Hey there! So, I recently discovered this amazing RU-vid channel that focuses on fine art photography, fine art printing, and gear reviews. The channel features stunning images captured by the host, who is a talented fine art photographer.
They provide in-depth tutorials on various aspects of fine art photography, such as composition, lighting, and post-processing techniques. Additionally, they offer tips on how to select the right printing paper and settings to achieve the best results for fine art prints.
One of the things I love about this channel is the gear reviews. The host gives honest opinions on the latest cameras, lenses, and accessories for fine art photography. They also share their personal recommendations and experiences with different equipment.
Overall, this RU-vid channel is a must-watch for anyone interested in fine art photography. It's both informative and inspiring, and I can't recommend it enough to fellow photography enthusiasts!
yes! getting to use those super fast shutter speeds is definitely a factor for producing sharp images! I have had to dial my iso down a bit here in sunny CA!
not sure if the translation is correct but I just want to point out that all my equipment is bought by me and used by me and I am simply passing on my own experience with the equipment.
Hello Paul. Do you often use flash? Your results are quite predictable. I noticed that I completely stopped using additional lighting. I have two inexpensive Fuji 42 TTL flashes. I feel so sorry for them, now they are just gathering dust. Previously, I made such a reflector from a children's souvenir umbrella for $2, and lined the inside with white thick fabric. The flash was directed at the umbrella, the reflected umbrella onto the object. The shadows were minimal. (Google Transletter) Eduard.
I'd call it a dome but that's just me. Thanks for the review. I dismissed the flash when I saw it first appear but the dome looks like it might be useful for lighting individuals in pub music sessions (in our dimly-lit Irish pubs).
dome it is! the flash is great, I guess there are cheaper solutions that do the same (but simply dont look half as cool) and yes I think the dome will probably see the most use for me. the silver reflector adds oomph and the soft box will come in handy if I dont have the big packs around (although I doubt it will put out enough light in those situations ?) again, the best thing is to have the tools available and not taking up a lot of room.
@@paulschefz Yep, I've been avoiding speedlight type flashes as even with bounce cards I don't like them. My portable studio flashes are way to big to be discreet with their attachments. This one might do the trick! Worth a spin anyway :)
@@trollfiddler same here, I use flash a lot but have always avoided small portable (handheld) units. not that this one is that different or does anything magical but the size, power, overall package and system seems to work well for me. I am using it more and more.
I can't tell since I don't have that lens. what is interesting to me and why I compared it to the AstrHori 75 f4 is that both lenses show similar issues/drawbacks/flaws wide open, which is obviously at different f stops (f1.25 vs f2.5, the "secret" wide open for the 75mm) Maybe the mikaton behaves in a similar way? Lots of character (flaws) wide open, solid once stopped down?
interesting, great to hear, I will look into that brand, do they have GFX mount lenses? I guess I could always try adapters. great to have so many options now!
In the late 70's I remember the fashion photographers Sarah Moon and Deborah Turbeville bringing in an "anti" element of softness, amplified grain and out of focus elements...all contrasting with the severity of Helmut Newton and Chris von Wangenheim's super sharp primary colors. AI's sameness, with everything turned up to 11, bores me. I like the idea of AI tools in the hands of artists, but hate it when it coughs up something just from a prompt.
I do remember them as well, I think that was the only time I really shot 35mm because the 3200 film gave that amazing grain and soft look. My issue with AI is mostly with the companies blatantly ripping off decades of hard and brilliant work so some AD can now harvest with a prompt. I am always for progress and pushing tech but the developments today seems to be a little off the rails, crashing forward without consideration.
The lens is very similar to a projection lens, they are also fast and blur the background very much. Vignetting at infinity shows that it works at the limit of the possible image circle, designed for FF. If necessary, I would choose any old lens from a medium format film camera. I don't buy these new third-party lenses, I'm waiting for them to be "tested." They quickly lose value. (Google Transletter). Eduard.
@@strippedlist I guess I misunderstood but for me ( at least my sample) sharpness is exactly where I would want it. And the files sharpen easily and well in post if I need some selective sharpen.
I'm just as convinced as you are about this lens, I've had the GFX 100II from the start, bomb. There is no lens that can be compared, and the weight is in a class of its own. I'm from Germany, sorry for my translator. Thanks again.
Alles klar, kein problem! yes, the lens is one of those surprisingly well performing "cheap" lenses IMO based on old German glass, I wish I could find more info on the origins. obviously these new ones are updated and improved but the general overall look is still vintage and organic to me. just (mostly) without the obvious flaws of actual older glass.
I completely agree, there have been some digital cameras that have been "milestones" canon 5D and Sony ARIII among them for checking so many boxes and doing so many things so well. As tech improves faster and faster the advancement in sensor tech seems to get smaller and more fine tuned and a lot of improvement goes to software and AI (around the actual sensor) which is all great but when it comes to IQ, I am just not really sure this latest GFX series will be unstated too soon.
I use an older LG graphics monitor, it's ok, not the latest greatest but calibration is the key anyway. there are no 16bit monitors and sometimes I wonder if the much larger file size is worth it compared to 8bit TIFF but once you start tweaking color, you just have to stay in 16bit. as far as true 16 bit capture vs 14bit, (or compressed vs uncompressed raw) really digging into the shadows often shows the small difference.
Interesting you mention the angled top LCD. First thing I noticed in my Fuji X-H1. It’s not as pronounced as this one. It does make a difference. Sadly they have gone back to a flat top LCD on the new X-H2.
sorry, as much as I would like to do that, I am not comfortable providing a review or test with gear I dont have enough experience with. I am really intrigued with the DJI lidar accessory, I think they are really on to something.
Great video! Right now I am looking for a lens for GFX 100II that has a minimum focus distance, closer to what the 35mm FF cameras have. Most of GF lenses have 68cm MFD while the GF 35-70 seems to only have around 35cm MFD. I might need to check out the GF 35-70. What is your opinion for AF speed and MFD? Cheers
thx! MFD is a little tricky. First: I think the 35-70 has to have a place in any GFX kit, it's a no-brainer. great performance, fast AF, versatile range, small, light and dirt cheap. I have shot still life with it because I was able to get just a little closer with it (compared to most other lenses). I just got a shorter macro ring and will look into some tests in regard to MFD but I dont expect miracles from the 35-70 in that regard? but who knows it always surpasses expectations! I definitely have no issues when it comes to AF speed (or accuracy), it always delivers, the only GF lens that I always thought was a little slow (other then the 120 macro which has a really long focus range obviously) was the 32-64, but I also have to say I havent used it on the 100II. hope that helps!
@@paulschefz That are some good insights! I mainly shoot fashion and portraits but sometimes I feel like I can't get close enough with the general GF lineup. MFD being 68cm is not that great. Therefor the 35-70 got interesting for me :) I just hope that the f4.5-5.6 is sharp enough wide open! Any thoughts on this? You definitely further helped me pulling the trigger on this lens. I can't wait to test it out.
@@HealingMushroom I think the sharpest of the 3 mid range zooms is the 45-100, which even at f4 is just crazy but it is much much bigger and heavier and I always found myself wanting more space at the wide end, so I reluctantly sold it. I dont have any issues with sharpness wide open with the 35-70 but I mostly shoot it around f7 - 8,. I am editing a fashion shoot right now, shot on the AstrHori 40mm, and a new (for me) manual GF 90mm lens (which I will do a review of shortly) and the 35-70 and it is just such a joy to shoot with, wide, close, always hits focus, just great.
@@paulschefz I just had it delivered yesterday and took it out for a spin. The focus actually is really nice on the gfx 100 II. Switching between close, wide, with the subject is definitely the biggest positive for this lens. At 70mm MFD, it is really soft in comparison to the 45-100 which is super sharp across all focal lengths. The 35-70 will be my new action lens whenever I need to jump around and have more flexibility. I don't mind the less sharp image, my photography doesn't need 100% sharpness. My other lenses will be used whenever in studio or in rather slow shoots.
@@HealingMushroom the long end is not a strong area and yes (especially) the 45-100 is simply better. BUT size, price, weight its just hard to beat all around and for the shots I use it for the down sides simply dont matter. enjoy!
I think it is a little early to say how the surface will hold up, I honestly have not had any durability issues with any of my GFX bodies, I do like the new surface better, it is nice and "grippy" without being rough, I also think the texture looks cool!
Love the in-detailed review. But what tent were you in, in this video? Also if possible, please do some testing with cine lenses like Atlas or Arri or Leica, etc? Like compatibility and how much loss with the compatibility, and of course photo and video quality, etc
😀 I am in an Ekodome dome, check it out! I dont have any real cine lenses but interestingly the AstrHori lenses I just tested both have de-clicked f stops and I really like them. I still have not really made a deep dive into the motion features but from what I have seen so far the camera is crazy good for motion. I think it has slightly different use then smaller mirrorless, but the IQ looks better then anything I have seen from smaller (Sony,....) files are great DR is the key.
well it is an on camera flash which can obviously be used off camera as well, works perfectly with godox triggers, there is really not much difference in the way it looks compared to other flash, the big difference in light character and quality is in using different modifiers, which are not available to me yet. and even then I dont expect much since its a small pop up soft box and a very small reflector, I am right now mostly interested in the globe diffuser that goes on the small reflector, but again, it will look like most already on the market. the fold up reflector it came with is interesting but again, a small-is highly reflective (beauty?) dish, best thing about it is the compact size folded which opens to a decent size but still fits easily into most bags. hope that helps!
@@Dewabarasunderan sorry I could not be more help but I am still not really sure what you want to know? output? using this flash will do the same as any other flash with the same modifier, there is no magic to the unit. it simply looks cooler (IMO) then other small (ish) on camera units. dialed down with a bare head my 1200 packs would provide the same pictures.
I try to be careful when comparing digital to film and especially when it comes to film/sensor size. A good friend who shoots a lot of 8x10 just bought the gfx 100II and agrees, in terms of image quality (resolution and DR) and for final large print it beats 4x5 and compares to 8x10 but obviously the process is different and IMO there is just something about that huge film area. But being able to get this quality in that small size and never missing a shot ( for comparably little money/frame) is just hard to beat. I also really enjoy shooting the GFX with manual glass.
I loved my 690 and 645 in the film days, Sony made the RX? Full frame fixed which was pretty great, I am really hoping for a fixed lens GFX with a 40 but I do know it will definitely not be f2, probably more like f 4.5 to make it compact, move the finder to the side, maybe even pop up like the Sony….one can dream!
AFAIK The firmware update for the GFX 100II only fixed an issue with the 20-35, a lens I own and use all the time and never experienced. But I heard about unreliable slow AF performance? It was only with that lens and now it’s fixed. Fuji is usually great about getting fixing issues and improving product.
I love my gfx100s. I think this is my last camera. 100 megapixels is enough for all types of shooting, with a margin. Batteries run out quickly in *.raw, I have 5 batteries, maybe it’s worth buying a power bank. All that remains is to buy more Fujinon lenses; used ones will become cheaper over time. The video doesn't interest me at all. You were right in saying that there are special video cameras for this, which are even cheaper.
100s is still a great camera and I agree with everything you say. I think I am going through my batteries faster with the 100II compared to the 100s, which makes sense because of faster processor and (probably) more power hungry screens. When shooting tethered I let the MacBook power the camera, running around I just always have 2 batteries with me, I have never gone through 3 in a day, not sure I would want to deal with power bank and cable.I think the upgrade path is for GFX 50, other then that money is definitely well (better) spent on lenses!
@@paulschefz I am very afraid that the camera will turn off at the moment I need. Therefore, as soon as the red low level icon appears, I change the battery. When I come home, I discover that each battery still has 20-30-40% of energy left. The camera shows the remainder inaccurately due to dashes. It would be nice if they set digital percentage of remaining energy.
This was such an amazing review. Would you be able to do a comparison/difference between the GFX100ii and GFX100sii. I'm considering getting into medium format, but I'd like to know the difference between the GFX100ii and the GFX100sii so i can make a choice. Thank you
Fujifilm may have a misfire here to our benefit! The only meaningful difference with the 100x series comes down to the amount of speed you need/get. which is kind of insane if you are just in search of IQ.
@@finder2267 yeah, the whole GFX 100 line is now pretty amazing when it comes to IQ, the very small differences between the first gen 100 sensor the the one in the 100II and 100sII probably aren't enough for trading up but there are now 3 bodies offering differences in speed covering most applications now.all in all great for the consumer and considering Sony, canon, Nikon going towards pure speed (even sometimes neglecting IQ) fuji seems to be doing their own thing with the GFX, going their own way.
I recently purchased et-8550 and installed drivers. (Windows 11) but cannot find the Epson print layout. Or doesn't it work with RT8550 in which case is there an alternative? Thanks very much
not familiar with windows, but epson has a dedicated website epson.com/epson-print-layout where you can download, I wasnt aware the they also have a PS plug in!
I am pretty sure I shot that at f4 to get the best useable wide open f stop. using the (off the menu) 2.8 shows image degradation, CA and soft corners, f4 does not. hope that helps!
I guess that somehow is the idea behind it but it came out the very wrong way. the funny thing is that is actually a very straight forward copy of a LG ad ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-NcUAQ2i5Tfo.html
good comment Paul. yes, this happens to me as an illustrator and designer too. We creatives get screwed three times: First they rob our work to copy it, then they rob our jobs by generating our styles and ideas and with all that they also even rob our motivation because everyone thinks our work is simply generated in 10 seconds. It is astonishing how industries act instantly and tirelessly against anyone infringing their copyright and identity. Beware if by accident we created something in any way resembling something they own, they destroy you. But now all of a sudden, them appropiate your lifes work and experience without compensation or even mentioning is not considered a problem. By the way Adobe the big devil of the industry, who screwed us several times by buying and burying better products from competition, M-Factory, FreeHand etc. but well, that was decades ago. Now they created the Adobe monopoly. I am glad I found Affinity to go around that, barely. And Apple or RU-vid also did let us down, as we creatives made them survive in the beginning, and then when they were big, they started to change against our interests. It is always the same and we small creatives are always on the losing side.
agree, I have been using and hating adobe for 30 years and still do, I keep trying anything and everything but still end up with that adobe subscription. I have been using apple as long but never hated apple, lots of frustration, yes but never hate. I try to support anyone and everybody who goes up agains adobe (affinity, pixelmator,...)
Two aspects, the shareholder focus greed, and the personal enjoyment of creating. Adobe and Apple care zero for the latter, they are both controlling and manipulating companies with a single focus, like most are. They either just hold go to market control or build in a level of control. Photography isn't going away, perhaps the opportunity to make money is falling but personal side will be there. The irony of all this is human technology is now just doing to human creative resources as humans have done to the natural world for a very long time.
well at least apple apologized, something that will never ever happen with Adobe. I remember when people lost their entire cloud storage with LR mobile (not classic), no apologies there whatsoever.
If the thought of AI rummaging through your data gives you the heebie-jeebies, maybe don't plaster it all over the internet. Those terms and conditions you blindly accepted probably spell out that your stuff is fair game for public consumption. It's like when a real human artist scrolls through a mountain of photos, hunting for that spark of inspiration. The difference? Well, not much, really. AI is just taking the age-old wisdom of "good artists copy, great artists steal" and turning it into a full-blown art heist. So, next time you hit "upload," just remember: you might be feeding your data to the next cyber Picasso.
Unfortunately it is not that easy, I am very selective about where and what to post but having been a commercial and editorial photographer for decades, a lot of my work is just readily available online, other people post it, it gets reposted. blatant copyright abuse has been pretty common for a long time, this is different because AI is trained on any available image (or text), video,...so if you are a creative who has either published anything or promoted yourself in any way in the last 10 years, your work has been used to train the same AI that is replacing you right now. I am actually not really opposed to AI at all, and like I said before, my work has been platantly ripped off and copied before, that always has happened and always will. I dont appreciate the big tech companies (which in many ways have depended on people like me for income and advancement) to now, well, throw us under the bus. this has nothing to do with the next cyber Picasso, in fact I am very much looking forward to what will be created!
@@paulschefz yea me too. I have only work on my own websites. No 10 page small letter terms & conditions from big corp. there but my own terms and they are clear: copyright is mine alone.
@@designobservatory and AI models have been trained on that work because they simply scrub anything and everything for anything and everything, I am not even sure how anyone would be able to sue anyone for copyright infringement at this point. so many grey areas. and anyone who you have done work for probably put it up on social media or on the web or somebody saw it and liked it and put it up and there you go. you cant control it.
I am pretty sure it does not record 4:3 video, I know it does 4096x2160 and 3840x2160, neither are 4:3, the 100sII should be announced next week? but since the 100II does not do 4:3 video I doubt it will either.
a lot of ways for photographers to make money are going away, but that does not stop anyone from shooting and afaik camera sales are actually going up again? this has always been an evolution, adapt, get out and enjoy!
