We hope you are having a safe and happy New Year! This week, Joy Celine Asto spotlighted Christmas trees … and what happens to them when they’re tossed to the curb. Then, Julie Powell taught us about the differences between Manual and Aperture Priority modes.
Darren Miles reviewed the Fujifilm XF 8-16mm lens, while Lauri Novak recapped the unusual year of 2020. Finally, the Photofocus team picked their favorite cameras, lenses, software and accessories, and looked forward to the future.
A portrait of Christmas trees in the afterglow of the holidays - It’s the Christmas season once more, which means most of us are getting busy decking our places to get into that cheery holiday spirit. Shopping lists are being written. Delivery schedules for gifts are being planned out. However, there’s another side to this season that hardly crosses our minds during the festivities: the fleeting nature of our material needs. That didn’t stop Lithuanian photographer Simas Lin from exploring the topic through a short conceptual photography project he dubbed “Cemetery of Endorphins.” The fading star of the season According to Lin, he got the idea for the series from years of watching piles of Christmas trees end up on the streets after the holidays. Modern society, he said, is fixated on getting the best-looking tree as part of the preparations for the celebration. However, the best known symbol of Christmas ends up being unceremoniously dumped at the end of the season. “We’re spending time looking for that one perfect tree, then we bring it home with the best care. We decorate them with the fanciest ornaments and lights. We spend time around them with our closest and after a very short period of time, we throw it on the street.” So, that’s how he came to roam the streets at night for a few days in search of the discarded stars of the season. He carefully lit them up with a 1.2 meter-wide soft box and a strobe in reference to the glow they were dressed with to create the warm and cheerful mood. The result is a rather sobering look at the reality of things in the afterglow of the holidays, particularly in places where the practice of using actual trees is still prevalent. A portrait of absurdity and transience At the heart of the series is a social commentary in which Lin brings to light his realizations on the nature of our material needs and wants. He found absurdity in how the meaning or value that we place on these physical things are mostly transient. “Despite some of those trees looking exactly the same as when they were brought home, they are now not provoking any positive emotions in people. They become useless trash, which just a few days ago was a symbol of joy and sometimes even prestige. This made me question human needs.” I’m sure that Lin didn’t mean to dampen the mood during Christmas through this conceptual photography project. Rather, I see this as an important reflection about our material needs in general. Do we really need to make things disposable? Does our happiness — not only during the holidays — really have to be tied to such impermanence and wastefulness? I decided to ask Lin if he has also thought about expanding it to other similar traditions or cultural elements. He said it was only a quick exploration meant to stand on its own, made without the intention to branch out to related themes. It was a response to how the sight made him feel hurt at that point in time — hence the “endorphins” in the title. I think that resonates well in this body of work. Don’t forget to visit Simas Lin’s website and Behance portfolio to see more of his work. All photos by Simas Lin. Used with permission.
The XF 8-16mm has me rethinking Fuji cameras for my professional work - I admit it. In the digital era, I was born and raised on the “idiot dial.” Essentially the “idiot dial” is the knob you turn to put your camera into it’s various modes — Aperture priority, Shutter priority, Program and Manual mode. If you’ve ever used a Fuji camera, the “idiot dial” goes out the window. Fuji dances to the beat of it’s own drum. It’s a drum I had no interest in playing … until recently. To my eyes and to the eyes of those not in the know, the Fuji interface looks like the cockpit of an airplane to someone who’s never flown before. The cameras have dials and buttons that hearken to an era that digital passed by. One dial for shutter speed and semi-automatic modes, another for ISO and a third for exposure compensation. There’s an aperture ring on every lens in Fuji’s stable. For me, Fuji’s interface was anything but love at first sight. Getting over the learning curve Once I got past the learning curve of the Fuji interface, the door was opened wide to an array of very high quality lenses. I work in real estate photography and I photograph on the order of 1,000 properties per year. If there’s one genre of lens I understand better than most, it’s ultra wide-angle lenses. Fuji has two ultra wides in it’s stable that are suitable for real estate. The 10-24mm f/4 and the 8-16mm f/2.8. A while back I tested the 10-24mm and was impressed with it’s compact size and weight and sharp optics. But in the end, I opted not to get one because I usually shoot Nikon for my real estate photography. The Fuji was great, but I didn’t feel it was compelling enough to make a change. This month, B&H sent me the Fuji 8-16mm to test out in my real estate work and to make a video on my YouTube channel. I’ve been using it for about three weeks now and I’ve fallen head over heels in love. Build quality To my hand, the 8-16mm is a physical specimen. Weighing in at a hefty 1.77 pounds, the Fuji is substantial, but it’s not as overbearing as say the Nikon 14-24mm lens that I’ve been lugging around for the last 10 years (2.2 pounds). It’s built for the elements, as Fuji describes the weather sealing as “extensive.” The focus and zoom rings are ribbed with a nice quality finish. The focus ring is fluid and moves with little resistance. The zoom ring is firm and tactile to my hands and moves with the ideal amount of resistance. The aperture ring clicks firmly at each stop (and in between stops) for exact aperture settings, though I do wish the aperture ring had a locking mechanism to keep it in place. On more than one occasion the aperture ring was bumped from it’s intended aperture. I’m nitpicking, I know, because overall, this is one of the best built lenses I’ve ever had the pleasure of using. Autofocus speed and accuracy One of the areas that’s “nice to have” but not absolutely necessary in ultra wide-angle lenses is fast autofocus. However, I’m pleased to report that autofocus on the 8-16mm is blisteringly fast and marksman accurate. For me, that’s great, but even if the AF were slower, it wouldn’t be a deal breaker. More often than not with a lens like this I’m either shooting architecture or landscape — static subjects — that don’t require fast AF. Bottom line is autofocus performance is superlative, even if I don’t need it. Optics There are inherent problems with ultra wide-angle lenses, specifically distortion, flare and edge performance. In my experience, distortion is very well controlled even at 8mm. Flare is an issue, but it’s no worse than most wide-angle lenses I’ve used. Most important to me though is edge performance, which is outstanding — except for the extreme corners — even at 8mm. Even the extreme corners are still considerably better than virtually all wide-angle lenses I’ve ever used. In real estate photography, my objective is to get the whole scene in focus. When I’m using a crop sensor camera like the Fuji XT-3, I like to shoot at f/5.6. This will insure me a room that’s completely in focus. The results I’ve been getting with the 8-16mm have been magnificent! My images are sharp and contrasty with outstanding clarity. In southwest Florida where I live and work, my real estate work often extends into the water. In addition to homes, I often shoot yachts as well. When I photograph boat interiors, this is where the 8-16mm really comes in handy! If you’ve ever photographed the interior of a yacht, then you know how small some of those spaces are and how difficult they are to photograph. With its 12-24mm full-frame equivalent field of view, I’m able to get entire staterooms in the shot — something I was not always able to achieve with my Nikon 14-24mm. And I’m able to control distortion with the 8-16 even at 8mm! In my experience, I couldn’t ask for a better optical performance from a lens. Value Now for the fly in the ointment. The 8-16mm is a lot of great things — killer optics, robust build, fast and accurate AF — but it comes at a price. I’m a working professional who makes his living from photography. Because I can achieve these kind of results in my professional work, then I’m able to justify the lofty price point. If you need a wide-angle lens and you’re a Fuji shooter who is more of an enthusiast or hobbyist, then it’s likely the 10-24mm will suit you perfectly. It’s also half the price. If you want or more importantly if you need the very best in optical quality, then you simply cannot go wrong with the Fuji 8-16mm. You’re just going to have to be prepared to pay for it. Specs Focal length: 8-16mm (12-24mm full-frame equivalent) Aperture range:
2020: An unusual year in review - As we come to the end of this unusual year I thought it would be interesting and a good exercise to do a bit of a review of 2020. The biggest challenge for many of us was no traveling, in some cases not even locally. So what did you do to fill your time? Did you continue to create with your camera? Maybe you picked up another long-forgotten hobby like drawing, painting, knitting or baking. As someone who had only just launched a photo tour business, I completely had to step back and re-evaluate what my 2020 would look like. Canceled trips and tours not only meant no income but also not being able to get out and help others learn and grow in their own photography. Even Photofocus pivoted and provided live and recorded educational content, more so than usual. Lonely streets The first months of the pandemic brought emptiness and loneliness to the world. I was contacted by a friend who was putting together a book with images from cities around the world to show just what that looked and felt like. My husband and I drove to Chicago. We stayed in the car and I photographed what I saw from the passenger seat. At home projects this year As an author here at Photofocus, I tend to almost always have some sort of project I can work on. Creating images at home became a theme. What can you do with what you have? What can you photograph that is in your own home or the surrounding area? These were both presented as part of the Artist Notebook series. We have talked about how limitations in photography help you to learn, grow and see more. This whole year became an exercise in just that — one big limitation. Another project I worked on incorporated a kinetic sculpture that was purchased because of the photographic ideas that popped in my head when I saw it advertised. It was time to finally put those ideas on ‘film.’ The images I created were a bit architectural and a bit abstract. Doing this engaged my brain, got my creative juices flowing and kept me using my camera and photography skills during a time when it was really easy to just get down, sit around, binge watch TV and not be productive. New toys also helped me stay creative at home. I purchased a light table to play with. I technically bought it so I could start scanning slides and negatives but I had other ideas. Wandering in my backyard I picked up some leaves and flowers and grabbed my mobile phone. You can read more about that here. I just let myself play, with no pressure to create masterpieces, it was all about being creative and letting the mind go to see what could be imagined. Getting outside was important It wasn’t daily and it wasn’t venturing out very far. I’m fortunate to live less than a mile away from the river here in my town. Plenty of forest preserves and trails to wander while still staying safe and away from groups of people. Nature is healing, calming and amazing for our mental health. So I went out a few times in the last 10 months. I wandered. Breathed in the fresh air. Saw the beauty of nature and the world we live in which was important as the months went by with so much death, hate and negativity in our social and media streams. As things opened up a bit in later months there were a few car shows. Of course, being careful about crowd size, socially distancing and wearing masks. I likely would not have ventured out to these but my brother bought a new toy, a 1969 Chevy Impala and was exhibiting at a couple of shows. It got me out of the house and once again I was able to photograph something I enjoy shooting. Staying in my own backyard. It’s still out in the fresh air, still some nature, plants, trees and weather. I realize not everyone has this available either but so many times I hear photographers who give up or don’t shoot because they can’t go somewhere. You can always shoot out your window, down the hallway or out the front door. In all seriousness, the possibilities are endless if you just push yourself to look a little bit further than you normally do. Luck played a big part in the early months We were fortunate enough to have had a family of foxes living under our neighbor’s shed. They entertained us daily and I was able to practice a little wildlife photography, something I really don’t do much of. By being outside in my backyard every day in the morning and evening, I became more aware of what else there was to see and photograph. I realize not everyone had this type of opportunity fall into their lap but it showed me that there were opportunities out there, in our own space that we could take advantage of if only we looked. The year of learning new things We all had a lot of extra time it seemed most days. A friend of mine in a mentorship community was leading his Blurs and Unsharp mentorship in May. Many of my photographer friends had already been through this particular program and along the way had promised me that I would enjoy it. I have to admit, I am not a huge fan of blurred images, intentional or otherwise. But, there are some, when done right and done well that are amazing. So, I jumped in with both feet. I learned about the different ways you can create movement in your images beyond just moving your camera. I realized that my camera was capable of some things I hadn’t ever looked into or tried before. It was actually fun to play, not be so serious about making sure every setting was perfect, my images sharp
The best of 2020: Cameras, lenses, software, accessories and more - Oh what a year it has been. While most of us would rather forget a lot about 2020, we wanted to look back on some of the best that the year had to offer. We asked our team to vote for some of their favorites, and to also look forward to the future. Here’s what they said. Best camera: Olympus OM-D E-M1 Mark III In a super close race, Olympus led the charge with the OM-D E-M1 Mark III camera (B&H | Amazon), an update to its micro four-thirds flagship. Winning 18.8% of the vote, our team pointed to the camera’s speed and computing power, in addition to its advanced computational features. Bob Coates writes, “As a wildlife and nature shooter, it tics all the boxes. Frame rate, the ability to attain high resolution images without needing another camera, computational features such as Live ND, Starry Sky AF and advanced image stabilization and weather proofing make this a winner.” Not far behind were Sony’s a7S III and Canon’s EOS-1DX Mark III cameras, each with 12.5% of the vote. Best lens: NIKKOR Z 14-24mm f/2.8S and Sigma 85mm f/1.4 DG DN Both with 20% of the vote, the Nikon Z 14-24mm f/2.8S (B&H | Amazon) and Sigma 85mm f/1.4 DG DN (B&H | Amazon) were our team’s favorite lenses. Ken Lee writes, “[The Nikon Z 14-24mm f/2.8 is] solid, rugged, has good weather sealing, sharp and finally accepts filters. The lens is quite expensive, and is for people who need a lens to be sharp at f/2.8.” For the Sigma 85mm f/1.4, Mark Morrow wrote, “Redesigned and optimized for both stills and video work, the reworked 85mm weather-sealed housing weighs in a pound lighter and an inch shorter than its predecessor. The 11-blade aperture ring now offers both clicked and de-clicked control options for seamless on-the-fly adjustment.” Best software: LuminarAI LuminarAI took home 50% of the vote among our team, for its revolutionary features powered by artificial intelligence. Kevin Ames writes, “LuminarAI continues Skylum’s push to bring affordable, stand-alone artificial intelligence powered editing to non-retouchers. Templates provide the entry way into quickly finishing photos in seconds that would normally take minutes and more in conventional applications. The portrait AI tools alone are worth the price.” Jemma Pollari added, “It’s a recent release, but the potential of LuminarAI for reducing repetitive work is very exciting. I foresee this software becoming an essential part of my workflow as a portrait photographer. It effectively replaces a bunch of different touch-up products, plus automates the work needed to apply them.” Also recognized were Capture One 21 and Nik Software’s fall update, each with 12.5% of the vote. Best accessory: WANDRD FERNWEH Backpack and Lume Cube Panel Mini We had a lot of different opinions with this, but the WANDRD FERNWEH Backpack and Lume Cube Panel Mini share the prize, both with 8.3% of the vote. Levi Sim writes, “[The FERNWEH] offers adventurers and travelers smart design to protect and use their gear in all kinds of places and situations.” For the Lume Cube Panel Mini, Jemma Pollari writes, “It’s packed with features with a soft and adjustable light in a tiny item that’s perfect for mobile shooting. The rechargeable battery is a big drawcard too; no more lugging around AA batteries. And the price makes it a no-brainer to add to your kit.” The DJI Pocket Camera, Spider Holster SpiderPro Hand Strap v2 and Osmo Mobile 4 smartphone gimbal were also recognized. Recapping 2020 Our team had a lot to say about 2020, whether it was pivoting their focus or taking advantage of new, creative opportunities. Here’s a few selections. Levi Sim: “The greatest opportunities arise when norms are turned on their heads. This was a marvelous year to create new photos with time to focus on new techniques. Learning opportunities were bigger than ever before and we saw hundreds of instructors sharing content without charge to help their neighbors. Plus, we saw the solidification of natural hair color for women as a style, and when people present their true selves, the pictures are always better. Long live gray hair!” Mark Morrow: “While many lines of work within the photo industry have taken a massive hit, new opportunities continue to arise in new and creative ways. It seems that 2020 has ushered in a new, wild west of sheer creative volume potential alone in terms of the way people are living their lives and conducting their businesses. Where some venues are taking a definite hit, other areas are seeing progress and success.” Jemma Pollari: “The photo industry in 2020 has shown itself to be resilient and compassionate. We’ve had unprecedented conditions to deal with and everyone has pulled together to support each other and do what they can to continue creating and serving clients. The legacy of 2020 will be the reflections and decisions we’ve made as professionals as to what’s important in our art and businesses going forward.” Bob Coates: “The industry seems to be in a state of flux. In spite of overall camera sales being down new products and new in-camera processes were released monthly from all the manufacturers. It’s case of the good and the bad.” Sara Kempner: “This year was all about pivoting and adapting in the photo world. Documenting our worlds close to home was a major theme. Online collaboration and education were also huge components of 2020.” Darren Miles: “Chaotic. Awesome or disastrous depending on which industry you serve as a photographer. The beginning of the end for several manufacturers — Olympus and potentially Nikon …” Getting inspired in 2021 It’s our hope that all photographers are inspired to create even more so in 2021. Here’s what we hope will inspire us the most. Ken Lee: “Getting outside in the beautiful desert night and connecting with nature while doing night photography. I will continue to be more mindful about composition and try new kinds of photography, including possibly macro. I’ll be inspired by new lenses that offer new perspectives on seeing and photographing things.
Should you use Manual or Aperture Priority mode? - While there are plenty of different modes on your camera, the most common and often used seem to be Manual mode or Aperture Priority. As someone who has ALWAYS been told you had to shoot in Manual, well … these days I find myself shooting more and more in Aperture Priority. And here is why … It’s so simple While it’s a very good idea to learn and understand the Exposure Triangle, Aperture Priority mode makes things easier, especially when there are lots of variables to take into account. Sometimes letting one of them go can make life so much easier. There is light and composition, perhaps movement, directing a model or client and lots of other things to keep in mind. If you are losing light during sunset, or maybe you’re not quite as quick as you might like, Manual mode can slow you down. Aperture Priority — it just works Once you set your ISO (which can be set to auto, with minimum shutter speed), using Aperture Priority mode just makes sense. You still have creative control with exposure compensation to adjust if need be. But if you are busy trying to capture a sunset or children playing, sport or anything that moves quickly, adjusting all your settings can mean you miss the shot. This is in no way an inditement on your skills as a photographer — you still are a large part of the process. You’re just letting your camera do some of the work. Think of it as a delegation. A good leader always delegates. Let your camera do the heavy lifting Often when it comes to photography, one of the most important aspects is your aperture. So let the camera do the heavy lifting (mathematically speaking) and= just set the aperture that works for you and your current situation. Manual vs. Aperture Priority. It’s still a choice, but why not give Aperture Priority a go?
