The Fujifilm X

System Guide
for Portrait Photographers

Damien Lovegrove
1
 The Fujifilm X System Guide for Portrait
Photographers by Damien Lovegrove

Written and produced by Damien Lovegrove

Design by Luke Knight
Portrait photography by Damien Lovegrove
Product shots used with permission

Published by Lovegrove Photography Ltd

Copyright © 2016, Damien Lovegrove
All rights reserved.

It is strictly forbidden to use or copy all or

part of the contents of this publication other
than for your own personal and private use.
It is also strictly forbidden to distribute, copy,
reproduce, represent, adapt, modify, publish,
transmit, translate or sell all or part of the
contents of this publication without the prior
written consent of Lovegrove Photography
Ltd.

The marketing of this publication has been

kindly supported by Fujifilm.

For more information, please visit: Special thanks to Fujifilm.

www.lovegroveportraits.com
Damien Lovegrove is an official
version 1.02 Fujifilm X photographer and
Fujifilm UK ambassador.

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About the Author
Damien Lovegrove is considered by many
to be one of the worlds most influential
contemporary photographers. He is best
known for creating portraits that make
women look fabulous. He is a confident
director and great fun to shoot with too.
Damien’s lighting style is distinctive and his
picture composition unique.

Damien is an official Fujifilm UK

ambassador and a renowned Fujifilm X
photographer.

© Ioannis Tsouloulis

‘‘
The Fujifilm X system
reignited my passion for
photography. The small
form factor encourages a
new level of openness in my
subjects.

Damien Lovegrove

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 Contents
Cameras 6 Display custom settings menu 46
Camera overview 7
Choosing your Fujifilm X Camera 9
X-T2 12
X-Pro2 16
X-T10 20
X-E2s, X-E2, X-E1 22
X-T1 28
X-Pro1 31
X70 33
X-A1, X-A2, X-A3, X-M1 33
Summary 34
Camera settings 35
Camera settings introduction 36
Q menu 37
IQ menu 39
Auto focus menu 40
Shooting settings menu 42
Sound settings menu 43
Screen settings menu 44
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Button dial settings menu 46
Function button settings menu 47
Focussing and general operation 48
Auto ISO 52
Lenses 57
XF lenses for portraits 58
Portrait lens sets 60
XF14mm f2.8 62
XF16mm f1.4 64
XF23mm f1.4 66
XF35mm f1.4 68
XF56mm f1.2 70
XF60mm f2.4 74
XF90mm f2.0 76
XF18-55mm f2.8-4 80
XF16-55mm f/2.8 82
XF55-200mm f/3.5-4.5 83
XF50-140mm f/2.8 85
XF100-400mm f/4.5-5.6 88
Other lenses worth a mention 90
My Fujifilm X system journey to date
In 2011 the Fujifilm X-Pro1 was launched with three prime
lenses and it heralded a new mirrorless shooting system. This
had a profound impact on my life as it rekindled my passion
for photography. A couple of years later the X-T1 gave us
extra usability and went some way to bridging the SLR to CSC
devide. In 2016 the X-Pro2, with its new super sensor took
the Fujifilm X image quality to the next level and together with
the X-T2, launched the same year, they brought the technical
specification of the Fujifilm X system bang up to date. The sum
of all the tweaks and changes in these flagship cameras have
made a huge improvement over their predecessors.

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6
1
Cameras
1 Fujifilm X series cameras
If you are welcoming a Fujifilm X camera
into your life and you are a seasoned
photographer, it’s important to understand
that the Fujifilm will not do everything in the
same way as an SLR. There are limitations
with some models yet many benefits of
shooting with Fujifilm too. If the camera is a
current model, and is well set up, the benefits
far outweigh the disappointments. Try to
avoid the temptation of making a Fujifilm work
just like an SLR because you will be missing
some really cool tricks. Have an open mind
and be ready to fundamentally change the
way you shoot.
In these pages on cameras, camera settings
and lenses, I decode the Fujifilm X system to
reveal some excellent ways of working. I am
lucky to have had five years of experience
shooting with Fujifilm X cameras, and I have
played an active role in their development
process. This insight has given me working
strategies that I want to share with you here.
There are many ways to set up and use
Fujifilm X system cameras, but straight out
of the box isn’t one of them. The cameras
need reconfiguring to suit your priorities. For
instance, if you worked with every visual aid
switched on there would barely be any room

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 Fujifilm X Series Cameras

X mount EVF UHS-2 SD Sensor

OVF (optical Touch Weather Flash Sync
Lenses Fixed lens (interchangeable (electronic Tilting LCD card Size Sensor type
viewfinder) Screen sealed Speed
lens) viewfinder) compatible (megapixels)

X100 12 Bayar 1/1000 sec

X100S 16 X Trans CMOS 1/1000 sec

X100T 16 X Trans CMOS 1/1000 sec

X-70 Optional Multi-directional 16 X Trans CMOS 2 1/1000 sec

X-A1 16 Bayar 1/180 sec

X-A2 16 Bayar 1/180 sec

X-M1 16 X Trans CMOS 1/180 sec

X-Pro1 16 X Trans CMOS 1/180 sec

X-E1 16 X Trans CMOS 1/180 sec

X-E2 16 X Trans CMOS 2 1/180 sec

X-T1 16 X Trans CMOS 2 1/180 sec

X-T10 16 X Trans CMOS 2 1/180 sec

X-E2s 16 X Trans CMOS 2 1/180 sec

X-Pro2 24 X Trans CMOS 3 1/250 sec

X-T2 Bi-directional 24 X Trans CMOS 3 1/250 sec

left on the screen for the picture. The

LCD and EVF can look like the heads
up display on a fighter jet but, just
because a feature is there, it doesn’t
mean it needs to be active. Fujifilm
have given us great user configuration
capabilities within the menus. All the
function buttons are assignable too, so
expect the process of setting up your
camera to take about 30 minutes. After
the camera set up process it will be
worth taking time to explore the picture
characteristic options, including the film
simulations and tonal settings. I discuss
them all in the camera setup section.

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Choosing your Fujifilm X camera
First off let’s discuss the seemingly vast
choice of Fujifilm X cameras available. Even
though the system is only 5 years or so old,
there are many cameras that Fujifilm have
introduced and replaced in that time. The
current range of Fujifilm X compact system
cameras, (CSC), comprises two distinct body
styles. One has a large centrally placed
viewfinder and a tilting rear LCD screen
The other has a rangefinder style offset
viewfinder and a fixed rear LCD screen. First
of all you will need to decide which of these
camera types is right for you.
In the current line up of centrally placed
large viewfinder style cameras we have the
flagship X-T2 that bristles with features and
sports a 24 megapixel sensor, and its baby
brother the Fujifilm X-T10. This is a much
smaller camera with a 16 megapixel sensor.
Both cameras are capable of professional
quality output, however the feature list and
price points of the two cameras are poles
apart.
In the existing lineup of rangefinder style
cameras we have the top of the line X-Pro2
camera with a 24 megapixel sensor, and its
little sister the X-E2s with a 16 megapixel
sensor.
Once you have selected which range is going
9
 to suit your way of working, you can then The second hand market
choose the model to suit your budget and
requirements.
place
The first generation of Fujifilm X cameras, the
I prefer to work with the X-T cameras (X-T2
X-Pro1 and X-E1, are generally considered
and X-T10) because I like having a large
too slow for everyday use now, especially if
centrally placed viewfinder. Having said that,
you have been used to a faster SLR camera.
I tend to use the tilting LCD most of the time.
If you already own an X-Pro1 and are an
I like avoiding having a camera stuck to my
occasional shooter you might not consider it
face when I’m making portraits as it alienates
necessary or worth upgrading.
my subjects. Using the tilting LCD reminds
me of shooting with waist level viewfinders on
There are some previously loved Fujifilm X
my medium format cameras all those years
cameras on the second hand market worth
ago.
considering though. It took Fujifilm four years
to replace the X-Pro1 with the X-Pro2, but
I have found the rangefinder style cameras
only two years to replace the X-T1 with the
(X-Pro2 and X-E2s) difficult to use outside in
X-T2. This makes the X-T1 a great option
sunlight because there is no provision for a
because it is relatively new, yet obsolete. The
deep eyecup. I find shielding my eyes with
X-T1 is a fast camera. It has fast autofocus,
my left hand while holding the camera in the
fast power up, fast viewfinder refresh rate
right hand is a problem. I also miss the tilting
and fast shooting of 8 frames per second
LCD screen.
etc. All this with a tilting LCD and a large
centrally placed viewfinder. The X-T1 has
There are many portrait photographers who
the 16 megapixel X Trans 11 sensor and
prefer the X-Pro series cameras for their
some photographers say that is all you need
design simplicity and optical viewfinder.
for portrait photography anyway. There are
Some street shooters like to see what is
always photographers who want the latest
about to enter their frame before it does and
and greatest camera, so expect the X-T1
therefore the optical viewfinder is perfect
prices to tumble on the second hand market.
for them. I’m a shooter who takes control of
You might be in the position of choosing
all aspects of the image so I use an EVF, or
between a new X-T10 or a second hand,
more commonly now, the LCD to compose
better featured X-T1. Similarly, the X-E2s
and shoot my portraits.
is a great camera with only minor updates
from the equally well specified X-E2 camera.
If the rangefinder style of camera is for you
There are definitely bargains to be had on
and you are not going to need an optical
the second hand market now if you know
viewfinder, then the X-E2s will be a great
what you want and you are prepared to look
choice. If however you decide you need the
around.
24 megapixel resolution, then the X-Pro2 is
for you.

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 Fujifilm X-T2 • XF 35mm • ISO 200 •
1/400 sec • f/2.8

This is one of those shots where the bigger

you print, the better it gets. The beauty is in
the detail. I set Chantelle in the doorway of
this abandoned schoolhouse in Grafton ghost
town and chose my shooting position to get
the back door aligned in the window. I made
the decision to just use the ambient light as
the trees at the front of the building provided
perfect top cover.

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 X-T2
The X-T2 camera is the culmination of 5 years
of playing catch up for the development
team at Fujifilm. It is a camera that bristles
with features, and at 24 megapixels it sits at
the zenith of resolution for the APSC format.
The most important aspect of resolution in
photography has now become the lens, and
this is an area where Fujinon have excelled.
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Many of the Fujifilm X lenses resolve more
detail than their full frame SLR counterparts.
Simply upping the pixel count in pro level
SLRs to 30Mp or even 50Mp has resulted in
no real increase in the detail recorded. Some
commentators are predicting that the Fujifilm
X-T2 will lure photographers away from the
SLR, and I can understand their reasoning.
 Fujifilm X-T2 • XF 35mm • ISO 800 •
1/250 sec • f/1.4

Getting skin tones looking good through the

windscreen of this car was always going to
be hard, so I opted to use the
open side window instead. I then couldn’t
get the energy I wanted into the shot, and
I had to change the pose again, this time
with the door open and Chantelle’s legs
out of the car. It gave me a very central
placement of Chantelle in the frame, but I
like that and it works for me.

13
 The X-T2 matches or exceeds the major
specifications of the mainstream compact
pro level SLRs. The X-T2 is faster to focus,
shoots more frames per second and even
sets the standard in 4K video with a frame
rate of 30fps. Compared to an SLR, the X-T2
is lighter, less bulky and costs less too.
Future proofing
The X-T2 is likely to stay current for at least 4
years. There may be an X-T2s at some point
in the interim, but the jump will be small - like
the X-E2 to the X-E2s. After all, there is no
more resolution to be had from the APSC
format, and the high ISO capability is already
excellent. As a portrait shooter I almost never
have to go beyond ISO 1600 and the X-T2
is wonderful at that sensitivity. As far as I am
concerned the X-T2 has it all. It has great
ergonomics, is fast in every way and is built
to last. The two way tilting screen is also a
delight to use. The Fujifilm X-T2 is the camera
I’ve been waiting for, and is the best camera
that I’ve ever owned by far.

Fujifilm X-T2 • XF 35mm •

ISO 400 • 1/250 sec • f/1.4

This frame of Arielle in an

old frontier trading station on
the Route 66 makes use of
strong graphic shapes and
naturally occurring two point
lighting.

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Fujifilm X-T2 • XF 16mm • ISO 200 • 1/500 sec • f/2.2

I shot this frame of Arielle during the

heat of the day at a ghost town
in Utah. It was hard to find
shade here but wow - what
textures! The shadows
were sublime too.

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 X-Pro2
The X-Pro2 is the flagship rangefinder style
camera. It is perfect for those photographers
who like the option of an optical viewfinder.
The Fujifilm X-Pro2 brings the original Fujifilm
X concept, started 5 years ago, bang up
to date. The X-Pro2 is the long awaited
update for the X-Pro1 and is true to the
original X-Pro1 concept in size, look and
feel. Although at first glance the X-Pro2 looks
similar to the X-Pro1, pretty much everything
has changed. There is a new 24 megapixel
sensor, a new image processor and dual SD
card slots. Autofocus is faster too. However,
the batteries are still the same and this is a
good thing.
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The X-Pro2 camera favours the documentary
shooter working on the street, or the
environmental portrait shooter who likes
to work with an optical viewfinder. Large
prime and zoom lenses obscure the optical
viewfinder so these cameras are best
partnered with the XF 18mm f/2, XF 27mm
f/2.8, XF 35mm f/2, and XF 60mm f/2.4
lenses. The X-Pro2 camera has a built in
electronic viewfinder that is accessed by
toggling the lever on the front of the camera.
The EVF is not as magnified as the one on
the X-T2 camera and is offset to the left using
the same eyepiece as the optical viewfinder.
This offset is a result of the optical viewfinder
Fujifilm X-Pro2 • XF 90mm • ISO 400 •
1/60 sec • f/2

I used a monopod to capture this shot

of Victoria in Clevedon. I had to ensure
Victoria was perfectly still in order to get a
super crisp image with this shutter speed.
I lit her with a Lupo 650 Dual Colour LED
light. The 24 megapixel sensor of the
X-Pro2 captures noticeably more detail
when partnered with the best XF lenses,
but it shows even the slightest subject
or camera movement too. For more
information, see my section on shutter
speeds in the camera settings chapter.

17

needing to see past the lens fitted to the
camera. If you are left eyed like me, you
may find your nose leaves greasy marks on
the rear LCD when you use either the OVF
or EVF. The X-Pro2 viewfinder is fitted with
a built in diopter control to allow viewfinder
focus adjustment. The LCD on the X-Pro2
is a fixed, non tilting variety, so if these
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Fujifilm X-Pro2 • XF 56mm
• ISO 800 • 1/250 sec •
f/1.2
This shot sparkles with a
clarity I’ve not seen in the 16
megapixel files of the X trans
sensor cameras. That extra
bit of resolution pays off and
the soul in the image remains
unaffected. The conversion of
the 3 dimensional scene into
a 2 dimensional image is still
the work of the 56mm lens. I
lit Victoria with a pair of Lupo
LED Dual Colour 650 spotlights
and I had a third light on the
bookcases in the background
of this stately home library in
Somerset.
restrictions matter to you, the X-T2 camera
is the one to get with its centrally placed
viewfinder and tilting LCD screen. The image
quality from both the X-Pro2 and X-T2 is
identical.
Fujifilm X-Pro2 • XF 90mm • ISO 800 • 1/250
sec • f/2

The 90mm doesn’t have OIS, so even at

1/250th second I used a monopod for this
shot of Alicia in a Paris hotel. The electronic
file preview on the LCD or in the EVF is
perfect when assessing the exposure settings
needed to capture the shadow details without
sacrificing the highlights. I just used the light
from a partially open curtain to make this
delicate image.

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 X-T10
The X-T10 is the bargain camera in
the current X series line up. It does
everything for portrait shooters that
the X-T1 does, but at a fraction of the
price. It is smaller, lighter and neater.
The X-T10 viewfinder is not quite as
magnified as the X-T1 but it is still just as
capable for shooting portraits and it suits
me fine. The X-T10 doesn’t have weather
sealing, but neither do my lenses. It
doesn’t have a fast or long burst mode
either, but as portraits are generally shot
one frame at a time, that’s not a feature
I use. Overall the X-T10 is a remarkable
camera that delivers fabulous image
quality from a very compact unit. This
camera is every bit as professional as its
larger brother and is my go to camera
for personal travel and adventure.

Fujifilm X-T10 • XF 35mm •

ISO 1000 • 1/160 sec • f/2

The X-T10 is the perfect size of camera

for me. It just needs upgrading to the
latest specification possible to reach
its full potential. I find the X-T10 is as
easy to use as the X-T1, and it is the
current bargain in the X series line up.
This shot of Rosalinde in a Rotterdam
bedroom was lit with sunlight reflected
off a glass office building on the
other side of a canal. The light came
through the fine net curtains giving this
wonderful pattern on the wall. There
was no need for a Scattergel here.

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 The
X-T10 is
an out and
about camera. It
is small, fully featured,
and delivers exceptional
image quality. This shot of
Rosalinde at the entrance to a
multi-storey car park in Rotterdam
is lit with a ray of sunlight peeping
over a building. I could have achieved
the same look with a bare Speedlight if
the sky had been overcast. The 16mm
lens is a joy to compose with when shooting
portraits in modern architecture zones. Lines
and negative space become the currency
of success.

Fujifilm X-T10 • XF 16mm •

ISO 200 • 1/2000 sec • f/1.4

Fujifilm X-T10 • XF 23mm • ISO 200 •

1/180 sec • f/11

Rosalinde is lit with a pair of Cactus

Speedlights. The Speedlight on the left has
a CTO* gel and the one on the right has a
CTB** gel. I set the white balance in the X-T10
to 3400K. I love the fact that you can see the
colour of the scene in real time as you adjust
the white balance.

*Colour temperature orange

**Colour temperature blue

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 viewfinder and LCD lag seen on both
X-E2s the X-Pro1 and X-E1 cameras. The refined
autofocus system is the other major feature of
This camera was introduced in 2016 to keep
the X-E2 and it delivers a big improvement of
the X-E series alive and up to date, opposite
speed and accuracy over its predecessors.
its 16 megapixel rival, the X-T10. Both the
The X-E2 is still a great choice of camera on
X-E2s and the X-T10 are seen as entry level
the secondhand market and comes in both
cameras in the Fujifilm X System. They are
silver and black versions.
priced well below the top shelf counterparts,
the X-Pro2 and the X-T2. Don’t let the low
price point put you off though, because this
X-E2s is a really good camera delivering X-E1
professional image quality.
The X-E1 is now obsolete and came quickly
on the heels of the X-Pro 1. It had identical

X-E2 performance in a smaller lighter body. The

X-E1 lacked the complex optical hybrid
viewfinder and incorporated more plastics
This was the first of the Fujifilm cameras
in its construction. This in turn kept the price
to use the X-Trans 2 sensor with phase
point low. The X-E1 was quickly replaced with
detection pixels. It has a faster processor
the X-E2.
than the mk1, that virtually eliminates the

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Fujifilm X-E2 • XF 56mm •
ISO 400 • 1/250 sec • f/5.6

I used f/5.6 to ensure I had enough

depth of field to capture Debora
and LaMichi on the streets of
Matera in Italy. The Fujifilm X-E2 is
a great travel camera for shooting
portraits on the road. It’s very easy
to produce dull images when the
camera is given the task of setting
exposure so I find it best to work
in manual mode with ‘exposure
preview in manual mode’ switched
on. I want to ensure that the
dresses are just off white and that
the girls skin tones are vibrant.
This would have needed some
plus exposure compensation if I
was using one of the automatic
modes. The girls are lit with
sunlight reflected off a white house
on the other side of the street.

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 X-100, X-100S & X-100T
It all started with the Fujifilm X-100. It was
sitting there in a glass case at Photokina in
Cologne. It looked so retro and desirable that
it became the star of the show. It was the start
of the retro camera movement that has taken
the industry by storm. I pre-ordered an X-100
straight away and integrated it into my SLR
shooting from day one. I looked at the way I
worked and took time to explore how best to
shoot with the X-100 when it arrived. That was
absolutely the right thing to do. I remember
back in 2011 at one of my workshops in
Berlin, there were photographers from all over
Europe wanting to learn how I shoot. I pulled
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out the X-100 and started shooting holding it
at waist level. I was using the LCD screen to
compose and I got a few tut tuts from some
delegates who felt it was not the way to take
photographs. At lunchtime I had to smile
however when I caught one of them taking
a picture on a smartphone using the LCD.
Composing an image on a two dimensional
screen is a dream, and so too is not having
a big box in front of your face while shooting
portraits. The X-100 became the ‘carry
everywhere’ camera for me and the portraits
that I took with it alongside my Canon 5D mk2
had more connection and intimacy.

The X-100 has a 12 megapixel conventional
bayar sensor made by Sony, and a rather
clever hybrid viewfinder, giving optical or
electronic options. The fixed 23mm lens is
very good and I shoot nearly everything wide
open at f/2.
Fairly soon after the X-100 was released, the
updated X100S version hit the market. It had
the new X-Trans 16 megapixel sensor, and a
few of the hardware niggles that X-100 users
had complained about were dealt with.
I was so happy with my original X-100 that I
waited until the X-100T was released before
Fujifilm X-100 • 23mm
• ISO 500 • 1/80 sec • f/2
This shot of Raphaella was taken on
the original X-100. Its fixed 23mm
lens is super sharp even wide open,
and contributed to the superb image
quality. I used Auto ISO with a minimum
shutter speed set to 1/80th second.
This X-100 produced significantly
better images than my SLR of the time
because the focussing was incredibly
accurate. Even though it only had a
12 megapixel sensor, the X-100 soon
became my camera of choice when
image quality mattered. I lit Raphaella
with a single Lupo 800 spotlight.
25
 updating. The T has a modified design
for its hybrid viewfinder, and a faster
Fujifilm X-100T • 23mm •
AF system. The X-100T comes with the
ISO 800 • 1/60 sec • f/2.8
Classic Chrome film simulation that a lot
of jpeg shooters seem to like.
Some people choose to shoot
the X-100 series cameras with
All the X-100 cameras share the same
the lens aperture closed one stop
23mm f/2 lens with its integral shutter.
at f/2.8. I gave it a try and to be
This enables them to flash sync at
honest I still like the f/2 look. This
1/1000th second. The cameras all have a
shot of Carla goes to show that a
built in ND filter too that can be activated
23mm lens is fine for close ups if
via a function button.
you are careful with what you put
close in the frame. I find this style
of intimate portrait exciting. There
is no eye contact, no eyes at all
and her hands are chopped off
but I love it.

26
 Fujifilm X-100 • 23mm • ISO 640 • 1/80
sec • f/5.6
Portraits on the street lend themselves nicely
to the X-100. It is a discrete camera with a
fixed lens and is almost silent in operation.
The lack of extra lenses means you can leave
the camera bag at home. I’ve never been
moved on when shooting on the street with
just an X-100 or my X-100T. The process
is liberating. If you feel the need for add-
on lenses there are a couple of adapters
available, but these make the camera bigger
than the alternative X-T10 with the XF18mm
f/2, XF27mm f/2.8 and XF 35mm f/2 primes. If
you love the optical viewfinder and want more
than one lens, consider the X-Pro2.
I loved this bike in a back street in Pisa
and I directed Deborah into the pose.
The top light ensured the distinct shadow
under her cheekbones. The graffiti refers
to Ted Kaczynski, otherwise known as the
Unabomber.
27
 X-T1
The X system came of age when the X-T1
was released. Aimed squarely at SLR users,
the X-T1 was the best featured camera in
the Fujifilm X lineup. The large magnification
viewfinder centrally placed high on the
camera and the tilting LCD were the main
obvious user advantages. It’s hard to explain
just how much of a difference these made
to the shooting experience, but when I was
leading a workshop and decided to capture a
top shot with the camera held way over
my head, or a shot with the camera on the
ground looking up at the scene, delegates
without tilting screens were completely lost.
The X-T2 goes one stage further with it’s bi-
directonal tilting screen. It’s the screen and
28
viewfinder combination that made the original
X-T1 the champion X camera for creative
portraiture. Other key features in the X-T1
such as a fast SD card reader and optional
battery grip were interesting, but really not
necessary for portrait shooting. I have a black
X-T1 and a Graphite Silver body, and I’d
say the Graphite Silver version has a better
overall build quality and finish. Apart from
the colour, the specifications they have are
identical.
I now shoot almost exclusively with the X-T2
and it took just a couple of years from launch
for the excellent X-T1 to be replaced.
Fujifilm X-T1 • XF 56mm •
ISO 500 • 1/180 sec • f/2.2

The Fujifilm X-T1 is the most

sophisticated camera in
the Fujifilm line up. It has all
the bells and whistles and
has become a firm favourite
for a lot of professional
portrait and wedding
photographers.
I shot this frame of Mischkah
in an abandoned farmhouse
in Spain and I wanted to use
the crisp punchy sunlight to
illuminate her. I placed her
in front of the doorway in a
somewhat less conventional
manner. The light was now
from behind and rim lit her
legs beautifully. I directed
Mischkah to look down and
to her left until the light on
her face was just right too.
I chose 1/180th second
shutter speed and was
careful with my camera
movement. I closed the
aperture by 5 clicks on the
wheel from wide open to
give the shot some depth of
field and I set the exposure
using the ISO dial.

29
 Fujifilm X-T1 • XF 56mm • ISO
320 • 1/180 sec • f/1.2

Cambodia is hot and humid, and it gave me

a few pre-trip concerns. My assignment was
to run a couple of ten day tours over a period
of a month, in the tropics, at the start of the
rainy season. I soon discovered that I shouldn’t
have worried at all as the Fujifilm X-T1 coped
admirably. This shot of my friend Yulia has a
fabulous depth of contact even though I’m a
little further back than I’d have liked. The 35mm
lens would have given me a more intimate
shot but with a small amount of distortion. It’s
always a juggle with primes, but one I’m happy
to embrace because of the focus separation.
The background is out of focus even with
Yulia leaning on the wall thanks to the f/1.2
setting on the prime lens aperture dial.

Fujifilm X-T10 • XF 56mm • ISO

400 • 1/180 sec • f/1.2

The X-T10 accompanied me throughout

my tour of Europe in 2015 and this shot of
Rina in Dusseldorf shows just how versatile
the plucky little camera is. I lit Rina with a
pair of Lupo LED Spotlights using a ‘key
and kick’ method. The light on the stairs
above Rina was powered by battery to
avoid trailing leads. I kept Rina on the left
of frame, the diagonal of the stairs striking
up from the corner, and moved my shooting
position to avoid having the vertical line
in the background running through her
head. There is a lot to think about, but don’t
forget to create the moment to capture.

30
X-Pro1
Fujifilm released the X-Pro1 to the world on
the back of the instant success of the X-100.
The Fujifilm X-Pro1 was the camera we were
expecting, but the sensor design and lens
line-up took everyone by surprise. It launched
with a system of three modest prime lenses;
the XF 18mm f/2, XF35mm f/1.4 and the XF
60mm f/2.4. Launching with prime lenses was
a masterstroke in marketing. The camera at
launch was definitely work in progress as we
negotiated firmware update after firmware
update. My X-Pro1 and set of lenses arrived
on the first UK shipment. I sold a few Canon
lenses to buy it and that was a decision I
have never regretted.
The one thing shines out to everyone that
shoots with the X-Pro1 (even today) is the
superb image quality. 16 megapixel sensors
of APSC size have a perfect balance of
sensitivity and resolution. Fujifilm discovered
that if they created a seemingly random
pixel colour map on the sensor they could
do away with the anti aliasing filter, and this
further increased resolution. They called this
sensor X-Trans and it was made to Fujifilm
specifications by Sony. Nobody expected
the RAW processing of the X-Pro1 X-Trans
files to be the headache it proved to be. It
took nearly a year, but eventually Adobe and
Fujifilm partnered up to make it work really
well.
Now the X-Pro1 is considered a modern
classic. It’s a camera with an original design
pedigree that triggered a wave of new
camera models to follow it. The X-Pro1 was
the only early Fujifilm camera to bear the
‘Pro’ label and was superseded many times
by models with better shooting performance,
but it took 10 new X cameras before the
image quality of the X-Pro1 was bettered.
The downsides of shooting with the X-Pro1
are many, but on the whole, X-Pro1 owners
31
 love their quirky camera and put up with the
drawbacks as a consequence.

The Mirrorless Advantage

The X-Pro 1 triggered a new way of shooting
that is still a big selling point for mirrorless
cameras today. Exposure preview in manual
mode means that it is easy to see the picture
before the shutter is pressed. This saves lots
of time because it eliminates the need for test
pictures (except when shooting with flash).
The SLR way is to shoot a test frame, take the
camera away from the face and look at the
image on the LCD (not easy in bright sunlight).
The image settings then
get adjusted as required and the process
is repeated before finally taking the picture.
Even with a sluggish autofocus performance,
the X-Pro1 is much faster to use than the top
flight SLRs.

The EVF (electronic viewfinder) on the X-Pro1

is of good quality but unfortunately there is
Fujifilm X-Pro1 • XF 60mm • ISO
quite a time delay, making it almost impossible
400 • 1/250 sec • f/3.6
to use for action and event photography.
There is no diopter adjustment built into the
Carla was captured here in
viewfinder on the X-Pro1 either, so eyesight
Fuerteventura with my X-Pro1 and XF
adjustment can only be achieved by screw-in
60mm combination. I had just the three
correction lenses. (Although these are readily
original XF primes at the time and I
available online.)
often shot all day with 60mm on the
camera. Stopping the lens down to
The LCD screen on the back of the camera is
f/3.6 gave front to back sharpness on
just as laggy as the EVF, but it has acceptable
Carla and rendered the background
resolution and very good colour accuracy.
nicely out of focus. If you look at the
All the other function buttons work just fine.
hairs on her crown you can see how
The battery life is fine for most jobs and I
the selective focus has provided clean
find myself using two batteries per day when
separation.
shooting portraits or leading workshops.

32
X70
The X-70 is the little brother of
the X-100 series, employing a
fixed lens and the same APSC
size sensor as the X-100T. The
X-70 appeals to the market of
photographers who want a small,
neat, pocketable camera with
uncompromised image quality from
it’s 18mm moderate wide angle
lens. It has a fully articulated LCD
screen too.

X-A1, X-A2, X-A3 and X-M1

These interchangeable lens
cameras have the same X series
lens mount and sensor size as their
larger cousins, but are fitted with
a feature set aimed at the novice
shooter. The lack of an EVF make
these cameras harder to use in
bright sunlight.

There are so many cameras in the

Fujifilm lineup it is hard to keep
track of them all and what they offer
the photographer. By the time you
read this there may be even more
camera options available.

33
 Summary
You can shoot portraits on any of the
cameras that Fujifilm make. The one
common factor across the camera
range is a great build quality, coupled
with well-designed ergonomics.

The X series system is nearly complete,

in my eyes at least. There are various cameras
to suit different users and an almost complete
lens line up. There is always room for a few
more esoteric lenses, like a 200mm f/2 OIS
or a 20mm tilt shift lens. Other than those
oddities, the time has come for Fujifilm to
refresh the existing offerings by bringing
all the top shelf, fast XF series lenses up to
the latest standards with weatherproofing,
and employing their new AF technologies.

34
2
Camera Settings

35
 Fujifilm X series
camera settings
Over the past five years of shooting portraits
with Fujifilm cameras, I have established
a way of working that really suits me. I am
going to share my settings here, together with
the reasoning behind them. I’m not expecting
my way of using Fujifilm cameras to suit
everyone, but my reasoning may well help
you to choose your preferred settings.

36
Q menu
three film simulations that
I use. On earlier cameras
without Acros, I use B or
Bg instead.

As you can see above I

set my noise reduction
(NR) to -4. On the XT-1,
X-T10 etc I use NR -2,
That’s as low as it gets.
You can see I have my
sharpness at -1. This
is because I want the
screen to be honest when
I assess my images at
100% on playback. I find
The Q menu (quick menu) is customisable,
anything higher gives
however I leave mine pretty much as it
a degree of confidence that can be eroded
comes. This is because I only change two
back in Lightroom. If I question the sharpness
things occasionally during a shoot - the white
of a shot at the shoot, I can do something
balance and the film simulation. For the white
about it and shoot another frame. Once I’m
balance I choose sunny day, cloudy day
back at the studio, it’s too late.
or K. Unfortunately there is no provision to
change the K value from the Q menu, so I
I find that I get a true representation of the
always have to go into the main menu to do
highlight detail being recorded in the RAW
this anyway. If I have mixed lighting, I may
file when I have H (highlight) Tone set to -1.
do a custom white balance just to make
The same goes for the S (shadow) tone when
my screen on the camera look pretty. I will
it is set to -1. If I can’t see the shadow or
always fine tweak shots with dodgy lighting
highlight detail on the camera screen it can’t
later in Lightroom, using a decent calibrated
be recovered later. With other film simulations
monitor. I do like to get the white balance
and tone settings at 0 or above, there is some
spot on in camera if I can, because the
clipping and guesswork.
white balance is the only parameter that gets
carried forward into the raw file. For me, the
big one in the Q menu is film simulation. I’m
always switching between Ns (Pro Negative
S) and Acros or Acros G. Those are the only

37
 Fujifilm X-T1 • XF 23mm • ISO 800 •
1/400 sec • f/2 (tight crop)
1/400th second was needed to keep Claire
sharp and give the falling water some
dynamic quality. Sometimes it is a case of
38
guess and test. When you are dealing with
blurring subject movement in the frame there
are no rules. It’s all subjective. To freeze
subject movement I start at 1/500th of a
second and test each value up from there
until I get the sharpness that I want.
IQ menu
I use compressed RAW files
and they edit perfectly in
Lightroom. I save jpegs too,
set at fine (F). Shooting jpegs
is advantageous because the
Fujifilm cameras only embed
a 50% jpeg in the RAW file. So
when you playback a RAW file
and zoom it in, it doesn’t show
you a 100% view. Recording
separate jpegs at ‘F’ setting
sorts this out.

I leave my colour space set to

sRGB because that’s all the
camera screen can display.
It also makes skin tones look
fabulous. RAW files have profiles
assigned later so this doesn’t
affect them.

39
 Auto focus menu (AF/MF)
I always use the single
point auto focus and I
make the focus box as
small as it can go. To
resize it, just make it
active (illuminated green)
and then scroll the thumb
wheel left to adjust the
focus zone size. I settle
for 77 focus points on my
X-Pro2 and 91 points on
my X-T2.

Fujifilm X-T2 • XF 16mm

• ISO 200 • 1/400 sec •
f/8

An aperture of f/8 was

enough to render this
shot of Chantelle in
Arizona pin sharp from
front to back. I like to
work with the lines in the
frame to create diagonal
shapes. Coming round
to the right gave me an
interesting geometry in
the foreground and it
allowed me to work at 90
degrees to the sunlight.

Sometimes in full sunlight it is hard to see the the EVF was a necessary inconvenience for
LCD, so kneeling on the ground and using me to get this shot.

40
 Fujifilm X-T2 • XF 35mm • ISO 200 •
1/160 sec • f/13

The 35mm f/1.4 lens is my go to optic for

shots like this. It is still supremely sharp at
f/13 and delivers good depth of field too. The
striking colours of the school bus combine
with the red sunglasses and sky to deliver the
primary colours of pigment.

41
 Shooting settings menu
I only use the mechanical
shutter as the electronic
shutter messes up flash
shooting and I need a
camera that just works
with whatever I throw at it.

Fujifilm X-T1 • XF 16mm •

ISO 200 • 1/125 sec • f/16
(tight crop)

A Cactus RF60 Speedlight on

camera was used for this shot
of Chantelle. I was testing a pre
production XF 16mm lens for
Fujifilm and I wanted to see how
it performed with small apertures.
Some lens designs are subject
to iris flare, causing a reduction
in contrast and softness at small
apertures. This 16mm lens
performed really well.

I zoomed the Cactus Speedlight

into 105mm and ran it at full power
to get the kick back on the swirly
stainless steel.

42
Sound settings menu
It’s lovely being able to
switch all the sounds off. I
do leave the AF confirmation
beep set to minimum level
but this is still a bit too loud
for my liking.

Fujifilm X-T10 • XF 50-140mm

• 66mm • ISO 200 • 1/2000
sec • f/2.8

I used the maximum aperture

on the 50-140mm lens to
render the distant background
out of focus. The clarity of
detail in the straw bale leaps
out of this shot of Chantelle.

The Pro Negative S film

simulation is perfect in full
sun to calm the contrast and
deliver delicate tonality.

43
 to it’s own function button. It
Screen settings menu toggles the view on the LCD/
EVF between what the camera
would consider perfect and what
the current settings will deliver.
In the studio under flash lighting
I switch to the optimised view
so that I can see what I’m doing
under the modelling lights. Most
other times I leave it on EXP/WB.

Preview Pic Effect is important

if you want to see the white
balance that you have set in
the displayed image. I’m sure
it has other functions but that’s
the one that makes me leave it
switched on. I leave autorotate
I always ensure that any automatic playback set to off and it gives
brightness settings for the EVF or LCD are full size images on the rear screen whatever
switched off, and the brightness and colour orientation the camera was in. The only time
values are set to 0. I’d switch this on is if I was tethering to an
external monitor, but I rarely do this except
Image display sets the amount of time the when giving a training demonstration.
image appears on the screen after a shot
has been taken. I leave it at 1.5
seconds as this more than enough
to see the timing accuracy of my
shot. If you use a viewfinder, you
don’t need to take your eye away
from the eyepiece because the
replay is there too. I’m used to
shooting medium format film and
having just 12 shots on a roll, so
I’m not in a hurry to take a second
or subsequent shot without first
checking the shot I have got.

Preview Exp./WB in Manual Mode

is so important that I assign it

44
 Fujifilm X-T10 • XF 23mm • ISO 200 •
1/80 sec • f/2.8
I find the X-T10 is a joy to shoot with and it
was perfect for this fashion shoot at an art
gallery in France, for the designer Molly Mishi
May. I used ISO 200 because I wanted the
best image quality. I also used my rule of
thumb to calculate the shutter speed needed.
A 16 megapixel camera requires 1/ (3 x the
focal length). In this case it was 1/ (3 x 23) =
1/69th so I used 1/80th as the nearest setting
up. For 24 megapixel cameras I use 1/(4 x
the focal length) so on my X-T2 I would have
used 1/100th second and an ISO of 250 or I
would have used a monopod at the original
settings.
I directed Chantelle into an asymmetric pose
in the doorway and closed the doors as
far as I could. I set the camera at the exact
height needed to keep the uprights vertical,
but as you can see I should have been
about 100mm to the left to get the horizontals
correct too - I was avoiding a painting to the
right on the far back wall that was just out of
shot.
45
 Display custom settings menu
If you were to check all the
options available here the LCD
and EVF would look like the
heads up display in a fighter
jet. I like to see the picture with
minimal distractions. Therefore
I clear as much of the data off
the screen as I can. Out of the
three pages of options, I just
activate the focus frame and
aperture/s-speed/ISO.

Button dial
settings
menu
On the button dial setting menu,
I switch the command dial
setting to F S.S. That gives me
the shutter speed on the rear
thumb dial when the shutter
speed dial is in the T position. I
use this set up most of the time
because I like to have access
to 1⁄3 stop increments for the
shutter speed. I can trim the
shutter speed by 5 clicks if I
want to too. Having a shutter
speed dial on a camera looks
pretty but there was a good reason SLR X-T10 note: If you set the command dial
cameras lost the dial at the turn of the century setting to F S.S and assign ISO to the front
and replaced it with a thumbwheel. It’s great wheel of the camera you have a perfect set
to now have the SLR way of selecting the up with instant access to all three exposure
shutter speed on the new Fujifilm cameras. parameters.

46
Function button settings menu
The function (Fn) setting menu
is accessed from the button dial
setting menu. This is where you
personalise your camera.

There are so many permutations

but I only really use the Fn2
button. I’ve assigned it to
Preview Exposure/ White
Balance when in Manual Mode.

Fujifilm X-E2 • XF 56mm •

ISO 200 • 1/2000 sec • f/1.2

LaMichi was in the back streets

of Matera in Southern Italy when
I grabbed this shot. Shooting into
the light in full midday sun is fine
if your EVF is set up correctly.
It is important to be able to see
just how much detail is being
recorded in the back dress.
Overall I was after a hot dusty
feel to the shot.

47

Focussing and
general operation
The old process of focusing using the centre
point then reframing before shooting used by
a lot of SLR shooters doesn’t work reliably on
a Fujifilm X camera. But don’t worry there is
a better way and one that delivers perfect
results every time.
The latest Fujifilm X-T2 focuses at least
as fast as any SLR I have used, and the
focussing system is super accurate too.
If you are coming to the Fujifilm X from
a dSLR then it’s worth reading the next
paragraph. If a Fujifilm is your first camera
you can skip this bit.
The typical shooting process
for a portrait with a dSLR...
1. Take a shot using Av, A mode, guessing
the exposure compensation required. Or
taking the shot in M mode, guessing any
increase or decrease of exposure required
from the cameras indicated setting in the
viewfinder.
2. Lower the camera to review the shot on the
LCD.
3. Make any changes required to the
exposure or white balance, and either do
another test shot or take the picture.
4. Play the shot back to check exposure
and then zoom in to check it is sharp. The
zoomed in point will need to be moved
across to the area of the subject that
48
matters.
5. Reshoot or move on to the next shot.
The typical shooting process
for a portrait with a Fujifilm
X camera...
1. Compose the shot and make any exposure
or white balance changes needed using
the live view.
2. Move the focus zone to the correct spot
and take the picture.
3. The shot is immediately played back in the
viewfinder, so you can check for blinks etc
without removing your eye from the EVF.
4. Move on to the next shot.
When you get back from a portrait session
having shot it on the Fujifilm there will be no
‘test’ pictures for exposure and there will be
no major exposure errors. If you have moved
the focus zone around as required, the shots
will all be sharp too (assuming you have used
a sufficiently fast shutter speed for the lens/
subject).
I switched from Canon pro SLRs 4 years
ago as I was finding that my image success
rate was being killed by poor AF accuracy,
especially with the f/1.2 lenses - even
stopped down to f/4. I was fed up with the AF
micro adjustment tool too because it never
seemed to be the same at different aperture
values. I already knew how good the Fujifilm
system was from a year of using my X-100
alongside my Canon bodies. At that time, the
AF speed with the X-Pro1 was slow but the
process of shooting was all together faster.
Fujifilm X-Pro1 • XF 60mm •
ISO 1000 • 1/125 sec • f/2.4
I moved Claire’s hair about with my
fingers to give it a ruffled look, and I
lit her with a Lupo Quadlight. Those
Quadlights are long gone now, as
LED technology has replaced folded
fluorescent in most lighting applications.
I love how beautifully the XF 60mm lens
renders out of focus areas wide open
at f/2.4. It’s the painterly effect this lens
generates that makes me go weak at
the knees. Although the X-Pro1 is slow
to use, it is a wonderful camera never
the less and in the right hands it can
produce magical portraits. I moved on to
the X-E2, then the X-T1, then the X-T10
and the X-Pro2 before finally getting an
X-T2. If none of these cameras had come
along, I’d have continued to be delighted
with the X-Pro 1 and the three lenses it
launched with. Is the progress in tech
driving creativity? I’m not convinced.
What I do know is we all suffer from GAS
every now and then. (Gear acquisition
syndrome).
49
 This was partly because I didn’t have to look
back at my pictures to see if they were sharp.
The Flat Field Lens Factor
Accurate autofocusing with the Fujifilm X
system is only guaranteed if you move the
focus zone to the right place. This might
seem like a faff at first but in time you will
discover just how great the rewards of this
effort are.
To better understand the characteristics of
your Fujinon flat field lenses, it is worth doing
this simple exercise yourself.It will help you to
get to grips with the importance of moving the
focus point around, and become familiar with
image quality from each of your optics.
1. Put a Fujifilm X camera on a tripod with a
wide lens, for example a 16mm, and rig it
5m from a perfectly straight and upright
brick wall.
2. Rig the camera so that it is perpendicular
to the wall, with the back of the camera
upright and parallel to the wall.
3. Set the aperture of the lens wide open to
f/1.4
4. Focus the lens on the brick wall using the
central focus area
5. Take the picture and then playback at
100%. Scoot around the shot and notice
all the wall is sharp even the bricks in the
corners of the shot.
50
6. Understand that the bricks at the edges
of the shot need to be 6m from the
camera with the lens focussed at 5m for
them to be rendered sharp.
7. Pan the camera to the furthest left brick.
focus on it using the centre AF zone, hold
the focus and recompose the shot so that
it is on the left again and take the shot.
It will be out of focus. So will all the other
bricks because now the lens is focussed
at 6m instead of 5m.
8. Keeping the camera square to the wall
move the focus area to the far left, focus
and shoot.
9. Zoom in on the playback to 100% by
pressing the thumb wheel or Focus Assist
button (X-T1). Notice it has already gone
directly to the brick that matters to you
without having to scoot across, and that
the brick in question is perfectly sharp.
10. Repeat this process with all your lenses to
prove their flat field characteristics.
11. Walk around your house and shoot
subjects in various parts of the frame
moving the focus zone to the right spot
each time.
12. When you have 10 different shots in the
camera. Press playback, zoom into 100%
and scroll through the images at 100%.
You will see the magnified view goes to
the spot you focussed on each time and
the shots are sharp (assuming you used a
 Fujifilm X-100 • 23mm • ISO
200 • 1/90 sec • f/4

Sometimes a small camera is just

perfect for a shot like this one of Jojo
and Chris, a local couple from my
home town. Small cameras like the
X-100 series are less intimidating and
draw less attention than a full size
system camera. They are great for
casual portrait sessions.

51

Auto ISO
high enough shutter speed).
SLRs only have a centre cluster of focus
zones because the further away from the
central optical axis the focus points are, the
less sensitive and more error prone they
become.
There are times when it is desirable to use the
auto ISO function when shooting portraits. It
is worth setting these parameters in advance
to save time on the shoot. There are three
programmable preset options for the Auto
ISO function so you can set them up for
different lenses or subject types.
In this section I share with you the values
that I use for portraiture and these take into
consideration subject movement as well as
camera shake. It is worth noting that I always
set the base sensitivity to the minimum
value of ISO 200 whatever the camera and
whatever the lens.
Although Auto ISO can be useful at times,
there are a couple of problems/annoyances
with the Auto ISO functionality in its current
guise on Fujifilm X series cameras. The
main problem is having a fixed minimum,
or ‘base’ shutter speed choice. There is a
finite range of exposure variation when the
camera is changing just one of the exposure
parameters. With Auto ISO you end up with
the majority of shots taken at the base shutter
speed. This is great if you are just using one
lens, or the zoom lens you are using has
OIS, but I find I need a different base shutter
speed for each of my prime lenses when I’m
working hand held. So I set Auto ISO 1 to
1/80th, Auto ISO 2 to 1/125th and Auto ISO
3 to 1/250th second. What we really need
is an Auto ISO that can be programmed
to set the base shutter speed for each
lens, so that switching between settings
becomes unnecessary as the camera already
knows what lens you are using and can
automatically set the base shutter speed for
you. One other gripe is we need to be able to
rename the Auto ISO variants to something
useful. We can rename our jpeg files for
sRGB and Adobe RGB so the facility should
exist to rename the three Auto ISO options
too. While they are at it, the firmware gurus
could let us rename the three custom settings
options in the Q menu too.
Auto ISO settings for the
X100s and X-100T:
These cameras have a 16 megapixel
sensor and a fixed 23mm lens. As a rule
of thumb I set my minimum shutter speed
to the reciprocal of 3 times the focal
length for 16 megapixel cameras and that
equates to 1/80th as the minimum shutter
speed. However, subject movement with
people forces me to set a minimum shutter
speed of 1/100th second with a maximum
sensitivity of ISO 6400. This has yielded
the highest hit rate of sharp images without
compromising the signal to noise.

52
Fujifilm X-T2 • XF 90mm • ISO 200
• 1/2000 sec • f/3.6

It was difficult to communicate

with Carole so I had to pose the
shape I wanted her to mimic much
to the amusement of the locals at
this lakeside resort near Lausanne
in Switzerland. I used the EVF to
accurately assess the exposure
required to capture the highlight
detail in the clouds and the shadow
detail in the concrete platform.

53
 Auto ISO settings for all
interchangable lens 16
megapixel cameras:
I use a minimum shutter speed of
Fujifilm X-T2 • XF 50-
1/125th second with a maximum
140mm • 77mm • ISO 200
sensitivity of ISO 6400 for portraits
• 1/125 sec • f/2.8
taken on the 16 megapixel cameras
using prime lenses up to 35mm
I loved the hues and tones in this
and all zooms with OIS. For the
abandoned 1960s trailer in Utah.
longer prime lenses like the 56mm
Sunlight reflecting off a white van
and 90mm, I set the shutter speed
created the illumination needed
manually to 1/200th and 1/ 320th
to light Chantelle.
respectively or I use a monopod.

54
 Fujifilm X-T1 • XF 56mm • ISO 200 •
1/125 sec • f/1.2
Some pictures don’t work until the detail ties
in correctly like the elegant styling here for
Jess by Sue Fyfe Williams. Editorial shoots
work best when the subject is isolated
with the supporting elements playing an
understated role. Although I had a beautifully
restored vintage Austin car to shoot with, I
chose to just use part of the door as a frame
for Jess. I used a shallow depth of field to
remove the distracting background and I
then chose my shooting position so the door
handle was in the focal plane along with Jess.
55
 Auto ISO settings for all
interchangable lens 24
megapixel cameras:
The 24 megapixel cameras resolve far more
detail and show up camera or subject movement
at an earlier threshold, so I use a minimum
shutter speed of around the reciprocal of 4
times the focal length for hand held shooting.
This allows me to realise the potential superior
image quality of the latest X Trans 3 sensor.
I use a minimum shutter speed of 1/160th second
with a maximum sensitivity of ISO 6400 for portraits
taken on the 24 megapixel cameras using prime
lenses up to 35mm and all zooms with OIS. For
the longer prime lenses like the 56mm and 90mm,
I set the shutter speed manually to 1/250th and
1/ 400th respectively or I use a monopod.
56
Fujifilm X-T1 • XF 35mm •
ISO 200 • 1/250 sec • f/2.2
Just a simple set up was needed
to create this shot leaning
against a hotel wall. I started
with the light - dark - light
background of a chimney breast
lit with window light and placed
Carla into shot. Carla’s shadow
provides the balance that allows
the offset in composition.
The 35mm lens is perfect for this
kind of shot.
3
Lenses

57
 XF Lenses for portraits
Zoom or prime? The weight of the lens on the
camera is one of the most important factors
to consider when choosing between zoom
and prime lenses. How heavy the camera
feels in the hand directly affects the shooting
experience and frame of mind. The weight of
the camera bag is a factor too. The Fujifilm
X series is considered a CSC or compact
system camera, but the fixed aperture
zooms XF 16-55mm and the XF 50-140mm
are bigger and heavier than most people
expect from a compact system. They’re fine
if you are coming to Fujifilm from a pro grade
SLR system, but if you aren’t used to such
bulk and weight there are smaller lighter
zooms to consider too. The good news is
the XF 18-55mm and the XF 55-200mm are
58
both excellent lenses and are capable of
amazing image quality, even wide open. This
combination of quality and weight makes
them my go to lenses for adventures and
family holidays where a couple of zooms are
a far better option to take than a bag full of
prime lenses. Prime lenses may be light on
the camera, but put 4 or 5 prime lenses in a
bag and the advantage can be lost especially
if you plan to trek out to remote locations.
Prime lenses are smaller than zooms and
they capture more light too. The best primes
have typically two stops (four times) the light
transmission of the best zooms. This means
far higher shutter speeds are possible for the
same ISO, and when shooting portraits this is
a big advantage to freeze subject movement.
 Focal Length (mm)
Fujinon XF Lenses
10 14 18 23 35 56 90 120 140 200 300 400
XF14mm f/2.8 R

XF16mm f/1.4 R WR

XF18mm f/2 R

XF23mm f/1.4 R

XF23mm f/2 R WR

XF27mm f2.8

XF35mm f/1.4 R

XF35mm f/2 R WR

XF50mm f/2 R WR

XF56mm f/1.2 R

XF56mm f/1.2 R APD

XF60mm f/2.4 R Macro

XF80mm f/2.8 R LM Macro

XF90mm f/2 R LM WR

XF10-24mm f/4 R OIS

XF16-55mm f/2.8 R LM WR

XF18-55mm f/2.8-4 R LM OIS

XF18-135mm f/3.5-5.6 R LM OIS WR

XF50-140mm f/2.8 R LM OIS WR

XF55-200mm f/3.5-4.8 R LM OIS

XF100-400mm f/4.5-5.6 R LM OIS WR

Damien’s recommended XF lenses for portraits

As you can see from the bottom section of
the chart, there are two parallel zoom options,
the f/2.8 zooms and the variable maximum
aperture set. I suggest the 18-55mm with
OIS is a wonderful choice for a standard
zoom and partners well with the longer XF
55-200mm zoom, again with the all important
OIS. You will see many shots throughout this
book taken with this lightweight zoom lens
combination.
There are two ranges of prime lenses to
choose from too. The compact set of 14mm
f/2.8, 18mm f/2, 27mm f/2, 35mm f/2 and
60mm f/2.4 or the fast maximum aperture set
of 16mm f/1.4, 23mm f/1.4, 35mm f/1.4, 56mm
f/1.2 and 90mm f/2. I happen to like the fast
primes for portraits as they come into their
own on location where the quantity of light is
often challenging. Sometimes the best light
comes in small quantities. The primes are
neat on the camera and feel great to shoot
with, but the zooms come into their own at the
longer focal lengths. I often pack primes for
the wide and a zoom for my telephoto needs.

59
1
 Portrait Lens Sets
Is there too much choice? I’d say so. I’m
fortunate enough to have a professional
photography career that justifies me owning
most of the lenses in the Fujifilm X system,
but I still end up being indecisive over lens
choice at times. For example, by the end
of 2017 there will be 11 Fujifilm X lenses
covering the 50mm-60mm focal range plus 18-55mm f2.8-4 55-200mm f/3.5-4.5
one from Zeiss.

The first set to highlight is the 18-55 and

55-200 zoom pair. Both lenses have OIS
and both lenses are sharp. What’s not
to like about them? When I travel I often
take these two lenses and a Fujifilm X-T10
camera.

If I think I might need a wide angle too, I

take the compact, yet wonderful, 14mm
lens. It’s the obvious choice and a stellar
performer. 14mm f/2.8 18-55mm f2.8-4 55-200mm f/3.5-4.5

My pro kit for top assignments that I carry

in a bigger bag is the16mm, 23mm, 35mm
and the 50-140mm. I can use these hand
held at 1/125th second all day long on 16
megapixel cameras or 1/160th
second with the 24 megapixel
cameras. This is the lazy option
and keeps the camera bag just
that bit lighter than replacing
the 50-140 with the 56mm and
the 90mm primes. When I take
my ultimate 5 prime kit of 16,
23, 35, 56 and 90mm, I have
16mm f/1.4 23mm f/1.4 35mm f/1.4 50-140mm f/2.8
to think a bit about the shutter
speed or I use a monopod with
the two longer lenses.

60
 The top zoom trio in the Fujifilm X locker is the
10-24, 16-35 and 50-140. There is OIS on the
wide and tight lens, but not on the 16-55. If
you want to use zooms I’d definitely consider
the 18-55 over the 16-55 lens. It is smaller,
neater, lighter and has OIS.

At some point soon the XF80mm f/2.8 OIS

macro lens will hit the shelves and this might
well reveal itself as a great portrait lens,
10-24mm f/4 16-55mm f/2.8 50-140mm f/2.8
especially for headshots. Time will tell. If
it focuses quickly, is pin sharp and has a
beautiful bokeh, I’ll probably be using it in my
ultimate 5 prime kit
instead of the 90mm
simply because it
has OIS.

The 80mm will be a

lens that gets used
wide open all the
time. At f/2.8 both of
16mm f/1.4 23mm f/1.4 35mm f/1.4 56mm f/1.2 90mm f/2 the sitters eyes will
be in focus and the
working distance will
be spot on too.
The Fujifilm OIS
offers at least four
stops of assistance
so I expect the
80mm lens will be
a breeze to shoot
at 1/125th second.
I find this to be the
16mm f/1.4 23mm f/1.4 35mm f/1.4 56mm f/1.2 80mm f/2.8
ideal lowest shutter
speed to combat
subject movement
when photographing
headshots.

61
 XF14mm f/2.8 R
The XF14mm f/2.8 is a super sharp well
corrected optic. The 14mm is considered to
be on the wide limit for portrait lenses, but
I’ve taken some of my best images to date
with it. In the years leading up to the release
of the XF16mm f/1.4, it was my go to wide
lens and almost perfectly matched the Zeiss
21mm lens I had previously owned with my
Canon full frame DSLR camera. I made the
switch to Fujifilm some 4 years ago.

Specification

Filter Size ø 58mm You will come across a few of my 14mm

Weight 235g shots in various chapters throughout
Dimensions ø 65mm x 58.4mm my accompanying book simply called
PORTRAITS.

Fujifilm X-T1 • XF 14mm • ISO 400 • 1/60 sec • f/2.8

62
 Fujifilm X-T1 • XF 14mm • ISO 400 •
1/15 sec • f/3.6
I used a monopod to hold my camera steady
for this 1/15th second exposure. I also
stopped the lens down a couple of clicks
to ensure the dress was sharp from front to
back. The 14mm lens is a joy to compose
with as it pulls in so much background and
offers many opportunities for lead in lines.
Victoria was lit with a Lupo 1000 with a
Scattergel, the statue was lit with a Lupo 650,
and the back wall in the shot was lit with a
Lupo 1000 with a Scattergel.
63
 XF16mm f/1.4 R WR

‘‘
The XF16mm
f/1.4 is my go
to wide lens for
portraiture.

The XF16mm f/1.4 is my go to wide lens for
portraiture. It is superbly well made like all
the X series lenses and lives up to the high
hopes I had for it from the day it first made
its way onto the famous Fujifilm X series lens
roadmap. The 16mm field of view pulls in the
environment to tell the story and the
lens renders the scene beautifully. Superb
optical performance throughout the aperture
range gives me full confidence to work the
XF 16mm wide open. Being able to use the
prime lenses at f/1.4 is a bonus for portraiture
as it allows me to keep my shutter speed high
enough to freeze the action without the need
to use high ISO.
Specification
Filter Size ø 62mm
Weight 300g
Dimensions ø 72mm x 63mm

64
 Fujifilm X-T1 • XF 16mm • ISO 800 •
1/125 sec • f/3.6

The XF16mm lens is a safe lens to use for

portraits so long as you keep your subject
away from the extreme edges of the frame.
In this shot I placed Charlotte on the
thirds and the 16mm lens did the rest. I lit
Charlotte with a single Lupo 1000 spotlight.

65
 XF23mm f/1.4 R
The XF23mm f/1.4 set the benchmark for
lenses when it was released. It was seen by
some as a direct competitor to the X-100
series cameras with their fixed 23mm f/2 lens.
The 23mm lenses deliver a level of intimacy
through close proximity shooting without
distortion that really appeals to my way of
seeing the world. The XF23mm f/1.4 lens is
one of my most used primes and the shots I
take with it have all the hallmarks of my work.

Specification

Filter Size ø 62mm

Weight 300g
Dimensions ø 72mm x 63mm

66
 Fujifilm X-E2 • XF 23mm • ISO 800 •
1/180 sec • f/1.4
The XF23mm lens is the easiest lens in the
Fujifilm prime lens lineup to compose with. It’s
the same focal length as the fixed lenses in
the X-100 series cameras and gives a really
natural perspective. Some shooters might
think this field of view is a little dull, but I find
that the subject leaps out of the shots without
distraction.
Clair and I are having a bit of fun before the
start of a boudoir workshop. Clair is lit with a
Lupo 1000 LED spotlight with a Scattergel.
67
 XF35mm f/1.4 R
The XF35mm f/1.4 lens is the first lens
I bought for my Fujifilm X-Pro1. I got to
know it straight away and have relied on
it ever since. If I’m unsure about a how a
creative journey will unfold I nearly always
start with the 35mm lens. It is known
as the standard lens and to some the
word standard has become synonymous
with boring, but to me it means ‘to set
the standard’. The 35mm is a lens that
has never disappointed me and always
delivers contrasty, sharp pictures. The
original version of this lens is not weather
sealed and is slower to focus than its
new brother, the XF 35mm f/2, but is
does have that all important extra stop

Fujifilm X-T10 • XF 35mm • ISO 200 •

1/400 sec • f/1.4

68
of light gathering and legendary optical
quality. If you are shooting with the 16mm,
23mm and 56mm lenses, it is worth having
the f/1.4 version of the 35mm lens in order
to be able to hot swap with the other primes
without having to adjust ISO or shutter speed
to compensate for the change in maximum
aperture. I shoot my primes at f/1.4 a lot of
the time as you can see throughout this book.
Specification
Min Focus 20cm
Filter Size ø 52mm
Weight 187g
Dimensions ø 65mm x 50.4mm
Fujifilm X-T10 • XF 35mm •
ISO 200 • 1/160 sec • f/1.4
Tight head shots like this one of
Amber, taken with the XF35mm
lens, have an intimacy as a
direct result of being close to the
subject. The bokeh is beautiful
too when the lens is wide open at
f/1.4.
69
 XF56mm f/1.2 R
The XF56mm f/1.2 was a breakthrough lens
for the Fujifilm X system when it was released.
I was reluctant to replace my 60mm lens
at first, but eventually I was persuaded to
give the 56mm a try. I’d say it is one of the
jewels in the Fujifilm X system crown. I’ve
shot extensively with the 56mm now and I
must say it never fails to impress. I use it wide
open at f/1.2 and I love its clean, uncluttered
bokeh. There is an APD (apodising element)
version of this lens too. The APD element
looks like a centre spot nd filter where the
centre is clear and there is a gradual nd
effect to the edge. This element is designed
to calm down the crisp edges on out of focus
highlights like car headlights in night scenes
70
‘‘The XF 56mm f/1.2
was a breakthrough
lens for the Fujifilm
X system.
or fairy lights etc. I never shoot such high
contrast backgrounds so I don’t need the
APD version of the lens. In my tests with low
contrast calm backgrounds, I could barely
see a difference and I couldn’t be drawn on
which bokeh I preferred. The regular non
APD lens has the big advantages of being a
stop brighter and 10% cheaper.
Specification
Min Focus 70cm
Filter Size ø 62mm
Weight 405g
Dimensions ø 73.2mm x 69.7mm
 Fujifilm X-Pro2 • XF 56mm • ISO 200 •
1/250 sec • f/1.2

I lit Victoria with a Lupo 1000 spotlight from

behind simulating the light from a chandelier,
and a Lupo 650 from the front as a key light.
The crisp hard light from the spotlights delivers
a wonderful micro contrast at skin pore level.
This fine detail requires a superb lens to resolve
it and the 24 megapixels of the X-Pro2 or X-T2
cameras to record it. The fast prime lenses in
the Fujifilm XF series are developed to resolve
detail at the 4 micron pixel pitch level and the
high resolution Fujifilm X system is in optimum
balance.

71
 Fujifilm X-T1 • XF 56mm • ISO 200 •
1/500 sec • f/1.2

A fast medium telephoto lens gives a useful

wider field of view than a long telephoto lens
pulling in a lot of background in the process,
yet the large aperture renders it beautifully
out of focus. The depth of field is very limited
at large apertures so care must be taken at
the focusing stage.

72
 Fujifilm X-T2 • XF 56mm • ISO
200 • 1/200 sec • f/1.2
I shot Carole under the canopy of a tree in
the park with my back towards the trunk and
looking out into the light. The 56mm lens at
f/1.2 gave me beautiful focus transitions in
the foreground without having to rely on a
background bokeh. It’s important for shots
like this to set the exposure for the face and
to let everything else blow out. Be brave.
Don’t try and recover highlight detail later
as the transition from white to detail will
become ugly. Also don’t try to shoot this
in colour as the only light on Carole’s face
here was from sunlit grass and leaves so
getting a good skin tone is impossible.
73
 XF60mm f/2.4 R Macro
The XF60mm f/2.4 is my favourite lens
from the initial X system trilogy of 18mm,
35mm and 60mm. I had all three lenses
at the time and my more successful
work was captured with the 60. A lot
of photographers complained at the
time that it was slow to focus, but I just
got on with it and showed just how
capable it is. It gets the word macro in
its description by Fujifilm, but it isn’t a
macro lens.

‘‘
The XF 60mm f/2.4
is my favourite lens
from the initial X
system trilogy.
Specification

Min Focus 26.7cm

It only gets to 1:2 magnification and Filter Size ø 39mm
even then some optical artefacts can Weight 215g
cause a disc of light in the centre when Dimensions ø 64.1mm x 63.6mm
working at minimum focus. If you want
to shoot true macro you can readily get
extension tubes on the XF90mm, use
a third party macro lens like the Zeiss
50mm or wait for the XF80 macro lens
to be released in 2017. Having said all
that, the XF60mm represents great value
as a lightweight portrait lens and I will
always hold it in high regard.

74
 Fujifilm X-Pro1 • XF 60mm • ISO 1250
• 1/160 sec • f/2.4

The f/2.4 maximum aperture is usually enough to

ensure both eyes are sharp in a portrait and the
compact form of the lens means it doesn’t look
intrusive to the sitter.

I lit Elle with a single Lupo 1000 spotlight with a

Scattergel. I could have used ISO 400 and a shutter
speed of 1/60th second if I had used my monopod.

75
 XF90mm f/2 R LM WR
The XF90mm f/2 is an odd lens because under flash conditions. Being able to go
it has many interesting characteristics right in for close ups without needing to add
and for some reason it lacks the OIS we’d extension tubes is a great asset and is a
all love it to have. It is sharp, pin sharp, factor of the short minimum focus distance
it focuses close, very close and it has of just 60cm giving a magnification of 0.2x.
similar handling characteristics to the This, along with the super fast autofocus,
56mm as both the barrels and filter sizes are my main reasons to start loving the
are the same. The one major drawback XF90mm lens.
with the XF90mm lens for portraits is it
needs a really high shutter speed to get
sharp pictures hand held. I own this lens
and it’s definitely growing on me, but
the limitation of needing 1/500th second
to get crisp pictures every time when
shooting hand held is a big issue. I end
up using a monopod when shooting with
the 90mm lens and with a monopod I
can shoot down to 1/60th second with
ease. The XF90mm lens’ biggest rival is
the XF50-140mm. This flag ship zoom
lens is great at 1/60th second or even
1/30th second hand held because of its
OIS, and this makes the 50-140mm a far
more useful lens for day to day portrait
work in variable lighting conditions. The
XF90mm lens really comes into its own
when shooting portraits in bright outside
locations or when working in the studio

Specification

Min Focus 60cm

Filter Size ø62mm
Weight 540g
Dimensions ø75mm x 105mm

76
 Fujifilm X-T10 • XF 90mm • ISO 1250 •
1/200 sec • f/3.6

The XF90mm lens crops in tighter than its

little brother, the 56, and it compresses the
perspective in portraits noticeably too. I
can just about get sharp hand held shots at
1/350th second with the XF90mm, but 1/500th
second is a better option. I lit Rosalinde here
with a Lupo 1000 spotlight with a Scattergel. I
used a monopod to keep the camera steady.

77
 Fujifilm X-Pro2 • XF 90mm •
ISO 200 • 1/250 sec • f/2.5

When I’m shooting with the 90mm lens hand

held, I use 1/500th second shutter speed
in order to get sharp pictures. For this shot
at 1/250th second, I needed to use my
monopod. It’s a Gitzo GM3551 with a RRS
top plate and a lever lock RRS ball head.
The light in this shot is from a window to
the right of the camera. Net curtains (from
Ikea) have been clipped to the curtain track
with clothes pegs to create a more diffused
light source from this North facing window.

78
Fujifilm X-Pro2 • XF 90mm
• ISO 200 • 1/500 sec • f/2

One of the great attributes of the 90mm

lens is that it can crop in tight without the
need for extension tubes. I captured this
frame of Victoria in between full length
shots for the bridal designer. The 90mm
lens is super sharp wide open at f/2.

79
 XF18-55mm f/2.8-4
The XF18-55mm f/2.8-4 is the unsung hero in
the X lens lineup. Often remarked as a kit lens,
this neat zoom is way better than that. It is
lightweight, super sharp, f/2.8 at the wide end
and has the all important OIS. I used the XF18-
55 almost exclusively for about a year and the
OIS makes this lens near perfect. It lacks the
characteristics of a fast prime, but it has optical
quality throughout its aperture range to make
up for the bokeh shortfall. If shallow depth
of field is your bag then go with the primes
otherwise bag one of these magic zooms.

Specification

Filter Size ø 58mm

Weight 310g
Dimensions ø 65mm x 97.9mm
Fujifilm X-Pro1 • XF 18-55mm • 25mm
• ISO 400 • 1/60 sec • f/4

This shot of Inda was

taken in a back alley in
Jakarta and I borrowed
the bike from a few metres
away to complete the
scene. Lighting was from
a Speedlight in a small
(50cm) silver umbrella.
The XF18-55mm zoom is
the perfect lens for urban
shooting adventures.
The optical quality is
extraordinary.

80
 Fujifilm X-T10 • XF 18-55mm • 18mm • ISO
200 • 1/125 sec • f/2.8

It’s great shooting with a compact zoom lens

‘‘
when you want to travel light. Gabriele is in a big
new shopping mall in Singapore and I lit her with
a single Nikon SB900 Speedlight triggered using
a simple trigger set from Ebay. Gabrielle has that
classic Hollywood cheek triangle of light on her
The XF18-55mm
face and her shoe shape matches the handrails. f/2.8-4 is the unsung
I am standing with my feet on the silver side
hero in the X lens
panels on the escalator with the escalator moving lineup.
down under my legs.

81
 XF16-55mm f/2.8
R LM WR
The XF16-55mm is the pro grade
standard fixed aperture zoom lens. It
is the perfect lens in the studio and for
exterior brightly lit portraits, but when
the light levels drop, the lack of optical
image stabilisation means the primes
with those extra two stops of light
gathering or the 18-55mm with the OIS
really come into their own.

Specification

Min Focus 40cm

Filter Size ø 77mm
Weight 655g
Dimensions ø 83.3mm x 129.5mm

Fujifilm X-Pro2 • XF 16-55mm •

55mm • ISO 200 • 1/2000 sec •
f/5.6

The 16-55mm zoom is a do it all lens for

street portraits. It is pin sharp, but does
require a shutter speed of four times the
focal length to guarantee sharp pictures
free from camera shake. I use 1/250th
second and above just to be sure. This
shot of Rosalinde in full sunlight is an
example of the great shadow detail
control that is available with the Fujifilm
X series cameras.

82
XF55-200mm
f/3.5-4.5 R LM
OIS
The XF55-200 f/3.5-4.5 is a
lightweight, compact and supremely
useful lens when out on location.
It has an excellent reach as a long
telephoto and is very capable
optically too. The OIS works really
well and the lens handles very
well on camera. I used this as my
sole long lens on my 2014 tours of
Cambodia and Italy. You will see
some of those pictures here in this
book.

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Specification
our newsletter here.
Min Focus 1.1m
Filter Size ø 62mm
Weight 580g
Dimensions ø 75mm x 177mm

83
 Fujifilm X-T1 • XF 55-200mm • 56mm • ISO
400 • 1/125 sec • f/5.6

I chose to use the XF55-200mm zoom for

this shot of Yulia in the flooded old Casino
on Bokor mountain in Cambodia. It gave me
the opportunity to shoot full length and close
up images without changing my camera
position. Architecture like this gives the
opportunity for wonderful lead in lines and a
strong geometric composition.

84
 XF50-140mm f/2.8
R LM OIS WR
The XF50-140 is similar in characteristic to the
pro photographers legendary 70-200 lenses
of old. This Fujifilm optic is lighter, sharper
and better made too so the feel good factor is
certainly there when this lens is in your hands.
Not a lot is said about how it feels to be using
kit and the confidence it gives you, but I can
assure you the Fujifilm X system ticks all the
boxes.

Specification

Min Focus 1m
Filter Size ø72mm
Weight 995g
Dimensions ø82.9mm x 175.9mm

Fujifilm X-T1 • XF 50-140mm •

84mm • ISO 800 • 1/60 sec •
f/3.6

It’s lovely being able to shoot at

1/60th second hand held with the
50-140mm knowing the OIS is
going to give you a rock steady
image. With a fairly static subject
too like Alicia striking a pose in a
Mechelen hotel room sharpness is
assured.

I lit Alicia with a Lupo 1000 and a

Scattergel.

85
 Fujifilm X-T2 • XF 50-140mm • 87mm •
ISO 200 • 1/125 sec • f/2.8

The XF50-140mm lens is perfect for

head and beauty shots because it has
an optical image stabiliser. I captured
Chantelle in Wyoming leaning on a porch
handrail. There is a lovely pyramid shape
in the composition and a depth of rapport
that has conjured that super smile.

86
‘‘
Fujifilm X-Pro2 • XF 50-
140mm • 50mm • ISO
200 • 1/250 sec • f/4

A bit of larking around on Alicia and I were shooting

a shoot can really create in Paris when she proposed
marriage to me. I said no and
fun, natural moments. this laugh was her reaction. A
bit of larking around on a shoot
can really create fun, natural
moments. I crashed out to
50mm on the lens for the shot.

87
 XF100-400mm f/4.5-5.6 R LM OIS WR
The XF100-400 is a substantial lens with a
long helicoid meaning it extends when it
is zoomed. The build quality is wonderful
and despite its size the lens is surprisingly
lightweight. I have found the mounting
bracket that comes with the lens to be
very useful because I use a monopod
when shooting portraits with the 100-400.
I mount the lens on the monopod and
hang the camera off the back.

The images produced by this lens have

a natural softness, but they respond
well to a bit of sharpening in Lightroom.
I typically use a setting of 40 on the
sharpening slider (with a radius of 1)
rather than the 25 that I’m used to for my
primes. Having said that, large prints from
fashion shots that I captured using the
100-400 in the deserts of America have
been selected for exhibition.

I use this long zoom to compress the

perspective in my fashion shots delivering
a surreal, dramatic effect.

Specification

Min Focus 1.75m

Filter Size ø 77mm
Weight 1,375g
Dimensions ø 94.8mm x 270mm

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 Fujifilm X-T2 • XF 100-400mm •
189mm • ISO 200 • 1/500 sec • f/7.1

I had planned this shot for over a year

before I took it. I commissioned the dress
from an Asian factory advertising on Ebay
and all that was left to do was get to the
painted desert in Arizona with Arielle.
Having the long lens with me was perfect
as I wanted to keep the background to
a minimum to avoid clutter. The smaller
aperture kept some of the detail in the
background without it interfering with my
subject.

89
 Other lenses
worth a mention
The XF 10-24mm has a quality feel, but the
temptation to zoom it out to 10mm or 12mm
is strong and every time I have used this
lens there has been an element of regret.
Landscapes and architecture are more
obvious subject candidates for this lens.
There is no doubt the XF10-24 is a good optic
and it has rightfully earned a loyal fanbase
among Fujifilm X users.

The XF18mm f/2, XF23mm f/2, XF27mm

f/2.8, XF35mm f/2 and XF50mm f/2 are the
compact primes and are perfect partners
for the X-Pro2 camera where a large lens
would obscure the optical viewfinder. They
are best suited to street shooting or travel
photography where the size and weight of
kit is an issue. These lenses work well on the
X-T10 too, keeping the size of the camera
and lens combination down to pocketable
proportions.

90
 Fujifilm X-T1 • XF 10-24mm •
21mm • ISO 800 • 1/15 sec • f/4

The XF10-24mm lens has a great

optical image stabiliser that let me
shoot at 1/15th of a second in this
dark, bombed-out villa in Cambodia.
I shot this before the 16mm lens was
released and now I’d use the 16mm
lens at f/1.4 and use a shutter speed
of 1/60th second and ISO 400.

91
 The Fujifilm X series will continue to be
developed and refined but I believe now is
the time to invest in the Fujifilm system. At
24 megapixels the X-Pro2 and X-T2 are at
the maximum resolution for APSC. There is
no more detail to extract from this sensor
size that is not already there. The X-T2 is
blisteringly fast at everything and is a solid
video performer too with 4K up to 60 fps and
a whole host of other formats available. The
rest of the Fujifilm X system has finally come
of age too with HSS flash and a multitude of
high performance lenses on offer.
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