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  1. Fujifilm XT-2 Digital Camera

    At least it doesn't have a "Fujicron" lens... ;-)
  2. Thanks for pointing that out. Have you tried the newer versions of SilkyPix? The output quality is much better than anything I've seen from Adobe. so it is well worth a free trial. Hopefully, my overview will help new users get used to it - I've been using it for several years now, and I am very happy with the image quality.
  3. At long last, my review of Ichikawa software's "SilkyPix Developer Studio Pro v8" has been published on the "Dear Susan" website. It gives an overview of SilkyPix and it's features and controls, how to use it, and compares the quality of results with Capture One. I have used it for several years on raw files from a number of cameras including Fuji X system, and always found the quality of the results. Please take a look at the article and feel free to leave some feedback over at Dear Susan.
  4. There's nothing wrong with Lexar cards - I use them in other brand cameras without problem. The issue is using Lexar cards in Fuji cameras. Some Kingston CF cards gave issues and poor write times in Sony cameras, but worked fine in other brands. The problem is undoubtedly an issue with the cameras or cards implementation of the card standards at driver level, and it's impossible to say who's at fault - although if cards word correctly in other devices it tends to suggest the driver in the camera may not be quite right.
  5. The data in the raw file is unaffected by the film simulation set in the camera. It contains a reference to the setting used, which some PC software may use when previewing the file, which will contain un-processed full colour data.
  6. Atomos digital recorder

    The camera would need to have a connection (port) that can stream the video data to an external recorder. I don't believe the Fuji X cameras support this, but you need to check with the manufacturer / manual. The only camera I know can do this is the Sony A7S, since this implementation allowed it to record 4k. Even using an external recorder, the camera may still shut down when using video for extended periods if the sensor becomes too hot. I did think the cameras can record video for extended periods, but will create a series of files that contain contiguous video.
  7. Stabilisation (either IBIS or in lens) can also help with tripod work too. I wasn't aware any super-zoom cameras have IBIS - I thought most had in lens stabilisation, or digital correction for blurring as part of the in camera processing? I have several camera bodies that some regard as "hybrid" stills and video capture tools, and can say that they take excellent stills, and can be used to create excellent video too. Don't believe all the internet nay-sayers. Most video cameras, except a few high-end consumer Sony models, don't offer large sensors and therefore cannot achieve the more "cinematic" look of the video from CSCs and SLRs. Larger sensors also tend to have benefits for available light video quality, unless using one of the 1" sensor camera that allow full sensor readout without pixel binning, which has the effect of noise smoothing much like the X-Trans process.
  8. The original X100 had a Bayer layout sensor, which is preferable to the X Trans sensor now used, due to the well reported issues the latter can cause.
  9. As a general rule, I wouldn't buy a modern camera system that didn't have it in body or in lens. All the mirrorless competition now has it, so Fuji are a little late to the party, and need to offer it to be competitive. Even with it, good technique is important, but it opens possibilities that required film speeds that ruined image quality, and many users like IBIS with converted lenses too. That some manufacturers offered it more than 10 years ago, and that Canon and Nikon still fail to offer it, speaks volumes for the future. As an aside, stabilisation has given me successful photographs on a tripod when otherwise I would have had blurred pictures - a wobbly bridge, passing traffic, winds, and other external effects that "technique" can't get around.
  10. I first used IBIS with the Minolta Dynax 5 Digital, their second APS-C SLR and the second one with IBIS, more than 10 years ago. It has real benefit to the photographer where light isn't at a premium, where shutter speeds are "marginal". The old 1/focal length was ok for film, because most people never enlarged their pictures very much, but for digital capture (particularly high resolution), it significantly helps get pixel level sharp images. When I used my X Pro 1 with primes, in less than bright light and the cameras "1/focal length" exposure program, I often got pictures that were not critically sharp. The OIS in the 18-55mm was a boon for hand held work in "marginal" light, but wasn't the best lens for available light use due to it's modest aperture - but using a fast aperture prime and increasing shutter speed often ended with pictures at the same or higher ISO than need by the zoom, but with less depth of field. One of the attractions to me of another system was the availability of stabilised zooms and some primes (e.g. 50mm and 80mm equivalent primes). Since then, IBIS has been incorporated into almost all other current mirrorless system bodies (Canon as usual failing to offer it - Olympus, Panasonic and Sony do). Whilst good technique is still important, when combined with stabilisation I find it results in a better hit rate of critical sharpness than without. In good light where shutter speeds are high, it offers little value. At the moment the "big two" have completely failed to offer it in any of their SLR cameras. When IBIS is combined with lens stabilisation, the results are typically better than either on it's own. although lens stabilisation appears to give better results for video work than IBIS alone. Technique is still important, but old ways of working don't give the best results with high resolution digital capture., and it solves the claimed issue that high quality lenses can't have in-lens stabilisation (a moot point, I own a few which I think are excellent).
  11. I think IBIS is a major benefit to the photographer, and for the competitiveness of the system (Personally, I disliked the lack of stabilisation with any of the prime lenses).
  12. 3rd Party X-Pro1 Batteries

    the post that followed yours is correct - you need to order locally. the EU introduced law on lithium.ion batteries when inside a product (e.g. Laptop) or outside. Glad they are using their time effectively. it may be that which is causing your problem
  13. Whether using film or digital, the issues of studio flash are the same, and aren't really affected by the medium. For portable flash, Godox make some flash guns with a lithium-ion battery pack, which dramatically reduces recycle times, although apparently after about 20 shots the recycle time slows to reduce thermal load. Other brands may allow external battery packs which can reduce recycle times I regularly use a pair of portable (Nissin) flash guns in the field for male physique portraits, combined with some simple light modifiers (umbrella, gates, honeycomb etc.) and have to accept the relatively slow recycle times (maybe 1-3 seconds) - sample attached. For me, it isn't a huge issue, as my work doesn't really require "spontaneity" - in fact, normally I have to "count down" so the subjects can tense their physique for the pose. For fast shooting and reactive work in the studio, if you want fast recycle times, the only way to get it is either studio flash lights, either mains powered or with very large powerful battery packs, or continuous lighting.
  14. Is there any way in camera to adjust the EVF colour balance? Other cameras I've used have option to adjust the image in some way - don't know if such options are available with your X100, or even if they would solve the problem you see?
  15. I'm not really sure I understand the questions. With single shot, is the focusing slow because you are using flash/strobe studio lights, and therefore the ambient light in the studio is low - affecting focus speed? When you want to take multiple shots, do you mean with continuous drive (shooting) mode? If you want to shoot in continuous drive mode, then the flash may not be able to recycle (re-charge) quickly enough. If you are using flash guns, they may take up to several seconds to recharge and be able to fire again. If you are using studio flash, they should be able to recycle very quickly, but possibly not quickly enough for continuous shooting, as the camera can take many frames per second. If you use continuous lighting, it should be no problem. Another is how you are triggering your flash? Cable? Wireless trigger? On camera flash? That could also be an issue. Without more details about your studio set up and equipment and the specific problem you are experiencing, its impossible to give more accurate advice.