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The 14 mm on APC (21 equivalent on full frame) requires foreground discipline: Filling the foreground with an important element in your composition, which introduces the rest of the image. If you miss it in the foreground, then you're lost--start over. Use the ground, floor, road, or whatever makes up the bottom of your image an important element in your composition as well. The tilt screen on the X-T1-2 help with low angle shots. With the X-Pro 1-2, you can simply imagine what the bottom of the image would look like if you put the camera almost on the ground. Hyperfocal distance is an important trick to remember. Set you f-stop and then use the lens' manual focus to set depth of field from infinity down to the minimum for your f-stop. If you want inspiration, go back to early, post-1963 images taken with Leica's Super Angulon 21 mm f3.4. It was one of the first lenses with a 90 degree field of view and professionals had a ball with it.

If both were released tomorrow, the only logical solution is to get both. Currently, shoot both; the Pro for wide to normal 14-35 with the OVF for fast framing. Walk around with the 14 on the Pro1, since it will allow manual focus from infinity to almost the front element at f8-11. After a while, I get used to composing in my mind's eye when I hold the camera down on the ground, up in the air, or snap a shot while looking innocent. The T1 is for normal to tele lenses. The 56 balances nicely on the T1 with the battery grip. Focus is fast enough for all but action shooting. For fast moving subjects, the Nikons come out with 16-35 and 70-200 lenses. Horses, cars, runners require the super fast, spot on Nikon focusing and 10 frames a second. Maybe the new software update will nail that work for the Fuji x-T1, but I won't sell my Nikons until I'm sure.

If the 2's would come out in both, X-Pro and X-T. I would get both and continue the way I currently shoot. The Pro 1 is for 14-35, which frame through the viewfinder. The T1 is for a tele. Currently, shooting the14 on the Pro and 56 on the T. For sports and fast moving subjects, I move to my Nikons with 16-35 and 70-200. The X cameras are used for "rangefinder shooting," where Leica 35mm's once fit in. The Pro does well with OVF up to 50mm equivalent. If the Pro came with an EVF as good as the T bodies and a battery grip, then I'd be tempter to get two Pros, but I expect that the T will continue with the EVF advantage.

Since the XT-1 and 56 f1.2 came out, I have shot that combination along with the X-Pro1 with the 14mm. The 14 works with the X-Pro1's optical viewfinder. Zone focusing from infinity down to a few feet is easy at f8 using manual focus. Often, I'll put the 14 down at ground level and aim it at my subject without specific composition. I try to keep the "film plane" squared vertically and horizontally. As you might have guessed, I shoot more action than landscape work. The XT-1 with the 56 works well close to wide open unless I'm interested in a group shot. I've had good luck grabbing quick portraits by shooting on S and using a small square to focus on the eyes and reframe. Low light slows me down some. I'm old enough that fast manual focus is a lost art even with the aids. The X-t1 battery grip extends the time between battery changes and speeds up changing the process with the grip battery much quicker to change then the internal one. The X-Pro1 battery takes extra time with a half-case. Just lost my Gariz shooting a steeplechase when I didn't keep the tripod screw tight. Changing batteries and cards, you have to tweak the screw a bit each time. Rather than cranking it down, I'd leave it a little loose to make rotating it a half-turn easier. On my case, fully tight the screw's collapsable half-loop obstructed the battery compartment door. I let it get too loose and when I got home the X-Pro1 felt thinner. The lovely black leather piece was gone. Word to Gariz: Make the tripod screw with coin slot or hex wrench hole so we can tighten it and forget it. Otherwise, the Gariz gave the X-Pro1 the perfect "feel" with protection of its most vulnerable parts--the bottom edges. Musiccitybill Nashville