Dante_Stella
Rex canum cattorumque
This is exactly the problem when you are not big enough in volume to make your own chips (and who is these days?) or at least get out from under head-start licensing. Fuji gets a warmed-over A6000 chip with a new color array. They then have to buy x thousand of them. This is very likely why the X-Trans II has hung around so long (and is why it’s still going into new models). The 4K video thing may well be an artifact of the same licensing arrangement.I wonder (if it is indeed a Sony sensor) if this is the reason the X-Pro2 was delayed beyond what people are thinking was necessary. I understand that if a camera company wants to use a Sony sensor, then they have to wait for some period of time before Sony will let them go to market with their camera... to give Sony a head start with their own camera(s) using the same sensor.
This is a circular argument: for people who are satisfied with the feature set, it is great. No kidding. But the rest of the argument is not very convincing. One, there is no camera that is more or less of a “photographer’s tool” than another. Two, if you subscribe to the idea that certain things are more photographer’s tools because they are more on the minimalist side, you could make the same argument about a Leica being a pure photographer’s tool and any Fuji being techno geekery. Finally, is there anything more techno geeky than an optical finder with an electronic overlay on an autofocus digital camera? I love this to death on my X100T (as I did on my X-Pro1), but I have never been convinced that aside from being incredibly cool, that it really adds anything truly functional (except maybe seeing outside the framelines). And let’s stop pretending that the Fuji X line is not trying to compete in the feature area – the only reason it isn’t completely cutting edge is being hobbled by Sony’s licensing. There are plenty of things on the X-Pro1 that are pure spec-chasing, not the least of which is dual SD slots (273 AF points is not that far behind - pro Nikon film SLRs never had more than five). It’s just that Fuji is running more slowly.It's not the type of camera that wows on spec sheets and techno geekery. It's a pure photographers tool. It's a specifically honed camera. To those that like what it is, it's pretty much ideal. To those who need features and bleeding edge specs, there's always the XT-1 or.. well.. pretty much every other mirrorless camera on the market fighting for spec superiority in a murky haze of clumsy ergonomics and video recording buttons taking up precious space on the top plate.
According to the head bartender here, you can get a used M240 for $3,500, which is $1,200 more than the minimum buy-in for an X-Pro2 at $2,300 with a good lens. Fuji is not the most compelling from an economic standpoint to change systems if you have a lot of M lenses. If you’re a wide fiend, 24x36 Leica bodies give you a lot more choices, and the newer digital Ms have 2-dimensional digital levels (Fujis have typically had just roll sensors) and the ability to mount an articulated EVF.The reason I'm thinking that the M8 is better fit for an m-mount photographer wanting a digital body is that the cost of the X-Pro2 and the M-adapter is almost 2K (new, ofc) and you can get a M8 from B&H for $1500.
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