Robert Falconer


As a multidisciplinary communications professional, Robert’s skills set has always consisted of crafting words and creating imagery. He began his professional writing career penning scripts — and pitching — for television series such as Star Trek: The Next Generation and its subsequent spinoffs. Today he works as both a professional photographer and content producer, applying his talents to business, non-profit and various media clients, and has worked with such diverse organizations as Fujifilm, Metro News and National Geographic Channel Asia.

As a versatile photographer of over 25 years, Robert has shot a variety of subject matter — from shadows falling across the majestic lands of Africa, to the light-dappled geometry of the urban landscape; from vignettes of life around the globe, to cinematic, glamour, and editorial portraiture. These days his primary specialty is unit stills for film and television. It’s a niche that has enabled him to draw upon his early years of experience as a television screenwriter and storyteller; in a sense bringing him full circle and professionally reuniting him with the world of entertainment and popular culture.
Robert is a member of the International Cinematographer’s Guild, IATSE 669.


My first exposure to Fuji cameras was in 2011, when I purchased the original X100 to take with me to Africa. I wanted something that was small, light, unobtrusive, and yet capable of making outstanding photographs. I was frankly astonished by the image quality that the X100 could render.

Soon after, I added the X-Pro1 to my kit. I found that the X-Trans CMOS sensor produces files that are lovely, with an organic, film-like quality that's hard to put into words, because the overall acuity and color rendition is actually much better than anything we could achieve back in the days of film (35mm film, anyway). Coupled with the wonderful XF35mmF1.4 R lens, the combination has enabled me to make some of my favorite images.

More recently, I acquired the X-T1 GSE and the XF56mmF1.2 R lens. Coupled with the X-Trans CMOS sensor's excellent low light performance, the large, clear viewfinder of the X-T1 and its new silent shutter are enabling me to capture photographs in places where it would have been virtually impossible before.

It's quite clear that the company's long experience manufacturing both some of the world's most acclaimed film emulsions, and building stellar optics for a variety of commercial and consumer applications, have led to some truly innovative thinking―resulting in a singular approach to digital camera development.

I want to emphasize that Fuji's classic X Series designs speak to me; harkening back to those days of yesteryear when cameras looked like cameras and not like melted lumps of plastic. As many photographers will tell you, a camera's aesthetics can often be as inspirational and motivational as its ergonomics. I eschew the term "retro". To me, good design is good design, particularly when it’s melded with modern guts and functionality. The more effortlessly, accurately, and enjoyably that a camera can realize your vision, the more valuable it becomes as an instrument.

Some minor teething niggles aside, Fuji has done an outstanding job of this, in my opinion, and their Kaizen philosophy of continuous improvement is laudable.

I can't wait to see what they have up their sleeves next.

© FUJIFILM Corporation