Made in Australia, finished in Singapore, published in Copenhagen. This was an international effort.
If you’ve been keeping up with the rumblings about this camera, wait no more!
Read all about it: Official press release | My Professionals Review on The X-T10’s product page
Check the X-Photographer promo movie out right here. It stars yours truly, armed with octopus hair, big grin and of course, the all new Fujifilm X-T10.
Still Photographs: Charlene Winfred (yes, me!)
Original Soundtrack: Rasmus Kjærbo | raskjaerbo.com
Audio Capture and Engineering: Flemming Bo Jensen | flemmingbojensen.com
Directed & Edited: Charlene Winfred (directing and editing myself was not weird. At all.)
Filmed by: Flemming Bo Jensen & Charlene Winfred
Filmed with: X-T1 and XF 18-135mm F3.5-5.6 (with the XF 35mm F1.4 used for the product segments)
This is the first time a female X-Photographer gets to be featured in a new X-series product. That, IMO, is totally awesome. Despite the masses of women in photography, the face of the profession is still a male one. I like that I got to interrupt it with Fuji’s blessing, by both being in, and making the film.
What was the X-T10 really like to use?
I thoroughly enjoyed using the X-T10 while making this video. It’s a smaller, lighter X-T1, packing the performance and smarts of its big brother into a petite shell, with that excellent real time viewfinder I got used to very quickly on the X-T1. I trudge around the world with all my gear, so size and weight (or lack thereof) are a priority. It comes with the kind of quality and performance I simply assume are going to happen with Fuji.
Wide/Tracking and Zone AF
It took me a while to figure out what to do with the fancy new AF modes. I shoot everything with single point AF on single servo, so this auto decisioning business was a new experience.
Are they good?
Hell yeah, if you use the LM (linear motor) lenses. My non-LM primes can’t keep up. I tried the new AF modes out on the 18-55mm F2.8-4 that came in the box with the X-T10. I found the wide/tracking AF remarkably precise when panning cyclists, cars, buses, dogs and other scampering fauna. There are no photos because every single photo I made with the wide/tracking function was boring as hell.
I only had a few days to do some dedicated shooting – without having to place and move myself in cinematically appropriate fashion – and regret that I didn’t have time to find some sporting event to try it out more thoroughly on. You’ll have to do with ones made with zone AF, that were featured in the movie.
Perth, Western Australia
Perth is not the most obvious place to make a movie about street photography. But I lived there for 14 years and got started in photography there. Many of my photographic firsts happened in Perth: the introduction to a digital camera, which made photography finally accessible to the likes of me; my first taste of photography’s professional side; first photography workshop – Magnum Workshops 2010 with Trent Parke; first exhibition – FotoFreo 2012.
Perth really was where I learnt to shoot. So while this movie could have been made anywhere, it is significant it happened where photography came into my life.
And as always, deepest gratitude for my camera man, best boy, human light stand, anti-distraction defender, sound recorder, audio engineer and life’s light, Flemming Bo Jensen.
We didn’t have a whole lot of time to make this movie: 3 weeks from when the X-T10 reached my door, to when we delivered the project, with the weather foiling the plan half the time. I’m pretty damn proud of what we’ve accomplished.
As with the 16-55 movie, the product scenes were made from scratch. This time, involving colored pencils, a cheese board, and paper kitchen towels. More about this coming in another post.
But enough talk.
These images are JPEGs straight out of the camera. Click on each image for the full res version, to warm the cockles of your pixel peeping heart.
This entire movie was made on the Fujifilm X-T1.