The Fujifilm GFX 50R is the most affordable medium format digital camera ever, but how much of an advantage does it offer over the best of its full-frame mirrorless peers? We shot it alongside the Nikon Z7 so you can decide for yourselves.
Articles: Digital Photography Review (dpreview.com)
The X-T3 is Fujifilm’s flagship hybrid camera, offering a powerful feature set for both stills and video imaging. Weather-sealed and equipped with an advanced autofocus system, the X-T3 is just as comfortable shooting fast action at 20fps as it is portraiture and landscapes. For video shooters, the X-T3 is perhaps Fujifilm’s most interesting mirrorless camera yet, offering 10-bit 4K/60 footage, and a range of useful video-focused features including focus peaking and adjustable zebra warnings.
We put the X-T3 to the test shooting speeding stock cars, and the petrol-heads that work on (and in) them.
For this video, we wanted to try out the X-T3’s complete feature set, from 4K/60 to high-resolution stills and fast frame-rate action. Starting at the Evergreen Speedway in Monroe, Washington, we put the X-T3 to task, shooting speeding stock cars and the petrol-heads that work on (and in) them. After Carey and Barney got a feel for what it means to throw a stripped-down Acura around a track, 13 year-old driver Haley Constance showed us how it’s really done.
So how does the Fujifilm X-T3 stack up as a ‘do everything’ camera? We asked our director, Lou Karsen for his thoughts on how it performed.
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| Lou Karsen has directed several of our long-form videos, and for this shoot he used the Fujifilm X-T3 with a range of lenses, in a custom shoulder rig. |
For the past several years I have worked as a cinematographer with DPReview, taking new cameras into the field. We began these videos focused on camera performance and specs, but have increasingly shifted our focus to storytelling. I think in many ways this is a truer test of the viability of these tools, especially with an increased focus on video performance.
For this story with the Fujifilm X-T3 we began with the idea of two DPReview editors, Barney and Carey, learning how to race ‘hornet’ cars, which are stripped down Acura Integras. We filmed them training and competing in time trials for a day, and had a lot of fun, but left feeling that we didn’t really have a complete story. As luck would have it, one of the drivers who worked with us at the track mentioned that he coaches a group of youth racers, and in particular, he was working with a 13 year-old girl who was the cream of the crop, and we should meet her. As is often the case in filmmaking, this chance encounter led us to the story of Haley Constance.
Essential for me is a system that is user friendly, which gives good results, reliably, without throwing me any curveballs
As DP, my goal for this project was to shoot the entire video on the X-T3. My expectations were somewhat tempered heading in because I knew the X-T3 was designed primarily for stills, with the X-H1 as Fujifilm’s flagship camera for video. The interesting thing about DPing these shoots is we are constantly being thrown in at the deep end with new camera systems. Essential for me is a system that is user friendly, which gives good results, reliably, without throwing me any curveballs. It is not uncommon for me to pick up gear for the very first time just before a shoot – it’s all part of the fun.
For this kind of run n’ gun, doc-style shoot I need a clean 4k image with good dynamic range, an editing-friendly codec, solid lenses, stabilization, and audio outs. I record to an Atomos when possible, so good HDMI out is key. Having shot on the X-H1, I knew I’d have access to great lenses and the Fuji picture profiles.
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I started off shooting with the XF 16-55mm F2.8 WR thinking it would be my primary lens. That quickly went out of the window when I realized it wasn’t stabilized. I was wary of the 18-55mm F2.8-4 because of the variable aperture, but it worked really well. Fujifilm’s optical stabilization is great. You can even handhold the 18-135mm all the way zoomed in and get a decently stabilized image. I am also a big fan of Fujifilm’s picture profiles. I shot this story with the Eterna profile, which gave it a punchy, cinematic look without being overly stylized. And we didn’t have to grade much in post.
I used the two Fujinon cine lenses for some locked off shots at the racetrack, but run n’ gun-style work, chasing people around, I really just ended up reaching for the 18-55mm most of the time.
Overall, I was very pleased with how the X-T3 performed. This is a legitimate video camera.
Overall, I was very pleased with how the X-T3 performed. It was also cool to mount the X-T3 to both the inside and outside of the cars. With a fairly inexpensive suction mount, and the Fuji 10-24mm wide-angle, we got an action cam look. It helps that the camera is small and lightweight, and it withstood the fast and bumpy ride pretty well.
This is a legitimate video camera. A bigger battery would be nice, but I’m not sure I’d want that at the cost of a bigger body. In all, I probably shot about five full days with this rig, and it didn’t take long for me to get the hang of it. I was able to focus in on capturing Haley’s story, confident that the camera was getting great footage.
Learn more about the Fujifilm X-T3
This is sponsored content, created with the support of Amazon and Fujifilm. What does this mean?
Articles: Digital Photography Review (dpreview.com)
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Fujifilm has announced its new GF 100-200mm F5.6 R LM OIS WR tele-zoom lens, for medium format. When attached to a GFX body, the lens covers an equivalent focal length range of 79-158mm (the GF 1.4x teleconverter is supported if you need extra reach). The lens is stabilized, with Fujifilm claiming 5 stops of shake reduction. Optical construction comprises 20 elements in 13 groups, including one aspherical and two super ED elements.
The 100-200 uses a linear motor for ‘silent and high-speed autofocus’ which locks in place when the camera is powered down. The minimum focus distance is 0.6m at wide-angle and 1.6m at telephoto, with a max magnification of 0.2x. The lens is weather-sealed and weighs just over a kilogram (2.3 pounds).
The GF 100-200mm F5.6 will be available in late February for $ 2000.
Press release:
The FUJINON GF100-200mm F5.6 R LM OIS WR lens is a welcome addition for outdoor photographers
Valhalla, New York, January 17, 2019 – FUJIFILM North America Corporation today announced that it will release the FUJINON GF100-200mmF5.6 R LM OIS WR lens for the GFX Medium Format mirrorless digital camera system on February 14th, 2019. Designed with outdoor enthusiasts in mind, the camera has a durable, lightweight design paired with Fujifilm’s excellent image quality and five stop image stabilization features.
“Outdoor photographers need to consider a plethora of challenges including lighting, environment and timing – all while battling the natural elements,” said Yuji Igarashi, General Manager, Electronic Imaging Division & Optical Devices Division, FUJIFILM North America Corporation. “As the first GF telephoto zoom lens that has a 35mm equivalent focal range of 79-158mm in a compact, weather-resistant design, this lens will meet the needs of outdoor and landscape photographers.”
Ideal to shoot landscape, travel and nature photography, the new telephoto zoom lens is resilient with its ability to operate in extreme temperatures (down to 14 °F) and sealed lens to resist dust and moisture –all without sacrificing image quality.
Key features of the FUJINON GF100-200mmF5.6 R LM OIS WR lens:
Ultra-High Image Quality: The lens is made up of 20 elements in 13 groups including two super Extra Low Dispersion Glass lenses and one aspherical lens to reduce chromatic and field curvature aberrations.
Powerful Image Stabilization: Equipped with an excellent five stop image stabilization (CIPA guidelines), the lens allows photographers to make the most of the GFX’s high image resolution performance even without the use of a tripod.
Silent and High-Speed Autofocus: The linear motor which drives the focus is accurate, quiet and fast. The lens also includes an enhanced mechanism for fixing the linear motor position when turning the power off or using playback mode to avoid any additional vibration.
Robust Durable Design, Appropriate for Tough Shooting Environments: The lens is sealed across 10 areas for dust and weather resistance allowing photographers to shoot with stability in tough environments.
GF1.4X TC WR Compatible: The 1.4x teleconverter (GF1.4X TC WR) extends the telephoto shooting range to 140-280mm (equivalent to 111-221mm in 35mm format) while maintaining superior image quality.
The GF100-200mmF5.6 R LM OIS WR lens complements the FUJIFILM GFX 50S and FUJIFILM GFX 50R as well as the full lineup of GF lenses for the Fujifilm GFX mirrorless digital camera system. GF lenses are known for top image quality using the finest optical design and production technologies to achieve high-resolution and rich tonal reproduction, making them popular among professional photographers and photo enthusiasts.
The GF100-200mmF5.6 R LM OIS WR lens will be available in late February 2019 in the U.S. and Canada for USD $ 1,999.95 and CAD $ 2,599.99.
| Principal specifications | |
|---|---|
| Lens type | Zoom lens |
| Max Format size | Medium Format (44x33mm) |
| Focal length | 100–200 mm |
| Image stabilization | Yes |
| CIPA Image stabilization rating | 5 stop(s) |
| Lens mount | Fujifilm G |
| Aperture | |
| Maximum aperture | F5.6 |
| Minimum aperture | F32 |
| Aperture ring | Yes |
| Number of diaphragm blades | 9 |
| Optics | |
| Elements | 20 |
| Groups | 13 |
| Special elements / coatings | 1 aspherical + 2 super ED elements |
| Focus | |
| Minimum focus | 0.60 m (23.62″) |
| Maximum magnification | 0.2× |
| Autofocus | Yes |
| Motor type | Linear Motor |
| Full time manual | Yes |
| Focus method | Internal |
| Distance scale | No |
| DoF scale | No |
| Focus distance limiter | Yes |
| Physical | |
| Weight | 1050 g (2.31 lb) |
| Diameter | 90 mm (3.52″) |
| Length | 183 mm (7.2″) |
| Materials | Magnesium alloy |
| Sealing | Yes |
| Colour | Black |
| Zoom method | Rotary (extending) |
| Power zoom | No |
| Zoom lock | No |
| Filter thread | 67 mm |
| Hood supplied | Yes |
| Tripod collar | Yes |
Articles: Digital Photography Review (dpreview.com)
Timelapse+ has announced support for select Fuji X series cameras and Panasonic cameras with its Timelapse+ VIEW Intervalometer, which went on sale to the public in January 2017.
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Until now, the Timelapse+ VIEW Intervalometer only supported select Nikon, Canon, Sony and Olympus cameras. Now it’s capable of triggering the following camera systems from Fujifilm and Panasonic:
Fujifilm:
• Fujifilm X-T1
• Fujifilm X-T2
• Fujifilm X-T3
• Fujifilm GFX 50S
Panasonic:
• Panasonic GH3
• Panasonic GH4
• Panasonic GH5
The Timelapse+ VIEW is a powerful intervalometer with features including an OLED color screen, automatic exposure ramping, gesture controls, live preview and an accompanying smartphone app for wireless control of the settings. It features a 15+ hour battery life according to Timelapse+ and also has the option to be powered externally using a Micro USB cable.
More information is available on the Timelapse+ website. The Timelapse+ VIEW Intervalometer retails for $ 399.
Articles: Digital Photography Review (dpreview.com)
The post Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You? appeared first on Digital Photography School. It was authored by Suzi Pratt.
Fujifilm was on a roll this year releasing a slew of gear including two very popular mirrorless cameras: the Fujifilm X-H1 and Fujifilm X-T3. Released a mere 7 months apart, these two cameras have amateurs and professionals alike wondering which is better suited for their needs.
One of Fujifilm’s most popular cameras to date has been the X-T2, so it’s no surprise that many loyalists to the X-T line were awaiting the third generation. The Fujifilm X-T3 is the newest Fuji camera to date, using a brand new sensor and processor. As a result, it has quite a few advantages over all other Fujifilm cameras, including boosted battery life. It continues to enhance photography features with its larger sensor resolution (8% more pixels), 100 more focus points, faster continuous shooting (6 fps faster), and the inclusion of a flash sync port. Fujifilm also added a slew of video features such as 4K60p, higher bit rate (400mbps), and a headphone port. All in all, the X-T3 is made to entice today’s hybrid photo and video shooters.
Brand new to the Fujifilm X-Series lineup is the X-H1. It is the first X-Series camera to have in-body image stabilization (IBIS), which is essential for shooting more stable handheld video and lowlight photos. This is the main advantage that the X-H1 has over the X-T3.
As mentioned above, the X-H1 is the only Fujifilm camera to offer in-body stabilization. This means that even your lenses without Optical Image Stabilization (OIS) will be stabilized by the camera. With that said, if you use an OIS lens on the X-T3, you can still get a degree of stabilization even without IBIS.
The X-H1 physically resembles DSLRs in several ways, namely via its top LCD. This can be helpful for viewing and changing settings in the dark, and also for seeing your battery levels without turning the camera on.
Overall, the X-H1 is physically larger than the X-T3 and is closer in looks to the Fujifilm GFX camera line. The X-H1 is about 134 grams heavier and has a noticeably larger right-hand grip. While many people purchase mirrorless cameras with the idea of having a smaller, more compact camera, you may prefer the X-H1’s larger size if you have big hands or tend to use Fujifilm’s large red badge lenses.
Fujifilm made significant autofocus improvements to the X-T3, now offering 425 hybrid autofocus points. That’s 100 more autofocus points than both the X-T2 and the X-H1. Additionally, both face and eye detect have been enhanced and they are much more responsive and accurate on the X-T3 than on previous Fujifilm cameras. I will say, however, that Sony still leads the pack in terms of face and eye detect in particular.
The X-T3 also ups the ante in continuous shooting. Now able to shoot 11 frames-per-second (fps) with the mechanical shutter, 20 fps with the electronic shutter, and 30 fps in 1.25x crop mode with the electronic shutter. In comparison, the X-H1 also shoots 11 fps mechanical, but only 14 fps with electronic. If frames per second and continuous shooting are of importance to you, the X-T3 is your best bet.
Despite the X-H1 being intended as Fujifilm’s video-oriented mirrorless camera, the X-T3 doesn’t skimp on video features. In fact, the X-T3 outperforms the X-H1 when it comes to bitrate (400mbps vs 200mbps), and its ability to shoot at 4K60p (compared to the X-H1’s 4K30p). Also, the X-T3 has a headphone jack to monitor audio–this is a feature you can only get on the X-H1 if you use the accompanying battery grip.
In addition to a new processor and sensor, the Fujifilm X-T3 also boasts a lower price point of $ 1499 versus $ 1899 for the camera body only. That’s a $ 400 difference that could be put towards a new lens or camera accessory.
Both the Fujifilm X-H1 and X-T3 have many features to make them viable competitors in today’s hot mirrorless camera market. Here’s what they have in common:
As a newer camera with more photography and video features AND a lower price point, the Fujifilm X-T3 will probably be the camera of choice for most people. Even Fujifilm seems to have realized this as the X-H1 has dropped in price to be very competitive with the X-T3. However, if you’re a serious videographer who isn’t in a hurry to get a new camera, it is probably worth waiting to see what Fujifilm does with the next generation of the X-H1: the X-H2. Although nothing official about the X-H2 has been announced yet, Fujifilm is famous for taking customer feedback seriously and many Fuji enthusiasts believe the X-H2 will be the ultimate video camera. We’ll wait and see!
Most comparisons were done in video form, so please check out the video below to see X-H1 and X-T3 sample video and photos.
The post Fujifilm X-T3 versus Fujifilm X-H1: The Best Mirrorless Camera for You? appeared first on Digital Photography School. It was authored by Suzi Pratt.
Photographer Nigel Danson recently had a chance to use the new Fujifilm GFX 50R for one of his landscape shoots. In this video, he shares his thoughts on the benefits and challenges of using a medium format camera like the GFX 50R for his work. Additionally, he shows us a few prints made from the camera.
For more great content from Nigel, please visit his YouTube channel.
Visit Nigel Danson’s YouTube channel
Articles: Digital Photography Review (dpreview.com)
The post Gear Review: Fujifilm 50-140mm vs 55-200mm appeared first on Digital Photography School. It was authored by Suzi Pratt.
One of the biggest questions all Fujifilm X-Series users have to contend with is, “which telephoto zoom lens should I buy?” Luckily, there are three great Fujifilm X telephoto lenses to choose from:
All three lenses are fantastic in their own rights, but which one is best for you? In this article, we’ll take a look at two telephoto lenses in particular: the 55-200mm and 50-140mm. Why these two? Because they’re intended to fill the role of the standard 70-200mm zoom lens, an important tool in every professional photographer’s gear kit. If you’re unfamiliar with Fujifilm, note that all X-Series cameras are crop sensors, so these lenses have a 35mm equivalent.
Based on specs alone, there are big differences between these two lenses. The 50-140mm is much larger, heavier, and more expensive. Although, it doesn’t even cover nearly as much range as the 55-200mm. What gives? For starters, the 50-140mm is one of few Fujifilm lenses to receive the Red XF Zoom Badge. It’s similar in concept to Canon’s L-lens designation, indicating that red badge lenses are more premium and geared toward professionals.
There are two qualities in particular that make the 50-140mm more premium: weather sealing, and the constant f/2.8 aperture. Both features make this lens more flexible in terms of shooting in bad weather and in low lighting conditions. Both important features for professional photographers. Unfortunately, that also means the price is much higher with the 50-140mm costing more than double the 55-200mm.
Specs aside, let’s talk about how these two lenses compare in terms of handling and physical construction.
Both telephoto lenses are made of a combination of metal and rubber. There’s a rubber ring to control the zoom and another rubber ring for manual focus. The lenses also have Fujifilm’s signature aperture ring that allows the user to twist to select the aperture. There’s a key difference in that the 50-140mm has a marked Auto Aperture ring, whereas this takes the form of a switch on the 55-200mm. Both lenses also have a switch to turn OIS on or off.
Another big difference between these lenses is how they zoom. The 55-200mm has an external zoom, which means it extends as the zoom ring is turned. When fully extended, the 55-200mm is nearly the same length as the 50-140mm. This can be positive in that the lens ends up being quite compact when not fully extended. However, when fully extended, there’s an added risk of damaging the lens. On the other hand, the 50-140mm lens zooms internally, meaning it physically remains the same length even as you zoom in and out.
Both the 50-140mm and 55-200mm come with plastic lens hoods. The 50-140mm’s lens hood is scalloped and has an opening allowing easy access to lens filters (ie. circular polarizers).
Likely due to its size and weight, the 50-140mm comes with a metal tripod collar. This allows for the lens to be mounted to a tripod, rather than the camera body, resulting in better overall balance. The tripod collar has several knobs that allow it to easily be turned in any position, or removed altogether. Compared to other telephoto zooms such as the Canon 70-200mm f/2.8, Fujifilm’s tripod collar is much lighter and easier to remove. Overall, the tripod collar seems to be one of the best and most surprising features of this lens.
The 55-200mm lens does come with a tripod collar.
Let’s start with the 55-200mm f/3.5-4.8 lens as its price point and size makes it the easiest to add to your kit. Overall, the lens performs extremely well. Images are sharp and in focus. Even when shooting at 200mm f/4.8, image bokeh is smooth and there’s a good separation between the photo subject and background. However, it’s still a variable aperture lens. When shooting in low lighting or needing to isolate your subject with creamy bokeh background, this lens is blown out of the water by the 50-140mm.
The 50-140mm at f/2.8 performs incredibly well in low lighting.
Moving on to the 50-140mm f/2.8 lens. This lens is definitely much beefier and you’ll need more room in your bag to lug it around. Its size can make it an awkward match for some of Fujifilm’s more compact cameras such as the X-E bodies. If your camera comes with an optional battery grip, using it can help the lens and camera feel more balanced. Personally, I had a hard time turning the aperture ring with the tripod collar attached, although the collar did help hold the lens steady.
In terms of image quality, the 50-140mm offers sharp, crisp images at all focal lengths and apertures. It has an obvious upper hand when it comes to low light shooting and bokeh with that f/2.8. However, if you’ve gotten used to shooting with the 55-200mm, you might miss that extra zoom range that you can’t get with the 50-140mm.
55-200mm at 55mm f/3.5
50-140mm lens at 140mm f/2.8
So which of these two Fujifilm telephoto lenses is best for you? It’s hard to say. If you’re on a budget, don’t want a bulky lens, or don’t shoot in a lot of low lighting scenarios, the 55-200mm is a great deal that will still give you sharp, clear images. However, if your budget can stretch a bit and you really value having a constant f/2.8 aperture, splurge on the 50-140mm. Despite being larger, pricier, and offering less range, the 50-140mm is a sturdy, reliable lens that will last you a long time.
50-140mm lens at 140mm f/11
55-200mm at 200mm f/11
55-200mm
50-140mm
Have you used either of these lenses? We’d love to hear your thoughts in the comments below.
The post Gear Review: Fujifilm 50-140mm vs 55-200mm appeared first on Digital Photography School. It was authored by Suzi Pratt.
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As it promised it would back in November, Fujifilm has published the firmware updates for its X-T3 and X-H1 cameras, as well as a little firmware update for the Fujinon XF 80mm F2.8 R LM OIS WR Macro lynx.
Firmware version 2.0 for the X-T3 addresses a number of issues and features present in firmware version 1.02. Most notably, it’s now possible to record 4K HDR video in Hybrid Log Gamma (HLG) when shooting in 10-bit H.265 (HEVC) mode and simultaneously output Film Simulation while capturing F-Log footage under certain conditions. It can also now shoot video files larger than 4GB without splitting the file up, so long as the SD card being used is 64GB or bigger. Other small additions include the ability to display the color temperature on the EVF and LCD displays in Kelvin and compatibility with ALL-Intra and maximum bitrate 400Mbps in 8-bit, H.264 mode.
The update is available on Fujifilm’s X-T3 firmware download page.
Firmware version 2.0 for the X-H1 also addresses the file size limitation issue as well as the color temperature display, but focuses on one feature in particular — image stabilization. With firmware version 2.0, the X-H1 will now work better when used with optically stabilized lenses. Fujifilm says in the update notes that ‘[Firmware version 2.00] has a new image stabilization algorithm to allow the in-body image stabilization to work in all 5 axis and to achieve more than five-stops (up to the equivalent of 5.5 stops) image stabilization by cooperative control according to the types of frequency and blur amount.’
The update is available on Fujifilm’s X-H1 firmware download page.
In addition to the two major firmware releases, Fujifilm also threw in a small update for its 80mm F2.8 macro lens. Firmware version 1.11 adds improved compatibility between the in-body stabilization of the X-H1 and the optical stabilization inside the Fujinon XF 80mm F2.8 R LM OIS WR Macro lens when used in conjunction with firmware version 2.00 for the X-H1.
The update is available on Fujifilm’s XF 80mm F2.8 R LM OIS WR Macro firmware download page.
Articles: Digital Photography Review (dpreview.com)
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The 250mm F4 is Fujifilm’s longest lens for its medium-format system. It’s equivalent to about 200mm on a GFX camera, and we put it to work on some portraits as well as some scenes around Seattle’s waterfront – take a look.
See our Fujifilm 250mm F4 sample gallery
Articles: Digital Photography Review (dpreview.com)
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Zhong Yi Optics has launched the Mitakon Speedmaster 65mm F1.4 for Fujifilm GFX cameras. This announcement makes Zhong Yi Optics the first third-party manufacturer to develop a lens for Fujifilm’s G mount and gives them the claim — for the time being — of having the fastest standard lens designed specifically for GFX medium format mirrorless camera systems.
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The lens provides a 46-degree angle of view, roughly equivalent to a 50mm lens on a 35mm full-frame camera. It’s constructed of eleven elements in seven groups and has a minimum focusing distance of 70cm.
The Mitakon Speedmaster 65mm F1.4 features an aperture range of F1.4 through F16 via its nine-blade aperture diaphragm. The front filter thread measures in at 72mm and the whole lens weighs 1,050g.
Below is a collection of sample images provided by Zhong Yi Optics:
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The Mitakon Speedmaster 65mm F1.4 is currently available to purchase online for $ 799.
Articles: Digital Photography Review (dpreview.com)
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