ROME with the Fujifilm GFX100s + Fujinon GF 32-64mm f/4

I remember going back and forth with myself about which camera I would take on this upcoming trip to Rome, Italy. I was considering the weather, the amount of walking we do and ultimately the focal lengths I would choose. It would either be limiting myself to a prime or one zoom lens. For me, the decision was between the Sony A7R4 with the new 24-70mm f/2.8 GMII or the Fujifilm GFX100s and its heavy partner the Fujinon GF 32-64mm f/4. The Sony A7R4 are my work horses and produce great images, but it doesn’t hold a candle to the Fujifilm GFX100s when it comes to colour depth and dynamic range. Although the Fujifilm set up comes in at almost double the weight, it's a compromise I was willing to take for the chance to capture some street photography in Rome.

Pro Tip for Rome: Get up early! Like before the sun comes up and explore the city. Rome gets up late so you will have ample time to see all the sights without crowds of tourist. We got out of the hotel by 5AM. It was well worth it.

The Fujifilm GFX100s isn’t the newest camera from the Fuji’s medium format line up but it’s still a heavy hitter when it comes to dynamic range. The colour depth in the image is near impossible to recreate with a full-frame sensor camera. This camera had been with me on countless trips and has yet to give me any issues. Despite its weight with the Fujinon GF 32-64mm f/4 attached, it can be carried all day by hand or in a bag with minimal discomfort. It is well worth it when it comes to capturing images that require the most demanding exposures such as cityscape. The displays, both on the back of the camera and the EVF are masterpieces. Both have no issues when shooting in the bright midday sun and the flip out screen is invaluable when framing from low angles. I still remember the days of shooting a dSLR and having to lay down on the ground just to see the shot. Choosing the camera is the easy part. Now considering the lens, that’s a whole other story.

Choosing a lens was more of a challenge. I’ve used the Fujinon GF 32-64mm f/4 on past trips. It’s usually a staple in my bag except for our last trip to Japan. For the last trip, I chose the Fujinon GF 45mm f/2.8 along with the Fujifnon GF 250mm f/4. I do have my limits when it comes to weight. Having ht 32-64mm and 250mm would have been too much. I will admit that I missed the mid-zoom. It covers all the ground you might possibly need on a trip. The Fujinon GF 32-64mm f/4 is optically phenomenal with no compromise to image quality.

GFX100s + GF 32-64mm f/4 @ f/9

I’ve had the Fujinon GF 32-64mm f/4 for 6 years and used it extensively on both travel and work. The zoom ring is still smooth and the weather sealing of the lens has been put through its paces. I don’t second guess using both the camera and lens in wet weather. That being said, since it’s externally zooming lens, dust will eventually get into the lens and it does show up when looking down the barrel. Air is constantly being pumped in and out of the lens when zooming. Despite the dust particles, I haven’t seen them manifested in the images. I don’t expect my lenses to be pristine with use, but love seeing the patina of well used gear.

Hot Take: The light in Rome is more beautiful in the morning than in the evening.

If you are on the fence when it comes to purchasing this lens, you shouldn’t be. I know the f/4 seems like a tight aperture but in most cases, it’s more than enough. You get beautiful bokeh at all focal lengths depending on focus distance. For travel photos, I’m usually up at f/9 or higher. The lens is also beautifully crafted with rings that are properly tight depending on its use. I’ve rarely had a problem mistakenly turning aperture ring. If that does becomes an issue, you can always set the wells on the camera to control aperture for you. I love this lens so much that I bought it twice. Once when I had the Fujifilm GFX 50s and then again when I re-entered the medium format world with the GFX 100s. Full frame just couldn’t cut it.

On past trips, I would usually just shoot RAW files and come back to the hotel to edit. The only problem with this was that I was completely exhausted and usually fighting jet lag. I would usually have the excitement of seeing the days photos get me through the first 10 minutes of editing and then fall asleep promptly after. On this trip, I wanted to save myself from this and chose to shoot the beautiful film simulation included in the GFX100s along with the RAW files just in case. For all these images, the Fujifilm Classic Chome was used. I would highly recommend this when on a trip. Just be sure to get some extra SD cards. All the images in this post are those files straight out of camera. All you’ll have to do is nail the exposure.

The size and speed of the Fujifilm GFX100s slows my shooting down. I don’t see this as a bad thing. This gives me the chance to be more intentional when framing a scene when shooting all subjects. The zoom range of the Fujinon GF 32-64mm f/4 is unmatched. I am glad I chose the GFX system for Rome and it will continue to be by my side on future trips.

I was just about to put my camera away before I saw this scene. I’m glad I’m stubborn and fought the urge.

BATL with Day Job

Working along side Abacus & Day Job, we created some real magic for BATL. This was a shoot that took a lot of planning to make it possible. Most of the lighting you see in the upcoming post was a team effort with a mix of constant light and flash. This shoot was split video and photo, I’ll be including some behind the scene shots. To produce something special, it always takes a team. This shoot was no exception. 

Have you ever fake celebrated at one point? We do it all the time in our line of work. The countless time I’ve had to ask people I don’t know to cheer is probably ridiculous but it’s part of the job. Making this shot work took some beautiful set styling done by Abacus along with food prep. That food is for display only. Once we were done with it, it was all covered in beer so yeah, display only. 

The BATL project will stand as one go the largest production shoots I’ve done in recent years. Working alongside the wonderful people from Abacus Agency and Day Job was an absolute pleasure. Usually, when video and photo are combined, time management is meticulous. You have two teams competing or time on a scene. It’s not impossible, but the basic respect for each team to create has to be there. The management on this shoot was wonderful, and if all other shoots could go this smooth, I would be a very happy creator. Special shout out to Day Job & Abacus and others to making this shoot one to remember. 

The Outside Studio

I take the studio outside all the time, but I have yet to take a backdrop outside. Taking a huge piece of paper outside comes with its challenges. there is the basic issue, like rain, but the silent killer is wind. Luckily, this was a nice calm, warm day and the paper, for the most part, stayed still. The sun was high at the time of the shoot so most go it was blocked with a large umbrella from Profoto. I rarely shoot without flash and this was not one of those cases. I added a Profoto B1 with a beauty dish camera left. Flash always adds some kind of direction to your work. That gradient of light helps the subject pop out from the background.

If you would like to get a visual of what the set up looks like, just scroll down. When it comes to working with color backdrops or any backdrop indoors, you would need to light the backdrop to get an even look. Since we were workout outdoors where the light is uniform, a simple exposure for the model and backdrop kept everything in check. I can promise you that there was no backdrop manipulation and most of these photos are close to what they look like straight out of camera. It was a please not having to set up 4 or more light and achieve something that looks complicated and clean.

OK, I may have lied when it comes to not manipulating the backdrop. But I promise you all I did was mess around with H/S/L and change the colors around to compliment the model's outfit. The photo below was an attempt to bring a little more mood to the shoot. By changing my expose to minimize the ambient light and turning the power upon the flash, I was able to create more shadows and direction. I also placed the key light almost behind the model and have the light skip off her face partially. Shadows also yield more interest. So they say.

So, if the wind is low or nonexistent, its completely worth it to venture outside and bring the backdrop with you. This was the first and not the last time.

In the real world, none of these photos are possible on my own. The styling for these product shots was done by @mrigini for @meripetiofficial. I am a big believer that people should play to their strengths. It’s most apparent on set where I am already dealing with composition, lighting and all the technical mumbo jumbo but at the same time having to do styling. I can do it, but a professional will get it done in less time and produce an even better outcome. It always takes a team to get the best possible outcome.

For the gear guys:

Camera: Fujifilm GFX50S

Lens: FujiFilm GF 110mm f/2

Lighting: Profoto B1, Profoto Large Deep Umbrella

Hunting for Good Light

Hunting for good light is basically want we spend our life doing as a photographer. We either hunt it or do our best to create it. With the Fujifilm GFX 50s, when you find great light, the results are simply amazing. These photos were shot with a friend Aleksandra, who toughed out the brisk winds with me. 

Street Photography with the Fujifilm GFX 50s

It has been a long time since scheduling off an afternoon to wonder the street. Street photography was the tool I used to get familiar with new gear and techniques. This time, it was gear, the Fujifilm GFX 50s. The camera is particularly slow and out of its element for quick focus acquisition, but once you figure out that it's you who must slow down, each shot composed is almost a masterpiece. Taking the time to stop and figure out why this scene caught your eye is what street photography is about. This time, with the GFX 50s, there is no fear of blown out highlights or lost shadows. Going medium format is freedom. 

IG: @shoottheplanet

First day with the Fujifilm GFX 50s

Have you ever bought something, and not have buyers remorse? I have found the one thing, the Fujifilm GFX 50s. From the moment you take your first photo, you will be smiling inside and out. It only gets better once you get these photos into post-production. The detail and flexibility just open the doors. You will never see a highlight and shadow recovery slider work so well. I had no shoot planned for today, but I grabbed @vinnierehab and shot a few by the back of the lab. I for one welcome the decreased speed of shoots. Quality over quantity always. 

Equipment used: Fujifilm GFX 50s + Fujifilm GF 63mm

IG: @joe_umoro