Tag: Fujifilm X-T5

ProAV TV Shows Off Samyang V-AF Autofocus Cinema Prime Lenses

Just the other day I was daydreaming about which types of lenses one might want to use for a documentary on the late, great Australian feature film cinematographer Robert Krasker. 

I found myself wondering whether Fujifilm’s Fujinon broadcast and cinema lens division, makers of the highly-regarded HK Premier, MK, Premista, XK Cabrio and ZK Cabrio cinema zoom lenses series and co-designers of Fujifilm’s Fujinon XF 18-120mm f/4.0 LM PZ WR stills and movie zoom lens, might be persuaded to consider designing and making a series of matched-colour and size cinema prime lenses for Fujifilm X-mount cameras including the Fujifilm X-H2, X-H2S and X-T5. 

Would such a Fujinon X-Mount cinema prime lens series be manual focus-only or would it have autofocus and a manual focusing mechanism superior to that in Fujifilm’s current XF prime and zoom lens line-up, Fujinon  XF 18-120mm f/4.0 aside? 

And why did Fujifilm stop using the excellent manual clutch focus mechanism in its Fujinon  XF 14mm f/2.8 R, XF 16mm f/1.4 R WR and XF 23mm f/1.4 R prime lenses and that works so well for video?

Then I came across this video by ProAV TV:

ProAV TV: Autofocus Cinema Lenses, but what does that mean? – Samyang V-AF Primes

“Samyang’s new V-AF range, a new set of affordable cinema primes to sit alongside their popular VDSLR range but these ones have autofocus. In fact Samyang say[s] this is the world’s first cinema lens lineup with autofocus.”

Samyang Cine AF 75mm T1.9 FE Sony E-Mount autofocus cinema prime lens

Samyang Cine AF 75mm T1.9 FE Sony E-Mount autofocus cinema prime lens. Image courtesy of B&H.
Samyang Cine AF 75mm T1.9 FE Sony E-Mount autofocus cinema prime lens. Image courtesy of B&H.
Samyang Cine AF 75mm T1.9 FE Sony E-Mount autofocus cinema prime lens. Image courtesy of B&H.
Samyang Cine AF 75mm T1.9 FE Sony E-Mount autofocus cinema prime lens. Image courtesy of B&H.
Samyang Cine AF 75mm T1.9 FE Sony E-Mount autofocus cinema prime lens. Image courtesy of B&H.

Links

DxO Updates PhotoLab 5 & 6, PureRAW 2, FilmPack 6, ViewPoint 4, Nik 5 to Support Fujifilm X-H2, Fujinon XF 18-120mm f/4.0 LM PZ WR, XF 30mm f/2.8 R LM WR & Many More

Although we use raw processing and image editing software by other makers, our core raw and image processing and editing applications are made by DxO. 

We’ve been relying on DxO software ever since getting back into photography during the early part of the digital era and our images have always benefited from DxO’s practice of profiling combinations of sensors and lenses to determine optimum automatic image processing before users we refine our choice of film simulation, colour grading, exposure compensation and other manual settings. 

It’s gratifying to learn that DxO has just added camera and lens profiles for the Fujifilm X-H2 to its existing X-H2S combinations and that profiles for the X-T5 and various lenses will be coming sometime in January 2023. 

Fujifilm X-H2, X-H2S, X-T5, Fujinon XF 18-120mm f/4.0 LM PZ WR, 30mm f/2.8 R LM WR Macro & 56mm f/1.2 R WR

Fujifilm X-T5 with Fujinon XF 56mm f/1.2 R WR prime lens. Image courtesy of B&H.
Fujifilm X-T5. Image courtesy of B&H.
Fujifilm X-H2 with VG-XH vertical battery grip and Fujinon XF 16-55mm f/2.8 R LM WR zoom lens. Image courtesy of Fujifilm Global.
Fujifilm X-H2. Image courtesy of Fujifilm Global.
Fujifilm X-H2S with Fujinon XF 18-120mm f/4.0 R LM PZ WR stills + video zoom lens. Image courtesy of Fujifilm Global.
Fujifilm X-H2S with Fujinon XF 30mm f/2.8 R LM WR Macro prime lens. Image courtesy of B&H.
Fujifilm MHG-XT5 Metal Hand Grip for Fujifilm X-T5. Image courtesy of B&H.

DxO PhotoLab – New Optic Modules released and Cameras & Lenses support (7 December 2022 update)

In 7th December 2022 we add support of new cameras and lenses for all of our products: PhotoLab 5 and 6, PureRAW 2, FilmPack 6, ViewPoint 4 and Nik 5.

See DxO Supported Cameras & Lenses 5 for compatibility of Optic modules with PhotoLab and PureRAW.

Cameras newly supported are:

  • Fuji[film] X-H2
  • Nikon D100
  • Sony FX30

Lenses newly supported are:

  • Canon RF 15-30mm F4.5-6.3 IS STM
  • Fuji[non] GF 20-35mmF4 R WR
  • Fuji[non] XF 18-120mm F4 LM PZ WR
  • Fuji[non] XF 30mm F2.8 R LM WR
  • HD Pentax- DA* 16-50mm F2.8 ED PLM AW
  • M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO with TC x1.4 Zuiko (for Olympus, Panasonic modules will come in January)
  • M.Zuiko Digital ED 150-400mm F4.5 TC1.25x IS PRO with TC x2.0 Zuiko (for Olympus, Panasonic modules will come in January)
  • Panasonic Lumix S 18mm F1.8
  • Tamron 20-40mm F2.8 Di III VXD (A062) – Sony FE
  • Tamron 50-400mm F4.5-6.3 Di III VC VXD (A067) – Sony FE
  • Tamron 70-300mm F4.5-6.3 Di III RXD (A047) – Nikon Z
  • Tamron 150-500mm F5-6.7 Di III VC VXD (A057X) – Fuji[film] X
  • Zeiss Milvus 15mm F2.8 ZE and ZF.2
  • Zeiss Milvus 18mm F2.8 ZE and ZF.
  • Zeiss Milvus 135mm F2 ZE and ZF.2

For January update we are working on 4 cameras:

  • Canon EOS R6 Mark II
  • Fuji[film] X-T5
  • OM System OM-5
  • Sony A7R V

And some lenses:

  • Nikkor Z 17-28mm F2.8
  • Sigma 18-50mm F2.8 DC DN | C – L-mount
  • Sigma 16-28mm F2.8 DG DN | C – Sony FE
  • Sigma 65mm F2 DG DN | C – Sony FE and L-mount
  • Sigma 150-600mm F5-6.3 DG DN OS S – Sony FE
  • Tokina ATX-M 11-18mm F2.8 – Sony E

Made with Fujifilm’s Fujinon XF 18-120mm f/4.0 R LM PZ WR zoom stills + video zoom lens, processed with DxO PhotoLab Elite 6, DxO FilmPack Elite 6 & DxO ViewPoint 4

Photograph © copyright Karin Gottschalk 2022. All rights reserved.
Photograph © copyright Karin Gottschalk 2022. All rights reserved.
Photograph © copyright Karin Gottschalk 2022. All rights reserved.

We made these images at the opening of the Fujifilm House of Photography in Sydney in July 2022, and chose DxO’s Astia film simulation for its excellent rendering of skin tones.

We’ve been reading a wide variety of opinions about Fujifilm’s Fujinon XF 18-120mm f/4.0 LM PZ WR lens for cinematography and photography and found it fast and easy to use on our Fujifilm X-Pro2 digital rangefinder camera despite it not having firmware updated specifically for the lens.

We haven’t had the pleasure of using the lens on Fujifilm’s X-H2, X-H2S or X-T5 yet but given their firmware has been updated to support the unique features of the XF 18-120mm f/4.0 zoom, the experience of using it with any of them should be impressive.

Links

Mindy Tan, Photographer, aka FujiGirl, Tries Out Fujifilm X-H2 & Fujinon XF 18-120mm f/4.0 LM PZ WR For Documentary Photography

We have another article in progress about Fujifilm’s Fujinon XF 18-120mm f/4.0 LM PZ WR stills and video zoom lens but we were impressed by what Singapore-based wedding photographer and Fujifilm X-Photographer did with one mounted on an X-H2 that we just had to share it with you. 

This video , there first one below, depicts her using the 18-120mm attached to an X-H2 to photograph workers at a floating fish farm located out to sea in Singaporean waters and it proves the value of having at least one zoom lens with a decent range from wide to long in your documentary photography and video production kit. 

We’ve been waiting for exactly the right zoom lens to appear in Fujifilm’s X-mount lens collection for the longest time now, ever since investing in an X-Pro2 with a couple of fast prime lenses. 

Could the Fujinon XF 18-120mm f/4.0 LM PZ WR be what we’ve been waiting for? 

Fujinon XF 18-120mm f/4.0 LM PZ WR & Fujifilm X-H2

Fujifilm X-H2. Image courtesy of Fujifilm Global.
Fujifilm X-H2 with VG-XH vertical battery grip. Image courtesy of Fujifilm Global.
Fujinon XF 18-120mm f/4.0 LM PZ WR stills + video zoom lens with lens hood. Image courtesy of Fujifilm Global.
optimized_om-digital_solutions_om-1_12-100mm-f4.0_01_1024px
OM System OM-1 camera with Olympus M.Zuiko Digital ED 12-100mm f/4.0 IS Pro zoom lens. Image courtesy of OM Digital Solutions Australia.

While waiting for Fujifilm to deliver on its promise to take video more seriously some years back, we had no choice but to invest in a Panasonic Lumix camera and Olympus zoom lenses for video production.

We were volunteering for a global human rights charity at the time and believed that the best way to communicate its message was to do it audio-visually, in still and moving images, and as the charity had absolutely no funding we bought our own gear for the charity’s work.

We still have a couple of those now rather old Lumix cameras that have no in-body image stabilization and our Olympus lenses aren’t stabilized either so our use of them for handheld video projects is a bit limited.

When we need to attend a rally or demonstration and must carry the bare minimum of gear while being prepared to shoot in-deep or from a distance we’ll pack one of the Lumix cameras with our Olympus M.Zuiko Pro Digital ED 12-40mm f/2.8 Pro zoom with its invaluable manual clutch focus mechanism and we’re confident we’ll be able to handle pretty much anything that comes our way, for photography at least.

If Olympus’ M. Zuiko Digital ED 12-100mm f/4.0 IS Pro zoom had been available at the time then we most certainly have bought that instead for its optical image stabilization.

Its f/4.0 maximum aperture would not have been a problem as we usually default to f/5.6 or f/8.0 for documentary photography anyway.

The Micro Four Thirds system’s Bayer sensors, smaller than the Fujifilm X System’s APS-C X-Trans sensors, have been delivering impressive results when processed in DxO PhotoLab Elite 6 using its DeepPRIME XD demosaicing and denoising functionality and we’re looking forward to DeepPRIME XD supporting X-Trans raw files soon.

We’ve been hoping that Fujifilm would take a leaf out of the Olympus, now OM Digital, professional prime and zoom lens design book and ensure that every new lens would have manual clutch focus.

Instead Fujifilm has taken a giant leap backwards and no new lenses since the Fujinon XF 14mm f/2.8 R, XF 16mm f/2.8 R WR and XF 23mm f/2.8 R have come equipped with manual clutch focus.

Oh dear.

The question then becomes, is the non-manual clutch focus Fujinon XF 18-120mm f/4.0 LM PZ WR up to the job, at least insofar as documentary photography goes?

Recent FujiGirl videos by Monday Tan, Photographer, sponsored by Fujifilm Singapore

We were so impressed by the video below that we added several more where Ms Tan makes documentary photographs with other recently-released Fujifilm cameras and Fujinon lenses, the X-T5. X-H2S and XF 56mm f/1.2 R WR.

Mindy Tan, Photographer: Fujifilm X-H2 with XF18-120mm – Travel Photography Kit (FujiGirl15)

“X-Photographer Mindy Tan pairs the Fujifilm X-H2 with the XF18-120mmF4 for day out in Singapore’s waters, to Ah Hua Kelong, a local fish farm in floating in the sea.”

Mindy Tan, Photographer: Fujifilm X-T5 with XF56mm1.2: Muay Thai Portraits (FujiGirl14)

“X-Photographer Mindy Tan pairs the Fujifilm X-T5 with the XF56mm1.2 R WR for an electrifying portrait shoot with Muay Thai fighters.”

Mindy Tan, Photographer: Fujifilm X-T5 x Trash Collector: Fujigirl13

“In episode 13, FujiGirl photographs with the Fujifilm X-T5 for a day with the Karung Guni – trash collectors who recycle and sort materials for profit.”

Mindy Tan, Photographer: Fujifilm X-H2S: Streets of Vietnam. HoiAn – Hue

“Hoi An to Hue, Vietnam. With the Fujifilm X-H2s, I travelled solo for 8 days in Central Vietnam, taking in the sights and smells, taking my time to enjoy the world.”

Links

DxFlow YouTube Channel Is A Great Source For Tutorials On DxO Software Including DxO PhotoLab Elite Raw File Processor

I came across this YouTube channel this morning during online research for an article on Fujifilm’s latest cameras, the X-T5, X-H2 and X-H2S, and the Fujinon XF 18-120mm f/4.0 LM PZ WR stills and movie zoom lens. 

The presenter doesn’t share his name or other details in the channel’s About tab but he appears to be based in New Zealand and he seems to be a landscape photographer. 

He upgraded to DxO PhotoLab Elite 6 after its release earlier this year and has been using it in conjunction with other DxO software as well as applications made by other companies. 

His tutorials on DxO PhotoLab 5 are also useful and applicable to version 6. 

Two videos by DxFlow on DxO PhotoLab 6

DxFlow: Here is why Photolab 6 is the best update they have ever done to Photolab.

“Disclaimer. There are so many great choices out there for RAW editors. I don’t want to start a debate about which one is best. They all have their strengths. All you can really ever say is which one you like the most. For me that is Photolab – no question. But it has had a somewhat hidden (in that it was never talked about too much) limitation in the working colour space. They have finally modernised that aspect and I could not be happier with what I am seeing.”

We’ve been relying upon DxO raw processing and image editing software for almost twenty years now since getting back into photography and video in the digital era and although we continue to try out and buy other such software by other makers, DxO’s products remain our number one choice.

Why?

Because, after spending more decades before that in darkrooms and ruining our health by it, we have limited patience for spending time editing images and we want to get the very best results fast with the option of spending more time and doing more to our images only if we choose to.

DxFlow: DxO Photolab 6’s new colour management – My experience so far

The video today is an attempt to sum up everything I am noticing about the new colour management so far. I am obviously not a colour scientist, so this is very much me sharing what sense I can make of all this. To me, this is still the number one improvement they have made in recent years.

This is DxFlow’s second review video on DxO PhotoLab 6 and there may be more coming soon.

Meanwhile please check out his videos on the previous version of PhotoLab and other software as they’ll also be applicable to version 6.

I’ve been impressed and pleased by my results processing Bayer raw files in DxO PhotoLab Elite 6 in conjunction with DxO FilmPack Elite 6 and the recently-updated DxO ViewPoint 4 especially when applying DeepPRIME XD.

I’m hoping that DeepPRIME XD for Fujifilm X-Trans raw files will be coming soon, but I’ve read this translated comment in the DxO Forums:

“DxO is very demanding in terms of final rendering and that’s why we have not yet wanted to launch DeepPRIME XD for Fuji X-Trans devices because we are not satisfied with the result.”

Meanwhile support for the Fujifilm X-H2 flagship hybrid is coming later this month, December 2022, while the Fujifilm X-H2S flagship hybrid is already supported.

No news yet about support for Fujifilm’s Fujinon XF 18-120mm f/4.0 LM PZ WR stills and movie zoom lens.

Hello,

About cameras, in December you’ll get support of Fuji X-H2, Nikon D100 and Sony FX30. In January you’ll get support of Canon EOS R6 Mark II, Fuji X-T5, OM System OM-5 and Sony A7R V. All will be in PhotoLab 5 and 6, PureRAW 2, FilmPack 6, ViewPoint 4 and Nik 5.

About lenses, Tamron 20-40mm will be supported in December.
You’ll get more news with the release.

Regards,
Marie

Links

  • B&H Affiliate Link – click here to research and purchase or pre-order your choice of cameras, lenses and accessories for stills photography and video production whatever your genre and subject matter and whichever raw processing software you use.
  • DxO – YouTube channel
  • DxO – website
  • DxFlow – YouTube channel
  • DxO Forums – website
  • Unititled.Net –Search results for “DxO PhotoLab 6”.

We Visit Sydney’s Fujifilm House of Photography to See Fujifilm X-T5, X-H2, X-H2S, Fujinon XF 30mm f/2.8 R LM WR Macro & 56mm f/1.2 R WR

Last week we took a quick trip into the city to visit the Fujifilm House of Photography and catch up with some recently and not so recently released Fujifilm APS-C Super 35 cameras and Fujinon XF prime and zoom lenses. 

The risk of infection with the latest variations of the COVID-19 virus remains very real and high given one of us is especially vulnerable due to innate genetic variations so our trips into the Sydney CBD have been much too few and far between. 

They’re a necessity though as it’s just not possible to see Fujifilm cameras and lenses in the few remaining camera stores where we live, while the other brands that we follow including Atomos, Blackmagic Design, DJI, Olympus, Panasonic and Sigma are not well represented here or are not locally stocked at all. 

Fujifilm X-H2, X-H2S, X-T5, Fujinon XF 18-120mm f/4.0 LM PZ WR, 30mm f/2.8 R LM WR Macro & 56mm f/1.2 R WR

Fujifilm X-T5 with Fujinon XF 56mm f/1.2 R WR prime lens. Image courtesy of B&H.
Fujifilm X-H2s with Fujinon XF 30mm f/2.8 R LM WR Macro prime lens. Image courtesy of B&H.
Fujifilm Fujinon XF 30mm f/2.8 R LM WR Macro prime lens with bundled lens hood. Image courtesy of B&H.
Fujifilm X-H2S. Image courtesy of Fujifilm Global.
Fujifilm X-H2. Image courtesy of Fujifilm Global.
Fujinon XF 18-120mm f/4.0 LM PZ WR stills + video zoom lens on Fujifilm X-T4. Image courtesy of Fujifilm Global.

Snapshots from a brief walkabout nearby, made with Fujifilm X-Pro2 & Fujinon XF 14mm f/2.8 R

Links

Fujifilm Releases Video Of & By Maja Lindberg Made With Fujifilm X-T5 & Fujinon XF 30mm f/2.8 Macro Prime Lens (& XF 16-55mm f/2.8 R LM WR Red Badge Zoom )

“”Setting a new standard”.

Photographer Maja Lindberg from Sweden express[es] her creativity using XF30mmF2.8 Macro. See her impression of how the lens supports her works….”

Fujifilm X-T5, Fujinon XF 30mm f/2.8 R LM WR Macro & XF 16-55mm f/2.8 R LM WR Red Badge professional standard zoom

Fujifilm X-T5 in silver with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens. Image courtesy of Fujifilm Japan.
Fujifilm MHG-XT5 Metal Hand Grip for Fujifilm X-T5. Image courtesy of B&H.
Fujifilm X-T5. Image courtesy of B&H.
Fujifilm X-T5. Image courtesy of B&H.
Fujifilm Fujinon XF 30mm f/2.8 R LM WR Macro prime lens with bundled lens hood. Image courtesy of B&H.
Fujinon XF 16-55mm f/2.8 R LM WR professional Red Badge standard zoom lens. Image courtesy of Fujifilm Australia.
Haoge LH-X165 lens hood for Fujinon XF 16-55mm f/2.8 R LM WR Red Badge standard zoom lens. Image courtesy of Haoge.

Another great video by Fujifilm featuring a female photographer and moviemaker, this time from Sweden, made about the Fujifilm X-T5 and Fujinon XF 30mm f/2.8 R LM WR Macro prime and using them as well as the Fujinon XF 16-55mm f/2.8 R LM WR zoom in the production.

The more such videos by and about non-males the better, Fujifilm!

So far everything I’ve seen and read about the Fujinon XF 30mm f/2.8 R LM WR Macro lens tells me it is a great daily-carry “perfect normal” prime lens for photography and videography.

Quite a few online units have been telling us that this lens is only to be used for macro photography but I beg to differ and clearly so does Maja Lindberg.

These wonderful and light-hearted photographs and video about Maja Lindberg by her and My Johansson are an inspiration.

Thank you, Fujifilm.

Links

Fujifilm Releases Fujifilm X-T5 Owner’s Manual As HTML Website & PDF For Download

We always make a beeline to camera manufacturer’s websites when it’s announced that they have released their camera manuals in HTML and PDF formats. 

The days when you could figure all the features of any new camera out by simply turning it on and making a few shots are long gone and a good read of the user manual in print, HTML as a website or as a downloadable PDF document is a necessity nowadays. 

We’re not the only ones who’ve been asking, nay begging, Fujifilm to add the 4:3 and 5:4 aspect ratios to all its cameras regardless of their sensor size.

The 4:3 aspect ratio, 3:4 in vertical portrait orientation, is a much easier one to work with in general compared to Fujifilm XF cameras’ too-narrow 2:3 default aspect ratio which we’ve always found a little too in-between 1: 1 and 16:9 with none of the image design virtues of either.

We learned to design images of all kinds by studying paintings of all eras via postcards, books and eventually in real life at art galleries and museums in the northern hemisphere.

If so many superb artists and photographers of the past and present found 4:3 and 5:4 more appropriate for their work whether in vertical or horizontal orientation then they clearly have their virtues.

Links

Photographing Upper North Shore High Streets As If They’re Frames From A Documentary Movie

It’s an unbreakable rule that we carry a camera and at least one lens with us everywhere we go every day and make at least six exposures each time even if we throw most of them out. 

As with the bodies of athletes, the eyes and shutter release fingers of cinematographers and photographers should be exercised each and every day to some degree. 

Varying what we create images of and how we do it is essential to that exercise regime.

We’ve been thinking about panoramic aspect ratios and longer focal lengths for the safety of distance from locals careless about spreading COVID-19; so today we chose our venerable Fujifilm Fujinon XF 56mm f/1.2 R and selected the most panoramic aspect ratio our daily carry camera offers, 16:9. 

We’d love to supplement our old 56mm f/1.2 with its recent update, the Fujinon XF 56mm f/1.2 R WR, but funds mitigate against that for now as does the need to update so much of our production hardware.

Normally we’d prefer our Fujinon XF 50mm f/2.0 R WR for its more documentary-style fast autofocus and higher optical quality, but our old 56mm lens has a certain charm in its optical character though we’re not really fond of so-called “character lenses” given our documentary background.

We processed these Fujifilm X-Trans raw files in the latest DxO PhotoLab Elite and although the results using DeepPRIME demosaicing and denoising are good, we are so looking forward to DxO’s software developers adding full support for X-Trans including DeepPRIME XD.

Based on our tests of DeepPRIME XD on Panasonic Lumix Bayer raw files from smaller Micro Four Thirds sensors, the ability to select DeepPRIME XD for X-Trans raw files should add extra dimensionality and detail especially in the low values.

We hope we don’t have to wait too much longer for equal and full support for Fujifilm X-Trans raw files in all of DxO’s excellent software.

The locals seem to live in a world all their own with their truck-sized glossy black or road-blending grey European SUVs, huge block-filling European-style or 1920s Hamptons MacMansions with all the built-in gadgets and luxury resort lifestyle optional extras, non-vegan cafés and restaurants and a plethora of real estate agency offices lining every high street.

Given this is what we have here without risking COVID-19 infection by jumping on a bus or train into the city, our nearby localities are as good a documentary subject as any.

We’ll swap making these sorts of images between our Fujinon XF 56mm f/1.2 R and XF 50mm f/2.0 R WR lenses to see what handles the subject matter best without the benefit of DeepPRIME XD at least until DeepPRIME XD supports Fujifilm X-Trans raw files.

Links

  • B&H Affiliate Link – click here to research and purchase or pre-order your choice of camera,  lens and accessories. We currently recommend the X-T5 in combination with the 30mm f/2.8 Macro lens and MHG-XT5 hand grip as an excellent prime lens-oriented starter kit for photography and we’re looking forward to the coming Fujifilm X-Pro4 digital rangefinder camera which we hope will combine the best of the X-Pro2 with the best of the recently-released X-T5 and X-H2.

Fuji Rumors: Fujifilm Managers Interview: About Internal Camera Memory, X Pan Aspect Ratio, ISO Button Gate on X-H2/s and More – FujiCast – Commentary

https://www.fujirumors.com/fujifilm-managers-interview-about-internal-camera-memory-x-pan-aspect-ratio-iso-button-gate-on-x-h2-s-and-more-fujicast/

“In the lastest [sic] Fujicast episode, Kevin and Neale have, among the others, a talk with Fujifilm UK manager Andreas Georghiades and they also go to the Fujifilm headquarter[s] in Japan and talk to product plan[n]ers.

Needless to say, the talk mostly gravitates around the Fujifilm X-T5. Down below is a summary as well as the podcast to listen….”

Commentary

Former Fujifilm X-Photographer Kevin Mullins’ reliance on Fujifilm X-Pro cameras for his photojournalism-style approach was influential in us choosing to invest in Fujifilm’s interchangeable lens camera system so we continue to read his articles, listen to his podcasts and watch his videos.

We don’t always have the time to sit through a full podcast especially when we have a backlog of articles and other projects to get through so we’re always grateful to Patrick DiVino of Fuji Rumors for his excellent point-form summaries of Kevin Mullins’ and Neale James’ The Fujicast podcast.

I found these points of most interest:

1. Fujifilm says they are aware of the issue with jumpy exposure changes when shooting video and they will continue to improve performance and usability.

Fujifilm, please make fixing this your number one firmware update priority for your camera bodies and especially for the promising Fujinon XF 18-120mm f/4.0 LM PZ WR movie plus stills zoom lens.

Users have reported exposure jumps in connection that lens as well as other, older, Fujinon zoom lenses.

2. The managers say they’d like to see more powerzoom lenses.

Fujifilm badly needs to create more prime and zoom lenses that are equally suitable for video production and stills photography.

The XF 18-120mm f/4.0 LM PZ WR is a promising step in that direction especially in the way Fujifilm’s Fujinon cinema lens designers collaborated with the company’s Fujinon XF photography lens designers.

We’re already looking to other lens makers for manual cinema prime and zoom lenses in case Fujifilm doesn’t come good on improving its lens support for video production and Irix has impressed us a great deal with a range of camera mounts on its cinema primes with Fujifilm X-Mount versions coming soon.

We’ve also been looking at DZOFilm’s zoom and prime lenses and the possibility of adapting Arri PL-mount versions of its lenses, especially the DZOFilm Pictor Super35 zoom lenses.

3. 65×24 aspect ratio inspired by X Pan? With high resolution Fujifilm cameras this could be possible. Fujifilm will study the possibility to add more aspect ratio in future.

We’re grateful to Fujifilm for finally adding the incredibly useful 5:4 and 4:3 aspect ratios to the X-T5 and X-H2 cameras and hope they’ll always be included in future cameras too, but surely adding 65:24 aspect ratio to cameras equiped with 40 megapixel sensors or greater is a no-brainer?

4. ISO button issue on X-H2/s (where you can’t assign ISO control to command dial)? The Fujifilm manager says “they will study” it.

We rarely do lots of swapping between ISOs so assigning ISO to a command dial is not a personal priority but assigning other controls to command dials is incredibly useful.

5. Internal memory? Fujifilm offered cameras with internal memory, but they eliminated it to speed up the response time of the camera. But they acknowledge that it might be useful to have a large amount of internal memory, like on smartphones. At this point the UK manager says there is no harm in internal memory, but he would not want to rely on it as his only option and Kevin says he’d love both and use the internal memory as a backup.

The more back-ups the better especially when working on mission-critical projects.

We’ve never had a problem with a memory card failing but we always set our cameras to save to both SD cards when they offer that choice.

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Gordon Laing of Camera Labs Releases In-Depth Review of Fujifilm X-T5 for Photography

Ever-reliable new release camera and lens reviewer Gordon Laing of Camera Labs in Brighton has released his first in-depth review of the Fujifilm X-T5 40 megapixel camera for photography and it is a must-watch that delivers on the user-oriented detail in which he specializes. 

The X-T5 will be a popular choice for those preferring the vintage-style dials and DSLR-style design of Fujifilm’s X-T line and it’s great to see that it is continuing the new 5:4 and 4:3 aspect ratio choices of the X-H2 as well as that camera’s pixel shift capability. 

We love making portraits in the 4:3 aspect ratio, that is, 3:4 in portrait orientation, but lament Fujifilm’s surprising choice not to release a vertical battery grip for the X-T5 as the absence of one will make portraiture in vertical mode and using longer, heavier lenses less fun than it should be. 

My in-depth Fujifilm X-T5 review for photographers!

Fujifilm X-T5. Image courtesy of B&H.
Fujifilm X-T5 in silver with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens. Image courtesy of Fujifilm Japan.
Fujifilm MHG-XT5 Metal Hand Grip for Fujifilm X-T5. Image courtesy of B&H.
Fujifilm X-T5. Image courtesy of B&H.
Fujifilm X-T5. Image courtesy of B&H.
Fujifilm X-T5. Image courtesy of B&H.
Fujifilm X-T5 with Fujinon XF 56mm f/1.2 R WR prime lens. Image courtesy of B&H.
Fujifilm X-T5 with Fujinon XF 50-140mm f/2.8 R LM POS WR telephoto zoom lens. Image courtesy of B&H.
Fujifilm X-T5 with Fujinon XF 8-16mm f/2.8 R LM WR wide-angle zoom lens. Image courtesy of B&H.
Fujifilm X-T5. Image courtesy of B&H.
Fujifilm X-T5. Image courtesy of B&H.
Fujifilm X-T5. Image courtesy of B&H.
Fujifilm X-T5. Image courtesy of B&H.
Fujifilm X-T5. Image courtesy of B&H.
Fujifilm NP-W235 Lithium-Ion Battery (7.2V, 2200mAh) for Fujifilm X-H2, X-H2S, X-T4 and X-T5. Image courtesy of B&H.

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