Fujifilm X Pro2 Resources

I thought it would be helpful to share some of the things I have found useful for the X Pro2 user, some of which is gear, some hints and tips and so on.

In many ways this is my own personal page with links to tips and best prices or kit that I use myself, so it will stay updated and may change also.

Disclosure: Please note that some of the links below are affiliate links and I will earn a commission if you purchase through those links (at no extra cost to you). These are all things that I have experience with that I am recommending because they are helpful and are companies that I trust, not because of the commissions that I may earn from you using these products. Please do not spend money unless you feel it’s for something you really need and will help you.

Articles:

Previewing detail in the field 

I personally find this useful as I need to wear reading glasses for close up work, so reviewing the back of the screen means needing to put on my reading glasses. Instead I use the eye finder which is corrected with the diopter adjustment on the Fujifilm X Pro2.

Using the Fuji X Pro2 OVF and XF 100-400mm for Birds in Flight

I did try tracking birds in flight, but I was using the Electronic viewfinder and with the length and limited view of the sky between the trees I kept loosing the birds in the EVF

Time for another go...

Insurance for Freelance News Gatherers

Rory Peck Trust have a fantastic list of insurers for freelancers, especially for those working in high-risk, conflict situations.

Although many photographers may have their camera equipment listed on home content insurance or have business insurance it can come as quite a shock to find riots or unrest invalidates your claim when you have actively gone to cover the said event as part of your job!

It's always in the small print...

Check out the list here


Photography in General

Books to Read

    • Photojournalism: The Professionals’ Approach: (6th edition) blends insightful interviews with professionals, practical experience, current equipment and camera technology, and high-impact photographs to create the definitive book on photojournalism. The DVD features footage of working professionals handling on-the-job challenges. An invaluable guide to the aspiring photojournalist. Kenneth Kobre
    • They Must be Represented: Gender and the Rhetoric of History in American Political Documentaries (Haymarket)examines documentary in print, photography, television and film from the 1930s through the 1980s, using the lens of recent film theory as well as scholarship on race, class and gender emerging from the new interdisciplinary approach of American cultural studies. Paula Rabinowitz
    • My Brothers Keeper: Documentary Photographers and Human Rights My Brothers Keeper brings together the work of 20 of the worlds greatest documentary photographers, authors and journalists, among them Lewis Hine, Sebastião Salgado, Eugene Smith and Tom Stoddart to name a few. Each is presented by an introductory text and a selection of photographs conveying the sense and lasting value of their timeless and important reports.
    • John Blakemore’s Black and White Photography Workshop This is the book for film aficionados, this is not just a practical guide on how to develop film and make a print, but also about photographers style, camera strategy and seeing by one of the foremost UK practitioners. However it is still highly valid for those working in digital as gaining the correct exposure, adjusting it for digital print follows the same steps and theory and is invaluable understanding if you are wanting to take control of your photography instead of letting the camera decide. OK so i’ll fess up; Professor John Blakemore was also one of my lecturers at university too (he doesn’t like being called Professor either) but I do have the book and still read it as well and  often bump into him around the city, at art galleries etc. Top bloke!

    Click titles to above to buy on Amazon UK!


    The Gear 

    Basic Set Up

    This is my basic set up for general walking around, landscapes, street photography, documentary photography, photojournalism and reportage and the basis for any commercial and portrait work

    The Fujifilm X Pro2.  I use and carry 2 bodies, normally fitted with the wide angle Fujifilm 16mm f1.4 the other with Fujifilm 90mm f2.0 (if traveling or on a long assignment I will take a third body as additional backup) These two lenses give me a wide range of angles and are quickly at hand. The Fujifilm 16mm f1.4 is an incredible lens, fast for low light situations yet can still trow a distracting background out of focus when needed and still runs the other end for giving depth of field. It is also a close focus macro lens and ideal for showing small details while rendering the objects background. The 90mm has a good reach and fast at f2.0, its a work horse of a lens. Both lenses are weather sealed as are the bodies

    I also carry the Fujifilm 35mm f2.0  as its a discrete small lens and is useful for such situations as well as street photography, reportage and documentary photography. The lens has a small front element and is ideal for poking through gaps in fences for an undistorted view and like the bodies is also wether sealed.

    A flash sync cable and a Fujifilm EF-42 TTL Flash is always carried with some Rouge Flash gels to correct/balance the colour of mixed light and a diffuser/modifier, Rouge Snoot and Grids for creative lighting on the run and a flash trigger set

    Commercial work

    For commercial work, I add the Fujifilm 56mm f1.2 APD (mostly for portraits, occasionally landscapes) and the Fujifilm 23mm f1.4 (environmental portraits)

    Then there is the monster Fujifilm 100-400mm f4.5-5.6 and the Fujifilm 1.4X teleconverter for hard news and photojournalism or reportage type of events where it is not possible to get close enough

    The Fujifilm 18-55mm f2.8-4 also makes out, as its a good walk about lens for when I am location scouting or as a backup. I also attach it to another body when using the Fujifilm 100-400 to cover any eventualities up close

    Camera Bag

    For me there are three things a camera bag should let me do

    1. be able to run, climb or crawl with my gear. In the past I have had to climb trees, go down tight tunnels dragging my bag behind me, as well as climb panel fences, barbed wire, razor wire, walls and rocks. Although running with a camera bag is not a recognised sport (yet) there are times I have had to run from protesters, police charges, cars, and an angry dog!
    2. be compact enough that it can fit on my lap easily on public transport or get in the way in tight spots like a shopping isle without knocking all the contents of the shelves.
    3. not look like a camera bag, or at least be disguised from being one when needed

    The two bodies, flash gear the 16mm, 35mm and 90mm and a lot of batteries travel in my 1901 Fotografi RF Bag and I use the camera straps from the same company. 

    This bag is small enough to fit inside a 35 lt hiking/climbing rucksack and lets me to work out of the top of the rucksack (hiking/camping gear bellow it) by folding the flap back and it keeps my photography gear organised and accessible.  It also fits in to medium sized dry bag for crossing rivers, travelling on boats or keeping insects out etc. It is easy to run with as it tucks under my arm like a rugby ball and is also good for keeping the bag secure on a rush hour commute.

    The bag is a genius design that hods a considerable amount of gear for its size and is easy to work out of in a silent manner which is really important to me for the work I do.  

    In fact the bag is so compact it will fit into a 10p carrier bag (reusable type) that I store in the bag for when I need to work in a low profile manner or need to travel through areas of high crime. Again I can just fold the flap back and work out of the "carrier bag" and also tucks under most car seats out of sight and out of the way on long journeys!


     

    Here are some links to the gear I personally use: