“This exciting prime provides ultra wide-angle coverage up to 113° angle of view which is the widest in its class. The tiny size & light weight match perfectly with mirrorless cameras and are suitable to use with gimbals. 2 aspherical elements plus 3 extra-low dispersion elements successfully correct the chromatic aberration, realize a close-to-zero distortion & deliver a corner to corner sharpness….”
“… How did you decide on what video features to include in the camera? Some expected features – like zebra – are missing.
Honestly, we couldn’t add zebra because of hardware constraints. The processor cannot support it. It requires too much processing power. At this time, we’ve achieved the best possible performance for the processor….
… Is 8-bit capture enough, for F-Log recording?
There are 10-bit cameras on the market, but we recommend using Eterna to short-cut the recording process. We think 8-bit is enough for good quality….”
With the X-H1 Fujifilm has successfully pulled off the in-body image stabilization that we were told was simply not possible, and what a success Fujifilm’s IBIS appears to be with a maximum of 5.5 stops for non-stabilized lenses like the Fujinon XF 35mm f/1.4 R.
With the X-H1 positioned as a hybrid for stills photographers and independent moviemakers, the camera’s other specifications are something of a compromise and that is also due to being equipped with the same X-Trans CMOS III APS-C sensor and X-Processor Pro used in its older Fujifilm siblings such as the X-Pro2 and X-T2.
The rumor sites have reported, though, that the Fujifilm X-T3 DSLR-style camera will be announced later in the year at photokina and will have a new X-Trans sensor of between 24 and 30 megapixels, and a new X-Processor Pro, although no IBIS.
With a more powerful processing engine on the way, Fujifilm may be able to add three crucial features missing from the X-H1 – exposure zebras, 10-bit 4:2:2 4K video and 4K 60fps – to its successor, presumably to be named the X-H2.
I am hoping that this new sensor and processor will find its way into the successor to my beloved X-Pro2, probably to be named the X-Pro3, along with a much improved electronic viewfinder (EVF) to match the already high quality of the X-Pro2’s Advanced Hybrid optical viewfinder and monitor.
The X-Pro2 is the almost perfect, affordable documentary photography and photojournalism rangefinder camera and I am looking forward to adding wider and perhaps longer Fujinon X-Mount lenses to my kit for use with a brighter, clearer and more colour-accurate EVF on a zebra-equipped X-Pro3.
The X-H1 is a remarkable advance in Fujifilm’s DSLR-style offerings and will be snapped up by those of us still able to work commercially or with large enough budgets to acquire each new camera that appears.
Being a self-funded documentarian nowadays, I have to be more cautious with new gear and so am looking forward to the X-H2 and especially the X-Pro3.
“… My attraction to optical viewfinders has to do with visual simplicity. Specifically, when composing a photograph, I don’t want to have to peer through a barrage of backlit numbers and flashing icons. I want zero distractions—I don’t want my subject bordered by a Broadway theater marquee….”
The appearance of this article by Allan Weitz is a timely one given I am currently contemplating buying a Fujinon XF 14mm f/2.8 R ultra wide-angle prime lens for my Fujifilm X-Pro2, for architectural and documentary photography.
I had hoped to use this beautifully optically-corrected 21mm equivalent (in the 35mm sensor format) lens to shoot high quality 4K video on my X-Pro2 too but have set this plan aside after finding that Fujifilm dropped the ball on allowing us to customize picture profiles and especially sharpness settings in their recent 4K video firmware update for the X-Pro2, doing a Canon by crippling a long-promised, much-needed functionality.
I hope we do not have to wait too long for the ability to customize sharpness, noise reduction, contrast, colour, highlight tone and shadow tone for video as is permitted on all the other current and recent generations of Fujifilm cameras so I can put my X-Pro2 to work on producing great video footage to match the high quality of its stills.
The Eterna video picture profile would also be very welcome on the X-Pro2.
The X-Pro2’s amazing Hybrid Multi Viewfinder that I love using in its ERF-in-OVF mode for stills and video, with electronic rangefinder (ERF) image lower right in the camera’s optical viewfinder, can only properly handle focal lengths between 18mm and 56mm inclusive, so I must rely on the X-Pro2’s excellent though non-articulated monitor or its suboptimal electronic viewfinder (EVF) for lenses wider than 18mm or longer than 56mm.
When reading Mr Weitz’ article on optical viewfinders, I was reminded of how useful I found the OVFs on the Linhof, the Graflex Crown Graphic upon which I relied in my magazine photography career, my Rolleiflex twin lens reflex cameras and the odd borrowed specialist camera such as the superb Hasselblad XPan panorama camera and Hasselblad SWC Superwide.
The XPan was made by Fuji Camera as it was then known and marketed in Japan under its own product designations, the Fuji TX-1 and Fuji TX-2.
Leica has produced its superb but incredibly expensive external optical viewfinders for many years now, from long before the famous portrait of a young Henri Cartier-Bresson with external OVF-equipped early 20th century Leica was made.
Something I especially like about composing through an optical finder is that unlike the black-bordered, tunnel-like view of the scene you get with LCD, electronic, and conventional reflex viewing systems, optical finders allow you to see beyond the borders of the frame, which gives you a definitive edge when photographing fleeting moments.
I am now in the market for a good but affordable 21mm optical viewfinder to go with the second-hand Fujinon XF 14mm f/2.8 R that its current owner is currently using on a trip to India and hopefully the lens will return safe, sound and free of dust.
Fujifilm, Voigtländer or another brand altogether, I am looking forward to the digital version of a camera view-finding experience that I grew to love during the era of analog cameras, film, photochemicals and, sadly for me, a debilitating photochemically-derived dermatitis that prematurely ended my magazine photography career.
Roll on digital photography!
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Fujifilm has announced the Fujifilm X-H1 photography and video hybrid APS-C Super 35 DSLR-style camera, and it comes with a range of new features and features yet to arrive and that may appear in firmware updates later in the year or not at all.
Fujifilm also announced the long-awaited X-Mount versions of its first two affordable parfocal cinema zoom lenses for use with its X-Mount Super 35/APS-C cameras and especially the X-H1, the Fujinon MKX 18-55mm T2.9 and Fujinon MKX 50-135mm T2.9,
Fujifilm X-H1 with Fujinon XF 16-55mm f/2.8 R WR zoom lens
Fujifilm X-H1 with Fujinon XF 16-55mm f/2.8 R WR zoom lens
Fujifilm X-H1 with Fujifilm VPB-XH1 Vertical Power Booster Grip
Vistek | Your Visual Imaging Experts – Fujifilm X-H1 Review – “Fashion photographer Nick Merzetti and Vistek video producer Dale Sood give us a full review of the video and photo features of the new Fujifilm X-H1.”
“In case you missed it, I have google translated to English the entire press release leaked in German as well as manually translated the full specs sheet (see below). You can also download the specs sheet in English here at my dropbox….”
Fuji Rumors has outdone itself on the Fujifilm X-H1 with heavily detailed specifications lists, press releases, images and size comparisons between the X-H1 and other hybrid stills/video cameras whether mirrorless or DSLR, in advance of Fujifilm’s official X-H1 product announcement on February 15.
That announcement will no doubt also include the X-Mount versions of Fujifilm’s MK Series 18-55mm T2.9 and 50-135mm T2.9 cinema zoom lenses, previously released in E-Mount versions for Sony cinema and Sony Alpha hybrid cameras in the α7 and α9 series.
I will be publishing official product photographs, specifications, and links to articles and videos by moviemakers and photographers who have been working with pre-production versions of the Fujifilm X-H1 and X-Mount versions of the Fujinon MK Series zoom lenses after Fujifilm’s announcement on the 15th and no doubt that article will be a lengthy one.
With the leaks by DigiCame-Info, Fuji Rumors and Nokishita, there has been much discussion and speculation at online moviemaking fora, much of it comparing the X-H1’s video specifications to Panasonic’s Lumix DC-GH5 and DC-GH5S Super 16/Micro Four Thirds cameras, and Samsung’s discontinued but still revolutionary Super 35/APS-C NX1.
All three cameras raised the bar for mirrorless video very high indeed.
This is the set of video-centric features I have been hoping to see appear in the X-H1:
4K UHD and 4K DCI 200 Mbit
5-axis in-body image stabilization (IBIS) that works in conjunction with optical image stabilization (OIS)
Battery grip with full controls for vertical/portrait orientation
Decent battery sizes
Decent body grip
Decent set of of well-spaced colour-matched native X-Mount prime and zoom lenses with manual clutch focus or at least linear focus-by-wire
Dual memory card slots
Exposure zebras with ability to set percentages/IRE levels
External recording via HDMI 2.0+
Full 10-bit internal F-Log
Fully-customizable picture profiles
In-body audio-monitoring aka headphone port
Unlimited recording duration
Viable eye and face autofocus
How many of these boxes, as it were, will the DSLR-style Fujifilm X-H1 tick and how much will any non-inclusion of essential features mitigate against the X-H1 in being a viable, up-to-date video camera for the sorts of productions that warrant Super 35 image quality?
Or, will that good old Australian saying, “close enough is good enough”, be applicable enough in the case of the Fujifilm X-H1?
Fujifilm has announced the Fujinon XC 15-45mm f/3.5-5.6 OIS PZ collapsible power zoom lens and the first Fujifilm APS-C/Super 35 rangefinder-style cameras for which it will be the bundled kit zoom, the X-A5 and X-A20.
The XC 15-45mm offers a short standard focal length range of 15mm to 45mm in APS-C sensor format, the equivalent of 23mm to 69mm in the 35mm sensor format, and is well-priced for purchase separately from either camera at less than half the cost of Fujfilm’s XF series kit zoom, the Fujinon XF 18-55mm f/2.8-4 R LM OIS.
Since purchasing my Fujifilm X-Pro 2 with an eye to using it for fly-on-the-wall documentary stills and video, along with two of Fujifilm’s best available darkness prime lenses, the Fujinon XF 23mm f/1.4 R and XF 56mm f/1.2 R, I have experienced twinges of regret for not being able to add the XF 18-55mm lens at the time for access to some of my other favourite documentary focal lengths – 18mm, 27mm and 50mm – or the 21mm-equivalent XF 14mm f/2.8 R.
“This image is from an X-Trans raw file (Fuji sensor.) These are normally a big challenge for raw processors but I was able to process it quickly and effectively with ON1 Photo Raw 2018 using 2 of my favorite filters- Dynamic Contrast and Color Enhancer….”
Although I am not fond of DLSR-style cameras for stills photography, preferring the DSLR form factor for video cameras so long as they are equipped with fully articulating monitors, I find the Panasonic Lumix DC-G9 intriguing for its feature set and its promise as a smallish, fast-to-use camera for news, events and magazine feature photography.
For the urban documentary stills photography which I also practise, I still vastly prefer rangefinder and rangefinder-style cameras with tilting electronic viewfinders and hope that we can expect a Panasonic Lumix DC-GX9 tilting EVF camera in the near future.
It is early days insofar as hands-on professional user reviews of the Panasonic Lumix DC-G9 go, and I am looking forward to learning about how its many new features work out in practice.
I can visualize how the G9’s wildlife and sports photography-oriented features will make the job of those photographers lighter, faster and easier.
As a former magazine and daily newspaper photographer I can extrapolate how photographers in those fields will benefit especially given the tight deadlines of the newspaper business.
The G9’s 80-megapixel high resolution mode has piqued my interest, even more so now that I have been asked if I want to take up architectural photography again.
Food for thought.
Digital medium format photography costs far more to get into than large format analog photography ever did, in my experience.
Unless shot strictly for magazine, print or web publication, architectural photographs need to be usable at high reproduction sizes for displays and posters.
I love Micro Four Thirds and APS-C mirrorless, and medium format digital hardware suitable for architectural photography is well beyond my current means.
Medium format image quality, micro four thirds sensor size?
Is the G9’s 80-megapixel high resolution mode the way to go when needing to go large?
I made a living in magazine editorial portraiture as a result of my fine art portrait photography, relying on large and medium format analog cameras for the most part, supplemented with Leica analog rangefinders when portability and speed were of the essence.
Photographic prints shown in galleries gain authority and power when printed large, traits often lost when reproduced small.
Should I consider getting back into creating larger format photographs for exhibition?
My question is, then, does the G9’s 80-megapixel high resolution mode permit applying it to the sort of portrait photography I love to this day?
One thing I know for sure is that Panasonic’s Micro Four Thirds sensors have close to the perfect aspect ratio for environmental, full-face, head-and-shoulders and full-figure portrait photography, whether in landscape (horizontal) or portrait (vertical) orientation – 4:3 or 3:4.
If the Panasonic Lumix G9’s 80 megapixel high res mode proves usable for my type of portrait photography, then that nudges it well into medium format territory for me, but at a far more affordable price than the other current contender, the Fujifilm GFX 50S.
Panasonic Lumix GH5, G9 and GX8 and then some, compared at Compact Camera Meter
Until the unexpected appearance of the G9, the GX9 was the Lumix stills-oriented camera most expected to be announced late this year or early the next.
Until now, the GX8 has been Panasonic’s flagship stills photography camera.
The rangefinder-style GX8 is very different in size and weight to the DSLR-style G9 so I compared it with the G9 and GH5 at the Camera Size website, with two lenses in which I am interested, the Panasonic Leica DG Vario-Elmarit 8-18mm f/2.8-4.0 Aspheric zoom and the Panasonic Leica DG Elmarit 200m f/2.8 Power OIS telephoto.