The XPro-2 OVF

Sorry for the overdose of Alicia over the last few posts. I just happen to be reviewing some stuff we made together over a variety of occasions during 2016 in vastly different geography and location. I had a few emails asking for some examples and clarification of what I discussed the other day regarding rangefinder style viewing and looking at it in reverse. Specifically instead of seeing things that may move themselves into your frame, looking at stuff that you will move into the frame while working a subject.

Lets start with a frame that I really like, actually liked a lot of them leading up to the one that follows as well.

As I mentioned last time I was using the XT-1 meaning SLR style viewing. Great, all fine and dandy. Then I made the next shot aware of the line on the left of the frame.

I'm still kinda okay but wanted more of the arm on the right of the frame and was feeling a bit nervous about the way that line on the left was going to interact with the frame edge so I now have a couple of choices to make really quickly as this was a period of more activity by A. starting with the first frame as compared to the ones that came before.

  • I was using the 18-55mm at 35 so I could backup and go tighter on the focal length. No go I was as at the farthest distance I could be already. Tight space.
  • Move myself a hair to the left and frame more toward the right. Okay, that sounds right. Intellectually I knew there was shit over on the right but figured I had a bit of leeway.

Okay, that's working. No strange edges on the left interacting with the frame and I'm okay with that dark furniture behind A.'s arm but it's a bit close to the edge for where this is going next. I'll lean back a bit, frame a bit more to the right but first one more frame.

Cool, Alicia's going to get wider, as in take up more horizontal space the very next frame. Lean back, frame more towards the right…

Oh, shit there's cords and all sort of shit that was way closer than I thought they were intellectually. Hard to port. Shit, there's that line and now I really don't care for it exiting the frame and still I have a little hunk of that damn cord. Move in a bit and try to hide it.

Damn it, still a bit of cord but I'll shoot anyway because I like the gesture and shapes and light.

You may find this example kind of stupid, you may even say who cares about that bit of cord assuming you like the rest. You might even say, fix it in post. Sure, all valid but still an illustration of the kind of thing I'm talking about and definitely will cause different decisions when you can see what's going on real-time outside of your framing while making decisions on where you'll position yourself and anticipating what's coming next from your subject (kind of key when making pictures of people).

These occasions with Alicia way back last spring were with a relatively manageable set of image components shooting relatively tight at a 50mm equivalent FOV. I can tell you first hand after having made a few thousand frames with the XPro-2 with more complicated visual circumstances, especially when using a much wider FOV the ability to see outside of my current frame was huge in avoiding the same kind of thing positioning myself and making framing decisions on the fly far more intuitive and efficient. A great example where I really felt a difference was here dealing with 32,000 different lines and objects last month.

End Notes

All photos made with the Fuji XT-1 and 18-55mm XF. Processing via Lightroom CC using a home-grown preset plastered on.