btipton

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<p>Hello,<br>

Using an Xt-1 with an Apple iPod I've had success with the connection. Tell the camera to start broadcasting, tell the device (iPod) to connect to the wireless network the camera is sending out then click/touch to open the application. I can see what the camera sees and adjust exposure and focus, among other things. As a test I left the camera in a room and then left the room (just around the corner) and was able to manipulate the camera and take photos at will. The people in the room were aware of what I was up to and were amazed each time the camera fired, there were some interesting "poses" because they wanted to see if I was paying attention. You can also wirelessly move the images from the camera to the device controlling it, jpegs only I believe.</p>

<p>Pretty cool function but it probably drains the batteries in the camera and the wireless device controlling it. Hopefully there will be updates to increase the functionality of the system on both cameras and wireless devices. It would be extremely beneficial for macro shooting, wildlife shooting and shooting from weird angles where it's not possible to see the viewfinder or back of the camera.<br>

Good luck!<br>

Bob</p>

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<p>From the Fuji website:<br>

"If you have purchased an X-T1 camera from an authorized Fujifilm dealer in the United States, have a serial number on your X-T1 which is lower than 41A05201, and would like your camera checked, please contact the Fujifilm Repair Center at (800) 659-3854 (x3461) to make arrangements to have your camera sent in for evaluation. Our technical staff will inspect your camera and, if necessary, make the necessary adjustments to the camera to prevent the ingress of light in the described conditions. This service will be carried out free of charge."</p>

<p>I'm using a Nikon flash unit with an XE 1 with the flash in AUTO mode. Adjust the camera's aperture to match the setting on the flash. Works well for me and it was practically free since I already had the Nikon unit. Just keep the camera shutter speed 1/125 or below. Any shoe mount flash with AUTO mode will work but the flash sync trigger voltage should be kept below 300 volts according to the Fuji's manual (at least the XE 1 anyway). My Nikon flash is around 13 volts DC when fully charged.</p>

<p>I have a 24 f2 and I've found it a bit soft wide open but it sharpens nicely stopped down a couple of stops. If you need f2 it's does the job. The build quality and size are hard to beat.</p>

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<p>Thanks for the link. Smith's work is extraordinary and one of the reasons I took such great interest in photography. He wasn't in it for fame and money, the truth (his version anyway) is all that really mattered to him.</p>

<p>Yep, the thieves probably thought the Leicas were old, cheap, low quality cameras........works for me! ;)</p>

<p>Concerning Leicas and thieves, a local camera shop was broken into a few years ago and the thieves took a number of Nikon cameras and lenses from a display case. In the same case there was at least one Leica rangefinder camera and a few M lenses which were not touched. </p>

<p>A reasonably strong flash, with bounce capabilities, would be a good addition as well. I'll second the recommendation for a compact camera plus extra batteries for all.<br>

Bob</p>

<p>Have a look at B&H Photo, I don't know how long it will last.<br>

Good luck!</p>

<p>A few years ago I shot a series of scenic photographs for job in which the images were originally supposed to be used on plasma displays and in small brochures, with that in mind I didn’t shoot RAW just large jpeg. I provided the jpegs and all was well. Then earlier this year the marketing people at the company decided they really liked a couple of the images and made arrangements with me to have a couple of prints made from the jpegs to be placed in their lobby. In the end they made prints that are roughly 6 feet by 4 feet! They are very pleased with the prints however if I’d known when I shot the images there was a possibility for such large prints I would have shot RAW+jpeg. Now everything I shoot digitally is RAW+jpeg and save tiff files, because you never know!</p>

<p>I have both a Hexanon 50 and a Summicron 50 and there is no difference in image quality. Both are very sharp and the build quality for both lenses is top notch. I freely mix and match Hexanon and Leica lenses on Hexar RF and M6 bodies with no back focus issues. I'm aware of the reviews and I believe some of the reviewers may have had an agenda. A better addition to your kit may be a 28 f2.8, either Leica or Hexanon. Good luck!</p>

<p >Speaking of shooting in churches, years ago I walked into St. Patrick’s Cathedral with my M6 hanging around my neck (no flash attached). A guy standing near me was blasting away with his point and shoot, built in flash popping as fast as it could. A member of the church staff walked over to me and asked me, very politely, to please wait until the service completed to take more photos. I looked around for the point and shoot guy but he had disappeared into the crowd so I just said okay to the staff member and I moved on. The staff member was very polite and with the crowd moving through he had his hands full so I figured it’d be better to go with the flow at the moment and besides we were all being cordial to one another (except maybe the point and shoot guy, who I wish had been doing hip shots at the time).</p>

<p >I find it’s interesting how people react to being photographed. I was contracted to photograph a class on self defense as the class progressed, they wanted candid shots of the action. I set up studio strobes along two walls of the room, which I triggered with an on camera flash, so I could move around and shoot freely as the class progressed. Everyone involved, including students, knew what was going on and had signed releases. As the shoot progressed I began noticing some students would watch me and try to be in the shot when I would move for a good angle while others would watch and try to avoid being in the shot. All participants were adults and it was a mix of gender. There were no obvious indicators in the persons as to who would want to be photographed and who didn’t. Surely there have been studies on such things.</p>

<p >In the ER I didn’t mind the guy wanting to make photos, but my wife and sister in law weren’t too pleased when I told them what happened. It was the apparent “sneakiness” of the photographer that made things uncomfortable for me. I guess he would have been more successful if I hadn’t picked up on it as it seems I’m the only one who knew. </p>

<p >Marc if you sat down across from me with that RZ, your intentions would be obvious and the “sneakiness” factor would be long gone. It’s the whole “here I am and it’s okay to be here doing this” thing and most people have an appreciation for that. Attitude has a lot to do with it. </p>

<p >By the way Marc, I really like your work.</p>

<p >Looking back on the situation it would have been far better if the gentleman had adhered to the old "shoot and scoot" philosophy. He was very determined to get the shot, I'd say he was there for roughly 20 minutes trying to get it.</p>

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<p >Recently my wife, sister in law and I were sitting in an emergency room awaiting treatment for my sister in law when a gentleman casually sat down across from us. I noticed he had a Leica SLR of some sort and had casually placed it across his knee pointed in our general direction. I'm familiar with hip shooting, and his actions were obvious. I realized my sister in law was wearing a red coat and that is probably what drew him to us. When I would look in his direction he would move his finger away from the shutter button, shift his position and point the camera away from us. Eventually he would get the camera back on us and the finger would go to the shutter button but with my glance he would move away and shift again. This went on for awhile and I decided to just let him do his thing and tried to ignore him but it is hard to do knowing what was going on.</p>

<p >Later I mentioned what was going on to my wife and she had no idea, neither did my sister in law. I thought the whole situation was very obvious but it seems not many people are as aware of such things as I thought. I didn't obviously react to the guy because I can appreciate what he was up to but it is a bit disconcerting to be on the receiving end of hip shots, especially while sitting in an emergency room. I considered going over to introduce myself and ask about his camera, I use an M6, but the gentleman got up and wondered away looking for other opportunities and I let it go. </p>

<p >Has anyone been in this situation and how did you feel about it? <br>

 

<p >I've done hip shooting and I've also been very obvious in my intentions with a camera and I can definitely say I'm more comfortable when I'm obvious. I have had a couple confrontations but that's part of the process and nothing really bad has happened yet.</p>

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<p >I know this is an old thread, I recently came across it. I was able to do a workshop with Mr. Leigh prior to his sickness and during his workshop he took us into his darkroom and made a print for each participant from a negative each of us brought in. He also made prints of the Bird Girl image while we watched. As participants in the workshop we had the opportunity to purchase the prints of the Bird Girl image he made during the workshop. I had used all the money I had to get into the workshop and I couldn't afford the purchase price of the print, to this day I regret that. I must say the cost of the workshop was extremely reasonable and the price of the prints was extremely reasonable as well, I just didn't have the money. Mr. Leigh had a genuine interest in getting people enthused with photography and he encouraged us the document our lives and surroundings. He used Tri-X pan almost exclusively and mentioned he was playing around with Tmax 3200 and had high hopes for its possibilities. The prints made during the workshop were on Ilford paper with Ilford print developer, I believe it was Multigrade. The print he made from my negative was on fiber paper and if I remember correctly he used an Omega D5 condenser enlarger. Looking at the images Mr. Leigh produced I can see it's evident he was influenced by Walker Evans early in his career, later on his images became more his own. I would encourage anyone interested in documentary photography to acquire Mr. Leigh's books and images.</p>

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