Jump to content

Recommended Posts

I thought  the battle was done and the fact that only full frame cameras are professional was a thing of the past. Unfortunately is not like this. 

I have noticed that in some ads about photographers seeking for real estate photography, the camera required was full frame.  

I am speechless for the incomptence. Doies a 12mp full frame camera give better architectural result the a fuji xt2/3? does a full frame camera of 24mp (maybe with an anti aliasing filter on) give better result then  a fuji? 

I think that, as fuji users, we need to make ourselves loud. It not fair that we cannot apply for jobs when we definitely have gear up to that, 

Cheers 

Stefano

Link to post
Share on other sites

18 hours ago, stefano.ruffini said:

I thought  the battle was done and the fact that only full frame cameras are professional was a thing of the past. Unfortunately is not like this. 

I have noticed that in some ads about photographers seeking for real estate photography, the camera required was full frame.  

I am speechless for the incomptence. Doies a 12mp full frame camera give better architectural result the a fuji xt2/3? does a full frame camera of 24mp (maybe with an anti aliasing filter on) give better result then  a fuji? 

I think that, as fuji users, we need to make ourselves loud. It not fair that we cannot apply for jobs when we definitely have gear up to that, 

Cheers 

Stefano

I suspect that arbitrary requirements such as this are put in place by people who are not photographers and are ignorant about sensor size, ISO and image quality.  They demand cameras with 24x36mm sensors, and for what?  To print 1x1.5 inch photos in real estate promotional magazine or to put on a website?  That's just laughable.

Uninformed people who "know" they are right about something they are ignorant of are next to impossible to educate. 

Link to post
Share on other sites

Are these ads from a potential client that you are interested in ? Send them a fine print from an image taken with your Fuji, with an explanation that for that kind of work your not-full-frame camera is more than fine enough and other things matter much more than the size of the sensor. 

Link to post
Share on other sites

This is the same kind of twattery that we encountered back in the late 80s to early 90s during the days of film.  People who had no clue about any aspect of photography would not hire someone to shoot a job with a 35mm camera - it had to be medium format. 

 

Why stop at medium format?  Why not only hire photographers who shoot with 8x10 in cameras?  Of course, 11x14 beats 8x10 for image quality; why not demand an 11x14 inch camera?  🙄

Edited by Herr Barnack
Link to post
Share on other sites

  • 2 years later...

I have been shooting real estate in North Carolina for 8 years. I have just under 1,000 homes under my belt and for much of that time I have used a succession of Fuji cameras: X-T1, X-T2 and currently X-H1 always with the excellent 10-24mm lens. There is no real advantage to full frame as most images either hit the net on realtor websites. In my case those images that go for print are supplied as TIFF files with a substantial amount of information on them. Those unenlightened people specifying full frame for real estate work have a poor understanding or of the quality images that can come from a CMOS sensor.

Link to post
Share on other sites

I can't believe this is still happening. The APS-C cameras of today are way better than the full frame cameras of a few years ago, and yet they tend to be approved.

Thankfully the agency I freelance for have approved several Fujifilm models, as well as other APS-C cameras. Being a light mirrorless camera it's also a lot more stable on the mast than some of the DSLRs used by other photographers around here. I usually have no problem with a bit of wind. No medium format though as far as I'm aware, so no excuse to get the GFX 🙄🙃

Link to post
Share on other sites

  • 2 months later...

I'm surprised to hear that and it certainly isn't the norm from what I've seen in my area of Canada.  The agents I have shot for over the years could care less about my gear and want me from seeing my website images or word of mouth.  They know they get well lit, fast turn around and no distortion images where I help the agent (sometimes) declutter and make small room changes to create better images of the property.  That's what matters as I'm sure everyone on this forum would agree.

I would be temped to do some of those shoots with my Fuji and I would expect no agent to know what sensor is in my camera nor even ask.

Link to post
Share on other sites

I agree. For me, comfort is important first and foremost. I don't think I could live there without https://www.radiatoroutlet.co.uk/, as I have a hard time with the cold. I'm surprised to hear that, and it's definitely not the norm from what I've seen in my area of Canada. The agents I've shot over the years. I would have an urge to take some of these shots with my Fuji, and I'm very curious what questions the agents would ask me.

Edited by georgopal
Link to post
Share on other sites

  • 1 month later...
  • 5 months later...

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
  • Similar Content

  • Posts

    • The backslashes you are referring are just symbols denoting path.  Once you import into these LUTS into Davinci Resolve those backslashes are removed by default and you only see is the true file name which has no backslashes.  Convince yourself of this by opening the LUT folder from the Davinci Resolve Project Settings.  Do you see any backslashes in those LUT names? Of course not.  The only name you see is the one that has the underscores and the periods. These LUTS work as designed without having to change any path names.  However, they need to be set up properly through CSTs and by what is supported in Davinci Resolve.  Hence, the FLog2C film simulation LUTS cannot be used because Davinci Resolve does not support Fuji Gamut color space and the FLog2C gamut. Alternatively, Davinci Resolve does support Flog2 film simulation LUTS because the color space for FLog2 is Rec 2020 and there is an FLog2 gamut. If all you are doing is changing the path names then you are not getting the correct results.
    • I found the reddit topic i refere to :  https://www.reddit.com/r/davinciresolve/comments/1pc3f1e/cant_apply_new_fujifilm_gfx_55_lut/ "Update for y'all, It's just like what @ExpBalSat said, it's because of the backslashes in the names break them. I changed the file name and it works now. "   For me it was the solution. Realy annoying if it doesn’t work for you 😕  
    • Here is the solution to using the Eterna 55 file simulation LUTs in Davinci Resolve.   In general, do not use the FLog2C to film simulation LUTs as they are not supported by Davinci Resolve for two reasons: 1) Davinci Resolve does not support Fuji Gamut Color Space and 2) Davinci Resolve does not support FLog2C gamma.  Instead, use Flog2 which is supported by Davinci Resolve.  Here is an example.  Let's say that you want to use Classic Chrome simulation.  Do the following: Complete your color grade and use a CST to get to Rec 709. Add a node.  Use a CST to convert from Rec 709 to FLog2.  Output Color space is Rec 2020 and Outout Gamut is FLog2. Add a node.  Apply the FLog2 to Classic Chrome LUT Create a combination node from node in steps 2 and 3. Apply a Key to the combination node and adjust the Key Output Gain to get the amount of the combination node that you want applied. So that you do not have to do this over and over again, generate a LUT for the combination node.  Remember to turn off all other nodes before generating the LUT. Hope this helps others. Don  
    • Thanks for the insights. I think it's really hard to make a decision without having the two side by side! 
    • I don’t have the 23 f2 but I have read several times that it is considered a little soft at close distance, compared to the 23 f1.4 lenses. These will also focus at shorter distance from the subject, esp. the new one. So that might make a difference. The new 23 f1.4 LM WR  has better resolution, esp. in regard to the 40Mpix sensors, which you don’t have on the X-T2. What practical difference that makes for the value of the pictures one makes is disputable and subjective.  f1.4 will gather more light but with a smaller DOF, which may be desirable in some situations but not so in others, depends. If you like to shoot close ups, you will probably use higher f numbers to get a bigger DOF. Same for landscapes. If you are a bokeh fan, yes the f1.4 lens are better.  The older 23 f1.4 lens that you are considering is a very good and respected lens. The f1.4 vs f2 aperture per se is perhaps not so important. The 23 f2 is very small, light and practical and a great lens for travel and landscapes. So, go figure. I am afraid I just sent you further down the road to insanity !
×
×
  • Create New...