Review: Fujifilm 50mm f2 R WR (Fujifilm X Mount)

The Fujifilm 50mm f2 R WR is the third lens addition to the f2 weather sealed compact prime offerings from Fujifilm–and in many ways it’s an excellent portrait lens. But it’s also great for much more than that. You see, Fujifilm developed the Fujifilm 50mm f2 R WR lens to be pretty versatile. It can focus fairly close and it has weather sealing built into the design. Combine this with naturally sharp optics, fast autofocus performance, and the not too large size and you’ve got yourself a pretty powerful, compact longer focal length.

Most photographers picking this lens up may opt for shooting portraits. In all honesty, there are better options for portraiture in the Fujifilm X series system, and also a few fantastic third party options. But if you’re the type of photographer who shoots candids on the streets and like to do street portraits, you may want to give this lens a try. Yes, the street photographer and the street portrait photographer are the ones who will want to go for this lens.

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Which One?: Sigma 85mm f1.4 Art vs Sigma 135mm f1.8 Art Comparison

If you’re a portrait photographer, the question of Sigma 85mm f1.4 Art vs Sigma 135mm f1.8 Art has most likely come up. The two lenses are portrait photography powerhouses designed to be some of the best lenses in the world and have attractive characters to portrait photographers of all types. Typically, choosing one lens over the other has had to do with the amount of space that you’re working in, but with trends in modern photography that can change pretty easily just by switching locations. Both lenses have different image quality characteristics and different body characteristics. So which one is right for you?

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When Shooting Portraits, Primarily Expose for the Skin Tones

One of the things a lot of people don’t understand about portraits is this: when you’re photographing a person they are the absolute bigger priority in the image. Even in environmental portraiture, their environment is important but the primary object is still the person you’re photographing. For that reason, a whole lot of portrait photographers will shoot in aperture priority because all they care about is the depth of field in the scene. But honestly, there’s a whole lot more to it than just that. You should be exposing your scene based on your subject’s skin tones as a priority and everything else should be secondary. Luckily, modern cameras are so good that you can do just that.

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The Urban Movement: Keith Reid’s Wonderful Photos of Dancers in the Streets

All images and text by Keith Reid. Used with permission.

I have always been fascinated by photography and how it connects people with moments in time. I don’t just see a photograph, I see an emotion or an idea that compels the viewer to truly feel connected with the subject by telling a story. My photography has served many purposes for me: it has saved me from my own darkness; forced my hand at a confidence I didn’t know I had; connected me with amazing people I would have never met otherwise. Now I want to use photography as a platform to showcase the sacrifice, skill, dedication, and inspirational talent I get to see in my subjects every day. I shoot primarily in Micro Four Thirds with the Panasonic G85 and use 12-60mm f3.5-5.6 OIS, 25mm f1.7 G ASPH, and a 14mm f2.5 G.

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Kelly-Shane Fuller: Shooting Themed Portraiture And Creative Concepts

All images by Kelly-Shane Fuller. Used with permission.

“I’m a creative concept portrait photographer based out of Portland Oregon,” says photographer Kelly-Shane Fuller in an email to us. “I primarily shoot portraits that are themed in some way. I shoot regularly for fashion and magazine clients as well.” If you aren’t aware of who Kelly is already, you really should be. He’s one of the few modern photographers who figured out how to develop Kodachrome through experimentation and research. Plus, he’s very knowledgeable about film.

But technical knowledge aside, he’s also quite a creative photographer who really loves to shoot and create images with concepts behind them.


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The Living Heroes Project: A Portrait Photo Project of WWII and Vietnam Veterans

All images by Ian Pettigrew. Used with permission.

Photographer Ian Pettigrew has been featured a number of times on this website for his portrait photography projects; and The Living Heroes is his latest work. Ian describes it as “A Photographic Testament to Those Who Served. In Their Own Words. From WWII to Vietnam.” The Living Heroes is going to a 208 page full color photography book. In the process of producing the book, Ian and his crew are looking to photograph 100 veterans from WWII and Vietnam. Each veteran will have their portrait taken and a formal write up next to their image.

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These “Photographer Assisted Selfies” Were Done on 4×5 Ilford HP5 Film

All images by Ross den Otter. Used with permission.

Ross den Otter has been shooting photos since he was 13; and his mother managed a camera shop when he was young. “Since 1985 I’ve worked as a black and white and digital photographic lab technician; starting as a teenager in the darkroom of my hometown newspaper.” Ross explains to us in an email. “For nearly 30 years, I’ve collaborated with my wife; we met in college while studying photography together. Together we run a studio in Vancouver Canada, specializing in commercial portraiture.” And it’s there where Ross has been operating. He also taught a professional photography program at the Vancouver Institute of Media Arts (VanArts).

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Andy Willis: Beautiful Portrait Photography on Bleached Polaroids

All images by Andrew Willis. Used with permission.

“It was really a return to analog,” says Photographer Andrew Willis, one who despite also shooting digital these days still loves what film is capable of doing. “I can blame going to university to study a Bachelor of Photography.” He’s been shooting for a really long time and therefore is one of the photographers who have survived the film days into the digital days.

Andrew believes that analog film photography has a special character and uniqueness to it that the pristine quality of digital simply can’t deliver.

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