Cinematic Portraits Project

Over the last year, I’ve been working on a portraiture project, I loosely call Cinematic Moments.  Coming from a filmmaking background; I’ve always explored storytelling, and over the past few years, as I’ve explored photography as a creative medium, storytelling has definitely creeped it’s way in.

A few years ago, when I was first starting photography (mainly to become a better filmmaker, by picking up photographic composition and framing), I took a photography class, in order to hone my skills and get a gut check on the technical process of shooting stills.  At the end of the 10 week course, our teacher asked us to do one big final project, in any area of photography.  She knew that I came from a motion picture background, so she encouraged me to incorporate some form of narrative storytelling.  So I decided to do a short film in still photography, limiting the frames to 6 pictures.

The project was challenging, but I found the experience to be so enriching and satisfying.  After that project, I went back into more of my video work, only shooting pictures occasionally for fun, and taking on a commercial project here and there. 

But since recently starting to shoot with Fujifilm cameras, and being able to carry these amazing mirrorless cameras everywhere, I decided I wanted to take my photography more on a project level.  So I took some of the concepts of this class project, and kicked off the Cinematic Moments Project.

Phase 1
The end goal of this project, was to present short stories through sequential stills, but I wanted to first cast actors and models.  But since this was not a traditional casting process, and since there were no lines, and all the acting and movement would be in stills form, I decided that the casting process would be the first phase of this project, in the form of solo portrait shoots, exploring scenes, rather than a full narrative.  The idea was to pull a handful of actors and models, from these solo shoot, that  could then incorporate into a full narrative story project.

I started with actors and models, both from my own circle, as well as open casting calls.  Living in New York City, I thankfully got a ton of submissions,  and then reached out to the actors I wanted to work with.  Many were very receptive to the project, as it opened up a side of acting they wanted to explore further.  Telling story through movement and expression.  It was almost similar to dance.  

Generally we would start off, thinking of a character similar to their own personality and look, and then another character that was a complete opposite in either look or personality.  It helped me understand the range of the actors ability to express without dialog from one direction to the other.  I also liked the idea of transforming actors into diverse characters, especially if they were quite different than what they usually were used to playing.

We would then pick a location or locations, and from there, all the logistics came together.  From hair and makeup, to wardrobe.  Probably the two most challenging pieces to any fine art photography project!  Thankfully I’ve gotten a lot of help from some very talented designers, stylists, and makeup artists.

Once all of the details are put together, we go out and shoot.  We try and do one to two setups per shoot day.  Generally, the shoots last anywhere from 2-4 hours, and are generally on location somewhere.  Its especially challenging and fun when fighting with the weather, however I’ve been able to capture some amazing moments, that would have normally been a disaster, but ended up being happy accidents.  

I currently own two camera systems.  A full frame Canon EOS system, and an APS-C Fujifilm X system.  Even though I’ve been a Canon shooter for about 10 years, I’ve almost completely migrated over to Fujifilm as my main camera system, only bringing the Canon out when I need a specific “full frame” look.  My Fujifilm X system consists of a Fujifilm X-T2 and a Fujifilm X-Pro2 body, that I carry wth me on portrait shoots.  I generally shoot two to three different focal lengths when on a portrait or editorial shoot, and I generally don’t shoot zooms, since I trained on primes and most comfortable with fixed lenses.  I currently own a Fuji XF Series 16mm f1.4, 23mm f1.4, 35mm f1.4, Mitakon 35mm f0.95, XF 56mm f1.2 and XF 90mm f2 lenses.  Since shooting, on the Fujifilm systems, my relationship to photography has completely transformed.  I shoot more than I ever have, and there’s just a magical characteristic to the Fuji’s I can’t quite explain.  It’s allowed me to explore not only fine art and editorial portrait photography but extended my creativity into an area of photography I’ve always loved.  Street Photography.
On the Canon setup I have a Canon EOS 6D, with the legendary Canon EF 85mm f1.2 L II lens for those moments where I need swirly bokeh, and extreme shallow depth of field (or low light performance) and I’ve just started shooting more on the 35mm full frame focal length, and have been renting either the Canon 35mm f1.4 L II or the Sigma 35mm f1.4 ART Lens.  I’m hoping to own one of the two eventually as I’ve enjoyed wider focal length bokeh on the Canon but for the most part, all my shoots are predominantly on Fujifilm X cameras.  
I recently picked up a Fujifilm X100F, as a walk around, street shooter, and daily picture diary, and was blown away by the quality and character this camera exhibited.  I actually brought it on a portrait shoot a couple of weeks ago, instead of my 23mm f1.4 lens, to see how it faired.  Needless to say, the X100F did not disappoint!

The Process
For the sake of adding a cinematic look, I generally like to shoot about an hour or two before sunset, or early in the morning, right after sunrise if we’re shooting outside.  I shoot natural light for the most part, and those time periods are the easiest to shape and move light in my favor.  If I happen to bring an assistant, I can sometimes push towards late afternoon, so I can have someone hold modifiers, to shield some of the bright direct sunlight.  
For interior shots, it depends on what kind of light I’m trying to capture and what story I’m trying to tell.  I’ve learned that light is such a storytelling tool, and have really tried to get better at that aspect of photography.  
In the evening, I’ll try and find a moderately lit area to shoot with a bit higher ISO that is still lit with street lights and try and keep my pictures exposed properly or as much as I can.  Sometimes I’ll carry a speedlight and softbox with me, or a small light panel with gels, to add atmospheric continuous light.  I plan on exploring more with artificial light, this year, especially now that Fujifilm is starting to get mature lighting gear such as Godox/Flashpoint, Nissin and Cactus. 

When I get together with a model or actor for a shoot session, we generally meet somewhere near the location, and have had prior conversations on how the shoot will go.  We’ll start “workshopping” different scenes, and emotional states surrounding a subtle narrative we’ll explore.  Capturing moments, both in expression but also capturing the surroundings, to add story.  For more staged shoots, I might bring a makeup artist, or stylist or both, and we’ll craft the character even more visually.

As far as camera gear, I tend to keep it simple, since we’re usually shooting at un-secure locations in and around the city.  I usually have an XF 35mm f1.4 on my X-T2 with a battery grip, which is perfect for capturing a subject and the scene in which they’re in.  I’ll also carry an X-Pro2 with a XF 56mm f1.2 lens.  The 56 is by far my favorite lens of the Fujifilm XF lenses.  I consider it almost the perfect lens.  I can shoot wide open for the most part and not have to think about the usual challenges I have with shooting wide open on my Canon 6D with the 85mm f1.2.  It’s just tack sharp through and through and gives just the perfect amount of bokeh and subject separation.  
I recently picked up a manual focus only lens, called the Mitakon Speedmaster 35mm f0.95 Prime lens.  Because of it’s fast aperture, it produces shallow depth of field comparable to full frame systems.  It’s been sitting permanently on my X-Pro2 since I started shooting with it last month, and so now the 56mm f1.2 sits on my X-T2, which I think is a better fit anyways.  
I was hesitant to use a manual focus only lens but because of all the focus assist tools built into the Fuji system, I’m able to achieve tack sharp photos!
As far as camera settings, I tend to shoot in aperture priority mode.  I’ll set my ISO to auto and white balance to auto, unless I’m in an environment which requires me to tend to those settings more specifically. Then I’ll just adjust aperture and exposure compensation when necessary.  The Fujifilm X system has really helped me explore techniques and settings like this, since all of the adjustments are right there, on top of the camera.  Something you would not normally see on a DSLR.
I also shoot in high or low burst mode, when capturing a lot of movement by my subject, so that I can capture every subtle moment while maintaining framing and composition.  
I like working with the Fujifilm on-camera Film Simulations, and although I might not stick with the look in the end of post processing, I like to customize a look, based around Fuji’s Classic Chrome or the monochromatic Acros settings and use that to help me convey a dramatic shot, visually, right out of the camera.  Something that is unique to Fuji and ultimately what won me over to this system.

Once I finish up a shoot, I tend to take a week on retouching and photo editing, using predominantly Adobe Lightroom or Lightroom Mobile with a little help with VSCO.  I’ve also been exploring tools like Capture One and Iridient X-Transformer which seem to process Fujifilm RAW files a little better.

Next Steps and Phase 2
Now that it’s been a year or so, since I started the casting process, I’ve been lucky to have met and started regularly working with; a really amazing team of creatives!  My goal now is to expand the project, incorporating more characters on camera and into full fledged narratives told in sequential order.

It’s been an amazing journey exploring storytelling, through people and still photography.  I love working with people so this project has been an enriching fit, and also satisfies my filmmaking urges.  
In filmmaking a lot of factors (and people) are dependent to the success of the project.  With photography, it’s much easier to achieve your vision in a cost effective way and I’m able to realize my ideas much faster.

Is it time to leave Full Frame DSLR’s?

Saying good-bye to Canon DSLR’s (for now)…

Over the last 10 years, I’ve been shooting with Canon DSLR’s.  I got into photography to help me with framing and composition in filmmaking, directing films, at the time, from short films to music video.  I thought by studying the craft of photography, I could speak more intelligently on what kind of shots I wanted in my films. 
Naturally when selecting a camera, I decided I wanted to go with a Canon, as it was just around the time, that the Canon 5D Mark II made waves in the indie filmmaking market, and I thought it would be a good idea to jump in there and get a camera that could shoot both really good stills and really good video in one body.  So I got what I could afford at the time, which was a Canon 60D.

The 60D served me well, and I realized that photography, independent of my filmmaking, could be something I could really enjoy and add as a creative outlet.  I liked the 60D a lot for photos, and used it for about 3 years.  After trying out a 5D once I was hooked.  I loved the low light performance and the full frame aesthetic, with nice shallow depth of field.  I wanted a full frame camera, so I sold the 60D when I got the chance and picked up a 5D Mark II.  The 5D Mark II was a beast, and was a great camera to have.  I felt I started getting more serious with my photography and also used it for my filmmaking as well.  Eventually I was able to save up for and trade in my 5D II for a 5D Mark III, and was really happy to finally have a top of the line Canon DSLR!  
It was a great all around system, providing amazing quality stills, but also some amazing video.  It was my main workhorse for awhile.  Who needed anything else.

When I was living in a Los Angeles, I started getting more interested in street and documentary photography, so I started looking more into a compact camera system that I could use to compliment my 5D when shooting out in the streets. The Canon 5D was too big to use for out on the streets without attracting attention and I found LA to be a non friendly place for photographers to shoot candidly.
So I bought a Panasonic GX7 and although I liked the handling and the size, I felt it didn’t provide even close to the quality of images, I got from my Canon.

At this point I hit a bit of a lul in my photography, finding myself unmotivated to shoot unless it was under controlled environments like studio or portrait shoots, which at the time were few and far between.  So my Canon spent a lot of time in the closet in a Pelican case, and my GX7 sometimes came out, but was also sitting in the closet for the most part.  I had two camera systems, sitting in my closet and somewhat stuck creatively.

Fast forward to my homecoming in NY, and I was determined to shoot more when I returned to NYC, where I had spent most of my adulthood.  The urban landscape and the diverese characters, offered amazing opportunities in photography and I wanted to take advantage of that.

Then the Fuji came along……

Fujifilm X-E2

My friend:  Kofa posted some amazing images on instagram, one day and touted how he found a camera he really liked.  The Fujifilm X-Pro1.  There was something organic and film like in his photos that I had really never seen in any of his Canon images, so I had to know more.

So when funds permitted, and a quick chat with him, I dashed off to my local camera store, and picked up a Fujifilm X-E2.  At first the images coming out of this camera were amazing, but it felt a little slow and awkward in my hands.  So I went back to the store, and they up-sold me on the amazing Fujifilm X-T1.  And there is where I felt a little more at home.  It felt like a more compact retro version of a Canon DSLR and although it was a bit slower than my Canon 5D Mark III, it did the job for me, as far as every day shooting scenarios.
The images I could get out of this camera were amazing and discovering the film simulations on this camera was like aquatinting myself with photography all over again!
The biggest change for me, was that I carried this X-T1 camera with me everywhere.  I bought the 23mm f1.4, 56mm f1.2 and 35mm f2, and that was it.  I shot all the time and my level of inspiration for photography reached a level that I had never reached.  Serious photographers were complimenting me on my work, and I felt like I was finally shooting consistently.

Fujifilm X-T1

Eventually I was able to test out a pre-release version of a Fujifilm X-T2, and I had realized that this camera might seriously make me reconsider my Canon 5D’s place in the camera bag.  The autofocus was incredibly fast, the shutter speed from when I pressed it to when the shutter snapped was instantaneous, and the EVF, was like seeing a live version of my picture happening before my eyes, with no delay or compromise.  Also looking at the specs, I realized that the X-T2 had more resolution than my 5D Mark III, and comparable specs in all other areas, making the X-T2 a true professional workhorse but at half the cost of the 5D Mark III.
Now I of course, have always been caught up with the idea that I will always need Full Frame for that very “professional shoot” so after some careful reasoning and soul searching I decided in order to fund my interest in Fujifilm cameras like the X-T2, I would sell my Canon 5D, and downgrade to a 6D, knowing that I was not shooting Canon that often but wanted to have something in case I needed the full frame.
I pre-ordered the Fujifilm X-T2, and that is when I started shooting Fujifilm 95% of the time.  Portraits, street, doc, travel, lifestyle; you name it..and this camera could handle it and with grace and poise!  I enjoyed the compactness of the system but the ability to build it out with a battery grip to increase battery life, which is notoriously bad on mirrorless cameras, and transform it’s form factor into a more familiar DSLR feel, while also being able to strip it of all it’s accessories, and have it as a compact system just for shooting street, or taking it on trip!

Fujifilm X-T2

I found the Fuji X-T2 to be the most powerful and versatile camera system I had ever used, and it felt like my photography was transforming into something viable and interesting. I also connected with a lot of other Fujifilm photographers on Facebook groups and at local instagram meet ups, and saw the increased traction that Fuji was gaining and I found the Fujifilm community to very communal and helpful, and encouraging.  It was nice to trade ideas and critique each others work, also sharing our stories around moving over to Fuji.

Well it’s been a year now, and I’ve now got full Fujifilm camera package.  I’ve got the X-T2, X-Pro2, 16mm f1.4, 18mm f2, 23mm f1.4, 35mm f1.4, 56mm f1.2, and a 90mm f2!  Meanwhile my Canon system has come out about three or four times, otherwise it’s been sitting in my closet.

Is it Good-bye for Canon?

So while I’m scooping up Fujifilm gear, I would sometimes find situations where I thought the Canon were more appropriate and would take it out.  But with the limited feature set of the 6D I owned, I always felt, although the image quality was truly outstanding, that there were things like autofocus, where if felt like a step down from my old Canon 5D III and most importantly a tremendous step down from my X-T2 even!

I’ve always kept Canon in my gear, and it’s been a sense of security blanket for me, but when waiting for the next iterations of 5D and 6D recently to come out, I found myself a bit discouraged, at the direction Canon was going.  
At this point in my career, video features in a photo camera were not too important to me as I preferred shooting video with cameras that focused more closely on video features, or straight up cinema cameras like the Blackmagic Cinema Camera, C100/C300, Arri Alexa, or Sony FS5/FS7, to name a few.  So photography features in a DSLR were more important to me, but I found the features of the Canon 5D Mark IV to be not as impressive as I would have thought.  Don’t get me wrong, the Canon 5D Mark IV is an amazing camera, and the feature set is very rich and full and I believe it to be the ultimate workhorse, but it felt almost like there were certain features that didn’t need to be omitted purposefully to protect other camera systems that Canon offered.  I also found it harder to justify the cost to upgrade to a Canon 5D Mark IV when the release seemed more incremental.  I think the other issue was that I felt a lot of the features that the Canon offered were already covered on my Fujifilm cameras, and at that point I felt like with the exception of low light, I didn’t feel a 1500-2000 price difference from my Fuji’s were justifiable!  So I decided to wait and see what the Canon 6D Mark II might offer.  I thought, at the very least that it could be the full frame version of my X-T2.
The 6D Mark II was then announced and the features set was underwhelming.  But with a slightly better autofocus system, and what I would assume better image quality from a new sensor, I thought, hey…I’ll get this camera.  But then the reports came in, and more and more omitions in current features were being stripped from this camera.  Dynamic Range issues in ISO 100 compared to the original mark I, Shutterspeed of only 1/4000 (compared to the 5D Mark III, Fujifilm X-T2, or even the Canon 80D having 1/8000 second), stripped down HD video with no ALL-I option, as well as no 4K, slower flash sync and did I mention dynamic range issues with ISO 100?! User reported that on under-exposed shots, when boosting shadows, images would appear to have slightly more noise than it’s 4 year old brother, the original 6D!  And all of this for the tender price of $2000.
When my Fujifilm X cameras offered comparable specs to the 5D series, it forced me to really wonder what the direction the Canon systems were going.

Shot on Fujifilm X-Pro2

Shot on Fujifilm X-T2

Shot on Fujifilm X-T2

Low light and bokeh, were really the main driving forces that kept my Canon kit in the closet, as image quality has become less and less of a argument, as Fujifilm systems have superb image quality with their magical X-Trans sensor.
When I picked up a third party lens thats mountable on Fuji systems, called the Mitakon 35mm f0.95, one feature in full frame cameras that one upped the APS-C systems seemed to have dissapeared.  This Mitakon lens, although manual only, provided some of the best shallow depth of field, and I’ve seen on the Fuji and most comparable to the full frame look, in that department.

From that point on, I started seriously thinking about selling off my Canon gear.  At this point I have only taken out the camera system three or four times this year; the Fujifilm has been my main system hitting all the checkmarks, and if I were to sell my Canon gear, I could have all this extra cash I could reinvest into more Fuji gear or other photography gear like lighting, which I would use more often than the Canon system.
I also started rationalizing the idea that if I needed Canon gear for a particular shoot, the rental costs for a Canon package are quite affordable either renting locally, or through sites like or

Shot on Fujifilm X-Pro2

Shot on Fujfilm X-T2

Shot on Fujifilm X-Pro2

From Fuji and beyond!

Fuji X-Pro2

After anguishing over it for about three days, I decided it was time to let go of the Canon gear, and start the process of selling them!  I’ve decided to focus more on being a Fujifilm X photographer, and utilizing all that Fuji offers, because I truly believe it is there.  Not to knock on Canon too much because I still love Canon glass, and will miss having that readily in my bag, however, it’s undeniable that Fujifilm cameras, got me to shoot more, and that will continue and their image quality is in my opinion some of the best!
I also would like to start exploring the possibility of shooting in medium format like Fuji’s GFX series.  I’m a portrait photographer, and I feel that camera and the medium format systems in general speak to my senses, and I feel that’s the direction I should really be going, especially now that my Fuji X systems have really filled in on all other photography forms.
So I’m saying good bye to Canon for now, and will  probably rent them from time to time if necessary, but it’s been an interesting and quite resistent road to get here, but I’m happy to have landed here with my Fujifilm cameras, and just to celebrate my decision, I purchased a Fujfilm X100F to add to my Fuji kit!

I hope this article helps anyone having similar conflicts in their head about leaving their full frame camera system.  

Canon 85mm f1.2 L vs Fujifilm XF 56mm f1.2

I took a break this past year from Canon, sold off all my gear and made a complete switch to Fujifilm.  I bought the Fujifilm X-T2 and the X-pro2 as well as their 16mm f1.4, 23mm f1.4, 35mm f1.4, 56mm f1.2 and 90mm f2 lenses.  I’ve been quite happy with their system and it’s opened up a whole new avenue for me, in photography, allowing me to shoot everyday and carry their cameras with me, all the time.  I absolutely love my Fuji system, and will never go without them.  However I do miss the robustness of the Canon system and the skin tones and color, when using Canon L series glass.  So I decided to re-add Canon back into my camera setup, in the form, of the Canon 6D, 85mm f1.2 L and the 50mm f1.2 L.  

I thought it might be fun to do a comparison of the two portrait lenses, between the two systems.  The Canon 85mm f1.2 and the Fuji XF 56mm f1.2, the 2 most incredible portrait lenses out there.

It’s important to note, that I decided to post the the photos, completely unedited, to give you a sense of what the pictures look like right off the camera with no color correction of any kind, exported out of Lightroom.  I know that other RAW editors, handle RAW differently than Lightroom, but because the vast majority of users, use Lightroom, I thought it would be appropriate to see how Lightroom interprets, both RAW formats.  You can easily match color between examples, but for this exercise were going to keep them as is.

Something you will notice right away between the Fuji and the Canon is their RAW color interpretations.  Canon tends to have a warmer hue, while the Fuji tends to be a bit cooler.

For this test, I used the Canon 6D body and the Fujifilm X-T2 Body.

I’d also like to note, that this is in no way a scientific comparison article.  This is more of a casual side by side comparison, when taking the same or similarly framed, pictures, with the two different cameras, and to see the differences between them.  That’s all.  This is not in any way which camera is better, as I own both and love both of them, for their strengths and weaknesses, which we can talk more about at the end of this article.

Canon 85mm L @ f1.2

Canon 85mm @f1.8

Fujifilm XF 56mm @f1.8

In this first example (shown above), normally with this framing, and how close I am to the subject, I would most of the time, shoot between f1.8 and f2 aperture settings. So I compared two shots, in that aperture range.  But I also wanted to see how sharp the image looks and gooey the bokeh might look like for the Canon in full frame, wide open.  So I added that in as well.  As you can see both cameras hold up really well.  If color matched, I think they would look even closer.  The only thing I see the Canon has ahead of Fuji is a slight creamier bokeh, which is expected from a full frame with nice glass, compared to the cropped sensor of the Fuji.  However it’s very slight.  I also feel that the Fuji is slightly sharper in this example, but this most likely has to do with the difference in sensor size and how that impacts equivalent focal lengths, and what that looks like.  We’ll talk more about that further in this post.

Canon 85mm L @ f1.2

Fujifilm XF 56mm @f1.2

In this example, I decided to try shooting wide open with both cameras as I was far enough away from the subject, and felt I could get as much of the subject in focus, as I could.  Just from an aesthetic stand point, you can see the bokeh is a lot softer and creamier with the Canon.  This is again the inherent advantage between a full frame sensor and a cropped sensor.  But with that said, the Fujifilm aesthetically holds up extraordinarily well, and has nice bokeh, especially for a cropped sensor, with great subject separation.
Another thing I noticed is that the Canon had a little bit softer edges on the top.  Again, if I stopped down a bit for a composition like this I would probably get a sharper result, but it’s interesting to compare.  The Fuji wide open seemed fairly sharp edge to edge. 

Canon 85mm L @f1.2

Fujifilm XF56mm @f1.2

Shot these two wide open.  Fairly equal sharpness.

Canon 85mm L @f1.2

Fujifilm XF 56mm @f1.2

Again…wide open on both.

Canon 85mm L @f1.2

Fujifilm XF 56mm @f1.2

So in this example above, again, looking at the different inherent sensor size differences, the Canon has a bit shallower depth of field, because of it’s full frame sensor.  On the Canon, at the same distance from the subject, as when I shot with the Fuji, you see that there’s a bit of soft focus on the top portion of the frame.  This definitely is a characteristic of the lens when shooting wide open.  A much narrower depth of field, then with the Fuji lens.  Because of that, the Fuji comes in sharper, especially in portrait oriented pictures, when shooting wide open.  I would most likely have stopped down, to 1.8 or so, to gain back some shorpness in the frame, but again interesting to see how the lenses react in these environments.

Canon 85mm L @f1.2

Fujifilm XF 56mm @f1.2

On this last example, I feel they are fairly comparable.  Again with a slight shallower depth of field on the Canon.


The purpose of this test mainly was to see how well, the Fujifilm system compared, to a more expensive and widely used system like the Canon DSLR.  When you compare the 85mm f1.2 L lens which is twice the price of the Fujifilm XF 56mm f1.2, I think this test proves that the margin in quality is quite small.  And I think this shows how well made, and optically well crafted, the Fujifilm X lenses stack up to the other systems, especially comparing higher end lenses.  
In comparing color from RAW files, I would say that the Canon has a slight edge to this comparison.  Specifically in skin tones, which is widely talked about.  I’ve used quite a bit of Canon lenses, and I have to say that the L series, definitely renders color in a very pleasing way and this 85 is no exception.  
It’s also known that Lightroom has had its problems processing or initially reading RAW Fuji files.  Perhaps we may see this change, if using other RAW converters like, Capture One, but in the case of Lightroom as our test platform, Canon wins.  However, the Fujifilm system is no slouch when it comes to color, and when using JPEG files with Film Simulations, this is where the Canon falls behind, when using SOOC or “straight out he of camera” files.
This particular category was something I was most curious about between these two lenses.  I read so many opinions about how sharp or how soft the 85mm L lens can be, and I knew from my experience with Fuji, when I switched, that I felt noticeably sharper images.  I would say I still feel that way.  But that’s not to say I didn’t achieve extremely sharp images on the Canon equal to the Fuji.  I would just say I achieved more consistently sharper images, on the Fuji system, when wide open.  But this is partly to do with the full frame sensor being bigger and with a narrower depth of field, so it just requires to keep an eye on where that focus area is and also stopping down when needed to achieve the sharper image.  
Also keep in mind that an f1.2 lens on a cropped sensor, is technically equivalent to an f1.8 on a full frame sensor which explains why a full frame camera can achieve shallower depth of field when shooting wide open, but at the expense of a narrower depth of field, meaning less focus in the frame.  But if you look at my first example, where I stop down both lenses, we start seeing comparable sharpness.  I think in general when you work with full frame, you have to keep an eye on your technique at keeping sharpness and focus when shooting wider apertures, where it might not be as pronounced an issue when working in crop sensor mode.  With that said, I would say, inherently, both lenses are extremely sharp and I would almost put them at a tie.
I would say in this category they are definitely at a tie.  Both focus relatively slow, especially in low light, but when they do lock in, they lock into focus very well.  Accuracy is also about the same in both as far as I could tell.

So there you have it.  A very casual study on two very high-quality portrait lenses within two popular camera systems, I currently use.  As you may have gathered, the 56mm f1.2 lens is quite the opponent to the 85mm L lens in all the categories.  At about roughly half the cost of the 85, the 56mm has plenty of shallow depth of field, fairly nice and gooey bokeh, consistent sharpness at f1.2, and solid color rendition, compared to other mirrorless systems.  
I love both lenses and both camera systems.  But if you wanted to look at the best price performance combo, it’s clear that the 56mm is a great win for the Fujifilm users and for those that were looking past the fence on the other side, to see how much more they are getting with a Canon L lens, they are getting, much shallower depth of field, better color rendition, especially in the skintones, slightly better bokeh and premium solid build on the lens, including weather sealing.  

I hope this article is helpful for those on the fence, trying to switch to Fuji, or for those trying to figure out, how to keep their Canon.  As you can see, there are options, and no choice is bad.  They are both phenomenal camera systems.

- Peter

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