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Herco last won the day on October 2

Herco had the most liked content!

About Herco

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  • Birthday 05/26/1962

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    Portrait, fashion, fine-art, (urban) landscape

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  1. This is excellent advice. The 50/f2 is one of my beloved lenses for my X-Pro2 and street photography. As a pro also doing workshops, I see a lot of people struggle with these so-called portrait lenses like the 50/f1, the 56/f1.2 or in full-frame the fast 85mm lenses (f1.4 or 1.2). Esp. when you're in a hurry like the short time you have when shooting portraits in the street. Many like to open up the aperture as wide as possible ending up with all sorts of focusing issues due to the shallow DOF. Some even blame the lens (bad copy-syndrome) for their blurry pictures. When you stop down the 50/f1 constantly, you're effectively using it as a very expensive and clumsy 50/f2...
  2. I don't have the R myself, but from the top of my head: the film simulation and color chrome effect only apply to JPG. You have to set the camera to JPG or RAW+JPG for the options to become accessible.
  3. For the X-Pro2: in the shooting setting menu, you'll find the option 'mount adapter setting' where you can define where you can define up to 6 lenses you use via an adapter. When you select the lens, the (closest possible) image frame lines will be displayed in the optical viewfinder.
  4. ...and the EVF Brightness on 0 (instead of Auto).
  5. Hi Ebell24, can you also tell what is your reference? The iPhone or did you also have another camera before the X-T3? (besides the X-T20 you mentioned)
  6. I've had a similar issue a couple of times (years ago) with an X-T2 and it happened again with a loaner GFX50S a while ago. Usually it was solved by switching the camera off/on and in between re-mounting the lens. I've talked about this to a camera repair company here in Switzerland and this is the (unconfirmed) story they gave me: >>The older X-cameras don't have a particularly strong mount. That is why Fuji made a big point about strengthening the mount of the X-H1. They told us it was for the upcoming heavier 'pro' lenses, but in fact it was for all lenses beyond the smaller f2-line. When the contacts between camera and lens don't work well, two things may happen: (a) no contact, which results in the infamous "f0" error message or (b) poor contact which leads to an electric charge building up between the contacts that will trigger eventually the "turn off/on" message to force a kind of discharge. Forcing comms between camera and lens (like a firmware check, induces a similar reset. The contacts of both the X and the GFX mount are quite fragile, but in order to maintain compatibility there's not a lot Fuji can do about the physical part of the issue. The only thing they can do is through firmware produce this "turn off/on" message. They do by the way the same for similar issues with card read/write errors (another issue that affects Fuji cameras more than some other brands - which is why Fuji is more critical to using the 'right' SD cards).<< The issue of the camera/lens contacts is often triggered by a small 'accident' like dropping the camera or bumping it. Heavier lenses (by nature) are more often affected. What amazed me was that it seems not solved in the GFX mount. Obviously the heavier cameras and lenses put more strain to the mount, but with a new engineered mount you wouldn't expect this. PS. by the way, the "f0" error that I sometimes get on my X-H1 is induced when I disconnect the camera from my iPhone (bluetooth). I hope this was solved in the recent 2.10 firmware under "small bug fixes".
  7. AFshoot.com has a silver one for the XF50/f2. It's a 'vented metal lens hood' so more similar to the metal lens hood for the XF35/f2 and the XF23/f2 rather than the original plastic one. Also it is a screw-on model with a filter thread instead of a bayonet. Nevertheless it fits well and the price is great (just EUR 11.50 or so).
  8. The only way -to my knowledge- to prevent the camera to go to My Menu every time you enter the menu button, is to leave the My Menu completely empty. The purpose of My Menu is to have quick access to the most used menu items, hence it always starts there. Should you decide not to use the My Menu, you can always add 4 most used feature to the Q-menu and activate them with the Q-button and the touch interface of that menu. From what you describe the 18-55 can do a couple of things in the background. When PRE-AF is ON, the camera will always focus. It could be that it still does when in replay mode (I haven't checked it as I don't have that lens). Another (more likely) noise could be that of the OIS. On the 18-55 there's a switch for that. Try it in OFF mode and see whether the noise persists. The focus peaking for manual focus indeed needs an upgrade. I also have experience with an A7RIV and an SL2 and they have better focus peaking esp. during magnification. Esp. the A7RIV with the Loxia lenses works brilliant. The issue with Fuji is that indeed when magnifying the peaking gives a very flickery image. So either quiet it down of switch FP off when magnification is activated. Another issue is that for some Fuji cameras (e.g. my beloved X-Pro2) the focus peaking color yellow is not available for some inexplicable reason. Yellow is for most shooting situations the most visible color (at least in my experience). Another issue is that for many menu settings there's no help function or explanation in the menu. After many years of Fuji I know most settings by heart, but it took me a while. It would be easy to have a line of text explaining the menu setting at hand. Most other cameras have such a feature. Fuji only does this for certain settings like film simulations, but consistent use would improve the usability. Finally, some menu options are named differently on the various Fuji cameras. On the X-Pro2 there's the option "preview pic. effect" which is called "natural live view" on the X-H1. Those things can be easily aligned, even though there could be a small tech. difference between the two options. Other than that I think the Fuji menus are quite good and at least a lot clearer than the older Sony menus (not the A7SIII) but not as good as the Leica and Canon menus. It sits nicely in between 😉
  9. Herewith my card with settings. I made cheat cards for the different cameras to be able to tell them apart. This one is for my X-H1 which I by the way rarely use anymore. I used the camera mostly for stills and esp. fashion portraits, so many settings are stills oriented. x-h1 settings.docx
  10. You should try and assign other features to the front dial command and see if it acts similarly. I've had this issue with an X-Pro2 (though with the back command dial) and it turned out to be a moist-issue. It started after a walk in some mild rain on Iceland and only after the camera was serviced it disappeared... Could it be the same issue for you?
  11. Apart from the generic comment that "this depends on what you're shooting" it makes sense to me. I already wondered about the huge overlap in the area beyond 50 mm. The 16-55 is a great lens and as you're used to the 18-135 you won't be struck by it's size and weight. Note that on the wider end (16 mm) the lens has much more distortion and corner softness as the 10-24, so I would definitely keep that, unless you have the 12 or 14 mm primes. On the long end (35 and above) it is a very good lens for portraits. The f2.8 creates a nice focus transition and good quality of bokeh for a zoom lens. Dustin Abbott on Youtube has made a very good balanced review of the 16-55.
  12. I indeed refer to the 1.4/1.2 versions. I don't have experience with the Viltrox and 7artisans lenses. The Zeiss Touit lenses for Fuji also have a great film-like look to them, but they are rather expensive (also used). Funny enough, I'm in the process of moving to Sony or Leica for my professional work (fashion portraits). I have the A7RIV and the SL2 now on trail and will decide which one (and esp. which lenses) in a couple of weeks. I'll keep the XP2 and some of the f2 lenses for fun when I need a compact set for personal use.
  13. The 'Fuji-colors' are mostly a product of the JPEG-engine in the cameras. While there is a slight difference between the 16MP and the 24MP, most differences are due to the JPEG engine and between lenses. Some of the older lenses (the fast 23, 35 and 56) have a 'special' film-like quality. It has mostly to do with how they render color and contrast. Using these lenses on the newer cameras, results in the same effect. Fuji-purists sometimes praise the older 16MP sensor for its character, but to my eye the 24MP sensor is just as good and has the resolution to do additional cropping. I've owned 6 Fuji cameras over the past 9 years (and still own 2) and the newer cams are just as good as the older ones (if not better). I've had the XP1 but upgrading to the XP2 didn't affect the colors in RAW. In fact, the JPEG-engine in the newer cams (like the XP2 and the XE3) can also control the film grain and has a few more film simulations that can be an advantage. Esp. Classic Chrome can be made to look similar to the 'Leica-look' (I've used a/o the M8 and the M262). To learn more check out fujiweekly.com and the film recipes outlined there. Also check-out the RAW and JPEG manuals of Thomas Fitzgerald. He gives very good advise on how to set sharpening and noise reduction. Fuji's JPEG engines are too aggressive to my liking, so I dial down NR to -2 or -3 on the 24MP-cameras and Sharpening to -1 or -2. I use Capture One as imo it works way better with RAF-files than LR. PS. with the new XP3 out, second-hand prices for the XP2 dropped. While not as low-priced as a used XE3, an XP2 is now great value-for-money.
  14. Check out Fujiweekly.com. Ritchie Roesch has a long list of 'film recipes' for all different Fuji cameras. Kodachrome 64 is one of them.
  15. For some reason Fuji cameras are quite susceptible to read/write errors on SD cards. I've had multiple issues (incl. lost images) with several different Fuji cameras, so I use the following 'workflow' to reduce the chance of error: always use Fuji recommended SD cards use two exact same cards if the camera has two slots insert them gently straight in and out format both cards in the camera before a shoot regularly copy (not move!) all images on the card to your computer then (re)format both cards in your camera (never on your computer) do not take out one card to view images on a computer/tablet and then put it back in the camera for further shooting (I share the images via my phone to a Dropbox to view them on bigger screens. Or in the studio I work tethered.) That way you don't have to select and delete images one by one or by group in your camera, which is a tedious process. In general: SD cards are not meant for long-term storage of images. Just for shooting and transport to your safe storage on a computer and back-up drives.
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