First Day of School Photos

Fuji X-E2, 18-55mm, ISO 6400, ƒ/7.1, 1/70—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera. Power 1/128

First day of school photos is a tradition at our house. I know many people are out doing the same thing this morning and then posting these photos to Facebook, Instagram, Twitter and anywhere else they can celebrate and preserve those precious memories.

Now taking photos just before my daughter leaves for school meant I was outside taking these photos at 7:15 am. The sun has been up just for a short time, so it was still not all that bright.

Without a flash the settings were ISO 6400, ƒ/7.1 @ 1/70. I am always in favor of using a flash when there is no great directional light with the available light.

Here is the lighting diagram I used over and over this morning:

The rule of thumb I use for placing my flash, which will be my main light, is 45º to the left or right of the model in relation to the camera as well. I also try and put the height of the flash to about 45º above the camera and the model.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/7.1, 1/70—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera. Power 1/128

When the light is placed correctly you will not get a shadow from the light coming across the person’s nose that touches the lips.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/7.1, 1/70—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera. Power 1/128

Now I moved around the yard to find this location. The grass was just watered so I didn’t want to get my daughter all wet before school. The photos above are pretty nice for this morning.

I did start on our driveway and tried to find a nice green background. Problem for my taste was it was just a little too dark.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/7.1, 1/40—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera. Power 1/128

I dialed down the Neewer TT850 to the lowest power of 1/128th power and did this with the Neewer 433MHz Wireless 16 Channel Flash Remote Trigger. I dialed the ƒ-stop up to ƒ/7.1 to be sure my daughter wasn’t washed out.

I recommend starting with the available light and the flash all the way down when your exposure was using ISO 6400.  Just be sure your sync speed is the same or slower than your camera’s sync speed. For the Fuji X-E2 that is 1/180.

This was making the best of the time of day for the first day of school photos. Just a week ago I used similar setup in the afternoon where the light was brighter.

The only real difference is the light is on the right side rather than the left and it was much brighter than today shooting at 7:15 a.m.

I really love this simple setup for portraits. The Fuji X-E2, 18-55mm—Neewer TT850 & The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera. If I were doing more of headshots I would have switched or at least shot more with the FUJINON XF 55-200mm.

Here are those photos from a week ago.

Fuji X-E2, 18-55mm, ISO 400, ƒ/5, 1/180—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera. 

Fuji X-E2, 18-55mm, ISO 400, ƒ/5, 1/180—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera. 

Fuji X-E2, 18-55mm, ISO 400, ƒ/5, 1/180—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera. 

Fuji X-E2, 18-55mm, ISO 400, ƒ/5, 1/180—Neewer TT850 on light stand. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera. 

Low light can be sometimes the best mood light

Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/6

Last night some of the students from the PhotogenX were sitting around outside working on their projects that they are presenting this morning. It was well past sunset and just the lights from the court were in the background, but we were sitting where if it were not for the light from their laptops we would be pretty much in the dark.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/4, 1/13

You need a camera that has an ISO 3200 or better. I shot these on the Fuji X-E2 using AUTO ISO with the peak setting at ISO 6400.

I opened up the aperture to the widest setting and since the lens is has a variable aperture, as you go to more telephoto the aperture gets smaller, I was shooting between ƒ/2.8 and ƒ/4.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/3.2, 1/20

As the subjects got closer to the laptops the light from the screens would get brighter on their faces. So the exposure changes just slightly when they lean it to see something.

What you will notice is the shutter speed is slower than normally recommended. 1/6 of a second is pretty slow. The subjects were not moving that much, which really helped. Had this been some sporting activity I could not have done this.

I am not using a tripod.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/3.2, 1/20

The vibration reduction system designed into the Fuji X camera and lenses lets me hand hold images almost 4-stops darker than without this system.

What all this means is as long as you remain as still as you can the small movement caused by your breathing and your heart beating will not blur your image.

If you have an older camera that the ISO goes no higher than ISO 1600 this is a great reason to go out and buy some of the newer technology.  If you do look for cameras that will shoot at ISO 6400 or higher. My Fuji X-E2 will go up to 25600, which I have used a few times.

Advice to photography students

Downtown Lisbon, Portugal [Fuji X-E2, 18-55mm, ISO 25600, ƒ/2.8, 1/160]

To get work you need a portfolio not a degree. Yes you could have saved yourself a lot of money and not gotten a degree from a great school. Based on some of the work I continue to see by students graduating from photo schools all over the world many have just wasted a lot of money.

How do you start if you are not in a photo school? Well that is the catch. You see you need someone to help introduce you to the tools you need to master and to teach you some of the standards. Most every school does teach you how to operate your camera to get good exposures and they teach you how to use the latest software as well. Most schools do a great job of exposing you to the work of the masters in the profession.

‘You can lead a horse to water, but you can’t make it drink’

I think this is what a good education will do for those who want to learn how to be a photographer. They show you what you need to do. They give you assignments that teach you how to create those elements that will help you make a portfolio.

Passion not Assignments

Your portfolio needs to communicate to those that you wish will hire you that your work will grab their attention. No matter the subject you really need to SURPRISE them with your photos.

First 100 attendees at the Chicago Chick-fil-A grand opening playing Face the Cookie where they use the muscles in their faces to move the cookie to their mouth. [Nikon D4, 14-24mm, ISO 9000, ƒ/10, 1/100]

Too many students are just shooting the assignments that they are given and then pull the best from their assignments and put them into their portfolio. Why is this such a big mistake?

First of all the assignment work given to you is seldom something that speaks to your passions. You then work hard at finding out the standards for the grading and then shoot to get a good grade. For a very few people this is enough to create a great portfolio image. However for the vast majority of the students they are just going through the motions to complete the assignment. Often which they waited till the last moment to shoot.

If you were not doing photography what would be the one thing you would be wanting to do? Maybe you would like to be going to soccer games and watching them. Maybe you are a foodie. You like going to farmers markets and finding the local food and going to restaurants that buy local as well. Maybe you would be spending your time working with a nonprofit and building wells around the world.

Follow your passion and build your portfolio around it.

[Nikon D4, 14-24mm, ISO 12800, ƒ/8, 1/160

If your passion is music then do more than just go to concerts. Pick up an instrument and master it. Learn music theory so you understand music at a much deeper level.

[Nikon D2X, Sigma 120-300mm with 1.4 converter, ƒ/6.3, 1/2500]

If you like sports then play in a league. I used to play basketball three times a week in pickup games for more than 20 years.

Those that will hire you are experts already on their subjects. They will not respect you unless you show a similar passion for the subject as they do.

They are most likely aware of most of the best photography in their industry. To SURPRISE them will be hard to do. You have to or they will continue to use who they have shooting for them now.

Show Me!

“Show me the money,” Tom Cruise, playing Jerry Maguire said in the movie in the 1996 movie Jerry Maguire. The point was talk is cheap to football player who hired Jerry Maguire to be his agent. He needed a good contract.

Show me your portfolio is the same request that your potential clients are asking you to deliver to them. Your work better SURPRISE them, because they already have photographers shooting for them. You have to impress them to want to use you.

Passion NOT Assignments

The easiest thing to do is to give me your best effort for all your assignments. That kind of work seldom competes against a photographer who is passionate about their subjects.

School vs Real Word

If your photo school ran all their classes like the real world then every class would be pass/fail. Everyone would hand in their assignments and then only one person in the class passes. The best photos for that assignment as perceived by the teacher would get the passing grade. Everyone else would fail.

My friend Dr. Bob Carey, department chair for the Department of Communications at Gardner-Webb University, said he toyed with the idea of doing just that for an assignment on creating an estimate. He said he did tell the students about his idea, but wanted them to understand that is the way it will be once they graduate.

Mark Johnson, Senior Lecturer of Photojournalism at the University of Georgia’s Grady College of Journalism and Mass Communication, has created identical camera kits for each of his students. This way when they are given an assignment everyone in the class is on equal footing.

Pat Davison, Professor, School of Journalism and Mass Communication, University of North
Carolina-Chapel Hill creates workshops overseas to give real world experiences for his students.

Dennis Fahringer, who runs the photo schools for the University of Nations, brings in working professionals to teach segments and also takes his advanced photo school overseas for a month on assignments.

All of my friends who are teaching at taking those horses to the water to drink. The assignments they give are typical assignments. The problem for the student is seldom will they be as passionate about those assignments. They need to give a self assignment on something they really care about.

Take what you learned in photo school and now go and apply it to your passions. Then you will have an outstanding portfolio.

A Photographer’s Quest to Capture the Mood of a Place

Fuji X-E2, 18-55mm, ISO 3200, ƒ/4, 1/500

No matter where I adventure to I am always wanting to capture a photo that encapsulates the mood that I felt about the location.

This week my family is enjoying vacation at Emerald Isle, NC. From our front porch you can see the ocean and from the back porch you can see the intracoastal waterway.  We get the sunrise and a sunset over the water.

The downside for where we are located is seeing all the telephone poles and the wires stringing along them and cluttering the view.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/30

Our neighbors up and down the coast are all in what appears to be a vacation mode. No one is in a hurry. Even driving down the road people are way below the speed limit rather than in a rush. It is peaceful and very relaxing.

Fuji X-E2, 55-200mm, ISO 200, ƒ/7.1, 1/640

You see couples enjoying time together in the surf and walking along the beach. Here I enjoyed watching the couple from our 3rd floor balcony.

I can feel some of what I captured in the photos, but still I am not quite satisfied that I have a photo that truly captures the mood of the place.

Fuji X-E2, 18-55mm, ISO 6400, ƒ/2.8, 1/75

 No ships and quiet times along the beach in the evenings.

Fuji X-E2, 55-200mm, ISO 200, ƒ/8, 1/800

I am also enjoying capturing the moments of the youth of today reminding all of us that are older of the times we spent playing football on these same beaches years ago. Here I have captured my nephew with our new member of the family who married my niece.  I think the activity captures a mood and takes me back.

Are these just memory joggers for me and my family or are they capturing universal understood moments?

Fuji X-E2, 18-55mm, ISO 200, ƒ/5, 1/1800

Does the umbrellas on the beach capture what people around the world can relate? Does this help take people to their vacation memory?

This is what most photographers who shoot with a photojournalistic intent look for when trying to capture the mood of a place. Travel photographers, street shooter and photojournalists are looking for those triggers that create a mood and capture a moment.

Stay tuned and see what else I find the rest of my vacation on Emerald Isle, North Carolina.

Off-Camera Flash Solution for the Fuji X-E2

I prefer off-camera flash any day to the pop up flash on any camera. I have written many articles on it here on the blog. Just put in the phrase “off-camera” in the search field I have on the blog and you will see many posts talking about doing this with my Nikon system.

Now I have a Fuji X-E2 and wanted off-camera flash solution. I stumbled on the Neewer TT850 flash [$104.95].  This is a totally manual flash. When using 2,000 mAh eneloop batteries in a SB900 it will give you a maximum of 200 cycles. The TT850 blows its competitors out of the water. Even without a way to plug in an external pack, who needs one, just carry extra battery or two. But who shoots more than 650 full power strobe shots at a shoot? With just one extra battery you can shoot up to 1300 full power shots.

The flash has a guide number of 100.

You could trigger it a few ways.

  1. On the camera hot shoe
  2. S1 – Mode [Normal Slave] 
  3. S2 – Mode [2nd Flash Slave]
  4. Wireless Trigger

The flash was designed to work with the Neewer 433MHz Wireless 16 Channel Flash Remote Trigger [$27].

  • Set power ratios of up to 16 groups of remote flashes
  • Switch the on-or-off of the modeling light or AF-assist beam & buzzer
  • Manual triggering of flashes
  • Two modes of power ratio display
  • Quite convenience to mount onto your camera’s hot shoe
Nikon just has three groupings of A, B or C. This has 16 different groups. That is a lot of flashes you could control all from the camera.
Here you can see I am able to control the power easily from the remote. This is great for shooting on the go. You cannot change the zoom from the remote.
Here you can see the setup. Fuji X-E2 with the 55-200mm lens. The Neewer TT850 on light stand off at 45º. The Neewer 433MHz Wireless 16 Channel Flash Remote Trigger to fire the off-camera flash and control the power from the camera.  Also on the flash I added the MagMod flash modifier system.

MagMod is a magical flash modifier system that frees your speedlite flashes from velcro, straps, and adhesives by geniously incorporating the invisible powers of magnetism.
Each modifier is a designed as a single molded piece of high-quality silicone rubber that is sleek, compact, easy to use, and dead simple.
I was using the gel holder with a 1/4 CTO and two of the grids stacked.  Keeping the light mainly on the statue of the soldier.
Now I just took some photos. I used a tripod and this let me drag the shutter for some pretty long exposures. This way I could shoot at really low ISO and keep the background from going too dark.
Fuji X-E2, XF 55-200mm, ISO 1000, ƒ/7.1, 1/8, Flash set at 1/128 power.
Fuji X-E2, XF 55-200mm, ISO 1000, ƒ/7.1, 1/30, Flash set at 1/64 power.
The really great thing is I am changing the power from the camera.
I recommend getting a second battery for the flash. All three were only $171.35 on Amazon. We have Amazon Prime which gave us free shipping. 
You could get four flashes using the FourSquare system by LightWare.  For under $500 you could have four flashes and one remote. For around $530 you could have four flashes and four remotes. 
This is a great option for any camera system and especially for the money.

Fuji X-E2 with the XF 55-200mm is a great combination for shooting speakers

Fuji X-E2 18-55mm, ISO 6400, ƒ/4.5, 1/90 photo by Greg Schneider

I spent a lot of time talking to students and pros this past weekend. Many were asking for my advice for their career path.  I ended up asking a lot of questions of them and hopefully helped some get some better traction for their journey.

Fuji X-E2 55-200mm @ 200mm, ISO 6400, ƒ/4.8, 1/20

This is Larry McCormick a photojournalist for The Tennessean who was one of the speakers at the Southwestern Photojournalism Conference.  He inspired us to love every assignment we do and to treat everyone of our subjects with honor, dignity and respect.

Fuji X-E2 55-200mm @ 200mm, ISO 6400, ƒ/4.8, 1/10

James Gregg, Staff Photographer, San Diego Union-Tribune was another speaker who walked us through many of his assignments. He is working predominately as a multimedia producer these days.

Fuji X-E2 55-200mm @ 200mm, ISO 6400, ƒ/4.8, 1/30

Greg Thompson, Sr Director, Corporate Communications, Chick-fil-A challenged us to be more client and audience focused.  The story is not yours, it is the subjects and you share it to an audience.

Fuji X-E2 55-200mm @ 200mm, ISO 6400, ƒ/4.8, 1/40

Ron Londen, Chief Creative Strategist, Journey Group opened up the weekend with telling stories. He started with stories where he made mistakes. He challenged us to really connect with people and tell stories.

Fuji X-E2 55-200mm @ 60mm, ISO 6400, ƒ/4, 1/20

All weekend I shot with the new Fuji X-E2 and when the speakers were on I shot mostly with the XF 55-200mm lens. I think it is extremely sharp and the image stabilization is the best I have ever used. Look at those shutter speeds shooting from the back of the room. Shooting zoomed to 200mm is the same as shooting with my Nikon full framed camera with a 300mm.  These are all hand held and sharp.

Fuji X-E2 18-55mm, ISO 400, ƒ/2.8, 1/125

We did have some good Chick-fil-A sandwiches at the meeting and the Cow visited. Most everyone was getting their photo made with the cow.

Fuji X-E2 18-55mm, ISO 2000, ƒ/2.8, 1/500

I was capturing fun moments with everyone enjoying themselves.

Fuji X-E2 18-55mm, ISO 1600, ƒ/2.8, 1/500

Fuji X-E2 18-55mm, ISO 6400, ƒ/3.2, 1/480

Fuji X-E2 18-55mm, ISO 6400, ƒ/4, 1/210

Fuji X-E2 18-55mm, ISO 6400, ƒ/4, 1/170

Fuji X-E2 AF Settings

There is a learning curve with every new camera I get. Changing to another brand increases the learning curve a great deal.

Auto Focus with the Fuji X-E2 has been a challenge for me due to the learning how the camera works the best. This was true with me learning all the settings for my Nikon D4. When shooting sports I used a totally different AF settings than for normal photojournalistic shooting that I normally am doing with storytelling style I use.

This is what I am finding to work best for me for now for photojournalism style of shooting.

First go to the shooting menu and go to the [camera 4] part of the menu. The top 4 menu items in that submenu all deal with AF.

For the AF MODE I am finding I like to use the Multi-Mode

In the AF Multi-Mode when the shutter button is pressed halfway, the camera detects high-contrast subjects and selects the focus area automatically.

It generally is pretty quick and picks most of the time the closest object with high-contrast to the camera.

For the most part I am leaving the Face Detection off. If I am shooting portraits or a group photo I might choose to have this setting on. Intelligent Face Detection sets focus and exposure for human faces anywhere in the frame, preventing the camera from focusing on the background in group portraits. Choose Face Detection for shots that emphasize portrait subjects.

If PRE-AF ON is selected, the camera will continue to adjust focus even when the shutter-release button is not pressed halfway.  Note that this increases the drain on the battery. Generally this is off for me.

You need to go back to the first menu item AF Mode and pick AREA to use the focus points. Once this is selected and you are not in Face Detection mode you can move this green box around on the grid points.

You will need to push the AF button to then activate the screen you see above.  Then you can toggle around the screen using the four buttons around the Menu OK Button to navigate.

When you select a point you can increase the size of the green box to take into account more area to determine the contrast to pop the camera in focus.

Here you can see I increased the size of the box for focusing.

All these functions work with AF as long as on the front of the camera you have chose C [continuous] or S [single].

Now frankly the one thing Fuji need to do in a firmware upgrade is allow you to over ride and just grab the focus ring and adjust the focus. This is where Nikon and Canon are superior, for now.

In the M [manual focus] setting you are then able to adjust everything manually. I will not go into those setting right now.

AF Setting Tip

Once you have everything set the way you like it in the menu, then go and save the setting in Custom settings.  That can be found in the 3 menu>Edit Save Custom Setting.

I am using a few of these custom settings. My hope is Fuji will do a firmware upgrade allowing the user to change the naming of those settings rather than being stuck with “Custom 1” when I might like to call it “Portrait” or “Sports” for example.

Sound Tidbit

Beeping noise is the default setting for the camera. So when the camera locks in the focus you hear a beep. Don’t make the mistake I did by choosing to turn the sound off.

Do not use the Silent Mode to turn the sound off of the beeping. When you do, the flash will no longer work. This includes the internal and if you use any external flash.

You can turn the sound off by going to the Sound Set-Up screen.

The next thing you choose in the menu is the Operation Vol.

I put my setting to OFF. Now the beep I no longer hear, but the flash still works. Hey I missed a bunch of photos because I had the camera in Silent Mode and never could figure out why my flash stopped working. I thought I had broken the camera. I had to wait and read the manual to find the reason why.

Fuji XF 18-55mm ƒ2.8-4 and XF 55-200mm ƒ/3.5-4.8 at the Chick-fil-A Bowl game

[Fujifilm X E2, 18-55mm, ISO 640, ƒ/2.8, 1/60]

I am not quite comfortable enough to shoot an assignment with the camera completely alone. The reason is not about the capabilities of the camera, but my knowledge of how to use it. Shooting with the Nikon D4 is second nature.

I must get to this point with the camera where I am not hunting for the control to change something on the camera.

[Fujifilm X E2, 18-55mm, ISO 6400, ƒ/5.6, 1/105]

I set the camera to shoot on Auto ISO RAW. The lowest ISO would be 200 and the highest 6400. I also set the shutter speed to 1/60 and would change that to 1/250 and 1/1000 depending on the situation.

[Fujifilm X E2, 18-55mm, ISO 640, ƒ/4.5, 1/220]

Every camera I have owned the auto focus has so many options that if you choose the right setup for a situation you get some incredible results. This is why most pros ask other pros if they are having trouble with a similar camera. Then if they are not, they ask them what settings they are using for a situation.

[Fujifilm X E2, 55-200mm, ISO 2500, ƒ/4.8, 1/500]

For the most part all these photos were custom white balanced using the ExpoDisc.

[Fujifilm X E2, 55-200mm, ISO 4000, ƒ/4.2, 1/500]

I really like the skin tones with the Fuji X E2. I also think their lenses are super sharp and great dynamic range and color.

[Fujifilm X E2, 55-200mm, ISO 5000, ƒ/4.8, 1/500]

All the images I processed using Adobe Lightroom 5.3.

[Fujifilm X E2, 55-200mm, ISO 4000, ƒ/4.8, 1/500]

I had just bought the new Fuji 55-200mm and this was the first time using it.

[Fujifilm X E2, 55-200mm, ISO 2500, ƒ/3.6, 1/500]

I loved how the lens felt in the hands. It was well balanced and well built.

[Fujifilm X E2, 55-200mm, ISO 6400, ƒ/4.8, 1/500]

Shooting the coin up close with the 55-200mm as well as shooting from the press box were two extremes where the image stabilization really showed how good it worked. I was pleased with the results of handheld photos in both of those situations.

The reason I am so excited about the Fuji is weight. Here is a photo my wife took of me in the press box shooting.

Photo by Dorie Griggs

I was carrying all this on me using the backpack and the ThinkTank modular belt system from 1:00 pm to 1:30 am.

  • 2 – Nikon D4 cameras
  • Nikon 14-24mm ƒ/2.8
  • Nikon 28-300mm ƒ/3.5-5.6
  • Sigma 120-300mm ƒ/2.8
  • Sigma 1.4 converter
  • Shure Wireless lavalier microphone system
  • Nikon SB900 with spare batteries
  • 2 – Spare batteries for the Nikon D4
  • 10 – CF, XQR and SD cards
  • Fujifilm X E2
  • Fujifilm XF 18-55mm
  • Fujifilm XF 55-200mm
  • Manfroto MonoPod
I think I could cut this all the way down to 20% of what I was carrying if I just added one more Fuji X E2 and let go of all the Nikon gear.
I will be keeping my Nikon system until I can comfortably shoot sports and video with the Fuji system like I can now with the Nikon D4. There is a chance that some of this is just my ability to use the Fuji X system. 
I can tell you I will be shooting a lot more with the Fuji system.

Fuji X E-2 16M is it enough megapixels?

Fuji X E-2, ISO 6400, ƒ/3.2, 1/50 handheld

Can the Fuji X E-2 16M sensor do the job for a working pro?

As you can see in the photo above the quality is there for available light shooting full frame, but when people are asking about if 16M sensor is good enough they want to see the photo at 100%.

100% view of the image above

This is low light situation the way many street photographers and photojournalist would capture their images. If you are shooting a commercial job then you would most likely be shooting with a low ISO.

Fuji X E-2, ISO 200, ƒ/18, 1/180

Here is a portrait of my daughter shot with the Fuji X E-2.  Again the question is what about at 100%.

100% view of the photo above.

From my perspective it would be a rare moment that any of my clients would ever need anything with more megapixels than this camera gives me.

Now when my lab is telling me that if your camera is an 6M size sensor and they can make any size print from this file size then it would appear that 16M is more than sufficient.

PPRPix Tips

So I wasn’t surprised to hear from Hiroshi Kawahara, Fujifilm’s Operations Manager also say that 16M was enough.

[youtube https://www.youtube.com/watch?v=_gGsoBUIFrM]
If the other camera manufacturer’s do not learn from what Fuji is doing they will be crushed by them. What is important to listen to in the interview is how even while they think 16M is enough, they still listen to the customer and are researching to improve the megapixels.

One of the coolest things about Fujifilm is there firmware upgrades for all their cameras. They continue to upgrade their cameras because they are listening to the customer. The firmware upgrades for the cameras make them even better.  For the most part if you want the latest design for a camera with other manufacturers they you must buy they latest camera. While you might think this could hurt sales, it is doing just the opposite for Fuji.

Conclusion: The Fuji X E-2 exceeds the needs of my clients right now. It is a camera I am shooting now for corporate jobs.