A Further Adjustment

It's been over a year since my last equipment post and during that time I've been quite happy with the simplicity of my lens choices with one exception.  I've found I missed having a wider lens pair to choose for certain situations or as the occasional change of pace.  As such I decided to bring back the 16mm f2.8 WR and 35mm f2 WR combo.  (This translates to about 24mm and 50mm in full frame terms.)

The 16mm is quite simply fun to use.  It gives just a touch of ultra wide angle distortion without it becoming the dominant quality of the image, or in other words, without feeling like a gimmick.  However, by tilting the lens up or down or getting rather close to an element in the scene you can increase the perceived level of that distortion significantly.  Conversely, by keeping the sensor or film plane level and being careful with what's in the corners and edges it's also possible to make images with this lens look almost normal while still adding a feeling of expansion to the space you're in.  All quite different than my other lenses.

Fujinon 16mm R WR f2.8

I am an admirer of the photographs of David J Carol who uses the full frame equivalent (24mm) along with a slightly wider lens. The popular Alan Schaller is another photographer who uses this angle of view as his primary lens.  And of course it's been a staple in landscape and architectural photography for decades.

I typically photograph with two lenses on two bodies and I've always found the 35mm to be a perfect companion for the 16mm.  For years the full frame equivalent (50mm) was the standard lens that came with rangefinder and SLR film cameras and was favored by photojournalists and street photographers such as Henri Cartier-Bresson and Elliot Erwitt.  It was my favorite focal length when I started photographing in the late 1990s through my time using view cameras and held that position until only five or six years ago.

Fujinon 35mm R WR f2

At some point along the way I began to think of it as my "dream lens."  The images it draws create a normal perspective (the distance and relationship between things look about like they do to the eye) but being a rectangle cut from the image circle of a single optic it creates a much tighter frame. There is something about that combination of normal perspective and single, abbreviated angle of view which gives me the feeling of images plucked from a dream.    

Finally, I mentioned before that having four cameras after determining I couldn’t manage without IBIS felt unnecessary and extravagant while also creating an additional decision before photographing. I decided to sell all four and replace them with two X-S20 bodies. It retains the same sensor as the previous cameras but adds the new double speed X5 processor which, among other things, significantly improves autofocus. Focusing was the only real weakness in previous iterations and the primary reason for this change.

There are a few other benefits such as a new battery that lasts twice as long, a higher resolution screen, a longer buffer, and improved stabilization. I was actually able to make a sharp image handheld at a shutter speed between 1/2 and 1 second. Impressive technology which allows me to shoot at base ISO 160 or ISO 800 in darker situations greatly improving dynamic range compared to using higher values.

So it's two cameras and six lenses for the foreseeable future, plus my iPhone of course...  Seems reasonable for someone who's primary interest in life is photography. 

Gear Adjustment

After spending over a year with my Fujifilm gear I decided a couple of adjustments were in order...

Firstly, I missed IBIS (In Body Image Stabilization) in certain situations.  The answer was adding two X-S10 bodies.  These have become my every day carry cameras as the small size and comfortable grip feel just right. Plus, they use the same batteries as my X-T3 bodies. While I miss the vintage controls a bit the implementation of the more modern system is well executed and was an easy adaptation for me (at least my lenses still have aperture rings).  The sensors and processors are the same as in my other cameras so everything I'm producing retains a cohesive look.

Fujifilm X-S10 w/ 23mm 1.4 WR

Secondly, I had gotten away from using only two focal lengths and felt the need to simplify.  I sold off everything I had accumulated except fast and slow versions of my two favorite focal lenses. I had to make a slight compromise at the long end with a small 50mm and large 56mm because Fujifilm simply didn't offer a perfectly matching set that fit my needs.  The 6mm difference is minimal though and it's always fun to break the rules, especially when they're self imposed.  That slight discrepancy aside, it feels wonderful to be back to only two choices in the field, a little bit wide or a little bit long.  I believe the limited fields of view also contribute to what I believe is the recognizable look of my photography.

Fujifilm X-S10 w/ 56mm f1.2 WR

So, that leaves me with two X-T3 bodies, two X-S10 bodies, a 23mm f2 WR, 23mm f1.4 WR, 50mm f2 WR, and 56mm f1.2 WR prime lenses.  Feels just about perfect and adaptable to any situation. The X-T3s are weather resistant, tough, easy to use with a tripod or when you're in a hurry as you can simply glance at the top of the camera to see all your exposure triangle settings.  The X-S10s excel in low light, unstable situations, or when small size and low weight are especially important.  Ideally, the X-T3s would have IBIS and I'd only use the two bodies but I bought them at a significant discount and when certain other options didn't exist or were prohibitively expensive.

Seeing without Looking

I've noticed lately that my eyes have been doing most of the heavy lifting in the discovery of new photographs.  While that might seem reasonable or even expected I'd estimate it only accounts for half of my best images over the last 25 years.

Beyond looking for photographs visually, I frequently find them by following my feelings.  This involves a contradictory sounding process I think of as seeing without looking.  While I came upon the practice naturally, I found my way to a better understanding of it through the writings of photographer Mark Citret and the Taoist teachings of Lao Tzu.

Mark writes, "there is something irrevocably illogical about searching for something by 'not looking' for it. But experience has taught me that when I allow myself to drift in 'autopilot,' divorced from all my preferences, expectations, and judgments, my eye will eventually settle on some familiar scene, never quite seen before."

Students of Taoism will quickly recognize the idea of "effortless or actionless action." It's often referenced in Eastern Philosophy as the Paradox of Wu Wei or the mental state of Wu Xin and there are all manner of practitioners in sports, arts, politics, and everyday life.

My typical approach is to explore a place as calmly and openly as possible while paying close attention to my feelings as I move through the space.  When I'm inspired by something, even if (or maybe especially if) I can't put my finger on why, then I know it's time to get out a camera and start looking around.  In my large format days this meant spending time under the dark cloth panning the camera around until I settled on a composition that felt right.  These days it means exploring through the EVF of one of my Fujifilm bodies but the idea is the same.

I frequently find that the images I create in this way have far greater meaning and deeper connections than I recognize at the time of exposure.  Through talking with the photographer Paula Chamlee I came to think of these photographs as manifestations of that which I am unable to express any other way.  I believe most artists working sincerely experience something similar; even Edward Weston mused in his daybooks that "my work is always a few jumps ahead of what I write about it."

So it is my intention to get back to this way of seeing without looking more often. If experience is any indication it might take some time for me to recognize the deeper connections I uncover but it will surely be worth the effort or, non-effort.

Back to Basics

The Great Zoom Experiment proved to be what I'd always thought it would but hoped it wouldn't, too many options and not enough creativity inducing constraints.  The positive takeaway was a reassessment of my photographic tools.

My ideal kit would be a phone with a few built in lenses.  I have friends who shoot this way and make beautiful pictures.  I've tried using only my phone and while the results are technically good enough I just don't get the same satisfaction I experience using a dedicated camera.  That joy in the process ends up fueling my imagination and enthusiasm which results in better seeing and more photographs.

X-T3 w/ 23mm f2 WR

Those thoughts led me to the following question.  What camera and lens combo would bring me the most joy to use?  The answer was simple.  A camera with the exposure triangle controls (shutter speed, aperture, and ISO) visible at a glance on the top of the camera and changeable without accessing a menu or looking through a viewfinder.  That narrowed it down to Leica and Fujifilm and prices being what they are, Fujifilm was the clear answer.

Lenses were a little harder and lead to several thoughts. Prime lenses were a given and no matter how many lenses I own I always leave the house with only one or two. I hate changing lenses while I'm working but still like to have at least one alternative focal length option. I also like to have a backup body as being without any camera to use if something happens is not acceptable. I prefer perspectives that aren't too different from human vision so that the composition isn't overwhelmed by the drama created by the lens.

Based on those thoughts the answer was clear, two identical cameras and two, two lens kits. A set that is small and lightweight and a second set that lets in the most possible light and allows me to use selective focus. This way I make a choice as to which lens pair to take when I leave home, and then there's only one choice to make in the field, a little wider or a little longer.  And with two bodies there's no changing lenses once I'm out the door.  (Honestly, this feels a lot like what I did shooting weddings 20 years ago but I'd prefer not to think about that.)

X-T3 w/ 50mm f2 WR

In the end I sold all my Sony gear and bought two Fujifilm X-T3 camera bodies. For the slower and smaller lens pair I went with the 23mm and 50mm WR f2 Fujicrons.  The bigger and faster pair consists of the 23mm 1.4 and 56mm f1.2 WR Fujilux lenses.

I could see buying a telephoto zoom for certain special circumstances someday as I'm a big fan of the way André Kertész and W. Eugene Smith used those type of lenses but otherwise my equipment is set and I've been thrilled with my Fuji gear thus far.  My focus the last few months has been on images as the tools have quickly become second nature in a way my Sony's never really did.

The Great Zoom Experiment

I recently wrote about my fondness for the 35mm focal length and preference for prime (non-zooming) lenses.  It was that post plus the release of two new, compact, f2.8 zoom lenses that has caused me to reconsider using them again.

There are several reasons to prefer fixed lenses. For starters they are generally sharper, faster (let more light in), and smaller than their zooming counterparts.  The biggest reason, however, is actually their limitation.  By not being able to change focal lengths with the twist of the wrist it forces you to look at things in ways you might otherwise have never considered.  I've frequently discovered compositions by simply panning around and looking through the viewfinder or at the screen (or ground glass in my view camera days). If you want to bring something closer you either have to physically move closer or take the time to change lenses.  After enough practice it's also easy to visualize how a certain scene is going to look with a given lens.  However, I typically try to avoid that unless I'm in a hurry as I can usually discover something better than I initially imagined.

I've found that when using a zoom lens many beginners, myself included, tend to remain stationary and simply zoom in to fill the frame with whatever they perceive as their subject.  That is a sure recipe for boring pictures.  Exploring through a camera with a fixed lens reveals relationships between the initially recognized subject and it's surroundings which can themselves become the real subject of the photograph.  These relationships combined with, and sometimes created by, a certain type of light are the key elements from which my best images are derived.  And of course it's always the right light to photograph something.

So after all this, why go another round with zoom lenses?  The obvious reason is having multiple focal lengths available without carrying more or changing lenses.  Swapping lenses is a bit of a pain in good weather and during bad weather I generally won't even bother.  The biggest obstacle, lack of creativity inducing constraints, I believe I'll manage simply through experience.  I have been approaching photography with a zoom as though I were still using primes.  I imagine what lens would be best for a given scene and zoom to that focal length before I look through the viewfinder and then proceed as usual.  If it's not working and I need to "try a different lens," only then do I change the zoom position.

This also allows the added bonus of using the zoom in a more traditional way when I'm stuck in a certain spot and unable to move around.  I've also found that when I've exhausted my traditional approach I have the option of exploring through the camera with the added dimension of  zooming in and out both on and around the subject.

I've only just begun this process so I imagine there's more to discover and I'm looking forward to using these zoom lenses on a day to day basis.  Of course there's no replacing my 35mm 1.4 when shallow depth of field or shooting in low light is required and the tiny size of my 2.8 primes makes them indispensable when traveling as light as possible... but I anticipate using them much less now.