asathor

I expect it is part of Sony's plan. They already hold back the new sensors for in house use for 6-12 month (this is certainly a realistic estimate when including the development cycle) and now they sunset the older sensors long before they are obsolete. It is very important for manufacturing economics to be able to continue production while there is a demand because production is far more profitable after the development costs have been defrayed, so this is an excellent way to get the competition behind the 8ball when they have nowhere else to buy sensors. It would be good to see some increase in competition, I had thought that someone would buy Samsung's system but apparently the sensor was not something they could sell (I don't know who made it). Maybe Canon or Sigma will start selling sensors? I don't think there is any doubt that the Foveon sensor helped/allowed Sigma to up their Optics game (ISO don't matter in the optics lab), having sensor control is a huge advantage for development and continuity even if it costs money.

I recently shot a play in its entirety without emitting any light or sound using an X-Pro2 with a 56/f1.2 (and a few shots with the 35/f2), you can't do that with an X-T2. The lead actors wife sitting next to me thought I quit shooting when the show started. The Optical finder is necessary for this to work as is the the electronic shutter, no other camera has both. I shot ISO 400, f1.2 to f2 and around 1/200s. When the action was lit my multiple stage lamps the images were technically excellent except for motion, bad photographer etc. When lit by one or a few stage lights it would become apparent that some of the lamps had a short glow cycle where the color would change with the power net frequency but that is not the cameras fault. Long exposures is not an option when people are moving and talking and high shutter speeds would need higher ISO and have more stripes plus cause differing white balance frame to frame. The X-Pro2 can do things no other camera can do so it doesn't need to be an X-T2 or participate in the specrace. I am adding a link to a test video Shot in Across with the 35/f2 - HANDHELD - in a Dark Room - and it's not 4k - but I was sitting at the bar where Whisky was cold and by the 3rd set you wouldn't know that 3 of the 5 are not regular band members. I am going back tomorrow. https://boundarylayers.smugmug.com/Music/The-Butanes-Sould-Review/A-few-test-Videos/i-sGL8XQk/A (feel free to browse my website just know that it includes a lot of family, casual and snapshots of people and places dear to me).

Keep in mind that it rarely rains inside in most countries so use the lens you have. If you want to use the X-T1 in the rain get a 23f/2 35f/2 or 18-135. If you want a permanent solution to rain and 100%+ humidity get the FinePix XP90 - http://www.fujifilm.com/products/digital_cameras/xp/finepix_xp90/img/index/img_main01.jpg it fits in a pocket and that can even be a wet pocket, or hang it around your neck outside your rain-coat so it is ready. They are truly cheap compared to running down and getting an emergency replacement on the day of your best friends wedding for a lens you though was OK but now has mold all over the glass. I expect to break down and get one next summer for using on my sailboat as I am a bit reluctant to hold my X-Pro2 w 18-135 our over the railing down and down near the water on a "selfie stick" - this little gem is build for that.

This is what I mean: start under exposed and manipulate in post. The dark shot is 100% virgin except for the crop and resize, The other is "abused" in ACDSee Pro 10 - I have not played with the RAW files yet. You see only one color artifact lower center with this lens, that it! X-Pro2 with XF 18-135 WR. BTW the 18-135 is highly underrated; what it does not have in ultimate sharpness it has in everything else.

It is a tripod-lens (as long and slow as it is) and an interesting close-up lens. Near field and far field bokeh can be interesting but midfield is truly LOOPY. I sold it because I don't do much tripod work and I can't handhold it.

When you overexpose part of an image by for example 5 EV the result is that you also multiply any aberrations and distortions generated by that part of the image by 100 times or more. Visibility is inevitable in any current camera since exposure range is far outside what any of them can handle. The best approach is to underexpose and use the extra EV or 2 of shadow detail the Fuji gives you compared to most, because shadows do not have to be low noise to look good. The star can be enhanced in post without guilt since it never was real anyway and is now clipped at 100%. I use trees like mdm or lampposts etc.

It can get "lost" when that happens focus on something contrasty at the similar distance - that's the fastest way to recovery in my experience.

Very fun subject for me. My visual cortex always lights up like a christmas tree when the bands get properly syncronised after a few songs, this is when the camera comes out. I post for the benefit of the musicians and their fans so I include technically imperfect shots to help tell the story of the event and to be sure all band members are represented. When low light gets in the way I have made composits instead. Some day I will remember to convert to sRGB as well. All the performing art stuff is shot with Fujifilm X-M/E1/E2 Josh Rowand and The Pit Bulls of Blues https://boundarylayers.smugmug.com/Music/South-Florida-Blues-Greats/Josh-Pit-Bull-of-Blues-and-Kat/i-rKBPdss/A Debbie Duncan Quartet with audience participation (she is great and it shows in the ausience): https://boundarylayers.smugmug.com/Music/Twin-Cities-JazzBluesRB/Debbie-Duncan-Crooners/i-z5RsfHK/A Stop in the name of Love: The Roxy Hall Band with Leslie McKee singing: https://boundarylayers.smugmug.com/Music/Roxxy-Hall-BAnd/Roxxy-Hall-Band-and-Friends/i-RtZXpnX/A boundarylayers.smugmug.com/music