addicted2light

Its only fault is that is a tad expensive. But there are DIY alternatives like Oogoo (silicone caulk and corn starch) that apparently work quite as well: How To Make Your Own Sugru Substitute - Instructables

The impossibility of interchanging the X-T10 eyepiece for a deeper one was the main nagging point in my short experience with the camera (for now I've had it for less than a week). But it looks like I may have found a DIY solution that actually works. I don't yet know how well it will withstand the test of time and being put in and out of a bag without caring too much, but for now it sure looks promising. A Nikon DK-19 eyecup happens to be the right fit to mount perfectly on top of the X-T10 non-removable eyepiece. Obviously the problem is that it will not stay put in place on its own. Luckily this is easily solvable. The DK-19 has a shallow "lip" inside, and this is the part that it will actually be in contact with the X-T10 eyepiece. Smearing a tiny bit of Sugru inside this lip, then pressing in place the DK-19 and letting it rest for a few hours (preferably 24) it will give the Sugru time to cure. At that point the DK-19 eyecup will be bonded with the X-T10 original one. Two notes: the DK-19 is often kinda of expensive. I happened to have one still around from my Nikon days. But I've used even cheap Chinese knock-offs without a problem the company that makes Sugru claims that should you want to remove it at a later date you will be able to do just scratching it with your nails and then wiping the surface clean with baby wipes. I believe them, because Sugru should basically be silicone caulk mixed with something like corn starch to make it in a paste and allow it to cure faster. But this is the first time I've ever used Sugru, so do this at your own risk. Should the eyepiece become permanently bonded to your camera lowering its resale value you're on your own... For me I don't care, because I don't see myself getting rid of the X-T10 for any foreseeable time (I love this thing...) and because I've had an extended eyepiece on all my cameras since when I was still a kid in the '80s.

Thanks. That even the X-T1 has the same niggles sure is unfortunate; I really hoped that at least the more expensive camera had those things fixed....especially because several of them could have been resolved at no cost whatsoever, and they weren't that hard to spot considering I've had the camera for less than a week and already "bumped" into them enough times to push me to write about them.

The X-T10 is a wonderful camera. I'm primarily a Sony shooter (A7r), but the recently acquired X-T10 is the camera I pick up just for the joy of shooting it (and yes, at this point I'll completely switch to Fuji as soon as X-Pro 2 prices will come down to earth). That said, there are a few things Fuji screwed up (intentionally? to push us into buying the X-T1?) with the X-T10 and some of them (2, 3, 4, 5) can be fixed in firmware, others will require a new iteration of the body. 1) We need the ability to fit a larger eyecup, period. Even the cheapest film cameras had this feature, why forego one of the main usability point if you're a company that has built is reputation on haptic and user experience? (I have to be able to see the scene clearly to be then able to capture it in a good way, or not?)* *that said, I might have found a DIY way to use a larger cup, I'll post the results should the experiment be successful EDIT: yep, it worked. You can check the results here: http://www.fuji-x-forum.com/topic/2284-sugru-nikon-dk-19-x-t10-extended-eyepiece/ 2) Why give us a bracketing option, but then hamper it with a limit to 3 frames with +/- 1 stop max? I can easily recover that amount in post, often even in jpeg. What we need is at least a +/- 2 stops, and better still the ability to shoot up to 7 frames to make HDR easy* *no, not "that" kind of HDR; but in landscape photography you often find yourself exceeding the capabilities of a sensor, and is nice to have the option to work with "deeper" (in terms of bit) files anyway 3) The self timer belongs on the "Drive" control wheel, if not for anything else for consistency and logic. With a firmware update you could easily let us assign one of the options on the wheel to that 4) People are alway whining about Sony and Olympus menus. I use both and guess what? Compared to them Fuji ones are even worst (even though, to be fair, they've come a long way since the original X100). Come on, get a grip and clean them up, or we'll send you to bed without dinner* *yes, with the "Q" menu you don't have to dig into the main menu that often. But still... 5) Lastly, not a mistake but a personal preference. I'd like very much the ability to assign the movie button to the focus magnification. I have that set up in the same place for all my other cameras (Sony and Olympus), and the consistency would be nice Other than that, IMO you've built an instant classic.

If I were you, I would forego the X-T1 and look instead for an X-T10 with the 16-50 xc. Full disclosure: I am primarily a Sony shooter (A7r), even if I'm thinking really hard of switching completely to Fuji as soon as X-Pro2 prices will go down a bit. I used to have a Nikon D3200 for (non-photographic) travel use (cheap, no need to worry that much for it to be stolen from an hotel room etc.). The D3200 is basically a D5200 without a tilt screen (you can read the review I wrote here, but since then I grow despising it more and more...). I ended up selling it because: - the 18-55 is competent as a kit lens but not that great optically (the 35/1.8 is nice, though) - the build quality is patently uber-cheap - the much talked about 50-200 VR sucked big time, both optically (the softest lens I ever shot with, including some no brand cheap lenses I got second hand attached to cameras I bought) and in terms of stabilization (useless at anything lower than 1/200s @200mm; and please keep in mind I have an extremely steady grip and I can usually shot well below the "safe" shutter speed with most lenses even without VR/OIS). - the camera is squarely aimed at people who doesn't know a thing about photography, so it keeps second guessing you. For example, if you shoot with the self timer to avoid inducing vibrations it keeps resetting itself to single shoot mode (unless you use a remote) - the viewfinder is extremely small; no comparison whatsoever with an EVF - it is small, but not even remotely like an X-T10 (see it on Camerasize); that's a biggie, because when traveling this means it takes a ton of space to store it in a bag that you carry with you, and this will limit how much you can carry around (a spare jacket, water, guides etc.) - the worst part: to get the colors the way I liked, it took way too much post processing and messing around. - even worse: the pictures look horrible on the crappy LCD, so during my entire first trip with the camera I kept thinking "what I was doing wrong" while actually I was taking quite nice pictures The X-T10, instead, I tried it out at a Fuji event near my area (you can read my "45 minutes review" here, should you be interested). We hit it off right away and has the same image quality of the X-T1, just without weather sealing. - it is much smaller than the Nikon D5300 http://camerasize.com/compare/#620,490 - it is much better built - it is a much quieter camera (and with the electronic shutter on completely silent) - the 16-50 is way underrated. At least my copy is remarkably sharp corner to corner, not "just for a kit lens" - the shutter button has the perfect detent, IMO - the stabilization of the 16-50 (mk II) is rather good. I can get a pinpoint sharp shot at 1s (one full second!) with just two or three tries @ 35 or 50mm. - the colors are great straight out of the box; my post processing consists often just in tweaking the white balance, bump the contrast a bit and dodging and burning to taste

I noticed the same thing happening with a bunch of pre-production X-Pro 2 files (but not with all of them, just with the ones I downloaded from a specific source).

A 23/2 (with a proper aperture ring) and a (relatively) small 300/5.6

You're welcome BTW, it has been years that I sold my Canon gear, and now I'm using this technique with the X-T10

Hi, I use a different setup. Basically, I just use a metal lens hood as a spacer, and then put the camera + lens combo directly on top of the film (with the film resting on top of a lightbox). This has the added advantage of shielding any stray light and to ensure perfect parallelism between sensor and slide. Besides, other than a macro lens (even a 50€ legacy one) and a metal lens hood this does not require special equipment, and works a treat even for medium and large format film. You can read about my setup here: How to scan films using a digital camera And see how much of a difference does it make agains a normal flatbed scanner and a drum scanner here: Best film scanner: Canon 5D Mark II vs Drum scanner vs Epson V700 When I wrote these posts I was still using the Canon 5D mk II, but since then I've successfully adapted the technique to APS-c cameras as well. All you have to do is, either: - shot multiple shots for each frame and then stitch them together (still way faster than a scanner, and the best quality; I do this only for the very best shots) or - use a longer lens hood; I taped together two tele metal lens hoods (they fit one inside the leap of the other perfectly, so they stay put even without tape). Alternatively, there are a few slide copiers that screw on top of a macro lens of your choice (so without optic elements inside); they are essentially empty metal tubes. The problem is that with an APS-c camera you will have an excessively high magnification, and you will "crop" just a central portion of the slide. On a side note, if the light source in your lightbox is suitable try to use the electronic shutter to cut down on vibrations, and obviously either a remote shutter release or the 2s self timer.