Doug Pardee

That belief has been pretty thoroughly debunked over the years, but some people just won't let go. Yes, on a per-pixel basis, there will be less noise with larger pixels. But on a per-square-cm basis, the noise is the same. [It might have been true in ye olden dayes before microlenses became standard on sensors, because of the big gaps between pixels.] However, that is assuming that the entire sensor is always being read. If you're doing video and the camera is using line-skipping, then you won't have the in-between lines to help smooth out the noise. There's no real advantage to having more pixels than you're going to record, and that's often the case for video. Also, phase-detect AF cannot be averaged over multiple pixels, because it's specifically looking for differences between neighboring pixels. So you'll get better low-light PDAF performance with larger pixels, albeit with reduced precision.

The camera clearly thinks it's got either no lens or a manual-only lens (they look the same to the camera). No electronic aperture control (hence the F0), no autofocus (hence the failure to focus). And unless you've set Shoot Without Lens on, it won't take a picture. You've already tried different lenses, so it sounds like the camera is broken. You could try a factory reset on it, to see if that'll bring it to its senses, but I wouldn't put money on it.

To summarize what I wrote over at DPReview: True WYSIWYG only applies to M mode with Preview Exp. in M. Mode turned on. The AE modes (P, A, and S) are WYSIWYW (what you see is what you want). Most of the time that's the same as WYSIWYG, but you can't always get what you want. If the AE and auto-ISO systems are unable to achieve the desired result because the scene is simply too dark or too bright, the viewfinder will not show the unwanted darkness or brightness. M mode with Preview Exp. in M. Mode turned off is also WYSIWYW if auto-ISO is used. But if a constant ISO is chosen, the viewfinder has a constant brightness unrelated to exposure, which is particularly useful for framing flash photos.

It's probably a number of factors. Here are some possibilities: people buy primes because they value maximum image quality, while people buy zooms because they value convenience people who buy primes might be expected to be more experienced at holding a camera steady, and to own a tripod, than purchasers of zooms people who buy primes might value a smaller lens a number of the wide-angle primes were designed for use with the X-Pro1, and thus had to be kept rather small to minimize blocking of the optical viewfinder many primes are available with large apertures if you want faster shutter speeds, while fast zooms are rare

Focus Priority only applies while AF is actively running. Since you've removed AF from the shutter button, pressing the shutter button doesn't make it run. If you're using back-button focusing (AF-ON), it's only running while you're still pressing the button. And, as Greybeard alludes to, if you have AF+MF turned on, the AF quits running as soon as it's done trying to focus, so Focus Priority is non-functional with AF+MF.

The X-T20 is not able to tether. It's one of the many features it doesn't have compared with the X-T2. You should be able to make your computer trigger the shutter. Various time-lapse programs can do that. But you won't get any image back from the camera, and you won't be able to make any adjustments from the computer. So it's not particularly useful except for time-lapse.

With AF-S: In mode 2 (shooting), you won't see the stabilization effect in the viewfinder because IS isn't activated until you fully press the shutter release. In mode 2 (shooting), after you press the shutter release the camera has to wait for IS to stabilize before taking the picture. In mode 2 (shooting), the IS system isn't using any battery power except for a very short time when taking pictures. With AF-C and mode 2 (shooting), half-pressing the shutter activates the IS. When half-pressed, you'll see the stabilization effect in the viewfinder. There's also no need for the camera to wait for the IS to stabilize before taking a picture. So, for AF-C, there's not much reason to use mode 1 unless you really need a stabilized viewfinder even before half-pressing.

It's a non-trivial question. The size of the lens's exit pupil is focal length divided by f-number. So, a 50 mm f/0.95 lens has an exit pupil of about 52-1/2 mm. Then you need to concern yourself with the (diagonal) size of the sensor and the distance the exit pupil is from the sensor. Then do the math, and you can determine how large the mount opening has to be at any given distance from the sensor. But you probably don't know the distance the exit pupil is from the sensor. More realistically, you can determine how far the lens's exit pupil has to be for a given sensor and mount size. Fuji's X-Trans III sensor is about 28.2 mm in diameter, so the maximum exit pupil size increases by about 0.89 mm for each mm of exit pupil distance. So that 50mm f/0.95 lens needs to have its exit pupil at least 27-1/2 mm from the sensor. The problem comes in when you increase the sensor size, as Sony did. Sony's full-frame sensor is 43mm diagonal. Maximum exit pupil size then increases by only 0.17mm per mm of exit pupil distance. That 50mm f/0.95 lens will need to have its exit pupil at least 55.7 mm from the sensor. [No guarantees my math is 100% correct. Feel free to check me.]

Those features are only available for the official Fujifilm M Mount Adapter. They're not available for other adapters.

Unfortunately, you can't. Japanese camera manufacturers have to follow the DCF specification for folder structure and file names, and DCF doesn't give any such ability. DCF is clearly outdated, but there doesn't seem to be any update underway.

1. I'm not talking about touching ISO via the Q menus. I'm talking about selecting C1 through C7. This is very easy to do accidentally when using the Q menu, and it will cause the camera's ISO configuration to be replaced by the one in the C setting. 2. Just change your AF-L button to be AF-ON.

Oh, one more item: 8. If you're using AF-S, when you're ready to take the picture, press the shutter release smoothly all the way down, without stopping at half-press. That way, the instant the camera has achieved focus on the face or eye, it'll release the shutter. If you stop at half-press like people tend to do, the subject (or camera) could move, causing the locked-in focus distance to be off by the time you actually release the shutter. It's best not to use image stabilization (OIS or IBIS) with this technique, because the IS may still be stabilizing when the picture is snapped. If you must use IS, set the IS mode to "continuous" (which further drains the battery).

I generally prefer to avoid the frustration. But here are a few items. Have only one face in the scene, and make it fairly big. Say, at least the size of the "standard" medium-sized AF point, preferably bigger. Head-and-shoulders portrait is ideal. I'd recommend keeping the face in the phase-detect AF point area on X-Trans III cameras like the X-T2, although that might be mere superstition. Turning Pre-AF on will help keep the face focused enough that the camera can find and track it. If you don't have Pre-AF turned on, tap the AF to get the face in focus first, so the camera can find it. Then let the face detection work. If you don't have Pre-AF turned on, remember that face/eye detection doesn't actually refocus on the face until you activate AF (half-press or AF-ON). If a detected face moves closer or farther before you activate AF, it might get out of focus enough that the camera loses track of it. In that case you'll need to tap the AF again to get it sharp enough that the camera can find it again. When a face is detected, the camera overrides both your focus and autoexposure settings. If you don't like the exposure, Exposure Compensation or manual exposure are your only recourses. Have some spare batteries at hand, because face detection can suck a lot of battery power, and adding Pre-AF makes it even worse.

1. You're probably playing with the C1-C7 "custom settings" either intentionally or accidentally (probably in the Q menu). Each of those custom settings has its own auto-ISO configuration, and every time you select one of those its auto-ISO configuration overwrites what was in the camera. I suggest that you set all of the custom settings to the auto-ISO configuration that you like, so that when you select one of them you'll get an auto-ISO configuration that you can deal with. Or if you don't care about JPEGs, leave the custom settings alone. 2. Yes, it changed from the earlier generations. The X-T20 now has an AF-ON option as well, that you can assign to the AF-L button (or any other assignable button). All of the X-Trans III generation are like that.

I'd think this would be a great situation for using electronic shutter. The subject pretty much has to be stationary, so unless you're using gas-discharge lighting, ES should work great.

A few general comments. The easiest way to do an "autofocus then leave it" is to switch to AF-M and use Instant AF (AF-S version). That's usually the AF-L button. You may need to check your AF settings and button settings. The details differ depending on the camera you're using. Here's Fuji's web page on that technique: http://www.fujifilm-x.com/af/en/af_guide/point06.html You should always focus at the focal length you're intending to photograph at. Ordinary camera "zooms" aren't parfocal, which means that their focus changes when you adjust the focal length. Focal length also tends to change with focus. If you absolutely need focus and focal length to be independent, you'll need about $4000 (USD) for the MKX 18-55 cine lens. Your shooting aperture has no effect on AF in AF-S. It does in AF-C. In AF-S, the camera will automatically select an aperture that it thinks will give it the best AF accuracy.

Because if all you're recording is Raw, all the camera has to work with is the low-resolution "preview" image embedded in the Raw file. As you've noticed, if you shoot Raw+JPEG you've got the hi-res JPEG for the camera to zoom in on.

Just take some pictures with it. The 27mm is a simple lens, mechanically. It's got an aperture control and a focus motor that racks the entire lens assembly back and forth. There's really nothing exotic to look for. If it focuses and stops down properly, and the pictures look good, you're set. And with a basic lens design like this, it's extremely unlikely that anything will be wrong with it. Note: the lens cap will not fit properly. If it even comes with a lens cap (the seller hasn't already lost it), don't be surprised if you lose the cap within the first month or so. Me, I just do without a lens cap. If you are compulsive about lens caps, I suggest you order a replacement right now -- but not a Fujifilm cap.

I don't know what you're looking for. The X-E3 is the most recent model aside from the X-H1. It's got all of the most recent "goodies" that Fuji could fit into that little body. I doubt we'll see an X-E4 for a while yet. The X-E3 is still too new.

You locked it the same way you unlocked it: press and hold the Menu/OK button. This time until the padlock shows up. http://fujifilm-dsc.com/en/manual/x-t20_v11/about_this_camera/parts/index.html#button_selector

There is no such thing as a "correct" Raw exposure. It really doesn't matter what the raw numerical value of, say, 18% gray is. It does (arguably) matter what the JPEG numerical value of, say, 18% gray is (sRGB: 118). I say "arguably" because virtually all modern digital cameras intentionally over-brighten their JPEGs, because it turns out that most people think that "correct" exposures look dark. The numerical values of Raw are fluid, depending on how much highlight headroom is desired. Fujifilm has a long history of protecting highlights, and tends to provide more highlight headroom in Raw, meaning you can recover more overexposed highlights or can roll them off however you wish. Thus, the numerical values of Fujifilm Raw data tends to be lower than for Raw files from many other cameras. And with Fuji, you can further increase the highlight headroom with DR200 and DR400.

Press and hold the Menu/OK button until the padlock goes away. You accidentally activated the button lock function, which is useful to keep buttons from accidentally getting pressed.

For an actual "Lock," you need to keep the button pressed down. If you let up, AF simply stops, leaving the lens focused wherever it's focused, but focus is unlocked so you can manually focus if you want. Be aware that if you're using AF-C, "wherever it's focused" is quite possibly not at the distance you want it to be focused, especially if the camera is using contrast-detect AF. My advice for BBF: don't use it -- unless you really need to -- on Fuji (and possibly other mirrorless cameras). Contrast-detect auto-focus causes complications that don't affect DSLRs. Also... on a DSLR, the viewfinder, autofocus, metering, and image capture are four separate subsystems. In a mirrorless, they're all run off of the imaging sensor, and the camera generally prefers that everything be controlled by the shutter release button to make it simpler to control the sensor configuration.

You're confused, which is very very easy to do with the way that Fujifilm has set this up and named it. Whenever you select a Custom Setting (C1-C7), all of the settings defined for it are loaded into your camera. That wipes out the previous in-camera configuration for those settings. The only way to go back is to reset all of them by hand. In-Camera is not an eighth stored JPEG configuration -- it's just what the camera is currently using. "Base" is only meaningful in the Q menu. It means "don't load a new Custom Setting." It's essentially an undo if you select a Custom Setting in the Q menu and change your mind before you exit the Q menu. Base is not an eighth stored JPEG configuration, either. To further complicate things, Base is not necessarily a full reset to the in-camera JPEG configuration back when you opened the Q menu. Any changes you made to individual settings (film simulation, highlight and shadow tone, white balance, etc.) won't be undone. Only changes that were the result of selecting the Custom Setting will be undone. Yes, it's very, very confusing. If you're going to use Custom Settings -- basically, if you're a JPEG or Raw+JPEG photographer -- I strongly recommend that you go all-in with them. Change your JPEG configuration by loading a Custom Setting. Don't set any of the associated settings directly in the camera except as temporary overrides. Remember, as soon as you select a Custom Setting you'll lose any changes you made to the in-camera JPEG settings. If you're a Raw-only photographer, I strongly recommend you leave Custom Settings alone. Better yet, store your preferred JPEG configuration into all 7 Custom Settings so that if you do accidentally activate one, not much damage will be done. For cameras without an ISO knob (X-E series, X-T10/X-T20, etc.) the Custom Settings include the full auto-ISO configuration. If you really need more than three auto-ISO configurations, you can set them up in the Custom Settings, but be sure you understand that selecting any of C1-C7 will wipe out your current auto-ISO configuration and replace it with the auto-ISO configuration from that Custom Setting.

The Auto switch puts the camera into a full-on idiot-proof "point-and-shoot" mode. Many options are disabled or overridden in order to prevent mistakes. The main use for Auto mode is when you hand the camera to someone else, such as to take a picture of you. Instead of having to undo all of your custom configurations, then having to redo them when you get the camera back, you just switch to Auto, hand them the camera, and switch back from Auto when you get the camera back. About the only time a knowledgeable photographer is likely to use Auto mode for themselves is when an unexpected photo opportunity suddenly pops up, and you don't have time to reconfigure your camera. You can switch to Auto in an instant and try to grab the shot. You'll have to deal with the output being just Provia JPEG (no Raw, no other film simulations, etc.), but it does generally do a pretty good job of at least capturing the scene.