- Name
- Miguel Tejada-Flores
With regards to some of your Fuji comments, Mike, I have to agree with you about appreciating ones with large (and generally excellent) EVF's. My current X-T3 has what for me is probably not only the largest - but also the 'nicest' (a difficult adjective to define, since it is rather subjective) EVF I've ever used. Previously, that subjective title belonged to my former Lumix GX8, a truly fine camera in many ways,, which possessed an outstanding (and tilting!) EVF, but the electronic viewfinder of X-T3 is just a tiny (but noticeable, to me at least) better. Interestingly, many photographers talk about an overly 'clinical' rendition which some (very) sharp lenses possess; I found the viewfinder of a friend's Fujifilm X-H1 to be a bit too clinically clear for me - although arguably it may be slightly 'better' (another subjective adjective) than that of my XT3.
My fondness for my Fujifilm cameras generally boils down to the variety (and, for me, richness) of their available in-camera jpeg film simulations, both the ones which come with different Fuji's, and the scores of 'recipes' available. For me, the Fuji simulations come closer to recreating some of the film characteristics that I have been fond of for many years, and that in itself has been a sufficient raison d'être for me to continue reaching for my X-T3. I also have discovered that the limiting discipline of shooting only in one (or another) particular jpeg simulation, reminds me of how I used to shoot film, waaaay back in the analog ages: I tended to have one or two camera bodies, often with different (but interchangeable) lenses, sometimes with the same film in both (often Tri-X), sometimes with different films in each. Having to shoot not merely with a particular camera or camera + lens, but also with a particular film, seemed to be a factor which occasionally did the opposite of 'limiting' me - it forced me to try to 'see' things in a certain way initially, but also later (in the darkroom) to work within those self-imposed limits.
Coming back to the overall questions and conversations about EVF's, I think what I really like about the viewfinder of my X-T3 is not merely how it shows what my lens is 'seeing', but also it manages to 'render' the colours with the characteristics of whatever particular jpeg film simulation I'm trying to use. Admittedly, this is the opposite of my former philosophy - of being able to 'fix' or adjust or infinitely vary my RAW digital negatives in post-production - but overall, for me, it works... and I think keeps some of the still-functioning neurons in my brain... functioning
My fondness for my Fujifilm cameras generally boils down to the variety (and, for me, richness) of their available in-camera jpeg film simulations, both the ones which come with different Fuji's, and the scores of 'recipes' available. For me, the Fuji simulations come closer to recreating some of the film characteristics that I have been fond of for many years, and that in itself has been a sufficient raison d'être for me to continue reaching for my X-T3. I also have discovered that the limiting discipline of shooting only in one (or another) particular jpeg simulation, reminds me of how I used to shoot film, waaaay back in the analog ages: I tended to have one or two camera bodies, often with different (but interchangeable) lenses, sometimes with the same film in both (often Tri-X), sometimes with different films in each. Having to shoot not merely with a particular camera or camera + lens, but also with a particular film, seemed to be a factor which occasionally did the opposite of 'limiting' me - it forced me to try to 'see' things in a certain way initially, but also later (in the darkroom) to work within those self-imposed limits.
Coming back to the overall questions and conversations about EVF's, I think what I really like about the viewfinder of my X-T3 is not merely how it shows what my lens is 'seeing', but also it manages to 'render' the colours with the characteristics of whatever particular jpeg film simulation I'm trying to use. Admittedly, this is the opposite of my former philosophy - of being able to 'fix' or adjust or infinitely vary my RAW digital negatives in post-production - but overall, for me, it works... and I think keeps some of the still-functioning neurons in my brain... functioning