The Silver-Coloured Pro

This week I got to satisfy my curiosity about the light-titanium coloured Fujifilm X-Pro3 - there was one ready in the sales cabinet in Stirling Street. I popped it out and attached an XF 50mm f:2 R WR lens - one of the silver-finish models. I wanted to see how close the two light colours are. Well, not that close. The phenomenon of a silver-finish body having a different appearance from the lenses that are made to go on it is not just a Fujifilm thing. You can see it with Olympus and other cameras. My dear old Leica M2's chrome finish didn't exactly match the barrel on the 50mm collapsible Elmar back in the day either. The closest I ever saw were actually Kodak Retina Reflex cameras and some Contarex models. If you are afflicted with OCD - Obsessional Chromatic Disorder - you can always opt for plain black for both body and lens. Like Coco Chanel, you'll never be out of fashion. You decide whether the appearance is for you. Be aware that the toughened Duratect finishes are very tough indeed so don't spend your hours trying to scuff the cameras into a semblance of professional grunge - you'll be wasting valuable shooting time. The question of the ripples in the upper plate that I raised a while back is still valid - you can just make them out running between controls on the top right. They will not affect the operation - nor will the business of the edge of the titanium on the upper case seeming to stand away from the body of the camera. Just push it back and it'll pop into register. The water resistance is not compromised. The final test for this new camera will come when the shop has a rental example available and I can run it out for a dance show. The optical finder is the answer for catching the peak of action and I expect that the new processor and sensor will make a vast difference to the response time. In case the camera becomes a necessity I am taking Lotto tickets and opening a For Pity's Sake Fund Me™ account on every social media platform that isn't vigilant.