It is rare for me to write so called “lens reviews”, mostly because I do not have the technical ability or background to carry out that type of detailed analysis. Also, for many years my preference has been to skip this type of reviews and learn more from the opinion of trusted photographers that are kind enough to share their experiences with others. These days, with computer aided lens design, and complex manufacturing of exotic lens’ elements, it is hard to find a “bad” lens. Following this introduction, in the next paragraphs I will summarize my experience with a lens that I have recently acquired; its full name is TTArtisan Super Wide 10mm f2 APSC, in Fujifilm X mount.
I have always enjoyed photographing the nigh sky in a landscape context, with the Milky Way, or star trails. Given that I am now living in Oman (where there are still remote dark sites), and I have the opportunity of going out once a month with an astronomy group, I started searching for a dedicated ultra-wide and fast prime lens. I did not want to spend a lot of money, so I chose the above-mentioned lens; it is manual focus, and it does not feature electronic communication with the camera, but these are not important for the intended purpose. On the other hand, it is robustly built, all metal and glass. During the last couple of months, I have used the lens in several trips, photographing both during the day and night. What follows is a series of photos, where I will try to illustrate my key findings. All images were taken with the Fujifilm XT5, which has one of the most demanding APSC sensors, with its 40 mp.
Sun stars – they are generally excellent, but you have to watch out for flare. The lens flares easily, which is probably its most significant downside for daylight photography. You can mitigate against this by slightly adjusting your framing or position. With the sun outside of the field of view, you can also get some minor flare, which you can eliminate by carefully placing your hand next to the lens; just be careful to avoid your hand showing up on the image. Even with this downside, I managed to get some really nice photos.
Wakan village, Oman.Wakan village, Oman.Gubrah bowl, Oman.Jebel Akhdar, Oman.Jebel Akhdar, Oman.Jebel Akhdar sunset, Oman.
General landscapes – I am happy with the results. Sure there are better lenses, but for Fujifilm the other options covering 10mm are much more expensive. Remember, this is a lens that costs around USD 150. So far I have used it in the Oman mountains and desert, without a problem. The sharpness is actually excellent at normal landscape apertures, diminishing to the corners; still, A3 and even A2 size prints are fine.
Jebel Akhdar, Oman.Dawn, Jebel Akhdar, Oman.Jebel Akhdar, Oman.Nizwa, Oman. The geometric distortion is low, with straight lines not bending.Nizwa, Oman.Nizwa, Oman.
Night sky – this was the main reason why I got the lens. With such a wide angle of view and large aperture, it ticks the right boxes for those vast Milky Way and star trail images. Manual focus at infinity is easy to achieve using the magnification function of the camera, and carefully bringing a bright star into a pinpoint on the screen. Again, there are probably better lenses in terms of coma and other optical defects, but I am happy with the results I am getting thus far. I have used f/2.8 because it reduces those defects, compared to f/2. Vignetting is also present, but for Milky Way photos, it actually helps to guide the eye towards the important part of the frame.
Wahiba sands desert, Oman. 15 seconds exposure.Wahiba sands desert, Oman. About 150 shots stacked, 30 seconds each.Jebel Akhdar, Oman. Around 100 shots of 30 seconds each.
My conclusion is that for the price, this lens delivers the goods. Certainly I will keep using it for my night sky images. For day light landscapes, it is also perfectly usable, bearing in mind that it flares easily. The low distortion also makes it useful for interior photos. I keep repeating myself, but this lens delivers well above its cost.
Last week I had the opportunity to try this relatively recent lens (announced in July 2021) from Voigtlaender. You can find all the details about this lens here:
The number of third – party lenses for Fujifilm’s X mount has been increasing in the last few years, and Voigtlaender has already introduced several of them, including this fast 35mm lens, which provides a standard/normal angle of view for the APSC format. As many other Voigtlaender lenses available for other mounts (e.g. VM for Leica M), this is actually made by Cosina. This is similar to other famous names in photographic lenses; for example, many Zeiss lenses are also made by Cosina (think Loxia for Sony E and ZM for Leica M). The bottom line is that all of them are manual focus only and made to very high standards.
To try out the lens, I mounted it on my Fujifilm X-T4 and went to one of my favourite places in Portugal’s SW coast, near Almograve and Cavaleiro villages. This is not a lens test, as I am no expert. I have simply used the lens under various circumstances, checking the results for aspects like bokeh, transition between in-focus and out-of-focus zones, flaring, contrast, colours, etc. Even though it is a very fast lens (f/1.2), it is quite small, thanks to the APSC format and lack of AF and IS motors. Regarding the details on how to manually focus the lens, all the assists in the X-T4 worked without problems; you can use magnification, split prism, microprism, and peak highlight. Given that my subjects were static, I was in not hurry, so I mostly used magnification.
Image courtesy of Voigtlaender.
I have organized this article by topics, so lets start with the first one.
Bokeh and focus transition
From some of the comments and samples that I had researched prior to my experience with the lens, I already knew a few things about it. The photos I got confirmed that the lens, when used wide-open (say between f/1.2 – f/2), is not clinically sharp, and shows some “glow” around the edges of the focused subject. This combination delivers a unique look, which I think is adequate for portraits. I have seen this look in other lenses that I used before, like the Zeiss C Sonnar 50mm f/1,5 ZM and the Canon EF 50mm f/1.2. Basically, the optical aberrations of the lens are under-corrected when used wide-open and near wide-open. As the aperture is stopped down, this “glow” effect goes away and sharpness increases. It is almost like you get two lenses in one.
I have shot Raw and processed the files via two steps: the first one was using Iridient to convert RAF to DNG, and then using Lightroom (LR) on those (I have an old LR version that does not recognize the Raf files from my cameras). Processing in LR is my usual one, starting with Provia “film choice”, followed by simple adjustments to the basic parameters. I really like the rich but natural colours from the lens, plus the excellent contrast.
Below we can the first example I shot, a marker of the Fishermen’s Trail in the Vicentina Route, near Cabo Sardão. Timing was the onset of the golden hour before sunset. This is a focus distance that might represents a close portrait; the background shrub is very close to the wood marker. It is also worth mentioning that the aperture features a 12-bladed diaphragm, and that as we stop down, its shape becomes well defined. I like the transition between the focused and non-focused areas.
At f/1.2, the glow is very clear around the marker. Together with the absence of clinical sharpness, I think it is a nice portrait lens. The background is sent to oblivion.At f/2, the glow is reduced but still present. Sharpness increases also. Bokeh still features a rounded aperture shape.At f/4, the lens is really sharp. Bokeh continues to be excellent, with the shape of the 12 bladed aperture becoming apparent. I was lucky because a few trekkers passed by, providing more background elements to the scene.At f/5.6, the shape of the aperture is clear, but the rendering is still nice.At f/8, there is still some degree of subject isolation.
The second scene features a football pitch in the foreground and the Cabo Sardão lighthouse in the background. I have focused on the letters in the bench, which were around 2 or 3 m away from my position. It could represent a half-body to full body portrait, for example.
Example with the focus at a more normal distance. Background is also further away, compared to the previous scene. At f/2, the sharpness and focus fall-off are excellent. The depth-of-field is so shallow that the wood post with the rope is already out of focus.By f/4, the wood post becomes in focus, with the background a little bit more well defined.At f/8, the depth-of-field extends to more or less the middle of the pitch, so the building is still out of focus.
Finally, my third scene was shot in the coastal dunes near Almograve, at sunrise. I chose the nice flowers blooming around. What we see is the lens behaving similarly to the scenes above.
Flower f/1.2. Example of wide-open glow.Flower f/2. Glow is less evident, but is still visible.Flowers at f/5.6.
The second aspect I want to mention is flare. Given the lens is under-corrected by design (when used wide-open, and I think similar to what Cosina does with their “Classic” line of VM lenses), I was actually expecting a worse result than the one I obtained.
Flare
I used the same area with the flowers as above, and shot against the rising sun. One photo with the sun in the upper left corner, almost outside of the frame; and another photo with the sun right in the frame, shining directly on the lens. In both cases I see that the flower is still clear, with no loss of contrast. This is a very good result, and I will have no issues with shooting against the sun. It is important to mention that flare depends on how clean the lens (or filter) is; any particle of dust or any smudge will increase the likelihood of inducing lens flare. I had the lens hood mounted as well. This would be a good time to mention that I saw no chromatic aberrations also, which is good.
Flare #1, f/5.6.Flare #2, f/5. Even with the sun shining straight on the lens, the result is good.
The third characteristic of the lens I wanted to check is its capability of producing nice sun stars. For that, I went to Odemira for a very early photo session.
Sun stars
Below are two examples shot at f/8 in Odemira, where very nice stars can be seen on the street lamps.
View of Odemira at dawn. The lens makes nice stars around the bright lights.Another example of sun stars.
Finally, I leave you with a few more image samples taken during my time with this lens. In conclusion, for my typical use cases, I find this lens to be excellent: small, light, robust, easy to use, and with very high (and unique in some aspects) image quality. I do not mind that wide open the lens shows “glow” and less than razor sharpness, because when I take portraits, I am not after forensic detail. For landscapes and general photography, at f/2.8 and above, the lens provides more “modern look” results. One of the things I enjoyed when I was using the Sony E system several years ago was the Zeiss Loxia range of lenses; they were small and very high quality too. I am glad to see that Cosina/Voigtlaender are investing on a similar approach for Fujifilm X. And I hope they release a nice wide-angle landscape lens next.
Nice color and contrast in a normal landscape scene.The typical white storks of Cabo Sardão.Cliffs at sunset.Coastal view. Panorama assembled from 4 images.Wonderful sunset.Ghosts at dawn, Odemira.Windmills at sunrise, Odemira.Windmills, Odemira.Windmills, Odemira.View towards the Serra of Monchique in the south, Odemira.Posing, Odemira.
I recently took some time out with the family in my house in Longueira, in the Alentejo coast. During a couple of weeks, we relaxed in the beaches of the region (Almograve, Odeceixe, and Arrifana), enjoying the sun and the ocean. Granted, August is not my favorite month to spend time there, due to the crowds of vacationers that arrive during the summer season. Still, the beauty and pristine character of these beaches and the isolated interior hills, remain relatively unaffected by the many visitors.
Of course I had to make some time for my photography, walking along some of the coastal paths, and visiting the numerous secluded small bays and inlets, where hardly anybody goes. On one of such occasions, I decided to walk the couple of km between Almograve beach and the small fishing harbor of Lapa de Pombas. Within such a small distance, there is an amazing variety of isolated beaches, most of them framed by the rocky cliffs and covered with pebbles. I like to visit during low tide in the late afternoon, close to sunset time. This gives me about 2 hours of photography when the interesting light is falling on the colorful and folded rock formations.
I usually do not write much about gear, but this is a good opportunity to mention one of my favorite lenses, the Fujinon 14mm f/2.8. This wide angle lens is essential to me, because I find it ideal for my photography, including the seascapes of this area. So, all the photos that follow were made with this lens. The weather was overcast, with some fog banks coming and going, which can be both positive and negative. It is positive, because the fog acts like a giant light diffuser, softening the light that falls over the cliffs and the sea; but is also negative, because it results in bland and uninteresting skies. As such, in most of the photos I have chosen to exclude the sky. I have also used a 10 stop neutral density filter to add an extra dimension of softness to the water, which complements nicely the overall mood of this quiet afternoon stroll.
Lapa das Pombas harbor. Fishing is still an important economic activity in the area.Dark rock layers have been smoothed out by water erosion. Same rocks above the water line are still sharp and edgy.Coastline.
During low tide, it is possible to walk down from the top of the cliffs to the beaches, where there are many tidal pools, eroded rock formations, and folded geologic layers. A few minutes before sunset, the fog lifted for a while, and a warm light descended over the area, adding an almost otherworldly dimension to these scenes.
Rocks and ocean.Gap.Lapa de Pombas harbor.Lapa de Pombas at low tide.One of the beaches at low tide.Pebbles and folds.Rocky world.Pointing at the sky.Rounded.
While walking around in these beaches, it is important to be careful, because the smooth rock surfaces are sometimes slippery due to an algal cover. Plus, pay attention to avoid twisting an ankle while walking over the pebbles. Other than that, if you visit these places, you will have a wonderful time. I know I did.
After a very dry winter, finally we are having some rain in Portugal in April. Still not enough to mitigate the drought, but rain nevertheless. During one of my recent walks in the Alentejo coast, between Cabo Sardão and Zambujeira-do-Mar, I ended up photographing some seascapes during the sunset. The afternoon had been very windy, with heavy clouds accumulating in the distance. As the day was ending, the light kept changing very quickly, and the first showers could be seen in the distance.
I mounted my camera on the tripod, and made several photos using the lenses I had with me: the older and trusty Fujinon 14mm wide-angle and the more recent Fujinon 70-300mm zoom. The former was used to frame the coastal cliffs against the sea and dramatic sky, whereas the latter was used to photograph the distant ominous clouds near the horizon.
Natural elements.Ominous sky.Into the sea and sky.
The clouds were covering the sun, but as sunset approached, a thin sliver of clear sky appeared, illuminated by warm colors. This made a very nice contrast with the darker bands of sea and sky that were framing it.
Approaching storm.Blue and orange.Light from above.
Watching this show was a wonderful experience, and I was glad I had decided to visit the area; bad weather often makes for good light and interesting photos. My final frame was of the Cabo Sardão lighthouse as its light was turned on.
The southwest coast of Portugal is home to a unique species of storks, which are one of the icons of the region. I first wrote about them almost two years ago, in a small essay that can be found in the link below.
The arrival of Spring brings with it the return of these birds to their nests set atop the numerous sea stacks along the coastal cliffs. One of the best areas to observe this species is the stretch of littoral between the villages of Cavaleiro and Zambujeira-do-Mar. I walked this trail a couple of weeks ago, and was able to photograph the white storks in their nests. I used the Fujifilm X-T3 camera and Fujinon 70-300mm zoom.
Two years ago the maximum focal length I had was 200mm, which was a bit limited. So, this time I wanted a little more reach, and the 70-300mm zoom (which was released in the interim) proved to be quite adequate. Of course, the Fujifilm 100-400mm zoom would have been even better, at the cost of extra weight and bulk, not to mention expense. I found the 70-300mm lens to be easy to handhold, and the image stabilization was also very useful. I was in the field for a few hours in the late afternoon, shooting until sunset in various places.
The wind was very strong, which required extra care when approaching the edge of the cliffs. The strong wind also demanded that, when using 300mm, I often had to lie on the ground to improve stability and avoid camera shake, which was a higher risk when the lens barrel was fully extended.
I also made several seascape photos of the area, which is beautiful in itself. In the set below, there are several frames taken with the Fujifilm 14mm f/2.8 lens, a high quality wide – angle lens that I have owned for several years. The geology along the cliffs makes for spectacular shapes and rock textures.
Folded rocks and small bay.Coastal view.White storks’ nests.Tectonic forces.Delicate bouquet.White stork.Rock textures.Scenic view of coastal region.White stork in its nest.Coastal scenery.Upstairs, downstairs.White stork.Coastal cliffs at sunset.Curved shapes.Hanging block.Sea stacks.Sea stacks.Sea, rocks, and mountains.Cove.Coastal nests.Earth, sea, and sky.
A few days ago I spent some time in the region, and I took the opportunity to walk this trail again. Revisiting familiar places is always a challenge when it comes fresh ideas for photos, but I have tried to do so. I decided this time to walk the route in the afternoon, as my previous walks had been in the morning. As such, I was hoping to benefit from some late afternoon light over the local rural landscape. One other difference was that I am currently testing a new lens, the Fujinon 70-300mm. This lens allowed me to isolate some elements in the landscape, such as old houses and the large cork oak trees that are typical of the area. With me, I also had the 14mm wide-angle lens, which was useful to frame the large trees and the hilly landscape.
The weather was nice, already with a touch of Spring in the air. Rain has been very scarce this Winter, but some recent rainfall revitalized the crops that local farmers had cultivated. This turned the hilly landscape into patches of browns and greens. For me, one of the highlights of this trail are the very large cork oak trees that dominate the landscape. Also the view from the Nossa Senhora das Neves chapel, at the top of the hill, is always a must.
Map of route 7 of the Rota Vicentina.
The first half of the walk crosses rural farmlands, with crops of wheat, large cork oak trees, and some abandoned old farm houses. Some plants are in bloom, adding color to the landscape. The sense of tranquility and isolation is strong.
Monte da Estrada village, at the beginning of the trail.Framed house.Rockrose flower.Old farm house.Heather in bloom. Source of delicious honey.Pink flowers.
After a few kilometers, the Nossa Senhora das Neves chapel, located in the top of a high hill, becomes visible from the valley below. Soon, the path starts to climb steeply, but the view from the top is well worth the effort. Next to a curve, a farmer drives by in a tractor. It was the only person I have crossed with during my walk.
The small chapel at the top.Along the way.Nossa Senhora das Neves belvedere. A good place to rest and enjoy the view.Hilly landscape, with the chapel in the distance.
I put the 70-300mm lens to good use, zooming in into some distant elements. It is also good for some close-ups o flowers along the way.
Looking down.White flowers.
The rest of the walk continues to cross farmland, and I photograph a few more houses and interesting trees along the way. The sunset light imparts a different character to the landscape, precisely what I had hoped for.
Spring crops.Twisted bark.
Just before arriving back at Monte da Estrada, there is a nice cultivated area with scattered cork oak trees, and I spent some time photographing it. I try different compositions, such as isolating the trees in the landscape, or moving up close to better show the characteristic rough and twisted tree trunks.
Rural landscape at the end of the day.Cork oak tree.Down to earth.Cork oak tree in silhouette.End of the trail.Lone cork oak tree.Old house.
I had walked this trail last October, when the fields were all brown and dry. A few months later, it was nice to go back and see the change, with the landscape covered in large part by the green of the cultivated fields. I am sure I will go back to this route in the future, every time it offers something different.
Along the southwest coast of Alentejo, in Portugal, there are several small fishing harbors that are still used today by local fishermen. The livelihood of this region is still based on two main activities: farming and fishing. These harbors provide shelter for the small boats that venture in the coastal areas when the weather conditions permit. On a recent sunny afternoon I visited the Entrada da Barca harbor, which is located close to the town of Zambujeira do Mar.
This is a very picturesque location, with nice views from the top of the cliffs. After making a few photos, I walked all the way down to the water, exploring the little bay. There were a few boats in the water, plus other ones on the concrete landing. I had with me a new lens, the Fujinon 70-300mm f/4 – f/5.6 zoom, which I wanted to try out. My preference when photographing in the area is for wide – angle and standard lenses, but a telephoto zoom is also very useful to photograph details and subjects that are far away. After this initial tryout, my conclusion is that the lens is very good and will be a valuable addition to my kit.
General overview of the fishing harbor of Entrada da Barca.Fishing boat.
I walked along the concrete pier that was built to protect the harbor from the sea. Once you reach the end of it, you can appreciate the transition between the sheltered area and the open water. I admire the fishermen that regularly go out into the ocean in these tiny boats.
Getting ready.Going out.
After a while I left the harbor and walked along the coastal path, which climbs the northern face of the small bay. This path belongs to the Rota Vicentina trail section that connects the towns of Zambujeira do Mar and Almograve, about 20 km away. The weather was clear and sunset time was approaching, bathing the coastal cliffs with a golden light. It is interesting to see the succession of small coves formed by the erosion of the rocks.
Looking south towards Zambujeira do Mar.
Walking along the trail, I chose a few spots that provided views over the coast, set up the tripod, and took a few more photos. The silence was only disturbed by the seagulls and the waves below. I use the telephoto zoom to photograph the distant bird nests, and also some of the cliffs, to highlight the layered nature of the rocks.
Seagulls.Seagull.Coastal cliffs.Looking north along the coastal trail.The harbor at sunset.
At the end of the day, enjoying the sunset, I was happy with this small walk in the area, where there are so many interesting aspects to explore. If you want, you can even stay longer and have a nice dinner in the typical restaurants near the harbor, where you can taste the fresh fish that was probably captured in the waters below.
It is very rare for me to write in any detail about photographic gear, for several reasons. The main ones being that in recent years, cameras and lenses are so good, and the choice is so much, that there are plenty of options for everybody who enjoys photography as a hobby. For the last 3 years, I have been using the Fujifilm X system, because it provides many right things that I find important for my photography. My first experience with the system happened around 2013, so it is not new to me.
The X-Pro series has always been a very special statement from Fujifilm, with its unique “old school rangefinder appeal” design: optical viewfinder in the corner (which is hybrid, meaning it can be used as an electronic one also), several buttons and dials for direct control, and robust construction, just to name a few. The camera was a success, and two more versions have followed, the most recent one being the X-Pro3. At the core, they all remain similar in their design as a tactile camera that is a pleasure to use. Coupled with some of the available small prime lenses, such as the 16mm f/2.8, 23mm f/2, 35mm f/2, and 50mm f/2, it is a camera that just begs to be used.
Classy camera (photos from https://www.dpreview.com/reviews/fujifilm-x-pro3-review).
I have been using the camera for a while, mainly around my neighborhood, given the ongoing Covid-19 confinement in Portugal. Sill, I live near Carcavelos beach, which provides excellent opportunities for interesting photos. Thus, the other day I picked up the camera with the 50mm f/2 lens, plus the tripod, and went to the beach. The weather was good, late afternoon with some sun and clouds. As usual, there were many surfers and some people simply enjoying a seaside stroll.
Cross.The fort of Carcavelos.Black and white version. Acros Red film simulation.
I used the tripod for most of the photos, because that is a habit of mine. It helps me to concentrate on the composition. The other aspect of the camera that I like is the way the screen operates; when not in use, it is hidden from view, and it may seem that is even missing. The screen is there, but it needs to be tilted down to be used, and that is the only option available. For the way I shoot, this is brilliant: when shooting handheld I do not need to see the screen, and when using the tripod, I merely fold the screen down. When the main screen is closed, Fujifilm added another extra classy detail, in the shape of a small screen that can mimic the slot where in film cameras people would place the little square with the film type reminder.
Walking near the sea, with the camera on the tripod, I simply kept shooting when I saw an interesting scene. Even with the (small) tripod near me, the camera and lens did not caught any attention from other people. I already had that experience when using the X100 (another retro design camera); people think I am using an older film camera. The focal length I had with me, 50mm, works out nicely to keep some distance between my and my subject, but not too much.
Carcavelos beach.Strolling.Surf time.Surfers.Waiting.Beach and sky.
In the next few days, and with the rumors that the confinement rules will start to be lifted, I intend to use the camera a bit more. But so far, my opinion is that the camera continues to marry a brilliant design with a lot of technology, resulting in a mature camera that is quintessential Fuji. A design that (re)states its commitment to photography and photographers.
I don´t write about photographic gear very often in my blog, since I prefer to showcase my photos and associated experiences. It is my opinion that current cameras and lenses across several formats are more than capable to deliver excellent images. It is up to the photographer to go out, find inspiration, and produce memorable photos. As those who read my blog know, in the past 4 months or so I have been trying out the Fujifilm X100V, using it in the type of occasion where I prefer to carry only one simple but high-quality camera.
Such instances have
included walking several trail paths in the Rota Vicentina in southwest
Portugal; simple landscape photo sessions; and general vacation photography. My
previous impressions can be found in the following links:
The Fujifilm X100V is the fifth version of an iconic camera line that first saw the light of day in 2010. So this year marks an important milestone for the little camera. In fact, one could argue that the success of the original X100 was the first significant step in the launch of Fujifilm’s X-mount system one year later. I have used several of the X100 cameras throughout the years, and the “V” still carries all of the original charm, marrying it with the modern technology and know-how of the company. There are not many camera lines that are able to maintain such strong personality traits after 10 years – this is almost an eternity in the digital age.
In order to round off this series of articles about my experiences with this camera, I have used it again recently to make some landscape photos on two occasions. Both during a weekend that I spent in the Alentejo coast, near Almograve. I merely used the camera and a tripod, can not get any simpler than that really.
On the first outing I went to the area near Cabo Sardão lighthouse, to photograph during the sunset time. The weather was cloudy, with menacing and broody skies. This made for some nice photos of the sea, cliffs, and lighthouse. For some of them I used the built-in neutral density filter; 4 stops is very useful to achieve long exposures.
Stormy sunsetCliffs at sunsetPrecipiceApproaching stormMenacing clouds
As you can see, the weather was looking dire, but I kept shooting, as the clouds and the light were changing every minute. The interplay between the sea and the sky provided interesting compositions.
Moving onLights onCloudscapeWater world
The second outing occurred the following morning, in the small village of Longueira. Again, I simply grabbed the camera and the tripod and went out of the house before sunrise. Trying to find different and still interesting subjects after photographing a place for so many years is a challenge. However, every sunrise (or sunset) is different, and places change with the seasons. In the Autumn, often there are clouds in the sky that are illuminated by low angle sunlight, displaying warm colours. The fields are ploughed and freshly vibrant from the morning dew.
Coloured wedgeRising sun over football fieldFirst lightThe treeFields of green
In conclusion, the X100V is, for me, the best version so far of this line of cameras from Fujifilm. Small, easy to operate, great lens and sensor, robust, and delivers high image quality. The final photo illustrates that in the confined world we live in today, it is still possible to imagine.
You can tell from my recent posts that I have been using this camera a lot. From occasional and general type of shooting to trekking, this camera is a powerful photographic tool. Today, I want to share another experience, this time using the camera for landscape photography in the southwest coast of Alentejo, Portugal. More precisely, during dawn in Almograve beach.
My wife thinks I am crazy, but I like to wake up before dawn to catch the best light on the landscape. Or, in this instance, the seascape. This time, I simply grabbed my tripod and X100V and went off to the nearby beach of Almograve. Arriving in the dark, I set up the camera and tripod and started experimenting with long exposures. I often use a Lee Big Stopper ND filter, but this time I wanted to try the in-camera 4 stop ND filter and see what type of images I would get. The previous version of the camera had a 3 stop ND filter; 1 stop more ends up making a significant difference for this application of long exposure photography.
Below are some examples of the long exposures I was able to shoot, some of them up to 4 minutes long.
Dawn in Almograve beach.Rock.Passage.Moon and rocks at dawn, Almograve.
As you can see, the soft light of pre-dawn was wonderful, with changing pink and purple hues in the sky. The longer exposures also imparted the sea with an ethereal quality.
Rock and Moon.
In closing, I can say that the images look great, and the new 4 stop in-camera ND filter opens up a lot of possibilities for long exposure photography.
