milandro

the 10-24 is certainly better for architectural purposes that the 16 which principal quality, being very light efficient at f 1.4. is completely useless for architectural purposes. Do consider the Samyang 12mm f2, I did have the 10-24 but I used it mostly at 10-12mm. So I sold it and bought the 12mm great lens, paid €369. The 12mm Samyang has a performance at least as good as the 12mm Zeiss minus the autofocus ( totally useless for architecture!). Another thing, most people are hung up shooting at full opening, unless you are an addict ( or adept ) of the bokeh persuasion, you can do this at f4 just cranck up the sensitivity, one of the most important characteristics of the Fuji system is how well it performs at higher ISO values.

the shorter the focal length the better and with the aperture set to the maximum, point at a white wall or the blue sky.

stealth seems to be important for some folks ( I don’t care for it, I am a 6’ 1” 120Kg bald man how stealthy can I be?) so they might want to consider a “ Cloak Bag” ( well not really a bag)....or , you can make your own! on the other hand, if you want to attract attention you could try this

still love my iErnest ( which is no longer made, apparently, so now it will maybe become a future collectable )

was it not on the usual suspects AmazonUS / BHphoto / Adorama? http://www.fujirumors.com/us-x-deals-coming-next-week-fuji-x-t1-300-off-available-now-fuji-x-t10-18-55-55-200-for-1399/

At the dawn of digital photography 1998, someone thought of adding an insert containing a digital sensor which could transform any analog camera into a digital one. They called it IMAGEK EFS-1 This never really materialized and it has appeared in many forms which never made it past the 3D model or prototype. Of course this would have been riddled by all sorts of problems but if anyone could have made it we wouldn’t have had so many new camera and we would have kept on using almost any analog camera ever made. 20 years down the line, the concept is no longer appealing but it would make an incredible accessory to revive ownership of analog cameras. Later on many others took this concept but even that never made it into production.

I don’t have an X-T10 but an X-T1 so I am just thinking with you. I too have a Imac with Yosemite. What you are describing is not normal otherwise we would have heard more of thins and we don’t. I tend to think this depends on something that you do or a setting that you have rather than being a system incompatibility. If that is the case the Fuji support could have never been expected to help. De card that you use in your X-T10 is the same one that you use in the X Pro 1? Can’t you open the Raw files to at least see the content with the system program “ preview”?

it can happen, but if you take a knock of the front part of the lens, even if without filter or lens hood you will damage it. It might affect the autofocus in some lensed (not if the autofocus is internal). The 60mm, for example, was provided with that huge lens hood to not interfere with this filter mount. If you put a hood there without a filter to act as a spacer, the lens will find it impossible to focus and give you an alarm on the screen. If you ever damage the part which has the filter thread is generally a part of the lens though which can easily be screwed off and replaced at relative low cost.

You know, I tend to think that they know what they are doing and, although they might value our opinions but they might have their own better ones. They are at this game every day of their lives and the company has been doing this for a while, often longer than any of us has used any lens. The marketing department at Fuji ( a sizable one al over the world I understand), I am sure, works in close contact with R&D and before any lens comes out, its positioning , price and performance, has been worked out years before it sees the daylight. Perhaps nice to read about Fuji (it’s mainly about film, their biggest sales are , still there, not in digital photography, but it says something about their attitude and why they survived while others succumbed) http://www.economist.com/blogs/schumpeter/2012/01/how-fujifilm-survived

28?

I think, that the performance and ability of the sensor and processor to deal with autofocus of longer lenses might be a reason but I suspect that their marketing office has also determined that long lenses such as the 100-400mm are due to the bulk and cost, a minority market and that’s why their introduction has been yet again delayed. The mirrorless philosophy, if there is one and if I understand it, is to have small portable and less expensive cameras and lenses than full frame compensating, for example, for a lesser light efficiency with a good sensor/processor performance and a lower price. Producing expensive and bulky lenses seems to go against this idea and might set them into a dangerous territory where they might find themselves having bitten off something too big for them to chew.

What makes no sense for one person might make great sense for another. When I was young the cheapest and most common triplet of lenses (this was before zooms became the rule) was 28mm, 50mm, 135mm, at the time if you had these lenses you would be classed for sure as an amateur. There were plenty of people whom thought and wrote in magazines that for example the 135mm was neither fish nor flesh nor fowl since, at the time, it was generally considered to be too long for portraits and too short for anything else requiring a longer focal. You can imagine my surprise when, come the 90mm in the Fuji system, a focal equivalent to the 135mm on the 24mm x 36mm, it was welcomed at the best thing after sliced bread! Different strokes for different people. The 56mm was made to be that focal length because it is more or less equivalent to an 85mm which at the same time when the 135mm wasn’t though being much of a muchness, was considered the best portrait focal length. The 60mm came on the market because it is equivalent to a 90mm, a focal length that was very popular in the analog times for macro lenses (also 1:2 most of them back then, without an extra ring). To each his own. We vote with our wallets. In the end things that are popular will survive and other things less popular will disappear. It’s the nature of the beast.

true ... But the focal length is often a compromise so for the traditional 24mm x 36mm film the “ normal” focal length calculated on the base of the diagonal would have been a 43mm Of course for simplicity the majority of people making lenses made a 50mm (approximated because the true focal lens often deviated slightly from the nominal one). That doesn’t mean that there weren’t 58mm, 55mm, 52mm ........

exactly. one can only hope to do this in the least damaging way but whatever you do this is a potential problem. Covering both lens or camera with a plastic protection cap while doing this might give one an illusory feeling of safety but it provides no guarantee to not introduce yet more possibility to cause problems. So all you are certainly doing, is slowing yourself down and, as I in a jocular manner wrote above, feel the need you had four hands because at some point you are trying to juggle 4 objects ( body, lens, body cap, lens cap) all of it contained in a bag ( which is the ideal receptacle for dust and lint, I vacuum clean it every now and again) or exposed to the elements. The only way to get away with this is to change lens while “ in the filed” as little as possible. This is obviously the zoom battlefield. Ideally one determines which is the focal range that one uses the most and use another body for the odd shorter or longer lens or cover the range with two bodies and two wide range zooms. One in the short to medium range and one in the medium to long range. At the moment Fuji doesn’t provide two perfectly connecting zooms allowing this to be done seamlessly. Often changing primes with one body alone is asking for trouble. It is not if but when all the changing of lens will cause problems. Life is compromising and deal with the consequences of shite that will, sooner or later, happen. Murphy’s law applies.

Mr.Magurean theo person who dipped his camera with lens on youtube confirms both camera and lens still work. If you don’t believe me ask your self, but yes, you might not believe him. I didn’t do it, he did. Not waterproof but his camera survive the dipping that you see in the video. The Pentax survived too.

it’s all very nice, but in my experience (which might be different from anyone else’s) the road to hell is paved of good intentions ( and resolutions). You may want to do the right thing but chances are that you won't: Take of the lens, replace it immediately on the body with a body cap while holding the body face down to prevent dust reaching the sensor. Place a lens cap on the lens ( while you think: “ Oh! it would be so nice if I had four hands!” ) Relax. Then take the cap off the new lens, briefly look at it to check that there is no dust or hairs , take the body cap off and hold the camera face down( while you think, again,: “ Oh! it would be so nice if I had four hands!” ), place the lens on the body, now place both body cap and lens cap somewhere where it is not likely to collect dust or hairs or water. Relax Repeat. Somewhere in the process you will not perform the correct sequence and problems will arise. Shite happens. Best to find a way to deal with it.

None of the above. I play a 1972 King Super 20 tenor as my main horn.

repetita iuvant ?

I play multiple woodwinds and buy and sell them as a result of buying lots of this stuff. I never have less than 10 saxophones ( clarinets, flutes ). But I am moving now to a temporary accommodation and I will be living there for only 2 years while my house is being rebuilt. So I have to move again in two years. My wife and I often stare at the things we’ve accumulated in the last 35 years. Some of these things among which an impressive collection of all my favorite detective stories by my favorite authors, painstakingly bought one by one in years of searching, have been moved here to the NL from Italy where I lived before, back then I shipped 700Kg. of things and later on went to pick up 25 suitcases that I’ve left in storage for a year. We spend the first part of our life adding thing and the second part in subtracting them. It’s a fact of life.

This is one of the most important aspects concerning adaptive photography, together with the fact that lenses made for film were never made to perform well with a system, a digital sensor, which only performs at his best with rays as orthogonal as possible to the surface of the sensor. I use two lenses that aren’t communicating electrically and electronically ( by means of a chip) with the camera sensor and processor. The Samyanag 8mm f2.8 fish eye I ( the version II has an improved image circle that doesn’t seem to be a significant improvement on the APS-C) and the Samyang 12mm f2. I have been wondering if it wouldn’t be possible to feed the camera with information, albeit general, on the adapted lens used. Originally that’s what I thought it happened when telling the camera which adapted lens is on the camera. There’s a number of focal lengths pre-programmed and two ( why only two?) which one can modify. In reality modifying these only changes the exist data of the camera so that you can, afterwards, recognize the pictures and a program such as lightroom can order the picture under a lens directory. It would be nice if the camera could be programmed to recognize lenses other than the Fuji or Zeiss. Of course Fuji has no interest whatsoever in providing this feature which encourages people not to use Fuji lenses. However my take on this is that, with the exception of very few, most use adaptive photography as a creative extra, not as a total alternative.

Nay sayers are definitely proof that a lot of people are more prone to believe what “ the internet says” rather than trusting their eyes. Tongue in cheek alert

B&W at his best, as opposed to som grey and grey one sees , that aside, great images.

So many people and so many different needs. Each one of us has a different story and most probably the only thing we have in common is the camera system that we use, but even then the way we use it is a reflection of all the differences , so even owning the same set of lenses, in depth observation would show that we use it in a different way. The reason for me to sell the 10-24 and the 35 was that although I did use both of them, I used the 10-24 almost only at 10mm , so I decided to replace that with a cheaper Samyang 12mm after I convinced myself that the lens wouldn’t have performed much worse that the 10-24 had done. Losing the autofocus was not an issue for me. Of course I realized that I did have a major gap to fill and bought an incredibly cheap 18-55 as part of a kit with a NEW X-E1. After that I sold the X-E1 and was left with a great lens for which I had paid peanuts. But now I had 6 lenses. For practical reasons I don’t want to cary around more than 5 lenses and one camera body, even though I have an extra large bag. I truly hate stacking things in two layers in a bag. But that’s me. So I thought that I could, at least temporarily do without the 35 f1.4 and see how it goes. I had bought that lens in a kit too and sold it pretty much for the amount of money that I paid for it. In case I would think, that I need that lens I can always buy it it later on. So, with what I have now ( 8mm, 12mm, 18-55mm, 60mm, 50-230mm ) I am pretty much set. I also have a tilt adapter and maybe will buy a lens turbo adapter too for a number of M42 lenses. I could go on the rampage and buy lots of things, but this is an hobby. Even what I was a professional, for more than 25 years, I had many systems from 35mm to 8” x 10” but still I tried to have a reason for everything I had other than hoarding.

I do to, but this is another subject.

I would advise you to send the camera to Germany since apparently our shops send the Fuji cameras in Germany too, it might take less. In all the EU guarantee is 24 months (MINIMUM) , the UK think they can make an exception to this rule but really they shouldn’t. Read here http://www.thisismoney.co.uk/money/bills/article-1677034/Two-year-warranty-EU-law.html In the NL ( where theoretically the terms allow for a much longer term) this is a different matter ( a more complicated matter, if you want to make a claim any further than the 24 months EU minimum ) The fact that you bought it from Amazon UK says nothing about where the guarantee applies or was issued, it should say on the guarantee itself and on the receipt. Get in touch directly with Fuji Japan and ask them to intervene. They are normally very helpful. https://contact.fujifilm.com/cgi-bin/mail/form.cgi/contact_tokyo_headquarters?_ga=1.225719197.665361477.1432290617 I’ve already suggested elsewhere on this forum that I might be given a job from Fuji