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.
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.
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.
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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