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Alexander Mosquera

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  1. Like
    Alexander Mosquera got a reaction from FenFotos in Cityscapes with Fujifilm X   
    The XC 16-50mm f/3.5-5.6 is really quite good at the 16mm lens. This is a HDR panorama that I stitched together in LR.
     
     
    Spring is on its way - Fuji XC 16-50mm f/3.5-5.6 by Alexander Mosquera, on Flickr
  2. Like
    Alexander Mosquera reacted to mdm in Windows 10 annoyance   
    ctrl+shift+6
  3. Like
    Alexander Mosquera reacted to akphoto in Lightroom for x-trans... seriously?   
    I just bought an X-T2 after using an X-E2 for some years. When editing my RAF files from my X-e2 I used Capture One because in Lightroom I always see the "watercolor" effect when an image contains foliage.
     
    Now I hoped that the new sensor from the X-T2 was a better combination with Lightroom and foliage. But after importing one RAF file (with foliage in the picture) from my X-T2 in Lightroom and in Capture One I know this is not the case.
     
    See my screenshot comparing Lightroom (left) versus capture One (right):
     
    https://www.dropbox.com/s/xalkqcwdh669z92/lr-c1.jpg?dl=0
     
    I really don't understand how people can choose Lightroom to edit their RAF files. This watercolor effect is not only in foliage but it can be visible in other structures too.
     
    It can't be that this is only happening on my computer, in my Lightroom, with files from my camera... right?!
     
     
     
  4. Like
    Alexander Mosquera reacted to CDBC in Has Steve Huff "Lost It"?   
    I saw a Pander in a zoo, once.
  5. Like
    Alexander Mosquera reacted to Tikcus in My x-t10 doesn't have s mode   
    Just checked my xt-10
     
    Aperture on Lens - set to A
    ISO - Set to Auto (or anything)
    Shutter speed set to A
     
    Mode = Program
     
     
    Aperture on Lens - set to Anything but A
    ISO - Set to Auto (or anything)
    Shutter speed set to A
     
    Mode = Aperture Priority
     
     
    Aperture on Lens - set to A
    ISO - Set to Auto (or anything)
    Shutter speed set to Anything but A
     
    Mode = Shutter Priority
     
     
    Aperture on Lens - set to Anything but A
    ISO - Set to Anything
    Shutter speed set to Anything but A
     
    Mode = Manual Exposure
     
    Body Firmware = 1.21
  6. Like
    Alexander Mosquera reacted to Alex Cremers in Anyone used the Rokinon/Samyang 85mm?   
    I took this today with X-T1, Samyang 85mm 1.4 and a Lens Turbo II:
     
     

  7. Like
    Alexander Mosquera reacted to Malyba in Hunting for Focus   
    Thank Thank Thank YOU... omg... too simple... have a whiskey on me ... appreciated!
  8. Like
    Alexander Mosquera reacted to Tikcus in Hunting for Focus   
    it sounds like pre=auto focus is switched on in camera (but then all your Fuji lenses would do this)
    ​if you switch that off your battery will last longer as well
    Make sure firmware on camera and lens is up to date
     
    good luck
  9. Like
    Alexander Mosquera reacted to johant in Fuji X-T10 - intervalometer, unwanted long delays between shots   
    Second question: long exposure noise reduction. Set it to off if you don't want it.
  10. Like
    Alexander Mosquera reacted to Saibot in Jell-o Shots and X-T2   
    Well, it's kind of a long story, but a wayward Jell-o shot found it's way into the controls of my new X-T2. Although I was able to get most of it out and the shutter speed/photometery dials and moving again, the rear command dial is problematic. Any ideas how to get that out of there? I tried a cleaning patch soaked in water, but just can't get it in there, specifically the top side of the dial. 
    Any ideas?
     
  11. Like
    Alexander Mosquera reacted to bradleyhanson in My favorite camera bag is...   
    A lot of great options listed in this thread. Another option is taking any messenger bag and getting Domke or Tenba inserts to protect the lenses. I love my Ona "Union Street" bag, which holds my 3 cameras and lenses, batteries and chargers. My bag holds:
     
    X-Pro1 (x2) with lenses mounted
    X100s
    14mm f2.8
    23mm f1.4
    56mm f1.2
    TCL-X100
    11 batteries
    2 chargers
    iPad Air (15" laptop would also fit in the padded interior slot)
     
    I'll still be able to cram the 90mm in a compartment once that arrives, but no room for a 4th body...

  12. Like
    Alexander Mosquera reacted to JackParrish in My favorite camera bag is...   
    Here's my favorite setup. I have found, after trying out most bag versions over the years, that there is no perfect setup. It's not even fair to try. The best we can hope for is a bag that helps us feel some relief as we manage a portfolio of tradeoffs around what we want and what we need. it helps if it has some style to it, at least for professional work that requires moving in an out of a variety of offices and meetings over a week.
     
    The best quality bags I've found are ThinkTank and Ona. Others are good, too, but even some of the really expensive bags out there have frustrating inserts, or stiffness in the bag, that makes them hard to work out of. For those who use their bags to transport their equipment from one table top to another, I think there is a larger selection of bags that check most of the boxes you need. But if you're going to be working out of a bag for longer stretches, there are just a lot fewer options where the tradeoffs don't become overwhelming pretty fast.
     
    I don't carry around a bunch of loose lenses. I almost never change them when shooting out of a walking bag, and I've found that the best way to get the benefit of multiple lenses is by keeping them mounted on multiple bodies. For all my professional work, I use two XT2 bodies (XT1 before that) and then I have a "third body" for a third lens, or that I use in terrible weather (never want to chance it with the main bodies if I can avoid it). My third body, right now, is an XT1 that also serves as a very small "cocktail camera" when I need it to be as unintrusive as possible.
     
    I keep the 23mm on a body almost always, and then either the 56mm or the 90mm fuji lenses on the other. If it's during the day, I generally have the 90mm on it as it's a great tradeoff for size against the 135mm equivalent reach. I found I'd be called in to shoot a protest or a fire scene or etc, and I'd want to keep some distance. With fires, you never know the fumes present in the smoke. The three fuji bodies don't get too heavy for me, but I could never do this when I had the big DSLR rig going.
     
    My daily carry setup is one of two Ona bags. I have the Bowery in canvas (leather does start to get too heavy with that bag) for days when I need all three bodies on me, plus a laptop or tablet. And when I only need one or two bodies and no computer, I use a leather bowery bag.
     
    I find both bags to be outstanding in terms of both function and style. I can wear them with a tux or with jeans--in a boardroom or on a loading dock--and never have to think about it. All in all, I love this setup and it is, by far, the most productive set up I've worked with in my career. I can wear either of these bags, loaded with my equipment, all day long with only minor complaints about strain after even a long day of constant wear. I love the large pockets on the front of the ONA bags--they're among my favorite "front pockets" in the business. I only wish they had some sort of locking mechanism for slightly improved security when traveling.
     
    Cell phone pics, but you get the idea.
     

     

     

     

     

     
    Edited for spelling.
  13. Like
    Alexander Mosquera reacted to darkshine231 in Lofoten Islands in Norway   
    Hello,
     
    I just wanted to share some shots (not many), of my last trip in the Lofoten Islands, sadly it was a very short week, with not a lot of good photo opportunity, I hope you will enjoy it
     
    1) the classic view of hamnoy (this shot was featured on the national geographic your shot (https://www.instagram.com/p/BRaAR4HjwUx/?taken-by=natgeoyourshot)
     

     
    2) Beach of VIK

     
    Shot with the X-T2, and mostly the 16 1.4 WR and the 10-24.
  14. Like
    Alexander Mosquera reacted to darkshine231 in Lofoten Islands in Norway   
    5) Mountains behind Reine
     

  15. Like
    Alexander Mosquera reacted to petergabriel in Why is the 90mm f2 so BIG?!   
    Well yeah, but that doesn't explain the reason
  16. Like
    Alexander Mosquera reacted to darkshine231 in My icelandic trip with my fuji x-pro2   
    Hello,
     
    thanks for great feedback
     
    Here are some more, I have published a gallery too :
     
    7) Selandjefoss waterfall

     
    8) Icelandic forest

  17. Like
    Alexander Mosquera reacted to darkshine231 in My icelandic trip with my fuji x-pro2   
    4) Stokksness peninsula and vestrahorn mountain

     
    5) Kirjufell waterfall

     
    6) Jokullsarlon black beach

     
    Other will follow soon.
     
    Have a nice day ! 
  18. Like
    Alexander Mosquera reacted to KirillSokolov in Portraiture work, running topic   
    X-t1 + Helios 40-2
     
    SOKL9496 by Kirill Sokolov, on Flickr
     
    SOKL9460 by Kirill Sokolov, on Flickr
  19. Like
    Alexander Mosquera reacted to Dani Zisserman in X-T10 firmware update wishlist   
    Just read in Rico's overview of the X70 that Fuji actually made the Trash button into a full-fledged FN when in shooting mode. So it IS possible...
    Good start Fuji - now do the same for us XT users...
  20. Like
    Alexander Mosquera reacted to kreuznach777 in Best m42 50ish mm lens?   
    f2, 1.9, 1.8, 1.7 - all pretty much the same lens (marketing tags).

    Konica Hexanon 50/1.7 - very sharp.
    Meyer Oreston 50/1.8 - contrasty, nice blur. (pre-zebra. Avoid zebra DDR build quality)
    Konia Hexanon 57/1.4 - beautiful blur.
    KMZ 44-2, 58/2 - 00 serial (mid 1970s, gloss black barrel) very sharp and contrasty. 44-Ms better bokeh IMO.
    Ricoh Rikenon 50/2 XR - very sharp, good colour.
    CZJ Biotars (1960s, aluminium barrels - lubes getting old, haze problems common rear group).
    Voightlander Septon, Schneider Xenon, V Ultron (50mm in that order of preference). DKL mounts.
    Minolta 50/1.7 MD - inexpensive and good modern coated lenses.
    I like the bokeh of SMC better than Super-Takumar 50s. The 55/1.8 is a great lens all round.
    Tessars are good stopped down.

    A bit wider, nice lenses: Hexanon 40/1.8, Yashica ML 35/2.8 (great lens).

    You know the very fast apertures of these lenses were for accurate manual focussing not 'low light' as such.
    It's distance to the subject/from subject to background that gives the separation as much as aperture.
    Lenses that are over-corrected are giving the nervous back blur. Slower, simpler, old lenses can make beautiful portraits.
  21. Like
    Alexander Mosquera reacted to milandro in Samyang 12mm F2.0 NCS CS X Mount   
    a shop
  22. Like
    Alexander Mosquera reacted to FujiGlitch in How to do a close up with fuji x70   
    X70 doesn't have zoom option but you can get really really close to your subject. That's it.
  23. Like
    Alexander Mosquera reacted to d750guy in My vintage X70 (not for weak hearted)   
    did you scratch up the LCD screen too?? lmao.  
  24. Like
    Alexander Mosquera reacted to aceflibble in Lightroom colours tested vs in-camera   
    Well, since you're the only person to respond in a week  , I think I'll just say: all of the top lines are Fuji colours, all of the bottom ones in each pair are Adobe. Actually, the misalignment caused by the Fuji lens optimisation gives this away!
    I think the heavy change in green is linked to the difference in white balance between Fuji and industry standards. Fuji film was known for having a cooler colour balance, so they set the white balance to run slightly blue. This probably makes green tones look unnaturally dull, so when the camera processes the .jpg files they have it increase the saturation and brightness a little and for some film simulations it also shifts green tones slightly back towards yellow. Conversely, Fuji doesn't seem to apply this shift to the yellow tones, which are simply left duller/bluer in most film simulations, or it could be that the corrections they apply to green bleed over into the yellow; either way, Fuji seems to be sacrificing yellow for the sake of green. (Classic Chrome being the exception, which has everything shifted slightly warm.)
    Adobe Lightroom, and other programs, don't know the intentions behind Fuji's design decisions, so they don't over-correct the green. All the software knows is the colour balance is a little cooler than it perhaps should be, so greens are represented 'accurately' with a slightly drab and slightly bluer tone. (Velvia being the exception, which does have much more yellow in the greens; Adobe probably guessed that this would be used a lot for landscapes so they optimised the green tone themselves.) 

    In other words, Fuji's style is partly done at capture (white balance) and partly after (processing the .jpg), whereas Lightroom is just aiming for an accurate representation of the capture (white balance).

    For the lenses, Fuji applies profiles to even the raw files to fix colour fringing, distortion and colour casts. You can turn it off in most Fuji cameras, but once you've taken a picture with it on, it can't be removed from the file, even if you shoot raw. Adobe Lightroom warns you of this when you look at a Fuji image in the develop module. Every Fuji lens has some 'optimisation' applied to it, but some more than others. The 56mm has fairly little, just a tiny bit of distortion and fringing correction. The wider you go, the more heavily these things apply. The 35mm without optimisation has quite a lot of colour fringing, which in some cases can interfere with colour rendition (e.g. you photograph something purple and the camera reduces purple fringing, making the edges of your subject look drab) and wider than f/5.6 it shows some colour bleed, which is also corrected by Fuji's lens optimisation. The 60mm lens has less distortion and aberration fixes applied, but it has a warmer colour cast to it which is half-fixed by the software and makes it inappropriate for testing colour charts. The 14mm simply has so much distortion correction applied to it that everything is smeared. I've not yet tested the other Fuji lenses to see exactly what optimisation Fuji is doing.
  25. Like
    Alexander Mosquera reacted to aceflibble in Lightroom colours tested vs in-camera   
    I typically test my new cameras and lenses with a simple product set-up and a ColorChecker Passport just to make sure everything is working properly, but this time around with the X-T10 I decided to also directly test the Fuji in-camera film simulations against Lightroom's rendering.

    First, some notes on equipment and settings:
    Lights used were two InterFit daylight balanced continuous lights, which I frequently use for product photography. They're nearly perfectly balanced. (Tested with several shades of grey card, they consistently give a white balance of 5,540k needing a tint of just +2 towards magenta.) I tested the X-T10 with the 14mm, 35mm, 56mm and 60mm lenses, however I am only posting the results from the 56mm as I found this to be the most neutral. The JPG files of the 14mm and 35mm are given a lot more 'optimisation' by the camera and the 60mm has a slightly warm colour cast to it. The 56mm lens does still have some optimisation applied to it, though. Camera settings for all shots were ISO 200, 1/400th and f/4. Other settings were RAW+F, white balance set to Daylight, sharpness -1, noise reduction -2. Everything else left at default/0. Lightroom left everything at default/as shot/0, only reducing the default sharpening of 25 down to 15 and changing the colour profile to the appropriate film simulation. Before you look at the images and try to guess which is which, I want to mention Fuji's white balance. Their 'daylight' white balance is, in fact, not a daylight white balance. A true daylight white balance should be 5,500k with no tint. (Some people argue daylight should be 5,600k.) Fuji's daylight balance, however, reads at 5,200k with a +7 tint towards magenta. This is clearly a cooler balance than the industry standard used by everybody else. I double-checked with my X100S and that gave the same 5,200k +7 result.
    Not only that, but an actual perfect white balance of these Fuji  files comes out as 5,350k +28 (Lightroom auto) to 5,150k +35 (manually selecting a perfect balance). I double-checked this in SilkyPix and got the exact same results. I then tested again with a Canon camera and that read 5,570k and +5 in-file and 5,620k +6 corrected, which is much closer to what any daylight balance should be reading as.
    This suggests that Fuji are running their colour much greener than it should be, either by having green read too strongly or magenta too weakly.
    I will note that when I first bought a Fuji camera, the X100S, right away I felt the colour balances were all running a bit cool and I tweaked them all to run +1 towards yellow and red/magenta. Testing the X-T10 now, it seems I have been right to do this.
    Of course, some people like Fuji film specifically because it has a cooler tone to it than the neutral-warm colours of Kodak, so this white balance bias may have been completely intentional by Fuji in order to replicate the cooler bias of their film stock. Even so, I think they've gone maybe a little too far with the green tint.


    So, on to the actual images.

    In order, we have Provia/Standard, Velvia/Vivid, Astia/Soft, Classic Chrome, Pro Negative High and Pro Negative Standard. I will not yet tell you whether the in-camera rendering or the Lightroom rendering is first or second in each pairing. That's our test, let's see if people can actually pick out which renderings they think are Fuij's or Adobe's. All I will say is that there are no 'trick' pairings, i.e. I didn't change the colour in any way, there are no mismatched pairs, etc. Each pair does contain one Fuji rendering and one Adobe rendering of the same film simulation.


     

    And now the Monochromes. In order we have Monochrome, Monochrome + Yellow filter, Monochrome + Red filter and Monochrome + Green filter. No, I did not test the Sepia tone, because you have to be out of your mind to use Sepia.



     

    My own observation is that the aqua, blue, purple and magenta colours barely change at all between Lightroom and in-camera, red only changes a noticable amount in one film simulation and yellow changes noticeably in two. The biggest offender is green, which is never matched well other than in Classic Chrome. The Classic Chrome simulation definitely is the one that Adobe and Fuji are the most closely-matched.
    I also think it's interesting that mono and mono+Y are hardly different at all, with just a slight darkening of blue in one of the renderings of mono+Y, and that the green patch, which is the biggest problem for the colour renderings, is almost perfectly equal in all the monochrome renderings.
     
    So, guess away. In each pairing, which do you think is Fuji and which do you think is Adobe? Make sure your monitor is calibrated properly! I'll give the answers in a few days.
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