“… Shin Udono: We continue to investigate future X-H cameras. The X-T4 is not a replacement for X-H1, so we keep our minds open about future X-H models.
Dave Etchells: Ah, OK. So you can’t say specifically, but it’s not your intent for the X-T4 to replace the X-H1. You see a separate market.
Shin Udono: But we will clearly differentiate from the X-T line.
Dave Etchells: So what is that differentiation? What separates X-T and X-H?
Shin Udono: Difficult to say now; we need some sort of the breakthrough, probably.
Jun Watanabe: But actually, after we announced X-T4, studios received a lot of customer’s requests that they want that H1 style.
Shin Udono: Bigger grip, and also…
Toshi Iida: …the command dial control.
Shin Udono: But just having the bigger grip with the X-T4 is not enough for the X-H2. I think that if future X-H models come to reality, we have to have something more revolutionary….”
Fujifilm X-H1 and X-T4
Good to read that Fujifilm continues to work on the X-H2 professional APS-C/Super 35 hybrid camera and that the company is looking for further differentiation between it and the X-T4.
Here is what I want to see in the X-H2 at the very least, and there is plenty more on my wishlist:
- Larger grip than the X-H1.
- Command control dial for extra speed in applying exposure compensation.
- XLR audio input device such as Panasonic and Sony make for their cameras.
- Video features that match if not surpass those of Panasonic’s Lumix S and GH cameras, and especially no recording limits.
- Fully-articulated monitor taking a lesson from the one on Panasonic’s Lumix DC-S1H.
Here is what I want to see in the X-Pro 4:
- In-body image stabilization aka IBIS so the camera is more suitable for shooting in all sorts of light and especially available darkness.
- Bright frame for 18mm in the optical viewfinder aka OVF.
Here is what I want to see in lenses for Fujifilm’s X-Series:
- An upgraded 18mm lens, at least in a ‘Fujicron’ design for documentary and photojournalism work with X-Pro cameras but better yet a ‘Fujilux’ design with manual clutch focus and larger filter diameter as in the Fujinon XF 14mm, 16mm and 23mm lenses.
- A 70mm lens for portraiture, in effect the Fujinon answer to Nikon’s justifiably legendary 105mm lenses.
- Prime and zoom lenses better suited for video with radically improved autofocus and manual clutch focus: right now there are only three MCF primes and very few lenses that perform acceptably for video production, shocking given Fujifilm’s reputation for fine-quality cinema and broadcast lenses for other mounts.
- A fast aperture, superwide-to-standard zoom lens for video production that learns lessons from Panasonic’s Leica DG Vario-Summilux 10-25mm f/1.7 Aspheric zoom, Sigma’s 18-35mm f/1.8 DC HSM Art zoom lens and the recently announced Olympus M. Zuiko Digital ED 8-25mm f/4.0 Pro.
- A serious commitment to upgrading all the older Fujinon prime and zoom lenses to meet contemporary stills and video needs: lenses remain their largest weak point.
Here is what I want to see in Fujifilm’s GFX-Series cameras:
- An affordable medium format camera for portraiture, documentary and photojournalism, and architectural photography.
- B&H – FUJIFILM X-T4 Mirrorless Digital Camera
- B&H – Panasonic Leica DG Vario-Summilux 10-25mm f/1.7 ASPH. Lens
- B&H – Sigma 18-35mm f/1.8 DC HSM Art Lens for Canon EF
- Fuji Rumors – Fujifilm Manager: GFX Triumph and Full Frame Attack Strategy, Shrinking IBIS, AI Future, Fuji X-H2 Needs Breakthrough, COVID and More
- Fujifilm X
- Imaging Resource – Fujifilm Q&A: COVID impact, GFX strategy, shrinking IBIS, secrets of a 300,000-cycle shutter and more