triton76

As a photojournalist during the film era as well, to get 360 shots required a brick of 10 rolls of 36 exposures or a brick and a half of 24 exposure rolls. At the end of the roll, one stopped shooting, rewound the film back into the cassette, assuming 35mm, opened the back and removed it, then opened the box with the next roll, removed it from its canister, threaded it to the take-up spool, closed the back and advanced to the first frame, watching to make sure the rewind knob turned indicating that the film was properly moving through the camera. 
 
Now it takes about 20 seconds to switch to a fresh battery and that only happens about once in 360 shot. Compared to 10 or 15 very bulky rolls of film, it is tiny. Covering sports, if there was a pause one took advantage of it to swap in a fresh roll even if the previous one was not finished. Covering NASCAR I often turned in many short rolls in order to have the maximum exposures available for the big wreck.

As long as there is no digital OM4Ti - i had to choose Fuji-X.
The XF56 on my X-E1 a nightmare (focussing) - OK on my X-E2.
I learned a lot in last month about camera systems IMHO:
1- buy optics & find a camera that fits to it (Sonys A-Series is very nice - but what about optics, Contax the same but the other way around ...)
2- cure GAS and talk about pictures not gear
3- get used to look & see and not to argue
4- strongest argument for the digital workflow is neither speed nor price - but sensor sensitivity
 
chears
Tilman

I chose Fuji because of the bodies. I wanted small, light, high quality and stylish - a camera I could have with me much of the time without lugging a heavy bag or intimidating my subjects. My XPro2 is exactly what I want from a camera body (though USB charging would be nice). The lenses are the icing on the cake.
 
 
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why are people mixing topics & systems to get the best "IQ"? If you made a 'perfect shot' (is there already one availible) - IQ is a tiny piece in a mosaic to a every great image.
Using a OM 4.5/135 (THE standard in Macro Lenses) will only work on film - the Sonnar 2.8/85 is a fantasic lens (anybody with a C/Y body out there) 
If you can't cope with handling as it was thought by designer of camera system - what will be the use of a so called high-end-optic?
Ever tried to do birding with a leica M or complained about AF accuracy in landscape? Do painters discuss about quality of there tools? They discuss about colors, composition, skills, setup ...
 
Photographers tend to stick on technical data  - which is only a single (maybe the tinyest) contribution to a great image. IMHO the complete setup defines the technical quality of an picture, battery failure, portability, haptics - and to be honest:
Does an audiance discuss about pixels or about the 10 (or any other amount of aspects) criterias that make a picture to an unforgettible image

Looks like a great tool for professional portrait photographers.
 
I'm hoping that firmware upgrade 4.02 for my X-E2 will give me a medium format sensor and an interchangeable viewfinder! 

why are people mixing topics & systems to get the best "IQ"? If you made a 'perfect shot' (is there already one availible) - IQ is a tiny piece in a mosaic to a every great image.
Using a OM 4.5/135 (THE standard in Macro Lenses) will only work on film - the Sonnar 2.8/85 is a fantasic lens (anybody with a C/Y body out there) 
If you can't cope with handling as it was thought by designer of camera system - what will be the use of a so called high-end-optic?
Ever tried to do birding with a leica M or complained about AF accuracy in landscape? Do painters discuss about quality of there tools? They discuss about colors, composition, skills, setup ...
 
Photographers tend to stick on technical data  - which is only a single (maybe the tinyest) contribution to a great image. IMHO the complete setup defines the technical quality of an picture, battery failure, portability, haptics - and to be honest:
Does an audiance discuss about pixels or about the 10 (or any other amount of aspects) criterias that make a picture to an unforgettible image

How many AF lenses you had in the 70s? How many rolls of film that was capable of producing 300+ frames you had in the late 90s?
 
We're shooting too much.