Reportage

Posts Tagged ‘x/100’

Katoomba Photography Workshop: 8th-12th Dec. 2017.

In Photography, Workshop News on October 7, 2017 at 4:30 AM

We are taking bookings for Reportage Photography Workshops next workshop in Katoomba, Australia, 8th-12th Dec. 2017.

Update: We are happy to announce this workshop is now priced in Aus$ representing a discount of Aus$520!

Join Stephen and I (Jack) for an unforgettable experience in photography, place, and space.
         © iPhone Photograph by Jack Picone
View from a graffitied train window in the Blue Mountains en route to Katoomba. ‘Graffiti’ is based on the Italian word graffio (which means ‘scratch’).
Entrancing Katoomba is 110 kilometers west of Sydney at an altitude of 1,017 meters. It is situated in the Blue Mountains. The Blue Mountains, including Katoomba, is the traditional land of the Gundungurra people and indigenous habitation of the Blue Mountains dates from around 22,000 years ago. The name ‘Ka-toom-bah’, is thought to have emanated from local indigenous people and when translated is said to mean ‘place of many waterfalls.’
It is a popular destination for day-trippers from Sydney and international travelers both lured there by its country town main street, cafes, galleries, and antique shops. But for a photographer, Katoomba is much more than that.
Katoomba is a spiritual and visual mother lode; palpable indigenous peoples ancient history, white man’s recent history, a kaleidoscope of architecture from Federation to now. Local people, who have ‘creativity’ as an in-common gene, bewitching light, impossible mountain landscapes, old trees that reach for the sky, all of which make your heart miss a beat and ask, ‘why has it taken me so long to be here.’
Workshop Overview: This workshop is open to photographers who practice any genre and are at any level. We promote, support and are all inclusive of female photographers.
Award-winning documentary photographer Jack Picone will work in tandem with workshop partner Stephen Dupont, the acclaimed photographer, and filmmaker. Both Stephen and Jack will critique and edit participants’ work one-to-one, and also take part in evening projections and discussions.
Individual and group sessions are held to dialogue intensively on topics such as photographic composition, portraiture, basic camera techniques, how to research ideas and tell an original story, how to market a body of work, and how to hone your style. The workshop is very project based as opposed to technically driven.
The aim is to produce a photo-essay with a striking visual narrative, to be projected on the final evening of the workshop.
The workshop’s schedule will be demanding but highly rewarding.
Application: The workshop is strictly limited to 12 participants. A AUS$500 deposit will be required at the time of booking to secure a place. This will be a popular workshop; please book early to avoid disappointment.
Tuition Cost: AUS$1950
Cost includes all workshop sessions. Cost is not inclusive of travel and accommodation.
To receive further information or to request a registration form, please contact: Jack Picone: jack@jackpicone.com or Stephen Dupont: stephendupont1@me.com
Links:
Jack Picone
Stephen Dupont
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FUJIFILM Discusses Photography & The X-Pro1 With Jack Picone

In Photography News on June 15, 2012 at 4:17 AM

Jack Picone, world renowned Photojournalist & Documentary Photographer talks to FUJIFILM about his work with the X-Pro1 & X100. View here:

I AM NOT A DSLR – I AM DIFFERENT – I AM A FUJIFILM / X – PRO 1

In Photography News, Street Photography on April 23, 2012 at 8:41 AM

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I am on the Star Ferry shooting pictures at twilight while crossing Hong Kong Harbour. The sun retreated hastily and out rolled a piercing black and blue sky. Iridescent. I love this time. I love this light. A time where day transitions to night and just for a fleeting moment – it is neither. It is exciting and ambiguous. Given the consternation concerning the performance of the auto-focus of its predecessor, the x/100, I was keen to test the X Pro 1’s focusing ability.  As a photographer you are aware that you need to work in nano-seconds because light and color is on the wane and what is so beautiful now, soon will vanish. So I did work fast, two of the authored images are in this short slide show (click on post heading to see images larger if you like) above. One is the Asian girl wearing a faux polar bear head (hat) and the other is a picture where I focused on a thick translucent plastic sheet rendering a cruise liner that it framed, soft and dream like in the background. The ferry pitched from side to side in challenging low-light conditions and I took a score or two of images during the crossing from Kowloon to Hong Kong. The X-Pro 1 did not miss a beat in terms of responsiveness and the auto-focus locking onto the subject. This performance was repeated with several early morning walks photographing Hong Kong waking up to a new day as well. During my early morning wanderings I purposely sought out scenarios to make images that involved shooting through glass, against highly reflective surfaces, in shadow zones and at times in low light. This is apparent in the image of tea being poured by a waitress, shot through a heavily steamed coated window. Again, the camera did not miss a beat. It was smooth and seamless with the autofocus doing what I expect autofocus to do – focus accurately in minimal time. None of this searching searching – help me – I am lost! No whirring in and out. It focused with conviction. Similarly to the X/100, I suggest that one of the great advantages of this camera is its classically beautiful and understated retro-design. It is not (although often wanted to be) a high end DSLR. I am personally very happy that it is not a DSLR.

Said objectively, the Hong Kong Chinese are known to be just a little (it is infinitesimal really) gruff about having their picture taken but I did not encounter any negative reaction to working on the streets with this camera, in fact I was completely ignored. This camera is not great for your ego I am afraid. Get used to being ignored. If you want to make a statement swinging a house brick DSLR around your neck that in turn broadcasts that you are a photographer then this camera is probably not for you. And this is where we get to the core of what the X- Pro 1’s psychological advantage is. Because it does not solicit the unwanted reaction that comes with shooting pictures with a DSLR, I am left to document people in original moments. Sounds like visual small change but for me this is super significant in terms of access and time that otherwise may be stunted or stymied by using a DSLR.  When I am on the street with the X PRO 1 I feel a synchronicity similar to that I have enjoyed when shooting black and white film with my Leica M6. Both cameras feel like a natural extension of me. Specifically, the X PRO 1 allows me to arrive at the creative conclusion, I want.

So the proceeding is what I think is attractive and important about the X-PRO1 but there are a few fixes that Fuji could consider in their continuing evolution of this ground-breaking camera. None of the following are hugely significant and nor did they compromise me while shooting pictures on this weekend in Hong Kong. It is more about a little fine-tuning needed.

They are:

  1. The exposure compensation dial can still be in inadvertently moved to +1 or -1, -2 Stops (or similar) this needs a locking mechanism.
  2. The Q button is easily activated when not wanted. Again, this needs a rethink in terms of design. As with the exposure compensation dial above this seems to happen by simply diving into my shoulder camera bag to retrieve the camera.
  3. The clicking chatter sound as the aperture blades automatically adjust during exposure would benefit in being less audible.
  4. The 60mm F2.4 lens appears to search significantly while focusing and  in general takes longer to achieve focus.

In conclusion, similarly to the x/100, the X – Pro 1 is a result of a forward thinking Fujifilm company who have displayed significant creative courage in bringing this camera to photographers.  The things that make this an advant garde and ground – breaking camera far outweigh the few minor fixes (cited above) that need to be made. Within this context a suggestion I do have for Fuji is; instead of going the compact camera route of sales thinking/marketing i.e. pack as many features as possible into a smallish camera in an effort to be competitive in selling as many cameras to as many people as possible, perhaps this could be rethought with the idea of  reducing the X-Pro 1’s many features? Thereby edging the X-Pro 1 closer to a digital version of a Leica M4, M6 or a Voigtlander Bessa R2A. This I suggest, would be enormously attractive to professional and serious amateur photographers alike. Simplicity is still a much sought after desire. Just a thought?

The fact that Fuji have brought this hybrid camera to us from inception to reality in such a short window of time is extraordinary.

Something tells me that Leica must feel like they have had their cage rattled a little?

Fujifilm have a habit of wooing us and thrilling us. Hang on for the fast ride it is only going to get better from here.

Core Exhibitions Foto Freeo 2012

In Photography News on February 8, 2012 at 5:51 AM

Fujifilm Professional and T&G Publishing have selected 10 of Australia’s finest contemporary photographers for this unprecedented publication.

They were invited to explore their creativity using Fujifilm’s recently developed, compact, new generation Finepix X100 digital camera, submitting 10 photographs each for publication.

Read more about  the 10×100 book project I took part in here and its subsequent inclusion in the core exhibitions of  FotoFreeo 2012

The venue is Fremantle Prison – 10 x 10 Australian Photographers, including Tim PageJohn OgdenJack Picone, Brad RimmerMax PamMarian DrewNarelle AutioLee GrantHeidi Smith and Louise Whelan.

The Beginning of the End for Facebook?

In Photography News on December 17, 2011 at 4:34 AM
Interesting read.
Ben Bajarin is the director of consumer-technology analysis and research at Creative Strategies Inc., a technology industry analysis and market-intelligence firm in Silicon Valley.

Read more: here

War Photographer

In Ethics on August 12, 2011 at 4:04 AM

War Photographer

In his darkroom he is finally alone
with spools of suffering set out in ordered rows.
The only light is red and softly glows,
as though this were a church and he
a priest preparing to intone a Mass.
Belfast. Beirut. Phnom Penh. All flesh is grass.
He has a job to do. Solutions slop in trays
beneath his hands which did not tremble then
though seem to now. Rural England. Home again
to ordinary pain which simple weather can dispel,
to fields which don’t explode beneath the feet
of running children in a nightmare heat.
Something is happening. A stranger’s features
faintly start to twist before his eyes,
a half-formed ghost. He remembers the cries
of this man’s wife, how he sought approval
without words to do what someone must
and how the blood stained into foreign dust.
A hundred agonies in black-and-white
from which his editor will pick out five or six
for Sunday’s supplement. The reader’s eyeballs prick
with tears between bath and pre-lunch beers.
From  an aeroplane he stares impassively at where
he earns a living and they do not care.
 

 War Photographer by Carol Ann Duffy  

Vignettes of Kathmandu

In Kathmandu, Street Photography on August 12, 2011 at 3:54 AM

Opening lines from, The Green Eye of the Little Yellow God a 1911 poem by J. Milton Hayes.

There’s a one-eyed yellow idol to the north of Kathmandu,

There’s a little marble cross below the town;

There’s a broken-hearted woman tends the grave of Mad Carew,

And the Yellow God forever gazes down.

© All Photographs taken with the FujiFilm X/100 camera, in Kathmandu by Jack Picone

Taking the X/100 for a walk

In Random Moments, Street Photography on April 30, 2011 at 4:08 AM

Forget about the tedium of pixels and megabytes, other then to say, the X/100 has sufficient and high enough quality of both.

Let’s talk about making pictures.

What is great about this camera is the psychology of it. Shooting on the street and amongst an increasingly neurotic (about being photographed) Australian public-is that nobody cares. It is a great advantage in being able to document people as they are, instead of them reacting to a photographer with a ‘house brick’ DSLR.
The images it produces are incredibly sharp even at F2. Noise does not even get on the radar to after iso1600. Time lag on releasing the shutter is minimal, if not at all. Too many features to mention but if I can sneak one in-the Panorama is a lot of fun.

I think it is a great second camera for professionals or a great camera-period-for anyone who loves making pictures.
It is not a compact and not a DSLR it fills the void between both.
There always was a high end small film camera that serious photographers could take with them anywhere even when they were not on assignment. A decade and more after the tidal wave of digital photography, swamping film photography, Fuji has provided the digital version of that camera. It comes in a beautiful and classic retro package with superb build quality.
It has been a long time coming but has arrived.
Firmware needs a serious update, it is quite idiosyncratic but that is a minor minor. It is a camera that takes a while to get to know but once you do know it, you will be very happy that you did meet.
This is the thinking photographers camera.
I will be back with more.
In the meantime here are a few random images made with the X/100 while walking around Surfer’s Paradise….
Jack
All Photographs © Jack Picone

X/100 Panorama Mode

In Photography News, Random Moments on April 24, 2011 at 3:04 AM

Self portrait taken in Panorama Mode on the X/100. Just press the button and it sweeps 120 degrees. No stitching needed, the camera does it for you. Too clever. Lots of fun! © Photograph by Jack Picone

X/100

In Photography News on April 8, 2011 at 10:29 PM

Fuji have given me their latest inspired piece of thinking the X/100-well to give my thoughts on.

I feel privileged.

Fuji are different.

Clearly they can’t compete on the same level as the mega giants like Canon, Nikon and the other big boys.

But every ten years or so in a stealth like way, they appear on the horizon with a camera that clearly eclipses the competition. The last one was Fuji TX-1 Panorama film camera. A superb camera.

My initial reaction on ‘taking this camera for a walk’ and seeing the images that it delivers, is one of unbrilded and unfeted excitement.

Seemingly, the X/100 is the nexus between style and substance.

Niether a flawed compact, nor a ‘house brick’ DSLR it is simply unto itself.

Already, I feel (for me) it is filling a void that has long been present since the introduction of digital cameras.

As I experience more with this camera I will be back with some images and my thoughts.

Jack