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Posts Tagged ‘Fujifilm’

Fujifilm XF10 sample gallery

07 Oct

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The Fujifilm XF10 is something of a simplified X70, using the same 28mm equiv. F2.8 lens while losing the tilting screen that made it appealing to street shooters. Still, there’s plenty to be said for a (relatively) pocketable compact with a fast prime lens on board, and we’ve been out shooting with it in the very last of our summer weather.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Fujifilm X-T3 review

04 Oct

This week, Chris and Jordan share their assessment of a final-production Fujifilm X-T3 from the National Music Centre in Calgary. Find out what they think of Fujifilm’s latest X-Trans addition – and get a glimpse of the world’s largest analog synthesizer as a bonus.

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

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Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm GFX 50R pre-production sample gallery

30 Sep

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The GFX 50R takes our favorite parts of Fujifilm’s 50S – namely, its larger-than-full-frame sensor and range of film simulations – and puts them inside a slimmer, rangefinder-styled body. With a pre-production camera and a trio of GF primes, DPReview’s Barney Britton put the GFX 50R through its paces in the beautiful North Cascades National Park.

Please note that the images in this JPEG-only gallery were shot with a pre-production GFX 50R. Image quality may not be totally representative of final shipping cameras, but is likely to be very close.

Articles: Digital Photography Review (dpreview.com)

 
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Capture One Fujifilm editions to support GFX and X series cameras for free

28 Sep

Phase One’s Capture One image editing and archiving software package will finally support Raw files created by Fujifilm cameras, including the GFX bodies, via a free bundled deal with the cameras. In an arrangement similar to that enjoyed by Sony users, owners of Fujifilm GFX and X cameras will be able to use a scaled-back version made especially for them to process the Raw files from the GFX 50, as well as files from cameras going back as far as the Fujifilm Finepix S2 Pro.

Fujifilm camera owners will be able to use a free version of the software, but can buy the full program but with its additional features at a discounted rate. The Full version with full camera support costs a little bit more again, for those who need support for a wider range of camera brands.

The Free version that will come with the cameras is called Capture One Express Fujifilm. If you want more advanced features such as the ability to work in layers, to tether your camera to your computer, and faster image processing, a second tier of the Fujiiflm version allows photographers the full range of controls. The full Pro edition does the same but will also work for brands other than Fujifilm as well. The Capture One Pro Fujifilm costs €159 a year on a subscription basis, while the full version costs €180 annually.

For more information, including a list of all compatible cameras, please see the Capture One website.

Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics shows eight new Laowa models, including the widest Fujifilm GFX lens

27 Sep

A dramatic flurry of lenses has emerged from independent manufacturer Laowa at Photokina as the company shows a total of eight new models in a wide range of mounts. The company is showing a 17mm F4 for the Fujifilm GFX medium format system that will offer the angle of view we’d expect from a 13mm focal length on a 135 format camera. The lens will be the widest available lens for Fujifilm’s system and, as part of the Zero D series, it should have only the slightest amount of distortion.

Other lenses of note in the collection include a designed-for-cinema 25-100mm T2.9 zoom marking Laowa’s entry into the professional movie market. The lens is claimed to be parfocal, so focus doesn’t shift during zooming, and to display minimal breathing as focus is altered.

Drone and MFT users will both get versions of a 9mm F2.9 super wide, while macro lovers will be able to enjoy a 100mm macro that can reproduce a subject at double size on the sensor.

All the details are below and on the Venus Optics website. Pricing and availability are yet to be confirmed.

Press Release

Venus Optics unveil 8 new & unique Laowa lenses in Photokina, including the 25-100 T/2.9 Professional Cine Lens

Together with the 4 new lenses showed earlier in Beijing P&E, a total of 12 new Laowa lenses will make their Europe debut in Venus Optics’ booth in Photokina (Hall 2.1, D-040)

Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to unveil 8 new and unique lenses in Photokina.

Laowa OOOM 25-100mm t/2.9 Cine Lightweight Zoom
Laowa 17mm f/1.8 MFT
Laowa 12mm f/1.8 MFT
Laowa 9mm f/2.8 Zero-D (DJI DL)
Laowa 9mm f/2.8 Zero-D MFT
Laowa 7.5mm t/2.1 Cine
Laowa 9mm t/2.9 Zero-D Cine
Laowa 12mm t/2.9 Zero-D Cine
Laowa 10-18mm f/4.5-5.6 FE Zoom
Laowa 100mm f/2.8 2X Ultra Macro APO
Laowa 17mm f/4 GFX Zero-D
Laowa 4mm f/2.8 Fisheye MFT

Laowa OOOM 25-100 t/2.9 Cine Lightweight Zoom

Laowa OOOM Cine lightweight zoom is the first professional cinema style zoom lens offered by Venus Optics. The lens features a wide 25-100mm zoom range, making it a one-size-fits-all lens for different types of productions.

Unlike some cine lens in the market which were re-engineered from a photo zoom lens, Laowa OOOM Cine lens is designed for digital cinematography in the first place. It is truly parfocal, meaning the focus will never shift when you zoom in or zoom back out. It is designed to have nearly zero focus breathing throughout the whole zoom range. The aperture remains fixed at t/2.9 at all focal lengths.

It is built with the true cinema level mechanics. It comes with a stepless, t-stop independent aperture ring with an industry standard 0.8 mod /32 pitch gears. The 270° rotation flow provides room or precise focus pulls and the iris is clickless, enabling smooth iris pulls. The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range.

Laowa 17mm f/1.8 MFT

Laowa 17mm f/1.8 is a new compact, standard prime designed for Micro Four Thirds cameras and it gives a 35mm-equivalent field of view. The lens houses 9 elements in 7 groups and have a 5-blade aperture for the best sunstar rendering. The lens is extremely compact and lightweight, weighs only 160g (0.36lbs) and is 5cm (2”) long. A 46cm filter thread is included and the 15cm minimal focus distance make it a perfect lens for videography.

Laowa 12mm f/1.8 MFT

Laowa 12mm f/1.8 is a new compact, wide-angle prime for Micro Four Thirds cameras and it gives a 24mm-equivalent field of view. The ultra-fast f/1.8 aperture allows photographers to take astro photos with ease. The lens houses 13 elements in 10 groups and a 5-blade aperture. The lens can focus as close as 14cm (5.5”) and takes 46mm screw-in filters which gives extra convenience to videographers. It weighs only 165g (0.4 lbs) and its 5cm long (2”).

Laowa 9mm f/2.8 Zero-D (DJI DL)

Following the successful launch of the super compact and lightweight 7.5mm f/2 MFT lens for DJI Inspire drones (X5 gimbals) during 2017, Venus Optics is proud to introduce another ultra-wide option, Laowa 9mm f/2.8 Zero-D DL, to use on DJI Inspire 2 (X7 gimbals).

Featuring an effective 118° angle of view, the Laowa 9mm f/2.8 Zero-D DJI DL is currently the widest available option for DJI Inspire 2 drones with Zenmuse X7 gimbals. The bigger image circle can cover the size of Super35 sensors and the native DL mount allows an easy lens switching. The lens weighs only 215g and it is super tiny and compact. It comes with a 49mm filter thread and features a close-to-zero optical distortion.

Laowa 9mm f/2.8 Zero-D MFT

Laowa 9mm f/2.8 Zero-D (Micro Four Thirds mount) is the 4th variant added to the existing Fuji X, Sony E and EOS-M mounts. The 9mm lens provides a 18mm equivalent angle of view on the Micro Four Thirds sensor. It also has a better vignetting control over the other variants of the same lens. The close-to-zero distortion will remain unchanged.

Laowa 7.5mm t/2.1 Cine / Laowa 9mm t/2.9 Zero-D Cine

The new Laowa 7.5mm and 9mm Cine lenses are the cine-mod version of the existing photo version of Venus Optics best-selling models. Both lenses were re-housed with a step-less aperture rings and focus rings with standard 0.8 mod gears which give videographers extra convenience to use with follow-focus systems. Both of the lenses are the widest available in the market in its class and only weigh 180g (0.4lbs) & 250g (0.55lbs) respectively. Closest focusing distance is both 12cm (0.4 feet). The wide perspective and lightweight makes them the perfect companion for gimbal shooting. MFT mount is available for 7.5mm t/2.1 Cine and Sony E mount is available for 9mm t/2.9 Cine.

Laowa 12mm t/2.9 Zero-D Cine (PL)

The new Laowa 12mm t/2.9 Zero-D Cine in PL mount is the cine-mod version of the existing 12mm f/2.8 Zero-D lens. The lens was rehoused with a step-less, t-stop aperture rings and focus rings with standard 0.8 mod gears for iris and focus pulls. It successfully covers the 35mm Vista Vision sensor size and offers an ultra-wide 122° angle of view, making it one of the world’s widest and fastest available option for shooting with large sensors. Despite the ultra-wide field of view, it is perfectly rectilinear and features a close-to-zero distortion rate. The focus flow is extended to 270° for cinematographers to also take advantage of the 0.6 feet (18cm) closest focusing distance. The super lightweight (650g, 1.4lbs) is also an added benefit for cinematographers.

Laowa 10-18mm f/4.5-5.6 FE Zoom

This lens is currently the widest zoom lens available for Sony full frame E-mount cameras. Designed primarily for travel photography, Venus optics have managed to compress the size to smallest in its class, less than 4 inch (<10cm) and only 1.1 pounds (<500g). The 102? (18mm) to 130? (10mm) angle of view provides flexibility for photographers to compose landscape or architecture photos with ease. The lens houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element to deliver exceptional performance. It can focus as close as 15cm for some mini-macro shooting. A rear filter slot is included to fit with 37mm filter. A dedicated filter holder is being developed to fit 100mm-wide filters. Click/clickless aperture can be toggled by the switch on the lens barrel. A 5-blade aperture design ensures a pleasing and clean sunstar rendering.

Multiple samples will be available for free rental during Photokina period.

Laowa 100mm f/2.8 2X Ultra Macro APO

Followed by the success of the Laowa 60mm f/2.8 2:1 Macro, the 100mm f/2.8 2:1 Macro is the 2nd member of Laowa 2:1 macro line-up. This new 100mm lens can cover full frame sensor size and focus from 2:1 magnification to infinity. The wide magnification range allows macro photographers to capture subject at any sizes. This 100mm portrait lens also features an apochromatic (APO) characteristic that no chromatic aberration can be found. The 12 elements in 10 groups optics design delivers a crystal sharpness image in both macro and tele distances. Automatic aperture control feature is available for Canon EF version and Aperture coupling is available for Nikon F mount version.

Laowa 17mm f/4 GFX Zero-D

This is currently the widest available native lens option for Fujifilm G-mount cameras. The new Laowa 17mm f/4 GFX has a field of view equivalent to 13mm in 35mm format (113?). Featuring a close-to-zero distortion and 86mm filter thread, this lens is ideally suited for landscape, architecture & interior photography. The 21 elements in 14 groups design with 2pcs of aspherical & 3pcs of Extra-low dispersion elements successfully help to control the distortion & chromatic aberrations to the minimal.

Laowa 4mm f/2.8 Fisheye MFT

Featuring a 210? angle of view, this lens delivers unique circular fisheye field of view on Micro four thirds cameras. The ultra-wide angle view allows photographers to create 360? panorama with ease. Despite the unique & ultra-wide perspective, the lens only weighs 0.3 pounds (135g).

Free Rental Programme
Venus Optics have prepared some copies of the Laowa 10-18mm f/4.5-5.6 FE Zoom and Laowa 24mm f/14 Probe lens (Canon) for free rental during Photokina period. For reservations, please contact Venus Optics via contact@venuslens.net.

Availability
All 12 new lenses will make its Europe debut in Venus Optics’ booth (Hall 2.1, D-040) in Photokina, Cologne during 26th-29th Sept. Pricing and ship date are to be confirmed.

About Us
Anhui ChangGeng Optical Technology Company Limited (Venus Optics) is a new Chinese camera lens manufacturer based in Hefei, Anhui. We currently manufacture and distribute camera lenses under the brand name of ‘Laowa’.

For more information about Anhui ChangGeng Optical Technology Company Limited and our products information, visit http://www.venuslens.net/

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm developing 100MP medium format with phase detection and IBIS

27 Sep

Fujifilm has said it is developing a 100MP GFX medium format camera that will include both phase detection autofocus and in-body image stabilization. The 4K-capable camera will sell for around $ 10,000.

The development was announced at the company’s press conference at the Photokina trade show in Cologne, Germany, alongside the unveiling of the 50MP GFX 50R model.

A mockup on display at the event shows it to resemble a dual-grip variant of the existing GFX 50S model but without the protruding hump at the back of the body.

No details beyond these headline specs were made available but the company said the camera would be available in 2019.

Articles: Digital Photography Review (dpreview.com)

 
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What you need to know about the Fujifilm GFX 50R

26 Sep

What you need to know about the Fujifilm GFX 50R

Fujifilm’s latest digital medium-format camera is the GFX 50R, a rangefinder-styled interpretation of the GFX 50S that was announced at Photokina 2016.

Bearing more than a passing resemblance to some of Fujifilm’s medium-format film rangefinders, the GFX 50R is 145g (0.32lb) lighter than the 50S, and is 25mm (0.98″) thinner. The smaller size and redesigned controls serve to make the 50R handle very differently from its elder sibling.

What you need to know about the Fujifilm GFX 50R

But before we get into the handling, let’s take a quick look over what isn’t new on the GFX 50R. Compared to the 50S, we have the same sensor, processor, battery, film simulations and viewfinder panel (though EVF magnification takes a dip, at 0.77x compared to 0.85x).

This means that you’re getting the same impressive image quality as the 50S in a smaller, lighter package and for less money – $ 4500 USD, to be precise. So while the hardware itself isn’t the most exciting, the 50R does represent a new low price of entry to the world of medium-format digital imaging. There’s still a question as to the advantages of this larger format over existing full-frame cameras, but there’s some silver lining in that the 50R grants you access to Fujifilm’s excellent lineup of sharp, well-built GF lenses.

What you need to know about the Fujifilm GFX 50R

As you can see, the GFX 50R slots in nicely between Fujifilm’s X-E3 and an old Fuji GW690 III from the 1990s in terms of size. Though the 50R approaches the Hasselblad X1D for compactness and is much smaller than the Pentax 645Z, it’s still a substantial camera. The 50R’s rangefinder styling necessitates a smaller grip than the GFX 50S, and as a result, the 50R is best used with two hands.

What you need to know about the Fujifilm GFX 50R

Here, you can more clearly see the resemblance in controls between the GFX 50R and the X-E3. Both come with AF selection joysticks and a similar array of buttons, and both eschew a ‘standard’ four-way controller in favor of using directional swipes on the touchscreen. Despite our fears of Fujifilm’s touchscreen interface mis-reading those directional swipes, they work just as they do on the X-E3, which is to say, rather well.

This layout, which places most of the direct controls within reach of your right thumb, isn’t as convenient on the 50R as on the X-E3. With a suitably compact lens, the X-E3 can be easily operated one-handed. The extra heft of the 50R, regardless of which lens is attached, means you’ll likely be supporting the camera with your left hand and manipulating controls with your right.

What you need to know about the Fujifilm GFX 50R

Along the bottom of the camera are a few other changes. The battery slots in here, rather on the side like the GFX 50S. There are also ports for AC power and USB-C behind a rubberized door. The GFX 50R does not support USB charging, but it does allow for tethered shooting and is fully compatible with Capture One.

Fujifilm has confirmed that there won’t be a battery grip option for the GFX 50R, and as such, there are no connectors for one on the camera.

What you need to know about the Fujifilm GFX 50R

The top-plate controls on the GFX 50R are likewise similar to the X-E3. There’s no dedicated ISO dial, but the front dial that surrounds the shutter button can be configured to serve that purpose. By default the rear dial biases the shutter speed in 1/3-stop increments above and below the chosen whole-stop value on the dedicated shutter speed dial. There are also plenty of physical customizable buttons, though they’re not always easy to find with your eye to the finder – they’re small, and sit nearly flush with the body.

As a staff, our views are mixed regarding the On/Off switch. In truth, no one is really a fan of it, but some of us are more indifferent than others. Whichever side of the fence you’re on, there’s no denying that it’s on the small side and a little awkward to reach.

What you need to know about the Fujifilm GFX 50R

Getting back to the inside of the camera, we should note that because the GFX 50R has the same processor as the 50S, the camera exhibits some slight lagginess not present on the likes of the X-T3. This is particularly noticeable when enabling the Color Chrome effect, as an example.

But as we said at the start, the processor / sensor combo in the GFX 50R is capable of really stunning image quality, and the camera remains overall quite responsive.

What you need to know about the Fujifilm GFX 50R

So at its core, the GFX 50R is a smaller, cheaper 50S. But to make your GFX 50R kit as compact as possible, you’ll want to pick up the GF 50mm F3.5 pancake prime when it’s released in 2019. It’s one of three lenses from Fujifilm’s updated roadmap, and should pair well with the 50R.

Pictured above, the GF 50mm F3.5 is extremely compact, and offers a field-of-view equivalent to 40mm and a depth-of-field equivalent to roughly F2.8 on a full-frame 35mm sensor.

What you need to know about the Fujifilm GFX 50R

Our full GFX 50R review is already underway, so stay tuned for updates to our sample gallery as well as further studio testing in the coming weeks. You can get your very own GFX 50R when shipping begins in November.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T3 firmware update fixes distortion, memory card lock issues

20 Sep

Fujifilm released a firmware upgrade (v1.01) for its X-T3 mirrorless camera that addresses issues with distortion compensation when using the electronic shutter in continuous high shooting mode. A bug where the mechanical lock on SD cards was ignored has also been fixed, along with unspecified ‘slight defects’.

The update can be downloaded here.

Read our Fujifilm X-T3 First Impressions Review

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm X-T3 added to studio test scene comparison

19 Sep

Our test scene is designed to simulate a variety of textures, colors and detail types you’ll encounter in the real world. It also has two illumination modes to see the effects of different lighting conditions.

The X-T3 boasts a brand-new 26MP BSI image sensor, which is likely to appear in the next generation of Fujifilm cameras. We’ve added the X-T3 to our studio test scene comparison to take a first look at how the new sensor compares to the competition.

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Read our Fujifilm X-T3
First Impressions Review

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with new Fujifilm XF 200mm F2 and XF 8-16mm F2.8

12 Sep

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

Fujifilm is having a busy summer (we’re not ready to start calling early September ‘autumn’ yet), announcing two lenses and the brand new X-T3. The XF 8-16mm F2.8 R LM WR and XF 200mm F2 R LM OIS WR are aimed at enthusiasts and professionals, and add considerable versatility to Fujifilm’s growing XF lens lineup.

With the 200mm F2, the company is making its first serious play for the sports and action crowd, and we don’t use the word ‘serious’ lightly…

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

The new XF 200mm F2 R LM OIS WR looks like it will be a seriously impressive lens (the sample we’ve had our hands on is a pre-production model, which was not cleared for testing). Cosmetically, this weather-sealed prime appears to be built as well as anything from the ‘big’ DSLR manufacturers, and despite weighing 2.2 kilos (roughly 5 pounds) it balances well on an X-T3 with accessory grip.

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

As we’d expect from a professional-grade telephoto prime lens, the 200mm F2 offers a focus limiter, to prevent hunting within two ranges: full (1.8m – infinity) and 5m – infinity. It also offers a focus preset function allowing focus to be set instantly to a preset position. In common with other XF ‘R’ lenses, the 200mm features a large, clicked dial for electro-manual aperture control, if desired (or ‘A’ if you prefer to set aperture from the camera).

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

The 200mm F2 is sealed at 17 points, including around the lens throat, to prevent dirt and moisture from making its way into either the lens or a attached camera. As well as being weather and dust-resistant, the new lens is rated at operational temperatures as low as -10°C (14 degrees Fahrenheit)

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

This shot shows the lens with its dedicated hood attached. Optical construction consists of 19 elements in 14 groups, including one large-diameter super ED lens element and two large-diameter ED lens elements. Fujifilm claims that high-precision polishing technology developed for its broadcast lenses was employed in the manufacturer of these large elements.

The XF 200mmF2 R LM OIS WR will be bundled with a XF 1.4X TC F2 WR teleconverter, which turns the 200mm into an equivalent 420mm F4.2 optic on Fujifilm’s APS-C format X-series bodies.

The Fujinon XF 200mmF2 R LM OIS WR Lens and XF 1.4X TC F2 WR Teleconverter Kit will be available in late October 2018 for $ 5,999.95.

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

At the other end of Fujifilm’s focal length coverage range is the new XF 8-16mm F2.8 R LM WR – another fast, weather-sealed lens aimed at enthusiast and professional users of Fujifilm’s X-series ILCs.

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

Offering an equivalent focal length range of 12-24mm, the 8-16mm is a fairly heavy lens for its size, weighing in at 805g (1.8 lb), packing in 20 elements in 13 groups, including four aspherical elements, three ED (extra low dispersion) and three super ED elements. We haven’t been able to test it yet (the sample we handled, like the 200mm, was pre-production) but we’re excited to see what all that glass can do.

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

Ergonomically, the 8-16mm has a lot in common with other high-end XF-series lenses, including broad, well-damped focus and (electro-mechanical) focus rings plus a lockable aperture ring.

Hands-on with new Fujifilm 200mm F2 and 8-16mm F2.8

The ‘WR’ in its model name denotes weather-resistance, and Fujifilm claims that this new wide-angle zoom is sealed at 11 points against dust and moisture incursion. The Fujinon XF 8-16mmF2.8 R LM WR Lens will be available in late November for $ 1,999.95.

Articles: Digital Photography Review (dpreview.com)

 
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