Early April in northeastern Pennsylvania is the point where one can realistically hope for the first sporadic signs of spring weather.  Here, temperatures, if we are lucky, are in the mid to high fifties. If it is unusually warm, a few of the maples may begin to bud out. Our predominantly oak forests however, stubbornly resist any show of foliage.  In fact though, is it the oaks that are more prudent; for a limb-breaking snowfall, even now, is not unlikely.

In this climate, people search for any touchstone to mark this season.   For many people in our region, it is the first day of trout season.

Now if you are a fly fisherman, you can fish during a great deal of the calendar year.  Pennsylvania proudly boasts some of the finest fly fishing in the country. Whether we’re talking about the upper Delaware River, The big and little Lehigh Rivers, The northern reaches of the Allegheny River, or the limestone creeks of south-central Pennsylvania, the state is a popular destination for anglers.

There is, however, a second culture of fishing in the state.  It is a culture some would call “put and take”, In other words: people who, unlike the fly fishermen, actually tend to eat the trout they catch.  These are the people that show up in force on the first day of the regular trout season.

 

For instance, located at the nearby Nescopeck State Park; Lake Francis is a 9 acre relatively cold water impoundment, which is traditionally stocked with Brown and Brook trout on the week before the season. Now by early May, on a walk around the lake, you may encounter two or three people with a line in the water. But on opening day Saturday, it is not an exaggeration to say that the fishermen are literally shoulder to shoulder. This is true at many other lakes where trout are stocked.

It is the abundance of hatchery trout that draws them, fish that are perceived as being “easy marks” compare to the wily native Brook Trout.  They readily feed on the most mundane of live bait and even canned corn, which is said to resemble the feed they are given in the hatchery (I’ve even seen fly patterns designed to mimic trout pellets).

Now many of the people there are family groups with children. For them, it is a great day to introduce their kids to the joy of fishing with a high likelihood they may actually catch a trout or two. Others are like friends I grew up with: people for whom having trout in the freezer was a way to extend their food budget. 

But there are trout stocked also in the streams and rivers. Even on that day in April, if one explores a bit, it is possible to find isolated riffle, or pool stocked with the same naive hatchery fish. When I have fished on that day I always gravitated towards solitude.

 If it is like my childhood, despite the crowding, one will find the same people at the same spot on the lake or the stream year-to-year.

They’re there for the fish, the tradition, and hopefully, the first bit of spring.

 

 

Among Fujifilm “X” users, the unique characteristics of the Trans-X sensor used in most of the camera line is a very familiar topic. This sensor was developed in 2012, and was one of the first sensors to not include an  anti-aliasing filter,. These filters, which slightly blur the image (thus reducing apparent resolution) had been included in most digital imagers up to that time to prevent the phenomenon of moiré. The Trans-X sensor used a less symmetrical color filter array to prevent moiré effects.

Those a few that are unfamiliar with this topic can find more information here.

Because of  the unique design of this sensor, programs to convert the raw files generated by these cameras have at times struggled to optimize the resultant files. Part of this may have been at least in the beginning, Fujifilm was not particularly forthright with information on the sensor.

Over the years we have looked at the different raw converter options for the  Fujifilm cameras and in my case those compatible with a Windows environment (definitely not a Mac person).

For many years it seemed clear that Phase One’s Capture One software was then programmed to beat, besting Adobe Camera Raw, and even slightly better, then Fujifilm’s on Raw file converter, based on the Silkypix photo management product.

Ultimately Adobe refined its raw conversion process for X-trans, and Photoshop and Lightroom became more competitive. Recently the differences in conversion quality, though still favoring Capture One, have not been worth the workflow interruption required.

Then there was Irident X Transformer. This was a Fuji specific raw file converter, exclusive to IOS, that has long been said to produce the best, most detailed images, from Fuji raw files. But alas, it was unavailable to those of us in the Microsoft world.

Now a version of Irident has been released for the Windows platform. I was excited to give it a try.

This is a very simple product with one mission, to convert a photo file from the Fuji raw format to the Adobe native DNG format( which Adobe understands very well), where it then can be further processed into a Tiff, jpeg or other file type. In the process of conversion, the program also applies a unique sharpening algorithm, as well as noise reduction, and lens correction, all of which can be controlled by the user. There is also Irident developer, a full featured photo program for IOS and Windows, selling for US$99.00.

 

 

X Transformer is roughly analogous to Adobe’s own digital negative converter, a program they offer for users of older Photoshop versions, who now wished to convert files from newer cameras not compatible with their versions of Photoshop.

I was eager to apply the program, to raw files from both the 16mp and 24mp X-Trans sensors, and compare them to Adobe Camera Raw conversion alone. I also converted files from the original conventional sensor X100 to see whether there was any advantage with that camera’s output.  I also converted Raw files using Capture One, and Adobe digital negative converter (which then I finalized in Photoshop much like one needs to do with the Irident DNGs) for comparison.

I tried to pick images with a variety of color mixes mindful of the effect the X-Trans sensor is said to have on green foliage.

I processed all images using equivalent amounts of sharpening. I turned sharpening to low on the Irident converter.

Below is fairly typical of the differences in the 16 mp files, the Irident conversion pulling far more detail than ACR alone, with Capture 1 (version 9) in the middle. So you know, the jpg conversion needed to post these actually tends to minimize the differences.

 
Below is a file from my X Pro 2. Here the differences between the various conversions are more subtle, though the original TIFFs still favor the Irident workflow. Look at the small patch of lichen on the branch which is more detailed on the Irident version. I actually think that the Capture one version lags behind the ACR conversion, but I may have under sharpened that file slightly.

Out of curiosity, I dug out a file from the Bayer sensored X100. Here I could detect little advantage for adding an Irident conversion first.

 

 

 

 

 

 

 

     

 

Now this is not scientific, but I have formed the following conclusions:

Pre-converting the raw files with Irident X Transformer into DNG seems to be helpful to extract the most realistic and detailed X Tran images from Adobe Camera Raw. This effect, however, is to me, more noticeable for the 16 mp imager where Irident is quite helpful. The advantage of Irident seems to be some less dramatic with the newer 24mp imager though not negligible. Is this because Adobe has done a better job in their algorithms for the Trans-X III? Or has Irident not quite figured things out for this sensor?

Also, Capture One remains a step ahead of ACR for 16mp Trans-X though not as good as Irident +ACR. For the 24 mp imagers is seems to have less advantage though I have not upgraded yet to version 10. All of this suggests to me that Adobe has done a better job with analyzing and coding for the new 24mp sensor. I did not test Capture One with the Bayer-sensored X100 because in the past I have noticed little difference between ACR and C1 with conventional sensors.

Finally, I should say something about the Workflow using Irident X Transformer. It certainly adds an extra step to processing. In my case the program wouldn’t display thumbnails, requiring me to go back to Adobe bridge and get the file #. This is annoying.

So, in summary, I would say if you want the simplest workflow with X-Trans files, go with Adobe products such ACR or Lightroom. Capture One is certainly an alternative with the potential to reveal a smidgen more detail, but for me, it is less streamlined. Finally, for big prints and critical results, adding Irident X Transformer to Adobe definitely allows you to extract more detail from your images.

 

 

 

 

 

Back in the days before digital imaging, it was much easier to keep your gear current. I think back to 1980s vintage Nikon F3 which was produced (admittedly in multiple forms) for perhaps 20 years. The camera featured very simple technology, with little pressing reason to update. There was finally an auto focus version of the camera in the last several years of its twenty-year lifespan, but for the most part there was little change over its long history.

Nowadays things are radically different. Cameras are far more sophisticated, and photographers now expect fairly frequent updates to them, even though they long surpassed the performance of those older cameras long ago. I think also the fact that the technological advances of new models involve not only exposure and focus, but the actual film stock (the digital sensor) that the camera uses increases the interest in upgraded models.

In the last week, Fujifilm has announced replacements for 2 cameras that I currently own. The X100F replaces the X100T model in a somewhat confusing nomenclature scheme. And the X-T10 is replaced with the X-T20.

As always the question of whether to and when to upgrade comes up.

Let me first acknowledge, that photography is not my main source of income.  I have always tried to be rational about equipment purchases.  Every once in a while I find myself with a bloated collection of gear which needs to be thinned.  I am there now.  Soon, I suspect I will once again become a frequent visitor to my FedEx drop-off point.

I see that I am not the only one who faces this dilemma. A Fuji photographer I very much admire, Zack Arias, writes about gear simplification here.

 

 

 

 

 

 

 

 

 

 

First my thoughts on my current X-T10 currently the budget version of the SLR style X-T1 interchangeable lens camera. This for me as a modestly used device (I have learned that I prefer rangefinder style cameras and I already own a nearly identically spec’d  XE-2). The main improvement in the newer camera is, of course, the sensor, which is now 24mp.  I already own a version of this sensor in my X Pro 2.  In my experience, the real resolution boost offered by the newer chip is modest, and the high ISO performance is roughly the same.  Still, more resolution is not a bad thing.

Whereas I do enjoy the Acros film simulation that is only offered in the 24 mp cameras I can typically get pretty close to the same profile with a custom RAW conversion I have set up in Photoshop. There are autofocus improvements I suppose, but I’m not grossly unhappy with the current camera (and perhaps there is more to come in a firmware upgrade). Finally, while I think the enhanced video capabilities are interesting, they are not important to my workflow. 

Thus I probably won’t upgrade this camera anytime soon.  In fact after this analysis, as much as I like the little X-T10, I would consider putting it on E Bay list, and waiting for the rumored rangefinder style XE3 to be introduced.

The X100T to “F” upgrade is slightly different for me. I like the fact that the battery will now be the same as all of my other Fuji “X” cameras though the older battery was fairly cheap(and I have a lot of them). I hope the camera will still be chargeable through its USB port. Once again the new sensor (the same 24mp sensor of the XT-20) is not really a draw for me, but not a detriment either.  Apparently, unlike a lot of other people, I do like the new ISO/shutter speed dial (same as on my X Pro 2).

 

 

 

 

 

 

 

 

 

 

I do wonder however whether the incremental improvement in auto focus in this model line will be greater (the X100T had earlier auto focus technology than the X-T10). To me, a very significant improvement is the autofocus “joystick”. It was a very useful addition to the X Pro 2.

Ironically, I have actually avoided using it on that camera for fear of it becoming reflexive when it is not available for focusing on my other bodies.  Currently, if one is to retain the largest number of function buttons on the camera, moving the autofocus point, requires you to first press the lower button of the four-way pad, which then tells the camera that the keypad  is to be used for autofocus.  This means an additional step and occasionally results in lost opportunities.  With the joystick, moving the autofocus point can be done instantly.  Adding it to the X100F means that I will be more comfortable relying on it in both cameras. In fact the lack of the joystick on the X-T20 means that it will be more difficult to integrate that model line in the future.

I hope the XE 3 will have a joystick.

 One new development I am both frustrated and intrigued by is the improvements in the lens converter system for the X100F. the new converters communicate with the X100F, allowing the camera to automatically adjust when they are mounted (I often forget to do this on my current camera).  This is wonderful, except that I have pristine copies of both of the older lens converters for the X 100 series which I understand are optically identical. I would probably first upgrade the TCL (50 mm FOV), as that is the one I use far more frequently than the WCL(28 mm FOV).  I could really save some money here if only my interaction with the camera was a little more disciplined.

As this is my most commonly used camera, I believe it makes more sense to upgrade this instrument, given that I will obtain the most benefit and enjoyment from the money spent.  And my fairly pristine X100T, on eBay, seems to have decent residual value.

This explains my thought processes, on upgrading equipment.

Feel free to offer your comments and ideas.

 

 

 

 

 

 

I never like to write a bad review. Sometimes the truth hurts.

But after publishing the review of the Galaxy G7 Curve, I kept asking myself: Could Samsung possibly have made a flagship phone with a camera worse than previous phones? I cannot imagine it.

My issues with the camera app on the phone remain, but how about a further test of the sensor. So I went out on an afternoon walk with the phone, and what I consider the camera I own with the least capable sensor, the Sony RX100 MarkIII.

The latter has a 20mp 1″ sensor vs a much smaller 12mp (but also Sony) sensor in the phone. So I’m not expecting parity here.

So I shot a number of images with both cameras, both set to shoot raw, with as much as possible between the 2 formats, similar settings. I watched carefully, lest the quirky camera app on the Samsung drop me out of raw image capture like it has done before.

Just how bad is the Camera in the phone? Maybe not that bad. But only when shot in raw.

Here’s one of the images; First from the Sony shot as a raw file and processed in ACR:

 

 

Here’s the  DNG file from the G7, processed as nearly identically as was appropriate for the different files.

 

Note the different handling of light and shadow between the two files. The Samsung clearly struggles here. Keep in mind, that my Fujifilm sensors, not to mention my Nikon D800E, would likely be much better than the little RX 100 in this regard. And it’s those attributes that really make for great images. 

 Now here’s the  Sony magnified to a 66% view.

 

 This is magnified to 100 % for an equal field of view for the lower resolution sensor.

 

Again there are problems with tonality and dynamic range on the file from the Samsung that are evident even in this small piece of the frame. This is a consequence of sensor size.  Detail, however, I think is respectable, given the resolution advantage of the RX 100.

The problems with “muddiness” I complained about, are in the jpeg processing of the G7. Here’s the jpeg straight out of the phone. Look particularly at the highlight on the right of the tree trunk.

By the way, this magnified view was from the right edge of the images. It suggests pretty good optical performance, particularly from the lens of the Samsung.

My thoughts after all of this are that the Camera on the Samsung G7 series is probably as capable as can be expected given physics vs. current technology. It will be useful shot in jpeg for very casual use. Shot in raw, it might not be impossible to capture an interesting image so long as the dynamic range of the scene is limited, and the Samsung software doesn’t get in the way.

In other words: It’s a camera phone.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  I still think the practice of upgrading from one highly capable smartphone to another slightly more smartphone is a relatively wasteful exercise. But, when my previous phone began to look shabby, and the battery started to fail, I began to shop around. I finally acquired a Samsung Galaxy S7 Curve at a remarkable deal from Verizon. It pushed all the right buttons for me: Beautiful screen, faster processor, bigger battery, waterproof…and apparently a better photo experience.

On the camera side, there are some signs that Samsung “gets it”. For the G7 models get fewer megapixels (12 vs. 16 on the S6) on a bigger sensor, with on-chip autofocus, a microSD card slot and the ability to shoot RAW.  This might just be a smartphone that can produce a decent image.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

So how has it worked for me?

The Samsung Galaxy S7 curve, at least as of this writing, Is Samsung’s high-end smartphone (the G8 is imminent, which is probably why I got mine cheap). It’s a beautiful instrument, with a sleek metal body and that unique curved screen.   As a phone/ tablet, it is for my purposes essentially flawless, with a gorgeous display, fast processing, and excellent battery life. It’s still waterproof but it no longer has the annoying flap over the USB port so annoying on my previous Galaxy S5. If you want a great phone, buy one today.

How does it work as a camera? On this issue, I have definite reservations.

The new sensor is supposedly an improvement in the older sensor, with the pixel pitch (1.4) up approximately 40% from the sensor in the S6. It tests very well on DXomark (It currently ranks 2^nd among camera phone sensors). Theoretically, this should improve low light capability. To an extent it does. But compared for instance to even the “crop frame” sensor of the 16mp Fuji’s (pixel pitch 4.79) you can’t really expect too much.

Here’s a jpeg image shot of my friend Elliot in typical tavern lighting.

 

The camera shot this wide open f1.7, at iso400 and 1/10sec. The resultant jpeg is aggressively noise managed, with smearing of what detail there might have been. I consider this unusable for other than display on the phone’s own screen.

Now here’s the Raw version, processed in Adobe Camera Raw.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

As you can see, the image is grainier, but the detail is retained in Elliot’s face, and in the 3×5 cards in the foreground. And in the raw converter, I can decide between noise and detail. This image may be more useful.

Autofocus is fast; much more responsive than in my previous S5. This is apparently due to “Dual pixel technology” of having phase detection pixels throughout the whole sensor.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The camera app is at one time very good, and very weird. On the surface, the app seems well designed, with multiple modes available, including “pro, which allows significant manual control. It is in this mode (only) that you can access raw capability. There are multiple autofocus modes.

It is at the same time frustrating. You can save your jpegs to the SD card, but the far larger raw files will save only to the camera’s memory. So the point of having an SD card slot is undermined.

Also, the camera seems to use any excuse to shift out of raw capture mode. Specify a “vivid” jpeg profile in “pro” mode and raw capture is lost. Accidentally do a burst of shots…same thing. I thought I was shooting raw for the “frozen pond” shot above, only to get home and find that I wasn’t. This behavior causes me to think that this is not in any way a reliable device for serious photographers.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Most infuriating is the phone’s behavior when attached to my PC. When hooked up by USB, you first need to pull down the typical Android notification screen and enable the phone to transfer media. Fine.

Problem is that when I use Photoshop Bridge, to navigate into the camera files to edit them, the software doesn’t recognize the jpegs and can’t display a thumbnail.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Even more ironically, Photoshop can’t recognize its own proprietary dng. raw files while they reside on the phone.  This problem does echo the behavior of my previous S5.

 

 

 

 

This means that if you want to edit a file, you must copy it into a file on your computer. Then for some reason I cannot fathom, it becomes readable. With the raw files (which remember won’t save to the SD card) potentially eating up a lot of camera memory, I just cut and paste them to a file on my hard drive, and deal with them there.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

How about the image quality?   Compared to my Galaxy S5 I think the loss in resolution and sharpness is surprising. The jpegs, perhaps in an effort to reduce noise, are over-processed to the point where a lot of detail, particularly in the shadows is completely lost, The above  “Hemlocks in the Snow” image illustrates this nicely; note that it was shot at 1/100 sec ad at iso 100, which are hardly challenging settings.  They look fine on small displays, however.

The raw files seem to lack dynamic range and cannot be pushed too far before they look odd. I saw banding emerge with modest editing of color or contrast. The “Twin Springs” image above, for instance, was shot at iso 50 and yet, was still very fragile.

I’ll keep trying, though.

For me, all of this means that I will rarely use raw, and mainly, as with previous phones, use the phone to shoot jpegs for casual use.

The Galaxy S7 is widely thought to be one of the top two or three camera phones available now. I’m sure will enjoy using it.

But camera phones aren’t cameras. Not yet anyway.

 

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 usually a late adopter.  If a new piece of equipment comes out, I’m cheap enough that I will generally wait until some time has elapsed and enough people have published their experiences with the equipment, before I make the purchase decision.

But when the Fujifilm X100s was introduced I was intrigued.  I love its predecessor, even for all its quirks, a few of which remain even after the latest firmware update. I have never enjoyed a piece of gear more, nor been more pleased with the images it produces. I sold my D 700, in part because the X100 replaced it for indoor event shooting.

I used the X100 all the time (for the year I owned it).  So when the update came out, I was not immediately interested.  But as I read reviews, I realized that this was a favorite camera now optimized.  I decided that rather than wait, I would place a preorder through B +H Photo.  They have a  strong return policy and I wasn’t worried that I’d be stuck with it if I were unimpressed.

It seemed to take forever for delivery, but my new camera finally arrived about three weeks ago. I’ve been shooting with it  ever since.

 

So far I’m extremely happy with the X100s.  I will have a more complete report once I have a chance to shoot in a few more environments.  I am particularly excited to try out something that is also possible with its predecessor, high shutter speed flash synchronization.

So far however I am enjoying the hell out of the X100s, so much so that I have listed my X100 on eBay (Item number:321117326639).

So bear with me.  It was the X100 that shook me out of my photography doldrums.  Testing the “S”, particularly as spring erupts here in The Pocono region of Pennsylvania is a pure joy.

Stay tuned, there’s more to come.

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.

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.