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Posts Tagged ‘Fujifilm’s’

Mount any Canon EF lens to Fujifilm’s GFX cameras with Metabones new EF-GFX Smart Expander adapters

19 Nov

Metabones has announced the release of the EF-GFX Smart Expander, a new adapter that makes it possible to use every Canon EF mount lens on Fujifilm GFX camera systems.

The adapter uses an optical design consisting of five elements in three groups to multiply the focal length and F-stop of Canon EF-mount lenses by 1.26x to match the image circle of EF lenses to Fujifilm’s GFX cameras while retaining the same diagonal field-of-view.

A front and back view of the EF-GFX 1.26x Smart Expander adapter.

The EF-GFX Smart Expander offers electronic integration, including support for phase-detection autofocus (PDAF), in-body image stabilization (IBIS), optical image stabilization on stabilized lenses and smooth iris on lenses that support it. The adapter features a physical toggle that can switch between auto aperture (for use with Program and shutter priority shooting modes) and manual aperture (for use with aperture priority or manual exposure). If an entirely manual lens is attached, the button will bring up the manual lens selection option on the GFX camera system being used so you can manually enter the focal length to account for IBIS operation and EXIF data.

As you would expect for such an all-encompassing adapter, there are some limitations in place. Below are a number of issues Metabones is aware of as of the initial release of the adapter:

  • In some rare cases lens hoods designed for 3:2 may need to be removed for 4:3 use with Smart Expander.
  • Each lens needs to go through a calibration procedure when first used. Refer to the online user manual on Metabones’ web site for instructions.
  • Autofocus may have unsatisfactory performance and may not work at all with some lenses
  • For video autofocus, increasing FOCUS SENSITIVITY and decreasing AF SPEED are required under the AF-C CUSTOM SETTING (MOVIE) menu.
  • AF+MF and lens aberration correction are not supported.
  • Some film-era lenses may not be able to achieve the sufficient AF accuracy required for digital cameras. Worn lenses with faulty sensors may lead to AF problems on a mirrorless camera even though the lens may appear to function normally on a DSLR.
  • Aperture diaphragm makes frequent noises with older lenses. Use aperture priority and manual exposure modes, or use a lens which supports smooth iris.
  • With IS/OS/VC lenses the IS MODE setting is ignored and both SHOOTING ONLY and CONTINUOUS modes behave in the same way which is similar to a Canon camera but different from what Fujifilm OIS lenses do. This is done to maximize IS effectiveness. A negative consequence of this is that there may be no OIS during focus check.
  • MF Distance Display does not work (although AF Distance Display does if the lens transmits distance information).

Metabones has included a Micro USB port on the adapter so future firmware updates, some of which may address the above issues, can be installed via its macOS and Windows Metabones app.

A front and back view of the optics-free version of the EF-GFX Smart Expander adapter.

The Metabones EF-GFX Smart Expander 1.26x is available now for $ 729 through its online shop and authorized Metabones retailers. An optics-free version of the EF-GFX Smart Adapter is also available for $ 439.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm’s GF 30mm F3.5 R WR lens to ship in late July

30 Jun

Fujifilm has announced that its GF 30mm F3.5 R WR wide-angle lens will ship in late July or early August for $ 1699. The lens, which has been on the G-mount roadmap for several months, is equivalent to a 24mm lens when mounted on a GFX body.

The GF 30mm F3.5 has a total of 16 elements, including aspherical and extra-low dispersion glass. Focusing is internal and the lens has been designed to minimize focus breathing. It’s lightweight and compact (relatively speaking), weighing in at 0.5kg (1.1lbs). The ‘WR’ in the product name indicates weather-resistance, and Fujifilm says that the lens can operate at temperatures as low is -10°C (+14°F).

View our GF 30mm F3.5 sample gallery

Press release

Fujifilm Launches FUJINON GF30mmF3.5 R WR Lightweight, High Resolution Lens

Valhalla, N.Y., June 30, 2020 – FUJIFILM North America Corporation today announced the launch of the FUJINON GF30mmF3.5 R WR (GF30mmF3.5 R WR), a wide-angle prime lens with a focal length equivalent of 24mm (in the 35mm film format) for the FUJIFILM GFX System of large format*1 digital cameras.

With its dust and weather-resistant design, the GF30mmF3.5 R WR caters to a variety of shooting styles including landscapes, architecture, as well as casual snapshots on the move. “This lens is a great compliment to our existing series of GF lenses and gives image-makers a great wide-angle option for landscapes, architecture, or wide environmental portraits,” said Victor Ha, senior director, marketing and product management with the Electronic Imaging Division of FUJIFILM North America Corporation. “We are really excited to see the images our community will make with this lens.”

Main product features:

Image quality

The lens consists of thirteen lens elements in ten groups, including two aspherical elements and two extra-low dispersion (ED) elements. The high-performance lens groups are positioned to control various aberrations, especially distortion to which wide- angle lenses are prone, to achieve edge-to-edge sharpness. The lens is able to resolve an impressive amount of detail, compatible with 100MP sensors — “enabling the photographer to re-create the atmosphere of each scene with a sense of visual honesty and feeling,” said Ha.

Portability

This compact lens weighs approximately 18 ounces (510g) and measures 3.9 inches (99.4mm) with a maximum diameter of 3.3 inches (84mm). In addition, the slim design balances well on a GFX System camera, making it a perfect lens to carry on-the-go.

Performance

The new GF30mmF3.5 R WR lens uses an internal focusing system, offering fast and quiet autofocus (AF). Focus breathing is just 0.05%, making it a great lens for recording video. Like all of Fujifilm’s lenses in the GF family, the GF30mmF3.5 R WR incorporates Fujifilm’s optical design and production technology processes to achieve a sub-micron level precision lens surface. This allows the lens to bring out the full potential of the FUJIFILM GFX 50S and GFX 50R mirrorless digital cameras, as well as the 100MP image sensor of the FUJIFILM GFX 100.

Durability

The lens is sealed at nine locations to make it dust and weather-resistant. It can also be used in temperatures as low as 14°F (-10°C), offering photographers peace-of-mind when shooting in inclement weather or dusty environments.

The GF30mmF3.5 R WR lens will be available in late July or early August in the U.S. and Canada for a manufacturer’s suggested retail price of USD $ 1699.95 and CAD $ 2299.00. For more information, visit https://fujifilm-x.com/en- us/products/lenses/gf30mmf35-r-wr/ .

*1 Fujifilm’s large-format GFX System digital cameras include an image sensor that measures 55mm diagonally (43.8mm x 32.9mm), with an area approx. 1.7 times that of a full-frame 35mm sensor.

Fujifilm GF 30mm F3.5 R WR specifications

Principal specifications
Lens type Prime lens
Max Format size Medium Format (44x33mm)
Focal length 30 mm
Image stabilization No
Lens mount Fujifilm G
Aperture
Maximum aperture F3.5
Minimum aperture F32
Aperture ring Yes
Number of diaphragm blades 9
Optics
Elements 13
Groups 10
Special elements / coatings 2 aspherical + 2 ED elements
Focus
Minimum focus 0.32 m (12.6)
Maximum magnification 0.15×
Autofocus Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 508 g (1.12 lb)
Diameter 84 mm (3.31)
Length 99 mm (3.9)
Materials Magnesium alloy
Sealing Yes
Colour Black
Filter thread 58 mm
Hood supplied Yes

Articles: Digital Photography Review (dpreview.com)

 
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CamFi update adds wireless tethering support to Fujifilm’s most popular cameras

09 Apr

CamFi has announced the latest version of its application now supports wireless tethering for some of Fujifilm’s most popular camera systems.

The app update supports the following Fujifilm cameras: X-T2, X-T3, X-H1, GFX 50R, GFX 50S and GFX 100, and will work with the CamFi’s CF 101, CF 102, CamFi Pro and CamFi Pro Plus units. In addition to nearly instantaneous image transfers to laptops or mobile devices over Wi-Fi, the update also supports live view mode, remote capture, time-lapse, HDR and focus stacking modes.

CamFi has also added the ability to save a Raw image to the camera’s SD card while remotely transferring over the JPEG to the connected device, allowing for quicker transfers while still getting an image preview. A new USB connector for Fujifilm cameras has also been released, which CamFi says will extend the battery life of the CamFi unit’s battery from one hour to three hours.

The CamFi mobile app update is available to download in the Google Play Store and iOS App Store, where it’s rated 3.4 stars and 2.9 stars, respectively. The macOS and Windows desktop apps are available to download on CamFi’s website.

CamFi app update adds wireless tethering support for popular Fujifilm cameras

Guangdong, CHINA—April 8, 2020—CamFi, maker of wireless camera controllers, today announced that the new version of its app adds wireless tethering support for Fujifilm cameras. This feature allows the photographer to transmit photos from a Fujifilm camera to a laptop or a mobile phone via Wi-Fi automatically during a photo shoot.

“It is not very convenient to review the photos on a mobile device or a Mac while shooting by Fujifilm camera,” explained Mark Ma, CEO of CamFi. “The built-in Wi-Fi is too slow. Our new feature changes all that. Now, our device and app will speed up the workflow of photographers who use Fujifilm cameras.”

The new version of the app delivers a great deal of convenience to Fujifilm photographers. It supports the most popular Fujifilm cameras that are available after this update, including X-T2, X-T3, X-H1, GFX 50R, GFX 50S and GFX 100. The new version of the app also supports live view, remote capture, time lapse, HDR and focus stacking. Furthermore, this version allows photographers to save an image’s RAW file on the camera’s SD card and transfer the JPG file to the client device only. This capability can shorten the time required to review the photo.

All existing users of CamFi CF 101, CF 102, CamFi Pro and CamFi Pro Plus can upgrade their firmware with this version. Windows, Mac, iOS and Android platforms are all supported.

To prevent draining the battery of the CamFi device, CamFi also released a new USB connector for Fujifilm cameras. It will extend the work time of CamFi’s battery from 1 hour to 3 hours.

Articles: Digital Photography Review (dpreview.com)

 
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Opinion: Fujifilm’s decision to omit the headphone jack on the X-T4 is a mistake

28 Feb
Want to monitor audio while shooting video on the Fujifilm X-T4? You’ll need a dongle.

Just a quick warning: I’m going to clobber Fujifilm a bit in this column. But not until I praise Fujifilm.

A few short years ago, Fujifilm was the last camera company I associated with great video. At a time when competitors’ cameras were capturing serviceable 1080p footage, Fujifilm’s models slotted in somewhere between the Fisher Price Elmo video camera and the iPhone 4 in terms of video quality.

A ‘worst to first’ story?

My, how times have changed.

Today, Fujifilm is a shining example of what’s possible when a traditional camera company decides to tackle the challenge of video. There’s no complacency here, and in recent years the company has not only caught up with, but surpassed, many of its competitors in key areas. Recent models deliver beautiful 4K video, 10-bit color and support the H.265 codec up to 400 Mbps. F-Log gamma provides post-processing flexibility, and the gorgeous Eterna film simulation delivers beautiful cinematic footage.

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Fujifilm’s early efforts at video were less than spectacular. In recent years, however, the company stepped up its game and is a top contender in the mirrorless arena.

With the X-T4, Fujifilm dials it up a few more notches. In-body image stabilization, separate menus for stills and video, F-Log view assist for visualizing a LUT in-camera, 240 fps recording, a dedicated Q-menu for video and much more show that Fujifilm is serious about appealing to video shooters.

That’s why its decision to omit a headphone jack from the X-T4 is simply mind boggling, especially considering that the X-T3 includes one. Here’s the problem: being serious about adding features that people want and recognizing how customers actually use your product are two different things.

Being serious about adding features that people want and recognizing how customers actually use your product are two different things

For all the great improvements – and they are great – the X-T4’s design overlooks one of the most basic principles a video shooter cares about in the field: a reliable workflow with as few points of failure as possible. Every time you introduce something like an adapter between connectors you increase the risk of something going wrong. Some things will always go wrong in the field, but there are certain key things that just can’t go wrong, and the ability to monitor audio is one of them.

I’ve been here before

I was an early adopter of mirrorless cameras for video work and embraced models like the Panasonic GH2. There was a LOT of room for improvement in that camera, but I found reasonable workarounds for most things.

However, it had a big Achilles heel, and it’s almost the same one as the X-T4: it used a non-standard 2.5mm microphone jack that was incompatible with the standard 3.5mm plug on most hot shoe microphones (like the Rode VideoMic series).

I ordered a couple adapters and threw them into my bag, but adapters and dongles have a habit of disappearing or failing without warning. As a result, I subsequently ran into several situations where I couldn’t connect a microphone due to a missing or, in at least one case, a defective adapter. Was it the end of the world? No, but it was very disruptive and frustrating, particularly since the camera included a jack – just a non-standard one.

Requiring an adapter to monitor audio on the X-T4 is reminiscent of Panasonic’s decision to use a non-standard 2.5mm microphone jack on the GH1 (above) and GH2 – something that wasn’t popular among videographers.

When this happened, it didn’t matter how capable the GH2 was when it came to video quality. The fact that it introduced a point of failure to one of the most fundamental parts of my workflow did. Where will you be when you discover you’re missing the USB adapter for the X-T4? I don’t know, but the things I do know are 1) it’ll be precisely when you most need it, and 2) USB to 3.5mm adapters aren’t the easiest thing to replace quickly, unless you’re lucky enough to be close to a big box or electronics store.

If fairness to Fujifilm, there’s one way to get a headphone jack on the X-T4: you can use the battery grip. This may appeal to some people, but unless you need the grip it’s basically a really big dongle. The headphone jack should really be an integral part of the camera.

Why Fujifilm needs to get this right

Some may argue that the X-T4 isn’t a ‘real’ video camera, and therefore omitting a headphone jack isn’t a big deal. You’re right: it’s not a C200 or an FS7 or anything else in that class. It doesn’t have XLR inputs, SDI connectors or any number of other things. Also, one could fairly argue that the Fujifilm X-H1—a camera we praised for its video capabilities—had the same limitation, so why complain?

Because the basic definition of what a video camera is has evolved, particularly in the prosumer market; whether for size, budget or just familiarity, many creators—including enthusiasts exploring the world of video—are now using mirrorless cameras to produce content that would have required a pro video camera in the past.

Fujifilm, if you want to appeal to videographers please don’t introduce a potential point of failure to a critical part of the workflow.

I’m convinced that Fujifilm is trying to appeal to these users, and it’s certainly getting their attention with a product like the X-T4. Not only can it shoot beautiful video, but it’s a pretty self-contained, stand-alone solution thanks to all the tech packed into it.

Which is why removing a feature that’s so critical to the video production workflow, and which was included on the camera’s predecessor, is simply baffling. It suggests that while Fujifilm has done an amazing job of adding features that videographers will love, it still doesn’t quite understand how they work.

Despite what I’ve written here, I’m really looking forward to using the Fujifilm X-T4 to shoot video. It’s an exciting camera and I already know I’m going to love it, but I’ll have several USB to 3.5mm adapters in my possession before I commit to using it for anything serious.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm’s new Instax Mini 11 features an ‘Automatic Exposure’ mode and dedicated ‘Selfie Mode’

27 Feb

Although not nearly as exciting as its new X-T4 camera, Fujifilm has also announced the Instax Mini 11, its latest-generation instant film camera.

The Instax Mini 11 looks very similar to its predecessor, the Mini 9 (don’t ask where 10 went), but it’s received a subtle facelift. Specifically, the camera is more rounded than before and uses a material around the lens that’s different from the material used in the rest of the camera body. The shutter button and the button used to extend the lens now have dimples as well, presumably to make it easier to locate the buttons by feel when shooting.

Aside from the slight design change, Fujifilm has also added an Automatic Exposure mode that adjusts the shutter speed and flash output based on the ambient lighting environment. Previously, the only option was to choose from a selection of presets that were changed by twisting a ring around the lens.

Fujifilm has also added a new Selfie Mode that, according to Fujifilm, ‘makes it super easy to take selfies and close-up pictures.’ A small convex mirror on the front of the camera makes composing selfies a bit easier as well (this has been on previous-generation Instax Mini cameras).

The Mini 11 also comes in different color options: Blush Pink, Sky Blue, Charcoal Gray, Ice White and Lilac Purple. The Instax Mini 11 is set to ship in mid-March with an MSRP of $ 69.95. In addition to the new camera, Fujifilm has also unveiled two new Instax film varieties: Instax Mini Blue Marble film and Instax Square White Marble film.

{pressrelease}

Fujifilm Unveils Its next Generation Instant Camera: The New Instax Mini 11 Is Here!

Valhalla, N.Y., February 25, 2020 – FUJIFILM North America Corporation is pleased to announce the launch of INSTAX® Mini 11 (Mini 11), the latest innovation in its long line of popular INSTAX instant cameras and Smartphone printers.

The INSTAX® Mini 11 has been designed for optimal portability along with a fresh, trendy look. Available in five new colors, the Mini 11 boasts the following new features and benefits:

Automatic Exposure function for better pictures day or night

The “Automatic Exposure” function automatically senses the level of ambient light when the shutter button is pressed, and optimizes the shutter speed and flash output according to the condition. It allows even novice INSTAX® users to take photos that are automatically properly exposed regardless of conditions, producing high-quality instant photo prints on the spot.

Selfie Mode for quick and easy selfies

Users can activate the Selfie Mode, perfect for taking selfies and close-up shots, by simply pulling out the front end edge of the lens after powering the camera on. This makes it super easy to take selfies and close-up pictures.

Custom, interchangeable shutter buttons for style and personalization

The Mini 11 comes with two replaceable and stylish shutter button stickers; a fun and easy way to change the button’s look and to personalize the camera.

Updated design with attention to detail

Mini 11’s rounder, softer, modern look is a direct homage to its Mini 9 predecessor. Contrasting design elements on the Mini 11 are achieved by using a different material around the lens from the rest of the camera body. The Mini 11 is available in five pastel, pale-tone colors – Blush Pink, Sky Blue, Charcoal Gray, Ice White, and Lilac Purple.

Also accompanying the launch of this exciting new instant camera are two new INSTAX instant film varieties; INSTAX® Mini Blue Marble film and INSTAX® Square White Marble film. Both have marble-patterned print frames transforming everyday photos into unique, fun keepsakes.

Fujifilm’s INSTAX® Mini 11 instant camera will be available at a manufacturer’s suggested retail price of $ 69.95 USD ($ 89.99 CDN) and is expected to be available for purchase mid-March, 2020.

{/pressrelease}

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm’s X Summit livestream hints at new product launch

04 Feb

Fujifilm will be livestreaming its X Summit 2020, which is taking place in London tomorrow at 8pm GMT / 3pm EST / noon PST, with panel discussions and maybe even a product announcement.

DPReview’s own Barney Britton will be on the panel, along with senior management from Fujifilm and pro photographers, which will make for an interesting discussion.

The livestream can be watched on Fujifilm’s website or on YouTube.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: What Happened To Fujifilm’s ‘Kaizen’ Updates?

12 Jan

Fujifilm built a reputation for continuous improvement to its products, a process frequently referred to as ‘Kaizen’. But in 2019, we saw major firmware improvements from just about every camera company except Fujifilm. Chris and Jordan ask, “What happened to Kaizen?”

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • What is 'Kaizen'?
  • Chris and Jordan discuss…
  • Conclusion

Articles: Digital Photography Review (dpreview.com)

 
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The X-A7 is Fujifilm’s first good entry-level mirrorless ILC

13 Sep

Back when Fujifilm announced the X-A5 in early 2018, it sounded like a really appealing entry-level ILC; in terms of spec, at least. It had an time-tested 24MP APS-C sensor, on-sensor PDAF, a flip-up touchscreen display, 4K video capture, a mic socket and great battery life.

Unfortunately, aside from image quality, the X-A5 turned out to be a pretty lousy camera. It was very sluggish and the autofocus system was unreliable. While it could indeed capture 4K video, it was at 15 frames per second, which is essentially an 8MP burst mode (or silent-era movie simulator). Everyone knows that Fujifilm is capable of making excellent cameras (like the X-T3), which made the X-A5 that much more disappointing.

The new X-A7 gives me hope. It’s way faster, has a more robust AF system, a fully articulating touchscreen, AF joystick, a USB-C port and oversampled 4K capture, all for under $ 700 with a lens. And it comes in mint green!

Aside from the color of the camera Fujifilm sent us, what grabbed my attention first was that 3.5″, 2.76 million-dot display, which is the best I’ve seen on a low-priced camera – by a large margin. The screen has a 16:9 aspect ratio, which means that you’ll get black margins when shooting stills. But if you’re into vlogging, that aspect ratio, paired with the built-in 2.5mm mic socket (a 3.5mm adapter is included) and oversampled, uncropped 4K/30p make the X-A7 an appealing option, unless its 15 minute recording limit is an issue.

In order to incorporate the large LCD, Fujifilm has had to redesign the back of the camera. The four-way controller has been replaced by an 8-way joystick which, while on the small side, works well.

Since the four-way controller is gone, getting at some settings is a bit harder. Accessing the touch-enabled Q.Menu requires two taps on the display, while the self-timer needs to be assigned to a custom button (Strangely, there’s no way to assign the Q.Menu to a custom button – at least, not yet.)

The rear dial moved to a more traditional position on the top plate, as opposed to the one that was upward-facing dial on the back of earlier models. The power switch has been transformed from a switch to a button that sits in-between all of the dials. As someone who was constantly turning the X-A5 (and X-T100) on and off accidentally due to the switch’s placement, I appreciate this change.

The X-A7 has a refined, touch-enabled menu system

While I was drooling over the display, my colleague Carey was scrolling through the menus, noting how much more responsive they were than on the X-A5 and X-T100. While we can’t put a number to it, it’s clear that the X-A7 got a processor bump of some sort. I wondered if that translated to faster burst shooting or a larger buffer, but it did not: it’s still 6 fps, for up to 4-5 shots.

Pressing the menu button brings up this new on-screen UI

After stealing the camera back from Carey, I toyed with the new touchscreen interface, which has simple on-screen buttons for adjusting focus mode, brightness, skin softening and a few other things, depending on the shooting mode. A button for accessing the touch-enabled Q.Menu is also here.

One very cool thing that Fujifilm snuck in appears when you change the Film Simulation mode: a side-by-side view showing comparing your current mode versus the other options. You can even move a slider (shown in the video above) back and forth. This isn’t a feature I’ve been dreaming about, but now that I’ve seen it, I’m hoping that it appears on more cameras.

It’s nice to see that Fujifilm has released a camera that actually surpasses our expectations for an entry-level product

Seeing how I’ve only used the camera for a day, it’s too early to make any judgments about image quality or autofocus performance. Fujifilm says that the 24MP sensor is newly developed, with copper wiring and fast readout speeds (something it also said back when the X-T2 was introduced). The autofocus system has phase-detect points across the whole frame and offers both face and eye detection. Fujifilm has hinted that new AF algorithms will allow the X-A7 to perform as well or better than the X-T30/X-T3. We’ll see how it does when we put it in front of a weaving bicycle when a production model appears.

After putting out a bunch of really disappointing X-A series cameras, it’s nice to see that Fujifilm has listened to their customers (and perhaps some camera review websites) and released a camera that actually surpasses our expectations for an entry-level product, assuming that the autofocus really is better than the X-A5. How it holds up against competitive products from Canon, Olympus, Panasonic and Sony remains to be seen, but based on my initial tinkering with the camera, I’m definitely impressed.

Articles: Digital Photography Review (dpreview.com)

 
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Video: A BTS look at how Fujifilm’s GFX 100 was brought to life, from concept to reality

12 Jun

In September 2018, Fujifilm made the official announcements that it was working on a 100-megapixel medium format mirrorless camera—the Fujifilm GFX 100. Since then, we’ve had exclusive hands-on time with the behemoth, published our first-impression video review and shared pre-production photo samples.

We’re yet to get our hands on a fully-reviewable version of the GFX 100, but to tide you over in the meantime, we’re sharing a little documentary from Cinema5D that takes a behind-the-scenes look at the development process of Fujifilm’s latest medium-format mirrorless camera system.

A screenshot from the mini-doc showing how the IBIS is pieced together in the factory.

Titled ‘Birth of a Camera: Fujifilm GFX 100,’ this 17-minute video is part one of a two-part series that takes an exclusive inside look at the development process of the GFX 100. Throughout the video, Cinema5D co-founder Johnnie Behiri travels to various Fujifilm locations in Japan to talk with the executives, engineers and designers that had a part in bringing the GFX 100 to life.

The video addresses how the development process took place, from the initial conception to the final mock-up. Little by little, Behiri follows the vague chronological timeline of the creation process, from talking with the initial Fujifilm ‘CLAY’ designers who sketched up the original form of the camera to the engineers who created countless mock-ups to ensure the required components could fit inside the frame of the camera.

A screenshot from the mini-doc that shows how testing is done on the face-detection autofocus.

It’s a bit of a long watch, but well worth it if you have some free time over your lunch break or before bed.

Behiri notes in the accompanying blog post for this video that while Fujifilm does run a paid banner campaign on its website, the project was initiated and its production costs entirely self-funded by Cinema5D.

Articles: Digital Photography Review (dpreview.com)

 
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The progenitors of GFX: A closer look at Fujifilm’s medium format concepts

19 Feb

A closer look at Fujifilm’s medium format GFX concepts

At Dubai’s recent Gulf Photo Plus event, Fujifilm gave us a good look at a couple of its forthcoming products, and also allowed us a peek back in time, into the design of existing GFX cameras.

What you’re about to see is a collection of mockups of concept GFX designs, dating from before the launch of the GFX 50S and 50R. Some of these mockups appear very familiar, some less so. Click through to take a closer look.

A closer look at Fujifilm’s medium format GFX concepts

First up is the camera that got most of the X-Summit audience talking – the very earliest concept mockup for what became the original GFX 50S. As you can see, there are a lot of similarities to the camera that eventually shipped in 2017.

A closer look at Fujifilm’s medium format GFX concepts

Top-mounted dials, a central pentaprism-style EVF, lots of controls, a nice big sticky-outy grip…

A closer look at Fujifilm’s medium format GFX concepts

But in fact, the camera is fully modular. The EVF and grip are optional accessories to the core body of the camera, which consists of the mount, sensor and controls for the key exposure parameters.

Fujifilm’s representatives confirmed that the ‘Omega’ concept was directly inspired by Hasselblad’s iconic 500-series square format film cameras. Note the distinctive annular shutter speed dial, positioned around the lens mount itself.

A closer look at Fujifilm’s medium format GFX concepts

As originally envisaged, the Omega had a direct control for aspect ratio, and unusual ‘roller’ style controls, rather than the final GFX’s more conventional dials.

A closer look at Fujifilm’s medium format GFX concepts

Here are the three main modules – a grip component, the main body of the camera, and a removable EVF. The spirit of the Omega lives on in the design of the GFX 50S’s viewfinder, which can be removed to make a slightly smaller, lighter camera.

The main reason why this even more modular design never saw it to production is simple – the shutter mechanism for such a large sensor was simply too large for the concept. That doesn’t mean we’ll never see a modular GFX, but we might have to wait for global shutters to become a practical reality first.

A closer look at Fujifilm’s medium format GFX concepts

Next up is ‘Gamma’, a design which takes a lot of cues from contemporary XT-series APS-C format cameras.

A closer look at Fujifilm’s medium format GFX concepts

Essentially a scaled-up XT, the Gamma would have offered a larger sensor, in a body very familiar to Fujifilm’s existing APS-C shooters.

A closer look at Fujifilm’s medium format GFX concepts

It’s unclear why this design didn’t make it beyond the concept stage, but it’s possible that Fujifilm wanted to draw a cleaner line between the APS-C lineup and the (inevitably) more expensive GFX range. Also, notice that there’s no room for a top-plate display screen in this design.

A closer look at Fujifilm’s medium format GFX concepts

A second, unnamed XT-style concept removes the exposure compensation dial and combines shutter speed and ISO into a single (arguably still unnecessary) dial, reducing the amount of bulk on the right hand side of the body. Again, there’s no top-plate mounted status screen either.

A closer look at Fujifilm’s medium format GFX concepts

Of the two XT-style concepts, this is my personal favorite. The narrower body and simple control layout, with such a large grip is lovely to handle.

A closer look at Fujifilm’s medium format GFX concepts

Finally, a glimpse at what the eventual GFX 50R could have been. This is an early concept mockup for a rangefinder-style GFX, but minus the viewfinder. As such, the ‘SP-X’ actually resembles a cross between the X-Pro 2 and the X70 and XF10 compacts.

A closer look at Fujifilm’s medium format GFX concepts

From the rear, the angular SP-X looks fairly familiar – sub-dial ISO control notwithstanding – but with this concept, Fujifilm’s design team wanted to experiment with a rear screen that truly blended in to the back of the camera. You can’t really tell in this shot, but…

A closer look at Fujifilm’s medium format GFX concepts

…the screen is designed so that when the camera is held in a shooting position, it reversed against the camera.

A closer look at Fujifilm’s medium format GFX concepts

To use the screen, it must be folded out, which suits waist-level shooting and image review (but in this position, not much more than that). It’s not clear whether Fujifilm envisaged a more complex reversing hinge for the final design, but either way – this is definitely the most conceptual of the concepts. Still though, put put an EVF in there and I might be interested.

What do you think? As always, let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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