Fear not, I am still alive! A few months ago I started a YouTube channel, youtube.com/wflbc. I’m 19 videos into the world of filmmaking and I am hopelessly addicted.
It’s a lot of the same things you’re used to seeing here.
Food stuff (trust me, there’s food in this one)
Everything WFLBC has always been about, now with 100% more Scott’s face! I mean, who isn’t on board with that?!
I would love it if you’d subscribe to my channel and/or give some of my videos a like. It helps the channel grow and pushes my videos up the search results. I will be posting here as well. Brief overviews of my weekly video with an imbedded link so you can watch them here if YouTube isn’t your jam.
Stay tuned for more content, I post 1 video per week. This week I went underwear shopping. Not the most glamourous video but it was fun to make.
The X-Pro2 is the first X series camera to feature Fujifilm’s new 24.3 megapixel X Trans sensor. That’s a decent jump from the 16.1 megapixels of previous X series bodies. Coming 4 years after the original and revolutionary X-Pro1, the X-Pro2 is every bit the flagship camera Fuji X shooters have been waiting for.
This camera is gorgeous. It has a classic rangefinder look reminiscent of 1960’s Leica’s. As with all other X Series cameras that beauty is more than skin deep. The X Trans sensor is superb, offering outstanding detail and rich colours. The increased resolution gives you the ability to crop a bit more than you could with the old sensor.
Low light performance is good up to ISO 6400 and very usable up to ISO 12800. The mechanical shutter is good for 1/8000th of a second, up from 1/4000th on the X-T1/X-T10. The electronic shutter remains unchanged at a top speed of 1/32000th. It’s great for stealthy street shooting.
Auto focus points are WAY up, to 273, all of which are accessible. Wide tracking autofocus is significantly improved and the burst rate of 8 frames per second makes the X-Pro2 a real option for things like motorsports. My X-T10 handled a Formula 1 race with ease but the X-Pro2 would’ve been that much better. Time to plan for next year.
The hybrid viewfinder is as cool as it gets. If you long for the days of film but need the information of a modern camera you will love the optical viewfinder (OVF). If you need to see exactly what you’re shooting you will love the electronic viewfinder (EVF). I shoot mostly with the EVF, its ultra fast refresh rate and high resolution work better for me but the OVF saw some duty with the XF27mm f/2.8 during some street shooting sessions. Of note for people who wear glasses while shooting, if they’re polarized sunglasses all you’ll see is a black EVF or rear screen when shooting landscape. I don’t get this with my X-T10 and it’s a bit frustrating.
The controls ore excellent and you have 6 programmable buttons to personalize. the shutter speed and ISO dials are stacked like on old 35mm film camera and I absolutely love it that way. So many reviewers/photographers have complained about this setup and some have questioned its longevity. My 1960’s era Pentax SP1000 35mm SLR has an almost identical setup and it works perfectly.
There’s a new joystick for selecting autofocus points. It’s placed within reach of your right thumb and is a great addition that will hopefully make its way to other X Series cameras. My only beef, and it’s a very small one, is that when carrying the X-Pro2 with a shoulder strap and leaving the cameras powered on between shoots it can easily move you focus point by rubbing up against you while walking.
Shooting with the X-Pro2 is so rewarding. Every button, every click, every shutter actuation sounds beautiful. The images are sublime, as X shooters have come to expect, and Fujifilm’s legendary film simulations look better than ever and the new Acros simulation is downright mesmerizing.
The semi-matte finish and magnesium body ensure this thing will last and age nicely. With weather sealing to keep dust and water out you will be shooting with the X-Pro2 for years to come. The diopter is new and improved, with a bigger dial which is easier to handle and less likely to be adjusted in you camera bag.
There are dual card slots under a weather sealed door that has moved from the battery compartment to the side of the body. Shoot raw and JPEG simultaneously, use one for video and one for stills, whatever makes you happy. I’m not a video guy but the 1080 60p is better than previous Fujifilm efforts. If you want 4K you’ll want to wait for the X-T2.
Overall the X-Pro2 is an outstanding camera. Good looking, solid performer, great images, extensive Fuji glass to suit every photographer. But that can be said about lots of cameras from every manufacturer. The difference with the Fujifilm X-Pro2 is something that isn’t technical, it’s a feeling. The X-Pro2 makes me want to use it. It makes me want to flex my creative muscles, it’s makes me feel like an artist as opposed to just some guy with a fancy camera.
If you’re an X Series shooter, and want to upgrade your gear, the X-Pro2 will not disappoint.
When I got my first Fujifilm X Series camera, an X-A1 I received as a birthday gift, a lot of my photography friends wondered why I wanted a Fujifilm camera. Why not a DSLR or a micro four thirds camera they asked. Surely the lens selection for those choices were far more extensive. At the time they were right, but there was something about the look of the all black X-A1 that made me ignore their advice and dive into a relatively new system. Looks are probably a shallow reason to buy a camera (hello Leica shooters!) but the X-A1 was more than just a retro toy, it produced stunning images.
Fast forward a couple of years and the Fujifilm X Series has grown to be a formidable player in the world of photography. The lens lineup is outstanding and the recently released X-Pro 2 (review coming soon) and the upcoming X-T2 and X-A3 have pushed the apsc sensor mirrorless X Series to a whole new level. The biggest hole in the lens lineup was a super telephoto for sports and wildlife photography. The XF100-400mm F/4.5-5.6 R LM OIS WR (that’s a long name) has addressed this need and Fujifilm Canada was kind enough to lend me one to take on a recent Alberta road trip.
I paired it up with the X-Pro 2, also loaned to me by Fujifilm, and my trusty X-T10. I took it to some great destinations including Mount Robson, Drumheller, Dinosaur Provincial Park, Banff National Park, and Lake Louise. The full frame equivalent focal length works out to 152-609mm on the apsc sensor. It’s the longest lens in Fuji’s arsenal, the next closest being the XC50-230mm F/4.5-6.7 OIS II. The optical image stabilization (OIS) is said to provide 5 stops of stabilization meaning you can shoot handheld at longer shutter speeds. It works great, even at 400mm.
Paired with the X-Pro 2 it’s a bit of an awkward match up. The hybrid viewfinder is pointless past 50mm but the electronic viewfinder is fantastic. It’s ultra fast refresh rate and high resolution make shooting with this super zoom a breeze. The X-T10 is a better match for this lens with its SLR style centre EVF. The upcoming X-T2 with its battery grip will be the best thing to pair with this lens. The OIS tends to eat up batteries and the X-T2’s extended battery life would make a day out in the woods a little more bearable.
Speaking of bears, I only saw one on my trip and it was running away from me. I suppose that’s not a bad thing. I managed to find a moose, magpies, ravens, chipmunks, mountain sheep, and lots of mosquitoes. Shooting wildlife with this lens is a delight. Autofocus is quick and accurate, colour and sharpness are great, and mechanically everything feels solid and well built.
You can set focus from 5 meters to infinity to help with auto focus speed for far away subjects or set it for the the full range if need be. There’s a manual aperture ring and a switch on the lens to switch to auto aperture. The focus and zoom rings offer nice resistance and are covered in ridged rubber for extra grip. There’s a removable tripod mount which can be positioned at any angle and locked into place with a set screw.
The WR stands for Weather Resistant so you can shoot in the rain or snow as long as you’re paired up with a WR body (X-Pro2, X-T1, X-T2)
Tracking autofocus is decent when used with the X-Pro2 or the X-T10. I would’ve liked to try some sports photography with this lens but I simply ran out of time. I was able to get some action shots of a few Bald Eagles soaring above Two Jack Lake though.
There is one weird quirk I noticed during post processing. At 400mm the JPEG images come out a bit sharper/better than the raw files. Fujifilm is known for excellent JPEG files but I still would’ve expected the raw results to be the better of the 2, even if only marginally. In all honesty the majority of my workflow is still JPEG with Fujifilm, they’re that good.
Fujifilm has become a real option for professionals looking to move away from bulky DSLR gear and the ever growing lens lineup can only help that trend.
This is a lens I will be adding to my camera bag in the very near future. It is a bit large and heavy for a mirrorless system but compared to an equivalent Canon or Nikon lens it’s quite compact.
Watch for my upcoming review of the X-Pro2, possibly the sexiest camera I’ve ever used.
I don’t like the word “Powershot.” When I hear that word I picture a $99 pocket sized point and shoot that can’t compete with your everyday smartphone camera. I mention this because the Canon Powershot G5 X is not a cheap, pointless point and shoot. It is a heavily featured camera with specs aimed at the semi-serious photography enthusiast. Just call it the “Canon G5 X” and ditch powershot for all but the bargain basement models.
The G5 X is smaller than it looks. I don’t have the biggest hands and it felt very small to me. Within that small frame the G5 X is feature packed. Large 1 inch sensor with 20.2 megapixels, 24-100mm equivalent f1.8-2.8 lens, 1080p 60fps video, image stabilization, multi angle LCD touchscreen with touch shutter. high resolution electronic viewfinder, wifi, and much more.
The lens is fast and sharp at all focal lengths and manages decent shallow depth of field with good looking bokeh, something that other 1 inch sensor cameras struggle with. The G5 X offers a background defocus feature but it looks artificial at best and you don’t really need it.
Built in image stabilization allows some fairly low shutter speeds in lower light without needing to crank up the ISO value. That being said ISO speeds up to 1600 were very usable despite the 1 inch sensor. I found the G5 X had better ISO performance than the Panasonic Lumix LX-100 and its larger micro 4/3″ sensor. It’s nowhere near APSC or Full Frame ISO performance but it was surprisingly good.
Macro shooting with the G5 X was a delight. Canon lists the close focusing distance at 2 inches (5cm) but I managed to get a bit closer with manual focus. Other than dedicated macro lenses I still think smartphones are hard to beat for shooting up close although you get shallower focus area with the lager sensor in the Canon.
Metering in tough lighting conditions is a breeze with the G5 X. It handles backlit conditions very well. you can half press on your desired exposure, recompose, and shoot. Auto mode is decent too if you need to hand the camera off to someone to take a shot for you.
For all of my food photography pals out there the G5 X is a nice little alternative to your big gear or smartphone. It shoots RAW as well as lovely jpeg files that require little editing. Transfer the images to your smartphone via the Canon app and upload to your favourite social media site for everyone to see.
The RAW files are as good as you’d expect from a company that’s been making cameras as long as Canon. Not much else to add really, they’re great.
The control layout of the G5 X will appeal to the control freak in all of you. There are customizable dials and buttons all over the place including a control ring around the lens, perfect for aperture or zoom control. The controls were my biggest source of frustration despite the excellent dials and front ring. The buttons on the rear, especially the menu button the the wheel around the D pad, were too easy to accidentally push with the base of my thumb while shooting.
Battery life was better than expected although the battery indicator is typical small camera terrible. It stays at a full 3 bars for quite some time then drops to 2 bars for what felt like 25 shots, then 1 bar for even fewer shots, then dead. Why is it so hard for camera makers, not just Canon, to use a percentage based battery indicator?
My rangefinder obsession continues undiminished. My Minolta Hi-Matic 7s is one I’ve had for quite a while but I just got around to putting a roll through it. I chose Ilford Delta 400 Professional black and white negative film, my first time shooting with it. First time camera with first time film produced some interesting results.
The Hi-Matic 7s was produced in 1966 as a replacement to the Hi-Matic 7. The only real difference was the addition of a hot shoe. It has a Rokkor 45mm f/1.8 lens that stops down to f/22. Shutter speeds go from bulb up to 1/500th of a second, not the fastest but that’s not really what this camera is about. The meter in my example doesn’t work so I shot everything using the “Sunny Sixteen” rule with varying success.
The Rokkor glass is very sexy. Great contrast, sharp in the center only falling off a bit wide open. The viewfinder patch and frame lines are bright and the finders parallax correction is decent from 6 feet to infinity. Closer than 6 feet is a bit off, something that I’ll be able to anticipate on my next roll. The film advance lever has the longest throw I’ve ever come across which takes some time to master. it’s easy enough to operate but it’s hard to move though a single frame in one motion.
It’s a bit of a brick. Heavy, not super portable, but still smaller than SLR’s of a similar vintage. I picked mine up on Ebay from a vintage camera seller in Japan. Other than the meter it’s perfect and I got it for $50 including shipping. I did manage to shoot some nice shots of the inside of my lens caps too as rangefinders don’t look though the lens like an SLR. I’m sure it won’t be the last time.
Film is not dead! Don’t let your old cameras collect dust in the attic. Go get them, clean them up, get some film, and create art!
When I want to review a camera but the manufacturer plays the “someone will contact you shortly” game… I buy the camera myself. The Panasonic Lumix LX-100 has been on my radar for some time. 4K video, 12.8mp micro four thirds sensor, fast Leica glass. All the ingredients for a great little camera. Do the specs add up? Let’s find out.
Let’s start with 4K video. I’m not a video guy but this thing is seriously impressive given it’s small size. 30 frames per second might not be enough for the hardcore videographers out there but this camera isn’t aimed at them. Sadly my video skills are abysmal so I’ll post something dug up from YouTube in place of my kid playing indoor soccer.
Video = good, but how does the LX-100 fair as a still camera? It’s bigger than the Sony RX100 IV but it has a larger micro 4/3 sensor, larger than the Sony’s 1″ sensor. It fits in a coat pocket but it’s a bit big to tuck into your Levis. Full manual controls with dedicated dials for shutter speed, exposure compensation, and an aperture ring on the lens. The Lieca DC Vario-Summilux lens is fast and sharp. Its 10.9-34mm focal length (25-74mm full frame equivalent) and f/1.7-2.8 aperture are a good combo.
Colour and contrast are are good in most light as long as you don’t push ISO above 1600. Higher ISO’s produce a strange yellow/orange hue. This is my first micro 4/3 experience and I was hoping for better ISO flexibility. That being said the built in image stabilization made hand holding longer shutter speeds a good option.
Low light performance is just ok. Noise is controllable as long as you stay under ISO 1600, ISO 800 and under are strongly recommended. Auto-focus in low light is truly terrible (sorry Panasonic) and often results in complete failure. Manual focusing is a good alternative. It utilizes a zoomed in area and focus peaking in the center of the frame.
The Leica glass is impressive. Edge to edge sharpness is good wide open and gets better as the lens is stopped down. At f/1.7 you can get acceptable shallow depth of field but the bokeh is kind of blah. It almost looks like smartphone bokeh.
Macro shooting is good but again auto-focus drops the ball. To focus on close subjects you have to use manual focus. Pretty typical for close focusing though and not a bad thing.
There are some creative filters you can shoot with but they’re mostly garbage. The only one I found useful was high contrast black and white. After shooting with Fujifilm’s film simulations other creative filters are always disappointing. Let this be a lesson, don’t shoot with filters because they suck.
Long exposures look good aside from some weird lines in the starbursts around lights. Noise is well controlled and the menu and dials are easy to navigate to get the perfect long exposure.
For all of you food instagrammers the LX-100 is a great choice. Small, discreet, good colour, rich detail, shallow depth of field wide open. Food photography is where this little camera shines.
The odd thing about the LX-100 is that it has a twin. The Leica D-Lux Type 109. It’s almost identical inside and out. The LX-100 has a nice grip and thumb rest where the D-Lux is smooth and minimalist but other than that? The LX-100 costs $800-$1000+ CAD where the Leica is $1599 CAD. I can’t imagine the Leica being worth the extra cash.
So who’s the Lumix LX-100 for? It’s perfect for the hobby/enthusiast photographer looking to take their images and video to the next level. It combines great video with good image quality and packs it into a small, well built camera with a premium feel and look that will appeal to the fashion conscious. It doesn’t quite hold up if you’re a serios shooter looking for a pocket/travel camera. It’s close but it’s not quite there.
My pals at The Nine O’Clock Gun Company are having a one day pop up shop on May 7th (10am – 6pm) at 4368 Main St in Vancouver. There will be a limited number of Dugout VIP passes for sale that include a limited edition beer from Fuggles & Warlock Craftworks.
From their website –
On May 7 – we will be launching The Fielder’s Caps Collection in 4 styles including kids and performance mesh.
The Dugout VIP Pass entitles you see and reserve one of our Fielder’s Caps before anyone else even sees the new designs. You choose any hat and it will be packaged especially for you to pick up at the event.
Each VIP Pass comes with a limited edition bottle of Cannon IPA by Fuggles and Warlock Craftworks….
Plus one ticket to our annual night out at the Vancouver Canadians game on August 17th!
VIP passes go one sale today (April 2nd). Prebuys for pickup at the event go on sale May 1st. I’ll be on site snapping pictures and maybe drinking beer… Passes and prebuys can be found on the Nine O’clock Gun website.
January saw 3 new cameras and a new lens added to the Fujifilm X series lineup. All of them were given extensive coverage and praise by many outlets, all except one. The X-E2s is an updated version of the X-E2 where as everything else was essentially brand new. Sure, the X-Pro1 and X-Pro2 look very similar but they’re so far apart in terms of performance it’s hard to see the 2 as a simple upgrade.
I owned the original X-E1 but decided to pick up an X-T10 instead of the X-E2 due to a few performance differences. The X-E2s gives you everything the X-T10 has in a sexy rangefinder style body. The grip, top plate, and buttons have been slightly restyled from the X-E2 and they are noticeable but not life changing upgrades. With the firmware 4.0 upgrade current X-E2 owners get all the internal upgrades (electronic shutter, better AF etc.) for free.
If you’re a Fujiflim X series shooter you’ll feel right at home with the X-E2s. The image quality is on par with the rest of the lineup and its firmware brings usability up to the same level as well. The only thing I missed when switching between the X-T10 and the X-E2s is the front control dial/button. It’s useful when shooting in manual mode and when doing long exposure work when using lenses without a manual aperture ring. Is it a deal breaker? Not really. The X-E2s is slightly smaller than the X-T10 and that is important in some situations.
Price wise the X-E2s sits in the middle of the pack (excluding the X-Pro2) at $899 body only. That’s the same as the X-T10, $100 more than the X-E2 which is on sale until March 31st and still readily available, and $450 less than the weather sealed X-T1. The entry level X-M1 ($549 body only) and X-A2 ($549 with the 16-55mm OIS II lens) occupy the bottom end of the lineup but are crazy bargains given the image quality they produce.
All images shown here were shot with the X-E2s and various X Series lenses except the product shot, that was an LG G4. Out of camera jpegs are outstanding and the latest film simulations are all there minus X-Pro2 exclusive Acros black and white. These aren’t filters, they are simulations of classic film stock right down to the grain and they’re fantastic to shoot with.
Should you buy an X-E2s over an X-T10 or an X-E2? That’s a difficult question to answer. The X-T10 offers slightly more functionality with its extra buttons and tilting screen. The X-E2 offers a lower price with identical specs. The X-E2s does improve the feel of the rear controls over the X-E2 and the grip is more comfortable. I would guess the X-E2 won’t be available for much longer so keep an eye out for price drops and clearance sales. If you like the rangefinder style body and can live with fewer buttons get the X-E2s. If you like the SLR-ish look of the X-T10 you won’t regret buying it either. It really is a question of style, not substance.
Thanks to Fujifilm Canada for letting me test this camera and share my thoughts. I’ll be reviewing the Fujifilm Instax Share SP-1 instant photo printer in an upcoming post. Follow me on Twitter, Instagram, and Facebook to see what I’m up to and what gear I’m using. You can subscribe to this blog or share it via the buttons below. Click some, you know you want to.
A few weeks ago Fujifilm Canada sent me a brand new X-E2s to review. As a current X Series owner I have a few lenses already but Fujifilm asked what lens I wanted to test with the new body. My first choice was the XF 35mm f/2 WR but all the test units were being used so they sent me my second choice, the XF 60mm f/2.4 Macro.
Macro photography is something I know very little about but I love the results. A friend of mine does amazing work with insects, check out his work at macromundo.org. I did a bit of macro shooting along with some street photography and short telephoto shots. The f/2.4 aperture is fast, produces decent bokeh and the 90mm full frame equivalent works well for portraits. It’s a bit too long of a lens for everyday shooting though.
Handheld results are decent considering this lens doesn’t have image stabilization. Shooting in aperture priority yields the best results.
This lens gives very shallow depth of field for macro shots which is typical. Manual focusing using focus peaking works very well, auto-focus is a different story. This is one of the original XF lenses and it’s showing its age a bit. Auto-focus is slow in most situations, especially during macro shooting. In decent light it’s fast enough and in low light it does well if there’s some contrast to work with. If you need to shoot moving subjects you’ll want to shop around a bit.
It’s tack sharp, only falling off a bit at the edges between f/4 and f/2.8, and produces great colour in combination with Fujifilm’s unique X-trans sensor.
On the street this lens is great for picking out interesting details and lighting in architecture. Every shot in this post is a jpeg straight from the camera with no editing. The results are consistently good, something Fujifilm X Series shooters have come to expect from the entire range.
As a telephoto lens the 90mm full frame equivalent focal length is a bit awkward. It never seems right, either a little too close or not close enough. It’s very sharp stopped down a bit and again the colours are great.
I’ll be sending this lens back to Fujifilm soon and I’ll definitely miss it. Macro shooting is a whole new world to me. I can see this lens making it into my lineup at some point. Thanks to Fujifilm Canada for sending it my way.
Back in September of 2013 I ordered a hat from a start up in Vancouver called the Nine O’clock Gun Company. The hat was a tribute to the Vancouver Beavers, a baseball team that played in the Northwest League in the early 20th century.
I wore that hat everywhere and everyone wanted to know what it was and where I got it. I took selfies with my hat, I hate selfies.
I took my hat to sporting events.
I wore it until it was completely trashed. I’ve never had a hat last as long as my beloved Beavers hat. Sadly I had to retire it early this year. Last month the fine folks at Nine O’clock Gun Co. reached out to me to do a give away. They let me pick any hat in their collection to replace my Beavers lid, and I picked the 1911 Vancouver Lacrosse Club hat. I played lacrosse growing up and I still beleive it is the best game on earth.
Now you can have Nine O’clock Gun Co. hat of your very own! Simply follow @wflbc on Instagram and LIKE THIS PICTURE to enter. A winner will be chosen at random Friday, April 10th and that lucky person can pick their favourite hat from the NOGC line up!
Thanks to the boys at Nine O’clock Gun Co. for the hat, it’s perfect!