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At its ‘X Summit’ in London, Fujifilm announced that the X-T4 will be unveiled later this month, on February 26th. And that’s all we know at this point, so check back then for all of the details.
What features are you hoping to see on the X-T4? Let us know in the comments below.
Articles: Digital Photography Review (dpreview.com)
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.
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Articles: Digital Photography Review (dpreview.com)
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In amongst the X100V hullabaloo in London today, Fujifilm also discussed three new lenses spread across their two interchangeable lens camera systems. Unfortunately, we have neither press releases nor full specifications for these lenses, but you can get a sense for their size and how they handle from our hands-on photos with the mockups.
The first lens is the Fujifilm XF 50mm F1.0. We’ve covered this lens before; it was originally going to be a 35mm F1.0 lens (52.5mm equivalent focal length), but Fujifilm pivoted to a 50mm F1.0 (75mm equivalent) design due to size, weight and autofocus speed considerations. As you can see, it’s still a big lens when mounted on an X-T3 and comes with a 77mm filter thread and carries a ‘WR’ label for weather resistance, but manages to weigh in under a kilo. Judging from the aperture ring, the lens is capable of a minimum aperture of F16.
Next up is the GF 30mm F3.5 for the company’s medium-format GFX system. This lens has a roughly 24mm equivalent field of view, a common moderate-wide focal length that’s handy for everything from architecture to reportage as well as video shooting. With a relatively small 58mm filter thread, we expect it to handle well on all GFX bodies thus far released, and like all GFX lenses, also comes with a ‘WR’ label for weather resistance. The 30mm F3.5 will stop down as far as F32.
Lastly we have the GF 80mm F1.7. While more substantial-looking than the 30mm, it doesn’t look out of place on the (admittedly, fairly large) GFX 100. Its F1.7 aperture makes it the fastest lens yet for the GFX system, and it offers an equivalent focal length of 63mm. It comes with a minimum aperture of F22, has a 77mm filter thread, and of course, a ‘WR’ rating for weather-resistance.
Let us know what you make of Fujifilm’s latest lenses in the comments.
Articles: Digital Photography Review (dpreview.com)
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.)
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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.
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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.
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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.
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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).
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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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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.
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.
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The X100V comes with some significant changes, but still follows the basic formula its predecessors have followed for the last decade. Read more |
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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 |
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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 |
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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 |
Articles: Digital Photography Review (dpreview.com)
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At a fundamental level, the Fujifilm X-T3 and X-Pro3 have a lot of hardware in common but, unlike their predecessors, they’re radically different cameras to use. We’re going to have a look at the differences and what it means when you’re out taking photos with them.
At heart, both are 26MP X-Trans cameras that can shoot at up to 11fps with their mechanical shutters and 30fps in a cropped e-shutter mode. But the hardware differences between the models quickly add up to mean that they’d appeal to very different people and very different styles of shooting. Which one are you?
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The most obvious distinction between the two models is their viewfinders. Both have 3.69M dot OLED viewfinder panels, with the X-T3 able to offer a higher, 0.75x magnification (vs 0.66x on the Pro3).
But the X-Pro series’ defining feature is its hybrid viewfinder that can be also has an optical mode. This is one of the defining features of the X-Pro range: a viewfinder that can be used as a fully electronic finder or an optical finder with an electronic display of shooting parameters and frame guides projected into it.
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Some people find that optical finders let you feel a more immediate connection to the scene you’re shooting, and the electronic mode means it can also operate essentially like an X-T3 (albeit with lower magnification, presumably as a result of the more complex optics).
For those users who do want the optical viewfinder, it’s worth noting that it’s not as flexible as the one in the previous X-Pro models. Those included a magnifying lens that slid into place when you mounts a longer lens, meaning it could accommodate both wide and moderately long lenses, whereas the Pro3 optical finder can’t show framing guides any wider than 35mm equiv, and ends up using a very small area of the finder with lenses beyond 75mm equiv.
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Having said that the hybrid viewfinder was one of the defining features of the X-Pro series, the rear screen arrangement has become a similarly distinctive feature for the X-Pro3.
Its main rear screen tilts up so that it faces in towards the camera. This means it can’t be used for composing photos with the camera held out in front of you, forcing you to either use the viewfinder or to fold it out to shoot from waist level (something you couldn’t do with the older X-Pros). This very much encourages you to shoot one way or the other, strong arming you into using the features that make the camera different to its peers.
The X-T3 plays with a straight bat: it has a rear LCD that tilts up for waist-level shooting, down for overhead shooting and has a second hinge that lets you shoot portrait orientation images at low angles, too. The viewfinder eyecup obscures the tilted-up screen a little more than occurs on the X-Pro3 but overall, the X-T3 approach is certainly the more practical. But then, practicality (and whether ‘practical’ is always the paramount consideration) is the underlying story of the relationship between these two cameras.
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While we’re on the subject of rear screens, we’re also going to look at one of the things you’re likely to have noticed first: the X-Pro 3’s rear ‘sub-monitor’ display. We put it last partly because it arguably adds the least functional benefit to the X-Pro3, but it’s also perhaps emblematic of the camera’s entire philosophy and potential appeal.
Yes, it can be used to display the camera’s current shooting settings but, unless you’ve pushed all the dial functions from their dedicated controls to the fiddly command dials, you can see most settings just by glancing at the dial positions. Equally, how often do you scrutinize a small panel on the back of a camera you’re mainly shooting through the viewfinder of?
That film-carton display is kinda cool, isn’t it? Your response to that question probably answers whether the X-Pro3 is right for you
Instead, the rear panel’s primary role is to show which film simulation you’re using, in the style of the flap of a film carton, slotted onto the back of a film camera. From a functional point of view it’s almost entirely pointless. But if you aren’t Mr Spock, you’ll recognize that dispassionate analysis is meaningless when it comes to human reactions.
A camera is a creative tool and, as a result, is an emotional purchase as much as a rational one. Sure, that film-carton display doesn’t really do much, but it’s kinda cool, isn’t it? Your response to that question is probably the answer to whether the X-Pro3 is right for you.
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The X-Pro3 has a series of image processing options that aren’t available on the X-T3. The Classic Neg Film Simulation mode, variable grain size and Color Chrome Effect Blue are all currently exclusive to the X-Pro3 and are not listed in the announcements of forthcoming X-T3 updates. It’s the same story with the X-Pro3’s multi-shot HDR mode.
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With the recent release of Firmware V2.30 for the X-T3, it gains the latest Face/Eye performance and user interface implementation we first saw on the X-Pro3.
Now, when Face Detection find a face in your scene, you can push the joystick in to over-ride it and toggles between face detection and your previously chosen AF point. If you set a button to engage Face Selection mode, you can use the joystick choose which face to focus on (or press to toggle to your previously chosen point). We’re not sure why ‘Face Selection’ isn’t the standard behavior, but this newer approach is a huge improvement because you can leave face detection turned on, with an easy way to opt-out, when you want.
This implementation still isn’t quite as slick as it could be (we can’t see a reason why the ‘Face Selection’ mode isn’t the full-time behavior of the camera’s Face/Eye AF system, but it’s a big step forward compared to the way the X-T3 previously functioned.
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For the most part there’s little to choose between the X-T3 and X-Pro3 in terms of autofocus: they have similar underlying hardware and the X-T3 is supposed to be getting an update to the latest AF behavior in a firmware update.
The difference when you use the cameras is simply a knock-on effect of how the screens and viewfinders work. As mentioned on the previous slide, the both cameras now have better integration of their Eye-AF features, but the X-Pro3 can only use Face and Eye detection in EVF mode or when you’ve got the rear screen folded out: it’s not available through the optical finder.
The optical finder can also make it a little difficult to know where the camera is going to focus. Parallax error between the viewfinder and lens positions mean you sometimes have to estimate where your chosen AF point is, relative to the thing you can see through the optical finder. The tools provided to help you with this estimation are arguably a little less helpful than on previous X-Pro models. But this ambiguity and need to estimate are may, to some people, be part of the appeal of the X-Pro3 experience.
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The X-T3 is by far the better video camera of the pair. But that’s not much of a surprise, since it’s one of the best-specced stills/video cameras on the market at present and probably the best for the money.
Both cameras will happily shoot both DCI and UHD 4K video at up to 30p, but the X-T3 goes way beyond this. It can shoot 4K/60p footage at up to 400Mbps for up to 20 minutes, and its 30p capture will typically record for 30 minutes (as compared to around 15 on the Pro3).
The X-T3 also has 10-bit internal capture, meaning that its F-Log footage is much more malleable than the 8-bit capture of the X-Pro3. And, if you don’t want to have to process F-Log footage – something that’s not a particular chore, given Fujifilm’s provision of a series of LUTs to convert the footage to something more finished – the X-T3 can shoot Hybrid Log Gamma, the industry-standard ready-to-view HDR format.
Fujifilm has also said developed a USB control protocol for the X-T3, specifically so that the camera can be operated from the controls on popular brands of gimbals.
The X-Pro3 is a remarkable competent video camera but most of its appeal is likely to be to stills photographers. If you’ve any real interest in video, the X-T3 is the clear choice.
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Both cameras are well built, with weather-sealed, primarily metal construction. The dials on both cameras aren’t perhaps as solid-feeling as their body construction, but they both end up feeling like premium products.
They’re both good-looking cameras, too. Some people will, no doubt, see the dedicated shutter speed and ISO dials as a throwback design aesthetic gone too far (and there are time using the combined shutter/ISO dial on the X-Pro3 that we feel that ourselves), but a lot of people will see them as classically stylish and functional.
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Of course the X-Pro3 works a little harder on both aspects of its classic chic looks. Its design is unmistakably rangefinder-esque and, particularly in its ‘Dura’ coated finishes, its titanium construction is pretty swish.
And, just like film carton display, there are some people who will find an emotional resonance in seeing the words ‘Made in Japan’ on the base of the camera. The X-T3 doesn’t make the same claim, but it seems every bit as well built as the Japan-made X-T2. So again, it’s perhaps more of an emotional pull than an objective benefit.
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Does the X-Pro3 speak to you? The answer to that question is probably more valuable than any analysis we can offer.
We nearly wrote a use-case based assessment but concluded the X-T3 is more practical in just about every respect, for most kinds of photography. But that’s probably just an indication that you’re using the wrong analytical tool. Sure, the X-T3 is objectively better suited to most types of photography than the X-Pro3 (with the possible exception of street shooting), but that’s not the point.
This is a head versus heart decision, and the heart wants what the heart wants
If the X-Pro3 feels distinctive, individual or special to you, then it’ll end up meaning more to you, and may prompt you to go out shooting with it more often. Ultimately, this is a head versus heart decision, and the heart wants what the heart wants.
Articles: Digital Photography Review (dpreview.com)
The post Your Guide to the Fujifilm JPG Film Simulations (with Sample Images) appeared first on Digital Photography School. It was authored by Matt Murray.
When I first bought a Fujifilm Finepix X100 in 2012, I was absolutely stunned by the quality of the images it produced. As the first iteration in Fujifilm’s lineup of excellent fixed-lens compact cameras, it paved the way for the rest of the X-series lineup with its excellent optics and fantastic usability.
What impressed me the most, perhaps, was the quality of the JPGs that the camera produced – they were lightyears ahead of anything I’d seen with other camera systems.
In this article, I will introduce you to the commonly available Fujifilm JPG film simulations, including the characteristics of each one and when you might like to use them.
I still have an X100 – but this is the latest iteration in the series, the X100F.
Fujifilm has been a leader in the photographic industry for decades. Not only are they world leaders in optics, but they are also the biggest producer of instant film and cameras left in the market.
In the heyday of film, they were also one of the leading brands for the production of 35mm and 120 films, making film emulsions loved by photographers everywhere. Some of these famous film stocks (Acros and Fuji Pro 400 H) still exist.
Fujifilm took their color science know-how from the film days and created a range of film simulations for their digital cameras that feature a very high level of color accuracy and reproduction.
You can easily choose the Fujifilm film simulations via a button on the back of X-Series camera bodies.
No, the Fujifilm JPG film simulations available to your X-Series camera depend on the model and the firmware updates you have applied. Although the number of film simulations has grown over the years with the release of new generations of cameras and sensors, new film simulations don’t always roll out to older model cameras.
For example, it is rumored that the newest film simulation launched with the X-Pro 3 – Classic Negative – will be rolled out to cameras, including the X-T3 and X-T30, very soon via a firmware update.
This is part of Fujifilm’s ongoing improvements they make to their cameras and lenses.
First of all, you’ll need an X-Series camera body. Next, you need to set it up to shoot JPGs.
When you do this, the default setting to shoot with is the Provia film simulation. This setting will be applied to all the JPGs produced until you change it. You can easily do that via a button on the back of your camera body, where you can cycle through all available options.
It’s fun to change the film simulations to see what different effects they give you. Another reason why I love mirrorless cameras is that you can even see the effect each film simulation will have through the viewfinder and on the LCD screen – very helpful.
Can I change the film simulation after I’ve shot a JPG?
No, once you shoot the JPG with that film simulation, you can’t change it. So if you’re only shooting JPGs, make sure you’ve selected one that will complement your subject, or shoot JPG+RAW.
You can even convert RAW images to JPG with Fujifilm JPG film simulations in-camera, but that’s a topic for another day.
Yes, there are a couple of different ways you can do this after you have taken an image. The first is using software such as Adobe Photoshop Lightroom. The second is by applying the simulation to a RAW file in the camera after you’ve taken it. This is something that often surprises X-Series users. Yes, you can actually process your RAW files as different film simulations in-camera.
Provia was the name of Fujifilm’s most popular color transparency (slide) film. With its medium contrast and saturation, this is the most neutral film simulation and is suited to most genres of photography. It’s the default film simulation on X-Series cameras and is also labeled as “standard” in the menu.
Left: Isle of Wight RAW file. Right: Provia JPG. There are some noticeable differences over the RAW file, such as higher contrast and more saturation.
Top: Kids in a filed RAW file. Bottom: Provia JPG.
Velvia was the nature photographer’s go-to film back in the film heyday. It’s bold colors brought to life the natural world. Velvia’s high contrast and high saturation make it a winning formula for wildlife and landscapes, though it’s one to avoid for portraits.
Left: Isle of Wight RAW file. Right: Velvia JPG. Velvia is showing its rich colors here, with both the greens and the blues highly saturated.
Top: Kids in a filed RAW file. Bottom: Velvia JPG. Skin tones look too saturated and unnatural, so this is best avoided for portraits.
This is another simulation named after a slide film, in this case, the film that was very popular among portrait and fashion photographers. Astia is known for its softer colors and contrast, giving a more subdued look overall with beautiful tones. I quite often use this simulation for shooting portraits.
Left: Isle of Wight RAW file. Right: Astia JPG. Great tones and colors, though slightly subdued.
Top: Kids in a filed RAW file. Bottom: Asita JPG. Lovely colors and tones, though they are not over the top.
This Fujifilm JPG film simulation is not based on a classic film emulsion. Instead, Fujifilm developed it to emulate the look of classic documentary-style photography.
Classic Chrome has lower color saturation and full-bodied tones, giving it a distinctive look. Skies look different with this simulation, as it removes magenta. Reds and greens also appear quite unique.
Many street photographers seem to use this film simulation if they are shooting color for a raw, edgier look.
Left: Isle of Wight RAW file. Right: Classic Chrome JPG. Look at the difference between the sky and the grass in these shots.
Top: Kids in a filed RAW file. Bottom: Classic Chrome JPG.
Pro Neg Hi is ideal for portraits with slightly enhanced contrast, especially when contrasted against Pro Neg Standard. Modeled after Fujifilm’s most popular print film for portraits, Fuji Pro 400H, it’s the film simulation I most use for portraits (alongside Astia).
Left: Isle of Wight RAW file. Right: Pro Neg High JPG.
Top: Kids in a filed RAW file. Bottom: Pro Neg Hi JPG. I love the colors, contrast, and tones of this film simulation.
This is another of the Fujifilm JPG film simulations that is ideal for portraits. It simulates NS160, a professional color negative film for studio portraiture. It has softer graduations and skin tones, especially when compared to Pro Neg High.
For best results, use it with creative lighting choices, or you may end up with a flat, boring-looking image.
Left: Isle of Wight RAW file. Right: Pro Neg Standard JPG. The tonality of this image is quite soft compared to others.
Top: Kids in a filed RAW file. Bottom: Pro Neg Std JPG. Out of the box, it produces a flatter file with softer colors and tonality.
Fujifilm’s classic black and white emulsion brought to life digitally with rich details and excellent sharpness. Fujifilm claims that this film simulation matches the tonal range and even the film grain of its analog offering, which is quite impressive.
You even have the ability with the Acros film simulation to apply yellow, red, and green filters in-camera.
The red filter gives more contrast and a dramatic feel. The yellow filter seems more subtle. The green filters seem to work best when photographing people.
Left: Isle of Wight RAW file. Right: Acros JPG.
Top: Kids in a filed RAW file. Bottom: Acros JPG.
Left: Isle of Wight RAW file. Right: Acros JPG with the red filter. Red filters have long been used in black and white photography to increase contrast and make images look more dramatic.
Left: Isle of Wight RAW file. Right: Acros JPG with the green filter.
This was the original black and white Fujifilm JPG film simulation on X-Series cameras until Acros came along. Many people bypass it completely, choosing to create black and white images in post.
As with Acros, there are three variants for this mode; you can add a red, yellow, or green filter.
Isle of Wight RAW file. Right: Monochrome JPG.
Sepia gives your image a reddish-brown look to mimic the feel of a vintage photo. I’m not sure why anyone would use this filter, but each to their own.
Left: Isle of Wight RAW file. Right: Sepia JPG.
I hope you have enjoyed this introduction to the world of Fujifilm JPG film simulations. Fujifilm produces the best straight-out-of-camera JPGs from any camera manufacturer. The ability to choose a Fujifilm JPG film simulation, many based on classic film emulsions, is the icing on the cake.
I’ve loved playing around with different looks to my images over the years. The ability to see through the viewfinder or LCD is incredible.
Which is your favorite of the Fujifilm JPG film simulations? Share with us in the comments.
The post Your Guide to the Fujifilm JPG Film Simulations (with Sample Images) appeared first on Digital Photography School. It was authored by Matt Murray.
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Fujifilm has released firmware updates for its X-T3 and X-Pro3 mirrorless camera systems. The X-Pro3 update is rather minor, while the X-T3 update brings a number of substantially improved features.
Firmware version 1.03 for the X-Pro3 fixes an issue wherein the camera could ‘in rare cases’ freeze without warning as well as addresses a problem where ‘the color tone of recorded images is not recorded correctly in AF-C mode and continuous shooting.’ Aside from that, no other details are mentioned in the changelog. You can download the firmware version 1.03 for the X-Pro3 from Fujifilm’s website.
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Moving onto the X-T3, firmware version 3.20 improves the autofocus capabilities. Specifically, Fujifilm says it improves tracking performance with eye AF, improves face-detection performance when there are different-sized faces in the same frame, and improves autofocus on foreground subjects. ‘even when there is a mixture of foreground and background subjects within a AF frame.’
Other updates in firmware version 3.20 include the ability to save up to 9,999 images in each folder (a dramatic increase from the current 999 image limit) and fixes for issues with movie autofocus, including ‘focus hunting at the minimum aperture’ and an issue that sometimes caused a black line to appear at the bottom of the frame. Other smaller bug fixes have been addressed as well.
You can find out more information about firmware version 3.20 for the X-T3 and download it on Fujifilm’s website.
Fujifilm has also updated its Camera Remote app for Android and iOS. The update adds support for Apple and Google’s latest operating systems, iOS 13 and Android 10, respectively. You can download Fujifilm Camera Remote in the Google Play Store and iOS App Store for free.
Articles: Digital Photography Review (dpreview.com)
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Fujifilm has announced the X-T200, boasting a wide range of improvements over its X-T100 predecessor. The X-T200 uses a 24MP Bayer sensor like the T100 did, but uses copper rather than aluminum wiring, which provides 3.5x faster readout and had allowed Fujifilm to extend the high ISO by one stop, to 25600.
The X-T200 is an altogether lighter camera than the X-T100, weighing in at 370g / 0.8lb. Where the T100 offered very little in the way of a grip, the X-T200 provides a prominent, protruding grip for more comfortable hand-holding. The T200’s touchscreen is larger (3.5″ vs. 3″) and inherits a more touch-friendly menu from the X-A7.
Another welcome improvement is the ability to shoot un-cropped 4K video at 29.97 and 24p
Fujifilm promises autofocus improvements as well, including the latest eye detection algorithms. The X-T200 offers more phase-detect pixels (140k versus 16k), better PDAF coverage (across the whole sensor, rather than a central 25%) and more selectable autofocus points (425 vs. 91) than its predecessor. Burst shooting is improved to 8 fps (compared to 6 fps).
Another welcome improvement is the ability to shoot un-cropped 4K video at 29.97 and 24p, compared to the T100’s 4K/15p. Slow motion 1080/120p is also now an option, and a video setting has been added to the mode dial.
The Fujifilm X-T200 will ship in late February for $ 700 body-only or $ 800 with XC 15-45mm F3.5-5.6 OIS PZ kit lens.
Press release
Valhalla, New York – January 23, 2020 – FUJIFILM North America Corporation is pleased to announce FUJIFILM Corporation’s launch of its “FUJIFILM X-T200” (hereinafter “X-T200”) mirrorless digital camera.
The X-T200 provides content creators of all levels with a new, light-weight and compact mirrorless camera body that features a newly designed EVF, quick face detection AF, and a new sensor and processor combination that can create 24.2MP stills at 8 FPS and record 4K UHD video at 30fps.
An ideal camera for creative individuals who want to make high-quality imagery anywhere, the X-T200’s HDR functions for still and video make this easier in high- contrast environments. It can also record Full-HD 120p video, making it a great tool to use for scenes needing super slow motion. Additionally, the new Digital Gimbal Function can now be used to smoothly record video in-camera by mitigating camera shake through new gyro sensors in the camera body. This enhances image quality even further beyond what normal Smartphones can provide comparatively.
Incredible Image Quality for any Situation
X-T200 combines innovation, design, and technology to provide image makers of all levels with a complete solution to unlock limitless creative possibilities. Weighing 13.05oz (370g), X-T200 is about 2.82oz (80g) lighter than its predecessor (the X-T100) and is equipped with a new vari-angle touch-screen, a high-speed APS-C 24.2 Megapixel CMOS sensor which uses copper wiring for optimal performance, and an intuitive user interface that provides professional quality with the ease and familiarity of a Smartphone. Able to process data 3.5 times faster than the X-T100, rolling shutter is reduced with the X-T200, while AF performance in the X-T200 is dramatically enhanced through the use of phase detection autofocus pixels across the sensor.
Touch Your Way to the Perfect Image
X-T200 is equipped with a vari-angle 3.5-inch, 16:9 Aspect Ratio widescreen LCD touch- screen that can be opened and closed between 0 to 180 degrees and rotated between – 90 to +180 degrees. It also provides an intuitive and responsive control over the camera’s features and functionality and can be used to adjust a variety of settings, like brightness, background blur, film simulation effects, and image aspect ratios.
Focus on the Faces and the Moment
The use of on-sensor phase detection pixels across the sensor and a new AF algorithm means focus can be achieved quickly and in a variety of conditions. The updated Face/Eye Detection AF makes focusing on individuals or groups of people quick and easy. This is even possible when the camera’s LCD monitor is flipped out and you want to take a selfie. Automated functions, like Main Subject Recognition, allow the camera to be set to recognize and track a main subject within the frame. These features, combined with a burst mode of 8fps, allow you to see, frame, and make images of those important moments with those important people.
Legendary Color Science
Fujifilm’s history in color science has given it world renowned status among image- makers across the world. With over 85 years of experience in the industry, Fujifilm has been responsible for some of the most iconic photographic films in history and this exceptional knowledge has been poured into the 11 digital film simulation modes installed into X-T200. Images made with these film simulations carry the look and feel of the actual films that inspired them, which are a great building block to sparking creativity in image- making. In addition, 20 advanced filters, which includes the new, “Clear Filter”, give even more creative possibilities to image-makers as they seek to express themselves artistically.
When Stills Just Aren’t Enough
The new Electronic Stabilization and HDR Video modes, along with the X-T200’s basic internal editing functions, helps X-T200 do more than just produce beautiful 4K Video– it ensures that videos are stable, crisp, and properly trimmed so they can be easily shared with family and friends. A gyro sensor sits at the heart of the new Electronic Stabilization Mode and assists in reducing the effects of camera shake when recording video footage. The new HDR Video function makes recording footage in high contrast situations much easier and more practical, while its in-camera video editing functions allow for clips to be trimmed and right-sized before they are shared. This means creators can share the perfect section of a super-slow motion clip or the best part of their 4K footage right from the camera to their Smartphone without ever needing to open a computer!
Pick Your Favorite Color and add a Fast Prime Lens
X-T200 will be available as a standalone body and as a kit with the XC15-45mmF3.5-5.6 OIS PZ Lens in three colors (Silver, Dark Silver, and Champagne).
For those interested in expanding their X-T200 tool kit, the new FUJINON XC35mmF2 lens gives an equivalent to 52mm field of view on 35mm format. Weighing just 130g and measuring 46.5mm in length, this new prime lens has nine elements, including two aspherical lens elements in six groups, which work to produce sharp and crisp images with creamy bokeh. AF operation is quick and near silent thanks to the use of an internal focus system and a stepping motor, which is used to drive the focusing elements quickly and accurately.
X-T200 is expected to be available for sale in late February 2020 at manufacturer’s suggested retail pricing as follows:
For more information, please visit https://fujifilm-x.com/en-us/products/cameras/x-t200/.
| Price | |
|---|---|
| MSRP | $ 699 (body), $ 799 (w/15-45mm lens) |
| Body type | |
| Body type | SLR-style mirrorless |
| Body material | Metal, composite |
| Sensor | |
| Max resolution | 6000 x 4000 |
| Image ratio w:h | 4:3, 3:2, 16:9 |
| Effective pixels | 24 megapixels |
| Sensor size | APS-C (23.5 x 15.7 mm) |
| Sensor type | CMOS |
| Color space | sRGB, Adobe RGB |
| Color filter array | Primary color filter |
| Image | |
| ISO | Auto, ISO 200-12800 (expands to 100-51200) |
| Boosted ISO (minimum) | 100 |
| Boosted ISO (maximum) | 51200 |
| Custom white balance | Yes |
| Image stabilization | No |
| Uncompressed format | RAW |
| JPEG quality levels | Fine, normal |
| File format |
|
| Optics & Focus | |
| Autofocus |
|
| Autofocus assist lamp | Yes |
| Digital zoom | Yes |
| Manual focus | Yes |
| Number of focus points | 425 |
| Lens mount | Fujifilm X |
| Focal length multiplier | 1.5× |
| Screen / viewfinder | |
| Articulated LCD | Fully articulated |
| Screen size | 3.5″ |
| Screen dots | 2,780,000 |
| Touch screen | Yes |
| Screen type | TFT LCD |
| Live view | Yes |
| Viewfinder type | Electronic |
| Viewfinder coverage | 100% |
| Viewfinder magnification | 0.93× (0.62× 35mm equiv.) |
| Viewfinder resolution | 2,360,000 |
| Photography features | |
| Minimum shutter speed | 4 sec |
| Maximum shutter speed | 1/4000 sec |
| Maximum shutter speed (electronic) | 1/32000 sec |
| Exposure modes |
|
| Scene modes |
|
| Built-in flash | Yes |
| Flash range | 7.00 m (at ISO 200) |
| External flash | Yes (via hot shoe) |
| Flash X sync speed | 1/180 sec |
| Continuous drive | 8.0 fps |
| Self-timer | Yes |
| Metering modes |
|
| Exposure compensation | ±5 (at 1/3 EV steps) |
| Videography features | |
| Format | MPEG-4, H.264 |
| Modes |
|
| Microphone | Stereo |
| Speaker | Mono |
| Storage | |
| Storage types | SD/SDHC/SDXC (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 | Yes |
| Wireless | Built-In |
| Wireless notes | 802.11b/g/n + Bluetooth |
| Remote control | Yes (via smartphone) |
| Physical | |
| Environmentally sealed | No |
| Battery | Battery Pack |
| Battery description | NP-W126S lithium-ion battery & carger |
| Battery Life (CIPA) | 270 |
| Weight (inc. batteries) | 370 g (0.82 lb / 13.05 oz) |
| Dimensions | 121 x 84 x 55 mm (4.76 x 3.31 x 2.17″) |
| Other features | |
| Orientation sensor | Yes |
| GPS | None |
Articles: Digital Photography Review (dpreview.com)
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Alongside the X-T200, Fujifilm has announced the Fujinon XC 35mm F2 lens. For those of you not familiar with Fujifilm’s lens names, the ‘XC’ denotes the company’s more affordable optics.
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| The XC 35mm F2 should pair nicely with Fujifilm’s lower-cost models, such as the X-T200 and X-T30 |
The XC 35mm F2 is essentially a rehoused version of the XF 35mm F2 R WR. It has a plastic mount and less-solid-feeling construction, and features neither an aperture ring nor weather sealing (the ‘R’ and ‘WR’ in the XF version’s name, respectively). However, it does feature the same optics as the XF version, so image quality should be comparable.
The difference is that this brings the XC down to a price of $ 199. The result is a much more affordable 50mm-equivalent lens for newcomers wanting to expand their photography with a prime lens. In this sense, it’s like the ‘nifty fifty’ lenses traditionally available for most DSLR systems, but in a focal length nicely suited to APS-C users.
[From Fujifilm’s X-T200 Press Release]
For those interested in expanding their X-T200 tool kit, the new FUJINON XC35mmF2 lens gives an equivalent to 52mm field of view on 35mm format. Weighing just 130g and measuring 46.5mm in length, this new prime lens has nine elements, including two aspherical lens elements in six groups, which work to produce sharp and crisp images with creamy bokeh. AF operation is quick and near silent thanks to the use of an internal focus system and a stepping motor, which is used to drive the focusing elements quickly and accurately.
XC35mmF2 lens: $ 199 USD ($ 259.99 CAD)
Articles: Digital Photography Review (dpreview.com)
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