The Last Red Maple (Fujifilm X 100f, WCL X1oo)

As I have written  almost ad nauseum in the past, the X100 series cameras have become my favorite go-to photographic devices. Small, light and easy to pack they’re just the easiest of my gear to grab without a significant photographic deficit.

The original X100 at 12 megapixels, was perhaps a little light on resolution compared to other gear I used at the time. Given the 16 and an now 24 megapixel  imagers of later models, that is no longer an issue. What is sometimes vexing, is the fixed focal length. The X100’s have been equipped with an extremely high quality 23 mm (35 mm field of view in 35 mm format) lens This focal length, although versatile, does limit one in a variety of situations in both street and landscape photography.

That is why, in 2014, Fujifilm introduced two lens converters to add some variety to the cameras capabilities. They included the X100 WCL, which applied a 0.8 X conversion factor to the lens, changing the field of view to a 28 mm lens, and the TCL X100 which has a magnification factor of 1.4X, bringing the field of view to a 50 mm equivalent. The links will take you to those original reviews .

Trail Work (Fujifilm X100f, WCL X100)

Of the 2 converters, the more compelling modification is I think the TCL, as 35 mm to 28 mm is  not as big a deal. Of the 2 converters, but TCL is most often mounted on my X100 series cameras.

The  problem with the original converters was that they were dumb. They didn’t communicate with the camera, so it became necessary, when taking them on and off, to go into the menus, and select the appropriate lens setting . That would modify a variety of parameters within the camera both in terms of distortion control, as well as adjusting the frame lines in the optical viewfinder. It would also then report the change to the metadata for the image, so that the focal length used would be recorded.

The other problem was that I was also dumb. I would constantly forget to change the camera settings which  will lead to a distorted image, and incorrect metadata.

At the Grill (Fujifilm X100f, WCL X100)

The mark II version of the converters however take advantage of a new capability in the X100f.  They  can communicate with the camera  so it can set can set itself appropriately.

So when I bought my X100f last spring, I also purchased the Mark II version of the TCL . There have been multiple images published in previous posts using that converter. I have subsequently bought the WCL mark II.

These are apparently optically identical to the already excellent original versions.  They are also indistinguishable in size and appearance from the “Mark I’s”. Multiple reviews online, as well as my own experience suggest  they offer very little, if any degradation in the excellent quality demonstrated by the cameras native lens. And unlike many lens converters, the maximal aperture of f2 does not change when using either device.

Here are 2 images I have taken first with the WCL, and second with the TCL to show the relative difference in the coverage.

WCL X100

TCL X100

Here as an image shot with the native lens for comparison. This was obviously shot on a different day. I cropped it a bit on the bottom compared to the others.

I must say that at least for me, having the converters automatically adjust the camera, means I am using the much more frequently and willing to change them more readily to obtain a shot.

It really increases the flexibility of the X100f. I only wish there was a way to make a modestly priced and sized converter to give us a 75–85 millimeter equivalent. With that option, at F2, there would be even better separation, and background magnification than we already have. I could pretty much sell off a lot of equipment were this available.

I have sold both of my former converters, on eBay, and am happy to report, that they received a lot of attention, and ultimately sold for decent money.

Though it seemed somewhat frivolous, the new communication system between the camera and the lens converters really is useful and for me at least worth a modest difference between the sale price of the old and new converters.

It clearly is another step in making the X100 series among the most compelling and capable cameras I have owned.

Turkeys Next Store (Fujifilm X100F, TCL X100II)

I am a creature of habit. Whether it is merchants, restaurants, vacation spots… etc., I derive comfort in familiarity. It is an impulse I endeavor to resist… not always successfully.

It’s also true in terms of camera gear. For I just bought my fourth version of the Fujifilm X100… the X100F.

It arrived in late March, of the latest iteration of an old photographic friend, the newest camera in the X100 series. I have been shooting it since then, in the somewhat sparse scenery of early Spring.

Over the last several years, this camera line has been the one that I reach for the most. I have been looking over archived raw files in preparation for my upcoming photography exhibit. I couldn’t help but notice that particularly in the last 3 years; my X100 series uploads far exceed those of my other equipment. I have grown very comfortable with the camera’s functioning, the image quality, and the range of focal links offered between the native lenses and the lens adapters.

Given this, I may skip other upgrades, but the newest X100 will always be interesting to me.

Clayton”s Walkway (Fujifilm X100F, TCL X100II)

I have no desire to be repetitious and waste the reader’s time. Therefore if you wish, you can read my reviews of the original X100, the X100s, and the X100t which will serve as a basis for this review. My desire is to discuss what I think are the relevant improvements, and what they mean to my workflow in the Fuji system. There are also websites such as DPReview, and The Imaging Resource that can be a source of feature-by-feature descriptions of this product. My mission here will be to describe the effect those changes have had on this user.

The best way to summarize my reaction to this camera is this: that in terms of image quality, controls and features, it now is almost completely in sync with the X Pro 2. This is very important to me as these cameras are my go-to pairing for weddings and events. I now can shoot the same resolution files and film simulation on the X100 style body that I can on the interchangeable lens X Pro 2. And the relevant controls and menu structure are now roughly the same. This means that I can quickly make intuitive adjustments on either camera without thinking.

First and foremost, the camera in hand feels roughly the same as the previous generations. All of the buttons on the back of the camera have been relocated to the right side which does facilitate their operation while looking through the viewfinder. The camera feels extremely well-built, though weather sealing is still not a feature.

Maple Buds at Fountain Lake (Fujifilm X100F, TCLX100II)

I have written here and here about my reactions to the new sensor offered in the later Fujifilm cameras. The resolution increase from 16 megapixels to 24 is not trivial, but also not overwhelming. It certainly means you can crop more aggressively, which is certainly helpful on the fixed lens X 100, and the images do seem to have improved “per-pixel” sharpness. In particular, because of my exhibit, I’ve been doing a lot of printing. I remain extremely impressed with the amount of detail on even 17-22 inch prints that even the earlier 16mp Trans-X megapixels can produce without straining. Obviously, the new sensor will be better yet.

Scene at Wilkes’s Library (Fujifilm X100F)

What is nice about the Fuji’s in general, and the X100F, in particular, is that all this resolution is very usable. Again in reference to my upcoming exhibit, I had identified an image shot with my D800E for inclusion. This is a 36mp DSLR, and given this, I have always been aware that camera technique must be perfect in order to avoid shake artifact, (which is much more evident the higher the resolution). For this reason, I shot this image from a stout Gitzo tripod, and with a remote release.

When I printed the image, however, I discovered that there was camera shake, which essentially ruined the image for me. Undoubtedly this came from the impact of the mirror as it swung out of the way of the sensor. I shoot all the time with the mirrorless Fuji bodies, and particularly X100, on a much smaller tripod, and essentially never have this problem. Because of its leaf shutter, the X100 is particularly forgiving in this regard. So bring on the resolution!

Cascade Near Mocanaqua

I remain underwhelmed with the purported improvements in high-ISO performance for the new sensor noted on some other websites, but on the other hand, I don’t really do formal tests on this. I was already pretty darn happy with the earlier cameras. It’s certainly no worse than the earlier chip and may be a smidge better. I’m certainly content continuing to use ISO 6400 as the upper limit on my auto ISO setting.

Then there is the matter of the mechanical ISO dial which it also has in common with the X Pro 2. Many people were unhappy with this feature when it first appeared. From my style of shooting, however, it is very convenient. So good are the trans X sensors that I generally shoot in auto ISO without much worry. But if, for instance, I’m shooting moving water, or daytime fill flash, the ISO dial makes it easy to quickly switch to ISO 200, and then switch back when I’m done.

George and Alihah (Fujifilm X100F iso 6400)

Several improvements do really alter the relationship between the cameras. The X 100F now uses the same battery as all of the other Fuji bodies. This really simplifies keeping a good collection of batteries charged and ready to go, it also means when I change camera bags, I don’t have to worry about which type of extra battery I have stowed there. Also, since the X100 series has an onboard USB charging, in a pinch it can charge batteries to be used on my other Fuji bodies. The battery indicator apparently now displays a more accurate representation of the percentage of power remaining. Oh, and hopefully battery life will be longer, though this was never really a problem for me.

I’m a big fan of the Acros black and white film simulation, which given the new sensor and processor, is now finally available on the X100 series. I like the fact that I can set the film simulation, but shoot the camera in RAW alone, but still see the film simulation in the viewfinder. I later apply the film simulation in post processing, as it now is available in Adobe Camera Raw.

Eloquent Erika (Fujifilm X100F)

Then there is the focus point joystick, which again appeared in the X Pro 2. Now that it’s available on the X100, I feel as though I can begin relying on it. For those of you who unfamiliar with the feature, it allows direct access to focus point adjustment without first pressing any other buttons. It thus frees up a programmable button on the camera for other functions. It is a feature that is long overdue.

Another really likable improvement in the camera is its ability to recognize when one of a new series of lens adapters is mounted. With the older cameras, I was forever forgetting to change this adjustment manually, which theoretically results in some distortion in the image. I did acquire the 50mm field of view TCL X100 II (the adapter I most often use). The old version sold on eBay for surprisingly good money, which is heartening.

TCL X100 set up for Landscape (Sony RX100III)

Every time there is a new version of a particular model in the Fujifilm lineup, auto focus has been improved. Before I sold it, I compared the “T” model to its replacement. There did seem to be a slight improvement in focusing speed, particularly in low contrast areas, but again these cameras of gotten good enough that for my style of shooting such improvements are not that impactful.

There is an increase in the number of focus points from 49 in the X100 T, to 325 and the newer camera. This is the same as on the X Pro 2.There is a little wider screen coverage, but in general, to me, the larger number of points seems to increase the amount of time it takes me to move to the right part of the sensor. I tend to keep these cameras set to show a lower number of points in the viewfinder.

I’m sure as time goes on, I will have additional comments as I gain more experience with this instrument. Overall I am quite content. In most ways, this is a superior camera than its predecessor (which happily also sold for decent money on eBay). Who knows what is yet to come in future firmware upgrades.

Yes, I am definitely a creature of habit.

But if you find something that works, why not stick with it?

Fishing at Lake Francis (Fujifilm X100F)

 Early April in northeastern Pennsylvania is the point where one can realistically hope for the first sporadic signs of spring weather.  Here, temperatures, if we are lucky, are in the high fifties to low sixties, and a few of the maples are beginning to bud out. Our predominantly oak forests stubbornly resist any show of foliage.  In fact though, is it the oaks that are more prudent; for a limb-breaking snowfall, even now, is not unlikely.

In this climate, people search for any touchstone to mark this season.   For many people in our region, it is the first day of trout season.

First Day Parking at Lily Lake (Nikon D7000, Nikkor 35mm f2.0D)

Now if you are a fly fisherman, you can fish during a great deal of the calendar year.  Pennsylvania proudly boasts some of the finest fly fishing in the country. Whether we’re talking about the upper Delaware River, The big and little Lehigh Rivers, The northern reaches of the Allegheny River, or the limestone creeks of south-central Pennsylvania, the state is a popular destination for anglers.

First Day on the Lehigh (Fujifilm X100F, TCL X100 II)

There is, however, a second culture of fishing in the state.  It is a culture some would call “put and take”, In other words: people who, unlike the fly fishermen, actually tend to eat the trout they catch.  These are the people that show up in force on the first day of the regular trout season.

For instance, located at the nearby Nescopeck State Park; Lake Francis is a 9 acre relatively cold water impoundment, which is traditionally stocked with Brown and Brook trout on the week before the season. Now by early May, on a walk around the lake, you may encounter two or three people with a line in the water. But on opening day Saturday, it is not an exaggeration to say that the fishermen are literally shoulder to shoulder. This is true at many other lakes where trout are stocked.

More Fishermen at Lake Francis (Fujifilm X100F)

It is the abundance of hatchery trout that draws them, fish that are perceived as being “easy marks” compare to the wily native Brook Trout.  They readily feed on the most mundane of live bait and even canned corn, which is said to resemble the feed they are given in the hatchery (I’ve even seen fly patterns designed to mimic trout pellets).

Now many of the people there are family groups with children. For them, it is a great day to introduce their kids to the joy of fishing with a high likelihood they may actually catch a trout or two. Others are like friends I grew up with: people for whom having trout in the freezer was a way to extend their food budget. 

Fisherman’s Breakfast at Lily Lake (Nikon D7000, Nikkor 35MM f2.0D)

But there are trout stocked also in the streams and rivers. Even on that day in April, if one explores a bit, it is possible to find isolated riffle, or pool stocked with the same naive hatchery fish. When I have fished on that day I always gravitated towards solitude.

 If it is like my childhood, despite the crowding, one will find the same people at the same spot on the lake or the stream year-to-year.

They’re there for the fish, the tradition, and hopefully, the first bit of spring.

Fountain Lake Scene (Fujifilm X100f, TCL X100)

It has been almost 4 months since the UPS man walked up my driveway, and dropped off my X100f.  It has become, as was its predecessor the X100t, my most used camera body.  And over that period of time, I have definitely formed some opinions on the camera particularly compared to its predecessors.

I posted my initial review of the X100f here.

The “f” model  X100 some ways is the most revolutionary new model, at least since the “s” version of this small range finder-like body.  It slightly larger than its predecessors, mainly to accommodate the larger battery of the other cameras in the “X” series.  I was concerned that this would alter the physical joint using the camera, but over the months the differences mean nothing.  And the convenience of packing one battery type for a photography job or trip is well worth whatever additional girth the camera brings.  I also like the idea that in a pinch, the camera can serve as a charger for the pool of batteries either in a car or at home.

Marathon Couple (Fujifilm X100f)

I have been using the camera a lot with the TCL  X100 Mark II, which automatically changes the camera setting to reflect the change in the field of view (35–50 millimeters).  This lens, like its predecessor, is optically excellent, and now I don’t forget to change the camera setting.

I’m pleased with the autofocus performance in general, but I am sometimes frustrated by the facial recognition, which is somewhat inconsistent even shooting multiple images of the same scene.  Sometimes it just won’t pick up the face.  It would probably be better, to turn it off and just use a focus point.  This is especially true since we now have the advantage of the joystick control.

Iris (Fujifilm X100f)

I’ve noticed a few other things.  The focus mode switch on the side of the camera seems to have had its actions stiff and somewhat.  On the camera’s predecessor, I actually had some gaffer tape over the switch to keep it in the “S” setting as I often found that it would move unbeknownst to me (I generally only use manual focusing for panoramas, and almost never use continuous focusing).

Evening at the Whiteface Club (Fujifilm X100f)

I have never been overly impressed in the past with the resolution improvement of the new 25mp sensor relative to its 16mp predecessor, but I think I’m noticing more shake artifact in images with the newer camera.  Maybe as I age my hands aren’t as steady as they used to be.  Still, in all, I don’t remember this with the previous bodies.  Nothing in the leaf shutter mechanism is changed to my knowledge, and the camera still has a nice soft shutter sound.

I was already a fan of the Acros black-and-white film simulation on my X Pro 2, and though I shoot in raw, I often develop images in photoshop with this profile.  To my eyes, it is relatively close to the camera-generated image.

Nescopeck in June (Fujifilm X10f, TCL X100)

Overall I’m extremely pleased with my new camera.  The X100 series has become like an old friend to me, and in my collection, even among the other Fujifilm products, it is the easiest to reach for what I’m going out and about.  It remains discrete and non-threatening and wonderful for event and street shooting, and with the extra resolution wonderful for landscapes.  Also with its soft shutter and built-in neutral density filter, it remains my favorite camera for moving water.

It’s,  going to get a lot of use over the next several years.

.

Laurels at Hickory Run (Fujifilm X100f, TCL X100 II)

It has been a quiet summer here on the Pocono Plateau. The weather has been quite pleasant since mid June, though in the last week or so we’ve had several runs of severe afternoon thunderstorms that resulted in power outages  in our small community.  Otherwise the weather has been lovely.

Art Show at Penn State ( Fujifilm X100f)

I have noticed that my postings tend to fall off during the summer months. I think part of this is due to a certain contentment I feel with the onset of the season .

We had the usual march of summer flowers including honeysuckle, black-eyed susan’s, mountain laurel, foxglove and finally rhododendron.  Now the first cardinal flowers have appeared alongside stream beds.  I noticed yesterday that goldenrod is beginning to bloom.

Cohash and Hickory (Sony RX100)

In our neighborhood we had an abortive gypsy moth outbreak, but a fortuitous run of cool wet weather in early June encouraged several pathogens, which wiped out the caterpillars before they could do much damage. This undoubtedly saved several old Chestnut oak trees on my property who are already relatively marginal.

Summer Wind (Sony RX 100 Mark III)

We have had the usual run of community events, including our Fourth of July celebration, summer cocktail parties, and the very pleasant wedding of the friend’s daughter that I help to photograph. I am really enjoying the combination of the X 100f, and the X Pro 2/56mmf1.2 for events like this.

Mariachis at the Wedding (Fujifilm X Pro 2, XF 56mm f1.2)

The house is empty this summer. My daughter of course lives in Seattle, and my son, who is a graduate student, is doing an Google internship in that city. It is nice that they can be together.  We did meet up with them in State College, when they flew into attend a wedding.

The Photographers Girlfriend (Fujifilm X100f)

Equipment wise, I have acquired a DJI Mavic Pro drone, and have been trying to master shooting smooth aerial video. Once I have something to show for it, I will share my experiences on these pages. It turns out there is definitely a learning curve to this.

Mostly though, I am enjoying the summer season. I am looking forward to some events with the potential to provide some content for these pages as the summer goes on.

So bear with me.  I’ll be back.

End of Summer Flowers (Samsung Galaxy S7 edge)

In the highlands of Northeastern Pennsylvania, meteorological summer has passed by, without stopping to say hello, or even waving as it drove past.

I can’t say there was no hot weather, but for the first time in many years, I don’t remember any even slightly uncomfortable nights sleeping in my non– air-conditioned bedroom (most summers we have a week or so of nighttime temperatures in the mid-70s).

I suspect that my friends with boats and/or swimming pools were disappointed. I, however, loved the pleasantly warm days, and crisp nights. So the climate trend that I described in June, which helped to abort a gypsy moth infestation, continued for the next 2 months.

For a variety of reasons, I have not had a great deal of photographic output over the summer. I think that the summer season often distracts me from photography with a number of different diversions, and discourages me from photography in a number of ways. From the biting insects that plague me when I try to I set up my tripod, to the monotonous green landscapes, and the sunrises that are inconveniently early, I tend to lose some enthusiasm over the warmer months.

Cardinal Flower (Fujifilm X 100F, TCL X100II)

Usually, my interest in a new piece of gear stimulates me to get out and shoot, but at this point, I’m extremely content with the gear that I have. This is particularly true of the X100F, and the X Pro 2. I really don’t crave the next upgrade in focusing or sensor resolution.

I read with interest the introduction of the Nikon’s new flagship DSLR, the D850.  I should really be lusting after this camera, with its state-of-the-art backlit 47mp sensor, its 9 frames per second speed, but I’m not.  Two generations old now, my 36mp D800E still looks new, works beautifully, and produces gorgeous files that look great in as large a print size as I am likely to create.

D 850 (photo by Nikon Marketing)

Maybe I’ll buy a refurbed one in a couple of years.

  Also though, I can’t escape the feeling that big bulky DSLRs are like dinosaurs at the end of the Cretaceous; about to be overwhelmed by the smaller, more convenient and increasingly capable mirrorless cameras which are becoming a more dominant force in the market.

Meanwhile, things photographically are looking up.

 Here in the Poconos, the leaves are beginning to change color, and the sound of katydids punctuates the crisp night air. The big cinnamon ferns in the forest are beginning to change to a sort of golden brown, while the deer transform from the red coat of summer to their cold weather coat of gray. Sadly, the humming birds have disappeared south.

Funnel Cake Booth (Samsung Galaxy S7 edge)

For my wife and I, there will be an upcoming trip to the Adirondacks, to enjoy Oktoberfest, and “peak leaves”.

There is also the fresh introduction of the Fujifilm XE-3. Hmmm.

There should be plenty to write about, and photographic in the upcoming months.

Stay tuned.

Corn at Sitko’s Farm (Fujifilm XT-10, XF 60mm f2.4)

Every once in a while, perhaps while out shopping, or at a restaurant, I will encounter an old friend, whose life path has drifted out of my particular orbit. After spending some time catching up, I will be reminded of how much I enjoy their company, and will wonder why we didn’t make more of an effort to keep in touch.

In the last several weeks, I feel it had that sort of an experience with a lens. In particular, the Fujinon XF 60 mm f2.4.

This was one of the 3 original prime lenses introduced with the X Pro 1 in 2012. At the time, it was lauded by some is the sharpest of the trio (the 18 mm f 2.8, the 35mm F1.4, were the other 2 lenses).

I remember my initial impressions were that this was a bitingly sharp lens, noticeably more so than my Nikon primes. In fact, the quality of all of these original lenses probably helped pull me from using my Nikon gear, to shooting mainly with Fuji.

But just like with life, newer things come along, in this case, lenses that are faster and newer, and distract me from an old companion. After a time the 60 mm became lost in the back of my photography cabinet.

Wild Grapes (Fujifilm XT-10, XF 60mm f2.4)

Several weeks ago while on my way out the door to go hiking, I picked up camera bag with my XT-10 body, which I noticed had no lens mounted on it. I opened a cabinet and on a whim, reached blindly to the back of the shelf, determined to utilize the first Fujifilm lens I grabbed. This turned out to be the 60 mm, which I have basically ignored for many years. I mounted it on the camera and have been shooting ever since.

Early Fall on the Old Stage Road (Fujifilm XT-10, XF 60mm f2.4)

To remind you, this is a macro lens, the first in the Fujifilm “XF” line. It is fairly diminutive, compared to for instance the 56 mm f.12. It’s nicely built, with not only a fairly deeply recessed small front element but then a rather large metal lens hood. All of this makes it quite resistant to lens flare as the sun’s rays rarely reach the front element.

Epiphyte (Fujifilm XT-10, XF 60mm f2.4)

Though the lens aperture is tighter than many of the other Fujifilm primes, the lens is quite sharp wide open at F2.4. For those of us that focus on landscape imaging, the modest deficit in light gathering is really not much of an impediment when shooting in the daylight hours. This plus its small size may make it preferable to the newer 56mm for shooting while hiking. If only it had stabilization…

On an APS sensor, the lens has a 90 mm equivalent field of view, which makes it ideal for the sort of late summer early fall photography, available now as it allows you to isolate the sporadic displays of autumnal color beginning to erupt at this time of year. It’s also wonderful to have its macro capabilities for close-ups of wildflowers and the other fall forest offerings.

And boy is it sharp! From f2.8 and above, the lens has incredible definition. Out of focus elements look lovely at f2.4-3.5. Mounted on the XT-10 it balances very nicely, though it is a bit long with the lens hood installed. Still an all, it’s very compact package.

One downside of this optic for outdoor use is that given its magnification, it is prone to artifacts from camera shake. I find that using my steel Gitzo monopod, and good shooting technique, I can get acceptably sharp results without a tripod. You just have to be careful.

Hemlock with old bridge cable (Fujifilm XT-10, XF 60mm f2.4)

I did a search on eBay and found there are a lot of these lenses for sale. I suspect that it is a common lens for Fujifilm users to unload. There is a wide range of price’s but it looks like you could acquire a nice used one for between $US200- $400. There is also a broad range of prices for new lenses of between $US300-$650.

Given my experience, I think I’m going to put this lens back into circulation for outdoor shooting, relying more on the 56 mm f1.2 for street, and indoor work.

If you have one in the back of your cabinet, pull it out. I suspect he will find it is indeed like an old friend.

The Last Red Maple (Fujifilm X 100f, WCL X1oo)

As I have written  almost ad nauseum in the past, the X100 series cameras have become my favorite go-to photographic devices. Small, light and easy to pack they’re just the easiest of my gear to grab without a significant photographic deficit.

The original X100 at 12 megapixels, was perhaps a little light on resolution compared to other gear I used at the time. Given the 16 and and now 24 megapixel  imagers of later models, that is no longer an issue. What is sometimes vexing, is the fixed focal length. The X100’s have been equipped with an extremely high quality 23 mm (35 mm field of view in 35 mm format) lens This focal length, although versatile, does limit one in a variety of situations in both street and landscape photography.

That is why, in 2014, Fujifilm introduced two lens converters to add some flexability to the cameras capabilities. They included the X100 WCL, which applied a 0.8 X conversion factor to the lens, changing the field of view to a 28 mm lens, and the TCL X100 which has a magnification factor of 1.4X, bringing the field of view to a 50 mm equivalent. The links will take you to those original reviews .

Trail Work (Fujifilm X100f, WCL X100)

Of the 2 converters, the more compelling modification is I think the TCL, as 35 mm to 28 mm is  not as big a deal. Of the 2 converters, but TCL is most often mounted on my X100 series cameras.

The  problem with the original converters was that they were dumb. They didn’t communicate with the camera, so it became necessary, when taking them on and off, to go into the menus, and select the appropriate lens setting . That would modify a variety of parameters within the camera both in terms of distortion control, as well as adjusting the frame lines in the optical viewfinder. It would also then report the change to the metadata for the image, so that the focal length used would be recorded.

The other problem was that I was also dumb. I would constantly forget to change the camera settings which  will lead to a distorted image, and incorrect metadata.

At the Grill (Fujifilm X100f, WCL X100)

The mark II version of the converters however take advantage of a new capability in the X100f.  They  can communicate with the camera  so it can set can set itself appropriately.

So when I bought my X100f last spring, I also purchased the Mark II version of the TCL . There have been multiple images published in previous posts using that converter. I have subsequently bought the WCL mark II.

These are apparently optically identical to the already excellent original versions.  They are also indistinguishable in size and appearance from the “Mark I’s”. Multiple reviews online, as well as my own experience suggest  they offer very little, if any degradation in the excellent quality demonstrated by the cameras native lens. And unlike many lens converters, the maximal aperture of f2 does not change when using either device.

Here are 2 images I have taken first with the WCL, and second with the TCL to show the relative difference in the coverage.

WCL X100

TCL X100

Here as an image shot with the native lens for comparison. This was obviously shot on a different day. I cropped it a bit on the bottom compared to the others.

I must say that at least for me, having the converters automatically adjust the camera, means I am using the much more frequently and willing to change them more readily to obtain a shot.

It really increases the flexibility of the X100f. I only wish there was a way to make a modestly priced and sized converter to give us a 75–85 millimeter equivalent. With that option, at F2, there would be even better separation, and background magnification than we already have. I could pretty much sell off a lot of equipment were this available.

I have sold both of my former converters, on eBay, and am happy to report, that they received a lot of attention, and ultimately sold for decent money.

Though it seemed somewhat frivolous, the new communication system between the camera and the lens converters really is useful and for me at least worth a modest difference between the sale price of the old and new converters.

It clearly is another step in making the X100 series among the most compelling and capable cameras I have owned.

Cold Cemetary in Alberts (Fujifilm X100f (TCL X100)

It has been cold in Northeastern Pennsylvania. For us at least, it is very cold.  With high temperatures in the single digits and lows well below zero, this is a stretch of weather quite the opposite of the warm January’s we had over the last 2 years. 

Up on the Pocono Plateau, we have a few inches of light powdery snow, sadly inadequate for cross-country skiing.  Still, in all it’s pretty, and with the cold temperatures, the ice formations in our creeks and streams get rather interesting and complex.  With a snow cover, the scenery is interesting again, and at this depth, it is no impediment to hiking and exploring.

Waiting for Turkeys (Fujifilm X100f)

With this frigid weather has come wind, which makes outdoor activities more challenging.  Anticipating a trip coming up to the even colder Adirondacks, I’m spending time out in the elements to acclimate myself to cold weather sports.  As I get older, this gets more and more difficult.

The forests change in the bitter cold.  A walk in the woods during single-digit temperatures is a quiet one; with little evidence of the chickadees, nuthatches, blue jays, and squirrels one encounters in more normal temperatures.  The squirrels I understand, are probably holed up in their leafy nests, but the location and condition of the birds is more mysterious.  Due to they find shelter?  Are they in torpor?

Ice Fishing at Francis Walter Dam (Fujifilm X100t (TCL X100)

This cold has real consequences for people.   My neighbors live in an even larger Victorian summer home that I do, albeit one that is not as obsessively sealed and insulated as my own.  On such cold days, even with the use of auxiliary coal and wood stoves, they struggle to keep the house in the low 60s.

The Nescopeck is Frozen ( Fujifilm X100f, TCL X100II)

Even though we live in a natural gas producing region, I’m told that with such high demand, the gas suppliers are forced to ration supplies, diverting them from businesses, to homeowners.  This can obviously be quite disruptive. It’s slightly embarrassing to me, that in these times the schools actually stay closed on the coldest days for fear of exposing the little darlings to the winter’s chill.  Whatever happened to “bundling up”?

Glen Summit Chapel in Winter(Fujifilm X100f (TCL X100II)

A friend of mine who runs a heating oil distributor once told me that surprisingly, he actually hates bitter cold times because people who live on the edge financially, run out of money to buy heating oil. This leaves him with a difficult choice: to either extend credit or refuse a delivery.  More often he chooses the former than the latter putting him at financial risk.  These conditions also challenge his service people, who work long hours, doing emergency repairs on poorly maintained heating systems.

Still, in all, this will pass.  Our normal winters have highs in the 30s and lows in the teens, a temperature.  regimen to which we are all more accustomed.  People will still grumble, complain, and pine for spring, while we skiers wait for the Northeaster’s of the later winter to kick start our outdoor winter sports.

Soon the snows will come.

Droplets on Spruce ( Fujifilm X100f, TCL X100II)

I consider myself an interested, if not a keen observer of natural phenomena. For instance,  I have over the last 25 years, kept a diary of snowfall events as measured on my back patio. I maintain 2  weather stations. 

So when I ventured outside on the morning of January 13th, I noticed that something interesting must have happened overnight.

For 2 days before, we had rain, some heavy, with temps in the fifties and even sixties(F) which wiped out the little snow we had. Overnight Friday into Saturday, the cold front passed, which was predicted to provide a period of freezing rain, then sleet, then perhaps a coating of snow.

So I was not surprised that Saturday morning, to find the yard white again.

It was in the single digits when I went out to clear the walks, and defrost my truck. I was not surprised to see an icy veil over the tree branches and pine boughs.  As I took in the lovely morning, I noticed that something looked different.

Droplets on Pine ( Fujifilm X100f, TCL X100II)

The bright morning sun filtered through the icy foliage looked extremely specular, an unfamiliar appearance to me

On closer inspection of the branches, I noticed not the uniform coating of ice that is the usual result of freezing rain. Rather instead, there were individual droplets of water, like crystal beads, on bare branches and evergreens alike.

This is why it looked unusual, for I was observing each tiny droplet as a tiny point of refracted light. The effect was quite stunning.

Droplets on Scrub Oak ( Fujifilm X100f, TCL X100II)

My community exists at between about 1650-2000 feet on the western edge of the Pocono plateau. the icing event occurred from about 1700 ft and above, with no icing below 1600 ft.

So what happened? I went to my online weather station which is located at around 1900 ft.

First, let me say that the sensor on this station is sheltered from the wind (as is most of my property) A 35 mph gust is impressive indeed and really emphasizes the strength of this front. Note that the temperature late Friday drops rapidly from almost 60 degrees (f) to just above freezing for a period of time and then plunges to the mid “teens” in just over an hour.

  To form this ice pattern, I suspect it continued to rain with the temperature just above freezing, and then stopped during the final plunge. Sleet, and finally snow would have come in as, or just after the front had passed. And the droplets from the rain were in fact “flash frozen” by the unusually abrupt drop in temperature.

It’s admittedly a small thing, a slight deviation in our usual weather patterns. But as a photographer, it created a tangible difference in the appearance of a small portion of our natural world. One perhaps that can be anticipated in the future.

 So why do I feel like such a geek?

Snow on Balsam (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

Your choice of camera often influences the way you use lenses; particularly in the Fujifilm camera universe.  Though the SLR-like bodies such as the XT-2, and XT-20 are very popular, I came into the X series by shooting their rangefinder styled products, and for the most part, continue to do so.

My main interchangeable lens body is an X Pro 2 (which I use along with my X100f). To me, going back to the M series Leica film cameras, rangefinder-type bodies like the X Pro 2 are shot with prime lenses which tend to perform better anyway. Thus my XF zooms have tended to languish at the back of the cabinet.

Harvesting Ice (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

 Several weeks ago I was traveling to the Adirondacks, and selecting the photo gear that I would bring along.  Years ago I would pack 2 or 3 bodies (Fuji and Nikon), and several bags of lenses.  Maybe because I have been photographing there so long, and perhaps in my dotage, I’m getting a bit lazy. My tendency now is to streamline things a bit with perhaps 1 or 2 small camera bags.  Along with the X100, I will usually bring the X Pro 2 with several prime lenses, perhaps the 14 mm, the 56mm, and a 90 mm.  This works out fairly well given that the X100 has a fixed 23 mm lens.

Forest near Turtle Pond (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

One complaint I have about the XF lenses is that the lens pouches are virtually identical, without any exterior labels to indicate the lens within.  It’s thus easy to grab the wrong lens.  Rather than the 14 mm lens I was looking for, I found that I had pulled out the 18– 55-millimeter zoom which has similar bulk.  I hadn’t used the lens in some time so I thought: What the hell, let’s give it a try with the bigger sensor of the X Pro 2  and see how it holds up from an image quality standpoint.

In the “Dacks” I shot the lens and liked what I saw.  So I left it on the X Pro 2 for the next several weeks after returning home.

The Wall Crumbles (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

In photo workshops when I am teaching beginners, I’m a big proponent of prime lenses.  This is not only because their image quality tends to be superior (especially for the price).  I also think it’s important for people to understand and then characteristics of individual focal lengths to their photography

Ice Fishing on Lake Francis (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

If they do utilize a zoom, I suggest that they avoid the habit of zooming to frame an image, and instead treat the lens like a collection of primes.  I have had to remind myself to do the same.  With the zoom mounted, I look at the scene and determine what focal length would be desirable in terms of foreground/background relationship and depth of field.  I then choose a focal length.  Putting my eye in the viewfinder.  I can then step backward or forward when possible to adjust the framing. That’s a lot easier than changing lenses constantly.

Comfortable Dog (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

Another issue I have had with the X Pro 2 is camera shake.  Perhaps I have been spoiled by the very soft leaf shutter of the X100 series.  I find that I get a fair number of images with the X Pro 2 and it’s more robust shutter action, where there has been movement artifact.  The image stabilization in the little 18-55mm is a big help with this, noticeably reducing the problem.

I have forgotten how nice the image quality is.  Used as I am to some of the high-quality lenses in the Fujinon line, I am delighted with the look of images shot with this modest lens.  It’s got good contrast and handles the 24-megapixel sensor of the newer cameras with ease.  It’s capable of obtaining lovely detailed 3-dimensional images, although at the 18 mm end, it  is slightly soft until it’s stopped down.  And like all of the XF lenses it has a solid feel and lovely built quality.

In the weeks since returning home, we’ve seen a variety of weather here in Northeastern Pennsylvania, including bitter cold,  then a sudden thaw that led to severe ice damming and flooding on the Susquehanna River in the Wyoming Valley.  The residual of this has been bank ice of a size and volume I’ve never seen before.

Bank Ice on the Susquehanna (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

Now, in the mountains, a  winter snowpack is finally building, which for us more and more, seems to be a February/March event.

There was even some snow at Nescopeck State Park for their Winterfest event, something we haven’t seen in some time.  It was fun to see the sled dogs finally get to pull their sled.

People and Dogs (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

I’m aware that there are better short zooms in the XF series lineup, including the 16-55mm f2.8, which is said to be very sharp indeed.  Unfortunately is quite a bit larger and heavier (though it is weather resistant) and has no optical stabilization.  And at $1100, it’s significantly more expensive than the $700 18-55.  And there isn’t an image I have shot over the last several weeks that makes me pine for a more exotic lens.  If I need more sharpness, I will go back to the primes.

I forgot how much I like this little lens.  Like the 60 mm f2.4 I wrote about here, I’m moving it to the front of the cabinet.

Vernal Pond on the Farmstead Trail ( Sony RX100 mark III)

We never learn. 

Every year in the first weeks of April, I hear my warmth-loving friends lament  the  cool weather, and/or the lingering snow as though it were something unusual.  But this is April in the Pocono region.  Weather-wise, anything can, and does happen. It’s kinda like November, but in reverse. 

As I write this, It is April tenth.  The morning temperature is in the high twenties, headed for about 40 degrees later today. A half inch of snow has fallen overnight.

Now my childhood memories for this time of year tend to feature blissful afternoons after school. Dressed in shorts and a sweatshirt, it was warm enough to enjoy a pickup game of baseball (remember those) or to ride one’s bike.

The internet however, allows us to review historic weather data, readily available on multiple websites. Turns out this memory of mine is not really typical of early April in the Pocono region of Pennsylvania.  In fact I suspect that the warm afternoons I remember are representative of a fluke year, possibly 1967 ( I was 10) when April was rather warm. Most of the rest of my youth, the month was not so blissful.

Apple Trees in April ( Fujifilm X100f)

It takes only a quick trip to the Weather Underground website to discover that at least in my part of Pennsylvania, April starts out with typical high temperatures in the low 50’s and by the 30^th of the month typically reaches the low 60’s.  Given this, there are opportunities for anything from bonnie summer-like days,  to significant snowfall events.  And oddly enough these weather swings tend to be fairly typical.

Oh, and by the way, May here is no picnic either.

For instance:  in our region, April 2017 was the warmest April on record.  The mean high temperature for the month was actually 66°, which is 3-4° higher than the average high temperatures for the very end of April.  And the month was warm pretty much from the first, to the 30^th with only a few cool spells.

April on the Nescopeck ( Panasonic GH1, Lumix 14-42 f3.5-5.6)

Contrast that was 2016, which at least started out cool like this year prior to slowly warming as the month went on.

So April is the month, when I hedge my bets.  Once the snow melts, and the lawn firms up, spring cleanup is certainly reasonable.  Early-to-mid April  is however waaaay too early to take the plow off my UTV or put away the snow shovels.  This is true at least on the ridge-tops here, for as in the  fall, spring snowfall events  tend to be very altitude dependent.

I think back to April 16, 2007. It was a cold day in the Susquehanna river valley where I spend my workdays.  There was a wet snow falling, though it was unable to accumulate on the warm ground.  In late afternoon, I drove to my home (which is 13- 1400 feet higher in altitude than the hospital where I was working).

Last of April Snow (Samsung Galaxy S8)

I noticed as I climbed out of the valley, that first the snow started to stick,, and then accumulate, deeper and deeper as I gained elevation.  At my home, there was 16 inches on the ground.  That was the most robust snowfall event of the season. It was also the greatest accumulation difference valley to mountains I can remember.  It is hardly the only significant snow event I remember occurring during the fourth month of the year.

April Snow in the Pine Plantation (Fujifilm X Pro 2, Fujinon XF35mm f1.4)

So my approach with April is typically to stop complaining, and be grateful.  For even on the cooler days, it’s not as cold as it would’ve been in January when the sun arcs so much lower in the sky. When it’s warm, I bask in the sunshine and think back to that kid on his bicycle after school. 

I have faith that as the weeks pass, the warmth of spring will finally beat back the leftover chill of Winter.

Hopefully in June… towards the end of the month.

The Lasr Snowfall? (Samsung Galaxy S8)

I am nothing if not a tightwad. I can’t help it.  Nonetheless, after approximately 20 years in digital imaging, I have finally broken down and acquired my first specifically-designed photo editing computer display.  This turns out to have been a really good idea, and one that was long overdue.

When I got started in computers back in the early 1990s, I bought what was for the time, a very nice computer desk, with a hutch and a matching printer stand.  It was quite modern and stylish for the times.  And just sufficient in size for a single CRT monitor.  I  have spent a lot of time at this desk.   More important yet, it was the place my two graduate computer engineer kids learned their craft. I think I developed a slight sentimental attachment.

Over the years I went through a variety of computer displays.  Cathode ray tubes, gave way  to flat panels, which were certainly more space efficient. When I became interested in digital photography, the display quality became more critical, and I would seek out IPS (in plane switching) panel displays of good quality. This technology allows one to view at wider viewing angles without a significant change in the appearance of colors.

Dedicated photography monitors, such as those made by companies such as Eizo, were just prohibitively expensive. Plus, my little desk from the 90s  limited my choices and prevented me from running dual monitors which would be very helpful both in photo editing, and for my work tasks.

Spring Flow on the Nescopeck (Fujifilm X100s)

My latest monitor was an 4/3 aspect ratio  NEC panel circa 2008 that  came highly recommended.  In the last several months, I noticed during calibration that it was  losing its luminance.  Given that pretty much all available monitors are now wide-screen format,  I was finally forced to bite the bullet and upgrade my situation.

Ultimately this led not only to new furniture, but to a significant redo of my home office/photo editing space.  I got rid of the old standby, and obtained  a large Hon desk for the work-space.  I painted the walls a more neutral gray, and changed the carpeting in attempt to match.  My desktop computer was already robust, so I merely needed a better display.  I looked at a variety of panels recommended by various websites, specifically  wide gamut panels that could display nearly 100% of the Adobe RGB color space.

For the uninitiated, there are multiple so-called “color spaces”.  These refer to the different “languages”, a digital device uses to interpret  color information.  Most monitors can display all or part of the more familier narrow “gamut” sRGB color space.  This is the “language” for instance, that your smartphone uses.

Photographers, particularly those that will print their work, will generally prefer to work in Adobe RGB, a broader color space.  Better digital cameras can generally be set to capture this more vibrant “dialect”.  Relatively few monitors however are capable of displaying this wider range of colors accurately.

There are some that do, most of which come in at a fairly high price point.  I ultimately chose the Ben Q  SW2700PT, a very well-reviewed full gamut display for roughly $550 (a comparable Eizo professional display costs $2900 US).  Despite its reasonable cost, it performs in a way comparable to higher price products.

Image by BenQ

The display comes very carefully packed with its stand. Included in the box is a monitor hood, the mark of a serious piece of kit designed for critical photo editing.  It includes a handy remote control with a sufficient cord either to sit on your desk or in its cubby, on the monitor stand.

It was easily assembled.  For the time being I am partnering it with my NEC monitor which is still functional, but no will no longer be used for any serious photography work.

Please bear with me on the technology, for I am hardly an expert.  For serious photographers  there are multiple advantages to this monitor compared to a more generic display.  First, as I understand it, each SW2700PT has its color profile carefully calibrated in the factory prior to its delivery.  The individual monitor’s profile is included in the box.

Color Space Comparison ( Image by BenQ)

Monitors used for photography need frequent calibration to known standards, using specialized on-screen sensors, and software.  Once calibrated, the resultant “profile” is stored on the computer’s hard drive. This allows you to send files that will look the same on other calibrated devices (i.e. printers) 

The SW2700PT has sufficient memory that it can retain the color profile within its own hardware, rather than requiring it to be stored on the computer’s hard drive.  You can download  BenQ’s own calibration software from their website, which used with your own color calibrator, will store profiles that are directly accessible to the monitor’s remote control.  Using BenQ’s software makes re-calibrations much more straightforward then using aftermarket software which are generally designed to accommodate multiple types of displays.

If you have ever reviewed images on a dedicated professional photography or printing workstation, you know they tend to look dim. Most of the time we intuitively set our monitors to be brighter, and higher contrast, than actually is appropriate in a calibrated printing work flow.

Unfortunately, if you use your computer for both printing and casual use, you can end up viewing the online world in a less vibrant way.  I put up with this for years.  If I did brighten the screen, I had to remember to set it back to a more appropriate brightness/contrast levels prior to a print job.  This was generally a guess, and resulted in a lot of wasted paper and ink. Until things were dialed in, my prints generally came out too dark.

This is where the remote control comes in.  There are 4 buttons.  One is used to access the display’s menus. The others access three color profiles: sRGB, Adobe RGB, and monochrome.  More importantly, because everything resides within the monitor, you can also set a brightness/contrast setting for each.

Color Space selection (Image by BenQ)

Thus, for normal web viewing, I naturally use sRGB, which I have set for a pleasantly bright viewing screen and color reproduction that aligns with the web.  Switching to AdobeRGB dims things down to allow accurate photo editing and printing.  It is interesting to me that although AdobeRGB images reviewed in photo editing software look really nice, web content is overly saturated and unnatural.

The appearance of the monitor in Adobe RGB is striking, and for the first time I was able to see onscreen, the full spectrum of color, and nuance that  modern cameras imagers acquire.  It also has a fairly high resolution at 2560 x 1440 (not quite 4K) which allows you to view impressive amounts of detail.  This turns out to be not only important in photography (for accurate sharpening), but makes it much more pleasant to view text and waveforms, which is a part of my online medical work.

The monitor has a variety of other nice features including multiple inputs ( DVI-D, DisplayPort 1.2, HDMI and multiple USB ports). There is also an SD card reader.

I’ve been using the BenQ now for multiple months.  This is a situation of “I had no idea what I’ve been missing”.  As I scan between the new display and my old NEC monitor, there is no comparison in terms of color reproduction ( particularly in AdobeRGB), and resolution.

I note that there is a new version from BenQ, the PhotoVue SW271 featuring full 4K resolution for roughly $1100.  I’m sure that this would be a striking display, but for me at least, I’m not sure the improvement would justify doubling the cost.

If you’re serious about your photography, particularly if you are printing your work, this monitor is well worth a look.  If you’re coming from a more generic display, I think you will wonder how you did without it.

Scene on Bow Creek (Fujifilm X Pro 2, XF 55-200 mm f3.5-4.8)

As a photographer, it is natural to want to display your work for others to see.  Obviously, with social media, you can offer essentially the world (or, at least your followers), your latest efforts.  But what about your guests at home?  Printing and framing, are expensive and for me, impractical for the number of images I  would like to display throughout the year. 

Now you can certainly show work on a computer monitor, but this isn’t something that house guests think to seek out.  Coaxing someone to review your work on your computer always seem to me to be akin to breaking out the slide projector after dinner.  It makes most people cringe.

So I was on the website Luminous Landscape recently.  They posted a review, of two fairly novel products that looked really interesting to me, especially as I re-decorate, my home office workspace.  As it turns out, one can now purchase large digital display devices which are very appropriate for the wall display of photography.

Now digital picture frames have been around for a long time.  I have a 5 x 7 version sitting on the table in my den, which is pleasant for a slideshow of snapshots.  It is obviously too small and has insufficient resolution for serious work.  But there are apparently several manufacturers making display-worthy larger digital frames that offer a convenient and easy way to show one’s work (and other artistic works) in a gallery style.

Cows at the Prison (Fuujifilm X100f, TCL X100II)

The most aggressively marketed of these is the Meural.  This is a 27 inch, 1920 x 1080 resolution flat panel screen mounted to look like a matted framed object.  It is actually marketed along with a subscription service that allows you to display a huge variety of artworks licensed by the service.  It can be controlled from your computer or your mobile device.  It can also be loaded with your own images.  It has a unique motion sensor that allows you to swipe in front of the screen to change the artwork.

I, however, chose another product: the Memento Smart Frame.  It too looks like a matted frame, but for me, it has several advantages over the Meural product.  First, it has significantly higher resolution at 3240 x 2160 which also gives it a 3:2 aspect ratio rather than the 16:9 aspect ratio of the Meural.  It comes in two sizes: 25 and 35 inches, sold at US $599 and $899 respectively.

Memento Frame (Image courtesy of manufacturer)

On both the Meural and the Memento products, it is possible to display other aspect ratios with the rest of the screen masked.  I find the images look much better if they can be displayed full screen.  Given this, most images work better at the 3:2 format (the native format of most sensors) than in the wider ratio.

The Memento Smart Frame is mounted to a wall using a specially designed bracket.  The 35-inch frame is capable of being mounted both horizontally and vertically.  I have the 25 inch which is only designed to be mounted horizontally. It is connected to an electrical outlet by a thin power wire which is relatively easy to hide.  You can also buy an optional flat power wire that can be taped to the wall and painted over.

The frame is activated by downloading an app to a mobile device, or your computer.  You can then connect the frame to your WiFi.  The app allows you to create different folders with images for display.  It will store up to 3000 images as jpgs.

Foggy Morning, Fountain Lake (Fujifilm X Pro 2, XF 55-200mm f3.5-4.8)

You can decide to display 1 image or a variety of images which will display whatever time interval you select.  I will typically allow about 5 minutes between images so they can be appreciated, but a slideshow-like presentation would also be possible.

It also has the capability of having images uploaded remotely.  Thus it can be a sort of upscale version of those smaller digital frames marketed to seniors so their offspring can upload images of the grandchildren.

Another appreciated feature is the timer and light sensor which allows the frame to be off for prescheduled periods (like when I’m at work).  The frame can also be set to go off at night, and/or when there is no ambient light.  The frame also adjusts to the light level, and its color signature, contrast, and brightness can be adjusted in the app.

So how do images look?  From my point of view very nice indeed. I keep most of the controls near neutral, but it is important to adjust the brightness of the display so that the impression of backlighting is minimized. Once this is done, images are not immediately distinguishable from an actual framed print. Colors are vivid, and detail is excellent.  When displaying black-and-white in particular, the graduations are very pleasing, and blacks are deep.

Memento Smart Frame at Home (Samsung Galaxy S8)

I am so enjoying the Memento frame, I am thinking about buying a second one, perhaps a 35-inch version so that I can display vertically oriented images.  I also think of their other potential uses.

For instance, my last gallery show cost upwards of $2200 just for framing roughly 30 works.  In time when the price of these devices comes down a bit, I can imagine organizing a gallery show using four or five of these frames, each displaying perhaps 5 images sequentially.  Over the long run, this would save a lot of money and trouble (bubble wrapping and transporting framed prints is a nuisance). As opposed to the many hours it takes to create a standard display of prints, setting up this sort of show would be a breeze. I would only have to print the images I sell.

The Memento Smart Frame is a wonderful example of how technology is changing the nature of photography, and the display of artworks. And, it will only get better.

Susquehanna from the Dike (Fujifilm XT-10, Laowa 9mm f2.8)

Every once in a while, it is stimulating to leave what is familiar and comfortable, and venture into a place where we are challenged to adapt and extend our abilities.

In pursuit of this, some people travel to novel destinations, or take on a new physical challenge.  In photography, this can mean trying a new form of photography or working with new equipment. Recently, my exercise has been to shoot in a very unfamiliar format with the Laowa 9 mm f2.8 ultra wide lens.

We all have our comfort level.  In terms of focal lengths, I tend to work within a range of 35 mm to about 150mm (full frame equivalent).  These days I favor my Fujifilm equipment. So the X100 series 23mm f2 fixed lens( 35 mm field of view), the TCL-100 adapter(50 mm field of view) and the XF 56mm f1.2(roughly 85 mm field of view) get the bulk of my use, with the XF 55-200mm zoom available when required.

Long way to the Outhouse (Fujifilm XT-10, Laowa 9mm f2.8)

A 9 mm lens (13.5 mm field of view) is radically more wide angle than anything I typically shoot.  But I was intrigued by some images I saw online, shot with this Chinese-sourced lens. Curious,  I purchased one from the company website.

Image by Laowa

This is a small lens, smaller than anything I currently have for the Fuji lens mount.  It looks old-fashioned, it is made of metal with a metal lens cap and seems quite sturdy. There is a handy depth of field scale on the aperture ring. It interfaces securely with the Fuji X lens mount.

XT-10 plus Laowa 9mm (Samsunng Galaxy S8)

Setting the aperture and focus are  done manually  as there are no electrical contacts on the mount.  The body must be set to “shoot without a lens” in the menus to allow the set up to work.  One simply sets the shutter speed on “A”, and the light meter will set appropriate exposures on whatever aperture is selected. For the most part, this seems to work pretty well.  Exposure compensation also seems to be usable.

Ultra wide-angle lenses require specific framing if you are to obtain an interesting image.  I had very little experience with their use, so I went online and watched a variety of tutorials.  Pretty much everybody says the same thing:  first, you need to set the aperture fairly tight to maximize your depth the field.  On the lens this wide, at roughly f11, everything from about 1 feet and infinity is in reasonable focus. You need to pick a subject in the foreground and then get extremely, almost uncomfortably close to it. Then need to pay close attention to the background, as this focal length is very inclusive.  If your composition is right, then this should result in an interesting, fairly three-dimensional image.

Rhododendrons in my Yard (Fujifilm XT-10, Laowa 9mm f2.8)

With focal lengths this short, sometimes you have to get very low to the ground or shoot at unusual angles to frame a compelling image, or to exclude something unpleasant-looking.  A tripod is helpful, especially since any small movement of such a wide lens tends to alter significantly perspectives and angles of the seen.

I quickly found that if I could not get sufficiently close to an interesting subject, the resultant image would usually be completely uninteresting and flat. Every once in a while though, you can break the rules, and still end up with an interesting photograph. 

Mike and Dog at Moosic Lake (Fujifilm XT-10, Laowa 9mm f2.8)

This was my first experience with a Chinese made lens.  Both the aperture ring and the focus ring rotated smoothly, and the former had click detents at 2 stop increments. The front element has a hydrophobic coating said to resist water droplets and mist.  The lens however, is not billed as weather-sealed. From the standpoint of built quality  it certainly felt like pretty good value.

Owl at Berger’s (Fujifilm XT-10, Laowa 9mm f2.8)

Image quality was interesting.  This is not a fisheye lens and is designed to be rectilinear.I rarely found the need to set the aperture wider than perhaps f5.6 and found that from there to perhaps f11 the lens is not only very sharp in the center, but acceptably so in the corners. I have very little expectation that a modestly priced, ultra wide lens would be sharp edge to edge.

Scaffolding (Fujifilm XT-10, Laowa 9mm f2.8)

What was surprising was the light fall-off.  There is considerable corner shading even at tighter apertures, though obviously this can be easily corrected in post. I think this is particularly noticeable, because unlike my Fujifilm lenses, the camera has no lens information to use to correct optical aberrations “in camera”. 

I tended to shoot this lens on my XT 10, as the articulating screen of that camera was useful to frame images in some of the unusual angles required for wide angle photography.  I found the best way to deal with focus, was  use the focus peaking feature of the camera, but most of the time to bunch the sparkly bits towards the foreground, to prioritize sharpness there.

I did not shoot people with this lens. An optic this wide tends to do unflattering things to faces, particularly if you are close enough to fill the frame.  And most casual subjects will be uncomfortable with the proximity that the lens requires. Stay tuned, though.

Boat and Chain, Lily Lake (Fujifilm XT-10, Laowa 9mm f2.8)

This brings up what for me at least,  is  a major disadvantage of shooting at this focal length.  In situations where I am not shooting professionally, I am particularly wary of invading of peoples privacy and their property,procedure this for the sake of what is essentially my hobby. 

Particularly in rural areas, when armed with an ultra wide lens, you simply cannot take advantage of every scene.  In a cityscape though, where more interesting subjects are more freely accessible, things get somewhat easier.  Sometimes however, no matter where you are, it may just be impossible physically to get close to a subject or location to the degree the focal length requires.

Foggy Spring Morning, Fountain Lake (Fujifilm XT-10, Laowa 9mm f2.8)

I have been shooting the lens for several weeks.  I’m starting to develop a better sense of what will work with an ultra wide and what will not; my percent of “keepers” is going up.   Now, when I’m opening up a card in Photoshop, I am seeing images that often intrigue me, but don’t look like my previous work.

Which I’m pretty sure was the goal of this exercise.

Corn at Sitko’s Farm (Fujifilm XT-10, XF 60mm f2.4)

Every once in a while, perhaps while out shopping, or at a restaurant, I will encounter an old friend, whose life path has drifted out of my particular orbit. After spending some time catching up, I will be reminded of how much I enjoy their company, and will wonder why we didn’t make more of an effort to keep in touch.

In the last several weeks, I feel it had that sort of an experience with a lens. In particular, the Fujinon XF 60 mm f2.4.

This was one of the 3 original prime lenses introduced with the X Pro 1 in 2012. At the time, it was lauded by some is the sharpest of the trio (the 18 mm f 2.8, the 35mm F1.4, were the other 2 lenses).

I remember my initial impressions were that this was a bitingly sharp lens, noticeably more so than my Nikon primes. In fact, the quality of all of these original lenses probably helped pull me from using my Nikon gear, to shooting mainly with Fuji.

But just like with life, newer things come along, in this case, lenses that are faster and newer, and distract me from an old companion. After a time the 60 mm became lost in the back of my photography cabinet.

Wild Grapes (Fujifilm XT-10, XF 60mm f2.4)

Several weeks ago while on my way out the door to go hiking, I picked up camera bag with my XT-10 body, which I noticed had no lens mounted on it. I opened a cabinet and on a whim, reached blindly to the back of the shelf, determined to utilize the first Fujifilm lens I grabbed. This turned out to be the 60 mm, which I have basically ignored for many years. I mounted it on the camera and have been shooting ever since.

Early Fall on the Old Stage Road (Fujifilm XT-10, XF 60mm f2.4)

To remind you, this is a macro lens, the first in the Fujifilm “XF” line. It is fairly diminutive, compared to for instance the 56 mm f.12. It’s nicely built, with not only a fairly deeply recessed small front element but then a rather large metal lens hood. All of this makes it quite resistant to lens flare as the sun’s rays rarely reach the front element.

Epiphyte (Fujifilm XT-10, XF 60mm f2.4)

Though the lens aperture is tighter than many of the other Fujifilm primes, the lens is quite sharp wide open at F2.4. For those of us that focus on landscape imaging, the modest deficit in light gathering is really not much of an impediment when shooting in the daylight hours. This plus its small size may make it preferable to the newer 56mm for shooting while hiking. If only it had stabilization…

On an APS sensor, the lens has a 90 mm equivalent field of view, which makes it ideal for the sort of late summer early fall photography, available now as it allows you to isolate the sporadic displays of autumnal color beginning to erupt at this time of year. It’s also wonderful to have its macro capabilities for close-ups of wildflowers and the other fall forest offerings.

And boy is it sharp! From f2.8 and above, the lens has incredible definition. Out of focus elements look lovely at f2.4-3.5. Mounted on the XT-10 it balances very nicely, though it is a bit long with the lens hood installed. Still an all, it’s very compact package.

One downside of this optic for outdoor use is that given its magnification, it is prone to artifacts from camera shake. I find that using my steel Gitzo monopod, and good shooting technique, I can get acceptably sharp results without a tripod. You just have to be careful.

Hemlock with old bridge cable (Fujifilm XT-10, XF 60mm f2.4)

I did a search on eBay and found there are a lot of these lenses for sale. I suspect that it is a common lens for Fujifilm users to unload. There is a wide range of price’s but it looks like you could acquire a nice used one for between $US200- $400. There is also a broad range of prices for new lenses of between $US300-$650.

Given my experience, I think I’m going to put this lens back into circulation for outdoor shooting, relying more on the 56 mm f1.2 for street, and indoor work.

If you have one in the back of your cabinet, pull it out. I suspect he will find it is indeed like an old friend.

The Last Red Maple (Fujifilm X 100f, WCL X1oo)

As I have written  almost ad nauseum in the past, the X100 series cameras have become my favorite go-to photographic devices. Small, light and easy to pack they’re just the easiest of my gear to grab without a significant photographic deficit.

The original X100 at 12 megapixels, was perhaps a little light on resolution compared to other gear I used at the time. Given the 16 and and now 24 megapixel  imagers of later models, that is no longer an issue. What is sometimes vexing, is the fixed focal length. The X100’s have been equipped with an extremely high quality 23 mm (35 mm field of view in 35 mm format) lens This focal length, although versatile, does limit one in a variety of situations in both street and landscape photography.

That is why, in 2014, Fujifilm introduced two lens converters to add some flexability to the cameras capabilities. They included the X100 WCL, which applied a 0.8 X conversion factor to the lens, changing the field of view to a 28 mm lens, and the TCL X100 which has a magnification factor of 1.4X, bringing the field of view to a 50 mm equivalent. The links will take you to those original reviews .

Trail Work (Fujifilm X100f, WCL X100)

Of the 2 converters, the more compelling modification is I think the TCL, as 35 mm to 28 mm is  not as big a deal. Of the 2 converters, but TCL is most often mounted on my X100 series cameras.

The  problem with the original converters was that they were dumb. They didn’t communicate with the camera, so it became necessary, when taking them on and off, to go into the menus, and select the appropriate lens setting . That would modify a variety of parameters within the camera both in terms of distortion control, as well as adjusting the frame lines in the optical viewfinder. It would also then report the change to the metadata for the image, so that the focal length used would be recorded.

The other problem was that I was also dumb. I would constantly forget to change the camera settings which  will lead to a distorted image, and incorrect metadata.

At the Grill (Fujifilm X100f, WCL X100)

The mark II version of the converters however take advantage of a new capability in the X100f.  They  can communicate with the camera  so it can set can set itself appropriately.

So when I bought my X100f last spring, I also purchased the Mark II version of the TCL . There have been multiple images published in previous posts using that converter. I have subsequently bought the WCL mark II.

These are apparently optically identical to the already excellent original versions.  They are also indistinguishable in size and appearance from the “Mark I’s”. Multiple reviews online, as well as my own experience suggest  they offer very little, if any degradation in the excellent quality demonstrated by the cameras native lens. And unlike many lens converters, the maximal aperture of f2 does not change when using either device.

Here are 2 images I have taken first with the WCL, and second with the TCL to show the relative difference in the coverage.

WCL X100

TCL X100

Here as an image shot with the native lens for comparison. This was obviously shot on a different day. I cropped it a bit on the bottom compared to the others.

I must say that at least for me, having the converters automatically adjust the camera, means I am using the much more frequently and willing to change them more readily to obtain a shot.

It really increases the flexibility of the X100f. I only wish there was a way to make a modestly priced and sized converter to give us a 75–85 millimeter equivalent. With that option, at F2, there would be even better separation, and background magnification than we already have. I could pretty much sell off a lot of equipment were this available.

I have sold both of my former converters, on eBay, and am happy to report, that they received a lot of attention, and ultimately sold for decent money.

Though it seemed somewhat frivolous, the new communication system between the camera and the lens converters really is useful and for me at least worth a modest difference between the sale price of the old and new converters.

It clearly is another step in making the X100 series among the most compelling and capable cameras I have owned.

Cold Cemetary in Alberts (Fujifilm X100f (TCL X100)

It has been cold in Northeastern Pennsylvania. For us at least, it is very cold.  With high temperatures in the single digits and lows well below zero, this is a stretch of weather quite the opposite of the warm January’s we had over the last 2 years. 

Up on the Pocono Plateau, we have a few inches of light powdery snow, sadly inadequate for cross-country skiing.  Still, in all it’s pretty, and with the cold temperatures, the ice formations in our creeks and streams get rather interesting and complex.  With a snow cover, the scenery is interesting again, and at this depth, it is no impediment to hiking and exploring.

Waiting for Turkeys (Fujifilm X100f)

With this frigid weather has come wind, which makes outdoor activities more challenging.  Anticipating a trip coming up to the even colder Adirondacks, I’m spending time out in the elements to acclimate myself to cold weather sports.  As I get older, this gets more and more difficult.

The forests change in the bitter cold.  A walk in the woods during single-digit temperatures is a quiet one; with little evidence of the chickadees, nuthatches, blue jays, and squirrels one encounters in more normal temperatures.  The squirrels I understand, are probably holed up in their leafy nests, but the location and condition of the birds is more mysterious.  Due to they find shelter?  Are they in torpor?

Ice Fishing at Francis Walter Dam (Fujifilm X100t (TCL X100)

This cold has real consequences for people.   My neighbors live in an even larger Victorian summer home that I do, albeit one that is not as obsessively sealed and insulated as my own.  On such cold days, even with the use of auxiliary coal and wood stoves, they struggle to keep the house in the low 60s.

The Nescopeck is Frozen ( Fujifilm X100f, TCL X100II)

Even though we live in a natural gas producing region, I’m told that with such high demand, the gas suppliers are forced to ration supplies, diverting them from businesses, to homeowners.  This can obviously be quite disruptive. It’s slightly embarrassing to me, that in these times the schools actually stay closed on the coldest days for fear of exposing the little darlings to the winter’s chill.  Whatever happened to “bundling up”?

Glen Summit Chapel in Winter(Fujifilm X100f (TCL X100II)

A friend of mine who runs a heating oil distributor once told me that surprisingly, he actually hates bitter cold times because people who live on the edge financially, run out of money to buy heating oil. This leaves him with a difficult choice: to either extend credit or refuse a delivery.  More often he chooses the former than the latter putting him at financial risk.  These conditions also challenge his service people, who work long hours, doing emergency repairs on poorly maintained heating systems.

Still, in all, this will pass.  Our normal winters have highs in the 30s and lows in the teens, a temperature.  regimen to which we are all more accustomed.  People will still grumble, complain, and pine for spring, while we skiers wait for the Northeaster’s of the later winter to kick start our outdoor winter sports.

Soon the snows will come.

Droplets on Spruce ( Fujifilm X100f, TCL X100II)

I consider myself an interested, if not a keen observer of natural phenomena. For instance,  I have over the last 25 years, kept a diary of snowfall events as measured on my back patio. I maintain 2  weather stations. 

So when I ventured outside on the morning of January 13th, I noticed that something interesting must have happened overnight.

For 2 days before, we had rain, some heavy, with temps in the fifties and even sixties(F) which wiped out the little snow we had. Overnight Friday into Saturday, the cold front passed, which was predicted to provide a period of freezing rain, then sleet, then perhaps a coating of snow.

So I was not surprised that Saturday morning, to find the yard white again.

It was in the single digits when I went out to clear the walks, and defrost my truck. I was not surprised to see an icy veil over the tree branches and pine boughs.  As I took in the lovely morning, I noticed that something looked different.

Droplets on Pine ( Fujifilm X100f, TCL X100II)

The bright morning sun filtered through the icy foliage looked extremely specular, an unfamiliar appearance to me

On closer inspection of the branches, I noticed not the uniform coating of ice that is the usual result of freezing rain. Rather instead, there were individual droplets of water, like crystal beads, on bare branches and evergreens alike.

This is why it looked unusual, for I was observing each tiny droplet as a tiny point of refracted light. The effect was quite stunning.

Droplets on Scrub Oak ( Fujifilm X100f, TCL X100II)

My community exists at between about 1650-2000 feet on the western edge of the Pocono plateau. the icing event occurred from about 1700 ft and above, with no icing below 1600 ft.

So what happened? I went to my online weather station which is located at around 1900 ft.

First, let me say that the sensor on this station is sheltered from the wind (as is most of my property) A 35 mph gust is impressive indeed and really emphasizes the strength of this front. Note that the temperature late Friday drops rapidly from almost 60 degrees (f) to just above freezing for a period of time and then plunges to the mid “teens” in just over an hour.

  To form this ice pattern, I suspect it continued to rain with the temperature just above freezing, and then stopped during the final plunge. Sleet, and finally snow would have come in as, or just after the front had passed. And the droplets from the rain were in fact “flash frozen” by the unusually abrupt drop in temperature.

It’s admittedly a small thing, a slight deviation in our usual weather patterns. But as a photographer, it created a tangible difference in the appearance of a small portion of our natural world. One perhaps that can be anticipated in the future.

 So why do I feel like such a geek?

Snow on Balsam (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

Your choice of camera often influences the way you use lenses; particularly in the Fujifilm camera universe.  Though the SLR-like bodies such as the XT-2, and XT-20 are very popular, I came into the X series by shooting their rangefinder styled products, and for the most part, continue to do so.

My main interchangeable lens body is an X Pro 2 (which I use along with my X100f). To me, going back to the M series Leica film cameras, rangefinder-type bodies like the X Pro 2 are shot with prime lenses which tend to perform better anyway. Thus my XF zooms have tended to languish at the back of the cabinet.

Harvesting Ice (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

 Several weeks ago I was traveling to the Adirondacks, and selecting the photo gear that I would bring along.  Years ago I would pack 2 or 3 bodies (Fuji and Nikon), and several bags of lenses.  Maybe because I have been photographing there so long, and perhaps in my dotage, I’m getting a bit lazy. My tendency now is to streamline things a bit with perhaps 1 or 2 small camera bags.  Along with the X100, I will usually bring the X Pro 2 with several prime lenses, perhaps the 14 mm, the 56mm, and a 90 mm.  This works out fairly well given that the X100 has a fixed 23 mm lens.

Forest near Turtle Pond (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

One complaint I have about the XF lenses is that the lens pouches are virtually identical, without any exterior labels to indicate the lens within.  It’s thus easy to grab the wrong lens.  Rather than the 14 mm lens I was looking for, I found that I had pulled out the 18– 55-millimeter zoom which has similar bulk.  I hadn’t used the lens in some time so I thought: What the hell, let’s give it a try with the bigger sensor of the X Pro 2  and see how it holds up from an image quality standpoint.

In the “Dacks” I shot the lens and liked what I saw.  So I left it on the X Pro 2 for the next several weeks after returning home.

The Wall Crumbles (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

In photo workshops when I am teaching beginners, I’m a big proponent of prime lenses.  This is not only because their image quality tends to be superior (especially for the price).  I also think it’s important for people to understand and then characteristics of individual focal lengths to their photography

Ice Fishing on Lake Francis (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

If they do utilize a zoom, I suggest that they avoid the habit of zooming to frame an image, and instead treat the lens like a collection of primes.  I have had to remind myself to do the same.  With the zoom mounted, I look at the scene and determine what focal length would be desirable in terms of foreground/background relationship and depth of field.  I then choose a focal length.  Putting my eye in the viewfinder.  I can then step backward or forward when possible to adjust the framing. That’s a lot easier than changing lenses constantly.

Comfortable Dog (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

Another issue I have had with the X Pro 2 is camera shake.  Perhaps I have been spoiled by the very soft leaf shutter of the X100 series.  I find that I get a fair number of images with the X Pro 2 and it’s more robust shutter action, where there has been movement artifact.  The image stabilization in the little 18-55mm is a big help with this, noticeably reducing the problem.

I have forgotten how nice the image quality is.  Used as I am to some of the high-quality lenses in the Fujinon line, I am delighted with the look of images shot with this modest lens.  It’s got good contrast and handles the 24-megapixel sensor of the newer cameras with ease.  It’s capable of obtaining lovely detailed 3-dimensional images, although at the 18 mm end, it  is slightly soft until it’s stopped down.  And like all of the XF lenses it has a solid feel and lovely built quality.

In the weeks since returning home, we’ve seen a variety of weather here in Northeastern Pennsylvania, including bitter cold,  then a sudden thaw that led to severe ice damming and flooding on the Susquehanna River in the Wyoming Valley.  The residual of this has been bank ice of a size and volume I’ve never seen before.

Bank Ice on the Susquehanna (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

Now, in the mountains, a  winter snowpack is finally building, which for us more and more, seems to be a February/March event.

There was even some snow at Nescopeck State Park for their Winterfest event, something we haven’t seen in some time.  It was fun to see the sled dogs finally get to pull their sled.

People and Dogs (Fujifilm X Pro 2, XF 18-55mm f2.8-4)

I’m aware that there are better short zooms in the XF series lineup, including the 16-55mm f2.8, which is said to be very sharp indeed.  Unfortunately is quite a bit larger and heavier (though it is weather resistant) and has no optical stabilization.  And at $1100, it’s significantly more expensive than the $700 18-55.  And there isn’t an image I have shot over the last several weeks that makes me pine for a more exotic lens.  If I need more sharpness, I will go back to the primes.

I forgot how much I like this little lens.  Like the 60 mm f2.4 I wrote about here, I’m moving it to the front of the cabinet.