Have you ever traveled to the shopping mall in search of a product, only to be met by dozens of similar options to choose between? Lowest-price vs best-value, long-lasting vs quick-acting, eco-friendly vs cost-effective: we are drowning in possibilities that years ago didn’t exist. Perhaps nowhere is the epidemic of choice more prevalent than in the digital camera world today. Since I began reviewing mirrorless cameras a couple of years ago with my partner Mathieu Gasquet, I’ve been surprised by just how many models exist for each brand. For instance, in the six years since mirrorless cameras first began to appear on the market, a total of thirty-six Micro Four Thirds system cameras and nineteen Sony E-mount cameras have been released, an astonishing number if you consider that new film cameras would be released only every two or three years.
As good as X-Trans sensors are in terms of performance, most software makers have had some trouble with demosaicing the slightly unusual RAW files in the past. Adobe Photoshop Lightroom has been noticeably trailing behind in this regard even back when version 5 was introduced, as I found out in the review. That’s not brilliant given that X-Trans has been around for, what, almost three years now? To be completely fair, the paint-like rendering isn’t as much of an issue in most cases as one might think, and yet I can’t help but wish Lightroom was able to render X-Trans RAW files at least as well as Fujifilm does with its in-camera conversion. After all, superior technical image quality is the whole point of RAW, and Lightroom should certainly deliver. So the question is – does it? Since the X-E2 has permanently taken residence in my camera bag and is now my second tool, if not quite the first one yet, I am very curious to see how my favorite RAW converter will perform.
Careful, now. I am about to get technical.
I pick up the camera and, for what feels like a hundredth time, get surprised by its low weight. It’s not what you’d call hollow, more like… tightly packed. There might be a couple of areas where you touch and feel mild disappointment – the control wheel at the back could be metal and the bottom, well, can’t help but wish it felt as cool (literally) and solid as the top of the camera – but only because the rest of it is just so pleasant to hold. It has quickly become a very natural size and shape – that Nikon body, though that much more secure in hand, feels almost unwieldy. It’s not, really, but also is when you compare it to the Fujifilm X-E2. And the dials – save for the aperture ring on the lens, but that is a separate subject – offer very good resistance. In the case of exposure compensation dial, when doing such time-critical types of photography as street, perhaps even a touch too good. It’s not that easy to turn with your thumb whilst holding the camera to your eye. And that is exactly what I am doing right now, bringing it to my eye as my subjects still don’t seem to have noticed me noticing them.
It must be snowing in hell – I bought a new camera. After much thought, much going back and forth, much of Nasim-nagging with what I not-so-secretly consider to be the most irrelevant questions, I bought a new camera. But that is not what I want to tell you today. All my impressions will come in due time. This time, though, there will be less talking and more viewing, as the first thing I wanted to do with it was… well, photography. Weird, am I not? And what better place there is to try a small, discreet, quiet camera than the narrow streets of my favourite city, Vilnius.
A side note: although everything I say in this article is indisputable truth, I won’t blame you if you don’t take my word for it all the time.
Just as Fujifilm promised in their latest roadmap, the last quarter of 2014 sees the announcement of their first professional-grade telephoto zoom lens, the XF 50-140mm f/2.8 R LM OIS WR. The surprise release, however, is the revised version of the already-very-popular XF 56mm f/1.2 lens that features an apodization filter. Let’s take a closer look at the specifications of both lenses.
Along with the new X100T and a couple of lenses, Fujifilm has also announced a “Graphite Silver” version of their well-received X-T1 mirrorless camera. Unlike other silver/black versions of mirrorless cameras that Fujifilm offers – X-E2 immediately springs to mind – X-T1 has a darker shade body. It is definitely more conspicuous than the black body of the original X-T1, but not as much as a regular silver camera would be. It is also more expensive. And don’t worry, there are indeed some better news that owners of black X-T1’s will find very welcome.
Back in 2010 – has it really been that long? – Fujifilm started their Renaissance with the release of X100, a compact camera with a fixed, 35mm equivalent lens and a large APS-C sized image sensor at its heart. It was a camera towards which few remained indifferent. Plagued by Fujifilms quirks, most of which have been attended with most thorough and impressive firmware upgrades since, the camera also had a beautiful design and brilliant, unheard of feature – hybrid EVF/OVF. Whether you liked the original X100 or not, most will agree it was a breath of fresh air in the camera industry where most products were, for the lack of a better word, soulless and slightly boring. Four years later, the mark III version is out – called X100T.
We’ve fallen behind with announcements and it’s time we caught up! Firstly, let’s talk about the new Fujifilm X30 compact camera. Fujifilm has actually been a lot in the news lately. They’ve been spurring up the market with innovative approach to product design and functionality. But if you glance at the X30, it’s not really that different compared to its predecessor. Perhaps a closer look will tell us more.
It would seem releasing great and very desirable optics has now become Fujifilm’s habit. Several months ago, we were very excited about Fujifilm’s updated lens roadmap – it promised we’d see some truly spectacular lenses. No myriad of only slightly different super-zooms, no tenth kit zoom to be seen. Whoever is responsible for planning future lens releases at Fujifilm, they are doing a mighty good job. And here’s some good news – the official lens roadmap has just received an update to shed some more information on what awaits Fujifilm X-mount system users.
Our readers often ask us if it is possible to get Lightroom to provide the same colors as one would see from camera-rendered JPEG files when shooting in RAW format. Many photographers often choose specific color profiles in their cameras and they get surprised when images are imported into Lightroom and all those changes are lost. You might have noticed when importing files that Lightroom changes the colors immediately after import, when the embedded JPEG files are re-rendered using Adobe’s standard color profiles and settings. As a result, images might appear dull, lack contrast and have completely different colors. I have heard plenty of complaints on this issue for a while now, so I decided to post series of articles for each major manufacturer on how to obtain more accurate colors in Lightroom that resemble the image preview seen on the camera LCD and in camera-rendered JPEG images. In this article, I will talk about getting accurate colors from Fuji mirrorless cameras in Lightroom. Please see our previous articles on getting accurate colors for Nikon, Canon and Sony cameras.