been drawn to the Fujifilm X Series cameras, and to mirrorless cameras in general. This brings me to my next point.
Scenario #3: He Would Definitely be Shooting Mirrorless
Even if he still used DSLRs, my guess is that Galen Rowell would be very intrigued by mirrorless cameras. Not only are they smaller and lighter, they offer a number of very useful features, including a full-time Live View LCD screen. As someone who often shot in tricky light, he would probably appreciate the benefits a live view screen offers. It’s quite possible that he would have used both DLSRs and mirrorless cameras, each for different activities.
And if it weren’t Fujifilm, maybe he would have been drawn to another system. In my mind, Sony would be the next logical choice, although Sony cameras don’t have Velvia mode. Still there’s no question that Sony cameras and sensors produce high quality imagery.
That said, even if you mirrorless with a full frame Sony A7, your lenses don’t really get any smaller, so you’re not going as fast and light as you could. At any rate, I just don’t see Galen switching from Nikon to Sony. And Olympus cameras have even smaller sensors than APS-C, so unless you can think of another option, we’re back to Fuji.
…Which brings us to my last point.
Scenario #4: Galen Would Have Influenced Nikon to Build a Better Mirrorless Camera
Galen had a huge influence when he was alive, and I think that if he were still around, he would have pushed Nikon to come out with a mirrorless camera that would fit his style. At least something way better than what they currently offer, none of which seems to appeal to very many serious outdoor and adventure photographers.
Perhaps Nikon would have gone back to their “F” roots and pushed them to innovate in an entirely different direction. What about a digital back for their film cameras? Swap out the film door for a digital back and you suddenly have a 16MP digital FM2, F3 or even FG. This could actually create a huge market for all the people out there who still have their film cameras tucked away on shelves, unused for decades. I’ve always thought this would be a smart move.
He might have pushed them to invent something more like the X-T1, which actually looks and feels more like an FM2 than all the little Nikon 1 models they keep coming out with. At the very least, perhaps the Df might have been a better camera.
Or, perhaps he would have worked closely with Fuji and influenced the design of the X-T1. At any rate, his presence in the industry would have undoubtedly made a difference, at least with Nikon.
On April 11, 1947, N3102N rolled off the assembly line at the Cessna factory in Wichita, Kansas. That means my little yellow Cessna 120 celebrates her 69th birthday today.
Introduced in 1946, the C120 was one of many light airplanes that emerged the post WW2 boom. At that time, companies like Cessna and Piper were transition from building planes for the military to building them for all of the returning pilots and aspiring pilots who they hoped would make for a strong consumer aviation market.
Between 1946 and 1951, 7,664 C120s and C140s were built (The original C140 was the deluxe model that sported small flaps), although the C120 was discontinued in 1949.
With a base price of $2,695, the Cessna 120 was an affordable and easy-to-handle two-seater airplane that appealed to many general aviation pilots and flight schools. Although the price has certainly risen with inflation, the C120 still remains one of the most economical and easy-to-fly tailwheel airplanes available today.
It has a published cruise speed of around 105 mph, a range of about 450 miles, and a useful load of just over 400 lbs with full fuel. That means a pair of 150 lb people can fly with about 100 lbs of room for luggage or gear. For a plane of that size, weight and price, those are pretty decent specs.
I first bought N3102N in May of 2011. Looking at the FAA registration history, I’m the 27th owner of this particular Cessna 120. She had her first logged flight on April 14, and the first person to own the plane was a man named R. G. Fuelberth, who bought her to use as a trainer in his flight school in Wayne, Nebraska. He purchased the plane one week after she rolled off the line and kept her for nearly eight years.
While doing research on former owners, I actually tracked down and spoke with R.G.’s son on the phone a couple of years ago. He didn’t specifically remember this C120, but he confirmed that his father indeed ran a flight school in at the airport in Wayne, NE. He told me that “dad had lots of airplanes out there at school…”
The plane stayed with a few different owners in Nebraska until 1961, when she was sold again and made her way west, out to California. In 1968, two months after I was born, N3102N was purchased by two gentlemen for $1,000, and used for two years in the Flying Macs Flying Club in San Mateo, CA.
In 1970, N3102N was bought by a dentist in San Francisco. How do I know he was a dentist? Simple- I googled his name and saw that the address listed on the FAA registry was still current. The Google listing even had a phone number. Unfortunately, it’s not in service anymore, but I did track down and speak with his daughter for a few minutes this week.
Apparently, after owning this C120, the dentist went on to buy a float plane. Interestingly enough, the daughter spent some time here in Anchorage in the 70s and took flying lessons at Merrill Field.
In 1989, N3102N left California and adventurously made her way north to her current home in Alaska. She lived at a number of different airports during the her middle years in Anchorage, Chugaik, Wasilla and even Bethel before ending up in an insurance hanger at Wolf Lake airport after excessive wind had damaged one of her wing struts.
That’s where a mechanic named Mario Maccarone found the plane in early 2011. Mario installed a replacement wing, rebuilt the interior and gave this happy little yellow bird a brand new life. He put N3102N up for sale Alaska’s List website, which is where I found her. After one test flight, I knew that she was the one for me. I bought her that May and the next year, made her an even more capable bush plane by adding the 26″ Alaskan Bushwheel tundra tires.Currently, N3102N has over 5,700 logged flying hours on the airframe. She received a replacement engine in 1962, had a complete engine overhaul in 1989, and has received a number of small modifications over the years. I know this because I have all of the log books that date back to 1947. It’s pretty amazing to be able to view the complete history of this little airplane and see all of the entries, flight times and signatures by 69 years worth of owners and mechanics.
Click to read these log book entires in detail.
She also has a couple of sisters, N3101N and N3103N. Oh-three-November, a C140, crashed in 1982 but was repaired and still lives on in Laurens, Iowa. Unfortunately Oh-one-November crashed in Cordele, GA and experienced substantial damage. Sadly, the pilot died in the accident. Before the crash, I’d actually communicated with the pilot on the International C120/140 website forum, so it was quite sad to read about his passing.
I like to think that I’ve put N3102N to good use during the past 5 years. It’s been an amazing experience owning this plane, and she’s been very good to me. I have about 300 hours in her and between all of the gravel bars, aerial photography missions, backcountry strips, and fun getaways, she and I have been through a lot together. She’s helped me see parts of Alaska I’d otherwise never get to see, and she’s taught me a lot about flying.
So, please join me in wishing my little yellow Cessna a very happy 69th birthday. I’m so fond of her and look forward to many more awesome bush flying adventures with her in the coming years. In fact, I gave her a nice birthday present this month, I got her featured on the cover of the Alaska Airmen’s Association journal, The Transponder. I’m also going to celebrate by giving her a fresh quart of oil and taking her flying this afternoon.
By the way, if you ever make it up to Anchorage, and I’m around, don’t be afraid to look me up because it’s not very hard to convince me to take along a new passenger. 🙂
Nearly all electronic devices these days come with USB chargers- except for cameras. While some point and shoots and mirrorless cameras feature USB charging capabilities, most cameras on the market only ship with AC battery chargers.
This can be problematic when you’re on a road trip, because when you’re outside, you’re usually not near an AC outlet. However, you’re almost always near some sort of USB port, whether it’s in your laptop, a portable solar panel or an external battery pack. (I really like the rugged Goal Zero Venture 30 power pack.) Heck, even most rental cars and airplane seats have USB ports as well.
If only there was a way to bridge this gap and charge your camera batteries via USB…
Fortunately, these options do exist. We’re finally seeing a number of third party USB camera battery chargers come on the market, and the good news is that they’re quite inexpensive. In my research, I’ve found USB chargers for nearly every major camera manufacturer.
And, the nice thing, is that they’re REALLY lightweight. Most of these chargers only weigh a few ounces and will hardly take up any room in your camera bag. They’re way lighter and less bulky than the regular chargers that come with most camera, and you don’t have to deal with the long, cumbersome AC cable either.
For just a few bucks and you can free yourself from the AC outlet. Combine one of these with a solar panel or a power pack like I mentioned above, and you suddenly have a charging system that will work anywhere, even if you’re outside for extended periods of time.
The OAproda NP-126 USB Rapid Charger is designed for the Fuji NP-126 batteries, which power all of the interchangeable X-Series cameras, including the X-Pro2, X-Pro1, X-T1, X-T10 and the X-E2.
The PowerSmart NP-95 USB Charger works with the Fuji X100 and X70 cameras, although the X70 can be charged via USB. It comes with a micro USB cable, which allows you to plug in and charge it actually charge it directly from any USB port.
I recently taught a beginning photography class with fifteen very enthusiastic participants. Everyone was so excited about the prospect of entering this new realm of visual creativity and learning how to take great photos. There was just one big problem. Noone know how to use their cameras.
Given that this was an intro class, it’s totally understandable that people would be a little confused by the workings of their cameras, but we’re not talking “a little confused.” We’re talking “completely baffled.”
Before students attend my intro class, I have them download a simple questionnaire that’s designed to get them familiar with their basic camera controls, given that all cameras are slightly different. If they come in knowing where to find the basic controls and functions, like shutter speed, aperture, ISO, EV +/-, exposure mode, focus selection and drive mode, we can spend our class time learning how to use and adjust them real world picture taking applications.
However, in the last session, no one filled out the worksheet, and not because they didn’t have time. Everyone had brand new cameras they’d either purchased or received as a gift sometime within the last six months or so, and yet they were all utterly mystified by the intimidating array of buttons, dials and menus, and even more confused by the manual.
This meant I had to spend a large amount of class time going around and showing each person how to find all these controls on their own cameras. I don’t mind doing that, but with 15 people three hour and a half sessions, that leaves little time for learning the other basics of photography.
I see this a lot. And it’s not just beginners. When I lead workshops and photo tours, I encounter many photographers who never take their cameras out of Green Box/Full Auto mode. They have absolutely no idea how to perform these basic functions I described above, even though they might have owned their camera for a few years.
Now I totally get it that the technical aspects of photography don’t always come easy to some people, so I don’t fault them. The issue here is that they’re not savvy enough, the issue here is that most cameras are just too damn complicated these days.
I look back to when I bought my first camera 26 years ago. A Nikon FM2 just like the one above, it had a shutter speed dial, an ISO dial and an aperture ring on the lens. And a little light meter inside the viewfinder that either said, +, – or 0. That’s all.
Today, most cameras have about 15-20 buttons, command dials, sub command dials, 15 different exposure modes and well over a hundred items in the menu. With some cameras, you set EVERYTHING via the menu- with others, you have to press buttons and turn dials just to set basic functions. With some, you can’t even see what you’re adjusting unless you press another button.
Almost nothing is intuitive, especially for someone who’s new to photography, and this is so unfortunatel to the people who are eager to learn and take up their banner in the world of photography. The come in looking for creativity and only find confusion. It’s no wonder that so many people shoot photos with their telephones these days, or on full auto.
Another thing I found interesting is that of the 15 students I had last month, 13 had brand new Nikon and Canon DSLRs and only 2 had mirrorless cameras, one of which was a tiny little box full of menus and very full physical controls.
Not to knock DLSRs, but given the fact that mirrorless cameras provide more than adequate quality and performance combined with the actual needs of most beginning photographers, and they’re smaller and lighter, it’s surprising to me that more people weren’t steered in this direction when they were
Obviously, digital camera technology is far more advanced than the film cameras of old, so I get it that they need to have more controls. However, it seems like they getting too complicated, which doesn’t inspire very confidence in most beginning users.
The conundrum is that modern cameras are quite powerful, which is awesome for shooters. With that in mind, I can fully understand the challenge that camera designers face in making their products both capable and simple.
Personally, I’m drawn to the design of the Fuji X Series cameras because many of the main functions are controlled by dials right on the top deck, or right on the lens barrel. This isn’t about Fuji, though, or any company in particular. It’s about how beginning and emerging photographers can navigate this technological complexity.
As someone who teaches photography, I’m always looking for ways to help my students understand and become more familiar with their cameras. I want them to get the most from the technology and learn how to take great photos, without being utterly confused by their gear. Here’s what I’ve come up with.
My Advice to New Camera Buyers
Spend a little bit of time learning the basics of photography before you actually buy a camera. You should at least understand these fundamental concepts before you start shopping.
2. What do P, S, A and M mean and how do the different exposure modes work? Check out this tutorial.
3. How does autofocus work and what are the main AF modes you’ll find on the camera? Here’s a good primer.
Once you have at least a basic handle on this stuff, you’ll be better armed when you walk up to the counter and begin checking out different cameras.
Given that just about any camera system you buy these days will produce good pictures, your primary concerns should be how comfortable the camera feels in your hands, and how easy it is for you to adjust these main controls.
I’ve had to show a lot of students which knob, dial, menu function, or combination of buttons and dials to manipulate in order to adjust something like ISO or aperture. Once they see how it’s done, some of them seem like they wish they’d known this stuff before shopping, because maybe they would have bought a model that’s a little easier to control.
Every camera is different. Some are really easy to control and some are really confusing, even for someone who knows cameras. I’ll leave that up to you to figure out for yourself. When you’re in the store, try out different bodies and see how easy or intuitive it is for you to adjust the basic controls I mentioned above. Pay attention to what can be controlled via a knob or dial, a function button, or a quick menu, because those are the fastest ways to adjust a setting.
In the end, it should come down to which camera feels best in you hands and which one helps you LOVE photography. That’s what will ultimately lead to great pictures.
If you know someone who is just getting into photography, please share this post with them.
[iframe]<iframe src=”https://player.vimeo.com/video/158058984″ width=”500″ height=”281″ frameborder=”0″ webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>
<p><a href=”https://vimeo.com/158058984″>Aerial Photography Flight over the Chugach Mountains of Alaska</a> from <a href=”https://vimeo.com/user12765218″>Dan Bailey Photo</a> on <a href=”https://vimeo.com”>Vimeo</a>.</p>[/iframe]
These days, “aerial photography” usually means “shot with a drone.” For me, it means a lifelong love affair with mountains and dramatic terrain, a pilot’s license and a little yellow Cessna 120 that rolled off the production line in April of 1947. It probably wasn’t even yellow back then.
Not to knock drones; after all, they allow photographers a relatively affordable way to view the world from above, which is an endlessly fascinating perspective. I’ve never actually used a drone, although I do have a $20 remote control helicopter I bought at Fred Meyer. It’s pretty fun. It drains the batteries rather quickly. I can imagine it’s similar to flying drone.
I’ve even had people tell me I should get a drone. Imagine that. Why would I get a drone when I have any airplane? The way I see it, if I’m going to pay the same $5 to be regulated by the FAA, I might as well go all in and get the maximum benefit of being able to fly all around the sky.
I’m kind of joking here. Obviously, drones are way less involved and less expensive than airplanes. Then again, maybe not. I know drone guys who have almost as much in their rigs as it cost me to buy my Cessna.
For me, though, it’s about more than just the viewpoint. It’s about being there and having a first person look at what I’m photographing, instead of watching it on a video screen. I like being intrinsically involved in the process of capturing my subject matter and combining two very challenging skills during these brief moments of excitement.
That and the fact that a drone with a 20 minute battery life and a 2-mile range wouldn’t even get me within sight of some of my subjects, let alone close enough to take a few photos and get back, before it runs out of power, drops from the sky and disappears forever.
I’ve been in love with mountains for much of my life. I moved to Alaska 8 years ago and almost immediately started taking flying lessons, and bought my little Cessna about 5 years ago. Although I’ve shot aerial photos numerous times over the years, I stuck a camera out the window of my Cessna in April 2012. That’s when things really opened up for me and I’ve been hooked ever since.
With everything I shoot, my aerial mountain imagery is some of my absolute favorite and most fulfilling work these days. In my mind, it combines the feel of adventure photography with the skill of action photography and the dramatic subject matter of mountain landscapes.
I liken my aerial photography missions to conducting a symphony of light and moment, where everything is is motion, except for the subject itself. I guess those would be the notes on the page. This presents and investing contrast to what I often face when shooting action. Usually, it’s the subject that’s moving.
When I’m up there shooting aerials, I’m the thing that’s moving. I’m flying around these impressive and majestic formations about 70-80 mph, constantly gauging the air currents, the wind, and rising terrain all around me that could get me into trouble very quickly if I’m not careful.
I’m also looking for convergence between shape, shadow and light, just like I would with any other kind of subject matter. That’s what drives the whole process. That’s the glue that binds it all together.
My favorite time of the year to shoot these kinds of aerials is in the late winter and early spring. The days are getting longer by then, it’s generally not as cold, and the light is simply gorgeous.
After preheating the engine with an MSR XGK stove and a piece of aluminum duct, I usually take off about an hour before sunset and climb to about 7,000-feet. I pick an area to explore, sometimes revising a quadrant I’ve shot before, other times venturing over peaks I haven’t yet explored in detail.
By the time it takes me to climb to my target altitude, the light is just starting to get good. Depending on where I am and what’s around me, I look around for a formation that catches my eye, whether it’s a dramatic peak or a juxtaposition between two or more elements in the landscape.
I’ve already got my Fujifilm X-T1 around my neck, so when I see something I like, I open the window, (it stays open from the prop blast), and shoot a series while I do a fly by, or make a shallow circle or curve around the subject. Left hand on the yoke, flying the plane, right hand on the camera, and using the LCD screen to frame my subjects. Keeps things much safer than if I tried to shoot while looking through the viewfinder. That’s kind of a big deal when you’re doing this stuff.
As soon as I complete my pass, I look for another subject, or if I see new potential with the same one, I’ll circle around for another try. It gets pretty chilly up there, especially in the wintertime, so I usually close the window between passes. Like I said, it’s kind of like playing a musical composition, or a series of short pieces that rises in crescendo with the excitement and drama of the setting sun.
Over the Chugach Mountains, with Denali, Hunter and Foraker off in the distance.
Camera Settings
My settings are almost always the same: Continuous Low and Veliva film simulation. I also shoot in straight JPEG mode- no RAW. Why? Because I LOVE how the Velvia color profile does with this kind of subject matter. It gives me exactly what I want- dramatic tones with vibrant colors, inky blacks and rich blues in the shadows.
I couldn’t get it any better if I spent an hour trying to tweak the RAW files. All of these are straight JPEGS. That’s why I love shooting with the Fuji system so much. The photos look amazing right out of camera, and it brings me back to the days when I shot Velvia slide film, where you get what you get, and if you nail it, you’re golden. All I have to do is keep my highlights under control and I’m there.
As a photographer, my goal is to walk away, or in this case, fly away, with a great image. That’s the case no matter what I’m shooting. While many images requires some tweaking, If I can minimize that, I’m happy. That leaves me more time for shooting and writing about shooting. And other fun stuff as well.
Mount Beelzebub and the Devil’s MistressSunset over Mount Iliamna and Mount Redoubt, seen from over the Chugach Mountains
Lens Choices
I’ve used a variety of lenses for shooting aerial photography with my X-T1. Although I’ve done quite a few with zoom lenses, like the XF 18-135mm, and with my X10 and X20, both of which have built-in zooms, these days, I prefer shooting aerials with primes. What I lose in flexibility, I make up for in simplicity and sharpness.
I usually go for a mid range prime and a short telephoto, with my current favorites being the XF 35mm f/2, and the XF 90mm f/2, although I really like the XF 56mm f/1.2 as well; both do an excellent job. Any wider than 35 and it becomes a challenge to keep my wing strut out of the frame. Before I got the new 35, I used the XF 27mm f/2.8 pancake lens quite a bit with very good results.
At these distances, focus isn’t really an issue. With the speed and vibration of the airplane, the most important concern is nailing sharpness. Typically, I’ll stop the lens down by just one or two stops from wide open to maximize edge to edge sharpness. This also give me high shutter speeds; I like to shoot at least 1/500 sec., if not faster. When the sun gets lower, I sometime bump the ISO up to 400, which helps keep the shutter as high as possible.
All of the photos in this post are from the same hour-long flight I made last week. Just for fun, I recorded the actual GPS track of my flight path as I circled around the mountains and put together a short video to give you an idea of how I get these shots.
Fujifilm finally released a “little brother” version of the wildly popular and successful X100 camera. Keeping with Fuji’s traditional styling, the new Fuji X70 is an affordable fixed lens compact rangefinder that features the same 16MP X-Trans sensor as the X100, and a slightly wider lens.
Built around an 18.5mm f/2.8, which offers a traditional 28mm angle of view, the X70 essentially gives you more of a “wide angle walk around camera,” as opposed to the normal look of the 23mm (35mm FF equivalent) found on the X100.
Those extra few mm of focal length make the X70 a little more useful for landscapes, broad scenes, and even action. And, it’s still “normal” enough for things like environmental portraits, travel and street photography.
With an EVF only design, the X70 saves size, weight and cost by eliminating the hybrid optical viewfinder. We’re talking a significant reduction in size and weight; in fact, the X70 is the lightest X camera to date. It’s pretty tiny, but given that it shares the same size APS-C sensor and image processor as the X100, the X70 packs a huge image quality punch for such a tiny camera. By comparison, the new Nikon DL series of compact cameras only use 1-inch sensors, which are considerably smaller than APS-C.
And although it lacks an optical viewfinder, the LCD screen on the X70 tilts. Considering how useful the tilt screen is, I’d call this an ok tradeoff. It even tilts all the way up, which essentially gives you “selfie mode.” It’s also the first Fuji X series camera with touch screen control for focusing, shooting and viewing photos.
In addition to the standard array of creative options that all the latest Fuji X cameras offer, like Fuji film simulations, Face Detection, Fuji’s updated Zone and Wide/Tracking autofocus modes, Interval Timer shooting, Panorama mode and 8 fps continuous shooting, the X70 also has a couple of other things built in, like Auto Macro Mode, which does closeup photography down to 10cm.
The X70 also features a new Digital Tele-Converter. This allows you to effectively shoot at three different focal lengths: 18.5mm, 35mm and 50mm. I haven’t actually seen this in use yet, but I can see it being an attractive feature for people who may feel limited by a single focal length.
Overall, the new X70 seems like a hot little camera. “A pocket rocket,” as one user described it. Standard X Series image quality in a tiny package. I know (myself included) that as attractive as the X100 is, not everyone can justify a $1,200 fixed lens rangefinder.
However, give us something with a similar feel for about half the price and you suddenly have a viable alternative for a lot of photographers who want a backup, a second body or a super lightweight trail, biking or travel camera. That’s how my friend Jason uses it. He loves it. I can see why.
When it comes to the matter of carrying my camera, accessibility is my number one concern. Protecting it agains the elements or from being banged around is usually further down on the list. Above all else, I want to be able to get the camera into my hands and be ready to shoot within seconds. If it’s tucked away safely inside a pack and something cool happens, I’ll likely miss the moment.
Every since I switched to using mirrorless cameras, I like to joke that my favorite new camera bag is the strap. During the past few years, I’ve ridden hundreds of miles on my bike, skied, hiked and adventured with my little Fuji cameras slung around my neck and shoulder. I pretty much rode like this every day during a handful of bike tours last year in Alaska, Oregon, and on my recent five week Romania bike tour.
However, hiking and biking with the camera around your neck can be problematic at times, mostly because it tends to swing and bounce around when you’re moving quickly or navigating technical terrain. Inconvenient? Occasionally. Totally annoying at times? Absolutely. Usually I’ll tuck it in my photo pack when things get technical, but that goes agains what I said above.
For years, my favorite was the old Photoflex Galen Rowell Chest Pouch. I haven’t used it much lately, though, because it’s sized more for DSLRs. Also, while it was great for hiking and skiing, I always found it a little bulky for biking.
Essentially, the UltraLight Camera cover is a minimalist version of the Rowell Chest Pouch. It’s the same design, with just enough fabric to cover the camera and no padding, so it’s not bulky at all, and it’s pretty inexpensive.
This all makes sense when you learn that the guy who designed this bag, California photographer Jerry Dodrill, spent his early years as a protégé of Galen Rowell. (In his own endless quest for the perfect bag, Jerry co-founded Mindshift Gear.) Seriously. Thanks, Jerry- it’s about time someone came out with an update version of the Rowell bag, and I guess it might as well be a guy who worked with The Man himself.
Wearing the ULCC is simple. Camera strap goes around your neck and the bag strap around your waist- just like the Rowell pouch. A shock cord closure wraps over the front of the lens and keeps the bag closed and your camera secure, even if things get hairy. And you still have quick access if a potentially great moment unfolds.
The ULCC comes in three different sizes, the 10, 20 and 30. The 10 is sized for mirrorless cameras and small lenses. With my Fuji X cameras, it works with any of the shorter primes with lens hoods on, such as the 14, 18, 23, 56 and even the 18-135.
With the 90mm, you need to remove the hood or turn it around, or go with the 20, which is sized for medium sized primes and zooms. The 30 will fit a DSLR and a big zoom, like a 70-200.
I’ve been using the ULCC 10 for the past three months and I’m hooked. As far as I’m concerned, it’s the ideal bag for me. I’ve ridden all winter on my snow bike with it and even skied and worn it on two-hour trail runs. I only wish I’d gotten this in time for my Romania trip, it would have been perfect.
Most days, I even wear it in conjunction with one of my other photo packs. Camera out front, lenses and gear on my back. Fast, nimble and ready. And if your’e not using the ULCC, it even tucks into its own pouch. And it comes in blue.
If you do active sports and go on adventure with your camera and you want a little more security than just using the strap, but more accessibility than keeping it inside a backpack, I’d highly recommend checking out the Mindshift UltraLight Camera Cover. They’ve got some other cool designs for packs too, so check out their website at Mindshiftgear.com.
Support This Site: If you’re thinking about buying this bag, 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 search out new gear and write these reviews. -Thanks!
This past weekend, I photographed the Susitna 100 ultra endurance race, which follows a 100-mile circuit in along the frozen rivers and swamps of south-central, Alaska. Participants can either bike, run or ski the race, and with the utter lack of deep snow that we have this winter, it ended up being an incredible fast race, with the lead biker winning in under eight hours.
Although I don’t consider myself much of a racer or an event photographer, have a special fondness for the “Su”, as we all like to call it. I’ve finished it three times on my fat bike, and it’s such an awesome event with a fun, yet challenging course, great camaraderie, well-stocked checkpoints and wonderful race organizers that it’s hard not to feel a kinship to the whole thing.
While I took my camera out on the course during my three races, I never got very many photos, for obvious reasons. I was busy racing and always being somewhere in the middle of the pack, I would miss all the fun that took place around the fast biking leaders and the runners, who were in it for the sufferfest.
However, this year, I did something a little different. I rode out and worked the 90 mile checkpoint, where I was able to photograph about half the racers as they came in, all tired and excited for the final push. Then, at 10PM, I rode my bike another 12 or so miles in the dark out to one of the other checkpoints, where I camped and captured many of the runners as they came in around sunrise.
The 14mm is my favorite Fuji wide angle lens, so that was an easy choice. I like the 23mm because it’s fast, and it works really well for portraits and low light. However, this is where the XF16mm f/1.4 would come in very handy; it’s a super fast wide angle that would easily handle the job of both the 14mm and the 23mm, but in one lens.
The only reason I don’t have the 16mm 1.4 is because, well… I just love the 14 and 23 so much, and I like how lightweight the 14mm lens is. The XF16mm f/1.4 is a little bit heavier, but it’s a fantastic lens, though, and it focuses extremely close. Seeing as how my old Nikon 24mm was my favorite wide angle for years, if I had to start from scratch, I might have opted for the 16 1.4.
I thought about taking along the supremely awesome XF90mm f/2 WR lens, since it’s so compact, but the XF50-140 f/2.8 won out, simply because it’s more versatile and it gives me a longer angle of view. And, it’s really not that heavy, especially when you compare it to a DSLR 2.8 zoom.
Add Fuji’s new 1.4X Teleconverter, and the 50-140 suddenly becomes a 105-300mm f/4, which make the already awesome workhorse even more awesome. Sure, f4 isn’t f/2.8, but with how good modern camera ISO performance is, that stop of light becomes inconsequential.
I carried my lenses and other gear in my photo pack, but I wore my X-T1 out front the entire time inside the Mindshift UltraLight Camera cover chest pouch, which allowed me very quick access if I came across any racers while on the trail.
Aside from being out there for two days with my camera in the Alaska wilderness, I loved photographing the Su this year because so many of my friends were racing. It’s always fun to cheer on your friends, right?
Check out my 2016 Susitna 100 race gallery to see the full collection of photos from this year’s race. And if you’re intrigued by the thought of riding a fat bike, running or skiing 100 miles in the wintertime here in Alaska, check out the Susitna 100 website. If 100 miles seems a little daunting, they also have a 50K race as well. And if you don’t have a fat bike, you can always rent one up here.
This fall, I’ll be one of the featured instructors at the 2nd Annual Great Smoky Mountains Photography Summit, which will take place during the week of October 26-30, 2016 at the Tremont Lodge and Resort in Townsend Tennessee.
Set during the peak of fall colors, the GSMPS offers a unique and intimate opportunity to surround yourself with outdoor and nature photography and learn from a number of accomplished pros.
With both guided and un-guided field sessions, panel discussions, classes, critique sessions, keynote presentations, small “break-out sessions,” a mini trade show and evening “Fireside Fellowships,” you’ll have unprecedented access to interact on a personal level with the team of instructors, as well as with other participants. This year, the roster also includes Bill Fortney, Jack Graham, Matt Kloskowski, Deborah Sandidge, Richard Bernabe and more. See the full list below.
In addition, there will be reps on hand from a number of companies, including Fujifilm, Sigma, Manfrotto and Macgroup, so you’ll be able to check out and demo a wide selection of cameras, lenses, tripods, filters, etc…
Used Photo Pro will also be there offering cash for your used camera equipment, in case you’re looking to upload and/or upgrade.
I’m honored to be one of the instructors for this year’s summit, and I look forward to sharing my knowledge with other photographers, meeting some of these very accomplished pros myself, and of course, making new friends.
Also, I know that Tennessee is a lot closer than Alaska for many people, so I’m excited to have the opportunity to meet some of my followers and teach other photographers who aren’t able to make it all the way up here.
Currently, N3102N has over 5,700 logged flying hours on the airframe. She received a replacement engine in 1962, had a complete engine overhaul in 1989, and has received a number of small modifications over the years. I know this because I have all of the log books that date back to 1947. It’s pretty amazing to be able to view the complete history of this little airplane and see all of the entries, flight times and signatures by 69 years worth of owners and mechanics.
