Nov 102013
What you have attached to the front of your camera does alter your point of view

I’m building out my Fujifilm X-Pro1 kit and I was on the fence about the Fujifilm XF 55-200mm F3.5-4.8 R LM OIS.  When shooting for myself or traveling I rarely find a need for a lens longer than 90mm (in 35mm full frame equivalent field of view (FOV)).  The FOV on this lens is 82.5mm to 300mm — that far end not being a place I spend a lot of time.  Also, I’m not a fan of lenses that change aperture while they zoom.  Aperture, in most shooting, is the control that has the most impact on the “look” of the picture and many photographers prefer to have all the exposure controls stay the same over the zoom range, especially if they are using a hand-held light meter or are using flash units.

Space Shuttle

Space Shuttle Enterprise.  (100mm; 1/25 sec @ f/6.4; freestanding)

(Notes:  (1) Click on the images to see them more clearly — it makes a big difference.  The pictures in the blog body were automatically downsampled to lower resolution to fit the column width.  (2) All the larger images you see after the “click” were down-sampled in PhotoShop to 50% of original cropped size in order to save loading time.  (3) All the photos were shot with the Fujifilm X-Pro1 — all at ISO 3200 with the exception of the Boeing 307, which was shot at ISO 6400.)

Engine cowl detail.

Engine cowl detail of Dornier Do 335 A-1 Pfeil.  (172mm; 1/20 sec. @ f/6.4; freestanding)

On the other hand, constant aperture lenses are heavier and more costly.  The engineering is more complex, lens elements are usually larger, and that means that the lens, overall, needs to be beefier.  My Nikon AF-S Nikkor 70-200mm f/2.8G ED VR II lens weighs 1,540 grams (3.40 lb).  The Fujifilm, on the other hand, comes in at only 580 grams (1.28 lb).  The Fuji is physically smaller, so hauling it around isn’t that much of a chore.  Both lens have optical image stabilization.

Self Portrait from Boeing.

Self Portrait from Boeing 307 Stratoliner…I’m the shape reflected in the propeller dome with the light at my feet.  Note the dust and lint.  (141mm; 1/40 sec @ f/8; freestanding)

Pondering the purchase, my research showed the Fuji lens was getting good reviews.  The image stabilization was reported to be very effective and the optics across most of the zoom range performed well.  Optical performance degrades a bit at the long end of the zoom, but that’s not as much of an issue for me.


Vought F4U-1D Corsair.  (149mm; 1/70 sec. @ f/5.6; freestanding)

So I wrote out a check (the advantage of shopping locally — PhotoCraft in Burke, VA) and the next day I visited the National Air and Space Museum Udvar-Hazy facility near Dulles International Airport.  As some of you know, this is my lens and camera test venue.  The displays inside don’t change that much, but the lighting can be a real challenge….Fairly dim inside combined with the mixed-source lighting, so the photographer is presented with ample opportunities to really blow shots.  The longer and slower the lens — the more those opportunities present themselves.  (There are some photos from this session that will never see the light of your monitor.)


Lockheed T-33A Shooting Star cockpit.  (90mm; 1/17 sec @ f/5.0; supported by handrail)

So…Pictures close up.


Globe Swift GC-1A cockpit.  (200mm; 1/30 sec. @ f/6.4; supported by handrail)


Ryan PT-22A Recruit.  (156mm; 1/50 sec. @ f/4.5; freestanding)

Rotary Engine

Nieuport 28C-1 rotary engine & cowl.  Note the dust on the propeller.  (67mm; 1/15 sec. @ f/6.4; supported by column)

Tail Gunner position on the B-29 "Enola Gay".

Tail Gunner position on the B-29 “Enola Gay”.  (200mm; 1/40 sec. @ f/4.8; supported by handrail.  This is pretty much the extreme shot:  slow shutter speed, lens fully zoomed and wide open.  But the rivet and hinge detail still holds up well.)

Post Processing (PP):  Raw conversion by PictureCode’s Photo Ninja running inside Adobe Photoshop CS6 — includes Noise Ninja and some adjustment for detail and highlights.  Continued PP in Photoshop including conversion to a PSD file, curves (for a black point and, if available, a white point),  cropping,  color balance, etc.  A final pass with NIK Viveza 2, which gives you a last chance to see how the image looks and adjust lightness, saturation, shadows, etc.  Then saving for Web JPEG in PhotoShop.

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