Analysis of the new Fuji X100S

The Fuji X100S promises performance to match the looks

So, now it's official.

Fuji's replacement for the X100 is with us in the shape of the modestly named Fuji X100S.

Here is my analysis(in underlined italics)of what they have and haven't done to improve the X100 with main features of the new camera taken from Fuji's own press release.



(1) Sensor performance comparable to full-frame output

The X100S features FUJIFILM’s newly-developed 16.3 megapixel APS-C X-Trans CMOS II sensor with a unique, highly randomised, colour filter arrangement. The benefit of the new array is the elimination of the need for an optical low-pass filter; these are used in conventional sensors to reduce false colour and moiré effects but they also reduce image resolution. The removal of the optical low-pass filter allows the X-Trans CMOS II sensor to maximise the light it receives directly, enabling users to capture much finer detail and optimise resolution levels.
The X100S uses a Lens Modulation Optimiser to reduce optical effects such as lens diffraction, which occurs when light passes through a lens. Even when stopped down to f/16, the X100S retains sharpness and texture in the smallest details, demonstrating the extent of the sensor and lens combination’s capabilities, perfectly.
The excellent sensitivity of the X-Trans CMOS II sensor is coupled with the new EXR Processor II’s advanced signal processing capacity, which can reduce noise by more than 30% (*2) compared to its predecessor. Even when shooting in low-light, at a high ISO setting, the FUJIFILM X100S will produce crisp images with minimal grain.

For me at least, the outgoing Fuji X100 had enough megapixels, however
16.3 megapixel Trans CMOS II sensor looks very promising but also potentially very frustrating.
If like me you use third party raw processing software. Fuji needs to work more closely with the likes of Adobe and Phase One to ensure their files work in these widely used raw processors.
If they don't they could well lose out in the long term.



(2) The World’s fastest Auto Focus and High-speed EXR Processing
With built-in Phase Detection, the X100S offers the world’s fastest AF speed of just 0.08 seconds(*1). The Intelligent Hybrid AF can switch to Contrast AF, dependent on the demands of the subject or scene, to ensure that the camera always auto-focuses quickly and with precision.
The EXR Processor II delivers processing speeds twice that of FUJIFILM’s previous generation processor (*6). The fast responses result in an impressive start-up time of approx. 0.5 seconds (*4), and a shooting interval of 0.5 seconds. In addition the X100S delivers a burst shooting rate of up to 6 frames per second (max. 29 frames) at the full resolution of 16.3 megapixels and the shutter time lag is a mere 0.01 seconds.


At a stroke Fuji would seem to have addressed the number one drawback of the X100. IF these figures translate to a real world dramatic improvement in focusing speed and accuracy they will have made a giant leap forward.
All of this would seem to come from the EXR II processor, potentially giving the X100S the power which it's predecessor lacked, hobbling the camera in so many ways.

Let's hope that this processor lives up to the promise.

(3) Enhanced manual focus performance with the world’s first (*5) ‘Digital Split Image’ display
Making use of the built-in phase detection pixels for AF action, the X100S is the world’s first (*5) camera to offer a “Digital Split Image” feature, which displays dual images on the left and right to be lined up for manual focusing. This enables accurate focusing especially when working with an open aperture or macro shooting.
In addition, the X100S offers a handy Focus Peak Highlight function, which emphasises the outline of the subject focus plane. It provides the photographer with a guide, even in situations where it is difficult to calculate focusing accuracy, allowing users to enjoy manual focusing comfortably, however challenging the conditions.

In my experience 'focus by wire' is never a happy arrangement.

Fuji's options were limited on this front.

Short of an expensive ground up redesign of the entire camera, Fuji had to come up with something which made the best of the design they had.

Digital split image does sound very interesting, how it is implemented and how well it works remains to be seen.

I do use focus peaking on video camera's and it can be very useful, but you end up look at the LCD and not the image itself, divorcing you from the image taking process.

I know Sony use image peaking too and it may work well, but I need to get hands on before I am convinced.

(4) Premium Hybrid Viewfinder for easy image composition
Offering users freedom when composing photos and adaptability for a range of shooting conditions, the X100S’s Hybrid Viewfinder combines both an Optical and an Electronic Viewfinder.
The electronic viewfinder uses a 100% coverage, extra high resolution, 2,360K-dot High Definition LCD panel. It shows depth-of-field during macro shooting, as well as white balance settings, allowing users to accurately compose their shot while continuously looking through the viewfinder.
The premium quality optical viewfinder offers an easy-to-see magnification of 0.5 at a 23mm focal length and a horizontal apparent field of view of 26 degrees. The all-glass construction uses high-refractive index glass to minimise chromatic aberrations and distortion.
While in the optical viewfinder mode, users can make adjustments to shutter speed, aperture, ISO and other settings without having to take their eye off the viewfinder. The shooting frame (Bright Frame) and text brightness automatically adjust according to the ambient light available, to ensure that the information on the display is easy to see at all times.
The system features an OVF Power Save mode, which activates the power-saving function in the optical viewfinder mode to double the maximum number of images per full charge from 300 (*7) in normal operation.
With FUJINON’s proprietary coating, the viewfinder cleverly resists fingerprints and can easily be wiped clean, so that users can enjoy the optical viewfinder’s clear display without compromise.
Amen to that. No other manufacturer has come up with anything near as clever as the Fuji Hybrid viewfinder, and any refinements to this game changing feature can only be welcomed.
(5) FUJINON 23mm f/2 lens offering premium image quality in a compact body
Specifically designed for this model, the FUJINON 23mm f/2 Single Focal Length Lens has a fixed angle of incidence of light into the lens, which facilitates optimum optical design. Taking full advantage of this, the X100S demonstrates advanced levels of image clarity, not only in the centre of the image, but also through to the edges of the photo. The versatile focal length of 35mm (*8) delivers an angle of view ideal for a diverse range of subjects and scenes.
The lens consists of 8 elements in 6 groups, and includes a high-performance double-sided aspherical element and highly-refractive converging glass elements, which deliver a high level of detailed performance with minimal aberration, excellent sharpness and beautiful colour reproduction. Moreover, FUJINON's proprietary HT-EBC coating is applied to effectively control image flares and ghosting.
Other benefits of this lens are the beautiful, soft, round-shaped Bokeh that is produced from the 9 blade lens diaphragm. In addition the lens allows you to get as close as 10cm from your subject in macro mode for stunning close-up shots. And its built-in 3-stop ND filter enables blurring of the background in portraits, or applies a gorgeous creamy look to flowing water even in a bright setting.

If it ain't broke, don't fix it.....

(6) Elegant design and sophisticated functionality
The front of the X100S proudly bares the letter “S” as confirmation of its extensive evolution from the FUJIFILM X100. Down to the tiniest detail, the premium build and feel of the X100 is continued in the X100S. FUJIFILM’s top quality Japanese engineering is evident from the high precision components used and the perfectly optimised body.
The X100S’s top and base parts are made of magnesium alloy to achieve a lightweight, resilient, yet delicate design. A specially-formulated coating is applied to give its surface a steel look for an added premium feel. All the dials and rings have been milled from solid metal, with attention paid to the finer details such as finger grips and enhanced operability. The exterior is finished with synthetic leather, which is durable and resilient to the environment yet reproduces the texture of real leather, while still offering the practical benefits of additional grip and comfort.
The layout of the dials and rings allow users to operate the aperture ring on the lens with their left hand, and the shutter speed dial and exposure compensation dial on the top panel with their right hand, meaning all the settings can be adjusted comfortably without having to take your eye off the viewfinder. And to make you feel even more at home, you can even customise your shutter sound by choosing between the four different sounds available: Lens Shutter, Focal Plane Shutter, Mirror Up and Silent Shutter.
The menu system has been also updated to incorporate a Q “Quick” button which allows you to quickly call up frequently-used menu items such as ISO setting and Film Simulation modes. In addition, the Fn (Function) button allows users to assign functions frequently used while shooting, for convenient use at the touch of a button.

By sticking with the quite lovely X100 body, which must have cost a pretty penny to engineer, they have preserved one of the camera's strongest features - a look and feel that eludes most volume camera manufacturers.
That no other manufacturer has followed them is quite baffling.
Imagine a super high spec Canon or Nikon version built around one of their gorgeous rangefinder camera's from the 1950's or 1960's.
It would sell by the truckload without having to slug it out in the market place with the endless and bland mirrorless offerings.

(7) Artistic photography

The X100S features FUJIFILM's proprietary 'Film Simulation Modes'. Users can choose from ten simulation options which replicate the results achieved by FUJIFILM colour reversal films (Velvia / PROVIA / ASTIA), professional colour negative films (PRO Neg. Std / PRO Neg. Hi), monochrome filters (MONOCHROME, Ye filter, R filter and G filter) and SEPIA.
Also available on the X100S is the Advanced Filter function; users can choose from 8 different artistic effects which can be previewed on the LCD screen:
Pop Colour - great for boosting contrast and colour saturation
Toy Camera - create shaded borders as if you were taking a photo on a toy camera
Miniature - adds top and bottom blur for a diorama or miniature effect
Dynamic Tone - create a fantasy effect by dynamically-modulated tonal reproduction
Partial Colour – highlights one colour and leaves the rest of the image in black and white (choose from red, orange, yellow, green, blue or purple)
High Key - enhances brightness and reduces contrast to lighten tonal reproduction
Low Key – create uniformly dark tones with few areas of emphasised highlights.
Soft Focus – blurs the focus of the image edges to create a softer effect
In addition a Multiple Exposure function enables users to combine two separate images together for special creative effects. And for greater artistic freedom, the aspect ratio can be selected from 3:2, 16:9, and 1:1 (square) to accommodate a wide range of photographic styles.

Whatever floats you boat I suppose.....a feature set which will appeal to a few but will not have troubled the R&D budget.

(8) Full HD Video Shooting
The X100S can shoot at 60fps during Full HD video recording (1920 x 1080) for very smooth video capture. Plus shooting at the high bit-rate of 36Mbps will result in reduced noise and enhanced image quality that reveals every detail, from individual leaves in the trees, to subtle changes in facial expression. During video recording, users have access to many of the additional modes available in still image capture. Film Simulation modes can be used, White Balance settings can be adjusted, you can even make the most of the fast lens to produce beautiful bokeh and also operate the Intelligent Hybrid AF for high-speed and high-precision focusing.

I have never shot video in the 'real world' with an X100, but doubtless some will.

60fps at 1920x1080, at a comparatively high bit rate of 35Mbps.

What we can draw from this data however is that the X100S processor/sensor is combo packs quite a punch.




(9) FUJIFILM X100S Key features list:
· 16.3 megapixel APS-C X-Trans CMOS II sensor
· EXR Processor II
· High Definition Hybrid Viewfinder (OVF / EVF)
· FUJINON 23mm f/2 lens
· Intelligent Hybrid AF (with the world’s fastest AF speed of 0.08 secs (*1))
· Start-up time of 0.5 secs (*4)
· Shutter time lag of 0.01 secs
· Shooting interval of 0.5 secs
· High-contrast and wide viewing-angle 2.8-inch Premium Clear LCD (460K dots)
· Super Intelligent Flash
· Burst shooting rate of up to 6 frames per second at full resolution (max. 29 frames)
· Focus Peak Highlight function
· Digital Split Image display
· Artistic filters
· Full HD movie recording (60fps / 30fps)


My Final Assessment


The Fuji X100S is evolutionary not revolutionary and is all the better for it I would say, and though I reserve full judgement until I have used one in a 'real world' situation, I reckon Fuji may well have pulled it off and have at last given their special little camera the wings to fly.

Successor to the X100 is close-or so it would seem.

Shallow DoF.... My X100 aperture ring is permanently set to F2.0.....

I was looking at my favourite and most used camera last night.

Which without doubt is the most flawed camera I own too.

Much has been said about the Fuji X100 and depending on your view it is either brilliant or maddening.

Personally, I think it is both.

I started to wonder when it's successor would be announced.

A quick trawl of the web turned up this seemingly very promising rumour that it would be announced at CES on Monday.

Well, the X100 is due for replacement and Fuji have sent out a tantalising invite.

Added to this, the X100 broke cover at a similar time of year when it was first launched and camera manufacturers do tend to be creatures of habit.

The X200, or whatever they decide to call it, should be a relatively easy win.

What does it need to build on the 'legend'?

1. More processing power.

The 'big boys',particularly Canon, spend lots of time, effort and money on developing very powerful processors, for their DSLR's. Why does that matter? The processor is the heart of a digital camera, the foundation which controls everything the camera does, and what speed it does it at. This in my opinion was the single biggest failing of the X100 which left the camera feeling dimwitted on far too many occasions. Write speed in RAW is very slow, and woe betide you if you read from the card and reinserted it without reformatting. I was reminded of this at the weekend, when the fast card I was using counted for nothing as you could almost feel the camera searching through the card working out where the free space was before it was ready to go again. A process which can take some minutes, with shots missed as you wait for it to get its act together.
I know Fuji do not have the R&D budget of Canon but surely they can do a better job than they did the first time around?

After all the X100 must have earned them a pretty penny.....

2. Auto Focus

I believe the processor had a big influence on this but no matter what, I don't want the X100's successor to struggle as much as the current camera does.
Admittedly it did get much better with the myriad firmware updates but the bottom line is that it was often too slow and could be caught out in some relatively 'easy' AF situations, particularly when focusing on something closer to the lens.

While they are at could they give the camera a closer focusing capability WITHOUT having to resort to a macro setting? Saving the Macro setting for things that are REALLY close.

A really good manual focus solution would be most welcome too.....I like most others find the focus by wire disappointing>

3. Erratic exposure

Just every so often the X100 will expose two almost identically framed shot's completely differently.

For seemingly no good reason.

It is baffling.

Here are 2 shots taken moments apart on Aperture priority.

Go figure.

4. A more intuitive and readily accessible menu.

I have been using the camera for a good while now and it never ceases to amaze me just how concealed some parts of the menu are.

A good study of the competitions offerings should show them the way to go.

5. Battery management.

The X100 isn't too bad on it's battery, but when it goes it is not progressive.

You get very limited warning and then it is flat.

No nursing it through, it 'falls of a cliff' and if you haven't got a spare its all over.

On a DSLR I have headed out of the door for a shoot with the battery on 75 percent power and I knew I would be ok, something I would not dream of doing on an X100.

All of these flaws should be easily fixable, and I sincerely hope they do fix them and transform the camera into what it should have been at launch.

But I have a worry which comes in the shape of the Fuji X-1 Pro.

Firstly let me say it does take a cracking good picture, and is a quality camera.

It's just I would never own one.

Never is a long time but I do mean never.

Why the certainty?

Size, (relative)sloth and the sound of that focal plane shutter.

Combined, these simply rule it out.

It is very good for a camera of its type, but it is really not so very different in size to a Canon 5d MKIII which outperforms it on every front, is quieter in 'silent' mode to my ear than the focal plane shutter in the Fuji X1 Pro.

Ok, it is not a fair comparison, but if I had to leave the house with one camera and know I would get the shot no matter what it was, I would choose the 5D MKIII.

If the Fuji X1 Pro's used a leaf shutter(in the lenses) instead of a focal plane shutter, it might be a different story.

Fingers crossed they get it spot on this time with the X100's successor.

Believe

I'm writing this blog from Ardnacross on the Isle of Mull, over looking the sound of Mull.

A good place to reflect on what has been, for me at least, a tumultuous year.

In 2012 the highs were very high, and the depth of the lows could barely be imagined.

I lost my dear father who inspired me to set out on this remarkable journey and one of my very closest friends who so frequently inspired me at many different times in my life.

Having the Olympic Golden greats exhibition in the year of London 2012 was is something I will never forget, and something I will always be proud of, having achieved it with my partner Lucinda Marland.

It's to the Olympics I return.

Like many others the opening ceremony exceeded my expectation many times over, something to be proud of and something I believe will positively influence many people for many years to come.

The charismatic ringmaster of the opening ceremony was the talented and likeable Danny Boyle.

With the director of 'Slum Dog millionaire' and 'Trainspotting' at the helm it should have been a foregone conclusion that it was going to be a big hit, right?

Well let's not forget he also directed the lack lustre movie 'The Beach' for which he received a verbal lashing from the critics and some Hollywood insiders too.

He was recently interviewed by the Mark Lawson for the BBC Radio 4 arts programme 'Front Row' where he unveiled large neon sign with one word which he felt reflected the games and the year.

He chose the word 'Wonder'

But he said that he could have equally have chosen the word 'believe' but did not in the end, as it could come over as 'dangerously messianic'

I really like Danny Boyle but I reckon he bottled this one.

'Believe' would have been a little more direct and pertinent too.

Just as Danny Boyle, quite rightly, is the media darling at the moment with the success of the opening ceremony, I believe it was a success which was hard fought for, and was indeed built on the foundation of many of his less glorious moments and failures.

I'm not Danny Boyle, but aside from the loss of two people who were very dear to me, I have had to endure some career let downs this year which were bitter disappointments.

One can let events like this dent your confidence or even crush your spirits, but I'm taking forward the lessons learned and will build on the foundation of faliure to go 'Faster, higher stronger'

It really is all down to that word 'Believe'

Anything that one has a profound belief in does shine through.

That is particularly true in the world of photography, anything that I shoot which I'm really passionate about stands out a mile.

So, for 2013 I will be taking a little bit of Danny Boyle's advice and carry more belief into some of my 'background' projects than I ever have before, and this time next year let's see what the outcome is?

The Ghost of Christmas Past

I was searching for a fun image to send out to my Agency Access mailing list when I remembered shooting this picture many, many moons ago.

On film in fact.

I know what your thinking, a set up picture, posed up?

Not at all.

I was driving through Kettering, Northamptonshire when I saw this guy walking through the town.

Really.

In fact it turns out he would dress up as all sorts of characters throughout the year from Benny Hill to Elvis Presley and it being he run up to Christmas he dressed accordingly.

As did his Yorkshire terrier, though I'm guessing it did not get much say in the matter......

As I recall, this was the very first frame I shot, as soon as he was aware of me the moment had passed, even though he was happy to be photographed.

I shot it on a Canon EOS-1 with a Canon 'L' series 70-200 F2.8

The shot was helped immeasurably by being shot on a hill with compression playing its part to give it a great feel.

Anyway, thanks to all of you who read this blog have a great Christmas.

Last Minute Christmas Present for someone special (or yourself)

Workshops, downloads....e-books.

Everyone seems to be at it.

But I want to recommend this really superb ebook by Mediastorm via iTunes.

MediaStorm Field Guide to Powerful Multimedia Storytelling

I have mentioned this book before but it is my designated Christmas read.

It covers everything you need to know about creating great multimedia project's, that really work.

Here are some screenshots from the book.

It is a steal at $10.00.

A special case

When I get my iPad 3 out with its high definition Retina out to show people my work I always get compliments.

But not about the work, nor for that matter the beautiful screen.

It's the case they like.

'What make is it...where did you get it?

Oh to be upstaged by an iPad case.

With good reason though.

I have a Portenzo 'book case' which as the name suggests gives your iPad the appearance of a well loved journal, where you can specify the exterior and interior colour, protecting your investment in a stylish lightweight wooden chassis, which further adds to the appearance of a journal and is strong, very strong.

I rely more and more on my iPad all the time, being impressed by how much I can get away with on it.

As a result my iPad's leads a pretty tough life.

Like the time when my first iPad had a little adventure on the roof of my car for two junctions of the M1.


As you can tell I'm a big fan.

And when the case does start to wear as mine has done, it just has the appearance of a well loved journal.

Also it does not quite look like an iPad, perhaps making it less of a target for the opportunist thief.

Downsides?

Not many.

Well, it is not the cheapest. If you spec it up adding all the bits and pieces the price can drift northwards of $100, and if you go for a leather version much higher but you are getting a very special case.

The way I have justified it to myself is as a really good value portfolio case and not as an iPad case per se.

You can customise the cover with your name and logo by special order but I would like the option of deleting the 'Portenzo' name which features on the back cover.

I wish the guys at Portenzo success, but not too much success.

I would hate to see this case EVERYWHERE and for it to lose its unique, special appeal.

I have re contacted a busy ad agency who could not quite remember me until I jogged their memory by saying I was the guy with the wooden iPad case.

Oh to be upstaged by a bloody iPad case, but at least they remembered me.

That is the most important thing surely?


Note: I do not have an affiliate link with Portenzo they are just cool cases......

The Seal Hunters

When I worked for the Sunday Telegraph I was lucky enough to be set to some far flung and interesting locations.

At that time it was far more common place for photographers to be sent by newspapers to far flung corners of the world to record the stories of the day.

With circulation of newspapers in free-fall it does not happen on anything like the scale it did.

It gave me some of the most unique and special moments of my life.

Being a photojournalist is having a 'passport' into other peoples lives, in sometimes challenging situations, giving you an insight which can be challenging to put into photographs.

Often what made the journey special was the people I would meet.

In the late 1990's I was sent with reporter Adam Nicolson (a great writer and good company, a rare combination in journalists) to Newfoundland to report on the highly emotive seal cull/hunt.

We were guests of the Fisheries department of the Canadian government, who rather predictably played everything 'by the book' and would not let us anywhere near the seal cull, too difficult to get to and dangerous.....feelings running high....so the line went.

Indeed we needed a permit from the Canadian government -which we did not have, for good reason.

Some years earlier an image by Kent Gavin of the Daily Mirror of a young seal pup being clubbed to death on the ice caused widespread international outrage and a major headache for the Canadian government.

Our government minder did not want a repeat of this episode.

We could however meet some 'sealers' at a diner and get their perspective.

There is little more frustrating for any news photographer than having to sit through an interview having travelled half way around the world knowing that your photos are never going to match all the interesting stuff being said.

We met the two sealing representatives who were telling us how they were being unfairly portrayed and how the media had it wrong and how the seal hunt was just part of their seasonal rotational harvesting of the sea, depending on what there was to catch at that time of the year.

Snow crabs, Cod (before they were fished to extinction on the Grand Banks) and the Harp seals.

I went to get a coffee from the counter, leaving the journalist and the government minder talking to the other sealer and was joined by the most vocal and eloquent of the sealers a guy called Gary Troake.

The conversation went something like this 'it's a shame you can't see how we hunt seals'

I said I would like to but we needed a permit, we had no clue where the seal hunt was and we did not have an idea how to go out onto the ice.

'I will take you if you like' said Gary

'What about the government minder?' I said

'Just lose him' he said

I passed the journalist a note telling him of my plan.

There was after all one minder and two journalists so there was little he could do when I headed out into the parking lot and into Gary's car.

As we drove away from the diner I knew I was going to have and adventure but I was not ready for the kindness and generosity showed to me by Gary his wife Suzanne and his young family.

We had to wait for the weather to come right before we could go out on the ice.

They put me up in their spare room in their small house for several days. Giving me a valuable opportunity to document life in the community.

It gave an amazing insight into sealing but more importantly Gary's conservation views (well worth a read) which were pretty illuminating and learned.

One of the thing I did learn a lot about as a photojournalist was grey areas.

The world is full of them.

Just because Gary hunted seals it did not mean that he did not have a lot of sound knowledge and big ideas for conservation, some which were not always universally welcomed in the sealing community.

I think I was there 3 days until the weather was right.

Crystal clear blue skies with no wind.

Cold is a word which took on new meaning.

The sea was frozen.

They asked if I had good cold weather clothing and I confidently replied that I had, fleece and gortex layers galore.

In moments of being in the harbour I realised the clothes I was wearing was next to useless, the cold cut right through me.

They gave me a thick insulated survival suit, think of a babies romper suit made from hot water tank lagging and you will not be far off.

As we made our way out of the harbour the glass fibre hull of the boat cut though the ice making the most horrible juddering sound.

I was told this is why they favour glass fibre over wood, as it cuts through the ice and holds up better against damage.

Very little could prepare you for the sight once we were out of the harbour and into open waters.

Just clear blue skies, oily deep blue water which went on forever punctuated by the occasional piece of ice which had broken off from the ice flow.

Apart from the sound of the engine there was nothing, not a sound at all.

A few hours in one of the men saw a seal and fired a single shot.

He had killed the first of three seals that would be shot by the sealers that day.

I was not ready for it.

Camera's packed away because I really was not sure how they, or the batteries would stand up to sustained exposure to cold.

I was shooting with Canon EOS-1's and they did just fine but I had to manage my batteries.

I have to admit I did not shoot roll after roll of images as changing film was a mission and so damn cold to boot.

Just a matter of making every frame count.

From the day there was one frame which worked really well.

I was with one of the seal hunters on the ice who had just dragged the seal out of the water.

The others thought that they had seen another seal so left us, giving me a this shot which gave a real sense of the vastness.

The challenge was to tell a story often in one frame as this was frequently all a paper used to illustrate a story.

Then to hope that they use it.

How did I feel about going out with sealers who killed three of the most appealing mammals in my presence?

One has to leave one's emotions and prejudice's at the door when covering news.

But it was difficult to have any bad feelings for these guys and the community when they are just trying to hang onto life in one of the most challenging of places in the world.

One thing that struck me was just how dangerous their relationship with the sea was in small open boats, wether sealing or fishing.

A way of life that has claimed many lives in the small community of Twillingate.

When researching this blog I read with great sadness that Gary Troake and Roger Blake's small boat capsized in the icy seas while retrieving their nets.

Both men lost their lives.