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abonhamc

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  1. As long as you're talking phase points, no. The 77 setting is "faster." However, 273 adds contrast points which, while slower, are more accurate than phase points in low light high contrast scenes. Substantially, in my limited small concert venue experiences.
  2. I'm with you on the sugru, but really, with care, I don't think these things are just flying off of the camera. I pulled mine off on purpose and was impressed with the adhesion.
  3. The X-Pro2's eyecup has no threads, it is basically a rubber o-ring sticker stuck to metal body and held in place by rubber tabs on the underside of the cup. Loctite will not work on it.
  4. My advice is going to be very bare-bones compared to most of the other users, but I would not worry about taking so much gear. I have a X-Pro2, 16 f/1.4, 35 f/2, and a 90 f/2. That is my travel kit, home kit, and everywhere in between kit. I recently switched from a Canon system to save weight and so far, my whole kit fits into a case that used to only fit a 70-200 f/2.8L. Take less, enjoy more. On the flip of the coin, I have traveled across the South with only a RX100 and got plenty of nice photos, so I don't put much stock in having the "right" gear, only gear that I know and trust.
  5. Very cool, Sharon. They are probably exhausted by all the cameras arriving for eye cup replacement.
  6. A few more thoughts, but if you're soft proofing in sRGB, be careful to change the profile to your desired output. sRGB is very accurate for most internet uses, but if you're printing your work and you have not calibrated your printer, do your broad color corrections and all brightness/contrast edits proofed for sRGB, then change your proof setup to the free ICC profile for your printing paper available through the paper manufacturer. The free profile download with also include a readme of some kind with instructions on what paper quality you should set in the print dialogue for your specific printer. When changing your soft proofing from sRGB (internet friendly) to your paper profile (print friendly), watch your reds and blue especially. Your once vibrant red stop sign probably has noticeable cyan added. Then look at your blues. Is there too much magenta in your skies? You'll have to tweak different channels if you print frequently without a custom-calibrated profile, but that is the nature of the beast. For example, if I'm making a print on my Hahnemuhle Photo Rag Ultra Smooth paper with my Canon Pro-10, not only must I use the ICC profile available at the Hahnemuhle website for my soft proofing (and also in the printer setup dialogue later), but also set the paper quality in the printer dialogue to Fine Art 1. I have not yet calibrated my printer, but when using free profiles for my papers, I find the colors are very nearly as they appear on my calibrated monitor. I apologize if you knew all of this already; I’m currently preparing a gallery show of film slide scans and some digital work so color accuracy has been on my mind for the past month. If you didn’t know this, hold tight, you’ll get colors you like…eventually. A great resource for all this color stuff is www.cambridgeincolour.com. They have more tutorials than you'll know what to do with. Good luck!
  7. I don't think there is anything wrong with being critical. I'm also not interested in spending adult money for a niche toy. I sold $7,000 worth of Canon gear at a huge loss to myself to switch to Fuji. If the camera was not as described in Fuji's marketing, I wouldn't hold back from criticism. It is considered a "pro" camera and even has pro in the name. I think complaints are fair game. My complaint is that the finder cup is rather shallow for me and, as such, not very light tight. I optimistically look forward for deeper cups to become available like the ones that Fuji made for the X-T1. Aside from that, I'm very happy with the camera. I sometimes miss (auto)focus even in perfectly bright light and that is irritating, but it's not chronic enough to worry about. My Canon L lenses missed focus too. Keep complaining, Fuji has shown that they listen and respond with firmware and new features. Canon, on the other hand, sees people complain about the lack of dynamic range in their sensors everyday and says, "nah, we're making money with what we've got. No improvements needed in the next model." In the end, Fuji is constantly making big improvements with each model and firmware release while other brands roll out new models all the time with only minor updates.
  8. First and foremost, your adjustment settings in the camera are found: menu / ok > set up (wrench icon) > screen set-up I would venture to guess that it you will never be able to match a monitor very well, there just isn't enough user-accessible adjustments in the camera for that. One method would be to take a photo showing a variety of different colors or even a color chart with the X-Pro2, load it into your computer and open it in Photoshop or whatever your software of choice is, and tune the X-Pro2's LCD color saturation and brightness until it's within an acceptable range. Not great, but better. Also, make sure that your editing software is soft proofing for the same color space that your camera is using. If your X-Pro2 is sRGB, soft proof in sRGB. That will help correct reds and greens especially. As far as the LCD - EVF match, I would get a color checker, by printing one or buying one. The colors don't have to match the manufacturer's specs of what they should be, because it's entirely up to how your eyes perceive them. You can mount your camera on a tripod in an evenly-lit room or outside, and then take a photo of the colors. Display them on the LCD, look at red, greens, and blues first and go back and forth comparing how the colors appear on the EVF and the LCD. It's not an exact science and certainly will not be fool proof, but it can help. Again, color adjustments are limited to brightness and saturation, but it does help some. In my camera, I found that the LCD was far more saturated than the EVF and so I turned the LCD down to -5, and kept the EVF at the baseline 0. Brightness for both is set to 0 and the EVF is set to manual brightness as I didn't like auto brightness. Hope that helps some.
  9. I think they're concerned with the water resistance being compromised, but surely cutting the aluminum body differently to seal out moisture despite the eyepiece would have been a smarter move on their part. That eye cup should not expose electronics if it gets ripped off. Oh well, probably a thin bead of sugru or a nice-fitting oring would fill the void nicely.
  10. I can get into the side slot just fine with the RRS L-plate on. I'm not sure why RRS would tell you otherwise. It's tight, sure, but perfectly doable.
  11. I went to an outdoor local carshow yesterday morning with the X-Pro2 and I had significant trouble seeing the viewfinder when under direct sun. I am right-eye dominant and do not wear glasses, but like the other gentleman who fashioned his own eyecup, I also feel like I just can't always get my eye close enough to block out stray light. I did find that the EVF was brighter and more easy to use than OVF, because the EVF guidlines and information readout is significantly brighter than the OVF. Fine, but still, I am a little surprised that I've only read a couple of similar complaints. What's a good way to counter this when shade is not available? Do you guys fiddle with the EVF brightness settings? I'm worried that changing that would throw off my interpretations of available light. I don't think i need anything exotic from Fuji, maybe just a finder cup that is the same exact shape and size, but slightly deeper. I am tempted to make my own from Sugru or a Nikon cup, but seeing that I'd have to send my camera to have them to replace the finder cup if I ruin mine, I'm not eager to jump into a DIY project. I figured that by telling you guys about this issue would help raise awareness to Fuji that some alternative options would be appreciated. Thoughts?
  12. I know I read in a thread somewhere that there is a button that you can hold down to change between slot 1 and slot 2, I just can't find it anymore. Going through the menu to change the slot that is being used is a hassle that I often forget to do which always leads me to think I am missing photos or accidentally deleted some at the end of the day. Can anyone shed some light on this mystery? Thanks. Also, I like the goofy pull-n-twist ISO dial, and after reading the forums, I think I'm the only one.
  13. I also sold all of my Canon gear to buy the X-Pro2, 16mm f/1.4, 35mm f/2, and the 90mm f/2. Parallax is a nonissue with the 16 and 35, but an inconvenience with the 90mm. That said, the OVF is not very usable to me with the 90mm attached as the lens protrudes into the frame, so it is not a big surprise to me. Do I regret my switch? Not at all. It's the most fun I've had with any digital camera including the 5D Mark III despite it's focusing strength in poor lighting. I took the X-Pro2 out the other night to shoot a small rap show and used 12,800 ISO, f/2, and 1/125th shutter speed. A horrible condition, and the camera certainly struggled to focus when set to continuous, but gave me some fantastic shots with the help of peak focusing in manual focus mode (not available with the Canon) and when using the AF-L button in the single shot mode. If I were a professional concert photographer, it would not be my first choice, but it is small and subtle and doesn't get a second glance from the musicians. An excellent offering in my mind.
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