My friend used to shoot on the full-frame Nikon D800 and now he starts to use the Fujifilm X-T2. What is the result?

A significant part of the photographers does not see the “magic picture” of the full-frame image and would be pleased to remain on the APS-C camera, since the cameras of this type are lighter, smaller and cost less. The main reason why experienced amateurs decide on changing the format is 2-2.5 times higher Low-Light ISO level on a full frame, which generates significant growth as an image quality when shooting indoors without flash, sports competitions, children’s morning performances and wild animals, etc.; that is in all those situations where, in a not very good light, a short shutter speed is required, provided by an increase in ISO. Now a new mirrorless model of the Fujifilm X-T2 comes to the market, which today, according to numerous reviews and, based on examples of pictures on the Internet, the Low-Light ISO is approaching 3200 value, like the full-frame cameras by Nikon and Sony. The long-time reader of the website, Pavel Chertalev, recently took this camera for a test drive, after which he immediately sold his full-frame Nikon D800 with all the lenses, and switched to the Fuji X-T2. Let us look at the samples of his pictures, analyze what are the pros and cons of this a professional-level mirrorless APS-C camera, who can buy it, and who, perhaps, should refrain.

The article will be voluminous in terms of the amount of text, because I wanted to post enough analytical information that would help someone to make a choice in favor of a particular model. The content will be as follows:

  1. Analysis of the strengths and weaknesses of mirrorless cameras in comparison with DSLR.
  2. Overview of the technical characteristics of the flagship Fujifilm X-T2 and comparison with the parameters of the second top model of this manufacturer the Fujifilm X-Pro2.
  3. We understand how the X-T2 differs from the younger mirrorless model X-T20.
  4. Let us try to understand in what cases mirrorless “Fujifilm X” is obviously not worth buying. We compare with the top DX-cameras from Canon and Nikon.
  5. The conclusion.

Well, before we get to the review, I propose to see what kind of pictures Paul got when he owned the Nikon D800 camera and different lenses. In the comments to the article with a story how was created the Nikon D750, you can read Paul’s first review of the new Fujifilm X-T2 kit with the Fujifilm XF 16-55mm f/2.8 R LM WR, the Fujifilm XF 50-140mm f/2.8 R LM OIS WR and the external flash Nissin i40 (sorry, the link will be provided later).

1. The Fujifilm X-T2 camera with the Fujifilm XF 50-140mm f/2.8 telephoto lens. Review and sample photos.

1. The Fujifilm X-T2 camera with the Fujifilm XF 50-140mm f/2.8 telephoto lens. Review and sample photos.

2. Happy owner of the Fujifilm X-T2 camera with the Fujifilm XF 16-55mm f/2.8 lens and an external flash Nissin i40. Settings: shutter speed 1/80 sec., exposure compensation 0EV, f/6.4, ISO 1600, the flash did not fire, the focal length is 24.2 mm.

2. Happy owner of the Fujifilm X-T2 camera with the Fujifilm XF 16-55mm f/2.8 lens and an external flash Nissin i40. Settings: shutter speed 1/80 sec., exposure compensation 0EV, f/6.4, ISO 1600, the flash did not fire, the focal length is 24.2 mm.

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1. Pros and cons of DSLRs and mirrorless

When the first mirrorless cameras appeared, the amateurs met them rather gelid, since there were many flaws in them. However, time is running out, manufacturers are investing huge amounts in new developments, in improving their cameras, in advertising campaigns that popularize mirrorless interchangeable lens camera. Let’s try to analyze the strengths and weaknesses of DSLRs and mirrorless to better understand what makes some photographers move to the Fujifilm X-T2.

1.1. Limitations typical for DSLR cameras

DSLRs have the following weaknesses in their design due to the fact they have a mirror:

  1. Large dimensions: rotating mirror and electronic shutter do not allow greatly reducing the size of the camera.
  2. Weight: the body of modern DSLRs is made of magnesium alloy or carbon fiber. Nevertheless, the mirror and pentaprism occupy a lot of space, and weigh a lot. In addition, lenses for DSLRs, especially for a full-frame, are larger and heavier than for APS-C.
  3. The complexity of the design of the mirror and the mechanical shutter: in the case of the DSLR, the mirror then rises and falls to allow the light flux to enter the sensor. All this causes huge problems for designers: mirror’s clap, braking mechanism, limitations on the speed of continuous shooting, movement of air inside the body, causing contamination of the sensor, service complexity troubles.

Read the interview with a team of engineers who took part in the development of the Nikon D750 DSLR camera – it describes the reasons why it was not possible to achieve a fastest shutter speed of 1/8000 in this camera (the link will be provided later).

  1. There is no way to see in advance how the picture will look: when we look at the optical viewfinder, we cannot understand whether the exposure is sufficient, whether the image will be overexposed or underexposed. We are forced to focus on the prompt of the metering system, but the automation often works incorrectly.
  2. Problems with focusing accuracy when using phase detectors: phase sensors are used in DSLR, and with the slightest inaccuracy in the assembly of the “body-lens system”, front or back focus appears.
  3. Price: manufacturers, under the pressure of competitors from mirrorless, are struggling to reduce their costs and make the cost of DSLR cameras optimal. Nevertheless, in the design of the DSLRs, complicated electromechanical components are used, potentially limiting the ability to reduce the cost of producing this type of camera.
3. Shooting portraits on the Fujifilm X-T2 with high ISO. Camera settings: 1/80, -0.33, 2.8, 4000, 18.7

3. Shooting portraits on the Fujifilm X-T2 with high ISO. Camera settings: 1/80, -0.33, 2.8, 4000, 18.7

4. Test the Fujifilm X-T2 on high ISO. 1/80, -0.33, 2.8, 2500, 55.

4. Test the Fujifilm X-T2 on high ISO. 1/80, -0.33, 2.8, 2500, 55.

Photo 5. How does the Fujifilm X-T2 camera behaves at high ISO? Shooting without an external flash. Settings: 1/100, 2.8, 5000, 26.6.

Photo 5. How does the Fujifilm X-T2 camera behaves at high ISO? Shooting without an external flash. Settings: 1/100, 2.8, 5000, 26.6.

Photo 6. Fuji X-T2 sensor test on ISO 6400. 1/100, 2.8, 6400, 19.4

Photo 6. Fuji X-T2 sensor test on ISO 6400. 1/100, 2.8, 6400, 19.4

1.2. Strengths of mirrorless cameras?

Many experts of the photography market predict that in the near future mirrorless cameras will take the main share in the preferences of beginners and advanced amateur photographers. Already now, we see that both Canon and Nikon with each new model cannot surprise with something new: the revolution does not happen – well, they implemented Wi-Fi and GPS, increased the buffer capacity… Accuracy and focus speed – at the maximum possible, the processors allow you to shoot HD Video at 60 fps mode.

The mirrorless cameras have great potential for the future, since they are fundamentally devoid of some of the drawbacks that are characteristic of the DSLRs.

  1. Less size and weight: no mirror and pentaprism inside. Many models are APS-C type, and for this kind of camera, lenses with less weight and dimensions are manufactured.
  2. Inside there is no mechanism for driving the mirror (in fact, there are two mirrors in the DSLR), so nothing slams, which leads to the following things:
    • The opportunity of low sound or soundess shooting.
    • No vibrations from the clap of the mirror.
    • Less contamination of the sensor, since nothing moves the air.
    • Easier to get to the sensor for cleaning.
    • There are fewer restrictions for increasing the speed of continuous shooting. Therefore, potentially, mirrorless cameras can shoot faster than 14 fps, which today the Fujifilm X-T2.
    • Less components in the design – more reliability and easier maintenance.
  3. Preview image: looking into the electronic viewfinder or in the tilting screen, you immediately see the picture that will be obtained after pressing the shutter release button: WB, saturation and contrast, highlight clipping, etc.
  4. There is no problem with the accuracy of focusing due to phase sensors: the latest mirrorless models come with phase-detect autofocus sensors mounted directly into the camera’s sensor. Since the phase sensor is in the same plane as the camera sensor, there are no problems with the front or back focus.
  5. Price: theoretically, the cost of manufacturing mirrorless cameras is lower, since there is no need for precise mechanics (there is no a mirror), and fewer components in the design. However, Sony, Olympus and Fujifilm are forced to invest huge amounts in improving the systems of autofocus, EVF and other technologies, as well as spend money on advertising, overcoming the inertia and mistrust of photographers. Therefore, now the cost of mirrorless is higher than that of DSLRs. Nevertheless, in the future, it definitely has reserves for reduction.
  6. Electronic viewfinder (EVF): experts argue that this component is the greatest competitive advantage of mirrorless, and with its help they will break out, although now EVF is not as good as it could be.
  7. Overlaying information: when we look at the optical viewfinder (OVF) of the DSLR, we see a small amount of data. However, their volume is limited. At the same time in EVF you can lay out much more information: from the histogram to the “focus picking.”
    • Preview of the photo: everything that is displayed on the screen in LiveView mode can be displayed on the EVF, which allows the photographer to check the photo without taking his eyes off the viewfinder.
    • Image Viewer: you saw how professional video professionals take pictures on a DSLR in a separate article – to view a picture on an LCD screen on a sunny day you need to buy a special cover. With EVF you can’t worry about the bright external light.
    • Focus Peaking: readers of the blog repeatedly gave a link to a video showing the execution of “Focus Picking” (tinting the color of sharp areas of the image) on the display of the Sony MILCs. However, the same thing can be deduced in EVF, which is impossible in the OVF.
    • Full coverage of the viewfinder: usually in the mirrors in the OVF is lost about 5% of the picture, in the EVF can be shown up to 100%.
    • A much brighter display: how does it focus in the twilight or in the dark through the optical viewfinder? We do not see anything. In cameras with EVF you can turn on the “normal mode”, and visibility will be as in daytime.
    • Digital zooming: when I take pictures of landscapes in LiveView mode on a Samyang 14mm f/2.8 lens, I click the zoom button to enlarge the picture to 100%. It is very convenient to focus manually! So, in the mirrorless, this function can be implemented into the electronic viewfinder, which cannot be done with the OVF.
    • Tracking the face and the eyes. Since the EVF shows what the real picture will look like, you can add a special analysis of the data and the camera will track the person, or even focus on the eye closest to the lens.
    • Potentially unlimited number of focus points: in the article with interviews of Nikon D750 developers, we listened to the opinion of one of the engineers above, which explained why it is impossible to expand the AF point area in the viewfinder. In the mirrorless cameras phase detectors are located directly on the sensor, contrast ones can be placed anywhere.
    • The tracking system for the subject: now in some DSLR appeared the mode of 3D-tracking, but it does not work very well. Given the location right in the sensor of the points of autofocus, there is a possibility that in the near future mirrorless cameras will surpass the DSLR in accuracy of this function, since the information is read directly from the sensor.
    • Risk of eye damage: In the instruction manual for any DSLR you can read a warning about the danger of damage to the retina if you eye at the sun through the OVF. In the case of EVF there is no such danger.
Picture 7. Another example of shooting on the Fuji X-T2 with very high ISO 6400. 1/125, 2.8, 6400, 30.2.

Picture 7. Another example of shooting on the Fuji X-T2 with very high ISO 6400. 1/125, 2.8, 6400, 30.2.

Picture 8. With ISO 6400 the Fuji X-T2 camera produces a very good picture. 1/125, 2.8, 6400, 16.

Picture 8. With ISO 6400 the Fuji X-T2 camera produces a very good picture. 1/125, 2.8, 6400, 16.

Picture 9. Testing the Fujifilm X-T2 in low light conditions and comparing characteristics with competitors. 1/125, -0.67, 2.8, 4000, 28.3.

Picture 9. Testing the Fujifilm X-T2 in low light conditions and comparing characteristics with competitors. 1/125, -0.67, 2.8, 4000, 28.3.

Photo 10. Shooting a dynamic story on the Fujifilm X-T2 digital camera indoors. 1/125, 2.8, 400, 21.3.

Photo 10. Shooting a dynamic story on the Fujifilm X-T2 digital camera indoors. 1/125, 2.8, 400, 21.3.

1.3. Mirrorless cameras limits

The advantages of mirrorless cameras, which are listed above, are for an ideal world. However, today, there are a number of unresolved technological problems specific to this type of camera (Fujifilm X-T2 users claim that some of them are no longer relevant in this new model).

  1. Delay in displaying images in EVF: only the latest versions of mirrorless interchangeable lens cameras (MILC) can boast a more or less normally working electronic viewfinder. Early models caused complaints from amateur photographers.
  2. Continuous autofocus and tracking of the subject: above we said that, potentially, mirrorless cameras in the near future will outpace DSLR by the speed and accuracy of focusing in tracking mode. However, to date, when shooting birds on the fly or shooting sports, DSLR cameras bypass their competitors.
  3. Battery life: due to the need to power the EVF, which is constantly on, the average number of frames that can be shot on a single charge is around 300 shots. In DSLR cameras this number is 1000 or more. Maybe this is not a big problem (for Nikon D5100 I got 450 photos with one charge, and I had enough), and you can buy an extra battery, but it costs money and the weight of the camera bag.
  4. Colored spots: due to the short end of the lenses for the APS-C mirrorless cameras, the light reflects from the sensor to the rear lens and back, so when you take pictures, where the sun is present in the frame, there may be colored spots. Technologically, this problem is unsolvable.
  5. Highly contrasting picture in EVF: most electronic viewfinders have the same contrast as TV screens – lots of black and light, and few halftones. Not a problem, but a nuance.

Despite the large number of positive sides, in general, mirrorless cameras lose today. There are also technical issues, still unsettled, and the difficulties of choice. An owner of a DSLR camera can easily find on the market a huge number of used lenses, suitable for his tasks. Find non-native lenses, flashes, radio synchronizers and other accessories for DSLR is much easier, and the price is likely to be lower than for the mirrorless cameras.

In occasion of “it is easy to find in the market second hand lenses”, probably, I got excited. When I was looking for the Nikon 17-55mm f/2.8G for my cropped Nikon D5100, I was waiting during 2 months, while there will appear a single copy in Ekaterinburg. For a full frame Nikon D610 the Nikon 24-70mm f/2.8 zoom lens could not be found, I took a new one. On December 2016, I decided to take a Nikon 70-200mm f/2.8G and a teleconverter TC-14E ​​II for a future safari trip in India. In Ekaterinburg did not have it, but Chelyabinsk, Tyumen and Perm had one piece only. For 3 million people there are only 3 used lenses! I had not found already used extender that is why I had to go to Moscow (1800 km from my home). As a result, the TC-14E ​​II cost was 50% cheaper than the new one. Now look how much in the market offers for used telephoto zoom Fujifilm XF 50-140mm f/2.8, and at what price they are offered… 

Nevertheless, mirrorless cameras are aggressively fighting for a place in the sun. Until recently, the choice of lenses was not wide, there was no flash, but today the situation has become much better. Moreover, more and more owners of large and heavy DSLR cameras switch to light and technological compact mirrorless cameras.

11. Example of a photograph taken on the Fujifilm X-T2 with an external flash Nissin i40. The Fujifilm XF 16-55mm f/2.8 R LM WR lens. 1/60, 2.8, 1000, 16.

11. Example of a photograph taken on the Fujifilm X-T2 with an external flash Nissin i40. The Fujifilm XF 16-55mm f/2.8 R LM WR lens. 1/60, 2.8, 1000, 16.

12. Testing the Fujifilm X-T2 with the fast standard KIT lens Fujinon 16-55mm f/2.8 R LM WR and the external flash of Nissin i40.

12. Testing the Fujifilm X-T2 with the fast standard KIT lens Fujinon 16-55mm f/2.8 R LM WR and the external flash of Nissin i40.

13. An example of a photo on the mirrorless Fujifilm X-T2 with the flash Nissin i40. The universal zoom Fujifilm XF 16-55mm f/2.8 was used. Shooting options: 1/60, 2.8, 1000, 51.6

13. An example of a photo on the mirrorless Fujifilm X-T2 with the flash Nissin i40. The universal zoom Fujifilm XF 16-55mm f/2.8 was used. Shooting options: 1/60, 2.8, 1000, 51.6

14. How can I take high-quality photos indoors when there is not enough light? Use an external flash. An example of an image on the Fuji X-T2 with the Fujifilm XF 16-55mm f/2.8 lens and the Nissin i40 flash. 1/60, 1000, 2.8, 23.4.

14. How can I take high-quality photos indoors when there is not enough light? Use an external flash. An example of an image on the Fuji X-T2 with the Fujifilm XF 16-55mm f/2.8 lens and the Nissin i40 flash. 1/60, 1000, 2.8, 23.4.

2. Overview of the compact mirrorless camera Fujifilm X-T2

The Fujifilm X-T2 mirrorless camera, announced on July 7, 2016, is the successor of Fujifilm X-T1, but it has a higher resolution, an improved autofocus system and is excellent for a camera with a body-like DSLR design with video recording capabilities. Like another top model the Fujifilm X-Pro2, the X-T2 is equipped with the same 24.3-megapixel sensor X-Trans CMOS III.

The body of camera is almost completely made of magnesium alloy and has protection from splashes. A high degree of resistance to dust and moisture is achieved through a special seal in the 63 points of the Fuji X-T2. The absence of a low-pass filter in front of the sensor allowed Fuji to declare the highest image clarity among FujiFilm X series cameras.

Picture 15-0. The appearance of the Fujifilm X-T2 camera with the Fujinon XF 35mm F1.4 R lens and the Nissin i40 flash. At the top in the center, there is Fujinon XF 16-55 mm F/2.8 R lens. On the top-right, there is the telephoto lens Fujinon XF 50-140mm F2.8 R LM OIS WR. Below - on the tripod Sirui T-025X with the head C10X.

Picture 15-0. The appearance of the Fujifilm X-T2 camera with the Fujinon XF 35mm F1.4 R lens and the Nissin i40 flash. At the top in the center, there is the Fujinon XF 16-55 mm F/2.8 R lens. On the top-right, there is the telephoto lens Fujinon XF 50-140mm F2.8 R LM OIS WR. Below – on the tripod Sirui T-025X with the head C10X.

The camera comes with a rechargeable Li-ion battery NP-W126S, a BC-W126 battery charger and a EF-X8 flash (guide number 11 @ ISO 200), a bayonet cover, a shoulder strap, a belt clip, a hot shoe cover and a compartment fastening the battery handle, the cover of the synchronization socket and the user’s manual.

For the Fuji X cameras, the standard KIT lens is the Fujinon XC16-50mm F3.5-5.6 OIS II. I had an opinion that Fuji does not make bad lenses – and this model gives an excellent picture. Examples of pictures from Fuji XC16-50 can be seen in the article with a comparative review of Nikon D5100 vs Fujifilm X-M1.

However, experienced photographers know that the image is affected by both the quality of the lens glass and the ability to open at maximum aperture, thereby allowing the ISO to be reduced when shooting. Therefore, buyers of previous models of the top Fuji X-T1 or the Fuji X-Pro1, often in the KIT took Fujinon XF18-55mm F2.8-4 R LM OIS. Well, Paul took the most versatile travel zoom, although it is quite heavy and bulky: the Fujinon XF16-55mm F/2.8 R LM WR.

The owner of the X-T2 has closed the range of long focal lengths by purchasing a universal the Fujinon XF 50-140mm F/2.8 R LM OIS WR that has a field of view on a APS-C similar to a Nikon 70-200mm f/2.8G or a telephoto lens Canon EF 70-200mm f/2.8L on the full frame.

Whatever fast lens do you have, it is impossible to shoot high quality photos indoors without an external flash, and especially when it comes to dynamic scenes. Therefore, immediately with the above optics, Nissin i40 flash was purchased.

15. A comparative overview of the mirrorless digital camera Fujifilm X-T2. An example of a photograph taken with the standard lens Fujifilm XF 16-55mm f/2.8.

15. A comparative overview of the mirrorless digital camera Fujifilm X-T2. An example of a photograph taken with the standard lens Fujifilm XF 16-55mm f/2.8.

16. Test camera the Fuji X-T2. Shooting in low light conditions. The Fujifilm XF 16-55mm f/2.8 fast lens helps not to increase too much ISO.

16. Test camera the Fuji X-T2. Shooting in low light conditions. The Fujifilm XF 16-55mm f/2.8 fast lens helps not to increase too much ISO.

17. Owners of the Fujifilm X-T2 are all a bit strange... Why do we need a fast lens? The Fujifilm XF 50-140mm f/2.8 answers this question: to reduce ISO when shooting in low light conditions. 1/250, -0.33, 2.8, 320, 74.4

17. Owners of the Fujifilm X-T2 are all a bit strange… Why do we need a fast lens? The Fujifilm XF 50-140mm f/2.8 answers this question: to reduce ISO when shooting in low light conditions. 1/250, -0.33, 2.8, 320, 74.4

2.1. Who is the potential owner of the Fujifilm X-T2

The flagship models FujiFilm X series are becoming more popular among professional photographers and photojournalists, and the Fuji X-T2 has all the functionality necessary for such users. It is also suitable for advanced amateurs who want to take advantage of the mirrorless APS-C format camera with both the standard settings for photography and 4K video support.

The choice between the X-T2 and the X-Pro2 models (having the same an APS-C sensors and processor) will be determined by what version of the body you like more and whether you need 4K-video, which can shoot only with the X-T2. The table below compares the capabilities of the X-T2, the X-T1 and the X-Pro2.

Parameter X-T2 X-T1 X-Pro2
Body type DSLR like Classic design
Resolution 24.3 MP 16.3 MP 24.3 MP
Processor X Processor Pro EXR Processor II X Processor Pro
Max image dimension 6000 x 4000 4896 x 3264 6000 x 4000
Max video resolution 3840 x 2160 px 1920 x 1087 px
Natural ISO range ISO 200-12800 ISO 200-6400 ISO 200-12800
Extended ISO range ISO 100-51200
Maximum continuous shooting speed 14 fps with electronic shutter; 11 fps with battery handle, 8 fps in autofocus mode 8 fps in autofocus mode
Hybrid autofocus system 325 point (169 phase sensors) 49 points 273 points (169 with phase sensors)
Memory Cards Two SD / SDHC / SDXC slots, compatible with UHS-I / UHS-11 1 SD / SDHC / SDXC slot compatible with UHS-I / UHS-11 Two SD / SDHC / SDXC, UHS-I, slot 1 slot compatible with UHS-11
Display Tilting display (in two planes (horizontally and vertically)) 1’040’000 dots Vertical inclination

1’040’000 dots

Implimented

1’600’000 dots

Viewfinder Electronic 2’360’000 points using OLED technology, 0.77x magnification, 100% coverage, viewpoint – about 23mm Hybrid optical / electronic, 2’360’000 OLED points, 0.6x magnification, 92% coverage, 16mm point of view
USB Interface  USB 3.0 USB 2.0
Battery / capacity NP-W126S / 340 pictures / charge NP-W126 / 350 pictures / charge
Dimensions 132.5 x 91.8 x 49.2 mm 129.0 x 89.8 x 46.7 mm  140.5 x 82.8 x 45.9 mm
Weight (with battery) 507 grams 440 grams 495 grams

Photographers involved in night photography, for sure, like one of the features of the design of the camera: two settings for long exposures. Since the scale on the disc of the shutter speed is limited to 1 second, for a longer exposure, use the “T” or “B” mode.

In either case, you must install the camera on a tripod to avoid blurring the image. It is also recommended to use the remote control – optional Fujifilm RR-90 remote shutter release (connected via a micro USB connector) or use a standard cable connected to the camera’s shutter button.

When using the “T” (shutter priority) mode, the shutter release button must be kept for the duration of the exposure. During this entire period, the countdown timer is displayed. As soon as the button is released, a picture is taken.

When setting the “B” (bulb) mode, you must manually press the shutter release button at the beginning and at the end of the exposure. The display also shows the time from the beginning of exposure. When the f-number is selected on the disc, the shutter speed is set to 30 seconds. Otherwise, the shutter remains open for up to 60 minutes while the shutter release button remains pressed.

18. Using the Fuji X-T2 to capture a reportage. Wide angle of the Fujifilm XF 16-55mm f/2.8 R LM WR is used to show the viewer where the event occurs. Settings: 1/100, 2.8, 400, 16.

18. Using the Fuji X-T2 to capture a reportage. Wide angle of the Fujifilm XF 16-55mm f/2.8 R LM WR is used to show the viewer where the event occurs. Settings: 1/100, 2.8, 400, 16.

19. Overview of the new mirrorless camera Fujifilm X-T2. An example of a picture on the Fujifilm XF 16-55mm f/2.8 R LM WR. 1/100, 4.5, 100, 28.3

19. Overview of the new mirrorless camera Fujifilm X-T2. An example of a picture on the Fujifilm XF 16-55mm f/2.8 R LM WR. 1/100, 4.5, 100, 28.3

2.2. Design and ergonomics of the mirrorless camera Fujifilm X-T2

The X-T2 is bigger and heavier than its predecessor, it’s different in design and internal improvements. Outside, the X-T2 is reminiscent of the X-T1 cast-protected body made of magnesium and the mass of control discs. The grip handle is slightly larger and there is a massive thumb support on the rear panel for a more convenient and reliable camera placement in the hand.

The lens bayonet occupies most part of the front panel, and the control buttons are dispersed around. These include the lens release button at the bottom of the front panel next to the bayonet, the second function button (Fn2) between it and  AF-assist/timer lamp, the focus mode switch on the opposite side of the lens mount from the shutter button and the flash sync connector (with a removable plug) a little higher.

The first control dial is located at the bottom of the top panel, just below the combined camera shutter release/on/off button. The control discs on the top panel are the same as those of the Fuji X-T1, with the ISO sensitivity/shooting mode dial located to the left of the viewfinder/external flash connector, and the shutter speed and the exposure compensation control dial to the right another function button (Fn1).

Unlike its predecessor, the Fujifilm X-T2 does not have a separate button for video recording. This option is added to the shooting mode selection disc as a separate video recording status. When this option is selected, video recording starts and stops by pressing the shutter release button.

For greater convenience, Fuji made a couple of small but significant changes to the controls on the top panel. Firstly, the ISO control dial and the combined shutter speed dial, and the exposure meter have become larger and slightly higher. The latter was also moved forward to avoid accidental clicking. In the unlocked state, all three drives rotate with a more visible click, so that it’s easier to control the settings used. If you select “A” mode, the shutter speed dial is not automatically locked.

The screen on the rear panel is the same as that of the Fuji X-T1: with a resolution of 1.04 million pixels and the ability to tilt to the horizontal position and down about 45 degrees – it’s convenient to shoot while holding the camera over your head. It can also be tilted in two directions when the camera is held vertically (new function), but the screen is still not touch-sensitive.

Also, without changes (except for the larger rubber eyecup), there was an electronic viewfinder with a resolution of 2.36 million points and a high refresh rate of 100 fps, and a display delay time of 0.005 seconds. The viewfinder’s lag was halved, allowing for continuous shooting in LiveView mode (when viewed on the screen) at speeds of up to 5 fps.

Taking out the viewpoint by 23 mm facilitates the use of the viewfinder for photographers who wear glasses and a 0.77-fold increase in clarity of the image. Dioptric correction in the range from -4 to +2 m-1 will be enough for most amateur photographers.

Most of the controls to the right of the monitor remain the same, although the zoom button in the Focus Assist point on the Fujifilm X-T1 has been replaced with the “Q” button just above, used to call up the quick menu. Its position was taken by the position joystick, similar to that found in the model Fujifilm X-Pro2. It can be used to change the AF point on the screen or to navigate the camera menu. When pressed, you can change the size of the focus area by rotating the control dials on the front or rear panel. According to the users, just appearance of this joystick is a serious reason for buying the X-T2, as the convenience of choosing AF points has increased many times.

The guide bars of the selection panel are located slightly higher and more convenient when pressed. Finally, the control dials on the front and rear panels, like the Fujifilm X-Pro2, can be pressed to toggle between the aperture and exposure compensation settings, magnifying the selected AF area and selecting the manual focus mode.

Now, instead of one memory card slot, there are two SD card slots on the right side panel that are compatible with UHS II class 3 high-speed cards recommended for video recording. The memory card compartment cover is made of hard plastic, has a switch with a lock.

On the opposite side panel are various interface ports. From the top down, there is a 3.5 mm microphone jack, a micro USB 3.0 connector, a micro HDMI port and a remote-release socket. The cover of this compartment is also made of hard plastic, but there is no switch with a lock on it.

On the bottom panel there is a battery compartment, a metal tripod socket (in line with the optical axis of the lens) and a rubberized connector for connection of the Fujifilm VPB-XT2 booster. This accessory was specially designed for the X-T2 and can accommodate two additional batteries, the capacity of which is enough for 1000 shots (if three batteries are installed, including 1 in the camera itself). The camera is able to display the charge level of each battery individually, and can be charged in the battery grip through the supplied power supply.

On the booster grip are also located controls that allow you to operate the camera in an upright position. Here you will find a duplicate shutter release button, a quick menu button, function buttons, as well as front and rear control dials, autofocus and exposure lock buttons, focus control joystick. Additionally there is a 3.5 mm headphone jack on the grip that is not exist on the camera.

20. Using the FujiFilm X-T2 KIT 16-55mm f/2.8 R LM WR for shooting landscapes. 1/85, +0.33, 5.6, 400, 32.2

20. Using the FujiFilm X-T2 KIT 16-55mm f/2.8 R LM WR for shooting landscapes. 1/85, +0.33, 5.6, 400, 32.2

21. Analysis of the differences between the Fujifilm X-T2 and the Fujifilm X-T1.

21. Analysis of the differences between the Fujifilm X-T2 and the Fujifilm X-T1.

22. Overview of features of the Fuji X-T2. Comparison with the Fuji X-Pro2, the X-T20, the -T1 and the X-T10. An example of a photograph taken with the fast zoom lens Fujinon XF 50-140mm f/2.8. Settings:1/180, 5.6, 200, 140

22. Overview of features of the Fuji X-T2. Comparison with the Fuji X-Pro2, the X-T20, the -T1 and the X-T10. An example of a photograph taken with the fast zoom lens Fujinon XF 50-140mm f/2.8. Settings:1/180, 5.6, 200, 140

23. Examples of pictures taken on the Fujifilm X-T2 in different conditions. The Fujifilm XF 16-55mm f/2.8 R LM WR lens. Used settings: 1/70, +0.67, 8.0, 400, 37.6

23. Examples of pictures taken on the Fujifilm X-T2 in different conditions. The Fujifilm XF 16-55mm f/2.8 R LM WR lens. Used settings: 1/70, +0.67, 8.0, 400, 37.6

2.3. What’s new in the Fujifilm X-T2 comparing to the Fujifilm X-T1 and the X-Pro2

In addition to the sensor with a higher resolution, compared to the X-Pro2, the main improvements of the X-T2 are an improved autofocus system, the ability to record 4K-video and support for a faster USB 3.0 interface. These functions distinguish the X-T2 from the X-Pro2, which has the same sensor and processor.

Hybrid phase-contrast autofocus system in the X-T2 has significantly more focus points in comparison with the predecessor the X-T1. When the “Focus area” option is selected in the camera menu, a series of small squares of 13×7 (91 points in total) are displayed on the screen, occupying approximately 65% ​​of the frame. In the central sector of 7×7 there are phase focusing points, occupying almost 40% of the frame.

The further actions depend on the selected AF mode. If you select the “AF area” setting, then you can choose between zones of 3×3, 5×5 or 7×7 pixels within a 25×13 pixel area that is displayed when the joystick is pressed. When you select “Spot AF”, you can select any of the 325 points with the joystick.

All 325 points are used in the “Wide/Tracking” mode, combining the Wide (single-frame AF) mode with Tracking (continuous auto focus). With AF-S, the control algorithms automatically identify and track the area in focus within the point array. With AF-C, the camera continuously monitors the subject while holding it in the center of the frame.

Increasing the retention and tracking speed allowed Fujifilm to assert that the camera can focus in 0.06 seconds. In addition, there are now five AF pre-settings that allow users to determine how the camera responds to the speed and/or direction of the subject’s movement in the frame, and where the camera sets the priority of the focus within the frame. Users can also create and store up to six individual settings, adjusting tracking sensitivity and tracking speed, and switching parameters for the focus area.

Like the Fujifilm X-Pro2, the Fujifilm X-T2 also has a face detection and eye tracking function that allows the photographer to choose how to focus on the right, left, or nearest to the camera eye. Like the AF-S and AF-C modes, manual focus is turned on with the switch on the front of the camera, and photographers can take advantage of various ways of focusing.

The distance scale is displayed along the bottom edge of the screen (both in the viewfinder and on the display), while the white line shows the focus indicator, and the blue line shows the depth of field, each of which changes as the focus and aperture are adjusted. If “Focus checking” is set to “On”, pressing the rear control dial increases the selected area by 2.5 or 6 times.

If you continue to press the disc, the camera will switch to the “Digital Image Sharing” mode, which shows a double image in the center of the frame. Rotating the focus ring allows you to combine these images for accurate manual focus. If you continue to press the disc, the display will switch to the “Focus Peaking” mode, which selects the focused areas. You can select a white, red or blue outline and set the degree of selection to low or high.

The ability to record 4K-video allocates the Fujifilm X-T2 among others; this is the first camera of Fuji X series with such functionality and having a UHD user level resolution of 4K 3840×2160 @ 30/25/24 fps. For recording 4K-video, high-speed UHS class 3 memory cards are recommended and the recording time is limited to 10 minutes. Using the battery grip VPB-XT2 increases the time of continuous video recording up to 30 minutes.

The Fujifilm X-T2 camera can record Full HD video at 50 or 25fps and HD video (1280×720) at a frame rate of up to 50fps for the PAL system. In the first case, the continuous recording time is limited to 15 minutes, in the second – 29 minutes. The video is saved in MOV format with compression of MPEG-4 AVC / H.264 and linear PCM stereo sound 48 kHz. The table below shows all the options available for PAL and NTSC systems.

 

Video Type Frame Size Frame Rate Maximum Recording Time per 8GB / 16GB Card, Minutes
UHD 4K 2160/29.9P 3840 x 2160 (4K) 29.97 fps 9/20
UHD 4K 2160/25P 25 fps
UHD 4K 2160/24P 24 fps
UHD 4K/23.98P 23.98 fps
Full HD 1080/59.94P 1920 x 1080 (Full HD) 59.95 fps 9/20
Full HD 1080/50P 50 fps
Full HD 1080/29.97P 29.97 fps
Full HD 1080/25P 25 fps
Full HD 1080/24P 24 fps
Full HD 1080/23.98P 23.98 fps
HD 720/59.94P 1280 x 720 (HD) 59.95 fps 19/30
HD 720/50P 50 fps
HD 720/29.97P 29.97 fps
HD 720/25P 25 fps
HD 720/24P 24 fps
HD 720/23.98P 23.98 fps

The video recorded in 4K format has a bitrate of 100Mbps; the frame is cropped in width with APS-C of 1.17. For Full HD video, the bitrate is the same, and for HD it is reduced to 50 Mbps. Frames in the format Full HD and HD are cut vertically only to get a 16: 9 aspect ratio.

The video mode is set using the selector dial, and you can shoot video in P, A, S and M. During video recording, the indicator light is on, you can adjust the exposure settings, enter exposure compensation within +/- 2EV and zoom in on the lens.

There are two ways to focus: “multi” (with automatic AF point selection) or “zone” (focus on the selected area).

You can also choose where to record video files: to a memory card or to an attached HDMI recorder (or other device that supports 4K). When a recording device is connected to the camera and a memory card is selected, the video will be written to the card in 4K resolution, and to an HDMI device in Full HD format.

When the HDMI (F-Log) option is selected, 4K video is recorded to the HDMI device without writing to the card. To create a video material suitable for post-processing, a lower gamma value and a color space with a wide coverage are used. The minimum sensitivity is set to ISO 800.

An example of shooting a video on Fujifilm X-T2 camera in 4K format.

The new shutter mechanism shortened the minimum shutter speed to 1/8000, and the flash sync speed was shorten to 1/250 seconds when using a mechanical shutter. The maximum speed of the electronic shutter remains the same as that of the Fujifilm X-T1, and is 1/32000 seconds. Continuous shooting is supported at speeds of up to 8 fps in the Continuous High burst mode or 11 fps when using the battery grip. When the electronic shutter is selected, the continuous shooting speed is up to 14 fps.

The capacity of the buffer memory depends on the frame rate, the image format and the file size. At 8 frames per second, the buffer memory can hold up to 83 high resolution JPEG pictures, 33 files in RAW format with lossless compression or 27 RAW without compression. At a rate of 14 frames per second, the buffer size is 42, 28 and 25 frames, respectively.

The Fujifilm X-T2 has an interval timer for slow motion shooting with the ability to select the interval between frames from 1 second to 24 hours, as far as the battery capacity and memory card capacity allow. A multi-exposure (although the overlay is limited to two frames) is available through the mode selection dial, as well as panoramic shooting and bracketing settings.

Wi-Fi is implemented similarly to the Fujifilm X-Pro2 model. Wireless communication using NFC technology is not supported.

24. Shooting landscapes on the Fuji X-T2 and the universal zoom Fujinon 16-55mm f/2.8.

 1/180, +1.0, 6.4, 200, 19.4.

24. Shooting landscapes on the Fuji X-T2 and the universal zoom Fujinon 16-55mm f/2.8.
Photo 25. Testing the Fujifilm X-T2 + the Fujinon 16-55/2,8 in the street. 1/400, 7.1, 400, 16.

Photo 25. Testing the Fujifilm X-T2 + the Fujinon 16-55/2,8 in the street. 1/400, 7.1, 400, 16.

2.4. Additional accessories for the Fuji X-T2

The Fujifilm X-T2 similar to the Fujifilm X-T1 is sold with an external flash Fujifilm EF-X8, connected via a hot shoe. The flash is small and not very powerful, with a guide number of 6.1 (at ISO 100) and weighs only 41 grams. Its power is enough to illuminate closely located objects, and it can be used as a master flash in studio photography. Synchronization on the front and rear curtain is supported. In addition, you can connect to the camera more powerful flashes from Fuji and other manufacturers.

Optional the Fujifilm VPB-XT2 battery grip has been specially developed for the Fujifilm X-T2 and can be used as additional power supply to the camera battery or to facilitate shooting when the camera is turned to the vertical position. When installing two fully charged batteries, a continuous shooting rate of 14 fps is available, and the maximum frame rate when using a mechanical shutter is increased to 11 fps. The delay time for the shutter release was reduced from 50 to 45 milliseconds.

Using the Fujifilm VPB-XT2 battery grip adds 273 grams to the weight of the camera, and the installation of batteries in it – up to an additional 369 grams, which is approximately 60% of the body weight with the battery installed. If you really need the extra power and performance provided by the battery pack, then such extra weight justifies itself.

The battery grip set includes 2 batteries, AC adapter (AC-9VS) and an extension cable for headphones. You can charge both batteries directly in the grip by connecting the power supply.

26. Shooting on the Fujifilm X-T2 + the Fujifilm XF 16-55mm f/2.8 on a journey. 1/300, +0.33, 7.1, 400, 40.1

26. Shooting on the Fujifilm X-T2 + the Fujifilm XF 16-55mm f/2.8 on a journey. 1/300, +0.33, 7.1, 400, 40.1

27. The Fuji X-T2 camera. The telephoto lens Fujinon 50-140mm f/2.8 allows you to separate the background. 1/1900, +1.0, 2.8, 200, 140.

27. The Fuji X-T2 camera. The telephoto lens Fujinon 50-140mm f/2.8 allows you to separate the background. 1/1900, +1.0, 2.8, 200, 140.

Choosing the Fujifilm X-T2, you have to think what kind of optics you need. Reflections on what the f/2.8 fast lens is superior to the slower version of f/4.0.

In the arsenal of any advanced amateur photographer, there is a “holy trinity”: a kit lens, a wide-angle lens and telephoto lens. Why do I need a wide-angle lens and telephoto lens, how to shoot long-focus optics.

3. The main differences between the Fujifilm X-T2 and the Fujifilm X-T20

The Fujifilm X-T2 is at the top of the nomenclature of mirrorless cameras Fuji X. To meet the needs of amateurs who are not ready to pay for all the advantages of the top X-T2, a simplified version of the Fujifilm X-T20 is offered, which has much in common with its older sister: the newest 24MP APS-C sensor APS-C X-Trans III, an advanced system of hybrid autofocus with adjustable AF modes, video in 4K and 30 fps. But there are also differences that I propose to consider more carefully.

3.1. Housing, buttons and control dials

In the first place, comparing the Fuji X-T2 vs the Fuji X-T20, we see that the first one has large dimensions and weight: 132.5 mm x 91.8 mm x 49.2 mm vs 118.4 mm x 82.8 mm x 41.4 mm; 507 g vs 383 g). Secondly, in the amateur X-T20 there is no dust and moisture protection.

If you look at the top panel of both bodies, you can see that both have control disks, but the implementation scheme is slightly different. On mirrorless X-T2 wheels are responsible for setting ISO, shutter speed and exposure compensation. Conveniently, the first two are doubled so that the bottom drive can control several functions: for ISO – forced mode, bracketing, video, panorama, fast series, multi-exposure, advanced filter; and the exposure metering mode for the corresponding exposure wheel.

Unlike the X-T2, the Fuji X-T20 can only adjust the shutter speed, exposure compensation and modes: forced, bracketing, video, panorama, fast series, multi-exposure, advanced filter using discs.

The younger camera is positioned as an amateur camera, so it is possible to switch the X-T20 to fully automatic shooting mode, and there is also a built-in flash.

The professional model has a slot for two SD cards, which supports the newest format of UHS-II, while in the X-T20 slot for one card and only for UHS-I.

3.2. Tilting display

The Fujifilm X-T20 has a tilting LCD screen that can deflect 90 degrees and rotate 45 degrees down. This is the second model in the Fujifilm X line, in which the touch screen (the first is Fujifilm X-A3), allowing you to release the shutter and select the focus point by touching. In the preview mode, you can scroll through the images or magnify them by sliding your finger across the glass.

Feature the Fujifilm X-T2 (and the medium format camera Fujifilm GFX 50S) – a Medium Format Mirrorless Camera display that can rotate in three axes: except for up and down, it reclines 45 degrees to the side, which is convenient when shooting in a vertical position of the case. Unlike the X-T20, the display in the pro model is not touch-sensitive.

28. Comparison of Fujifilm X-T2 and Fujifilm X-T20. [Comparison of Fujifilm X-T2 and Fujifilm X-T20. The picture is shot on a telephoto lens Fujinon XF 50-140mm f / 2.8. 1/60, 8.0, 400, 110.6

28. Comparison of Fujifilm X-T2 and Fujifilm X-T20. [Comparison of Fujifilm X-T2 and Fujifilm X-T20. The picture is shot on a telephoto lens Fujinon XF 50-140mm f / 2.8. 1/60, 8.0, 400, 110.6

Photo 29. In the article about why I need a telephoto lens, I wrote that one of the applications - isolating an object. The Fujifilm XF 50-140mm f/2.8. Settings: 1/750, +1.33, 2.8, 200, 140.

Photo 29. In the article about why I need a telephoto lens, I wrote that one of the applications – isolating an object. The Fujifilm XF 50-140mm f/2.8. Settings: 1/750, +1.33, 2.8, 200, 140.

30. Street photography using the Fujifilm X-T2 camera and the lens Fujifilm XF 50-140mm f/2.8. 1/600, -0.33, 2.8, 400, 140.

30. Street photography using the Fujifilm X-T2 camera and the lens Fujifilm XF 50-140mm f/2.8. 1/600, -0.33, 2.8, 400, 140.

3.3. Electronic viewfinder (EVF)

Both models have a built-in LCD viewfinder with a resolution of 2.36 megapixels, located in the center of the case. But in the professional Fujifilm X-T2 one is bigger (0.5 “vs 0.39”) and has the best increase (0.77x vs 0.62x).

In addition, in the forced mode (when connecting the battery pack), the frame rate in Fuji X-T2’s viewfinder can be increased from 60 to 100 fps. I did not find it exactly, but it seems like, at the X-T20 this parameter is limited to 60 fps, as there is no battery handle for this model.

3.4. Maximum speed of mechanical shutter

In both models there is a high-speed electronic shutter, which can be shot with a shutter speed of 1/32’000 seconds, and at the same time soundlessly. In the comments to the comparative survey of the amateur mirrorless Fujifilm X-M1 camera, I gave examples of cases where an electronic shutter can’t be used, instead of it, a mechanical one is included. So, if you compare the X-T2 and the X-T20, the difference is: 1/8000 vs 1/4000 seconds. In addition, the synchronization speed of the flash is also different: 1/250 versus 1/180 seconds.

3.5. Continuous shooting speed and buffer capacity

At first glance, there is no difference between the Fuji X-T2 and the Fuji X-T20 in the speed of continuous shooting: 14 fps in electronic shutter mode or 8 fps in mechanical mode. In LiveView mode there is the speed of 5 fps.

But the advantage of the X-T2 appears if you attach the battery grip (booster): in the mechanical shutter mode, the continuous shooting speed becomes 11 fps. As we recall, there is no possibility to attach the battery pack to the X-T20.

Another difference between these cameras is the different buffer capacity: 27 uncompressed RAWs versus 23, 33 compressed RAFs versus 25, and 83 frames in JPEG versus 62 frames.

3.6. Sixth Custom Autofocus Setting

The X-T20 has the same hybrid AF system as the X-T2, and you can set its settings. They include 5 algorithms for changing the sensitivity. Say the truth, the Fujifilm X-T2 has a 6th mode – a custom preset that does not exist in the X-T20.

3.7. Full sensor reading, gamma correction F-Log Gamma and limitations on video shooting

Both the X-T2 and the X-T20 cameras are currently the only ones in the Fujifilm X line that can write 4K video (UHD 3840 x 2160) at 24, 25 and 30 fps with a bit rate of 100 mbps. Also, both cameras allow you to output an 8-bit 4: 2: 2 4K picture over an HDMI cable.

You can apply the same filters to the video with the simulation of the film as in photography, but only in the X-T2 there is an F-Log gamma correction profile available via HDMI. When recording video, you can set ISO in the range 200-12800, manually adjust all exposure parameters.

When shooting 4K/30fps video, the limit is 10 minutes for both models, but if you put the battery pack on the Fuji X-T2, it will increase to 30 minutes. In the video mode Full HD and 60fps, two models write video for 15 minutes.

The Fujifilm X-T2 model cuts the video to the APS-C factor Kf = 1.17 when shooting at 4K, and X-T20 does not. Apparently, this means that X-T20 can’t perform a full pixel readout, which means that the clarity of the image is worse than that of the flagship.

3.8. Audio Ports

In the amateur model Fujifilm X-T20, the mic input is 2.5 mm, in professional mode – 3.5 mm. Both do not have a headphone jack, but in the battery grip for the X-T2 it is available – you can control the sound when recording video.

3.9. Optional Booster

Several times we noted that for the Fujifilm X-T2 there is offered the Fujifilm VPB-XT2 battery grip, indispensable for sports photography, wild life photography, weddings and 4K video. The booster not only extends the life of a single battery charge, but also significantly improves the convenience of shooting in a vertical position, thanks to additional control elements, and the inclusion of forced mode (extended video recording time, EVF performance, speed and focus accuracy).

For the Fuji X-T20 battery grip does not exist, so the owner can’t improve the parameters of his camera.

For a better perception of the difference in the parameters of the considered mirrorless cameras, it is suggested to look at the comparative table.

Parameter Fujifilm X-T2 Fujifilm X-T20
Sensor 24MP X-Trans III 24MP X-Trans III
Mechanical shutter 1/8000 1/4000
EVF, dots, fps x0.77, 2.36M, 100 fps x.062, 2.36M, 60 fps
Display 3″, 3:2, 1040K, 3-axes,  tilting 3″, 3:2, 1040K, 2-axes,  tilting
Touch Control No Yes
Setting AF 5x presets, 1x custom 5x presets
Continuous shooting speed, fps 8 fps, buffer for 83 frames JPEG 8 fps, buffer for 83 frames JPEG
Shooting in LiveView mode 5 fps, 130ms delay 3 fps, 280ms delay
Shooting video 4K 30p F-Log 4K 30p, 10 minutes limit, bitrate 100Mbps
Slots for memory cards Dual UHS II (two slots) Single UHS I (one slot)
Protection against dust and moisture Yes No
Battery grip VPB-XT2 No
Picture 31. Landscape shooting on the Fuji X-T2 and the Fujifilm XF lens 16-55mm f/2.8 R LM WR.

Picture 31. Landscape shooting on the Fuji X-T2 and the Fujifilm XF lens 16-55mm f/2.8 R LM WR.

32. Camera Fujifilm X-T2. Camera Fujifilm X-T2. Camera Fujifilm X-T2. Camera Fujifilm X-T2. pictures, taken by her. Fujifilm XF 16-55mm f/2.8 R LM WR lens. Minimalistic landscape. 1/320, +1.0, 8.0, 200, 20.

32. Camera Fujifilm X-T2. Camera Fujifilm X-T2. Camera Fujifilm X-T2. Camera Fujifilm X-T2. pictures, taken by her. Fujifilm XF 16-55mm f/2.8 R LM WR lens. Minimalistic landscape. 1/320, +1.0, 8.0, 200, 20.

4. Should you buy the Fujifilm X-T2 or the Fujifilm X-T20, or even take an DSLR?

On the blog there is an article about which camera best to buy a novice amateur photographer. In the comments to it – a questionnaire, which I ask to fill out, before asking which camera or lens is preferable to choose. Main questions:

1. How much money are you willing to spend?

2. How important are the weight and dimensions of the camera?

3. What subjects will you mainly shoot?

So, suppose that you plan to photograph sports or wild animals, or something else, where you want to use a telephoto lens. In the line of Fujifilm, to date, there is only one Fujinon XF100-400mm F4.5-5.6 R LM OIS WR, its price is 2’200 USD. Third-party manufacturers Tamron and Sigma lenses for Fuji do not produce. For the price of the Fuji X-T2, you will take a full-frame Nikon camera and choose a telephoto lens from several dozen models, both native and third-party manufacturers, with focal lengths of 400, 600 and 800 mm.

The second example: you seriously take a great interest in macro photography. For Fujifilm there are only Fujinon XF 60mm f/2.4 and Zeiss Touit 50mm f/2.8M Lens. It is clear that in macro photography, autofocus is not particularly needed, and through the adapter it is possible to attach others manufacturers macro lenses (for example, Samyang 100mm f/2.8 ED UMC Macro), but still… For Nikon without wild goose chase you use not only native Nikon 40, 55, 60, 85, 105 and 200 mm, but also Tamron 60, 90, 180 mm, Tokina Macro 100 F2.8 or Sigma 105, 150 mm macro lenses.

Unfortunately, DxOMark does not measure the parameters of the Fujifilm X cameras on the dynamic range, color depth and Low-Lite ISO – you can focus only on the personal perception of the picture. Let’s, for the sake of curiosity, compare the technical characteristics of the Fujifilm X-T2 and the top-end DSLRs of the competitors Canon EOS 7D Mark II and the Nikon D500.

Parameter Сanon EOS 7D M2 Nikon D500 Nikon D7200 Fuji X-T2
Price, RUR. 97’700 145’000 65’600 109’000
Tilting display Fixed Tilting Fuxed 2 axes
Sensitivity AF -3EV  -4EV  -3EV -3EV
Shooting speed 8 fps  10 fps 6 fps 8 fps (14 with EVF)
Buffer capacity 103 JPEG 26 RAW  200 JPEG 79 RAW  100 JPEG 18 RAW

83 JPEG

27 RAW

Minimum exposure time 1/8000  1/8000  1/8000 1/8000 1/32000 эл.затв.
Sync Speed 1/250 1/250 1/250 1/250
Number of card slots 2 2 2 2
Battery capacity 670 1240 1100 340

It’s hard for me to compare with the Canon EOS 7D Mark II, because it’s far beyond the parameters of the sensor (dynamic range, color depth and Low-Light ISO), than any APS-C  from Nikon, released in the last 5 years. I’m sure that by these parameters the Canon 7D Mark II is not a competitor and Fuji.

Still, we compare for the price of cameras are comparable, for the quality of lenses for APS-C, as described in the review above: Fuji does not make bad lenses. No special technological advantages the Canon EOS 7D Mark II, in my opinion, does not have (continuous shooting, speed and capacity of the buffer, etc.). Thus, I think that an advanced amateur photographer who owns an entry-level Canon EOS camera, dreaming of upgrading to an advanced APS-C, may well choose the professional model Fujifilm X-T2 as an alternative. If the photographer is engaged in special shooting (sports, concerts, wild life photography), you should carefully compare the lens set at your choice and price, test the AF speed on the mirrorless camera.

I forgot to say, when comparing Nikon, Canon and Fuji, to the price of the Fujifilm X-T2 immediately need to add 180 USD (the cost of 3 additional batteries, or 370 USD per battery grip).

It makes no sense to compare the Fuji X-T2 with the professional Nikon D500, since I do not know who is buying D500 – see the comparison with the full frame of the Nikon D610.

Well, if you look at the differences between the Fujifilm X-T2 and the Nikon D7200, which is clearly inferior to the ISO and the weight of the system, taking into account the choice of quality lenses for APS-C , then there is much to think about. Finally, the main puzzle – what to choose: low ISO and the price of the Nikon D7200 or high ISO and the cost of the X-T2?

But I do not see the problem of choosing the Fujifilm X-T2 vs the Fujifilm X-T20. Just open your albums with pictures and count: how much of them are taken in the rain, how often do you “bang away” in series of 50 frames and are you going to buy a battery grip for 370 USD. I am sure that 95% of those photographers who hesitate between the X-T2 and the X-T20 will choose the amateur model.

Picture 33. Is the FujiFilm X-T2 suitable for shooting concerts? In this genre, the fast lens Fujifilm XF 50-140mm f/2.8 is very helpful. Shooting settings: 1/500, 2.8, 2500, 134.4

Picture 33. Is the FujiFilm X-T2 suitable for shooting concerts? In this genre, the fast lens Fujifilm XF 50-140mm f/2.8 is very helpful. Shooting settings: 1/500, 2.8, 2500, 134.4

Picture 34. Shooting concerts on the Fujifilm X-T2 and the telephoto Fuji 50-140 f/2,8. Reviews of owners. 1/500, 2.8, 2000, 102.2

Picture 34. Shooting concerts on the Fujifilm X-T2 and the telephoto Fuji 50-140 f/2,8. Reviews of owners. 1/500, 2.8, 2000, 102.2

Picture 35. An example of shooting on the Fujifilm X-T2 during the concert. The Fujifilm 50-140mm f/2.8 zoom lens helps to catch interesting moments and keep the ISO within reasonable limits. 1/500, 2.8, 2000, 124.3

Picture 35. An example of shooting on the Fujifilm X-T2 during the concert. The Fujifilm 50-140mm f/2.8 zoom lens helps to catch interesting moments and keep the ISO within reasonable limits. 1/500, 2.8, 2000, 124.3

To make pictures interested spectators, you need a visual series to form a picture story. How to make an interesting picture report that keeps attention.

Most often we view our pictures on a computer, but they look much more effective when they are decorated in a photobook. Tips on how to compile it in the best way.

In today’s review, we talked little about how to learn to take pictures on Fujifilm X-T2. In the article with examples of pictures on the Sony A6000 we discuss how to focus when shooting a portrait and a landscape.

After the impressive examples of X-T2 images, I wanted to test an earlier X-T10 model. Not impressed, because I encountered significant drawbacks when taking and processing pictures.

5. Conclusion to the review of the mirrorless camera Fujifilm X-T2

I did not have the task to agitate for buying the X-T2 or, on the contrary, to dissuade. A careful comparative analysis and examples of photographs presented by Pavel and other owners of these mirrorless ones showed that the camera has, in fact, a lot of positive sides, and there are not many negative points if it is equal to the average photographer. However, if you compare the cost of ownership (body, lens, flash, other accessories) and the breadth of choice, then there are many reasons to focus your attention on other brands. In any case, it’s great that such cameras are on the market: competition grows, which forces manufacturers to think about improving the product and about reducing the price, from which we all win. In addition, special thanks to Pavel Chertalev for the presented interesting pictures with his remarkable Fujifilm X-T2. I wish him only a wonderful images!

Picture 36. The X-T2 camera test on the shooting of the concert with the telephoto lens Fujinon XF 50-140mm f/2.8. Settings: 1/500, 2.8, 4000, 80.4

Picture 36. The X-T2 camera test on the shooting of the concert with the telephoto lens Fujinon XF 50-140mm f/2.8. Settings: 1/500, 2.8, 4000, 80.4

Picture 37. Example of portrait shooting on the Fuji X-E2 and the Fujinon XF 16-55mm f/2.8. 1/60, 2.8, 1600, 50.

Picture 37. Example of portrait shooting on the Fuji X-E2 and the Fujinon XF 16-55mm f/2.8. 1/60, 2.8, 1600, 50.

38. Camera Fujifilm X-T2 at the concert. Examples of pictures taken with the Fujifilm XF 50-140mm f/2.8 R LM OIS WR telephoto lens. Parameters: 1/500, 2.8, 2500, 80.4

38. Camera Fujifilm X-T2 at the concert. Examples of pictures taken with the Fujifilm XF 50-140mm f/2.8 R LM OIS WR telephoto lens. Parameters: 1/500, 2.8, 2500, 80.4

39. Can the Fujifilm X-T2 take interesting pictures? No, only a photographer who looks at the viewfinder of this camera is capable of this. 1/500, 2.8, 5000, 50.

39. Can the Fujifilm X-T2 take interesting pictures? No, only a photographer who looks at the viewfinder of this camera is capable of this. 1/500, 2.8, 5000, 50.

Note: all the pictures in this comparative review are taken in RAF format and processed in the native editor Silkypix Developer Studio Pro 8.0 using different color profiles + finishing in Photoshop.

Examples of shooting at a Nikon D5100 APS-C camera and the Nikon 17-55mm f / 2.8G high-speed reportage zoom can be seen in a separate picture lesson.

*     *      *

Instead of an afterword. While this review was being prepared, photographer Dmitry Kochergin laid out on Youtube a comparative analysis of the images taken on Fuji X-T20 and X-T10, where he compares images to high ISO. The general conclusion, on the parameters of the matrix of the model from each other, practically do not differ, and in its opinion, there can be only two reasons for the novelty’s preference: 1) the speed of the autofocus X-T10 does not satisfy you; 2) you do not like that in the sensor of the previous model only 16 megapixels.

Under the link you can download samples of pictures in RAW format, taken by Dmitry on Fujifilm X-T20 and X-T10. Based on the comparison table X-T2 and X-T1, I conclude that the novelty can be preferred by those photographers who need a faster and more accurate AF, and who do not necessarily need 2 memory card slots.

By the way, a couple of words about D. Kochergin, whose blog I’ve been reading for several years. Wonderful photographer from the South Urals. Look at his work in Contact (account: norcoman74 in LJ) – perhaps you want to go with him to the picture tour. Dmitry organizes picture trips around our regions – come back with cool staff and excellent mood.

205 Responses

  1. Dmitry says:

    Sergey, thanks for the review. It was very interesting. My opinion is this: professional photgraphers will not buy it because of autofocus perfomance, and amateurs too, but because of the price.

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    • Paul Chertalev says:

      Dmitry, these cameras are bought up like hot cakes. I know 3 people who switched to the X-T2 from a full frame: one with Canon 6D, the other with Nikon D800, well, add me. And I will say for myself: one of the reasons for the transition is autofocus perfomance. One is better and more accurate than on my Nikon D800. It’s great.

      I waited a long time for an APS-C mirrorless camera with such characteristics. Why cropped? Because the lens for DX-cameras is much lighter and more compact. And the problem of Nikon and Canon is that they do not bother to release high-quality compact DX-lenses, and photographers are forced to carry tons of glass on themselves.

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    • Sergey PAT says:

      Dmitry, thank you for the response and for having expressed your opinion. I agree with you, if the phrase “do not buy” we replace “will not be so much common as APS-C DSLRs from Canon and Nikon.”

      Regarding the fact that professionals will not buy the Fujifilm X-T2, I will give here a story that I placed to a comparative review of full-frame mirrorless Sony. Last fall in Yekaterinburg came the head of the Moscow representation of the publishing house from the United States. With him, he had a full-frame Sony Alpha ILCE-7RM2 with a zoom Sony FE 24-240mm f / 3.5-6.3 OSS Lens and a prime Sony Carl Zeiss Planar T * 85mm f / 1.4 ZA. On it, he literally passed a couple of months before the meeting, and before shooting on Fujifilm X-T1. On my request to give feedback on Sony A7, he said that the camera has an amazingly wide DD and high ISO, but the focus is not so fast. At the same time his words were: “You know, Sergey, the mirrorless literally saves my life. I had to shoot reports in Chechnya, Afghanistan and Africa. I come to the country, I put on the clothes of the local people and go out into the street, lost in the crowd (he has an Arab appearance). A US citizen, and especially a journalist – a bag of money for terrorists, we are the first candidates to be kidnapped for ransom. Fuji is not so much attracting the attention of both bad guys and those I photograph, since it does not look like a professional camera “… What is the more professional application, Dmitri?

      It is clear that those professionals who shoot football for the “Soviet Sport”, will not buy the X-T2. Focusing on the response of Paul, I will assume that it is not because of slow autofocus, but because of the lack of 800 mm telephoto lens … For street-photo reporting, I’m sure the speed and accuracy of Fujifilm X-T2 auto focus will be more than enough – look at the second part of the test the Fujifilm X30 advanced compact camera (link at the end of this review). I there filmed a report from the “Race of Heroes” and noted that AF censures I have not caused.

      As for the cost, we are judging you from your bell tower. I will give an example. I save a year to go on vacation once. Less than a month ago, I returned from an independent tour of India, where I selipped in hotels for 10-15 dollars a day, and was very sad if I had to pay 20 USD. When we arrived at midnight by train to Jaipur, we agreed with a moto rickshaw that for 1 dollar he would take us to the hotel, he drove off 2 km from the railway station and stated that he was mistaken that he thought he was going to get closer. Therefore, he says, travel costs $3. We quarreled and he dropped me and my wife and suitcases off somewhere under the overpass, in the slums, among the homeless people sleeping right on the ground … At the same time, I personally know the man who flew to Cuba and at the beach resort of Varadero lived in a hotel, where he paid $250 per room per day…

      I look out the window and see on the streets a fairly noticeable number of cars worth 70-150 thousand dollars. And the neighborhoods of Yekaterinburg are built up by cottage villages, where the houses cost 300’000 – 2’000’000 dollars. For their owners, the price difference between the Nikon D7100 and the Fujifilm X-T2 is the amount they spend to sit in a restaurant with girls of easy virtue for one night. And among them, too, there are amateur photographers, and not everyone wants to carry large photo frames with full-frame DSLRs and optics.

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  2. Alex says:

    Thanks for the review! For such a mirrorless price, you can buy a second-hand UAZ (or Niva, or foreign car) + APS-C by Canon or Nikon. Or you can go for travel with your family to Thailand (or Vietnam) and buy a new APS-C there. You can even buy a FX mirrorless camera from Sony, which easily surpasses any Fujifilm (and at the price about 2-1. 5 times cheaper), and to take the adapter and lens by Canon with stabilization, you can perfectly shoot the video.

    Still there is a question, how to photograph at low temperatures (-25, and below) when it is impossible to put the camera in heat. At the DSLR camera, even a good screen freezes and transmits colors incorrectly, plus it slows down considerably, because using Live-view mode increases the shutter lag, which is not so easy in the cold.

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    • Sergey PAT says:

      Alexey, I read the blog of Elena Liseikina (Fujifilm’s ambassador in Russia) for a long time. She has a lot of photo-reports, shot on the Fujifilm X-T2 in snowy Finland. Perhaps the problem of the strong frosts that you are talking about is taking place, but nevertheless, before making a choice in favor of a particular camera, it will be more correct to answer the questions of the questionnaire, the reference to which I gave in the review. Then it becomes clear who takes into account Niva’s price when choosing a camera, and who does not pay attention to it; who lives in Sochi, and who lives in Yakutia …

      You yourself said that due to frosts, a shutter lag might happen (I have never had such a thing, although I live in the Urals and shot in the frost to -25 Celsius degrees, usually the lens begins to rotate with difficulty when focusing), then it will happen and with a mirrorless camera, and with a DSLR. The owner of the mirrorless has the option: switch to the electronic shutter mode.

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      • Alex says:

        Thanks for the answers and for the tip-off! I’ll definitely check out her blog. I myself go to “Patriot” SUV; therefore, based on the price, I prefer used the Nikon D7100. What difference does it weigh how many kilograms the camera weighs and how much space does it take? It is important that the bear does not eat, and the basket with berry weighs immeasurably more.

        In Finland, the climate is warmer than in Siberia, but I am asking because the problem has not been resolved. I shot a story with video in the factory; superzoom camera did not normally show the picture in 15 minutes. It is not clear where and how he focused, DSLR kept working for half an hour (with the screen warmed by hand), then it became unclear what he was doing at all.

        Beautiful subjects are just in the cold, when a fog or haze is formed. Near the Lake Baikal and large ice-free rivers, and if you carry the camera on yourself in a backpack or in your bosom, then it gets foggy in the frost (from the vapor of the body you see), you need a car or a package, but in the cold to wear it. With photography, just the optical viewfinder saves. At -20 of Celsius, by the way, the camera can be carried as long as necessary in the cold, the screen works without remarks, if it is not touch (hands quickly freeze and the sensor does not respond, this is the same for the phone).

        The mirrorless cameras are the future, it is understandable (I would have bought it myself), but the price for the cameras themselves and for optics, a small range of the optics park, the lack of used optics is still slowing down the process.

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        • Sergey PAT says:

          Alexey, I just stood up for the Fujifilm X-T2, but that does not mean that I encourage everyone to flee and buy this camera instead of his or her one. I suggest only to pay attention that any device has pros and cons, and their importance is determined by the owner, focusing on their personal values and terms of use.

          Yesterday Paul Chertalev asked me if I wanted to buy the X-T2 myself after such a detailed review. I honestly said that the disadvantages are that I had no desire to sell my Nikon D610 kit and optics park, but … “my heart trembled.”

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          • Alex says:

            At you all on the topic. Simply put my thoughts: the Nikon D7100 is already clearly, for the most part characteristics is inferior to the Fuji X-T2. Here it depends on the conditions. The Geländewagen is better than Russian “UAZ Patriot” rides through the mud, but for most owners to drag it into the mud is unacceptable. I just have returned from Thailand, took with me the camera and 2 lenses, full-time zoom and wide-angle lens. Since all this is not included in hand luggage, I did not strain much – a Thai backpack for $5 for back and forth, wet towels have more weight.

            In the 90’s, I had the Soviet DSLR camera Zenit, bought for a penny, and as the kid developed a film, loaded it into the camera, later put it in the Kodak studio, because they had better quality and price, the repair was also a penny, a working aperture f/5.6 for all occasions, the choice of shutter speed is, frankly speaking, small. After that, such small things as weight, size and convenience of shooting, will not make me spend extra money on the camera, when it is easier to find a new photo courses for a few pennies or simply put a camera on the step at night, putting it under a lens cap to get the right angle.

            But there would be money, would buy the Fuji X-T2 or something from Sony, even with adapters they are better, where I with my slow zoom do from a tripod 9 out of 10 unsuccessful shots on hockey, the owners of these devices with high ISO, tenacious focus and VR would be enough and 2 shots. Nikon and Canon have to something drastically change in the next 2 years: adapters to do with old lenses, more mirrorless cameras, better sensor to invent.

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  3. Alex says:

    Sergey, tell me, please, where do you have a questionnaire for choosing a camera? Searching and viewing the table of contents did not yield any results.

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    • Sergey PAT says:

      Alexey, I hid it very much! 🙂 Link to the questionnaire is immediately after the beginning of the 4th chapter (after photo #32). I compiled it, so that the questions of newcomers about which camera is better to buy, it was easier to give a valid recommendation.

      You are an experienced photographer; you do not need to ask such questions. It is better to suggest what other questions you can add to this questionnaire …

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  4. Sergey PAT says:

    By the way, I repeatedly hear comments: you can put an adapter on the mirrorless Sony and shoot with third-party lenses. Here is the video with the test of different adapters on the “Sony” mirrorless – even with native adapters, not all native lenses work correctly… What can we say about third-party manufacturers.

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  5. Paul Chertalev says:

    Sergey, where did you see the price of the camera 145’000 rubles? I bought it as a new one at a decent store of 109’000 rubles, and there are also stocks that allow buying the Fujifilm X-T2 cheaper.

    – Canon EOS 7D M2 – 1’499 $ or 94’990 rubles;
    – Fujifilm X-T2 – 1’669 $ or 109’990 rubles. (where did you find 145,000?);
    – Fujifilm X-T20 – $ 899 or 57’990 rubles.
    – Nikon D7200 – $ 997 or 69’990 rubles.
    – Nikon D500 – 1’996 $ or 149’990 rubles.

    The difference in price between the Fuji X-T20 and the X-T2 is about 50 thousands rubles, this is the payment for the following features:
    – 1/8000 shutter speed, when shooting portraits on f1.4 in the afternoon it is very useful;
    – weather protection – for me, living in St. Petersburg and constantly taking pictures in the conditions of rain, it is very important;
    – Ergonomics: in the X-T2 controls are much more convenient (for example, the ISO disk, the presence of a focusing joystick – very convenient… etc.);
    – 2 card slots – saved me recently when shooting a video; one of the slots X-T2 supports UHS-II – for fast cards, which is good for serial shooting (although I do not really need it);
    – the flip-up screen in the vertical position of the camera is a convenient thing when shooting portraits from the bottom position;
    – a larger viewfinder magnification of 0.77x versus 0.62x; and still the viewfinder X-T2 operates at 100 fps versus 60 fps on the X-T20 – this really makes it very smooth, close to the optical one;

    – presence of flexible adjustment of the tracking system of objects with continuous focusing, on the X-T20 is absent, and is satisfied only with the available ones;
    – The best quality 4k video and the ability to record F-log – I think, will appreciate the pro videographers, I did not appreciate;

    – The presence of a battery grip with a burst mode – I think for a professional shooting of weddings the thing is indispensable, at least one battery lasts for 3 continuous shooting hours and I would not refuse it; say the truth the price of the booster is too high.

    I calculated that all these pieces cost 50 thousand. Mainly, for me, weather protection, shorter shutter speed, viewfinder and 2 card slots are important, and in the future – the possibility to buy a battery grip. Whether it is worth to pay so much money or not – everyone decides for himself. I believe that the Fuji X-T2 is worth its money and works it off with a vengeance.

    The camera is great: during the test drive I compared the paired pictures of the Fujifilm X-T2 + the Fujinon 35mm 1.4 and the Nikon D800 + the Nikkor 35mm 1.4 and I did not see much difference in the photos. Unless, in the color rendering: I liked Fujifilm X’s one more. Well, the weight of the Fuji X set is 2 times smaller. Also, I noticed the smart work of Fujifilm X-T2 autofocus, especially the cool thing “exact focus on the eyes.”

    Nikon here is behind – honestly speaking, I’m tired of his constant misses, especially when shooting portraits on f/1.4… It tired me out: you make a picture of a person not moving, aiming precisely at the eye – and beside the mark… Another frame – beside the mark… Another – beside the mark… One time from the 5th – hurray, hit! I do not know what it depends on, perhaps on the quality of lighting. In short, with the Fujifilm X-T2, I forgot about it.

    Question to readers: do not you think that my photos made with the X-T2 lack the magic of a full frame?

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    • Sergey PAT says:

      Paul, the cost for the Fujifilm X-T2 at 145 thousand rubles – probably a misprint. I has corrected now the data on the price in the table.

      I want to draw the attention of not only those photographers who are going to take a mirrorless camera, but in general anyone who lives near the Russian border. When preparing the information for review, I found a blog of the photographer who bought the Fujifilm X-T10. He lives in Kaliningrad, he went to Poland to the city of Olsztyn (he wrote that he should call the store and order in advance). The cost there is little different from those that are exhibited in our stores, but at the exit it is possible to issue “Tax free”.

      This amateur photographer took a camera in the “X-KOM” store and wrote that he hoped to return 23%. I think he’s wrong, you can return somewhere around 9% of the cost. I looked now on the site – the price of the Fujifilm X-T2 body is 7400 zł, the zoom is Fujinon XF 16-55mm f/2.8R – 4110 zł, Fujinon XF 50-140mm f/2.8 – 5700 zł. At the rate of 14.39 rubles per 1 zloty, we get the total cost of the kit: 17’210 zł or 247’651 rubles.

      If it is possible to return 9% of “Tax Free”, the savings will be 22.3 thousand rubles. I think that amateur photographers who often travel to Poland (and, probably, to Finland) might think about such a way of buying photographic equipment.

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      • Igor says:

        In China in Fujifilm brand photo store the following prices: the Fuji X-T20 kit XF 18-55mm f/2.8-4 R costs 9400-9500 yuan. There are black and silver versions of the case.

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        • Sergey says:

          That’s mighty good, Igor! The last time I compared prices for cameras and lenses in Russia and in China when the RMB exchange rate was 4.9 rubles. And then the photographic technique there was slightly more expensive than ours.

          Now I check prices on Taobao and even on AliExpress – really, it’s cheaper: the Fujifilm X-T2 body in China costs 89’100 rubles! The body of Nikon D610 – 68’200 rubles!

          I cannot find how much in Russia there is a L-plate for shooting from a tripod in a vertical position, but in the USA for the Really Right Stuff the BXT2-L Set L-Plate are asked for 180 US dollars. Additional Fujifilm MHG-XT2 Metal Hand Grip, with which it is more convenient to hold the camera are sold for 7,000 rubles.

          Paul and other owners of the Fujifilm X-T2 for a note. On AliExpress there is:

          1) Additional grip with a L-plate for vertical shooting (Quick Release L Plate) – 1735 rubles. A simple L-plate without a grip (LB-XT2 Quick Release L Plate) – 1475 rubles.

          For those who decide to take the Fuji X-T20:
          1) Additional grip with L-plate for the tripod (XT20 Vertical Quick Release L Plate) in China is 1475 rubles. In Russia, the FUJIFILM HAND GRIP MHG-XT10/XT20 is sold for 5,000 rubles.

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  6. Sergey says:

    All the same, I’m shocked by the foreign prices for photographic equipment. I read the story of Oleg Lazhechnikov about how he bought a new mirrorless camera Sony A6500 in Bangkok in the Sony Store in the Siam Paragon shopping center and saved 45,000 rubles.

    Now it is useful to check the Internet price for Sony A6500 in Thailand: 51’990 baht, which at today’s rate is 86’551.14 rubles against 109’989 in Yekaterinburg in the cheapest photo shop. In addition, the Thai government allows you to return part of the VAT paid. So, Oleg returned 5.2% of the cost, which is 2’710 baht (4’510 rubles). Total camera Sony A6500 body will cost 82’041 rubles. Among other things, he won on the fall of the exchange rate on the day of purchase and on points from the bank card Tinkoff.

    Oh-ho-ho! It’s never too late to learn, is it. Checked now how much it costs in Bangkok the Fujifilm X-T2 Body – 59’990 baht or 99’850 rubles. If we return the VAT at a rate of 5,2%, it will make 5192 rubles. The final cost of purchasing the Fujifilm X-T2 will be 94’658 rubles against 109’990 in Yekaterinburg.

    I won’t consider how much you can save, if together with body also lenses in Thailand to buy…

    P.S. As far as I understand from the response of Oleg Lazhechnikov, his Sony A6500 body comes with an English menu, if it is someone inconvenience.

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    • Igor says:

      Sergey, I have a purely Japanese model Canon EOS 700D, which is called Canon Kiss X7i, and which has an English-language menu. This absolutely does not cause any inconvenience. Even without knowing English (although at the level of the basic definitions it is known, I think everything), everything is clear in the menu. I set up and do not open it permanently, and the main screen, which displays the indicators, it is the same as with the Russian menu.

      Now about the purchase. My friend took the Nikon D610 in China, which indicated “Made in Thailand”. Another friend the other day took in China the Nikon D750. The lenses of both Nikon AF-S Nikkor 24-120mm 1: 4G ED VR. Both saved about 45 thousand rubles each. Plus 2 years warranty.

      The pitfalls here is warranty service. It’s easier for us: China is near. We send cameras back to China for the warranty service, but this rarely happens. But how to be you, who bought a body in Thailand?

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      • Sergey PAT says:

        Igor, about the warranty service, in each case, its story. I am sure that a lot of camera owners will live in such towns, which is very far from the centers of warranty service, and do not really hope for it.

        If I had the opportunity to take the new Nikon D610 KIT 24-120mm f/4.0 with a discount of 45’000 rubles, I would not hesitate to buy it. What is there to break? Even if the shutter is out of order, then without a warranty, replacement costs 15-20 thousand rubles, I guess. But the probability of such a breakdown in the average amateur photographer is minimal, and he can do without a warranty.

        It’s clear, if you are a professional reporter who shoots 1000 frames a day, you will worry about the warranty. And still, with such a difference in price, I would take a non-warranty camera from China or Thailand. 🙂

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        • Igor says:

          Sergey, completely agree with your conclusions. And the Chinese have versions from Hong Kong: they are even cheaper, on average, for a couple of thousand rubles. If the Chinese branded warranty cameras go in closed boxes with a holographic seal, then Hong Kong boxes are opened, seals are broken.

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        • Igor says:

          Sergey, I had a thought through: did you decide to switch to Fujifilm X-T2 Body? 😉

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          • Sergey says:

            Sergey, I had a thought through: did you decide to switch to Fujifilm X-T2 Body?

            Sergey
            Igor, because I’m fond of photography, then I have an interest in the Fuji X-T2. And I’m watching Paul’s works, as well as watching the blogs of other owners of the Fujifilm X-T1 and the Fujifilm X-T20. I like the manufacturability of these cameras. Probably, I would not be against having such a camera as a spare … but it’s too costly to have two systems.

            But there are three things that distinguish my perception from Pavel Chertalev, who decided to sell his Nikon D800. Firstly, I am not so heavily strained by the size and weight of my kit. Secondly, I see the “magic picture of the full frame” – when I take pictures with Nikon D610, I sing with pleasure, and when I look at the pictures from APS-C , I see “to small image details” … Maybe it’s a placebo … but for me this factor is decisive. Third, as I wrote to Paul below, I do not like Fuji’s special color, it’s some sort of synthetic. In other discussions I already wrote that I really like the colors from Canon.

            Given the financial losses when changing the system and the three factors listed above, I do not think that in the near future I will change the Nikon D610 to the Fuji X-T2, and whether I will change at all because of the APS-C factor. Perhaps in three or four years I will be seriously interested in full-frame mirrorless Sony. At the moment I think that a more competent investment in improving the images will be Photoshop courses, visits to master classes and so on.

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  7. Eugene says:

    Paul, does the Fuji X-T2 supports both slots of UHS-II format cards?

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  8. Michael says:

    Sergey, hello! And did you use this camera yourself?

    Paul, once again – great pictures!

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    • Sergey PAT says:

      Michael, good afternoon. No, I have not used the camera Fujifilm X-T2. I photographed with the high-level point-and-shot camera Fujifilm X30, which I reviewed, and took one day of Fujifilm X-T10 with Fujifilm XF 16-55mm f / 2.8 R LM WR lens and telephoto Fujifilm XF 55-200mm f / 3.5-4.8 R LM OIS.

      Comparing Fujifilm X-T2 and Fujifilm X-T10 is difficult because of the speed of autofocus, and the X-T2, as I said, did not hold. But the opinion on the X-T10 is the following: if you are not afraid of the cons of mirrorless cameras, related to a small choice of optics and accessories, and a high price, the Fujifilm X-T10 is an ideal option. The speed and accuracy of focus mode for any of the stories provided in my blog is more than enough. When I bought last December the telephoto zoom Nikon 70-200mm f/2.8, I talked to the seller: he also had the Nikon D800, and he sold everything, since he switched to the X-T2. He also, similar as Paul, claims that Fuji focus is excellent.

      I think that all the advantages of the X-T2 in front of the X-T20, which Paul listed in the comments above, will be useful to him only in 5% of cases. With the subjects that he showed in this review, the X-T20 would have coped just as well. At the end of the article – a reference to the review of the X30, there are the same stories of jumping people removed. The situation with Paul – as I have with the Nikon 70-200mm f/2.8 is expensive, heavy, and in 95% of cases it is not needed, and in 4% of its function, the Nikon 70-200mm f/4.0, which is cheaper and easier. But because of the remaining 1% of the situations I took it. 🙂

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      • Paul Chertalev says:

        Sergey, I shot a lot of my reports and will shoot in conditions of poor light conditions, and I need high accuracy and speed of focusing, and good ergonomics, a second card slot, just in case, and the ability to shoot with a flash at 1/250 seconds.

        All this I could only get from the Fujifilm X-T2. If you think that for professional photography I could do with the Fujifilm X-T20, then it seems to me that you are mistaken. The ability to quickly change shooting parameters is priceless, it helps to not miss the moment.

        But I agree that for most of the philistines the Fujifilm X-T10 will be enough. And maybe there will be quite an even cheaper option such as the Nikon D40 KIT 18-55mm for 2.5 thousand rubles. 🙂

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        • Sergey PAT says:

          Paul, after the Photo 32, is a link to the questionnaire on the choice of camera and lenses to him. You honestly answered it, and bought something that suits your needs for the money that you agree to spend. Each photographer will have his own answers to the questions, and his decision to buy a camera or body.

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  9. Oleg says:

    Great article and great pictures! Thank you, Sergey and Paul, for this unique review. I think that for beginners and advanced amateur photographers it will serve as a good milestone in the way of choosing that favorite camera, which will be removed new photo masterpieces.

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    • Sergey PAT says:

      Thank you, Oleg! It’s amazing that from the apologist of mirrorless Sony Alpha there were no criticisms of comments… My opinion: over the past 5 years, not a single model has been released to the market, which would have been ahead of other cameras (at least DSLR ones, at least mirrorless) and could remove what there can’t be a competitor, if we talk about “common citizenship use”. Yes, some models in some specific cases can be more convenient, cost less or focus a little better. But, in general, all are approximately equal.

      I note that I really like the work of Paul, and not because of the color (he just starts to bore, I want to work without presets), but because of the selected compositions, shooting moments. I am amazed how quickly Paul grows as a photographer. For review he sent me 250 photos and it was extremely difficult to choose from them 40 images for the review… each one I wanted to leave.

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    • Paul Chertalev says:

      Oleg, if interested, the full set of photos from the Fujifilm X-T2, from which Sergey selected examples for this review, is here.

      goo.gl/photos/rgacnRZ4CZGBJJAk8

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      • Oleg says:

        Paul, I have looked – I liked the pictures very much. I would like to get a couple of RAF. Well, just to see how the Macintosh editor opens them. In the version for the site, with the lowering of the resolution, the overhaul became clearly visible, but this is on my monitor – there is an option that it will not be very visible on other devices (tablets, smartphones).

        As it is, I repeat once again: you clearly illustrated your choice with the final result – pictures that personally like me very much. If for someone they are not an argument, then, in fact, this means not your photo audience! 🙂

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  10. Oleg says:

    Sergey, I really liked the review of its volumetry, fundamental, so to speak. 🙂 But, first of all, it liked what is illustrated by the magnificent, as for me, terry lovers™ , photos of Paul.

    The taste and color of all the markers are different, but exactly how Paul used optics on long focal lengths I really liked. An unusual picture is obtained. I can, without looking into the narrative part of the frame, say that, for example, photos No. 29-30 and No. 34-36 are made on focal lengths from 100 mm and longer. Well, I love this geometry of the frame. And someone will not care … 🙂

    Moreover, here is the following nuance: Paul was shooting a very, very, very complex story – a children’s performance. And those photos that I see, elegantly convey the emotions of children and the very action of the holiday, look very positive.

    So, when you “fight” with technology, you cannot shoot such footage. Therefore, I draw a conclusion precisely from the result, from the pictures, that Pavel really found an excellent technical solution for himself, which allows not to be distracted by technical nuances, but to make excellent photographs!

    You saw on my Facebook page how I shot a children’s performance on the book of Narine Abgaryan “Manyunya” – it’s very difficult to catch such shots to convey the spirit of the performance through emotions in the frame and do it as technically as possible. Paul’s photoshoot and comparison with my similar images personally convinced me of the advisability of such a technical solution.

    As for the price bracket and the opportunity to find a cheaper option among the mirrorless Sony, I would argue, but it was the result that convinced me that Paul was on the right track in his search (by the way, someone before this very strongly urged to consider Olympus as a candidate for the transition to the camp of the mirrorless, I remember our discussion under Sergey’s article). 🙂

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    • Oleg says:

      Sergey, I meant our discussion with Paul in the comments to the comparative review of the Sony A6000 and the Fujifilm X-E2.

      In general, I read the comments and was horrified: I flooded in your comments, where only he reached. 🙂 I promise to be more modest. 🙂

      Warm company has gathered in the comments here in the blog. I have not heard Misha Shmakov for a long time, I would like to hear his opinion.

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      • Sergey PAT says:

        Oleg, four days later, on April 3, 2017, turns 4 years old blog. Apis Krasnoyarsky, you, Paul and Misha Shmakov have been communicating with me almost from the very beginning. Therefore, the company is so sincere. 🙂

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      • Paul Chertalev says:

        Oleg, I also seriously thought about Olympus. But the Fuji X-T2 is cheaper by 40 thousand than the Olympus OM-D E-M1 Mark II, and the prices for the top-end optics of Olympus are the same as those of Fuji. Autofocus of the Fuji X-T2 is better and the sensor is larger, which makes it possible to blur the background better. And, as a consequence, Fuji’s digital noise is better.

        And having tried Fujifilm compact optics, I realized that my needs are satisfying. And, importantly, there was an opportunity to try the Fujifilm X-T2 in real shooting. And Olympus does not give a free camera for a test drive. That’s all.

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        • Oleg says:

          As far as I remember, Fujifilm does for itself some cunning sensor on technology, different from the one that Sony does (I do not remember already what the nuances are). Going to the site DPReview, where in the typing field you can see on multiple magnification of the photo of four cameras by choice, I was amazed how much the Fuji picture is less noisy at high ISO.

          So, for those who need compactness and normal working off of high ISO – one way: Fuji, without looking back at the high cost. The other pros in this camera are also very tasty, but I’m even afraid to talk about their priority, because in the neighboring comments I quietly escaped from the discussion when the person in his argument put the electronic stabilizer in priority rather than the full frame with less noisy picture in the cameras, which cost equally.

          In turn, he was not very clear about my requirements for EVF and the hot shoe on the mirrorless. Therefore, in this publication of Sergei I saw a posh picture. Very lively and “breathable” photos. And already what arguments were relative to other selection criteria, it does not matter. For other photographers, they will be different.

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  11. Paul Chertalev says:

    Sergey, about: “the Fuji X-T2 with the professional Nikon D500 does not make sense,” – I recommend to watch this excellent video from Michael Andrew, who, in my opinion, makes the best comparison of the cameras “Epic Shootout”.

    In the end, he suggests choosing in the blind, the photo from which camera they like to choose. And he thinks that the Fuji X-T2 is better.

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    • Sergey PAT says:

      Paul, with my phrase “I do not see the point of comparing the Fujifilm X-T2 with the Nikon D500” I meant that I do not know who could be the buyer of the D500… There is also a reference to a detailed explanation.

      Concerning the fact that in this video the author thinks that the X-T2 is better – I return to the first comments: it’s not for nothing that I always poke on the questionnaire… Such statements are untenable… Better or worse this or that model depends on many factors having value for a particular photographer. In the article about which camera to choose in the first paragraphs, I gave an example of a situation with a shoemaker, when a top-end full frame Nikon D5 costed 4.4 times more, is worse than my amateur full frame Nikon D610. But in fact, if you delve deeper, then the Nikon D5 in this example is worse than the most unpretentious amateur compact Fujifilm X30 or Nikon D3100 …

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      • Andrey says:

        Sergey, I know who is the buyer of the Nikon D500! 🙂 Wonderful Petersburg photographer Viktor Pletenskoy, for example. He changed his old Nikon D300 to the APS-C D500, not to the full frame, and for this reason he believes that there is no need to change the optics park.

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        • Sergey PAT says:

          Andrey, of course, I judge the advantages and disadvantages of this or that camera from the standpoint of my experience of purely “civil” use of the camera. I photographed more than two years on the Nikon D5100, and I was happy with everything. Because I did not shoot any special stories.

          For example, for 4 years of blogging I photographed with panning just 1 time. Therefore, I do not really need a continuous shooting and buffer capacity. And if the photographer is blogging about motocross and rally racing, he will need many of the same frames with panning, and then the Nikon D500 will enjoy because of the excellent focus system and large amount of built-in memory.

          And, besides, if a person has money and he can afford to take a top camera, then why not. I will rejoice with all my heart for him.

          P.S. I looked at Viktor Pletensky’s portfolio. Of course, he does not discuss on forums what camera is better. He will shoot the perfect images on the Nikon D3200 or Fujifilm X-A3 too. 🙂

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          • Andrey says:

            So, I did not say that it is necessary everywhere and to all to prove that such a camera or such and such a brand is better. What for? It is necessary to photograph, and everything else is nonsense. I used the Nikon D200 for 2 years, and everything suited me, except for a noisy ISO.

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          • Sergey PAT says:

            Andrew, since our last meeting, when you gave me the opportunity to shoot on the Nikon D200, I understand that you have bought the ultra wide angle lens Samyang 14mm f/2.8, and from this your comment, I am assuming that the body has also been changed. I wonder with what camera are you photographing now? What is a short review?

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          • Andrey says:

            Yes, Sergey, I bought both the Samyang 14mm f/2.8 (Rokinon 14mm f/2.8) and the full frame Nikon D700 took with a small overhaul mileage. Short review: I like the control is very convenient, similar to the Nikon D200, everything is on the body, and ISO high keeps quiet.

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  12. Apis Krasnoyarskiy says:

    I have a question for Paul. Whether has been the Sony A6500 considered? They have achieved outstanding success with autofocus in this camera, and for the quality of the picture, it is a little bit, but it surpasses the Fuji X-T2. Or don’t they give a test drive too?

    For Pavel and Sergey, the question is: in your set of photos there are not “normal”, that is, a regime light on the street? And then too contrasting in the room and the “misty” in the street somehow not impressive, we forget that “light is our everything”, not cameras and not even lenses. And so-called portraits have well, too extreme lighting …

    And so, the drawing of the lenses is like, the sensor on high ISO gives a normal picture, I agree with Paul on ergonomics too: saving on the Fuji T20 was meaningless.

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    • Sergey PAT says:

      Apis, at the end of this article, there is a link to the comparative review of the Sony A6000 and the Fujifilm X-E2, in which each system analyzes the lenses available for both models. It shows that Sony does not have a fast standard lens as well as a telephoto lens for APS-C. And in general, the choice of APS-C optics, first, is poorer: 14 positions to date for Sony APS-C cameras against Fuji’s 25 models; secondly, if you read reviews and see examples of pictures, the quality of Sony lenses is more likely to cause criticism than the competitor.

      And if you buy APS-C mirrorless and put lenses on it from the full frame, the idea of compactness and low weight is lost, which was one Paul’s priorities when choosing a camera.

      Paul has bought his Fuji recently, the weather in St. Petersburg is not very clear. Over time, he will publish and other samples of shots. He’s just the prime lens Fujifilm XF 35mm f/1.4 R X-Mount.

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      • Apis Krasnoyarskiy says:

        Yes, I have looked now and have surprised: it seems that Sony steps on the same rake as Nikon – indeed, there are not enough fast zoom for APS-C. And in fact, at f/2.8 – none, and this – in the presence of very decent bodyes: Sony A77, until recently, and a very serious new Sony A6500. And they are developing their line of full-format mirrorless – with a clear aim at the pros. I’m not against the full frame, I really like the Nikon D750.

        For some reason, Sigma managed to make Sigma AF 18-35mm f/1.8, and the “grandees” do not want. But for today, the truth is, the situation develops when the requirements for the full frame have significantly dropped with the appearance of ISO APS-C sensors (Micro 4/3 is not yet reaching, and it’s a pity, very interesting form factor), there is a tendency to miniaturization, especially in plan to reduce the weight of bodies and lenses), and with miniature and, accordingly, light lenses – tension.

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        • Sergey PAT says:

          I do not know why this happens. I will assume that very serious marketing research and mathematical calculation are involved here. Focus on the full frame Sony does, because, apparently, the profit from one sold full frame body and lens is higher than with APS-C ones.

          Lenses f/2.8 are not produced because, say, for the development and advertising of one lens for APS-C Sony 16-55mm f/2.8 will take 1 million dollars, and they will be bought by 10 thousand people, the company will profit from one lens $300. Total: profit of 2 million dollars (10’000 * 300-1’000’000 = 2’000’000 USD).

          And on the Sony 18-55mm f/3.5-5.6 OSS lens, they earn $100, but this lens will be bought by 100,000 amateur photographers – the profit will be $9 million. Well, while Apis Krasnoyarsky and Paul Chertalev and with them 10 thousand other buyers will refuse to buy a mirrorless Sony, the company remains in profit.

          I emphasize, these are my reflections, not supported by anything.

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          • Apis Krasnoyarskiy says:

            Not a very good example: I doubt that this “semi-KIT lens” someone will buy separately, and in the KIT it is given approximately at cost price. According to the optical properties, according to reviews, the KIT-lens from Sony is worse than Nikon 18-55mm f/3.5-5.6, and the cost price of the metal case is, of course, higher. Rather, some inexpensive prime like 50mm.

            In general, for Sony, the photo business is not the core (as, indeed, for Nikon, which produces a lot of expensive equipment used in many areas of the “national economy”, and for Panasonic with Samsung), so they just have fun… for the image, so to speak. But not at a loss to yourself, whenever possible.

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    • Paul Chertalev says:

      Apis, where did you get the information that Sony quality “surpasses” Fuji? It is not true. I photographed on the Sony A6500 in the store, and I did not like ergonomics. I normally could not appreciate the photos – it was a bit dark in the store, but I prefer Fuji X-T2’s default color, and the Fuji X20 was my first camera.

      Well, the most important said Sergey: optics. And, judging by the comparison on Youtube, the autofocus of the Fujifilm X-T2 is better. Yes, there is no VR, but I shot 3 years on the Nikon D800, and it did not stop me. The stabilizer is useful for static shooting, and I mostly shoot people.

      In occasion of “foggy – do not impress” – apparently, we have different tastes: I consider these photos as one of my best, showing the best possible Fujifilm X-T2. Yes, “the light is our everything”, and on street photos it is more than enough. And the light, combined with the fog, gives a very atmospheric picture.

      If you do not have enough, here are more photos taken on the Fujifilm X-T2 in more ordinary lighting:

      https://fotki.yandex.ru/users/pchertalev/album/1468413/

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      • Apis Krasnoyarskiy says:

        When comparing the technique, I completely trust a very authoritative site, probably unparalleled on the Internet: DPReview.com. In addition, there you can compare the test results of the shooting almost in online. As far as I know, no one has ever caught it in engaging or juggling the results. About the “like” – the concept of subjective, including color. On the objectives – I agree completely, although Fuji with the prices do not hesitate at all.

        From the additional photos like the light in the frames with pigeons and the face of the daughter close-up, sorry to spread in a small resolution, I already moved all the same to 1920-2000 pixels on the larger side, on Full HD monitors look better. Waiting for more pictures “on plein air” – spring comes, colors start to please, and the light normal appears.

        And our tastes are really different, but the light is one for all photographers, and he either is, or he is not. I wish you new masterpieces with a new camera, the main thing is that you like it. I somehow got on LiveJurnal to Liseykina, why she shoots on Fuji, and not on FX (in my opinion, she had something like the Canon EOS 5D Mark3 then). She agreed that FX is, of course, cool, but Fujifilm LIKES! Well, even for her female handles Fuji easier to shoot. And it is right!

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        • Paul Chertalev says:

          But, judging by DPRivew, Fuji is better: the Fujifilm X-T2 received a Gold Award with 86%, and the Sony A6500 received Silver Award with 85% (dpreview.com/search /? query = sony% 206500 & product = sony_a6500).

          If you could show me 2 pairs of pictures in which the Sony A6500 produced the best result, I probably would have understood what the basis is for the belief that Sony is surpasses. As for more resolution – I do not see the point in a large resolution on the Internet.

          1. The main thing in photography is not the technical quality, but its plot.
          2. Photos in high resolution are stole and are sold.

          3. Google has already told me the disk space is almost consumed. 🙂

          If it’s really necessary, I can give RAF, but most people have enough and such small cards to appreciate the picture.

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  13. Sergey PAT says:

    Comparison of the Sony A6500 and the Fujifilm X-T2 in terms of professional use

    Last week, I published a review about the use of the Fuji X-T10 in a weekend trip. I want to extrapolate my observations by comparing the Sony A6500 vs the Fujifilm X-T2 for professional use. Here we have in view of the word “professional” getting paid orders, and not shooting masterpieces (since high-quality photos are experienced and talented photographer can shoot on the Fujifilm X-M1 and the Sony A3500).

    So, suppose the photographer every day takes pictures of weddings, Love Story, christenings and weddings, birthdays and matinees in kindergarten. I think that in comparing the X-T2 and the A6500, Fuji will be preferable.

    Firstly, the presence of fast zooms for APS-C in FujiFilm X model range – the system turns out to be more light and compact than Sony with full-frame lenses.

    Secondly, larger sizes – it’s more convenient to hold the camera. In the Fujifilm X-T10 test, I noted that with the Fujifilm XF 16-55mm f/2.8 R LM WR X, it started to “twist” my palm after a while. On both mirrorless, you can put a battery grip that will improve ergonomics in practice, but outwardly, the shape of the larger X-T2, in my opinion, is more convenient if you need to carry a camera for days.

    Third, slow memory cards for Sony A6500: the slot only for Memory Stick Duo/SD-cards. Unlike it, the Fujifilm X-T2 can use incomparably faster UHS-II, i.e. continuous shooting will be faster, recording video in 4K format is also easier.

    Fourthly, the death defect of the Sony A6500 is only one slot for memory cards. Imagine, you received an order to shoot a wedding in the Seychelles, the customer paid for the flight, hotel accommodation… You shot the Love Story, the wedding party… and the card faded and the photos disappeared. Oh, you will be drown in the sea right there! I think that having a 2-card slot is a huge, vital advantage of the Fujifilm X-T2, if you compare these two mirrorless cameras for professional use.

    Fifth, the ISO setting in the X-T2 is made by the disk on the case, in the A6500 – through the menu. Hence, the photographer who shoots at Fuji will miss out on interesting frames, since the setting of shooting parameters is faster.

    Sixthly, the control of the choice of points of autofocus on the Fuji X-T2 is performed by a special joystick. Simply more convenient.

    Seventh, Sony’s screen is only folding, in Fuji case – it turns in another plane. If you use the camera to shoot video reviews and you self are in the frame (self-video), then on the X-T2 you can see if you got into focus, the A6500 will not have such an opportunity.

    In general, if for a travel-photo, for personal use the Sony A6500 can be considered as a competitor to the Fujifilm X-T2, then for the sake of money, it seems to me that it has much fewer strengths…

    P.S. Please see the video with another arguments why the X-T2 surpasses A6500.

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  14. Alessandro says:

    Separate control disks for all parameters are very clearly. It also bribed me in due time in the Fujifilm X-T1, but it is extremely non-operative. One hand does not change the parameters. And sometimes it is necessary.

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    • Sergey PAT says:

      I did not understand your comment. Do you think that you go to the menu of the Sony A6500 and choose the required ISO value there (even if you assign a function button for quick access) is more convenient than just to rotate the sensitivity adjustment disk on the Fujifilm X-T1 camera?

      Well, I imagine: you came to the meeting of the opposition rally, hold the Sony A6500 with your right hand, thumb pressed the “Fn” key, then you chose the desired ISO value by the joystick… Maybe, if at this time in your left hand you have a stick that you from the raging provocateurs fend off, it will be more convenient to configure the camera settings in this way, but in other cases, the Fuji X-T2 setting option will be more comfortable. 🙂

      Could you please give examples of cameras where the ergonomics of the choice of parameters is realized much better? In my opinion, the same professional Nikon D5 or Canon EOS-1D X Mark II are also approximately set up…

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      • Oleg says:

        Sergey, I did not get to know how it is done on Fuji X, but on the Sony Alpha 6000 it’s setup with the same hand that you hold the camera with, and there’s no talking about LONG picking in the menu. In general, it’s unclear why you’ve stuck to this ISO.

        This is done like this: rolling the multifunction wheel with your thumb to the right and you change ISO by the WHEEL. What decides is a fraction of a second, when you make a move to the side with the same hand that you hold the camera, is generally unclear.

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        • Sergey PAT says:

          I was sure that you need to press the key and enter the menu, as in the Nikon D5100. If this is done, as you, Oleg, described, then I apologize for having misled you.

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          • Oleg says:

            Sergey, I sent you a short video on Facebook, how it works. At the same time, without waking up the holy wars, I just want to ask if I need to change the RANGE of automation (lower and upper ISO), on the Sony A6000 it is the same multifunction wheel movement to the right, just once more. And on the Fujifilm X-T2, how the ISO wheel will help in the ability to specify the RANGE. Is there a special position?

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          • Alessandro says:

            On Fuji, starting with the Fujifilm X-T10, there are three Auto ISO presets. This parameter can be hung on a quick key and quickly selected. However, to change the settings, you need to immerse into the menu.

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      • Alessandro says:

        It is not necessary to fight with a stick from someone. You can shoot from any point where you need to hold the other hand. This is not necessarily a rally. The same shooting of weddings, for example. On the Fuji X-T and the X-T2 can’t change any parameter with one hand. Only with shutter speed you can solve this issue and the aperture. But then all sense of such “analog” settin g up vanishes. In the Canon 5D Mark III I can calmly change these parameters, holding the camera with one hand.

        Yes, this is not always necessary, but it should not be concealed. And it turns out, as with the blue glare and the Petrov’s ambassador from Fujifilm.

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  15. Max says:

    For a long time, I have read this blog, a lot of interesting information and beautiful photos! Thank you!

    For this article. The pictures I’ve given myself have not convinced me that it’s worth changing the full frame Nikon to APS-C Fuji. I really like photographs of the author, made by Nikon, they seem more voluminous and pleasant in color.

    Although, after watching this video comparing the full frame of Canon EOS 6D and Fujifilm X-T10, I started to think about it.

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    • Sergey PAT says:

      Max, thanks for the kind words! 🙂 If Fujifilm could create a camera that would please absolutely all photographers, it would definitely occupy a dominant position in the market. But the theory of marketing says that it is impossible to implement, because each consumer shares on the social, demographic and cultural level, with respect to novelties, and on dozens of other indicators.

      I can sometimes troll the Canon brand for the fact that the sensor parameters are far behind Nikon, but at the same time, I am happy to follow the work of a large number of admirers of this brand, shooting stunning pictures of their “lame” Canon. 🙂

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    • Paul Chertalev says:

      Thanks for the feedback. Criticism about color and volume is taken purely to my own account, since this has nothing to do with the camera. After all, as I said, in blind testing it is impossible to distinguish pictures made by Fujifilm X or Nikon.

      I assure you that the volume in the photo is created by special techniques that can be used with any camera. Maybe the feeling that the volume in the image was less developed because my photos have fewer pictures with a blurry background, but this trend has been traced in my pictures for quite some time. Sergey just did not publish my photos for a long time. 🙂
      I began to appreciate the story more in the picture than the cool voluminous but plotless portraits (as Ilya Rashap says – the statement of the “woman”), and the empty temples in the frame do not attract me anymore. By color – most likely, I got carried away with Fujifilm profiles, and color, as we know, is a purely subjective thing. I like the cool color of Fuji better, you – apparently, less.

      I emphasize once again: the Fujifilm X-T2 shoots no worse than Nikon or Canon, as well as Sony or Olympus. All cameras are just a padding between the person and the subject. The person shoots. And if the shots became worse, then this photographer became worse off, and not the camera. And I have enough good fast optics from Fuji to absolutely reproduce exactly all of my old frames shot on Nikon – the only problem is that now, most of them I do not really like.

      I, by the way, have already received quite a lot of criticism concerning color. But, guys, I have a camera for a month – I think I have not yet found my recipe for the perfect color in RAF from the Fuji T-X2. And I think that I will look for it for a rather long time. In the end, I was looking for my color in Nikon for 3 years. And, when I already found it, I switched to Fuji, as the weight of the photo bag began to exceed my physical ability to carry it all day.

      By the way, it seems to me, Sergey did not set the task to convince everyone to move from a full frame to APS-C camera. He just wanted to show what came out of this specifically from me. So far I am pleased with the result, and Sergey also liked my pictures, and to Misha Shmakov. This, at least, convinces me that at least I have not lost anything at the transition to the mirrorless, but I have become compact and light, which, in turn, will help me make more good pictures. I can now carry the Fujifilm X-T2 + Fujinon 35mm 1.4 kit every day, which I do. With the Nikon D800 I could not afford such a luxury.

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    • Sergey PAT says:

      Max, with Paul’s permission, I spread our dialogue in personal correspondence. I also have questions, mainly concerning the lack of “full frame magic” on the Fujifilm X-T2. But, to be completely confident, I need to conduct experiments …

      P. – Tell me honestly, having looked at such pictures, did not you want to jump to the Fuji X-T2? 🙂

      S. – I’ll be honest: when I first saw your pictures – I liked them, the second one – something’s not right. I showed them to the friend of mine, he said the following: “They look like they were taken off by a very high-quality poin-and-shoot camera. Sharpness and clarity is, but “there is no magic”… And I was with him that day agreed. But!!! Now I need to do some experience, after which I will definitively be defined… In general, my heart trembled… ☺

      I admit honestly… But I still did not want to change my system of Nikon D610. And by the way, I like the color that your photos (and Liseikina’s) look like… but, you know, it is as a preset in the Lightroom – we all were addicted to it, and then began to process without color correction… That’s while this article was preparing, I reviewed thousands pictures, and already it starts to feel me sick… I want an ordinary, uncorrected color …

      P. – I wish Misha told what is magic… ☺ Maybe I over sharped the photo while decreasing it, but I like it.

      S. – I, as received your pictures, I put the experience: shot from a tripod by 70 mm in FF and DX mode. The difference is scanty… But now I think that at a wide angle lens there will be a very strong difference, because on FF I come much closer and strongly change the perspective. That’s what I want to check… The same thing – at 300-450 mm focal length check. Here, it seems to me, the perspective for FF will be very compressed too.

      I liked your photos very much. Yes, and I say – my heart trembled. ☺

      P. – An interesting characteristic: “It’s as if a quality point-and-shoot camera was shot…” 🙂 After all, I did not just transferred to the X-T2, I did a couple of snapshots. So, in the Nikon D800 is also a quality point-and-shoot camera! ☺ Since the pictures did not differ in practice: perhaps, with color.

      S. – Yes, we watched pictures of the Japanese in the medium format Hasselblad, then Nikon D3100 and Nikon 50mm f/1.8… there is no difference, but I want to believe… ☺ Hard to believe. ☺

      P. – I think fabulous photographers make all the magic with processing, and a snapshot from any camera is a reflection of reality. I can only agree that there is beauty in the various blurring of the background, the character of the bokeh is an artistic concept, but it is like homeopathy or osteopathy: someone believes, someone does not, and no one can prove anything to anyone.

      A characteristic of “sharpness” is, “magic” – no, this I accept only at my own expense, and the camera is not to do with it. If Misha could explain what kind of magic is not enough, I would add it to my droplet.

      ***
      P. – Listen, do you really think that I touched with the color? Too bright? Or colorful? To me, my colors seemed close to reality, but if you say that it cuts your eyes, you need to do something about it.

      S. – No, you do not understand… Everything is OK with the color. No claims. I just see that the preset is used. And I said that I previously used presets in Lightroom, now I do not like it. I move the saturation slider, brightness, but I rarely apply tone. And then there is noticeable tone. I like it… But I looked at your pictures, Liseikina’s, Dmitry Kochergin’s with the Fuji X-T10 – I’m beginning to get tired of Fuji’s “corporate color”… Well, it cuts the eye…

      P. – I did not use presets.

      S. – Simply, a feature of Fuji’s color, more precisely – a film profile, as I understand it. Chromium?
      P. – In some places there is chrome, but most are processed in a Fuji standard profile… I forgot what it’s called.

      S. – Well, then I see it… ☺ like the magic of a full frame. ☺ Do not pay attention then. The color settings themselves are excellent, there is no busting or shortage.

      P. – Hold on! Frames with the Nikon D800 do not differ from Fuji in the standard profile. More precisely, they differ, but insignificantly: skin color… green, white is cleaner in Fuji X-T2.

      S. – Look at Elena Liseykina’s blog. Do not you see the difference in colors?

      P. – Fuji, of course, has his own color… Only in WB differences. At Nikon, it is warmer, the Fuji is colder. Fujifilm is more contrast, but I think it’s post-processing.

      S. – So, it’s my habit… In general, I like Canon most of all. 🙂 Then, what does everyone say about the “beautiful JPEG from Fuji”? I see differences in Jpeg… and personally I’m starting to get bored. ☺ Why did you stick to me? I like girls with big tushies… And you darn me why I do not like flat ones… Well, I like …

      P. – I have not bothered – it’s me who criticize Liseikina… 🙂

      Another example of a day’s snapshot is that there are differences only in the white balance, which, as is known, is subjective and amenable to correction to taste.

      S. – I say: at first glance, Fuji colors like. As I start to look much, I get bored.

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      • Max says:

        Very interesting dialogue! Thank you! I liked the phrase: “I think professional photographers make all the magic with processing, and a snapshot from any camera is a reflection of reality.”

        So, I also think that in essence the digital photo should be everywhere the same, the rest is internal firm processing (warmer, colder, more contrasting, grainy, etc.). Now you can choose a camera in appearance.

        And this phrase is good: “They look like they were taken off by a very high-quality point-and-shoot camera. Sharpness and clarity is, but “there is no magic.”

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        • Sergey PAT says:

          About the advantage of film photography is better than Sergey Maximishin, probably no one will say. Here published him in the discussion of Nikon D750.

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          • Max says:

            Yes, this is true, a universal phrase that will suit many creative directions! 🙂 Simply, technically, the film transmits an “infinite” amount of “bit”, and for this reason both the “air” in the film is different, and the space is deeper, and the shades are more natural. It is a pity that the film has its limitations (grain, terms and conditions of storage), but it seems to me that the film could be developed with the help of nanotechnology no worse than the digital. Simply, the digital technology is cheaper.

            I think the sensor should be pulled to the possibilities of the film. Is it possible, I do not know, probably it will be, but not soon. In the meantime, a digital photo (even the coolest one) reminds me of an MP3 format, and a film is an original multi-layer full-size track.

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          • Sergey PAT says:

            As I said above, I also plan to conduct experiments with the proof of the existence of “full frame magic”. I believe that it manifests itself when shooting at extreme values of focal lengths, but at average values it is lost.

            For example, if Paul sets a focal length of 50 mm on the cropped Fujifilm X-T2, I set 75 mm on the full frame of Nikon D610, then the practice showed that the pictures will be identical if you shoot from the same distance for the subject. But, most likely, in the same conditions, I will leave 50 mm, but I will approach 30% closer to the object of shooting, thereby changing the perspective of the image significantly… Magic will manifest itself. But, I suspect that not much.

            At the same time, when I was writing a lesson about when I was using a telephoto lens, and when the wide angle lens, I noticed that changing the focal length by 20 mm on telephoto is almost not noticeable (for Nikon 70-200 mm f/2.8 it’s just, 10%), but on the wide Samyang 14mm f/2.8 – this is more than 100% change in the focal length). Where Paul put out 14 mm, I, in practice, also put 14 mm, but I’ll come closer by 30%, and, theoretically, in the change of perspective there will be simply a GIANT jump. And this will be the cause of the manifestation of “full frame magic”. I plan to test this fact in practice.

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          • Apis Krasnoyarskiy says:

            And if I use 10 mm on wide angle lens for my Nikon D5200? In fact it will be practically equivalent to yours 14mm on a full frame?

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          • Sergey PAT says:

            In general, I was experimenting all morning – not to argue with Paul: if APS-C will have equivalent focal length comparable lens, the difference in the image is scanty, and “full frame magic” can’t be said. It is difficult to admit defeat in a dispute, but Paul is right. 🙁

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          • Paul Chertalev says:

            Sergey, about shooting on ultra-wide angle lens: I saw this video, in which there is a comparison of frames shot on wide angle of ultra-wide lenses. Comparison Fujifilm X-T2 vs. Nikon D750.

            I thought – it seems that there should be a difference in the distortions introduced by the deviation of the camera axis from the horizontal or vertical. I think they will be more noticeably falling 10 mm than 14 mm. What do you think?

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          • Sergey PAT says:

            Paul, probably, we still need to take into account the distortions introduced by a specific type of lens. I conducted the following experiment: put the camera on a tripod, shot 2 frames by 70 mm and 24 mm with a Nikon 24-70mm f/2.8G lens. Then I applied them in Photoshop with a translucent top layer, and cut off the wide angle so that it coincided with the long focal length in the borders – the match is virtually complete.

            If you shoot one frame on Sigma AF 10-20mm f/4-5.6 lens, and the other on Tamron SP AF 10-24mm f/3.5-4.5 with 10 mm and with 20 mm, there may not be a matching border due to the fact that the shape of the lens inside is different.

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        • Paul Chertalev says:

          Max, if you like a fuzzy background, Fuji has excellent Fujifilm 56mm f/1.2 and Fuji 90mm f2 lenses – they will make the bokeh no worse. Do you really think that with the help of APS-C camera you can’t get such pictures? Maybe all these pictures are shot on Fuji? Once again: if the picture is like – it is by no means the merit of the camera, it is entirely the merit of the photographer. Having eaten a delicious borsch, you do not begin to praise the smart pot of the cook and tell her about the magic that appears in the taste of borscht if you use Zepter utensils.

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          • Max says:

            No, I do not scold Fujifilm, I myself would like such a camera, and bokeh is not the main thing.

            I showed examples of creative approach to photography.

            1) a reference to the work – Sony A6300, Sony A6500, Sony A7rII;
            2) a link to the pictures – Olympus (micro 4/3);
            3) reference to pictures – film, medium format (Pentax 67);

            It is not necessary to achieve “as in life”, the main thing is the plot and the post processing is suitable for it. 🙂

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          • Max says:

            Sergey and Pavel, thank you for the answers! I myself recently purchased Nikon DSLR (for the beginning, D3300). A lot with it tormented after the compact (PowerShot SX50), while accustomed. I like the warm color of Nikon, but I admire the photos taken on the modern compacts of Fuji and Olympus (not to mention Sony and Leica). Even with pleasure I would buy the same Fuji X-T10 (not so expensive).

            There is a dispute what is better, 12 bit or 14 bit? I’ve heard that professionals shoot in Jpeg (8 bit) and are content with this, they are published in magazines, it was said about Fuji or Olympus. Looking at Fujifilm X-T10 test result, can you say that its Jpg is stronger than Nikon or Canon? Or now Lightroom can pull any photo from the mobile phone? I heard that one professional, showing examples to visitors to the forum, processes photos directly uploaded to the forum and works wonders.

            Paul, it will be interesting to watch new photos from your Fujifilm X-T2 in the pages of this wonderful blog. 🙂

            I take pictures on Nikon, Canon and on a smartphone. Just started to master Lightroom.

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          • Sergey PAT says:

            Max, Lightroom will process out a photo with RAF, in which, thanks to the dynamic range, more information is stored. The question of the adequacy of 12 or 14 bit during processing is debatable, and familiar to whether it is possible to photograph the Nikon D3300 or better the Nikon D5300: you can shoot masterpieces on your camera, no worse than on the D7200 or the D500, but the pluses of advanced body exist…

            Now I can’t find where I wrote yet, but I’m sure that only a very, very experienced photographer will be able to shoot a more or less high-quality photo in JPEG, since he must set up in advance, before the shutter is released, such settings in the camera, which take into account light differences in shadows and lights, white balance and more… Conventional amateurs can improve their “miscalculations” by correcting them when processing RAW in Lightroom. Plus, during the post-processing in Lightroom, you have the ability to use the Brush and Gradient tools to make local corrections, which cannot be done with the camera JPEG.

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          • Max says:

            Sergey, many of your photos are processed almost perfectly, you can’t tear off your eyes, you just wonder how you can clearly control the colors in the photo. Almost everything for a blog you shoot in RAW? Is this the secret of your fine handling?

            In your photos the magic of the full frame is felt, but here in the given works of Paul this is not yet noticeable. Probably, this is because of the scenes.

            Will you do personally a review on the Fujifilm X-T2? It’s interesting to see your photos in your processing from this camera. Although, no less interesting to see the photos of Paul. Maybe a joint review?

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          • Sergey PAT says:

            Thank you, Max! Now I am just preparing to publish an article about how I process my photos. Yes, all the photos in the blog are shot in RAW and processed in Lightroom, plus, in the last year, I do not hold back and almost everywhere I add polishing in Photoshop using Google Nik Collection plug-ins.

            The workflow of Fujiflm X-T2 has not yet planned to be reviewed. Perhaps, in time, when Paul will develop a portfolio with pictures taken in different light conditions, let us return to this question.

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          • Max says:

            Oh, it will be interesting to read and see! It would still be informative to know how you set up the settings (shooting modes) under different conditions. In one of your reviews (Nikon D5200 with Fuji X30, it seems) you exhibited a photo with bicyclists, in blue tones, here it seemed to me in a color similar to the pictures from Fujifilm X.

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          • Sergey PAT says:

            It is described in the main lesson about ISO, shutter speed and aperture how I put the settings. Also, in the second part of the review Fujifilm X30 provides links to all the other important lessons for the technical quality of photography lessons: histogram and ETTR (exposure to the right), exposure correction, and the operation of DOF (depth of field), modes of autofocus, training the vision of the frame.

            References: Lydia Dyko “Conversations about Photo Mastery” in the lesson about settings, plus super quality textbooks on the development of the vision of the frame in English, the description of which is given at the end of the lesson about the vision of the frame. More than anything, I think, you do not need to know.

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          • Apis Krasnoyarskiy says:

            Why you did not please direct use Nik Collection in Lightroom? I personally also put Portraiture in there…

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          • Sergey PAT says:

            When installing, apparently, the checkmark “Store Presets with Catalog” I did not remove, so the Nik Collection did not work. And I used to finish in Photoshop. In addition, recently, the sharpness I’m using with “C3C Image Size” plugin, so Photoshop – the necessary stage, there and “Nick”, if necessary, I use.

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          • Alex says:

            Sergey, tell me, why do not you immediately let Lightroom handle Nik Collection? In fact, processing in Photoshop is required only for some photos such as face portraits, HDR, especially important images. Again, many photographers, when processing, make the color range of the photo not very real, especially as regards the color of the sky. My wife (not a photographer) often criticizes that the picture should be closer to reality, and even the most ardent artists, landscape painters and seascapes (like Shishkin and Aivazovsky) were not afraid to show the “overexposure” of the sky.

            If, for example, immediately after the primary processing of a photo of a stormy sky in Lightroom, in the “landscapes” section of Nik Collection to do “color extraction”, then the photo acquires a complete look, in the shadows when printing on A4 or on a computer screen, details that a person with an excellent vision can be considered only by looking closely or using optics. And with the processing of portraits “Nik Collection + move sliders small, medium, large parts” is coping better than “newbie + Photoshop”. Saving time again, if you do not print posters of A2 or A1 format.

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          • Sergey PAT says:

            Alex, I explained above to Apis: Nik Collection in Photoshop is just a habit caused by the incorrect installation of the plug-in. In general, everything is not straightforward in processing: you can achieve the same result in different ways.

            I see from your explanations that in Lightroom it will be more convenient. I’ll try to re-arrange it on occasion. Although, still have to end sharpness in “C3C Image Size” plug-in, because I was never able to achieve it in a different way.

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          • Max says:

            And, here, I found that frame shot on the Nikon D5100, which seemed to me similar in color to the photo of Fuji X: photo# 16 in the comparative review the Fujifilm X-M1 and the D5100.

            It seems to me, the unique transmission of blue shades in Fujifilm X cameras, and this does not interfere with warm colors. How can I explain this? Technological features of the sensor or internal software processing for shooting?

            Thanks for the links!

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          • Sergey PAT says:

            Maxim, you have me confused. Assuming the wrath of Paul, I will immediately say that experiments have already shown that in conditions of shooting a concert, when there is no possibility to move further away, by transferring the perspective of the photo No.33-39, you do not distinguish which will be shot on the Nikon D800, which the Fuji X-T2 . Verified!

            About the transfer of blue shades, I’m not such an expert. You need to look at the original RAF from Paul’s Fuji X-T2 and other Fujifilm X camera owners. Much depends on the processing by a particular author, from the atmospheric conditions at the time of shooting.

            But such a notion as Fuji’s “corporate color”, I believe that exists.

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          • Max says:

            About the shades of blue – this is an observation. Well, probably, I’m not in the subject and I cannot explain this more clearly. The main thing is that there is Fuji’s “corporate color”, maybe I mean it. It is interesting to understand what creates this “Fuji’s corporate color”.

            I will not confuse you any more, I will just read your excellent reviews. Thanks for the answers and success!

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          • Paul Chertalev says:

            Max, I do not want to prove anything to you with Sergey or without him. I think you do not hear me. I firmly believe that if Sergey stood next to me with his full-frame Nikon D610, and shot just like me, then the footage would have turned out to be absolutely the same. It seems to me that your photo-magic meter is extremely simple: if you like the picture – the magic is there, do not like it – then no. I draw such a conclusion, based on the fact that you pointed to the “magic” in the photographs taken by APS-C cameras, and the magic of the full frame is nothing to do with.

            I think you just do not like my shots. I’m sorry, but there’s nothing I can do. I put all that I could into these pictures – and no other camera would allow me to do them better. In the end, everyone does not please. But I personally like my shots and, in my opinion, I never took better pictures than these. Try to see the whole set – maybe all the same, something will attract. In the end, Sergey chose only a few pieces from the entire set.

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          • Max says:

            Paul, I did not say that I do not like. Lovely photos, but from Fujifilm I was waiting for something more spectacular. Now I’m waiting for you from something spectacular with this wonderful camera. And in the concept of “magic” we are putting different meanings, that’s all. Good luck!

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          • Sergey PAT says:

            Paul, I would like you to understand that I separate “magic” and “a good shot.” And first of all I will note that I really like your photos, just how you built them: composition, caught moment, context in pictures. And I agree that the pictures in this review are some of the best in your career. At least, if you compare with the works that you submitted to the photo competition, then the quality growth is just on the face!

            At the same time, I think that the “magic of the full frame” should not be confused in the discussion. You yourself said that one of the reasons why I like my current pictures more than with Nikon D5100 – I began to shoot better and better to process. And you are all the same subjects that presented in the review, would have shot well even on the point-and-shoot camera (taking into account the restrictions imposed by the noisy sensor).

            And thanks again for examples of work with the Fujifilm X-T2! I do not have any doubts that among APS-C DSLRs and mirrorless models, this model, by today’s technical characteristics, stands in the first place! And all the reasoning, what I’m saying about the “magic of the full frame” – only my conjectures. And, when I say that “my heart has trembled, but I do not plan to buy,” we are talking about the fact that there was no desire to sell Nikon D610, but I really wanted to receive the X-T2 as a second camera, for travel and business trips. I do not know how the X-T2, but if it comes out with the same Fujifilm X-E3 sensor, I probably buy it…

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          • Paul Chertalev says:

            Max, I think your expectations of spectacular shots from this wonderful Fujifilm X-T2 are never justified: the camera can’t shoot! 🙂

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