Fujifilm Global: Fujifilm announces firmware updates for X-H1, X-T2, X-Pro2, X-E3 and X100F coming soon

http://www.fujifilm.com/news/n180412_03.html

“FUJIFILM Corporation (President: Kenji Sukeno) will release free firmware updates for the FUJIFILM X-H1 (“X-H1”), FUJIFILM X-T2 (“X-T2”), FUJIFILM X-Pro2 (“X-Pro2”), FUJIFILM X-E3 (“X-E3”) and FUJIFILM X100F (“X100F”) X Series digital cameras. Due for release late April and May, the updates reflect the feedback received by FUJIFILM X Series users with regards to improving usability and adding new functions….

… FUJIFILM X-Pro2 (Ver.5.0.0) – due May 2018

1. Enlarged and customizable indicators or information
The upgrade allows users to enlarge indicators and information in the viewfinder and/or LCD monitor. This upgrade will also enable users to customize the location of where the information is shown on the display.

2. Enhanced Phase Detection AF
Latest updates to the AF algorithm provide the following performance enhancements

(1) The low-light limit for phase detection autofocus has been improved by approximately 1.5 stops from 0.5EV to -1.0EV, raising the precision and speed of autofocus in low-light environments.
(2) The range at minimum aperture has been expanded from F8 to F11. For example, even when using the XF100-400mmF4.5-5.6 R LM OIS WR with the tele converter XF2X TC WR, phase detection autofocus can now be used.
(3) Major improvements have been made to the AF-C performance while operating the zoom, which provides major benefits when shooting sports and other scenarios in which the subjects moves unpredictably.
(4) Finely-detailed surface textures of wild birds and wild animals can now be captured at high speed and with high precision as a result of improvement in phase detection autofocus.

3. Addition of “Flicker Reduction”
For enhancing the quality of indoor sports photography, the upgrade allows users to reduce flicker in pictures and the display when shooting under fluorescent lighting and other similar light sources.

4. Addition of “Select Folder” and “Create Folder”
Enable to choose the folder in which subsequent pictures will be stored. And also enable to enter a five-character folder name to create a new folder in which to store subsequent pictures….”

fujifilm_mhg-xpro2_hand_grip_x-pro2_01_1024px
The brilliant Fujifilm X-Pro2 optical viewfinder aka rangefinder camera with Advanced Hybrid Multi Viewfinder, Fujifilm MHG-XPRO2 metal hand grip and Fujinon XF 23mm f.2.0 R WR lens brings the digital form of classic rangefinder photography to the rest of us in a relatively affordable form. It handles like a cross between a Leica M-series camera and a Fuji analog 120 roll-film “Texas Leica” but with all the benefits, bells and whistles of a cutting edge digital hand camera. Excellent for documentary photography and photojournalism.

Commentary

Fujifilm has done it again with its commitment to continually improving the functionality of most of its cameras long after their initial release with firmware updates that squash bugs, introduce major new features and update major and minor core functionality.

As an X-Pro2 owner my interest in the current round of announced and already released firmware updates is primarily to do with that camera but I note the usefulness of Fujifilm’s updates for the X100F, X-E3, X-T2 and X-H1.

I am grateful that with X-Pro2 Firmware Version 5.00 Fujifilm will be adding the ability to enlarge information and indicators in the X-Pro2’s remarkable Advanced Hybrid Multi Viewfinder and its LCD monitor as some, under the current firmware, are a little too small to be as useful and easy to read as they could be.

I am looking forward to the coming enhancements to the X-Pro2’s Phase Detection Autofocus although I tend to prefer using back-button autofocus in Manual mode for precision focussing when shooting documentary stills in available darkness.

The X-Pro2 is nothing if not versatile given its four different viewing methods – LCD, OVF-only, EVF-in-OVF and straight EVF – that effectively make it four cameras in one, and I use it for a range of other subjects and shooting conditions which call for improved AF-S and AF-C focussing functionality.

As the cliché goes, my X-Pro2 may well feel like a while new camera again, yet again.

The addition of a flicker reduction feature will also be very welcome.

I am based in a country with 50 Hz mains power and despite following the common advice to select shutter speeds that are multiples of 50, banding or flicker can be a constant problem especially in places lit by ageing fluorescent lights or mixed lighting that includes flickering light sources.

The ability to choose folders or enter five-character folder names on my SD cards is one the usefulness of which I have not considered but it may be worth trying if I am shooting two or more different subjects or projects in the same day to otherwise needing to keep files clearly separate.

X-Pro2 Firmware version 5.00 does not, however, include improvements that we have been waiting a long time for now.

Foremost of these is pixel-level view of photographs to ensure accurate focus of critical image elements, an essential professional-quality feature even the X-E3 comes with straight out of the box.

Second is exposure zebras for fast and accurate exposure-to-the-right aka ETTR, instead of the blinkies that appeared in an earlier X-Pro2 firmware update.

Blinkies on already shot images are fine when chimping in poor visibility but diabolical when actually shooting.

The X-Pro2’s blinkies often drive me mad especially when used in conjunction with focus peaking for manual focussing which also blinks in unison, a needless distraction that should, at the very least, be able to be switched off in the menu settings.

Thirdly, the EVF badly needs improving if that can be done in firmware alone so that its clarity and colour cast can be made to approach if not match the quality of non-Fujifilm EVF cameras such as those made by Panasonic or by Fujifilm in its also-flagship X-T2 and X-H1 cameras.

If this problem with the X-Pro2’s EVF is a hardware issue, then I hope it will be fixed in the X-Pro3 when it arrives, perhaps, sometime in 2019.

Missing feature number four is the ability to apply picture profile customizations to video in the same way currently exists for JPEGs.

I am grateful to Fujifilm for finally giving us the long-promised 4K video in X-Pro2 firmware version 4.00 but they forgot that decent quality video also requires the ability to customize Noise Reduction, Highlight Tone, Shadow Tone, Color and Sharpness exactly the same as exists in Fujifilm’s other stills and video-capable hybrid cameras.

Lastly, and as firmware wishlist item number five, I would love to see the X-H1’s Eterna film simulation come to the X-Pro2 as a more viable alternative to Fujifilm’s more stills-appropriate film simulations.

Other useful features come to mind but these five are first and foremost for me as a documentary stills and video creator who needs all her cameras to be as capable and as feature-rich as possible.

As a purely self-funded independent visual storyteller, I no longer have the commissions nor the budgets to maintain a number of different camera systems in parallel, nor do I have the physical strength to carry two complete sets of cameras and lenses with one for stills and one for video on any given project.

Accordingly, each camera system that I have must be capable of producing good enough stills and good enough video as the project, the subject and the often unpredictable circumstances of the day demand.

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How I Use My Fujifilm X-Pro2 Advanced Multi Viewfinder OVF Rangefinder Camera for Documentary Photography

Events involving more than a handful of people closely interacting with each other in public rarely occur where I live now and creative events are rarer still, so this year’s Fujifilm People with Cameras event in the city of Sydney provided an excellent opportunity to exercise my documentary photography muscle memory.

I carried my Fujifilm X-Pro2 with Fujinon XF 23mm f/1.4 R lens attached and my Fujinon XF 56mm f/1.2 in a Think Tank PhotoSpectral 8 shoulder bag.

The Cosyspeed Camslinger Streetomatic Plus Camera Bag is also a terrific waist bag for the urban documentary photographer. It can carry one mirrorless camera and one, or two or three lenses if they are small primes or zooms. This model easily carries an X-Pro2 with two Fujicron lenses or a Panasonic Lumix GH5 with standard zoom lens.

The Spectral 8 looks like anything but a typical camera bag, making it a great choice for working events and crowds, and it is the first shoulder bag that has not given me spine and shoulder problems whichever mirrorless camera and however many lenses I carry in it.

If working with just one lens and one camera, and traveling light with personal items too, I choose a Cosyspeed waist bag such as the Cosyspeed Camslinger Streetomatic Plus Camera Bag.

The Advanced Hybrid Multi Viewfinder

The Fujinon XF 23mm f/1.4 R is an excellent lens for documentary photography and photojournalism, especially when working in available darkness.

I chose the X-Pro2 for its Hybrid Multi Viewfinder (HMVF), a considerable evolutionary step beyond the non-digital optical viewfinder (OVF) cameras in all film sizes from my analog photography days.

My documentary photography style was shaped by my first rangefinder camera, a second-hand Leica M-4P, and my first Leica M-System lens, a Summicron-M 35mm f/2.0.

I soon added an Elmarit-M 28mm f/2.8 after finding the narrower 35mm focal length more suited to a feeling of contemplative distance rather than emotive immersion in fast-moving events.

I purchased my X-Pro2 along with the 23mm f/1.4 and 56mm f/1.2 lenses after reading about Kevin Mullins, a documentary-style wedding photographer and Fujifilm X-Photographer from the UK who often works in adverse lighting conditions, reminding me of when going down the mines as a corporate photographer.

Available light and gestural photography

The Fujinon XF 56mm f1/2 R lens is one of the best head and shoulders or full face portrait lenses I have ever used. I also use it for urban documentary photography as a short telephoto lens.

I was excited about these two lenses due to their reportedly high image quality when used wide open in available darkness, a lighting condition common to events I had covered with other digital cameras and lenses for a charity for several years.

What I enjoy about using rangefinder cameras, as opposed to rangefinder-style cameras, is their conduciveness to being used in a gestural manner, seeing the world as if through a window into deep space, and making creative decisions and photographs within a fraction of a second without shutter blackout.

One of my two battered old Leica M4P rangefinder cameras, sold after I contracted severe photochemical reaction dermatitis, prematurely ending my professional magazine photography career. I had to wait years until digital cameras and software were affordable and at the right stage of development to buy back into photography and moviemaking.

All that is the direct consequence of the cameras’ optical viewfinders showing you more than what will end up in your photograph, in combination with having both eyes open at all times, seeing the wider scene with left eye and through viewfinder with right, superimposing one upon the other.

A short movie was once made of me photographing a public event, and the cinematographer swore that I surely could not have been making photographs at all, so rapidly and so casually was I handling my Leica.

Camera in right hand attached by wrist strap, concentrate on the scene, anticipate and visualize the possibilities, wait until a fraction of a second before the perfect conjunction of people, objects and events, raise camera, pass in front of eyes, snap and it is done.

Repeat until you are in the zone and amazing images keep coming thick and fast.

I use my X-Pro2 in manual focussing mode in a similar but now digitally enhanced way, relying on the electronic rangefinder (ERF) set to show the whole scene at lower right of the OVF and with focus peaking set to on.

Fujifilm, exposure zebras please!

The Fujifilm X-Pro2 camera’s Advanced Hybrid Multi Viewfinder is key to how I get the best out of it. Depicted, the X-Pro2’s finder window with ERF-in-OVF viewing mode selected.

If the firmware for X-Pro2 and other Fujifilm cameras had exposure zebras built-in then I would swap zebras for focus peaking in full image ERF view to ensure perfect exposure under challenging extreme subject dynamic range such as blacks in deep shade combined with whites in bright sun.

In combination with back-button focus on the X-Pro2 via AF-L button or the 23mm f/1.4 lens’ manual clutch focus mechanism, I can see everything on all four sides of the lens’ field of view, have access to plenty of focus and exposure information, can make creative decisions rapidly and accurately, use joystick to select the most critical point of focus then make the exposure with minimal lag time.

A photograph from Fujifilm Australia’s People with Cameras event in the Sydney CBD in October 2017.

As a result the X-Pro2 is the first digital camera that allows me to achieve split-second speeds to photograph the perfect combination of actions and encounters across the frame.

You will notice that I often place my main subjects within a broader field of view, depicting unrelated figures going about their daily business yet in apparent choreographic unison with each other, as if under the command of a dance master instead of blind chance.

Another photograph from Fujifilm Australia’s People with Cameras event in the Sydney CBD in October 2017.

These are image design decisions I came up with years ago after studying painting and visual storytelling throughout the ages in art galleries and museums in Europe.

I find a particular satisfaction in suggesting possible deeper stories and apparent relationships than what may really be going on in the central focus of the action.

More than meets the eye?

The Leica Elmarit-M 28mm f/2.8 Aspheric lens. I loved using an older, larger version of this lens for immersive, gestural urban documentary photography.

In other words, my photographs are intended to suggest that there is more there than meets the eye.

Although I enjoy the remarkable optical qualities of the 23mm f/1.4 lens, I often find myself wishing for a similar but wider lens for more immersively photographing events outdoors and indoors.

My Leica 28mm lens hit the immersive sweet spot in comparison with wider or narrower lenses and there is no substitute for that specific focal length.

The Fujinon XF 18mm f/2.0 lens, one of the first three lenses released by Fujifilm for its interchangeable lens APS-C cameras along with the XF 35mm f/1.4 R and XF 60mm f/2.8 R Macro lens. It needs to be updated to current lens optical and mechanical design standards to suit my needs for high-speed gestural documentary photography.

Its Fujifilm APS-C equivalent is 18mm, but having tried the Fujinon 18mm f/2.0 lens, I rejected buying it due to its lack of manual clutch focus, slow autofocus speed, clanky aperture ring and clunky construction despite its quite reasonable optics.

Fujifilm needs to produce a radically updated version of this lens, and although I prefer the clutch manual focus design of the 23mm f/1.4 and 14mm f/2.8 Fujinon lenses, I could cope with a Fujicron-style design such as that of the small XF 23mm f/2.0 R WR, XF 35mm f/2.0 R WR and XF 50mm f/2.0 R WR primes that are particularly suited to the X-Pro2 due to their small front end that protrudes less into the camera’s OVF.

The curse of funky chic

The Fujifilm XF 50mm f/2.0 R WR “Fujicron” lens, equivalent to 75mm in 35mm sensor terms. One of my favourite analog 35mm film format lens pairs was 28mm and 75mm, an excellent combo for two-camera, two-lens documentary photography so long as each lens is quick and accurate to use.

On Sunday I was told that the ageing XF 18mm f/2.0 lens has undergone a sales resurgence recently, and I suspect that is due to its olde worlde funky chic that is being promoted online by certain photographers.

If I really wanted funky chic there are plenty of other lenses that go the extra mile and were built specifically for that.

Fujifilm, please do not shelve your reported plans for a Fujicron-style Fujinon XF 18mm f/2.0 R WR just because funky chic has become a thing with a clearly mechanically inferior lens.

I have considered adding Fujifilm’s reportedly excellent kit zoom, the Fujinon XF 18-55mm f/2.8-4 R LM OIS, to my nascent lens collection but having tried it out at an event last year decided it was not for me due to its size and its front element protruding into the OVF.

The Fujinon 18-55mm f/2.8-4.0 R LM OIS zoom lens, which I had considered purchasing when I got my XF 23mm f/1.4 and XF 56mm f/1.2 lenses but had to let go due to budgetary constraints and other reasons.

At the 18mm setting, the X-Pro2’s 18mm bright frame is almost equivalent to the whole of the OVF window and with ERF activated I would be losing fast and easy view of a crucial percentage of the action.

That view would be further reduced with the addition of Fujifilm’s lens hood for the 18-55mm lens, a necessity in the extremes of light and shade found in an average city scene.

I like the idea, though, of the 18-55mm zoom for its access to much-loved focal lengths from my Leica days – 28mm, 40mm and 75mm in the 35mm sensor size or in APS-C terms, 18mm, 27mm and 50mm – as well as 35mm which for me is more of a video focal length than a stills focal length.

Fujifilm X100F with WCL-X100 II Wide Conversion lens attached, converting the camera’s 23mm f/2.0 lens to an 18mm f/2.0 lens. In 35mm sensor terms, converting a 35mm focal length into 28mm.

The Leica 40mm true normal lens is now sadly discontinued but the closest currently available 40mm lens is the reportedly excellent Voigtlaender Nokton Classic 40mm f/1.4 SC.

There is one less obvious solution to my 18mm dilemma and that is an X100F with WCL-X100 Wide Conversion lens to convert its fixed 23mm focal length lens to 18mm, with Peak Design Cuff and Clutch camera straps essential for good grip of its small, slick-surfaced camera body.

The Fujifilm MHG-X100 hand grip with notch for attaching Peak Design camera straps, for the X100, X100S and X100T cameras, but, bizarrely Fujifilm has not released a version for the X100F and it is an essential for tight, safe grip especially when using convertor lenses.

The one downside to that set-up is that Fujifilm has, bizarrely, failed to release an updated X100F version of its small but effective MHG-X100 hand grip previously made available for the X100, X100S and X100T.

Fujifilm’s hand grips are the only ones I have come across that have a notch for attaching Peak Design’s camera strap AL-3 Anchor Links and are smaller and neater than those of third party competitors.

A hand grip for the X100F, yet another silly Fujifilm blind spot?

Primes, not zooms

Fujifilm X-Pro2 attached to 3 Legged Thing Equinox Albert Carbon Fibre Travel Tripod with AirHed 360 Ball Head via 3 Legged Thing QR11-LC Universal L-Bracket, an excellent set-up for on-location portraiture. Albert extends high enough for full face close-up portraits and is great for environmental portraits too. For studio use I recommend 3 Legged Thing Winston.

For me at least, zoom lenses are more suited to EVFs and LCDs, not OVFs.

During Sunday’s Fujifilm People with Cameras event I was lucky enough to have a few moments with a save-disabled pre-production model of the coming Fujifilm X-E3 rangefinder-style camera.

It is easy to forget that contemporary mirrorless digital cameras offer two or, in the case of the X-Pro2 and X100F, three ways of seeing in one due to offering an EVF and an LCD, and in the case of those two cameras, an OVF as well.

Fujifilm has a long history of producing excellent analog film cameras, lenses and film stocks.

Two or three ways of seeing, two or three cameras in one. 

Each way of seeing equal to one camera only during the analog era, with the rare exception of the Linhof and Speed Graphic cameras that I used as handheld rangefinder cameras or tripod-mounted view cameras.

The X-Pro2 is, in my opinion, a superb OVF hand camera while other Fujifilm cameras have better quality EVFs better suiting them to use with zoom lenses, prime lenses outside the X-Pro2’s optimum range of 18mm to 56mm, and tripod-mounted use like a miniature view camera via the LCD monitor.

Matching cameras, complementary lenses

Every Fujifilm camera needs an optional hand grip or battery grip in my experience. Fujifilm X-Pro2 with Fujifilm MHG-XPRO2 metal hand grip.

Having always relied on carrying two matched cameras for documentary photography I am uncomfortable with just one camera and two lenses, thus risking dropping while changing lenses at speed in the field, or missing shots because I have the wrong lens on it at the time.

I need a second camera for documentary photography projects.

Will an X-Pro2S or X-Pro3 improve their EVFs to match those in the X-T2 and its successors?

Will Fujifilm add the X-Tn series’ excellent and incredibly useful Dual viewfinder mode to cameras in the X-Pron series?

Will Fujifilm finally relent and add exposure zebras to all its cameras, for stills and video?

The Fujifilm X-E3 EVF/LCD rangefinder-style camera with MHG-XE3 hand grip, essential for balancing big lenses and safely holding the camera itself.

Will the X-E3 make for a good EVF rangefinder-style companion camera to the X-Pro2 so I can get back to my well-proven two-camera, two-lens documentary default mode?

Should I seriously consider a Fujifilm X100F with WCL-X100 II Wide Conversion Lens attached, now that the X100F sensor’s specifications are closer to that of the X-Pro2, X-E3 and other Fujifilm cameras?

Time will tell and, no doubt, so will access to a production-run Fujifilm X-E3 for a really good tryout in typical documentary photography conditions in the field.

One thing I know for sure, resulting from handling the X-E3 for even a short time is that, like the X-Pro2 and X100F, it needs a hand grip whether mounting small lenses or large ones on it, whether primes or zooms, as well as Peak Design Cuff and Clutch camera straps.

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The Verge: Fujifilm X-T20 Review: Love, Rekindled

https://www.theverge.com/2017/7/26/16019768/fujifilm-xt20-camera-review-price-release

“… The Fujifilm X-T20 is everything that is good about technology. It’s a throwback to the days of necessarily rugged metal bodies, optical viewfinders, and entirely physical control schemes replete with satisfying clicks and clunks from mechanical switches and dials. But it elevates those laudable aspects of old-timey film cameras with judicious use of modern technology, including an electronic viewfinder, the same 24-megapixel APS-C sensor as inside the higher-end Fujifilm X-Pro2 and X-T2, and a reliable autofocus system that’s also very amenable to manual adjustment….”

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Will Fujifilm Release Its Long-Awaited X-E3 Rangefinder-Style EVF Camera Later in 2017?

Rumour site Fuji Rumors is one of the more interesting sites of its type on the Web alongside sister rumour sites 4/3 Rumors, SonyAlpha Rumors, Canon Watch and Mirrorless Rumors. Of the five, I read 4/3 Rumors and Fuji Rumors the most, on a daily basis, and a recent scan of the latter reminded me of how much both mirrorless camera systems I use have in common. 

The article that got me thinking is a rumour about Fujifilm’s X-E3 being announced if not released later in 2017. 

Fuji Rumors recently published an article about the APS-C rangefinder-style EVF camera the Fujifilm X-E3 being announced later in 2017.

Fujifilm’s X-En – with n standing for a number – rangefinder-style camera series is not one that I have seriously considered until recently. I have yet to look at one in a camera store much less try one out with the prime reason being the X-E2 and X-E2S’ sensors remaining at 16.3 million pixels when the X-Pro2 and X-T2 are at 24.3 million pixels.

Although pixel counts as such can be overrated, as the previous decade’s pixel wars proved, the 50% pixel jump from 16MP to 24MP comes in handy when producing images for gallery shows, an indulgence in which I engaged during the analog era and may well revive in digital form sometime soon.

Anything over 20 million pixels

Anything over 20 million pixels is a serious moderately large exhibition print contender in my book and now the GFX 50S and its successors have really captured the mega-high millions pixel end of the market.

Then there is the X-En series’ current lack of a joystick, a feature essential to speedy use of contemporary digital cameras that Panasonic has now adopted for the GH5 and no doubt all its future high-end cameras. The X-Pro2 and X-T2’s joysticks have been a joy to use.

I can’t speak about other possible issues with the X-E2s and X-E2 due to my inexperience with both but the X-En series possesses some clear advantages, most especially its rangefinder-style form factor ensuring easy sighting through its viewfinder with the right eye while keeping the left eye open to observe the wider scene ready for the moment approaching objects, or people, are about to hit their marks.

In this the Fujifilm X-E2S matches the Panasonic Lumix GX8 with its similarly rangefinder-style design, a camera I bought as a more affordable backup for my GH4 than a second GH4, primarily for shooting video.

I quickly discovered that the GX8 is also a terrific stills photography camera with its 20MP sensor, exposure zebras and most especially its brilliant tilting EVF.

Panasonic’s rangefinder-style Micro Four Thirds stills and video camera the Lumix GX8 is one of my favourite cameras for both uses and is unique amongst digital cameras for its tilting EVF.

Zebras, PLEASE!

Every camera, including those made by Fujifilm whether for shooting stills, video or both, must be equipped with zebras for achieving perfect exposure under the ETTR – expose to the right – principle amply explained by Australian cinematographer/director Paul Leeming at his Leeming LUT One website.

Quite why Fujifilm has not added accurate ETTR capability to its X-Pro2 and X-T2 flagship cameras via exposure zebras remains beyond comprehension.

Zebras-based ETTR on my Panasonic Lumix cameras continues to get me out of sticky stills and video lighting situations where high values burn-out is a very real risk.

I quickly grew to love my Lumix GX8 and when I add a GH5 to my Super 16 documentary moviemaking kit, the GX8 will double as a third 4K camera for three-camera interview set-ups while remaining one of my prime Micro Four Thirds stills cameras.

Panasonic’s MFT cameras should not be underestimated as small, portable, responsive documentary and photojournalism cameras. For me, they are our digital equivalent to analog’s small 35mm hand cameras while delivering image quality equivalent to or surpassing the 120 format in its 6×4.5cm frame size.

Fujifilm’s X-Pro2 and X-T2 flagships are, in my estimation, our digital answer to 120 format in the 6x9cm frame size with the GFX 50S matching or surpassing 4″x5″ fine grain sheet film in its image quality.

X-E3, the natural stills companion camera for the X-Pro2?

When production of Untitled: Stories of Creativity, Innovation, Success is well underway I will be in need of a second APS-C documentary stills camera and it will, of course be made by Fujifilm. But which one?

The X-T2 is an excellent EVF companion for the X-Pro2, but both remain without exposure zebras even after the latest firmware updates. While the Advanced Hybrid Viewfinder-equipped rangefinder-style X-Pro2 is unique and has a permanent place in my heart due to that, the X-T2 is something of a curate’s egg, mostly very good but a little annoying too, promising but the risk it may not fully deliver on that promise, as outlined by Paul Leeming in his letter to Fujifilm.

Will the rumoured coming Fujifilm X-Tn “super camera” be the DSLR-style Super 35 video/stills technical camera hybrid I would have loved the X-T2 to be? Might the X-E3 be a more affordable wider and longer prime and zoom lens companion for the X-Pro2 which works best with prime lenses in the 18mm to 56mm focal length range?

If Fujifilm grants it some essential professional features then it may well be. At time of writing, the black Fujifilm X-E2S is priced at around AUD739.00/USD699.00 and the black Fujifilm X-T2 at around AUD2199.00/USD1599.00.

An X-E3 with a feature set attractive to professionals and priced in similar ratio to the X-T2 would make it extremely tempting as a back-up or companion rangefinder-style EVF camera.

My Fujifilm X-E3 features wishlist

  • AFC-C custom setting presets – same as the X-Pro2.
  • Hand grip – an essential for all Fujifilm cameras in my experience, and a mystery as to why Fujifilm has not produced one for the X100F.
  • Dials and buttons – situated wholly on the right for consistency with the X-Pro2.
  • ISO/shutter speed dial.
  • Joystick – a must for all future cameras of any brand.
  • Rangefinder style – a given, especially as my default camera design preference is exactly that and not DSLR style. If DSLR-style then such cameras must have fully-articulated monitors while a rangefinder-style camera can do without, though I do like the GX8’s fully articulated rangefinder for video.
  • X-Trans 24.3MP sensor – essential in order to match the X-Pro2’s image quality.
  • Same viewfinder options as the X-T2 – dual, full, normal and vertical, with dual my favourite of them all.
  • Small and light – compared to the X-Pro2, just like the GX8 in relation to the GH4.

Links

Image Credits

Header image created in Macphun Luminar and Affinity Photo using a Fujifilm press photograph while the two in-body photographs were created in Luminar.

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Fujifilm Announces X-T2 – Perfect Companion for the X-Pro2 & 4K Video Powerhouse?

Not so long ago, the late Michael Reichmann of Luminous Landscape was asked by his publisher Kevin Raber, “Are we there yet?” The question was in regard to contemporary digital cameras and software. Mr Reichmann’s reply was “almost”.

That video was made before this year’s release of the Fujifilm X-Pro2 and well before last week’s announcement of the X-T2 mirrorless APS-C camera. Both Mr Reichmann and Mr Raber are longtime photographic industry veterans and digital early adopters, the former once a Leica-toting photojournalist and the latter most recently a Phase One Camera Systems employee. They know their stuff. I trust their judgement.

If that question, are we there yet, had been asked last week, I strongly suspect Mr Reichmann would have answered wholeheartedly in the affirmative, at least insofar as photographic hardware goes. Mr Raber’s recent article about the X-T2 suggests that. Confirmation may come when the Luminous Landscape team receives its production X-T2, Vertical Power Booster Grip and accessories.

Although my way of seeing and photographing was intimately shaped by using a number of rangefinder cameras of all film formats, I maintained a parallel collection of more technically-oriented cameras for other kinds of photography.

Even a project like this one, Untitled: Stories of Creativity, Innovation, Success, with specific goals and subject matter demands, requires more than just one sort of camera and lens – for scene-setting wide extreme wide views, distant details, extreme close-ups, intimate portraits, immersive images of people in action and photographs of architecture. I have been looking for the contemporary, affordable, portable version of the sort of technical and other cameras I have often relied on, and the Fujifilm X-T2 may well fit that niche.

The X-T2’s standout features making it prime candidate for that role are several:

  • Big, clear, fast-refreshing OLED EVF.
  • Excellent eye relief, especially compared to the X-Pro2 – based on the eye relief of the X-T1.
  • Suitability for wide, standard and long multifocal lenses aka zooms as well as macro lenses.
  • Suitability for adapted lenses of all sorts and sizes including tilt and shift adapters.
  • Small size even with the battery grip – I prefer using big lenses with  battery-grip-equipped cameras for good balance.
  • Articulating monitor aka LCD – I prefer the fully-articulated monitors on my Panasonic Lumix GH4 and GX8 but the jury will be out on the X-T2’s three-way tilting LCD.

Other X-T2 features such as 4K video are a welcome bonus. Quality video production often demands shooting with more than one camera at the same time, and the more video-capable cameras in one’s backpack, the better.

Then there is Fujifilm’s wide and ever-growing collection of top-quality lenses. The XF 80mm f/2.8 R LM OIS WR Macro lens with its 1:1 magnification, due out sometime in 2017, really caught my eye. My close-up full-face frontal magazine editorial portrait style was born from early access to Nikon’s Micro-NIKKOR 105mm f/2.8 and Micro-NIKKOR 55mm f/2.8 lenses, until I opted for 120 and 4″x5″ technical cameras and reflex cameras in the studio and the field.

For these and other reasons, that X-T2 looks like it may be the perfect companion camera for the X-Pro2. I have added some thoughts about this at the base of my X-Pro2 reference page at:

The Fujifilm X-Pro2, the Optical Viewfinder Documentary Hybrid Camera for the Rest of Us? Plus Notes About the X-T2

After I was kindly loaned a Fujifilm X-Pro2 digital rangefinder camera with Fujinon XF 35mm f/2 lens, I wrote this article about the X-Pro2’s pros and cons: 

I have been looking forward to the arrival of the successor to the X-Pro1 for what seems like an age. The X-Pro2 does not disappoint in the way its predecessor did, and my tryout indicated that it is the camera for the type of photography I will be doing for this project.

Film-shooting rangefinder cameras were key to my professional work as a magazine, newspaper and corporate photographer before I jumped the fence to the other side of the magazine industry and then advertising, forming my way of seeing and producing immersive, emotive portraits and documentary photographs.

Now, the X-Pro2 and a set of OVF-suitable lenses are at the top of my wishlist.

While researching the X-Pro2 from immediately after its release earlier this year, I became frustrated at how so many of my questions about it were unanswered even with so many early adopters and official Fujifilm X-Photographers who received pre-production X-Pro2s sharing their thoughts on it.

Like so many of us now, I must often buy online without seeing or trying first, and in-depth, hands-on articles are crucial in making the right decision. The X-Pro2 loaner afforded the opportunity to discover my own answers and share them with you, at the risk of TMI, and for that I am grateful to the people who arranged it.


Here is the article in full:

While researching this reference page, I encountered X-Pro2 users producing not just one blog post about the camera but often a whole series of them. Why? The X-Pro2 appears simple enough on the surface but there is so much more than meets the eye, so much buried in the menu system and in the camera’s many features and capabilities. So many, I discovered, that it took several days to work my way through them, all the better to understand how to get the best out of this unique and very promising camera, one of the few digital rangefinder cameras available now. 

I had more questions about the X-Pro2 than those other writers were answering, solo or collectively. Too many questions still unanswered in a very different way to my first big non-DSLR camera purchase, the Panasonic Lumix GH4. So, what to do? Where to turn for answers in the absence of in-depth websites and ebooks. Then, I was lucky enough to be loaned an X-Pro2 along with Fujinon XF35mmF2 R WR standard prime lens. Now I could discover my own answers.

My aim in this article is to answer some of those questions that have gone unanswered until now, if I can, and provide some personal insights into the X-Pro2 based on many years relying on OVF – optical viewfinder aka rangefinder – cameras in all formats from 35mm through 120 to 4”x5” sheet film for my professional work during the analog film era.

The most sophisticated optical viewfinder camera so far?

Ever since Canon’s EOS 5D Mark II reopened the doors to photography and moviemaking to me after too many years sidelined due to severe photochemical allergies, I have been waiting for a worthy and affordable digital successor to the Leica M analog rangefinder cameras that gave birth to my way of seeing and creating images, whether still or moving.

I had tried the X-Pro1 but found it disappointing – its lack of built-in diopter correction, fairly average ergonomics and glacial autofocus speed being the top three disappointments amongst several. Would its successor, the X-Pro2, rectify those faults and be what I had been waiting for all this time? Would it be the poor person’s Leica surpassing Leica’s own efforts at creating a rangefinder camera truly fit for the digital age?

OVF or EVF? Or both?

One thing puzzled me about the existing articles and videos about the X-Pro2 – most X-Pro2 users seemed to prefer using the camera’s electronic viewfinder (EVF) to its optical viewfinder (OVF). In some cases, they testified that they had never used their X-Pro2’s OVF at all. Odd, and rather cavalier I thought, considering that the X-Pro2’s EVF is good but not a patch on the X-T1‘s groundbreaking high magnification EVF.

I am not a massive fan of the centralised viewfinder DSLR style of most current hybrid cameras, except for zoom lens-equipped documentary 4K video where I rely on my Panasonic Lumix GH4, with my Panasonic Lumix GX8 serving as video B-camera and stills A-camera due to its rangefinder-style form factor and 20MP sensor.

Not to forget the fully articulated LCD monitor on both, which I especially rely on for stills when I want to concentrate wholly on the subject, forgoing the distraction of chimping as you go. It also provides effective protection for the LCD itself and is a boon when shooting video. Tilted LCDs are, for me, half-baked by comparison.

Optical viewfinder window clearly visible: review loaner Fujifilm X-Pro2 with Fujinon XF 35mm f/2 lens. I equip all my cameras with Peak Design straps for firm grip, safety and security.

The X-Pro2’s state-of-the-art OVF, that Fujifilm refers to as its Advanced Hybrid Multi Viewfinder (HMVF), is more advanced than any digital Leica optical viewfinder and is responsible for eating up a large chunk of the X-Pro2’s research and development budget. The HMVF surely has to account for a big slice of the camera’s purchase price too, well above that of Fujifilm’s other pro-quality camera, the X-T1. And, no doubt, the X-T1’s successor when it appears sometime this year or next.

X-Pro2’s number one attraction – its OVF

Yet, for me, given my long history of rangefinder cameras in a range of film formats, the X-Pro2’s HMVF is the prime reason for placing this camera at the very top of my hardware wishlist. The X-Pro’s local purchase price is enough to make one wince, given the exchange rate, but I am willing to bite the bullet for the sake of that very special OVF as soon as I have the funds.

I am, however, grateful for the existence of the EVF in the X-Pro2 for one very big reason – what it brings to the X-Pro2’s optical viewfinder on steroids, the HMVF aka Hybrid Multi Viewfinder.

The Fujinon XF 35mm f2 prime lens with supplied plastic lens hood which tends to bind or become loose and drop off. I recommend the optional metal vented lens hood.

The HMVF can be used in either of two ways, both accessible via the X-Pro’s front lever. Flip the lever to the left – camera left that is – to switch between an OVF enhanced with a small EVF image lower right, and an OVF without it. Fujifilm refers to that small, in-HMVF EVF image as the ERF – the electronic rangefinder. Flip the lever to camera right and on comes the EVF itself.

Ah! Acronyms, acronyms – the digital world is replete with them. Apologies.

The X-Pro2 DOES shoot video in OVF mode

The  in-OVF ERF allows you to accurately and quickly check focus with or without focus peaking. I like focus peaking. The ERF also, I discovered to my very great pleasure, displays the whole scene that you are shooting in video, once you have completed focussing and have hit function button number one to begin recording video. Do most of your video viewing through the camera’s optical viewfinder window but keep an eye on that nice little ERF image at lower right too.

Try to shoot video in the ERF-less OVF and the X-Pro2 automatically flips into full EVF. Is this why several video pundits enthusing about the X-Pro2 soon after its arrival informed us that video cannot be shot via OVF at all? Not so, as it turned out. Just ensure you flip into an ERF-ed OVF via a lever flick to camera left and worry about full EVF no more.

So here’s the drill if you want to experience the pleasures and terrors (I’m kidding) of OVF video, sort of like in the good old days of those two cameras in the picture below:

  • Push the front lever to camera left to select ERF mode if you are in ERF-less OVF mode or full EVF.
  • Having chosen peaking for your manual focusing assist, focus while checking for sharp peaked outlines in the ERF at lower right of the OVF window. I always shoot video with manual focus by the way.
  • Complete focussing then glance at the ERF image once again. There is your overview of the whole scene as seen through the camera’s lens and sensor. Get used to relating it to the slightly parallaxed scene through the OVF and to what you see with your still open left eye.

If this is bit too much information right now, I am hoping that Rico Pfirstinger’s book on the X-Pro2 will tell you everything that you need to know.

Classic 8mm movie cameras with optical viewfinders, by Paillard Bolex and Meopta.

My rangefinders taught me to keep both eyes wide open years ago, processing the images coming through each as if projected side-by-side onto a screen in the movie theatre in my mind, or superimposed on each other at will. That skill gave me a whole new way of seeing well beyond the monocular vision of the SLRs of the time. Call it enhanced 3D binocular vision, if you like.

The X-Pro’s ERF-enhanced OVF makes the X-Pro2 very attractive as a specialized 1080p video camera to supplement my Panasonic 4K EVF-only stills/video hybrids. The other benefit of shooting video on an X-Pro2? Its wonderful film simulation modes for out-of-camera video that doesn’t need grading to look good. Go further down the page for some frame grab examples.

Some deep personal history, and serendipity

I learned to shoot movie film with vintage OVF-equipped movie cameras like those made by Bolex. Whether shooting stills or movies, optical viewfinders lend a degree of serendipitous chaos to the contents of the frame that is a truer reflection of real life than the often over-designed, too precisely-framed imagery shot through DSLR and EVF viewfinders. Especially when producing documentaries.

The other benefit of an OVF versus an EVF or, indeed, a DSLR camera is that it provides a deep space window into the world where everything from near to far is in sharp focus.

Add that to the extra space around the brightframe corresponding to each lens’ field of view, to allow you to see what is about to pop into frame, and you have a unique viewing and photographing experience. An experience often cherished by longtime Leica users like David Alan Harvey or David Burnett.

About the same size: Paillard Bolex 8mm OVF movie camera and Fujifilm X-Pro2 APS-C Super 35mm movie-cum-stills camera.

And don’t forget another oft-ignored OVF benefit – no shutter blackout at the exact moment of exposure. These three OVF-only features combine to make possible images I have struggled to precisely emulate using EVF and DSLR cameras with their shutter blackouts, narrow plane of focus, blinkered vision and sometimes too much precision.

An ever-growing collection of top quality lenses

My prime subject matter is the act of living in the world with all its quirks and surprises and the X-Pro2’s HMVF is a blessing in how it allows me to capture that. So is Fujifilm’s ever-growing collection of top-quality prime and zoom lenses. As they say, enthusiasts wax lyrical about cameras while professionals devote the same degree of attention to lenses. The trick is to choose the right set of lenses for the job, and nobody’s lens wishlist is the same.

I relied on four focal lengths during my Leica M-series 35mm film days – 28mm, 35mm, 50mm and 90mm. In Fujifilm APS-C terms, that is 18mm, 23mm, 35mm and 56mm. Occasionally I would borrow a Noctilux from the Leica reps for really challenging available darkness assignments. Perhaps Fujifilm has some ultrafast optics planned for the future – they are certainly capable of designing and producing them.

I usually carried two Leicas on magazine assignments, one with a wider lens and one with a longer one, typically 28mm with 50mm and 35mm with 90mm. Mostly though I relied on the wider end of the scale. All my Leica lenses were Summicrons with maximum apertures of f/2, demanding grainy high speed films for such projects. Chunky grain has its charms but I am so glad it is no longer the only choice for challenging photographs.

The magic of ISO invariance.

Those filmic days of golf ball grain are well over now, especially with the current crop of ISO invariant sensors which includes the X-Pro2 and which first appeared on Sony’s A7 series of cameras. Super fast lenses are nice to have, especially when heavily out-of-focus backgrounds are a virtue, but slower maximum apertures like f/2 are not a problem with ISO invariance.

Fujifilm NP-W126 Lithium Ion battery pack for the X-Pro2, and Think Tank Photo CF/SD+ Battery Wallet. At time of writing, extra batteries are in short supply, apparently awaiting the release of version 2 of these batteries. When used in high performance mode the X-Pro2 tends to eat batteries so ensure you carry spares.

That was obvious when using the lens supplied with the X-Pro2, the 35mm f/2. Fujifilm designed this lens concurrently with the X-Pro2 as its perfect standard prime lens accompaniment.

Although I owned two different f/2 50mm Summicrons, they were my least-used optics. My personal standard lens for stills, the 35mm in 35mm full frame format, may be wider than most people’s, or at least the industry’s received wisdom. But video is a different kettle of fish, especially narrative video where a matched set of well-spaced primes centred around a 50mm equivalent core is essential.

The Fujinon XF 35mm f/2 – now or later?

While I struggled somewhat with the XF35mmF2’s narrower focal length for stills, I felt right at home with it when shooting video. Two different ways of seeing and image-making, two different aspect ratios, the lens a comfortable fit for video, not so comfortable for photography.

The 35mm f/2 complements the X-Pro2 beautifully with its narrow front end and compact size. As I quickly learned during my Leica days, lens front ends and lens hoods jutting into lower right of frame can be an annoyance, sometimes impeding uncluttered vision of the entire image-to-be.

The X-Pro2 has two SD card slots, one of which takes the latest generation UHS II high speed cards. I bought a Lexar SDXC UHS II U3 64GB SD card that writes at up 150 MB/s. A 300MB/s SD card is available from Lexar at about double the price. The Lexar 150s write fast compared to my slower, once state of the art, Transcends! I have added two more Lexars to my wishlist.

The screw-on plastic lens hood supplied with the 35mm f/2 is short and narrow with no risk of impeding the view through the OVF. It tends to bind or become too loose though, often one followed by the other. I longed for a Leica-style bayonet-on lens hood and found out that Fujifilm makes one available separately, the LH-XF35-2. It is a must-have, though I have not had the pleasure of trying one out yet.

The question for me now is what lenses to go with a possible new X-Pro2? If money was no object, I would buy the XF35mmF2 right now along with the camera, knowing that this focal length would not be my number one choice but would sit in the dry cabinet waiting for an appropriate video project or portrait assignment where it doubtless would shine.

Which lenses do I want?

If I could have only one focal length to begin with then it would have to be 23mm – in 35mm full frame terms, a 35mm lens. Just like I did in my early Leica days when the only lens I owned for a while was a 35mm f/2 Summicron.

Meanwhile, the vexed question of which other lenses. As an OVF aficionada, my lens selection needs to be based on OVF parameters – compact, narrow enough front element, vented bayonet-mounted lens hood even if third-party and reasonably lightweight. For handheld video, optical image stabilization would be invaluable.

Fujifilm X-Pro2 and Panasonic GX8 back to back. I have read some comments that the X-Pro2 is too big and heavy, and the same about the GX8. For me they are both the perfect size as I find smaller, lighter cameras harder to hold, especially when shooting video.

Right now I am breaking old habits and seriously considering either of two zooms as first lens for the X-Pro2, instead of primes. The X-Pro2 needs to earn its keep as soon as I open the box. The first lens I buy must do the same and that is easier to do with a multi-focal lens. Right now it is a toss up between the Fujinon 18-55mm f/2.8-4 and the Fujinon 16-55mm f/2.8, the latter almost twice the price of the former.

I have tried both out too briefly in-store to come to concrete conclusions right now though I am leaning towards the first of the two zooms. The second seems better suited to the X-T1 and the coming X-T2 in terms of size, weight, front-end diameter and the non-issue of OVF window protrusion in both DSLR-style cameras. There is also the question of balance. I prefer DSLR-style cameras to be equipped with battery grips, all the better to counterbalance the zoom lenses and long lenses I prefer to use with them.

I do know that David Alan Harvey uses the 18-55mm f/2.8-4 alongside a 35mm f/2 prime on his X-Pro2. The 18-55 is smallish, lightweight, doesn’t protrude too much into the OVF and has optical image stabilization, an asset for shooting video and for stills shot in low light.

The 16-55mm f/2.8 is Fujifilm’s version of the lens I most rely on right now with my Micro Four Thirds cameras for movies and stills, the Olympus M.Zuiko 12-40mm f/2.8 Pro. Neither has stabilization built-in but both have excellent optics. Neither is light in weight and Fujifilm’s pro standard zoom is wider and longer than its kit zoom alternative.

I am still going to want a set of primes for the X-Pro2 but perhaps I should think of either Fujifilm zoom as a multifocal length lens to be used in a similar way as Leica’s Tri-Elmar-M 16-18-21mm f/4 lens. Be there, be aware, visualize the images you want, choose a focal length, set it then shoot. Zoom with one’s feet and not with one’s lens, if you can.

The example of Magnum photographer Henri Cartier-Bresson popularized the use of the 50mm lens, equivalent to 35mm in APS-C format and 25mm in Micro Four Thirds. A lifelong committed Surrealist, HCB adopted the Surrealists’ ironic stance regard of his subjects and the 50mm focal length aided him in maintaining that sense of distance. He reportedly owned lenses of other focal lengths though was rarely seen using them.

The 16-55mm f/2.8 has two focal lengths that may be better served by flipping over to the X-Pro2’s EVF – 16mm and 55mm. The first does not have a corresponding bright frame in the OVF and the bright frame for the second is small. Now that I am more comfortable with the X-Pro2 itself, time to drop into some camera stores to spend more time with both zooms if I can.

The combo ISO/shutter speed dial – it works for me

Meanwhile, some other issues. Many reviewers have complained about the X-Pro2’s combined ISO and shutter speed dials. Some absolutely hate it. I don’t mind it at all. In fact I find it comfortingly familiar from having used Mamiya’s marvellous Mamiya 6, 7 and 7 II 120 roll film rangefinder cameras.

The X-Pro2 doesn’t demand constant switching between ISOs. Auto ISO and front and rear command dials take care of shutter speed selection as well as f-stops. The X-Pro2 may resemble the mostly manual cameras of yesteryear but its heart is entirely digital.

On the other hand Fujifilm’s long history making premium quality color and monochrome films continues to pay off in how it shoots video and stills. The X-Pro2’s analog-like JPEGs are second to none and applying the same film simulations to video produces results more than good enough to go straight to the Web or into mobile apps.

The X-Pro2’s diopter adjustment is a considerable improvement on the X-Pro1’s which required inserting lenses that were not available for some time after the release of that camera. The X-Pro2 diopter wheel is, though, easily knocked off setting when inserted into or removed from camera bags. I hope Fujifilm finds a safer location for it in the next X-Pro camera.

Not without its flaws and annoyances

The X-Pro2 is not without its flaws. I passed on the X-Pro1 due to its diopter problems, its hardware user interface and maddeningly slow autofocus. The X-Pro2’s designers have radically improved on each but they need to do better again, reason enough for me not to consider selling other cameras and converting to the X-Pro2 for everything or planning on buying two of them for the moment.

Much has been written online about how the X-Pro2 was not intended for 4K video. I can be okay with that, if I really must, but why did Fujifilm leave out a headphone jack for audio monitoring? Especially given they have also forgotten about monitoring audio levels in the viewfinder and LCD. Video needs some special attention in a not too distant firmware update. More on that further down.

Meanwhile a recent set of firmware updates seems to have improved autofocus, manual focus and optical image stabilization in some Fujinon lenses, though I have yet to put that to the test.

A rig I often use to shoot video with my Panasonic GX8 and GH4 and now the X-Pro2. Peak Design Cuff and Clutch, Manfrotto Pixi table tripod-cum-handle and Røde VideoMic Pro.

Some hardware annoyances – diopter dial, eye relief and AF-L button

So the many ergonomics flaws in the X-Pro1 that caused me to pass on it do not exist in the X-Pro2, but it certainly has its annoyances. They are not big enough nor so many that I am passing on the X-Pro2 altogether, clearly. I have been hanging out for this camera for so long that I have no choice. I need a practical interchangeable lens rangefinder camera for what I cannot do with EVF or DSLR cameras, to create the deep space, near-far, perfect moment imagery upon which I built my vision and my career.

Like Strobist David Hobby, I am a little peeved that, although diopter lenses no longer have to be applied to the viewfinder for diopter correction, consequently dropping off, the X-Pro2’s solution is likewise a little flakey and could have been much better. The diopter correction dial is located on the camera’s outside, unlike my other cameras where it is located in much safer places, and is prone to being knocked off setting. If your viewfinder image looks a little off, you will need to reset the dial. Quite often.

Unlike every other Fujifilm X-series camera I have tried, the X-Pro2’s eye relief leaves something to be desired. So much so that I will be in the market for contact lenses just for shooting with the X-Pro2 when I buy it, after successfully sticking with spectacles for a decade or so. I hope current contact lenses are multifocal like my spectacles. We will see.

Lastly, the AF-L button and its companion in annoyance, the Q menu button. Both are located in what are for me and reportedly many other users,  sub-optimal positions on the far right of the rear of the camera. This is something of a surprise given how much good work Fujifilm’s designers put into the rest of the camera’s hardware interface.

The X-Pro2 accepts audio input via a 2.5mm jack. You will need a 2.5mm to 3.5mm adapter like the two shown here. I bought them at a local electronics store, originally for my Panasonic GX8.

I love that they moved all the buttons that were left of the LCD on the X-Pro1 over to the right and where they located them, mostly. The View Mode, Photometry and AE-L buttons are easy to find and use without looking at them. The focus lever aka joystick is a delight to use and easy to find without taking your eye off the viewfinder. Same goes for the Playback, Trash and Display/Back buttons.

But why did they put the Q button in a place where it is so easy to set it off by accident at exactly the worst time, and the AF-L button where it can be hard to find with thumb frantically searching for back button focus?

As with all my other cameras, I rely on back button autofocus with focusing set to M for manual mode far more than I do on actual fully manual focussing now. The Q and AF-L buttons are flush with their surroundings and neither has a texture or little nubbins on them like such buttons on other cameras.

I searched in vain for third party stick-on button solutions online, until I remembered Sugru the wonder glue that turns into a 3D solid. I ordered a pack online just to have it here for when I get my own X-Pro2. I had hoped that time and familiarity would get me through the ongoing problem with failing to find AF-L and accidentally activating Q, but that proved not to be the case.

I agree with the cinematographers who have hailed the X-Pro2’s video qualities given Fujifilm’s beautiful analog film simulation presets aka photo styles. It makes a fine 1080p FHD B or C camera or MOS on-location A camera. The X-Pro2’s lack of a headphone jack for monitoring can be compensated for with audio field recorders like the Tascam DR70-D 4-channel device directly attached beneath the camera. The DR70-D has built-in stereo mics and can accept external mics too, like the Røde Stereo VideoMic X and Røde NTG4+.

Video – great, but much room for improvement

I am going to have to wait for the X-Pro3, or perhaps X-Pro2S, for possible improvements in the area of hardware annoyances and basic flaws but there are usability and feature improvements that Fujifilm can add via firmware. Prime amongst them being video.

Although I was told, in February of this year, that Fujifilm would be adding 4K capability to the X-Pro2 after they release the X-T2, other Fujifilm employees have opined that 4K will never come to the X-Pro2. Sorry but I want it, I want it now and I do not care in the least that 4K may be limited to short shooting durations due to possible overheating issues. I am not planning on shooting an entire wedding video on it, non-stop, for example. Shortish video bursts will do.

I want great video on the X-Pro2 for the same reason that Reuters asked Canon to add video capability to the Canon EOS 5D Mark II. The X-Pro2 is the camera I want to carry everywhere everyday, into all sorts of challenging situations if need and opportunity arise. Whereas Canon has a long history of crippling its cameras via firmware, Fujifilm’s is a happier history of continuous improvement via the Kaizen principle. Fujifilm, please, do not do a Canon upon the X-Pro2.

The X-Pro2 is brilliant at getting through nasty weather – shooting video and stills under some of the heaviest rain for months proved that. I want to be prepared for everything that might happen and there are times when video is the best and only way to tell a story. I want the best video that I can get, as safely and as discretely as I can do it. On the X-Pro2.

The weather was rather dire through much of my time with the X-Pro2 so I carried it about in a MindShift Gear Multi-Mount Holster 10.

The X-Pro2 proved itself to me by producing beautiful 1080p video ready graded with Fujifilm’s superb film simulations. I want those evocations of Fujifilm’s analog glory days to be supplemented with a flat, grading-ready, cinematic profile such as Cinelike D on the Panasonic Lumix GH4, GX8 and G7.

I need to be able colour match footage from the X-Pro2 with video from my GH4 and GX8 when the project demands it. Australian cinematographer Paul Leeming is doing a terrific job of matching colour rendition across cameras with his Leeming LUT One, “the world’s first unified, corrective Look Up Table (LUT) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec709 starting point for further creative colour grading.”

Leeming LUT One removes the need for log profiles when shooting video, making great video possible on Rec. 709-only cameras. Likewise, LookLabs’ SpeedLooks camera profiles in combo with their gorgeous range of looks LUTs enable similar easy footage colour matching in non-linear editors (NLEs) and colour grading software suites like BlackMagic Design’s DaVinci Resolve and Resolve Studio.

Under the firmware version current at time of writing, the X-Pro2 menu’s video options are thin, very thin. Three only in fact.  We need the same pro-quality video controls in the X-Pro2, and X-T2 for that matter, that exist in other mirrorless hybrid ILC systems – for contrast, sharpness, noise reduction, color tone, hue, highlight/shadow tone and so on. We need the best video that the X-Pro2 is capable of, just as we already have amazing stills quality.

Fujifilm, please step up to the plate on video-ready firmware and please add video-shooting professionals to your list of non-videoshooting photo professionals. There is little point in asking people who don’t shoot video about what video features they want in their Fujifilm hybrids. The obvious answer? None.

In conclusion…

Upon reviewing this article, it feels like there is so much more  I can say about the X-Pro2 but I will leave that up to others who went before me, as well as the evidence of the photographs, still frames and lists to come further down.

My headline asks whether the X-Pro2 is the OVF camera for the rest of us. My answer is a wholehearted yes, despite the flaws and annoyances I have written about here.

The X-Pro2 bestows a uniquely analog look to the images created with it, but without analog’s grain and allergy-inducing photochemicals. Attribute it to Fujifilm’s long history of making some of the finest photography and movie films ever, as well as the company’s long list of achievements in premium lens design and manufacture.

I love my Panasonic Lumix Micro Four Thirds cameras and lenses for their Super 16 documentary video quality, their rewarding stills quality, their back-friendly size and weight, and their affordability when I no longer have the budgets I used to. But there is something ineffable, something marvellous that I cannot quite place my finger on about the X-Pro2’s Super 35mm stills and video quality, and I want more of it and better.

I relied on a wide a variety of cameras, lenses and photographic films during my newspaper, magazine and corporate photography days. The same when shooting movies. I could match my creative intent with the means of production, and achieved different looks based on the stories and emotions I wanted to convey.

Digital changed everything, channeling all that creative variety through a narrow funnel of DSLRs and point-and-shoot compacts until mirrorless system cameras appeared on the scene. Little wonder that, as one of the most creative wedding photographers I know shared recently, “everything now looks the same and everyone is doing it the same way with the same gear. Photography has become a club you join in order to do exactly the same thing as everyone else.”

Fujifilm’s X-Pro2 may not be the camera for everyone. I would be shocked if it was. But what it does above all else is add some choice back into contemporary photography and moviemaking, choice that has been missing presumed dead for too long.

I want an X-Pro2 and a well-selected set of lenses, to make the sorts of images I so loved to make with an assortment of rangefinder cameras in analog days.

I want Fujifilm to avoid the mistakes of other camera makers and upgrade the X-Pro2’s firmware with all the necessary video-centric and 4K functionality.

I want to see better ergonomics and corrections for the X-Pro2’s current problems with eye relief and the diopter dial, as well as a much better EVF, in the X-Pro2S or X-Pro3, without having to wait years for it.

And I want the X-T2 to be the DSLR-style stills and 4K video camera that so many of us had hoped Samsung’s kick in the pants of the camera industry foreshadowed by the NX1 would be, until they pulled the plug and killed their revolutionary effort worse than dead.

What most of the other camera makers are doing right now is hardly revolutionary. Fujifilm has the talent, the history and the power to keep pushing things along at a good pace in photography and video. I sincerely hope that they do.

Sample video and stills

I love how the X-Pro2’s film simulations delivers such cinematic looks straight from camera. I did minor tweaking of the video footage then selected still frames for export.

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I processed the raw files in Adobe Camera Raw CC2015 using Fujifilm’s film simulations including Acros, Provia, Astia, Velvia and Classic Chrome. I chose them according to how I visualized the images at the moment of shooting. That was made so much easier due to having relied mostly on Fujifilm films after my beloved Kodachrome became so much harder to get in its latter years.

I resized the images in Adobe Photoshop CC2015 then sharpened them with Google Nik Sharpener Pro using the Hybrid Device preset. For comparison purposes, I processed just one of these images through another Photoshop plug-in containing film simulation presets. I much prefer how the majority have turned out using the Camera Raw presets that Fujifilm worked on with the folks at Adobe.

Lists

X-Pro2 Likes

  • State of the art optical viewfinder and rangefinder – Loving shooting with an OVF camera again after far too many years without, loving shooting video via OVF view, loving the ERF-in-OVF, and loving having as much or as little data in the OVF, EVF and LCD as needed.
  • It jumps into my hand – And it feels just right when it is there, more so than other digital camera I have used or own. The materials, manufacturing and weather sealing are excellent.
  • Autofocus speed – Vastly improved over the X-Pro1 and apparently there is so much processing power in reserve that it can be improved even further.
  • Joystick – Especially useful for portraits and documentary photography and video, with spot photometry linked to spot focus.
  • Auto ISO and the Dual ISO/Shutter Speed Dial – I like the convenience of the dual dial, familiar from my Mamiya 6, 7 and 7II days, and three choices for Auto ISO covers almost all my usual shooting situations.
  • Ergonomics – With some reservations, below, the X-Pro2’s new hardware UI enables right-handed holding and shooting in a way not possible with the X-Pro1.
  • Built-in diopter correction – Again, with reservations below, the X-Pro2 sees an end to fiddly diopter correction lenses that drop off during shoots.
  • 24MP sensor – I may not be shooting for exhibiting prints in galleries right now, but I may get back into fine art photography again soon and bigger can be better.
  • ISO invariant sensor – This is bigger than most users realize, I suspect. I love getting beautiful results at a range of ISOs, and the filmic grain is wonderful. I don’t feel the need to reduce grain down to nothing as I often do with raw files from other cameras.
  • Beautiful film simulations – Although I generally shoot raw only, I really appreciate previewing how I may process those files using Fujifilm’s presets in Adobe Camera Raw or Lightroom, or riff on in other raw processors and film simulation products.
  • People almost never take any notice of it – Except when they do and demand to know why I am “playing with that old-fashioned thing”. Brilliant for discrete photojournalism and documentary work.

X-Pro2 Dislikes

  • No 4K video – Video is important to this photographer who also shoots video, despite what X Series Senior Product Manager Takashi Ueno told Damien Demolder of The British Journal of Photography.
  • Lack of other essential video features – No audio levels monitoring, no other standard video customization options, no flat profile like Panasonic’s Cinelike D.
  • Poor eye relief for eyeglasses wearers – It can be a real pain for longer shoots and a nuisance for shorter ones, demanding I now look into the current state of multifocal contact lenses for use with the X-Pro2.
  • Ergonomics still need improving – Diopter correction is easily knocked off-setting, AF-L button and Q Menu button in sub-optimal locations.
  • No fully articulated LCD – I love flipping the monitors around on my Panasonic Lumix GH4 and GX8 for their protection and to avoid any temptation to chimp. I find tilting LCDs frustratingly half-baked. Nonetheless, either is better than the X-Pro2’s fixed LCD for discretely covering events.
  • Batteries are too small – A day out shooting intermittently with the camera at the ready and set for high performance ate up both supplied batteries. I have six Fujifilm NP-W126 Li-Ion batteries on my wishlist and may need more for covering all day, all night events. I have also added a Watson Duo LCD Charger with 2 NP-W126 Battery Plates for faster recharging on location and back at my home office.

Starter Lens Set

The best set of lenses for the X-Pro2 depends on whether you want to to use it for its OVF or its EVF, or both, and if you plan on shooting videos as well as stills. My choice is OVF, stills and video. Other lenses in Fujifilm’s considerable and growing lens line-up may also work well in OVF mode but I have not had the opportunity to try them all out yet. I plan on adding the XF 35mm f/2 for video and portraiture after starting off with the following.

  • XF 18-55mm F2.8-4.0 R LM OIS – Although I am not a fan of variable maximum aperture lenses, this kit zoom has received plenty of rave reviews and its optical image stabilization makes it a good choice for video. Zooms aka multi-focal lenses are great for everyday carry, with this one providing all the focal lengths I like for documentary, street photography and most video tasks – 18mm, 23mm, 35mm and 55mm. Its 18mm focal length is reportedly optically superior to the XF 18mm F2.0 R prime lens, though f/4.0 at the long end reduces its attractiveness in the light of Fujifilm’s XF 56mm f/1.2.
  • XF 23mm F1.4 R – My standard prime lens is other people’s medium wide lens, the equivalent of 35mm in 35mm full-frame format. In combo with the above kit zoom, this provides a fast maximum aperture for available darkness projects and during the short time I tried one out, had a good balance sitting on front of the X-Pro2. If you can wait, the coming XF 23mm F2.0 may be a smaller, weather-resistant, more affordable alternative. I particularly like this lens’ manual focus mechanism and engraved depth of field scale for street and documentary photography.
  • XF 56mm F1.2 R – Another excellent lens for available darkness stills and video, Fujinon’s 85mm full frame equivalent classical portrait prime lens has amazing optical qualities whether stopped down or wide open. I have successfully used it in OVF mode, in a way that reminds me of my Leica Summicron 90mm f/2. Close-up monochrome portraits that I have shot with this lens wide open remind me of images I used to make on 4”x5” sheet film for magazine clients.

Suggested Accessories

Although Fujifilm’s designers and engineers have improved the X-Pro2’s built-in grip since the X-Pro1, I prefer adding as much speed, safety and security to all cameras I use. These include camera straps, soft releases, grips, l-plates, lens hoods and protection or UV filters. Here is a selection for the X-Pro2 and lenses in my starter list.

  • UV filters,  ND filters, circular polarizers & step-up rings – I am so impressed with the design and quality of Breakthrough Photography‘s filters and step-up rings that I will now be standardizing on them. They don’t make absolutely every filter diameter size under the sun but what they have amply caters for Fujifilm’s lenses. UV continues to be a problem locally and I am considering using UV filters instead of non-UV protection filters.
  • Peak Design camera straps – I have Clutch and Cuff attached to almost every camera  along with extra Anchor Links for Slide Lite, Leash or Slide depending on the weight of the rigged-up camera and as needed. No more wrapping conventional narrow camera neck straps around your wrist wondering when it is going to slip off. Peak Design’s camera straps are grip ne plus ultra.
  • Fujifilm MHG-XPRO2 Metal Hand Grip – Although my grip of the X-Pro2 was considerably improved with a Peak design Clutch and Cuff, there will be times I want an even better hold on the camera. You can choose between Fujifilm’s own solution, or third party grips or gripless l-plates like those from PhotoMadd, Sunway or Really Right Stuff.
  • Soft releases and thumb gripsMatch Technical is my choice of soft release and thumb grip maker, and I have used their products since Fujifilm’s X100. Their Thumbs Up EP-7S and Boop-O-S work beautifully on the X-Pro2.
  • Vented and non-vented lens hoods – Leica’s vented bayonet-on metal lens hoods served me well for years, minimising occlusion in Leica M-Series’ OVF windows. AFshoot has a strong selection of vented and non-vented screw-on lens hoods to replace the petal or other lens hoods that come with Fujifilm lenses. Fujifilm itself has been releasing alternative lens hoods including the Fujifilm LH-XF35-2 for the XF 35mm f/2 and Fujifilm LH-XF23 for the XF 23mm f/1.4.

Dedicated Raw Processing Software

There is dedicated raw processing software and there is photo editing software that accepts raw files as well as a range of other image formats. The latter includes Affinity PhotoAlien Skin Exposure XMacphun Creative Kit 2016, Apple Photos and more.

The biggest difference between the two classes of software is that raw processors should include plenty of profiles for raw-shooting cameras, sensors and lenses so that the best interpretations possible can be extracted from what are, essentially, digital negatives.

Not all image editing or raw processing software is the same nor produces identical results. The X-Pro2 is about choice in hardware to produce your digital negatives and  there should be choice in how you interpret them.

Note: I have not tested all these raw processors with X-Pro2 raw files but they are all worthy of your consideration.

  • AccuRaw and AccuRaw Monochrome – I recently came across this raw processor via expert Fujifilm camera user Rico Pfirstinger and have downloaded the trial version of each. Developer Andrew McGuffog states that AccuRaw “delivers unmatched resolution and control over how your images are processed”. He recommends using AccuRaw Monochrome if you specialize in monochrome photography and AccuRaw if you shoot monochrome and colour. Both versions are priced identically and are available through the Mac App Store.
  • Adobe Camera Raw & Adobe Photoshop Lightroom – When reviewing Fujifilm’s X-T1, I found Camera Raw and Lightroom’s ability to interpret its raw films to be, well, lust a little mundane, try as I might with the software’s functions and sliders. Both have moved on considerably since then, especially since Fujifilm began collaborating with Adobe on their support for X-Sensor cameras. Many photographers needing a new raw processor since Apple abandoned Aperture have chosen Lightroom for its catalog capabilities. I particularly like both products’ inclusion of Fujifilm’s film simulations settings.
  • Apple Aperture – No longer in development but abandoned much to the chagrin of its professional and institutional user base. Once the powerhouse professional raw processing, photo editing and management application par excellence. Apple told its Aperture users to switch to Photos, which remains no substitute for professional users. Still semi-usable until it starts breaking under new versions of OS X, Aperture’s last version appeared in October 2014 and so does not support the X-Pro2.
  • Capture One Pro – The other raw processor Aperture users turned to after Apple abandoned them, and possibly the earliest dedicated raw processor to appear on the market. Originally just for Phase One cameras, sensors and lenses, Capture One Pro now supports almost all brands and is adding camera and lens profiles ongoingly. Many Aperture users have migrated to Capture One due to its tool set, processing quality and choice of catalogs or sessions modes. I would like to see Capture One Pro  integrated with Media One SE for a raw editing and image management powerhouse like Aperture but better again.
  • Corel AfterShot Pro – something of a dark horse amongst Mac-centric professionals,   Corel’s AfterShot Pro 3 has introduced lens corrections, a lens correction development kit and a dynamic camera profile updater. Corel states that AfterShot Pro 3 is “up to 4x faster than Adobe Lightroom”.
  • DxO OpticsPro – My number one raw processor in conjunction with DxO FilmPack and DxO ViewPoint, but, alas, it does not support Fujilfilm’s non-Bayer X-Sensors and I so wish it would. The only Fujifilm camera I have that is supported is the X100, and DxO OpticsPro produces stunning results with it.
  • Hasselblad Phocus – The world’s best kept secret when it comes to top end professional raw processing software and it is absolutely free! Phocus supports raw files from almost 200 non-Hasselblad cameras including many from Fujifilm. The version of Phocus current at time of writing, 3.0.2, does not support X-Pro2 .raf raw files so here is hoping the next version will.
  • Iridient Developer – Often praised by users for its ability to obtain the sharpest, most detailed images from Fujifilm X-Series cameras above all other raw processors, Iridient has long achieved more impressive results from Fujifilm X-Sensor cameras than any other raw processor, according to users. I have yet to purchase a licence but tryouts of Iridient demo versions have been impressive, achieving great results almost instantly that took time and effort in other raw processors. Camera settings based on most of Fujifilm’s film simulations are available for download.
  • On1 Raw – Raw processing is all about non-destructive image editing and the ability to constantly fine tune your interpretation of your negative. But what if you could so much more in your raw processing software than the current generation of raw processors permit? What if your raw processor was also a top notch photo editor, with portrait retouching and non-destructive photo effects built-in? Add to that state-of-the-art high speed processing and no need to import files into a catalog and you have On1 Raw, due out later this year, according to its developers.
  • Open source raw processors – RawTherapee, Darktable and UFRaw are free, open source raw processors that are well worth looking into if cost is a barrier to commercial alternatives.
  • Photo Ninja – Evolving out of photo industry legend noise reduction product Noise Ninja, developer PictureCode states that Photo Ninja “delivers exceptional detail, outstanding image quality, and a distinctive, natural look.” Photo Ninja is another raw processor cited by some Fujifilm X-Sensor camera users as delivering better results than most others.
  • Raw Photo Processor – Very promising raw processor that has not been updated since mid-October 2014. Supports older Fujifilm and other cameras but not the X-Pro2. Has a nice set of built-in film simulation and monochrome split-toning presets.
  • SilkyPix – A special edition of SilkyPix is bundled by Fujifilm with its cameras and it is all-too-easily overlooked as a raw processor. It has proven invaluable when other raw processor software makers have lagged in supporting new Fujifilm cameras. SilkyPix is also available in a professional-oriented edition, SilkyPix Developer Studio Pro, now in version 7, as well as a more affordable standard edition. It may be wise to keep SilkyPix in reserve and compare its results with other raw processor from time to time. You may be pleasantly surprised.

LUTs for X-Pro2 video

Cinematographer James Miller has created a set of LUTs – look up tables – for use with video footage shot on the X-Pro2 using the Astia soft film simulation, under his DeLUTs brand name. DeLUTs LUTs are used by many top cinematographers, colourists and advertising agencies, and are highly recommended.

The samples below were made from footage shot with Pro Negative Standard instead of Astia but Mr Miller’s X-Pro2 LUTs work well with this film simulation too.

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That a cinematographer and LUTs creator of Mr Miller’s stature has taken the X-Pro2 seriously as a video camera is high praise that Fujifilm needs to take equally seriously and act on with improvements to its video functionality. I look forward to seeing more LUTs for the X-Pro2 from other LUT makers.

Suggested Reading

Page Header Image

  • Still frame from video shot on Fujifilm X-Pro2 with Fujinon XF 35mm f/2 WR lens using Pro Negative Standard film simulation. No grading applied.

Update: Fujifilm X-T2 DSLR-Style EVF Camera & New Lens Roadmap Announced

On Thursday July 7 Fujifilm Corporation released details of the new, 4K-video-capable X-T2 camera along with accessories including optional Vertical Power Booster Grip as well as a new lens roadmap which includes the long-awaited Fujinon XF23mmF2 R WR prime lens especially suited to the X-Pro2.

The X-T2 brilliantly complements the X-Pro2 as DSLR-style central viewfinder cameras complement rangefinder-style offset viewfinder cameras. The X-Pro2 is a nimble, prime lens-toting documentary-shooter’s specialist photographic instrument while the X-T2 appears to be an all-purpose photo and video powerhouse at home with all of Fujifilm’s lenses, most especially its wide through standard to long zooms.

I look forward to trying out a Fujifilm X-T2 with Vertical Power Booster Grip and a selection of lenses in due course. Meanwhile a detailed post at FujiRumors.com includes plenty of articles and videos that should answer most questions.

Three new lenses are on their way

On the subject of lenses, Fujifilm is continuing with the X-Pro2 rangefinder-oriented smaller prime lenses initiative begun with the XF 35mm f/2 R WR by adding the XF 23mm f/2 R WR due out this year and the XF 50mm f/2 R WR scheduled for release in 2017. Both focal lengths, the 35mm equivalents of 35mm and 75mm, are favourites from film rangefinder days and make a fine pair for highly mobile documentary photography in all weather conditions.

The other new lens that has appeared on Fujifilm’s roadmap is the XF 80mm f/2.8 OIS R LM OIS WR Macro, which looks like an excellent portrait and close-up lens, especially when handheld.

I often relied on moderately long macro lenses during my magazine days for both types of subject matter, and have been wondering lately how to emulate and surpass how I handled them then, especially the close-up face-frontal portraits that became a trademark and counterfoil for the environmental portraits I shot with moderately wide lenses.

I was often a two-fer photographer, supplying information-packed horizontal landscape-format wide shots of people in their work or home environments along with emotive, vertical portrait-format narrow depth-of-focus that filled the page with impact.

My magazine clients seldom published more than two images to illustrate their articles, but I often also supplied close-up images of significant objects and views in my subjects’ environments. Those free extras were rarely used.

One of the many joys of online publishing is that the word and page limitations of print magazines are no longer limiting factors so now I can publish all the images that will effectively support my stories. One of the many pleasures of digital photography is that film and processing costs are no longer prime considerations.

A Super 35 4K video powerhouse?

The X-T2’s support for 4K video via Fujifilm’s own F-Log flat video profile as well as the full range of beautiful film simulations seen on the X-Pro2 will be especially welcome amongst independent moviemakers, many of whom were let down by Samsung’s closure of its camera division and the loss of the NX1 and their Super 35 hybrid stills/video hopes, or who have expressed the desire for accurate analog film simulation presets in their video as well as stills cameras.

A moviemaker friend bought into the Samsung NX1 and Digital Bolex D16 camera systems  before the premature demise of both, as did many others of my acquaintance. Their prime rationales were the 4K Super 35 sensor of one and the straight-out-of-camera cinematic quality of the other. From the X-T2’s video specifications, it may be the perfect camera system to replace both, combining accurate analog film simulations with high resolution that can be downsized to 1080p or 720p for better than native image quality.

Then there is Fujifilm’s ever-growing list of zooms, with the most attractive for documentary moviemaking being the XF 10-24mm f/4 OIS, the XF 16-55mm f/2.8 R LM WR and the XF 50-140mm f/2.8 R LM OIS WR. A maximum aperture boost to a future version of the 10-24mm lens might be nice but adding OIS to the 16-55mm f/2.8 would go down very well in the moviemaking community. Meanwhile, the variable maximum aperture XF 18-55mm f/2.8-4 R LM OIS provides a fallback standard zoom lens.

Further details of the X-T2’s video support are sketchy at the moment but its clean HDMI-out enabling use of the many excellent third-party monitor/recorders made by companies like Atomos, Blackmagic Design, Convergent Design and Video Devices amongst others is a real bonus. So is the addition of headphone jacks to the camera and battery grip – I am fact checking on that at the moment so please take that as provisional.

Also of interest is Fujifilm’s own hotshoe-mounted stereo video microphone, the MIC-ST1. Does that sync up with the X-T2’s firmware in a similar way to Panasonic’s stereo video mic, or will it operate like popular third-party video microphones such as those made by Australia’s own Røde Microphones? I am searching for in-depth video-oriented hands-on reviews of the X-T2 as we speak, as it were.

Concluding thoughts

One thing that my magazine career taught me was that one must always have more than one camera system on hand as well as two or more cameras from each. There is no universal panacea where it comes to stills or video, no “there can be only one”. The pairing of the X-Pro2 with the X-T2 as Fujifilm’s top-end professional camera offerings proves that.

Mating an X-T2 up with an X-Pro2 in one’s camera bag or in my case more likely a Think Tank Photo or MindShift Gear camera backpack, along with a good selection of Fujinon prime and zoom lenses as well as microphones and portable LED lights – I am name-checking the Rotolight Neo here – will provide ample photographic and video solutions for many working professionals nowadays. I would have loved such cameras, lenses and lights to be available back then.

That Fujifilm has blessed us with such remarkable hardware now has got me hot and bothered over photography and moviemaking all over again, and has me feeling a great deal better about my too-long enforced vacation from both caused by severe allergies to photographic film and chemicals.

This year and next have and will see some exciting developments in the gear I have always wanted to create the photoessays and short documentaries to be featured in this project website. Thank you, Fujifilm, for pushing the edge of the envelope out yet again.

I am really looking forward to what appears next on the horizon. A medium format mirrorless camera with a starter set of three lenses, perhaps? Now that puts me in mind of Fujifilm’s 120 roll film Texas rangefinder glory days!

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Stories: ‘People with Cameras’ in Hyde Park, Sydney

Fujifilm Australia had the innovative idea of inviting photographers to come and hang out together in the centre of Sydney for a few hours, and take on a challenge. Several hundred of them accepted the invitation and turned up, cameras in hands ready to accept Fujifilm Australia’s photographic challenge. Staff members had expected no more than a hundred of them.

Although Australia now has a more photographically active culture than it did when I came up with the magazine about which I write about on the About page, we don’t have the sorts of photographically-oriented events citizens of other countries and cities have come to take for granted. The ‘People with Cameras‘ concept is one of those….