Andy Mumford is a Lisbon based professional landscape and travel photographer. He focuses on traveling, shooting landscapes and teaching photography through workshops and writing. Also you will find photography equipment reviews.
Since I first started landscape photography I’ve always enjoyed making long exposure images of water. I love the surreal feel it gives the landscape, and in this video I discuss the gear and technique required to shoot them at one of my favourite locations in Carrasquiera, Portugal
It's a location I've been shooting for almost 12 years now and have captured some of my favourite long exposure images while there. Sadly, on the day I went to shoot this the clouds disappeared leaving me with clear skies which isn't ideal for landscape images, but as this was the third time I'd made the 200km round trip to try to shoot the video (the first time the tide was a little too low and the second time the wind was ferocious and recording audio was impossible) and as the location generally works well even without clouds, I decided to shoot the video anyway.
The Western Digital My Passport Wireless SSD is the latest iteration of a portable back up hard drive that WD started with the Ultra a few years ago, and for me is an absolutely essential piece of kit for any travelling photographer.
So what is it and why is it so useful? Well, essentially it’s a portable solid state hard drive with a slot where an SD card can be plugged in, and with the touch of a button backed up onto the drive with no need for a laptop, so it can be backed up in the field, in the airport, or anywhere. I’ve never really liked travelling with a laptop if I can avoid it as I just prefer not having to carry one with me or leave it in the hotel room or refuge, and I rarely want to do significant editing while I’m on the road. However, having a laptop that you could used to back up the files onto an external HD gave a level of security incase a camera got dropped, or a card corrupted or damaged in some way. When Western Digital launched the My Passport Ultra I was really impressed as it was something I’d been wanted for a long time, an external hard drive that could back up an SD card without the need for a computer or external interface. WD than launched a wireless version which could connect to an iPad or iPhone, and while this was also superb my main problem with both of these drives was that they were HDD with a spinning disc, which makes them pretty vulnerable to drops and banging about in a bag.
The latest version with a solid state drive, which means it has no spinning disc or moving parts inside it making it a tougher, longer lasting and faster, is pretty much perfect for travelling. The fact that it’s a flash drive does make it more expensive than a spinning hard drive but for me it’s worth it as I know it will survive a lot of the bumps my hard drives are often subject to, as well as lasting longer. It also comes in a rubber case, which gives it a little more security, and while I haven’t seriously dropped it yet, it’s been banged around a fair bit since I bought it and functions perfectly well.
The drive comes in different sizes; 250GB, 500GB, 1TB and 2TB, and I went for the 500GB version as it’s very rare that I ever shoot anything like that amount of data when I’m travelling, even with the 4k video on my cameras and drone, and shooting full uncompressed RAW images. The back up function is superb and couldn’t be simpler. You simply turn it on, insert the SD card into the slot in the side, then press the SD button and the drive starts to copy the data on the card.
While it’s copying, the 4 blue LEDs on the front flash in sequence, and then when it’s done you just pull the card out. It has SD 3.0 and WD claim up to 65MB/s, and I found when I copied 100GB of data from a 128GB card and it too around 30 minutes. It creates a new folder for each card so files are kept well organized, and so when you get back home it’s easy to connect the disc to your computer via either the USB 3.0 cable or wifi, and then add the disc to Lightroom (you just click on Add Folder and add it to your different discs) and from there import the images to wherever you want to put them.
So as a back up system it’s really useful and reliable, but it also has other functions which I really like. First of all, it creates it’s own WiFi network and comes with a password so it can connect to a tablet or smartphone via the WD My Cloud app. The app has nice functionality which allows you to see and organize everything that’s on the drive. You can view photos (even raw files) and videos on a bigger ipad screen to check for things like focus etc
You can also open RAW files in Adobe Lightroom CC on a mobile device and edit them. Now I much prefer to do serious editing back at home on my laptop, but the mobile version of Lightroom has a fantastic amount of features and it’s fine for quick edits on an image to post on social media while you’re on the road. If you like, you can then save the images into Adobe Creative Cloud and the edits you’ve made on it will still be there when you open the image from Creative Clound in Lightroom CC on your laptop at home. So, if you want it the WD My Passport Wireless SSD does give the ability to edit RAW files while travelling without the need for a laptop.
Another function I really like about the drive is the ability to use the WiFi connection to connect to an iPad and watch movies or videos while travelling. Before I go I’ll copy a couple of movies and documentaries onto the drive, and then while I’m sitting waiting in an airport or hanging around in my room I can connect my iPad to the drive and stream something to watch. Combined with the VLC app, you can watch pretty much any kind of video file, and I'm now no longer confined by the limited storage left on my iPad and can take enough stuff on the SSD so I’ll always have something to watch no matter how long the trip.
Finally, the drive has it’s own inbuilt battery which gives it up to 10 hours of power for backing up the cards or connecting to a tablet or phone. Additionally though, the drive has a USB slot which allows you to charge devices from it’s battery. I’ve found that it will charge an iPad mini or one of the batteries from my Fuji X-T2, which just adds to it’s usefulness in the field.
Overall, I’ve found it to be a fantastic thing to take with me on trips. Just the one touch back up in a sturdy, reliable drive would make it an essential piece of kit for me, but the additional ability to view and edit RAW images, to watch movies and documentaries via streaming and to use as an additional power pack for my phone, tablet and camera batteries are absolutely brilliant and anyone who spends any amount of time travelling and photographing or shooting video should have one in their bag.
It's been just over a year since I started my Youtube channel and I've been blown away by what a fantastic place it is for photographers and photography. I still feel I'm learning about making videos as I go and there's a long way to go before the finished product is as good as I'd like it to be. I'm also incredibly slow at making them, but like everything, practice makes...well, if not perfect, then certainly better...
My latest video is a topic I've written about in blogs and articles a couple of times before, using telephoto lenses for shooting landscapes. It's not just about bringing the scene closer, but using the characteristics of telephoto lenses to create a completely different perspective on the scene than you can get with a wide angle or mid range focal length.
I'm hoping to get a couple more short videos done over the next month or so, then I'll be in Norway and hopefully I'll be able to put together a few videos that go from shooting on location right the way through to editing.
Landscape Photography - 6 Reasons Why You Need A Telephoto Lens - YouTube
I kicked off 2018 with my first workshop of the year the other week. It’s going to be an exciting year with workshops in Tuscany, Iceland and Italy, as well as trips to Lofoton, and possibly more planned so far. I always enjoy meeting new people, and sharing locations and photography tips with workshop participants is one of the best parts of the job. This time it was a local workshop with some time spent shooting on the west coast, a sunrise at Vasco da Gama bridge and then some street shooting around the old neighbourhood of Alfama.
We had some fantastic light and skies out on the coast for the first nights' shooting, and as no-one was in the mood for any climbs or hikes to some of the more wild beaches, we took it easy at the lighthouse of Cabo Raso.
The following dawn was about as cold as it gets in Lisbon with fresh clear skies at sunrise. It would have been nice to have some clouds but I seem to be jinxed with this location as every time I go there skies seem to be clear. We shot the bridge from the southern side in the pre-dawn including the piers in the composition, then as the sun was coming up, moved under the bridge to the north side where the composition is slightly different. Here there are no piers, the bridge is curving away from you, and the sun rises behind the shape of the bridge which allows you to create sun stars.
We then walked down through Parque das Nações, did some long exposures of the outside of Oriente station to blur away the traffic and pedestrians before heading to my studio to have a look at some processing tips. Lunch was in a traditional restaurant in the old neighbourhood of Alfama, followed by an afternoon spent wandering the local streets looking for interesting ways to capture the city before we finished the day with dinner at one of my favourite restaurants
If you’d like to join me for a one day workshop in Lisbon, either one-to-one or a small group, drop me a line via the contact form.
Back in the autumn Teresa and I spent two weeks in the Dolomite mountains amongst some of the most beautiful landscapes in Europe. The gateway airport is Venice, a 2 hour drive away from Cortina d’Ampezzo and it seemed silly to pass through the airport and not spend any time in the city. I’d never actually spent any time there and Teresa had been back when she was inter-railing in her 20s, so we booked a few nights in a hotel after we returned from shooting in the mountains.
Venice is one of those cities which you hear so much about and have seen so many images of that you feel that you know it before you’ve even been there, and yet arriving by vaporetto is undeniably thrilling. The city appears on the lagoon and pretty soon you’re entering it’s canals and it hits you how beautiful a city with no cars, no roads, no bikes, just canals and pedestrians really is. We hopped off the vaporetto, dropped off our stuff and then just dived into the city with no real destination, just the intention of getting lost in the streets and seeing what we would find.
I’d spent the previous two weeks shooting landscapes with the X-T2 and my 10-24mm and 55-200mm lenses, and while I love how light the Fuji kit is I was determined to try to shoot Venice with just one camera and one prime lens so I wouldn’t have to carry a bag, just the camera with a wrist strap. The X-T20 really is a tiny yet powerful camera, and with the 18mm f2, a lens I particularly like because the focal length as is wide enough for street shots and environmental portraiture, you can pretty much fit it in your pocket.
Heading out onto the streets of an unknown city with just one camera and one lens is actually quite liberating and I can understand why so many people love the Fuji X100. It’s so small and light and there’s no thinking about which is the best lens or focus length to use, rather you have to think more about how you’re going to compose the scene with the one focal length that you’ve got. I found that this opens up a degree of creativity, focusing on details and abstract parts of a scene, and the controls of the X-T20 really help with this by being able to make rapid changes to the settings through the dials whilst seeing what effect that has on exposure through the EVF.
As for the city, well it’s absolutely amazing. I’ve heard people say that Venice is overcrowded and has too many tourists, and while it is incredible busy in the main streets the same can be said about every major city in Europe. Certainly my home city of Lisbon is the same, but in Venice it seems to be alleviated somewhat by the fact that, as I said above, there are no cars, no busy roads with traffic zooming past, no buses or trucks, just canals with their assorted boats and it makes the city automatically feel more peaceful than almost any other city I’ve been in. Not only that, but we found that it’s relatively easy to escape the crowds and find relatively quiet parts of the city. The main thoroughfares channel everyone though the city passing the major tourists spots like the Rialto bridge before opening out at Piazza San Mar, but duck into a side street and take a couple of turns in the neighbourhoods of Cannaregio, Santa Croce or Dorsodouro, and it’s easy to find yourself away from any crowds, wandering quiet streets and through squares with children play after leaving school. I was amazed by the city, it has so much character, and was genuinely surprised to find neighbourhoods which were still inhabited and thriving in pretty much the same way that you imagine they have been for centuries.
Taking photos with just one fixed prime soon became second nature and a lot of fun. The X-T20 excels for this kind of shooting; it’s so small that carrying it in my hand all day is practically unnoticeable, and it’s super responsive making it really quick to get up to my eye, frame, expose and focus in an instant in scenes as they were unfolding around me, whether it was a num walking past a wall, a kid playing football in a square, or a gondolier ducking to fit underneath a bridge. The camera is so quick and intuitive, as well as being inconspicuous and a lot of fun to use. The XF18mm lens is contrast-y and while not being the sharpest lens Fuji make it’s plenty sharp enough for this kind of shooting, and while the AF can hunt a little I don’t remember missing a shot because it failed to focus on what I wanted it to focus on. I do miss the joystick on the X-T2, which is superb for focusing while the camera is pressed up to the eye but I managed fine with the touchscreen just fine.
There were however a couple of occasions when the 18mm simply wasn’t wide enough, so for the classic shot of gondolas at sunset in San Marco and for the church of Santa Maria dei Miracoli where I needed to shoot wider, the 10-24mm was rolled out.
It was a lovely couple of days in one of the most incredible and beautiful cities on the planet, and a perfect way to finish of our two weeks in Italy.
After leaving Val Gardena we headed east, first through Passo Sella which sits between the peaks of Sassalongo and the cliffs of the Sella towers, then following the hairpin roads twisting up and down valleys across Passo Pordoi and down to the village of Arraba where we stopped for lunch. After that we continued to the Passo Falzarego, somewhere I was interested in seeing as on my next trip here I’d like to stay at Rifugio Lagazuoi, a mountain hut perched at 2700m with panoramic views across all of the local peaks. It was only open for a few more nights before the end of the season when we were there and unfortunately was fully booked, but next time I’m in the Dolomites I definitely plan to stay here and spend a couple of sunrises and sunsets shooting from the top.
We arrived back at Cortina d’Ampezzo and continued north east to Lago Misurina, which will be one of our bases for next years’ workshop, and then continued on to Lago Antorno. I’d booked a room in the small hotel here, which is pretty basic but well located for shooting the lake. I spent the afternoon exploring and then shooting the sunset with beautiful light hitting the peaks of Tre Cime.
The lake has wonderful views of the peaks of Tre Cime to the north and the Cadini group to the south east, but the arrangement of trees on the edge of the lake means that there are only a couple of places where you can get effective compositions and to compound this there’s a small footbridge between the lake and a small pond alongside it which people like to include in their composition. This means that most people tend to shoot from the same place and if you want to shoot from the waters edge you end up in their shot, so there’s an element of turn taking and cooperation involved. At sunset there weren’t really enough people there for it to be a problem, but at sunrise the next morning it was quite busy with around 8 photographers trying to work around each other. Fortunately everyone was pretty good natured so it wasn’t too much of a problem and we were treated to a lovely sunrise. I decided not to include the footbridge in my composition and focus on the lake and the flora there.
That afternoon we headed up to Tre Cime to explore. It’s only a 15 minute drive from Lago Antorno, but the road is pretty steep with some very sharp turns. We arrived at the Rifigio there and had a fantastic lunch in the restaurant with panoramic views out across the Fadini peaks. The Tre Cime, take it’s name “the three chimneys” from the fact that the peak is split into three towers, and walking around the base of the peak seeing the towers reach vertically into the sky it’s hard not to be impressed. The rifugio is at around 2000 meters and from here there’s a path that circles the peaks, as well as numerous trails that lead deeper into the park and it’s otherworldly landscape. There are so many different compositions and locations here that you could spend weeks photographing the park and never get bored but I particularly wanted to shoot from the east looking along the line of the three peaks towards the setting sun. This meant heading up the slope towards one of the old trenches and caves that date back to the First World War, and although the hike was relatively straightforward the cold and wind were pretty biting which made hanging around waiting for the good light to come a little uncomfortable. I passed the time by shooting time lapses and bits of video but mostly hunkered down into the trench trying to get out of the wind as much as possible. It really was pretty intense up there, but it was well worth it and the views in pretty much every direction were amazing. It’s possible to shoot the peaks to the north, the Cadini group to the south east and the main peaks of the Tre Cime to the east from pretty much the same spot and I seemed to be constantly switching position between the three views and using my X-T20 (which I always carry as a back up camera) for the telephoto shots so I didn’t have to change lenses in the wind. Unfortunately the sky above the Tre Cime never really fulfilled it’s potiential, but for the other views I was treated to some wonderful conditions
Despite the cold and wind it was a fantastic night and it’s one of those locations where it’s really hard to pull yourself away from. However when it started to get dark I switched on my head torch and headed back down to the main trail to meet my wife at the Rifugio before heading back to our hotel
The next morning we set off to our final base in the Dolomites, the town of Pescul in Val Fiorentina from where I planned to shoot the peaks of Civetta and Pelmo. We crossed over the Passo Giau before turning south into Val Fiorentina
It's an incredible pretty valley between steep hills and wherever you, are the peak of Pelmo looms over you. We spent some time relaxing in our room, which after the poky shoebox we’d staying in next to Lago Antorno was incredibly welcoming, and I checked the map trying to find the best way to access the location I’d picked to shoot Civetta from because between seasons there's no chair lift or cable car access and I wanted to find the best path. In the end the best way was to drive down the valley, loop around Monte Crot, and then along the track to Malga Fontana Freda, leave the car there and then hike the remaining 4km up the grass covered ski slopes. There’s an altitude gain of around 400m, and it took us around 45 minutes to make the walk up to the top of the ridge that sits between the peaks of Civetta and Pelmo. On the first evening I left it a little late to set off so the sun was almost setting by the time I reached the top, but still the view across to Civetta was wonderful.
The next day we spent hiking around the valley and exploring the beautiful hamlet of Toffol before setting off on the same route as yesterday, but this time much earlier as I wanted to shoot a small film for my Youtube channel and make sure I had plenty of time to shoot both Civetta and Pelmo. I’d originally hoped to be able to shoot both scenes from the same location, but on the previous night I’d realised that they were about 8 minutes apart, which makes it tricky to shoot both in peak light. We set off from Malga Fontana Freda again, stopping to shoot along the way, and when I reached the top I was amazed at the light streaming through the mountains into the valley and onto the cliff walls of Civetta’s peak. I captured some shots here as well as some video clips.
It was the kind of scene that’s hard to walk away from, but it was my last night in the Dolomites on this trip and I really wanted to get some shots of Pelmo too, so I headed back down the trail to where I had a clean view of the mountain’s peak and shot the very last light of day there.
Composition is one of the most important aspects of creating good photographs, .and because of it’s abstract nature perhaps one of the trickiest to understand. Just what is the best way to arrange the various separate elements of a three dimensional scene into an effective and cleanly composed two dimensional image?
The first thing to understand is that a camera doesn’t see a scene in the same way that our eyes do, and therefore we need to teach ourselves to see the world as our camera does. When we look at a scene our vision often automatically “edits out” various distracting elements in order to simplify and make less complex the huge amount of visual information our eyes actually take in. A camera though, no matter how sophisticated it’s image processor, never does this, it records everything it sees with equal importance. Often a scene that may have appeared to our eyes as an ordered, uncluttered vista can be recorded by our cameras as a confused and jumbled mess if not composed properly.
Also, despite the fact that an image is static, our eyes actually like to move through a composition from one point to another and so we need to arrange the different elements of the composition with this in mind.
In my latest video I’ve gone over the different process I go through in my own work and listed 6 different tips to bear in mind when shooting landscapes.
6 Tips For Landscape Photography Composition - YouTube
Back in the autumn I spent a couple of weeks travelling in the Italian Dolomites, some of the most beautiful mountains in Europe. I’d planned the trip at this time of year as late September/early October is when the trees are starting to turn golden and when the tourist season has passed leaving the trails and many of the more popular locations empty.
Getting to the Dolomites is actually pretty easy, you just pick up a rental car at Venice airport and then it’s a two hour drive north into the mountains, and by early afternoon we were passing through the town of Cortina d’Ampezzo on our way to our first destination. I’d planned to stay a couple of nights at the rifugio on the shores of Lago Federa on the Croda da Lago trail, which meant a bit of a hike up through the forest to get there. We parked the car in the lay-by next to the road and transferred the stuff we’d need for the next couple of nights into our backpacks. The rifugio has comfortable mattresses but doesn't provide bedding so we had our sleeping bags with us, clothes for a couple of days, and of course all my camera gear and drone. It’s a beautiful walk up through ancient forest with views out over the surrounding peaks.
We took our time as it’s quite steep in places, and after getting up at 4am to get to the airport we were pretty tired. It’s a 400m ascent across a 6km hike, and after about an hour and half we had climbed to the flat plateau between peaks where the alpine lake of Lago Federa is situated.
It was close enough to sunset for me to find spot and get some shots before we headed over to the Rifugio at the lake’s edge. After a warm meal we went straight to bed and quickly fell asleep after such a long day. The next morning I was up for the sunrise and heading around the lake to find a shooting location. I wanted to get something different from the more obvious lake reflection shot from the water’s edge and so scrambled up the slope beneath the cliffs to get above the trees where I could see some of the surrounding peaks as the sun came up. It was a lovely place to spend some time watching the colours of the sky change and then the sun sweep over the trees.
The light was wonderful and on the way back I kept stopping to capture more images of the golden trees being illuminated by early morning light before eventually getting back to the hut to get breakfast.
We spent the day hiking around the area, sitting under the trees in the beautiful forest and exploring the local trails. It really is a wonderful area and one I’m really excited to bringing a workshop to next year as it’s a location that almost no other workshops visit. I spent the evening at the edge of the lake shooting the sunset and then once again the next morning in the same location where I was treated to a wonderful sunrise as mist rose up the valley and swirled around the peaks.
After breakfast we packed up and headed back through the forests, down the trail to where we’d left our rental car parked 2 days previously. I’d been blown away by Croda da Lago, it really is a spectacular location, and while we’d hiked up through the forests it also possible to access it via a 4x4 alpine taxi. When I bring the workshop here next year we’ll be travelling up from Cortina to shoot the lake at sunrise in a comfortable Land Rover making it a much easier experience and allowing us to save a lot of time and energy.
After getting back to our car we headed into Cortina for lunch and then struck out west across the high passes of the Dolomites towards Val di Funes. There are some stunning roads on this route and the passes across the mountains are particularly incredible. We headed across Passo Falzarego and then Passo delle Erbe, where the peaks of Peitlerkofel loom over the eastern end of Val di Funes.
It was at this point that the weather turned. There was lots I wanted to see in the area, and from our base in Gufidaun I’d planned to photograph the churches of Santa Maddalena and San Giovanni as well as the high alpine plain of Alpi di Suisi, so we’d planned to stay for 3 days but in the end we had pretty terrible conditions which meant the peaks of Sassalongo were perpetually covered in cloud while I was there, and I never really saw them.
I had a little bit more luck with the churches, but not much. The beginning of October saw Oktoberfest in full swing around the valleys and the village of Santa Maddalena was the location of a Spekfest and completely surrounded by all the paraphernalia of the festival. The weather also didn’t play ball, so on the two sunrises I went there to shoot it it was made invisible by thick fog. With the iconic church of Sa Giovanni I only had the opportunity to shoot it unsubtle afternoon light, but even then it’s a lovely location beneath the peaks of Sass Rigais and Furchetta.
After three days and the weather refusing to lift we moved to our next base in the neighbouring Val Gardena. I wanted to shoot the peaks of the Odle/Geisler group from Seceda, and for this I’d arranged to stay in the comfortable Almhotel Col Raiser on the shoulder of the mountain a few kilometres from the top of Seceda. When we parked our car in the valley at..
After months of work we've finally launched the new Light Explorers Workshop website. Light Explorers is a landscape photography workshop company I run with my two fellow landscape photographers Konstantinos Vasilakis and Kostas Petrakis, and this year we've been putting together four workshops to some truly stunning locations in Italy and Iceland which we'll be running in 2018.
Our goal with these workshops is to take you to beautiful locations and give you every opportunity to get great images while improving your technique. We want to bring you the very best of the place, to identify your photographic level and what you’d like to focus on, and finally to ensure your experience in some breath-taking landscapes is a memorable one where, as well as getting some great images, you’ll also go home having had a true adventure with great company in a very special place.
Our workshops for 2018 are:
TUSCANY IN SPRING 12 - 17 MAY 2018
ICELAND - LAND OF FIRE & ICE 23 JUNE - 1 JULY 2018
My first Fuji camera back in 2015 was the X-T10 which I bought at the time with the intention of using as a back up camera to my Nikon D800E. I was immediately impressed with what a pleasure it was to use and how good the image quality was. It also struck me that it was laudable of Fuji to give exactly the same sensor and image quality from their flagship cameras to a lower end model.
Since then I’ve switched over completely to Fuji and now use the X-T2 as my full time camera, but with the X-T20 Fuji have done the same trick again - putting the same sensor, image quality and autofocus as their top-of-the-line models into a much cheaper camera. This time though it was less than year since the launch of the X-T2, a camera which I still consider to be “new”, so clearly it’s an aggressive policy by Fuji and they aren’t afraid of cannibalising sales of their own cameras. I had the opportunity to talk to Fuji about it and they feel that each of their cameras has a distinct market, the X-Pro 2, the X-T2 and X100F and the X-T20, and that people will choose which is best for them based more on features and how they use the camera. So this raises the question of what are the practical differences between the X-T2 and X-T20?
I’ve been using the X-T20 for about 3 months now alongside my X-T2 and feel I’ve got used to the things it does really well, and the areas where I prefer the X-T2. At a little bit over half the price of the X-T2, the X-T20 represents fantastic value for money and in pure image making terms the cameras are completely identical with the same 24mp sensor and image processor. It’s in the features and the build quality where the camera’s differences show and it’s how you feel about these differences that will determine which camera is best for you.
Here’s a video I put together outlining the practical differences between the two cameras and what I like about the X-T20
Fujifilm X-T20 - A Practical Comparison with the X-T2 - YouTube
Just to summarise the conclusions from the video, at the end of the day the X-T20 doesn’t have the same rugged build quality and weather sealing of the X-T2, but I’ve used it in harsh weather in both Iceland and Italy, and while I’d worry about it in serious rain it certainly manages just fine in very light rain and dust hasn’t been a problem. It’s also smaller, which has advantages and disadvantages. It’s certainly not as comfortable to hold and doesn’t feel as secure in the hand as it’s bigger brother, my hand feels a little constricted and the dials aren’t as easy to manipulate as the X-T2, certainly not when wearing gloves (in the mountains I had to take my gloves off to change settings on the X-T20, but was fine with gloves on the X-T2). The EVF is also smaller and not as much of a pleasure to use and I miss the dedicated ISO dial. However, on the other hand the small size makes it a fantastic camera to carry around all day for street shooting and also means you can drop it in your bag as a back up/secondary camera without noticing the size or weight. In fact, adding the dedicated grip makes the camera feel almost the same as the X-T2 in the hand (although obviously it doesn’t make the dials bigger) but I prefer to stay with the small form factor as I like having it as a smaller alternative.
It does have touch focus and touch control to view images, something the X-T2 doesn’t have, but for me this isn’t a game changer and I found myself not using it all that much. I prefer the joystick control on the X-T2 and find it much more practical.
Almost all of the differences between the X-T2, things like the lack of dual card slots, the less rugged build quality and the removal of the external ISO dial and focus joystick make complete sense when looked at in the context of the trade off for the price difference, and overall the X-T20 is a superb camera. It works equally well as an introduction to the Fuji X Series for newcomers, a fantastic all round camera if you don’t need a tough weather sealed body and don’t mind the smaller form factor, or as an excellent back up/secondary camera. Which one is best for you depends almost entirely one what you want from your camera and how important the more pro features and build of the X-T2 are, but whichever you pick you know that you’re getting a great camera and the image quality from both is superb. Although my X-T2 will always be the first camera I pack for any trip or shooting session, I can’t really foresee a situation where the X-T20 won’t be coming along as well.
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