Alpkit Compact Ultra II Walking Poles

I remember the first time I saw photographs of mountaineers in the Himalaya using ski sticks to aid walking. Jump forward 30 odd years and we now see them being used to aid walking along the streets in Lake District towns. They have become an almost essential ingredient in the ‘fashionable walking holiday wardrobe’. I was ‘anti poles’ initially and still believe that to some extent we are better to manage our own balance when on difficult terrain. I first began to take note however when older mountaineers expressed the view that the use of walking poles reduced the stress on their knees and hips when descending. As we age and our leg joints wear and this seemed a reasonable response. One might extend the knee support argument further and postulate that perhaps the use of poles might also reduce the wear and tear in joints if used before they become ‘needed’. The research carried out certainly suggests that this is the case. Views and perspectives change over time and from being anti poles, I am now a frequent user and especially so in the case of photography in the mountains. I’m much more likely to use poles when photographing as my pack weight is likely to be substantially greater than any normal day sack weight. I also find them to be enormously helpful when wading out into flowing water (even if less deep than the height of my wellies) for that perfect spot from which to photograph. Finally given the value of the contents of a photo backpack, I find them a reassuring support when crossing fast flowing water by wading or stepping from rock to rock. There is a bewildering choice of poles out there at a huge range of prices and including esoteric materials such as carbon fibre. After trying and using a number of options from familiar brands, I settled on the subject of this review, the Alpkit Compact Ultra II folding poles. The route to this choice was relatively straightforward although it took some years to navigate. There are essentially only a few choices to make:

• Budget - This ranges from about £5 per pole to well over £100 per pair.

• Twist lock or snap lock

• Sliding (telescopic) or folding

• Material / weight - usually ranging from alloy to carbon fibre.

• Shock absorption - some poles have an internal spring section to reduce impact shock.

• Grip style these vary from a simple foam cylinder grip to carefully moulded anatomical grips.

My own reasoning was as follows. I don't like things sticking up over the top of a rucksack so the two/three section sliding poles are usually too tall even when stowed. This is particularly relevant when negotiating  woodland with poles strapped on to your pack. Anything that reaches above the bag can and will get caught on branches.I find that twist lock poles become much harder to tighten and loosen when they and hands are wet and (from the samples I’ve tried) are prone to being jammed completely by ice in winter. I find the folding snap lock system quicker and easier. I’ll pay the cost to obtain the performance I want but don't choose to ‘over cook’ the specification. The weight saving from alloy to carbon fibre doesn't seem worthwhile to me (unlike with tripods for instance).I also have a leaning towards new agile small companies trying to do things right and in a good way. Alpkit have a very sound ethical approach and I believe such ethics should be supported. Combining all the above I bought a pair of Alpkit Compact Ultra II poles and have never looked back. The poles, sold individually or as a pair, weigh in at a quoted 275g each. My pair weighed 500g.The only change to the quoted spec is that I don't carry the point protectors. These are too easily lost in my opinion and best left at home.  When stowed they are delightfully compact and measure no more than 38cm. To save having to readjust for working length each time they are used, I leave mine ready set at my normal length while stowed and this results in a slightly longer packed size of 51cm. When packed at minimum size, not only will they stow neatly on the outside of a rucksack, they will fit inside even some very small 10L day sacks.This model represents an improved version of the original on which the hand loops were a little undersized. On these, the loops are sufficient for all users. There are poles with better adjusters and those with worse, these are about the middle in terms of smoothness or difficulty of adjustment. The grips are lightly contoured foam and are both comfortable and offer good grip in use. I was a little suspicious of the locking mechanism for the bottom section when I bought the poles. This is a spring loaded ball which pushes through a hole in the leg. Despite my concern the mechanism might clog with dirt,  has been flawless for the year that I’ve owned the set.If you walk the hills and tracks, I’d recommend that you consider a set of walking poles. If you are a photographer, carrying a heavy photo backpack and working in wild terrain, I’d recommend the investigation still further. In my case not only is stability increased and knee/hip pain reduced but I feel less tired after a long day on the hill than without them. If you decide that poles are for you, I’d recommend these Alpkit poles without the slightest reservation.

Why don't you come on over Vallerret?

Vallerret are a young Norwegian company trying to conquer a niche market. Their core product is an insulated glove with up to two fingertips that can be slipped back to allow fingertips to more easily operate camera controls. There are two gloves and one mitt in the range along with some inners. Refreshingly they offer a women’s specific glove but sadly not alternatives to every model. In every case the hinged fingertip can be secured out of the way by use of sewn in magnets. Having found the perfect glove setup as described here, it was with much interest that I decided to investigate these specialist gloves from Vallerret. I’m fussy if not obsessive about gloves and as the years go by this seems to be increasing. Increasing partly because I see no justification for accepting anything less than the best I can manage and increasing because I seem to feel the cold more and more. I’m also fussy about the fit of gloves and so waited until The Photography Show, last April,  so as to be able to try them out under a number of permutations with various liners. The model I was interested in was the iPsoot, their premium glove. This is their top of the range glove, designed for deep winter. It uses a combination of Merino wool as a lining and Thinsulate as the primary insulation. Thinsulate has been a round for a considerable length of time but has been very low profile for many years as advances and advertising have driven a search for more down like synthetics. The glove is advertised as being suitable for the addition of a liner glove but oddly the sizing guidelines suggest that no size adjustment is needed to accommodate such a liner. I was a little nervous from the outset as the advertising equated ‘deep winter conditions’ with deep powder snow and we know that for those of us who are UK based,  deep winter usually means low temperatures but accompanied by wind and wet. Two very different scenarios and a thoughtful purchaser should note that these gloves are not sold as waterproof, it isn't even hinted at. If the buyer is considering using these in the mountains the presence of magnets should also be noted. They hold the fingertips back nicely but also wreak havoc with compasses. The first note of caution is in the sizing as thought has to be given to the balance between length and breadth. I preferred an XL for the relaxed fit and space for a decent liner but in XL, the fingers were so long that when the tip was peeled back, my own finger didn't reach out of the end.  Delivery was very swift as promised but a large stock shipment had just come in to the warehouse, I’ve noticed a regular set of ‘out of stock’ notes over the time I’ve been looking. First impressions at the show were very good. A high quality product, well made and thoughtfully designed.The stitching and assembly were neat and well finished. Unfortunately the show had been a great success for Vallerret and they had run out of stock in many sizes. Having tried on demo models, I had to pay and wait for delivery.My own hand measurements are Length 19cm Girth 21.5, they equates to a size Large as detailed above.  I struggled to get a good fit as the XL size was better around the palm but the fingers were so long that my finger didn't even reach the peel back flap.In use there are issues with which to contend. As mentioned above the gloves are not waterproof in any useful way. Few gloves are, even among those that claim to be, these don't make any such claim. This is not a failing of the glove of course, it simply means the information needs to be read carefully before purchase and our typical winters taken into account along with a realistic set of expectations. I don't knock any points off for waterproofing as the description is accurate and honest. We therefore have a product that has had substantial design work done, high quality materials and as far as I can see very good workmanship. They look superb. However the biggest issue that I have with the gloves is the substantial lack of dexterity that results from their thickness and lack of flexibility. This came as a bit or a surprise having tried them on at the show and the only reasonable explanation that I can come up with is that the gloves were warm. In normal cold outdoor use I found them to be unusable for my purposes, destroying any real dexterity when trying to handle camera, lenses, filters or other smaller items. Although very personal, I also didn't find them nearly warm enough for the advertised deep winter conditions. As a comparison, the Rab baltoro Glove  is much, much more flexible for a similar if not better warmth and allows small items to be handed precisely and confidently. Finally and of course it is a highly personal perception, I didn't' find them nearly warm enough for use when there was snow lying on the ground. Adding a liner increased warmth but reduced dexterity still further. I liked these gloves as  a piece of thinking and design but could see no reason to keep them and they have now moved off to the well known auction site. I'm much, much happier with my existing MacWet/Montane combination and so far have found nothing that improves upon it. I do see that Vallerret now offer a zipped mitt with a primaloft lining which will probably tempt me to investigate a little more closely. I am also mulling over the Heat Company's Heat 3 Smart Mitt which may also offer an interesting alternative. 

A week with the Nikon Z7

Nikon Z7 ReviewI’ve owned this camera for a week now, supplied with excellent customer care by www.fixationuk.com  While I’ve no claim to be a super user nor have any overly technical insight, I do have a week’s worth of getting to know this new camera in situations that are common to most landscape photographers working in our typical wet, windy conditions. (I’m also keen to point out that I’m not trying to demonstrate mastery nor make any statements about my own competence. I’m simply trying to share experience in the hope that someone else may gain from it.)  A little background perhaps. From the day I bought a Fuji X-Pro, I’d wished Nikon had made a Mirrorless camera . From the moment, I first heard about the current model, I’d assumed it would fit in and complement my D810. I’d seen it as a lightweight alternative. However during the time it took Nikon to produce the Z7, the world changed. I’m not convinced even they knew the route they were following and suspect that the camera ended up higher in their catalogue than was originally intended. Life with the Z7 has been a mixture of close to perfect and  irritatingly  bad. Image quality, build quality and ergonomics are excellent which to be honest is 95% of the camera. The devil however is, as they say, in the detail. As a tool it feels good in the hand, solid without being too heavy. Compact without being miniaturised. I suspect use is easier if already a Nikon user but each control feels exactly right and seem to follow a largely logical layout. This is a very, very fine camera indeed, my D810 is gathering dust and my old  Fuji X-T2 is not being missed in the slightest. Given that the image output is essentially much the same as a D850 the key decisions as users are three fold:

• Does the weight and size saving justify the size for me?

• Does it matter that the DSLR line now has a limited and defined life? Would I rather invest in technology that is developing rather than being abandoned?

• Does the EVF offer enough advantages to justify the pain of the camera purchase and then subsequent lens purchases.

Nikon z7 Review Virtual Horizon level

Nikon Z7 Review cable release

Nikon Z7 Review with 85mm f1.8 AF-S G Sycamore Leaves

For me, the answers were straightforward, this is getting closer and closer to an almost perfect camera. The first and most important step to take is to fully read the manuals especially those parts that relate to customising the functions attached to the various buttons. This at least allows some of the more glaring oddities to be corrected. ViewfinderThis EVF is perfect, I’ve no idea how it could be improved upon. It's like looking through a straight optical path but better. It’s so good, you just forget all about it. Even allowing for the fact that at heart Nikon is an optical company rather than an electronic one, there is some magic at work. ShutterI’m an advocate of quiet photography, working along, taking time and spending some quiet time in the place that you are making photographs. There are times when even the sound of the shutter and mirror of a DSLR can grate and spoil the moment. The Z7 is delightfully quiet and can even be used in silent mode.PlaybackI like to review images through the viewfinder. In standard form this means removing my left hand from supporting the camera and pressing the Play button. This is, in my opinion, much better achieved by configuring either of the Fn buttons to playback Review can then be achieved without moving the camera from the eye.During review, the + button can be used to zoom in on the image and the edges of the command pad used to navigate. Pressing the centre of the command pad immediately zooms in to 100% This would be much better if Nikon adopted the Fuji method. Use one command dial to zoom, one to scroll to next image. GridWhy not provide a choice of grid line arrangements? At least a thirds grid.LevelI wish Nikon would provide a more subtle level indicator that can be viewed while composing. The fighter pilot sight one is just about OK if you are working from a tripod but you need to be able to see the level and the full composition screen if you are handholding. Silly example of poor design and the tiny indicators at the edges of the D810 finder are much, much better. ConfigurationI’d like Nikon to take away as many restrictions as possible when assigning functions to buttons, let the user customise their camera. Fully customise menus and features also. Let me remove menu items completely. The iMenu is a good start but more could be done.Cards /Card SlotsI had two corrupt files on the first time one card was used. Since then nothing, it’s a worry but provided there is no repeat, I can live with it. I’ve been mulling over the whole aspect and am generally OK with a single card slot. I’m not clear about the technological hurdles but a direct Wi-Fi link to an external hard Disk like the WD MyNotebook would be a great alternative. It may be simply too demanding on battery power. FTZ AdapterYou wonder whether anyone in the Nikon design team actually use their cameras? If so do any of them every use an Arca plate? Every plate I own, even the smallest almost square one, fouls the camera if fitted to the FTZ, meaning you’d have to fit and remove it every time you wanted to fit or remove the adapter. I’ve ordered what I hope is an even tinier one, designed for compact cameras, I'll see if it works out. AdobeACR opens the lossless compressed files but doesn't seem to open uncompressed. I’ve always used the lossless compressed so not an issue here. There is  a lens profile included for the 24-7mm f4, as with the Fuji’s, the profile is applied automatically. It looks as though the Adobe support is in an interim version so I suspect import settings will evolve over time. . Long exposuresGiven that Nikon had time to learn from Fuji, I am surprised that the longest shutter speed they give us is 30s. It took nearly 6 years before Fuji finally gave in and added longer exposures in manual but now the wait begins again. If Nikon gave us 1/2/4 minutes, it would make a huge difference to normal use. If we could see those in manual and auto settings life would be better. One of the benefits I’ve appreciated over the years from mirrorless is being able to ‘see’ though heavy ND filters and I can confirm that it is possible to see well enough to compose and focus on at least easy subjects through a 10 stop filter. It’d be an improvement if there was a timer visible on the rear screen during B/T exposures. Interestingly LE NR is now switched off by default, first recent Nikon I’ve noticed that with. Use with 24mm F2.8 PC-e lensThis works like a dream, no fouling of controls and the focus peaking is life changing. Works like a dream. One can almost ‘see’ the inclined plane of focus and where vertical objects intersect it causing the peaking to show. No personal information on 45/85mm but presume same applies. Use with manual Focus lensesIn addition to my Tilt Shift lens, I also have a set of old AI Nikkors. We get two benefits with these. Firstly we have focus peaking which is especially useful with the large aperture lenses such as the 50mm f1.2. Secondly we get image stabilisation even with 40 yr old lenses. Nikon quote 3 stops with adapted lenses and while having no way of measuring, such a figure feels about right. That really is backwards compatibility. For anyone (shame on you) who hadn’t realised the joy of older Nikkors, ‘tis is definitely the time to investigate. There are some peaches (and a few lemons), more of that in the next instalment. Remote CableThis continues to irritate. The best I’ve managed so far is with a Meike Cable via Ebay that has a 90 degree plug so helps keep things bit more compact and also much less prone to being hit in passing.  I can’t believe Nikon offer this setup as a real life solution, it takes a high end product and makes it low rent. When combined with the PromediaGear L bracket it is functional but the end plate from the bracket has to be removed to attach or detach the cable. Currently PMG are the only vendors of a bracket that will work. They, RRS, Kirk, 3Lt and others have L brackets on the way but we’ll see if any of them work well or not. Battery LifeThe battery lasts less well than a D810/D850. I used to carry 5 spare batteries with the Fuji but I’ve not had to change more than one so far in a day with the Z7. This is to be expected as it is doing more work with the same battery. It’s still OK however, for me.AutofocusDespite the entire world telling photographers that they must use manual settings, I tend to use autofocus and Aperture priority whenever possible. The use of autofocus obviously requires the focus point to be placed exactly where you need it. The combination of the tiny spot focus point on the Z7 together with the ability to place it ANYWHERE in the frame makes this process perfect. FilesGiven that one of the major drivers in moving from Fuji was to produce files with which I felt more comfortable, the outcome has been completely successful. The files produced by the Z7 are beautiful and seem to be able to absorb any amount of manipulation without complaint. The level of detail is exceptional and ‘grain’ size and structure are both exactly to my taste.BandingAnother Nikon, another banding panic. I’m no expert here but it does ‘seem’ that, in some cases at least, those who are experiencing patterns are generally trying to extract impossible amounts of detail from impossibly deep shadows. Looking at some of the files circulating the writers need to ask whether the shadows might just be too dark and whether any other camera would do better. I’m a great believer in letting shadows be the dark places they are meant to be. In day to day use, where I’m trying to get exposure right, there are no nasty patterns of any sort. I’ve loved using the Z7 this week and am looking forward to getting to know it more depth over the coming months and years. I’m wishing for a healthy development through firmware updates but not holding my breath. Nikon will have to learn some new skills of listening to users and responding for that to happen. In the final part of this Blog, to be published next week, I’m going to share a few thoughts on lenses old and new that might be found on the front of this fine camera. For a variety of reasons the list is highly unlikely to mirror the established hierarchy as purveyed by DxO and the like.

Nikon Z7 First Impressions

I hate being an early adopter. I never buy stuff on the first day. I resent being an unpaid beta tester. I’d much rather wait until the teething problems have been sorted. Until now….My Nikon Z7 arrived this morning. Without wishing to rehash my leaving Fuji post, I’ve just sold all my Fuji kit and invested in Nikon’s brand new full frame mirrorless offering. I’m looking forward to getting to know this camera. There are already issues of course, as I realised there would be from the very outset. Jumping early always involves some pain, my intent is to get that pain out of the way as quickly as possible. It’s worth bearing a few of points in mind:

• I didn’t buy this camera to make my photographs better and I remain very pleased with the output of my D810 in every way. I’m not looking for dramatic obvious improvements.

• The initial rationale for this purchase was to replace the Fuji with another lightweight camera for longer walks, higher fells. The fact that Nikon have produced such a well specified camera opens the probability that it will replace rather than complement the D810.

• I’m a pony with a limited number of tricks. I’m not trying to review this camera, just share how it works for me. I’m not interested in superfast autofocusing, ultra high ISO use or overall speed of use. I work slowly and methodically and don't photography people, animals, stars, pets, sports, weddings etc.

First ImpressionsThis is a lovely camera that feels just right in the hand. Start up time is plenty quick enough for me. The EVF is the best I’ve seen and a step up even from the more than decent Fuji X series. Part of my reason for the move was to leave optical and use an EVF both to make viewing though ND filters easier and to include a Histogram in the viewfinder while composing. I also like being able to review through the viewfinder as it avoids the need to use glasses or a loupe. As a long term Nikon user, pretty much everything falls straight to hand and the interface is self explanatory by and large. The camera is small and light without stepping into insubstantial or ‘fine for small hands’ territory. There are so far, no hidden surprises and the cameras been a pleasure to use out in the field today. It feels small but solid and resilient. Image quality seems as one would expect and the 24-70mm lens seems to be very good though perhaps not as  outstanding as has been suggested. Much more remains to be seen on that front. Specific ObservationsUnboxingI’m unable to get excited over the whole ‘unboxing’ phenomenon however the departure from the Nikon Gold boxes is a shame. Slightly more of a shame is the extremely ‘low rent’ box and packaging. You may have just spent £4K on a camera but you wouldn’t know it from the boxes. Remote CableNikon have abandoned their proprietary 10 pin round (pro) connector for their own equally proprietary push in (consumer) rectangular plug. Although over priced, Nikon’s MC remotes have always been well made. They currently offer no replacement for the MC-36A and so any wish for a remote with a timer built in has to go to the aftermarket suppliers. Not a problem in itself but choice is restricted. This also has a knock on effect with the use of L brackets. I assume this is part of a planned move to leave wired connection behind and perhaps we’re not at fruition yet. I’d hoped that SnapBridge might provide a solution of sorts but it seems there is currently no way to set a timed exposure of say 2mins/3 min etc. We may of course see some aftermarket activity in this sector. I tried using SnapBridge as a remote this afternoon, but abandoned to re-visit the manual as it seems a long winded process. I tried it because the remote cable provision is awful. Even without an L bracket the straight plug cable sticks out a long way and is very prone to getting knocked. I can see the socket being equally prone to damage. With the L bracket, although the cable just about fits, it’s not a happy fit and again I can see damage resulting. There are two aftermarket remotes currently doing the rounds on Ebay etc which have right angle plugs. This is an infinitely better design except that the plugs bend the wrong way and make the cable foul the bracket. I’m currently working on modifying one to see if an improvement can be made. Most of the problem could have been avoided if they’d used a micro USB. This,  for me, is the only really disappointing aspect of the camera.L Bracket useSeeing Arca fit  L brackets in use so often by landscape photographers probably gives rise to a view that they are a commonly used accessory.This clearly isn’t the case or manufacturers might be more helpful in the placement of remote connections. I’m an L bracket addict and find it hard to work without one.Two problems emerge using one with the Z (as they did with the Fuji X-T1/2). The upright part of some brackets foul the cable access points for remotes. If you find a bracket that allows access, the exiting cable prevents the attachment of the L bracket to Arca fit tripod head in the portrait orientation. I solved this for the Fuji by using a ProMedia gear universal bracket which allows the vertical section to be moved away from the side of the camera by two sliding rails. This will also work for the Z. However for this workaround  solution to work really well requires a cable with a right angle connector. The L bracket I have used is the Promedia Gear PLX3xhttps://www.promediagear.com/PLX3x-L-Bracket-Universal-3-inch-Arca-Swiss-Type-L-Plate-Designed-for-DSLR-without-Grip-or-Short-Bodies_p_134.htmlThere are already well documented issues with L brackets and Arca plates fouling the tripod mount on the FTZ adapter, preventing fitting and removal. This PromediaGear L bracket does NOT impede the FTZ in any way. It also leaves the rear screen free to move. I’ve not come across any other L bracket that currently works. Battery LifeI suspect the days of getting an entire day’s shooting from one battery may have gone. I hope I’m being pessimistic but certainly the use of the EVF must draw more than the DSLR’s draw. Opinions seems mixed from the early hands on reports so fingers crossed. I shot on and off for four hours this afternoon and had plenty of juice left by the end. I am going to disable the rear monitor screen as I prefer using the viewfinder. This should also save battery power. Use with FTZWhile Nikon’s own online chat support weren’t able to help, this one item where a read of the instruction book is a good idea. There is a weight limit on using lenses with the FTZ. If using a lens that weighs over 1300g, you are advised to support the lens or use the tripod mount on the adapter if on tripod. If the lens has its own tripod mount that is first choice. The instructions suggest you add lens and adapter in two operations rather than leaving the adapter attached to the lens. I used the FTZ today with the 70-300mm AF-P and the 85mm f1.8 AF-s and both performed flawlessly. AF Fine TuneI’m still confused as to why a mirrorless camera still has an AF Fine tune setting since the focusing is managed right on the sensor. Suggestions gratefully received.Use with Ais lensesThe use with AIs lenses seems to work very well, I’d assumed that the camera would default straight to manual focus (I’d chosen to enable focus peaking) but it seems that I have to manually choose manual focus from the menu. I might be missing something there. Exposure is bang on and focusing very good. There’s no indication of aperture in the viewfinder however.  Viewfinder levelSo far I can't find a quick way to enable this. I’d hoped to tie it to one of the Fn buttons but that doesn’t seem to be an option. The old, more subtle and better level indications at the top, bottom and edges of the screen that were so useful on the D810 have gone. There now seems to be only the huge virtual horizon indicator that looks like a aircraft head up display. This is a pity in my opinion. Viewfinder RotationI’d hoped that having seen the Fuji implementation, that Nikon would have given us a rotating display for portrait orientation. Sadly not,  but one for the firmware Wishlist.Image size displayOne of the reasons I’d wanted an EVF was to achieve an exact viewfinder blackout surrounding different image aspect ratios. For the first time ever, I can now see 5:4 perfectly represented in the viewfinder. NEF FilesI was slightly surprised to see that Adobe ACR, recognised and opened the NFE files without a hitch. I was expecting to have to wait for an update. Another review suggested the lens profiles wasn't there but it shows on my version and is applied automatically rather than having to check the boxInitial perceptions after 8 hours of ownershipI really like this camera, and am looking forward to using it tomorrow. The files look great, the handling is excellent and it is a pleasure to use. The remote cable is less good and the lack of a subtle level indicator is a pity. I’d ask for that in a firmware update along with a rotation of the display in the viewfinder when in portrait mode. I’ll add to these early thoughts and correct any errors in a second instalment in a day or so.

So long and thanks for all the fish

It’s so long Fuji and thanks for all the fish. (Google if not Douglas Adams fan).It’s been a pretty happy 6 years with Fuji since my original X-Pro1 arrived. I thought the original concept was brilliant and they sustained that throughout. I’ve been impressed with the cameras, the lenses and immensely appreciative of the regular firmware updates. Despite liking the “Leica influenced’ look of the X-Pro, I was much happier with the X-T1 and then the X-T2. Both superbly well designed cameras and an absolute joy to use. The combination of small size, low weight and high quality was perfect for me. The lenses I owned were excellent by and large with some rising to outstanding such as the 56mm f1.2 and 50-140mm f2.8, the 23mm f1.4 and the 90mm f2 and the wonderful little 14mm. Others were a tad underwhelming such as the 55-200mm which was great until you looked closely. I had two similar samples, others may have been luckier. The 18-55mm kit lens batted way above it place and was responsible for a high percentage of keepers from the cameras. I was hooked on the EVF from day one and always missed it when using the Nikon. I used the Fuji wherever weight mattered, the fells, longs walks, overseas travel or just when I wanted to grab a light bag. It fulfilled those requirements perfectly.From day one it would have been more convenient to have a lightweight camera that shared a mount with the bigger Nikon. Not least of which to take as a backup camera on trips. When heading for Harris for example, I always had to take two entire systems to insure against breakage or malfunction. I dipped a toe into the DX Nikon range for a while but found it too frustrating.  The straw that broke the camel’s back however was the instability of the files. A perfect exposure under perfect conditions resulted in a pretty good file if treated correctly. If however the file needed a degree of work in Photoshop, I found them to be fragile and smooth gradation between different tones could disappear quickly. I also found the propensity for the ‘grains’ in the image to form elongated shapes unattractive. Many authors reported on the dreaded Fuji ‘worms’. I never found these particular problematic as they seemed to appear if too much sharpening was applied. Many other photographers evolved specific workflows using software from other companies to arrive at their optimum files. I’m quite happy to admit that the problems I experienced were due to poor technique on my part, a lack of expertise or a lack of subtlety. However I didn’t find any such issues with Nikon and I didn’t want to have to evolve a complex process to edit raw files, I just wanted to operate in the same way as I had always done.My ideal would have been a Nikon sensor in a Fuji X camera. A really interesting development might be a new series of sensors in the Fuji or perhaps a revised in camera software or processing engine.Arguably the thing I may miss most about Fuji was the sense that one was part of a project to move on and develop. There was always a very strong sense that Fuji listened to users, listened to wishes and listened to criticism (lesson for Nikon here). Their regular Firmware releases showed this very clearly and they generously rewarded loyalty by improving the camera, at no cost, from the one you originally bought. I’m sorry to be going, I really am. I may well return at one point but for now it’s off to pastures new and in the next Blog entry I’ll discuss what steps I’ve taken to replace the role of the Fuji X-T2.

A Fuji Wishlist

Fuji are one of the few camera makes who do just occasionally give the impression that they are prepared to react to customers' wishes. I thought I'd offer my wishlist in the full knowledge that it will have zero effect. It does however provide a context in which I can focus my own thoughts.  First please note the title is ‘Wishlist’ not ‘Which items should Fuji produce which will be the most successful and bring the most financial gain....’.

We’re clearly going to get another X camera soon, probably at about 28mp and placed to sit above the XT-2 which it will replace and the X-H1 alongside (but slightly above) which it will sit. What would I wish for in the new camera:

• Longer battery life - I hardly use the LCD and yet still carry 5 spares, this is a tad ridiculous. I could use a battery grip but part of the appeal of the system is the smaller size and I've never liked screw on battery grips as they introduce a second potential plane of movement between the sensor and a tripod head. Not only is there the possibility of movement between camera and grip but the grips themselves can distort and allow movement.

• Add 5:4 to the range of image sizes so I can preview accurately in viewfinder.

• Increase the maximum shutter speed to 1, 2, 4 or even 8 minutes (or longer , the OM2 did better than the XT-2 40 years ago…). Available though aperture priority. (manual greatfully received in firmware update.)

• Re-site connection points for cables esp cable release to make it easier to use when in portrait orientation on an L bracket.

• Give us a much lower base ISO, 64, 50 or even 25.

• Allow full menu and button configuration, let the user define and organise their own menus and buttons without restriction.

Lenses General

• Offer an Arca Swiss foot for those lenses with tripod collars

• Understand that some users will trade light gathering power for a smaller size but still want the highest optical standards. Modest apertures with high level performance.

Lenses Specific:

• Revamp the 14mm, 35mm f1.4, 18mm f2 and the 60mm f2.4 to give us WR and improved optical performance (in 18mm esp.)

• Something round about 16-55 f4 with the performance of the 2.8 but in a smaller lighter package.

• 50-140mm f4 as above

• Tilt and shift at about 16mm

That's it, not too much to wish for but probably an awful lot to hope for. What it does show, in my opinion, is quite how quickly the Fuji X System has matured into a fine photographic tool.

Which lenses for Venice?

Which lenses for Venice?

This is  a question that is often asked and even more frequently ruminated upon by those heading off to Venice for the first time. Experience generally informs subsequent trips but only if honest reflection is undertaken and heads lead rather than hearts.  There are questions to be answered first of course -  relating to the kind of subject matter and images we wish to create. Those indulging in street photography will in all likelihood use the same selection as in any city. Others may revel in picking out the details from a distance and so take along a longer lens. My answers usually follow from the premise that, for me, the landscape of Venice is the main subject. A second and in some ways bigger question is to do with the degree to which we are prepared to compromise the enjoyment of the city by carrying too much weight. Photographing Venice involves a lot of walking and every kg seems to weigh double as the day goes on. For many people the iconic images of Venice are long exposures and in order to achieve this even more extra weight has to be carried in the form of tripod, ND filters, remote release etc. I recently analysed all my ‘keepers’ from Venice and tabulated them according to number of images for each focal length. I rounded all intermediate focal lengths to the nearest ‘recognisable’ prime equivalent. Note needs to be taken that the graph represents focal lengths and not specific lenses. The 85mm length equates to 55mm on my Fuji X cameras. In my analysis this includes the 18-55mm @55mm, the 55-200mm@ 55mm and the 56mm f1.2. The outcome surprised me slightly and is of course influenced by personal style, conditions, time of year etc. It is  probably also influenced by whim to at least some extent. The key findings as may be seen from the table is that very wide angle only accounts for 10% of the mages and effectively less than 2% of images are from focal lengths that exceed 85mm. 75% of all the images were, or could have been made with a 28-85mm(FF) or 18-55mm (APS-C).

The information can be used to plan which lenses to carry. An 18-55 (28-80 FF) and something wider would account for 98% of all my keepers. Adding a telephoto as the third lens brings this to 100%. A future blog post will concern itself with a detailed analysis of exactly what equipment I personally carry when visiting Venice. The problem we all face is a perennial one, that of being prepared for the once in a lifetime image that is beyond the popular range of focal lengths. Everyone finds their own resolution to this question but I would prefer to enjoy the days rather than carry too much. A further consideration becoming every greater is that of transporting the relevant equipment by aircraft. The information above refers to my own favourite images from Venice over the past five years. These are partly represented by the Venice Gallery on my website. My solution so far has been twofold. The first part is the use of Fuji X series cameras and the second to beruthless on lens choice, drawing from my own data rather than my heart. The next blog post will be concerned with an analysis of all the equipment that I would usually take on such a trip. This will include my solutions for managing a balance between photography and airline luggage restrictions. If  you would like to photograph this beautiful city and improve your own photography, I will be leading a workshop in April 2019 for Aspect2i. The workshop details may be viewed below.http://www.aspect2i.co.uk/intermediate-level-photograph-venice-italy-ID130.html

Little by little

Today was  another day devoted mainly to the 24mm PC-e lens. I set off for one of my very favourite places, Deepdale. This is a lonely valley accessed from the road to Patterdale. Despite easy access, very few people make their way there in comparison with the standard Lakes honey pots. In 7 hours I only saw one walker heading up the valley. This provided an interruption and distraction free time in which to develop greater experience with this challenging lens. I understand the general principles of Tilting and have read all that I could find in terms of practical usage advice. I was also helped enormously by Andy Phillips who generously shared with me his precise step by step process.I felt that the only way to develop was simply to use it a lot until some of the thinking was replaced by feeling. That's what I've been doing since buying it. Not all situations lend themselves to a T&S lens or indeed to 24mm however and I havent tried to 'force the issue'. Today was the first day in which I have felt the balance shift towards a majority of success rather than failures. Today I made progress in a number of aspects. I think I am beginning to get a 'feel' for the tilt and refocus process; when things look right, they are increasingly right. I also chose use the viewfinder more than live view in the initial setup. I had also been focussing on the nearest point before tilting for the distance but today I've been focusing on a point a little further out and the number of iterations seems to have decreased.Probably the key gain today is that I felt the lens was working with me and not against me. I was enjoying using it and not fighting it. Perhaps the peace and tranquility of the location helped, perhaps it is just another inevitable step. The attached image was made with the 24mm f3.5 PC-E, 30s at f11 with a Lee Polariser and 3 stop ND.

Aiguille Alpine Stratus Rucksack

Aiguille Alpine Stratus ReviewI have a number of specialised photo rucksacks from the American company F-Stop. As a way of transporting camera equipment when that is the prime intention they are unparalleled in my opinion. However when spending time in the high fells during winter, their ability to carry other necessary equipment leaves something to be desired. Under these circumstances I have tended to use a specialist hill sack and fit a modest amount of camera equipment in. Last year I took ownership of an Aiguille Alpine Stratus 37L rucksack and have been using it as my sack of choice since. If you are looking for a high spec, well made sack it is well worth looking at Aiguille, all made by Adrian Moore in Staveley, the Lake District. When weight is at a premium ( as today after a month lay off and much illness) I take the Fuji X-T2, 10-24mm and 55-200mm together with a set of Lee Seven5 filters, spare batteries, remote cable and tripod. This allowed the following items to be carried in the sack:

• Spare hat

• Spare gloves

• Mitts

• Buff

• Rab insulated jacket

• Overtrousers

• Flask

• Food

• Sitmat

• Map

• Compass

• GPS

• Phone

• Torch

• Whistle

• Ice Axe

• Ice grips for boots

• Tripod

• Walking Poles

• Padded camera insert (see inset photo) with camera 2x lenses, remote and batteries

• Lee Seven5 filter set.

This left plenty of room in the bag and had conditions or route been different I might have added a warmer jacket, more food, emergency shelter (used for brew stops rather than emergencies so far...)  ski goggles, crampons or more substantial tripod.The rucksack is superb, nothing added beyond what is needed and nothing necessary missing. I had a slightly longer back length created for me and this is probably the only rucksack I own that actually fits me. The carry is quite excellent and the quality of construction and materials are beyond criticism. This is  a bag that hugs and moves with you - it becomes part of the body when moving over steep ground. I've owned many, many rucksacks since an original Alpiniste and this has quickly become my favourite mid size sack. If you are looking for a 35/40L sack, this should be on your list.Quoted weight 0.95kg Sample weight 1.02kg. This discrepancy results from the fact that my sack was made with a longer back length and thefore was slightly larger. This also means the capacity will be slightly greater than the quoted 37l.

Nikon 24mm f3.5 PC-e Tutorials

There are only a small number of articles that genuinely give solid advice on using this lens. There is a common view that there is 'nothing out there'. After much searching I've found a few links and these are added below. If you know of a link I've missed, do get in touch and it can be added for the benefit of all.http://www.cambridgeincolour.com/tutorials/tilt-shift-lenses2.htmhttps://luminous-landscape.com/focusing-tilt-shift-lenses/http://www.davidsummerhayes.com/Focusing%20the%20tilt-shift%20lens.pdf http://www.northlight-images.co.uk/using-lens-tilt-on-your-digital-slr/http://www.northlight-images.co.uk/what-tilt-and-shift-lenses-do/https://www.schneideroptics.com/pdfs/photo/PC-TS%20Anleitung%201-12%20en.PDFShift onlyhttps://petapixel.com/2015/04/06/a-quick-introduction-to-shooting-with-a-tilt-shift-lens/http://www.cambridgeincolour.com/tutorials/tilt-shift-lenses1.htmhttp://www.oopoomoo.com/2012/0 3/seven-advantages-of-using-ti lt-shift-lenses/

http://www.redbubble.com/peopl e/peterh111/journal/5713153-an -introduction-to-tilt-shift-ph otography

https://www.redbubble.com/peop le/peterh111/journal/7077801-h ow-to-take-a-tilt-shift-photog raphThis ebook is exceptionally good.http://www.oopoomoo.com/ebook/the-tilt-shift-lens/A fine article by Tim Parkin at InLandscape, worth the subscription alone.https://www.onlandscape.co.uk/2015/03/focussing-tilt-lenses/For a practical guide to using a Tilt and Shift lens there can be no better place to go than to Aspect2i. They regularly run workshops dedicated to these lenses.http://www.aspect2i.co.uk/findWorkshop.php?workshopType=3&abilityLevel=findWorkshopAn excellent article, also published in Luminous Landscape by David Summerhayes.Focusing a Tilt and Shift lens. It also includes some useful tables to provide ad starting point for the amount of tilt required for near to far sharpness in Landscapes.

This time, it’s serious

After an abortive foray into Tilt &Shift a few months ago, it's time to have another go. In May I bought a Nikon 24mm f3.5 PC-e lens. After about a month of pain, I sold it again and bought a Zeiss 25mm f2. I spent hours trying to coax satisfactory images out of the Nikon to no avail. To this day I'm not sure where the problem lay but by the end of the month the lens was preventing rather than enabling pictures.A couple of weeks ago I considered a s/h example at MPB and while discussing it with them, it was bought by someone else. I was disappointed, the price was good and the lens looked ok. A week later the same lens was back on the shelf, having been returned. Additionally it was in their year end sale with £100 off. I was nervous about buying something that another photographer had returned and spoke to them for reassurance. This was given and I pressed the buy button. The new example arrived yesterday and looks to be a bargain. A visual inspection confirmed no functional flaws, the cosmetic wear suggested a well used lens which I take to be a positive endorsement. Optical test indoors are already more positive then the previous example ( which I now suspect, might have been faulty).The first outdoor session went very positively - a delightful dawn with frost and mist at a relatively unvisited jetty on Coniston. The conditions were too good to risk using just the new lens so I doubled up with a 16-35mm and a 50mm. There were three key questions to ask about this lens:

• Overall sharpness unshifted

• Sharpness and extent of acceptable sharpness from near to far.

• My ability to achieve the potential sharpness of the lens.

I made a number of exposures in Landscape and portrait format across the three lenses. My instinct is that that circumstances when this lens will be particularly useful is in portrait format images where I'm looking for the optimum near to far sharpness. Jetty's are an interesting subject (though admittedly over photographed) and offer distinct choices. In this instance the portrait orientation didn't yield any pleasing results on any lens and the best outcome was from the 24mm in landscape format. In the attached mage, I also decided to crop to 16x7, thus effectively losing much of the foreground sharpness so expensively won. The image must come first however, another post will contain more specific test images.Returning to the initial questions, the overall sharpness (note, of this sample) is excellent over the normal aperture range. The effect of diffraction at the smallest apertures of f22/f32 is however more extreme than any lens I've ever used. This to the extent that, if replicated across all samples, I fail to see why those stops are even offered.The near to far sharpness is excellent if focussed and tilted accurately.Even on first usage, I managed both to obtain sharp images and to begin the process of being able to do so reliably.