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Fun with the Fuji X-Pro 2 and X-T 2

scott kirkpatrick

Well-known member
Skydiving for beginners

Spent a few hours at Pepperell, MA's skydiving center, using the X Pro2 and 35/2 for quick shots. You may have heard about parachutists landing on the run, or in a "parilette" roll to cushion the impact, but for the first-time tandem ride, in which the parachutist is strapped to an instructor with a big chute that opens automatically, landings are butt-first, sitting back:

DSCF1090 by scott kirkpatrick, on Flickr

The instructor gathers up acres of chute and lumbers off to get ready for the next ride

DSCF1149 by scott kirkpatrick, on Flickr

while the passenger, ecstatic, rejoins her relieved family

DSCF1146 by scott kirkpatrick, on Flickr

One disappointment; I lost several shots of the jump plane taking off, with blue sky behind, trees below, and grass in the foreground, when the AF chose to select the grass, leaving everything out of focus. Setting infinity focus and getting the camera to leave it there is tricky.

scott
 

scott kirkpatrick

Well-known member
Tempted by the 56/1.2

I've been intrigued by the 56/1.2, an older Fuji lens, optically corrected rather than relying on software, and I ran into one in a camera shop today. It might have been a response to the success of the Canon 85/1.2, since there is an even rarer version with some modifications to make the out of focus parts of the images even blurrier -- not really what I would want. Even though the lens with its lens shade is quite large, it doesn't block much of the optical viewfinder rectangle in the X-Pro2, less in fact than the 23/1.4 does. It's AF is kinda slow and noisy, like the 23. But it makes nice images. Here are a few obtained while playing with the lens in the store:

at f/1.2:

DSCF1166 by scott kirkpatrick, on Flickr

at f/4:

DSCF1182 1 by scott kirkpatrick, on Flickr

and at f/5.6:

DSCF1187 1 by scott kirkpatrick, on Flickr

scott
 

JPL

Member
Just watch out that the AF works as intended, there were early ones that went out of focus if the lens was pointed upwards - you will certainly find additional info on that through google. I had a lens like this that was eventually replaced by Fuji.

All the best
JPH
 

ptomsu

Workshop Member
I absolutely loved my 1.2/56 on the XT1. This might be one of the first lenses I will get as soon as I am going back into the Fuji X system again - either with the XPro2 or I rather believe with the XT2 :D
 

JPL

Member
Been walking through Casablanca today - mostly the 18mm - somme pp is not perfect but that will have to wait for now....

In these circumstances the battery lasts about 360 shots

Tomorrow morning I move towards the inner part of morocco - will be much hotter than in Casablanca or Rabat.
Nice summer days!
JP















 

Norm N

Member
Simply to show what the X-Pro2 delivers.
The 1883 "Lawn" apartments. The first Portland townhomes for the "well off." Portland vernacular architecture, and today a historical landmark:


.
 

scott kirkpatrick

Well-known member
Carriages of all sorts

The Remington Carriage Museum, conveniently located in in Cardston, Alberta, a prosperous Mormon town close to the Canadian Waterston Park and American Glacier National Park, has hundreds of horse-drawn vehicles, such as this elegant runabout:

DSCF1888 by scott kirkpatrick, on Flickr

and even one horseless carriage, similar is structure to the iconic 1903 REO, but several years earlier:

DSCF1846 by scott kirkpatrick, on Flickr

Located in the vast and distant prairie, the museum of course includes an example of a popular mail-order buggy, shown before

DSCF1850 by scott kirkpatrick, on Flickr

and after the "unboxing experience":

DSCF1852 by scott kirkpatrick, on Flickr

This English public transport carriage was in the shop. Note the modern drum brakes.

DSCF1900 Panorama by scott kirkpatrick, on Flickr

The museum also has a stable of horses, offers rides, and even shows how one learns to handle small and large teams of horses (it takes years, starting as a child with ponies). Here's an album of pictures, but it barely scratches the surface of the collection: https://www.flickr.com/gp/133969392@N05/z9R224 .

scott

X Pro2, all with the 35/2.0
 

scott kirkpatrick

Well-known member
There's a discussion raging on the Leica User Fora about why the next "ultimate" Leica SL lenses will have to be even bigger than the Otuses and Sigma Art lens series that dwarf a Sony 7-series full frame mirrorless camera. Without getting into the Leica definition of ultimaticity, the comparison of Fuji lenses that I shot as a counterexample, which I will include here, gives a good idea of the gains to be made by going to an all-autofocus and software-supplemented design strategy:

S1020156 by scott kirkpatrick, on Flickr

The new 35/2.0 shown on the camera in the center is about half the size and weight of the earlier 23/1.4 and 58/1.2 lenses. What, if anything, does it give up? Well, control over barrel distortion is passed to software. Here's what the required correction looks like in Capture One:

Screen Shot 2016-08-05 at 3.48.26 PM (2) by scott kirkpatrick, on Flickr

That looks pretty serious. The corrected image (the actual scene that was mapped into the camera's 24 MPx) is stretched out by an amount which increases at least quadratically as you move from the center to the corners. The correction proceeds in two steps. First the actual image is mapped into a virtual array of pixels with the same pitch as the camera's pixels but extending out beyond the original frame, using Fuji's embedded information to compute the required shifts. Second, the central 24 Px of the true image are extracted from this virtual array. This is the corrected image; you can make it a little wider, or crop it further, to personal taste.

You might think that the interpolated image, in which the outermost image points are shifted by 10-20 pixels from the positions at which they are captured, will be smoothed or smeared, but I don't see it. I suspect that is because the interpolation, if done optimally, preserves information at less than the Nyquist spatial frequency and suppresses artifacts beyond it. This is like having a weak AA filter, and then only applying it at the edges of the frame. There is some softening in the last 10-20 pixels at the corners of the frame, but that is present in both corrected and uncorrected images, and thus is due to the lens, not the software. If a picture requires edge-to-edge sharpness, plan to crop just a tiny bit.

scott
 

scott kirkpatrick

Well-known member
Re: Naginata tournament

Naginata refers to the long sticks with cutting blades seen in Japanese movies of the sengoku-jidai. Formalized, this is a martial art taught, along with kendo, to all Japanese schoolchildren and exported to the west. The ancient armour which fighters put on contrasts strangely with the basketball and indoor soccer usually played in the gym where this tournament was held.

DSCF2021 by scott kirkpatrick, on Flickr

DSCF2050 by scott kirkpatrick, on Flickr

DSCF2125 by scott kirkpatrick, on Flickr

DSCF2218 by scott kirkpatrick, on Flickr

DSCF2219 by scott kirkpatrick, on Flickr

DSCF2091 by scott kirkpatrick, on Flickr

all these with Fuji X Pro2 and 35/2.0

There's an album at https://www.flickr.com/gp/133969392@N05/382x4g (but with pictures of all participants, it's a bit long).

scott
 
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teeraash

New member
Let's have the XT2 joins the party. This was my first outing with the new camera and new lens, the 56/1.2 APD. BTW I used pro Neg instead of the usual Provia Standard so that the colors won't hurt your eyes too much. All were taken with 56/1.2 APD except the first two images which were from the 18/2. Fuji, I'm coming back to you :D

[/url]DSCF2156.jpg by Teera Ashakul, on Flickr[/IMG]


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DSCF2170.jpg by Teera Ashakul, on Flickr


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DSCF2191.jpg by Teera Ashakul, on Flickr


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DSCF2196.jpg by Teera Ashakul, on Flickr
 
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