Fujifilm X-T2- English

07 Jan

Fujifilm X-T2

In 1992 I bought my first professional camera. It was a film camera of course. The first camera I bought was a Minolta camera with two lenses - 24-70/2.8mm and a 70-200/2.8mm lens. I photographed with this camera for about two years. Two years later, I bought a 500/4 mm lens, and a few days after I bought the telescopic lens, the camera crashed on a rocky cliff in the north of Israel, and the camera that hung on my neck for shooting during the climb was hit so hard that the lens was pulled from the body and taken with it Part of the front of the body to the bottom of the cliff.

While I was looking for a new body I bumped into Nikon's body, and I do not even remember why, but I moved to Nikon, and from 1994 until a few months ago I was shooting only with Nikon. Even when I switched to taking pictures with a digital sensor I stayed with Nikon. I worked with the best lenses they had, and with Nikon lenses.

Over the years, extreme activities have been a major part of my photography career, and I also go outdoors for photography purposes. I can take pictures in the field with 40kg bags, snowstorms at -20C, and desert at temperatures up to +49C, I rode on road and mountain bikes, injured and broke innumerable bones all the way. In the last few years, I have begun to think that a mirrorless camera can be more comfortable, but to leave Nikon for a few kilos? I was able to take that step.

A few months ago I had the opportunity to photograph with Fuji's body and Fuji's lens, and on the first out I was surprised that not only is the body and lens weighing so little, but it is also an amazing camera! In addition, it has film simulations, and it felt almost like going back to work with films, which was a real pleasure. The camera has been with me for several months, with some lenses and I wanted to share with you what I think of it.

I will not write here a complete and accurate list of the technical data of the camera, because it can be found on the site of Fuji (link) and that you do not need me. It's more important to share with you how it takes pictures in the field, and not just with beautiful pictures on the manufacturer's website

I do want to say a few words about the sensor. The usual sensors on the market suffer from a problem with Miore (without going into the small details of how it was created). This is a phenomenon that occurs when you take repetitive lines or points, like groom suits, that come out with striped stripes like rainbow. This is primarily due to the pixel arrangement in the sensor. Fuji has found a way to deal with the problem by arranging another pixel in the sensor.

The sensor actually in all the cameras is a sensor with a pixel arrangement according to the arrangement invented by Bayer. Fuji solved the problem by rearranging the pixels. Below are the two types of sensors, and you can see a very clear difference between the two.


While all of the cameras work with RAW files, they give better results because of the amount of information this type of file contains, Foji has increased, and JPG files contain almost as much information as a RAW file. This way you can actually work with a lightweight file and take out "ready" images as they are. It does require more knowledge in photography, but knowledge is acquired, and the results are amazing. In fact, this brings the photographer closer to a situation similar to working in film before the era of image processing. I'll talk more about this later


Each lens has defects. Who is more and less. The body recognizes and knows the lenses of the company, and can repair the defects of the lenses alone. As long as you work with Fuji lenses, the images come out of your body without any need for image processing. Of course, that's why you need to shoot with JPGs, but as I wrote above, that's exactly what the body is made of.

Fujifilm X-T2 with Fujinon 18mm f/2 R

Go back and shoot films

Everyone who knows me, especially the students who study photography with me and Lightroom, knows I'm not in favor of running doing image processing. I often hear about photographers who assume that "The moment we get home we will fix the pictures in Lightroom". However, one of the reasons that must always be at some level to process the images in Lightroom is that you can not shoot black and white films, or any other films that were in the past market, as they are. Fuji, as a company that has produced a large variety of films in the past, has entered the body's processor film simulations, so you can choose the film you want to work and continue to photograph,

Including the filters we used on our lenses when we photographed black and white. They also put into the body the films with low contrast and high contrast. In fact, as long as you work with a JPG file, everything is possible in this camera, and all you have to do is choose the parameters of the exposure and the aperture, and nothing more. Image processing is almost unnecessary.

In the next series of pictures you will be able to see the differences between the different films simulations. All the images were taken at a temperature of 5600 Kelvin and so they left the camera


The usual films photography in every photo shop. Color conversion or the ability to absorb color, to the level of contrast that elephants would produce


Colors are more vivid than regular film. Which would have been acceptable when you were shooting on slides


Soft film which was suitable for the photography of portraits outdoors in daylight. He would soften the harsh shadows caused by taking pictures in the sun

Classic Chrome

Gives soft colors and also softens the intensity of the shadows and produces a softer and more pleasant picture

Pro Neg. Hi

Produces a higher contrast, from the color level to the shadow level. Unlike slides that increase the amount of color

Pro Neg. Std

Produces soft contrasts and preserves vivid colors. This can be a good choice in studio photography


Black and white with a greater dynamic range and higher contrast than regular black-and-white photography. This is without a doubt my favorite black-and-white, and I take pictures only in black and white. In addition, there are three additional filters that can be mounted on the lens, which we used to do when we were shooting in black and white. The filters are yellow, red and green filters


Acros Yellow

Acros Red

Acros Green

Black and white ordinary films that could be found at any photo store. Here, too, you can "put on the lens" each of the three filters: yellow, red and green



Monochrome Green
Monochrome Red
Monochrome Yellow

Simulation of sepia film

Fine adjustment of the image for the processing of the image
Another thing that can be controlled through the body is the dynamic range. There are two functions that allow you to take a picture in advance, without having to process the image at home. The first function is "shadow" treatment. It is possible to increase and decrease the intensity of the shadow in the image, thereby increasing the dynamic range in the creation of real black. At the same time, it is possible to reduce the "quantity" of the shadow in the picture and create a more gentle catanter, regardless of the existing film simulation.
The second function is the Highlight treatment, which means that when you take a blue sky in the summer, the sky is scorched. One option is to photograph a polarizer filter, and the second option is image processing in Lightroom or any other software. This body has the ability to add or subtract the amount of highlight already in the photograph itself, thus producing a blue and unburned sky, and radically increasing the dynamic range, which is very noticeable in black and white because it is possible to produce full black opposite clean white


Fujifilm X-T2 with Fujinon 35mm f/1.4 R


High noise ISO

High noise ISO is seen in all the cameras today, who is more and less. Most of the full Frame bodies are less visible, but here too the largest majority of high-ISO noises are clearly visible at 6400. In the sports bodies, the higher noises are controlled. Of course, some noise also comes from long exposure, and even as low as 400, with three minutes exposure you will get some noise, and certainly with a high 6400, with a very long exposure. However, it is hard to find cameras that will produce a silent image in the 12800, where most of the multiplex and crop cameras fall. But here the camera surprised me a lot. Not only because it controls how high ISO in heroism, but in the fact that this is a croop camera, from which I expect to produce some larger noise

I add Three pictures. The first was shot in a ISO 4000 . exposure of 40 seconds with artificial light coming from the lights of moving cars, which causes some very large noise in each body. These lighting conditions are very problematic, because it is about absolute darkness in front of strong lighting for a short time

Fujifilm X-T2 with Fujinon 18-55mm f/2.8-4


In the second picture I took at ISO 800 short exposures of three seconds, but the intensity of the lighting was constant, so the noise was low. However, I can say that there are quite a few cameras in the market that would fall in this test, as well as full Frame cameras

Fujifilm X-T2 with Fujinon 18-55mm f/2.8-4


In the third picture I took a short exposure of 1/125, but, and this is a very big but, it  photograph at ISO 12,800, plus there are parts with a lot of shadow in the picture. Here almost every camera would fall, and certainly all the cameras cropped, and still the camera stood it without difficulty despite the conditions of photography and difficult

 Fujifilm X-T2 with Fujinon 35mm f/1.4 R


Double exposure and autofocus

An additional and complex function that this camera has the ability to shoot frame on frame. It is not something that at any time and place is necessary, but it is rare that I feel that I will be able to convey a sense of place or condition when exposure is double. Because I'd rather shoot than sit across the computer, I'm glad I have the opportunity to create it in real time. This of course requires understanding, because double exposure means offsetting the whole stop in both frames, but this is an easy problem to solve already in the field, only to correctly plan the exposure times and no more

Fujifilm X-T2 with Fujinon 35mm f/1.4 R


Autofocus in mirrorless cameras was a real problem when they just started to go on the market. But since then, manufacturers seem to have begun to dominate the problem of finding the focus without a mirror. I manage to fax with the body's autofocus mechanism even in situations of great lack of light, as in this case of photography in a dark church. Not only was the autofocus mechanism a sniper, but also using a ISO 5000 gave a clean image. There was no need to use a tripod or lean against the wall to get a sharp picture.

Fujifilm X-T2 with Fujinon 35mm f/1.4 R


In conclusion

After years of filming with Nikon's full frame cameras, I can not say I was not afraid to switch to the crupp body. I know that shooting in the crupp body produces many problems of sharpness and noises. In addition to this, crupp has a range of lenses that are smaller than full frames and are also less quality than full lenses. But I was pleasantly surprised by this body of Fuji. Not only does the body produce stunning images even in harsh lighting conditions, it also has a very efficient autofocus mechanism that works great. Fuji has produced a very large range of lenses, and quite a few are weather proof and allow to shoot at temperatures that fall below -10C. The body has unlimited intervals. In fact all the time you have a battery the body will continue to shoot interals. If you work with an external battery, your body will continue forever shoot. Another thing that surprised me was that you could charge the camera battery by attaching the body to the ignition of your car! Yes, yes you hear right! Leave the battery inside the body, connect the body to the ignition and travel to the next shooting point. At this time the battery will charge, and by the time you reach the next point the battery will be like new

Another thing I loved, and the reason I started thinking about switching to a camera without a mirror is weight. I took off the weight I was carrying in two-thirds of this transition from working in Nikon's full frame to Fuji's cropped body. I can say that I am very pleased with the decision and strongly recommend not to be afraid and move!

Fujifilm X-T2 with Fujinon 35mm f/1.4 R



Fujifilm X-T2 with Fujinon 35mm f/1.4 R

Fujifilm X-T2 with Fujinon 35mm f/1.4 R


Fujifilm X-T2 with Fujinon 18-55mm f/2.8-4


Fujifilm X-T2 with Fujinon 18-55mm f/2.8-4

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