jlmphotos

Take them BOTH.  They each weigh nothing.  The 18-55 I find it to be an EXTREMELY versatile lens with a wide to medium portrait tele.  The fast 23 on the X100 would be great for when you hit the town in the evening and want to photograph at dinner, or in low-light situations such as churches, etc.
That's my story, and I'm sticking to it!
 

***ISSUE SOLVED!***
 
Tuesday PM:
 
I called Fuji again to figure out what was going on with my X-T1. A Professional Manager picked up, looked up my repair, and couldn't understand why its been 3 weeks with no contact. He also explained that since the recall fix was over a year old, they would charge for LABOR but not parts. I explained to him that the recall notice did not state a deadline to get the camera fixed, therefore they shouldn't charge for anything. He agreed and said he would talk with his boss about the issue and call me back the next morning.
 
Wednesday AM:
 
I woke up to an email with a tracking number from Fuji.
 
Thursday AM:
 
My X-T1 is back in my hands with a note that reads, "Light Flare Effect fixed and Squishy D-Pad repaired :]"
 
 
So there we have it. Fuji followed through with the repair, free of charge. It just took 3 weeks and a very stern conversation with a manager. In the end, I'm happy, but there's no reason this experience had to be such a headache. I'm happy to use Fuji personally right now, but not rely on them for my professional use.

No problem and no offense taken.
 
Everyone has various experiences with all manufacturers. I've had friends hate Canon repair and move to Nikon, I've had others move from Nikon to Canon specifically because they were upset with the repair process. You had a great experience but I didn't. That's life. We pick our favorites, weigh the pros and cons, and figure out what we are willing to tolerate.
 
I only posted this to share my experience, in case others in my shoes are wondering. Was my experience a fluke? Maybe. I hope it doesn't happen again though.

For no other reason than “I want too & I LOVE it” I thought I’d review my (the) X-PRO1.
 
This review is merely the ramblings of an enthusiastic enthusiast, a mediocre amateur who’s entire skill (and I use the word in its loosest possible sense) set pretty much comprises thinking, ‘that looks nice, I think I’ll snap it’ a man who’s post posting technique pretty much stops at, “lets saturate the colours and make it darker”
 
Anyone subjected to hours of the kids show, Peppa Pig, should recognise the Mr Bull character and his catch phrase of “let’s dig up the road” well, that phrase could easily be applied to my desire to take pictures.
Now some of you may read this, and somehow get offended, how dare I say some of these things? Well try 1)reading to the end and 2)not skim reading.
 
Anyway…
 
Part One
 
So the X-PRO1, what’s all the fuss - mythology and downright untruths…
 
The X-PRO1 is so well built, easily the best in the Fuji range?
 
As the kidz say “lolwhut?”
 
The X-PRO1 is far bigger than it needs to be technically (don’t fret we’ll come to ergonomics later), it hasn’t got any extra stuff inside that the smaller X bodies don’t, and the net result is of a rather hollow feeling camera that belies its physical bulk. The dials have a pleasant tactile feeling, but wobble about a bit if pushed and the EV is so easy to rotate that checking it’s where you left it (it won’t be) quickly becomes second nature.
 
The Frame Lever sorry EVF/OVF switch is upside down IMO (well mine isn’t because I took it off and mounted it the correct way up!), it’s attachment feels flimsy and the whole mechanism for swapping between OVF & EVF feels like the camera is performing a great labour
 
The scroll wheel on the back feels especially flimsy, wobbling about with too much vertical play, but it does at least have the decency to double as a physical button (X-T1 why don’t you have this?)
 
The shutter button rattles about like a ball joint that passed its useful life several thousand miles ago.
 
The slow operational speed of the X-PRO1 makes me a better photographer. It gives me time to think
 
No. You give you time to think. BUT personally speaking the fact that the X-PRO1 is slow, means I have to work to its pace. This helps me; I suspect that you’re already capable of thinking photographically. Perhaps you’ve even learnt to plan your shots before bringing the camera to your eye or even before you’ve left the house that day!
 
The honest truth IMHO is that learning a slow and quirky camera makes you better at using a slow and quirky camera. If in the course of that learning curve you learn more about photography in general, then rejoice – but take the damn credit - YOU did that, not the camera.
 
The X-PRO1 files are almost film like in appearance
 
Are they F***. Film is film like. The X-PRO1 is just less digital looking than other more modern cameras (like any X-Trans II camera for example)
 
IMO, the X-PRO1 output is bit like CD vs MP3, sure CD sounds more analogue LIKE than MP3, but don’t be trying to tell me that CD is wild, raw and scratchy like a record (or indeed film) because it’s not.
 
OK so that’s my personal take on the myths and untruths, let’s move beyond this apparent unpleasantness and get straight too
 
Part Two
 
Emotive engagement - the importance of being Earnest
 
A crap job with a great wage is hard toil, a great job with a liveable wage is a joy to undertake
 
So, imHo the X-PRO1 is not the über build quality, files like film, free photography lesson with every click, that some would have you believe.
 
So what.
 
It’s without any shadow of doubt in my mind an absolute joy to shoot with. It’s truly greater than the sum of its component parts. Like a Morgan or Westfield sports cars or SS model Rolexes, less is definitely more.
 
In a disposable prosumer world where pretty much every camera is differentiated only by its manufacturer and lens mount, not its spec sheet, where every little black mag alloy box shares must have features that are ground into obsolescence by the next release, it is (in my opinion) an absolute bloody sheer magical delight to use a camera that’s kinda like a camera. No, I don’t mean shutter dials that miss off half speeds or fly-by-wire aperture rings or snail-by-wire focus rings – I mean a camera that doesn’t have Wi-Fi or GPS or have the need for the user to remember when to use or not to use an electronic shutter, the X-PRO1 is a camera that demands you to either 1)know 2)figure out 3)feel out with trial & error, the best settings.
 
Sure this process means more balls up shots, more missed shots, harder (MUCH harder) work with moving objects, but it also means a damn sight more reward when what comes out of the camera is pleasing, you can, with complete honesty say “I made that” and you can feel proud too, because with the X-PRO1 it might not of been easy
 
This brings me to engagement, for me I like LOVE that the X-PRO1 challenges me, it inspires me to try harder, then try harder still. OK, full disclosure… I also have a X-T1, because y’know, my 3 year moves around a lot, and it’s nice to be able to shoot wide open without needing an ND filter and its nice having so many controls at my fingertips.
 
But the X-T1 just makes me fire off more blanks than the Territorial Army, it’s a fast camera and it makes me feel the need for speed, it’s a hyper sports motorcycle, tearing up the highway, the X-PRO1 isn’t a bike… it’s a chopper baby, cruising the highway and taking in the sights and views
 
[i want to work the phrase ‘Zed’s Dead’ into that last paragraph but so far it’s alluding me]
 
Sure the X-PRO1 has a clearly digital output, but its files are its signature dish, run most cameras files through lightroom and they seem to turn out the same… again full disclosure, I don’t use LR, can’t get my head round it, but flick through Flickr’s explore and you’ll see many very samey shots, from many different cameras, nearly always processed with Adobe’s algorithm…
 
Well the X-PRO1 DOES have something with its files… I’m not exactly sure what….
 
(Reading DPR I think it may be the point at which the tone curve cuts to black, but I don’t understand all those graphs and shit like that. Sorry.)
 
…but there’s a grittiness to the X-PRO1, be it SOOC Jpeg or RAW that’s immeasurably pleasing. Words like ‘organic’ get used a lot… it’s as good as description as any… but for me, just unrelentingly pleasing, worthwhile, special
 
When I feel I’ve got a shot right with the X-PRO1, I’m pleased, I feel I’ve worked for it. The X-PRO1 as a body makes success harder to come by (than many more modern cameras), but because of this the delight when one manages to do so is tangible.
The ergonomics of the X-PRO1 are a little bit special too. I know some people love to hate the pseudo SLR styling of many mirrorless models, but let’s be honest here, Panasonic, Olympus, Sony et el all offer “range finder” shaped bodies… well they do if you define range finder as a rectangular camera without a central VF.
 
No the X-PRO1 is special as it’s just that bit bigger, that’s the plus point for that big hollow feeling that I pointed out earlier, you can actually hold the damn thing comfortably.
 
The other obvious thing that the X-PRO1 has is of course that OVF.
 
The inclusion of an OVF is simply to be applauded, no redaction, make that a standing ovation, a design triumph worthy of a ticker tape parade.
 
There are those that say, The X-PRO1 is a pseudo range finder, it’s not a true one. If you want a true digital RF, then the big L is the only game in town and let’s be honest, that’s a very true statement.
 
But it’s also a statement that is, in my view, an oxymoron. The X-PRO1 isn’t trying to be a Leica. Up until the release of the M240 the X-PRO1 was the only game in town that gave you the rangefinder shape, an optical VF AND the ability to use an EVF to check critical focus and framing.
 
And at time of writing (Aug 2015) the X-PRO1 is still the only camera that can offer this without taking your eye away from the view finder.
 
And let’s not forget the magic of having different strength magnifications of OVF to choose from!
 
The Leica cameras may indeed be the only digital range finder game in town, but the X-PRO1 is a whole new 21st century game.
 
The X100T shows how this game can go, and it can go in a very good direction.
 
[Full disclosure: I’ve nothing against Leica, or Leica shooters and I’d like to try one, one day…]
 
Part Three
 
Accessories – pimp my ride or must haves?
 
The X-PRO1 was as you’ll know, released with three prime lenses. Yup primes, the de rigueur 18-55 didn’t arrive until later.
 
I love the 3 original primes (& to a slightly lesser extent the XF27) they –too me- capture the essence of what the X-PRO1 is all about, a decent sized camera body, with small primes that are fast and sharp. I’m not completely daft, I realise the 16/23/56/90 are almost certainly better lenses, but they’re comparatively big, they’re comparatively expensive and –too me- they don’t fit with the original X-PRO1 design ethos.
 
[i might very well get the XF23 for my X-T1 though, and the 120 macro]
 
The X-PRO1 also has a leather case and the original hand grip.
 
IMO these products are both superb and perfectly fit with the X-PRO1. Namely each is pretty useless if you’re in a hurry, but if you’re prepared to take your time, and accept that they need removing to access anything and that removing them is s-l-o-w then the quality is excellent.
 
The grip may not have Arca Swiss dovetails and a hole for the batter/card door, the case doesn’t have that handy flap of the later X100 case, but… so what?!
 
The case is imo very well executed, the folding down front flap has so far managed to stay attached, even when left dangling for long periods of time (unlike my X100S case that I managed to lose the top part from)
 
The grip truly looks like it’s part of the camera, it simply improves the grip. Immensely.
 
The X-PRO1, the original primes, the original accessories even have a level of luxury packaging not found on the later bodies and lenses.
 
So, in summary, the accessories are must haves [especially the lenses ] they add to the camera, and they enrich the overall ownership experience.
 
I also tried an eye cup from another camera (didn’t like it) and I’ve fitted a soft release (love it) I also use 2 spare aftermarket batteries (no issues with them so far, after 15 months)
 
Conclusion
 
OMG dear reader, are you really still here? Oh no wait, now I get it, you skipped straight to this bit didn’t you?!!!
 
OK, so as I set out very clearly, just over 1900 words ago, I love this camera. I’ve even owned the damn thing twice.
 
Now for me, the X-PRO1 is famous for myths and untruths.
 
It’s not the last word in build quality. It’s the first of a line of steadily improving X bodies
 
Yes, yes, YES – I get it. The D Pad buttons are nicer to push than the blind key hole surgery that is the X-T1 D Pad. S-LO-W C-L-A-P. That doesn’t make for a superior build. You might prefer it (on th X-PRO1), sure why not, but IMO the X-T1 is a superiorly manufactured product in so many ways
 
The X-PRO1 is neither a Leica M clone nor a Leica wannabe. It’s a rangefinder concept camera born and dragged kicking and screaming with life into the twenty first century. People need to cut the umbilical cord on this Leica/Fuji shit. I suspect future iterations of the M will be more comparable to the X-PRO1 than vice versa…. Just a hunch.
 
The slowness of the X-PRO1 doesn’t make you a better photographer. You make you a better photographer, BUT the X-PRO1 is a fine tool to take with you on that journey.
 
The X-PRO1 files don’t look like film. The look like X-PRO1 files, not like Sony/Panasonic/Olympus files, not even like X-T1 files, they look like X-PRO1 files. Rejoice in them - for identity is important.
 
The Hybrid OVF is ingenious and very special.
 
OK… I think I’m done…..
 
If you care - all my X-PRO1 Flickr pics can be found here
 
https://flic.kr/s/aHsjUEpU8D
 
Regards
Adam
 

Cameras come and go, but never, ever sell good glass. Unless you change lens mount, you will eventually regret it.

My Perfect travel kit:  Which I will put my money where my mouth is as I'm going on a 10-day stock/personal/travel shoot:
 
X-T1
Zeiss 12mm 2.8
18-55 zoom
23mm 1.4
35mm 1.4
55-200 (an amazingly sharp lens)
 
6 batteries + three chargers
302G worth of 16 & 32G SD Cards
Filters and step up rings to 77mm for each lens.
 
That's my story and I'm sticking to it.

Ken Rockwell is the Chuck Norris of photography
Ken Rockwell's camera has similar settings to ours, except his are: P[erfect] Av[Awesome Priority Tv[Totally Awesome Priority] M[ajestic]
Ken Rockwell doesn't color correct. He adjusts your world to match his.
Sure, Ken Rockwell deletes a bad photo or two. Other people call these Pulitzers.
Ken Rockwell doesn't adjust his DOF, he changes space-time.
Circle of confusion? You might be confused. Ken Rockwell never is.
Ken Rockwell doesn't wait for the light when he shoots a landscape - the light waits for him.
Ken Rockwell never flips his camera in portrait position, he flips the earth
Ken Rockwell ordered an L-lens from Nikon, and got one.
Ken Rockwell is the only person to have photographed Jesus; unfortunately he ran out of film and had to use a piece of cloth instead.
When Ken Rockwell brackets a shot, the three versions of the photo win first place in three different categories
Before Nikon or Canon releases a camera they go to Ken and they ask him to test them, the best cameras get a Nikon sticker and the less good get a Canon sticker
Once Ken tested a camera, he said I cant even put Canon on this one,thats how Pentax was born
Rockwellian policy isn't doublethink - Ken doesn't even need to think once
Ken Rockwell doesn't use flash ever since the Nagasaki incident.
Only Ken Rockwell can take pictures of Ken Rockwell; everyone else would just get their film overexposed by the light of his genius
Ken Rockwell wanted something to distract the lesser photographers, and lo, there were ducks.
Ken Rockwell is the only one who can take self-portraits of you
Ken Rockwell's nudes were fully clothed at the time of exposure
Ken Rockwell once designed a zoom lens. You know it as the Hubble SpaceTelescope.
When Ken unpacks his CF card, it already has masterpieces on it.
Rockwell portraits are so lifelike, they have to pay taxes
On Ken Rockwell's desktop, the Trash Icon is really a link to National Geographic Magazine
Ken Rockwell spells point-and-shoot "h-a-s-s-e-l-b-l-a-d"
When Ken Rockwell went digital, National Geographic nearly went out of business because he was no longer phyically discarding photos
For every 10 shots that Ken Rockwell takes, 11 are keepers.
Ken Rockwell's digital files consist of 0's, 1's AND 2's.
Ken Rockwell never focus, everything moves into his DoF
Ken Rockwell's shots are so perfect, Adobe redesigned photoshop for him: all it consists of is a close button.
The term tripod was coined after his silhouette
Ken Rockwell never produces awful work, only work too advanced for the viewer
A certain braind of hig-end cameras was named after people noticed the quality was a lot "like a" rockwell
Ken Rockwell isn't the Chuck Norris of photography; Chuck Norris is the Ken Rockwell of martial arts.
Ken Rockwell never starts, he continues

There's no waxing with any RAW converters I used, including LR, ID, C1 and Silkypix. No Image Intelligence either. 

Ditto. This is a part of a feature set called "Image intelligence" (quote: "Automatically enhances skin tone and texture to create smooth, attractive images").
 
 Fuji! Leave damn texture alone! 

Not that i don't believe you but I've had nothing but OUTSTANDING service with my Fuji center -- not with my X Series cameras, but with my previous S1Pro, S2Pro dSLR's.  A short story:  On my (eBay purchased, used ) S2Pro dSLR I discovered some straight horizontal lines on my images about a year after my flea-bay purchase.  I knew immediately it was a bad sensor.  This camera was 2-3 years out of warranty.  I drove it to the Fuji service center in Central New Jersey.  This was a Thursday afternoon.  I asked them for an "estimate only" as the sensor was well over a thousand US at the time.  On Monday morning just before lunch Im in my office and get a call:  Your S2Pro is ready for pickup.  We replaced the sensor, and the shutter mechanism.  I GULPED.  I explained to the young lady I only wanted an estimate.  Her response:  There is no charge.  It's our fault.  WHAT?!!  WHAT!!???  I couldn't believe it.  Basically they handed me a brand-new camera.
When I first got my X-E1 in 2013 I called their help desk - again at fuji in NJ.  One of the tech guys actually went and got a X-E1 and walked me through all my questions, gave me his name, and told me to call back if I needed anything else.  
Please don't make broad statements as you have.  Fuji, as opposed to the Nikon service center in Melville, NY, which I had to deal with when I had my D800, is freakin' amazing.  You can't judge them by a one-time issue.  And no, I'm not a fanboy of Fuji.  If they sucked, I would say-so.  
Fuji service is ONE of many reasons why I dropped all my Nikon crap and went with them.
If I were you, I'd get on the phone or email to ANY OTHER FUJI person that will hear your case and keep hammering away.  And, BE NICE and PROFESSIONAL.  Whining doesn't work, nor anger.
Oh.  And if you need a camera as a working pro maybe you should have gone either a rental, or a new one.  Again, I don't know what your specific circumstances are or were.  Just my personal opinion.  I hope you don't take offense as I'm not giving any.
 
That's my story, and I'm sticking to it.  I wish you luck in getting your camera repaired.
J

Wow.  I'm 18 months in with the X-T1, over 80,000 images and counting and...... nothing.  Doors close, rubber seems intact.  I hope I don't jinx it now.  
 
In a couple of weeks I'm heading out a very humid, surrounded by salt water and jungle area to shoot stock.  I'll definitely be using lots of bug spray, and sun screen lotion.  Let's see what the body looks like when I return...

Interesting. Over decades, I've never had a cover or lid (from any manufacturer) expand or shrink on my camera, yet I constantly see shrunken, expanded or totally eroded lids on other's cameras. Some are result of leaving the camera in extreme conditions (such as on a hot car dashboard, or even in a trunk), others are direct result of interaction with the user. Pretty similar to steering wheels in many used cars. If you pick 2 cars from the same used lot – same make and model, same mileage, – one will have a slightly used steering wheel surface, while another will have its wheel totally destroyed. Some people just seem to sweat with caustic soda, I have no other explanation.
 
In short: send it for warranty replacement and be prepared to do it again later on.

ugh, this door... mine does not expand, but it opens often on its own after the slightest touch...
 
I guess if fuji were apple they would just say "just hold your camera different"

Here:
 
 

Where's the emoticon for eating popcorn and watching the show?

You might need to take some time to do all the adjustments then, I know I had changes done to have something more eye pleasing to me for my Jpegs.
 
But as far as I know, the EVF should only have a DR setting of 100, since any other level of DR is just emulated.

Row,row, row your boat by Stockografie, on Flickr

ocean liner by Jörg Staudt, auf Flickr
 
X-E1 with Samyang 12 f2

Standby by sgt.floydpepper.hh, auf Flickr

Yes, TT, I too am no longer all that young and spent a great deal of my professional life printing along using large format cameras.
 
If I would have shown my bosses, teachers, clients some of the gray and gray pics that I am talking about I would have been instantaneously fired or thrown out of college or never again be given an assignment.
 
If, when I was a teacher myself, someone would have shown me this things I would have failed them without a thought.

I was raised on B&W photography in the 70s. We even had a term "brilliance", which meant that a technically good B&W photo must have something pitch black and something totally white (0 and 255 in digital terms). These "awesome sauce" presets that you're sarcastically referring to are just laziness, plain and simple. 
 
Photo sucks? Let's kill the shadows. Still sucks? Let's grey out the highlights. What, still crappy? Let's add a texture. And a fake tilt-shift. And an artificial glare. See, an instant masterpiece!