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Posts Tagged ‘Fujifilm’

Hands-on with the new Fujifilm XF33mm F1.4 R LM WR

04 Sep

Introduction

Fujifilm’s XF 33mm F1.4 R LM WR is the latest in a series of primes from the company that offer modern alternatives to some of the first optics in the X-mount system. I say ‘offer alternatives’ rather than replace, because the company says the 33mm won’t replace the nine-year-old XF 35mm F1.4 R and instead both will be available alongside one another.

Although Fujifilm also announced a 23mm F1.4 sister lens alongside the 33mm, it’s the longer lens that will become available first. It’s expected to arrive later this month at a price of $ 799.

What is the 33mm F1.4 (concept)

The lens is significantly larger and more complex than the original XF 35mm F1.4 (one of the first trio of lenses that launched the X-mount system). It features 15 elements in 10 groups, including 3 ED and 2 aspherical elements, making it much more complex than the 8 element, 6 group design of the 35mm, that just featured a single aspherical element.

This added complexity nearly doubles the weight, meaning the 33mm F1.4 weighs 360g (12.7oz) rather than 187g (6.6oz), it also sees the length increase by about 50%, with the 33mm being 73.5mm (2.9″) long, up from 50.4mm (2″).

Optical design

Fujifilm says the 33mm’s design is focused on delivering sharpness by minimizing aberrations. Distortion and other aberrations are corrected optically and the design of the focus group is symmetrical, so that any aberration introduced as light enters the group is corrected as it leaves, according to the company.

The focus group is placed behind the aperture blades, allowing it to be smaller, and the use of a linear motor (as denoted ‘LM’ in the name) should result in smoother, faster focusing than in the older 35mm lens.

33mm F1.4 (details)

The lens has few external controls: just aperture and focus rings. As usual, the aperture ring has an ‘A’ position that lets the camera control the aperture value, with a choice of whether the value is then set automatically or using the command dials.

At the back of the lens you’ll find a small rubber seal around the outer lip, to help deliver on the promise of the ‘WR’ weather resistance, and there is extensive sealing around the other joins in the case to prevent moisture ingress around the control rings.

Side-by-side with the 35mm F1.4 R

The 33mm is appreciably larger than the older 35mm, which is probably what’s prompted Fujifilm to keep both options in its lineup.

Focus breathing has been minimized on the new lens, and its lack of snap-back focus ring (as featured on some of the primes released previously) is said to be so that the response of the focus ring can be adjusted to give a linear response for repeatable focus pulls in video.

The new 33mm features 9 aperture blades, rather than the 7 of the 35mm, and, while the minimum focus distance has increased from 28cm (11″) to 30cm (11.8″), its designers say sharpness should be better maintained at close focus distances.

23mm F1.4

Alongside the 33mm F1.4, Fujifilm also announced the XF23mm F1.4 R LM WR, which will replace the earlier XF23mm F1.4 R. We don’t have the new LM WR version of the 23mm lens, yet, but it will very closely resemble the 33mm F1.4 shown on the left here (only 4.3mm / 0.17″ longer), so we’ve lined the new 33mm up against the outgoing 23mm F1.4 R.

The design of the new 23mm very closely resembles that of the 33mm F1.4, with 15 elements in 10 groups, three aspherical and two ED elements. This again makes it much more optically complex than its existing counterpart, which featured 9 elements in 6 groups with a single aspheric. Again there’s a shift from 7 aperture blades to 9, and the move to the use of a linear motors, which should speed up focus.

XF23mm F1.4 R LM WR vs XF23mm F1.4 R

The 23mm F1.4 R LM WR doesn’t have the snap-back focus ring of its predecessor but again it’s been optimized for reduced focus breathing and the option of linear focus response, making it a more attractive lens for videographers.

Sharpness is improved over the old lens, as it the minimum focus distance, which drops from 28cm (11″) to 19cm (7.5″), which sees the maximum magnification increase from 0.1x to 0.2x.

The XF23mm F1.4 R LM WR will be available in November at a recommend price of $ 899, a $ 100 premium over the list price of the existing, non-weather-sealed model.

Wrap-up

The new LM WR 23mm and 33mm F1.4s join the XF18mm F1.4 R LM WR launched earlier in 2021, forming a trio of primes that update some of the earliest lenses in Fujifilm’s X-mount range.

The X-mount celebrates its tenth birthday in 2022 and, with Fujifilm having opened the mount up to more third-party lens makers, it’s good to see the company go back and update some of the key options in its lineup. The updated lens all promise significant increases in speed and sharpness, handling and behavior that works better for video, and the addition of weather sealing.

It’s almost certainly not a coincidence that Fujifilm is launching a line of lenses that it claims will be able to resolve higher frequencies than its existing models could. All three lenses would clearly make a lot of sense if Fujifilm were to introduce a higher-resolution X-series body in the future.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm Announces the Affordable X-T30 II and the Medium Format GFX 50S II

03 Sep

The post Fujifilm Announces the Affordable X-T30 II and the Medium Format GFX 50S II appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Fujifilm announces the X-T30 II and the GFX 50S II

Fujifilm has launched two powerful new mirrorless cameras: the X-T30 II, an incremental upgrade to the popular X-T30, and the GFX 50S II, successor to the GFX 50S.

What do these two cameras offer? Let’s look at each option in turn, starting with:

The new Fujifilm X-T30 II

Fujifilm’s original X-T30 is known for its compact size and retro design, plus its capable stills and video performance for all-around and hybrid shooters. As suggested by its name – the X-T30 II rather than the X-T40 – the new model brings several improvements to its predecessor without a major revamp.

Like the X-T30, the X-T30 II features a powerful 26 MP APS-C sensor, promising excellent image quality in a compact package. Fans of the film aesthetic will appreciate the X-T30 II’s new film simulations, Eterna Bleach Bypass and Classic Neg, which add to the X-T30 II’s retro functionality and give photographers improved in-camera flexibility. 

Speaking of improved flexibility, while the X-T30 focuses in low-light environments of -3 EV, the X-T30 II pushes this to -7 EV – perfect for photographers who frequently shoot at night or in lightless indoor scenarios. And while core autofocus capabilities on the two cameras are identical, Fujifilm guarantees upgraded subject tracking on the X-T30 II, useful for street photography, event photography, and more.

Photographers who frequently compose and/or review images via the LCD screen will appreciate a new display – at 1.62M-dots versus the X-T30’s 1.04M-dots – though the electronic viewfinder remains the same 2.36M-dot resolution. Personally, I find the lack of an EVF upgrade disappointing, but the X-T30/X-T30 II viewfinder display is certainly usable even if it comes up short compared to the competition.

Videography capabilities on the X-T30 II mirror that of its predecessor, with one significant exception: You now get an ultra-slow-motion mode, featuring HD quality at a whopping 240 frames per second for what Fujifilm is billing as “cinematic style results.”

Overall, the X-T30 II upgrades are minor, and if you already own the X-T30, grabbing the X-T30 II makes little sense unless you’re entranced by the -7 EV AF capabilities. That said, for consumers choosing between the X-T30 and the X-T30 II, the higher resolution LCD, improved autofocus, and the slow-motion video mode are worthwhile additions to the newer model, plus the X-T30 II is impressively affordable, even compared to the X-T30 – at just $ 999 USD (including a 15-45mm kit lens), it’s only $ 100 USD more than the X-T30. So if you like the sound of the upgrades and can afford to spend a little extra, the X-T30 II is a great choice.

The new Fujifilm GFX 50S II

Fujifilm is the master of relatively compact, relatively affordable medium format cameras for enthusiasts and professionals, and the GFX 50S II further develops this already formidable lineup, promising outstanding 51 MP image quality, a DSLR-like design, plus a handful of improvements for enterprising photographers.

The GFX 50S II offers 6.5 stops of in-body image stabilization for easy handholding (the original GFX 50S lacked IBIS entirely), plus you can expect upgraded autofocus thanks in part to Fujifilm’s “advanced focus algorithms…found in the GFX 100S and the latest X-Series models.” 

And while the GFX 50S II certainly doesn’t come cheap, its $ 3999 USD price tag is eminently reasonable given the image quality, so if you’ve been eyeing medium format but haven’t managed to take the leap, perhaps now is the time.

Fujifilm’s new camera announcements: final words

The X-T30 II and the GFX 50S II may not be groundbreaking new cameras, but minor upgrades matter, as do low prices.

So if you’re after a do-anything camera with a gorgeous retro design, consider the X-T30 II, which is available for preorder and will begin shipping on October 21st.

And if medium format is your thing, take a look at the GFX 50S II, which will also ship on the 21st of October and is currently available for purchase.

Now over to you:

What do you think of these two new cameras from Fujifilm? Do either of them interest you? Do you wish for more significant upgrades? Share your thoughts in the comments below!

The post Fujifilm Announces the Affordable X-T30 II and the Medium Format GFX 50S II appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Tamron Launches Gorgeous 18-300mm Zoom for Fujifilm (and Sony)

23 Jul

The post Tamron Launches Gorgeous 18-300mm Zoom for Fujifilm (and Sony) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron launches 18-300mm zoom for Fujifilm and Sony

Earlier this week, Tamron unveiled the 18-300mm f/3.5-6.3 Di III VC VXD, an all-in-one lens designed for both Sony E-mount and Fujifilm X-mount cameras.

While Tamron has spent several years perfecting mirrorless lenses for the Sony E-mount, the company has not yet launched glass for Fujifilm users. The announcement hints at a new direction for Tamron; assuming the X-mount version is sufficiently popular, you can expect future Fujifilm-compatible lenses, a major win for Fujifilm’s dedicated fanbase.

The lens itself draws on Tamron’s experience with flexible zooms and will sit alongside products such as the 28-200mm f/2.8-5.6. According to Tamron, the 18-300mm “is the world’s first all-in-one zoom lens for Sony and Fujifilm APS-C mirrorless cameras featuring a 16.6x zoom ratio,” and indeed, the zoom range is remarkable. At 18mm, you can capture landscapes, wide street shots, and architectural shots. And at 300mm, you can photograph tight telephoto landscapes and even some birds, thanks to a near-500mm field of view (with the crop factor applied). Then there are the midrange focal lengths, and you can use these for portrait photography, sports photography, and much more.

If you enjoy capturing the occasional close-up shot of insects or flowers, then you’ll love the 18-300mm’s close-focusing capabilities. You can shoot at up to 1:2 magnification, perfect for casual macro photography (and you’ll even be able to capture an abstract close-up or two for variety).

Tamron also promises “extremely fast and precise autofocus – the highest level in its class.” As you can imagine, this is a big deal for fast-paced travel and street shooting, not to mention bird and wildlife photography. Users will need to be content with a relatively narrow maximum aperture (f/6.3 on the long end, f/3.5 on the wide end), but the Vibration Compensation should offset this problem somewhat when shooting in low light.

Of course, when purchasing a lens, a lot hinges on optical quality, and superzooms are notoriously finicky – though Tamron promises “high-resolution performance” and “high image quality that is among the best of all all-in-one zoom lenses.” Bottom line, the 18-300mm is bound to work for photographers aiming to keep their backpack lightweight and minimalistic. For the right shooter, this lens could genuinely replace an entire bag of glass, saving on space, money, and more.

So if you like the sound of a convenient superzoom and you’re a Fujifilm or Sony user, keep an eye out for the 18-300mm f/3.5-6.3. While the price hasn’t yet been revealed, bank on a Fall 2021 release date and prepare for some fun photoshoots!

Now over to you:

What do you think about the Tamron 18-300mm? Is it a lens you’d be interested in? What would you use it for? Share your thoughts (and images) in the comments below!

The post Tamron Launches Gorgeous 18-300mm Zoom for Fujifilm (and Sony) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Fujifilm discontinues Velvia 100 in US after new EPA regulations

07 Jul

Fujifilm has announced it will no longer sell Fujichrome Velvia 100 in the United States due to regulations put in place by the Environmental Protection Agency (EPA).

The announcement, posted to Fujifilm’s website, cites a new regulation under the Toxic Substances Control Act (TSCA), which prohibits the processing and distribution phenol, isopropylated phosphate (3:1) (PIP (3:1)) (CASRN 68937–41–7, a chemical that is found in very trace amounts in the layers of Fujichrome Velvia 100 (Fujifilm claims less than 0.0003% is found in the emulsion).

A screenshot of Fujifilm’s announcement.

The European Chemicals Agency says PIP (3:1) is found in various consumer products, including ‘lubricants and greases, coating products, adhesives and sealants, polymers, photo-chemicals and hydraulic fluids.’

While Fujifilm refutes the harm this chemical does to the environment, saying ‘Fujifilm believes that the trace amount of PIP (3:1) in the FUJICHROME Velvia 100 Professional films pose[s] no risk to the environment,’ they are still obligated to adhere to the ban, which will go into effect on September 5, 2021. Despite not being required to stop working with PIP (3:1) until September, Fujifilm says it has discontinued Velvia 100 effective immediately.

A 3D rendering of phenol, isopropylated phosphate (3:1).

It should go without saying that U.S. retailers will likely still have some of the emulsion available until their respective stocks are completed. As such, if you’re in the U.S. and want to get your hands on some of the last legally-available Velvia 100 before the ban, you might want to act fast. Just be sure to read the Safety Data Sheet Fujifilm has provided in regards to handling the film.

This discontinuation doesn’t affect other regions, so if you’re outside of the U.S., no need for concern. Also, while you could purchase it outside of the U.S. and attempt to bring it back (or have someone ship you some), it probably isn’t worth the risk considering it could be confiscated while going through customs.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: F1.4 or F2.0? Which are the best Fujifilm primes?

26 Jun

The guys at DPReview TV always go above and beyond to produce their videos. This video comparison of Fujifilm’s F1.4 and F2 primes show just how dedicated they are, with Chris powering through the pain after suffering a nasty injury.

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

  • Introduction
  • 18mm
  • The injury
  • 23mm
  • 35mm
  • The wrap

Articles: Digital Photography Review (dpreview.com)

 
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Scoring explained: Why we think the Fujifilm GFX 100S’ peers are cameras half its price (NOT the Sony a1)

23 May
I’m, at best, a keen enthusiast photographer but the GFX 100S’ strengths are all in areas that benefit the kinds of photos I like to take (everyday scenes, landscape, portraiture), whereas the a1’s aren’t: its speed would be utterly wasted on me.

The GFX 100S is one of the highest-end cameras we’ve ever reviewed, which has the effect of making it a difficult camera to review. I wanted to write a little bit about that challenge, why we compared it with full-frame cameras, and yet didn’t compare it to others.

The main difficulty of reviewing a medium-format camera is that there’s a class of wildly expensive, essentially pro-only camera bodies beyond it, that we don’t cover. And, while Phase One has been kind enough to lend us some cameras and digital backs in the past, I wouldn’t claim to have used them enough to form an opinion worth publishing. It could be argued that without testing it in a series of studio shoots, it’s not really practical to form an opinion worth publishing.

The GFX 100S seems pricey when compared to most full-frame cameras but is comparatively affordable for something offering beyond full-frame image quality.

It’s a similar challenge with the more ambitious video gear we’re starting to encounter. Obviously the world of ALL CAPS cinema cameras from ARRI and RED exists beyond the more accessible likes of the Sony FX3 and Panasonic S1H, so how can we put the more affordable models in context? How can you review them properly?

The clue both for ‘affordable’ medium-format and video-focused hybrids, is that they’re at the upper extreme what we test. In other words, they’re the option you might reach for, if you go beyond the level of gear we usually cover. And, in turn, that explains why we tend to compare them to the level of gear below: because that’s the alternative you might otherwise settle for.

The comparative accessibility of the GFX 100S means it’s likely that some photographers who’d otherwise buy something like a Canon EOS R5, Sony a7R IV or Nikon Z7 II might consider stretching their budget to get one. At which point, it’s important that our review makes sense of the difference.

So why didn’t we compare it with the Sony a1 if we’re comparing it to full-frame cameras?

It’s understandable why some people draw parallels between the Fujifilm GFX 100S and the Sony a1. For a start, they were released at a similar time, so the earlier camera will have still been very fresh in the mind when the second was launched. Also, both cameras cost a similar amount of money. Finally, they’re both cameras that try to offer something beyond the latest fast-ish high resolution full-frame models. So why, if it makes sense to compare both with the likes of the Canon EOS R5, aren’t we comparing them to each other?

The Canon EOS R5 is high res, fast, and a pretty capable video camera. You have to spend a fair amount more money to get something significantly more capable. The Fujifilm and Sony offer very different types of ‘more.’

Quite simply because, while all the above is true, the comparison falls apart as soon as you look at precisely what they offer over high-res full-frame. The a1 offers speed (of both shooting and autofocus), along with 8K video and photojournalist-friendly communication options. The GFX 100S offers resolution and image quality in a way that is likely to delight landscape shooters and studio-based pros. There’s no real overlap in the things they offer over the more affordable cameras.

There’s no real overlap in the things they offer over the more affordable cameras.

The context for each camera is also rather different. Whereas $ 6500 is fairly typical for a flagship sports camera, it’s comparatively inexpensive for a medium-format camera offering a step up in image quality.

It’s easy to argue that the a1 is the more impressive technological achievement: its cutting-edge sensor raises the level of what mirrorless cameras can do (at least until we’ve seen what Nikon and Canon’s Stacked CMOS cameras are capable of). And it’s a project with no obvious corner cutting: none of the stripped-down video capabilities of the a9 series, for instance. By contrast, the GFX 100S has been reworked by the engineering and marketing departments to make the original GFX 100’s capabilities accessible to a wider audience.

In addition to speed of shooting, speed of AF and impressive video, the a1 offers a range of pro-friendly features, including an Ethernet connection.

Which is why, as hard as we’ve tried to make our scoring system coherent across categories, you can’t just look at the numbers and say ‘the Sony scored 3% more, and hence is better, without qualification, than the Fujifilm’. It’s a level of nuance that is never going to be conveyed by a single number (or a single number and an award).

Instead our reviews spell out the basis on which the conclusion was drawn. The ‘How it compares…’ section of our reviews lists what we believe a camera’s peers to be, and why. We then explicitly detail the pertinent real-world differences after the conclusion.

Reviewing always gets more difficult when it comes to extremes of price and performance, which is why we try to contextualize how these exotic outliers compare to the more affordable options. Because ultimately, our job is to provide a basis from which people can make informed decisions (whichever way they decide), not to award bragging rights.

Articles: Digital Photography Review (dpreview.com)

 
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Sample gallery: Tokina atx-m 23mm F1.4 for Fujifilm X-mount

11 Apr

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Tokina’s atx-m 23mm F1.4 is one of two of the company’s new primes available for Fujifilm X-mount shooters. With a 35mm full-frame equivalent focal length, this lens is perfect for casual, candid, and street photography, even in low light.

Focus is snappy, accurate and near-silent when shooting at wider apertures. But the lens does occasionally hunt and can sometimes miss focus when stopped down. Sharpness looks good in the center of the frame, but corners show softness at wider apertures.

There’s no weather-sealing, but the build quality is impressive nonetheless. The lens mount and body are constructed of metal; the focus ring seems to be plastic. In terms of handling, the Tokina feels just right on the Fujifilm X-E4; heavy enough that you know it’s there but not too heavy. We’re not crazy about the clickless aperture ring for stills work, but an ‘auto’ setting at least lets you control the aperture from your camera body.

For a sense of the Tokina atx-m 23mm F1.4 X’s optical characteristics, including bokeh and lens flare examples, jump into our sample gallery below.

View our Tokina atx-m 23mm F1.4 X sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: In search of porcupines with the Fujifilm GFX 100S

03 Apr

Now that Chris is out of quarantine and the team has access to a full-production camera, the DPRTV team have been revisiting the Fujifilm GFX 100S. In this video, they take the GFX 100S up into the deceptively named Porcupine Hills of Alberta. Did they find any porcupines? Watch the video to find out.

(But no, they didn’t).

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

  • Introduction
  • Sample images
  • Design and handling
  • Displays
  • Nostalgic Neg
  • Image quality
  • Stabilization
  • Autofocus
  • ProRes Raw video
  • Who is it for?

Sample images from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Fujifilm X-S10 vs Sony a6400 – two great cameras with different superpowers

06 Mar

We compare two popular APS-C cameras: the Fujifilm X-S10 and the Sony a6400. In a bizarre twist, Chris is left to argue with himself (literally). Meanwhile, Jordan is stuck in Pentax K-01 video purgatory. It’s enough to make your head spin.

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  • Introduction
  • Handling
  • Displays
  • Autofocus
  • Image quality
  • Video performance
  • Battery life
  • Lens lineup
  • The wrap

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Sony a7 III vs. Fujifilm X-T4 – who’s the king of enthusiast cameras?

13 Feb

The Sony a7 III and Fujifilm X-T4 aren’t cameras we would normally compare head-to-head. Yet, they’re two of the most popular enthusiast models available today. Watch Chris and Jordan duke it out over which one is best.

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

  • Introduction
  • The competitors: X-T4 and a7 III
  • Build quality and handling
  • Displays
  • Autofocus performance
  • Image quality
  • Video capabilities
  • Lens selection
  • Gorgeousness
  • Battery life
  • Image stabilization
  • The results

Articles: Digital Photography Review (dpreview.com)

 
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