Fuji X-Pro2 Review - Perfect Wedding & Street Photography Camera


Fuji X-Pro2 Review  – A little introduction

***Updated in January 2017***

Since posting the images from our adventures in Cuba captured with a certain newly released camera, we’ve received lots of emails and messages asking our opinion on Fuji’s latest X-series flagship. So we figured maybe we should put together a little Fuji X-Pro2 Review based upon our experiences and feelings about the camera so far.

Before we get started though we should maybe make a few things clear – firstly at the time of publishing we have no direct affiliation with Fuji and this post is not sponsored or solicited by anyone but ourselves. We bought the cameras with our own money before our trip (and let me tell you getting hold of two before we left was no mean feat!) so in other words we’ll give you our honest opinions. Secondly we’re not pixel-peepers and we’re not going to focus too much on the tech stuff – well engineered it may be but as photographers we don’t really care that much about how this camera does what it does, we just care about what it is that it does and how well it does it. Finally this Fuji X-Pro2 Review is only going to focus on the ways we use the camera based on our own real-world experiences using it so far and we fully accept that this is a camera with many different ways of doing things, many of which we probably haven’t even discovered yet. We use this camera for specific purposes, so is it good for landscape and time-lapse photography? Couldn’t tell you, but we can tell you a little about shooting weddings (particularly in a photo-journalistic style and without using flash) and shooting street photography. Still with us? Then let’s get started…

A little about us

Over the years we’ve had a lot of cameras both film and digital and we’ve spent as much time in dark rooms as Lightroom examining images to within an inch of their life. For us we don’t necessarily mind a little grain if it feels right for that image, we don’t necessarily mind if not everything is absolutely pin sharp but we do care about those choices being ours rather than the camera’s. We shoot pretty much everything in manual with the exception of using autofocus most (but not all) of the time. The X-Pro2 is not our first Fuji camera – in fact we have two X-T1’s and an X100 which we have a lot of affection for but the X-Pro2 is the first Fuji that made us start to think maybe this can be our main wedding camera, not just an addition…

Up until now we have been using various different cameras at weddings for various different reasons. Our main cameras of recent years have generally been Canon 5D MkIII’s – a good all rounder with some fantastic lenses and interesting colour tones but a camera that is far from perfect. We also own a Nikon D750 – another great camera but one that we found just wasn’t the one for us. Alongside the Canons though Dom often uses her X-T1 (until it gets dark when it’s often rendered useless) and Liam uses the Leica M240 which he adores but that also suffers from one-or two limitations that prevent him adopting it as his sole camera body. We love each of the cameras we use for different reasons and use them all in different circumstances but, like everyone else, we’re always looking for that one camera that just works exactly the way we want it to, and here’s the headline – this is undoubtedly the closest we’ve gotten so far.

Before we get into the nitty gritty here are some examples of some of the images we’ve captured so far on the Fuji X-Pro2.

Street Photography

Here are some examples of street photography shots we captured with the X-Pro2 during our recent trip to Cuba. The X-Pro2 is undoubtedly more discrete than your average DSLR and definitely allowed us to get much closer to the subjects than we would otherwise have achieved.

Fuji Review Fuji X-Pro2 Review Fuji X-Pro2 Fuji X-Series Review Street Fuji X-Pro2 Review The Fuji X-Pro2 Review X-Pro Review X-Pro2 Review

Wedding Photography

Here are some examples of our wedding photography captured on the X-Pro2. Once again the discrete nature of the camera helps put guests much more at ease with us and a whole range of the X-Pro2’s features can be handy for different types of wedding photographer.

Now at this stage we should probably make it clear that we’ve obviously not had the camera that long yet and haven’t had the chance to put it through the rigours of a full wedding season where some of those inevitable hidden flaws might reveal themselves. We have however already shot five weddings with Dom using the X-Pro2’s exclusively and have spent two weeks photographing life on the streets of Cuba during which time each of us permanently had one of the cameras by our side. Whatever secrets may reveal themselves over time (and probably firmware updates) we feel we’ve already gotten to know this camera reasonably well and, with the five weddings captured so far presenting plenty of challenges including difficult lighting scenarios, we’ve already put the camera through its paces enough to start to form some opinions.

The Bad

So lets get some negatives out of the way. Battery life on the X-Pro2, as with many Fuji mirrorless cameras before it, is poor compared to a DSLR and if you’re using this camera for a wedding you’re going to eat through those batteries. We shoot pretty intensively and for the weddings we’ve shot so far with the Fuji’s we got through at least 4-5 batteries per camera. Aside from obvious cost implications it’s not necessarily a big deal – the batteries are small and light to carry, but it’s definitely an annoyance. What is a big deal though is the battery level indicator – much like the X-T1 before it we found that the battery level frequently went from 3 bars to two bars to suddenly dead without warning. It’s by no means every time and so far seems to happen less frequently than on the X-T1 but it does happen enough that we no longer feel we can trust the battery after it hits two bars and always change it at that point which obviously reduces battery life further.

Secondly (and we accept this one is going to sound incredibly minor but we’re frankly bored of it) is Fuji could you pretty please allow us to set the seconds in the internal clock. It may seem irrelevant (and it’s been a feature throughout every Fuji camera we’ve ever tested) but when you’re syncing up more than one camera and more than one photographer and you want to import your images in time order, not having control of the seconds timer makes it SO much more unnecessarily awkward to sync them up. Sorry, bit of a personal bugbear there!

**UPDATE** – it seems that as our X-Pro2’s are always in sync (in fact far more so than the Canons) the seconds must now reset to 0 when you change the minutes – this is working well for us so no longer a real issue.

Thirdly and by far our biggest annoyance with this camera – the setting of ISO’s. First though let’s give you a little context…

We’re a big fan of the physical design and engineering of this camera – the styling is subtle but reminiscent of some of the classics and it feels sturdy yet comfortable in the hand. It handles like a film camera with the lens-based aperture ring a joy to use and the dial for setting shutter speed well placed and easy to handle even with the camera to your eye. By pulling upwards on this dial it also doubles as a tidy way of setting the ISO and keeps things nice and simple and all in the same place – great! So what’s the problem?

The issue is that (aside from it feeling a little flimsy and breakable) whilst this dial works great a lot of the time it’s not so easy to operate the pull-up function with your eye to the camera. Again most of the time that’s not a problem for us – the ISO isn’t changing frequently enough for us to be unable to move the camera briefly from our eye to change it, but it does become a BIG problem at night when you can’t physically see the dial to know what you’re setting it at (or even if you have bad eye-sight and don’t use glasses when shooting). This isn’t the first camera we’ve tested to suffer from this type of problem but as far as we can recall it is the first time we’ve not been able to find an alternative way to set the ISO via the nicely illuminated menu screen. Weddings are fast-paced and missing that killer dance-floor shot because you’re spending too long trying to figure out if you’re at a usable ISO is far from ideal.

**UPDATE** – Whilst it took a little while to get used to, after a full season shooting with the camera we’ve actually grown to really love the ISO dial to the point where looking back through our first thoughts on the camera several months on we’d genuinely forgotten this was one of our initial issues. However for anyone this is a genuine issue to, according to Fuji Rumors a firmware update may be on its way to provide a way to set ISO via the command dial.

A little more on ISO’s…

While we’re on the subject let’s talk a little more about the ISO’s themselves. We don’t use flash or additional lighting in our work so whilst ISO is far from the be all and end all of shooting in the dark the ability to produce images that are clean enough in dark conditions is particularly important to us and is one of the principal reasons that, regardless of any additional cameras we carry, we always go back to the 5D’s for most of the dance floor. Always, that is, until the last few weddings where reverting to the Canon’s became suddenly unnecessary.

Now there are plenty of reviews out there that will provide you with all the detailed scientific ISO tests you could dream of so we won’t bore you by repeating them but at the bottom of this review are some RAW files to give you an idea of the levels of grain, and for weddings here’s what you effectively need to know…

We found the X-Pro2 much cleaner than the 5DIII at high ISO’s – 3200 has a beautiful, film-esque grain that is in fact so nice we would potentially choose to shoot at 3200 even when not really necessary. We wouldn’t hesitate to shoot at 6400 in pretty much any conditions and 12,800 is, to our eyes, perfectly acceptable for professional shooting in plenty of situations although at this point it’s definitely dependent on the ambient lighting and very much down to personal tastes.

What is absolutely fantastic about the ISO’s though is that like the highly rated Nikon D750 and Sony A7RII the X-Pro2 is ISO Invariant. What does that mean? Well we’d need an entire blog post to explain that fully and there are already plenty of perfectly good ones just a google search away, but it effectively means that you have 5 stops flexibility in brightening a RAW in post without the image falling apart. Whilst this doesn’t mean you can afford to ignore your exposures while shooting it does provide a huge amount of leeway in post if you decide you want to brighten or darken the overall look later.

Overall though we’d say in terms of the flexibility granted by the sensor we’d rate the Fuji higher than the ageing 5DMKIII but perhaps lacking some of the range of the Nikon D750. For two wedding photographers who shoot with no flash right to the end of the night though we’ve been very happy with how this camera handles low-light conditions so far and, with the digital viewfinder showing you exactly what you’re getting anyway, shooting in low light is more or less a joy with this camera.

5 stop under exposure test

Here’s a pretty extreme example of what we’re talking about with the whole ISO invariance thing and the capabilities of the sensor. The image below is 5 stops under exposed, captured at ISO 800.


And here’s the same ISO 800 image pushed +5 stops in post. There’s no notable added banding and it’s a perfectly usable image – more or less like we took it that way in the first place. This is fantastic for recovering a (usually less extreme!) underexposed image.


And here’s a cropped version so you can see things in a little more detail.




So lets move on to another factor that’s usually a problem in low-light – grabbing focus. The bad news is that on those dark, patchily lit dance floors the X-Pro2 (particularly if you’re not using flash) is far from an autofocus miracle-worker. It is however a major improvement over previous Fuji’s and generally pretty damn good. From our experiences so far though (and this is something we definitely need to test further at future weddings) whilst in some conditions the focus is super-fast the Fuji frequently doesn’t feel like it’s really latching on quite as quickly as our DSLR’s (though only marginally). When it does latch on though there’s no bullshit – if it says its grabbed focus it really has, whereas autofocus is sometimes a loose term on Canon and Nikons in low light conditions.

**UPDATE** After putting this camera through it’s paces A LOT over the last year (including on some incredibly fast moving Israeli dancing) it’s proven itself to be by far the fastest and most reliable autofocus we’ve ever used, allowing us to capture some shots that were previously more or less impossible to catch focus on.

Another great thing about the X-Pro2 is that when it comes to using this camera autofocus isn’t necessarily the only way of getting sharp imagery. Focus peaking with the Fuji manual / zonal focussing system is simply superb and definitely the best we’ve used along with the X-T1, particularly with the 23mm lens with which we shoot most of our street images. Indeed even by daylight the focus peaking (along with the crystal clear hybrid viewfinder) is so good that we often choose manual over automatic focussing.

With the X-Pro2 however that choice is not so simple, as whilst autofocus may occasionally struggle a little in low-light, performance by daylight is the best of any mirrorless camera we’ve used and is definitely very usable for wedding work. Provided, that is, that you’re using the right lenses…

It’s a curious quirk that whilst our personal favourite Fuji lens – the 23mm f/1.4 – is super quick at grabbing focus, other lenses such as the 18mm f/2 don’t seem to fare anything like as well. This certainly isn’t unique to Fuji (for example the 85mm F/1.2 on the Canon has always been super-slow to focus compared to the 35mm F1.4 and the Fuji 85mm equivalent [aka the 56mm 1.2] is actually very quick and super sharp) but it remains an annoyance. The difference in focus speed is perhaps more marginal between different lenses though than we’ve found on some of the equivalent Canons.

A great feature of the focus system though is the rear joystick which is so ergonomically designed and intuitive to use that with this camera the days of physically having to move the camera around to focus and recompose are gone. You can simply compose your shot and move the joystick incredibly easily to pick up your focus point meaning that you never have to move the camera and alert your subject to what you’re doing – incredibly useful for street and documentary wedding photography alike. It may not be the first camera system to offer this type of feature but it’s the first one we’ve actually found good enough (and fast enough) to use for professional work. For back-button focus fans you also have the option to assign either the AE-L or AF-L buttons to back button focus so there’s plenty of flexibility in setting up the camera exactly the way you want it. It should be noted though that neither of these buttons is exactly ideally placed… more on that later.

Oh, and there’s no anti-aliasing filter so images are super-sharp!

Screens and Viewfinders.

Speaking of setting up the way you want it let’s talk about what Fuji are marketing as one of the major selling points of this camera – the “Advanced Hybrid Multi Viewfinder”. This is perhaps the clearest sign yet of Fuji’s intent on taking on the DSLR market directly and is definitely a feature for die-hard DSLR fans to consider. If you haven’t read up on this feature effectively you have the choice to instantly switch between a traditional optical viewfinder and either an electronic viewfinder or Fuji’s latest creation – the electronic rangefinder.

So let’s start with that rangefinder. As we’ve already mentioned, amongst the various cameras we use is a Leica M240 part of the digital M series that defined the idea of a Rangefinder camera in a digital format. So for any Leica fans out there being tempted by that “Digital Rangefinder” tag we should probably make it clear that the Fuji has an altogether different way of going about things.

From hearing a few other photographer’s opinions on this camera it seems it’s actually a little unclear as to what Fuji are classing as the actual “rangefinder” mode, but there are actually several features that could be considered rangefinder-esque. Despite our love of rangefinders we’ve not actually yet found ourselves particularly making use of these features so we’re not going to cover these in great detail except perhaps in a future update but for now let’s just quickly run through what they are:

What Fuji seem to be advertising as the central ‘rangefinder’ feature is the ability to overlay a magnified digital view of the image over the top of the optical window, making manual focussing through the OVF considerably easier to get right. If you prefer an optical viewfinder then this would definitely be a useful feature and it not only gives you the option of a 2.5x or 6x magnified view but also allows you to see your actual exposure via the digital image without having to switch to the full electronic display.

This magnified view though is not the only thing you can digitally superimpose over the optical window. Various types of digital information can be displayed including a display of the different focal lengths you might decide to choose – remember that this is a mirrorless camera so that optical window is not giving you a view directly down the lens, it’s a fixed optic and is actually showing you a view wider than your lens is likely to be shooting so having those guides is more or less essential. It’s also a useful way to see what other focal lengths might look like if you decided to switch lenses.

A third feature that could be described as rangefinder-esque resides purely in digital mode with a split-screen view offering either a similar second window magnification system to that of the optical system or alternatively a Leica-like system of overlaying one image atop the other and adjusting the focus until both images line up perfectly indicating a sharp focus. Whilst we haven’t explored this feature fully we did actually give it a try during some pretty extreme dark conditions at a recent wedding and found that it did actually allow us to focus where, in the almost pitch-black, both autofocus and focus peaking were ineffective. Fellow Leica users may indeed enjoy this part of the system, but for us so far with this camera it’s all about the perhaps more standard electronic viewfinder (EVF).

The EVF on the X-Pro2 is definitely the best we’ve personally tried and despite being long-term DSLR users and very used to shooting through an optical viewfinder, personally with the Fuji we’ve found the EVF is so good that we’ve so far rarely found a reason to shoot optically. For the die-hard DSLR shooting style fans though the simplicity of switching between optical and digital without ever lowering the camera definitely allows you to take the best of both worlds, enjoying the advantages of being able to check how your exposure (and even Fuji colours – more on that later) will look whilst still being able to flip back immediately and shoot in your preferred style.

Without doubt though the best feature of the EVF is the astonishing refresh rate when shooting in burst mode. The burst mode itself is staggeringly fast and just seems to keep going and going – great for fast moving action. But unlike any other digital camera we’ve ever used the viewfinder keeps right up with the pace, flashing up the images so fast that you never get the feeling of lagging behind and so don’t miss the ever-changing composure of the shot in front of you – you can see things changing and adjust your positioning accordingly. Whilst we would all love to click the shutter just once with perfect timing on each and every shot there are always occasions at weddings or on the street where there’s an unpredictable element to the movement of the scene and having the ability to shoot so fast without losing control of the shot is incredible – rarely does a new feature on a camera blow us away but the first time each of us tried shooting in burst mode our socks were well and truly knocked off!

Shooting Monochrome – Now we’re photographers that love colour and, whilst we do present some of our images in black & white, we like to make that choice in the edit rather than on the day itself. However, colour can sometimes be a distraction while shooting when you’re trying to zero in on one particular element of the shot and the ability to switch into black & white on the electronic viewfinder whilst still producing a final colour image once you get it into Lightroom can (and has been) incredibly useful.

‘Uncle Bob’ – Another of the reasons we love the EVF is the ability to play back your images through it without ‘Uncle Bob’ peering over your shoulder to see what you’ve been up to. You may get the odd strange look when a wedding guest sees you apparently avidly taking a photograph of the carpet tiles (no offence intended if carpet tiles are your thing!), but with such a sharp EVF and no distracting ambient light it’s a feature we use all the time to check we’re nailing the focus. Similarly the rear screen is great quality and, whilst for some users it’s perhaps slightly restrictive not having the articulating screen boasted by the X-T1 amongst others, it’s as good as any we’ve used.

Boot-up speed – One problem many mirrorless cameras suffer from is boot-up speed. At a wedding in particular you want to be able to flick the camera on and take a picture immediately and there’s often a lag as all those digital elements fire up. With the X-Pro2 we’ve found boot up speed (particularly with fast cards) to be very good, and whilst the screen sometimes lags slightly behind the rest of the camera and is the last thing to load up, we’ve found this doesn’t actually stop you from taking a picture before it loads which is great.

Menus – On a vaguely related note we’ve generally found the menus fairly user friendly and easy to navigate aside from the lack of ISO options in the menu that we’ve already mentioned and a few other features that seem bizarrely hidden. It’s also strangely difficult to find the formatting card option and whilst this definitely means you’re unlikely to wipe your card accidentally (which is arguably more important than speed of formatting when you actually want to) it is still a very minor annoyance for us. There is in fact a shortcut for this but it’s again not exactly an obvious one so still not particularly helpful until you get very used to the camera.


As we said at the start this is very much a review about how we use the camera rather than every last feature so we’re not going to go into any depth on the video capabilities of this camera. For the sake of thoroughness though we handed it to our videography team for literally five minutes – here’s what they came back with…

“Whilst many Fuji cameras have a video option it’s notoriously not been an area they’ve really committed to in the past and the lack of marketing of the video features of the X-Pro2 suggest it’s still hardly a key focus. At a quick glance that theory is certainly confirmed – there is no dedicated video record button for example and, as far as we could tell, once you do get the camera recording there’s no way to change many of the settings without first hitting stop which is hardly ideal. There are also very few video orientated settings, frame rates or a LOG mode that have become standard on other systems. At a quick glance though this looks like a huge improvement on previous Fuji’s – the quality looks good and sharp and the ability to use Fuji’s colours is definitely a huge draw to this camera. Overall it seems like a very capable machine if you’re a stills shooter who occasionally wants to shoot a little video but this camera is unlikely to encourage many pro videographers to switch to Fuji from the likes of Sony and Canon just yet. There are definitely signs here though that if they decide to put their minds to it Fuji might just be able to deliver some very interesting video features in future cameras that might well compete in the indie and wedding film market.”

A Few More Definite Positives…

So with some of those bigger points out of the way lets flip quickly through a few of the other great features of this camera…

Silent Shutter – As some readers will know the York Place expanded team includes two videographers and whilst we love working together they frequently complain about the sound of our shutters ruining their audio. In fairness though their annoyance is nothing compared to many of the vicars who are more than willing to banish a photographer from the church at the mere hint of a clicking shutter that might affect their sermon. Thankfully the X-Pro2’s silent shutter really is just that – silent. And whilst silent shutter has an unfortunate tendency to distort fast moving subjects it’s still an incredibly useful feature to have during those more still moments and particularly when trying to get a shot without drawing any attention to yourself.

Size and Weight – If you’ve ever carried two 5D MKIII’s (and at one point a 5D and a 1DMK IV) on your person (armed with heavy Canon glass) for an 18+ hour day you’ll know that weight gradually becomes a very big deal as the day progresses. Even with two X-Pro2’s, all the batteries you can carry and a few spare lenses thrown in the low weight of the Fuji’s is an absolute joy. It’s also an easy camera to hold in uncomfortable positions for long periods and it’s small size makes it infinitely more manoeuvrable than a clunky DSLR. It’s also a much friendlier looking camera for wedding guests or particularly passers by on the streets and we find we can get shots with this camera that subjects would simply walk away from if we pointed a DSLR in their faces. Not only is the camera itself much friendlier but we also find that when using this camera we can carry everything we need in our tiny Ona Bowery bags (which for Dom looks just like a small handbag!) rather than the huge rucksacks or shoulder bags that again always draw attention to you as a professional shooter.

Ergonomics – We’ve already touched on it but the ergonomics of the camera are generally great. It feels much like a classic rangefinder camera – solid yet comfortable in the hand, the balance is good and the controls are mostly well placed and flexible in their reassignment. As with every camera there are still one or two problems though – we’ve already mentioned the slight issue with the ISO dial and the exposure compensation is also a little too easy to knock accidentally while shooting when it could easily be lockable if better thought out. In fact at our last wedding we found that if, like us, you shoot with two cameras using a harness system such as the Holdfast Moneymaker, various custom buttons also can get knocked through the day so we did have to be careful to make sure the camera was always off when not actively in our hands. In the end we disabled one or two custom buttons to avoid this and it may be that an adjustment to the camera’s position on the harness would avoid the problem but it can be a minor issue. We also wish the AE-L button was a little more to the right and more pronounced but this is still a fantastically well designed camera and has fast become one of our favourite cameras to hold and to use.

Dual SD Slots – One of the big reasons why we’ve never previously considered switching fully from DSLR to mirrorless for weddings is the lack of dual SD slots. At a wedding there are no second chances if your card fails and you can’t simply chalk off those shots. For us having a redundant backup provides a lot more peace of mind over the course of the day. Similarly if you’re just looking to use the in-built colour profiles to try to capture your shot as JPEGS without any post-processing but want the flexibility of a RAW backup (or vice versa) you can set up the two cards to write in different formats.

Weather Sealing – We’re UK based wedding photographers – shooting in bad weather pretty much comes with the territory and we never back away from a shot just because of a little rain (or snow for that matter!). Having a weather-sealed body is a huge advantage and means you don’t have to worry about your camera not taking the next shot.

Colour – We’ve always loved Fuji’s in-camera colour profiles and many a photographer has been seduced into shooting JPEG rather than RAW on previous Fuji cameras in order to take advantage of Fujifilm’s rich history in film and colour. Finally however Fuji have brought these colour profiles to RAW shooters in the form of Lightroom (and other photo-editing suites) replica colour simulations. This means that if you really want to see your image more or less exactly how it will look as a finished picture you can now shoot in the colour profile of your choice in camera and bring that colour back with the amazing flexibility of a RAW file. Personally we choose to shoot in the standard flat profile (in part because we’re still using a combination of different cameras) but the images shown here from the streets of Cuba are all processed entirely using Fuji colour simulation with only minor tweaks to contrast. The colour simulations on RAW files are perhaps not quite as perfect as with the JPEGs but they’re still a beautiful thing and in our opinion way better than any standard camera profile by any other manufacturer.

You can select your favourite fujifilm simulation from the camera profile drop down menu when you open a file in Photoshop.


Post Processing – Between the ISO invariance, the colour simulations and the great quality and resolution of the RAW files we’ve found that the files from the X-Pro2 handle just like (if not better than) those from the 5D MKIII and are quite forgiving if you don’t quite nail the exposure in camera.


So what do all these positives and negatives add up to? Is the X-Pro2 worthy of the hype and is this in fact the perfect camera for all wedding and street shooters?

Well no. We can’t claim this is the perfect wedding and street camera – the X-Pro2 is certainly not going to be to everyone’s tastes and is far from perfect in many ways. But what we can tell you is that regardless of those little bugs we’ve been impressed enough with this camera after five weddings and two weeks in Havana for Dom to finally make the switch completely from two DSLR’s and an X-T1 to just two X-Pro2’s and so far she absolutely loves it.

For us a camera is not just a sum of its tech specs, it has to have that unquantifiable X-factor that just makes us want to shoot with it. The X-T1 had it for personal work (and a lot of our street work) but lacked too many of the features we look for when shooting weddings. The X-Pro2 though fills in those gaps and for us is simply a joy to use both professionally and personally. There’s a famous saying – “The best camera is the one that’s with you” and this is a camera that we not only can carry around all the time thanks to its size and weight, but is one that we actually want to carry with us wherever we go and in an increasingly saturated camera market that, for us, is still a rare thing indeed.

The X-Pro2 is a great street camera with its subtle looks, stunning colours, fast shutter and focus and its fantastic EVF. For weddings it inevitably comes down to personal taste but for us it (so far) has pretty much everything we’ve been looking for and there may well be two more on our purchase list in the not too distant future. We’ve tried out a lot of cameras in our quest to find a fitting replacement for our trusty 5D MKIII’s and when we read the X-Pro2 specs it was the first time a mirrorless camera had ever really been in the conversation. Well, for now at least, the conversation is over and the X-Pro’s are safely packed in our bags ready for the next wedding.

**UPDATE** Having written the bulk of this post last week we didn’t even make it to publishing before we decided to purchase two more X-Pro2’s!

***Nine months on we’re loving the camera more than ever!***