The Fujifilm X100 series has been around since 2012. The original Finepix (good lord I’m glad they stopped calling it that) X100 was revolutionary in many ways. It’s looks were retro rangefinder, it’s controls were equally old school, and it had an lovely APSC sensor to help it live up to its aesthetics.
Fast forward to 2017 an the X100 is now 4 generations old. The X100F, F for 4, brings the latest X-trans sensor, the X Processor Pro, and the same great looks as the original X100.
I took one to Hawaii recently to see how it performed as a travel camera. Check out the video.
The X-Pro2 is the first X series camera to feature Fujifilm’s new 24.3 megapixel X Trans sensor. That’s a decent jump from the 16.1 megapixels of previous X series bodies. Coming 4 years after the original and revolutionary X-Pro1, the X-Pro2 is every bit the flagship camera Fuji X shooters have been waiting for.
This camera is gorgeous. It has a classic rangefinder look reminiscent of 1960’s Leica’s. As with all other X Series cameras that beauty is more than skin deep. The X Trans sensor is superb, offering outstanding detail and rich colours. The increased resolution gives you the ability to crop a bit more than you could with the old sensor.
Low light performance is good up to ISO 6400 and very usable up to ISO 12800. The mechanical shutter is good for 1/8000th of a second, up from 1/4000th on the X-T1/X-T10. The electronic shutter remains unchanged at a top speed of 1/32000th. It’s great for stealthy street shooting.
Auto focus points are WAY up, to 273, all of which are accessible. Wide tracking autofocus is significantly improved and the burst rate of 8 frames per second makes the X-Pro2 a real option for things like motorsports. My X-T10 handled a Formula 1 race with ease but the X-Pro2 would’ve been that much better. Time to plan for next year.
The hybrid viewfinder is as cool as it gets. If you long for the days of film but need the information of a modern camera you will love the optical viewfinder (OVF). If you need to see exactly what you’re shooting you will love the electronic viewfinder (EVF). I shoot mostly with the EVF, its ultra fast refresh rate and high resolution work better for me but the OVF saw some duty with the XF27mm f/2.8 during some street shooting sessions. Of note for people who wear glasses while shooting, if they’re polarized sunglasses all you’ll see is a black EVF or rear screen when shooting landscape. I don’t get this with my X-T10 and it’s a bit frustrating.
The controls ore excellent and you have 6 programmable buttons to personalize. the shutter speed and ISO dials are stacked like on old 35mm film camera and I absolutely love it that way. So many reviewers/photographers have complained about this setup and some have questioned its longevity. My 1960’s era Pentax SP1000 35mm SLR has an almost identical setup and it works perfectly.
There’s a new joystick for selecting autofocus points. It’s placed within reach of your right thumb and is a great addition that will hopefully make its way to other X Series cameras. My only beef, and it’s a very small one, is that when carrying the X-Pro2 with a shoulder strap and leaving the cameras powered on between shoots it can easily move you focus point by rubbing up against you while walking.
Shooting with the X-Pro2 is so rewarding. Every button, every click, every shutter actuation sounds beautiful. The images are sublime, as X shooters have come to expect, and Fujifilm’s legendary film simulations look better than ever and the new Acros simulation is downright mesmerizing.
The semi-matte finish and magnesium body ensure this thing will last and age nicely. With weather sealing to keep dust and water out you will be shooting with the X-Pro2 for years to come. The diopter is new and improved, with a bigger dial which is easier to handle and less likely to be adjusted in you camera bag.
There are dual card slots under a weather sealed door that has moved from the battery compartment to the side of the body. Shoot raw and JPEG simultaneously, use one for video and one for stills, whatever makes you happy. I’m not a video guy but the 1080 60p is better than previous Fujifilm efforts. If you want 4K you’ll want to wait for the X-T2.
Overall the X-Pro2 is an outstanding camera. Good looking, solid performer, great images, extensive Fuji glass to suit every photographer. But that can be said about lots of cameras from every manufacturer. The difference with the Fujifilm X-Pro2 is something that isn’t technical, it’s a feeling. The X-Pro2 makes me want to use it. It makes me want to flex my creative muscles, it’s makes me feel like an artist as opposed to just some guy with a fancy camera.
If you’re an X Series shooter, and want to upgrade your gear, the X-Pro2 will not disappoint.
When I got my first Fujifilm X Series camera, an X-A1 I received as a birthday gift, a lot of my photography friends wondered why I wanted a Fujifilm camera. Why not a DSLR or a micro four thirds camera they asked. Surely the lens selection for those choices were far more extensive. At the time they were right, but there was something about the look of the all black X-A1 that made me ignore their advice and dive into a relatively new system. Looks are probably a shallow reason to buy a camera (hello Leica shooters!) but the X-A1 was more than just a retro toy, it produced stunning images.
Fast forward a couple of years and the Fujifilm X Series has grown to be a formidable player in the world of photography. The lens lineup is outstanding and the recently released X-Pro 2 (review coming soon) and the upcoming X-T2 and X-A3 have pushed the apsc sensor mirrorless X Series to a whole new level. The biggest hole in the lens lineup was a super telephoto for sports and wildlife photography. The XF100-400mm F/4.5-5.6 R LM OIS WR (that’s a long name) has addressed this need and Fujifilm Canada was kind enough to lend me one to take on a recent Alberta road trip.
I paired it up with the X-Pro 2, also loaned to me by Fujifilm, and my trusty X-T10. I took it to some great destinations including Mount Robson, Drumheller, Dinosaur Provincial Park, Banff National Park, and Lake Louise. The full frame equivalent focal length works out to 152-609mm on the apsc sensor. It’s the longest lens in Fuji’s arsenal, the next closest being the XC50-230mm F/4.5-6.7 OIS II. The optical image stabilization (OIS) is said to provide 5 stops of stabilization meaning you can shoot handheld at longer shutter speeds. It works great, even at 400mm.
Paired with the X-Pro 2 it’s a bit of an awkward match up. The hybrid viewfinder is pointless past 50mm but the electronic viewfinder is fantastic. It’s ultra fast refresh rate and high resolution make shooting with this super zoom a breeze. The X-T10 is a better match for this lens with its SLR style centre EVF. The upcoming X-T2 with its battery grip will be the best thing to pair with this lens. The OIS tends to eat up batteries and the X-T2’s extended battery life would make a day out in the woods a little more bearable.
Speaking of bears, I only saw one on my trip and it was running away from me. I suppose that’s not a bad thing. I managed to find a moose, magpies, ravens, chipmunks, mountain sheep, and lots of mosquitoes. Shooting wildlife with this lens is a delight. Autofocus is quick and accurate, colour and sharpness are great, and mechanically everything feels solid and well built.
You can set focus from 5 meters to infinity to help with auto focus speed for far away subjects or set it for the the full range if need be. There’s a manual aperture ring and a switch on the lens to switch to auto aperture. The focus and zoom rings offer nice resistance and are covered in ridged rubber for extra grip. There’s a removable tripod mount which can be positioned at any angle and locked into place with a set screw.
The WR stands for Weather Resistant so you can shoot in the rain or snow as long as you’re paired up with a WR body (X-Pro2, X-T1, X-T2)
Tracking autofocus is decent when used with the X-Pro2 or the X-T10. I would’ve liked to try some sports photography with this lens but I simply ran out of time. I was able to get some action shots of a few Bald Eagles soaring above Two Jack Lake though.
There is one weird quirk I noticed during post processing. At 400mm the JPEG images come out a bit sharper/better than the raw files. Fujifilm is known for excellent JPEG files but I still would’ve expected the raw results to be the better of the 2, even if only marginally. In all honesty the majority of my workflow is still JPEG with Fujifilm, they’re that good.
Fujifilm has become a real option for professionals looking to move away from bulky DSLR gear and the ever growing lens lineup can only help that trend.
This is a lens I will be adding to my camera bag in the very near future. It is a bit large and heavy for a mirrorless system but compared to an equivalent Canon or Nikon lens it’s quite compact.
Watch for my upcoming review of the X-Pro2, possibly the sexiest camera I’ve ever used.
I don’t like the word “Powershot.” When I hear that word I picture a $99 pocket sized point and shoot that can’t compete with your everyday smartphone camera. I mention this because the Canon Powershot G5 X is not a cheap, pointless point and shoot. It is a heavily featured camera with specs aimed at the semi-serious photography enthusiast. Just call it the “Canon G5 X” and ditch powershot for all but the bargain basement models.
The G5 X is smaller than it looks. I don’t have the biggest hands and it felt very small to me. Within that small frame the G5 X is feature packed. Large 1 inch sensor with 20.2 megapixels, 24-100mm equivalent f1.8-2.8 lens, 1080p 60fps video, image stabilization, multi angle LCD touchscreen with touch shutter. high resolution electronic viewfinder, wifi, and much more.
The lens is fast and sharp at all focal lengths and manages decent shallow depth of field with good looking bokeh, something that other 1 inch sensor cameras struggle with. The G5 X offers a background defocus feature but it looks artificial at best and you don’t really need it.
Built in image stabilization allows some fairly low shutter speeds in lower light without needing to crank up the ISO value. That being said ISO speeds up to 1600 were very usable despite the 1 inch sensor. I found the G5 X had better ISO performance than the Panasonic Lumix LX-100 and its larger micro 4/3″ sensor. It’s nowhere near APSC or Full Frame ISO performance but it was surprisingly good.
Macro shooting with the G5 X was a delight. Canon lists the close focusing distance at 2 inches (5cm) but I managed to get a bit closer with manual focus. Other than dedicated macro lenses I still think smartphones are hard to beat for shooting up close although you get shallower focus area with the lager sensor in the Canon.
Metering in tough lighting conditions is a breeze with the G5 X. It handles backlit conditions very well. you can half press on your desired exposure, recompose, and shoot. Auto mode is decent too if you need to hand the camera off to someone to take a shot for you.
For all of my food photography pals out there the G5 X is a nice little alternative to your big gear or smartphone. It shoots RAW as well as lovely jpeg files that require little editing. Transfer the images to your smartphone via the Canon app and upload to your favourite social media site for everyone to see.
The RAW files are as good as you’d expect from a company that’s been making cameras as long as Canon. Not much else to add really, they’re great.
The control layout of the G5 X will appeal to the control freak in all of you. There are customizable dials and buttons all over the place including a control ring around the lens, perfect for aperture or zoom control. The controls were my biggest source of frustration despite the excellent dials and front ring. The buttons on the rear, especially the menu button the the wheel around the D pad, were too easy to accidentally push with the base of my thumb while shooting.
Battery life was better than expected although the battery indicator is typical small camera terrible. It stays at a full 3 bars for quite some time then drops to 2 bars for what felt like 25 shots, then 1 bar for even fewer shots, then dead. Why is it so hard for camera makers, not just Canon, to use a percentage based battery indicator?
The Canadian Grand Prix is a bucket list item that I have now checked off. The 7th race of the 21 race 2016 Formula 1 calendar took place from June 10th to 13th on Isle Notre Dame at the Circuit Gilles Villineuve. My dad and I took in all three days of racing in varying amounts with Sunday being our longest day at the track. In our off track time we tried to explore as much of Montreal as possible on foot.
The race itself was as enjoyable as I’d hoped. Lewis Hamilton and his Mercedes took the top spot after a race long battle with Ferrari’s Sebastian Vettel. My favourite driver and team, Jenson Button and McLaren Honda, didn’t make it to the end suffering an engine failure bu the MP4-31 looks and sounds great.
Getting to the track was a breeze on the Metro. We stayed a few blocks from Berri-UQAM, the central Metro station. From there it’s a short one stop trip under the river to Jean Drapeau Station and a short walk to the track. We bought 3 day Metro passes for $18 and had little trouble navigating the system.
There are free festivals that coincide with the GP weekend. Mural Festival, a massive street festival on Saint-Laurent Boulevard, and Francofolies, a 6 stage music festival centered around the Place Des Arts along Rue Sainte-Catherine. They’d be reason enough to visit Montreal on their own let alone the Grand Prix.
Old Montreal was my favourite part of town. The Saint-Sulpice Seminary being the oldest building dating back to 1687 and the Notre-Dame Basilica (1829)… I have no words to describe how beautiful and grand it is. Narrow cobblestone streets lined by old buildings give a European charm to the area. One could be forgiven for thinking they were in Prague or Paris. Restaurants, shops, bars, the area has a great vibe and was in full swing over the race weekend. Make sure to check out the Old Port of Montreal while you’re in the area.
There are 2 places you simply have to go if you want an authentic, old school Montreal meal. First is Schwartz’s Deli, the quintessential spot for Montreal Smoked Meat and Poutine. It’s been serving the hits at 3895 Saint-Laurent Boulevard since 1928. Be prepared to line up and wait, which is totally worth it.
The second place is Bar-B-Barn, a chicken and rib joint that has been frozen in time since 1967. Dark wood, dim lighting, amazing ribs and chicken, and all the nostalgia you can handle. Come hungry or be prepared to leave with a doggy bag.
Street art, both visual and performance, are everywhere in Montreal. Epic murals, street performers, musicians. Buskers in Metro stations have dedicated spots and seemed to be doing quite well playing for the massive GP crowds that swept through the stations daily.
A few tips. Try to speak French, even if you’re terrible. Everyone we dealt with, minus our airport bus driver, spoke fluent English but we noticed a marked improvement in service if we attempted to speak French. A simple Bonjour or Merci will get you a long way. That being said, service in Montreal was disappointing on all fronts. It was a busy weekend but I was surprised that things took as long as they did in restaurants and bars, some not full at all.
Learn the Montreal Metro system before you go. It uses a tap system similar to a lot of major transit systems but only requires you to tap in, not out. Learn where the stations are, where you can get to, look up the 747 Airport Bus, a cheap and decent way to get from Trudeau Airport to Downtown Montreal.
Montreal is a wonderful place that I am anxious to return to. So much history, so much culture, so much potential. I’ve only scratched the surface and I can’t wait to return.
Thanks to my wife Lyndsey for arranging the Grand Prix tickets and my dad for arranging our flights. All photos in this post (minus the food photos) we taking using Fujifilm X series cameras and lenses. Thanks to Fujifilm for their continued support (they let me borrow stuff, it’s awesome).
When I want to review a camera but the manufacturer plays the “someone will contact you shortly” game… I buy the camera myself. The Panasonic Lumix LX-100 has been on my radar for some time. 4K video, 12.8mp micro four thirds sensor, fast Leica glass. All the ingredients for a great little camera. Do the specs add up? Let’s find out.
Let’s start with 4K video. I’m not a video guy but this thing is seriously impressive given it’s small size. 30 frames per second might not be enough for the hardcore videographers out there but this camera isn’t aimed at them. Sadly my video skills are abysmal so I’ll post something dug up from YouTube in place of my kid playing indoor soccer.
Video = good, but how does the LX-100 fair as a still camera? It’s bigger than the Sony RX100 IV but it has a larger micro 4/3 sensor, larger than the Sony’s 1″ sensor. It fits in a coat pocket but it’s a bit big to tuck into your Levis. Full manual controls with dedicated dials for shutter speed, exposure compensation, and an aperture ring on the lens. The Lieca DC Vario-Summilux lens is fast and sharp. Its 10.9-34mm focal length (25-74mm full frame equivalent) and f/1.7-2.8 aperture are a good combo.
Colour and contrast are are good in most light as long as you don’t push ISO above 1600. Higher ISO’s produce a strange yellow/orange hue. This is my first micro 4/3 experience and I was hoping for better ISO flexibility. That being said the built in image stabilization made hand holding longer shutter speeds a good option.
Low light performance is just ok. Noise is controllable as long as you stay under ISO 1600, ISO 800 and under are strongly recommended. Auto-focus in low light is truly terrible (sorry Panasonic) and often results in complete failure. Manual focusing is a good alternative. It utilizes a zoomed in area and focus peaking in the center of the frame.
The Leica glass is impressive. Edge to edge sharpness is good wide open and gets better as the lens is stopped down. At f/1.7 you can get acceptable shallow depth of field but the bokeh is kind of blah. It almost looks like smartphone bokeh.
Macro shooting is good but again auto-focus drops the ball. To focus on close subjects you have to use manual focus. Pretty typical for close focusing though and not a bad thing.
There are some creative filters you can shoot with but they’re mostly garbage. The only one I found useful was high contrast black and white. After shooting with Fujifilm’s film simulations other creative filters are always disappointing. Let this be a lesson, don’t shoot with filters because they suck.
Long exposures look good aside from some weird lines in the starbursts around lights. Noise is well controlled and the menu and dials are easy to navigate to get the perfect long exposure.
For all of you food instagrammers the LX-100 is a great choice. Small, discreet, good colour, rich detail, shallow depth of field wide open. Food photography is where this little camera shines.
The odd thing about the LX-100 is that it has a twin. The Leica D-Lux Type 109. It’s almost identical inside and out. The LX-100 has a nice grip and thumb rest where the D-Lux is smooth and minimalist but other than that? The LX-100 costs $800-$1000+ CAD where the Leica is $1599 CAD. I can’t imagine the Leica being worth the extra cash.
So who’s the Lumix LX-100 for? It’s perfect for the hobby/enthusiast photographer looking to take their images and video to the next level. It combines great video with good image quality and packs it into a small, well built camera with a premium feel and look that will appeal to the fashion conscious. It doesn’t quite hold up if you’re a serios shooter looking for a pocket/travel camera. It’s close but it’s not quite there.
Retro Reviews are something new for WFLBC.com. I love film, I love old cameras, this is something I’m very excited about. First up, the Minolta Hi-Matic AF2. A 35mm fixed lens point and shoot from 1981.
This camera is very much a film equivalent to the modern Fujifilm X100 series of rangefinder styled premium point and shoots. 39mm fixed f/2.8 lens, auto focus, auto exposure, the only thing manual on this camera is film loading and advance. It has a large, bright, parallax corrected viewfinder with bright frame lines. There are 2 LED’s. one that indicates the need for the built in flash (which beeps like crazy) and one that tells you if you’re focused on something near or far. It also beeps if you’re out of focus which is kind of cool/kind of annoying.
Auto focus is very accurate and quite fast for a camera of this vintage. The lens gives fantastic contrast making it perfect for street photography and black and white film.
The shutter is very quiet, another good feature for a street camera. The leaf shutter makes a weird sound best described as a tiny robot sneezing.
The little pop-up flash is impressive. It does its job well even in bright sunlight. Ilford HP5 loves this camera and the camera loves it back. Dark blacks and bright whites that border on overexposed when the flash is used. I like that look.
Color reproduction is great, even with Fujifilm drugstore film loaded up. I’m blown away by the sharpness of the lens. This camera will probably see some travel miles logged this summer. Montreal, a road trip to Alberta, and a weekend in BC’s Cariboo region.
Unlike a lot of cameras from this era the AF2 takes AAA batteries. Anyone who’s tried to resurrect an old film camera knows the pain of finding extinct batteries or using a modern equivalent that isn’t quite right.
The Hi-Matic line reaches back to the 60’s with some great manual rangefinders. I have a 7s I’ll be reviewing soon. The AF2 is kind of stuck between 2 eras. Rangefinders were all but gone in the late 70’s aside from Leica and a few others. The AF2 isn’t a rangefinder but it looks and feels like one. It adds some 80’s electronics but sticks to manual film advance. It’s a bit of an odd duck but that’s typical Minolta.
Prices for the AF2 are all over the place right now. As more street photographers rediscover this little gem the price will certainly go up. Right now they’re anywhere from $10 to $100+. There are wide and tele lens attachments, just like the X100. It’s like Fujifilm used this thing as a template.
You may wonder why I bother with film. My digital Fuji X Series cameras offer exceptional image quality, the ease of automatic and digital everything along with great manual controls, and all the cool retro looks of film cameras. Megapixels, instant gratification, and the ability to shoot thousands of images just to pick a few good ones have dumbed down photography to the point where it is losing its artistic appeal. Film is magic to me. Film is the unknown in an age where Google makes you think you’re a genius. 24 or 36 chances to create art and you can’t be sure you’ve done anything until the roll is done.
Who doesn’t love instant photos? I have a Polaroid Supercolor 635 CL and it’s a lot of fun. The biggest problem with it and all instant cameras, aside from the ever increasing cost and availability of instant film, are the cameras themselves. Imagine being able to instantly print photos from your camera or smartphone in the same fashion. That’s exactly what the Fujifilm Instax Share SP-1 does.
Not quite pocket sized but small enough for a camera bag or larger coat pocket, the SP-1 is wireless utilizing WiFi and CR2 lithium batteries to keep you printing wherever you are. The non-rechargeable batteries are good for 100 prints according to Fujifilm. In reality it’s closer to 75-80. I picked up an A/C cord on Amazon which uses any smartphone USB plug you already have laying around which cures my battery anxiety.
The business card sized prints look great. Using the “Intelligence Filter” in the Instax App adds some color and contrast that help the instant prints pop more than unedited photos. The free app is available for iOS and Android and is easy enough for the most techno-phobic person to use.
The printer takes Instax Mini film which comes in 10 shot cartridges. The film is pricey on a per-shot basis, over $1 CAD per print and the printer is anywhere from $150-$220 CAD depending on sales or promotions. It probably isn’t an impulse buy but it’s not overpriced either.
Who is the target buyer for this printer? I think that has changed since it was introduced. It has changed from a novelty item aimed at families, hipsters, and teenagers and is now used by street photographers for making real connections with their subject matter. It’s also being used by professional photographers to show proofs to clients on the spot no matter where you’re shooting.
Fujifilm X Camera shooters can print right from their camera or use the app. Any WiFi enabled camera that can send photos to your smartphone can utilize the app along with any photos taken on said phone. Gone are the days of instant photography guess work, you now know exactly what your print will look like before it’s done developing. The Instax Share SP-1 bridges old and new using modern image capturing technology to give you business card sized prints dripping with nostalgia. You can add text to them too, imagine being able to create a business card on the spot tailored to its recipient? So many possibilities, I’m just getting started with this thing!
Have you recently ditched your bulky DSLR gear for a mirrorless compact system camera? Are you considering it? Some people go all in right away selling everything, bodies, lenses, the whole farm. Others will hold on to a body and maybe a lens or 2, it’s hard to let go. For those of you who want to keep a few lenses I’m here to tell you that you’re making an excellent decision.
Most mirrorless cameras use a proprietary lens mount system. In order to simplify this post I’ll be focusing on one system, Fujifilm’s X Series. The basic premise of this post will apply to most mirrorless interchangeable lens cameras systems. You’ll have to figure out your crop factor depending on your sensor. Here’s a handy chart.
Nikon, Canon and Pentax DSLR owners probably have a huge assortment of lenses that they’ve acquired over the years. “Nifty fifty’s” to zooms and everything in between. These lenses are great quality and in a lot of instances are more affordable than their mirrorless system equivalents. If you already own them they’re practically free!
Those nifty fifty’s, 50mm lenses with an f/2 or larger aperture, make outstanding portrait lenses on apsc sensor and smaller sized cameras. They give an equivalent focal length of 75mm on apsc cameras. Mounting them to your mirrorless camera is a simple as picking up an adapter. Adapters are available for almost every lens mount ever made and they are very affordable. I have 2 in my collection. One for mounting M42 screw mount lenses and for Sony/Minolta AF mount to my Fuji cameras.
One of the drawbacks of shooting with adapters is you lose auto-focus and auto-aperture (auto anything) functionality. Manual focusing with Fuji X cameras is very good though, I use focus peaking set to high with red highlights. The results are always true to what I see in the viewfinder. If you have lenses with manual aperture rings you’re going to get better results. Fuji’s meter very well with manual lenses. Without the aperture ring you have to shoot wide open which is good for portraits but you lose depth of field control.
Another drawback is the loss of data when looking at your files. No lens, focal length, or aperture data is recorded. If you really want to know what you shot a particular picture with use a notebook or a smartphone to keep track.
If you shoot still life or portraits you shouldn’t need to worry much about those minor drawbacks.
Here’s an example of the price difference between using a 50mm lens from another system versus Fujifilm’s lovely 56mm f1.2. The Fuji lens is $1000 CAD at the moment. It’s on sale and normally costs $1150. It’s a marvelous lens. Gorgeous bokeh, blazing fast f1.2 aperture, and impeccable build quality. The closest setup I have to compete with this lens is a Pentax Super Takumar SMC 50mm f/1.4 on a Photodiox M42 to X mount adapter. The SMC 50mm 1.4 is highly regarded for image quality, sharpness, and colour. I picked mine up a year ago on eBay for $60 CAD. Since then the prices have gone up as people rediscover this little gem. They’re now between $100-$300 depending on quality and timing. The adapter costs anywhere from $12 to $100 but I have yet to see any difference between the cheap ones and the expensive ones. Worst case cost is $400 but you can easily get both pieces for under $200 total if you do some digging. You can go crazy with Leica lenses too if you have a few thousand dollars burning a hole in your pocket, the possibilities are nearly endless.
There’s something magical about old glass and Fujifilm’s X trans sensor. The fact that you’ve achieved these results on a shoestring budget compared to buying a $1000 lens is the icing on the cake.
The most unexpectedly great M42 mount lenses in my lineup is a Pentax Talumar 135mm f/3.5 which belonged to my grandfather. It produces gorgeous portraits like the one above even with its full frame equivalent focal length of 200+mm.
Hang on to the lenses that you love when you make the mirrorless switch. You’ll love the results and you’ll have some extra money in your wallet to buy batteries (that’s a post for another day…).
January saw 3 new cameras and a new lens added to the Fujifilm X series lineup. All of them were given extensive coverage and praise by many outlets, all except one. The X-E2s is an updated version of the X-E2 where as everything else was essentially brand new. Sure, the X-Pro1 and X-Pro2 look very similar but they’re so far apart in terms of performance it’s hard to see the 2 as a simple upgrade.
I owned the original X-E1 but decided to pick up an X-T10 instead of the X-E2 due to a few performance differences. The X-E2s gives you everything the X-T10 has in a sexy rangefinder style body. The grip, top plate, and buttons have been slightly restyled from the X-E2 and they are noticeable but not life changing upgrades. With the firmware 4.0 upgrade current X-E2 owners get all the internal upgrades (electronic shutter, better AF etc.) for free.
If you’re a Fujiflim X series shooter you’ll feel right at home with the X-E2s. The image quality is on par with the rest of the lineup and its firmware brings usability up to the same level as well. The only thing I missed when switching between the X-T10 and the X-E2s is the front control dial/button. It’s useful when shooting in manual mode and when doing long exposure work when using lenses without a manual aperture ring. Is it a deal breaker? Not really. The X-E2s is slightly smaller than the X-T10 and that is important in some situations.
Price wise the X-E2s sits in the middle of the pack (excluding the X-Pro2) at $899 body only. That’s the same as the X-T10, $100 more than the X-E2 which is on sale until March 31st and still readily available, and $450 less than the weather sealed X-T1. The entry level X-M1 ($549 body only) and X-A2 ($549 with the 16-55mm OIS II lens) occupy the bottom end of the lineup but are crazy bargains given the image quality they produce.
All images shown here were shot with the X-E2s and various X Series lenses except the product shot, that was an LG G4. Out of camera jpegs are outstanding and the latest film simulations are all there minus X-Pro2 exclusive Acros black and white. These aren’t filters, they are simulations of classic film stock right down to the grain and they’re fantastic to shoot with.
Should you buy an X-E2s over an X-T10 or an X-E2? That’s a difficult question to answer. The X-T10 offers slightly more functionality with its extra buttons and tilting screen. The X-E2 offers a lower price with identical specs. The X-E2s does improve the feel of the rear controls over the X-E2 and the grip is more comfortable. I would guess the X-E2 won’t be available for much longer so keep an eye out for price drops and clearance sales. If you like the rangefinder style body and can live with fewer buttons get the X-E2s. If you like the SLR-ish look of the X-T10 you won’t regret buying it either. It really is a question of style, not substance.
Thanks to Fujifilm Canada for letting me test this camera and share my thoughts. I’ll be reviewing the Fujifilm Instax Share SP-1 instant photo printer in an upcoming post. Follow me on Twitter, Instagram, and Facebook to see what I’m up to and what gear I’m using. You can subscribe to this blog or share it via the buttons below. Click some, you know you want to.