fujifilm

The Fujifilm X-Pro1, X-Pro2 and X-Pro3

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Three Attempts to Keep the Photographer Looking

Three Fujifilm X-series cameras lined up, showcasing their top views. The models include the X-Pro1, X-Pro2, and X-Pro3, all in black with various dials and settings visible.

From left to right: the X-Pro1, X-Pro2 and X-Pro3. The family resemblance remained, but Fujifilm changed the experience considerably between generations.

The three Fujifilm X-Pro cameras look remarkably similar.

Place them together on a table and they appear to be variations on one stubborn idea: a rectangular camera, a viewfinder pushed into the corner and proper controls placed where a photographer expects to find them.

Pick them up and use them, however, and the differences become clearer.

The X-Pro1 was an imperfect beginning. The X-Pro2 turned the original idea into a dependable working camera. The X-Pro3 then became more opinionated, hiding its main screen and asking the photographer to accept Fujifilm’s philosophy as part of the purchase.

All three were built around the same question:

Can a digital camera provide modern convenience without constantly distracting us from the photograph?

None answered it perfectly. That is partly what makes them interesting.

The Original Idea

Fujifilm released the X-Pro1 in 2012 as the first interchangeable-lens camera in its X series. It introduced the company’s 16.3-megapixel APS-C X-Trans sensor and combined it with physical controls, film simulations and an unusual hybrid viewfinder.

It arrived when mirrorless cameras were still trying to establish what they were.

Some resembled small DSLRs. Others looked like enlarged compact cameras. The X-Pro1 took a different route. It borrowed the shape and working arrangement of a traditional rangefinder while remaining an autofocus digital camera.

It was not a rangefinder. There was no mechanical focusing patch and no direct connection between the lens and optical finder.

What it offered was a choice between an electronic viewfinder and an optical window with illuminated frame lines.

The electronic view showed what the sensor would record. The optical finder allowed the photographer to see beyond the edge of the frame.

For street work, that mattered.

A person could be seen approaching before entering the photograph. A gesture developing outside the frame did not remain hidden until it was too late. Instead of watching the world through a tunnel, the photographer retained some awareness of the surrounding scene.

That was the idea.

The reality was slower.

The X-Pro1: Beautiful Files, Hesitant Camera

The first X-Pro was not a fast machine.

Its autofocus could hesitate even in reasonable light. In darker streets it sometimes appeared to consider the situation, consult its solicitor and then decide whether focusing was worth the trouble.

Firmware updates improved it, particularly when paired with newer lenses, but they could not transform an early mirrorless focusing system into a modern one.

For portraits, travel, quiet streets and subjects that remained in approximately the same place, it worked. For children, demonstrations or rapidly changing situations, it could become frustrating.

We should not romanticise that.

There is a fashionable belief that a slow camera makes the photographer more deliberate. Sometimes it does. Sometimes it simply misses the picture.

Yet the X-Pro1’s files remain attractive. Sixteen megapixels is modest by current standards, but it is sufficient for good prints, publication and ordinary photographic work. The original X-Trans sensor omitted an optical low-pass filter, allowing it to extract convincing detail from that resolution.

Its photographs have colour and tonal transitions that many photographers still enjoy. They are often described as film-like, although that phrase has been exhausted by reviewers trying to make digital cameras sound romantic.

The X-Pro1 does not produce film photographs.

It produces pleasing digital files without making every face appear clinically inspected. That is enough.

With the small 18mm f/2 or 35mm f/1.4 lenses, it becomes a quiet and satisfying camera. The photographer learns its rhythm, focuses slightly ahead of the moment and stops expecting it to behave like something designed yesterday.

Its limitations are real, but so is its appeal.

The X-Pro2: The Working Camera

The X-Pro2 was the camera the original model had been trying to become.

Resolution increased to 24.3 megapixels. Autofocus became faster and more dependable. The body gained weather sealing, a second card slot and a more developed hybrid finder. The electronic display contained 2.36 million dots, while the optical finder offered two magnifications to suit different focal lengths.

These were substantial improvements, but the important change was not found in a specification.

The X-Pro2 felt ready for work.

It retained the rectangular shape, traditional controls and viewfinder position, but fewer of its quirks stood between the photographer and the picture. It was still slower than the best professional DSLRs of its time, yet it no longer demanded an excuse every time the subject moved.

The files were large enough to permit reasonable cropping without encouraging laziness. Image quality was entirely sufficient for professional publication and substantial prints.

Twenty-four megapixels remains enough now.

A woman wearing a hat and apron smiles while cooking at a street food stall, frying food in a large pan.

New cameras have not reduced the information contained in an older file. They have merely given photographers additional resolution, much of which is spent correcting decisions that should have been made before the shutter was released.

Cropping is a legitimate part of photography. Relying upon it as a substitute for framing is something else.

The X-Pro2 also introduced Acros, Fujifilm’s more sophisticated black-and-white simulation. It could produce restrained monochrome JPEGs with convincing tonal separation, though it could not decide whether a photograph deserved to be black and white.

No simulation can make an empty photograph meaningful.

The Most Balanced of the Three

The X-Pro2 may be the least romantic member of the family, and perhaps the best.

The rear screen remains visible. Photographs can be checked without unfolding anything. The optical finder is there when it suits the subject, while the electronic finder is available when precise framing or exposure matters more.

The camera offers a point of view without imposing a doctrine.

That makes it particularly appropriate for street work. With a compact 23mm, 27mm or 35mm lens, it is unobtrusive without pretending to be invisible. Its shutter is quiet, the body lies flat against the photographer and the essential controls can be adjusted without extensive menu work.

The combined ISO and shutter-speed dial is less convincing. Changing ISO requires lifting and turning the outer collar. It is a handsome piece of engineering that makes a simple adjustment slightly awkward.

Fortunately, Auto ISO works well.

Set an appropriate minimum shutter speed, choose the aperture and use the exposure-compensation dial as the light changes. Then stop fiddling.

The camera has done its part.

The X-Pro3: A Camera with an Opinion

The X-Pro3 arrived in 2019 with a 26.1-megapixel X-Trans CMOS 4 sensor, improved autofocus, a higher-resolution electronic viewfinder and titanium top and bottom plates.

Those were sensible improvements.

Then Fujifilm hid the screen.

The main monitor faces inward when folded against the body. On the outside is a small secondary display that can show basic settings or a graphic resembling the end of a film box. To review photographs or use the main screen, it must be folded down.

Some photographers considered this inspired. Others thought it absurd.

Both positions are understandable.

Fujifilm wanted photographers to stop looking at the last picture and return their attention to the next one. Constantly reviewing every exposure can become a nervous habit. It interrupts observation and replaces confidence with reassurance.

But checking an important frame is not a moral failure.

Two men riding a motorcycle in traffic, one seated in front and the other behind, both wearing masks.

A working photographer may need to confirm focus, expression or exposure. There is no virtue in returning home with a failed photograph merely because the camera encouraged behaviour resembling 1975.

The hidden screen does not make the X-Pro3 more authentic. It simply changes the inconvenience involved in reviewing an image.

For some photographers, that inconvenience creates discipline. For others, it creates irritation.

Three Cameras, Three Temperaments

CameraCharacterStrengthCompromise
X-Pro1Slow, original and imperfectPleasing files and the purest expression of the ideaHesitant autofocus and dated operation
X-Pro2Practical and balancedBest combination of hybrid finder, controls and usabilityOlder autofocus and no stabilised body
X-Pro3Fastest and most opinionatedImproved sensor, finder and responsivenessHidden screen and a design that dictates behaviour

All three use APS-C sensors and interchangeable Fujifilm X-mount lenses. None has in-body image stabilisation. Stabilisation, where available, must come from the lens.

That matters less with short prime lenses in good light. It matters considerably more when working slowly in dark interiors or attempting to hold longer lenses steady.

The X-Pro cameras make most sense with compact primes.

A 23mm lens provides a moderately wide view suitable for busy streets and environmental portraits. The 27mm is extremely compact. A 35mm gives approximately the angle of view of a 50mm lens on full frame and encourages a slightly more selective way of looking.

Large zoom lenses can be fitted, but they interfere with the optical finder and disturb the balance of the body.

This is not because prime lenses are morally superior. They simply suit these cameras.

The Optical Finder and the Street

The optical finder is the feature that separates the X-Pro line from most other interchangeable-lens mirrorless cameras.

It permits the photographer to see outside the approximate frame, but that freedom comes with imprecision. The finder does not look through the lens. Framing changes as the camera focuses closer, and parallax becomes more important at short distances.

The photographer must accept that the bright frame is a guide rather than a promise.

That can feel untidy after years of precise electronic viewing. It can also be liberating.

Street photography rarely waits for geometrical certainty. People move. Cars enter the background. Hands rise and disappear. Expressions change before the autofocus box has finished congratulating itself.

Seeing beyond the frame helps the photographer anticipate these changes.

The electronic finder remains better for exact composition, longer lenses, close subjects and difficult exposure. There is no prize for refusing to use it.

The switch between the two finders is not a contest between traditional and modern photography. It is simply a choice of tool.

Discretion and Responsibility

The X-Pro cameras are regularly described as discreet.

They are smaller and quieter than professional DSLRs carrying large zoom lenses. Their rectangular bodies attract less attention and do not announce themselves in quite the same way.

But discreet is not invisible.

People can see the photographer. They may understand what is happening and decide that they do not want to be photographed. A small black camera does not remove responsibility, and rangefinder styling does not confer ethical permission.

The same questions apply with every camera:

What am I photographing?

Why am I photographing it?

Does the frame preserve context, or does it manufacture drama?

Am I recognising another person’s experience, or using their difficulty as decoration?

A camera cannot answer those questions. Autofocus detection will identify an eye, but it cannot decide whether the person should be photographed.

Sometimes the correct response is to make the picture.

Sometimes it is to speak first.

Occasionally it is to lower the camera.

Film Simulations and the Search for Authenticity

Fujifilm’s film simulations are one reason these cameras remain popular.

They provide useful colour and monochrome starting points, especially for photographers who want finished JPEGs rather than an evening spent moving sliders. Classic Chrome, Acros and later Classic Negative can all be effective.

They do not reproduce film exactly, nor do they need to.

A film simulation cannot provide timing, composition or emotional weight. It cannot turn weak light into strong observation. It cannot make a decorative street scene socially important.

Use the simulations because they suit the photograph.

Do not use them to manufacture nostalgia.

An old-looking JPEG of a badly observed subject remains a badly observed photograph.

Which One Would I Choose?

The X-Pro1 is the choice for someone prepared to accept slow operation because they particularly enjoy its files and original character. It is best treated as a deliberate camera rather than an inexpensive route into fast street photography.

The X-Pro3 is for photographers who understand and actively want its unusual screen arrangement. Buying it while hoping to tolerate the design would be a mistake. Its eccentricity is not an incidental detail. It is the camera’s central argument.

The X-Pro2 is the sensible choice.

It preserves the hybrid finder, traditional controls and compact working style without turning inconvenience into philosophy. It is fast enough for most ordinary street work, produces excellent files and permits the photographer to check the rear screen without performing a small ceremony.

That does not automatically make it the most interesting of the three.

It makes it the one most likely to disappear during use.

For a working camera, that is high praise.

Buying Any of Them Used

All three models are discontinued, making condition and price more important than reputation.

Check the hybrid-viewfinder selector carefully. Test both optical and electronic modes. Inspect the sensor, lens mount, command controls, card slots and battery compartment. Confirm that the frame lines respond properly when different lenses are attached.

With an X-Pro3, inspect the folding-screen mechanism and ribbon connection particularly carefully. With an X-Pro1, test autofocus in poor light rather than beneath the flattering illumination of a camera shop.

Budget for batteries. Old batteries can show a full charge and then collapse with the suddenness of a disgraced politician.

Cosmetic wear is not necessarily important. A working camera will collect marks.

But scratches are not proof of character, and age is not proof of quality.

Pay for condition and function—not somebody else’s nostalgia.

What the Three Cameras Got Right

The X-Pro1, X-Pro2 and X-Pro3 are not the fastest, most efficient or most technically complete cameras of their respective generations.

Their importance lies elsewhere.

They were designed around looking.

The corner-mounted finder leaves the photographer’s face less completely hidden. The optical view permits awareness beyond the frame. The physical controls allow the camera to be prepared before it reaches the eye. Small lenses keep the equipment from becoming the event.

The X-Pro1 established the idea but struggled to keep pace with life.

The X-Pro2 refined it into a dependable working camera.

The X-Pro3 pushed it into something more deliberate, controversial and personal.

None will make anybody a better photographer.

They cannot provide curiosity, patience, courage or empathy. They cannot tell us where to stand, when to release the shutter or when another human being deserves to be left alone.

What they can do—once learned—is become quiet.

The controls fall to hand. The viewfinder opens onto the street. The machinery recedes and attention moves outward, towards faces, gestures, light and the brief arrangements that will never occur in precisely the same way again.

The camera is not the photograph.

The best cameras eventually help us forget that they are there.

Old Photographer Series: The Fujifilm X-E2 Reminds Me What Matters

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Every few years the camera industry tells us that everything has changed.

More megapixels. Faster autofocus. Better tracking. Artificial intelligence. More video features than most of us will ever use. The message is always the same: if you want to make better photographs, you need the latest camera.

Then I pick up something like the Fujifilm X-E2.

Suddenly all of that noise fades into the background.

The X-E2 is not a modern camera by today’s standards. It doesn’t have image stabilisation. It won’t recognise birds, trains, aeroplanes or your neighbour’s cat. It isn’t built for shooting thirty frames a second. It certainly won’t impress anyone who measures cameras by specification sheets.

Yet somehow it reminds me why I picked up a camera in the first place.

As an old photographer, I have reached the point where I no longer confuse technology with photography.

That sounds obvious, but it took me years to understand.

When I was younger, every new camera felt like the answer. If only I owned that body. If only I had that lens. If only autofocus was a little quicker or the sensor a little cleaner at high ISO. I convinced myself that the next purchase would somehow improve my vision.

It never did. Experience did. Failure did. Walking the streets for thousands of hours did. Meeting strangers did. Getting things wrong over and over again did.

The Fujifilm X-E2 fits beautifully into that way of thinking. It asks very little of you, except that you pay attention.

Its sixteen-megapixel sensor is still capable of producing wonderful photographs. The colours are rich without being exaggerated. Skin tones have warmth. Black and white conversions possess a gentle tonality that reminds me why I fell in love with monochrome in the first place.

Most importantly, the files simply look like photographs rather than digital demonstrations. There is a softness to the experience that modern cameras often lack. The autofocus isn’t lightning fast, but then neither am I. Perhaps that is why we get along.

Instead of spraying hundreds of frames, I find myself waiting. Watching. Anticipating. Pressing the shutter when something actually happens rather than hoping one frame in fifty will rescue me later.

Funny enough, that is exactly how I learned photography.

There is another thing I appreciate about the X-E2. It disappears. The camera is small enough that people stop noticing it after a few moments. I stop thinking about it too. That matters more than many photographers realise. Every ounce of attention you spend worrying about equipment is attention taken away from the person standing in front of you.

Street photography has never really been about cameras. It has always been about people. Their faces. Their gestures. Their loneliness. Their laughter. The split second when something ordinary becomes unforgettable.

The X-E2 understands this. It never tries to dominate the experience. It quietly gets out of the way.

Older photographers eventually discover that this is one of the finest qualities any camera can possess.

Could I buy something newer? Of course.

Would it autofocus faster? Without question.

Would it make me notice that elderly couple holding hands on a Phnom Penh street? Would it encourage a nervous stranger to smile back at me? Would it teach me patience? No. Those lessons cannot be purchased. They have to be lived.

Photography has given me many cameras over the years. Nikon workhorses that survived impossible conditions. Heavy professional DSLRs that felt like extensions of my hands. Tiny mirrorless bodies that slipped unnoticed through crowded markets. Every one of them taught me something.

The Fujifilm X-E2 belongs comfortably in that company. Not because it is the best camera ever made. Because it reminds me that “best” was never really the point.

As photographers grow older, our priorities begin to change. We stop chasing perfection and start searching for meaning. We care less about clinical sharpness and more about emotional honesty. We become less interested in proving ourselves and more interested in understanding the world around us.

That is the gift age can bring. It slows us down. It teaches us to see before we shoot. It reminds us that a photograph is not an exercise in technical achievement. It is a conversation between ourselves and the world.

The X-E2 is old enough now that many photographers dismiss it without a second thought.

That’s their loss.

There is something quietly rebellious about carrying yesterday’s camera through today’s streets. It says that you have confidence in your own eye rather than confidence in the latest marketing campaign.

And perhaps that is what being an old photographer is really about. Not resisting change. Not pretending the past was better. Simply understanding that good photography has never depended on owning the newest machine. It has always depended on curiosity. On patience. On kindness.

On being willing to walk one more street, wait one more minute, and speak to one more stranger.

The Fujifilm X-E2 cannot give you those things. But every time I pick one up, it gently reminds me not to lose them.

Nikon D800 Review: A Classic Camera Still Shines

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The Nikon D800 is one of those cameras that refuses to become obsolete. Released in 2012, it is now well over a decade old, yet in many respects it still competes surprisingly well with much newer cameras. If someone handed me a clean D800 today, I wouldn’t hesitate to take it out for a day’s street photography, portrait work, or landscape photography.

Image quality ⭐⭐⭐⭐⭐

This is where the D800 still shines.

Its 36.3-megapixel full-frame CMOS sensor produces files that remain exceptional by modern standards.

  • Excellent detail.
  • Wide dynamic range.
  • Natural colour.
  • Plenty of room to crop.

At low ISO, it’s difficult to tell the difference between a D800 file and one from many current cameras costing several times more.

For landscape photographers especially, the D800 remains outstanding.

Dynamic range ⭐⭐⭐⭐⭐

Even today, the D800’s dynamic range is among its greatest strengths.

You can recover:

  • shadows remarkably well
  • highlights with confidence
  • subtle tonal transitions

For photographers who like to edit RAW files, it remains an incredibly capable sensor.

High ISO ⭐⭐⭐☆

This is where age begins to show.

ISO 100–1600 is excellent.

ISO 3200 is perfectly usable.

ISO 6400 starts becoming noticeably noisy compared with today’s sensors.

Modern Nikon Z-series cameras have roughly a stop to two stops advantage here.

Autofocus ⭐⭐⭐☆

The 51-point Multi-CAM 3500FX system was superb in 2012.

Today it feels…

  • reliable
  • predictable
  • but not especially clever.

It lacks:

  • Eye AF
  • subject recognition
  • AI tracking
  • advanced face detection

For wildlife or fast sport it is clearly behind today’s mirrorless cameras.

For portraits, documentary and street photography it still performs very well.

Speed ⭐⭐⭐

4 fps full-frame

5 fps in DX crop

It isn’t a sports camera.

But unless you’re photographing birds or Formula One, it rarely feels limiting.

Build quality ⭐⭐⭐⭐⭐

This is classic Nikon.

Magnesium alloy body.

Weather sealing.

Excellent ergonomics.

Buttons exactly where your fingers expect them.

Many photographers still prefer its handling over modern mirrorless cameras.

Battery life ⭐⭐⭐⭐⭐

Outstanding.

Around 900 shots is entirely realistic.

Many users comfortably exceed that.

Mirrorless cameras still struggle to match this.

Viewfinder ⭐⭐⭐⭐⭐

One of Nikon’s best optical viewfinders.

Bright.

Large.

100% coverage.

If you enjoy actually looking through a camera rather than at a screen, the D800 remains deeply satisfying.

Video ⭐⭐

Video is where it shows its age.

1080p only.

No 4K.

No modern autofocus.

No stabilisation.

For serious video work there are much better options.

Street photography

Interestingly, despite its size, the D800 is still an excellent street camera.

Pair it with:

  • Nikon 35mm f/2D
  • Nikon 50mm f/1.8G
  • Nikon 85mm f/1.8G

and you’ll have image quality that is genuinely world-class.

The downside?

The shutter is louder than modern mirrorless cameras, and the body is considerably heavier.

Compared with modern cameras

The D800 loses on:

  • autofocus intelligence
  • video
  • silent shooting
  • high ISO
  • live view performance
  • weight

It still wins on:

  • image quality
  • dynamic range
  • colour
  • ergonomics
  • optical viewfinder
  • battery life
  • value for money

Value in 2026

This is perhaps its biggest strength.

Used prices have become extremely attractive, making it one of the best bargains in full-frame photography. If your priority is making photographs rather than owning the latest technology, it delivers extraordinary performance for relatively little money.

Is it still worth buying?

Absolutely—provided it matches the way you shoot.

Choose the D800 if you photograph:

  • Landscapes
  • Portraits
  • Street photography
  • Documentary work
  • Architecture
  • Studio photography
  • Fine-art photography

Look elsewhere if your main interests are:

  • Fast wildlife
  • Professional sports
  • Heavy video production
  • Frequent shooting in very dark conditions

Final thoughts

The Nikon D800 has become something of a modern classic. It was revolutionary when it launched, and unlike many cameras of its era, its strengths haven’t faded. The sensor remains superb, the build quality is exceptional, and the photographs it produces still look contemporary.

Why Some Cameras Never Really Leave Us

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Old Cameras, New Eyes

Every photographer has owned a camera they should probably have sold years ago.

Mine are still sitting on the shelf.

A Nikon D1H. A D2Hs. A D300S. A D3.

A Canon 1D Mark II, Mark III and Mark IV.

An original Fujifilm X100.

According to the internet, most of them are obsolete. Their sensors are too old, their rear screens too small, their autofocus too slow and their specifications hopelessly outclassed by almost anything you can buy today.

They’re probably right.

I still wouldn’t part with them.

People sometimes ask me why I keep using cameras that have long since disappeared from shop windows.

The answer has very little to do with photography.

I love my old cameras because they have character, personality and soul. They’re not just tools. They’re old friends. Like old friends, each one has its own personality.

The Nikon D2Hs is calm, dependable and quietly confident. It never shouts about what it can do. It simply turns up every morning and gets on with the job.

The D300S is the reliable companion that never lets me down. It doesn’t demand attention or admiration. It simply asks where we’re walking today.

The Nikon D3 feels like that friend who’s seen everything, survived everything and somehow still remains unflappable.

Then there are the Canons.

The 1D series always felt as though they had been built with one purpose in mind: work. No fuss. No drama. Just absolute confidence that whatever happened next, they’d cope with it.

The original Fujifilm X100 was different again.

It was the quiet one.

The camera that persuaded me to slow down, stop fiddling with settings and simply watch the world unfold.

None of these cameras are perfect. Thank goodness.

Perfection has never interested me very much.

Character has.

Perhaps that’s why I’ve never understood the obsession with constantly replacing cameras. Every new model promises to be faster, sharper and cleverer than the one before.

Some of those promises are true.

But none of them explain why I still smile when I wrap my hand around a camera that’s twenty years old.

These cameras have travelled with me through different chapters of my life.

They’ve wandered streets with me.

They’ve waited patiently while I stood watching people.

They’ve shared quiet mornings and long afternoons.

They’ve been there on days when everything seemed to come together and on days when nothing worked at all.

Strange as it may sound, they have become companions.

The best part? They’ve never judged me. Not once.

They’ve never complained about a bad hair day.

They’ve never mentioned my increasingly questionable fashion sense.

They’ve never laughed at mismatched socks or criticised an idea before I’d even tried it.

They’ve simply waited by the door, ready for another walk.

There is something wonderfully reassuring about that kind of friendship.

Over the years I’ve come to realise that the cameras themselves are only part of the story.

The real story is what happens to the photographer.

When we’re young, we chase equipment.

When we’re older, we chase light.

When we’re beginning, we collect cameras.

When we’ve been doing it for decades, we collect moments.

That’s why these old cameras still matter to me.

Not because they’re technically remarkable by today’s standards.

But because every scratch tells a story.

Every polished edge reminds me of somewhere I’ve been.

Every shutter release carries memories that no specification sheet could ever record.

Photography has given me many things over the years.

Pictures. Friendships. Conversations. A reason to wander. An excuse to be curious.

These cameras have quietly accompanied me through all of it.

Perhaps that’s why I still reach for them.

Not because I believe old cameras are better than new ones.

They’re not.

I reach for them because they remind me of something the photographic industry rarely talks about.

The finest camera you’ll ever own isn’t necessarily the newest one.

It’s the one that makes you want to leave the house.

The one that disappears in your hands.

The one that quietly whispers, “Come on… let’s go and see what’s happening today.”

Mine just happen to have a few more wrinkles than they used to.

Then again…

So do I.

The Fujifilm X100: A Camera for the Street

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There are cameras that promise to do everything.

Then there are cameras that quietly ask you to slow down and see.

The original Fujifilm X100 belonged firmly in the second category.

When it appeared in 2011 it created quite a stir. Here was a small camera with a fixed 35mm equivalent lens, a beautifully designed body and a viewfinder unlike anything most photographers had seen before. It looked as though it had wandered out of another era, yet inside was technology pointing firmly towards the future.

Many people bought it because it looked beautiful.

Some sold it a few months later because it didn’t behave like the cameras they were used to.

I always thought that missed the point.

The X100 wasn’t designed to replace a professional DSLR. It wasn’t trying to be the fastest camera on the market, nor the most versatile. It asked something different of the photographer.

It asked for patience.

By today’s standards the autofocus was leisurely. Sometimes it hunted. Sometimes it made you wait. If you expected it to react like a modern sports camera, disappointment was almost guaranteed.

But if you accepted it for what it was, something rather special happened.

You slowed down.

You stopped firing long bursts at every fleeting movement. You began watching people a little more carefully. You anticipated rather than reacted.

The camera quietly changed your behaviour.

I’ve always believed that street photography isn’t about speed. It’s about awareness.

Anyone can walk through a city with a camera.

Seeing is the difficult part.

The X100 encouraged seeing.

The fixed 35mm equivalent lens removed one decision before I’d even left the house. There was no wondering whether to carry a wide-angle zoom or a telephoto. No temptation to stand further back and zoom in instead of walking a little closer.

The lens became familiar.

Eventually I knew what it would see before I even lifted the camera to my eye.

That’s a liberating feeling.

There is something wonderfully honest about a fixed-lens camera.

It asks you to adapt rather than asking the equipment to adapt for you.

If the composition isn’t right, you move.

If the framing feels awkward, you move again.

The camera quietly insists that you become part of the photograph instead of remaining a distant observer.

I like that.

The X100 also possessed another quality that is becoming increasingly rare.

It was discreet.

Not invisible, because no camera truly is, but unthreatening.

People tended to ignore it.

It didn’t look like the enormous professional cameras that often make strangers nervous. It looked like a camera someone carried because they enjoyed photography rather than because they were working.

That changed the atmosphere.

People relaxed.

Conversations happened more naturally.

Moments unfolded without the camera dominating them.

Street photography has always depended upon trust.

Not just the trust between photographer and camera, but the trust between photographer and subject.

A small camera can sometimes help create that trust.

The X100 wasn’t perfect.

Its autofocus could test your patience.

Its menus occasionally felt awkward.

The write times were slower than many photographers wanted.

If you judged it solely by technical performance, there were better cameras available.

But photography has never been a competition between specification sheets.

The photographs don’t know how quickly the autofocus locked on.

They don’t know how many frames per second the camera could shoot.

They only reveal whether the photographer recognised a moment worth preserving.

That has always seemed the more important question.

The original X100 arrived before social media became obsessed with photographing cameras instead of photographs. It belongs to a period when many photographers were rediscovering the pleasure of carrying something smaller and lighter, something that encouraged walking rather than collecting equipment.

Perhaps that’s why it still occupies such an affectionate place in photographic history.

Not because it was flawless.

Because it reminded people that photography could be enjoyable again.

Today there are newer X100 models with faster processors, sharper viewfinders and autofocus systems that would have seemed almost magical back in 2011.

I’m glad they exist.

Progress is a good thing.

But the original retains a charm that specifications cannot explain.

It was never about having the latest technology.

It was about carrying a camera that invited you to look a little harder at the world around you.

And in street photography, that invitation is worth far more than another list of features.

The older I become, the more I realise that the finest cameras I’ve owned all share one characteristic.

They never tried to impress me.

They simply made me want to go out for another walk.

The original Fujifilm X100 did exactly that.

For a street photographer, I can think of no finer compliment.

Fujifilm X‑E2

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I like the Fuji X‑E2 because it’s a camera of character: compact, deliberate, and enduring. It doesn’t chase specs—it invites you to slow down, compose carefully, and trust its rendering. It’s less about convenience, more about craft.

📸 Core Specifications

  • Sensor: 16.3MP APS‑C X‑Trans CMOS II sensor (same as the X‑T1).
  • Processor: EXR Processor II, enabling faster autofocus and improved image processing compared to the original X‑E1.
  • ISO Range: 200–6400 (expandable to 100–25,600).
  • Autofocus: Hybrid AF system with contrast and phase detection, offering focus speeds as fast as 0.08 seconds.
  • Continuous Shooting: Up to 7fps.
  • Video: Full HD 1080p at 60fps, with manual exposure control.
  • Viewfinder: 2.36M‑dot electronic viewfinder (EVF) with 100% coverage.
  • LCD: 3‑inch, 1.04M‑dot fixed screen.
  • Build: Magnesium alloy body with retro rangefinder styling.
  • Connectivity: Built‑in Wi‑Fi for image transfer and remote shooting.

✨ Strengths

  • Image Quality: The X‑Trans sensor produces sharp, detailed images with Fujifilm’s signature colour science and film simulations.
  • Handling: Classic rangefinder design with tactile dials for shutter speed and exposure compensation. Compact and lightweight, making it ideal for travel and street photography.
  • EVF: Crisp and responsive, offering a clear preview of exposure and colour.
  • Lens Ecosystem: Full compatibility with Fujifilm’s XF lens lineup, including compact primes and professional zooms.
  • Firmware Updates: Fujifilm’s “Kaizen” philosophy meant the X‑E2 received significant firmware upgrades, improving autofocus, adding new features, and extending its lifespan.

⚠️ Limitations

  • Fixed Screen: No articulation or touchscreen functionality, limiting flexibility for vlogging or creative angles.
  • Video: Decent for casual use, but lacks 4K and advanced video features found in later models.
  • Autofocus: While improved over the X‑E1, AF tracking is not as strong as newer Fujifilm bodies.
  • No Weather Sealing: Less rugged than higher‑end models like the X‑T series.
  • Battery Life: Average, requiring spares for longer shoots.

✅ Best Use Cases

  • Street Photography: Compact size, discreet styling, and fast AF make it excellent for candid shooting.
  • Travel: Lightweight body paired with small primes is perfect for portability.
  • Editorial & Documentary: Film simulations and colour rendering suit storytelling and reportage.
  • Entry into Fujifilm System: Affordable on the used market, offering access to the XF lens ecosystem without a large investment.

✨ Summary

The Fujifilm X‑E2 remains a well‑balanced mirrorless camera that combines vintage charm with capable modern features. Its sensor, EVF, and tactile controls make it a joy for photographers who prioritise image quality and creative handling over cutting‑edge specs. While limited in video and lacking weather sealing, it’s still a worthy companion for street, travel, and editorial shooters—especially as an affordable entry point into Fujifilm’s X system.

The Fujifilm X‑Pro3

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The Fujifilm X‑Pro3 is a distinctive, rangefinder‑style mirrorless camera that excels in build quality, image rendering, and unique design philosophy—but ongoing issues include reliability concerns with its sub monitor, shutter button feedback, and its unconventional hidden LCD, which some photographers find impractical.

📸 Core Strengths

  • Design Philosophy: The X‑Pro3 was built to encourage “viewfinder‑first” shooting. Its hidden LCD forces photographers to rely on the hybrid optical/electronic viewfinder, echoing the discipline of film cameras.
  • Build Quality: Constructed with a titanium top and bottom plate, weather sealing, and robust ergonomics, the X‑Pro3 is designed for durability in professional use.
  • Sensor & Image Quality: Equipped with a 26.1MP APS‑C X‑Trans IV sensor, it delivers excellent colour reproduction, dynamic range, and Fujifilm’s renowned film simulations.
  • Hybrid Viewfinder: The defining feature—users can switch between an optical viewfinder (OVF) and a high‑resolution electronic viewfinder (EVF), offering flexibility for different shooting styles.
  • Performance: Fast autofocus with 425 phase‑detect points, improved low‑light sensitivity, and solid burst shooting at 11fps mechanical or 20fps electronic shutter.

⚠️ Ongoing Problems & Criticisms

  • Sub Monitor Failures: Multiple users have reported issues with the small “sub monitor” on the back (which displays film simulation and settings). Failures or malfunctions have been noted, sometimes outside warranty.
  • Shutter Button Feedback: Some photographers complain that the shutter button loses its tactile “second click,” making it harder to confirm when an image has been taken.
  • Hidden LCD Design: While philosophically bold, the flip‑down LCD frustrates many users who rely on quick image review or live view shooting. Critics argue it slows workflow and feels impractical.
  • Reliability Concerns: Threads on photography forums highlight worries about long‑term durability, with scattered reports of component failures.
  • Video Limitations: Although capable of 4K recording, the X‑Pro3 is not optimised for video compared to Fujifilm’s X‑T series.

✅ Best Use Cases

  • Street photography, where discretion and OVF shooting are valued.
  • Documentary and travel work, especially for photographers who embrace intentional, viewfinder‑driven shooting.
  • Enthusiasts who appreciate Fujifilm’s film simulations and want a camera that enforces discipline.

✨ Summary

The X‑Pro3 is a niche but powerful tool: it rewards photographers who embrace its philosophy of slowing down and shooting deliberately. Its titanium build, hybrid viewfinder, and superb sensor make it a joy for those aligned with its design ethos. However, ongoing problems with the sub monitor, shutter button feedback, and the divisive hidden LCD design mean it’s not universally loved. For photographers who value reliability and modern conveniences, the X‑T series may be a safer bet; for those who want a camera that challenges their habits, the X‑Pro3 remains unique.

Fujifilm X-E2 Review: Vintage Meets Modern Performance

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  • Image Quality: At its core, the X‑E2 features a 16.3‑megapixel APS‑C X‑Trans CMOS II sensor. This sensor uses a unique colour filter array that mimics film grain, eliminating the need for an optical low‑pass filter. The result is sharp, detailed images with rich colour reproduction.
  • Fast Autofocus: The hybrid AF system combines contrast and phase detection, achieving focus speeds as fast as 0.08 seconds. With 49 AF points, it’s responsive enough for everyday shooting and moderate action.
  • Retro Design & Handling: Styled like a classic rangefinder, the X‑E2 offers tactile dials for shutter speed and exposure compensation. Its magnesium alloy body feels solid yet compact, appealing to photographers who enjoy manual control.
  • Electronic Viewfinder: A 2.36‑million‑dot EVF provides a crisp, detailed preview, while the 3‑inch LCD (1.04M dots) supports easy composition and playback.
  • Performance: Powered by the EXR Processor II, the camera delivers 7fps continuous shooting, in‑camera RAW conversion, and film simulation modes that replicate Fujifilm’s iconic film stocks.
  • Connectivity & Extras: Built‑in Wi‑Fi allows for image transfer and remote shooting. Creative features include multiple exposure, panorama mode, focus peaking, and digital split image for precise manual focus.

⚖️ Limitations

  • No 4K video: Limited to 1080p recording.
  • Fixed screen: No articulation or touchscreen functionality.
  • ISO performance: Usable up to ISO 6400, but noise becomes noticeable at higher settings.

✅ Best Use Cases

  • Street photography, thanks to its discreet retro styling.
  • Travel and documentary work, with compact size and versatile lens options.
  • Enthusiast photographers who value manual controls and film‑like rendering.

✨ Summary

The Fujifilm X‑E2 remains a well‑balanced mirrorless camera that combines vintage charm with capable modern features. Its sensor, EVF, and tactile controls make it a joy for photographers who prioritise image quality and creative handling over cutting‑edge specs. For those seeking a reliable, affordable entry into Fujifilm’s X system, the X‑E2 is still a worthy companion.

AF-S Nikkor 50mm f/1.4G with the D3 and D800

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The AF-S Nikkor 50mm f/1.4G performs reliably on both the Nikon D3 and D800, offering creamy bokeh, solid sharpness, and quiet autofocus—though it’s not the fastest or most clinical 50mm in Nikon’s lineup. It shines in low light and portrait work, especially on full-frame bodies.

🧪 Optical Impressions

  • Wide-open performance (f/1.4): Delivers soft, dreamy bokeh with moderate sharpness in the center. On the D3, this creates a classic filmic look; on the D800, the high-resolution sensor reveals some softness and longitudinal chromatic aberration.
  • Stopped down (f/2.8–f/5.6): Sharpness improves significantly, especially across the frame. Ideal for street, editorial, and environmental portraiture.
  • Color and contrast: Neutral rendering with good microcontrast. Works well for natural light shooters and those who prefer minimal post-processing.
  • Bokeh: Smooth but can show slight nervousness in busy backgrounds. Better than the older AF-D version, but not as creamy as Nikon’s 58mm f/1.4G.

⚙️ Autofocus and Handling

  • AF speed: Quiet and accurate, but not lightning-fast. On the D3, it’s snappy enough for casual action; on the D800, it benefits from contrast-based fine-tuning.
  • Build quality: Solid plastic barrel with weather sealing at the mount. Lightweight and well-balanced on both bodies.
  • Manual focus: Smooth ring, but focus-by-wire feel lacks tactile feedback compared to older mechanical lenses.

🧠 D3 vs. D800 Pairing

  • Nikon D3: The lens complements the D3’s low-light prowess. Together, they excel in available light reportage, backstage photography, and moody portraiture.
  • Nikon D800: The D800’s 36MP sensor demands more from the lens. While the 50mm f/1.4G holds up well stopped down, wide-open shots may show softness and fringing that require post-processing.

✅ Use Cases

  • Low-light street photography
  • Environmental portraits
  • Travel and documentary work
  • Editorial and lifestyle shoots

🧾 Verdict

The AF-S 50mm f/1.4G is a versatile, reliable prime that pairs well with both the D3 and D800, especially for photographers who value character over clinical perfection. It’s not the sharpest wide-open, but its rendering is expressive and forgiving—ideal for storytelling, not pixel-peeping.

For sharper edge-to-edge performance, consider the Sigma 50mm f/1.4 Art or Nikon’s 50mm f/1.8G. But for a classic Nikon look with modern AF and solid build, the 50mm f/1.4G remains a worthy companion.

📸 Fuji X-Pro2 + 18mm f/2: A Street Photography Combo That Honors Presence

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Street photography thrives on intuition, timing, and connection. The gear you choose should disappear in your hands, allowing you to focus on the fleeting gestures and subtle interactions that define urban life. The Fujifilm X-Pro2, with its rangefinder-inspired design, and the XF 18mm f/2, Fuji’s compact wide-angle prime, form a partnership that embodies this philosophy.

🏙️ The X-Pro2: A Tool for Storytellers

  • Hybrid Viewfinder: The X-Pro2’s optical/electronic hybrid finder is its signature feature. It allows you to see beyond the frame lines, anticipating action before it enters your composition—a gift for street shooters.
  • Discreet Design: Its rangefinder styling is understated, drawing less attention than a DSLR. On the street, invisibility is power.
  • Image Quality: The 24MP X-Trans III sensor delivers rich tones, excellent dynamic range, and Fuji’s renowned film simulations (like Classic Chrome and Acros) that give images a timeless, documentary feel.
  • Customization: With tactile dials for shutter speed, ISO, and exposure compensation, the X-Pro2 encourages a hands-on, mindful shooting process.

🎯 The XF 18mm f/2: Compact and Characterful

  • Field of View: Equivalent to 27mm on full-frame, this lens strikes a balance between wide context and intimate framing—perfect for capturing both environment and subject.
  • Size and Weight: At just 116g, it’s a true “pancake” lens. Mounted on the X-Pro2, it creates a slim, unobtrusive package that slips easily into a jacket pocket.
  • Rendering: While not clinically sharp like Fuji’s newer primes, the 18mm f/2 has a characterful rendering—slightly imperfect, but soulful. Its gentle vignetting and contrast lend images a filmic quality.
  • Speed: The f/2 aperture is fast enough for low-light alleys and night markets, while still keeping the lens compact.

🌆 Why This Combo Works for Street Photography

  • Presence, Not Distance: The 18mm encourages you to get close, to step into the scene rather than observe from afar. This fosters images that feel immersive and authentic.
  • Quiet Confidence: The X-Pro2’s shutter is discreet, and the small lens doesn’t intimidate subjects—ideal for candid moments.
  • Fluid Workflow: Physical dials and compact ergonomics mean you can adjust settings without breaking eye contact with the street.
  • Timeless Aesthetic: Together, they produce images with a classic look—clean, contrasty, and cinematic.

✨ The Philosophy of Presence

Street photography isn’t about perfection; it’s about being there. The X-Pro2 + 18mm f/2 combo honours this by stripping away excess. It’s not the sharpest or fastest setup, but it’s one that encourages awareness, patience, and connection. With this kit, you’re not just photographing the street—you’re part of it.

✅ Final Thought: If you value discretion, character, and the ability to move fluidly through the city, the Fuji X-Pro2 with the XF 18mm f/2 is more than just a camera and lens—it’s a philosophy of presence, a reminder that the best street photographs come not from technical perfection, but from being fully alive to the moment.