Fuji X-Pro2

$100 Off Fuji X-Pro2 and XF 35mm F2 Kit at B&H Photo: Thinking about the X-Pro2 and the XF 35mm F2? Here’s a great deal: for those who are interested, you can purchase the Fuji X-Pro2 with the XF 35mm F2 Kit for $100 off at B&H Photo. As most of you know, the X-Pro2 is Fuji’s latest and greatest. It has the works: hybrid viewfinder, weather sealing, and the new 24 megapixel X-Trans CMOS III sensor just to name a few. As for the XF 35mm F2, it is one of the best X Series lenses to date. It’s compact size, weather sealing, and quiet and fast autofocus make it a perfect match for the X-Pro2. Check out my review of it. I also did a comparison test between the XF 35mm F2 and the XF 35mm F1.4. For those not interested in the kit, the X-Pro2 and the XF 35mm F2 can be ordered separately, of course. PLUS WPPI 2016 Specials: $300 off selected Fuji products including cameras like the X100T and the X-T1. Deals expire March 10th.

The Fujifilm X-Pro2 is a mirrorless interchangeable lens camera features the world’s only Hybrid Multi Viewfinder and a brand new 24 megapixel X-Trans III sensor. Here are the first Fujifilm X-Pro2 sample images from Fujifilm Global and several photography websites. As usual Fuji has posted five high-resolution X-Pro2 sample images with EXIF information. More Fujifilm X-Pro2 sample images can be seen atContinue Reading

Hands-on Fuji X-Pro 2 review: It may look much the same as the X-Pro 1, but there's quite a lot changed on the inside

She’s been with me to race circuits, pit lanes and around the world twice, she’s been on road trips, dog walks, hikes camping and commercial shoots. She’s seen the Grand Canyon, Mount Fuji, the streets of Sao Paulo, Europe and the wilds of Scotland. This was the camera that turned the DSLR tide for me. I started with the 18mm f2 and the 35mm f1.4 and that was all until I was tempted by the flirty X-T1 and then it became a full blown love affair all over again with the joys of using a camera and the pursuit of photographic perfection. | Fuji X Series Experience

In my 5 years of Fuji X series ownership, I have owned two X100s and currently have an X-T1 that I love! However, I’ve always preferred the range finder style

Fuji and Leica for best user experience and return on capital | Michael Evans. REVIEW: The New XF100-400mm f4.5/5.6R LM OIS WR Telephoto ...

All images shot with the X-Pro1 and the 18mm f/2, 35mm f/1.4 and 56mm f/1.2
lenses.

Processed in Lightroom 5.



The above photo – taken a couple of days after grabbing the X-Pro1 with the
bundled 18mm f/2 lens, that was when I kind of fell in love. It’s plenty
sharp with beautiful colours and a natural filmic character to its
unobtrusive noise at high ISO. What’s more, the quiet shutter-click and
compact old school styling made it completely unobtrusive. After a chat
about the curious camera, the blacksmith just let me work the scene, with
nary a further glance.

Yes, it's been one year now that I've been shooting with my X-Pro1. Here
are some thoughts on my time with Fuji's first X-Trans camera and how I've
found the shooting experience, and whether it might be the right camera for
you...




I hadn't expected any of this. Looking back two years ago, to the days
before picking up the X100, I thought I’d be wedded to trusty old Nikon
forever...

I once had a D90, made it run on time. It was a wonderful workhorse of a
camera that was rugged, pretty quick and had a great ability to work with
legacy lenses. It rarely missed a shot. Yet it didn’t really inspire me to
photograph anything out of my fairly predictable comfort zone. And it never
jumped up pawing at my knees, begging to be taken out for a walk – so to
speak. Now at the time I was itching for a good street reportage lens.
There was an acceptable old Nikkor 24mm f/2.8d lens from the 80’s, but what
I was really hoping for was an updated DX 35mm crop sensor equivalent, one
that was silent, without the chromatic aberrations and faster focusing.

But infuriatingly Nikon didn’t seem interested in releasing one. In fact,
they seemed to scorn the world of compact crop-factor primes. I waited
years, but nothing. And with the waiting I found myself eyeing up other
street-photography solutions. I began to hunger for smaller, lighter
machines that would allow me to work a crowd discretely. I looked at the
classic Nikon SLR cameras beloved of McCurry and McCullin and other awesome
Scottish sounding types. I even toyed with a Yashica Mat 124G, a gorgeous
TLR camera that had the niggling drawback of feeling like you’d strapped a
sack of sugar around your neck.




I guess what I was really after was a rangefinder. But the only one that
seemed available in digital format had a little red dot on it. And since I
hadn't robbed any banks recently I knew that owning one was a practical
impossibility.

And then the X100 arrived.

And the rest as they say was history.




At first I figured it would merely exist as a casual camera for lunch
breaks at work and the odd trip down to London. My D90 would remain as my
project camera, dominating the bulk of my work. I also held to my dream of
upgrading to a full frame camera, which seemed once to be the automatic
goal of every amateur enthusiast. But very quickly a remarkable thing
happened. My D90 ceased to be picked up. It quickly gathered dust. Also, I
had been considering Nikon’s budget full-frame D600. But frankly after the
extreme portability of the X100, I was becoming somewhat less enamoured
with the idea of buying another even chunkier DSLR. Plus Nikon had
seriously dropped the ball with reports of oil on the sensor, a gruelling
fault that the once-trusty company tried to deny for an awful long time.
Put simply, the X100's beautiful looks and old-school handling made me lose
interest in the modern DSLR's fugly body, whilst the contrast between
Fuji's ever-improving firmware updates with Nikon's oil-denial woes began
to eke away at that strange nebulous concept of brand loyalty.




Enter X-Pro1, stage left. Again, I was intrigued. It was good looking and
had some fine glass. But still, it was a little pricey and I found myself
holding back as reports of sluggish auto-focusing and issues with raw
conversion cast a shadow on what was in other respects seemingly a fairly
praise-worthy camera. Also, it wasn't full-frame. Didn't I need that for,
y'know, even more gorgeous picture quality?

Well, it wasn't until I saw the work that Canadian photographer Patrick
LaRoque was producing that I realised that the days of full-frame holding
exclusive rights to affordable great image quality were over. What this
fellow was producing with his X-Pro1 was a radical step-up from the usual
blogging photographer.

How to describe? There's that bit in the first episode of Mad Men where
advertising guru Dan Draper gets a room of hardened executives all misty
eyed as he yearningly describes the aching nostalgia of memory whilst
toying with a Kodak slide-projector. In the posts where LaRoque was fully
on his game, the man's delicate painterly photographs, lit by natural
light, achieved that sort of feeling where for a moment you desperately
want to be in that room, part of that moment, sharing the same emotions
he's feeling and witnessing. And man, how those images sang. The soft bleed
of light through frosted windows. The comfort blanket of shadows. The
colours both rich and muted of a loving home. Not to mention his abstract
work. And he was knocking these images out with an X-Pro1. Not a full frame
monster, but a modest APS-C camera. Naturally you could put a disposable
camera in the man's hand and he'd knock out some stunning work, but the
image quality he teased out of that X-Trans sensor was beyond belief.
Detail smearing in the raw files? Not from where I was looking.

Assured by his blog and other respectable types that Fuji's firmware
updates had fixed many of the outstanding niggling issues and that the new
Lightroom update finally garnered good results from the X-Trans sensor, I
was finally presented with a very tempting choice. But still I held off.
Because money.

And then Fuji made an offer I couldn't refuse. An X-Pro1 with the 18mm and
a choice of one of two additional lenses - either the 35mm or 60mm lens.
Despite the temptations of portraiture I sprung for the versatility of the
35mm, with the assurance of beautiful rendering from the images I'd seen on
LaRoque's blog. I was all set to go.




Man, what a trip.

My X-Pro1 hadn't yet reached the peak of its firmware enhanced powers and I
was already getting good stuff. Sure, I stumbled a lot. Compared to the
aged D90 the auto-focus was still pretty darn slow and the write speed was
unutterably awful. But I found that a fast memory card of 90mbps made all
the difference, and that the deliberate nature of shooting with the X-Pro1
wasn't all to the bad. True, I was missing more shots, but I was also
taking far more considered shots than I ever had with my Nikon. I was
shooting fewer frames, more often. Becoming deliberate. Working the subject
until I got it right.

Yes, I was becoming more contemplative with each shot, and when I needed
speed of capture the method of zone-focusing was a doddle with focus
peaking activated on the EVF. Couple that with the back AF-AE button for
snap focus and it seemed that as long as I kept away from sports, I was
pretty well set.

And the image quality, hoo-boy. I loved the way the sensor rendered colour
and tonalities. A few weeks after capturing the image of the blacksmith I
hit Berlin and found that the X-Trans sensor handled colour with a
beautiful filmic creaminess of tonality that made the images sing. Ironic
really, since I had flown there expecting to be shooting cold war
spy-thriller black and white. But Fuji’s film simulations had utterly
seduced me and it seemed indecent to capture the surprisingly vibrant
Berlin in anything other than colour.

D90? Well, sorry dude. I had some great times with you and you did me proud
in my US Civil War project, but you understand how it is.

To my surprise also I found myself preferring the electronic viewfinder to
the optical, though I quickly learnt that in low light it was best to get
the look of an image planned out in the EVF, but rely on the OVF for a
lag-free guarantee of captured moments. The X-Pro1's EVF was incredibly
useful, but it wasn't quite there yet in low-light responsiveness. Still,
it was clear that I was never going to go back to the mirror camera mode of
view. Despite my early purist chest-beatings I'd been spoilt with the
creative inspiration provided by the EVF. I also adored the camera body.
Married with the nicely balanced Fuji lenses it just felt perfect in the
hands and looked damn fine to boot. All the buttons felt in the right place
and pleasantly clickable. In comparison the DSLR looked like a blob of
molten plastic. An ergonomic blob, to be sure, but still a blob. It amazed
me that camera companies had for so long failed to realise that the modern
DSLR shape was essentially pretty hideous and that the old school design
had it right. And now the thought of using a camera without a shutter and
aperture dial seemed freakish and wrong. Having that control under your
fingertips, you quickly realised that not only was it supremely easy to see
what settings you were on, but that you learned the reciprocal nature
between stops of aperture, ISO and shutter speed far quicker. It made for a
great learning experience.

And so I found myself shooting far more often, taking either the X100 or
the X-Pro1 out with me practically every day. I learnt that the dinky 18mm
f/2 made for a great street photography lens, providing the same field of
view as beloved by street masters Garry Winogrand and William Klein. The
35mm f/1.4 proved useful when travelling light with a hunger for
off-the-cuff portraits and more abstract compositions. Finally I added a
56mm f/1.2 lens to provide me with a much needed dedicated portrait lens
for projects and events. It's this fleshed out system that served me so
well in photographing small town America. With those three lenses and
camera fitting snugly in my dinky shoulder bag, I felt like I could handle
anything on a trip.

Except being beaten up in Toronto, obviously. But enough about that.




So… the million dollar question. It’s getting a little long in the tooth
now…is it still worth buying? Well, despite the fact that it is quite a bit
slower than the X-E2 and X-T1 and far, far slower than the D750 or D800,
I’d have to say… yes.

And I’ll tell you why.

One, it is considerably cheaper.

Two, it has great big friendly letters on it saying, ‘Don’t Panic’.

No, wait. That’s something else. But I guess those two points still hold
true. With the current UK lens deal you’re almost getting a free camera
with two very good lenses that are compact, reasonably fast and very good
for street, environmental portraiture and landscapes. Also, it’s a great
camera for students. It gives them the filmic look they’re craving for and
teaches them the reciprocal nature of shutter speed, f/stop and ISO. The
image quality is still stunning and you get a great camera body that feels
instinctively right and is perfectly sized and balanced for pretty much any
pair of hands. And despite its slow nature, it’s still good enough for
street photography provided you’re willing to zone focus, or be more
deliberate and wait for the moment. It's a versatile, flexible tool to use
on projects - as I pleasantly found whilst shooting in America.

What’s more with the addition of a cheap adaptor you’ll be able to use the
bulk of legacy lenses out there; be they Nikon, Leica or a whole host of
other companies. Perfect for bargain hunters, and the filmic sensor really
couples well with vintage glass. And for the travel photographer this
compact system with its small lenses means you can hike for hours around
town and country and not feel it. Whilst for fashion... well, the accurate
Fuji skin tones coupled with the detail of the X-Trans sensor and cool
hipster-baiting styling make the X-Pro1 a sure bet.

Who is it not for? Well, for sports and action it’s a no-no. Likewise if
you’re heavily into landscape photography and need weather-proofing I’d
maybe think again. The X-Trans sensor can take beautiful landscape shots,
but they need a lot more nursing than a traditional Bayer sensor requires.
For video? No, just look away now.

Wedding photographers? If you’re experienced I reckon you can work with
these. It’ll be a little heart in mouth at times but you can, and the
images will be gorgeous. Better to go the X-T1 one route if you're thinking
on Fuji mirrorless.

So despite these caveats I’m still pretty much in love with the X-Pro1. Can
I ask for anything else? Well, yes frankly. I want a Classic Chrome
firmware update. It's a beautiful looking film simulation that can be found
on the latest Fuji cameras, but I really hunger for it on my X-Pro1. Not
only for now, but for the day when I eventually get the upcoming X-Pro2 and
want a consistent look across all my images when using the X-Pro1 as a
secondary body. Please make it happen, Fuji. I'd be willing to pay. But as
they say, what you don't have you don't miss and for me the X-Pro1 is a
camera I truly love.




And in the past year that I've been using this little beauty I think I’ve
finally begun to find my eye. I've stumbled across the beginnings of a
style that I feel I can really build upon. Fuji married a handsome body
with beautiful image quality, and with the superb and ever-expanding range
of lenses on offer they sure seem to have a great camera system. It may not
be full frame like Sony, it may still suck at video and it may not be as
fast as a DSLR or Olympus, but for pure photography I think it offers an
unrivalled experience. In the last couple of months I've been looking at
the X-T1 as a replacement, and though it is faster, smarter and
weather-proofed I can't bring myself to buy it. Although a good-looking
camera with great ergonomics and a phenomenal EVF, it just doesn't have the
same instinctively great feel of the X-Pro1's body and buttons. And it is
for this reason that I'm holding out for that X-Pro2.

In using the X-Pro1 I learnt that you don’t need full-frame for stunning
rich images and that deliberate, thoughtful shooting yields great reward.

My final score for the X-Pro1?

BACON AND EGGS OUT OF TEN



I hope you enjoyed this review. Stick around for more upcoming posts on the
small town America project, sporadic gig and street photography and curious
little bits and bobs.


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India is incredible - just as it says on the box. It’s been on my to-do list for years, but it was only recently that I finally set foot in this land of

One particular reason for this micro-site's existence is to document my own thought process throughout the evolution of a longterm project from start to finish. An attempt to see what gets connected to what and where that ends up. A... | Fuji X Series Experience

We were pretty impressed by the Fuji X-Pro 2 when we saw an early unit, but we really wanted to see the image quality, AF performance and video quality of the final camera. Fortunately, Fuji sent us a production unit before the camera's launch. See how the Fuji X-Pro 2 stacks up to the competitors in these important areas!

Order the Fuji X-Pro 2 from The Camera Store:
http://www.thecamerastore.com/9610-Fu...

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Shot and edited by Jordan Drake
Shot on the Fuji X-Pro 2

My thoughts on my Fujifilm journey with Fujifim X series and the stunning new Fujifilm XPro2. With some black and white street images shot over the last coup...

Even four years later, Fujifilm’s X-Pro1 interchangeable-lens camera stands on its own in the world of mirrorless shooters. It’s an uncompromising, no-bullshit serious photographer camera for arty types who “want to take their time with it.” What then, will people say about its newly introduced successor, the X-Pro2?

Fuji X-Pro2 review with 20 high resolution, full size sample portrait images for download by Damien Lovegrove

I'm currently shooting Fuji, although my weakness for IBIS is exerting a gravitational pull back toward Sony that I might not be able to resist forever. Fortunately, 2016 promises to be a good year for Fuji, what with the X-Pro2 and X-T2 rumored to be on the way. And anyway a Fuji lens is garnering plaudits Webwide as the best lens of 2015. Didn't one of the big review sites name the Fujifilm XF 90mm ƒ/2 R LM WR ($949) as the sharpest lens it has ever tested? I can't find that. (By the way, I don't know what "LM" stands for unless it is followed by an "AO." "WR" stands for "I would never take my expensive lens out in the rain, but I could."). I've always had this problem in photography, in that a photograph can be infinitely technically perfected, to a minute and hyperfastidious degree, yet still not be, well, a good picture. Port the same idea metaphorically to lenses and you have my problem with the Fuji 90mm ƒ/2........ | Fujifilm x-series

The X-Pro 1 was the first mirrorless from Fuji, and is largely responsible for us having the brilliantly designed Fuji X series. The X-Pro 1 served many phot...

RT @EOSHD: Fuji X Pro 2 video quality a huge step up – hands on (pre-production firmware) https://t.co/Suh0ZXLCmQ https://t.co/PeyXMU1r1V

In March 2011, Fujifilm presented the ground-breaking X100 camera to the world. Five years on, and the imaging company is celebrating the ...

Lets get this out of the way. I love this lens. I've used it enough over the last eight months to really get to know it. I would consider the 23mm f/1.4 Fuji to be one of the... | Fuji X Series Experience

The Fuji Guys (Billy) give you a first look preview of this camera. Follow the Fuji Guys on Twitter: http://www.twitter.com/fujiguys For more information abo...

So after 4 years we finally know what we'll be getting with Fujifilm X Pro 2, the update to the now classic X Pro 1 which still has a lot of followers and wa...