If you are like me, and have a “few” camera bags, they are all situation dependent. Stealth, Utilitarian, & Travel.

One thing I didn’t have is a bag that I could bring into black tie event without sticking out.
Grams (28) has come to market with a beautifully made leather bag, designed with the photographer in mind.

Well Crafted, this bag sits ergonomically right on my shoulder, and has all the pockets and space needed.

Each detail has been well thought out, and was smooth working. Zippers, interior pockets, closures, and as you can see above, even the shoulder strap looks, and works, great.

Here it is from the rear, where I put a tracking device, credentials, etc.. You know, flat-ish stuff.

As you can see, the front pocket has a slight angle to it, and include elastic holders for your batteries, biz cards and some gum.

Now, why did I say it’s the perfect X100VI companion bag?
It’s the size. And the fact that the elegance of the bag reflects the sophistication of the Fuji X100VI. (review of the camera to follow this week)
And what I can fit in there is pretty darn amazing:

The Fuji X100VI camera, a Godox flash, transmitter/receiver for the flash, extra batteries for cam and flash, biz cards (yes, I do still believe in them), phone charger with cable, and space for more. Always carry a Baggu reusable bag ,being in NYC, and the black oval thing is my air pod case by Catalyst.

Then I did try it with a larger camera, the X-H2, and it worked! You can carry that flash OR and extra lens. A little bulkier but it still closed without a bulge.

Not both an extra lens AND a flash, though.
The quality of the leather is top notch, and the zippers front closure are quality, and sleek, plus super quiet for those times you need to be mindfull of sound.

The top of the case goes fully over the interior so you are protected from the elements, although I would hesitate to be in the rain with this.
The main body of the case interior is adjustable using the classic velcro type dividers. In this bag the material on the dividers have a surface that is kind to your gear, and lenses, if you need to toss the camera in. I actually felt good carrying the camera without a lens cap on. Better for speed in shooting as well.

As I went into the real world with this bag, and attended events  the reaction was excellent! Not only did people comment on the looks, they had ideas on how they would use it, even if not for cameras. I did let them know about the company’s other options.

To be honest, this bag will come with me on specific occasions. It’s kind of like when you want to dress to impress, or blend in.

My worker bags will still be my EDC (every day carry). They are a bit beat up, and utilitarian.

This bag is special. Not delicate at all, just want to preserve that “new car smell” as long as I can.

And you can imagine that with this high end quality, also matching the Fuji 100VI, it does have a price: about $460, and right now, there is a 20% discount on the site!

All in all, a great bag to compliment your collection. Like I said, the right bag for the occasion.

I do hope they come out with a larger version, just as a choice for a 2 body, 2 lens, speedlight and more.

And check out some of the other products in the line, as they look like perfect companions to your

Think about the light you need, either as a creative solution, or because it’s too darn dark!

Chances are you have either a built-in flash on your camera, or hopefully, a separate unit.
Now, we’re not going to get into studio lighting as that is a massive subject, and just want to look at the more portable illumination here.

As a start, for events you really should use a separate flash, and you can either go to the camera manufacturers proprietary units, OR go high end with Profoto, OR more affordable Godox.
Let’s first look at the on-camera flash, units that are mounted onto the camera, as above.
One thing that I’ve always preferred, especially in daytime events, is a flash directly on camera with exposure compensating for the background and allowing it to still be seen and not throw your subject in a black hole.
Like the photo above, and below:

You can either mount the flash right into the hot shoe, as you can see above,

or use a custom bracket placing it on the same level as the camera,

or use a transmitter/ receiver situation, or  direct cable from the flash to the camera body, and using the flash off to the side, above, bounced or however you have to adjust for the environment and your personal style.

Here is how Vivian Maier did it:

And a photog from the recent Oscars:

Let’s go all Goldilocks on your possible options.

The Small:
I wanted to bring you a compact solution using a Fuji X100 series camera, and what I think, is one of the best tiny flash units out there: The EF-X20. Here it is mounted on the top. As you can see by the dials, you have a TTL option, and the lever on the side widens the flash reach. Don’t hate me, but it may only be available via EBAY. Worth it!

Have a look at this compact set-up below, and as you can see, you can either mount the small flash in the hot show, or for an off-camera flash lighting, adding in a set of Light Q transmitter receiver. So tiny. One thing to note is that they only work with the flash in Manual and not TTL. (the Light Q here is V1 and improvements may have been made in subsequent versions)

If you know how you shoot, and can assume your exposure consistency, you are good to go.
Yes, of course, determine your preferred distance from subjects, and desired DOF.
Flash runs on 2 AAA batts, so bring plenty. Recycle time is not stellar, but not the point with this set-up. Lower the output, and move closer.
The Medium:

Throw on a Fuji EF-60, or a Godox. Solid output, and you can just go with a transmitter on the camera if off-cam shooting, or just pop it on the body.
Wireless transmitters that does allows for TTL are the FUJIFILM EF-W1 Wireless Commander, that lives on the body, and can fire off the flash from the camera without a second receiver on the flash.

Batteries again, and of course use the rechargeble eneloops or similar. Bring a bunch!

The Large:
In this scenario, the camera is full size, and a Profoto A10.

Profoto makes transmitters specifically for your camera, so make sure you get the right one.
With a fast recycle time, rechargeable batteries, beautiful menu, and a round head, this is a main choice for an event where you will be able to probably shoot a 3-4 hour event with 4 rechargeable batteries. You can see above that I put a label on a rechargeable battery as there are 2 capacity options, A1 and A1X.

Also, with a flash of this size, you can add bounce cards/reflectors to the unit to soften or simply customize the light you want to work with.
As with all camera gear, what you use, depends on what you’re shooting. PLUS they make a wireless transmitter to sit on top of your camera. Connects immediately! Once again, match the transmitter to the flash and you camera brand.

In my EDC, is a Fuji x100, the EF-X20, and the Light Q transmitter/receiver set. The  option.

For a family/ friend’s event, you may want to go medium, so the gear is not overwhelming for your subjects. C’mon, you know them and want to keep it light (sorry).
For a full-on event- indoor or outdoor, wedding, business event, music (probably rock only, and be judicious with your flash!) even a portrait in a pinch.
This becomes, without question, the large option. For me the quality of the light, recycling time, and dependability,
Yes, it’s all about the look you are hoping for.

Now , it also comes down to how you are mounting the flash, if on camera.

There are 2 brackets I swear by- The Custom Brackets CB Mimi-RC.

Small, single pice brackets that holds the flash just in front of the camera body.

The other secret weapon I carry is the Newton Bracket. Not made anymore, but so well machined, and allows you to shift your flash from top to side, depending on your camera orientation. I usually don’t like sharing gear that is not currently made, but they have some on EBAY. Another item worth the hunt in my opinion.

There you have a basic breakdown of gear I use, and different combos.

There are other light modifiers I carry, but this collection are the basics, and used situation dependent.

Always remember to test your set-up before shooting, and bring plenty of batteries!

If you have been on any social media in the past couple of year, you know that the FujiFilm 100V has been one of the most sought after cameras.

Admittedly, i have using one of the X100 series for years, and it’s been the camera I grab when going out on the streets of NY. Lightweight, top notch optics, leaf shutter, and as i went through various models in the line, love all of the improvements along the way. Yes, I did pick-up the tl lens ad-on , and have used it in venues where it made the most sense. Easy to carry as well as fitting on all of the line-up as I upgrade to new models

Articulating LCD, and the more megapixels were the big ones for me on the X100V, and now they went above and beyond with the X100VI!

So, new processor with 40.2 megapixels, PLUS 5-axis image stabilization good up to 6 stops, and add in 20 film simulations for your creative choices. I usually just go with an Acros versions, and sometimes Provia. I shoot RAW so only used for jpeg export from camera.

And to further increase the versatility, this new model has 6.2K/30P movie recording capabilities.

There is a slight bit of additional LCD articulation, and I’ll take it!

The good news is also that the batteries from previous bodies can be used here, so no need to re-buy!

Size wise- it’s pretty much the same size as the X100V.

Of course the question is: Should you buy?

If you are not a current of the X100V, no question. And we have been told that availability should not be an issue. Fuji learned.

Should you upgrade? If you already have a X100V, you may not want to spend the dough, unless you can sell it.

The hot market may cool off, once the x100V1 once is available. I’m sure you will get a good price as it is still a sweet camera.

However, with all of the additional features, like IBIS and a 40.2 megapixel brand new sensor, your street work can get a huge upgrade.

And the price? About $1600 USD , and available in black or silver

And do want to mention the special edition X100VI:

Limited Edition X100VI Units:

To celebrate Fujifilm’s 90th anniversary year in 2024, a special Limited Edition of 1,934 X100VI cameras will be made available by Fujifilm, worldwide. The Limited Edition camera body is engraved with the corporate brand logo from Fujifilm’s founding in 1934, and each unit bears a unique serial number. These numbered X100VI units are packaged in a special, soft-release box that includes a special strap and Fujifilm history cards. The Limited Edition X100VI units will be available in extremely limited quantities and vary depending geographical location. Please contact your local Fujifilm sales and marketing company to explore the opportunity to purchase the item in your area.

This will be available for about $2000.

Fujifilm Debuts X100VI
Mirrorless Digital Camera X100VI’s iconic dial-based design and advanced technology includes new features for content creators of all types; special limited edition also announced in celebration of Fujifilm’s 90th anniversary
FUJIFILM North America Corporation is pleased to officially announce the highly anticipated launch of FUJIFILM X100VI digital camera (“X100VI”, pronounced X100 Six), the newest model in the popular X100 Series. X100VI offers outstanding image quality in a compact, lightweight body, and features Fujifilm’s legendary color reproduction technology, which is best experienced through its revered Film Simulation modes, a feature, users have come to expect from all Fujifilm digital cameras, along with In-Body Image Stabilization (IBIS) and enhanced video capabilities.

Product Features:

• X-Trans™ CMOS 5 HR and X-Processor 5 deliver high image quality and high performance X100VI is equipped with the back-illuminated X-Trans™ CMOS 5 HR sensor1 with approximately 40.2 megapixels. The sensor has an impressive pixel structure that allows light to be efficiently captured compared to prior X100 Series cameras. Additionally, ISO 125, which on the previous X100V model was only an extended sensitivity option, is now available natively on the X100VI. With its fixed, 23mmF2.0 lens, X100VI delivers sharp, high-resolution images.

• X100VI comes with 20 of Fujifilm’s popular Film Simulation modes, including the new REALA ACE mode, which applies a diverse range of distinctive tones to the user’s images. REALA ACE mode offers faithful color reproduction and high-contrast tonality, making it suitable for a wide variety of subjects and situations.

• The camera incorporates an impressive autofocus (AF) prediction algorithm for reliable focusing, even when recording continuously-moving subjects. X100VI uses the subject detection AF X-Processor 5 to accurately track a range of subjects. Built using deep-learning AI technology, it can detect animals, birds, cars, motorcycles, bicycles, airplanes, trains, insects, and drones2.

  • Enhanced high performance to maximize X100VI’s range X100VI is the first camera in the X100 Series to incorporate a 5-axis, in-body image stabilization function with up to 6.0 stops, while generally maintaining the X100 Series’ characteristic compact size and lightweight, only having increased in weight by 1.52 ounces over the previous model.The “Advanced Hybrid Viewfinder” allows the user to switch freely between the optical viewfinder (OVF) and the electronic viewfinder (EVF), pursuing the rangefinder style of photography that has been a hallmark of the X100 Series.

• The EVF is equipped with a high-resolution OLED panel with approximately 3.69 million dots, optimizing the immersive shooting experience. The “Electronic Range Finder” (ERF) function allows a small EVF to be simultaneously displayed on the OVF. Using this feature, the photographer can view either the entire frame or the area of critical focus, increasing the capabilities of a standard optical viewfinder. The ERF function is highly convenient, especially for street photography. 2 Subject detection setting should be on “Bird” to detect insects, and on “Aircraft” to detect drones.

  CIPA compliant, Pitch/yaw direction, when EVF/LCD is used

• X100VI is capable of 6.2K/30P movie recording, a first for the X100 Series. The camera is also equipped with a tracking AF function during movie recording to ensure high-quality content creation.

  X100VI offers an accessory-free, native Camera to Cloud integration for Adobe’s Frame.io, which allows users to wirelessly connect any X100VI to an active internet connection, authenticate it to Frame.io, and automatically upload photos and videos just moments after they are created. This can drastically reduce the amount of time needed to reach the end of any post-production workflow. X100VI is the latest in FUJIFILM‘s digital camera portfolio to integrate Frame.io’s Camera to Cloud technology, joining X-H2, X-H2S, and GFX100 II in offering the capability.

  • Sophisticated, functional product design As with the prior model, aluminum is used for the top and bottom surfaces of the X100VI body. Aluminum, which features a high degree of malleability, is pressed and machined for crisp, clean edges, and the surface is finely blasted for a smooth texture. In addition, anodized aluminum is used on the camera surface to produce a high-quality finish.

• X100VI’s ultra-thin tilt LCD monitor can be stored in a fully flat position, a design leveraged from the X100V. The stylish, integrated body design allows for a variety of shooting styles, from high to low angles. The shape of the grip has been fine-tuned to ensure a secure yet comfortable feel. The positions of the buttons on the back of X100VI have been designed to maximize ease of operation with the right hand, enabling extremely comfortable shooting while utilizing the viewfinder.

• Wide variety of compatible accessories enhance X100VI’s capabilities Weather resistance is available for X100VI when the optional AR-X100 adapter ring (MSRP $49.99 USD/$50.00 CAD, available in silver and black) and the PRF-49 protection filter (MSRP $55.99 USD/$70.00 CAD) are used in conjunction with X100VI’s lens. This allows the user to continue making images in challenging weather conditions.

• Fujifilm’s optional LH-X100 lens hood (MSRP $139.99 USD/$100.00 CAD, available in black and silver) is also compatible with X100VI. In addition to being lightweight and precisely crafted from machined metal, the hood is cleverly designed not to obstruct the field of view when looking through the viewfinder, thus achieving light-shielding performance.

• Two separately offered FUJIFILM conversion lenses allow the user to change the focal length without changing the optical performance of X100VI, thereby enhancing the photographic field. WCL-X100 II (MSRP $349.95 USD/$450.00 CAD, available in silver and black) is a dedicated wide conversion lens that multiplies the fixed focal length by approximately 0.8x, converting it to 28mm (35mm format equivalent), while the TCL-X100 II (MSRP $349.95 USD/$450.00 CAD, available in silver and black) is a dedicated teleconversion lens for narrowing the field of view by multiplying the fixed focal length by approximately 1.4x, converting it to 50mm (35mm format equivalent).

• Adding the separately offered, LC-X100V genuine leather case (MSRP $79.99 USD/$100.00 CAD) ensures the X100VI can be carried in style. The battery and the user’s memory card can be inserted and removed from the camera without the need to remove the camera from this case.

Pricing and Availability:
X100VI is expected to be available from Fujifilm dealers early March 2024 at a Manufacturer’s Suggested Retail Price of $1,599.95 USD and $2,159.99 CAD.
X100VI Limited Edition is expected to be available directly from Fujifilm commencing in late March 2024 at a Manufacturer’s Suggested Retail Price of $1,999.95 USD and $2,699.99 CAD.
For more information about X100VI, please visit this link .

I have a great deal of respect for companies that are dedicated to their product line, and of course to their customers.

Yes, there are all of the camera manufacturers, who know once you are in a system, you will probably stay, unless you have unlimited funds. We could talk forever on each one, and why they are awesome.

I’m talking about the companies that support all of your image making, because if you don’t have the best output, it doesn’t matter what gear you had in your hand.

Think of brands like Adobe who are all about the digital image, and they maintain the product line and support for all that. Not hardware, but software.
Then you have a company like Datacolor who is dedicated to ensuring that all of the work you do looks great : When you are making the image, and then exporting the result. Yes, I’ve had more than a couple of posts where they were featured, but employing their full line is obviously something I take seriously.

Let’s go through some of the product line, and why I depend on them for my workflow.
Once you employ their tools, It’s all about getting the baseline, as in a correctly exposed and accurate file as they were shot. Once you have a baseline, let your creatives juices flow.

Starting from the right place is the idea, a little bit like starting with RAW, relatively untouched files.

For me, the first step is starting with a calibrated monitor.
What that means is that the monitor you are editing with should be calibrated to a standard color band. Not that you wouldn’t get creative,  and make sure the look of the photo or video has your look on it when you finish working on it.
This will ensure that you started with a  correct baseline. If you are not working with a calibrated monitor, the work you put into image, may not look the same once you get it into other environments. Like a book, or prints.
Enter the Spyder X2 Ultra calibration device.

It is so easy to calibrate your monitor, and the Datacolor software walks you through it.
Maybe it’s a 2 min process.
Essentially, you first set the device near your monitor on your desk so it can read the light in the room. (more on that in a sec)  Then the software walks you through the steps to hang the device onto your screen, as it cycles through the calibration process.

At the end you can save the profile for, perhaps, how your camera exposes in certain situations, like a wedding or event photographer who uses a certain lighting setup, even flash-on camera, and here is a bonus feature :
Monitors don’t keep their corrections forever. Just a fact of life. The Datacolor software sends you a reminder every month, so you know when to refresh the settings. I kinda like it when this pops up on my screen. A gentle reminder.

Genius!!

One thing to remember is that when you are working on a screen, the ambient light in your room will affect the perceived color.
In my day job, I produce commercials , and when we have been in the remote world, my biggest issue has been trying to see, on my home office screen, as close as I can get to the colorist screen.
How do they know what my ambient light is?
The Spyder X2 Ultra solves this issue, by having a sensor that takes that light by your monitor into account, as shown blow

And there is an additional feature in the software where you can turn on automatic ambient light adjustment. They took into consideration that the light in your post production area may shift during the day. You just have to leave the unit plugged in, and it will adjust your monitor(s)

OK, you have set your monitors, and you have a confirmed color, or a black and white baseline.

Next part of the equation, are the compact, portable color charts.                                                                                                      They are always in my camera bag, as the size allows for that.

One is dedicated to still photography. The Spyder Checkr Photo is a set of 4 color and B&W charts, set in a click stop case. Small, locking , and you can even replace the charts if you get a smudge or hand grease on it.
The way it works is that you preset the standard chart in your computer, and this can be done with include software and images.
When you are about to shoot, take and shot of the color chart near your subject, so that the lighting is similar. All about the light falling on the color chart.

Easy Peasy. I even have used it on the street, where I may photograph the chart, and then at least to have a standard to deviate from.

When you return to your post production set-up, take the shot of the color chart from your shoot and match it up to the sample. Then you Edit in Spyder and set the color.

Here is how you do that in LightRoom: go to Photo>Edit In>pick edit in SpyderCheckr (yes you do need to have the software installed on your computer for it to show up in the Edit In options)

Then there is a video equivalent color chart. Spyder Checkr Video.
Here is a basic video to give you a look at how it operates.
This works kind of in the same way as the photo checkr. However, the color correction is a bit more complex in video, as you are making adjustment on vector scopes that you use in your editing software, like Premiere  or DaVinci.

You still shoot some frames of the color chart and B&W reference. Go into the vector scope and match up the value from the chart
Do white balance, hue, and saturation for each scene that you captured
More for an advanced user, but starting with great color and exposure, before you add your creative looks.

And the PDF instructions for use. 

How else can you ensure a quality image?
As we are dealing with light, the way light falls on a subject can tell you about proper exposure.
Datacolor makes a very cool product called SpyderCube cube that has a ¼-20 thread so you can introduce it into a scene, and see how the light falls using black, grey and white surfaces to let you know when to add or subtract light in post, and get proper exposure in your working file.

There is also a reflective ball on top. Basically calibrating for the specular highlights. Use the highlight slider to adjust for that. Grey, and white sides to generally balance, and an interested black hole on the bottom, which represents the total absence of light.

All of these factors will lead you to a well balanced, and properly exposed image. Of course the color charts will give you much more information, and if you are shooting for a client with a packaged product especially, exact color reproduction is critical. We call these “color correct props” that are generally created by companies that specialize in this, and work from files that have been approved by a brand. Not what you may buy off the shelf.  As a photographer/director, you are responsible for making sure the product is accurate.

I recently published a book of photographs, and the need for correct color was never more critical.                                                            Before you go to press, you have to make sure that the files you supply are what you want the final image to look like. Datacolor Spyder X2 Ultra was the only way to go.

I was able to review PDF layouts from the publisher, and because I was looking at them on a calibrated monitor, if any adjustments were needed, I could easily see what they were.

Plus, the X2 Ultra accommodates multiple monitors, and as I was using 2, it allowed a perfect color matching on both
You know what they say, GIGO: garbage in, garbage out.

The Datacolor Spyder X2 Ultra is my go-to monitor tool, and I depend on it.
The color charts are always in my bag, as the size doesn’t take up much room.
The Cube can be used  even if you don’t want to bring out the full color chart: small, easily held by a subject in a portrait situation.    Even a location portrait!

There is another product of theirs that is more geared to my older kit of Nikon DSLRs.
It’s the DSLR’s that allow you to set your lenses focal point.
It’s called a Spyder LensCal.

What this product does is let you calibrate (that word again!) your lens to make sure that it’s focusing correctly. On my older Nikons I could adjust a critical focus point, and used this tool. When I first tried this, I was shocked how slightly misaligned some of my lenses were.

With current cameras, I would only use it to set a main focus point and then know what the depth of field was. Super niche and not sure you need it.

Have a look at their full product line. And if you are someone who prints, Spyder Print maybe the product you need:

“The Spyder Print software creates a fully editable, custom profile to ICC standards. You’ll get the most color-accurate reproduction of your image files and reduce ink and paper waste from repeated print outputs while optimizing the performance of your printer.”

Paper and ink waste has always been a problem for me, when I printed. Creating a custom profile could help your print sales.

It’s a poor craftsman who blames their tools, but you must keep them in proper order.
I have seen sales on these items from time to time, you can get set-up, and

Make sure your images from 2024 are all that they can be.
As I said in the beginning, Datacolor, as a company, is dedicated to this.

Happy New Year!
I think we can all agree that 2023 was challenging on so many levels.
But we all made it through!
On to 2024, and a new device to maybe help you keep your calm, and focus.
It’s something I keep in my nightstand and take it when I travel.
Whether you have stressful shoots, attend business affairs with a lot riding on it, or just look at this year ahead and know there will be a bit of tumult, this little unit will help calm the waters.
Nothing artificial, nothing you put inside your body.
It’s the Morphee Zen Pebble:

72 audio sessions designed by relaxation experts. Continue Reading »