bjorke

Sad. I know there's more pro money in GFX, more consumer money in Instax (you should visit an Instax store in asia! Filled with teen girls, crazy) But for those of us who want a documentary tool like the X-Pro line, it's hard not to feel abandoned by Fuji. I've gone back to Leica for that reason, and neither option are great in terms of gear replacement in emergencies etc.

I've shot a lot in torrential rain using XT-1 and XPro2. Might other cameras have survived? I can't say. What I can say is that I just went out and assumed it would all work and.. it did. One less technical thing to worry about so that I could pay attention to what I was *actually* doing -- shooting, not worried about keeping gear dry. 've seen both X-Pro2 and XT-2 get fog in the finder in really heavy downpours. That chamber is isolated from the "real" lens-to-sensor chamber. It will dry out.

Thanks -- if you're outdoors at a fixed f/stop, have you tried just setting manually and running with it? The light is pretty constant. After years of enjoying auto settings I've gon eback to manual, since the settings are pretty consistent for all cameras. Handy if you have more than one body

I've been trying it out, and since I couldn't find any sort of guide of using it with Fuji Camera Remote, Instax, etc, I've started writing one here -- hoping that folks here might also lend any insights or expertise on making it better! Thanks, kb

I'm very curious about the XF50ƒ/2WR, but while waiting I purchased a little Meike lens as a temporary friend. Here are a few notes about my experience with it: http://www.botzilla.com/blog/archives/000893.html

For those of us who have grown up shooting with 35mm film rangefinders this lens is... overdue! Something this size that works as an equivalent to the 90mm 'cron (or zeiss, or the Canon 85 or the Nikkor 105/2.5...) is a fine thing. The 56/1.2 and 90/2 are fine optics but tough to just carry in your jacket every day. Right now making due with a little Meike or the 56, I'll be quite happy when I can drop the 50WR into my pockets.

Lenses are tools. Do you prefer a hammer, or a screwdriver? What matters is what you're building, and not the price of the hammer vs the price of the screwdriver. If you're not sure, go for the 35 because in a pinch you can always crop to a smaller frame but not crop to a larger one.

pick the photos you've shot that you like and wish you had more of.

I too got rid of my 5D's and have been happy with the decision. I gave them to my daughter, who has made good use! https://www.instagram.com/bjorkette/

The OVF is in full color at all times.

You'll have to take my word for it, but: I shot raw for many years and quit very intentionally.

One more reason not to shoot RAW

Not a review, but some samples. People on Some Other Forum have been madly fretting over close-focus wide-open performance. So I took a couple of snaps to test this out. I think it looks fine for realistic purposes. Sorry if it's not a $400 match to the $3K 35mm Summicron, but it ain't nearsome as bad as the fearful online hand-wringing might have you believe. But see for yourself: pix and comps and PSD all here. https://www.dropbox.com/sh/ngaod90cyy8knpd/AADFi-qjdv7B8i6Qf0uDIm9Va?dl=0 Yes, I shoot JPG. I know this will leave wriggle room for the people whose standards of quality are much much higher than mine to exploit. That's okay.

If Ken only posted assertions with which everyone already agreed, no one would post angry links about them. It's 2016 and people still don't realize that's how the internet works?

Fuji must be in scramble mode, I got a message saying the pre-orders would be filled next week, not the end of November

they claim it's backordered :/ hope you actually receive it!

Beats me how anyone actually got one of these lenses, I was on pre-order from the day they announced it and now I'm told it will arrive November 23 -- so much for their claim of "late September."

Nice options! Thanks all.

JUST TWO: 18mm + 35mm, done. Pocketable and quick. If you need WR swap the 18mm with the (much much larger) 16mm and get the f/2 35mm. after than the kit lens and a tele for hockey games

I like the Fuji straps and have been using them on various cameras. They're not too wide, easier to put on than the Leica strap, etc. Always trouble in paradise, however. They're too long. I often ride a bicycle and need the strap to not dangle down where the camera would be rapping against the metal crossbar. So I tighten the strap up to hold the camera at about "heart height" which means I'm left with long flappy ends. I tie them in extra knots to make the strap more secore, but they're still really really long and occasionally unravel and flop into the visible frame. I could cut them (seal the ends with a flame or a clothes iron), but -- anyone have some recommended SHORT straps? (Wrist straps need not be on this thread, they're useless for my context) Thanks! kb

I made a quick chart of all the film simulation modes, and compared them to Adobe's "Auto" handling of RAF, too. http://www.botzilla.com/blog/archives/000884.html WRT the link above, by Damien Lovegrove: he mentions "Acros B" multiple times! Perhaps his preproduction X-Pro2 had such a mode, rather than "Acros Ye"?

This thread has certainly gotten me re-thinking my Acros set-up, which I'd naively based on the B&W setups I use on other Fuji-X cameras. On regular B&W, I +2 the shadows & roll the highlight, sharpen harder, less noise reduction... Across looks to do a lot of that, in a more nuanced way, right out of the box. And Damien Lovegrove using a green filter... well if you have faces that are young and flawless then getting extra texture is okay I guess! I've typically used red to reduce blemishes. Hmm Hmmm Hmmm (time for lots more shooting) BTW, "real" Acros in Rodinal with stand processing (no agitation, leave it for two hours!) is pretty sweet (shot with a Bronica, since we're talking film!):

I wrote a blog post. It's about improving the feel of camera controls by tweaking their shape and texture -- a little bit like the famous story, cited by Donald Norman, about the nuclear-plant operators who replaced a row of identical and easily-confused levers with beer-tap handles (sadly, they were fired for making the plant safer, because it affronted the executives' sense of decorum).