From Idle To Full Of Vim – Vancouver Visual Excursions

The ease of digital photography, with its side effect of compulsive photo snapping and the peer pressure to perform, has created a situation where massive amounts of imagery are being pumped into all channels of our visual lives.

This flood of work is especially evident in the genre of street photography. I encounter individuals posting hundreds of images per week shot on the street. Don’t get me wrong. I am sure there are plenty of photographers who can produce an amazing body of work in no time. One thing is for sure – I can’t do it! 

Based on my personal experience and from observations of the best people in the field I know that street photography is much more difficult than it appears. In contrast to common belief, a photo taken on the street is NOT automatically street photography. A complete street photograph is a great finale of a lengthy and deeply immersive process of seeing, connecting, using creativity, thinking and risk-taking. Such a state is not something that can be awoken automatically by pressing the shutter button.     

It is not uncommon for some photographers to come back from their shooting sessions with nothing. I mean zero – no imagery! A dry spell or creative blockage like this is quite normal among photographers and artists.

There is a plenty of advice on how to overcome this state of non-seeing. Some people force themselves into shooting, while others beat themselves up. Daniel Milnor, a great documentary photographer and writer, has said in one of his interviews, “I might not have come back with anything but I came back with an idea of where I might be as an artist somewhere down the road.”   

This happens to me on a regular basis. I spend days walking around the streets of Vancouver only to come back with a full card of data but no photographs. However, what I do come back with is my photographic ego highly contained, my senses elevated and, strangely enough, my path to seeing much clearer.   

No, I don’t force myself into “seeing.” I just put the gears into idle. Each time I start seeing again, I am able to expose myself, to take risk. And that may well be a very find road to be on.

Here is imagery shot on the streets of Vancouver, following very valuable idling time. All shot with the Fujifilm X-Pro2 and XF 35mm F1.4, the Classic Chrome (CC) film simulation.















Next time:


Here is the image of Nick from preparing his installation at the Vancouver Mural Festival. More images next time.


One of the street artists at work.


2016 © Kasia & Olaf Sztaba Photography. All rights reserved.

The Sister I Didn’t Know I Had (Part 2)

Ten years ago I received a lifesaving kidney transplant from Madeleine. The gift of these ten healthy years meant I could travel, take photographs and share my writing with you. Without Madeleine and her generosity there would be no olafphotoblog.

During these years, I have spent a lot of time thinking why this woman found so much courage to save one man’s life. Where did her strength come from? What triggered this decision? Why was I so fortunate?

Kasia and I always knew we wanted to meet Madeleine’s family to get to know her history and visit her place of birth. This year, we did just that. 

Please make sure you read the first part of this series here.


Madeleine took me to her classroom, now a museum. She sat down in her chair and put her hands on the desk. I just had to take this image. People’s hands tell so much.


We visited a few more rooms, each one revealing more stories about the town of St. Pierre Jolys and its people.


A rosary caught my attention. Who did it belong to? Was it prayed on?


Then I ventured into one of the rooms and found dusty old Brownie camera, sitting on a top shelf.


For some strange reason, I started to ponder about my road to seeing.


The last ten years have been especially rewarding, as this gift of life allowed me to take a new path. Seeing has become my way of communication in this world. I found that doubt, struggle and vulnerability pave the way to creativity and self-discovery. How telling! Who knew that the old Kodak Brownie on a dusty shelf could spark such musing?!


In fact, I have to give credit to Madeleine who has been pushing me toward the world of seeing. Both Kasia and Madeleine have been my motivators and judges.

Once we left the museum, we decided to visit the grave of Madeleine’s grandfather. It is one of a few places where the ashes of Madeleine’s father, Rene Mulaire, were scattered.

Cecile and Madeleine walked in silence.



We all could feel the presence of Madeleine’s grandfather and father. What incredible men! Who knew that their grand/daughter would be standing here with a stranger whose life she had saved.


The same day, Madeleine’s family organized a lovely dinner for Kasia and me. We could both feel the warmth and genuine kindness all around us.

The following day we started our drive home. Over the course of the long drive we thought about Madeleine and her family. The beauty of the Glacier National Park provided a great visual background for our contemplation.



I realized once again that without Madeleine I wouldn’t be here to feel, connect and see. Strangely enough, the dramatic visuals only underlined this belief. I took out my camera and started seeing. It was my thank you and it always will be.




If you have enjoyed this personal series, I have a favour to ask of you. There are thousands of people waiting for an organ transplant in North America. In the meantime, most people die each year taking their organs with them.

Could you please find a few minutes today to make the decision? Consider becoming an organ donor after your death. Please let others know your decision and register at BC’s Organ Donor Registry In the United States

You can find similar programs in your country.

Think about it. You can save as many as eight lives just by signing on. No effort is required. And if you’re lucky you can help your new friend take photos after your death (:

Still not convinced? Then watch this.


All images taken with the Fujifilm X100S, Fujifilm X-Pro2, the XF 35mm F1.4, XF 14mm F2.8, XF 50-140mm F2.8.


2016 © Kasia & Olaf Sztaba Photography. All rights reserved.

The Sister I Didn’t Know I Had (Part 1)

Ten years ago I was yet again a dying man. Regular dialysis kept me alive but drained my body of precious energy so I paid almost weekly visits to the Emergency department. I felt tired, depressed and very sick.

This physical and emotional end-of-the-road exhaustion came exactly three years after my multi-month stay in an intensive care unit. That was when I was dying the first time.


It all started one ordinary Sunday afternoon when I was playing soccer with my friends. During the game I suffered a small scratch on my leg – one that you would probably ignore. So did I!

However, within hours I started to feel unusually weak. That evening I knew something was horribly wrong. By the time I got to a hospital and got a diagnosis, deadly flesh-eating bacteria had already eaten a great chunk of my leg. Who knew it would be just the beginning?


I spent the next six months in an intensive care unit fighting the impossible. With the help of every known piece of life-sustaining machinery I was kept alive. However, with the C-difficile, numerous bouts of pneumonia, blood poisoning, septic shock and another long list of medical hazards, the verdict was in. The doctors didn’t think I would make it.


For some unknown reason and to the great surprise of the medical personnel, I survived it all. However, I couldn’t go back to a normal life. For the next three years I had to have dialysis to keep me alive.

After each session of dialysis my body grew weaker and weaker. Almost weekly visits to Emergency due to numerous complications drew on my stocks of physical and emotional energy.


The only way out was a kidney transplant. Given the average waiting time for a kidney transplant and my deteriorating health I knew that the prospect of receiving a kidney in time was nil. The only option was to find a living donor. I was incredibly lucky, as most of my family members immediately volunteered to help. Unfortunately, my unique blood mix quickly reduced the number of candidates to zero.


To my amazement a few people I barely knew tested their blood to see if they could help but without much success. That’s when I gave up but my wife, Kasia, did not. She kept fighting and spreading the news about my situation.

And then, after months of stress and despair, we met Madeleine. I remember our first meeting. After years of suffering, disappointment and setbacks I had little hope, but the first time I saw this Frenchwoman I felt there was something different about her. Her strong and peaceful persona spread a calming tonic in the air – a feeling I hadn’t experienced for a long time.


After months of medical tests, I was born again on November 28th, 2006. Madeleine had saved my life and become my other sister.

This year we will be celebrating the tenth anniversary of our transplant. During these ten years I could travel, take photographs and share my writing with you. Without Madeleine and her gift there would be no olafphotoblog.


In these years, I have spent a lot of time thinking and debating why a Frenchwoman found so much courage to save one man’s life. Where did her strength come from? What triggered this decision? Why was I so fortunate?


Kasia and I always knew we wanted to meet Madeleine’s family to get to know her history and visit her place of birth. This year, we did just that. This photographic essay is all about Madeleine and her family. This is a story that must be told – over and over again. It is a story of real courage.


When we told our friends that we were heading to Winnipeg, they quipped, “Why would you go there?” It’s super hot (or cold), it’s flat and there are mosquitoes everywhere. After just two days spent with Madeleine and her family, Kasia and I fell in love with this super hot, flat and mosquito-ridden land. Why? Because you cannot separate the land from its people. And what people they are!

Upon our arrival, Madeleine and Raymond (Madeleine’s husband) had an entire apartment ready for us. Here is what we found on the table.


The next day we headed to St.Pierre Jolys where Madeleine was born and where she went to school.. Her school was run by nuns but is now a local museum and that was the first stop.



Madeleine showed us a statue on which her father, Rene Mulaire, had worked for years. She gently put her hand on the figure. We all could feel the warm and calming presence of this great man.


Madeleine and her mother Cecile leafed through some documents and old books. The page with an image of Rene and his employees in front of his pharmacy caught our attention.



Another room in the museum was dedicated to a character created by Madeleine’s mother, named Bicolo. Cecile ran a page in a francophone newspaper dedicated to children all about the character Bicolo. Here is Cecile and the character she created.


…to be continued.


All images taken with the Fujifilm X-Pro2, the XF 35mm F1.4 and  XF 50-140mm F2.8.



2016 © Kasia & Olaf Sztaba Photography. All rights reserved.

The Most Important Trip Ever – Prelude


Over the years we have done many road trips around North America. Some of these trips brought us amazing memories and great imagery, which we often shared on this platform.

While we enjoyed them, our latest road trip was the most important we have ever taken. Not only did we capture great imagery, visit spectacular locations and enjoy great weather but we got to know special people. In particular, it was a trip that let us discover the family history of a very special person, without whom I wouldn’t be here today.

We took many images, which will help us to tell this story like no other. It is a personal story but also one that goes beyond one person. It came to our realization that this event means much more than we thought, so it must be told, over and over again.

Now as we go through the imagery shot over the last ten days, memories and emotions are being awakened. We will try to channel our thoughts into words and the flow of essential words should find its way into this blog. Stay tuned.

For now, let these few images be a prelude to the account of the most personal and greatest road trip ever.







All images taken with the Fuji X100S, the Fuji X-Pro2, the XF 35mm F1.4, XF 14mm F2.8, XF 50-140mm F2.8.


2016 © Kasia & Olaf Sztaba Photography. All rights reserved.

Congratulations Portugal!




























All the images were shot with the Fujifilm X-Pro2 and the XF 35mm F1.4 lens.


2016 © Kasia & Olaf Sztaba Photography. All rights reserved.


Is the X-Pro2 for the heart and the X-T2 for the head?

Since we have already taken a dive into the dangerous world of G.A.S. (Gear Acquisition Syndrome), let’s beat ourselves up for one more post. I promise the next time we will return to the normal and important subjects (in fact later this month we will be leaving for a super road-trip across many states and provinces all the way to Winnipeg to complete a super important and personal project).

Along with the release of the brand new Fujiflm X-T2, as is usual in such a case, vigorous online discussions have been taking place about whether to upgrade or not and whether the X-T2 is preferable to the X-Pro2 or not, etc. As someone who has shot with both the X-Pro2 and the X-T2 I formed my own opinion on the subject.

However, I am well aware that providing a definitive answer to this question is impossible due to the fact that we all differ, not only in the way we see or interact with the camera, have different sensitivity to the aesthetics of our surroundings but also in our emotions and experiences.

Rational people could take a look at the specification list, what each camera can do, what it cannot do, prices, etc. and conclude that there is no contest: the X-T2 is newer, it has faster AF, a great, brand-new grip, shoots 4K and is cheaper than the X-Pro2 – therefore it is a better camera. Indeed, that could be the case but with one proviso: it is better for YOU.

In our highly opinionated review (or rather rant) of the X-T2 we said that the X-Pro2 and the X-T2 have become flagships of the X-series – but they are different cameras. After using both I know that for my way of seeing and working, I prefer the X-Pro2. Interestingly enough, Kasia, my partner in crime, prefers the X-T2. Our problem is to explain clearly and logically why.

I have been thinking about it for a while and yesterday I came across a fascinating piece by one of my favourite X-photographers, Patrick LaRogue, titled, “On Flagships: X-T2 and X-Pro2.” In his piece he quotes a friend from Tokyo who said, “The X-Pros are for the heart, the XTs are for the head.” Immediately a light bulb lit up over my head. Eureka! That is the answer I was looking for! Is it a bit far fetched? Yes! Is it irrational? Yes! Do I care? No!

Confused? You should be.

Here is the imagery shot with a pre-production Fujifilm X-T2, XF 35mm F2, ACROS (A) and Classic Chrome (CC) film simulations.

















…and truly yours at work


2016 © Kasia & Olaf Sztaba Photography. All rights reserved.

Photography Re-Framed – The Fujifilm X-T2 Review


There is a commonly held idea that the camera doesn’t matter. Indeed, it is hard to find a brave person who would argue otherwise. Certainly, I am not one of them. Unfortunately, some people misunderstand this overworked adage.

Of course the primary tool you use every day matters! Have you ever met a musician who says that an instrument s/he is playing doesn’t matter? What the “camera doesn’t matter” maxim really means is that the camera is not the primary determinant of your photography skill – it is your creativity and seeing! You certainly agree, otherwise you wouldn’t be reading this article right now.

But there is a fly in the soup. It is the process of selecting a camera! Unfortunately, this important undertaking has been reduced to meticulous studies of technical details, columns and specifications. There are scores of websites offering you “help” with choosing a camera. It is common to show two cameras side by side comparing all possible technical particulars. Of course this technical carousel wouldn’t be complete without until-my-eyes-bleed 100% crop examination.

I disagree with this approach. As the tool with which I, the photographer, interact in the creative process, a well-designed camera should bolster me up to pursue my passion for seeing and make the mechanics of capturing visuals intuitive and fluid.

With this in mind, the process of choosing an instrument of seeing must include more than just studying charts and technical specifications. When I was given the opportunity to work with a pre-release version of the X-T2 camera I was thrilled. Unlike with previous cameras, I could shoot and bond (or not) with this new camera without all the Internet noise, without any prejudgments or expectations – I was just free to roam, create and see.




Dorothea Lange famously said: “The camera is an instrument that teaches people how to see without a camera.” She was right! In fact during our workshops we encourage people to explore and learn to “see” even before touching a camera. The next step involves repeating the same process of seeing, composing and re-framing – this time using your camera’s viewfinder.

The X-T2 elevates the concept of EVF to another level. Early EVFs were slow and noisy – a sort of technical novelty rather than a real window to seeing. The X-T2’s huge, bright, super-fast viewfinder sorted out most issues and put the EVF at the centre of the mirrorless revolution.

The X-T2 window is much brighter than its predecessor. Even when shooting in the dark, the usual grainy mess is gone. Most importantly, the refresh rate has reached 100fps – very close to the human ability to recognize motion (around 120fps). An EVF of this size and quality transforms the way you compose and create a photograph. Having such a large frame to operate in, you naturally engage with the scene and are better able to rearrange the elements even in distant corners, which all leads to a better-thought-out image.


The X-T2’s EVF puts you in a comfortable visual chair – as if you were watching your favourite movie on the big screen. Then it projects your vision, but you haven’t even pressed the shutter button yet! In addition, any changes to exposure, white balance and depth of field can be assessed and re-examined by eye. Not only does this arrangement allow the photographer to achieve the desired look but it also eliminates the need for the time-consuming habit of scrutinizing the image on the back of your LCD.

If there was one challenge left for the X-T2’s EVF, it would be difficulty adjusting the EVF brightness. When we took photos we often found the scene too bright so we adjusted the exposure only to find that it was unnecessary. The brightness of the EVF tricked us. Mind you, we were working with a pre-release version of the camera and it may well be that the final version will deal with this issue. In addition, there is always a menu option available to adjust the brightness of the EVF to your liking.

After composing through the X-T2 viewfinder, there is no question in my mind that the days of the optical viewfinder are numbered. In fact, given the sophistication and quality of EVFs offered today, it is beyond my understanding why major SLR producers still stick with small, cramped, uninformative optical viewfinders.








One thing that surprised us was the extent to which Fujifilm engages photographers in their development process. When talking with fellow photographers who shoot with the X-line, I hear many great ideas tossed around about how to improve a specific camera. Many of these ideas somehow find their way into new models. There is no question that Fujifilm listens and acts on constructive feedback.

For those of us who photograph daily, mechanics, build and the inner workings of a camera are of paramount importance. In general, the external design theme of the X-T2 has been carried forward from the X-T1 but not without some changes. Among others:

  • The X-T2 is slightly larger than the X-T1 (although this is barely noticeable).
  • The D-pad buttons have been vastly improved – they are more prominent and much easier to feel/press.
  • The infamous “movie” button is gone! The FN button is in the same spot between exposure compensation and the ISO dials. Although getting rid of the movie button was a great idea, we are not sure about leaving the FN button in the same place. We often found it difficult to reach this button while shooting.
  • The Focus Assist button at the back of the camera has been replaced with the Q button.
  • The Exposure Compensation dial gained the “C” option, which allows you to adjust the exposure from -5 to +5. A welcome addition!
  • The larger and higher ISO dial gained a new 12,800 option. Yes, you can use it!
  • The shutter and ISO dials gained a new lock mechanism at the top that can be pressed to lock/unlock the dials, preventing accidental change. It works great.
  • In place of the Q button, Fujifilm put in the joystick, which allows you to control focus points, a solution first implemented in the X-Pro2. It’s one of the best design ideas for a very long time! We use the joystick all the time.
  • The buttons have been enlarged, raised and tightened to the point that some of you may find them too stiff; however, there is no perfect solution here. For us they feel just right.
  • The X-T2 gained a second slot for the memory card – backup, backup, backup!
  • The door’s locking mechanism has been changed. I know personally many photographers who have had issues with the X-T1 door opening accidentally in the bag.
  • The bottom of the camera has been rearranged. The tripod socket is placed further toward the centre. Unfortunately, the original grip for the previous model won’t work with the X-T2.






In observing the progress of the X-series line, it has become apparent that Fujifilm tries to unify button placement and menu items over all X-series cameras. Kasia and I often shoot with two or three X cameras at the same time, so continuity over the entire line is very important.

One area that we often hear complaints about, especially from the SLR-convert-to-mirrorless-crowd, is that the speed and accuracy of the X-series cameras’ autofocus system lags behind those of SLRs. It has never been a problem for us but our shooting style is slow and deliberate (we rarely photograph moving subjects).

The X-T2 has gained new options, which should improve the performance of its autofocus system. There is a new array of continuous autofocus settings allowing you to tune the system to certain situations. Here are the options (all self-explanatory):

  1. Multi-purpose
  2. For accelerating/decelerating subjects
  3. To ignore obstacles and continue to track the subject
  4. For a subject that suddenly appears
  5. For erratically moving and accelerating/decelerating subjects

Although we entertained ourselves with these settings it is hard to draw any conclusion. We are sure you will find plenty of tests on the Internet done by photographers who use the continuous autofocus system more often than we do. However, we do prefer simplified menus and adding such an array of options might be detrimental to solving problems and would confuse the end-user, as many of the listed situations could overlap. The multi-purpose option should be enough but hey, this is just our angle.




I am sometimes perplexed by conversations about the image quality of a particular camera. In most discussions, the image quality is reduced to a hermetic blend of sharpness and resolution. In the meantime, there is an array of other characteristics that contribute greatly to final, real-life “image quality.” These include the “look” of the files, the tonality, the quality of lenses, the quality of grain (ACROS film simulation with “weak” grain settings), colour accuracy, etc. As the industry becomes more and more concentrated, the real world differences in sensor quality are most likely to continue diminishing between brands. The design, mechanics of the camera, film simulations, software, lenses, customer service (especially for professional photographers) and the “fun” factor will become a real identifier.

And so is the 24.3MP X-Trans APS-C sensor, which found its way to the XT-2 from the recently released X-Pro2. One of the advantages of the X-Trans sensor is the ability to capture light even if there is very little of it. The ISO performance of the X-T2 paired with the XF fast primes challenges some full-frame cameras with its capabilities (every six months we take many new cameras on the market for a ride, mostly FF, to stay in the loop).



The real standout feature of all Fujifilm X cameras is the JPEG processing engine. There is a growing spectrum of photographers who are sick and tired of spending hours before the computer trying to process images to their liking. For many, this element of digital photography causes the most frustration.

The X-series cameras, including the X-T2, tackle this problem head on. Backed by their in-depth expertise in film, Fujifilm armed JPEG photographers with a rich array of life-like film simulations. Fuji’s JPEGs not only look stunning straight from the camera but their skin tones are unmatched. Many develop-in-house film simulations such as ACROS (A) or Classic Chrome (CC) are truly standouts and they quickly became must-haves for many photographers, including us. Do it in-camera? Hell YES!








I will be blunt. I have zero interest in gaining any camera movie-making prowess. As a pure photographer, I always view movie buttons/settings as an unnecessary distraction. However, I do understand that the market views it differently and there is a growing number of photographers and videographers who want to have this capability. Here you go – the 4K has arrived!

Talking about movies, I had a chance to interact with actors from a new series “The Man in the High Castle.” It was a great experience to meet so many talented people. Make sure to check out the series currently available on Amazon Prime (see a trailer here). All images – the X-T2 and XF 35mm F2 lens, Classic Chrome (CC) and ACROS (A) film simulations.










When assessing the price of a camera the following logic prevails: “Camera Y has 4k/(put here any function you want) and Camera X doesn’t, therefore the X should be less expensive.” Many agree that the prime determinant of the price is the number of features a camera offers.

We beg to differ. Leaving out some options, avoiding clutter and resisting the do-it-all mantra is a very difficult time-and-money consuming process. I don’t mind paying a premium price for a product that is beautifully designed, does one thing well and saves me from a plethora of choices. I only hope that Fujifilm will avoid the temptation of entering the never-ending we-too-offer-this-option race. Photography is the art of creation, awareness and deep thought. Clutter and technical overload contradict this state of mind.


The X-T2, even with all its advancements, would be just a box if not paired with great glass. Fortunately, photographers have access to first-rate lenses. Not only are they well built (metal!) but most importantly they are fast and sharp. The majority of XF lenses, especially the primes, feel perfectly balanced on the X-T2 camera. Sure, some zooms such as the excellent XF 50-140mm F2.8 could feel a bit heavy but with an optional battery grip this imbalance could be reduced.





Barring less expensive models such as the X-T10, Fujifilm now offers two flagship cameras, the X-Pro2 and the X-T2. Although the image quality is identical, there are major differences in approach and design.

  • I found the X-Pro2 design cleaner, less cluttered.
  • The X-Pro2 has both the EVF and Optical. The XT-2 has the EVF only.
  • The X-T2 EVF is much brighter, bigger and faster than the X-Pro2.
  • The X-T2 EVF is placed centrally while the X-Pro2 EVF is located on the left of the camera. I personally prefer the latter placement.
  • Both have a joystick to select the focus point.
  • The X-T2 can shoot 4K video; the X-Pro2 cannot.
  • The X-T2 has a dedicated ISO dial while the X-Pro2 uses a wheel solution. Unlike most X-shooters, I don’t mind the latter.
  • The X-T2 has a much firmer grip.
  • The X-T2 offers an additional brand new grip, which holds two extra batteries. There is no such option for the X-Pro2.

That’s great, Olaf, but which one should I get?

I personally prefer the X-Pro2. Interestingly enough, Kasia prefers the X-T2 – look for her perspective in one of our upcoming posts. It is not that one camera is better than the other; it is a matter of preference and a way of shooting.

We strongly recommend trying out both cameras. The preference is highly personal. You may well prefer the X-T2 to the X-Pro2. Those of you who come from the traditional SLR camp may find the X-T2 a more natural companion.






With the introduction of the X-Pro1, the X-T1 Fujiflm re-framed the conversation about digital cameras. With the fusion of the latest technology advancements such as EVF, traditional proven-by-time controls and particular film simulations, Fujifilm put forward a very different idea as to how a camera should look and how a photographer interacts with it while creating an image.

Once this new design philosophy was put in place, Fuji needed to polish their flagship X-series cameras. A few months ago Fujifilm did just that with the X-Pro2. Now the X-T2 has received a similar treatment. The latest high-tech improvements have been implemented (higher resolution sensor, vastly improved EVF, 4K), the majority of rough edges smoothed out (button design and placement, two memory cards, doors, etc.) and new ideas transplanted (the joystick!).

The X-T2 has taken on a much more grown-up persona. As a package, with an amazing line of prime lenses, gorgeous EVF, one-of-a-kind solutions (joystick), manual controls and exclusive film-like simulations, the I-am-still-shooting-SLR crowd should feel no remorse leaving the traditional SLR world behind.

We present you with an array of imagery from our weeks of working with the X-T2. Most of the images were shot with the XF 35mm F2 lens. We also worked with the XF 14mm F2.8 and the XF 50-140mm F2.8.

Please make sure to check out reviews/thoughts of fellow Canadian X-photographers (just to clarify – I am not an official Fujifilm X-photographer):

Don Craig
Dyaane Wilson
Ian MacDonald
Scott Grant
Patrick LaRoque

Watch this space for more coverage.


We have never believed in so called “objective” reviews and we don’t even pretend to write one. A camera is such a unique and personal tool that pretending total detachment from it appears to us foolish and naive. Every year we handle many cameras from different brands and our only rationale for choosing a camera is how we bond with it and how it helps us to facilitate our way of seeing. We never choose cameras solely on image quality or resolution. It is much more personal than that.

At the same time we are 100% independent. We do not receive any compensation for stating certain opinions. We don’t accept any ads or kickbacks (look around on our blog!). Sometimes, we do receive cameras for review as in the case with the Fujifilm X-T2 but with no conditions attached. We can say and write whatever we want. Period.


2016 © Kasia & Olaf Sztaba Photography. All rights reserved.



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