360Photography

Category: Uncategorized

  • 7Artisans 60mm F2.8 APS-C macro lens for mirrorless cameras now available

    Chinese company 7Artisans has launched the 60mm F2.8 APS-C macro lens that first appeared earlier this year. The new manual focus lens features a minimum 26cm (10in) focusing distance, F2.8 to F16 aperture, 8 elements in 7 groups, a 39mm filter size, de-clicked aperture ring, and 550g (19.4oz) weight.

    The new 7Artisans macro lens is made from aluminum alloy and supports extension attachments for shooting 2:1 and 3:1 macro images. 7Artisans says its new lens offers ‘excellent image quality at infinity and 1:1 macro conditions.’ Below is a collection of sample images provided by 7Artisans:

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3316544648″,”galleryId”:”3316544648″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    The new 7Artisans model is available for Canon EOS M, Canon EOS RF, Fujifilm X, MFT, Nikon Z and Sony E mounts.

    Articles: Digital Photography Review (dpreview.com)

  • OPPO patents foldable phone with pop-up camera

    Back in February at the 2019 Mobile World Congress, we saw the launch of a new form factor for smartphones: several manufacturers showed phones with folding displays, including Samsung with the Galaxy Fold and Huawei with the Mate X.

    OPPO’s foldable prototype got less media coverage but the company had already filed for a foldable-phone-patent with the World Intellectual Property Office (WIPO) back in October 2018. Now the patent has been published, including several design sketches and full color renders.

    The new design’s stand-out feature is the pop-up camera that allows for reduced bezel sizes and means that pictures and videos can be recorded in both in the phone’s folded and unfolded states. Additionally, the camera hardware could be used for selfie-shooting although camera control and image processing would likely have to be modified for front camera use.

    As this is a design patent no specs are available but, like with the MWC prototype, the screen folds outwards and there’s also a 3.5mm headphone jack.

    Samsung’s foldable phone has been delayed indefinitely due to technical issues and the Mate X has not made it into shops yet. This said, it’s likely a temporary delay and it’s only question of time before consumers will hold foldable phones in their hands. We are looking forward to seeing how other manufacturers will design camera implementations for the new form factor and how the design can help take mobile photography to the next step.

    Articles: Digital Photography Review (dpreview.com)

  • Skylum Luminar 3.1.1 update brings speed improvements and new features

    Skylum has updated its photo editing software Luminar to version 3.1.1, bringing improvements and new features to both the Windows and Mac versions of the application. The company says the new version of its software improves navigation on Windows and Mac by enabling users to right-click on an image and go straight to the folder in which it is stored.

    For Windows users, right-clicking on an image also now presents the option to view other images that were taken on the same day. Skylum presents these two features as a way to easily find other content that may be related to a current project, such as other images taken during the same photo shoot.

    For Mac users, Luminar version 3.1.1 can create albums faster and now supports changing the software’s language independent of the operating system’s settings. Both the Windows and Mac versions of the software have received launch time improvements, as well, drastically reducing the software’s startup time.

    Luminar version 3.1.1 is available now. Windows users can find the update by clicking ‘Help > Check for update’ in the top toolbar; Mac users can update by clicking ‘Check for updates’ in the Luminar 3 menu option in the system’s top bar.

    Articles: Digital Photography Review (dpreview.com)

  • ‘Future lenses for today’: Sony’s Yasuyuki Nagata talks high-end optics

    Yasuyuki Nagata, Head of Sony’s global Interchangeable Lens business, pictured at the press event where US journalists got our first look at the new G Master 600mm F4.

    We were in New Jersey recently, for the unveiling of two new Sony lenses – the G Master 600mm F4 OSS, and the more enthusiast-focused 200-600mm F5.6-6.3 G OSS. During the event, we spent some time with Yasuyuki Nagata, head of Sony’s global interchangeable lens business, to discuss the new products, and Sony’s approach to mirrorless lens development.

    These products use technologies developed for the 400mm F2.8 – how has that product performed in the market?

    The sales have been much higher than we expected – more than double. We thought at the first stages of development for the lens that there were only a few people who would shoot sports with our products – for example only Alpha 9 users, or photographers who shoot smaller small sporting events. But after we launched the 400mm, we have seen demand from many of the top sports photographers working at large events.

    Do you have a sense of how many professional photographers are using that lens, versus enthusiasts?

    Almost 70% of the [customer base] for that lens are professionals. But we have prioritized allocation for agency photographers. Availability is still capped – there is a long waiting list.

    Who do you see as the target market for the new lenses?

    Compared to the 400mm, the 600mm is more targeted at high-end amateurs. Photographers that shoot birds, wildlife, aircraft. Maybe 70-80% will be wildlife photographers. That’s why the market is bigger for the 600mm than the 400mm.

    The 200-600 will appeal to the same audience [to some extent] but some people who use those kinds of lenses will use them with APS-C cameras. To get more reach.

    The new GM 600mm F4 is a big lens, but it’s the lightest in its class, coming in at just 10g less than the similarly-styled Canon EF 600mm F4 III

    What are the specific differences between the two new lenses that account for the difference between ‘G’ and ‘GM’?

    With G Master lenses we always include the latest, innovative technologies. We never compromise. Always the latest technologies. With the 200-600mm, there are some compromises, for example in the materials, or the body. We didn’t use magnesium-alloy, or the [newer XD linear autofocus] actuator.

    The key concept is ‘future lenses for today’

    Affordability is also important for the G series, to expand the size of the market. And sometimes it’s practicality. We don’t actually need to use the XD linear actuators with a small focusing group for example [like the one in the 200-600mm].

    What were the major priorities for the design of the 600mm?

    Basically we’re targeting the best of the best. Without compromise. Every time we plan to make a G Master series lens, we aim for ‘no competition’. Which means the highest spec. We don’t compromise on anything. Autofocus, image quality, light weight. What I mean by that is we develop new technologies every time. So there’s not a particular standard for G Master, we just include innovative technologies every time. Technologies that didn’t exist before.

    We’re always listening to our professionals. And after we launched the 400mm, a lot of professionals told us they wanted a 600mm. We also consider camera bodies that will come in the future as well. The key concept is ‘future lenses for today’.

    All of the main controls on the 600mm F4 are the same size, and in the same position as those on the 400mm F2.8. This is deliberate, and intended to make it as easy as possible for photographers to use the lenses alongside one another at events.

    So when you’re designing a lens like this are you planning for even more focus calculations per second and faster frame rates than the a9 can achieve, for example?

    Yes.

    If we assume that this is a lens that will be used by a lot of a9 photographers, what kind of camera do they want next?

    They always request more speed, less weight, greater usability. I think that every professional photographer wants something different. We gather all those voices and we use that feedback to plan what we should do.

    When you develop a lens like the 200-600mm, how important is the requirement for video shooting?

    It must support video functions. Convergence from the video side is a very obvious trend, even in the US market. That’s why we use linear action autofocus actuators. Part of it is mechanics, and part of it is optics.

    The integration with our camera bodies is much better than our competitors

    In zooms we’re always trying to reduce focus breathing for example, and axial shift. All of the characteristics in zooms which [can] make it a challenge to use them for video.

    How would you summarize the competitive advantages of these new lenses compared to existing products on the market?

    If you shoot seriously, the 600mm is for you. The spec of the lens itself, its weight and its resolution is perhaps almost the same [as the current best competitive alternative]. But the integration with our camera bodies is much better than our competitors, I think. So if photographers want to maximize the performance of their camera body, they should use this lens. At this moment, there is no competition to the Alpha 9. Its performance is the best.

    The 200-600mm is a more comfortable lens to carry, at a reasonable price. We want many customers to use the 200-600mm. And we made it compatible with our tele-converters. We want to expand that field.

    The 200-600mm F5.6-6.3 is a pretty long lens, but a lot of that length is the removable hood. Unlike most lenses of its kind though, the zoom is internal, so it doesn’t get longer when zoomed in.

    How much difference does the body make to lens focus performance? For example if someone is using a first generation Sony Alpha 7, how different will their experience of this lens be to someone using an a9?

    It will be a totally different experience. We’re always saying that we try to see the future of cameras, and this lens is capable of much [faster] performance than the current specs of the a9. So this lens will be able to keep up with the next generation. It has much more potential [than the specifications of the current generation cameras].

    Is the speed of electronic communication between the camera and lens a big part of that?

    Yes. We hear some manufacturers talking a lot about the number of channels of communication between camera and lens, but if the autofocus actuators in the lens can’t keep up, it doesn’t matter.

    The biggest challenge is keeping the size and weight down

    When we design lenses we’re always thinking about the camera bodies. Compatibility between the mechanical parts, electrics, even software. These lenses are designed specifically for our mirrorless cameras.

    What are the major challenges in making such a small, lightweight lens with such a fast autofocus actuator?

    The biggest challenge is keeping the size and weight down. The optical components are determined largely by [the constraints of] optical physics. There aren’t any magic technologies to reduce the size of optical elements, and the diameter of the elements can’t be reduced because it determines the F number. The electronic parts on the other hand, like the autofocus unit, we can introduce innovative technologies which make the difference. Size and weight is the most difficult thing.

    This schematic shows the weight distribution of the older 400mm F2.8 compared to the last-generation 500mm F4 for the DSLR A-mount. The new 600mm F4, like the 400mm, concentrates is weight towards the center-rear of the lens, which helps a lot when shooting with a monopod or for hand-held work.

    What does Sony need to do with its optical lineup to become the number one manufacturer in terms of sales?

    I can’t disclose future plans, but there are a lot of opportunities, both on the telephoto side and the wide-angle side. Every segment of the lineup, there are opportunities to expand.

    What is the attachment rate for teleconverters with the 400mm F2.8?

    It’s at least 10%. Teleconverter compatibility was a big priority with these new 200-600mm and 600mm lenses.

    Clearly the GM line is where the premium technologies are introduced – will they filter down into consumer products?

    It’s possible, depending on timing. Over time we’ll introduce new technologies, and then the [existing] technologies will cascade down, one by one. Lenses are on the market for a long time, not like bodies which can launch every couple of years. But lenses it’s easily more than five years. It’s very hard to compare the camera and lens markets.

    You talk about these lenses as being designed for the next generation of cameras – how long do you think these lenses will stand as benchmark performers?

    Much longer [than camera bodies], I think maybe about 10 years.

    Editor’s note: Barnaby Britton

    When I last spoke to Mr. Nagata in 2017, he spoke of the increasing importance of professional photographers to Sony, and his ‘dream’ of seeing Sony cameras and lenses at the Tokyo Olympics in 2020. With the new G Master 600mm F4, he and his designers have taken one step further towards that goal, providing a lens which – like the G Master 400mm F2.8 – represents an almost symbolic position in any ‘serious’ camera system’s lens portfolio. It’s clearly very important to Sony that the brand is taken seriously by professional sports and wildlife photographers, and with lenses like these – and cameras like the all-powerful a9 the company is making a very strong case.

    In my opinion, the a9 is the most effective camera on the market today for shooting sports. A lot of people will argue the point, but I think the technical evidence, if you care to go looking for it, is clear. That doesn’t mean that overnight, professionals will ditch their Canon and Nikon gear for Sony, of course. Without the lenses – and the professional service support – that they need, the a9 is little more than a curiosity. According to Mr Nagata, the entire concept of the G Master lens lineup is ‘future lenses for today’. This means two things. Firstly, that the lenses should offer the kind of image quality which won’t look out of date in a number of years, and secondly, that they’ll be able to keep up with – and take advantage of – future Sony camera technologies.

    Older D/SLR lenses were not designed for 20fps capture using on-sensor phase-detection autofocus

    The a9 is a seriously powerful camera, capable of communicating with compatible lenses at a rate of sixty times per second, but at some point it will be replaced by something even more powerful, with a higher sensor resolution, and capable of even greater performance. A lens like the G Master 600mm F4, with its twin high-speed ‘extreme dynamic (XD)’ linear focus motors, has to be designed with this kind of development in mind.

    While Mr. Nagata is perfectly candid that in terms of image quality and basic specs alone, it might look similar to existing lenses from other manufacturers (the newest version of Canon’s EF 600mm F4 being the most obvious reference point), those older D/SLR lenses were not designed for 20fps capture using on-sensor phase-detection autofocus. ‘No competition’ indeed…

    Slightly further down the lineup, the 200-600mm F5.6-6.3 is a more mass-market lens. Despite its lower positioning, it’s actually likely to be more important to, and more widely used by, enthusiast photographers and DPReview readers. It’s not a small lens, but the internal zoom and focus keep it relatively compact when out and about, and in my experience of shooting with it, the versatility – and sharpness – is impressive. This is the kind of lens that Sony has to release, in order to ‘expand the size of the market’ and hit Canon and Nikon where it hurts – in the high-end enthusiast market segment.

    Articles: Digital Photography Review (dpreview.com)

  • DPReview TV: Hands-on with Sony’s new super-telephoto lenses

    Chris and Jordan, along with Senior Editor Barney Britton, traveled to New York for a hands-on look at Sony’s newest super-telephoto lenses: the FE 200-600 F5.6-6.3 G OSS and the FE 600mm F4 GM OSS. Find out what they think so far, and vote to tell us who shot the best sample images.

    Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

    Don’t forget to view the sample galleries and vote in the poll! (Below)

    • Introduction
    • Shooting soccer (football)
    • Halftime switch
    • 600mm F4 design and build
    • 200-600 F5.6-6.3 design and build
    • Sharpness
    • Teleconverter support
    • Video capability
    • The contest
    • Who are these lenses for?
    • Wrap-up

    Have your say

    $ (document).ready(function() { Poll({“pollId”:”4534715093″,”openForVoting”:true,”mainElementId”:”poll0″,”slot”:null,”isSingleChoicePoll”:true,”minNumberOfChoices”:1,”maxNumberOfChoices”:1}); })

    Who shot the best sample photos?
    You need to login to vote

    Sony 200-600mm F5.6-6.3 G FE OSS sample gallery

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_7871298865″,”galleryId”:”7871298865″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    Sony 600mm F4 GM FE OSS sample gallery

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_1878999433″,”galleryId”:”1878999433″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    Articles: Digital Photography Review (dpreview.com)

  • NYC’s iconic 101 Park Avenue skyscraper was turned into a giant camera last month

    Photographer Brendan Barry, founder and director of Positive Light Projects and creator of numerous unusual cameras, recently transformed the 46th floor of NYC’s 101 Park Avenue skyscraper into a massive camera obscura. The camera was part of the larger Skyscraper Camera Project installation that was live from May 13 to 16 in the iconic Manhattan tower.

    Barry, accompanied by photography students, looks over a negative captured as part of the Skyscraper Camera Project.

    Barry has crafted different types of cameras out of a variety of unexpected materials, including a medium format camera built in a pineapple, a 4×5″ camera that incorporates a log and a 35mm ‘butternut squash camera.’

    According to the CBS affiliate WLNY, Barry gathered with 20 photography students on Saturday, May 11, to blackout 160 windows in the 46th floor of 101 Park Avenue. Lenses were installed in the dark space, enabling the team to project large images onto screens inside of the skyscraper. Below is a short feature WLNY created on the project:

    The project was conceived by Favorite Child Creative founder and director Nicholas Kalikow, according to The Phoblographer. The 46th floor of the skyscraper was available during that time, offering a 360-degree view of the Manhattan skyline and the unique opportunity for this installation.

    One of the many images captured with the skyscraper camera obscura.

    During the workshop, Barry and participants produced what may be the largest analog photographs of New York City; they measure up to 45″ x 93″. The photos were developed in an on-site darkroom. In addition to transforming the floor into a large camera, the team also created a functional camera replica of the skyscraper.

    Below is a collection of behind-the-scene images from the project that Barry kindly shared with DPReview:

    $ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_0560645838″,”galleryId”:”0560645838″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

    Barry’s other work can be found on his website.

    Articles: Digital Photography Review (dpreview.com)

  • DJI Studio quietly releases new STORM drone

    When it comes to new releases, DJI isn’t exactly known for being quiet. Unplanned leaks typically surface in various online communities a few days ahead of every official announcement. Even with speculation leading up to an event in the form of photos and product descriptions, the world’s top drone manufacturer hosts glitzy, high-end affairs for media and industry insiders to introduce its new products. The Osmo Pocket, for example, launched last December at ‘Good Morning America’s’ New York-based television studio in front of a live audience.

    This is why it’s surprising that DJI chose to officially introduce a new professional-grade drone, through a provider, at Cine Gear Expo in Los Angeles. The four-day event, which took place from May 30th to June 2nd, attracted top-tier creators in the technology, entertainment, and media industries. What’s even more perplexing is that the video announcing the release of the STORM was uploaded to DJI’s YouTube channel back in January and remained under the radar until DroneDJ first discovered it.

    Why has DJI been relatively silent about STORM, along with its DJI Pro service which was released last December after being available in Asia for close to two years? To start, the STORM is not for sale. The Verge recently confirmed that one company outside of China, Helinet Aviation, based in the U.S., claims to own one and is testing it out.

    View this post on Instagram

    On display in the Helinet booth at Cine Gear will be the DJI STORM – the X8 drone made by DJI to seamlessly carry the industry standard DJI RONIN 2 gimbal. This drone is the only one in America. Cine Gear will be your chance to see this beast in person and grab some photos! @djiglobal @djipro BOOTH B106 in the B-Tank ?: @robgluckman_photography Helinet Aviation is the worldwide leader in aerial camera movement with solutions including Helicopter, Cinejet, Learjet, Moviehawk and Drone platforms led by world renowned Aerial Coordinator Kevin LaRosa II @k2_larosa Helinet Production Group: @k2_larosa @chad_daring @broby_thimpson @jfburton2 @aexandraalejandro @michaelfitzmaurice @fad2blk @dronepilotmike @cameronfitzmaurice @jaredslater @scherbas @bruno_04cl7 @airborneimages @bentonward @joe.kocsis @paddymoynahan @robgluckman_photography @jip_01 @steve_koster @insdangraming @tj.millard @mrsteelefpv @stingersswarm @helinetaviation @helinetmoviehawk @cinejet #philpastuhov #jasonlafargo

    A post shared by @ helinetdrones on

    How does a production company obtain access to this new-and-improved rig that can carry the heaviest, most advanced payload yet? It appears that DJI may be planning to offer the STORM for rent, packaged with the DJI Studio Custom Aerial Cinematography Service that includes a van and and professional crew. Comparable heavy-lift drones in its class, such as the xFold Dragon X12 start at $ 30,000.

    Some STORM specs:

    • Comes equipped with eight propellers
    • Max speed: 49.7 mph (Sport mode) / 37.2 mph (GPS mode)
    • Operating temp: -10°C/14°F to 40°C/104°F
    • Flight time: 8-15 minutes
    • Max Payload: 40.8 pounds

    Compared with DJI’s professional-grade Matrice 600, which starts at $ 5,000 and can carry a payload of around 5.9kg (13lbs), the STORM can handle up to 18.5kg (40.8lbs). This allows cinematographers to place and easily maneuver more sophisticated cameras on its DJI Ronin 2 PTZ gimbal including Arri and RED models.

    U.S. representatives for DJI have not confirmed if more STORM models will be made available in the near future, stating they will have to check with Shenzen, China-based headquarters.

    Articles: Digital Photography Review (dpreview.com)

  • BCN Retail report: Japanese camera market still in decline

    Graph: BCN Retail

    Analyst firm BCN Retail, which collects daily sales data directly at on- and offline points of sale, has published data (Japanese) on the camera market in Japan for the fiscal year from April 2018 to March 2019. With almost all big manufacturers based in Japan, the domestic market is an important indicator for global trends and unfortunately, things have not improved from previous years, according to the numbers.

    At 37.3 percent of all units sold, Canon remains the market leader, but Nikon has been able to increase its share, according to BCN, thanks to improvements in compact camera sales, and now stands at 26.7 percent. Sony is a solid number three at 13.1 percent but can rely on the highest average per-unit price. Olympus and Fujifilm follow on the next positions with 6 and 5.8 percent respectively.

    In terms of units sold, these numbers are bad news for almost all manufacturers, though. Canon is down 1.3 percent year-over-year, Sony 6.6 percent, Olympus 13.8 percent and Nikon even 15 percent. Only Fujifilm has been able to increase the number of units sold—by an impressive 19.4 percent.

    The picture slightly shifts when looking at revenue, though. In money terms, Fujifilm’s sales increased by only 0.6 percent. Sony, however, managed to expand sales by a whopping 14.5 percent, thanks to a focus on high-priced premium models in its camera lineup.

    At the other end of the spectrum, things do look pretty dire for industry giants Canon, Nikon and Olympus whose sales value went down by 11.4, 28.5, and 21.3 percent respectively.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm plans to bring back NEOPAN 100 Acros black and white film by the end of the year

    Fujifilm has announced it will re-start black and white film manufacturing this year and will bring out a new version of its former Acros film. The new NEOPAN Acros 100 II will feature finer grain and the company claims it will be the sharpest black and white film on the market.

    In a press release on the Fujifilm Japan website, President Kenji Sono explains that after the company stopped production of monochrome film last year many of its users asked for production to be started again. Part of the issue for the company, he says, was that some raw materials in the film were hard to source. For the new film alternatives have been found and the production process radically changed to account for them.

    Using ‘Super Fine particle technology’ the company has achieved an extremely fine-grained emulsion that produces what are described as 3-dimensional results. Highlight details are also much improved over the way they were rendered in the previous film.

    NEOPAN Acros 100 ll is due to go on sale towards the end of the year and will be available in 135 and 120 formats.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm X100F versus Ricoh GR III: Which is better for you?

    Fujifilm X100F vs. Ricoh GR III: Which is better for you?

    The Fujifilm X100F and Ricoh GR III are two very different cameras, but they’re broadly aimed at the same audience – camera-savvy enthusiast photographers who want a high-quality compact camera without sacrificing manual control or sensor size.

    As you’d expect, the X100 and GR lineups each have a hugely loyal user base, built up over several years, and upgrades come slowly. But with the recent launch of the Ricoh GR III, and the continuing success of the X100F (with no signs of it being replaced any time soon) this seemed like a good time to compare the two models, to help you decide which one better suits your needs.

    Focal length

    Let’s deal with perhaps the most fundamental difference between these cameras first – the Ricoh GR III offers an equivalent focal length of 28mm, whereas the Fujifilm X100F provides a 35mm equivalent medium wideangle. Which of these focal lengths suits you better is of course down to personal taste, and your preferred style of photography.

    As a very rough, casual comparison, 28mm is a loose proxy for a human being’s widest field of vision, whereas 35mm more closely matches your field of attention. As such, 28mm is great for images where you need to fit more in, or provide more context for your subject. Being slightly tighter, 35mm is more of an everyday ‘do everything’ focal length. It’s wide enough to make framing pretty easy for casual snapshots, but not so wide that your subject gets lost in the frame.

    Verdict: Tie (depends on preference)

    Adapters

    But wait – it’s not quite as simple as all that. While the X100F and GR III offer native equivalent focal lengths of 35mm and 28mm, both can be paired with adapters to increase their lens’ versatility further. Fujifilm’s $ 349 screw-in WCL-100 II 28mm adapter is excellent, and increases field of view with very little image quality penalty. Another adapter, the TCL-100 II (also $ 349) can be used to magnify the lens’ effective focal length to 50mm. You might find that sharpness drops a little when the 50mm adapter is used (especially at close focusing distances) but if you enjoy shooting at 50mm, the added versatility might make the resolution penalty worth it.

    Meanwhile, the GR III can be paired with the GW-3 wide converter ($ 149, plus adapter ring) to take its native 28mm equivalent lens all the way out to 21mm. We haven’t used the new adapter yet but performance of the older GW-2 adapter for the GR/II was excellent, which is encouraging.

    The downside to adapter solutions for both cameras is that they add considerably to the size and weight of the cameras, not to mention additional cost.

    Verdict: X100F wins for the added versatility of 28mm + 50mm equiv. converters.

    Lens speed

    Aside from their native focal lengths, another key differentiator between these two cameras is the speed of their lenses, expressed in terms of their maximum apertures. The Fujifilm X100F offers an F2 maximum aperture (equivalent to ~F3 in full-frame terms) while the GR III’s lens is slower, at F2.8 (~F4.2 equiv).

    The difference in maximum aperture has a couple of important effects. For one, you’ll have more ability to blur backgrounds and isolate your subject from the faster lens of the X100F, aided also by its longer focal length. You’ll also be able to shoot at lower ISOs in lower light with the Fujifilm without resorting to a tripod. On the other hand, the wider lens of the GR III, and its stabilized sensor (more on this in a minute) mean that the low-light disadvantage is somewhat mitigated (assuming static subjects) and you may not need a tripod except in very dark conditions.

    Verdict: Tie. Too many variables.

    Stabilization

    Ah yes – about that. Perhaps the most impactful upgrade to the GR III compared to its forebears is the addition of sensor-based image stabilization, which allows hand-held shooting down to at least 1/10sec without any trouble, assuming normal conditions (i.e., you’re not shooting from a helicopter or standing outside in a strong gale).

    The addition of stabilization mitigates the limitations imposed by the GR III’s relatively slow lens when it comes to low-light shooting, and allows for creative options like creatively introducing blur (from flowing water, traffic, people walking by, asteroids striking the earth, etc.). The Fujifilm X100F has no such system, either optical or sensor-based, which is a major plus point in favor of the Ricoh.

    Verdict: Ricoh GR III’s in-body stabilization means more options in low light.

    Sensor

    As a casual glance, the sensors in the Fujifilm X100F and Ricoh GR III look like they could be the same. And in fact, at a hardware level that might actually be the case. Both provide 24MP worth of resolution and on-sensor phase-detection autofocus pixels, and image quality is broadly comparable. Image quality is also in line with many of the best 24MP APS-C cameras on the market when it comes to Raw detail and dynamic range.

    The difference is in the filter arrays. Ricoh uses a conventional bayer-type filter array, whereas Fujifilm uses its own proprietary X-Trans design. If you’re a JPEG shooter, there’s a definite – albeit subtle – advantage to X-Trans when it comes to critical detail retention, across most of the X100F’s ISO sensitivity range. And the X100F is well-suited to JPEG shooting, thanks to its suite of excellent Film Simulation modes, which replicate the look of classic Fuji film emulsions. We’re less enthusiastic about the JPEG output from the GR III, particularly in terms of color.

    On the other hand, the more conventional design of the GR III’s sensor means that its Raw files play rather better with third-party Raw converters than those from the Fujifilm. While the difference isn’t massive, and Capture One deserves a mention as one of the software suites that actually does a great job. It might make a difference if you’re a Raw shooter with (for example) an established Adobe Raw workflow.

    Verdict: Ricoh GR III’s more conventional Raw files are more flexible.

    Body size

    The Fujifilm X100F is styled after the classic rangefinder cameras of the 1960s and 70s, and it’s around the same size as a Canonet or Yashica rangefinder (if you’re old enough to remember either). It’s a small camera, and will fit comfortably into a jacket pocket or handbag but it won’t slip into a shirt or trouser pocket. You’ll probably need either a hand strap or conventional neck strap to keep it secure when shooting.

    On the other hand (no pun intended), despite having a sensor-based stabilization system built into the body, the GR III is an impressively small camera. Compared to the X100F, the GR III is genuinely shirt-pocketable, and when turned off it takes up remarkably little space in a pocket or bag. Annoyingly, the GR III lacks proper strap lugs so it won’t accept just any conventional strap, but the slim (included) hand strap is probably all you’ll need. Obviously if you enjoy shooting with a viewfinder attached, the GR III becomes a lot less compact, which leads me on to my next point….

    Verdict: Ricoh GR III is genuinely pocketable.

    Viewfinder

    …the GR III does not have a built-in viewfinder, whereas the X100F does. And in fact, the X100F’s viewfinder is one of its best features. Unique to Fujifilm, the X100F features a ‘hybrid’ finder which can be switched between a high-resolution electronic view, and an optical view with exposure and focus information overlaid. Personally, I use the X100F almost exclusively in EVF mode, but a lot of photographers swear by the immediacy of the optical view. Impressively, the X100F can offer a version of the classic rangefinder focus aid by overlaying a portion of the live view feed in the optical finder. It’s hard to describe in words, but works well if you’re a fan of manual focus.

    With the GR III, on the other hand, you don’t have the same options. While simple optical finders can be attached (and Ricoh will sell you one, for quite a lot of money) you miss out on in-view focus or exposure information, and there’s no option to add an external EVF.

    Verdict: Fujifilm X100F’s built-in hybrid optical / electronic wins by a mile.

    Flash

    Another thing missing from the GR III compared to the X100F (and in fact previous GR models) is a flash. Possibly for internal space reasons, possibly for battery life reasons (or a combination of both) Ricoh deleted the internal flash on the GR III, and own-brand external flashguns add considerably to the size of the camera. The Fujifilm X100F on the other hand features a small built-in flashgun. It isn’t the most powerful in the world, but is useful for low-light social photography and fill-in purposes when shooting in daylight. And both cameras have leaf shutters, allowing flash synchronization at very high shutter speeds.

    Verdict: The Fujifilm X100F wins.

    Touchscreen

    What Ricoh’s engineers took away with one hand, they gave back with the other – in a significant upgrade compared to older GR models, the rear screen is touch-sensitive, and can be used to quickly place the AF point, and scroll through / zoom in to captured images. Some traditionalists might be tempted to disable the touchscreen (and the camera’s physical controls are there to take over if you’d prefer to go that route) but we’ve found that the addition of touch sensitivity makes a positive impact on the GR III’s handling experience.

    The X100F is a more control and dial-heavy camera, and offers a conventional, non touch-sensitive screen. Whether this makes a huge difference to your purchasing decision is as much about personal preference as anything else, but with the camera held out away from your eye, it is easier to quickly position a focus point by touch on the GR III than it is with the AF joystick on the rear of the X100F. If you’re typically a viewfinder shooter, the lack of touch-sensitivity on the X100F might not bother you all that much.

    Verdict: The Ricoh GR III’s touch-screen does make some key operations easier.

    Control interface

    The Fujifilm X100F is the fourth in a line of X100-series cameras which really set a template for the X and G-series mirrorless cameras that came later. A key part of the appeal of the original X100 was its (for the time) novel ‘retro’ styling, and every subsequent model in the lineup has shared a consciously old-fashioned hands-on design philosophy, with physical dials for key exposure settings, alongside the usual modal buttons and rear controls.

    Arguably, you don’t really need all those dials, and personally I think the X100F is over-endowed with control input points. I haven’t used a physical shutter speed dial since the Nikon F4, so when I shoot with the X100F, mine stays locked to ‘A’, but some people swear by it. And they look great, which I suspect is part of the point. The downside to the X100-series’ distinctive styling is that the cameras do tend to attract attention. Be prepared to be asked, ‘is that a Leica?’.

    Control interface (con’t)

    The GR III on the other hand offers a simpler, more subtle, less cluttered control interface which arguably better suits its specifications. A simple exposure compensation toggle on the rear doubles as a modal control for quick access to key shooting settings, and a dial on the upper right of the top-plate serves as the main input for exposure settings. Meanwhile, a lockable exposure mode dial provides a simple (and visually clear) means of moving between PASM and automatic exposure modes. As as already been mentioned, the touch-screen on the rear of the GR III helps to simplify some actions, like setting the AF point and navigating through captured images.

    In the end, the choice comes down to two things – how you like your cameras to work, but also how you like them to look.

    Verdict: Personal preference (but the Ricoh GR III is more streamlined).

    Battery life

    This one is pretty straightforward – while neither offer spectacular stamina, battery life from the X100F is pretty ok, whereas battery life from the GR III is decidedly less ok. Both cameras will probably get you through a day of shooting without any issues, but we’d be much less confident about leaving the house without a spare battery for the GR III. One of the most welcome upgrades in the X100F over its predecessors was a more powerful battery, and its CIPA rating compared to the GR III speaks for itself (390-330 shots compared to 200).

    In reality, in a single shooting session with minimal image review, both cameras should be able to capture a lot more shots per charge than the CIPA figures suggest, but there’s no escaping the fact that the GR III’s battery is on the skinny side.

    Verdict: The Fujifilm X100F wins with roughly twice the battery life of the GR III.

    Movie mode

    Arguably, neither of these cameras is really suited to serious movie shooting, but of the two, the X100F is a far more convincing video camera. While not spectacular, its maximum video resolution of 1080/60p is fine, with a good degree of control over exposure. Focus is AF-C or manual only, but it’s still usable, and there is a socket for an external mic.

    The GR III on the other hand offers a very thin video feature set. Although it also boasts 1080/60p resolution, exposure is locked to ‘P’ and there is no option for adding an external microphone.

    Verdict: The Fujifilm X100F is the better of the two (but neither are great).

    Summing up

    So which of these two cameras is best for you? Aaaaaaall together now: It depends.

    Obviously that’s the answer – that’s always the answer! You know how this works by now. If you value compact size over the convenience of a viewfinder, go for the GR III. If you’re one of those people that just doesn’t ‘get’ 28mm for some reason, go for the X100F. If you like to shoot a lot in low light but you don’t carry a tripod, the GR III is a better choice. If you want the camera to shoot video, frankly I think you’d be mad to consider either of them, but in a pinch the X100F is the less terrible of the two. Etc., and so on.

    At the end of the day, both are excellent cameras with their own strengths and relatively few serious weaknesses. They’re just different. If you have the money, there’s actually a pretty good argument to made for buying both the X100F and the GR III, and using them alongside one another. Both cameras together will still take up less space in your bag than most mirrorless ILCs with a zoom lens.

    Ultimately, you’re a grownup. You know what you like, and you know what you need. You’ve got this! Feel free, as always, to share your thoughts in the comments and let me know if I missed anything!

    Articles: Digital Photography Review (dpreview.com)