Saffron Coffee Shoot

From Mountain to Cup – The Journey of Saffron Coffee from Matt Brandon on Vimeo.

This last week I traveled to Luang Prabang, Laos. There’s a small but very significant social enterprise based there called, Saffron Coffee, that benefits both Laotian and tourist alike. Saffron Coffee is Lao-owned, Western managed and Lao staffed. The team that runs Saffron Coffee is a mix of Lao, American and Australian (I don’t think I left anyone out.)

Flying my borrowed DJI Inspire drone to shoot the footage for the video above.

Flying my borrowed DJI Inspire drone to shoot the footage for the video above.

Saffron Coffee contacted me a couple of months back and asked me to bid on a photo job. The company needed some new photos for an upcoming promotional campaign. I made a passing comment how I think that I might have a drone by the time they wanted to shoot in November. Apparently, the thought of drone footage sealed the deal; I got the job. The only problem was I didn’t have a drone yet. I wanted a small drone that was easy to fly and had a good camera. DJI just announced their new Mavic Pro and compact portable drone just days before. As it’s only the size of a water bottle, it fits perfectly in a backpack! Two weeks before I was to arrive in Laos, I received an email informing me the drone I ordered was back ordered for 6 to 8 weeks! What was I going to do? Penang is not like the U.S.; we don’t have places to rent drones or even camera gear. Luckily, Max, the guy I ordered the drone from was reluctantly (I don’t blame him) willing to rent me his personal DJI Inspire. The Inspire is massive and costly! He requested I not check it in the hold of the aircraft, so I schlepped this beast all the way from Penang to Luang Prabang as an unauthorized second-hand carry.

Here I am shooting video of a long black. I was very pleased with the focus of the 35 mm f/1,4 lens.

Here I am shooting video of a long black. I was very pleased with the focus of the 35 mm f/1,4 lens.

I was also shooting the new Fuji X-T2 as both a still camera and a video camera. Frankly, I was just as scared of using the X-T2 as a video camera as I was this borrowed drone. I knew the X-T2 would perform flawlessly as a still camera. I had just used it in Europe, and it was incredible. In the past, Fuji x-series cameras have never had a good reputation for their video, but everyone was telling me how the X-T2 can now shoot 4K video and was far more intuitive.

Well, they were right. The video function of the Fujifilm X-T2 was very impressive. It handled low light and high ISO like a champ. The manual focusing was easy and swift. Everything about it was close to perfect. I do need to clarify; I am NOT a videographer. So I can not speak to this as a pro, but as a newbie videographer it was easy to use, and I was very pleased with the results.

One of the many hill tribes farmers partnering with Saffron Coffee.

One of the many hill tribes farmers partnering with Saffron Coffee.

The coffee cherry is high in sugars and thus becomes quite sticky and will often cause the picker's hands to become covered in whatever it touches.

The coffee cherry is high in sugars and thus becomes quite sticky and will often cause the picker’s hands to become covered in whatever it touches.

The camera performed unbelievable as a still camera, though I never had any doubts about this. The focusing is faster than the X-T1, and the high ISO is very usable. My only issue was remembering that there is now a “un”-lock on the ISO and shutter speed dials. I would keep forgetting to relock it after changing the ISO or shutter speed, and the dial moves quite easily when not locked. So I found myself shooting at 800 ISO when I needed to be shooting more like 200 or 400. But since the X-T2 handles high ISO so well, it wasn’t really a problem. But I have yet developed that muscle memory to remember to relock the dials after I unlock them.

Som Phet inspecting the freshly pluped coffee beans.

Saffron Coffee employee Som Phet, inspecting the freshly pulped coffee beans.

 

Thongsai, shoveling the cherry husk. This will be dried and sold to make cascara tea.

Thongsai, shoveling the cherry husk. These husks will be dried and sold to make cascara tea.

 

I love my job. I get to work with amazing people from all around the world. The staff at Saffron Coffee are an amazing work for and with the Lao hill tribe farmers. A few years back the cash crop of Laos was poppies for opium. The Lao government shut down all the poppy farms and the farmers were left without any income. Illegal logging filled the income void for some farmers. The farmers can cut down trees and make some good money. They also grow rice as a cash crop, but that is seasonal. In the southern part of Laos people have been growing robusta and sub-standard Arabica coffee for years. The folks at Saffron Coffee saw all this as both an opportunity to help the farmers.

Som Phet, is a master roaster for Saffron Coffee.

Som Phet, is a master roaster for Saffron Coffee.

They knew that shade grown highland Arabica coffee could provide a constant income for Northern Lao hill tribes. The altitude and climate around Luang Prabang was perfect, and the people needed a new crop. Today Saffron Coffee is partnering with 784 farming families in 18 villages in growing their coffee. They make specialty coffees with the highest quality Arabica beans.

Coffee and it's lovely crema being extracted through a bottomless or naked portafilter.

Coffee and it’s lovely crema being extracted through a bottomless or naked portafilter.

The traditional Lao brew has been an important part of the country’s coffee culture for years – but Saffron Coffee doesn’t see why specialty coffee can’t find a home in Northern Laos as well.

Two New ebooks by Damien Lovegrove

 

ipad-fuji

Digital photography is free so make the most of it. I shoot three times a week on average to maintain my edge; any less than that and I slip backwards. It doesn’t matter if you play tennis, play a musical instrument or take photographs, improvements come through continued practice and the application of good skills. It is important to have a camera that begs to be picked up and used. The Fujifilm X system saved my career 5 years ago because of this characteristic alone. -Damien Lovegrove, Portraits.

 

Book One: The Fujifilm X System Guide for Portrait Photographers

 

Damien Lovegrove is one of the most respected photographers I know when it comes to glamor and portraits. He is also one of the friendliest and prolific. To learn about Damien’s pedigree you should listen to the interview, I did with him on my podcast Depth of Field. In short, he worked for years with the BBC becoming an expert at lighting. Later when he started shooting weddings, he discovered he was a natural and people loved his style and images. He is now a Fujifilm U.K. X-Photographer and a Fujifilm U.K. brand ambassador.

 

cover_lovegrove

 

Damien shoots thousands of frames a week. And when you do that, you learn the ins and outs of your gear. You find its flaws, and its weaknesses. Of course, you also learn it’s strengths. Damien has taken the knowledge he has accrued over these years and filled two ebooks with it. It is these two ebooks, The Fujifilm X System Guide for Portrait Photographers and Portraits that I want to review for you here today.

The first book The Fujifilm X System Guide for Portrait Photographers is the simplest to describe. At its core, it is a primer on the X-Series cameras. A sort of, “What is the ________ and how does it work?” You fill in the blank with any x series camera and any x series lens that Fuji makes. If you shoot Fujifilm gear, then you would be doing well to read this ebook. This book tells you not only what camera is best for your style of shooting but is also filled with the details about why Damien uses a certain camera and lens over another.

 

“I prefer to work with the X-T cameras (X-T2 and X-T10) because I like having a large centrally placed viewfinder. Having said that, I tend to use the tilting LCD most of the time. I like avoiding having a camera stuck to my face when I’m making portraits as it alienates my subjects. Using the tilting LCD reminds me of shooting with waist level viewfinders on my medium cameras all those years ago.” -Damien Lovegrove, The Fujifilm X System Guide for Portrait Photographers

lovegrove-monochrome-013

But I would be misleading you and doing Damien a disservice if I left you thinking this book was only a catalog of Fujifilm gear. It is so much more than that. The Fujifilm X System Guide for Portrait Photographers is also a very personal look into how Damien Lovegrove uses his cameras. For instance little things like when he is speaking about the X-E2 he writes:

 

“It’s very easy to produce dull images when the camera is given the task of setting exposure so I find it best to work in manual mode with ‘exposure preview in manual mode’ switched on.”-Damien Lovegrove, The Fujifilm X System Guide for Portrait Photographers

 

To discussing things like focusing and recompose with a Fuji x system camera. Did you know that you don’t do this with a Fuji? Damien goes into detail as to why. And the reason why was one of the most forehead-slapping moments for me in this book. It’s what he calls, the flat field lens factor.

fuji_ebook_live_setting

Damien goes through his complete camera settings. In particular, his Q (Quick) menu setup in great detail. This alone is almost worth the purchase of his book.

I am going to be straight here and tell you, when I first saw this book I thought, it was nothing more a catalog of Fujifilm gear that Damien loves. I was wrong; it is much more than that. It is a technical look at how this amazing photographer sets up and uses his cameras and lenses. Between this book and the next book in the docket, you get a virtual internship with Lovegrove. Don’t walk away from either of these two ebooks.

Book Two: Portraits

 

portraits_1

Damien Lovegrove’s next ebook is simply titled, PORTRAITS. It is nothing short of amazing. 384 high-resolution photographs with all the exposure and lighting details used to create them. Over 50,000 words of creative exploration that took Damien over two years to write!

This book is filled with an entirely different style of portrait photography than I do. I mention this because though I am not a glamor photographer or a studio guy, I still appreciate and have learned from this book.

portraits_lovegrove_2

Speaking of massive, this ebook is unlike most out today. Frankly, it is less of an ebook and more of a PDF of a university textbook. By that, I mean at 356 pages this no mere ebook that some photographer popped out to sell for $5. It took Damien two years to write this book and a lifetime of experience and as a result more like a university textbook than an ebook. Frankly, it belongs in every photographer’s library. If Portraits were an ink and paper book, you’d be paying well over $100. (Have you priced textbooks lately?)

Damien goes into great detail about each photo in the book. Each photo has the EXIF data in the caption with a rather long explanation of how he made it. I like his candor. There are times when he is surprisingly honest and explains how he forgot to change the ISO from a previous shot (I hate it when that happens!) and how the camera handled it.

 

A look at the book’s index gives you an overview of the massive amount of information that is covered in this book. There are eleven sections in the book beginning with Portrait Foundations. In that section, Damien spends 47 pages on the details of how to set up a shoot – from explaining a narrative to how to create a relaxed pose. In the section Light Matters, he spends 53 pages covering the use of strobes, quality of light, one light set ups, multi-light setups, how to simulate sunlight and much more. After that the bulk of the sections in this book are detailed explanations of each type of portrait you might shoot; Urban, Hollywood (the kind of shots you’d see from of Lana Turner or Betty Davis), Boudoir, Nude and lastly the Figure in Landscape. The last four sections of the book are more technical. In these remaining sections, he discusses in great detail his lighting equipment, what makes a good studio, his workflow and more.

potrtaits_lovegrove4

I think the quote below attests to Damien’s sensitivity and professionalism as a photographer and gives the reader an insight into his workflow.

 

It helps me to take things calmly and respectfully, but at the same time shyness can put over a sense of flustered unprofessionalism so I rely on my experience and photographic ability to disguise things like a gracefully gliding swan frantically paddling away under the water. 

I place my prime lenses on a side table in the room I’m shooting in, I have no caps on them and any Pro Mist filters that are needed are already in place with lens hoods attached. It’s a bit like how a surgeon would lay out their tools on a trolly. I can then quickly swap the lens needed for each shot. Having to go in and out of bags for gear just takes too long and ruins the creative flow. -Damien Lovegrove, Portraits.

 

As I said at the beginning, these are more than 35-page ebooks of pretty pictures. These are books; that would be an investment into your photography. At £20 and £40 the old truism is applicable here, “You get what you pay for.” You would be remiss not to have these two books in your photographic library.

Buy one or both books here:lovegrove-ebook-buynow

 

 

What camera should a beginner buy?

Stident on old collage chum George Neal had never picked up a camera till I got him shooting a Fujifilm X-20. Later he ugraded his camera to a X-T1. Here is George on the left with both camera next to Piet Van den Eynde on a recent trip to India.

Student and old college chum, George Neill, had never picked up a camera till I got him shooting a Fujifilm X-20. Later he added an X-T1 to his kit. Here is George on the left with both cameras next to Piet Van den Eynde on a recent trip to India.

One of the more frequent questions I get asked, is “What is the best camera I should buy if I am a beginner?” Honestly, these days there are so many choices, which can make it confusing and overwhelming. But the reality is it doesn’t have to be. I tell newbies to step back, take a breath and answer a quick question or two. Then I give them usually one, possibly two answers. They are almost always happy if they follow my advice. Continue reading

Depth of Field: Damien Lovegrove

Damien_Lovegrove

Damien Lovegrove

Damien Lovegrove is a treasure trove of both photographic and business knowledge. With years of photographic commercial and wedding work under his belt, this knowledge is all field tested by real life. I feel fortunate that he took an hour out of his busy schedule to share some of this insight with us. To say Damien is easy to talk with would be an understatement. He is flowing with wisdom, ideas, encouragement and more.

Damien is considered by many to be one of the world’s most influential contemporary photographers. These days he is best known for creating portraits that make women look amazing. Damien is known for his lighting style picture composition. If you don’t believe me check out his website, Lovegrove Photography and you will soon be convinced.

He is also a fellow Fujifilm X-Photographer and ambassador. He has shot exclusively with Fuji cameras since May 2012.

Damien shoots around 1,000 frames a week. He says if he doesn’t shoot that much in a week he starts to feel like he is going backwards. Yet, I never got the impression in this conversation that he is driven to the point where he runs over everyone in his way. Generous with his knowledge and experience, he speaks with me about creating what he calls that “big picture equation” that helps a photographer stay afloat financially. We also spoke about developing a style that is uniquely yours and how critical this is to your work. We cover how to take a dream and turn it into a reality and so much, much more.

Check out Damien’s work at:

Facebook: facebook.com/damien.lovegrove.1
Twitter: @damienlovegrove
Instagram: @damienlovegrove
Blog: ProPhotoNut.com
Personal Website: Lovegrove Photography

Podcast: A look at the Fujifilm X-Pro2 and more…

Piet, (foreground) and Rene with the camera and the SMDV Speedbox Professional 70cm and a Cactus RF60 in the alleyway of Varanasi, India.

Piet, (foreground) and Rene (camera to his face) and the SMDV Speedbox Professional 70cm and a Cactus RF60 in the alleyway of Varanasi, India.

Every year after our workshop in India, Piet Van den Eynde and I spend an hour or so talking about this years new Fujifilm gear. Because we do it in the field it sometimes becomes difficult to find a good location to record these discussions. It is India after all, things are noisy. One year we even made a tent out of blankets and recorded the show under it. Not to worry, this years was a breeze. Piet and I only had to deal with noisy bellhops and stray dogs,  all of this served as a background to an amazing hour of looking at the latest gear from Fujifilm.  For this episode we invited camera geek and photographer Rene Debar, host of the Fuji Xtras blog to help us with our yearly overview and to discuss the new Fujifilm X-Pro2. Continue reading

The Confessions of a Digital Immigrant

Bakarwal Gujjar 1989 - Photographed on slide film. I am guessing Ektachrome given the blues.

Bakarwal Gujjar 1989 – Photographed on slide film. I am guessing Ektachrome given the blues.

 

matt-brandon-gujjar-12.11-16.17.13-Edit

A Gujjar buffalo herdsman – 2012. Photographed with a Canon EOS 5D Mark III

 

There are two terms today that seem to categorize the world. Two terms that describe the entire world as we know it; they are digital native and digital immigrant. 1 In short, digital natives are those who never knew the world without the internet and digital immigrants are everyone else. Some of us immigrants speak “digital” like a native, while many of us are still trying to figure out Facebook. We may be fluent, but we are no natives.

As digital immigrants some of us are in a unique position to comment about both sides of the digital divide and how we see these changes affecting us. Some of us on the other hand are much like the frog in the proverbial pot of water, as the heat slowly increases we don’t see the change as it is so gradual. Mind you I am not trying to comment on what is good or what is bad with our current digital world, I’m just highlighting some of the changes this migration has seen.

I migrated to the digital world from the analog world along with all the other digital immigrants my age. If I had to identify one area that was the biggest barrier to my growth in photography I think it would simply be money, not technology. As a young photographer I struggled with the huge investment in camera gear, darkroom gear and the biggest cost of all film and processing unlike young photographers have to deal with today. Photographer Nevada Wier and I don’t see eye-to-eye as to whether the digital world is really cheaper or not. Check out my interview with her on the “Depth of Field podcast where we talk about this issue. (She takes issue with me on this point at 6:55 on the timeline.) I’ll stick to my guns on this. I still believe overall it is cheaper to get into photography today than ever before. Cameras and lenses are better and cheaper than ever. Yes, some software is pricy, but with options like the subscription model for Lightroom, you can get a month’s usage for less than two gallons of Milk (in America 😉 ).

Let’s think about this for a minute. The cost of chrome (slide) film and photo processing in 1976, the year when I graduated from high school, was somewhere around $15. A roll of 36 exposure Kodachrome would cost somewhere around $10 to $12. The processing was often only 2 or 3 dollars after that. So call it a total of $15. Today that same $15 is inflated2 to $63.46! Just buying and processing two rolls of Kodachrome is more costly than a year’s subscription to Lightroom and Photoshop today. Given that price, there was very little chance that a kid of my means would be able to experiment with frame after frame of trial and error to learn from my successes and failures. I got as good as I could through high school classes and later in university classes through a slow and costly process. But today, you can shoot as much as you want and waste as much digital data as you like at virtually (pun intended) no cost. By the way, that process of learning from your successes and failures took at the least a week or more as you waited for your slide film to be processed and returned. Today as we all know it is instant.

But here is a thought. As a photographer today I can shoot until I run out of memory, then delete and shoot some more. With this “digital excess”, if you will, are we really learning as much from it as we can or are we becoming sloppy and lazy. Reality is that creativity thrives under constraints.

“…the imagination is unleashed by constraints. You break out of the box by stepping into shackles.”

Jonah Lehrer, Imagine: How Creativity Works

When we put limitations (intentionally or unintentionally) on ourselves like time and resources we unleash creative juices we never thought we had. Don’t misunderstand me, I am not for one instance saying that the digital revolution has stifled creativity as a whole. But I do think that it might work that way with some people. The amazing wealth of information can also serve to be overwhelming and distracting. Remember a few years ago the book that was making its rounds in the creative community? It was titled, “The War of Art” by Steven Pressfield. He talked about how so many things fight for our attention. At the top of this list has to be the internet —  Facebook, Twitter and Instagram in particular. I am not alone in this observation; article after article is written about how the internet is stealing our time. With the ease of photographing and processing all your thousands or tens of thousands of images at home on your personal computer comes the risk of distraction or as Pressfield calls it “resistance.”

For me, being a digital immigrant has been a huge blessing.  I would never go back. Gear cost is less than ever. Photographers have been given complete control over over the creative process. I never would have been able to clone, dodge, burn with the detail I can do with Photoshop. If I choose I can leave my graduated filters at home and use Lightroom’s graduated filters and more. The digital era has made all this possible. Light, a company who uses new camera technology has a touch screen user interface that uses sophisticated depth-mapping technology. Meaning, you adjust focus and depth of field even after a photo is taken, all the way to f/1.2!

I love being able to look at the photo I just shot, critique it on the spot and shoot again. It has opened new doors for me to do the same with others in workshops across the globe. I would never want to return to the days of analog.

My migration continues as I have moved from shooting large heavy DSLRs like the Canon 5d MK III to lighter weight and stealthy cameras like the mirrorless Fujifilm X-T1. As tech continues to get smaller and lighter and more efficient, this movement to mirrorless cameras allows less attention to be drawn to the photographer as they are much less intrusive and nondescript.

Change is never easy. Every immigrant is uncomfortable for a period of time. But there is no going back, that boat has sailed. As a Digital Immigrant I can either complain and be a curmudgeon or learn to navigate in the digital world. As I do, I quickly uncover the treasures that await.

 

 

Fujifilm Podcast With Piet Van den Eynde 2015

Piet & other X-photographers on our past India workshop take a break to talk about what Fujifilm is serving up.

Piet & other X-photographers on our past India workshop take a chai break to talk about what Fujifilm is serving up.

 

Welcome Fujirumors Readers.

It’s always fun when I get together with Piet Van den Eynde and we compare notes on the latest Fujifilm gear. This podcast was not different. This episode is about our thoughts on the latest lenses and a few interesting accessories.


Continue reading

Views of Kenya with the Fujinon XF 16mm f/1.4 WR

Fujinon XF 16mm f/1.4 WR Well balanced, but it couldn't be called a small lens.

Fujinon XF 16mm f/1.4 WR Well balanced, but it couldn’t be called a small lens.

 

Fujinon XF 16mm f/1.4 WR with it's tulip lens hood attached.

Fujinon XF 16mm f/1.4 WR with it’s tulip lens hood attached.

So just before I left for Kenya, I got a WhatsApp message from my contact at Fujifilm Malaysia telling me they had the yet-to-be-released Fujifilm XF 16mm f/1.4 R WR. I have been waiting for this lens since it showed up on the Fujifilm Lens Road Map. A 16mm f/ 1.4? That’s a lot of light!  But the real question was going to be, would I feel it was wide enough? Let’s face it, a 16mm lens on the X-system is effectively a 24mm in 35mm-speak and I generally like shooting wide. I like fast even better. This lens has not disappointed me.

f/1.4, 1/2000 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/2000 sec, at 16mm, 400 ISO, on a X-T1

 

f/1.4, 1/1250 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/1250 sec, at 16mm, 400 ISO, on a X-T1


I really wanted to write this review before leaving and post it the day the lens was officially announced, but unfortunately I got the lens only the day before I left for Kenya and I have been working on an OFMP training everyday since I arrived. I was able to carve out a few moments here and there to put this little guy through some of it’s paces.

 

f/4, 1/10 sec, at 16mm, 400 ISO, on a X-T1

f/4, 1/10 sec, at 16mm, 400 ISO, on a X-T1


Speaking of little, this actually isn’t all that small. It dwarfs the Fuji 14mm f/2.8. It’s bigger than the 23mm f/1.4 and the real shocker is, it is even slightly bigger than the 56mm f/1.2! I am not sure I understand why it needs to be this size. I understand the weight. It weighs right in between the 23mm and the 56mm at 375 g (0.83 lb), about where I expected. After all, it’s loaded with glass. But I don’t understand the size. It’s slightly bigger than the 56mm that is 3.5 times longer in focal length. But what this lens looses in size, it makes up in sharpness. Like many of the other Fujinon lenses, the 16mm is razor sharp. You need to be careful because you’ll cut yourself, its so sharp. It’s sharp at f/16 all the way to f/1.4. I was thoroughly surprised to see this lens was not only sharp in the center at f/1.4, it was also sharp from edge to edge.

 

f/10, 1/160 sec, at 16mm, 400 ISO, on a X-T1

f/10, 1/160 sec, at 16mm, 400 ISO, on a X-T1

 

I have yet to discover any chromatic aberrations at any f-stop. It’s here where I am suppose to tell you about the 13 lens elements in 11 groups, including 2 aspherical lens elements and the 2 ED glass lens elements to reduce lateral and axial chromatic aberration, but honestly I have no idea what that means, so as Clark Gable once said, “Frankly my dear, I don’t give a damn!”. All I know is it is crazy sharp!

 

f/10, 1/40 sec, at 16mm, 400 ISO, on a X-T1

f/10, 1/40 sec, at 16mm, 400 ISO, on a X-T1

 

I do know nice-looking bokeh when I see it, and this lens has it. Apparently it has to do with the 9 aperture blades. Again, I am less concerned with why it happens and more concern with “does it look nice?”, and it does.

The lens is weather sealed and becomes a great addition to the the weather sealed X-T1. Twice on this trip I was shooting in the rain and the camera got completely drenched. Not a problem.

 

f/1.4, 1/400 sec, at 16mm, 200 ISO, on a X-T1

f/1.4, 1/400 sec, at 16mm, 200 ISO, on a X-T1

 

f/1.4, 1/550 sec, at 16mm, 200 ISO, on a X-T1

f/1.4, 1/550 sec, at 16mm, 200 ISO, on a X-T1

 

I have read somewhere that this lens was slightly slow focusing using phase detection. Maybe, but I never experienced it. Every time I used it, it seemed to snap to focus as quick as the best Fuji lens.

I want to be fair here; I have not put this lens through a tough regiment of shooting. I just received this lens as I was leaving for an OFMP training at The Kilgoris Project in Kenya and only had a limited amount of time with it. What I can say is I am not disappointed with it. Unlike the 16-55mm, a lens that I felt was a well crafted lens but will never find it’s way into my bag, there is a chance this lens will not come off my camera! It is just wide enough to provide context in photos without creating undo distortion on the edges. It is fast, so it will be useful in low light situations, it is sharp and focuses quickly and accurately. What more can a photographer want? My guess is once I get this lens, my 23mm f/1.4 and my 14mm f/2.8 will stay in my bag a lot more.

 

f/1.4, 1/320 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/320 sec, at 16mm, 400 ISO, on a X-T1

 

Did you know that this is the 4th lens in Fujifilms lens lineup at the 16mm focal length? They have the 10-24mm f/4, the 16-55mm f/2.8 and the XC 16-50mm f/3.5-5.6. None of these are primes and all of them slower, with the fastest being the 16-55mm at f/2.8. It might surprise some of you that I never bought the 10-24mm f/4. As sharp as that lens is, and it is really sharp, I found it too slow at f/4. Yes, I know it has image stabilization (OIS) but that just stabilizes the lens not the subject. When I did use the 10-24mm, it was almost always on at the wider end between the 10 to 16mm focal length. So the new 16mm lens gives me speed at f/1.4 and a nice wide focal length. Do I wish this was a wider lens? Sure. But at the moment, there is no wider lens at this speed on the Fuji Road Map. But I can live with that. This lens hits the sweet spot for me.

 

f/1.4, 1/1250 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/1250 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/60 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/60 sec, at 16mm, 400 ISO, on a X-T1

 

The 16mm seems to have plenty of contrast and shooting at f/1.4 it gives your subject a nice separation from it’s background. It focuses close, as you can see from the tea flower and the daisy image below. I think I was as close as 6 inch or more. The bokeh get more impressive the closer you get to your subject.

 

f/1.4, 1/1800 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/1800 sec, at 16mm, 400 ISO, on a X-T1

 

f/1.4, 1/1250 sec, at 16mm, 200 ISO, on a X-T1

f/1.4, 1/1250 sec, at 16mm, 200 ISO, on a X-T1

f/3.2, 1/90 sec, at 16mm, 400 ISO, on a X-T1

f/3.2, 1/90 sec, at 16mm, 400 ISO, on a X-T1

 

The lens is suppose to be selling on Amazon for $999… er $1,000. So in the end, it comes down to would I shell out $1,000 for a 16mm f/1.4 lens? The answer is a resounding, “Heck yeah!”

 

f/5, 1/1100 sec, at 16mm, 400 ISO, on a X-T1

f/5, 1/1100 sec, at 16mm, 400 ISO, on a X-T1

 

f/1.4, 1/1250 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/1250 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/1000 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/1000 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/2500 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/2500 sec, at 16mm, 400 ISO, on a X-T1

 

f/1.4, 1/2000 sec, at 16mm, 400 ISO, on a X-T1

f/1.4, 1/2000 sec, at 16mm, 400 ISO, on a X-T1

 

f/16, 1/110 sec, at 16mm, 200 ISO, on a X-T1

f/16, 1/110 sec, at 16mm, 200 ISO, on a X-T1

Indian Summers: Another Look

 

Alice Whelan played by Jemima West walks through the Simla bazaar. (Note the camera in the lower right and the crew giving direction to an extra in the lower right)

 

This past Sunday Indian Summers premiered. It was everything I had hoped. If you want to watch it, it will be available for 30 days from this post date HERE. You might need a little extra help to get it to play in your region. 😉  But then I am biased. I had such an overwhelming response to my photos of the main characters of this new UK Channel 4 drama, that I wanted to do a follow up with other photos. Today I am posting images of a few more actors that don’t have what some might say a main role. Yet, they still play a key place in the upcoming story line. You’ll also find some wider shots of the setting to give you a feel for Simla, India in 1932. I can’t say anything about what is going to unfold. But I can say that there is passion, suspense, intrigue and of course drama. I am posting photos but I’m not giving you any background to the scenes so you will have to use your imagination or better yet, you’ll have to watch the show to find out how these scenes relate.

 

Henry Lloyd-Hughes as Ralph Whelan

 

Alice Whelan played by Jemima West

Alice Whelan played by Jemima West

 

 

f/1.2, 1/70 sec, at 56mm, 400 ISO, on a X-T1

Alyy Khan plays Ramu Sood

 

 

f/1.2, 1/950 sec, at 56mm, 250 ISO, on a X-T1

‘Indi’ Nadarajah as Kaiser

 

f/5.6, 1/180 sec, at 12.6mm, 320 ISO, on a X-E2

Patrick Malahide as Lord Willingdon, Viceroy of India Stands in front of his Roll Royce Phantom.

 

 

f/1.2, 1/250 sec, at 56mm, 250 ISO, on a X-T1

Ayesha Dharker as Nalini Ayer

 

 

Guy Williams as Rowntree

 

Ashna Rabheru as Shamshad Dalal

 

Fiona Glascott and Craig Parkinson watch the skills of “tent pegging”.

 

Coolies shift the Raj from New Delhi to Simla when the summer heat arrives.

 

Fiona Glascott as Sarah Raworth at Ivy Cottage.

 

Tea at Ivy Cottage with Jemima West, Julian Fenby, Craig Parkinson and Fiona Glascott.

 

 

Hasina Haque as Jaya

 

Amber Rose Revah and Craig Parkinson hold Adam.

 

Henry Lloyd-Hughes as Ralph Whelan

 

Nikesh Patel as Aafrin Dala and Rick Warden as Ronnie Keane share a moment.

 

Lillete Dubey as Roshana Dalal and Roshan Seth as Darius Dalal

 

 

Aysha Kala as Sooni Dalal soothes he on screen father Darius Dalal played by Roshan Seth.

 

f/2.5, 1/210 sec, at 56mm, 200 ISO, on a X-T1

The dinner party. L to R Rick Warden (with his back to the camera, Jemima West, Olivia Grant, Henry Lloyd-Hughes and sitting Edward Hogg.

 

Rick Warden as Ronnie Keane