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Fujifilm releases first round of G-mount medium-format lenses

21 Jan

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You’re going to need some lenses to go along with that new Fujifilm GFX 50S, and the company announced a trio of them.

First up is the GF 63mm F2.8 R WR, which is equivalent to 50mm when mounted on the medium-format GFX 50S. It’s small and lightweight, features nine rounded aperture blades and is sealed against dust and moisture (as are the other two lenses announced today). It will be available in February for $ 1499/£1399.

For those seeking a zoom, there’s the GF 32-64mm F4 R LM WR. This lens is equivalent to 25-51mm and has aspherical, ED and Super ED elements and a linear motor-powered internal AF system. The zoom will set you back $ 2299/£2199.

The final lens is a tele-macro model with optical image stabilization rated to 5 stops. The GF 120mm F4 R LM OIS WR Macro is equivalent to 95mm and has 3 ED elements, a linear AF motor and a minimum focus distance of 45cm/18in. The 120mm is priced at $ 2699/£2599.

Three additional lenses will be released by the end of the year, including a 23mm F4, 45mm F2.8 and 110mm F2.

GROUNDBREAKING FUJIFILM GFX 50S MEDIUM FORMAT MIRRORLESS CAMERA DELIVERS ULTRA-HIGH IMAGE QUALITY

FUJIFILM GFX 50S combines an extraordinary sensor, processor and design with FUJINON lenses to give users the ultimate photography experience

Valhalla, N.Y., January 19, 2017 – As the leader in innovation for photographers, FUJIFILM North America Corporation today announces the FUJIFILM GFX 50S medium format mirrorless digital camera that will launch late February, 2017 with an initial selection of three FUJINON lenses – the GF63mmF2.8 R WR, the GF32-64mmF4 R LM WR, and the GF120mmF4 R LM OIS WR Macro. These lenses encapsulate the design philosophy of FUJINON lenses that are renowned by photographers around the world.

The innovative GFX system utilizes a Fujifilm exclusive 43.8 x 32.9mm (FUJIFILM G Format) 51.4MP CMOS sensor. The GFX 50S combines the heritage of over 80 years of imaging and the innovative award-winning functional design of our X Series digital camera system in the relentless pursuit of image quality.

The FUJIFILM GFX 50S Revealed

The FUJIFILM GFX 50S mirrorless digital camera uses the new 51.4MP FUJIFILM G Format 43.8 x 32.9mm sensor with approximately 1.7x the area of a 35mm sensor. In addition to the camera are three new FUJINON GF Lenses that will be followed by three additional lenses later in 2017.

The GFX 50S 51.4MP sensor shows its true potential when making large format prints, capturing majestic landscape photos or reproducing historical documents. Compared to a full size sensor with equivalent megapixels, both resolution and sensitivity are dramatically better due to the larger size of each pixel. As a result, the sensor captures great textures and subtlety of tone that is unique to large size sensors. The texture and tone combine to give a unique three-dimensional effect creating extremely high quality photography. Images captured can be reproduced down to the smallest detail, conveying the texture of the subject, a three-dimensional feeling, and the atmosphere of the scene.

For flash photography in the studio or outdoors during the day, the GFX 50S sensor has a native ISO of 100. The sensor can also be adapted to various aspect ratios, including 4:3, 3:2, 16:9, 1:1, 65:24, 5:4, 7:6, all of which are available in large and medium format film cameras.

The FUJIFILM GFX 50S uses the X Processor Pro (also used in the X-Pro2 and X-T2 cameras) and allows photographers to use Fujifilm’s proprietary Film Simulations with a Medium Format sensor. The camera supports Full HD recording at 29.97p/25p/24p/23.98p. Users can enjoy high quality video with no post-processing required by using Film Simulation modes just like they would with a still image. The GFX 50S introduces a new Color Chrome Effect feature that reproduces subtle tones in highly saturated subjects.

Ultimate Performance in a Compact Body

With a compact and lightweight body constructed from magnesium alloy, the FUJIFILM GFX 50S weighs approximately 43 ounces when paired with the FUJINON GF63mmF2.8 R WR, and weighs approximately 60% of a medium format DSLR camera equipped with a sensor of the same size. When compared to a full frame, the weight is almost identical. Overall camera body height and width have also been minimized for maximum flexibility, overturning the common perceptions regarding the mobility of medium format digital cameras.

Bright, Crystal Clear Viewfinder and Large Touchscreen

The FUJIFILM GFX 50S gives users a 3.69M dot organic EL electronic viewfinder and 2.36M dot touchscreen LCD back panel for easy viewing. The EVF is detachable to allow for flexible operation. Users can attach the accessory EVF-TL1 EVF tilt adapter (sold separately) to allow the finder to be tilted to 90° vertically and swung ±45°. A 3.2 inch, 2.36M dot touch panel is used for the rear monitor, with touch operation for the menu, focusing points and image playback. A three-directional tilting LCD screen improves operability and makes viewing images and checking focus even easier.

FUJINON Lenses Guarantee Image Perfection

As part of the GFX system, Fujifilm is launching newly developed, ultra-high resolution FUJINON GF lenses. Taking advantage of the mirrorless system’s structure, the G Mount has a short flange back distance of just 26.7mm that reduces the back focus distance as much as possible. This prevents vignetting and achieves edge-to-edge sharpness. All FUJINON GF Lenses have been designed to support sensors of over 100MP.

GFX lens barrels feature an aperture ring in the same manner as FUJINON XF lenses, for intuitive operation. A new C (Command) Position has been added to the aperture ring, allowing users to change the aperture with the camera’s command dial. The A (Auto) Position and C Position feature a locking button installed on the aperture ring that must be disabled to implement changes.

Built for the Professional, and the Enthusiast

Just as with the flagship X Series models, the FUJIFILM GFX 50S features dedicated dials to independently set aperture, shutter speed, and ISO, the important factors in determining exposure.

Aperture and ISO feature a C (Command) and the shutter speed dial has a T (Time) Position. Setting the dial to this position allows the user to change exposure settings using the command dials on the front and rear of the camera body. The user can choose between these two operation methods according to their preference, ease of use, and the shooting environment.

The GFX 50S is equipped with a 1.28 inch LCD sub monitor on the top of the body. Important exposure data such as aperture and shutter speed is displayed on this screen. This display is extremely useful when shooting on a tripod or tethered to a computer.

A 117-point (9 x 13 / maximum of 425 points when miniaturized) contrast AF system is used on the GFX 50S. High-precision AF on the imaging sensor dramatically improves focusing accuracy with the shallow depth of field produced by medium format lenses. First adopted in the FUJIFILM X-Pro2, focus point selection can be performed by using the Focus Lever, which allows intuitive movement of the focus point. Alternatively, users can select the focus point from the touch panel LCD screen.

Initial Lens Lineup Will Include the Following Three FUJINON Options:

GF63mmF2.8 R WR (equivalent to 50mm in 35mm format)
GF32-64mmF4 R LM WR (equivalent to 25-51mm in 35mm format)
GF120mmF4 Macro R LM OIS WR (equivalent to 95mm in 35mm format)

FUJINON GF63mmF2.8 R WR

The optical system features a construction of 8 groups and 10 elements, including 1 ED lens element. This lens construction is the most suitable for high resolution in compact and stylish design, the external form of this small and lightweight lens has a diameter of just 84.0 x 71.0mm with a weight of only 14.2 ounces \ 405 grams. Using the front group for the focus, aberrations due to focus distance are suppressed, achieving high resolution performance even when wide open from the center to the edges of the lens.

FUJINON GF32-64mmF4 R LM WR

The FUJINON GF32-64mmF4 R LM WR features a construction of 11 groups and 14 elements, 3 aspheric elements, 1 ED lens and 1 super ED lens, allowing this lens to achieve image quality rivalling prime lenses. As a result, the lens demonstrates extremely high performance from the center all the way to the edges. The lens uses internal focusing, reducing the weight of the focus lens and achieving fast and silent AF by driving focus using a linear motor.

FUJINON GF120mmF4 R LM OIS WR Macro

The FUJINON GF120mmF4 R LM OIS WR Macro has a construction of 9 groups and 14 elements, including 3 ED lens elements. By adopting a floating focus method using a linear motor, silent high-speed autofocusing is achieved while aberrations are corrected, dramatically increasing the resolution. Furthermore, by arranging the ED lenses properly, chromatic aberrations are also properly corrected, contributing to high quality images. In designing this lens the quality of the out of focus area both in front and behind the plane of focus were considered, giving this lens beautiful bokeh. This lens is equipped with optical image stabilization (OIS) effective up to 5.0-stops, making this lens perfect for handheld shooting in low-light situations.

Three Additional FUJINON GF Lenses to be Announced Later in 2017:

GF110mmF2 R LM WR (equivalent to 87mm in 35mm format)
GF23mmF4 R LM WR (equivalent to 18mm in 35mm format)
GF45mmF2.8 R WR (equivalent to 35mm in 35mm format)

GFX 50S Accessories (sold separately)

Vertical Battery Grip VG-GFX1 – high-performance battery grip is designed to place the release button, dials, and function buttons in the same positions when shooting vertically. The battery grip can be loaded with one NP-T125 dedicated battery, lowering the frequency that batteries need replacing. Also, by connecting the AC-15V accessory (sold separately), it is possible to charge the battery within the grip in approximately 2 hours.

EVF Tilt Adapter EVF-TL1 – mounting this accessory between the camera body and EVF, the angle of the EVF can be changed to angles from 0°?90° vertically and from -45°?+45° horizontally. Doing this allows the user to shoot at various angles while using the viewfinder, greatly increasing the versatility of the finder for different subjects.

H Mount Adapter G – allows you to use SUPER EBC FUJINON HC interchangeable lenses developed for the FUJIFILM GX645AF medium format film camera (discontinued). By attaching this adapter to the GFX 50S, a total of 9 SUPER EBC FUJINON HC interchangeable lenses and 1 tele-converter developed for the GX645AF can be used. While the focusing method will be limited to manual focusing, the lens aperture can be changed using the command dial on the camera body, and shooting with the leaf shutter built in to the lenses is also possible. Using this lens shutter will allow high speed flash synchronization up to a maximum speed of 1/800 sec.
Also, the adapter is equipped with electrical contacts that can communicate with the camera body, independently creating, saving, and applying correctional data for each lens. The adapter supports Manual and Aperture Priority AE exposure modes.

*A removable tripod foot is included to mount the camera with a heavy or long focal length lens.

View Camera Adapter G – allows the GFX 50S to be used as a digital back. The view camera adapter allows the GFX 50S to be mounted to the standard universal-type back of a view camera. This allows the use of FUJINON large format camera lenses, such as the CM-W FUJINON lens series. The camera or lens shutter can be triggered, allowing the user to choose the optimum method. The large image circle and the bellows of the view camera can be used with tilt, shift and swing movements, effective for product and architectural photography.
*There may be instances in which the adapter cannot be mounted depending on the shape of the view camera.

Tethered Shooting Solutions – We have the following tethering solutions for photographers, including: X Acquire to transfer images from the camera to a hot folder on your computer for use with your preferred imaging software, Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom® and HS-V5 for Windows (sold separately).
By connecting the GFX 50S to a PC via USB cable and using this software, it is possible to transfer photographed images directly to the PC, as well as control the camera from the PC. Also, by using the Control Panel Window newly added to Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom®, additional camera functions become available.

RAW FILE CONVERTER EX2.0 – powered by SILKYPIX (free of charge) RAW development software and Adobe® Photoshop® Lightroom® / Adobe® Photoshop® CC (sold separately). RAW development software is used for detailed corrections and advanced image processing that isn’t supported by the in-camera RAW conversion. Both software support Fujifilm’s “Film Simulation” modes, allowing creation of image data that is extremely close to Fujifilm’s advanced color reproduction.

FUJIFILM GFX 50S Key Features:

51.4MP Medium Format 43.8 x 32.9mm sensor for superior sharpness and image quality for all photographers

Adaptable to various aspect ratios, including 4:3 (default), 3:2, 16:9, 1:1, 65:24, 5:4, 7:6

FUJIFILM G Mount with short flange back distance of just 26.7mm
X-Processor Pro imaging processor
Detachable electronic viewfinder
Weather and dust resistant; operation to as low as 14 degrees Fahrenheit \ -10 degrees Celsius
File formats include three different JPEG settings (SUPER FINE, FINE, NORMAL), as well as two different RAW settings (uncompressed, compressed). TIFF output is also possible with in-camera RAW development
Full HD for Movie Mode: 1920×1080 29.97p/25p/24p/23.98p 36Mbps, in Film Simulation modes
Light body weighs approximately 43oz. \ 825g (including battery and memory card)
Uses SD Cards (UHS-II recommended)

Equipped with dual slots
Supports three different types of recording methods, “Sequential,” in which recording can be continued according to shooting order, “Backup,” which records the same data on two cards simultaneously, and “Sorting,” which records RAW and JPEG data on separate cards

Uses newly developed NP-T125 high capacity battery for approximately 400 photos (with Auto Power Save ON)
All FUJINON GF Lenses are dust and weather resistant, built to withstand operation at temperatures as low as 14 degrees Fahrenheit \ -10 degrees Celsius allowing photographers to take them outdoors with confidence in challenging weather conditions.
The new FUJINON GF Lenses feature an aperture ring, a popular feature in the X Series, and have a new C (Command) Position on the ring to enable aperture adjustments with the Command Dial on the camera body
A Fluorine coating applied to the front lens element creates a hydrophobic coating that repels moisture.

The GFX 50S and FUJINON GF lenses culminate to create a new camera system capable of creating the world’s highest level of photographic expressions by combining the thorough incorporation of knowledge regarding camera operation, optical design, image capture, and image processing.

Availability and Pricing

The new FUJIFILM GFX 50S Medium Format Camera Body will be available Late February, 2017 in the U.S. and Canada for USD $ 6,499.95 and CAD $ 8,499.99.

Also available in February, 2017 will be the first three FUJINON GF lenses. GF63mmF2.8 R WR for USD $ 1,499.95 and CAD $ 1,899.99, GF32-64mmF4 R LM WR for USD $ 2,299.95 and CAD $ 2,999.99, and GF120mmF4 R LM OIS WR Macro for USD $ 2,699.95 and CAD $ 3,499.99.

Fujifilm GF 63mm F2.8 R WR / 120mm F4 R LM OIS WR Macro specifications

	Fujifilm GF 63mm F2.8 R WR	Fujifilm GF 120mm F4 R LM OIS WR Macro
Principal specifications
Lens type	Prime lens
Max Format size	645
Focal length	63 mm
Image stabilization	No	Yes (5 stops)
Lens mount	Fujifilm G
Aperture
Maximum aperture	F2.8	F4
Minimum aperture	F32
Aperture ring	Yes
Number of diaphragm blades	9
Aperture notes	Rounded blades
Optics
Elements	10	14
Groups	8	9
Special elements / coatings	1 ED element	3 ED elements
Focus
Minimum focus	0.50 m (19.69″)	0.45 m (17.72″)
Maximum magnification	0.17×	0.5×
Autofocus	Yes
Motor type		Linear Motor
Full time manual	Yes
Focus method	Extending front	Internal
Distance scale	No
DoF scale	No
Physical
Weight	405 g (0.89 lb)	980 g (2.16 lb)
Diameter	84 mm (3.31″)	89 mm (3.5″)
Length	71 mm (2.8″)	153 mm (6.02″)
Sealing	Yes
Filter thread	62.0 mm	72.0 mm
Hood supplied	Yes
Tripod collar	No

Fujifilm GF 32-64mm F4 R LM WR specifications

Principal specifications
Lens type	Zoom lens
Max Format size	645
Focal length	32–64 mm
Image stabilization	No
Lens mount	Fujifilm G
Aperture
Maximum aperture	F4
Minimum aperture	F32
Aperture ring	Yes
Number of diaphragm blades	9
Aperture notes	Rounded blades
Optics
Elements	14
Groups	11
Special elements / coatings	3 aspheric lenses, 1 ED lens, 1 Super ED lens
Focus
Minimum focus	0.50 m (19.69″)
Maximum magnification	0.12×
Autofocus	Yes
Motor type	Linear Motor
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	875 g (1.93 lb)
Diameter	93 mm (3.66″)
Length	116 mm (4.57″)
Zoom method	Rotary (extending)
Power zoom	No
Zoom lock	Unknown
Filter thread	77.0 mm
Hood supplied	Yes
Tripod collar	No

Articles: Digital Photography Review (dpreview.com)

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Fujifilm medium-format GFX 50S to ship in late February for $6500

21 Jan

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Back at Photokina in September, Fujifilm took the wraps off of its new mirrorless medium-format camera, the GFX 50S. Today they’re released all of the details, including price and ship date.

The GFX 50S uses a 51.4MP ‘Fujifilm G Format’ medium-format sensor (43.8 x 32.9mm), which is 1.7x the area of a full-frame sensor. The lens mount is known as G-mount and, like all medium-format cameras, it has a ‘reverse’ crop factor of 0.79x, so that new 63mm F2.8 lens is equivalent to 50mm. The camera has a 117-point contrast-detect AF system, and users can set the focus point using the touchscreen or a joystick on the rear plate. Its NP-T125 lithium-ion battery is rated for 400 shots on a single charge (meaning you’ll probably get many more in most real-world usage).

The weather-sealed body is made of a magnesium alloy and weighs just 825g/43oz with battery and memory card installed. It has a 3.2″ dual-tilt touchscreen LCD display and a 2.36M-dot OLED viewfinder, to which you can add a ’tilt adapter’ allowing it to tilt upward by 90° and rotated left or right by 45° (that’s a lot of tilting). On the top plate is a 1.28″ LCD which displays current shooting settings. There are two SD card slots, both of which support high-speed UHS-II media.

The GFX 50S has Fujifilm’s Film Simulation modes, including a new Color Chrome Effect option. It can capture Full HD video at up to 30p, with a bit rate of 36 Mbps. As one would expect from a camera in this class, the GFX 50S supports tethered shooting from a PC. Optional accessories include a battery grip, H-Mount adapter for use with classic Fujinon HC lenses and a ‘View Camera Adapter G’ that lets you use the GFX as a digital back.

Along with the GFX come three new lenses, with three more to follow by the end of the year. The initial trio of lenses including a 110mm F2 (equivalent to 87mm), 23mm F4 (18mm equiv.) and 45mm F2.8 (35mm equiv.).

The GFX 50S will ship in late February at an MSRP of $ 6499/£6199.

GROUNDBREAKING FUJIFILM GFX 50S MEDIUM FORMAT MIRRORLESS CAMERA DELIVERS ULTRA-HIGH IMAGE QUALITY

FUJIFILM GFX 50S combines an extraordinary sensor, processor and design with FUJINON lenses to give users the ultimate photography experience

The FUJIFILM GFX 50S Revealed

Ultimate Performance in a Compact Body

Bright, Crystal Clear Viewfinder and Large Touchscreen

FUJINON Lenses Guarantee Image Perfection

Built for the Professional, and the Enthusiast

Just as with the flagship X Series models, the FUJIFILM GFX 50S features dedicated dials to independently set aperture, shutter speed, and ISO, the important factors in determining exposure.

Initial Lens Lineup Will Include the Following Three FUJINON Options:

GF63mmF2.8 R WR (equivalent to 50mm in 35mm format)
GF32-64mmF4 R LM WR (equivalent to 25-51mm in 35mm format)
GF120mmF4 Macro R LM OIS WR (equivalent to 95mm in 35mm format)

FUJINON GF63mmF2.8 R WR

FUJINON GF32-64mmF4 R LM WR

FUJINON GF120mmF4 R LM OIS WR Macro

Three Additional FUJINON GF Lenses to be Announced Later in 2017:

GF110mmF2 R LM WR (equivalent to 87mm in 35mm format)
GF23mmF4 R LM WR (equivalent to 18mm in 35mm format)
GF45mmF2.8 R WR (equivalent to 35mm in 35mm format)

GFX 50S Accessories (sold separately)

Vertical Battery Grip VG-GFX1 – high-performance battery grip is designed to place the release button, dials, and function buttons in the same positions when shooting vertically. The battery grip can be loaded with one NP-T125 dedicated battery, lowering the frequency that batteries need replacing. Also, by connecting the AC-15V accessory (sold separately), it is possible to charge the battery within the grip in approximately 2 hours.

EVF Tilt Adapter EVF-TL1 – mounting this accessory between the camera body and EVF, the angle of the EVF can be changed to angles from 0°?90° vertically and from -45°?+45° horizontally. Doing this allows the user to shoot at various angles while using the viewfinder, greatly increasing the versatility of the finder for different subjects.

H Mount Adapter G – allows you to use SUPER EBC FUJINON HC interchangeable lenses developed for the FUJIFILM GX645AF medium format film camera (discontinued). By attaching this adapter to the GFX 50S, a total of 9 SUPER EBC FUJINON HC interchangeable lenses and 1 tele-converter developed for the GX645AF can be used. While the focusing method will be limited to manual focusing, the lens aperture can be changed using the command dial on the camera body, and shooting with the leaf shutter built in to the lenses is also possible. Using this lens shutter will allow high speed flash synchronization up to a maximum speed of 1/800 sec.
Also, the adapter is equipped with electrical contacts that can communicate with the camera body, independently creating, saving, and applying correctional data for each lens. The adapter supports Manual and Aperture Priority AE exposure modes.

*A removable tripod foot is included to mount the camera with a heavy or long focal length lens.

View Camera Adapter G – allows the GFX 50S to be used as a digital back. The view camera adapter allows the GFX 50S to be mounted to the standard universal-type back of a view camera. This allows the use of FUJINON large format camera lenses, such as the CM-W FUJINON lens series. The camera or lens shutter can be triggered, allowing the user to choose the optimum method. The large image circle and the bellows of the view camera can be used with tilt, shift and swing movements, effective for product and architectural photography.
*There may be instances in which the adapter cannot be mounted depending on the shape of the view camera.

Tethered Shooting Solutions – We have the following tethering solutions for photographers, including: X Acquire to transfer images from the camera to a hot folder on your computer for use with your preferred imaging software, Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom® and HS-V5 for Windows (sold separately).
By connecting the GFX 50S to a PC via USB cable and using this software, it is possible to transfer photographed images directly to the PC, as well as control the camera from the PC. Also, by using the Control Panel Window newly added to Tether Shooting Plug-in PRO for Adobe® Photoshop® Lightroom®, additional camera functions become available.

RAW FILE CONVERTER EX2.0 – powered by SILKYPIX (free of charge) RAW development software and Adobe® Photoshop® Lightroom® / Adobe® Photoshop® CC (sold separately). RAW development software is used for detailed corrections and advanced image processing that isn’t supported by the in-camera RAW conversion. Both software support Fujifilm’s “Film Simulation” modes, allowing creation of image data that is extremely close to Fujifilm’s advanced color reproduction.

FUJIFILM GFX 50S Key Features:

51.4MP Medium Format 43.8 x 32.9mm sensor for superior sharpness and image quality for all photographers

Adaptable to various aspect ratios, including 4:3 (default), 3:2, 16:9, 1:1, 65:24, 5:4, 7:6

FUJIFILM G Mount with short flange back distance of just 26.7mm
X-Processor Pro imaging processor
Detachable electronic viewfinder
Weather and dust resistant; operation to as low as 14 degrees Fahrenheit \ -10 degrees Celsius
File formats include three different JPEG settings (SUPER FINE, FINE, NORMAL), as well as two different RAW settings (uncompressed, compressed). TIFF output is also possible with in-camera RAW development
Full HD for Movie Mode: 1920×1080 29.97p/25p/24p/23.98p 36Mbps, in Film Simulation modes
Light body weighs approximately 43oz. \ 825g (including battery and memory card)
Uses SD Cards (UHS-II recommended)

Equipped with dual slots
Supports three different types of recording methods, “Sequential,” in which recording can be continued according to shooting order, “Backup,” which records the same data on two cards simultaneously, and “Sorting,” which records RAW and JPEG data on separate cards

Uses newly developed NP-T125 high capacity battery for approximately 400 photos (with Auto Power Save ON)
All FUJINON GF Lenses are dust and weather resistant, built to withstand operation at temperatures as low as 14 degrees Fahrenheit \ -10 degrees Celsius allowing photographers to take them outdoors with confidence in challenging weather conditions.
The new FUJINON GF Lenses feature an aperture ring, a popular feature in the X Series, and have a new C (Command) Position on the ring to enable aperture adjustments with the Command Dial on the camera body
A Fluorine coating applied to the front lens element creates a hydrophobic coating that repels moisture.

Availability and Pricing

The new FUJIFILM GFX 50S Medium Format Camera Body will be available Late February, 2017 in the U.S. and Canada for USD $ 6,499.95 and CAD $ 8,499.99.

Fujifilm GFX 50S specifications

Price
MSRP	$ 6499/£6199
Body type
Body type	Mid-size SLR
Body material	Magnesium alloy
Sensor
Max resolution	8256 x 6192
Image ratio w:h	1:1, 5:4, 4:3, 3:2
Effective pixels	51 megapixels
Sensor size	Medium format (44 x 33 mm)
Sensor type	CMOS
Processor	X Processor Pro
Color space	sRGB, Adobe RGB
Color filter array	Primary color filter
Image
ISO	Auto, 100-12800 (expands up to 102400)
Boosted ISO (maximum)	102400
White balance presets	7
Custom white balance	Yes
Image stabilization	No
Uncompressed format	RAW + TIFF
JPEG quality levels	Super fine, fine, normal
File format	JPEG (Exif v2.3) Raw (14-bit RAF) TIFF (via Raw conversion)
Optics & Focus
Autofocus	Contrast Detect (sensor) Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Manual focus	Yes
Number of focus points	117
Focal length multiplier	0.79×
Screen / viewfinder
Articulated LCD	Tilting
Screen size	3.2″
Screen dots	2,360,000
Touch screen	Yes
Screen type	OLED
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder magnification	0.85×
Viewfinder resolution	3,690,000
Photography features
Minimum shutter speed	360 sec
Maximum shutter speed	1/4000 sec
Maximum shutter speed (electronic)	1/16000 sec
Exposure modes	Program Aperture priority Shutter priority Manual
Built-in flash	No
External flash	Yes (via hot shoe or flash sync terminal)
Flash modes	Auto, standard, slow sync, manual, off
Flash X sync speed	1/125 sec
Drive modes	Single Continuous Self-timer Remote
Continuous drive	3.0 fps
Self-timer	Yes (2 or 10 sec)
Metering modes	Multi Center-weighted Average Spot
Exposure compensation	±5 (at 1/3 EV steps)
AE Bracketing	±5 (2, 3, 5, 7 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)
WB Bracketing	Yes
Videography features
Format	MPEG-4, H.264
Modes	1920 x 1080 @ 30p / Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 25p / Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 24p / Mbps, MP4, H.264, Linear PCM 1920 x 1080 @ 23.98p / Mbps, MP4, H.264, Linear PCM
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC (dual slots, UHS-II supported)
Connectivity
USB	USB 3.0 (5 GBit/sec)
HDMI	Yes (micro-HDMI)
Microphone port	Yes
Headphone port	Yes
Wireless	Built-In
Wireless notes	802.11b/g/n
Remote control	Yes (via cable or smartphone)
Physical
Environmentally sealed	Yes
Battery	Battery Pack
Battery description	NP-T125 lithium-ion battery & charger
Battery Life (CIPA)	400
Weight (inc. batteries)	740 g (1.63 lb / 26.10 oz)
Dimensions	148 x 94 x 91 mm (5.83 x 3.7 x 3.58″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None

Articles: Digital Photography Review (dpreview.com)

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Feisty upstart: Hands-on with the Fujifilm X-T20

20 Jan

A great looking camera

Our first impression of the X-T20: ‘that’s going to generate a lot of comments.’ And there’s one simple reason for that: the X-T20 is an awful lot of X-T2 for a lot less money.

This probably shouldn’t be a surprise: the X-T20 has the same relationship to the X-T2 as the X-T10 did to the X-T1. The only difference is how quickly the smaller camera has followed on its big brother’s heels.

The sixteen month gap between the launch of the X-T1 and X-T10 softened the blow of Fujifilm offering much of the T1’s spec at a lower price. But X-T2 owners are likely to flinch slightly at the sight of a camera with such similar spec announced only four months after the T2 hit the shelves, and the knowledge that it’ll be another month before anyone can get hold of one is unlikely to ameliorate the sting.

What don’t you get?

There certainly are differences between the T2 and T20. Just like their respective predecessors, the more expensive model features a larger viewfinder. The X-T2 uses a larger OLED panel with better magnification (0.77x vs 0.62x, which is more than 50% larger) and a more distant eye-point, meaning you can see the whole panel from further away. The smaller camera doesn’t have any weather sealing, either.

There’s no battery grip option for the X-T20, so you can’t get the reassurance of the 1000 shot-per-charge CIPA rating that the X-T2 has with access to three batteries. Similarly this means there’s no way to extend the T20’s video longevity, nor to add a headphone socket. Video makers will also note the lack of Log output from the new camera.

Other differences

The X-T20 doesn’t offer dual card slots or support for UHS-II cards, which is likely to mean it can only capture sugnificantly shorter bursts of images, making it a considerably less attractive camera to anyone whose interests extend to sports shooting.

The X-T20’s 4K video is taken from the full width of the sensor, unlike the X-T2, meaning more lenses will be able to offer a wide-angle view while video shooting. However, this is achieved by line skipping, rather than capturing, demosaicing and then downsampling, so the resolution capture won’t match the X-T2.

The X-T20 also lacks the clever dual tilting screen that we liked so much about the T2. The X-T20’s rear LCD tilts up and down, meaning you can still shoot stills or video from waist level, but it doesn’t adapt itself as well to portrait-orientation shooting.

So what’s the fuss?

That’s settled, then, they’re totally different cameras, right?

Well, no, not really. The most significant similarity is the move to a 24MP sensor (an X-Trans CMOS III, to use Fujifilm’s terminology). This was always likely to be part of the X-T20’s spec but that doesn’t mean we should overlook just how much of an improvement this will offer, compared with the existing 16MP chip.

It’s not clear whether it’s purely the higher resolution or more sophisticated processing, but the 24MP chip is much less prone to the paintbrush-esque artefacts or ‘waxy’ skin texture that could occur with the earlier X-Trans cameras. Either way, just the inclusion of the 24MP sensor should have existing X-mount owners studying their bank balances.

Performance/processor

The X-T20 also gains the same processor as the X-T2 so just about every aspect of the T20’s performance should be similarly snappy.

The autofocus speeds, shutter lag time, shot-to-shot time and startup delay are all comparably rapid, meaning the X-T20 should be a pleasantly responsive camera. The only detail that’s unclear is whether the X-T20 will share the X-T2’s ‘Boost’ mode that increases EVF refresh rates from 60 to 100Hz.

The use of the same NP-W126S battery as the X-T2 means the X-T20 can offer a CIPA rating of 350 shots per charge; a 10% improvement on the camera’s predecessor. As with all CIPA numbers, real-world usage is likely to last much longer than this, but the figure should be comparable between cameras. The X-T20 will charge over its USB 2.0 socket.

AF system (inc customization)

The X-T20 gains its autofocus system wholesale from the X-T2, not only providing direct access to up to 325 selectable AF points (up from the X-T10’s 49), but also gaining the sophisticated continuous AF fine-tuning. The development of this system for the X-T2 helped that camera offer hugely improved C-AF and tracking results when paired with fast-focusing lenses.

The X-T20 doesn’t offer a customizable C-AF preset (option 6 in X-T2’s menu, shown above), to allow fine-tuning of the system’s behavior, so you need to choose between the 5 available presets.

Touchscreen

The X-T20 doesn’t have the X-T2’s AF point joystick but it does, instead, have a touch-sensitive rear LCD. We’ve not had a chance to try the production-ready X-T20 touchscreen experience, so can’t be sure exactly how well it will work (and we’ll be updating this story very soon, once we have).

The camera lets you set the focus point, set focus point and initiate focus, or set focus point, initiate focus and fire the shutter. The ability to move the focus point during movie shooting is also promised, which is a huge bonus. The touchscreen isn’t active when you’re shooting with your eye to the viewfinder.

The touchscreen also has a role to play in playback mode, allowing swiping between images, pinching to zoom in and out, and double-tapping to jump to a magnified view of the focus point used. Our initial experiences with a pre-production model suggest it isn’t the most responsive touchscreen system, but we’ll have to wait for the final samples to be sure.

Ergonomics

Comparing side-by-side, the X-T20’s ergonomics are very similar to those of the T2. Like the X-T2, the T20 has a dedicated movie-shooting mode, freeing up a button on the top plate for customization and meaning you can preview the video angle-of-view prior to shooting. However, the camera loses the Fn button that the X-T10 had it its rear panel, so you don’t end up any better off, overall.

The handling isn’t quite the same, of course: the smaller camera doesn’t have a front-plate Fn button, its shutter button is rather smaller and the top-plate Fn button isn’t quite as conveniently located. The X-T20 also misses out on an ISO dial, but the ability to cycle between three Auto ISO presets probably makes up for that (and is more effective than the pretty-but-unusable combined shutter speed/ISO dial used on the X-Pro2 and X100F).

On the camera’s right shoulder is an exposure comp dial that extends from +3 to -3EV and also features a ‘C’ position that hands-off control to the camera’s command dial, extending the available range of compensation out to +/-5EV. There’s also a lever to engage full auto mode if you need to hand the camera to your grandma.

The X-T20 also gains the improved menus offered on the X-T2, including a custom ‘My Menu’ tab.

Kit and caboodle

Best of all, Fujifilm offers the X-T20 in a series of kits. For existing X-mount users there’s a body-only option ($ 899). For budget buyers who need a lens, there’s a kit with the XC (no aperture ring) 16-50mm F3.5-5.6 OIS ($ 999): a perfectly standard kit zoom. But the combination that stands out to us the the kit with the 18-55mm F2.8-4 OIS ($ 1199): one of the best kit lenses on the market and a great way to minimize the need to upgrade.

This much camera and lens for the list price of an X-T2? Even if it does upset some people, the X-T20 looks likely to make a lot of photographers very happy.

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F is for ‘4th’: Hands-on with Fujifilm X100F

20 Jan

Hands-on with Fujifilm X100F

Fujifilm has announced the fourth in its series of X100 rangefinder-style cameras: the X100F. The X100F features an updated sensor, revamped autofocus system, larger battery and tweaked ergonomics. We met with Fujifilm recently and got our hands on a pre-production sample. Click through for a quick product tour.

Hands-on with Fujifilm X100F

Superficially very similar to its predecessor, the X100F is a clear evolution of the X100-series lineup in terms of design. The most obvious difference between the two cameras from the front is the X100F’s new front control dial, which brings the total dial-count to three.

Hands-on with Fujifilm X100F

Here’s a closer look at that dial, and next to it the viewfinder mode selector lever, which toggles the hybrid finder between optical and electronic viewing modes. The 23mm (35mm equivalent) F2 prime lens is the same design as the X100T (and X100S and X100) and can accept the same telephoto and wide-angle adapters.

However, new ‘Mark II’ versions of these adapters have been released alongside the X100F. We understand that the Mark II versions are optically identical but feature electronic contacts which match contacts on the X100F camera body, meaning that the camera can recognize when an adapter has been fitted and respond accordingly.

Hands-on with Fujifilm X100F

The X100F’s rear control layout has been simplified compared to the X100T, and the controls have been slightly rearranged. The LCD screen is the same, but controls are now arranged on the right of the display, with an AF selection joystick added at upper-right. Essentially the same control that we’ve seen added in the X-Pro2 and X-T2, this should make changing AF points much easier than it was been in previous X-series models.

The AF system has been revamped, too. The X100F now features 91 user-positionable AF points (which can be more finely divided into 325, if you prefer), with 40% of the imaging area covered by a hybrid phase-detection autofocus array, and focus should be responsive down to -3EV.

Hands-on with Fujifilm X100F

Another change, but arguably a less impactful one is the addition of an integrated ISO dial to the shutter speed dial on the X100F’s top-plate. This matches the same dial on the X-Pro2. It looks nice, but we suspect that for many users it will stay locked on the ‘A’ position most of the time.

This view also shows off the expanded exposure compensation range of +/-3EV on the dedicated exposure compensation dial (upper right). The ‘C’ position allows exposure compensation of up to +/-5EV, using the camera’s control dials.

Hands-on with Fujifilm X100F

The X100F gains a new battery – the same NP-W126S that’s used in the X-Pro2, X-T2 and X-T20. Battery life is rated at between 270 and 390 shots (CIPA) depending on whether you mostly use the electronic or optical finder. As always, these figures only give a value that can be compared between cameras; in real-world usage you’ll probably get more than this.

The bigger battery means a slightly deeper camera, and this increased size makes the X100F feel a little more solid and businesslike compared to the previous models.

Hands-on with Fujifilm X100F

The X100F will be available in silver or black, shipping next month for $ 1299.

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Throwback Thursday: Fujifilm X100

19 Jan

The X100 wasn’t the first compact camera to include a truly large sensor: Sigma gets the credit for that, but it was the first to get enough right to really grab the attention of photographers.

We’d been asking manufacturers to build a small camera with a big sensor for a number of years, so you can imagine the buzz in the office when Fujifilm showed up in London with a pre-production X100 and asked ‘Is this what you meant?’

The company had recognized that its most successful niche (the S-series superzooms) was becoming a commodity market, with most customers caring more about how many ‘X’ the zoom range was, rather than which brand name was printed on the front. So it set out to build a product to appeal to serious photographers.

Its response was to create a retro-looking camera that recreated the look and concept of the fixed-lens rangefinders cameras that sold so well throughout the 60s and 70s. But the X100 wasn’t a rangefinder, instead incorporating a clever ‘hybrid’ viewfinder that let you switch between an optical and digital preview, depending on what you were trying to shoot. And photographers loved it.

The X100’s fixed 35mm equivalent lens, relatively small size and easy-to-access external controls make for an exceptional ‘walk around’ second camera. Photo by Carey Rose

The camera’s size and styling meant it immediately caught the photographic imagination. The fixed lens design meant that users of other system didn’t have to worry about lens compatibility or changing systems, it was another tool that did a different thing, which helped it find space in the camera bags of all kinds of photographers.

In the wake of this success, we’ve seen several other manufacturers try to burnish their photography credentials by introducing large sensor, prime lens cameras. Sony went full frame with the capable but quirky RX1, Nikon followed Fujifilm’s lead and stuck its consumer compact branding on the 28mm-equiv Coolpix A and Ricoh gave its GR series a new lease of life by putting an APS-C sensor inside, but none of these have hit the combination of features, price, capability and downright desirability that the X100 achieved.

Stumbling start

That said, at launch, the camera was more cool concept than polished product. It was slow, it was full of maddening quirks and it needed to be switched to Macro mode at exactly the focus distance you wanted to use it at. In fact it was so far from the level of refinement that we were used to that we included a whole page listing the bugs, quirks and idiosyncrasies at the end of our review.

And, to its credit, Fujifilm listened. In a series of firmware updates the company not only smoothed-over a host of the camera’s most annoying rough edges, but then went about adding features.

It’s hard to remember, now, but as recently as 2010 it was very rare for camera makers to do anything beyond fixing critical bugs with firmware. A combination of not wanting to acknowledge any shortcomings and of wanting to divert development resources to the next project meant that cameras didn’t tend to get much better after launch.

Even in the troubled early days, the files – and especially the colors – from the X100 were as handsome as the camera itself. Photo by Carey Rose

Fujifilm rode-out the internet sniping about ‘releasing unfinished products’ and established a model of mid-life improvements and updates that is being increasingly adopted across the industry. More than three years after the X100’s launch, Fujifilm continued to offer not only autofocus improvements but also additional features such as focus peaking that hadn’t even been considered at the camera’s original launch.

And there are some aspects of the camera that firmware could never fix. The manual focusing remains vague and fussy, the lens’ otherwise excellent performance drops off significantly at close distances and the focus mechanism, which moves a relatively large, heavy focusing group, is never going to be ‘snappy.’ Yet the X100 and its successors remain versatile, likeable cameras.

A camera to love

Our original (initial firmware) review concluded that ‘the X100 is too flawed to quite earn our outright recommendation, but if you’re prepared to tolerate its foibles as the price to pay for its superb image quality, it’s a camera you can easily grow to love.’

And it’s that last sentiment that captures the X100 perfectly. In spite of all of its flaws, several members of DPR staff went out and bought the camera and there’s barely a member of staff since who hasn’t owned at least one camera from the X100 series.

Onward and upward – though Fujifilm has been busy keeping the X100 line up to date, we’ll always have a soft spot in our hearts (and for some of us, a space in our camera bags) for the original. Photo by Carey Rose

In the six years since the launch of the original X100, retro design has become commonplace, large sensors in small cameras have become ubiquitous but the X100’s combination of concept, capability and style still help it stand out. For all its faults, its status as a classic, rather than a camera designed to resemble one, looks assured.

Do you own any X100-series cameras? Will you be buying the new X100F? Let us know in the comments!

Original Fujifilm FinePix X100 Sample Gallery

Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page).

We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don’t abuse it. Unless otherwise noted images taken with no particular settings at full resolution.

Note: Please click through for full-size images from this legacy gallery.

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Rugged Fujifilm XP120 arrives just in time for winter

09 Jan

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It’s snowy season here in the Northern Hemisphere, so Fujifilm’s release of its XP120 is well-timed. The XP120 has a 16.4MP BSI-CMOS sensor and a 28-140mm lens, and is waterproof to 20m/65ft, shockproof to 1.8m/5.7ft and freezeproof to -10C/+14F.

Other features include a 3″ LCD, unique ‘Cinemagraph’ feature, which ‘produces still photos with moving elements’, 1080/60p video (with a wind filter) and Wi-Fi.

The XP120 will come in four colors – blue, sky blue, green and yellow – and will be available in February for $ 229.

FUJIFILM INTRODUCES NEW RUGGED FINEPIX XP120 FOR OUTDOOR ADVENTURES; FLAGSHIP X SERIES CAMERAS ARRIVE IN NEW PREMIUM COLORS

Valhalla, N.Y., January 5, 2017 – FUJIFILM North America Corporation today announced the new FinePix XP120, with a 16.4MP back-illuminated CMOS sensor and a large 3.0 inch LCD monitor in a compact body. The new FinePix XP120 is waterproof to 65 feet \ 20 meters, shockproof to 5.7 feet \ 1.75 meters, freeze proof to 14°F \ -10°C and dust proof. The XP120 is equipped with a FUJINON lens that provides unique color reproduction technology and advanced sharpness to deliver outstanding image quality, making it an ideal choice for a wide variety of shooting situations in rugged environments.

Also announced are the new FUJIFILM X-Pro2 Body with XF23mmF2 R WR Lens and Lens Hood Kit, Graphite Edition, and the new FUJIFILM X-T2 Body, Graphite Silver Edition.

FinePix XP120 Delivers Four-Way Rugged Protection
The XP120 is waterproof to 65 feet \ 20 meters, shockproof to 5.7 feet \ 1.75 meters, freeze proof to 14°F \ -10°C and dust proof and is designed for ease of use in outdoor activities. The XP120 features an improved grip design for firm one-handed holding and a double-locking mechanism for the battery compartment. There is no need to worry about water, sand or short drops, making it the perfect first camera for children when on a fun adventure.

High Performance Sensor and Lens for Sharp Images

The XP120 is equipped with a 16.4MP back-illuminated CMOS sensor and FUJINON 5x optical zoom lens that includes a 28mm wide-angle setting for sweeping landscape and scenic shots. The optical zoom range can be doubled to 10x with Intelligent Digital Zoom technology, while the camera’s optical image stabilization function ensures that any effects from camera shake are minimized.

Compact and lightweight design with a large 3.0-inch 920K-dot LCD monitor

The new compact XP120 has a large 3.0 inch 920K-dot high definition LCD monitor with anti-reflective coating in its lightweight body making it perfect for outdoor activities. The monitor inhibits light reflection so you are able to comfortably check composition and pictures taken under bright daylight or underwater. The operation buttons on the new XP120 were created in pursuit of optimal size and position, enabling smooth operation even while wearing gloves or holding with one hand. And, the battery compartment is designed with a double-locking mechanism that requires two-stage operation to lock and unlock the lid.

Extensive Shooting Functions with an All New “Cinemagraph” for Artistic Expression

The XP120 offers an all-new Cinemagraph mode that produces still images with moving elements. Cinemagraph is a novel photographic approach that creates an image somewhere between a still and video, which makes a stark contrast against the rest of the still image so that it appears as if time has been frozen. Additional features that aid versatile artistic expressions include Burst Mode of up to 10 fps, smooth full HD video recording of 60 fps, and time-lapse recording which is useful for fixed-point observation of scenes such as sunsets and flowers opening.

FinePix XP120 Key Features:

16.4MP back-illuminated CMOS sensor and FUJINON 5x optical zoom lens with 28mm wide-angle setting
Four-way protection
- Waterproof up to 65 feet/20 meters, shockproof to 5.7 feet/1.75 meters, freeze proof to 14°F/ -10°C and dust proof
Compact lightweight design with 3.0 inch 920K dot high definition LCD monitor with anti-reflective coating
Scene Recognition Mode quickly determines the scene before optimizing focus, exposure and shutter speed for best possible results
- Underwater and underwater macro functions available
Remote Shooting function: Allows for wireless connection from the XP120 to a smartphone or tablet for remote camera operations such as releasing the shutter or zooming in and out
Interval Timer Shooting: Automatically shoot any number of images in set intervals
- Interval can be set to either 5 or 10 minutes, or 15, 30 or 60 seconds
Burst Mode up to 10 fps, and Advanced Burst Mode capable of shooting at up to 60 fps
Time Lapse Video: Automatically converts images taken with interval timer to video
- Frame rates of 10fps, 30fps or 60 fps can be selected along with three different types of movie size, including full HD. Allows for capturing transitions in nature from a stationary point, such as sunsets or opening flowers
Wireless LAN connectivity, Smartphone Transfer and the FUJIFILM Camera Remote app
- Transfer photos and videos from the XP120 to your smartphone or tablet, or directly to the Instax Share SP-2 Printer for quick, high-quality prints
Cinemagraph mode: produces still images with moving elements
Motion Panorama 360° function for superb panoramic shots, and the Advanced Filter function to create advanced artistic effects with ease
- Select from 11 filters when taking pictures or 7 filters during video recording
Records smooth Full HD video at 1080/60p with a dedicated movie button
Wind Filter Setting: reduces wind noise which is often a problem with outdoor movie recording

Availability and Pricing

The FinePix XP120 will be released in late February 2017 in the U.S. and Canada for USD $ 229.95 and CAD $ 239.99.

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Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

06 Jan

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

For the most part a glittering parade of the utterly unnecessary*, CES does occasionally throw up a gem for camera geeks. Last year it was Nikon’s D500 and D5, and this year we’re very taken with Fujifilm’s new ‘Graphite’ editions of the X-T2 and X-Pro2. More specifically, the X-Pro2 is ‘Graphite’, while the X-T2 is offered in a lighter, shinier ‘Graphite Silver’.

You’ve seen the cameras before, but not like this – click through for a closer look.

*I saw something last night called a ‘Smart Lawn’. I’m not kidding.

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

The X-T2’s new graphite silver finish is actually really nice. The gloss silver looks flashy without being gaudy. It will certainly attract more attention than the standard body but doesn’t scream ‘bling’.

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

According to Fujifilm, the new finish is achieved by layering three coats, over the magnesium-alloy shell. The first coat is matte black…

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

…the second coat uses something that Fujifilm calls “Thin-film Multilayer Coating Technology” to apply the smooth silver finish…

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

…and the final coat is a clear varnish, for a glossy finish. The end result is very nice indeed, we think.

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

The graphite silver X-T2 will ship later this month, for $ 1799 body-only. That’s $ 200 more than the standard X-T2.

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

Not to be left out of the party, the X-Pro2 is getting a new color treatment, too. This time, it’s just plain ‘Graphite’. Darker and more subtle than the silver X-T2, the graphite X-Pro2 looks great. It’s still glossy, but not ostentatious.

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

The Graphite X-Pro2 will be kitted with a special matching 23mm F2 R WR lens (not available separately). These pictures were taken under pretty rotten mixed hotel lighting, but hopefully you get the idea.

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

The graphite finish is also a multilayer coating, and according to Fujifilm the distinctive shade is achieved by increasing the amount of black pigment in the top coat.

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

The Graphite edition X-Pro2 kit will come with a dedicated LH-XF35-2 lens hood for the 23mm F2, in matching graphite finish (of course).

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

In all functional respects, the Graphite X-Pro2 is precisely the same as the standard model that we reviewed here. The Graphite kit will be available later this month for $ 2,299.95, which is about $ 150 more than the standard camera and lens.

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

As well as the new graphite editions of the flagship X-series, Fujifilm also took the wraps off a new rugged camera, the XP120.

The XP120 has a 16.4MP BSI-CMOS sensor and a 28-140mm lens, and is waterproof to 20m/65ft, shockproof to 1.8m/5.7ft and freezeproof to -10C/+14F.

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

Other features include a 3″ LCD, unique ‘Cinemagraph’ feature, which ‘produces still photos with moving elements’, 1080/60p video (with a wind filter) and Wi-Fi.

Hands-on with new ‘Graphite’ Fujifilm X-T2 and X-Pro2 (and the XP120)

The XP120 will come in four colors – blue, sky blue, green and yellow – and will be available in February for $ 229.

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Fujifilm unveils Graphite Silver X-Pro2 and X-T2

05 Jan

As it did with the X-T1, Fujifilm is now offering a new ‘graphite silver’ color for the X-Pro2 and X-T2, produced using a multilayered coating. The X-Pro2 will come bundled with a matching XF23mm F2 R WR lens and hood.

The graphite silver X-Pro2 and X-T1 will ship in late January for $ 2299 and $ 1799, respectively.

New FUJIFILM X-Pro2 Body with XF23mmF2 R WR Lens and Lens Hood Kit, Graphite Edition

The new FUJIFILM X-Pro2 Graphite Edition boasts an all-new color to the X Series lineup. The X-Pro2 Graphite Edition has a rich, metallic texture due to a specialty multilayer coating. This edition will include the compact and lightweight FUJIINON XF23mmF2 R WR and LH-XF35-2 lens hood in the same unique Graphite color as the body, achieving high resolution performance and a fast and silent AF system. The new FUJIFILM X-Pro2 Graphite Edition maintains the features of the current X-Pro2, adopting an extremely high-grade graphite color created through a multilayer coating process for the exterior of the camera body. By increasing the amount of black pigment component of the top coating, the camera achieves a more rich metallic texture. The package will be released as the FUJIFILM X-Pro2 Body with XF23mmF2 R WR Lens and Lens Hood Kit, Graphite Edition in late January 2017.

New FUJIFILM X-T2 Body, Graphite Silver Edition

Building on the popularity of the elegant Graphite Silver version of the X-T1, Fujifilm introduces the new FUJIFILM X-T2 Graphite Silver Edition which will be supplied with tailor-made accessories including a premium leather strap, aluminum hot shoe cover and matching EF-X8 hot-shoe mount flash. The X-T2 Graphite Silver Edition is treated with a multi-layer coating that is triple baked to produce an elegant and tactile finish. The first layer is a matte black undercoat, applied to the magnesium top cover. This undercoat delivers deeper blacks in shadow areas to make highlights stand out. The second layer uses Thin-film Multilayer Coating Technology to apply graphite silver for an incredibly smooth finish with a luxurious shine. The third layer is a clear varnish for a glossy finish. The new X-T2 Graphite Silver Edition will be released in late January 2017.

Availability and Pricing

The FUJIFILM X-T2 Graphite Silver Edition will be released in late January 2017 in the U.S. and Canada for USD $ 1,799.95 and CAD $ 2,199.99.

The FUJIFILM X-Pro2 Graphite Edition will be released in late January 2017 in the U.S. and Canada for USD $ 2,299.95 and CAD $ 2,899.99.

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Gear of the year: Allison’s choice – Fujifilm Instax mini 90

28 Dec

Let’s get a few things out of the way first: yes, the Fujifilm Instax mini 90 is a three-year-old camera. No, it is not a digital camera. Yes, it was my favorite camera of the year. Now let’s proceed.

I bought the Instax mini 90 in March, but I spent almost two years up until then talking myself out of buying one. It was hard to justify the expense to myself. I have access to many nice digital cameras, and I always have a phone on hand, why buy a little plastic film camera that costs about a dollar per exposure? I put it to the back of my mind, but a little pang of jealousy struck every time I saw someone else carrying one.

The mini 90 isn’t my first instant camera. I bought a Polaroid at Best Buy during college, which must have been during the very last days that anyone could buy a Polaroid at Best Buy. It was sort of cumbersome and it definitely wasn’t cool-looking, but there was something about it that got everyone excited about when I brought it out. I took plenty of snapshots of friends, but eventually ran out of film and didn’t buy more. Now it sits in a drawer at my parents’ house.

One of many ridiculous baseball game instant photos taken this year.

It was spring when I finally realized I should just buy the mini 90. After that, it was with me for pretty much every milestone event of the year. It was there when my sister visited and we went to one of the first baseball games of the season. I brought it to North Carolina where my boyfriend and I caught up with friends and met their babies. It came along to a tennis tournament with my family, when friends visited and to more baseball games than I want to admit to attending.

I can easily retrace my year in instant photos because they’re arranged on the wall by my desk. For every photo that made the wall, though, there were a lot of terrible photos – overexposed, underexposed, blurry, group selfies with somebody cut right out of the frame. But I guess I like the trial and error part of the process too. You work within the constraints of the system, learn what works and what doesn’t and gradually get better results. Even a bad instant photo is one that I feel like I actually made, and I learned something from the process. And when they come out looking just right, well that feels pretty good.

This goofy shot is probably my favorite photo of 2016 and I had a horrendous head cold when it was taken.

Obviously, one of the main joys of instant photography is that you get something you can hold at the end of the process. I don’t print many photos lately, so having it built into the process by the nature of the thing is kind of a treat in itself.

And I think that’s one of my favorite things about an instant photo – you can physically give the photo to someone else. You don’t get to text someone a copy, or tag them on Facebook, or email it to them later. I mean, you can snap a picture of it with your phone and do all that, but handing someone a photo that doesn’t exist anywhere else is pretty special. I gave away a lot of photos this year, and by that measure, it was a pretty good year indeed.

Articles: Digital Photography Review (dpreview.com)

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Gear of the Year: Richard’s choice – Fujifilm X-T2

14 Dec

If 2016 has made one thing very clear it’s that not everyone agrees with one another about what is logically sound. Indeed there’s been a considerable trend towards questioning the very value of expertise and facts. So perhaps it’s fitting that my camera of the year wasn’t chosen with the logical, dispassionate approach that is often necessary for my job.

I just chose the one I enjoyed the most.

If technical capability alone were my primary consideration, the Nikon D500 makes a strong case. Its autofocus is jaw-dropping, even compared with top-end sports cameras and its ergonomics are amongst the best I’ve encountered. The Sony a6300 is technically impressive, too, and I loved the video footage I got out of it (though it helped that I shot a series of short clips, so never encountered the temperature limitations that have got parts of the Internet so hot and bothered).

But my product of the year is, without question, the Fujifilm X-T2. Not because it’s unquestionably better (it isn’t), but because it’s the camera the most made me want to get out and shoot, this year.

Completing the picture

Maybe it’s a question of delayed gratification. I loved a lot about the X-Pro2 when I reviewed it at the beginning of the year, not least the image quality. I also really enjoyed shooting on a system with a good range of prime lenses for the APS-C format, rather than one that, through omission, tries to push me into buying a different format.

But that experience didn’t prepare me for just how good the X-T2 was going to be. Looking back, the X-Pro2 gave hints at the video and autofocus improvements Fujifilm had made, but the full impact didn’t really hit me until I got to spend some time shooting with the X-T2, which gives a little more control and flexibility to both.

With the X-T2 it feels like all the pieces have come together: a camera that captures beautiful color with ergonomics I enjoy that can shoot pretty much anything I point it at, without me ever feeling I’m working around its shortcomings. And, as a bonus, that will produce excellent footage when I come up with an idea for a short film, rather than a series of stills. Having something like that sitting in your desk is tremendous encouragement to go out and shoot.

Projects like this video, for instance, shot by some friends and I using the X-T2, battery grip and BlackMagic Video Assist:

Parts of the video were shot in F-Log and graded with the help of the color correction profile (LUT) that the company provides, which gives a hint about how much thought has gone into the T2’s video capabilities. The battery grip improves the battery/heat management for video shooting, though in near 0°C (32°F) conditions, overheating was the least of our problems. I’ll admit that I like the camera less if I have to operate it with gloves on.

A question of style

And, before you think I’ve just been bewitched by the X-T2’s retro looks and handling, I should make clear that, while I think it’s an attractive camera, my reason for enjoying the X-T2 isn’t that I believe camera ergonomics reached their zenith in 1987. For instance I don’t, personally, find the dedicated shutter speed dial especially useful: locking it to ‘A’ for most stills shooting and having to set to 1/60^th then spin the rear dial one notch to shoot video at 1/50^th of a second.

“I find it as quick and easy to use as the most polished contemporary DSLR”

However, between the AF point joystick, large, well-placed exposure comp dial, lenses with aperture rings and enough custom buttons to give me access to the settings I change most often, I find the X-T2 as quick and easy to use as the most polished contemporary DSLR. Not inherently better, but similarly good, for the way I shoot. And yes, this is all about me.

It’s such a truism that I’m sure I’ve said it before: having a camera you know will give you the results you want can be an inspiration. The X-T2 is not cheap, by any means. Even as an occasional video shooter, I’d also need to shell-out for the battery grip, so the costs would add up pretty quickly. But, if I had to put my hand in my pocket and buy one camera tomorrow, this would be it.

And, as we enter the last week of our loan period, the X-T2 is the camera I’m least looking forward to shipping back. I’ll miss it, and I’ll miss the encouragement that it’s given me. Merry bloody Christmas.

Articles: Digital Photography Review (dpreview.com)

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