On Fujifilm digital camera rental programme prices

Most X fans await the X-Pro 2 with breath abated and hovering pointers caressing the checkout button of their nearest online retailer. Still, the X-T1 is Fujifilm's de facto top model, both in price and performance. 

The X-Pro 1 debut price was higher, but it fell to about half within a hear of release. I picked mine up for less than 850$ in 2013. Meanwhile, the X-T1's price has fluctuated by less than 15% since its debut. Today, new X-Pro 1s cost significantly less than new X-T1s (BH Photo):

X-Pro 1 999$
X-T1 1299$

But eager to prove to customers that the X-Pro 1 still is the PRO model in its lineup, Fujifilm have kicked off rental prices of the X-Pro 1 at 120% premium over the X-T1. 

Source: Fujifilm Pro Rental Service (lens and camera prices linked in PDF files)

via Fujirumors: RENT – SHOOT – RETURN: Fuji’s Pro Rental Service effective NOW in USA! Rent X-gear for 3 to 7 days!

Photigy to remove all advanced tutorials

www.photigy.com

Before you have a heart attack, remember to check your calendar. 

Plug: Photigy are one of the internet's best resources for both the advanced photographer. They have a range of materials designed to help you nail both the shot and all post processing.

Am I wrong in thinking I could get MORE subject separation with 23 vs 35?

DPReview member oracle82 writes:

“I know this is a frequent issue, the 35 1.4 vs 23 1.4... but I’ve been wondering about the issue of subject separation with the two. I know that the 35 will have more of a compression factor given the longer focal length. But, I seem to have gone from a 50mm equivalent shooter to more of a 35/40mm equivalent shooter recently. I just prefer the slightly wider view now, and find the 35 to be a little too narrow these days - even though it was the first prime that I bought with my XT-1.

As such, I don’t use the 35 all that much now, and when I do, I find myself backing up for a bit wider view. Of course, then I start to lose some of the blurred background because my subject ends up being further away from me.

I’m not trying to blur out the backgrounds completely, I have other lenses for that. But I do like a slightly blurred graduation when I am shooting certain things at wider focal lengths. Not portraits, just everyday type of photos.

I’ve been toying for awhile with the idea of selling my 35 for the 23, since I don’t use it a lot. It’s a fantastic lens, I just hate having expensive equipment around that I don’t use much.

I’m wondering if the subject separation from f/1.4-2 would be adequate enough with the 23, especially since I can get closer? As I said, with the 35 I find myself backing off to get more in the frame, so I lose a lot of that shallow depth of field. (I really hope this makes sense). If I want more serious subject separation, I have a legacy 58mm that I can use.”

And the award for most confusing answer goes to Christof21 who supplied the link to a website called How Much Blur, which compares the theoretical percentage of blur captured by both lenses at similar distances. 

But the question specifically addressed the separation of subject and background at different camera to subject distances. In other words, supplying a link, no matter how erudite it may seem, isn't enough. Relevance is key.

The best response from the same thread attempts to answer the question asked, which distilled simply is this:

I like to shoot [people or other objects] at wider angles. Because of this I have to move farther from my subject when using the 35mm 1,4, which reduces the amount of separation between the subject and the background. Which lens, the 23mm 1,4 or the 35mm 1,4, would return more separation between the subject and the background?

The answer lies in the oracle82's own question: Of course, then I start to lose some of the blurred background because my subject ends up being further away from me.

Any answer concerned with the amount to which a background is blurred and not the degree to which the subject and the background are delineated one from another, is pointless. And so becomes the 35mm's f/1,4 aperture when the subject is moved closer to the background in order to capture a wider view.

The answer is: no, you are not.

The 23mm 1,4 lens will more keenly separate the background from the subject.

Here is the thread: Am I wrong in thinking I could get MORE subject separation with 23 vs 35?

The Missing D300s Replacement, Redux

Thom Hogan on the missing Nikon D300s replacement:

“Will Nikon give us a D300s replacement? When would they give it to us? What will it be like? My predictions are yes, fall 2015, and not as good as what I just described.

Here’s another thing that comes into play: I don’t think that the remaining customers for DSLRs are entirely price sensitive. Sure, they are at the D3300/D5500 level, and Nikon needs to do more to make that work for them. But those DSLRs are likely to be eclipsed by mirrorless at some point, anyway. At the D7200 and up level, and especially at the pro body type we’re talking about with a D300s replacement, the customer is far less price sensitive than they are feature sensitive. If the options are (1) what I described above at US$2199 versus (2) the current 24mp sensor doing 10 fps in basically a D810 type body without the other things I described at US$1799, I’ll bet #1 would outsell #2.

We’re looking at a glass half full, half empty type of situation. Nikon would probably think they’ve been successful in filling half the glass (FX is doing okay, and they’re still selling DX DSLRs and making a profit). I’d say they’ve failed to fill more than half the glass (the pro gear right now is decidedly awkward, the DX DSLRs are arbitrarily defined and the channel is overstuffed with them, the Nikon 1 has been a random walk through design ideas with no one polishing anything, etc.).

A D300s replacement will tell us whether the glass will continue to be half full, or is still half empty ;~). But boy is it coming late to market. Really late. Harvard Business School Case Study late. ”

Source: The Missing D300s Replacement, Redux

Radioactive Konica Hexanon 57 f/1,2

Some of us are into sharpness. Some of us are into OOF rendering. Some of us are into bokeh. Others, are into radiation. 

The new Voigtländer 35mm F 1,7 Ultron

If the old one's minimum focus distance of 1 metre made you rethink purchase, the new, highly-stylised one, which focuses down to 0,5 metres (great for M240 users and when mounted to other mirrorless cameras), may catch your fancy. Unfortunately, this lens, too, bears straight, not inwardly scalloping aperture blades.

Here are the specs:

Focal Length    35 mm
Aperture Ratio    1:1,7
Minimum Aperture    F 16
Lens Construction    9 elements in 7 groups
Angle of View    62°
Aperture Blades    10
Minimum Focus    0,5 m
Maximum Diameter    53 mm
Length    50,6 mm
Mount    M-Bajonett (VM)
Weight    silver 297 g, black 226 g
Filter Size    43 mm
Color    black and silver
Others    standard lens hood
Optional    ---

Source: Voigtländer VM 35 mm F 1,7 Ultron
Thanks: Sony Alpha Rumors

Fujifilm: The World of Film Simulation episode 1

Explanation of Fujifilm colour ethos and helpful visual graph of film simulations available in X cameras at Fujifilm X World's Facebook page.

“First of all, the color reproduction is not just a “tendency” for FUJIFILM cameras, but rather a “world of its own” to put it more correctly. It does not just look “vivid” or “soft”. They are in their own world of color reproduction of “Velvia” and “ASTIA”.
When you shoot a photo, you would first look at the subject. It can be anything from “autumn leaves” to “person”. And you would set it to “Vivid” or “Soft” depending on the subject. You may be happy with the result if the autumn leaves appear vivid or the skin appears soft.

At the same time, you may be unsatisfied with the result, but think that “it can be edited later” if they were shot in RAW.”

Source: The World of Film Simulation episode 1

via: Fujirumors. Thanks @umad.

The 50mm Leica Summicron V3

Update: I have written more about this lens here: Nagano, Japan: through the Summicron 50.

Formerly I owned the V4 and V5 50mm Summicrons. Both lenses were slightly sharper than the V3 and better built. But both also showed harsher OOF highlights, which grinned my gears. Despite being more compact, the V3 similar focus ergonomics to the V5, but it is light like the V4.

For some reason it is less popular than the V4. My wallet is glad.

Being an older lens, I didn't expect so much contrast and quick falloffs to black, but the V3 surprises. It is also extremely quick to focus. I am able to focus it almost as quickly as I can the 50/2 Nikon Ai lens on a large-viewfinder SLR camera. I suspect the slight delays inherent in focusing the M240 and V3 Summicron and the D800 or FM and 50/2 Ai are down to my prescription. 

I must upgrade that. 

Tongue twister Schneider Kreuznach

The Schneider-Kreuznach logo, which can be found on many lens systems for digital cameras, is difficult for some to pronounce.

For the past half year, I've been using a single lens for about 99% of my work. That lens is 100mm and has an f-stop of f/5,6. It's from the tongue-twisting company in this video.

Thanks Thomas Tsai Photography.