Treat your Camera like a Pen and you will get better photos!

Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 1400, ƒ/1.4, 1/200

If photographers would take photos the way they write all of their photos would most likely be ten times better in quality.

So many people just pick up their camera and point and shoot. Just try and do that with writing. Go ahead and try it. Pick up the pencil or pen and just write.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art, ISO 8000, ƒ/4, 1/100

For those of you who use the methodology of “Spray & Pray” how is that working for you? Your percentage of a photo you like is probably better than just clicking one time and moving on.

Fujifilm X-E2, Fuji XF 18-55mm, ISO 320, ƒ/4, 1/100

The famous photographer Ansel Adams first chapter in his very first book was about the concept of previsualization in photography is where the photographer can see the final print before the image has been captured. Adams is often quoted as saying “Visualization is the single most important factor in photography”.

Adams was referring to not just what was in front of the camera, but rather his interpretation of what was in front of him all the way to the print before he clicked the shutter.

The reason most photographers are not producing work like Ansel Adams is because very few have taken the time to think about what they are trying to capture and say with their photos.

Previsualization is applied to techniques such as storyboarding, either in the form of charcoal drawn sketches or in digital technology in the planning and conceptualization of movie scenery make up.

The advantage of previsualization is that it allows a director, cinematographer or VFX Supervisor to experiment with different staging and art direction options—such as lighting, camera placement and movement, stage direction and editing—without having to incur the costs of actual production. On larger budget project, the directors work with actors in visual effects department or dedicated rooms.

At the Warner Bros. Studio Tour London they have displayed the sketches which then are turned into models like here.

After they have done this then they make the actual set that will be used in the movie as you see here for Diagon Alley.

Now compare this set to the street of Cecil Court that most likely inspired J. K. Rowling for Diagon Alley.

This is why Harry Potter the movie is a little more exciting than the just point and shoot of the tourist that I was on Cecil Court. The street has been the inspiration and then the artists create their vision of what they want to use to convey a mood for a story.

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 40000, ƒ/5.6, 1/4000

Even in sports the creative photographer is anticipating. I am down field waiting for the action to come to me. I have thought about where I need to be and what I want to capture.

TIP FOR BETTER PHOTOS!

Treat the camera like the pen. Before picking it up and putting it to your eye have some idea of the sentence you are going to write. If you don’t you will have only gibberish and that is why your photos don’t work. You didn’t know why you took the photo and no one else will either.

Take this one step further and have in your mind the caption that will accompany that photograph as well. This will help you know what you are trying to say with your photo.

Mr. Robot appeals to the cerebral audience–Especially visually

Fujifilm X-E2, Fuji XF 18-55mm, ISO 400, ƒ/2.8, 1/125

Rami Malek picked up the Emmy Award for Outstanding Lead Actor for his role in “Mr. Robot.” Malek had the perfect Elliot line to deliver: “Please tell me you’re seeing this too.”

“I play a young man who is, like so many of us, profoundly alienated,” Malek said, which lives with social anxiety disorder and clinical depression in the show. “And the unfortunate thing is I’m not sure how many of us would want to hang out with a guy like Elliot.

“But I want to honor the Elliots, cause there’s a little bit of Elliot in all of us.” Tod Campbell, the director of photography for Mr. Robot, helps make the show visually cerebral. This helps to connect the show to the nerds. For a writer’s concept to truly connect with cinema a director of photography helps to bring out the writer’s moods and tone through the visual. The cinema-photography is writing with light to compliment the words to bring the audience along on the storylines.

Fujifilm X-E2, Fuji XF 18-55mm, ISO 500, ƒ/3.2, 1/60

Campbell’s use of the negative space helps to make the audience’s eyes wonder through the scene. Also by not using a lot of movement within a shot the audience does have time to ponder the surroundings of the actors.

Fujifilm X-E2, Fuji XF 18-55mm, ISO 800, ƒ/3.6, 1/60


Most movies today have more than 50% of the scenes being closeup shots. This technique makes you wonder what is outside the frame to engage the audience.

Fujifilm X-E2, Fuji XF 18-55mm, ISO 400, ƒ/2.8, 1/60

Notice here when you go close how you wonder what is beyond the frame.

Fujifilm X-E2, Fuji XF 18-55mm, ISO 400, ƒ/2.8, 1/60

Now going much wider you see what is going on, but your eye wonders much more. In this process you start to write you own visual narrative even more. For me this is a much more cerebral exercise for the audience and if you pause long enough on your visuals the audience will start to take it in. Here is the trailer for Mr. Robot.

[youtube https://www.youtube.com/watch?v=Oc-AsN7d1wg]
I think to appeal to the nerds and deep thinkers you have to give them the content that allows their brains to engage and process the content. Mr. Robot does this not just with the storyline, but the visuals help truly engage the audience in a way that is rarely done within cinema today.

Maybe the biggest reason Mr. Robot is such a big hit is because it is being unconventional. By being different the show’s creators appear to be revolutionary. For me it is a style I grew up on in magazine photojournalism.

Mr. Robot to me proves that the audience is not just ready for much deeper storylines, but craving them. They are tired of the quick sound bite and the simplistic closeup visuals. People are ready to think and enjoy having their brains do some exercise to keep up with the storyline.

Multimedia Storytelling–NEED to know vs. WANT to know

Last year’s storytelling workshop in Lisbon, Portugal [Fuji X-E2, Fuji XF 18-55mm, ISO 6400, ƒ/13, 1/450]

When teaching workshops on storytelling we always like to get a feel for what the students are wanting to learn from the experience.

There are some very consistent things people want to learn from a storytelling multimedia workshop. One of the top things listed usually involves software. They want to learn how to use Final Cut Pro X or Adobe Premier Pro for example.

Now if we created a workshop based on what people talk about most would leave the workshop not much better than when they came. Even the things they don’t mention are sometimes at the top of the list.

The location of the workshop is a HUGE factor in people choosing to attend. If the workshop were somewhere down the street from them versus some exotic location like Cuba, Paris or Bucharest, Romania they might not sign up.

What students list at the very bottom of their desires to learn is audio.

Click on photo to see larger

Now this is the timeline inside Final Cut Pro X on one of my most recent projects. The interview is actually the foundation for the project and the sound for this is what is driving the entire project. What the subject is talking about influences what images should accompany the words.

While we teach how to interview and get the sequencing of the interview in an order that helps engage the audience and tell the story, if the person doing the interview doesn’t technically get a good quality sound then it makes no difference how good or bad the interview is the audience will never know what they said.

Shure FP1 with the WL183 (Omnidirectional) microphone

Quality Sound

The foundation for every multimedia/video project is the soundtrack. Here are two microphones I use all the time, but regardless of what microphone you choose you must know how to use it and set the levels of the microphone to get the sound just right.

Shotgun Røde Video Pro Microphone

People will not watch your project if the sound is poor quality. They are more likely to watch if they sound is high quality and the visuals are mediocre than if that were reversed.

Which Microphone?

My recommendation for anyone going down this road of storytelling is to invest in a lavalier microphone. One with a long cord of 20′ will work great for interviews and is pretty reasonably priced.  You can get one for about $23 from most stores.

I like this microphone because it picks up sound close to it and drops off pretty quickly, so you can put this on someone’s collar and get their voice and ambient sound around the room will be diminished.

The shotgun microphone is nice when you don’t want to see the microphone and depending on how you place it in relationship to the subject can give you incredibly nice sound. Takes more practice to use this over the lavalier.

NEED to know vs. WANT to know

Now back to the headline. While learning sound is not all that sexy, based on everyone pretty much ranks this at the bottom of what they want to learn, it is the foundation of the project. Good sound is equivalent to good exposure with your photography/video, but the difference is that it is more important.

Here is a simple package I did on how I do packages years ago. It is actually quite easy to edit once you have the voice over recorded. See if you can see how the sound drives the project.

http://www.stanleylearystoryteller.com/Chick-fil-A/Multimedia/_files/iframe.html?=560×470
Here you can see the package I produced. Now this was in 2008 when I was just using an audio recorder and photos. But this is the backbone of the video to understand that the soundtrack becomes the timeline for the project.

http://www.stanleylearystoryteller.com/Chick-fil-A/soccer/_files/iframe.html?=550×481

Advice to those wanting to learn multimedia/video

Most important tip I can give to you is to be totally open to the professional teaching you. Try your best to hear what they say you NEED to know versus what you WANT to know. Don’t filter out what you think is not important or not that interesting.

Pour yourself into every step of the process of learning a skill. The reason you do this is not that you can pass a test, but rather that you will master the subject.

Do you want a surgeon who passed their tests or knows all there is about your procedure? Just as a surgeon who didn’t pay attention except to the exciting parts of medical school will lose a life, so to will the storyteller who only learns what they want to learn. They too will lose the life of the story.


Here is another example. Listen to the soundtrack and see how it moves the story along.

https://player.vimeo.com/video/68857225

Photographers be like farmers in the Springtime–Prepare the fields

Fuji X-E2, Fuji XF 18-55mm, ISO 1000, ƒ/4.5, 1/500

This is a time you can drive around your neighborhood and see a major difference in lawn care. This photo shows just the difference between spreading Weed & Feed with watering can make in the appearance of your lawn.

It is only the farmer who faithfully plants seeds in the Spring, who reaps a harvest in the Autumn.

B. C. Forbes

Fuji X-E2, Fuji XF 18-55mm, ISO 2500, ƒ/4.5, 1/500

A few weeks ago I decided to really tackle the problem with bare spots on my yard. Well actually they are bigger than spots. There is a lot of shade so this will always be an area that needs more work than the sunny sections of the yard.

I went to HomeDepot and bought Powermate 10 in. 43 cc 2-Cycle Gas Cultivator to help turn the soil with the Rebel tall fescue, pelletized limestone, & Vigoro 15m weed & feed.

Just two weeks later and you can see in these photos the results of a much greener yard.

Fuji X-E2, Fuji XF 18-55mm, ISO 3200, ƒ/4.5, 1/500

Now here you can see the areas I didn’t cultivate did not produce as much grass. Some grass seed and fertilizer fell in those areas but the difference was in the turning the soil about 2″ – 3″ that buried the seeds and helped them grow.

With just celebrating Easter at our church I was reminded of the Parable of the Sower that Jesus told.

Matthew 13: 3-9
“A farmer went out to sow his seed. As he was scattering the seed, some fell along the path, and the birds came and ate it up. Some fell on rocky places, where it did not have much soil. It sprang up quickly, because the soil was shallow. But when the sun came up, the plants were scorched, and they withered because they had no root. Other seed fell among thorns, which grew up and choked the plants. Still other seed fell on good soil, where it produced a crop—a hundred, sixty or thirty times what was sown. Whoever has ears, let them hear.”

Photographer Tips:

You reap what you sow. We have all heard this before, but what can a photographer learn from this? You need to go back to your present clients and reconnect with them. You need to give them more information about you and what new things you are doing. This is like fertilizing your yard.

Now some ground is hard as rock. A farmer uses a tiller to break up ground that has not been farmed or has become extremely hard. A farmer uses a cultivator for loosening the soil in an existing planting area, weeding the area during the growing season and mixing compost into the soil.

You may have to do a lot a leg work and go and really beat the pavement finding those new clients. You may need to have some good examples to leave with them either through your website, e-newsletter, or printed material. You may need to get some friends that work with those potential clients to help introduce you and break the ice for you.

Competition:

Even Jesus knew that your competition will try and sabotage all your good work. He told a parable about it as well. It follows the Parable of the Sower:

Matthew 13:24-30
Jesus told them another parable: “The kingdom of heaven is like a man who sowed good seed in his field. But while everyone was sleeping, his enemy came and sowed weeds among the wheat, and went away. When the wheat sprouted and formed heads, then the weeds also appeared. 

“The owner’s servants came to him and said, ‘Sir, didn’t you sow good seed in your field? Where then did the weeds come from?’ 

“‘An enemy did this,’ he replied. 

“The servants asked him, ‘Do you want us to go and pull them up?’ 

“‘No,’ he answered, ‘because while you are pulling the weeds, you may uproot the wheat with them. Let both grow together until the harvest. At that time I will tell the harvesters: First collect the weeds and tie them in bundles to be burned; then gather the wheat and bring it into my barn.’”

They didn’t have weed & feed in those days. We as photographers may not have the weed control to put out either, but the lesson is clear others will try and attack you at times. Be careful at trying to fix this–you could end up damaging the good seed you did plant.

The message is clear to have a big harvest requires you to work the field. You need to get that tiller and break up the really hard ground. You need to use the cultivator to mix the seed and fertilizer. You will need to then water the field as well if you expect to see a crop that will be worthy of harvesting.

You can’t reap what you do not sow.

2015 time for New Beginnings

Fujifilm X-E2, 18-55mm, ISO 500, ƒ/14, 1/500 

It is the beginning to a new year and with that we need to backup for the big perspective on the year ahead of us.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma 2X, ISO 12800, ƒ/5.6, 1/160

Aeneas Demetrius Williams is a former American football cornerback and free safety, who played with the Arizona Cardinals and St. Louis Rams of the National Football League (NFL). He was the featured speaker at the FCA Chick-fil-A Peach Bowl Breakfast — at Atlanta Marriott Marquis.

Aeneas said that his strength is the ability to forget about a bad play and focus on what is going on right now. He can move on where many players go down a spiral of bad plays because their head is on what they screwed up and not on what they are needing to do.

That is a great message for all of us in the beginning of a New Year. This is a time for a new beginning and the reality is we should always be looking at what we can do rather than what we could have done.

Nikon D4, 14-24mm, ISO 100, ƒ/8, 1/500

We are constantly faced with a choice of two paths or more. Which path will you take in the year ahead?

Nikon D4, 28-300mm, ISO 800, ƒ/9, 1.3 sec

Where do you want to go?

Take a moment and look around you and be realistic. What are some places where you see the potential for growth that the community needs–not just what you want to do. Bounce these ideas off a few people for their perspective and listen.

What is missing in the portfolio?

Once you have an idea of some things you want to pursue, take a moment and review your portfolio. Does your portfolio show you have done what you want to propose to clients and potential customers?

Find the personal project

Take the time to create a portfolio of work and specifically show what you can do if given the chance. Very few clients if any will give you the opportunity to shoot something for them that you haven’t done before. Go and create a package of work that shows when you are given complete creative control this is what you can produce.

A couple of things happen once you have created a package that will be in your portfolio that shows all you can do. First you may just get the attentions of people to want you to do this for them. Since you have done this before they may give you more creative control since they haven’t managed a project like this before.

Create a plan and timeline

Once you have an idea then execute the idea. You need to get that special project on the calendar now and not in a couple of months or you are losing time to show clients. Find a way that you can execute your creative concept easily. Try and minimize all the variables that you will not have control over.

You may want to shoot something in your hometown or even backyard as opposed to traveling around the world.

Make 2015 a Remarkable Year!

This time next year you want to be able to say that you did something new and different this year to stretch and grow. 

Fuji X-E2 helped me to capture memories in Hawaii

Fuji X-E2, 18-55mm, ISO 1600, ƒ/3.2, 1/500

Back in June this year I was in Hawaii teaching 30+ students who were going to travel the world using photography as a way to engage with people.

While I was there I had my Fuji X-E2 on me at all times. This helped me to capture moments like this when on the last night of the classes before they departed for Panama, Turkey and Thailand they captured moments with each other.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/4, 1/500

While I also own the Fuji XF 55-200mm, I found many times that the 18-55mm inside was long enough lens for many situations.

Fuji X-E2, 55-200mm, ISO 3200, ƒ/4.4, 1/500

I did use the Fuji XF 55-200mm in situations where I needed the longer lens as here with the people on the stage.

Fuji X-E2, 55-200mm, ISO 200, ƒ/5.6, 1/500

I also used it to compress the scene as I did here in Kona, Hawaii.  I love using the lenses with the OIS turned on because I am usually hand holding these when making most of the photos.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/3.6, 1/210

The dynamic range of the sensor is also awesome. Here you can see that the people are well exposed, but the curtains and the TV are not blown out. I was able to hold the details from the highlights to the shadows.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/6

This was my favorite photo from my entire trip. Getting this photo is just not going to happen with your smart phone. Again I am holding together from the very bright screens of the computers to the shadows of the chairs they are sitting in.

I love the Fuji X-E2 because it is small enough and yet I am not giving up the ability in low light that many other cameras do that are this small.

Lisbon, Portugal Scene Setters

Nikon D4, 28-300mm, ISO 800, ƒ/9, 1.3 sec

Who, What, WHERE, Why, When & How

In Journalism 101 the five Ws and H are taught as the questions whose answers are considered basic in information-gathering. Importantly, none of these questions can be answered with a simple “yes” or “no”.

Last week while teaching Multi-Media Storytelling Workshop in Lisbon, Portugal we covered getting images that help give context for their stories.

Below here are some possible scene setters that help address the WHERE for the storyline.

http://www.stanleylearystoryteller.com/LisbonContext/index.html

When you examine the Five Ws and H most of those questions can be captured visually. The adage “A picture is worth a thousand words” refers to the notion that a complex idea can be conveyed with just a single still image. It also aptly characterizes one of the main goals of visualization, namely making it possible to absorb large amounts of data quickly.

This is why visual storytelling can be extremely powerful. You can get across a lot of information to the audience in a very short period of time.

While one image can capture “WHERE” a series of photos in a multimedia can do even more. Depending on the sequence, some music and the human voice can pull you even deeper into the context of the story.

Fuji X-E2, 18-55mm, ISO 200, ƒ/13, 1/180

Here is a photo of Nazaré, Portugal where I am at Sítio (an old village, on top of a cliff) overlooking Praia (along the beach). This is how you as a tourist give context.  Shoot too tight and you could be anywhere in the world. Don’t make that mistake or you could have just stayed home and taken photos in your backyard.

Depth-of-Field

Context photos are difficult when you use a shallow depth-of-field. Compare these two photos with where changing the aperture to gave a greater depth-of-field.

Fuji X-E2, 55-200mm, ISO 200, ƒ/3.7, 1/1000

Fuji X-E2, 55-200mm, ISO 640, ƒ/10, 1/500

Wide Angle Lens

Personally I prefer to get close with a wide angle verses using a longer telephoto lens, but here in these photos it does work.

Nikon D4, 14-24mm, ISO 100, ƒ/8, 1/500

Remember when you travel and you want to take establishing shots that capture where you were and not just photos of you that could have been taken anywhere.

How to create photos that are spectacular!!

Fuji X-E2, 55-200mm, ISO 6400, ƒ/4.7, 1/75 [Neewer TT850 on light stand bouncing. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera.]

Those are spectacular!!!  Much nicer to have the lighting off the camera’s direct line of sight.
email from a parent
I photographed my daughter’s orchestra awards banquet and while there a guy came up and started talking to me and asking questions. I could tell from all his camera gear he was either a pro as well or just a hobbyist. He wanted to know where my photos would be accessible. He had been taking photos for a few years since his child was a senior in the orchestra. My daughter is just a freshman.
I gave him my business card and he wrote sending me a link to his photos. Since I knew he was wanting to share I sent him the link that I had also given to the orchestra teacher to use for the newsletters and other things to help out the program.
That is when I got the email with the quote above “Those are spectacular!!!  Much nicer to have the lighting off the camera’s direct line of sight.”
Fuji X-E2, 18-55mm, ISO 6400, ƒ6.4, 1/30 [Neewer TT850 on light stand in back of room pointed straight toward the front of the room. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera.]
I think the father noticed my flash on a light stand because my Fuji X-E2 didn’t look pro as compared to his large DSLR and 70-200mm ƒ/2.8.
His wife later in the evening said, since you do this professionally you can answer a question. She then pulled up a photo where you could see the reflection of her on camera flash in the glasses of people. She wanted to know how to get rid of the reflection.
Fuji X-E2, 55-200mm, ISO 6400, ƒ/6.4, 1/40 [Neewer TT850 on light stand in back of room pointed straight toward the front of the room. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera.]
I talked to her about how your flash works like you playing billiards/pool. By getting the flash further from the lens you avoid the problem with reflections in the glasses.
This is the Neewer TT850 on light stand and the Neewer 433MHz Wireless 16 Channel Flash Remote Trigger on the Fuji X-E2]
This flash system isn’t TTL and therefore controlling the exposure is done a few ways.
  • Flash Power—How bright the flash is will influence if the picture is over, under or properly exposed. You can control the Neewer flash from 1/128 to full power in 1/3 stop increments.
  • ƒ-stop/Aperture—You control how much of the light is coming into your camera by the camera iris called the aperture. These are fractions. The focal length of the lens over how wide the opening of the lens is. 
  • Flash Distance to Subject—The closer you put the flash to the subject the brighter the subject and the further away you put is the darker it gets. This is assuming your Flash Power and ƒ-stop are constant.
When the radio is on the same channel as the flash you can then send the signal to change the power settings of the flash. 
I put the flash off to the side of the room or at the back of the room. How do I determine where to put the flash in relation to the camera? I want the FLASH—CAMERA—SUBJECT to form a triangle. Usually the flash is between 45º to 90º most of the time.
What impressed the parent wasn’t my cameras or really my flash—he had as good of gear if not better than what I had, but the thing is his flash was on his camera and that is what made my pictures spectacular. How do I know this—he said so.

Fuji X-E2 with the XF 55-200mm is a great combination for shooting speakers

Fuji X-E2 18-55mm, ISO 6400, ƒ/4.5, 1/90 photo by Greg Schneider

I spent a lot of time talking to students and pros this past weekend. Many were asking for my advice for their career path.  I ended up asking a lot of questions of them and hopefully helped some get some better traction for their journey.

Fuji X-E2 55-200mm @ 200mm, ISO 6400, ƒ/4.8, 1/20

This is Larry McCormick a photojournalist for The Tennessean who was one of the speakers at the Southwestern Photojournalism Conference.  He inspired us to love every assignment we do and to treat everyone of our subjects with honor, dignity and respect.

Fuji X-E2 55-200mm @ 200mm, ISO 6400, ƒ/4.8, 1/10

James Gregg, Staff Photographer, San Diego Union-Tribune was another speaker who walked us through many of his assignments. He is working predominately as a multimedia producer these days.

Fuji X-E2 55-200mm @ 200mm, ISO 6400, ƒ/4.8, 1/30

Greg Thompson, Sr Director, Corporate Communications, Chick-fil-A challenged us to be more client and audience focused.  The story is not yours, it is the subjects and you share it to an audience.

Fuji X-E2 55-200mm @ 200mm, ISO 6400, ƒ/4.8, 1/40

Ron Londen, Chief Creative Strategist, Journey Group opened up the weekend with telling stories. He started with stories where he made mistakes. He challenged us to really connect with people and tell stories.

Fuji X-E2 55-200mm @ 60mm, ISO 6400, ƒ/4, 1/20

All weekend I shot with the new Fuji X-E2 and when the speakers were on I shot mostly with the XF 55-200mm lens. I think it is extremely sharp and the image stabilization is the best I have ever used. Look at those shutter speeds shooting from the back of the room. Shooting zoomed to 200mm is the same as shooting with my Nikon full framed camera with a 300mm.  These are all hand held and sharp.

Fuji X-E2 18-55mm, ISO 400, ƒ/2.8, 1/125

We did have some good Chick-fil-A sandwiches at the meeting and the Cow visited. Most everyone was getting their photo made with the cow.

Fuji X-E2 18-55mm, ISO 2000, ƒ/2.8, 1/500

I was capturing fun moments with everyone enjoying themselves.

Fuji X-E2 18-55mm, ISO 1600, ƒ/2.8, 1/500

Fuji X-E2 18-55mm, ISO 6400, ƒ/3.2, 1/480

Fuji X-E2 18-55mm, ISO 6400, ƒ/4, 1/210

Fuji X-E2 18-55mm, ISO 6400, ƒ/4, 1/170

Fuji X-E2 shots at the Southwestern Photojournalism Seminar

Fuji X-E2, 18-55mm ISO 200, ƒ/5.6, 1/1300 

 These are all JPEGs right out of the camera from my time here in Fort Worth, Texas at the Southwestern Photojournalism Conference.

Tonight was the start of the student workshop.

Fuji X-E2, 18-55mm ISO 6400, ƒ/5.6, 1/85

These are some photos of my friends and trying out the Fuji X-E2.  My friends Bob Carey and Ron Londen both had the X-E2 and had just bought the news X-T1 camera. I have been only able to play with their cameras.

Fuji X-E2, 18-55mm ISO 6400, ƒ/5.6, 1/60

Enjoy the photos and see how great the camera does on Auto-White Balance and shooting JPEGs.

By the way I do have a RAW file for each of these as well.

Fuji X-E2, 18-55mm ISO 6400, ƒ/2.8, 1/110

Fuji X-E2, 18-55mm ISO 6400, ƒ/2.8, 1/240

Fuji X-E2, 18-55mm ISO 6400, ƒ/3.2, 1/210

Fuji X-E2, 18-55mm ISO 6400, ƒ/3.6, 1/220

Fuji X-E2, 18-55mm ISO 6400, ƒ/3.2, 1/220

Fuji X-E2, 18-55mm ISO 6400, ƒ/3.2, 1/200

Fuji X-E2, 18-55mm ISO 6400, ƒ/3.2, 1/210

Fuji X-E2, 18-55mm ISO 6400, ƒ/2.8, 1/280

Fuji X-E2, 18-55mm ISO 6400, ƒ/4, 1/170

Fuji X-E2, 18-55mm ISO 6400, ƒ/2.8, 1/160

Fuji X-E2, 18-55mm ISO 6400, ƒ/2.8, 1/150