Noel

Also the lens correction module doesn't work with XPro2 raw files. So no distortion controls, lens vignetting, lens sharpness correction or aberration corrections, yet.

Its a feature not a fault. The camera was extensively tested on Mt Fuji in winter where the original alpha testers fingers were getting too cold. Rather than provide the testers with gloves or heat packs Fujifilm decided to install a little fire imp inside the camera body in order to provide the warmth required for extensive shooting in low temperatures. Admittedly there is downside to this in that in warmer climes or during summer the camera body can become slightly toasty.... not a problem,. This June Fujifilm will release the Gunmetal version of the X-Pro2 which has an ice imp installed instead. In fact that version has a little side hatch where, if you speak very nicely to the imp, it will dispense freshly made ice creams and slurpies. I hear tell that Fuji have decided to expand this idea for next Christmas by firmware update to allow the original black X-Pro2's fire imps to supply roasted chestnuts.

Group shot taken at same time.

One of the hill ponies who live up on Carrock Fell in the Lake District, UK. Taken with an X-Pro2, a 16mm and an iPhone. The iPhone was to play them music so that they will be curious enough to come over and let me take their photo. the iPhone was on random but weirdly played "Warning Sign" by Travis which has the chorus line "Don't set the horses free" but I don't think the ponies were offended.

Function, comfort and style in that order. If it doesn't serve the function then it wont be used. If it works but its uncomfortable then its a distraction from what you are doing. If it works and is comfortable but makes you look like a wally.......... well, still working on that one. Oh and anything before black. Black, black, boring bloody black. Camera bag manufacturers all seem to have gone to the Henry Ford school of design. Not only is it very boring but for sensitive opto-electronics out in the sun all day - why always use heat attracting black? But never ever leather! There is a reason why, damp conditions and leather eventually means fungus and fungus plus optics means big trouble. Photographers stopped using leather in bags decades ago for good reasons, this current fad for leather bags like the ONA range is a major mistake.

I use both depending on situation. For normal use all my Fuji's have Artist and Artisan Cloth Straps. They are light, soft and very comfortable but I rarely use the strap round my neck preferring to carry over my shoulder. When I need to use lower shutter speeds I wind my hand into the strap in a similar manner to the way I used a strop for match rifle shooting. http://www.artisanandartist.com/straps/acam102.htm The downside of neck straps used over the shoulder is security. Its just too easy for someone to grab the camera off you. In that case I use a sling strap round the body but I don't use over blown nonsense like the back rapid. For a mirrorless system that's overkill. Instead I use a simple loop you can pick up at any climbing store which rock climbers use asa bandolier for their chocks, wedges and cams. I've threaded a large split ring onto this loop and to the split ring add a LeHook swivel to connect to the camera. the LeHook then clips to a split ring fitted to the cameras normal strap lug http://www.gooutdoors.co.uk/mammut-contact-dyneema-sling-60cm-p263250 http://www.lehook.co.uk/ TBH the only extra feature that is worth looking at is the SunSniper Steel strap. It is similar to the black rapid but has a steel wire core embedded in the strap which stops a thief using a box cutter on the sling to grab if from you. I don't consider I need that extra level of safety as I use the sling underneath a jacket which keeps the strap and camera out of sight when not in use. If I were wearing it openly then I may consider the extra expense of the SunSniper Steel worth it. But I'd ditch the stupidly large shoulder pad and change the connection system from the SunSnipers tripod screw to the LeHook system.

You are most vulnerable when you stop to take something out of the bag. With a rucksack you have to take one arm off and while that is going on you are distracted and either your camera goes or an arm goes through the now loose strap and the back is yanked off you. 1) Sling bag - they have one strap over the shoulder and a waist strap. To open the bag you undo the waist strap and swing the bag round from the back to your front and open the side. That means the bag is still firmly attached to you and there is no handy strap for the thief to get their arm through to grab it from you. 2) Camera sling - instead of using a neck strap think of using a full sling especially something like the SunSniper Steel which has a steel cable running through it so it can't be cut off you with a box cutter. Loose the big bulky pad and wear it under your coat for extra security. 3) Big coat - instead of a bag, wear a loose thin coat with pockets sewn inside the bottom lining. Use small light lenses like the 35mm f/2 or the 27mm pancake and they will hardly show in the lining but drag a big lens like the 16mm or 90mm around and its going to be obvious. Wear the coat over the camera sling and have the length of the coat long enough to hide your camera when its dangling from the sling. Then carry a shoulder bag with things like your water bottle etc but nothing of any great value. If you get ripped off, everything of value is in your coat and all you've lost is a bag, the water and the remains of your half eaten packed lunch. Alternative - Leave all your lenses at the hotel and just take a X100T or even an IQ2 in high risk areas. Remember this, most street thieves operate by distraction, speed and shock. But if you get isolated and someone is threatening you with a knife - give them the bloody camera.

For normal use and especially for mirrorless systems such as the Fuji's a geared head is massive overkill so I'm not surprised you haven't had much response to this question as very few people have much use for a geared head. I'm probably at the other end of the spectrum as while I do have a large Fuji setup I also use a Linhof Techno digital medium format camera and for that, a good quality geared head is a massive time saver and allows very precise adjustments which is exactly why I have the Techno in the first place. Unfortunately my experience is that big is better so I went for the Arca Swiss cube which is a solid block of steel and brass. In my view its the best there is available and it suits my Techno perfectly. But, it would be utterly insane to consider using such a head for a Fuji mirrorless system, its way too much. IMHO, after using pretty much every type of head and tripod there is, for a Fuji system a good quality ball head will out perform a lightweight geared head both technically and economically everytime. Make sure you get a ball head that has variable friction adjustment. that will add just enough friction to the ball to hold it stead while not fully clamped down. Then to tweak the position of the camera you only need to add a little pressure to nudge the ballhead to the right place. Cheaper ballheads don't have this feature and they just flop about the place and is the main reason they are seen as a less secure way to hold your camera. A good ballhead properly used and adjusted will not flop about even when the lock is released.

I've posted before in this thread with my preference for the Billingham Hadley Large..... which is still my favourite all round carry bag when I'm on my two feet. BUT....... if I need to get around London on the hurry up my preferred mode of transport is a Brompton. For those of you who don't know about Bromptons, they are folding bikes designed specifically for riding in London (or other cities), still built by hand in London and are one of the very few bikes that are permitted to be carried all over London transport, even on the deep underground where regular bikes are completely banned. When I'm riding my Brompton I swap out my Hadley for the Brompton S Bag which clips to a mount on the front. The S bag looks like an ordinary messenger satchel but has two extra features. Firstly an internal, but removable aluminum frame to mount the bag to the bike's front block and secondly two side pouches which are not mounted on the sides of the bag but at the rear so that they wrap around the front mount. http://www.brompton.com/The-Bike As you can see from the image, my Brompton is a black P6L, with rear carrier, front hub dynamo lighting, gel saddle and an Off-yer-Bike carry handle. And EVERYTHING except the helmet and the bike fits inside the black S Bag and that includes the jacket which is down and acts like an extra front bumper. And yes, that green liner is the inner compartment from my Hadley Large which fits very nicely inside the S Bags main compartment.

That cap was the first thing I noticed when I got my X-Pro2. Those little caps used to be ten and penny a few years back. I used to find drifts of them in the corners of the studio. Yes they come off and get lost but you could pop into any local camera store and buy a pack of ten. The best ones had little tabs on the edge that you could tie a string through them to tie them to the cameras strap lug. Now though finding a replacement for those things is bloody hard, everything I can find on ebay and Amazon is the screw in type not the push on and there are almost no local camera shops left to ask. http://www.bhphotovideo.com/c/product/764798-REG/Nisha_PCSC_PC_Socket_Cap.html 2 dollars 50 cents for one dinky little cap? - personally I'd just tape it over with some black electrical tape.

As stated above the two ranges are: 1) Film Format - based on typical a circle of confusion size required for viewing a 8x10 print at normal viewing distances. 2) Pixel Format - based on a circle of confusion size similar to that of the actual sensor pit size to compensate for pixel peeping at 100%. Don't; get too hung up about this issue. It's one of these rabbit down the hole matters that is best left well alone. If you go chasing that rabbit its not long before you are conversing with the Mad Hatter and the March Hare about the intricacies of Scheimpflug calculations. The film format range is approximately equivalent to the DOF markings on manual lenses. When you use these markings the same rule applies, the larger the print (or screen resolution) the narrower the DOF compared to the markings. Keep that in mind and the normal DOF techniques apply just as they did with film. I.e. stick it on f/5.6 focus on the nearest eye and everything from the tip of the nose to the back of the ear will be in focus for a headshot on a 8x10 print.

Can we keep the comments in this thread solely related to concerns or perceived bugs with X-pro2 rather than unrelated opinions that could result in trolling.

Reset settings issue: Yep, had that at least once myself. Though I'd accidently hit the reset option until I read other having similar issues. Not been a problem after first day. Very slow writing to SD cards other than UHS-II. Used Sandisk Extreme 45 Mb/s and 90 Mb/s cards that work perfectly in my X-E2 and X-T1 and yet the X-Pro2 acts like treacle. But stick a 280Mb/s UHS-II card in and its like machine gun. Something not right about how it treats non UHS-II cards. Lens Pre-AF on 90mm not switching off and hence using battery power. The 90mm does not have lens stabilization so the only thing that could cause this lens to have little motor sounds is if the AF is still working EVEN when the camera is set to have Pre-AF off and power usage to normal. Something not right here also. Wobbly shutter button - not a massive issue for me personally but I've heard others complain. I can confirm that mine is noticeably more wobbly than that of my X-E2 so there is substance to what others are saying but for me this is a minor niggle.

Snapped headshot of my friend Khun Gib over the table at an office party in Pattaya, Thailand. Taken with a Fuji X100T and a blip of light from the onboard flash.

30x45mm is correct for the likes of the Leica S2 but comparing the Hassy 40Mb against a D800 is definitely a slanted review (unless the point was to emphasis just how stupidly expensive the low end Hassys are, in which case - fair point). Note that the hassy has a removable back which allows a larger sensor to be fitted and comparing a low end MF back against the highest end DLSR at that time must be considered as a suspect review basis. The key size for MF digital backs is standardising around the 53.9x40.4mm sensor sizes as used in Phase One's backs. From personal experience of using my Fuji's, my D800E and my Linhof Techno fitted with an IQ260 and Rodenstock lenses I can assure everyone the difference with a good MF sensor is just mind-blowing. If Fuji are considering an MF camera i suspect it may be a challenger to the Leica S2 rather than a Hassy or the new Phase One XF. The S2 is a DLSR including the use of a mirror to permit an optical viewfinder. The big eureka moment for me and the reason I use my Fuji's much more than I use my Nikons these days is their digital viewfinder. A Fuji mirrorless MF camera makes more design sense than the bloated DLSR type Leica S2. Which format should it be.... well my personal preference would for an MF X-E3 but the trouble Fuji will have is balancing the lens weight versus the body. With a mirrorless body the lens will drag the front end down. To solve this Fuji could go for a lighter lens design but that would mean slower apertures and in a world where photographers become addicted to using f/1.8 and higher, selling an expensive f/4 lens would be challenging.