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roryp

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About roryp

Profile Information

  • Gender
    Male
  • Location
    Yorkshire, England

Camera Gear

  • Camera List
    X-Pro 2, X-T1
  • Lens List
    Fuji 14mm f2.8, Fuji 23mm f2, Fuji 35mm f2, Fuji 60mm f2.4, Fuji 90mm f2
  1. Have you customised your display settings and turned off 'shooting mode'? The only drive modes that hide the shooting mode are the special effect ones (toy camera, multiple exposure etc). Bracketing and continuous modes do not. At the very least you should be able to toggle the Disp. Back button until you get the screen with all the shooting information on and it will be shown there.
  2. Cheers guys, if I've not heard from them by tomorrow afternoon I'll give them a ring.
  3. Hi folks, I recently acquired a second hand X-T1, it's in good overall shape but the rubber grips have stretched and are peeling. I've tried emailing Fuji's UK support email address to inquire about purchasing replacement grips about five days ago and thus far not heard anything back (not even an automated reply). Does anyone else have any experience of dealing with Fuji's UK support people, are they always this slow? Am I better off phoning them? I've seen folks in other countries have managed to get the parts and do the repair themselves, which is what I'd rather do than pay someone else to do it.
  4. I suspect the biggest reason for that different Fuji look is thanks to all those grouped green pixels. You get more luminance data and less colour noise which results in nicer rendering in many cases. There are some issues with certain scene types with lots of fine detail, mostly with Adobe's demosaicing algorithm, but even these usually vanish once you stop viewing your images at low DPI. One of the best things you can do for your Fuji files is to view them on a high DPI/retina monitor or as a quality print. People viewing Fuji files at equivalent to about 50 dpi (200% zoom on a typical monitor) and complaining about artefacts are missing the wood for the trees.
  5. Fuji xt2 Stuck/Hot pixels

    The occasional hot pixel is inevitable, the chances are other cameras you've owned had the problem too but it was either mapped out by the factory or was stuck in an off state where it wasn't noticeable. The X-Pro 2 has a pixel mapping feature so I assume the X-T2 does as well so it's not something you need to send your camera away to fix. Losing a handful of pixels will have no visible impact on image quality at all once they are mapped out.
  6. This doesn't surprise me actually, I use my 60mm an absolute ton too, it's just so versatile. I wrote up a long term use review of mine back in September: http://lightpriority.net/2016/09/fuji-60mm-f2-4-r-macro-longterm-use-review/
  7. product photography

    For relatively small items a simple desktop setup with a large sheet of white card to form an infinity curve backdrop and a couple of lights with soft boxes or other defusers set at 45 degrees to your subject, a good tripod and the 60mm macro should work for this.
  8. There is the IP code which is used for various products from cameras to watches to indicate the level of protection against water, solid particle ingress and impact resistance, it's perhaps telling that no lens manufacturer (I'm aware of) uses it. Of course as soon as one does they all will because it will be a good marketing bullet point.
  9. Evening sun over Hill House Farm

    I love when sun and mist combine together, makes for some nice atmospheric photos!
  10. I've had my X-Pro 2 and 90 f2 soaked and it's been fine, Fuji's WR seems pretty up to the job.
  11. Afternoon shadows. Photo: Ross Duncan

    I'd be tempted to crop out or hide what ever that curved thing is in the bottom left corner, it distracts from what is otherwise a really strong image.
  12. I think some of them did comment on it, but it was generally excused as the lenses being tested were 'pre-production' units.
  13. So some early observations about the 23mm f2. I've had it for 20 days now, it arrived just in time for a trip to Barcelona. It's a good thing it's weather resistant because the Spanish weather was not kind to us! Overall I'm pretty happy with it as a general walk-about lens. Where it really excels over the X100 series lens is sharpness across the frame at f5.6 and below at mid distances to infinity. There's also no electronic distortion correction being applied which is very different to the X100 lens which is quite heavily corrected. It's not all good news though, when used wide open and around its minimum focus distance the image quality is frankly terrible. This is basically the same characteristic as the X100 lens unfortunately. Stopped down to around f4 it's fine, but then you really lose a lot of potential for nice background blur. If you want to do shallow DoF work, get the f1.4 version, this is really no substitute. There's also a little bit of purple fringing around the edges, but it's not as severe as say the 18mm f2. For general street and landscape shots this is a very nice lens, very quick to focus, sharp, small and lightweight. The hood is interchangeable with the 35mm f2 (the 35's screw-in hood also works fine on the 23mm) which is a bonus. Obstruction of the OVF is minimal (especially with the hood removed) which is handy on the X-Pro 2 as I like to shoot with the OVF for street shots. I'll probably write up a full review on my blog at some point when I've used it for a few more months.
  14. This really sounds like a lens problem, she's not trying to capture a fighter jet zipping by here, even if it's a single tiny focus point and set to AF-S you wouldn't keep getting soft shots like this unless you were spectacularly unlucky or had incredibly sloppy technique. From the shots posted, these do not look like challenging conditions for an X-T2 so the most likely explanation is the lens needs servicing or replacing. PS I wouldn't recommend face detection as it disables the phase detect autofocus which will dramatically slow down continuous AF or AF in general in dim light conditions.
  15. Ah that's not possible, the in camera tweaks you can make such as the shadow and highlight tone, sharpening etc. only apply to the camera's built-in JPEG engine. The most you can do on the desktop is to use the base film simulations, although if there's a particular look you like you can try recreating it and making a preset to quickly apply it to images.
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