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CDBC

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  1. Like
    CDBC got a reaction from Alexander_S in X-T2: some settings are changing by themselves (?)   
    Alexander, I don't believe you're imagining things!
    Like yourself, I'm oftentimes finding the EVF eyesight adjustment has changed (so then you have to go through the nuisance of re-calibrating it to your shooting eye, which for me is the left one) although the camera has just been sitting in the bottom of my backpack; I reckon it must be from putting other objects into and out, even though I never leave anything resting atop my camera in there. The other phenomenal adjustment (that was a play on words really) that occurs is when the exposure compensation dial moves from its normal 0 position. Both of these could have been prevented if the camera had been built with similar locks for these dials as are found on the other top dials.
    Can't comment usefully on the electronic/mechanical shutter issue though ... I might speculate that you've pushed the trigger inadvertently while the lens cap was on, but honestly my comprehension of how and when the camera would switch to one or the other is very limited. Hope this helps some, Paul
     
  2. Like
    CDBC got a reaction from stevenmonrad in Geotagging   
    I can't speak to your experience with the iPhone, but as soon as I saw this Thread I went to Google Play and grabbed the 'Fujifilm Camera Remote' for Android and installed in in my LG4.
     
    Still experimenting at this point - it seems capable of a number of different functions (but isn't exactly intuitive the way it's set up) but for sure with the Wireless setting turned on in the X-T2 the camera immediately added accurate geotagging information to the next photo I took ... which was of my phone, go figure ... 
  3. Like
    CDBC got a reaction from Mike G in Q menu   
    By accident? 
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  4. Like
    CDBC got a reaction from Hermelin in Slight different WB and exp. in 3 seq shot   
    Hmmm, I suspect you may have auto-bracketing turned on, maybe? It's the 'BKT' on the dial that surrounds the ISO knob.
     
    If that's the case, then what you're actually seeing isn't a difference in white balance, so much as colour saturation with the 2nd image being 1/3 stop over exposed and the 3rd image 1/3 stop under exposed.
     
    Did you mean to take three pictures in rapid succession? Because that's how the auto-bracketing works.
  5. Like
    CDBC got a reaction from asathor in Battery Management and the Fuji X-T2   
    Larry, that's an interesting input. And of course photographers would always have a second body loaded and ready, when shooting at that rate.
     
    Noting your location, here's an aside that may amuse: in the late 70's, I was working in a photographic retail store in Edmonton Centre. Very low humidity and lots of nylon carpet in the store, so static shocks were frequent.
     
    These shocks killed three brand new Pentax ME's just from being picked up from the display cabinet before we figured out what was going on; on one occasion (you learned to hold a key between your forefingers), just touching the cash register triggered it to ring up a $100,000 sale and open the drawer.
     
    But the weirdest thing (and one I'll take some credit for solving) was when a couple of photographers that I knew who were shooting for the Edmonton Journal kept encountering 'lightning strikes' across their negatives. This turned out to be caused by the automatic rewind in their Nikon's zipping the film back into the cassette so fast that it generated static shocks from the plastic film base passing through the 35mm canister's light blocking flocking (could not resist that) so quickly.
  6. Like
    CDBC got a reaction from Murray Foote in Battery Management and the Fuji X-T2   
    Larry, that's an interesting input. And of course photographers would always have a second body loaded and ready, when shooting at that rate.
     
    Noting your location, here's an aside that may amuse: in the late 70's, I was working in a photographic retail store in Edmonton Centre. Very low humidity and lots of nylon carpet in the store, so static shocks were frequent.
     
    These shocks killed three brand new Pentax ME's just from being picked up from the display cabinet before we figured out what was going on; on one occasion (you learned to hold a key between your forefingers), just touching the cash register triggered it to ring up a $100,000 sale and open the drawer.
     
    But the weirdest thing (and one I'll take some credit for solving) was when a couple of photographers that I knew who were shooting for the Edmonton Journal kept encountering 'lightning strikes' across their negatives. This turned out to be caused by the automatic rewind in their Nikon's zipping the film back into the cassette so fast that it generated static shocks from the plastic film base passing through the 35mm canister's light blocking flocking (could not resist that) so quickly.
  7. Like
    CDBC got a reaction from IamYip in What film simulation for a Diwali Festival (of lights)   
    Probably Velvia will be your best choice; there's a good article here you will probably enjoy.
  8. Like
    CDBC got a reaction from jlmphotos in I did it! I went and got me another 18-55!   
    Yeah that is a good shot. May I ask where you're hosting it, I've not tried uploading any of my pictures to this forum now and then, but not sure what the shortest sharpest method would be. Sorry if I'm off topic, here.
  9. Like
    CDBC got a reaction from zippo in Battery Management and the Fuji X-T2   
    Larry, that's an interesting input. And of course photographers would always have a second body loaded and ready, when shooting at that rate.
     
    Noting your location, here's an aside that may amuse: in the late 70's, I was working in a photographic retail store in Edmonton Centre. Very low humidity and lots of nylon carpet in the store, so static shocks were frequent.
     
    These shocks killed three brand new Pentax ME's just from being picked up from the display cabinet before we figured out what was going on; on one occasion (you learned to hold a key between your forefingers), just touching the cash register triggered it to ring up a $100,000 sale and open the drawer.
     
    But the weirdest thing (and one I'll take some credit for solving) was when a couple of photographers that I knew who were shooting for the Edmonton Journal kept encountering 'lightning strikes' across their negatives. This turned out to be caused by the automatic rewind in their Nikon's zipping the film back into the cassette so fast that it generated static shocks from the plastic film base passing through the 35mm canister's light blocking flocking (could not resist that) so quickly.
  10. Like
    CDBC got a reaction from Larry Bolch in Battery Management and the Fuji X-T2   
    Larry, that's an interesting input. And of course photographers would always have a second body loaded and ready, when shooting at that rate.
     
    Noting your location, here's an aside that may amuse: in the late 70's, I was working in a photographic retail store in Edmonton Centre. Very low humidity and lots of nylon carpet in the store, so static shocks were frequent.
     
    These shocks killed three brand new Pentax ME's just from being picked up from the display cabinet before we figured out what was going on; on one occasion (you learned to hold a key between your forefingers), just touching the cash register triggered it to ring up a $100,000 sale and open the drawer.
     
    But the weirdest thing (and one I'll take some credit for solving) was when a couple of photographers that I knew who were shooting for the Edmonton Journal kept encountering 'lightning strikes' across their negatives. This turned out to be caused by the automatic rewind in their Nikon's zipping the film back into the cassette so fast that it generated static shocks from the plastic film base passing through the 35mm canister's light blocking flocking (could not resist that) so quickly.
  11. Like
    CDBC got a reaction from George_P in Battery Management and the Fuji X-T2   
    Larry, that's an interesting input. And of course photographers would always have a second body loaded and ready, when shooting at that rate.
     
    Noting your location, here's an aside that may amuse: in the late 70's, I was working in a photographic retail store in Edmonton Centre. Very low humidity and lots of nylon carpet in the store, so static shocks were frequent.
     
    These shocks killed three brand new Pentax ME's just from being picked up from the display cabinet before we figured out what was going on; on one occasion (you learned to hold a key between your forefingers), just touching the cash register triggered it to ring up a $100,000 sale and open the drawer.
     
    But the weirdest thing (and one I'll take some credit for solving) was when a couple of photographers that I knew who were shooting for the Edmonton Journal kept encountering 'lightning strikes' across their negatives. This turned out to be caused by the automatic rewind in their Nikon's zipping the film back into the cassette so fast that it generated static shocks from the plastic film base passing through the 35mm canister's light blocking flocking (could not resist that) so quickly.
  12. Like
    CDBC got a reaction from PaulGuy88 in Has Steve Huff "Lost It"?   
    I saw a Pander in a zoo, once.
  13. Like
    CDBC got a reaction from pringles in First Camera X-T2?   
    I've been shooting for 50 years now, with umpteen different cameras of various types and formats (starting with a box brownie,).
     
    Always figured I understood cameras, until the digital age. The last while, I've been using the X-T2, and have decided that maybe I'll never understand cameras ... but oh boy am I having fun with this thing.
  14. Like
    CDBC got a reaction from Morne in X-T2 AutoFocus very erratic on fine structures (trees)   
    Why is this a problem for you?
     
    Any photographer who understands depth of field - and, if necessary, how to use aperture priority if shooting in automatic - would be able to get around this issue.
     
    Your camera is a tool; learn how to use it.
  15. Like
    CDBC got a reaction from wolfie in Any reviews of the 16-55 (for 18-55 users)?   
    I rest my case.
     
    Hope you get the help you need, and soon. 
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  16. Like
    CDBC got a reaction from Col in X-T2 using two cards   
    I find myself wondering why you have set up the camera in this way, to write to one card first then to write to the other one.
     
    What if one of the cards proves defective? There's more than one thread in this forum that relates to this being a potential problem.
     
    Personal preference is to let the camera write jpgs on the one card, RAW on the other. Then I know I've got a backup against a defect occurring on a card, and with relatively frequent downloading to my PC, I'm covered against losing an image.
  17. Like
    CDBC got a reaction from MSM in Any reviews of the 16-55 (for 18-55 users)?   
    I rest my case.
     
    Hope you get the help you need, and soon. 
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  18. Like
    CDBC got a reaction from Arthur in XT2, strange problem, black frames.   
    Did you remember to take off the lens cap? 
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  19. Like
    CDBC got a reaction from frod in Any reviews of the 16-55 (for 18-55 users)?   
    That's an intriguing response, please elucidate.
     
    I realize that 'no rectilinear distortion' is probably a simplistic, subjective overstatement on my part. However, after shooting with the lens for four or five months now - and with an eye for architecture (even though I don't spend my time taking square-on pictures of brick walls) I don't think it's an exaggeration.
     
    I didn't make my judgment from the EVF or the little screen on the back, so much as the results I see on my computer screens. And while I'll grant that at the 55 mm end of the zoom range, there's a suggestion on pincushioning, nowhere in the zoom range - particularly at the 16 mm end, where I find myself using it most often - have I been able to identify any barrel distortion.
     
    And (perhaps because I'm an old fart who doesn't grasp modern technology) I fail to understand how the image that the lens transmits - be it in-camera or in-jpeg (new terminology, OK?) can be evidentially 'different' in terms of what's being passed through the glass to the 'film' plane. Either it's bent, or it ain't, surely?
     
    --------------------------------
     
     
     
     
    Jaco, what on earth do you think you're talking about, here? Why are you participating in this thread, you silly person?
     
    You are off topic completely (we're discussing a particular lens, here) you can't spell 'waste' and the general attitude you convey is one of arrogance and condescension, despite your obvious ignorance.
     
    Please get over yourself, before next 'contributing' to this discussion. Sheesh!
  20. Like
    CDBC got a reaction from fugu82 in Any reviews of the 16-55 (for 18-55 users)?   
    That's an intriguing response, please elucidate.
     
    I realize that 'no rectilinear distortion' is probably a simplistic, subjective overstatement on my part. However, after shooting with the lens for four or five months now - and with an eye for architecture (even though I don't spend my time taking square-on pictures of brick walls) I don't think it's an exaggeration.
     
    I didn't make my judgment from the EVF or the little screen on the back, so much as the results I see on my computer screens. And while I'll grant that at the 55 mm end of the zoom range, there's a suggestion on pincushioning, nowhere in the zoom range - particularly at the 16 mm end, where I find myself using it most often - have I been able to identify any barrel distortion.
     
    And (perhaps because I'm an old fart who doesn't grasp modern technology) I fail to understand how the image that the lens transmits - be it in-camera or in-jpeg (new terminology, OK?) can be evidentially 'different' in terms of what's being passed through the glass to the 'film' plane. Either it's bent, or it ain't, surely?
     
    --------------------------------
     
     
     
     
    Jaco, what on earth do you think you're talking about, here? Why are you participating in this thread, you silly person?
     
    You are off topic completely (we're discussing a particular lens, here) you can't spell 'waste' and the general attitude you convey is one of arrogance and condescension, despite your obvious ignorance.
     
    Please get over yourself, before next 'contributing' to this discussion. Sheesh!
  21. Like
    CDBC got a reaction from Lwood in Has Steve Huff "Lost It"?   
    I saw a Pander in a zoo, once.
  22. Like
    CDBC got a reaction from Arthur in Signatures, and like that   
    I have a question.
     
    Why is it that - according to one member here, not that I disagree with his premise - Tapatalk add-ons from those using their phones to respond to threads are annoying and unnecessary.
     
    Yet that same member gets to repeat his lengthy complaint, repeatedly, sticking it in our faces far more frequently than those Tapatalk contributors who more often than not probably don't realize what they're imposing on others by doing this.
     
    People need to get a life. And a sense of perspective. 
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  23. Like
    CDBC got a reaction from RM_Photog in Has Steve Huff "Lost It"?   
    I saw a Pander in a zoo, once.
  24. Like
    CDBC got a reaction from Arthur in Has Steve Huff "Lost It"?   
    I saw a Pander in a zoo, once.
  25. Like
    CDBC got a reaction from Alexander Mosquera in Has Steve Huff "Lost It"?   
    I saw a Pander in a zoo, once.
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