I love buying new camera gear.  It is a wonderful pleasure to unbox an instrument that will help to facilitate new opportunities in photography.  Increasingly, however, it is difficult to improve upon current levels of technology, which even in modestly priced camera equipment, allows users to capture beautiful imagery in a wide range of settings.

Fujifilm recently teased the imminent release of the X Pro 3, the third version of their now-iconic range finder style camera.  As I have owned and used both of the previous X Pro versions, I was eager to see what improvements Fujifilm might have in store to tempt me into the newest product.  The details that have been released, leave me and with more questions than answers.

We know some details about the camera.  We know that rather than a body made from magnesium, the X Pro 3’s structure is fashioned from titanium, which is stronger, lighter, and more damage-resistant than previous bodies.

There are several new finishes available on the camera which also enhance the resistance to scratches and scuffs.

There is, as almost always with a new release, an improvement to the hybrid viewfinder which is been a signature feature of this line.  Apparently, the electronic viewfinder has a higher resolution, likely a faster refresh rate, and more sophisticated color reproduction.

It appears that the four-way controller on the X Pro 2 has been eliminated, as Fujifilm has done with several earlier releases.  I find for instance, on my XE3, that the joystick is a perfectly reasonable substitute.

Most significantly, we have an unusual change to the rear LCD.  There are actually two rear LCDs now.  The one on the back of the camera is a compact LCD similar to those seen on the top panel of the medium format cameras, as well as the XH 1.  This is mainly to show things like camera settings up.  It can also be set up to display what would have been in the past the end panel of a film box appropriate to the film simulation one has selected.  This will certainly bring back memories to those of us who shot in the film era. 

The actual view screen is hidden in normal use but can be accessed as a hinged panel which one folds down allowing for waist-level photography.  It does not otherwise articulate, however.

What up has not yet been revealed are details about things like Autofocus, video capability, and the sensor though the latter is presumed to be the 28-megapixel Trans X sensor found in the XT3.  At least in that camera, the sensor was not a clear improvement over the previous 24-megapixel sensor, particularly in aspects such as high ISO capability for resolution.

Again were lacking a lot of detail here, but once again I find myself thinking that this upgraded model does not feel like a compelling purchase.

First off, I tend to use the X Pro cameras for weddings and other event photography.  The current body has never felt particularly heavy or burdensome, in fact, it has a very solid well-built feel that perhaps would be lost if the titanium version weighs significantly less.  Also, titanium is quite expensive. Just what will this mean for the retail price of the X Pro 3 remains to be seen.

The rear LCD arrangement I think is a lost opportunity.  I actually like the idea of the compact LCD display new camera settings, and sentimentally, the box label styled indicator of the film simulation.  This is apparently Fujifilm’s little manipulation to keep us looking through the viewfinder and to minimize “chimping”, emphasizing traditional photography. I’m not sure that’s any of their business.

In my camera cabinet, I have a relic of the past, a Panasonic GH1.  I keep it because it has an interesting color signature, and is capable of decent video.  It has my favorite rear LCD of all time, a viewfinder capable of either being displayed on the back of the camera, viewed from above or below, or even from the front of the camera. 

I especially like that it can be folded so the rear viewfinder is against the camera body and protected from scratches.  To me, this style of viewfinder,  perhaps with the small LCD on the opposite side,  would have been a more interesting addition to the new camera It would allow users to work however they wished, rather than having their workflow dictated by Fujifilm.

This new design however, is not that disruptive to my usual workflow as I tend to shoot through the viewfinder. It will likely be a problem for other potential buyers.  It seems like an unforced error.

Fujifilm like everyone else struggles with the problem of upgrading current models that are already excellent.  We do not have all the details of this new camera, but so far I’m not sure I’m going to upgrade my X Pro 2 which is a joy to shoot and is capable of capturing beautiful imagery.

I’d like to be wrong, however. 

I hate to miss an unboxing.

So it seems I was wrong (hardly an unusual situation).

Shortly after I wrote the last article, I noted on the Fuji Rumors site that the Silkipix-based imaging software, which has been the traditional free offering for Fujifilm, not only still exists, but has had an upgrade to handle the X-T30.

This confuses me.  I’m not sure why two companies, particularly Phase One, the developers of Capture One, who competes with Fujifilm in medium format, would offer free software to Fujifilm users.  Nonetheless, both are available.

It’s possible that Phase One feels that if Fuji users are exposed to its raw conversion benefits, they will opt for the full package, rather than continue with Adobe.

Fujifilm Raw Converter EX 3.0, like its previous versions, converts X-Trans files very nicely, on a par with the better offerings from other companies.  It’s just always seemed inconvenient, mainly because the workflow for most of us who use either Adobe or other more popular products, up has always seemed somewhat counterintuitive.  If I were a new Fujifilm owner, who wishes to shoot raw, but has not yet invested in one of the expensive software solutions, Capture One Express, and/or the Fujifilm Raw File Converter both work very well, once you become accustomed to them.

For many people, particularly the people that aren’t yet working in layers/masks, they could be all the software that you need.

Every once in a while, perhaps while out shopping, or at a restaurant, I will encounter an old friend, whose life path has drifted out of my particular orbit. After spending some time catching up, I will be reminded of how much I enjoy their company, and will wonder why we didn’t make more of an effort to keep in touch.

In the last several weeks, I feel it had that sort of an experience with a lens. In particular, the Fujinon XF 60 mm f2.4.

This was one of the 3 original prime lenses introduced with the X Pro 1 in 2012. At the time, it was lauded by some is the sharpest of the trio (the 18 mm f 2.8, the 35mm F1.4, were the other 2 lenses).

I remember my initial impressions were that this was a bitingly sharp lens, noticeably more so than my Nikon primes. In fact, the quality of all of these original lenses probably helped pull me from using my Nikon gear, to shooting mainly with Fuji.

But just like with life, newer things come along, in this case, lenses that are faster and newer, and distract me from an old companion. After a time the 60 mm became lost in the back of my photography cabinet.

Several weeks ago while on my way out the door to go hiking, I picked up camera bag with my XT-10 body, which I noticed had no lens mounted on it. I opened a cabinet and on a whim, reached blindly to the back of the shelf, determined to utilize the first Fujifilm lens I grabbed. This turned out to be the 60 mm, which I have basically ignored for many years. I mounted it on the camera and have been shooting ever since.

To remind you, this is a macro lens, the first in the Fujifilm “XF” line. It is fairly diminutive, compared to for instance the 56 mm f.12. It’s nicely built, with not only a fairly deeply recessed small front element but then a rather large metal lens hood. All of this makes it quite resistant to lens flare as the sun’s rays rarely reach the front element.

Though the lens aperture is tighter than many of the other Fujifilm primes, the lens is quite sharp wide open at F2.4. For those of us that focus on landscape imaging, the modest deficit in light gathering is really not much of an impediment when shooting in the daylight hours. This plus its small size may make it preferable to the newer 56mm for shooting while hiking. If only it had stabilization…

On an APS sensor, the lens has a 90 mm equivalent field of view, which makes it ideal for the sort of late summer early fall photography, available now as it allows you to isolate the sporadic displays of autumnal color beginning to erupt at this time of year. It’s also wonderful to have its macro capabilities for close-ups of wildflowers and the other fall forest offerings.

And boy is it sharp! From f2.8 and above, the lens has incredible definition. Out of focus elements look lovely at f2.4-3.5. Mounted on the XT-10 it balances very nicely, though it is a bit long with the lens hood installed. Still an all, it’s very compact package.

One downside of this optic for outdoor use is that given its magnification, it is prone to artifacts from camera shake. I find that using my steel Gitzo monopod, and good shooting technique, I can get acceptably sharp results without a tripod. You just have to be careful.

I did a search on eBay and found there are a lot of these lenses for sale. I suspect that it is a common lens for Fujifilm users to unload. There is a wide range of price’s but it looks like you could acquire a nice used one for between $US200- $400. There is also a broad range of prices for new lenses of between $US300-$650.

Given my experience, I think I’m going to put this lens back into circulation for outdoor shooting, relying more on the 56 mm f1.2 for street, and indoor work.

If you have one in the back of your cabinet, pull it out. I suspect he will find it is indeed like an old friend.

 

 

 

 

I have just returned from a trip to Baltimore, Maryland.

Often in June, depending where it is held, I attend the American Academy Of Sleep Medicine meetings.  This year they were scheduled for Baltimore, which is a surprisingly short drive from my Northern Pennsylvania home.

I’ve had many pleasant trips to the city in the past.  Though I initially hoped that my wife would accompany me on the trip, her work schedule prevented her from joining me, and I was forced to go alone. Thus I would need something to do with my free time.

Early June is a pretty good time to visit the Chesapeake region, as often the temperatures and humidity have not risen to uncomfortable levels.  Such was the case on my trip.  I arrived Sunday, shortly before a cold front came through, which on the back side yielded bright blue skies and temperatures in the seventies.  It was cool enough, at least on the water, for a light jacket.

Though this was not purely a photographic trip, I knew that I would want some gear along to occupy my off hours.  I decided on the Fuji X Pro 1 with multiple lenses for more deliberative photography, and the Fujifilm X100s, as my companion for street shooting.

I pretty much carried the X100s everywhere, including into the conference.  I took a lot of images even in the product exhibition hall, before discovering there was a strict rule against this, to the point where they would threaten to eject you, and confiscate your “film”.  The problem with enforcing this is that everyone had a camera in the form of their cell phone, and I saw many people photographing new products, that perhaps they wanted to remember, or even included a presentation.  Hell, one of the exhibitors had a Nikon DSLR in hand, and appeared to be shooting a lot of images.  The X100s was wonderful in this setting because of its stealth and its low light capabilities.

I have noticed, that compared to its predecessor the X 100, the X100s appears to have a decreased battery life.  This had been annoying to me before the trip, but I learned that if you keep the camera off (and not rely on the auto shut off feature), that the battery life was quite tolerable.  I did not need to change a battery over the three days of the trip (probably shooting 150 frames).

Anyone remotely interested photography who sees the Fuji X cameras, is fascinated by them.  They often assume that I am shooting film.

I took the opportunity to travel about.  Part of this was in search of meals, as the locals I encountered would generally send me out of the “Inner Harbor” neighborhood for the best restaurants.  Perhaps they are “seafood snobs” as I did have several good meals in restaurants overlooking the Harbor, including perhaps the best mussels I’ve eaten my life.  I don’t believe I’ve never had a bad seafood meal in the Chesapeake region.

It was a modest walk from my hotel, to the Federal Hill neighborhood of the city.  There, a large park occupies a flat-topped hill overlooking the Harbor, once used as a vantage point for cannons, which would have been the final defense for the city from the British in 1812.  The neighborhood features brick row homes, of an early 19th century vintage, quite similar to my old neighborhood in the Society Hill section of Philadelphia.

The neighborhood was positively festooned with quaint cafes and public houses (which is never a bad thing). Having stopped in a restaurant in the neighborhood,  I was reminded by my server  that in the Chesapeake region, they were having a particularly good soft-shell crab season.  She served me an appetizer that deliciously proved her point.

The above image was shot inadvertently at ISO 1250 which required a shutter speed of 1/10th with the lens at f2.8.  This points out some good and bad features of the X Pro 1.  The good: that the combination of lens stabilization, and the lack of a mirror, allowed me to shoot a sharp image, at relatively slow shutter speeds.  The bad: the lack of an effective auto iso control on the X Pro 1 (as opposed to the feature on the X100s) means that I have to pay attention when switching cameras, remembering to alter the iso setting manually on the X Pro 1 as the lighting changes.

On another day, I made use of the water taxi service, both to gain another photographic vantage on the harbor, but also to visit Fort McHenry, which is preserved by the National Park System, for its role in the war of 1812.  As you may well remember, the fort served as the primary, outer perimeter defense of Baltimore Harbor.  It was the sight of the American flag being raised over the fort, after the British Fleet was sent packing that inspired Francis Scott Key, to write the Star Spangled Banner.  The fort served many purposes since that battle, including as a hospital for wounded in World War One.  Sometime in the early part of the 20^th century, it was restored to a condition near to that, when the famous battle occurred.

In order to get to the fort, you have to stop to change boats at Fells Point, a neighborhood of Baltimore famous in the early 1800’s for privateers: civilian ships and crews, who were sanctioned by our government to raid British shipping. This is another quaint historic neighborhood that if anything, looks a little older than that at Federal Hill.

It was also quite gentrified, again with bars, B+B’s art galleries, and quite honestly more bars.  Your water taxi ticket gives you two-for-one beer coupons for many of the establishments.  This makes it extremely important to remember that there are no “facilities” on the boat for the ride home.

As a whole , this city is a wonderful location for photography.  It is obvious that it has been developed in such a way that it is pleasant to view from the water, in a much more intimate way than for instance, New York.  There is a varied architectural themes throughout the city, all of which makes it visually stimulating, and quite interesting to photograph.  And the people are very friendly and proud of where they live.

Baltimore is a lovely place to visit.  I think the best months for a trip, might be mid to late May, and for September/October, all months when the schools are still in session, the crowds reasonable, and the temperatures moderate.

And, best of all, it’s soft-shell season.

Right now, at least from a photographic standpoint, life is pretty damn good.

It has been several weeks since my initial discussion of the brand-new Fujifilm X100s.

Not infrequently people are asking, “Is it worth trading up to what on the surface is an almost identical camera.  Now as I have said before, I tend to be cheap. And not all upgrades are worth the money.

So my best answer is this: my beloved X100 has found a new home somewhere in northern Minnesota, having sold on eBay for a reasonably good price, but certainly still at a loss.

Yes, the X100s is that big an improvement.

Because there was no one was due to be at my home during the week the camera was to be delivered, I shifted to delivery my father‘s address nearby, where there would be someone available to sign for the package.  I stopped off at the end of the day, and opened the camera in his den.  I inserted a battery, and an SD card.

Now, it should be said that my father is somewhat bemused by my interest in photographic equipment. The whole “unboxing” thing is lost on him (which means he’s not crazy like his son).

I was fairly familiar already with the camera and quickly set it up to my preferred configuration, composed an image involving my father, and snapped a picture.  The camera selected iso 3200 and then opened the shutter.

When I finally got home and download the memory card, I realized that X 100s. was probably going to work out pretty well.

So what are the real differences between this camera and its predecessor?  So far, for my use I’ve noticed several real improvements.

The first change that I noticed, right off the bat,  had to do with start-up speed.  The previous camera was extremely unpredictable in this regard.  Sometimes I would turn the camera on, and it would be ready instantly.  Other times (like when I would see a great shot and tried to grab it quickly) the camera would fail to activate until after the moment had passed. I cannot tell you how frustrating that was (note to Fuji: I forgive you, but just this once).

With X 100s, on means ON, and right now.  So far I have not missed any shots because of the delay in “boot up”.  For a professional user, this alone is probably worth the cost of the upgrade.

Probably the most important upgrade for my style of shooting has  to do with the operation of the auto focus.  Finally there is an X-body where selection of the auto focus point can be done with one’s eye to the viewfinder.  This was accomplished by moving the  AF button to the top of the multidirectional control, where he can be easily accessed by your right thumb.  Once selected, you can then use to control to move the square throughout the frame.  This is a huge improvement for those of us who rely on  auto focus.  This is the way it should have been designed originally.  I wish my X Pro-1 had the same feature.

The auto focus also does seem faster.  Before I sold my  X100 I did compare the 2 cameras side-by-side, and it did seem that the newer camera was more capable of locking onto poorly lit objects, and was somewhat faster.  I really didn’t mind the old system however.  None of these cameras focus like a good DSLR, but given what I use them for they don’t really have to.

Manual focus too has finally been perfected.  The focus ring finally moves the point of focus fast enough to be useful, and the new focus aids include a split screen function, and focus peaking.  I find that the former feature is more difficult to use.  Focus peaking however is extremely useful and seems very accurate.

It is true that the exposure compensation dial seems to be less prone to inadvertent changes.  I also like having the “Q” button available on the back of the camera.  I grown to find this feature useful in my X Pro-1 and is nice to have it here.

The lens is essentially the same as the X100.  As I understand it can focus closer than on the old camera but otherwise to my eye it looks the same.  Like its predecessor the lens is fairly sharp wide open, but really gets interesting at f4.0 and beyond.  And the leaf shutter is just as silent as before.

In terms of image quality, basically it’s an X Pro-1 with a 23 mm lens (35 mm equivalent).  That is to say that the files are very good, with wonderful Fuji color, and excellent dynamic range (I can easily recover the highlights in the window behind my father).  There is lots of resolution for big prints.

It is somewhat vexing that as of this writing, Capture 1 does not support the X100s files, but I’m sure they will soon.  In the meantime ACR and Raw File Converter can both be used to convert the X100s raw files.  I’ve come to realize that for detailed landscape images, Raw File Converter is preferable because of the superior detail that it can reveal. I prefer ACR for a high ISO images and portraits, where it has a very nice smoothing effect on skin, and grainy images.

The camera definitely has better low light capability than its predecessor:  enough that I now set the auto-ISO control on ISO 6400 (rather than 3200 on the X 100).

Now more than ever the camera is an ideal companion to one of its interchangeable lens brethren.  I love to shoot with the X pro-1 mounted with the 60 mm f2.4 lens, in the bag along with X 100s.  These cameras are very complementary to each other, with similar controls and essentially identical image quality.  And remember, the very useful X100s. focal length is currently unavailable in the XF lens catalogue(at least at f2.0).

All of this has made me very happy.  I wish I thought the auto focus button placement on the X Pro-1 could be upgraded through firmware, but so far there is no sign of this happening so far.  I imagine an X Pro 2 with the X100s focus improvements, and perhaps an even more improved sensor and I find myself salivating like a Pavlovian dog.

eBay I think, has not seen the last of me.

I am not a generally a wide angle shooter. When many years ago, I began to get serious about outdoor photography  I, like many other photographers just starting out, assumed that proper landscape photography was most appropriately done with short focal length lenses encompassing a wide field of view.

It seems to me this is a very common beginner’s mistake. I quickly found out that capturing scenes that are attractive to the naked eye using such lenses, often created a visually uninteresting, unfocused image. Too wide a field of view can leave an image without much of a focal point, with which to draw the viewer “into the picture”. Wide angle lenses also offer little magnification of distant objects, and can make a scene, for instance with a backdrop of mountains, appear uninteresting relative to the photographers own visual viewpoint.  Longer focal lengths work better for this.

But ” wide’s” have certain advantages.  They can make linear objects appear longer and more dramatic.  They do this in the same way they  deemphasize distant objects; by making the end of a fence line, or road appear further away.   They have better depth of field than longer lenses.  This can all be used to one’s advantage.

I have noticed over the years, that a lot of my truly wide-angle lenses like my Tokina 12-24 mm for DX, did not get much use. I seemed to gravitate into shooting mid-range and mild telephoto zooms and primes for landscape, which in my mind allows better isolation of the subject, and improves with prominence of the background  as well as the bokeh  of most of the photos I produce.

Nonetheless, when Fujifilm introduced its XF 14mm f2.8 R optic, I just sold some equipment, and had a little extra cash. Because of the affection I have for the system, and the excellent reviews of this lens,  I figured it would be reasonable to acquire one for myself, and perhaps reinvigorate my wide-angle photography.

I ordered one up from B&H in New York, and as it often is the case, it arrived on the next day.

The lens itself is fairly large. If anything it’s a bit larger than the XF 18-55 mm midrange zoom lens with which it shares its petal shaped sunshade . It has a detented aperture ring, a fairly broad focusing ring, and in a touch reminiscent of my Tokina glass, a slip clutch that allows a quick switch from auto focusing, to manual focusing.  It also has a focus distance scale embossed in the front of the lens.  It is the best finished of the XF primes that I own.

Like all the XF lenses, it feels extremely well-built, and balances nicely on my X Pro 1.

You can read the reviews. Pretty universally, the lens is thought to be quite sharp, pretty much edge to edge by f4. Also in different from other XF lenses, its native and distortion is very low, and there is little, if any correction required in software.  This is great for architecture, but sometimes leaves one wanting, if you’re looking for that slightly fish eyed perspective that can make some portraits and street shooting visually interesting.

I do not intuitively shoot with wide-angle lenses.  For me it is a challenge, but certainly a joyful one. Given the drab browns of early spring. I find myself looking for unusual patterns particularly in shadow and light, and opportunities to find color in the bland surroundings.

My copy of the lens seems as sharp as advertised.  Autofocus is slightly slow, but again you’re not going to use this lens for sports or action photography.  I think it is better specified for deliberate shooting.  Flare is extremely well controlled.

The time of my testing of the new lens, was coincidental with the availability of Camera Raw version 7.4, the final release. I had already played with the release candidate, and was eager to see whether the final version offered additional benefits.

I developed a number of X Pro 1 images, with Capture 1 Express, and then again with the newest version of ACR. I didn’t notice much difference between the release candidate, and the final version, but I agree that Adobe has clearly improved the raw file extraction since its earlier efforts, probably to a point where in most situations the differences between its capabilities, and those of competitive raw converters, are minimal.

Trust me, I spent a lot of time on the sharpening of both images. Still, particularly in looking at prints, I think for fine detail, looks more natural and dimensional in the Capture 1 (and the Fuji Raw File Converter) results.

Yeah, I know, the ACR image has a different color signature, than the one done on Capture 1.  Try as I might in ACR, I had a really difficult time duplicating the color balance on the second image which to me  were the colors that I was seeing at the time the image was shot.  I think this is an idiosyncratic situation, and not typically a problem for ACR.

You can be the judge, but to my eye, color aside, the second image looks much better,  slightly in terms of detail perhaps, but with significant improvements in micro contrast.  To me it just looks more real.  And it prints that way also.

All this aside, I think this additional lens, and the improving  options for raw file conversion are really great enhancements for the Fuji X interchangeable lens bodies.  I continue to love shooting with them.

Oh, and I’ve pre-ordered an X 100s.

It’s going to be a fun Spring.

Those of us who shoot the interchangeable lens Fuji cameras such as the X Pro 1, and XE 1, have had much to enjoy.

But as we discussed in an earlier posting, the novel configuration of the new Fuji sensor in these bodies, has apparently made it somewhat difficult for imaging software companies to come up with the appropriate software to translate the raw files into images, particularly given the potential of the sensor and the camera body.  Adobe in particular have struggled with this.  There has been two problems with Adobe Camera Raw, and Lightroom conversions of the Fuji files.  Number one there has been a smearing affect in areas of images, weather is for instance white lettering on a darker background.

There is also an obvious lack of detail in the Adobe conversions, relative to those done with Fuji’s bundled Silkypix-based conversion software, and Capture One 7, not to mention the in-camera raw conversions.

This week, Adobe made available a of quotes “release candidate”  raw conversion software for Photoshop and Lightroom that is said to among other things, address the weaknesses in  X Trans raw processing.  I wanted to see if it represented a significant improvement.

DPreview has done an evaluation of the new raw processing software.  Their images when compared to earlier raw conversions, do tend to suggest that the “smearing” problem has been somewhat successfully dealt with.  It did appear however on their images, that reproduction of fine detail may still be an issue.

To find out, I ran a picture of the hemlock trunk I’ve used in earlier articles through the newer Adobe converter and then compared it to images converted with other software.

I actually did additional sharpening, on the files converted with a newer Adobe plug in.

To my eye, at least on this image, the fine detail/watercolor issue continues to be a slight problem, though less so than before  (the differences are more pronounced when viewing the on uncompressed Tiff files).  Files converted with the Fuji Software, and Capture 1 version 7 continue to be  slightly superior in terms of apparent resolution but it’s closer than before.

But  then I converted some other image files I have recently taken with Capture One Express 7.0 and Adobe Camera Raw.  This particular  file which was fairly typical, I reconverted multiple times, to make sure I hadn’t made any mistakes.

 

Here’s the 100% images

To my eye, there remains a significant difference in detail retention with a strong advantage to Capture One (and believe me, I worked hard with the Adobe file).   Given this, I think Adobe still has a way to go.  For now I will  be using Capture One, or Fuji Raw File Converter, for detailed landscapes.

On a related note, Capture 1 has released version 7 of its Express Software which is less well featured on the pro version, but should still be useful for  the X Trans raw files.  I shall probably acquire that software as I do not require all of the capabilities of the more expensive version.

I suppose the good news here is that there are now several excellent choices for the conversion of Fuji X Trans raw files.  This would certainly be important to Fujifilm, who is about to come out with two more cameras (the X100s, and the X20) that use the same sensor technology.

Though Adobe conversions are still not optimal, they are improved and in many cases may now be adequate.

I didn’t think I had much more to write on the Fuji X Pro 1.  Since my original review, it has become one my main photography tools.  I have grown to accept the limitations in terms of raw file conversion and auto focus, in exchange for the brilliant image quality this camera generally delivers.

Several events recently however have caused me once again to revisit the camera and its work flow.

I have been using Adobe Camera Raw as my main conversion software and a trial/ beta version of Capture 1 for my more critical images, particularly landscape images with fine detail.  One Sunday morning recently, I started to process some files that were shot the day before.  I opened Capture 1 (the beta Pro version) only to find that it had expired, taking with it  the trial version I downloaded prior to the issuance of the beta.  Well, no matter,  I figured I’d go to their website thinking that I could download Capture 1 Express. This is a stripped down version of the full program including only the core features, including the raw file converter.  At $99 it seemed a reasonable deal.

Unfortunately, it turns out that and the Capture 1 has shrewdly withheld X trans-sensor support from the less expensive software.  This may just be a matter of the “Express” product being an earlier software version, though it is easy to suspect that, given the superiority of their software in the case of the Fujis, they’d like us to spend the full $300.

Momentarily frustrated by this, I retrieved the X Pro 1 box, and retrieved the software disk, which includes the Silkypix based-raw file converter that came free with the camera.  I was aware peripherally, that there had been several software updates to this.  Sean Reid of “Reid Reviews” compared this software to Capture 1, and Adobe Lightroom, and felt it was second only to the Capture 1 results in image quality.  Given the circumstances I figured I’d give it a try.

Doing some research, I discovered that there had been a further  update of this converter (ver.3.2.13.0), one more advanced than the one Sean tested.  I installed the original disc, and updated the program from the website.  As I had a bunch of files converted with Capture 1, I decided to reconvert them with the Fuji software for comparison.  I also compared conversions by ACR.

This is a good example. It’s from the original X Pro 1 article.  It was shot with the 60 mm lens, and I marveled at the time how sharp it was.  If you “pixel peep” the Adobe version you can see the smearing, and “watercolor effect” people are talking about.  I didn’t really notice this effect until I reviewed the Capture 1 version  which has much better preservation of fine detail ( BTW I did try to sharpen the Adobe version).

I then converted the file using the updated Fuji software. To my eye there is a  very similar gain in resolution over the version converted by ACR making the Fuji and Capture 1 versions essentially indistinguishable. This held true over multiple conversion comparisons.

Silkypix has a reputation for being awkward to use, and for the first couple of images that was true.  After converting perhaps 20 images, I began to get a feel for it and now feel much more comfortable with the work flow.  I still cannot find a way, like you can with Capture 1, to have it open converted images in  Photoshop (I’ll keep working on this however). Still, given that it’s free, I think I can put up with its few shortcomings.

Parenthetically, I thought it would be interesting to compare conversions of my Fuji X 100 images between the Fuji program, and ACR.  One particular landscape image, was accidentally acquired at asa 1200.  I always like the Adobe conversion.  But arguably the Fuji version was perhaps slightly more detailed with significantly better handling of noise (using raw file converter’s default noise reduction settings).  I’ll have to keep looking at this.

Another issue to discuss is the newest firmware issues for both the X Pro 1 body, and the 35 mm F1.4 lens.  No I’m not a person with a lot of beefs about the XP1 focusing speed or accuracy.  I use this camera for more deliberative photography.  If I’m going to a sporting event, I generally take one of my Nikons.  I do however desire that the auto focus to be as fast as possible. The new firmware,  version 2.03 is said to improve the accuracy of the auto focus system.  This is apparently particularly so for 35 mm when its firmware is upgraded (ver. 2.02) at the same time.

I upgraded both the camera and the body.  Prior to doing this, sitting in  my deliberately poorly lit studio, I attempted multiple times to obtain auto focus lock on 7 different low contrast objects in the room.  I was only able to lock focus on 2 of them.  After the upgrade, I was able to lock focus on 5 of the 7 objects.

This effect was true both for the 35 mm lens, and the 18-55 mm zoom.

The 35 mm did behave somewhat differently after the upgrade. Before ultimately locking, the lens swept up and down it’s focus limits, before establishing focus.  This was different behavior than prior to the upgrade.

That day I went out to shoot some images for my local state park where there was a winter festival occurring.  In good light, I found that I could merely press the shutter and shoot the image without waiting for focus lock.

I did this multiple times, and the auto focus was very accurate.  I believe this is an improvement from the previous level of performance.

In summary, the most recent software upgrades, for the camera, and the bundled raw file converter, have once again  improved the overall experience with the X Pro 1.  I still hope that Fuji fixes the auto-iso issue that everyone complains about and finds further ways to improve the auto focus.  I also wish that Adobe would put the time into their raw conversion software so that it would equal the performance of Capture 1 and Fuji’s version of Silkypix.

Overall however, I’m pretty damn content.

Faithful readers of this site are aware of my affection for the Fuji X series cameras, both the X100 and the X Pro 1.

I think perhaps the one characteristic shared by both cameras is the very high quality lenses Fuji has designed for both devices. This includes the fixed 23 MM lens on the X100, and the three original prime lenses offered with the X Pro 1.  Still and all, there are times when a zoom lens is helpful, particularly in circumstances where “zooming with your feet” is impossible.  And although these cameras seem to have less propensity for motion blur then say, a digital SLR with the big moving mirror, it still an issue. It is particularly a problem when I use the cameras while hiking, when my vigorous cardiac contractions can cause camera shake.  With all this in mind, I was very eager to try the 18 -55 mm f2.8-4 image stabilized zoom lens Fuji announced with the X E1.  I was hopeful that the high quality of the prime “XF” lenses, would carry over to the new zoom.

I finally received word several weeks ago that the lens was in stock at B and H so I ordered one.  I’ve been shooting with it in a number of settings and would offer these observations.

Obviously this is less than a formal review.  There’ll be no resolution charts or other such technical data (I lack both the equipment and the inclination).

The lens arrived in the usual black Fuji packaging.  Included with the lens, is a scalloped lens hood and a pinch lens cap.  Unlike some of the prime lenses, the hood and lens cap function much like more conventional lenses (the hood can be reversed and stored on the lens).  The lens also comes with the familiar XF mount lens pouch which is larger than the lens, and closed by folding the end flap over itself (I’d really rather a drawstring).  Happily the build quality of the lens seems identical to the prime lenses.  The lens is mainly metal with very precisely machined ridges on the zoom and focus rings. Happily it is not much bigger than the 35 mm prime with its rectangular lens hood.

Unlike the prime lenses, the aperture ring has no markings and the aperture is determined by looking at the viewfinder, or rear LCD.  There is a separate switch which determines whether the aperture ring functions, or whether the aperture is set to automatic (allowing shutter priority shooting).  The movement of all the rings is very smooth.  I don’t use manual focus very much but the amount of travel required of the focus ring to go from near too far, seems fairly modest.  In my experience autofocus with this lens is fairly quick, perhaps roughly as good as the 35 mm.

One great feature of this lens is that it is image stabilized.  It’s always hard to know how well this feature works.  I become fairly adept at shooting the non-image stabilized Fuji lenses without much motion blur.  Reportedly the feature is good for keeping the image sharp for 3-4 stops of longer exposure.

This lens is really meant to be used with the electronic viewfinder.  At shorter focal lengths, the optical viewfinder can be useful, but as the lens is zoomed, the bright frame delineating the actual image, shrinks to a point where is roughly the size of the focus box, and thus essentially useless for framing.  I just keep the viewfinder set to electronic, which for me works fine.

I had the lens with me for a recent model shoot, and for a trip to the Adirondacks.  It is fairly fast (maximum aperture at 55 mm is f4.0).  For portrait work, I obviously used the long end of the zoom, but even with the slightly tighter aperture, background blur, I think was quite pleasing and the lens was very sharp.  I would have to say however, that the 60 mm f2.4 really shines in this setting.

The lens really comes into its own for landscape photography.  Fitted to the X Pro 1, the combination easily fits in my small Mountainsmith fanny pack.  Particularly in the middle of its focal range, the lens is fairly sharp corner-to-corner and quite contrasty, much like its prime brethren.

I was curious to compare the lens to a known standard.  Unfortunately the only lens that I have in the XF line within the zoom’s focal length range is the 35 mm f1.4 so I shot them against each other using my usual tabletop scene, both at f3.6.

These crops are taken from the periphery of the image, as I think the center image is fairly close between the two lenses in terms of sharpness.  I think you’d have to agree that the 35 mm is better at the periphery, hardly a surprise.  I would say however that the 18-55mm has many of the same positive attributes, of the 35mm, and 60 mm I already possess.

It will be tempting to leave it on the camera most of the time.

With this lens I have no burning desire to obtain the 18 mm prime lens.  The 14 mm f2.8 and the upcoming 23 mm however still interest me, and I will look to acquire them.

In summary, this is a really nice addition to the XF lens line.  It appears to continue the reputation of the Fuji lenses for great optical quality at a very reasonable price.  If I had to do over, I might have bought an XE 1 with this lens (which makes the lens an even better bargain) and then acquire the primes over time.

Adding it to my X Pro 1 has made the system a lot more versatile and fun.

I’m becoming a Fuji guy again.

I shot Fujifilm cameras for many years. I started with an S2, and shot later with an S3, and S5.

I always loved the gorgeous output of their unique imagers, despite the quirkiness of the Nikon bodies they resided in (relative to the comparable Nikon DSLR of the time).

 Anyway, after the S5, Fujifilm stopped making Fuji/Nikon hybrids, and I began using Nikon cameras as they became dominant in sensor technology.

I’ve written on these pages, how the purchase of the Fuji X100 reinvigorated my photography for reasons that I still don’t completely understand.  With the purchase of the Nikon D600 (soon to be reviewed) and the sale of my Fuji S5, I was happy thinking that I have created the perfect collection of equipment for my various photography needs.

I was content.  The combined capabilities of my D600, and X100 in fact were making my D700 somewhat redundant.  I was perusing Ebay to obtain the probable sale price of that camera, when I came upon another lightly used camera body for sale.  The auction was nearly ended and the price of the camera was still very tempting.  I placed what I considered to be an unreasonably low bid assuming (and perhaps wishing) that I would not win. After all, I really didn’t need this new camera.  For better or for worse however, in an hour my cell phone alerted me to an e-mail I had received, informing me that I was now the proud owner of a Fuji X Pro 1.

I’m receiving the news of my purchase, I immediately ordered from B and H photo, a 35 mm F1.4 Fuji X. lens so that its delivery would coincide with the arrival of the body.

Now, I had originally been somewhat lukewarm about the X Pro 1.  I handled the body in a camera shop in Boston several months ago.  To me it felt somewhat light weight and not as substantial as my X100.  My error however, was not handling it with a lens.  When the 35 mm arrived along with the camera, I mounted the lens and immediately noticed the nice weighty feel of the combination.

I have subsequently acquired the Fuji 60 mm lens and I’ve been shooting for long enough with the system to have formed some definite impressions.

The X Pro 1 in use is a significantly larger camera than the X100.  I still prefer that camera to use as an indoor events camera given its small size, its 35 mm (equivalent) lens (a focal length not available yet in the Fuji X lens line), and its very quiet shutter.  The X Pro 1 is also very capable in these situations, when the image calls for a longer focal length (I don’t yet own the 18 MM as I may wait for the  Fuji X 18 – 55 mm f2.8 optic to be available).

Call me a Fuji fanboy, but I really enjoy using this camera system.

First and foremost, particularly with firmware 2.0, most of the early foibles of the X Pro 1 (and X100 before it) have been dealt with.  The ergonomics of the camera are a nice improvement over the X100.  Once again we see the lack of a mode dial, its function replaced with the rotating shutter speed dial, and aperture ring on each lens.  Each control has a position marked “A”.  For instance: when A is selected on only the shutter speed dial, the camera is in aperture priority unless A is also selected on the aperture ring at which point the camera is in full auto mode.  The only problem with this, is that you need to be alert for the possibility that the shutter speed dial( or aperature ring in shutter priority) accidentally moves off the “A” setting, which then places the camera in full manual mode.

There is a new button near the thumb rest, labelled “Q” which gives immediate access to the most commonly use settings of the camera.  This is very helpful.  The thumb wheel, now rotates completely that seems mainly useful for controlling camera functions and when pressed in, accessing a magnified viewfinder for manual focusing.

The autofocus button, though still poorly located on the left side of the camera, is it least now at the bottom of the stack so that it can be found more quickly.  I find though I still have to take my eye away from the viewfinder to change the focus point, something that is unnecessary for instance, on my G-series Panasonic cameras.

Then there’s the  dual viewfinder.  As with my X100, I tend to use electronic viewfinder more than the optical one, but the latter is useful when shooting action, as it allows you to observe a subject that is “out of frame” and time when he will be “in frame” so that you can push the shutter at the appropriate time.  The lack of a diopter adjustment is a complete mystery.  Apparently you can buy screw in viewfinder lenses and change the diopter but why Fuji excluded the adjustment feature is beyond my comprehension.  Happily the standard viewfinder works well when I wear my glasses.

The autofocus performance is a common topic of conversation for reviewers of this camera.  I find it about as reliable as the X100, which is to say not as reliable as my better Nikon bodies, but adequate.

A major reason to buy one of the Fuji interchangeable lens cameras is the quality of the lenses offered.  Both the 35 mm, and 60 mm lens are bitingly sharp in a way that I have not often seen in other lens/camera combinations.  The 60 mm is particularly so.  I cannot wait to use it for some upcoming model shoots I have scheduled.

Another issue with this camera is the supposedly poor state of raw file interpolation currently offered by the major photo software companies.  As most readers know, the X Pro 1 has an unusual sensor with the kind of randomization of the colored photo sites that allows it to go without an anti-aliasing filter.