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#Fuji X Pro 2
damonabnormal · 9 months
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Go Ahead south street philadelphia _ june 2023
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solidsilverphoto · 7 months
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At night 🗼
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nfasth · 5 months
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sky
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thephoblographer · 2 years
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Santiago Traverso Breaks the Limits of His Imagination Via Photos
Are your daydreams also this cinematic?
“The best feeling is when you have a crazy idea, and you make it true with only your creativity,” says portrait photographer Santiago Traverso about how he brings his inspirations to life. Mostly shooting at night lets him come up with some really funky lighting in his images. Using a multitude of lighting accessories, he creates vivid portraits, each of them distinct in feel. (more…)
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solarsonicsoda · 22 days
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Wrestlemania Main Event Reviews - Wrestlemania X
Bret Hart def. Yokozuna (c) w/ Mr. Fuji & Jim Cornette for the WWF World Championship with special guest referee “Rowdy” Roddy Piper in 10:38
Round 2! Yokozuna is out first despite being champion and here comes Hart! Also, look at the trousers on Cornette! Yokozuna attacks as Bret gets in the ring! He fights back but Yokozuna is too strong. Big chop and strikes to Hart. Brutal powerslam and Yokozuna continues to work over Hart. Cornette is scared off the apron by Piper, and Hart dodges a splash. He mounts a comeback and hits a headbutt, Hart is down but Yokozuna also teeters and falls. They brawl on the mat and Bret looks hurt! He keeps up the fight but Yokozuna is strong. He keeps it up and is able to knock him down. Cornette pulls Piper out before a three count and gets knocked out for his troubles. Yokozuna is back on top but he’s tired. Leg drop to Hart and he sizes up the challenger. Throws Hart out and Piper counts but he gets in just in time. Yokozuna grabs him straight away and attacks him in the corner. A running attack but Hart dodges and a top rope bulldog, just like the previous year! 2-count. Elbow drop! 2-count. Wicked clothesline and they’re both down, Bret gets the cover but it’s still not enough. Yokozuna catches a diving Hart with a belly-to-belly and drags him over for the Banzai Drop. He falls and Hart dodges, cover, and Bret Hart wins! Yokozuna is immediately devastated by his loss. Weird finish. Yokozuna chases Piper to the back. I genuinely feel bad for Yokozuna, his mistake cost him. Poor guy. Luger comes out to celebrate. Followed by all the faces and also Burt Reynolds. I think there’s other celebrities but I don’t know them. Savage and Monsoon also come out. They all hold him aloft and Owen Hart shakes his head on the ramp as Savage invites him in.
Pros: Alright action, Hart’s story across the night is good Cons: Uneventful match, retreads the same ground, weird finish
Not quite on the level of other Wrestlemania X matches. Fine match, just nothing too interesting with an odd finish. An improvement on the last two years but not by much. Really nothing to say about this one. 
2 STARS OUT OF 5
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gfxced · 4 months
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I went Full-Fuji! (GFX One Year Review)
One year ago, I decided to ditch my Nikon DSLRs for a Fujifilm GFX 50R.
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The GFX's sensor is larger than a full-frame sensor with a crop factor of 0.79
A little over a year ago, I still was using a few Nikon DSLRs to do just about anything. For portraits and landscape, I had a very respectable D810. Enough megapixels to provide some room for cropping and a decent dynamic range for most situations. For action and hobby-wildlife I had a D500. A durable mini-tank with performance that to this day would be hard to dismiss even in the light of mirrorless flagship innovation.
However, the question of my camera-future slowly crept into my mind. Was it time to change and upgrade into the Nikon Z system? Switching to a Z7 would indeed have been a sensible move, adapting older lenses while getting the sensor of the D850 in a smaller, cheaper body with an ecosystem of native lenses with the optical quality up to specs for the next decade. On paper and elsewhere, it should have been the obvious choice. Yet my answer to this question was a resounding "no" and I went against reason to set my sights on a Fujifilm GFX 50R. I took that model over the S because I enjoy the rangefinder form factor.
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In hindsight, the smartest of all moves would probably have been to remain with what I had, adhering to the ancient photographic wisdom: "lenses are more important than cameras". My kits could have kept me satisfied for probably another 10 years if we are being honest. I could have stayed within the F mount ecosystem and could have taken advantage of its downright insane price drops to get top-of-the-line lenses for peanuts instead of selling the farm on a whim, however carefully considered it might have been.
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These old and trusty Nikon DSLRs got sold off to finance the 50R
The truth is that after fifteen years of walking the beaten paths camera-wise, I wanted to shake things up. I longed for a change of pace. I felt confident enough in my practice to know what type of photography I would want to engage in for the foreseeable future. I also felt confident enough that I'd be able to answer the call of the occasional assignment using a camera system that would have a non-negligible amount of drawbacks. The challenge even seemed like a fun new variable to add to contracts. Thus, the choice I made for my photographic future has been one born out of love rather than made from a place of reason.
When I think of good photographic memories involving the process — how photography is approached with mind and body — I immediately have two very different ideas jumping to mind and each has an ideal type of tool that best suits it. Neither of these are about efficiency. Neither of these are about performance beside niche-performance, perhaps. But that, is more of an acquired taste and it also comes at a price, but we'll see about that later.
The first idea is an instinctive and spontaneous approach, form of feral and visceral active meditation, akin to Daido's rabid dog method; roaming the streets clear of thoughts and letting the subconscious take the helm. Shooting, shooting, shooting and discovering everything later. No plan, only image-taking. No clear framing, no image-reviewing, no judgement to pass, no threads to weave. Only arrange and make sense later, if there's any of that to find.
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Results using the "rabid dog" method, using a Fujifilm X100, 2014
For this type of photography, the Fujifilm X100 was the tool that instantly clicked with me. The "poorman's Leica" is an apt way to describe what the X100 represented when it came out. I got the original 12mp camera in 2012 as a fun but capable toy to bring along my Nikon D700, until the shutter release button (which also is the on/off switch) broke off in 2020 after one power-up too many. I have since replaced it with a Fuji X-Pro 2 with the XF 18mm F2, 27mm F2.8 and 50mm F2 lenses. To this day, such small Fuji bodies are my tool of choice for this kind of photographic mood (and of course, for family pictures).
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Fuji X100 later replaced by the X-Pro 2 as street photography go-to.
The second photographic process that I tend to naturally gravitate towards stems from my first year of photography school, during which all projects had to be done using film and would have us deal with the whole process (that is to say; shooting, developing, printing, framing, and displaying our work ourselves). It is with nostalgia that I look upon the memories from that time.
There sure is something inherently different in figuring out what to do with the exposures one has left on their film than being able to inconsequentially shoot within two hours three thousand pictures through which you can almost immediately browse. The latter is of course more practical and a welcome technological improvement, but the former brings an unhurried and deliberate focus that I find both refreshing and appealing.
When I think of my strongest recollection of touching the quintessence of the analog experience, the days of using my Mamiya 645 immediately come to mind. Such sluggish, heavy-as-a-couple-bricks box-machines compel one to being careful and purposeful every step of the way. I need that too.
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Mamiya 645 Super, since sold to finance GF lenses.
I have for the longest of time considered getting a more serious medium format camera but some quick-math with the price of film, chemicals and photographic paper made me realize that digital medium format was actually much more worth the investment while most definitely retaining some of the core characteristics of its analog counterparts. My love for the film process couldn't hold up against all the advantages of going digital, especially when buying second-hand.
Using medium format always felt like journeying inwards. It has allowed me to spend long hours in daydreaming-states paradoxically laced with an acute awareness of my surroundings. When thinking about medium format, I can recall the soul-washing quality of some of the winds that swept my cheeks while I was standing next to the tripod waiting for the exposure of the 50iso film to finish.
States of contemplation. Another kind of active meditation?
Of course, any camera can provide this type of feeling, but of all of the digital cameras available, medium format is the one type that will weigh you down the most and dictate the pace you work at.
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Telepanoramas created with the Fujifilm GFX 50R
Notice how these two ideas are almost the ends of a spectrum?
The first one is nervous and agitated, highly reactive, while the other is composed, meticulous and invites introspective fugue-states, yet they both share one vital element in the way that I approach them in that they take the practical considerations out of the picture to leave more space for what is going on within me.
The setting up of the camera or lack thereof becomes an excuse for something else. Maybe it isn't a surprise, that my adhd-ridden brain experiences this inexorable attraction for both these approaches. For they are in essence, two sides of the same coin, with each side matching different, specific and fluctuating needs.
Let's dive in!
After selling my DSLRs, I started looking for a good second-hand candidate. After a month or so, I found a barely used GFX 50R sold with a 50mm 3.5, a couple additional batteries and an L-bracket to boot. The price was rather attractive for the bundle, so it seemed like the time to take the leap. After a short but excruciating wait for the package to arrive, I finally was able to join the larger-than-35mm-sensor club.
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How it started
My first few months with the camera had me immediately blown away by the difference in output. The higher resolution and the sensor's qualities made the (very much existing) noise hardly noticeable when downsized to small printing or screen-viewing sizes. What also immediately struck me, was the looks of the images the camera produced. Images taken with the GFX feel more "3D" to me. It is a very peculiar and hard to describe feeling. I suspect it is a combination of factors; the depth of field of the larger sensor and the very smooth transitions between what's in focus and what is not that it permits, the colour depth, and the quality of the optics. I've seen many Youtube reviews, read forum threads or been in discussions on Discord about GFX cameras where people (who more often than not don't own one) will maintain that these qualities don't exist at all. After a year in the system I can confidently state that they're wrong.
I can't really put my finger on what causes these differences as I am not as tech-savvy as I could be, but it is still clear as day. To use a pretty apt analogy, I would say that the difference between full-frame and (crop) medium format is akin to the difference between aps-c and full-frame cameras. Are they deal-breaking? Not necessarily. For some people they can be. Are they noticeable? Definitely. It is especially funny to me to see medium format cameras being dismissed by such a many full-frame shooter who at the same time, is constantly bashing aps-c sensors.
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Don't you love to pixel-peep? Omnomnom (imagine with 102mp!)
This being said, I will always fully stand by the statement that full-frame cameras are the more sensible choice as they are better all-rounders by design. High-res cameras like Sony's A7RV or equivalent are also better high-iso performers than the aging IMX161 sensor that the GFX 50 series uses, which sees its operational limit at around 6400iso (but the GFX 100 would be another matter entirely). A top-tier full-frame camera is evidently more practical, lighter and cheaper without any deal-breaking image quality difference to what the medium format niche can offer. When all costs are factored in, the choice would seem self-evident. If you consider medium format, it should be understood that you know this before committing to any bigboy sensor. Or don't heed this and make people who buy second hand happy, as GFX gear loses almost one third of its value once it hits the second hand market (a consequence of too many people jumping on the medium format bandwagon only to realise — way too late — that it wasn't for them).
Are we cooking yet?
I need to talk about the GFX's files for a little bit; I'm a raw shooter only — which hopefully you'd have guessed — (in my opinion anyone buying into a medium format to shoot jpeg must have cognitive issues or too much money, or possibly both) and I have to say that when I opened the raw files to give the sliders their very first +100/-100 or +3/+4 EV from base iso (or any combination of these) I was utterly floored by how well the files could handle such an ungodly beating.
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This isn't a joke, I promise.
This type of camera makes the slider memes come true, to a point where for the first few months, my ability to edit properly was severely impaired by the glee I experienced while pushing everything way too far. I believe it is not an uncommon symptom at the start of a medium format journey. It takes a while to come back from that and simply be able to tell yourself "ok here, maybe less dynamic range would be a good edit". I'm getting better at this as I consciously try to avoid overcooking.
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Clean recovery? Can do!
On the image-taking side of things, the major change for me with regards to file-handling is that I'm almost systematically exposing for highlights now. Adding 3EV and boosting shadows in post when shooting at low iso is inconsequential in terms of image quality as there won't be any visible noise whatsoever on the output, unlike my aps-c cameras that will show noise even at base iso. Similarly to many other aspects medium format manages well, this is something I got used to very quickly.
To adapt or to not adapt, that was the question, here's my answer:
At first, I tried adapting my old Mamiya 645 lenses to the 50R. It was useful in the sense that it allowed me to enjoy different fields of view at no cost but it quickly felt like a plaster on a wooden leg. I'm not someone who enjoys the manual focusing as a default and I've grown more and more intolerant of the optical flaws of older lenses as time went by. I realised that it wasn't a viable long term solution for me and quickly chose to sell all my Mamiya cameras and lenses to finance native glass for the GFX.
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My experience adapting? It was alright but not at all ideal.
Which lenses then?
Getting into the GFX system I promised myself I would make no compromise whatsoever on optical quality and directly aimed for the 250mm F4 (mainly for tele-landscapes) and 110mm F2 (mainly for portraits). The grind felt long but it really wasn't, as I managed to secure both lenses from the second hand market within 6 months. It is only later that I added the 35-70mm "kit" lens to my arsenal to fill the wide-angle gap I had. As I seldom feel the need to shoot wider than short-tele fields of views, this is more of a lens of convenience.
The difference between adapting older lenses and using native glass was night and day to me. Two things made this the better choice in my view: first, I've been actively seeking the "clinical" quality of modern optics. I do not care much for the "character" of older lenses especially not if the word is used to help one overlook a lens' unforgivable flaws. Second, while there sure are lenses worth adapting out there, this come at a cost for the adapting to be worth it (the cost of an AF-capable adapter and of course the cost of the lenses themselves) which I saw as a waste of my limited resources. I told myself I wasn't going to make compromises, remember?
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One year after switching, I am now knee-deep into the system, having sold most of my Nikon gear as well as my Mamiya medium format film-cameras to acquire some of the incredibly hard to resist GF lenses.
After a year of transforming a heap of dormant gear and side-gig revenue into new lenses, I also noticed that the representation I had about the worth of money also changed radically when gear was concerned.
A little over a year ago, an XF lens priced 800€ definitely seemed like a steep investment I'd try to find alternative choices for. Nowadays, 800€ is a mere budget lens in my mind. Seeing the price tags of GF lenses doesn't make my head spin anymore and this is somewhat worrisome for the thrifty Dutchman living in the back of my brain.
With the announcement of the 500mm F5.6 lens being in development (a focal length I definitely miss from my Nikon days, I'm a sucker for ultra-telephoto landscape photography), I fear I will manage to push my monetary boundaries further back yet, which I will help achieve by selling my X-T3 video-oriented kit.
APS-C: you're dead to me.
An unforeseen consequence of my GFX switch was that my aps-c cameras were pretty much relegated to the bottom gear drawer and seldom used barring a few notable exceptions (such as a wedding gig) where the need for its autofocusing speed was greater than the need for image and file quality.
To reuse the analogy I made earlier; my X-Pro 2 and X-T3 have become to me what a micro-four-thirds camera would be to a full-frame camera user. Getting into Fujifilm's medium format system prompted me to think about how I use my cameras and to what end. The realisation that there is a clear split in my photographic approaches I evoked at the very beginning of this article is the result of that thought process.
Although I will sell my X-T3 because it feels superfluous and I want to stop my video gigs completely, (and because my need for GFX lens money is still great), I would never part with my X-Pro 2 nor the few XF lenses that I have as they serve a totally different purpose to that of the GFX's.
Having a compact, fast, discreet yet still capable camera that can be casually put into a pocket is an advantage that I would be a fool to part with. The X-Pro is a more practical choice for street-photography, documentary in less-than-favourable conditions, as well as for family pictures, when packing a brick of a camera and two bricks worth of lenses for a walk in the park in suboptimal weather would be met with a tired roll-eye from my spouse.
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My dear X-Pro, I'm Never Ever Gonna Give You Up
Of course there have been many occasions for which I have chosen to take the challenge and went into these situations with the GFX. However, I wouldn't want the GFX to be the only option at my disposal in such cases.
For example, during the last wedding I shot, when the dining room got darker and the guests started moving around a lot (and dancing), the switch to aps-c cameras was absolutely necessary because of how difficult it was to consistently get acceptable results in poor light and with subjects making erratic movements. When you are held under a result-delivering imperative, you have to be able to honour it.
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Packing a Fuji GF or Fuji X kit can be a slightly different experience
"Megapickles don't matter!"
This was an idea that I lived by just a few years ago. I changed my mind. I still believe that megapixels don't matter when you don't have them. Just like one should shoot with the camera one has / is able to afford. It doesn't matter in the grand scheme of things but all these technical niceties just make one's life more comfortable. Cropping, denoising through file reduction algorithms, or enjoying detail endlessly because one can, these are just the icing on the cake. I just happen to like my cakes with more icing than cake now.
Regarding resolution specifically, it's been another area in which there seems to be no possible coming back. Nowadays, every time a manufacturer announces a new camera and I discover they plan to fit it with a 24MP sensor I dismiss the information entirely. It doesn't register anymore. 32-36 is the new 24 in my mind now and it's sometimes difficult to come back from those expectations.
This being said I have no issue using lower resolution aps-c that I own and could perhaps even have fun with a X-Pro 1 because then the output quality wouldn't be my prime concern. It is only concerning new releases that my interest dips firmly for "low" MP cameras.
Did I tell you that medium format AF sucks?
Before I conclude this one-year review, let me hammer this point in with a two-handed mace; it can't be understated, especially for the GFX 50 series which uses contrast detection — the autofocus will throw you back to the early 2000s. Be ready to be stuck on single point, single AF mode because that's the only thing that will be consistent enough.
Then let's not forget other factors that add to the bad and make it worse; the shutter lag is half a second, the sensor readout speed is 1/4th of a second, and the time the shutter takes to clear the large sensor in combination with the camera's high resolution means you'll need higher shutter speeds in order to get rid of motion blur when shooting handheld (count about one stop faster than usual). Those would be valid reasons as to why a less niche camera system makes more sense for a lot of people.
The final comment:
Despite its sometimes dramatic drawbacks, I definitely have found the pleasure I sought when I originated this system switch. The change and the adapting my process is engaging and makes me think more about what I do, what I use, when and why. This is a win on its own.
All in all I feel like I am still at the very start of my journey though I've had the opportunity to test my GFX 50R in a wide array of situations in the past year (portrait, landscape, documentary) it seems like the way forward is clear and also opened for plunging deeper into this incredibly fun (but needlessly expensive) rabbit hole.
The upcoming 500mm, the prospect of finding an original GFX 100 (with its weirdly appealing tiltable EVF) are ideas that will — for the foreseeable future — definitely keep pulling me back in (and emptying my pockets).
Fun! Fun! Fun!
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hotarutranslations · 3 months
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2023 FNS Song Festival!
Evening
"2023 FNS Song Festival 2nd Night"
Morning Musume '23 🎤Suggoi FEVER!
Morning Musume '23 "Suggoi FEVER!"
Kashiwagi Yuki-san x Morning Musume '23 🎤Renai Revolution 21
Morning Musume "Renai Revolution 21"
We got to perform these🩷
Thank you very much!
It was fun! right! Did everyone enjoy it!
I wonder if Kashiwagi-san had fun too~~~🫶🏻
We met for rehearsal yesterday but, The reaction from when we were like…thank you very much, I could tell that she liked it a lot,
.🫣🩷
Since you can also watch her on YouTube as well so! I know that she likes Hello Pro but,
Directing that toward us now,
It was kind and warm🫶🏻
She has been an idol for 17 years, Before graduation, she go to go on her last FNS Song Festival, For a dream to come true,
She chose a collab with Morning Musume,
Really! We are really happy about that Thank you very much for the wonderful meeting
.😌🩷
Ishikawa Rika-san also made an appearance, The surprise was a huge success!!!!!
I was able to see a beautiful moment, uwaa
Everyone, thank you very much, for your support today!
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Also,
I think that FNS-san is amazing but, During the last RenaiRevo WOW, They assigned everyone to take a shot of each of us…… huhhh, I'm really happy about that…… I want to give you a great one……
.👏🏻🩷🩷🩷
Thank you very much!
Lets enjoy the show up until the end---!
⋆͛📣December 13th (Wed) Fuji TV 「2023 FNS Song Festival」
Now, the first night is airing, I'm especially interested in the dance project!!!
⋆͛📣December 16th (Sat) Sendai Broadcast "Ara Ara Kashiko"
December 21st (Thurs) 11:30PM~ Hello Pro Dance Academy Season 10 #5
December 22nd (Fri) TV Asahi "Music Station SUPER LIVE 2023" We'll be appearing with a special medley with the OG-san!
⋆͛📣Around New Years…… It seems Sendai Broadcast's "Sugo! Job" will be rerun👩🏻‍💻
Definitely read the serialization, ok
#134 I'm now the oldest in Hello Pro✍️
Sendai Broadcast "Ara Ara Kashiko" If you missed, "Ishida Ayumi Goes!" its being streamed on,
OX VIDEO STORE
#Ishida Ayumi Goes!
There is also a YouTube version of the Making, so by all means
see you ayumin <3
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from-my-camera · 1 year
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Harmonious January 5, 2023
Camera: Fuji X-Pro 3 Lens: XF16mmF2.8 R WR
Photo 1: f/22 • 20s • ISO 80
Photo 2 f/18 • 8s • ISO 80
Photo 3 f/18 • 10s • ISO 80
Photo 4 f/18 • 3s • ISO 80
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coolhandofagirl · 2 years
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continuously obsessed with comparing my real camera and my iphone camera… top 2 are unedited from fuji x-pro3 and bottom 2 are unedited from iphone 12 pro max
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electrospacenet · 12 days
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damonabnormal · 3 months
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Downtown Philadelphia _ Dec 2023
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solidsilverphoto · 8 months
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Chipsy King
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nfasth · 9 months
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tree
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edmturnmeon · 2 months
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Samyang 12mm f2 X-Mount AF Lens Review
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IvanYolo Having had the privilege to loan the Samyang 12mm lens for Fuji X-mount, thanks to Dominic from Futuromic Photo AV. I embarked on a photographic exploration through the vibrant urban landscapes of Kuala Lumpur and the scenic elevations of Genting Highlands. This lens proved to be a versatile companion, effortlessly capturing the essence of various photography genres, including street photography, landscape shots, architectural geometry, and compositions with compelling leading lines.The 12mm f2 Samyang fuji lens, with its focal length and wide aperture, showcased its capabilities across diverse scenarios. From the bustling streets of Kuala Lumpur, where it adeptly framed candid moments in street photography, to the sweeping vistas of Genting Highlands, where its wide-angle perspective brought out the grandeur of the mountainous terrain, the lens excelled in delivering impressive results.Whether I aimed to encapsulate the intricate details of urban architecture, and the sprawling landscapes of Genting Highlands or sought to emphasize the visual impact of geometric patterns, the Samyang 12mm lens matched with the Fujifilm X-T4 consistently demonstrated its ability to meet the demands of different photographic styles. Its performance in capturing leading lines, an essential element in composition, further solidified its reputation as a reliable and effective tool for creative expression.In this journey through two distinctive locations, the Samyang 12mm lens emerged as more than just a piece of gear; it became a conduit for visual storytelling, offering a seamless blend of optical excellence and creative flexibility. The following exploration delves deeper into the lens's specific attributes, its application in astrophotography, the art of mastering manual focus, and a comparative analysis with other wide-angle lenses for Fuji X-mount—a comprehensive guide for those seeking to harness the full potential of the Samyang 12mm lens.
The Wide-Angle Samyang 12mm f2 Lens
The Samyang 12mm f/2 lens for Fuji X-mount cameras is popular among photographers seeking a wide-angle perspective and a large aperture. With a focal length of 12mm and a maximum aperture of f/2, this lens is well-suited for various photographic applications.One notable characteristic of Samyang lenses, including the 12mm f/2, is their manual focus design. Users need to adjust the focus manually, which can benefit those who prefer precise control over their focus settings. The lens typically incorporates multiple elements arranged in various groups, contributing to its ability to deliver sharp and distortion-free images.In terms of build quality, Samyang lenses are known for their robust construction, often featuring a durable metal build. This sturdiness contributes to the overall reliability of the lens, making it suitable for outdoor and challenging shooting conditions. The Samyang 12mm lens has a 62mm filter thread size. If you want to use filters, make sure to get ones of this size, or use a special size adapter called a step-up ring.The Samyang 12mm f/2 is designed for Fuji X-mount cameras, ensuring compatibility with Fuji's X-series mirrorless cameras. This lens is particularly favored by photographers engaged in landscape photography, architectural photography, and astrophotography due to its wide-angle perspective and the f/2 aperture, which excels in capturing low-light scenes. Pros Compact & Lightweight: The Samyang 12mm for X-Mount is a fantastic lens that boasts a wide range of features which make it a top choice for photographers. One of the key advantages of the lens is its excellent autofocus, which ensures that shots are always in focus. Additionally, the lens is lightweight and compact, making it easy to carry around and use for extended periods of time.Sharp Images: Whether you're hiking to get the perfect shot, or just out for a casual day of photography, this lens won't weigh you down. Finally, the resulting images are incredibly sharp, with stunning detail that will impress even the pickiest of viewers.Weather-sealed: This outstanding lens has been crafted to withstand tough weather conditions, ensuring you can capture remarkable photographs in even the most challenging environments. The 12mm F2 lens boasts a remarkable angle-of-view range that is on par with the capabilities of an 18mm optic in a 35mm full-frame system, providing you with unmatched flexibility in your photography endeavors.You can now effortlessly explore the most beautiful sceneries, even in the most cramped spaces, thanks to this lens's unique constructions.
Embracing the Grandeur of Landscapes at Chin Swee Temple
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Fujifilm X-T4 // Samyang 12mm f2 I was back in Chin Swee Temple to test out this wide-angle Samyang lens with the upcoming 4-in-1 YOLO film recipe. Nestled amidst the hills of Genting Highlands, Chin Swee Temple emerges as a serene architectural marvel. The Samyang 12mm lens allows me to capture the temple's intricate details while embracing the surrounding landscape. By framing the temple against the vastness of the hills, photographers can emphasize the harmonious coexistence of spiritual and natural elements. The wide-angle perspective ensures that every architectural nuance, from the ornate decorations to the temple's silhouette against the sky, is impeccably captured.The scenic expanse of Genting Highlands, with its lush greenery and rolling hills, presents an idyllic canvas for landscape photographers wielding the Samyang 12mm lens. As the lens captures the essence of this high-altitude retreat, photographers can stand amidst the serenity of the elevated terrain, using the 12mm focal length to unfold panoramic vistas with unparalleled clarity and detail. This lens becomes an extension of the photographer's vision, translating the tranquility of the Genting Highlands into images that evoke a sense of peaceful escape.
Unveiling Urban Symmetry in the Pudu Area
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Fujifilm X-T4 // Samyang 12mm f2 In the realm of architectural photography, where a keen eye for composition is paramount, the Samyang 12mm lens emerges as an indispensable ally for photographers seeking to reveal the captivating intricacies of urban landscapes. This lens excels in accentuating the bold lines, patterns, and symmetries inherent in modern structures, historical landmarks, and bustling cityscapes, providing a canvas for photographers to craft visually compelling and harmonious images.Pudu, an area brimming with urban vibrancy in Kuala Lumpur, becomes an intriguing canvas for architectural exploration with the Samyang 12mm lens, using Teal Obscure recipe for indoor shots. From the bustling streets to the towering structures, this lens captures the essence of urban symmetry with unparalleled precision. I can utilize the lens to frame the converging lines of bustling streets, creating dynamic compositions that showcase the rhythm and flow of city life.Pudu Plaza, a prominent landmark in Kuala Lumpur, stands as an ideal backdrop for experimenting with leading lines using the Samyang 12mm lens. This lens allows me to skillfully capture the linear elements of the plaza's architecture, such as the clean lines of its facade, staircases, or walkways. By strategically composing shots to emphasize these leading lines, I can infuse a sense of depth and perspective into the images, creating a visually engaging narrative.
Sample Photos
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Fujifilm X-T4 // Samyang 12mm f2
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Fujifilm X-T4 // Samyang 12mm f2
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Fujifilm X-T4 // Samyang 12mm f2
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Fujifilm X-T4 // Samyang 12mm f2
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Fujifilm X-T4 // Samyang 12mm f2
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Fujifilm X-T4 // Samyang 12mm f2
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Fujifilm X-T4 // Samyang 12mm f2 Share This: Samyang 12mm f2 X-Mount AF Lens Review
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