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….”

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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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  • Fujifilm X-T2 Mirrorless Digital CameraB&H
  • Fujifilm X100F Digital CameraB&H
  • Fujifilm TCL-X100 II Tele Conversion LensB&H
  • Fujifilm WCL-X100 II Wide Conversion LensB&H
  • Match Technical EP-2F Thumbs Up Grip for Fujifilm X100FB&H
  • Really Right Stuff L-Plate Set for Fujifilm X100F  – B&H 

B&H Explora: Using Optical Viewfinders on Cameras that Already Have Viewing Systems – COMMENTARY

https://www.bhphotovideo.com/explora/photography/tips-and-solutions/using-optical-viewfinders-on-cameras-that-already-have-viewing

“… My attraction to optical viewfinders has to do with visual simplicity. Specifically, when composing a photograph, I don’t want to have to peer through a barrage of backlit numbers and flashing icons. I want zero distractions—I don’t want my subject bordered by a Broadway theater marquee….”

leica_viewfinder_m_21mm_black_1024px_60%
Leica Brightline Finder M-21 optical viewfinder for 21mm lenses (14mm in APS-C and 10.5mm in M43)

Commentary

fujinon_14mm_f2.8_white_square_1024px
Fujinon XF 14mm f/2.8 R prime lens, equivalent to 21mm in the 35mm sensor format.

The appearance of this article by Allan Weitz is a timely one given I am currently contemplating buying a Fujinon XF 14mm f/2.8 R ultra wide-angle prime lens for my Fujifilm X-Pro2, for architectural and documentary photography.

I had hoped to use this beautifully optically-corrected 21mm equivalent (in the 35mm sensor format) lens to shoot high quality 4K video on my X-Pro2 too but have set this plan aside after finding that Fujifilm dropped the ball on allowing us to customize picture profiles and especially sharpness settings in their recent 4K video firmware update for the X-Pro2, doing a Canon by crippling a long-promised, much-needed functionality.

linhof_master_technika_classic_square_1024px_60%
The art school’s Linhof 4×5 Master Technika Classic rangefinder metal field camera taught me the value of optical viewfinders and optical/mechanical rangefinders as well as large format sheet film photography, for documentary photography and portraiture.

I hope we do not have to wait too long for the ability to customize sharpness, noise reduction, contrast, colour, highlight tone and shadow tone for video as is permitted on all the other current and recent generations of Fujifilm cameras so I can put my X-Pro2 to work on producing great video footage to match the high quality of its stills.

The Eterna video picture profile would also be very welcome on the X-Pro2.

The X-Pro2’s amazing Hybrid Multi Viewfinder that I love using in its ERF-in-OVF mode for stills and video, with electronic rangefinder (ERF) image lower right in the camera’s optical viewfinder, can only properly handle focal lengths between 18mm and 56mm inclusive, so I must rely on the X-Pro2’s excellent though non-articulated monitor or its suboptimal electronic viewfinder (EVF) for lenses wider than 18mm or longer than 56mm.

graflex_crown_graphic_b&h_slant_01_1024px_60%
Graflex Crown Graphic 4″x5″ sheet film field camera for use in the hand or on a tripod.

When reading Mr Weitz’ article on optical viewfinders, I was reminded of how useful I found the OVFs on the Linhof, the Graflex Crown Graphic upon which I relied in my magazine photography career, my Rolleiflex twin lens reflex cameras and the odd borrowed specialist camera such as the superb Hasselblad XPan panorama camera and Hasselblad SWC Superwide.

The XPan was made by Fuji Camera as it was then known and marketed in Japan under its own product designations, the Fuji TX-1 and Fuji TX-2.

Leica has produced its superb but incredibly expensive external optical viewfinders for many years now, from long before the famous portrait of a young Henri Cartier-Bresson with external OVF-equipped early 20th century Leica was made.

Something I especially like about composing through an optical finder is that unlike the black-bordered, tunnel-like view of the scene you get with LCD, electronic, and conventional reflex viewing systems, optical finders allow you to see beyond the borders of the frame, which gives you a definitive edge when photographing fleeting moments.

_fujifilm_vf-x21_external_optical_viewfinder_for_14mm_lens_02_1024px_60%
Fujifilm VF-X21 External Optical Viewfinder originally for the Fujifilm X70, for use with 21mm and 28mm equivalent lenses such as the Fujinon XF 14mm f/2.8 R and XF 18mm f/2.0 R on the X-70 and other cameras.

I am now in the market for a good but affordable 21mm optical viewfinder to go with the second-hand Fujinon XF 14mm f/2.8 R that its current owner is currently using on a trip to India and hopefully the lens will return safe, sound and free of dust.

Fujifilm, Voigtländer or another brand altogether, I am looking forward to the digital version of a camera view-finding experience that I grew to love during the era of analog cameras, film, photochemicals and, sadly for me, a debilitating photochemically-derived dermatitis that prematurely ended my magazine photography career.

Roll on digital photography!

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Mirrorless Comparison Compares Olympus M.Zuiko Pro 17mm and 45mm f/1.2 with Olympus M.Zuiko 17mm and 45mm f/1.8 Primes

Longtime popular mirrorless camera website MirrorLesson’s Mirrorless Comparison spinoff has published early but complete comparisons of the Olympus M.Zuiko Digital ED 17mm f/1.2 Pro lens and its Olympus M.Zuiko 17mm f/1.8 predecessor, and the Olympus M.Zuiko Digital ED 45mm f/1.2 Pro lens and its Olympus M.Zuiko 45mm f/1.8 predecessor. 

The M.Zuiko Pro f/1.2 prime lens triad: Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, Olympus M.Zuiko Digital ED 25mm f/1.2 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro, all with their focussing rings drawn back to emphasise their manual clutch focus mechanisms.

These sorts of side-by-side tryouts are useful when assembling an optimal set of lenses for any camera system, and are something I would love to do myself with more of an in-the-field as-close-to-real-life-as-possible tryout, less of a techie pixel-peeping and specifications-comparing spiel.

Given my relative lack of access to the range of gear I would want to try out and write about, I am glad that others out there in the northern hemisphere do have access to items of interest, like MirrorLessons’ Wales-based Heather Broster and Mathieu Gasquet, and are great at more technical reviewing.

Olympus M.Zuiko Pro 17mm and 45mm f/1.2 primes and their f/1.8 counterparts

I learned to select camera systems first by the quality of their lenses, second by the functionality of their camera bodies and those principles remain in force despite the digital era’s constantly evolving hardware and software technologies.

Lens choice should be based on genre, camera shape and size, and other shooting stills, video or both.

In my case (mostly) available light documentary, small to medium size mirrorless rangefinder and rangefinder-style cameras when possible, and both video and stills, often in the same project.

I do appreciate the smaller Micro Four Thirds and APS-C lenses, especially the pancake and “Fujicron” lens designs, for allowing me to be discrete and unobtrusive when shooting in public but find manual clutch focus lenses invaluable when shooting video and for critical focus with fast apertures and longer focal lengths.

Most lenses in the Olympus M.Zuiko Pro collection feature filter diameters of 62mm or more, wide focussing rings suitable for follow-focus devices and lens bodies large enough to grip well.

Video brings other lens features into consideration, too, especially when shooting in the great outdoors under bright sunlight or with fast sensors of 400 ISO and over.

That is when you need to add neutral density filters to your kit as a top quality variable ND filter, or a set of fixed ND filters, or both, along with a set of aluminium or better yet brass step-up rings.

Most professionals standardize on 77mm or 82mm diameter filters then add step-up rings to their lenses allowing for fast and relatively easy lens and filter swapping.

Some add Xume System magnetic lens adapters and filter holders for greater safety and speed when swapping variable or fixed ND filters.

One thing to bear in mind when shooting video outdoors on sunny days is that variable NDs with maximum densities of 6 stops may be inadequate, so please consider variable NDs with higher density values such as the Aurora-Aperture or SLR Magic products in the list at the bottom of this page.

Alternatively, if choosing fixed NDs then space them well and ensure the highest density is 10 or more stops for shooting in bright sun with high ISO sensors, an even more important consideration with Panasonic rumoured soon to be announcing a new low-light version of the GH5 with higher base ISO sensor than the current GH5’s 200 ISO.

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  • Aurora-Aperture PowerXND 2000 Variable Neutral Density 1.2 to 3.3 Filter (4 to 11 Stops)B&H
  • Olympus M.Zuiko Digital ED 17mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital 17mm f/1.8 LensB&H
  • Olympus M.Zuiko Digital ED 25mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital 25mm f/1.8 LensB&H
  • Olympus M.Zuiko Digital ED 45mm f/1.2 PRO LensB&H
  • Olympus M.Zuiko Digital 45mm f/1.8 LensB&H
  • Panasonic Leica DG Summilux 25mm f/1.4 ASPH. LensB&H
  • Sensei Pro Aluminium or Brass Step-Up RingsB&H
  • SLR Magic 82mm Self-Locking Variable Neutral Density 0.4 to 1.8 Filter (1.3 to 6 Stops)B&H
  • SLR Magic 86mm Solid Neutral Density 1.2 Image Enhancer Filter (4 Stop)B&H – add this to the SLR Magic variable ND above to convert its density range to 5.3-10 stops instead of 1.3-6 stops.
  • XUME Lens Adapter and Filter Holder Pro KitB&H

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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FujiLove: The Fujifilm X100F Revisited: Why I Hate to Love It, by Take Kayo – with COMMENTARY

https://fujilove.com/the-fujifilm-x100f-revisited-why-i-hate-to-love-it/

“… This camera has stuck to its roots and continues the tradition.  If you already own a Fujifilm camera and you love everything about it (image quality, colours, styling, etc.), then consider the X100F as your everything camera. You can pretty much use it as your primary digital camera within the limits of its design and feature set, including shooting decent 1080p 60fps video. I used it as a professional tool, as a video camera, and as an everyday shooter….”

Commentary

Take Kayo is correct in his assessment of the Fujifilm X100F hybrid optical viewfinder rangefinder camera though I cannot agree with the love-hate underdog thing he has going.

The X100 changed everything for the better for me when I was relying on but uncomfortable with the Canon EOS 5D Mark II DSLR that my beloved late Uncle Brian bought for me for stills and video just before he died.

Like all Fujifilm cameras, the X100 needs a hand grip for best grip due to its small size and slippery synthetic surface, especially when used with the wide-angle and telephoto lens convertors.

Deep gratitude sprinkled with worthy sentiment keeps the 5D in my storage closet along with my yet-to-be-repaired Canon EF 24-105mm f/4.0 L IS USM kit lens notorious for its prone-to-failure internal circuitry but wouldn’t it have been wonderful if Fujifilm had been making its mirrorless cameras at the time?

I was raised on non-SLR analog cameras, especially rangefinder cameras of all sizes and descriptions, and the X100 was such a pleasant surprise when one suddenly appeared in one of our many now deceased local camera stores.

The long wait for my very own X100 proved more than well worth it and I still have mine after relying on it for all sorts of professional and personal stills photography projects for some years.

The Fujifilm X100F is in dire need of a Fujifilm hand grip based on the MHG-X100 Hand Grip made for the X100, X100S and X100T cameras. Quite why Fujifilm has not already done so is beyond comprehension.
The Fujifilm X100F is in dire need of a Fujifilm hand grip based on the MHG-X100 Hand Grip made for the X100, X100S and X100T cameras. Quite why Fujifilm has not already done so is beyond comprehension.

The X100F is a worthy successor with sensor and processor matching or approaching those of its top-end Fujifilm siblings the X-Pro2, X-T2 and X-E3.

Fujifilm luckily makes a hand grip for the X-E3.

Until the X-E3, the X100F held mid-position on my stills photography wishlist, kept there only by its ageing optics and Fujifilm’s failure to update its excellent, now discontinued, Hand Grip MHG-X100 for the X100F.

All Fujifilm cameras need hand grips fitted especially when using the larger, longer, heavier Fujinon lenses and battery grips are even better options.

Really Right Stuff has released its base plates, l-plates and grips for the X100F but they lack two of Fujifilm’s own hand grips’ prime virtues, a small textured synthetic grip and easy attachment of Peak Design’s Clutch and Cuff camera straps via the simple, elegant solution of a rectangular notch in exactly the right place.

Until the appearance of the X-E3, I was seriously considering bumping the X100F plus WCL and TCL lens convertors to the top of my stills hardware wishlist as the camera kit to go with me everywhere via Cosyspeed Streetomatic+ or Think Tank Photo Spectral 8.

I have yet to see and try the X-E3 as our local camera stores keep vanishing and few remaining stores keep good inventories, it appears, so I am in some degree of uncertainty as to whether it is the right solution for my needs.

Despite its lack of the X100 series’ wonderful hybrid optical viewfinder, the X-E3’s small size and Fujifilm-made hand grip appeals to me as does the long-rumoured, much-demanded Fujinon XF18mm f/2.0 R WR “Fujicron” lens that still has yet to turn up on the Fujifilm lens roadmap.

Sigh.

I seriously hope that the 18mm “Fujicron” lens is not a myth.

If the X100F had a Fujifilm hand grip, I would have bought it and near-permanently attached the WCL-X100 II Wide Conversion Lens as my 18mm (28mm in 35mm sensor format terms) solution for event photography where the 23mm (35mm in 35mm sensor format terms) is too long and 16mm (24mm in 35mm sensor format terms) distorts perspective and especially human-shaped subjects near the edges and corners of the frame.

Will Fujifilm see sense by revamping the optical design of the X100F’s successor?

Will Fujifilm come up with a hand grip for the next camera in the X100 series?

Questions like that are on par with asking Fujifilm when it is going to add exposure zebras for stills and video to all its cameras’ firmware.

Camera and lens makers can be as resistant to good sense as anyone, but one should not stop pointing out the senselessness of being deaf and blind to necessary firmware and hardware functionality.

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Will the New Fujifilm X-E3 Rangefinder-Style Camera Take My Breath Away?

I love my Fujifilm X-Pro2 digital rangefinder camera and have no regrets buying it despite its current inability to shoot 4K video, relative lack of other videocentric features and unimpressive electronic viewfinder (EVF). 

As a longtime user of rangefinder cameras in all formats from 8mm (movie film) and 35mm (stills) through various 120 roll-film aspect ratios (6×4.5cm to 6x12cm) up to 4″x5″, it has been such a relief to once again have a very capable rangefinder camera in my hands. 

Coming from an available light (and oftentimes available darkness) documentary background, I heeded Kevin Mullins’ advice and so my first two Fujinon lenses were the XF 23mm f/1.4 R and XF 56mm f/1.2 R fast primes.

I wavered on the somewhat slow XF 18-55mm f/2.8-4.0 R LM OIS kit zoom and a shortage of funds finally made that decision for me, compounded with the Fujinon X-mount lens series’ current 18mm focal length situation.

A fast medium wide-angle of 18mm in Fujifilm’s APS-C format, equivalent to 14mm in the Micro Four Thirds (MFT) format and 28mm in the digital 35mm format (I refuse to use the silly term “full frame”) is my number one choice for immersive documentary photography in combination with a moderate telephoto focal length like 50mm in APS-C, 30mm or so in MFT and 75mm in 35mm format.

Gallery

I have applied that moderate wide/moderate long combination to almost all formats and aspect ratios in the past, occasionally adding something in-between, preferably on the wide side of “standard” or “normal”.

In other words, 27mm in APS-C, 20mm in MFT and 40mm in 35mm rather than the more usual “normal” focal lengths of 35mm in APS-C, 25mm in MFT and 50mm in the 35mm format, all of which feel like short telephoto to me.

My choices can vary, though, in shooting video when a longer “normal” lens offering clutch focus functionality for repeatable, accurate manual focussing may override my creative preference for a slightly wider focal length.

The X-Pro2’s advanced hybrid optical viewfinder (OVF) was the clincher in buying into APS-C, aided and abetted by the existence of those 23mm and 56mm focal lengths.

Lenses are, for me, key influencers in camera choice, with sensor aspect ratios coming second followed by a myriad of other often interrelated usability and functionality factors.

I shoot documentary and portrait photographs and documentary videos, am self-funded, and the gear I need must be affordable, small, portable, self-contained and capable of the best quality possible.

No single camera system can provide all that so I use APS-C/Super 35 and MFT/Super 16 cameras and lenses.

Right now, the Lumix GH5 has the edge over Fujifilm for video by a long list of remarkable top-end professional moviemaking features, which is little wonder given Panasonic has been working on video since the GH1.

We have yet to see any Fujifilm camera approach the GH5 in terms of its video feature set and its self-contained usability, and one can only wonder what may turn up in the X-T2S or what might have been of the now-abandoned Fujifilm APS-C/Super 35 “super camera” project.

Playing the waiting game wears thin especially when gaps persist in both sensor formats’ lens and camera offerings, and each has its pros and cons.

The 3:4 (vertical) and 4:3 (horizontal) image aspect ratio is optimal for portraiture and I often find 2:3 (vertical) and 3:2 (horizontal) irritating for that purpose while it is much more suited to documentary photography in horizontal aka landscape orientation.

I love the 1:1 image aspect ratio for monochrome portraiture and urban documentary, combined with the tilting EVF built into only one current camera, the Lumix GX8, allowing me to shoot as I used to with my Rolleiflex twin lens reflexes (TLRs).

I prefer rangefinder and rangefinder-style cameras for photography and cameras with fully-articulated monitors for video.

The perfect lens set comprising the right focal lengths combined with manual clutch focus, stabilization and fast non-variable maximum apertures with excellent mechanical and optical construction remains something of a pipe dream.

So, I compromise on APS-C/Super 35 mostly for photography with MFT/Super 16 mostly for video with a mix of Fujifilm, Olympus and Panasonic cameras and lenses.

Right now I am prepping to photograph a human rights rally tomorrow, the sort of event I have often covered at the same time with gear from all three brands and in both sensor formats.

A DSLR-toting photographer travelling light.

In a DSLR-fixated culture, event participants are effectively rangefinder-blind, allowing me to photograph centimetres away from them without objection.

At this event, I have some constraints imposed by carrying my gear in a small shoulder bag that I have received for review.

The bag is capable of carrying one mirrorless camera plus three lenses in its default internal divider configuration, or up to four small lenses, or two mirrorless cameras-plus-lenses with a minor divider rearrangement.

Somewhere in this image lies my ideal two-camera documentary photography kit. The two fast lenses in the lower lineup for available darkness and two lenses from the upper lineup for available light. I like the 18mm plus 50mm combo from from my Leica M-System days, with those two APS-C focal lengths equivalent to 28mm and 75mm in 35mm format. The 27mm lens is very tempting due to its equivalence to the classic 40mm focal length in 35mm format, as used on the Leica CL and Minolta CLE cameras. Fujifilm is reportedly working on an 18mm f/2.0 R WR “Fujicron” lens. Images not to scale.

I don’t currently have the ideal one-plus-three, one-plus-four or two-plus-two set-up in either mirrorless sensor format, so may limit myself to my X-Pro2 with 23mm lens on-camera and 56mm ready to swap should the portrait opportunities for which that lens is best suited arise.

I would much prefer two cameras with an 18mm lens on one and a 50mm lens on the other but that ideal set-up must wait for our self-financing effort to bear fruit.

FujiRumors reports that a “Fujicron” Fujinon XF 18mm f/2.0 R WR is on its way, slowly and surely, to replace the current Fujinon XF 18mm f/2.0 R and although I would love a Fujinon XF 50mm f/2.0 R WR right now, that too must wait.

I could carry an MFT Lumix camera with fast fixed maximum aperture standard zoom lens attached to cover the event with all my desired focal lengths and more, but I relish the discipline of carrying a limited set of fast prime lenses, and this new bag warrants a realistic test according to its default design parameters of one camera and two to four lenses, size dependent.

The coming release of Fujifilm’s X-E3 has me musing on another possibility this bag presents via rearranging its dividers, X-Pro2 with 23mm on one side and X-E3 with 56mm on the other.

A less tight fit might be the 18mm on one and the 50mm on the other but let’s not get too far ahead of ourselves.

What remains to be seen is whether the X-E3 will be a worthy companion to the X-Pro2, filling the gaps that the other camera cannot fill.

Based on its specifications list, I suspect that might be the case, with one exception, Fujifilm’s crazy ongoing failure to add crucial exposure zebras functionality for stills and video to all its cameras’ firmware.

Video on X-E3 and other Fujifilm cameras

Although Fujifilm’s cameras have some way to go until they approach Panasonic’s video feature set, especially that of the GH5, they already possess certain advantages.

I enjoy shooting video via my X-Pro2’s advanced hybrid OVF with ERF in lower right of frame set to show the whole scene as seen through the lens, in close-up or in mid-view as desired.

Fujifilm’s manual clutch focus primes are a joy to use as are their aperture rings when needing to ride constantly changing available light.

Fujifilm’s film simulations that work so well for JPEGs apparently look terrific in video, as demonstrated by Andrew Reid at EOSHD with a still frame from a Fujifilm X-T20 which permits customization not currently possible on the X-Pro2.

The lack of 4K in the X-Pro2 is the only factor against using it more for video given I generally use multi-camera 4K set-ups for editing in 4K and increasingly, release in 4K, Australian fraudband’s lousy upload capabilities permitting.

All Fujifilm cameras have their persistent video annoyances, however, and Fujifilm does not appear inclined to correct them any time soon.

None has an integral headphone jack for audio monitoring.

Each has a non-industry-standard 2.5mm microphone jack, demanding the use of unreliable 3.5mm-to-2.5mm adapters or microphones with interchangeable audio cables like Røde’s more recent on-camera models like the VideoMic Pro+.

Beachtek SC25 3.5mm to 2.5mm stereo audio minijack coiled cable for cameras like the Fujifilm X-E3 that have 2.5mm instead of industry-standard 3.5mm audio jacks. I have standardized on coiled audio cables wherever possible as they make my rigs neater and more under control especially when handholding.

Interchangeable 3.5mm-to-2.5mm cables have proven hard to find but I eventually located and ordered several Beachtek SC25 coiled cables.

Fujifilm has proven deaf and blind to the crucial need for customizable exposure zebras for video and stills, instead substituting a blinking highlight overexposure indicator on the X-E3.

Cinematographer/director Paul Leeming explains how to use exposure zebras at his Leeming LUT One webpage.

While the exposure zebras problem can be remedied by a Fujifilm with a firmware update, the best solution right now for effective audio monitoring is by connecting compact audio adapters or field recorders beneath your camera.

I have a Beachtek DXA-SLR ULTRA adapter and a Tascam DR-70D four-track recorder while other moviemakers use the Tascam DR-701D six-track recorder, recorders made by Zoom and Sound Devices, and audio adapters/mixers made by Azden, Saramonic, Sound Devices and other manufacturers.

Audio adapters and recorders permit the use of balanced XLR-cabled professional-grade microphones in a similar way to Panasonic’s GH5 with its optional DMW-XLR1 XLR microphone adapter.

I recommend using coiled XLR cables like those made by KopulK-Tek, Cable Techniques, Ambient Devices, and formerly by Remote Audio, in order to keep your rig compact, neat and under control.

Audio adapters and recorders expand the video potential of all cameras, not just Fujifilm’s, and I use the same sort of audio set-up with my Panasonic and other cameras.

Another way of expanding your audio acquisition capabilities for immersive documentary moviemaking is by relying on wireless lavalier microphones.

I have a second Røde RØDElink Filmmaker Kit on my wishlist and rumour has it that Røde is working on a RØDElink multi-input receiver.

Alternatively, a RØDElink Newshooter Kit for versatility may be a good idea if its receiver can be re-paired to a lavalier-linked transmitter as needed, though so far separate transmitters and receivers remain marked as “coming soon” at the Røde website.

Hmmm, looking at all the many themes and variations of acquiring top quality audio as a solo documentary producer/director/cinematographer, perhaps I should do an article on that alone given some cameras provide for audio acquisition and monitoring very well and others much less so.

ALL Fujifilm cameras need grips

One thing that was immediately obvious when I bought my first Fujifilm camera, the X100, is that it desperately needed a hand grip for better grip of the camera in all conditions when shooting on location.

Every Fujifilm camera needs an optional hand grip, especially the X-Pro2, X-E3 and X100F. Fujifilm does not make a hand grip for the X100F even though the company made hand grips for the X100, X100S and X100T.

My assessment remains the same for all subsequent Fujifilm cameras that I have tried out or purchased, including the X-T1, X-Pro2, X-T2 and X100F.

Fujifilm does not make a hand grip for the X100F, a truly bizarre omission given the camera’s very slight built-in grip and slippery leather-look plastic covering, which has contributed to placing the X100F lower down on my wishlist than it deserves.

As stated on Fujifilm’s Hand Grips page:

Hand Grip provides a secure hold and masterful control of the camera.

Offering an assured hold while preventing any interference with a tripod head, grip is ideal when the camera is fitted with a large lens. The tripod mounting socket is aligned with the optical axis.

Fujifilm does make a grip for the X-E3, the Hand Grip HG-XE3, and I will be getting one for the X-E3 should it prove to be a great companion camera to my X-Pro2.

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Image Credits

Image concept and hack by Carmel D. Morris.

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Fujifilm-X.com: Capturing Moments in Shibuya with the X100 Series

http://fujifilm-x.com/x-stories/capturing-moments-in-shibuya-with-the-x100-series/

“I was shooting street photography before I encountered X100, but ever since I held one in my hand, I simply have not been able to let it go.

The perfect fit in my hand, quick response, high image quality, and independent dials for shutter speed and aperture…. the list goes on and on. The camera is compact and has all the features I need to capture moments with quickness and ease.

The 35mm equivalent angle of view is exactly what I need for my street photography. I do not need any additional cameras….”

Links:

The Leica M10 Rangefinder Camera, First Digital Leica I Would Consider Buying

In assembling the very first Leica camera in 1913 and 1914, Oskar Barnack created the archetypal small, solid-bodied roll-film camera, an archetype that has influenced cameramakers to this day. The first Leica, often referred to as the Ur-Leica, helped introduce the concept of exposing small negatives then enlarging them to finished size.

20000_leica-m10_black_apo-summicron_50_top_rgb

This breakthrough came at a time when professional photographers were required to own a range of sheet film cameras or at least sheet film holders in the various sizes required for the final print which was made by contact.

Leica’s cameras, using short lengths of 35mm movie film, were an economical and versatile alternative, though their contemporary pricing places them out of the reach of all except the wealthy or those most dedicated to the Leica brand, quality and experience.

Leica cameras and lenses do, however, last for decades, easily repaying their initial purchase price over their working lifetime.

The Ur-Leica, the beginning of it all.

While Leica cameras were popular with enthusiasts, or amateurs as they were referred to in those days, they were viewed with suspicion by many if not most professional photographers in the brand’s early days. However, they were especially favoured by the growing legion of picture magazine photographers, many of whom contributed to the growth and establishment of photojournalism.

leica_oskar_barnack_an_werkbank_1920px
Leica creator Oskar Barnack at his Leitz company workstation.

The Golden Age of Photojournalism is commonly reckoned to have existed between the 1930s and 1950s, only starting its decline with the ascendancy of television broadcasting and television news reporting.

That golden age was partially attributable to the arrival on the scene of the first commercial Leica camera in 1925, the Leica 1.

leica_camera_1928_1024px

By way of background, most magazine and newspaper photographers of that time and for some decades to come relied on sheet film and large roll film press not unlike the Graflex Century Graphic 4″x5″ sheet film camera depicted below, in an extract from a camera manual.

century_graphic_1024px

I owned and frequently used a Graflex Crown Graphic 4″x5″ sheet film camera for magazine photography assignments, often for editorial portraits, when I could cart about the camera, tripod and flash units in a van or hire car but I always carried one or two Leica M-System rangefinder cameras as well.

Each type of camera gave rise to its own unique aesthetic, the product of its design, size, film requirements, and most of the all the linked experiences of photographer and subject.

I could produce not dissimilar styles of photographs with my Crown Graphic and my Leicas – note the presence of a rangefinder on the side of the camera above – but the experiences both sides of each camera were very different, leading to different interpretations of the same type of subject matter.

And so to the Leica M10, after that long but useful history lesson.

The Leica M10

This event being a launch and not a hands-on tryout, there was no time for getting an in-depth feel for the Leica M10. However I have been kindly offered an hour with an M10 and several lenses in the city and will be taking up that offer soon.

Meantime, I can say without a doubt, even having only had the Leica M10 with Leica Summilux-M 35mm f/1.4 Aspheric lens in my hand for a very short time that this is the very first digital Leica that has me tempted.

It is solid, really solid, and gives the impression it is machined out of one big chunk of brass. I sometimes found myself in difficult circumstances when I relied on my pair of Leica M analog rangefinder cameras, and their solidity meant I could rely on them to withstand any conditions, above ground in a celebrity’s living room or deep down below in the mines of Western Australia.

The Summilux-M 35mm f/1.4 lens felt equally solid and sure in my hand, focusing dead fast and accurately. Lens and rangefinder of this manual focussing only masterpiece of hand-built precision felt far better than my former cameras and lenses.

The M10’s hardware interface is elegant, well engineered and beautifully made. The ISO selection dial is intuitive and fast to use. The limited set of buttons felt equally intuitive in use though I did not have the chance to do any deep diving. That may well come later.

If my invitation to try a Leica M10 comes off then I will have more thoughts and information to share here at ‘Untitled’.

To summarize, though, the Leica M10 felt like my Leica analog cameras and lenses reborn into the digital world, their ghosts hovering around me while their newborn descendant almost guided me into operating without thinking.

It was an uncanny experience and a good one.

The Perfect Lens Set

If money were no object, this is the full set of lenses I would choose for available light (and available darkness) documentary or photojournalism projects. It includes fast 28mm, 35mm, 50mm, 75mm and 90mm lenses, left to right. Leica’s all-manual, solid brass lenses can last for decades when treated with care and maintenance every so often. As with the Leica M10, this lens set will serve you well for a very long time and help you cope with a wide range of subjects and conditions. A good starter subset of these five lenses would include the 28mm, 35mm and 75mm. If you can afford only one lens, make it the small and versatile Leica Summilux-M 35mm f/1.4 Aspheric, second from left. If two lenses, then the 28mm and 75mm.

The Leica M10 Launch Event, by Carmel D. Morris:

The Leica M10 Launch Event, by Karin Gottschalk:

Specifications:

Links:

Image Credits:

Header image concept and production by Carmel D. Morris. Product photographs and historical photographs kindly supplied by Leica. Images from camera manuals available at OrphanCameras.com/Butkus.us Camera Manual Library.

Tech Notes:

Event photographs made with Fujifilm X-Pro2 and X-T2 cameras with Fujinon XF 23mm f1.4 R and Fujinon XF 56mm f/1.2 R lenses then processed in ON1 Photo Raw 2017 with Bogart Warm or Bogart Cool presets.

Fujifilm Comes Up Aces Yet Again with the X100F, Heiress to the Noble X100 Tradition

Fujifilm kicked off a global digital photography revolution when it released the X100 fixed prime lens rangefinder-style mirrorless camera in 2011 at a time when digital photography was dominated by big DSLRs made by the then two biggest camera manufacturers. 

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How things have changed, in some quarters at least. DSLRs still dominate the local newspaper industry but most photojournalists and documentary photographers of my acquaintance here and overseas left the DSLR world for the mirrorless realm some years ago.

Little wonder. Recently I showed a DSLR-dedicated friend one of my mirrorless cameras and he began wondering why he had put up with his DSLRs’ heaviness and old-world features for so long.

Mirrorless cameras are rarely seen here in Sydney during newsworthy events like the Women’s March on Washington, Sydney, starting from Hyde Park going to Martin Place on 21 January. Newspaper and other photographers covering the event did so rigged up with double DSLRs and two or three fast zoom lenses as below. I used an X-Pro2 and a couple of prime lenses.

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Longevity

With Fujifilm’s announcement of the X100 series’ fourth iteration, the longevity of the original X100’s concept is demonstrated yet again.

The original X100 is a camera I use to this very day, especially when needing to be extra discrete, even more invisible than usual.

That original X100 has ably handled demonstrations, protests, festivals, conferences, travel and urban documentary projects.

Its autofocus is slow compared to the current generation of mirrorless cameras but not impossibly so, and its sensor is far from the biggest going, but the old adage holds true, that you only need 6 megapixels for a double-page spread or a single-page portrait.

Exhibition prints and 48-sheet posters are another thing altogether but Fujifilm now has those bases amply covered with its GFX 50S medium format masterpiece.

Moving up a notch

The X100F has moved up a notch to the same sensor as its X-Pro2 and X-T2 sisters, all 24.3 megapixels of it, and that is something of a minor miracle in such an affordable, professional-quality, small-bodied camera.

We are lucky to be living in the digital photography age, one no longer beset by golfball grain and beautiful though ultra-slow films – Kodachrome 25 and Panatomic-X anyone? – if the project demands sharpness and high resolution.

That a camera the size of the X100F can deliver image quality rivalling if not surpassing Fujifilm’s analog era mirrorless or SLR-based GX680 series 120-format cameras, especially when using faster films in them, is no small miracle.

I can see why photojournalism-style wedding photographer Kevin Mullins will be adopting an X100F alongside his two X-Pro2s equipped with XF 23mm f/1.4 and XF 56mm f/1.2 lenses as part of his core wedding photojournalism kit.

It’s all black for me

Mr Mullins’ style is based on almost-straight-out-of-camera (almost-SOOC) JPEGs with his JPEG settings dialled down for a gritty hardness perhaps partially inspired by great British photographer Bill Brandt, but Mr Mullins’ photographs are almost grain-, or in reality digital noise- free.

Like Mr Mullins, I would definitely choose a black X100F over the silver one for its contribution to a photographer’s anonymity and near-invisibility.

Like him also, I consider the X100F as a complement to the X-Pro2, a fixed lens camera with the advantages that fixed lenses can bestow such as leaf shutter, high-speed flash sync, built-in ND filter and small form factor.

X100F and X-Pro2 compared

Photographs are not to scale.

Accessories for the X100F

There are three Fujifilm-brand accessories I consider essentials for the X100F, the WCL-X100 II Wide Conversion Lens, the TCL-X100 II Tele Conversion Lens and an L-grip.

I would also add a Peak Design Clutch and Cuff camera strap pair, the latter a wrist-strap and the former a hand-strap, both ensuring good grip and safety if the camera falls out of your hand.

I have yet to see a Fujifilm brand L-grip for the X100F, similar to the FUHGX100T grip for its three predecessors, make its appearance online but surely it is a matter of time. I have used the X100 with and without this hand grip and, given the camera’s tiny built-in grip and slippery surface, consider it a necessity. Otherwise a few third-party alternatives will doubtless be available soon.

Conclusions

As usual, the proof of the pudding is in the trying and I look forward to giving an X100F a good roadtest sometime in the near future. For those who enjoy specs charts, a specifications spreadsheet PDF is available further down this page.

Meanwhile, I wish to hail the Fujifilm X100F as the rightful heiress to the classic that the X100 was in its day, and that may itself be a future classic in the waiting.

My Fujifilm Finepix X100 is a treasured camera in my collection and I use it to this day, most especially when needing to blend in with the crowd and be as close to my subjects as possible. Despite not having an X-Trans sensor, it produces excellent colour and can be processed in a much wider range of raw processors than X-Trans raw files, in this case DxO OpticsPro Elite with DxO FilmPack and DxO ViewPoint as plug-ins.

Recommended Viewing:

Fujifilm’s global YouTube.com channel FUJIFILMGlobal appears not have received the memo about female gender equality in its product videos given that all fifteen of its video feature male photographers with not one woman photographer in sight.

On the other hand, the Fuji Guys Channel run by Fujifilm employees based in several different countries including Australia has featured two female photographers so far, both in the USA.

Let’s hope more videos featuring women appear very soon, with at least one of them being Australian.

Specifications:

Image Credits:

Header aka featured image created for this website in Photoshop by Carmel D. Morris. Product photographs courtesy of Fujifilm.