str8six

I hear you! I have had some issues with that as well, but what I end up doing is really simple - I get one really great shot that I love on the screen, and I take a minute to show it to the main client. I do get a lot of unexpected looks, like they are really surprised that image could be made by that camera, but after that first little glimpse, there's no question after that.

Agree with most from above, but my vote is two X-T1's with the 56 and 23. Most shots end up on the 23, but the cameras are set with identical timestamps and file names to delineate the perspective, so the timeline of photos is exactly as shot between the two bodies. As others have said, there are some shots from some locations that will happen spontaneously, but for the most part, by the time the scheduled events have started, I've selected my spots for each focal length, and when I will move between them. And as most people on this forum believe, the profile of this setup will disarm most subjects. The shorter, more compact primes, will cause subjects to relax and be more natural in front of the camera, and if you take some shots composed on the LCD, the subject will relax even further.

Ken called the X-T10 a superior camera to the X-T1, which I don't agree with, but he's panned the Fuji interchangeable lens cameras since shortly after the X-Pro1 was released and the X100 line became his favorite. I've followed Ken for years, since he helped me pick a Nikon D70 over a Canon 20D in 2001. He reviews Fuji cameras as amateur cameras, so he compares them to point and shoot cameras since that's what he sees them as. As he's said many times, mirrorless cameras are not for serious work (which I disagree with, but there you have it.) So when he goes out to just mess around, he would go with the X100T because he believes it to be the world's greatest digital camera. The Sony that he is so enamored with right now is for taking photos of his kids, not for serious work either. I do respect his evaluations of lenses and what he considers to be pro-level camera systems, but in the end, he's just like all of us - he's found the equipment that works the best for him and his mind doesn't change very much. His reviews and tech evaluations of Fuji lenses have always been really informative. I shoot the same film equipment that he does, and his reviews and manuals for the Leica M3 and Tachihara view cameras are really valuable.