I had it all worked out. I had planned for weeks to go to the Chap Olympiad as a “Summer village fete curate”—you know the thing, black trousers and shirt, pale linen jacket and Panama hat. I even ordered a dog collar for the full effect, and practised for hours in front of a mirror saying, “That’s an ecumenical matter.” In the event it was the first really hot day for weeks so after a last minute rethink I ended up as a cross between Michael Corleone’s dodgy Sicilian uncle and a Peaky Blinder on a Wakes Week break.
My choice of camera was considerably easier. With the Olympiad on Saturday and the Farnborough airshow on Sunday I had a busy weekend in prospect. I worked backwards and had the X-Pro2 and the 100-400mm with the X-E2 already packed and ready to grab and go the next morning so for the trip to London on the Saturday, it was my Billingham Hadley Pro with the X-Pro1 and 35 and 90mm lenses that I slung over my shoulder as I tipped my cap at a jaunty angle and headed to the station.
A note to the uninitiated before I continue. “The Chap” is a magazine that is so quintessentially English that the paper boy has to wear stout brogues and a decent tweed to deliver it. It celebrates a whimsical form of Englishness that in truth never quite existed. Think Terry Thomas, Oliver Reed, Fenella Fielding, Patrick Moore, WG Grace and Biggles at a cocktail party in Singapore, downing Earl Grey gin slings and debating whether Emma Peel or Pussy Galore looked best in a leather catsuit and you have the idea.
The Chap Olympiad is an annual opportunity to dress up and leave the beastly modern world at the gates of Fitzrovia’s exclusive Bedford Gardens. Chaps and Chapettes gather to picnic, quaff Pimms and watch the ridiculous antics on the “Field of Dreams”. Events range from “Not Playing Tennis” to “Umbrella Jousting” (on “borrowed” Boris bikes) and absolutely anything goes in between.
The 90 was a good choice. It enabled me to isolate the action nicely and provided just enough magnification. With a field of view equivalent to 135mm it is an ideal short telephoto. I could have gone with the 18-135 or even the 50-230 but a zoom just didn’t seem in keeping. So primes were the order of the day. I was far from being the only Fuji user—although there wasn’t an X-T1 in sight—it was all X-Pros and X-Ms, although I did also spot a Leica or two.
All grand fun. But… I learned an important lesson that day in a leafy London square. The X-Pro1, so long my tool of choice, struggled frustratingly to achieve focus on the action in the dappled light. I found myself missing the moment on a number of occasions whilst I waited for the 90mm to rack in and out in a hunt for focus. I also found myself fumbling with the controls more than once as I clumsily manoeuvred my way around the once-familiar menu structure.
Here’s the lesson. Take heed, because it is important. Cameras do not become obsolete. Instead it is our expectations that evolve and, in time, leave them behind. I have been using my X-Pro2 a lot lately, alongside my X-E2 and X100T. They are all much of a muchness in handling with, of course, the X-Pro2 leading, particularly in performance. The X-Pro1 is exactly the same fine camera that it was the day before I opened the box containing my X-Pro2; it still works exactly the same and has the potential to produce the same fine images. Yet it has been eclipsed by its younger sibling through no fault of its own. It really wasn’t the camera that let me down that day on the Field of Dreams, it was my higher level of expectation combined with a muscle memory that is now in tune with the X-Pro2 instead. I think that this is an important point. Sometimes it is right to leave the past behind; how ironic that I realised this while myself dressed like something from the 1930s…
My original plan, as I have shared before was always to keep the X-Pro1 as the appropriate backup to the X-Pro2 but in fact I’m finding that in what might be called real world use it is the X-E2 that is filling that niche, much as the X-E1 did when I first acquired the X-Pro1. The E is similar enough to the Pro to complement it, but different enough—in particular in being lighter and more compact—to stand as an effective camera in its own right. I had another plan, part executed via filters, to dedicate the X-Pro1 to infrared use but that is not enough justification to make it worth keeping.
So with regret, the X-Pro1 will be heading to a new home in due course. I appreciate that I won’t get much for it, even though it is in mint condition—I am never unduly hard on my kit—but that isn’t the point; it’s not about the money. You curate a well-made camera, rather than own it and it is your responsibility once done to set it free to bring pleasure to a new owner. That is what I shall shortly do. So for now, enjoy its swansong with the inspired silliness of the Chaps and Chapettes on a sunny day in London Town.
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Good to see such a famous "landmark" lens (introduced in 1975) in use on a Leica SL 🙂
It is. It was careless of me to miscaption the photograph (not Bill’s fault) but my excuse is that I am not as familiar with R lenses as I should be. It’s corrected now thanks to you.
It’s a Leica SL with the Leica 180mm APO-Telyt-R f/3.4, actually
Hi René. Thanks. I stand corrected. I will alter the caption and thanks for letting me know. Mike
It was a fun event and great to see you and Mrs P. there
Lovely pictures, thank you! My only question is this mandatory before "weekend in the country"?
I thought that ultimate chap characteristic was not so much the way that they dressed but the fact that because of their class, breeding and education they always got ‘looked after’ whether in the military, the civil service, politics or ‘the City’. As Sir Desmond Glazebrook in Yes Minister/Prime Minister said about what you do when you catch a ‘chap’ in the City with his hand in the till " Why, you take the chap out to lunch!".
Now as for whether chaps still exist, there is a certain B Johnson of Eton and Oxford background who has committed more than a few ‘whoopsies’ along the way but the other chaps still like the ‘cut of his jib’. Classic ‘chapdom’, I would have thought.
Nice Photos, Bill.
William
Excellent comment William… I couldn’t agree more with your analysis of the Notting Hill chumocracy and its satellite members.
However, the "chapdom" that is the photographic and textual subject of this thread is something else…
In my view, a fad/fashion that has passed its "sell by" date if not its "consume by" date too.
Tom Hodgkinson is 52.
Thanks Stephen. Subtleties like the ‘Notting Hill chumocracy’ pass over my head, even though I have heard mutterings about a "Notting Hill Set’. My comments related to an observed class system in which those who belong to a perceived upper class get preferment. But then the ‘Old Pal’s Act’ is the most important piece of legislation in most countries around the world, my own included.
Yes, I realise that the people in the photos are just dressing up and ‘having a good time’. I recently saw the Monty Python sketch on the ‘Upper Class Twit of the Year Contest’. The Pythons were dressed up like the people in Bill’s photos, but the sketch had not worn well and was quite excruciating to watch. Not their best work.
William