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Interview: Fujifilm X100V – ‘We decided we could change more in the fifth generation’

24 Feb
From left, Shinichiro Udono, Senior Manager of Fujifilm’s Optical Device & Electronic Imaging Products Division and Maszumi Imai, Design Manager of Fujifilm’s Design Center are pictured here at the launch of the Fujifilm X100V in London earlier this month.

Earlier this month we attended the launch of the Fujifilm X100V in London, where we had the opportunity to sit down with two senior figures within the company: Chief Designer Maszumi Imai and Senior Manager Shinichiro Udono.

In a conversation primarily focused on the X100-Series, we discussed the evolution of the X100 line and the challenges of updating a ‘signature’ model.

Note: This interview is broadly split into two parts: The first part is a strategy-focused conversation with Mr. Udono about the development of the X100V in the context of the continuing evolution of the X100 line. The second part is a discussion with Mr. Imai about the design process of the X100V and previous models in the line, and more broadly, his background and influences as a designer.

This interview has been edited lightly for clarity and length.

How important is the X100 line to Fujifilm?

(S.U.) It was where we started. It was our first high-end camera. In 2010-11 our main camera business was in small-sensor compacts. The X100 established the concept of dial-controlled operation, which is found now across the X-Series. We have the same concept across the X-T1, X-Pro 1, and so on.

So the X100 established the Fujifilm shooting style, and then we extended this concept to the entire X-Series.

So when you’re discussing a new X100, are you more careful about changes to this model because it’s so important?

(S.U.) We’re always careful to maintain the camera concept, the style, and the size. But we also really want to provide the latest technology to our customers. Quicker autofocus, better resolution, better image quality, color reproduction and so on. That’s very important. So while we don’t want to change the camera’s style – how it looks – we’re always thinking about how we can deliver the best performance, and the best functions to our customers.

The X100V is unmistakably a member of the X100 line, but several subtle changes have been made to its physical design and ergonomics.

How have sales of the different X100 models compared over the past few years?

(S.U.) The sales of each generation were fairly similar, however the latest model X100F had the most success. With that in mind and with the new features, I expect the X100V to sell more than the previous four models.

What were your biggest priorities when planning the development of the X100V?

(S.U.) The first and most important point is the hybrid viewfinder. Next, the lens, the single focal length. We knew we had to keep that concept. And then we considered what sensor and processor we should put inside the camera. So we start with the concept, and with the basic form factor, and then we think about what goes inside.

What was the number one request from X100F customers?

(S.U.) Weather resistance. And also image stabilization. After we launched the X-T3, a lot of customers [also] wanted the latest sensor and processor.

We thought it would break the basic concept of the X100V. So we didn’t pursue stabilization in this model

The X100V does not offer image stabilization – why not?

(S.U.) Simply, size. There are two ways we could add stabilization – one is optically, in the lens, and the other is IBIS. We made some rough studies of both possibilities, but in both cases the camera would have become bigger. We thought it would break the basic concept of the X100V. So we didn’t pursue stabilization in this model.

How long does it typically take to develop a new X100 model?

(S.U.) Well with the X100V we redesigned the lens, so it took around two years. A little longer than normal. If we only made changes to the body, it would have been a shorter process.

The X100V’s 23mm F2 lens has the same specifications, and physical dimensions as the lenses used on previous models in the X100 line but it employs an additional aspherical element, for better sharpness at close distances, and in the corners of the frame.

Where do you see most sales of the X100 line, globally?

(S.U.) With the first generation, Japan was the biggest market. Later on, the USA became the biggest. Because it’s not an interchangeable lens model, it can reach a wider market of photo enthusiasts. There’s a big market in the US for photo enthusiasts, especially people who know about the history of film cameras. Those customers really like the X100 line.

How will the X100-series evolve in future?

(S.U.) In terms of technology, maybe we can add image stabilization, if we can develop it. But in the longer term, I don’t think we’ll change the style. We’ll probably keep this style and design even for another ten years. But we may have totally different technology, which I don’t know about at the moment. Different style sensor, or Ai technology. We’ll keep adding new technology into the X100 line but we’ll keep the basic design concept.

If you did add IBIS to the X100, would it require a totally new mechanism?

(S.U.) Probably, yes. We’d have to develop it from scratch. We’d need a very small IBIS unit.

Do you tend to find that these cameras are most popular with a certain age-group, or demographic?

(S.U.) The biggest audience is slightly older people, who remember film cameras. But we also see a lot of young people, especially in Japan, buying X100 models. It’s a fashionable camera. Those people take pictures, of course, but they also like the design.

We felt that a more classic design would be a good fit for our new brand

What was the original idea behind the X100?

(M.I.) In 2009, we started to consider how to make our next high-end digital camera. At that time we only made FinePix small-sensor compacts at that time. Other companies had their own interchangeable lens cameras, but we didn’t. So we were a challenger in that space – we could have done anything. But we wanted to create our own brand.

We designed a lot of concepts for cameras, which were a completely different shape to the original X100. For example we had a square concept, and a vertical style one, and one that was designed for the perfect grip – things like that. And then we decided that we were inspired by classic-styled cameras. We felt that a more classic design would be a good fit for our new brand. So at that time I started designing around the concept of purity – a classic camera design.

The film-era Fujifilm Klasse is cited as one of the design inspirations for the X100 line. Photo by David Narbecki, from an article originally posted on 35mmc.com. Used with permission.

(S.U.) Some background to why we reached for the classic style design, when Fujifilm made film cameras we made cameras which shared a similar shooting style to the X100. Cameras like the TX-series, the Klasse, and so on. They offered a similar shooting experience. In our digital camera division there were several people who came from the film camera division. We asked ourselves ‘what would be the best camera for the Fujifilm brand?’ At that time there were many good cameras from other brands, but we wanted to show what it meant to be a Fujfilm camera.

(M.I.) The first-generation X100 was created according to a set of tenets: The best quality, a good user experience, and styling that would tell photographers at a glance that this was a serious camera. That was a big reason why we chose this kind of classic style.

From the very beginning of the design process was about two years. We started the X100 project in 2009 and launched in 2011.

The innovative ‘hybrid’ viewfinder introduced in the original X100 was created about halfway through the development process of the camera itself. The X100 was originally envisaged as having a simple optical finder.

Was there any particular model or style of camera that you were particularly inspired by?

(M.I.) During the design planning process, around halfway through the project, our engineering team invented the hybrid viewfinder. So we decided that we should go with a rangefinder-style camera, not DSLR-style. Originally the X100 was intended to just have an optical viewfinder.

We looked at most of the legendary film-era cameras for inspiration. The Leica M3, of course, and others, including our own designs. The X100 was a homage to traditional film cameras.

What was your background as a designer, before you joined Fujifilm?

(M.I.) I worked at Minolta, in Osaka. At that time the main market was film cameras. When I was a student, my professor told me that camera design was one of the most difficult branches of industrial design. So he said if you go to a camera company, you’ll acquire the most useful skills. So I decided to go to Minolta.

What are your biggest design influences outside of photography?

(M.I.) Vehicles. Especially cars, but also airplanes. When I was a child, supercars were very popular in Japan. Lamborghinis, Ferraris, those were our dream cars. Airplanes like the F4 Phantom, the F15, and the F14 too. Very popular and stylish airplanes.

When I was five years old, my dad took to me to the cinema for the first time, to see Star Wars. So cars, planes and science fiction were a big influence.

We’ve talked about the physical engineering challenges of putting stabilization into the X100, and last year we saw some of the early modular GFX concepts – how often do engineering considerations restrict your vision as a designer?

(M.I.) Taking the X100 first, I know the basic size and the basic [details of] construction. First of all, we make an actual-size image-mockup. Sometimes these mockups can lead us to make the camera better. For example if I [deliberately] make a mockup thinner, maybe people will react well to it, and then we’d realize we should aim for this kind of size [in future]. Inspiration, and first impressions are very important when we make a product.

We take are two different approaches to design at Fujifilm. One is just the daily work of knowing ‘OK, we need to make a new X100’, where we consider all the technical limitations, and the R&D side will prepare some rough designs, [based on] of the lens, battery, the LCD, things like that. And these decide the final size of the camera.

That’s the standard approach. But once a year we also conduct a study where we think about the future without considering the current technical limitations. Like a vision exercise. And we create more visionary image mockups. And in a few years, some elements of those image-mockups might end up in final cameras.

Mr. Imai’s team makes ‘image mockups’ for internal discussion, to highlight possible directions for future products. This one, of a proposed medium-format rangefinder-style camera (which eventually evolved into the GFX 50R) features the ‘hidden’ rear LCD that finally made it into the X-Pro 3.

You were the lead designer on the X100, and after that you supervised the teams working on the S, the T and the F, and now you’re lead designer again on the V. Was this because the V is considered to be particularly important, to you or the brand?

(M.I.) Both, actually. The X100F had a great reputation, so it was hard to think about what we could add, to make something new. That was a big concern. With a ‘signature’ model like this it’s hard to make a successor, so I was appointed as the designer of the next model.

This is the fifth generation, and as I’ve already explained we have these tenets about the X100-series. Nine years have passed, the world has changed, and the X100 brand is familiar in the market, and has grown in reputation. So we decided we could change more in the fifth generation, in terms of concept and design. It’s still based on the X100 core concept, but this time I had freedom to explore more possibilities.

How do you balance the concept of simplicity against demands for more control and customization?

(M.I.) It’s very difficult to find a way to do that. We see a lot of comments from people who prefer the simplicity [of the original X100]. At the beginning of this project I made a mockup which looked almost the same as the original X100. I also made a mockup that looked almost the same as the production model of the X100V, which gained everyone’s approval. In the end we were able to make something that satisfied all of our goals.

The original X100 featured a simple twin-dial interface and limited number of external controls. Subsequent X100-Series cameras have become more complex, but immensely more powerful.

If you didn’t have any engineering or technical restraints, or any need to be true to the designs of previous models – if you could do whatever you wanted – what kind of camera would you make?

(M.I.) Right now I want to make the simplest, purest camera. Simple, and sharp in style. The X-Series cameras are based on classic styling, but I think that this kind of classic style, if it were to meet with an extremely modern style, we could create something new. I want to try. Simple, sharp, but solid design.

Could a future X100 camera have a simpler interface?

(M.I.) Maybe. But ‘simple’ doesn’t necessarily mean fewer dials or buttons.

Sometimes I think about musical instruments, versus using software like Garage Band […] It’s the same thing with shooting using a camera

Being intuitive in operation for photographers is the most important thing. A smartphone doesn’t have any buttons or dials, but it’s not necessarily the most intuitive interface for shooting photos. So we need to keep a balance.

When the original X100 was being planned, smartphone photography was in its infancy. How has the development of the smartphone, and changing customer behavior that resulted, influenced how you design cameras?

(M.I.) Maybe in the future we’ll invent brain-controlled cameras! But I wouldn’t want that. This (indicating the interface of the X100V) is the best way to shoot, to create an expression of creativity through photography. And this style of camera is completely different from a smartphone. Sometimes I think about musical instruments, versus using software like Garage Band. I like using Garage Band, but it’s completely different to playing an instrument. Playing something by hand is fun, and comfortable. It’s the same thing with shooting using a camera.

We always look at new technologies, like Ai, and we carefully choose the best way [to implement them]. We could create a haptic touch interface for buttons and dials and things like that, but it wouldn’t be a good fit for the X-series. That’s why we keep the buttons and dials, and the classic style.

Do you have any particular designers or artists that inspire you?

(M.I.) There are a lot of very good designers in the world, and a lot of them have inspired me. Every kind of industry has its masterpieces. It’s difficult to choose one, but I’d like to choose [industrial designer and Blade Runner concept artist] Syd Mead, who passed away recently.

Editor’s note: Barnaby Britton

The launch of the X100V in London recently provided a good opportunity to have an unusually tightly focused conversation with two of the figures most responsible for its development. Mr. Udono and Mr. Imai are key members of the team that has shepherded the X-Series (and later the GF line) from an idea, ten years ago, to the broad lineup of products that are available today.

From previous conversations with Fujifilm executives, we knew that of all the products in the company’s lineup, the X100 line is the one over which the most care is taken to update only the right things, and only in the right way. The X100 line is sometimes referred to by Fujifilm representatives as a ‘signature’ product line and for good reason: as Mr. Udono says, the X100 was ‘where we started’.

This small, quirky, retro-styled camera was a hit with enthusiast photographers almost from the word go, and subsequent generations have been embraced by photographers of all types, and all ages, all over the world. The X100F has proven the most popular iteration of all, which of course means that it was always going to be among the hardest to replace.

The X100 could have been launched (and was apparently originally planned to have been launched) with a simple fixed optical finder

Mr. Imai has been working at Fujifilm for a long time, and before that Minolta. As lead designer on the original X100, he has had a key role in the evolution of the X100 line and took full control over the design of the X100V. It was interesting to speak to him about the process of the original X100’s development, from mockups to a final product.

I didn’t know, for example, that the creation of the signature ‘hybrid’ viewfinder only happened around halfway through the development process of the camera. The X100 could have been launched (and was apparently originally planned to have been launched) with a simple fixed optical finder. Would it still have been a hit? I’m not sure. It’s certainly hard to imagine an X100 without the option for a hybrid finder, but I know a lot of X100-series owners claim that they rarely or never engage the EVF.

The message that came out of my conversation with Mr. Udono and Mr. Imai most clearly is that when it comes to the development of the X100 line, it’s almost more important for photographers to understand what Fujifilm can’t or won’t change than what they will. A lot of X100 fans want some kind of stabilization for example, but the simple fact is that adding it would be impossible without the dimensions of the camera changing.

With the current state of Fujifilm’s technology, Mr. Udono claims that adding an IBIS unit into the camera body would increase the body size, while an optical stabilization system would force (another) redesign of the lens and would inevitably also add bulk. The X100V is slightly larger than the X100F, but only very slightly (which is impressive, considering that it has a tilting screen – another long-standing request from some customers). Notably, the X100V can still use the same hood and filter adapter – and even the same converter lenses – that were released for the original X100.

As a fan of the series, with a drawer full of caps and adapters that I’ve picked up over the years, I personally appreciate this commitment to what Mr. Udono calls the key ‘tenets’ (Mr. Imai also referred to a design ‘law’) of the X100, as laid down almost a decade ago.

I always enjoy talking to artists and designers, partly because of my own background, but mostly because I’m always interested in what – and who – they cite as influences. Mr. Imai was no exception. During our conversation he mentioned such diverse influences as Star Wars and the F4 Phantom, but I shouldn’t have been surprised that as his main inspiration he cited the late Syd Mead.

A lot has happened since the original X100 was launched, and despite looking similar, the X100V is a different beast

Mead was a famed futurist, known for his work on 2001: A Space Odyssey and Star Wars, among many others. He is credited for visualizing what George Lucas described as the ‘used future’. This was a concept which arguably evolved into (or at least informed) the emergent retrofuturism of the late 1970s and 1980s, wherein nostalgic styling is melded with modern technology. In the world of digital photography, it’s hard to think of a better example of this aesthetic than the X100.

That being said, a lot has happened since the original X100 was launched, and despite looking similar, the X100V is a different beast. More versatile, sure, and definitely more powerful. But with a total of seven dials, an articulating screen, and the need to support serious video capture, it’s an altogether more complicated, less streamlined camera than its early ancestors. Mr. Imai admits as much, and it was interesting to hear him speak about his ‘dream’ camera: one that melds classic styling with modern simplicity. How this dream ends up being manifested in Fujifilm’s future camera lineup remains to be seen, but it’s something to look forward to.

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News: Fujifilm X100V Promotional Video Disturbs Fans, Gets Deleted

11 Feb

The post News: Fujifilm X100V Promotional Video Disturbs Fans, Gets Deleted appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

fujifilm-x100v-promotional-video

Last week Fujifilm launched its X100V, an update to the popular X100 compact camera lineup. It includes a 23mm f/2 lens, a 26.1 BSI sensor, and fast autofocus for professional-quality images.

It also includes both an electronic viewfinder and an optical viewfinder, which you can toggle between by way of a switch on the camera body. You’re also free to view both the EVF and OVF at once, by working with an electronic viewfinder that appears as part of the optical viewfinder display.

With the X100V launch came a series of promotional videos, including one that featured the work of Tatsuo Suzuki, a street photographer who uses…unusual methods.

The promotional video shows Suzuki approaching people while out in public, then shoving his X100V in their faces in order to capture a photo.

Nearly all of Suzuki’s subjects look uncomfortable with the encounter, with many of them holding up their hands or ducking to the side to avoid his camera.

 

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A post shared by Tatsuo Suzuki / ?? ?? (@tatsuo_suzuki_001) on

 

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Tokyo

A post shared by Tatsuo Suzuki / ?? ?? (@tatsuo_suzuki_001) on

After this promo video dropped, many viewers became disturbed and angry, which culminated in Fujifilm deleting the video from their YouTube channel.

Note that Fujifilm seems to have done more than just delete the video. Recent reports suggest that the company has removed Suzuki as an ambassador, presumably as a response to protests.

But while some have expressed deep offense at Suzuki’s methods, others find his work impressive or even inspiring.

Many have compared Suzuki to the celebrated American street photographer, Bruce Gilden, who is known for his forceful approach; Gilden’s shooting style involves marching straight up to a subject and shoving a camera, as well as an off-camera flash, in their face.

Which begs the question:

Are Suzuki’s methods acceptable?

On the one hand, Suzuki’s photos are undeniably powerful. His style is intimate and unique.

On the other hand, if Suzuki is causing such discomfort, are the shots really worth the cost? Do the ends justify the means?

There are also other costs to consider. For instance, the more unpleasant experiences the public has with street photographers, the less likely they are to engage with street photographers in the future, potentially ruining opportunities for the rest of the community.

In truth, I find it curious that Fujifilm didn’t recognize this problem with their footage from the beginning. Even if the company doesn’t have a problem with Suzuki’s style of shooting, it was inevitable that not all viewers would appreciate his approach.

What do you think? Do you have an issue with Suzuki’s methods? And should Fujifilm have dropped him as an ambassador?

Share your thoughts in the comments!

The post News: Fujifilm X100V Promotional Video Disturbs Fans, Gets Deleted appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Fujifilm releases X100V with new sensor, new lens and tilting touchscreen

07 Feb

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The Fujifilm X100V has arrived and represents that biggest re-working of the camera since the series arrived nearly ten years ago. While the additions and updates are a little bigger than before, Fujifilm hasn’t messed too much with the basic formula that’s made the X100 so popular.

We still have an APS-C sensor, a 35mm-equivalent F2 lens and a hybrid optical-and-electronic viewfinder, but all of those have been updated. The sensor is Fujifilm’s latest 26MP X-Trans unit we first saw on the X-T3 and X-Pro3 interchangeable lens cameras, the lens has been redesigned to improve close-up and corner performance, and the viewfinder is all-new and has an OLED panel instead of the LCD panel on older models.

Beyond that, a new tilting screen mechanism doesn’t add much bulk to the camera, but makes it much easier to shoot from the hip. The addition of 4K video with F-log internal recording, alongside various capture aids and Fujifilm’s ‘Movie Silent Control’ system give the camera some serious video chops. Burst speeds of up to 20 fps with the electronic shutter, improved battery life and claimed weather-sealing (provided you attach the AR-X100 filter ring and a filter to the front of the lens) complete the package.

Put all of this together, and you get the most well-rounded and capable fixed-lens compact camera on the market today. Fujifilm says the X100V will be available in late February 2020 at a price of $ 1399, or $ 1799 CAD.

Press release:

INTRODUCING THE FUJIFILM X100V: MAKE EVERYDAY REMARKABLE

Valhalla, New York – February 4, 2020 – FUJIFILM North America Corporation is pleased to announce the launch of the FUJIFILM X100V (X100V), the latest model in a long line of iconic, portable, and fun X100 premium compact digital cameras.

The fifth iteration in Fujifilm’s X100 Series, the X100V is a significant upgrade over previous X100 line models. Featuring a new 23mmF2 lens, advanced hybrid viewfinder, optional weather resistance*, and 2-way tilting rear LCD screen, among a host of other product line updates, the X100V also uses the latest generation X-Trans CMOS 4 sensor and X-Processor 4 to provide all creatives from professionals to everyday image makers with an easy to use, fully capable, and sophisticated tool that provides incredible image quality when shooting both stills and video.

Key features and improvements of X100V include:

Sophisticated appearance, advanced operability and classical design

X100V’s timeless body has top and bottom plates milled from single pieces of aluminum, which results in a refined and classic camera body with clean edges. Finished with a beautiful satin coating, slight enhancements have also been made to the camera’s grip, ISO dial, and lens barrel to make it incredibly comfortable to hold and operate. Weather resistance appears for the first time in the X100 line when the optional AR-X100 adapter ring and the PRF-49 protection filter are attached. Additionally, a new two-way tilting touchscreen LCD screen fits flush at the back of the camera and provides intuitive touch controls, unlocking even more possibilities for image-makers to see, frame, and create images.

A new lens to make the most out of any image

X100V features a new 23mmF2.0 lens to ensure that every detail from its X-TRANSTM CMOS 4 Sensor is resolved beautifully. Designed for higher resolution, lower distortion and improved close focus performance, this lens is a significant upgrade from the design used on previous X100 cameras, while maintaining the same overall size and compatibility with legacy WCL/TCL conversion lenses, and retaining its internal ND filter that now features 4 stops.

At the heart of X100V is the state-of-the-art X-Trans CMOS 4 sensor and X-Processor 4 combination. The exceptional 26.1MP sensor uses a back-illuminated design to maximize quality and dynamic range, while its unique color filter array controls moire? and false color without the need for an optical low pass filter. Such outstanding imaging capability is complemented by the quad-core X-Processor 4. This powerful CPU not

only ensures images are quickly and smoothly processed, but also, thanks to a new algorithm, boosts AF performance with precision face and eye detection down to -5EV.

Two ways to see an image

X100V’s vastly improved hybrid viewfinder enables image-makers to quickly and easily choose between the 0.52x magnification optical viewfinder (OVF) or the 3.69M dot OLED electronic viewfinder to make their images. Offering 95% frame coverage, the OVF provides parallax-correcting frame lines to provide an uninterrupted view of the world, while the camera’s EVF delivers a real-time representation of the image as it is being made. The Electronic Rangefinder (ERF) function can also be selected to display a small EVF at the bottom right corner of the OVF, which gives image-makers another helpful tool as they frame and make their images.

More than just a still camera

X100V offers the ability to record 4K video at up to 30 frames per second or capture 120 frames per second at 1080p to create super slow motion effects. Filmmakers needing extreme color fidelity can record 10-bit, 4:2:2 color externally via the HDMI port and leverage Fujifilm’s advanced color reproduction technology, to apply film simulations, like “Eterna”, to their video footage. Additionally, image makers can also incorporate numerous shooting functions, such as “Monochrome Adjustments” and “Color Chrome” to extend their creative visions directly to the footage being recorded.

Optional accessories

Use the wide conversion lens (WCL-X100 II) or tele-conversion lens (TCL-X100 II) to extend X100V’s fixed 23mm focal length to a 28mm equivalent (0.8x) or 50mm (1.4x) equivalent lens on a 35mm format system.

Add a premium, genuine leather case (LC-X100V) to X100V to complement its classic design, while giving complete access to the camera’s battery and memory card without removing the X100V from its case.

X100V will be available in both black and silver and is expected to be available for sale in late February 2020 at a manufacturer’s suggested retail price of $ 1,399.95 USD and $ 1,799.99 CAD. For more information, please visit https://fujifilm-x.com/en-us/X100V.

*With the combined use of the optional AR-X100 Adapter ring and the PRF-49 protection filter (sold separately)

Fujifilm X100V specifications

Price
MSRP $ 1399
Body type
Body type Large sensor compact
Body material Magnesium alloy, aluminum
Sensor
Max resolution 6240 x 4160
Image ratio w:h 1:1, 3:2, 16:9
Effective pixels 26 megapixels
Sensor size APS-C (23.5 x 15.6 mm)
Sensor type BSI-CMOS
Processor X-Processor Pro 4
Color space sRGB, Adobe RGB
Color filter array X-Trans
Image
ISO Auto, 160-12800 (expands to 80-51200)
Boosted ISO (minimum) 80
Boosted ISO (maximum) 51200
White balance presets 7
Custom white balance Yes (3 slots)
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, normal
File format
  • JPEG
  • Raw (Fujifilm RAF, 14-bit)
Optics & Focus
Focal length (equiv.) 35 mm
Maximum aperture F2–16
Autofocus
  • Contrast Detect (sensor)
  • Phase Detect
  • Multi-area
  • Center
  • Selective single-point
  • Tracking
  • Single
  • Continuous
  • Touch
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Manual focus Yes
Normal focus range 10 cm (3.94″)
Number of focus points 425
Screen / viewfinder
Articulated LCD Tilting
Screen size 3″
Screen dots 1,620,000
Touch screen Yes
Screen type TFT LCD
Live view Yes
Viewfinder type Electronic and Optical (tunnel)
Viewfinder coverage 95%
Viewfinder magnification 0.52×
Viewfinder resolution 3,690,000
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Maximum shutter speed (electronic) 1/32000 sec
Exposure modes
  • Program
  • Shutter priority
  • Aperture priority
  • Manual
Built-in flash Yes
External flash Yes (via hot shoe)
Flash modes Auto, Standard, Slow Sync, Manual, Commander, off
Flash X sync speed 1/4000 sec
Continuous drive 11.0 fps
Self-timer Yes
Metering modes
  • Multi
  • Center-weighted
  • Average
  • Spot
Exposure compensation ±5 (at 1/3 EV steps)
AE Bracketing ±5 (2, 3, 5, 7 frames at 1/3 EV steps)
WB Bracketing Yes
Videography features
Format MPEG-4, H.264
Modes
  • 4096 x 2160 @ 30p / 200 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2160 @ 25p / 200 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2160 @ 24p / 200 Mbps, MP4, H.264, Linear PCM
  • 4096 x 2160 @ 23.98p / 200 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 30p / 200 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 25p / 200 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 24p / 200 Mbps, MP4, H.264, Linear PCM
  • 3840 x 2160 @ 23.98p / 200 Mbps, MP4, H.264, Linear PCM
  • 1920 x 1080 @ 120p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 100p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 60p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 50p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 30p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 25p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 24p / 200 Mbps, MOV, H.264, Linear PCM
  • 1920 x 1080 @ 23.98p / 200 Mbps, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card (UHS-I supported)
Connectivity
USB USB 3.1 Gen 1 (5 GBit/sec)
USB charging Yes
HDMI Yes (micro HDMI)
Microphone port Yes
Headphone port No
Wireless Built-In
Wireless notes 802.11b/g/n + Bluetooth
Remote control Yes (via cable release or smartphone)
Physical
Environmentally sealed Yes (with optional filter holder and filter)
Battery Battery Pack
Battery description NP-W126S lithium-ion battery & charger
Battery Life (CIPA) 420
Weight (inc. batteries) 478 g (1.05 lb / 16.86 oz)
Dimensions 128 x 75 x 53 mm (5.04 x 2.95 x 2.09″)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm pulls controversial X100V promo video due to the featured photographer’s method

07 Feb

Days after it launched its new X100V compact digital camera, Fujifilm has pulled one of the promotional videos it published to showcase the new model. Some viewers have criticized the intrusive shooting style used by Tatsuo Suzuki, the photographer featured in this particular video. Others have praised his work, saying his habit of jumping directly in front of subjects is a legitimate part of his art.

Fuji’s promotional video includes several scenes of Suzuki has he captures images on the street, a process that, at times, involves stepping into someone’s path and putting his camera directly in their face. Some subjects are seen being forced to quickly sidestep to avoid the photographer; some look surprised or distressed about the encounter.

Though Fujifilm pulled the promotional video, FujiRumors managed to acquire and publish a copy of it. The action starts around the 0:45 mark.

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Fujifilm X100V pre-production sample gallery (DPReview TV)

06 Feb

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In their most recent video, Chris and Jordan previewed the new Fujifilm X100V. This sample gallery includes dozens of photos captured with a pre-production X100V in and around the mean streets of Calgary, Alberta.

View sample gallery

Watch DPReview TV’s in-depth preview of the Fujifilm X100V

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Fujifilm X100V: why it feels like missed opportunity

05 Feb

I was intrigued to discuss the X100V with my colleague Carey as he wrote his initial impressions. Intrigued because, while I completely understand his perspective and recognize the things he likes about the new camera, I found myself having the opposite impression.

We’ve both owned original X100s (though with its somewhat Germanic styling, I think of it as the Ur-X100, rather than the O.G), and we both love the look, the feel and the pictures they produce.

I don’t dislike the additions

I completely agree with him about the appeal of the tilting rear screen. I was never part of the faction clamoring for one but it’s something I felt was missing on the wide-angle Panasonic LX100 II, so I’m certainly not against it being added.

If you’re going to try to satisfy a group that screaming for a touchscreen and another being equally adamant that ‘an X100 has to have a fixed screen’ then this is the way to do it: with a piece of engineering that means you can ignore it if you prefer

Likewise the touchscreen. I think the joystick that appeared with the X100F did everything I might want to achieve with a touchscreen, but I’m not put-out at all that Fujifilm’s added one. Sure, I find its behavior a little annoying (or perhaps just unfamiliar: it’s early days, after all), but I can always turn it off, if I don’t get used to it.

The best (and worst) of the X-Pro3

Two things that irked me about the X-Pro3 have been directly carried over: the loss of infinity focus indication in the optical viewfinder that’s really hard to work around, if you’re an existing X100 user, and the almost-very-good Face/Eye detection implementation.

As I detailed in the X-Pro3 review: the camera’s Face/Eye detection mode arguably works best in ‘Face Selection’ mode: letting you select the face you want it to focus on, but making it quick and easy to drop back to single AF point mode. The only downside being that you have to re-engage Face Selection every time you turn the camera on, and there’s no menu option for it, so it has to tie-up one of the camera’s function buttons.

I’ve never been a fan of Fujifilm’s combined ISO/Shutter Speed dial, but having it click into the ‘up’ (ISO) position and adding subtle detents so you can feel how much you’ve rotated it is a subtle but significant improvement. It makes it much more usable when you’ve got the camera to your eye.

It’s this, rather than the loss of function buttons that comes from the deletion of the four-way controller, that struck me. Even without using the swipes on the touchscreen I found I had plenty of ways to get direct access to the things I want.

Ultimately, both these things could be fixed with firmware, if Fujifilm believe enough people agree with me.

So what’s your problem?

Ultimately, I think my glass half full perspective comes because this is the first redesign of the lens in nearly ten years, and it hasn’t addressed the thing I care about most. And any improvements not made in the X100V won’t now be addressed for the foreseeable future.

Any improvements not made in the X100V won’t now be addressed for the foreseeable future

Above all, the thing preventing me upgrading my X100 was focus responsiveness. With the important caveat that this is a pre-production unit, my impression is that the X100V’s autofocus isn’t significantly faster than the F’s. And, for the shooting I do, and the shooting I imagine myself doing (isn’t the X100 romance partly about the photographer you imagine yourself becoming?), I would really welcome something a little more snappy.

The Mark II lens is the same dimensions as the old one and maintains compatibility with existing accessories. But for my own use, it doesn’t address my biggest hang-up about the previous design.

All the early signs point to Fujifilm living up to its promises of sharper corners and better close-focus performance. Which are things I know a lot of X100 users wanted to see fixed. But they never really mattered to me. Like the flip-up screen or touch-capability they were more ‘nice to haves’ rather than essentials. Faster focus, to me, felt necessary.

I’d personally be disappointed if it turned out they’ve tied their hands when designing the new lens, in order to maintain backwards compatibility with adaptors I don’t have

My suspicion is that this, along with the need to mount a filter on an adaptor to get complete sealing, is a side-effect of trying to make sure the existing wide- and tele- conversion lenses remained compatible. This will no-doubt come as welcome news to people who had bought these accessories.

I’d personally be disappointed if it turned out they’ve tied their hands when designing the new lens, in order to maintain backwards compatibility with adaptors I don’t have (and don’t want: if I wanted a 28mm equiv. camera, I’d buy a Ricoh GR, rather than trying to mod an X100 into one). And personally is the key word in all of this.

Conclusion

It’s true that I’m a little more glass half full than Carey is, but I do recognize that there’s a delicious-looking half pint sitting in front of me. Every previous version of the X100 has included a series of small but significant improvements. They haven’t necessarily been compelling enough to prompt an upgrade version-to-version, but each has been better than the last. Even with my downbeat view, the X100V appears to comfortably reach that bar.

The X100V adds a tilt screen and touch-sensitivity in a way that shouldn’t alienate existing users, which is a delicate tightrope for Fujifilm to walk.

More than that, it appears Fujifilm has found a way of addressing both the ‘no tilt-screen, no buy’ crowd and, perhaps, the ‘add weather sealing, then we’ll talk,’ brigade. And has found a way of doing so without alienating the existing audience.

And therein is a hint at the challenge they faced: how do you push forward a series of cameras that so many people already feel personally invested in?

As me and Carey’s differing perspectives show: even that existing group isn’t homogenous. The X100 series has a surprisingly diverse user base, each of whom wants Fujifilm’s next iteration to be their perfect camera. So perhaps it’s forgivable, even if it transpires that the X100V isn’t mine.

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Fujifilm X100V pre-production sample gallery

05 Feb

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Fujifilm has made some substantial upgrades in this evolution of its popular X100 series. Like its predecessors, the X100V aims to be an ideal daily companion, and when a pre-production sample arrived at our office we happily started putting it to work in exactly that way.

See our Fujifilm X100V pre-production sample gallery

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DPReview TV: Fujifilm X100V hands-on preview

05 Feb

The wait for the Fujifilm X100V is over! We’ll take you through everything you need to know about this new camera, including its new lens, weather sealing, control changes and more. TL;DR: according to Chris and Jordan, it’s really good.

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

  • Introduction
  • Sample images
  • Improved close-up lens performance
  • Corner sharpness
  • Longitudinal chromatic aberration and ND filter
  • Sunstars and flare
  • Bokeh
  • Weather sealing
  • Displays
  • Event photography
  • What? No D-Pad?
  • HDR Plus
  • Things that irritate us
  • ISO Dial
  • Video performance
  • Conclusion

Sample gallery from this week’s episode:

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Hands-on with the new Fujifilm X100V

05 Feb

Hands-on with new Fujifilm X100V

Fujifilm just updated one of its most important – and most-loved – product lines, with the X100V.

That’s ‘V’ pronounced ‘vee’, but obviously also ‘V’ as in ‘Fifth’ (what did the Romans ever do for us?). The X100V is, of course, the fifth in the X100 line, and to Fujifilm’s credit, it still looks a lot like (and works a lot like) the (F)fourth one, which in turn looked a lot like the original X100, released way back in 2011 after a late 2010 announcement.

As you’d expect though, after almost a decade of development, some things have changed. The X100V is an altogether faster, more capable camera than its original ancestor, even though Fujifilm hasn’t meddled too much with the basic recipe that has made the X100 series so successful.

Click through this article for a closer look at the new Fujifilm X100V.

New sensor and processor

While the increase in megapixels is modest, the switch from Fujifilm’s last-generation 24MP chip to the new 26MP ‘X-Trans CMOS 4’ sensor used in the X-T3/30 and X-Pro 3 should mean a slight bump in resolution and improved image quality, especially in JPEGs shot at higher ISOs.

It also means that data can be read-out faster, to the tune of an additional three frames per second of continuous shooting. The X100F was no slouch, topping out at 8 fps, but the X100V offers 11fps with the mechanical shutter; switching to the electronic shutter gets you 20 fps with the full sensor, and 30 fps with a 1.25x crop. These aren’t necessarily settings that we suspect many X100V users will activate often, but it’s nice to know they’re there.

New autofocus system

More useful is an overhauled autofocus system, which in Fujifilm’s words offers ‘vastly improved’ performance compared to previous generations of X100-series cameras. While we haven’t tested it yet in depth, there does appear to be a difference in autofocus speed and responsiveness compared to the X100F, which was itself a major improvement over earlier models. Fujifilm claims that the new AF system works down to –5EV, which should constitute a major improvement in low light conditions over previous X100-series cameras.

The difference is most noticeable in face/eye-detection mode, and in continuous tracking. While the X100V is no sports camera (despite its highest frame-rate) it’s nice to have a genuinely usable AF-C mode for candid portraiture at wide apertures. As with the X100F, the active autofocus point can be positioned automatically, or manually using the dedicated rear AF joystick.

New-ish lens

While the X100V’s 23mm F2, eight element lens might look very similar to that of its predecessors, it has an additional aspherical element in the middle of the design, which according to Fujifilm should give it greater edge resolution and better closeup performance. The previous lens was designed for the 12MP of the original X100, and even on that camera, it didn’t look great in the closeup range. With the ever-increasing resolution of the X100-series, Fujifilm really needed to update its lens, and our initial shooting suggests that the company succeeded. We’ll be doing detailed side-by-side tests as soon as we can.

The X100V has the same threaded filter / converter ring as all previous X100-series cameras, which means it’s compatible with the same wide and tele converters that Fujifilm has been selling for almost a decade. Newer versions (WCL-X100 II and TCL-X100 II) have electrical contacts which tell the camera that a converter is attached, but older (non-II) converters will mount just fine, and are optically identical.

Tilting, touch-sensitive rear LCD

Controversy! We know for a fact that Fujifilm agonized over this one. Should they listen to those loyal X100-series owners who really wanted a tilting and/or touch-sensitive screen, or should they hold firm and honor the purists who didn’t want any additional complexity and wanted to keep the camera nice and slim?

In the end, the company tried to do it all, and largely succeeded. The X100V is slightly thicker than the X100F, but not so you’d notice unless you held both in your hand, and even then it’s subtle. But room has been made for a proper tilting and touch-sensitive LCD. If you don’t need the tilt, that’s fine: the unusually thin (4.4mm) LCD panel sits flush to the back of the camera in its ‘normal’ position.

Resolution-wise, the 3″ LCD has been upgraded from the 1.04M dots of the X100F to 1.62M dots. It’s a 25% resolution increase in each dimension, and both images and menus do look slightly crisper.

Still too many dials, but fewer custom buttons

I’ve said it before, and I’ll say it again: the X100F was a camera with too many dials. An aperture dial, a shutter speed dial, exposure compensation dial and ISO dial on the top, a push-in control dial on the front, another on the back and control dial around the lens. That’s seven dials. Seven dials is too many dials. Right?

Well, clearly I represent the minority view on this issue, since the X100V still has seven dials. What it no longer has, compared to the X100F, is seven customizable buttons. The X100V dispenses with all but two true custom buttons (leaving the one at the hub of the viewfinder mode switch on the front of the camera, and the one to the right of the shutter button on the top) but six additional control points can still be customized. Functions can also be assigned to up/down/left/right swipes of the touch-sensitive LCD.

Still too many dials though.

No 4-way controller

Now that you can assign actions to swiping movements, place AF point by touch, and scroll through captured images by swiping, Fujifilm clearly thought that the old 4-way controller on the rear of the X100F was no longer necessary. As a consequence, the rear of the X100V is now cleaner and less cluttered than its predecessor, but whether the loss of the controller ends up bothering us is something we want to establish as we use the camera more over the coming weeks.

A smaller, but potentially significant change is that the ‘Q’ button on the right edge of the X100V is now almost flush to the rear of the camera, rather than being raised. This makes it harder to press accidentally, but also potentially harder to press deliberately: especially when wearing gloves. The rearrangements on the rear of the camera have allowed Fujifilm’s designers to add a subtle ridge along its right-hand edge, which serves as a modest thumbgrip.

Redesigned ISO dial

It’s another a small thing, but whereas in the X100F the ISO dial ring was spring-loaded, so it had to be raised and held there for the ISO dial to be rotated. On the X100V the ring pops up, and must be pushed down again to switch back to shutter speed control. It also gains subtle clicking detents as you select your ISO setting, meaning you have some tactile feedback if you’re manipulating the dial with the camera to your eye.

Better? Worse? Let us know in the comments. (We think it’s better.)

Redesigned optical viewfinder and OLED EVF

Another feature that Fujifilm claims has been ‘vastly’ improved, the X100V’s optical viewfinder is practically the same as that used in the X-Pro 3. The magnification is essentially the same (~0.52x) and there’s the same small EVF ‘tab’ option for a more detailed view of exactly what’s under your focus point.

The biggest difference from a practical point of view is how Fujifilm has dealt with the issue of parallax. In the X100F, in OVF mode you’ll see two center AF reticules, one solid, representing where the selected AF point will fall at infinity, and one with broken edges, to its lower right, which indicates where this point will fall at minimum focus. When AF is acquired you’ll see a third box, in green, appear on a line somewhere between these two points (depending on your subject distance).

In the X100V, Fujifilm has simplified this indication, and the infinity reticule is replaced by the ‘active’ AF point indicator as soon as AF is initiated. As such, if your subject is closer than infinity, it will change position (on a track down and to the right) once focus is acquired. As in the X100F, the main frame lines will also move to indicate accurate framing.

Whether you find this new ‘improved’ way of dealing with parallax any easier to get your head around probably depends mostly on how you felt about the old way of doing things. It’ll take some getting used to, either way.

The EVF has also been upgraded, to a 3.69m-dot OLED capable of up to 100fps display. The difference between the X100F and X100V EVF experience is fairly subtle, but the panel is more responsive and offers a much greater contrast ratio, which is noticeable in some shooting situations.

4K/30p video

With the X100F, Fujifilm turned the X100 lineup into a halfway-convincing option for videographers, and with the X100V, the company has finished the other half. Offering 4K video at up to 30p, with 10-bit 4:2:2 output over HDMI, and the ‘Eterna’ cine film profile, the X100V is a much more capable video camera than most buyers will ever need it to be.

Refined body construction and weather-sealing

The X100V is a nicely-built camera, with top and bottom plates milled from single pieces of aluminum. It was not uncommon to hear complaints from X100-series owners that over time, dust would get into their cameras’ viewfinders and sometimes even onto the sensor. The X100V offers improved sealing, to the point that with a filter attached to the lens using the optional AR-X100 adapter ring, Fujifilm is confident calling it ‘weather-sealed’.

You will need to add that filter, though. Straight out of the box, the X100V may be vulnerable to dust and water incursion, at least around the edges of the lens.

We’re told that the main reason that Fujifilm opted not to include a filter adapter in the box (above cost) is that since this is the fifth model in the X100 line, the company is expecting it to be purchased by a lot of photographers upgrading from previous models. As such, a great many of these people will most likely already own the adapter.

Battery and memory card

The X100V features the same NP-W126S battery as the X100V, and it’s good for up to 420 shots using the optical viewfinder and 350 using the EVF (per CIPA). The battery is accessed via a door on the base of the camera, and shares space with a single SD card slot, which supports UHS-I media (but not UHS-II).

USB 3.2 Gen1 (formerly USB 3.0)

If you’re worried about battery life on the go, the X100V offers a USB C interface that supports in-camera charging. It’s a USB 3.2 Gen 1 interface (formerly known as USB 3.1 Gen 1 and before that as USB 3.0). The interface does triple duty in fact: charging, data transfer, and audio monitoring using headphones. It sits alongside an HDMI port and a 2.5mm microphone/remote socket.

So that’s the Fujifilm X100V, coming soon to a retailer near you for $ 1,399 (a $ 100 premium over older versions). What do you make of it? Let us know.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X100V initial review: The most capable fixed-lens compact camera, ever

05 Feb

Introduction

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The X100V is Fujifilm’s fifth X100-series camera since the original model debuted almost a full decade ago. Through each successive iteration, Fujifilm has made its large-sensor, prime-lens compact camera more and more capable, and this latest model (officially pronounced Ex One Hundred Vee) takes the core bits of Fujifilm’s high-end interchangeable-lens X-Pro3 and slips them into a much smaller package.

This means you get the company’s latest 26MP X-Trans APS-C sensor and processor combo, the promise of much-improved autofocus and the best video feature set we’ve seen on a prime-lens compact camera. But they didn’t stop there: the lens has been redesigned, the ergonomics refined, the viewfinder revisited, and a whole lot more.

Key specifications:

  • 26MP X-Trans sensor
  • Redesigned lens (but still a 23mm F2 pancake)
  • Built-in 4-stop ND filter, compatible with previous lens converters
  • Tilting 1.62M-dot touchscreen LCD panel
  • Updated 3.69M-dot OLED EVF, redesigned OVF optics
  • Up to 4K/30p with Eterna film sim and F-Log internal capture (8-bit only)
  • 2.5mm mic port, headphones through USB-C with adapter
  • Weather-sealed, when filter adapter and filter are used
  • Single SD card slot
  • CIPA rated to 350 shots using the EVF, 420 using the OVF

The X100-series has always been a favorite among the DPReview staff, and for some good reasons; these cameras produce wonderful images, are beautifully designed and are engaging to use. For those that have been eyeing some or other version of X100 over the years but never taken the plunge, this latest model is arguably the one to get. But for owners of previous X100 models, should the V tempt you to upgrade? Let’s find out.

The X100V is expected to be available in late February 2020 at a suggested retail price of $ 1399, £1299 (inc VAT) or $ 1799 CAD.

What’s new and how it compares

The X100V comes with some significant changes, but still follows the basic formula its predecessors have followed for the last decade.

Read more

Body, controls and handling

Out with the 4-way controller, in with the touchscreen. This and more have the potential to change the way you take control over the X100V.

Read more

First impressions

If Reviews Editor Carey Rose had the previous X100F, he’s not sure he’d upgrade – but he’s not sure he’d not upgrade, either.

Read more

Sample gallery

It’s a dark, gray, wet January in Seattle, but we did try to take advantage of a couple of sunny days to see what our pre-production X100V can do.

Read more

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