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Everything posted by Herco

  1. It's a very good deal actually. The X-Pro2 is my personal favourite Fuji camera. I've used the X-Pro3 for a couple of days but decided not to switch for a few reasons. First, there's no visible improvement in image quality. The new sensor/processor are mainly an improvement in continuous AF whereas I mostly use single AF for my personal work with the X-Pro2. Secondly, the OVF is a bit brighter and larger on the X-Pro3, but it lacks the dual magnification of the X-Pro2. Therefore, you can't actually use the OVF with lenses shorter than 23mm or longer than 50mm. The EVF of the X-Pro3 is better though with its 3.69mp vs. the 2.36mp of the X-Pro2. However, one of the reasons to use an X-Pro is the OVF capabilities. Finally, the LCD is only nice for waist level shooting, but otherwise a pain in the a*s. To use the menu you either have to flip down the LCD or use the EVF/OVF in combination with the joystick. When wearing glasses and left-eye dominant (like me) this is useless as you're constantly make stains on your own glasses. I'd rather have an X-Pro with the articulating LCD of the X100V. The sub screen on the back is just a gimmick. Because it lacks backlighting, it becomes useless in less than perfect light. When you're really set to 'Classic Neg' film simulation on an X-Pro2, try this: https://fujixweekly.com/2019/11/07/my-fujifilm-classic-negative-film-simulation-recipe-for-x-trans-iii/.
  2. Only if you frequently shoot in inclining weather or plan a trip into the Sahara desert, WR makes some sense. Usually with a little bit of care you can perfectly use a non-WR lens in rainy weather too. My most used lens is the 23/f1.4 (also non-WR) and it's been in downpours in India and didn't give up.
  3. Capture One indeed doesn't support the X100-range for tethered shooting. In Fuji X Acquire you need to switch to PC Shoot or USB mode in the connection menu of the camera, as you apparently do. Note that Fuji X Acquire doesn't support MacOS Big Sur yet. You can also try the wifi connection mode instead of the USB mode.
  4. Unless the WB is ‘overwritten’ by a WB set in the preset in LR, LR can use the stored WB in the RAW-conversion. It will be applied to the displayed image when importing, unless replaced by a WB set in a LR preset. To my knowledge LR behaves similar to Capture One in that aspect. To use the WB set by the camera, select WB As Shot in the import profile.
  5. The D7500 is quite a recent model and certainly one of the best APS-C DSLRs on the market. In terms of image quality for stills it can match any Fuji X-camera (given good Nikkor lenses). Next to the reduced battery life and the EVF (which is an ‘older’ 2.36 million dots model in the X-S10) you will probably notice a slower AF-C performance, as the D7500 is blazing fast esp. in very low light. Only when you plan to shoot video, the X-S10 would make a lot of sense. The IBIS is of course nice to have, but the VR in most Nikkor lenses is also quite good.
  6. There are indeed rumors about a new version of the GFX50. Both R as well as S. The R hasn’t been as successful as Fujifilm had hoped for, hence the early price reductions. Bear in mind that the GFX was intended to capture part of the full-frame market. After initial praise and good sales, the numbers dropped quickly. Depending on the market, the price of the R has been reduced in steps by $1500-$2000 since introduction. Professional photographers mostly prefer the S model with the ability to mount a tilting viewfinder. and a grip. Hence the prices of the S remained high for a longer period. The 51MP sensor from Sony is a previous generation sensor compared to the 102MP Sony sensor in the GFX100. The newer sensor has phase- and contrast detection AF whereas the 51MP sensor only has contrast detection. The result is a slower AF, that’s less decisive and doesn’t perform as well in low light conditions. Another feature that is expected in the sucessor of the R and the S models, is IBIS. That works so well in the GFX100. I guess both features are regarded essential in bringing over more full-frame users to the GFX platform. However, when you like the GFX50 this is the time for a good deal. Next to the rebates on the R and the free grip for the S, there’s still the trade-in premium for a full-frame camera. I know people who bought a beat-up 5D mark I, just to collect the extra premium. In case you haven’t used a GFX50R before, I recommend you rent one for a day or two first to see if it really fits your workflow.
  7. Capturing these colors is difficult because our eyes are more susceptible to the longer waves of red light whereas a camera sensor is equally sensitive to all wave lengths within the visible array. Next to that a camera sensor cannot cope with the same dynamic range (dark-bright contrast) that our eyes can handle. Sunset colors are therefore often a bit washed-out or faded on regular shot images. First of all make sure you don’t overexpose the image. It’s easier to brighten the shadows than correct blown-out highlights. When you shoot jpeg and don’t want to adjust the image in post processing, make sure that highlights is set to -1 or -2. You can also experiment with setting Dynamic Range to 200 or even 400%. Fuji cameras are fairly good detecting the correct white balance, so leaving that on auto is usually fine. When selecting the film simulation I would recommend Velvia for the most vivid colors. To reduce the experimentation time, you can use the Auto Bracketing method. Setup with different exposures, different Dynamic Range settings or even different film simulations. That way you can quicly judge the closest settings. However, the best is still to shoot raw files and adjust exposure and colors in post processing. Capture One in my view has the best editing capabilities for Fuji raw files.
  8. Correct. WB only affects the jpeg, but the setting is also stored in the metadata of the raw file. Software like Lightroom and Capture One use this setting as a starting point for their raw conversion (WB as shot). The WB is also used for the small thumbnail that is inside of every raw file for display purposes.
  9. I would be surprised if Fuji would launch a monochrome version of their GFX-line. Unlike Leica, Fuji doesn’t have their own facility to manufacture image sensors and to my knowledge there are no cropped medium format monochrome out on the market. Of course they could have something custom-made at one of the manufacturers, but that would be very expensive given the small market. APS-C sized monochrome sensors however are available (esp. for astrophotography), so a monochrome X-camera might be more likely. Of course you can always go to maxmax.com and have your GFX converted. That however only involves stripping the color array filter. Optimizing the sensor lenses (as Leica does a/o) isn’t possible in a retrofit. Last September I was in Wetzlar at the Leica factory and I had the opportunity to take an M10-R and an M10 Monochrome for a two hour spin around the block and in their studio. The results I took home were amazing in terms of IQ. Both cameras are stellar performers but no matter how I edited the M10-R files in Capture One to monochrome, I couldn’t reach the M10 Monochrome IQ in terms of tonality and cleanness. Amazing... but it comes at a price too. And to be honest, you have to pixelpeep to really see the difference.
  10. Herco


    To my knowledge you can’t. I don’t use a GFX100, but do have a GFX50S. I guess from a connectivity point of view it is very similar. With Fujifilm cameras you need a host application on a computer to receive the tethered files. That is one of the things Fuji really need to improve for professional use. Many other brands have the ability to tether to an FTP-server (wired or even wireless). Nevertheless, tethered shooting to Capture One works perfectly and is for many photographers sufficient.
  11. Also bear in mind that C1 (but LR too) can be automated to a high degree. When importing, you apply the presets or styles you prefer. On top of that I have defined user styles that automatically apply the required sharpening and noise reduction for the type of camera. From there it is just 1-2 minutes work to PP an image. For personal work I shoot RAW+JPEG. The JPEGs are stored separately for archiving. I never edit these except for some cropping if I really want to use the JPEG for sharing in social media. I will quickly cull through the RAW files to separate the keepers. The rest I throw away. I only spend more than 1-2 minutes on an image for those RAWs that will be printed. Edit just the ones you need to use (for an album, print or sharing). As for the romantic idea of just shooting and accepting the jpeg outcome as if it was film: imagine how long we used to spend in darkrooms to develop and print films... There was a whole lot of editing involved in that process as well to get to a really good print.
  12. TIFF is indeed a more universal format that is supported by almost every package. PSD is a Adobe specific format and it maintains the layer-structure of the file. So you can go back and forth between LR and PS while maintaining all different layers you’ve added to the image.
  13. The Profoto A1X is a great flash. The A10 even better. We use a lot of Profoto here in the studio and couldn't be happier about the quality. However, unless it's your living depending on it, Profoto can be quite expensive. A nice alternative for the A1X is the Godox V1. It is a blatant copy of the A1X but at 30% of it's price. Only with very intense work you'll notice the difference (heat management, constant color temp and integration in a Profoto ecosystem). I guess nothing that an enthusiast would worry about.
  14. CaptureOne (C1) has the Fujifilm film simulations build-in into the software. So when developing the RAW and exporting to JPEG you can use these film simulations incl. all the other editing that C1 allows you to do. This gives you a much better result than using the out-of-camera JPEGs and edit them for exposure in C1, PS or other software. A JPEG is best to use as an end result. The quality of the C1 Fujifilm film simulations is at least as good as the in-camera film simulations as it was developed in close cooperation with Fujifilm. In my experience they're even a bit better as they offer more flexibility in terms of grain structure and shadow detailing. The workflow for PS (with the .psd file) is a workaround workflow. PS doesn't recognize raw files and it uses Lightroom or Camera Raw for that. However, to maintain the layers and editing done in LR, you shouldn't exchange JPEG or TIFF files between LR and PS, but .psd files. It's a sort of exchange format for images between different software components of your workflow. We only use it for editing stuff that cannot be (easily) done in C1 and requires PS as an editor. In our experience this is less and less as C1 improves clone stamps and eraser capabilities. What remains in PS is the image manipulation like creating fuller lips, wider eyes or accentuating bodylines of models. Something that is also less and less done (fortunately). That requires PS or Affinity Photo as you have to dive into pixel level to cleanly remove all pixels and replace them with the ones you want. In those situations we use the 'edit with' and 'open with' menu option in C1 to open the file with PS. In the background that creates a temporary .psd file. Converting a JPEG into a .psd and than again create a JPEG is a very cumbersome path with loss of quality. Esp. if you already have the raw-file. Best to avoid that where possible.
  15. Fully agree... Also note that CaptureOne cannot be compared to PhotoShop. PS is a ‘destructive’ pixel editor for image editing. C1 is a non-destructive raw developer. Though they share editing features the approach is very different. C1 is actually an alternative for Lightroom (LR). In case you need to ‘pixel-edit’ next to C1 you could also try Affinity Photo. AP is very akin to PS, but lower priced and you actually purchase the license rather than have a subscription like with PS.
  16. maxmax.com converts many Fujifilm cameras to monochrome. It's quite expensive, but probably not more than when Fujifilm would launch a monochrome themselves. Previously, Fujifilm managers stated that a monochrome is not to be expected any time. As a former Leica owner (those film days) every time I pick up a Leica I'm tempted again. The Q2 monochrome will probably not be an exception. It's not made for people looking for features or value-for-money (though it holds fantastic value in the second-hand market) and in that respect its hard to compare with other brands. It's just like cars: you don't need a BMW to be happy, but it sure helps 😉 (for those who like cars)
  17. I cannot recommend CaptureOne enough for Fuji. The Express version lacks the extensive color editor and layer abilities but is more than enough for cropping, tilting and exposure correction. And best of all, it is free. Fuji's X RAW STUDIO works well, but should you ever upgrade your camera (e.g. to an X100V) you cannot rerun your X100F-files through X RAW STUDIO connected to e.g. an X100V anymore. It is limited to the same exact type of camera as you shoot the image with.
  18. The SmallRig I use for the X-H1 has a detachable L-part leaving only the base plate attached to the camera. It is still however about 10mm thick. I know the Sunwayfoto is much shallower (5-6mm) and also has a detachable L-part.
  19. Welcome to the forum Vacantskye, Apart from the Sensei cleaning kit, I've had first-hand experience with all these products. The SanDisk cards are solid performers and do well in combined stills and video usage. For only stills you don't need the 300MB/s version. The 170MB/s works just as good when you shoot compressed RAW. How good you'll experience the camera and lenses is greatly depending on what you plan to do and what your reference is/was. When your previous Nikon was a 3400 the X-T4 would overall be a step-up. When your reference was the D850 or so, you might be disappointed (except when price and size are most important). Overall the X-T4 is amongst the best APS-C based hybrid stills/video cameras on the market today. When video is of lesser concern, you may find the X-T3 just as good at a lower price. Both cameras are solid builds but not to the extend of the professional Nikons. The lenses are quite dissimilar. The XF16 is one of Fuji's best lenses for the X-mount. Very sharp, fast and excellent close focus capabilities. It renders beautifully and has nice contrast. The XF55-200 is a somewhat older lens in Fuji's line-up. Image quality is very good, but auto focus is a bit slower and noisier. Note that the XF16 isn't really silent either and also less suited for video when using the build-in microphone. The great thing about the XF55-200 however, is that it has a great reach in a small package. So, depending for which purpose you're gonna use this set-up it can be a very nice package for travel and general stills/video (buy a decent microphone as well). In case you have specific needs (wildlife, macro, portrait, sports...) other set-ups might be better suited.
  20. Arca-Swiss is both a brand and a standard. If you mean the original Arca-Swiss L-bracket Classic it will most certainly block the battery door. Its base plate is 8cm wide so approx. 4cm either side of the the mounting screw and the battery door of the X-H1 is about 3.5cm away from the mounting screw. The original is also quite expensive at around $250. There are very good alternative L-Brackets with Arca-Swiss compatible slides. I've used one from SmallRig that is actually way better as it is designed for the X-H1 and covers the entire bottom-plate of the camera for protection and has a separate opening for the battery door. It costs around $70 and you can extend it to an entire camera cage in case of video accessories. Others from Sunwayfoto or Sirui are also good and affordable. There's also a premium one from Really Right Stuff but that's again around $250-275. Finally, there are really cheap ($30) knock-offs available on Ali-Express with greatly variable quality. I'd be careful with these because the photo might not always match the real product (e.g. no battery door opening in reality).
  21. Judging by the looks of it this is an older model Skyport. Elinchrom usually had three versions of those: a Nikon, a Canon and a universal one. The universal one can be used without concern. It only reads the center contact of the hot shoe. If it's a Canon or Nikon specific one you should be more careful. Normally near the s/n it reads either a C or N if it is a Canon or Nikon specific version. In case of doubt check Elinchrom's website (it also displays the discontinued models) or send a mail to their support.
  22. You probably mean the X100V...? Don't expect any new iteration soon. The V (from fiVe) just came out early this year. The previous model (F-our) was introduced Jan 2017 and the version before that (T-hird) in 2014. For these cameras Fuji keeps a 3-year cycle. Only the S-econd iteration had a 1,5y cycle.
  23. Hi, there are three options to store quick access to specific functions: http://fujifilm-dsc.com/en/manual/x-t4/shortcuts/shortcut_options/index.html These are the MY MENU, the Q menu or you can assign functions to specific function buttons (Fn). However, the function you refer to (release/focus priority) can only be assigned to MY MENU and unfortunately not (for some strange reason) to the Q Menu or a Fn button. To assign the function to MY MENU read this: http://fujifilm-dsc.com/en/manual/x-t4/shortcuts/my_menu/index.html
  24. Hi and welcome to Fuji 😉 I'm not so sure about the D750 being outdated and so... It is still a great camera used by lots of professionals as well. To be really honest even today's best mirrorless cameras re. auto-focus like Sony's A7RIV and A9II are still not as good in AF as the best DSLRs (among which I also count the D750 and D810). Fuji's AF has become quite good in the latest generations but there are a few caveats. First, your 16-80 lens is a recent design with fast AF performance. The 55-200 however, is a bit older and is fine at best re. AF. So, your best results will probably be with the 16-80. The f4 limitation of that lens however, will limit the low light AF performance of the X-T4 a bit. The X-T4 offers various tweaks to adjust AF to the circumstances. This is a bit cumbersome as it is not really good in auto detecting the required setting. You will have to do that for the camera. You can designate some options to function buttons on the camera for future quick access. Here's my recommendation: Set the AF mode to AF-C (front of camera). In the menu 'SHOOTING' and sub-menu 'AF/MF Settings' select mode 5 in the AF-C Custom Settings. This is for erratically moving subjects. This sets the tracking sensitivity to a locked-on mode, the tracking speed to the quickest and the zone area to auto (as the dogs move back and forth). It is a good starting point for further tweaking. Once you've find the best setting you can store that under custom AF-C mode (mode 6). Then make sure that the number of focus points is set at 425 for the widest coverage of focus points unless you follow the dogs with the camera and keep them center-frame. Switch Pre-AF on. This speeds up the focusing process when you half-press the shutter release button. Unfortunately the X-T4 doesn't recognize animal eyes, so face-AF and eye-AF doesn't help here. Best to switch that off and prevent the camera from scanning for faces/eyes. I've seen the X-T3/4 recognizing faces while they were not there (in shapes of leafs and so). You may also want to test release/focus priority. With focus priority usually you have the best hit rate for in-focus shots, however, it may also result to your camera when losing track of the subject instead refocus on a different subject. I'd recommend release priority in that case. You may have more shots out-of-focus, but at least more to choose from as well.
  25. Which Canon DSLR are you referring to if I may ask?
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