BobJ

I couldn't agree more. I bought the Laowa to copy slides and negatives and take the occasional macro. It's pin sharp. Totally manual though. I used to own the Fuji 60mm. Beware though that it doesn't go to 1:1 and it loses its sharpness if you try an extension tube. Very sharp within its range though but focus is a bit slow.

Actually Valve, you are right. They have sold you something that is not fit for purpose. So of course you are entitled to a replacement or refund. The Sales of Good's Act 1979 has you covered. I am shocked by your experience. To put this total camera failure into perspective though, over the past, I think, 10 years I have been through an x-e2, x-t1, x-t2, x-t3 and now my current models, x-e3 and x-t5. I still have the x-t2, which is converted to infra-red. In that time, apart from accidents, I have had two failures. The x-t3 developed a faulty exposure compensation dial and the x-t1 flash circuitry failed. The x-t1 was fixed under warranty and the x-t3 was out of warranty but repaired very promptly by Fuji.

The problem is that if it is looser, as it was on my X-T3, it is too easy to change it accidentally. Fuji need to add a lock somehow.

There are no worms when sharpening in Lightroom.

Don't bother trying to contact them. Send it in straight away for warranty repair stating what the faults are. In my experience the Fuji repair department are very good.

Format the sd card in the camera first. Download directly to the sd card. Do not put it into any folder in your computer. That should work

In my opinion, the new features in Lightroom and Photoshop have made the combination the best available. For example, the new AI powered noise reduction is arguably as good as Topaz Denoise and it's built-in. I now have an X-T5 and I have found, that with it's new sensor, there is no tendency to produce the 'worms' that could be seen in foliage at high magnifications. So no need for X Transformer or Capture One to avoid them. Lightrooms image management is superior to Capture Ones. There are many things that you can do in Photoshop that cannot be done in Lightroom or Capture One. So if it was my money I would go with Adobe

Sharpness is not everything in a picture, in fact beyond a certain point it is not important, and chasing after a small increase is pointless. Forget the stupid list and go out and enjoy what you have.

Sorry, I have only just read this post. The battery life on the x-t5 is a revelation after that of my x-t3. I find that if I set the power setting to time out the camera I can lose a spontaneous shot, as it takes too long to switch on. In addition, if I have the camera on a tripod, taking a landscape, the last thing I want is for the camera to switch off and lose all the settings. With the X-T3 this was an issue due to the poor battery capacity. The X-T5 battery lasts so well that there is no longer a problem.

The 60mm, although very sharp, only goes down to 1:2 and doesn't work well with tubes. Look at the laowa 65mm. Totally manual, which doesn't matter much with macro, does 2:1 and is very sharp. At least mine is anyway.

I have been printing ever since it was a darkroom job. I have a 6 year old Epson P800 that hardly ever clogs, even when left idle for weeks. The problem is that if you just want the odd print, as you state, it is simply not worth buying a printer. There are many companies that will do the job for you on good quality inkjet paper. It won't be cheap but it wil be much cheaper than buying the printer, paper and ink just to make few copies.

It would be liable to be a very niche product. Probably not worth Fuji setting up the production line. I would like the Pentax camera to be a success but I don't think that they will sell many units. That is no problem for Leica, who have always specialised in low volume high price.

I have never noticed this effect on my x-t3, which I have owned for several years. I use Lightroom and recently X Transformer. I just thought to mention it as obviously it is not present in all x-t3s..

I have had to clean my x-t3 sensor a few times. A hand operated bulb blower is often all you need. Never use canned air. If any propellant gets onto the sensor you will not be able to remove it. Also they are too powerful. Sometimes there is a spot that needs wet cleaning. Anyone can do wet cleaning. Buy a kit from a reputable company and follow the instructions. The camera should be switched off unless it is a model with IBIS. In that case, switch the camera on. Switch IBIS off, switch to ES shutter and make sure rhat the power saving function is off and that your battery is not about to die. Only use very light pressure when moving the swab across the sensor.

Even with Rawdigger you are not seeing the output from the sensel. You are looking at the data after it has been converted into pixels. Each sensel has a photodiode which converts the amount of light it is exposed to to a voltage. It is an analogue device. This voltage is amplified and applied to an analogue to digital converter in order to get a digital value for that pixel. Two things come from this. Digital cameras are actually analogue at the start of the imaging chain and it is not possible to see the actual photodiode output. Rawdigger is looking at the output data - the only thing it can look at. It is showing you the digital output from the converter. If there is a loss of value associated with a phase detect sensel, this will most likely have been dealt with in the amplifier or during conversion. If that sensel is not being used for imaging at all, then yes, Rawdigger should see it as missing.Strangely, film is digital. Each grain of silver is either there or it is not. It is the number of grains that have been exposed that makes up the tonal value. Digital is analogue and film is digital!

That is not really raw data. It is the raw after it has been processed, by the camera into pixels. The data coming out of the d to a convertor is just binary and can only be decoded into an image by the camera or raw converter software. That is why you can't see a difference.

Probably no worries, but don't use those adhesive things on a stick. In my opinion they are a flawed idea.

If you want to travel with one lens, in my opinion, the 16-80 is preferred.

It looks like something has penetrated the lens elements. It could be separation between cemented elements. By the way, never squirt lens solution directly onto the front element. Apologies, as I am sure you know that. Either way I should send it in for examination.

Regarding sample variation. I have seen two very bad 18-55s and a bad 10-24, which my friend had to return to Fuji for repair twice before they would recognise there was a problem. I had a 10-24 that was fairly poor at the edges. I sold it. It seems that you can get the occasional bad apple with any lens. I have an 18-55 and the 16-80. My samples are about on a par optically and quite acceptable. I find the 16-80 to be a much more versatile lens. Additionally it has a much more capable ios. It is so good that you can forget about the loss of a stop at the wide end, except in the case of subject movement of course. Most of the reviews of the 16-80 seem to be expecting too much. Remember, it's a 5:1 zoom and is never going to be as sharp as a prime

I had a problem with a 10-24mm lens that was a grey import from Hong Kong. It was repaired with no issues, but of course I had to pay. I live in the UK. I have had no problems like yours with my X-T3. It sounds to me that something went wrong during the firmware upgrade and the rest followed from that.

From my experience with both of those lenses I would say no. Remember though that you will get an improvement using them with 40mp, just not as much as with the sharper lenses. How much of an improvement I don't know. Resolution is determined by the product of all the system components.

Believe it or not, any colour can be expressed using adjustments from yellow to blue and green to magenta (near enough to red), plus a chanel for lightness. You may have heard of this in Photoshop, where it is called LAB - lightness, a and b, where a and b are the yellow/blue and green/magenta channels. This is how white balance adjustments work. Remember, if you reduce yellow you increase blue and if you reduce green you increase red (strictly speaking, magenta).

Sorry, you said an X-E3. I don't know why I picked up X-T20. I think I had just been reading a different post. I have an X-E3 and it definitely does not exhibit that behaviour, so I am afraid that you have a fault.

That sounds very strange. I have three X series cameras, but admittedly not an X-T20. On mine the internal battery is maintained perfectly by the replaceable battery. I don't see why it should be different for the X-T20. I think you have a faulty camera. Contact your nearest Fuji repair centre and ask them about it. .