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AlanU wrote in post #18647311
With Sony I’ve done a fair share lately. I have had less issues outdoors shooting 300 photos on an outing with my daughters. This car event with same Sony /lens combo was mind boggling painful in AWB the area and lighting situation.

The XT2 was unbelievable in AWB. Same lighting the colour was not far off from reality.

Even batch processing the eye dropper method with my Sony was extremely labour intensive for post for 400 photos. Oddly recent family outing Sony was even still more work than Fuji but easier than yesterday’s car event.

I know canon is more forgiving than Sony. Fuji is by far much better in AWB for what I shoot at this moment.

If it's that much of an issue, why don't you just bring a gray card?

I had some issues with Sony greens back when I shot them, but a quick adjustment to the green channels in the HSL slider solved that. I will agree Fuji's AWB works much better than Sony's in my experience, but that's an easy post adjustment.

Stumbled across your Youtube channel @Rantercsr

I'm going to start putting my lenses in my pants pockets so I can look inappropriate.

Just dont wear skinny jeans

The X-t2 was on my Casey paint pole adapter that sat maybe 15 feet in the air? I used the fuji app to remote trigger many photos that were sitting high up. Killer setup and I can see other trying such a technique.

The Fuji AWB was a walk in the park....literally West Vancouver's Lighthouse park

The reds from fuji are really not far from the truth. The Reds with the Sony A7iii was brutally off on the red vehicles I shot. Virtually all of the colours Fuji produced were pleasant and easy peasy to work with.

As you can see the lighting can go from intense to everygreen tree "green" shadows. Fuji did stellar as per usual.

I've actually created Xrite passport profiles for "sun in lens", "direct sun hitting xrite passport" to open shade. Even those profile presets did not really help the colour calibration of the Sony A7iii. Fuji I virtually NEVER do this type of work because AWB is childsplay (good thing) and my Canon does a much better job without xrite presets but I do set those up too with my Canon.

The Sony files were shockingly "what the heck????" as I was shooting. I was able to create my style of photography with the Sony but the colour and AWB was more work. Now that I've been working extremely hard on the Sony gear I've come to the conclusion that I must bite my tongue and deal with more work in post. I definitely see validity in grey cards but that sucks.

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bobbyz wrote in post #18647224
Man, Sony can't be that bad IMHO. For the shots you posted IMHO any camera should have worked. Personally I never shoot these kind of events as to me light is crappy when they are held. Wanted super shallow DoF, use the right lens, don't blame f2.8 on 1.5x crop camera.

Perhaps if you were teaching a new photographer learning theory you can say such things....

Bobby before you confidently judge you should shoot Sony for a while. Fuji is undoubtedly incredible in AWB in car events. This particular environment I shot was from 8am to 10:30am. From direct sun in lens, direct hard sun on cars, dark shadows in tall evergreens to a mix of dark shadows with sunny bright backgrounds. The Fuji was effortless I’m performance. The Sony reacted totally different to how the Fuji adapted in AWB. I've never had this much work in post with my Canon system.

On a particular car drive by in the long driveway a car goes from intense bright sun in lens to no light in lens but bright sun hitting the car. The Sony went from one extreme kelvin to the other side.

This isn’t your perfectly sectioned parking lot in 1 type of lighting. Shadow cast from evergreens can be different to open shadows from a city building.

Zoom Versatility is king for outdoor events. Car shows/meets you certainly can shoot fast primes as I’ve done that but my style I’ve captured more with a long telephoto with more options in perspective. No different you covering your kids in outdoor sports. Can I borrow your Fuji 50-140mm f1.8??? I guess the perfect smaller form factor lens does not exist in 1.5x crop world, for many photogs wanting more shallow dof in a long tele.

The smaller sensor medium format Fuji body is up your alley. Using the “right” lens on a Sony A7Riii or Nikon D850 or even decent 5DSR will provide enough resolution for billboards and large print and shallow dof . Looking at websize photos there is not a massive difference in model photos between GFX and High MP FF but potentially thinner dof and more dynamic range. Put it on print and the equalizer is now on paper so it's even hard to tell. The fact is dof is just another factor and variable in visual art being razor thin to deep dof.


Key point is when shallow dof is needed in gear there is no f1.8 Fuji long telephoto. "It is what it is" but certainly a nice to have in some cases. In this case this type of lens does not exist. There is obviously a demand for shallow dof or if that wasn’t the case many Pros would be shooting 70-200 F4 glass on FF if Dof wasn’t a concern in good light.

Gear acquisition is easy for consumers. If it exist... people will buy it. If Fuji made a 50-140mm f1.8 I would consider it simply because it would be the right tool for my needs.

There is a choice in the tools we use. I do see some advantages using FF with a 70-200 f/2.8 long tele. At the same time I cannot say I do not see a difference in "more" dof using the f/2.8 glass using the 50-140mm on 1.5x. For portrait's I'd definitely prefer using primes on a fuji system.

X100T was great at the American History Museum in DC

It's nice not to have a bag sometimes.

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AlanU wrote in post #18647623
The smaller sensor medium format Fuji body is up your alley. Using the “right” lens on a Sony A7Riii or Nikon D850 or even decent 5DSR will provide enough resolution for billboards and large print and shallow dof . Looking at websize photos there is not a massive difference in model photos between GFX and High MP FF but potentially thinner dof and more dynamic range. Put it on print and the equalizer is now on paper so it's even hard to tell. The fact is dof is just another factor and variable in visual art being razor thin to deep dof.

We have 5ds at work. I can do side by side just need some time. And I have looked at the Sony files. I still say GFX has that look specially when using 110mm f2. Or maybe it is my eyes playing tricks having spent 10k. This yr Fuji is supposedly coming with 80mm f1.4. Next yr, Fuji is releasing new GFX 100MP which will be based on new sensor tech from Sony.

Well stick the same lens on both the 5D and the GFX and we'll soon see...

I always thought or rather always see that the depth of field is just more abrupt on the bigger sensor, it happens more suddenly, so although you might have more of a range in focus the fall off from that focus is quite a bit sharper. Depth of field is more a function of distance anyway, subject and background/foreground. I know for most of what I shoot having that little bit more in focus is better.

Quick shot from the parking lot at Bristol Harbour lodge, NY on the way back to the car after having our 30th wedding anniversary dinner. Minor editing in LR Classic with Adobe vivid color profile-

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30 years! congrats!

I'm coming up on 10 years next month myself.

30 Years - yes congrats.


Brought the 35/1.4 out with me today, love that lens.

Quick coffee shop snap of a customer

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A few more from Canandigua Lake, NY-

Evening view during dinner-

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Sneaking in a quick coffee before I have to go and teach an Aikido class. Lovely SOOC Velvia colours

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One from the garden pond today with 80mm and 1.4X TC at f/8-

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Selfie in the mirrored ceiling of a hotel elevator

X100T

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