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.
Many thanks to Fujifilm Nordic and Japan, who supported us all the way through this project. Goecker and Swedish Chameleon for the video rig that Flemming and I used to make this movie.
Rasmus Kjaerbo, who created that amazing soundtrack in record time, as he did with the 16-55 promo movie.
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.
Nice review Charlene, looks like a decent camera…see you on the streets :)
Thanks Sean. It’s pretty damn good. I’ve been missing the X-E2 since I swapped it for an X-T1, but this wins out.
You might not see me on Perth streets for a long time to come though.
Nice job you two. The camera looks better in real life than early renders suggested and light, small and quick is always good.
I thought it looked WAY better in the flesh than the rumored renders too!
Great video and beautiful pictures Charlene. As I told Flemming, it’s very slick!
I love the light at that side of the world!
Have fun in Copenhagen.
Thanks so much Derek. There’s something about Australian light and landscape – the contrasty aridness of the combination makes for great shooting. I could be biased though!
Together, we make and become magic my <3 – this is a fantastic story of you picking up a camera in Perth decades ago and then now, leaving Perth having made this awesome project!
That was certainly an unexpected continuity for this project. Magia <3
Awesome stuff Charlene, the light in these images are wonderful.
Thank you Vincent, and yes, Western Australia does have some gorgeous light.
Excellent promo – love what you did with the light.
Thank you Pat, and also for dropping by.
Really enjoyed the video, Charlene, and the resulting images. While I wait for my X-T10 (replaces both X-E2 and X-M1) I’m thinking about my next lens acquisition. My passion is for street photography and while I watched the video, it occurred to me that you were using fairly long focal length lenses for this genre – I think I saw you use the 35 and the 56. I lust after the 56 but I’m holding off buying because I seem to have the 18 glued on permanently and worry that 56 might be too tight a FoV. For your style, do you find it a useful focal length (obviously you do) and how does it feel balanced on the T10? Heavy? Thanks in advance
Thanks David, glad you enjoyed it! Some answers for you:
56mm: My preferred field of view is 50mm equivalent or longer. I am more comfortable shooting street at 85mm than 35mm, so using the 56 was a no brainer. Balance wise, the smaller primes (18, 35, 23) probably sit better on it, as it is a really light body. I didn’t really notice it personally though.
Many thanks indeed, Charlene. Well, I think I’ll give the 56 a try then – it will probably force a change to my shooting style which is always a good thing, I find. And it’s not like I wouldn’t find another use for a lens like that anyway. Thanks again for inspiring!
Good luck David, and have a ton of fun :)