- Poppy Street | Marvin Girbig Photography
- Hungry Like the wolf – Tromsø Norway
- Through a Photographer’s Eye: Harmeet Gabha
- Fujifilm GFX: It is finally here!
- Sri Lanka Street Photography
- Fuji XT-2: I love it.
- Fuji XT-2 Firmware Upgrade 2.0 REVIEW
- Macedonia with the Fuji X System (Picture Heavy Post)
- Using my X Pro 1 over a DSLR for a Job by Stephen Swain
- Overview of the Fuji XF 18-55mm Lens – The King of Kit Lenses
- [Pics] 10 days in Japan with the Fuji X-Pro2 (and Leica Q): Fujifilm X System / SLR Talk Forum: Digital Photography Review
- Fujifilm GFX 50s or Sony A7R2? is it worth upgrading
- Creating a Flat Profile for X100F
- How to Use a Neutral Density Filter to Control Depth of Field
- Fuji 120/4 Macro at 1:2 on GFX: LoCA and focus shift
- Fujifilm X-T20 Mirrorless Camera Review:
- Fujifilm launches new professional support program in the U.S. for GFX System owners
- Insane photo editing in Camera Raw – Fujifilm GFX 50S
- Fujifilm GFX and Leica SL
- FujiFilm X-T20 in Lombok | Kristupa Saragih X-Photographer
- Adapting Lenses to the Fujifilm GFX
- Fujifilm X100F
- Fuji GFX 50S | A Working Day With A New Camera System | Fixation
- Fujifilm GFX 50S shooting experience
- The Profoto B2
- John Armstrong Photography testing Fujifilm GFX 50S Camera
- Real World Dynamic Range
- The Fujifilm GFX 50s Medium Format Camera System| A Review
Source: FUJIFILM INSIDER
|XF16mmF1.4 R WR||Ver.1.01||
|XF60mmF2.4 R Macro||Ver.3.11||
|XF10-24mmF4 R OIS||Ver.1.11||
|XF16-55mmF2.8 R LM WR||Ver.1.12||
|XF18-55mmF2.8-4 R LM OIS||Ver.3.21||
|XF18-135mmF3.5-5.6 R LM OIS WR||Ver.1.11||
|XC16-50mmF3.5-5.6 OIS II||Ver.1.11||
Source: Fujifilm Lenses Updates
Detail of the update
The firmware update Ver.2.00 from Ver.1.02 incorporates the following issues:
- The NUMBER OF THE FOCUS POINT has incerased.(*)
The options available are 91 POINTS(7×13) and 325 POINTS(13×25) on the NUMBER OF THE FOCUS POINT of the AF/MF SETTING in the Shooting Menu.
- Improvement of phase detection AF accuracy.
By employing the new AF algorithm used in the X-T2, the AF accuracy has been improved.
- AF tracking function has been improved when CONTINUOUS L in the AF-C mode.
- In AF-C mode, AE function will work while pressing the shutter button halfway.
- AF tracking function works while CONTINUOUS shooting in the AF-C mode with the Electronic Shutter.
- AF tracking function works while CONTINUOUS H shooting in the AF-C mode instead of zone AF.
- STILL IMAGE(single frame shooting) is available when CONTINUOUS L in the AF-C mode.
- The focus point of Eye Detection AF has been changed to the eye closer to the camera.
- Compatibility with the Shoe Mount Flash EF-X500.(*)
Additional functions like the multi-flash lighting, high-speed flash sync and so on can be used with the EF-X500.
Accordingly, the FLASH SETTING and the Shooting Menu is dramatically changed.
- The items that can be assigned to the Quick Menu have changed.(*)
FLASH FUNCTION SETTINGS and FLASH COMPENSATION have been added due to the compatibility with the Shoe Mount Flash EF-X500.
- The roles that can be assigned to the Function buttons have changed.(*)
FLASH FUNCTION SETTINGS, TTL-LOCK and MODELING FLASH have been added due to the compatibility with the Shoe Mount Flash EF-X500.
- Addition of AUTO POWER SAVE.(*)
AUTO POWER SAVE option has been added to the POWER MANAGEMENT of the Setup Menu. Select ON to save the power consumption and make the battery life longer.
- Addition of setting time in AUTO POWER OFF.(*)
15 SEC, 30 SEC and 1 MIN have been added to the AUTO POWER OFF of the POWER MANAGEMENT in the Setup Menu.
- S.S OPERATION option has been added to BUTTON/DIAL SETTING in the Setup Menu.(*)
Select OFF to disable the shutter-speed fine-tuning using the command dials.
- Change of the CORRECTED AF FRAME in the OVF.(*)
Specification of the CORRECTED AF FRAME of AF/MF SETTING in the Shooting Menu has been changed.
·OFF:The frame moves according to parallax to show the focus point.
·ON:The CORRECTED AF FRAME in the OVF is fixed on the recommended value described in the Owner’s manual. If the minimum focus range of the attached lens is greater than the recommended value, the frame is displayed on the position of the minimum focus range.
*Upgrade the firmware of the lenses after the firmware of the camera is upgraded.
- The phenomenon is fixed that in rare cases the magnification of the OVF doesn’t switch appropriately when a lens is changed.
- The bright frame movement in the OVF has become more smoothly while zooming in and out.
- OIS function has been improved while using Electronic Shutter.
- The phenomenon is fixed that in rare cases frames of live view on a smartphone drop while using the application software „FUJIFILM Camera Remote“.
- The phenomenon is fixed that exposure sometimes doesn’t change appropriately in Aperture Priority AE while using an M MOUNT ADAPTER…..
Obtaining the ultimate in photo image quality
Since the introduction of the X100 in 2011, Fujifilm has strived to achieve the world’s highest level of image quality with its X Series of cameras. The latest and the most advanced addition is the new medium-format mirrorless camera “GFX.” It uses the new large-diameter “G Mount” and incorporates a large 43.8×32.9mm CMOS sensor in the first-ever such move by Fujifilm. Boasting the effective pixel count of 51.4 million, the camera delivers superior sharpness and image quality that will satisfy professional photographers shooting commercial, fashion or fine-art landscapes. It uses the “X Processor Pro” imaging processor, which provides Fujifilm’s outstanding color and tone reproduction, delivering unparalleled photographic expression that can only be offered thanks to Fujifilm’s unique expertise in medium-format cameras.
All new mirrorless camera with a large sized sensor
The GFX is an all-new mirrorless camera system that revolutionizes the concept of medium-format cameras.
Compared to conventional medium-format digital cameras, the GFX is astonishingly lightweight and compact, and its dust and weather resistant body gives it the durability required for outdoor shoots. A collection of accessories that meet the needs of photographers, including a vertical battery grip and a rotary adapter that can rotate the detachable electronic viewfinder to any angle to suit any scene will be launched at the same time. The camera also supports tethered shooting, which has become an essential part of the professional photographers’ workflow, and will be compatible with various RAW conversion application software.
Fresh descriptive performance with new lenses and new lens mount
The design and manufacturing expertise nurtured over many years of FUJINON lens development has been used to produce lenses with the world’s highest level of image resolution. Unique to the new GFX, Fujifilm has developed a new “G Mount” with a short flange back distance of just 26.7mm, an advantage of the mirrorless camera system. Initial lens lineup consists of six lenses; a standard prime “GF63mmF2.8 R WR” (equivalent to 50mm in the 35mm format), a wide-angle standard zoom “GF32-64mm F4 R LM WR” (equivalent to 25-51mm in the 35mm format) and a mid-telephoto macro 1:0.5 “GF120mmF4 Macro R LM OIS WR” (equivalent to 95mm in the 35mm format), a fast aperture mid-telephoto “GF110mmF2 R LM WR” (equivalent to 87mm in the 35mm format), a super wide “GF23mmF4 R LM WR” (equivalent to 18mm in the 35mm format), a wide “GF45mmF2.8 R WR” (equivalent to 35mm in the 35mm format)……
PHOTOKINA 2016, COLOGNE, GERMANY, September 19, 2016—FUJIFILM Corporation (President: Kenji Sukeno) is proud to announce the development of the mirrorless digital camera system “GFX” to deliver the highest image quality in the history of Fujifilm electronic imaging. The company will release mirrorless digital camera FUJIFILM GFX 50S which features the FUJIFILM G Format 43.8 . 32.9mm sensor with 51.4 megapixels and six lenses that will be introduced under the new FUJINON GF Lens series of interchangeable lenses after early 2017 sequentially for professional photographers and photo enthusiasts. The new series deliver the highest image quality Fujifilm offers as well as outstanding expandability and functionality as a camera system.
Over the course of its proud history that extends over 80 years, Fujifilm has developed and manufactured photographic films with advanced image resolution and outstanding color and tone reproduction to meet the needs of professional photographers and photo enthusiasts, an extensive range of professional cameras under the consistent philosophy that “a camera is a tool for producing artwork,” and high quality FUJINON lenses which forms an indispensable part of camera systems. All these technologies have been amassed to develop the GFX, which uses a medium-format sensor to achieve the highest level of image quality and a completely new type of mirrorless system, and its companion FUJINON GF lenses. Professional-use Mirrorless Camera System “GFX” 2/4. As a long-term manufacturer of photographic films and medium-format film cameras, Fujifilm was always aware of the impact which different format sizes have on photographic expressions. Using a larger format gives ultimate enhancement to a camera’s ability to capture “texture quality,” “stereoscopic effect” and “aerial feeling,” which cannot be attained even by substantially increasing the sensor’s pixel count. Since the launch of the X Series, an increasing number of professional photographers and photo enthusiasts expressed their desire to achieve the ultimate world of photographic expression with the X Series’ signature color reproduction. The GFX camera system with “G Format” is Fujifilm’s response to their desire.
(1) Obtaining the ultimate in photo image quality
Since the introduction of the X100 in 2011, Fujifilm has strived to achieve the best image quality possible with its X Series of cameras. The latest and the most advanced addition is the new medium-format mirrorless camera GFX. It uses the new large-diameter “G Mount” and incorporates a large 43.8 . 32.9mm CMOS sensor. Boasting the effective pixel count of 51.4 million, the camera delivers superior sharpness and image quality that will satisfy professional photographers shooting commercial, fashion or fine-art landscapes. The sensor’s 51.4 megapixels can be adapted to various aspect ratios, including 4:3 (default), 3:2, 1:1, 4:5, 6:7 and 6:17, which were available in film cameras of the large- and medium-formats. The camera uses the “X-Processor Pro” imaging processor, which provides Fujifilm’s outstanding color and tone reproduction at an extremely high level. The result is the ultimate capability in photographic expressions that only Fujifilm can deliver thanks to its extensive knowledge in medium-format cameras and large-format films.
(2) Mirrorless camera system with a large sized sensor
The GFX is an all-new mirrorless camera system that revolutionizes the concept of medium-format cameras. Compared to conventional medium-format digital SLR cameras, the GFX is lighter weight, achieving a far more compact form factor. With regards to functionality, the camera follows in the footsteps of the X Series by featuring numerous physical buttons and dials, and is designed with an ergonomic grip, shaped carefully and optimized for the camera body and lenses. This model becomes Fujifilm’s Professional-use Mirrorless Camera System “GFX” 3/4 first model to use a detachable electronic viewfinder, which you can remove when using an external monitor or wanting to make the system even lighter. In addition, an optional adapter makes it possible to fit the EVF in any angle, giving greater freedom in the choice of shooting angle. Other optional accessories that will be released at the same time, include the Vertical Battery Grip, which enhances functionality when shooting in the portrait orientation. The camera also supports tethered shooting, which has become an essential part of the professional photographers’ workflow, and will be compatible with various RAW conversion application software.
(3) New lenses with a new lens mount for added descriptive performance
A new lineup of FUJINON GF lenses, designed specifically for the GFX, supports the new G Mount. Taking advantage of the mirrorless system’s structure, the G Mount has the short flange back distance of just 26.7mm to shorten the back focus distance as much as possible. This prevents vignetting to achieve edge-to-edge sharpness of the world’s highest level. The initial lineup on launch is to include the following six lenses:
1. Standard prime “GF63mmF2.8 R WR” (equivalent to 50mm in the 35mm format)
2. Wide-angle standard zoom “GF32-64mmF4 R LM WR” (equivalent to 25-51mm in the 35mm format)
3. Mid-telephoto macro 1:0.5 “GF120mmF4 Macro R LM OIS WR” (equivalent to 95mm in the 35mm format)
4. Fast aperture mid-telephoto “GF110mmF2 R LM WR” (equivalent to 87mm in the 35mm format)
5. Ultra wide “GF23mmF4 R LM WR” (equivalent to 18mm in the 35mm format)
6. Wide “GF45mmF2.8 R WR” (equivalent to 35mm in the 35mm format)
Professional-use Mirrorless Camera System “GFX” 4/4
The lenses feature an aperture ring, a popular feature in the X Series, and have the new C (Command) Position on the ring to enable aperture adjustments with the Command Dial on the camera body. All the lenses feature dust and weather resistant construction that withstands operation at temperatures as low as minus 10 degrees Celsius, allowing you to take them outdoors with peace of mind. This gives these lenses a strong potential, suitable for professional use in tough conditions.
* Design and specifications may be subject to change without notice.
At the weekend I managed to take the Fuji XT1 out for a full day’s photography. In short, I loved using it but there was a nagging concern throughout that my images were being affected by the possible water colour effect. Am I right to be worried or am I imagining problems where there aren’t any? Here’s an update following the day: Initially I purchased two lenses, a 10-24mm and 18-135mm. The 18-135mm was always going to be a bit of a compromise in terms of image quality but I reasoned that the trade-off between optical performance and the convenience of using one lens was acceptable. In the end, a lot of the images I found unacceptable were shot with this lens so it went back……
Hi guys. My name is Victor and together with Ronja I’m part of Muse & Mirror, a wedding photography duo. I’m also a Fujifilm X-Photographer for those who care. I’d like to start with saying what this blog post is about:
- General thoughts about focal lengths for portraiture
- Fujis primes, their real life efficiency and my hands-on experience with them
I won’t bore you with charts and stuff as it doesn’t matter to myself and you can read those reviews elsewhere. I decided to write this article for two reasons. The first one is that I coincidentally have all of Fujis „portrait“ primes at home at the moment. The second reason is that I’ve read tons of stuff about all those focal lengths before buying but never saw them in such a broad comparison, so I thought that this could be helpful for any of you that are a little bit lost on which one to choose. For those of you who don’t know me: I use Fuji for all my work, but I have two dominant sections which are wedding photography (+ portraits) and Fine Art Composings. So I think my review suits people photographers the best – at least this is what I will focus on……
I know, I know. In my last blogpost I told you all about my switch from X to F and now this. I am hear to tell you that the X is back. How stupid is that, you will think. And rightly so. After just a few weeks of using the very, very good Olympus Pen-F with the 12mm f/2 and 17mm 1.8 prime lens and the 12-40 2.8 Zoom lens I figured that I was and maybe still am caught in the terrible spiral of GAS. Is the Olympus Pen-F a better camera than my trusty X-T1 was? Am I taking better pictures than before? What about the size and weight? Well, the Olympus Pen-F is a great camera but not really better than the Fujifilm X-T1 is. It is just different. I definitely am not taking better pictures than before. The size of the body itself is about the same as the X-T1. The lenses are smaller. If I look at the size of the 12-40 2.8 in comparison to the XF 16-55 2.8 then size does become noticeable. I know all about the more shallow depth of field and stuff. But an f/2.8 lens no matter how large the sensor behind it is, is always letting in the same amount of light onto the sensor…..
Well, I’m 25 years old and currently in my final year on my masters in Industrial Design Engineering, here in Gothenburg Sweden. So studying to become an engineer is what I spend most of my time doing actually, although what people see is probably mainly my photography. If I could I would probably want spend most of my life exploring the world as I feel that is the most rewarding and humbling experience you can have. That is also perhaps my biggest goal with my photography – exploring and trying to capture inspiration that I can forward to people among me that see my work. Forwarding the inspiration so to speak……
In just a few days, after months of anticipation, the new Fujifilm X-T2 will finally hit shelves. Given the vastly upgraded specs of the X-T2, I see this being a game changing camera for many photographers who are intrigued by the idea of using smaller, lighter gear, but still want the performance and image quality of a DSLR.However, instead of talking about how awesome it is under the hood, I’d like to highlight another aspect of the X-T2, and all of the X Series cameras. The topic of this post is why the Fujifilm images look so damn good.Yes, I speak totally subjectively here. Image files from just about every other camera that’s made today look really good too. Nikon images look great. So do Canon, Olympus and Sony images.However, there’s something slightly different about the way the Fuji images, especially their JPEGS, look compared to other cameras, and this appeals to many photographers. Fuji’s Secret Sauce is their proprietary X-Trans sensor. Let’s look at how it’s different, and more importantly, why it’s different……