Adam Woodhouse

Great pics.
 
I really liked the one of the woman with the film Rolleiflex taking a pic of the dude with the guitar.  On my wish list is one of those (the 3.5 model) and experimenting with B&W film.  A classic street photography setup.

When you get up to the focal lengths this lens gives, regardless of camera model ... it takes lots of practice.
 
For $75/CAD I picked up a 1980's 200-500/5.6 manual focus Tamron (the thing looks like a bazooka) and use a Nikon/Fuji adapter and I learned right away that even on a tripod, it takes lots of practice to get anything that looks any good due to DOF and camera shake.

I have installed the X-transformer as a plug-in to Lightroom. Check this guide out in order to set that up: https://www.aevansphoto.com/ixt-lightroom-plugin/
 
After that is done you import your RAF-files to Lightroom (as usual) and then you right click on the .raf files you wish to convert and run it with X-transformer. When its done you end up with a sharper file (.tiff) that you can continue to edit in Lightroom to your liking. I even noticed it is possible to use fuji's color profiles after the conversion to .tiff is done.

If it were me, and just for hobby, I'd get the 10-24 because I find it to be quite a versatile lens.  Excellent for ultra wide angle landscape and architecture stuff ... great IS ... and zoom to 24mm to get that coveted 35mm full frame equivalent for casual street type photography.  I use and enjoy that lens much more than the 16/1.4.  
 
The 16/1.4 only comes out (for me) when I'm doing paid gigs and I require F1.4.

It would definitely be bigger, just compare any F4 to F2.8 lenses that are the same focal length.
But that being said ... if they released a 2.8 version and did not put IS in the lens ... it may not be too much larger than the current which has IS. 

@
Hermelin 
That pic is too cute.

Yup, I found the same thing.  
 
If there is something very bright, the metering result is an under exposed image by approx 1+ stop.  I commented on it via this forum back in Sept.  It seems that the XT2 is afraid of lots of highlights in a scene and runs in the opposite direction by greatly under exposing.  The XT1 seemed to not care as much which resulted in some pretty good exposures/metering when there were some strong highlights.

Having shot several weddings while using both XT1 and XT2 at the same time, the differences (all be it small) are pretty obvious when I'm bouncing back and forth.
 
The faster performance of the XT2 was immediately noticable for me at the first wedding I took my XT2 to.  The faster response of the shutter button first grabbed me.  The XT1 seems a bit slow now.  On paper it may be a small amount, but I immediately noticed it.  I only ever use single point autofocus so I didn't notice too much of a speed increase on the XT2, however love the focus joystick to move my focus point around.
 
Dual SD slots are very good for peace of mind.  I have XT2 slot 2 setup to backup slot 1.  I've never had an SD card failure yet, but knowing there is a backup happening as I shoot images I cannot shoot again ... it is a great peace of mind.
 
I find the Velvia processing of the XT2 to be better than the XT1.  The XT1 over saturates a bit and is noticeable if used on people when they are shot close up.  The XT2 Velvia is really nice for everything.
 
I do shoot video at the odd wedding (if they include it in their package) and the video from the XT2 is excellent.  I'm really happy with the quality.
 
In my experiences over the years we cannot simply compare a 16MP image to a 24MP image when comparing noise (which seems to be a big concern for some).  Take the 24MP image and resize it to 16MP and then compare 16 to 16.  I expect in that case the XT2 will match XT1 and in some cases exceed it.  This is something I learned and help me have a bit of perspective when I migrated from 10MP through 24MP Nikon cameras previously in my photography career.  When I compared D3s 12MP image to D610 24MP images ... the 24MP had more detail at base ISO, but once the ISO started to go up 24MP had more noise.  (Research the details on the 36MP D810 and you'll see the noise complaints of those that go a few stops above base.)  But when I saved the higher ISO 24MP as 12MP and compared ... I got a better one-for-one comparison and saw the win for the 24MP source.
 
Don't know if that will help OP or not ... ?

Having shot several weddings while using both XT1 and XT2 at the same time, the differences (all be it small) are pretty obvious when I'm bouncing back and forth.
 
The faster performance of the XT2 was immediately noticable for me at the first wedding I took my XT2 to.  The faster response of the shutter button first grabbed me.  The XT1 seems a bit slow now.  On paper it may be a small amount, but I immediately noticed it.  I only ever use single point autofocus so I didn't notice too much of a speed increase on the XT2, however love the focus joystick to move my focus point around.
 
Dual SD slots are very good for peace of mind.  I have XT2 slot 2 setup to backup slot 1.  I've never had an SD card failure yet, but knowing there is a backup happening as I shoot images I cannot shoot again ... it is a great peace of mind.
 
I find the Velvia processing of the XT2 to be better than the XT1.  The XT1 over saturates a bit and is noticeable if used on people when they are shot close up.  The XT2 Velvia is really nice for everything.
 
I do shoot video at the odd wedding (if they include it in their package) and the video from the XT2 is excellent.  I'm really happy with the quality.
 
In my experiences over the years we cannot simply compare a 16MP image to a 24MP image when comparing noise (which seems to be a big concern for some).  Take the 24MP image and resize it to 16MP and then compare 16 to 16.  I expect in that case the XT2 will match XT1 and in some cases exceed it.  This is something I learned and help me have a bit of perspective when I migrated from 10MP through 24MP Nikon cameras previously in my photography career.  When I compared D3s 12MP image to D610 24MP images ... the 24MP had more detail at base ISO, but once the ISO started to go up 24MP had more noise.  (Research the details on the 36MP D810 and you'll see the noise complaints of those that go a few stops above base.)  But when I saved the higher ISO 24MP as 12MP and compared ... I got a better one-for-one comparison and saw the win for the 24MP source.
 
Don't know if that will help OP or not ... ?

Having shot several weddings while using both XT1 and XT2 at the same time, the differences (all be it small) are pretty obvious when I'm bouncing back and forth.
 
The faster performance of the XT2 was immediately noticable for me at the first wedding I took my XT2 to.  The faster response of the shutter button first grabbed me.  The XT1 seems a bit slow now.  On paper it may be a small amount, but I immediately noticed it.  I only ever use single point autofocus so I didn't notice too much of a speed increase on the XT2, however love the focus joystick to move my focus point around.
 
Dual SD slots are very good for peace of mind.  I have XT2 slot 2 setup to backup slot 1.  I've never had an SD card failure yet, but knowing there is a backup happening as I shoot images I cannot shoot again ... it is a great peace of mind.
 
I find the Velvia processing of the XT2 to be better than the XT1.  The XT1 over saturates a bit and is noticeable if used on people when they are shot close up.  The XT2 Velvia is really nice for everything.
 
I do shoot video at the odd wedding (if they include it in their package) and the video from the XT2 is excellent.  I'm really happy with the quality.
 
In my experiences over the years we cannot simply compare a 16MP image to a 24MP image when comparing noise (which seems to be a big concern for some).  Take the 24MP image and resize it to 16MP and then compare 16 to 16.  I expect in that case the XT2 will match XT1 and in some cases exceed it.  This is something I learned and help me have a bit of perspective when I migrated from 10MP through 24MP Nikon cameras previously in my photography career.  When I compared D3s 12MP image to D610 24MP images ... the 24MP had more detail at base ISO, but once the ISO started to go up 24MP had more noise.  (Research the details on the 36MP D810 and you'll see the noise complaints of those that go a few stops above base.)  But when I saved the higher ISO 24MP as 12MP and compared ... I got a better one-for-one comparison and saw the win for the 24MP source.
 
Don't know if that will help OP or not ... ?

I wish for the extra $ that it had something a little different than the colour and a different strap.  Then it would be worth the extra $ for more of us.  It is a beauty to look at though.  

Sorry, haven't noticed that with mine.  But honestly ... I haven't paid close attention to the battery level when I put the camera in the bag and then compare to when I take it out again.  But it does make me curious and I'll try to do it when I think of it.
 
It may be good practice to try to get in the routine of taking the batteries out of the grip when you put the camera back in the bag (knowing it is going to be a little while before using the camera again).  This way you reduce the risk of a battery going bad and leaking in the grip.  It may be very rare, but a battery can easily become faulty all-of-a-sudden.  I try to take them out of my cameras when I think of it and leave them on my shelf.  Since I have two chargers, I usually put two batteries in the chargers and leave them there.  The charger will turn off when the batteries reach 100% anyways, so when I want the camera I throw the batteries in the grip and they are always at 100% from sitting in the chargers.  Should a battery go bad and leak, it will happen on the charger which is cheap to replace.  I realize that different battery types have different characteristics, but having dealt with leaking NiCad and NiMH and 12v high capacity marine batteries and experience with LiPo battery charging and their potential to burst into flames when charging ... I've learned a thing or two about being a little cautious.  I know the Li-ion are very stable hence used in our electronics, but the recent Samsung smartphone battery debacle shows it can happen.
 
A side note ... I have found that if I fully charge a Fuji battery and a Watson battery and leave them on my desk for one week ... then put them on the charger, the Fuji will be back to 100% charge in a couple of minutes, where the Watson may take approx 10 minutes.  But when both types are fully charged and I use the camera for a full day, I don't notice much of a difference in their lasting power.  They have been a great low cost battery for me over the past 2 years in my XT1's and XT2.

Digital stills cameras generally have a 29m 59s limit imposed on their video recording capability. This isn't a technical limit but a tax limit. If the camera were allowed to take videos longer than 30m then the camera would be classed as a video camera and would be liable for a higher rate of tax on its retail price. Most manufacturers avoid the tax by limiting the recording to just under the 30m threshold.
 
See page 324 of the manual, it tells you there that you can't record longer than 30m. Although it doesn't take the trouble to explain why.

Hendrik, I commend you for being a person who takes real ( and good) portraits.   

Hey!  You guys talking about me.  

Not sure if y'all are using the joystick for it's intended purpose.  There will always be a measure of focus and recompose with any moving subject.  The joystick is not there to move the focus point to the eye and shoot.  It is awesome for quickly getting the focus point to the area of the eye, and then doing your work from there, which helps in not losing focus when recomposing.  

I felt something like this for those glorious 3 seconds...
 
https://s-media-cache-ak0.pinimg.com/originals/4d/f3/cd/4df3cda45fb593fc93884e1f67ad28a1.gif

I would be very interested to see a challenging environment like that and have the same photographer use for half the event the 50-140/2.8 + XT2 (in boost mode) and then for the other half use Nikon D500 + 70-200/2.8 (a disadvantage of the Nikon is there isn't an effective focal length lens of 70-200 @ 2.8 for the Nikon crop sensor, but that shouldn't matter in a situation like this) .... and then hear their experiences.  Using the different focusing modes and burst modes.  I'm think that in most situations the performance of the two would be quite comparable.

Salt of the Earth -- Sebastião Salgado -- http://www.imdb.com/title/tt3674140/?ref_=nm_ov_bio_lk1

Canon's Tales by Light series is currently available on Netflix: http://petapixel.com/2016/11/12/canons-tales-light-tv-series-now-netflix/
 
It's not your typical photographer, but there's Gregory Crewdson: Brief Encounters.
 
Of course there's From the Edge with Peter Lik.
 
An historical overview: Photo: A History from Behind the Lens.

I have found the AFL buttons location something that takes a bit of getting use to.  But once you get use to it, I don't think the location is a big deal.
 
But the button on XT1/XT2 is too small.  I have a dirt cheap fix that works great.  At my local craft store (Michael's) I purchased for a couple of bucks a small pack of stick-on buttons.  They come in different sizes.  They look like a ball bearing that has been cut in half.  They are black.  They have 2-sided sticky tape on them.  In this small $2 pack were the size that is the same size as the AFL button.  I stuck one on the body and one on the vertical battery grip.  This small convex button (shaped like 1/2 a ball bearing) works perfect in that it is easy to find the button when my eye is to the view finder and makes the button slightly larger, thus easier to press.
 
I've had this mod on my camera body and vertical grip for a couple months now with success.

I have found the AFL buttons location something that takes a bit of getting use to.  But once you get use to it, I don't think the location is a big deal.
 
But the button on XT1/XT2 is too small.  I have a dirt cheap fix that works great.  At my local craft store (Michael's) I purchased for a couple of bucks a small pack of stick-on buttons.  They come in different sizes.  They look like a ball bearing that has been cut in half.  They are black.  They have 2-sided sticky tape on them.  In this small $2 pack were the size that is the same size as the AFL button.  I stuck one on the body and one on the vertical battery grip.  This small convex button (shaped like 1/2 a ball bearing) works perfect in that it is easy to find the button when my eye is to the view finder and makes the button slightly larger, thus easier to press.
 
I've had this mod on my camera body and vertical grip for a couple months now with success.

It depends on the needs of the studio photographer and their clients.
 
If a client demands minimum 50mp image for their billboards ... you need that tool.  If your client is fine not printing larger than a print publication, non-medium format is perfect.

Very odd.  I have shot 4 weddings with my XT2 and some high school football.  Images are razer sharp when I nail focus and don't have camera shake.  I have found in going from XT1 to XT2 (as I found the same when I went from 12mp Nikon to 24mp Nikon) that it is much easier to have a slightly soft image due to camera shake because the greater pixel density of the same size sensor will be less forgiving with camera shake at same focal lengths.  This was a common problem people that jumped on the Nikon D800 band-wagon when it first came out.  Many didn't do their homework and learned (for some a costly lesson) that they can't hand hold that camera at the lower shutter speeds like they use to on their previous lower MP cameras.  Nikon's public response was "the new D800 forces you to be a better photographer".  LOL   There was a ton of buzz about it because so many people noticed it.  The new Canon 50mp have addressed this in their hardware/software.  The greater the pix density, the more noticeable camera shake (even when it is very little) appears.
 
I'm not saying that is the cause (particularly if manual focus works perfect every time and AF does not) ... I'm saying I've seen something similar at another time and that was the cause back then.

I use my 10-24 for street/landscape/casual work all the time.  I like the extra wide feature for when it is needed, and I like that at the full zoom, it is a 35mm full frame equivalent which is commonly used for casual/street work.  The I.S. in the lens is great for those low shutter speed hand held shots.
 
I use the 16/1.4 when I'm doing my regular wedding work when indoors and in low light ... so I use it at F1.4 almost all the time when indoors ... that and the 35/1.4 are great for that.
 
10-24/4 and 16/1.4 are two different lenses for two different purposes (at least for me).