MrSMW

The first thing I do here with any item for sale is look at the users history. Are they not only a long-standing member, but contributor? If not, sorry, but I ain’t interested. First thing I did was look at his I think 6 posts and 5 were selling items. Get lost is putting it politely.

The album approach is a tricky one these days Kye as I serve the destination wedding market and successful sales regarding this kind of thing are done at 2 stages: Prior to and after the event. In person. That opportunity was lost to me the moment I moved out of the UK to France. For UK weddings with UK clients, the album included approach worked very well. I replaced it with the hybrid multi-day coverage approach instead and this season for instance, only 1 of 33 did not have video in addition to stills and only 4 couples have had single day coverage. I do provide a tangible element and tick that box, but not with anything they are expecting or included in the package, but a surprise bonus delivered direct to their door. First year I have done this so we’ll see where it goes… Re. the tech. Oh I am interested, but interested as you say as in what it can do for me rather than tech for tech sake, ie, any upgrades or purchases I make are for very considered purposes. The reality doesn’t always work out but it mostly does. 8k for 8k sake does not interest me for instance. Providing productions in 8k most definitely not unless a client says can you deliver me in 8k and I’ll book you…but no one even asks for 4K or even mentions resolution. Ever. I am not even interested in it for cropping sake. I’d rather select the right focal length and composition in the first place. I am interested in it for pulling off stills however and at some point, this might be my future direction as in stop shooting stills altogether and just focus on the video capture knowing those moments are there. But a subject to be explored when my 8k camera turns up…

Regarding the tech side, I am less ‘sure’ about that. I’m no fan of tech for tech sake. In fact, like politics, it bores the pants off me. But at the same time, there is no point in sticking your head in the sand and pretending it does not exist. Yes there is a market for older techniques such as tin type prints, film photography etc, but it is all quite niche. Niche can be good and arguably physical product has a better chance at longevity over digital tech. I bet with 100% certainty that the couple who have not viewed their wedding video for whatever reason will have that tin type print on the wall from the moment they received it. This is the single biggest problem I see for photo and especially video, the tangibility of it. I think with tangibility comes value. Other than societal changes, over the last 2 decades, I have seen a huge change in value/appreciation proportional to clients having wedding albums. The closer to 100% (having albums), the higher (almost 100%) the value, the appreciation, the referral. Today, with near zero tangible product, appreciation is at it’s lowest point as is referral. Partly that is also the world we now live in, but still…

Yes, this is one aspect we have zero control over. I had a couple actually cancel me the other day because they decided in the end they wanted a more ‘fashionable look’ to the result; ‘light & airy’. Will they regret that at some point in the future? In Weddingland, light & airy replaced dark & moody which replaced vintage which replaced whatever came before that. But I try to avoid fashions and fads and prefer to consistently stick to a more ‘timeless aesthetic with a nod to nostalgia’…if I had to try and describe it in words. I am trying to ‘future proof’ the results as much as possible. I have articles on the subject on my website. Not for photographers/vidiots, but for potential clients who might happen upon said articles and say, “yes, that is us. We value this stuff”. And those (few) that do, no surprise, always turn out to be the best clients. Perhaps different in the commercial world but with weddings and portraits, I have always adhered to pleasing myself first and foremost regarding ‘style’ and attract/book folks who specifically want what you do/are on the same page. I find those clients also tend to be the least likely to follow the latest fashion in clothing or hairstyles etc so the results from their weddings will date far less than that of those trying too hard in that regard and with their choice of photo/video capture.

Ha, I literally just finished watching that 2 minutes ago! Bored in a budget motel Northern France on my way to a job in Germany… All being well, an incoming XH2S with a pair of XH2’s. I wish they had called the latter the XH2R as it would make identification so much easier!

This is a very interesting topic in itself… We tend to ‘forgive’ crappy photography, printing and preservation when it comes to family as in the value to us in a dog-eared old print is the subject rather than the actual thing. My most cherished picture was taken in a railway station in 1941 wartime England. It’s of my grandparents straight after their wedding from which only one single dreadfully captured, exposed and printed pic remains. I have always looked at this whole ‘nostalgia’ thing as being pretty much as you described Kye but it would be interesting to have this conversation in another 50 years from now based on our 2022 spec pics & videos. Will they have that same ‘quality’ (or lack of) nostalgia compared with something from say 1972? Maybe… Maybe our 24-100mp camera stills and 1080-8k video will look equally as dated compared with whatever is current in 2072… Probably some database implant connected to our brains or something by then!

Sometimes, not even that. Met one of my former wedding clients at another wedding last weekend and 3 years after theirs, they have not even watched their wedding film a single time. So in some cases, we could present just a thumbnail and 10 minutes of blank content… 🤔🤨😂

For me, I would ideally like to see: For definite: A. Official confirmation a successor to the S5 and S1 is coming, even if it’s going to be one single line. B. An announcement date plus a launch date. Ideally: C. Whether they are moving to PDAF. D. Whether 4K 50/60/100/120 is going be cropped. With a season that starts in April each year, I need to be ready to go at least a full month in advance, fully tested, familiar with, batteries, chargers, processing, quirks etc. If A & B happen before the end of this year, there is still a chance for me with L Mount, but even then, C & D also really need to be on the cards because if not, there are other options. And I am not holding my breath…but would still like to see it.

I should add, that even now I have been making arguments to stick with L Mount at least until a point where I am forced into making a decision. The problem is that with nothing but rumors and speculation regarding the future of L Mount, there is nothing to base any decision on other than ‘if’. I have often thought manufacturers shoot themselves in the foot by being so Secret Squirrel about their plans…

If all goes to plan…and that is: A: My season finishes Oct 3rd (that part will happen on this date) and then I’m having a week off, plus, B: The XH2 I have on preorder turns up and is as anticipated, …then the whole lot will be up for sale/available at some very reasonable prices from around mid October. But otherwise yes and no. If the stills are also cropped, ie, the sensor is APSC, not an issue, but shooting hybrid it’s a bit of a pain in the arse. In isolation, less of an issue but it’s the number of ‘lesser issues’ that add up to a point where if something else makes more sense, then it is at least worth looking at if not moving over to. After 3 years of frustration, I am looking for 3 years of consistency because from that, creativity will be best served.

One but far from the principal and not anywhere near enough reason alone. But not to keep you in suspense, basically moving from what was a 4 camera plus back up camera plus 8 lens approach with L Mount (Panny & Sigma) to a 3 body + 4 lens Fuji system.

Decreased kit, more flexible, more focused, less fatigued, more creative. 4) Purchased 3/4 cameras used and about 1/2 my lenses. There will be a loss of course, but that’s partially against XX000 turnover. I’m expecting a ‘cost to change’ of around 3k and min 3 years use unchanged of the new system.

Yes. I’ll write a full post in a few weeks when my season is over, but yes, making a move…

Yes, very true. I had the f1.8 trinity of: 17mm, 45mm, 75mm and all were good with the 75mm being excellent, but of very limited use. As a compact pairing, the 17 & 45 could accomplish most of my photo needs especially being like a full-frame equivalent of a 34 and a 90. I was very attracted to building a system earlier this year off the f1.7 zoom pairing of the 10-25 and 25-50 which would have given me even more (albeit for some extra bulk) or 20-100mm in a pretty compact package compared with a FF system. I would have done it had my needs been purely video because for my needs, that would tick every box. It was just the stills side I could not quite commit to, coming from what would be full-frame 47mp S1R! The 26mp XH2S and 33mp R7 both in APSC were/are 'kind of' just about acceptable to me and having come from XT3 (and many previous Fujis since the X line was introduced), I could have made a case for. But the 40mp XH2 sealed the deal really. Arguably, the bodies and lenses are not much different to many full-frame in terms of size & weight (it's 4/3rds for sure where there is a bigger difference) but enough as an overall package/system to work for me. Could I have made a 4/3rds system work? Absolutely and no one would have known any different except for one person. Me. And that is where/why I drew the line I did... My clients would 100% not notice any difference if I produced a result 4/3rd based, but part of my own 'creative process' would be lost by doing so and this is far more to me than simply running a business for financial gain. Where do you draw the line? Some might argue that, "well, why don't you stick with full-frame and not 'downgrade' to APSC?" or, "actually, why not go digital medium format and look at the GFX100s?!" And I have. I've looked at and made business cases for a GFX100s based system and even the new Hassie X2D, but what it came down to in the end was that 'overall system' and cost and what I could justify. If I had the money, I would 100% build a stills based system off that new Hassie, but arguably would need a pair and 3 lenses (and I don't have close to the 30k it would require) plus invest in the OM-1 + zoom based system I outlined above for another 8k making a total system cost of pushing 40,000!! Instead, I'm 'settling' for a Fuji based system of around 10k new cost, less the trade in of all my L Mount which will cover at least 50% of that. Economics has a large part to play!!

Well there is that John. The OM-1 with the ‘kit’ 12-40mm f2.8 was hardly cheap at 2800 euros (I think) which is far more than say a Lumix S5 and a Sigma 28-70mm f2.8 which is just one full frame ‘equivalent’. Sony A7iv also basically the same size. Ditto XH2S (more expensive) and XH2 (less expensive) and it was the latter that confirmed my own decision making process which was… I like and ideally want the most compact system I can without sacrificing quality. I think many will have that same requirement and when the option might be full frame vs 4/3rds, I think 4/3rds is just going to increasingly lose out. But then I am a business user which I am sure is not the greater portion of the market so maybe see things with a slightly different view…

And that is just it, how many these days are looking for this over an arguably more complete hybrid? I dunno, but I guess less and less each year…

Loved loved loved my OM-1. Loved as in past tense, because I sent it back for refund sadly. ’Sadly’ because although it was superb; A. I decided to switch direction regarding my future ‘next gen’ camera system from a single Z9 with a pair of OM-1’s to a pair of XH2’s with a single XH2s. B. It was never going to work as a sole system for me but that was not really an option I was considering anyway, - simply as above, ‘2 Robins to 1 Batman’. C. Cannot justify it as a personal camera or any other role, financially. Loved it for it’s chunky compact nature, ergos, build, menus etc, but disliked the flip out side screen (as I do with all cameras, but if I am going to compromise, it will be there) and could not realistically contemplate 4/3rds for my photo needs for the next 3 years (the length of time the next system must work for, unchanged, as a minimum). I wish them well but they are no longer Olympus and although the market for 4/3rds is not dead, for new users especially, I’m sure it’s dying.

Nothing but speculation but too little too late? A decent bit of kit, but there are so many other options in 2022. I can’t fault the image quality but Panasonic I have found to be a somewhat frustrating brand in other areas… To be fair, that is partly due to my very specific needs but after nearly 2 years, I’m somewhat reluctantly moving on. The next gen S line could be absolute bangers but again, I suspect it may very well be a case of too little too late…

Yep, two entirely different beasts I think… Ditto Nikon Z9 which was where I was going and would have gone and been extremely happy and never looked sideways…had any been available. I think Nikon have really shot themselves in the foot with this, or more likely, so many companies have suffered due to global supply chains. I made a decision in principal a few weeks back to switch systems because I could not get the one I have to work as I needed it to. At the time, my best option…and it is still an equally valid and splitting hairs alternative (albeit a slightly different proposition) was a Z9 led approach. But it’s turned out to be an extremely frustrating option with zero traction, both of which caused me to consider other options after what I thought was a decision made. Upon reflection now, although the Z9 is a more capable tool, just as the Canon R5c is in many if not most regards, arguably neither are the right tool for me. R5 over R5c, if only for the IBIS. 2x XH2’s AND an XH2S for 500 more than a single Z9 body. It has to be that ‘no-brainer’ they talk about. For my needs. And that is what it always comes down to, your specific needs.

The colour coming out of the XH2 looked better on the Vistek video, but that was only one sample, so… Same with my S1R’s vs S5/S1H, ie the higher res sensor is MUCH nicer, photo AND video. Graded, near zero difference but SOOC, nicer. OK, so I have been mulling it over and I think I am heading back to Fujiland. L Mount has been great image-wise, but has caused me too many logistical and creative issues, ie, the tools have been getting in the way of the process. Button pushed on a single XH2 to start and if all OK, another plus as a third body, an XH2s. Having the latter option in the mix makes sense for my needs and one of my criteria for any future system was/is identical bodies. Button pushed on a single lens and then as above, all being well, another 3 to follow and my entire L Mount system of 4 bodies and 8 lenses will be off. I can’t see a better option for my specific use case and my only real compromise is the side-hinge screens.

I could probably live with 1.14x. I thought I heard one point four, but it must have been 1 point 1 four. 1.4x would be a definite no, but 1.14x, OK, because I tend to crop my films into 2:1 and my pics 3:2, so no biggie. 4k 120p I could use for dancing at weddings, but that would be it and I have never used it before so could live without. AF with the XT3 I thought was OK and if XT4 is better which it is supposed to be and the XH2 is comparable, that's OK. Rolling shutter I don't care as I never pan or do anything where it's an issue. Open gate don't care nor the 14 bit, so all good really. Bit of a weird one this as other than the 8k video mode, it really is more a stills/hybrid machine whereas the XH2s is a filmmaker/hybrid unit. I am the former rather than the latter so the XH2 meets more of my needs than the XH2s which I already dismissed.

The s model does but the bigger sensor model does not. Something else I just saw that is quite interesting is with the new model (wish they had given it a letter to identify it!!) is the ability in camera to shoot 2x crop mode...so I guess '4k'? So if I understand that correctly as I think I do, we could use say the 18mm f1.4 which is around 27mm full frame equivalent focal length as a wide in 8k and then at a press of a button, flip it to something just over '50mm' in 4k. Obviously, you can crop in post, but I prefer to see my framing in camera at the time rather than move around later. I still can't find any info whether the 'standard' 4k 50/60p mode is cropped in any way. I hope not...

No crop with the XH2s, it’s the new XH2 we’re talking about. I’ve asked a couple of folks who have reviewed one but as of yet, no response. Dealbreaker for me if there is… I’m not switching systems for the sake of change or to something/anything that is sideways, but for my needs, a quantifiable step forward, The rule I am applying is one single compromise because there is always going to be something, but 2 compromises, and it’s a no from me. The compromise for me with a hybrid system of 3 bodies and 3 lenses with Fuji XH2, is the flip out screen over a tilt. If there’s a further crop to the 4K 50/60p, that is a second compromise… Might sound picky to some, but as above, I’m not looking to change anything on a whim and be right, or it isn’t happening!

It was all over my channels, plus I knew it was coming. I was surprised at the price… I didn’t think it would be 500 less but the same, trading larger sensor for speed. However, it is substantially less at sub 2k and as 3x bodies cost basically the same as 1x Z9 body, it has me thinking… In short it ticks every single box for me with only one niggle and one question. The Niggle: Side-hinge flip screen. I would prefer a tilt. Not a deal-breaker but wish they had kept the same format as the XH1 I had and loved as I do that of my current S1H. The Question: I read or heard (probably misheard) that the 4K 50/60p is cropped but since I have checked and not found any evidence that is the case? Ie, it is a cropped sensor so compared to a full frame sensor there is a 1.5x crop for stills and video but unlike the R7, please tell me there is no additional crop on top of that because that would be a dealbreaker. Why? One of my criteria switching systems is parity between stills and video because it does my but a not having full frame stills and 1.5 crop on my Panasonic’s.

Still in lust, 1 day 12 hours and 13 minutes after first clapping eyes on this beauty... Struggling though to work out how I could swing it... I could, but the compromise is just not something I think I could, or perhaps more importantly, should make. If it had just 4k 50p, even if time limited, that would swing it. But it doesn't and whilst my heart does get a say, it doesn't make the ultimate decision. Head does. That super fast download internal SSD is great though. Compared with the Zeiss camera which also has an internal SSD, this is sooooooo much nicer.