Moody Images in Infrared & Color! Fuji X Pro 1 and X-E1

Grabbing your viewers by the throat and not letting go…

A dark and stormy night, Fuji X Pro 1 w/ 14mm fuji lens at 720nm Infrared.

Images that are dark and moody tend to grab our attention.  It is as though there is something hidden and dark that demands our attention.  We stare at them and analyze the image for a deeper hidden meaning.  This creates emotional impact that allows our viewers to share what we felt as we created the images!

Look for dark, stormy skies, moody clouds, dark trees or water.  Work in Infrared and you will find that you have a much better chance to capture these kinds of images more often than when working in color.  It is still possible to do so in color but you have to work harder at it!

Paradise Island Light, Nassau

 

As you can see in the image above, it is moody and draws the viewer into the scene, but it does not have that “dark and stormy” look and feel!  As I stated before, it is much easier to capture these types of image when working in Infrared!

A dark and stormy night

Work in both Faux Color and B&W.  You never really know what you are going to get unless you take the time to post process both ways.  You should even look seriously at the properly white balanced raw image right out of the camera!  Sometime you can get a really stunning image there.

Lady Katheran, 720nm Infrared, Fuji X Pro 1 with Fuji 14mm lens.

Here is the same image processed in B&W.

Lady Katheran

 

The workflow to getting great images in post processing is to ALWAYS process in the 3 main ways:

• RAW:  Check how the images looks right out of the camera.  In 720nm and 590nm you can get some stunning images with beautiful bronze skies!
• Faux Color:  If your camera captures any color data at all (720nm and lower) then you should ALWAYS take the time to process in this mode.
• B&W: You just done know what you are going to get unless you try!

 

Try adding a lens vignette to your images to darken the corners.  This will give more mood!

Here are some examples of RAW and B&W post processing!

McClellanville Shrimper, RAW right out of the camera!

 

McClellanville Shrimper, B&W

 

As you can see both versions give stunning results.  The most important thing for you to remember is that to get the best results from all of your images it is necessary to take the time to post process in all three modes.  Do not short change yourself by cutting corners.  Take the time to give each image your best try!  

 

You will be rewarded for you work!

 

Fuji X Pro 1 – 720nm Infrared Faux Color and B&W Post Processing

A Simple Tutorial on Infrared Post Processing…

Murrells Inlet Marsh, X Pro 1 720nm IR Faux Color

The Fuji X Pro 1 has turned out to be one of the best Infrared camera systems that I have ever used… period!  The only good Fuji lenses for Infrared have proved to be the 35mm f/1.4, the 18mm f/2 and the new 14mm.  The Viogtlander 75mm f/1.8 has also proved to be a STUNNING lens also!  So, the camera has proven its infrared capability, now it is time to discuss in detail the recipe for post processing!  It is all quite simple but there are a few requirements that you must understand in order to follow my workflow with understanding.

Needed:

• Photoshop CS5 or CS6
• Nik Filters, Viveza, Define Silver EFX Pro plugins for Photoshop, NOT LIGHTROOM.  (You can now purchase the entire library of Nik filters for $149)
• Kromography False Color Action which can be downloaded here from the right menu bar under the box menu.  You can simply  click on it to download to your computer then drag it to photoshop to install.
• A converted Infrared camera system capable of generating enough color data to make Faux Color images.  This means 720nm, 665nm, 630nm and 590nm conversions.
• The ability and desire to experiment!

As you move your RAW (shoot only RAW for IR because of the ability to shift the white balance easily) onto your computer you should automatically tell yourself that you are going to process each selected image in Faux color and B&W.  Sometimes you will notice that the un processed image looks great also (wonderful bronze tones) and decide to do a version like this as well!

Lets talk about the RAW conversion process a little bit.  Photoshops ACR built in RAW converter will NOT apply the white balance correctly and your images will appear deep red.  For this reason I use Capture One version 7 from Phase One.  It is simply the BEST RAW converter that I have ever used.  You can download a trial version and decide for yourself if what I am telling you is true!

My Initial Editing Steps:

1. Move images from my camera to my computer with an intelligent download tool that renames them with a meaningful name and create an intelligent directory tree for my RAW Library.  For this I have tested dozens of tools and found that Ingestimatic is the best and lowest cost one out there! You can find them here.
2. Visually edit the RAW files by deleting the images that are simply no good.  Do not clutter up your computer with these useless files.
3. Batch process my RAW conversion choices and adjust the exposure, contrast and angles.  Capture One will allow this and place the converted image files into a storage directory for later editing.
4. Within Photoshop, open  each converted image one at a time for post processing
5. Run Nik Define 2.0 in its default mode on the image for noise reduction, Save.
6. Run Nik Viveza and without using any selection points increase the structure around 10% and the contrast about 5%, Save.
7. Having installed the channel swap action that you downloaded here, run it on your image.  The last thing it will do is to open a Hue/Saturation window with the Master channel selected.  Simply select the CYAN channel  and vary the HUE a little bit to bring the sky to a normal blue rather than a blue/green.  Then select the RED channel and adjust the saturation up to a value you like, and repeat with the YELLOW and MAGENTA channels.  When you are happy with the results click on DONE to move on.  REMEMBER:  This is to only get the colors of the FAUX COLOR IR image into the ball park!  The real adjustment will happen next.
8. Run Nik Viveza again.  Here is where you will use your control points to slightly adjust the colors and contrasts of various image elements to bring out a stunning, etherial work of art!  LOOK closely at your image, decide what you wish to adjust (Hue, saturation, contrasts and de-saturation). MORE ON THIS LATER!
9. Run Nik Define one more time.
10. Flatten the image, crop to taste, correct any imperfections (healing tool and content aware fill).
11. Save the image with a meaningful name in a planned and thought out master image library.
12. With the finished Faux Color image still open in Photoshop, now run Nik Silver EFX Pro to do your B&W conversion.  There are several built in recipes in this filter that can be used as a starting point.  My favorites are:

• High Structure Harsh
• High Structure Smooth
• Full Dynamic Range Harsh
• Full Dynamic Range Smooth
• Fine Art Process
• Wet Rocks (once in a while)

Save your image again with a NEW file name that reflects the difference in your master image library tree!

Murrells Inlet Salt Marsh, X Pro 1 720nm IR

Remember:  Process ALL IMAGES as both Faux Color and B&W.  You really do not know what you are going to get till you do so.

All of this really is VERY SIMPLE and once you have done it a few times it will become second nature to you.  Soon you will be a post processing Infrared God or Goddess!  Congratulations

No, let’s take a look at the image below.  Notice the areas that I have circled as places where I desire to change the colors, contrasts and saturations (both plus and minus). Also consider that this is a 720nm converted camera and as such has a very limited color range (light pinks and warm tones and blues).

Annotated Faux Color, X Pro 1 720nm IR

It is in this area and others like them (similar color values that are the same) that we are going to place control points on and change these values!  If you notice that the areas around them also change a little you can place what we call anchor points which are simply control points with no adjustments to bring those areas back to where you wanted them!

You will find this ENTIRE process from the initial loading into photoshop to finish will just take 4 or 5 minutes or less as you become more practiced!

Here are a few more images for you to consider that were taken on the 720nm Fuji X Pro 1 camera system:

Stormy Seas Faux Color, X Pro 1 720nm IR

Stormy Seas B&W, X Pro 1 720nm IR

Sometimes Faux Color images simply do not work, then you still have the great B&W ones to work with!

SC School Bus Boat, X Pro 1 720nm IR

SC School Bus Boat, X Pro 1 720nm IR

Was this information helpful?  Please let me know one way or the other!

Wabi/Sabi: Exploring decay in man made objects

All things Old are Beautiful again..

This morning at 9:30 at Georgetown, SC. I decided to get out my cameras and shoot some Shrimp Boat images before I had to open a Co-Op gallery that I am a partial owner of.  The Shrimp  Boats are a subject that are very dear to me and I visit them every chance that I have.

They are for the most part all falling into decay.  The market for local salt water shrimp is almost not enough to support the boats.  With the import of fresh water farm shrimp the local fisherman are being forced out of business and the result is the condition of the boat and companies… A very sad state of affairs.

The Boat Graveyard and the 3 Wheel Houses…

The image above illustrates the wabi-sabi concept:  There is beauty in decay  It sounds very counter to the way we think as artists, but with a little thought I think that you will be able to agree with the concept.

Wabi-Sabi

The Japanese concept of Wabi-Sabi, as described in Brainpickings, “connotes a way of living that finds beauty in imperfection and accepts the natural cycle of growth and decay.”

Characteristics of the wabi-sabi aesthetic include asymmetry, asperity (roughness or irregularity), simplicity, economy, austerity, modesty, intimacy and appreciation of the ingenuous integrity of natural objects and processes.

From an engineering or design point of view, “wabi” may be interpreted as the imperfect quality of any object, due to inevitable limitations in design and construction/manufacture especially with respect to unpredictable or changing usage conditions; then “sabi” could be interpreted as the aspect of imperfect reliability, or limited mortality of any object, hence the etymological connection with the Japanese word sabi, to rust.[citation needed]The Japanese kanji characters:

 

錆

(sabi, meaning rust)

and

寂

(sabi, as above)

are different, as are their applied meanings, yet the original word (pre-kanji, yamato-kotoba) is believed to be one and the same.

“Wabi-sabi is the most conspicuous and characteristic feature of traditional Japanese beauty and it occupies roughly the same position in the Japanese pantheon of aesthetic values as do the Greek ideals of beauty and perfection in the West.”  ”if an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi.” “[Wabi-sabi] nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect.”

The words wabi and sabi do not translate easily. Wabi originally referred to the loneliness of living in nature, remote from society; sabi meant “chill”, “lean” or “withered”. Around the 14th century these meanings began to change, taking on more positive connotations.[1] Wabi now connotes rustic simplicity, freshness or quietness, and can be applied to both natural and human-made objects, or understated elegance. It can also refer to quirks and anomalies arising from the process of construction, which add uniqueness and elegance to the object. Sabi is beauty or serenity that comes with age, when the life of the object and its impermanence are evidenced in its patina and wear, or in any visible repairs.

For me and what I consider to be “Fine Art Photography”, the concept of Wabi-Sabi fits like a glove in regards to the shrimp fleets.  I watch them over the span of time, capturing them again and again.  The one thing that stands out above all is the fact that they like everything else will fall into decay… both physically and financially, but faster.

The 3 Wheel Houses in B&W. Stepping back into an older time of photography, fitting don’t you think?

I am going to dedicate a photography project to this concept.  I would think that it will take me several years to finish or perhaps unto my death which in a strange twist of logic fits into the project/concept quite well.

So I hope that you enjoy these images and that you intellectually chew on the concept of Wabi-Sabi and to how it will fit into your own artistic visions….

Normally, detailed closeups would be better suited for wabi/sabi studies, but look at these following 2 images and notice how the rust and corrosion feed into the concept.  Do you see the detail in the flat areas of the boat and how it is rolling and pitted?  These imperfections take on an artistic perfection on their own!

Stormy Seas, Georgetown, SC.

B&W, stepping back into an “older” time and place.

The Wheel House Door

The Working Boat, 630nm Infrared

The Battered Bow…

I hope that you enjoyed the image and the concept…

Important Difference Between Film & Digital

What NOT to expect from Digital!

Fuji X-E1 with its 18-55mm lens

Recently I had a series of conversations here with a reader who wanted to pick up a Fuji X-E1 camera and have it deliver Velvia results out of the camera.  This conversation did not start well, but moved into meaningful dialog very fast.  I thought that I would share my thoughts as I gave them to him with you as it is important to understand what a digital camera can really deliver…

As a new convert to digital from film you need to understand one MAJOR difference between the two. Images generated from film are/were dependent upon the film emulsion, exposure, chemistry and glass quality/coatings for colors, saturation and white temperature which in combination gave each film its own distinctive look.

Now, along comes digital, where the only real move into the film Look/Feel is with a built in simulation or the proper selection of White Balance and the filters/coatings on the sensor plus the lens glass and its coatings. Some digitals give a more saturated look, some less. Some pump up the reds to the point of problems.

The Fuji’s typically give a more saturated image with a slight bluish feel. But, knowing photographers with experience who understand these issues and the capability of shooting in RAW understand that ALL of the films/sensor character is really defined in post processing! Looking for a Velvia look and feel out of the camera is foolishness and very short sited. You take your pictures, making sure that the WB is correct for the scene and day, you shoot in RAW, you get your exposure correct  then when you get home you do your color/saturation/tint adjustments in the RAW conversion. Then in Photoshop you do your real work where you can move your image into the film looks as you like with simple adjustments like, saturation, levels, color shifts and so on. With the addition of the NIK filter set you then get total control over these adjustments in an easy and fast way.

If you are looking for Fuji (or any camera) to give you a film look right out of the camera then you should just quit now before you have a nervous break down.

My Fuji’s are an incredible tool. But they are just tools, the creative work happens on the computer in post processing. I have used dozens of cameras from simple point and shoots, micro 4/3s, fuji X systems, Canon’s, Leica’s, Nikons and many many others including lots of film systems including (and still in use) a very nice 4×5. NONE of the digitals will give an accurate film simulation, period. Don’t look to  them for that or simply stay with film.

Go out and try different cameras yourself. When with friends try a memory card in their camera. Take the images home and work them over on the computer. Make your own decision and move forward.

My own decision path was simple…

1. I dumped ALL of my canon system including top pro line bodies and $30,000 in L glass due to medical problems where I lost 80% use of both arms and hands. The DSLR’s are simply too heavy for me to use now!  What was I to do?
2. I experimented with ALL of the various Micro 4/3 systems. Kept a GH2 as an Infrared system and the OMD as a high speed replacement for my Canon 1DSMK3 and lenses in order to chase birds and other wildlife.
3. I tried and decided against the Leica system because of lack of longer lenses and lens expense. I could easily spend another $30,000 on the needed lenses and still not have the range I desired.
4. I Tried the Fuji X100, Cool, nice small camera with great images, but no interchangeable lenses, bummer
5. I found out that Fuji came out with the X Pro 1, rushed out and got one with EVERY Fuji lens plus 3 Voightlander M mount lenses for the Leica. Fell in love with the camera/lenses and the images generated. But it had no electronic shutter release so it would not work with my lightning trigger and water drop system. Bummer…
6. I found out that Fuji introduced the X-E1 with this functionality built in. Purchased it and have been happy ever since. The Fuji E-X1 is an amazing system for landscapes, long exposures (REALLY GOOD), water drops and lightning photography. Does it look like velvia when that is enabled? Not really, a little close BUT WHO CARES!!!! I can make it look like ANY FILM TYPE in post processing! It creates amazing low noise images at high ISO’s but I rarely use high ISO’s. It is light, easy to use and has GREAT lenses. I love the Leica and Voightlander lenses when used with the Fuji M to X adapter with its corrections built in!

You can read about ALL of these things here on the blog. You can ask questions on the various forums on the net but they are generally filled with camera lover/haters/bashers rather than people who are trying to learn and improve with their equipment (even though they are there but due to the noise of the others are just un-heard!).

Good luck in your search. Please keep in touch and let me know how it goes as you progress!

OK, you get one Fuji X System  image!

Stormy Seas at the dock. Voigtlander Heliar Ultra Wide-Angle 12mm f/5.6 Lens. Notice the focus from about 3 inches to infinity.

A day in Georgetown with the Fuji X-E1

Travel and the Fuji X Series, a match made in Heaven!

1 camera, 3 lenses and a good filter system and we are good to go!

Voigtlander Heliar 75mm f/1.8

I spent last Sunday in Georgetown, SC.  I had a gallery change out in a gallery that I am a member of (Co-Op).  The change out only took about an hour so I decided to take the rest of the day to scout new locations and just shoot!

There are several places there that I love to visit.  As you drive North on Front Street out of the Down Town area you start passing several side streets on the right.  Each of these leads to a marina with several Shrimp Boats (and in 1 case many!).  I like walking around the docks and working each group of boats then moving in closer and doing detail images. These vessels are not long to be with us so if you have the chance to visit and photograph them you should youmake it a priority to do so!

The 3 Shrimpers!

The choice between Color and B&W is a tough one for most photographers.  For me, I like B&W much better but I will porcess both for each and every image that I take.  So I will have the choice as to what I eventually use readily on hand!

Sun in the rigging…

I do not normally shoot intentional lens flair but for this image I composed the image with it in mind! This generated such a perfect series of light beams that they were visible in front of the boats cabin door! Again, the choice between Color and B&W was a no brainer for me!

The 3 Bows…

Voigtlander Heliar Ultra Wide-Angle 12mm f/5.6 Lens

In the end I will still offer you a Color Shrimp Boat selection.  These boats are old, and full of color!  Rust, bright paints, bottom paint, lines and life rings can make for a bright and eye catching display if you present it properly with a composition that is pleasing.

At the very end of Front Street you will find several parks along the edge of Winyah Bay with pilings in the fore ground which make idle compositions for long exposures.  Plus there is a boat launch that you should walk out on and look north across a long line of pilings!

Lee Seven5 Filter System

What fun I had!  I found some really great Shrimp Boat compositions and did some long exposures with the Fuji and the Voigtlander Heliar 75mm f/1.8 Lens with the new Lee Seven 5 filter system! Consider, that the Lee system is a bulky but light system (look at the image to the left), when you add in the camera and lens the entire combination can become bulky and heavy making it difficult to use.  I also used the Voigtlander Ultra Wide-Heliar 12mm f/5.6 Aspherical and the Fuji M to X adapter for several of these Shrimp  Boat images.

This is the main reason that I switched to the Fuji X system (aside from the fact that it generates stunning images!

Ok, as the day go away from me I went further North to the parks looking at long exposure locations for sunset.  After looking at all of the locations there I decided to set up at the boat launch and setup looking to the North across the pilings there.  The sun was setting fast and I setup using the 75mm f/1.8  and the Lee Seven 5 system with a solid 3 stop ND and a soft Graduated ND to darken the sky. The result was this 90 second exposure:

Boat Launch Pilings, Deep Twilight, 90 second exposure

With the sun totally gone and deep into twilight, I simply turned the camera 90 degrees to the right and looked at the industrial complex across the bay with great columns of smoke spewing into the sky!  I removed the 3 stop solid ND and kept the soft Graduated ND in place to further darken the sky. So the resulting image was a 240 second exposure and full of color, smooth water and blowing smoke:

240 second exposure, deep twilight.

Do you see how a light weight high quality camera/lens system like the Fuji works to our benefit when traveling and needing the ability to shoot in all conditions?  With the X-E1 system there is no limit to my shooting styles including Lightning, Water Drops and Long Exposures.

Please let me know what you think!

Death by neglect….

Lila Lee, in the boat grave yard…

There is something about Shrimpers… I cannot get enough of them and find myself visiting them again and again.  I love the dilapidated nature of them and even though they are in such rough condition they seem to venture out into the deep time after time.  Perhaps they are a reflection of the men who sail them, rough hewn, salty men, eking out a living from the sea.  Regardless, they are things of photographic beauty and deserve to be documented for history. You see, they are vanishing from sight.  Shrimp seems to mainly come for fresh water farm ponds in the lower americas and soon these beautiful boats will be a thing of the past.

The Japanese concept of Wabi-Sabi:  “connotes a way of living that finds beauty in imperfection and accepts the natural cycle of growth and decay. Characteristics of the wabi-sabi aesthetic include asymmetry, asperity (roughness or irregularity), simplicity, economy, austerity, modesty, intimacy and appreciation of the ingenuous integrity of natural objects and processes.

Thus begins my exploration of Sabi…

You had better get out and enjoy them while you are able too..

Here captured in Black and White, is a detail shot of the shrimper Lila Lee.  She is resting in the boat grave yard in Georgetown, SC. The older shrimpers seem to be abandoned along the shore here in Georteown till they sink.  We have some sitting on the bottom growing trees and weeds from their decks.

This image was captured on the Fuji X-E1  with a MC Soligor 70-300mm C/D manual focus macro lens, another relic of the past…

Lila Lee

Putting the Fuji X-E1 Thru Its Paces…

Or, the Fuji X-Pro 1 is soon to be 830nm Infrared…

Stormy Seas Pano, Fuji X-E1 & Fuji 18-55mm lens

Why?

Well, while the X-Pro 1 is a much finer camera than the X-E1 due to its hybrid viewfinder, but the E1 offers some minor upgrades that make it more attractive to me.  First and foremost was the addition of an electronic remote shutter release!  This one single change allows me to attach the camera to both my High Speed Water Drop system as well as my Lightning Trigger.  I can also use it now with high speed hummingbird photography!  This is in following my plan to completely remove my Canon equipment from my photographic tools in order to achieve a leaner lighter photographic system (click HERE for an explanation as to why this is so important!).

I am REALLY HAPPY with this decision.  The camera is light and small, people around me rarely notice it in my hands!  It generates GREAT images that I can use in place of images generated on my Canon 1DSMK3 and 7D without the need for a donkey to carry it around! (if you did not follow the link in the above paragraph as to the WHY reason, please do so, it will explain sooooo much!).

B&W Foggy Dingys, X-E1 and the 18-55mm lens

Now that I have completed the evaluation and testing of the new E1 camera I have decided to send the X-Pro 1 off to LDP in New Jersey to be converted to 830nm Infrared.  I have a Panasonic GH2 Micro 4/3 system already converted to 590nm IR so I am thinking that the X-Pro 1 will be a novel deep contrast B&W IR system to have.  I really do like the X-Pro 1 and love the hybrid viewfinder so I will likely be watching closely next year to see what its replacement can do!

Dingys in the Fog, Georgetown, SC with the Fuji X-E1 & 18-55mm lens

CV 75mm f/1.8

So with all of these photographic paths in mind I jumped on the X-E1 camera system.  I also ordered the new Fuji 18-55mm lens as a walk around lens further allowing me to reduce the camera bag by three extra lenses, the 18mm, 35mm and the 60mm.   Now all that I carry is the 18-55, 8mm fisheye, Voigtlander Heliar 75mm f/1.8 Lens with two 5mm Leica extension tubes (I LOVE the Leica and Voightlander M mount lenses for this system!) and a Pin Hole lens!  This makes for a much lighter camera case.

Rotten Meat Mushroom, member of the Stinkhorn family. Fuji X-E1 with the Fuji 60mm macro lens.

There is no sense in evaluating the new camera, it has been done a thousand times all over the world, and basically it is identical to the X-Pro 1 in all ways except for the Viewfinder and the LCD panel and has the addition of 2 separate inputs for an electronic remote shutter release.

Shem Creek Shrimpers in B&W, Fuji X-E1 & 18-55mm lens

What is important here is to show that in operation, the camera handles just like the X-Pro 1 and generates great images.  I shoot in RAW and currently am using Adobe’s ACR within Photoshop CS6 and I am anxiously awaiting the release of Phase One’s Capture One V7 with Fuji support!  Capture One has been my main tool for RAW conversion for years and it is just killing me to have to wait so long for this update!

I hope that you can see why I am so excited over this smaller sister to the X-Pro 1 camera!  It really will fill every of my photographic needs in time.  I am anxiously waiting for the release of the 55 to 200mm lens in 2013!

Salt Marsh in the fog…

Please let me know what you think and of your own experiences with this marvel camera system!

Fuji X Pro 1 and the Soligor MC C/D 70-300mm f/3.8 FD Lens

The Need to Reach Out and Touch Something!

These three old shrimp boats were in the boat graveyard in Georgetown, SC. The trouble is that they are just too far away to capture with any of the Fuji Lenses.  I have several other 3rd party lenses like the CV 12mm and 75mm f/1.8 but even the latter is just not long enough.  A friend dropped by my gallery last month and gave me a bunch of old Canon FD/FX lenses and one of them was the Soligor MC C/D 70-300mm f/3.8 FD Lens.  This is a big lens, about 10 inches long closed and 13 inches  zoomed out to 300mm.  It is a push pull design and surprisingly, clean of dust for a lens so old!  It is an amazingly smooth and sharp lens and a real pleasure to use.

One of the problems with the Fuji is that there are currently no long lenses out there.  Normally, this doesn’t bother me too much but once in a while I need the reach!  I am always keeping my eyes open for longer lenses hence the CV 75mm f/1.8 and the Soligor 70-300.  I also have a Canon 70-200 on the way from Roberts Camera which cost me $49.00.

I had to spend the day in Georgetown today so I decided to bring this lens along and give it a try!  This lens was designed to be the Canon L glass killer back in the day of FD/FX lenses. It is amazingly sharp. Now that the  X Pro 1 2.0 firmware is here manual focusing is EASY and SHARP!  When in focus the details just jump out at you.  I had a FD/FX to Fuji adapter on hand and after fussing with it and discovering that you had to adjust the position of the aperture lever inside the lens then mount the adapter I was in business!

As I said, focus is amazingly easy.  The glass is sharp and the combo works very good.  If you can find this lens out there in net land grab it, but I have NEVER seen one and searching online does not even turn them up!

The Three Shrimpers, Fuji X Pro 1 and Soligor 70-300, F/11, 1/2500, 400 ISO

 

Here is the color version:

The Three Shrimpers, Fuji X Pro 1 and Soligor 70-300, F/11, 1/2500, 400 ISO

 

I also wished to do some detail images for an upcoming magazine article so I took this camera/lens combination over to Stormy Seas and looked for boots and/or Gloves in the rigging!  Here is what I found:

The Work Gloves… Fuji X Pro 1, Soligor 70-300mm at 200mm, f/8, 1/1000s, 400 ISO

 

I was quite pleased with this combination.  As stated, the lens is quite large, but that is OK as I will not use it that often.  The new/old Canon 70-200 is only about half the size and hopefully it will work quite well also!

Voigtlander Heliar Ultra Wide-Angle 12mm f/5.6 Lens and the Fuji X Pro 1

Good things that come in small packages!

Voigtlander Heliar Ultra Wide-Angle 12mm f/5.6 Lens

Fuji M Mount Adapter

I have been testing the Voigtlander Heliar Ultra Wide-Angle 12mm f/5.6 Lens with the Fuji M mount adapter on the X Pro 1 for the last week or so and have to admit that I am both impressed and love use and feel of this lens! It is well made and smoooooth to operate!

 I have tested it both on the Kipon adapter and the new Fuji M mount adapter and have to say that the differences between the two are major due to the fuji’s ability to adjust corner color and darkened corners live with version 1.11 firmware!  Pincoushion adjustments still require you to shoot and adjust.

I adjusted the pincushion by taking a picture of the pattern of 2×4′s on the surface of a deck. This allows you to maintain straight lines. I found for the 12mm that an adjustment of +4 was perfect.

I took the  12mm out to two locations for testing, Shem Creek in the Charleston, SC area and the waterfront in Georgetown SC.  Both locations provides nice vistas and shrimp boats full of color and character.

Stormy Seas at the dock. Voigtlander Heliar Ultra Wide-Angle 12mm f/5.6 Lens. Notice the focus from about 3 inches to infinity.

As you can see, the DOF of the 12mm is simply amazing.  The cleat was about 3 inches from the camera.

Here is a monochrome of the same image.

Shem Creek with approaching storm, Voigtlander Heliar Ultra Wide-Angle 12mm f/5.6 Lens

Shem Creek Shrimpers, Voigtlander Heliar Ultra Wide-Angle 12mm f/5.6 Lens

Notice the light rays coming down from right to left thru the clouds!  The lens is VERY sharp and a real pleasure to use!

Let me know what you think!

Galleries Are Here!

The Gallery pages are coming online!

Sunrise on Folley Beach, Light painting on the driftwood with a white LED light! Very LONG Exposure...

 

On the top menu of the blog you will find several pages listed across the top.  The one labeled Galleries is actually a series of drop down menus which will let you select several organized image galleries containing my favorite work from over the years.  So far, I have 4 galleries populated but will be expanding over this month to around 15.  Please stop by for a visit and come back often to see the changes there!

I hope that you enjoy viewing them as much as I enjoyed creating them!  They cover about 15 years of my work since living in the Low Country of South Carolina and cover about 19 different states and 6 different countries! I even have some high speed water drop photography thrown in as good measure.

A Few Infrared Images

A Few Of My Favorites…

Infrared Photography has had a life changing effect on my photography.  It has caused my creative juices to be re-charged!  I cannot get enough of it and to that end I find that I take hundreds of Infrared images to each single color image!  I find Infrared Photography to be emotionally charged in a way that takes my breath away!  I hope that you agree!

 

On a recent trip to Greece I visited the Temple Of Poseidon where the sky and storms work to my advantage to produce this moody image!

Temple Of Poseidon, Faux Color Infrared

The Temple Of Poseidon, B&W Infrared

An image from Brookgreen Gardens.  Sometimes the unprocessed image straight out of the camera can be be very stunning and full of emotional impact!

Brookgreen Gardens Reflection, Unprocessed Infrared

A garden gate in Brookgreen Gardens, Faux Color Processed!

Brookgreen Gardens Gate, Faux Color Infrared

Shrimp Boats in Georgetown, SC, Faux Color Infrared.  I like the Yellows and Pinks in this one!

Carson Elizabeth In Georgetown, SC, Faux Color Infrared

This B&W  image of the wheel house and bell of a shrimper is one of my favorite Infrared images of all time!

The Wheel House Bell, B&W Infrared

I am very passionate about my Infrared Photography and tend to take 100 Infrared images to each color image! I have several WEB sites dedicated to Infrared Photography but my best one is listed below!

For a more detailed discussion of my infrared work please visit my Infrared BLOG