Mirrorless camera tips and tricks

Shooting in the tunnel of memories: Using the Sony A7 for Video

30/06/2014 By Mathieu

These days when we mention the words video and Sony in the same sentence, we immediately think of the brand new Sony A7s and its amazing low-light capabilities. While we wait to receive a unit to review (and this should happen very soon), I thought it could be interesting to write about a film I shot in February with the Sony A7, when there still wasn’t a single rumour about an “s” version.

Let’s shoot some action! – An in-depth look at the Fuji X-T1 autofocus capabilities

05/06/2014 By Mathieu

Note: in June 2015, Fujifilm released the firmware version 4.00 that adds several new features concerning the autofocus. You can read my in-depth review about it here.

In my opinion, there are two ways to evaluate the autofocus of a camera. The first is to leave everything to the camera. You point and shoot and see how the camera software/hardware behaves. The second way is to understand how the camera works to get the most out of it. This requires not only more patience and time, but also the presence of various, and sometimes difficult, conditions to truly understand what the camera’s limits are.

A first look at the Fujifilm Film Simulation modes with Adobe Camera Raw 8.4

25/02/2014 By Mathieu

In 2013 I wrote an in-depth article about post-processing the Fuji X100s colours with Adobe Lightroom and many other software programs. One of the most interesting benefits when working with Fuji X-Trans cameras is their unique colour palette rendering. The colours look different, less digital than any other camera. But to completely enjoy them, you need to rely on the OOC JPGs. If you want to work with the raw files and not lose these colours, you have to find a software that can match them as closely as possible. Unfortunately, Adobe Lightroom and Camera Raw were the last on the list regarding colour accuracy.

A shallow depth of field with a Micro 4/3s camera? Yes, it is possible!

16/01/2014 By Mathieu

Many photographers looking for a lighter solution to their DSLR halt in their tracks when they hear the words ‘Micro Four Thirds sensor’. They fear that the depth of field and overall result produced by a smaller sensor will not be adequate to give that “3D pop” that many desire to see in the images they produce. Certainly, the way you handle depth of field on a full frame camera is different to a Micro Four Thirds camera. It is also true that there are some full frame lenses capable of rendering an astonishing bokeh that you will rarely, if ever, see on a M4/3s camera unless you use those specific lenses with an adapter.

Personally, the presence of a smaller sensor and the resulting depth of field would not influence my decision to either keep or discard a system. Bokeh is a natural consequence of how I take a shot and the feelings I want to imbue it with. The important thing is to know the system and lenses inside and out, and pick the best lens for your goal. I’ve never had a moment’s hesitation when shooting MFT nor thought of what I could have achieved if I’d had a full frame camera instead.

Contemporary Dance in Moncalieri: Pushing the Lumix GX7’s autofocus to the limit

03/12/2013 By Heather

“Elena’s asked us to photograph one of her dance performances on Saturday night in Moncalieri,” I hear Mathieu yell from the kitchen.

Looking down at the Panasonic Lumix GX7, a smile breaks across my face. I realise that there is one more test I have to perform before I can close the chapter on this mirrorless marvel. Though I’d already used the GX7 in poor lighting to test the ISO and internal stabilisation, and tried out the C-AF, tracking and continuous shooting on my friend’s daughter running towards me on a sunny day at the park for our full review, I’d never put the two conditions together. The combination of low light and moving objects would tell me whether the GX7 could really claim the title of ‘professional mirrorless camera’ or not.