Fuji X-Pro1 first impressions

We've had a Fuji X-Pro1 in for review for a few days now, in preparation for a review, and thought we would share some initial impressions. Fuji has supplied the camera with all three lenses, the 18mm f/2, 35mm f/1.4 and 60mm f/2.4 (each lens comes supplied with a hood, the 18 and 35mm come with squared hoods and caps, while the 60mm has huge (deep) circular vented affair - which I don't like but is likely very effective). Don't expect the build quality of the camera or lenses to match what the company is doing for Hasselblad right now. Fuji manufacture the lenses and viewfinder optics for the Hasselblad H4-D models, but the X-Pro1 is in a different league, in terms of build.

The body is made from magnesium alloy, but it doesn't feel particularly durable in part because it feels so light. Each of the lenses are light in weight as well; there are no weighty brass helicoids, and the lens mounts are made from aluminum further adding to the impression of fragility. However, the camera's ergonomics are good for the best part, although there's no in-built diopter adjustment, meaning you'll have to source diopter correction lenses (I've asked Fuji if they intend to offer them, and I'm awaiting a reply).

UPDATE: I've since heard back that they aren't going to offer this as an option, saying third-party options exist. I don't know of any, though it should be easy to do, after all it was common practice with film cameras. I've suggested Fuji should seriously reconsider - this will be a showstopper for middle aged users and easy enough for Fuji to rectify.

UPDATE: A spokesperson for Fuji told me the Voigtlander range of diopter adjustment lenses with 19mm thread (for the R2a, R2m, R3a, R3m, R4a, R4m and Bessa III) can be used instead, please see here (in the UK) for further details. The price each is just £15 plus VAT (£18) each. Please check with the retailer first, as we can not be held responsible (UPDATE: I've heard back from the retailer, Robert White, and the diopter lenses fit perfectly).

The sensor appears to be excellent though the outright resolution doesn't appear to be a match for 21/22MP sensors with a AA filter - though more work needs to be done on testing before I can say with complete authority (it's unlikely the lenses can't resolve more so any limit on resolution will be down to the sensor). If you have any questions please ask below, and I'll try answer them, time permitting.

 

Fuji X-Pro1, 18mm f/2.0 (28mm equivalent) at f/4, ISO400; in-camera JPEG with some colour adjustment in Lightroom 4 (please view in a colour-aware browser, such as Apple's Safari).

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Sony 24mm f/1.8 Zeiss Sonnar T* sample images

I had the opportunity to test the Sony 24mm f/1.8 ZA Carl Zeiss Sonnar T* lens on a NEX-5n recently and despite the lack of a distance scale and depth-of-field markings the lens is a joy to use. It's also a world class performer optically*, and should perform equally well on the intriguing NEX-7. Apart from the attractive drawing style of Zeiss lenses, of particular merit for available light photography is the edge-to-edge performance at maximum aperture.

The above photograph taken at f/2.0 atop Primrose Hill, London on an overcast day, is cropped top and bottom but retains the original horizontal resolution.

This is a crop at 1:1 from the far left. Shooting cityscapes at f/2 is not recommended, this was purely for testing purposes but it reveals the imaging performance is of a very high order.

 

The lens has an unusually close 16cm minimum focus distance, which permits close-ups such as this small candle (it's about 3cm tall). Note the smooth differential focus (bokeh) and circular highlights (there's the slightest green tinge at the edge visible at 1:1).

*UPDATE: No lens is perfect, and this one has a propensity to produce purple fringing (common in fast primes shot at large apertures). It's also quite difficult to remove, even in Lightroom 4.1 RC2 with the new Lens Correction tools. In my estimation troublesome purple fringing was easier to remove in earlier versions of LR4 using a technique I have disclosed in a recent review of the software to be published in a forthcoming edition of the British Journal of Photography magazine.

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Berlebach Report 3042 tripod in for review

Wooden tripods are said to be extremely resistant to vibration, and so should be high on the list of priorities for serious photographers, but how many makes do you know? I searched and found Berlebach, a German tripod maker who are practically unknown in the UK and I suspect also the US, though I noticed Adorama stock them.

They're made from renewable ash, which has been stored for two years prior to processing to eliminate tension (and thereby reduce splitting and fracturing during manufacture). I asked a spokesperson for the company which tripod they recomended for stability and general professional use and they recommended and sent me the 3042 for review. The quality and finish is excellent (without it being unaffordable, though that is relative - it costs $279.95). It has just two sections, making it extremely stable (a pro DSLR with a 300mm f/2.8 is about it's maximum) but not terribly compact. Three section versions are available, however. The 3042 Report also has a centre column with a leveling feature and spirit level. I'll be adding a review in due course, but I can say vibration levels are extremely low, possibly the lowest I've ever encoutered.

For more infomation, please visit www.berlebach.de.

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Sigma 120-300mm f/2.8 first impressions

I'm testing the latest version of the full-frame Sigma 120-300mm f/2.8 zoom. To state the obvious, it combines some of the capabilities of the 70-200mm and 300mm f/2.8 lenses in one lens but without any real penalty in size or weight over the latter (if Sigma had managed to produce a 70-300mm f/2.8 it would be considerably larger and more expensive). At $3,199 / £1,999.95 it's around half the price of the 300mm f/2.8 primes from Canon or Nikon and is certainly an intriguing proposition. Strangely, Sigma don't go to great lengths to promote the weatherproofing, their press material says it's sealed but there's no mention of it after that. And, I should point out that the lens mount doesn't have a seal, which is an odd omission at this level.

I've not taken enough pictures yet to formulate any conclusions on image quality but I've some initial impressions on the build. A large heavy lens like this must be equipped with a decent tripod bracket and, thankfully this lens is, by and large. However, it has just the one (1/4-inch) tripod socket in the foot. I would have preferred to see two for secure fixing of a lens plate.

Balancing the Sigma is more difficult than most on the Wimberley WH-200. Although internal, the zooming affects the balance slightly - enough for it to upset the Wimberley. It's not unusable though, by any means. Unexpectedly, the lens comes with a lens cap and an odd choice for a lens with a huge front element. The cap easily dislodges. Although difficult to remove one-handed, I actually prefer the lens covers supplied with the Canon and Nikon lenses (and, it appears, earlier versions of this lens). I've not tried it but the LensCoat Hoodie (Large) looks like it might be a good alternative - the black version is just $13.99.

I have a number of Arca compatible plates but I tend to use the Wimberley P50 with the Wimberley Head Version II (WH-200) head as it's very long and easy to slide back and forth in the clamp when balancing. I also test a lot of different lenses and this fits them all. The P50 is meant for the 600mm lenses but if I add the two screws as nubs it works reasonably well with the Sigma. Wimberley recommend the $52 P20, and I've no doubt that would be the better choice.

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