Back in 2016, we launched a poll to see which flagship camera between the Fujifilm X-T2 and Fujifilm X-Pro2 you guys consider better for a certain photography style.
I think it’s time to update it, since now we have (yet another) flagship camera, the Fujifilm X-H1.
True, only a few could test it until now, but if you regularly follow the huge Fujifilm X-H1 coverage on FujiRumors, then you probably already formed an opinion about it.
Before you vote…
think…
… not only at the big differences, such as the IBIS on the X-H1 or the hybrid viewfinder on the X-Pro2.
Think also at the little differences…
… such as for example the super silent shutter of the Fujifilm X-H1 (much more silent than on X-T2, as you can hear here), and that I think will be highly appreciated for example amongst wedding photographers.
Fujifilm has just published the fifth episode of its Fujifilm X-H1 development Story, and this time it’s again about the new ETERNA film simulation.
But while in part 4 time they described the characteristics of ETERNA, this time they investigate one questions: “Can ETERNA be used for still photos?”
“Can it be used for still photos?” We asked the image designing team who created ETERNA mode.
“It’s possible. It can work really well in some cases.” […]. We need to take ideology and the characteristics of ETERNA into account for a good result.
[…] The wide dynamic range and soft tonality will depict the subtle nuances of shadows created in the environment under controlled lights. It will also keep the subject from being oversaturated.
People often use Velvia for landscape photography, but it can be excessive if the subject”s saturation is high. Velvia is good when you need to enhance the saturation, but when the saturation is high enough, try ETERNA or Pro Neg. STD instead.
Another idea is to treat ETERNA in the same way as you would when you shoot cinema, to complement other elements of communication. In editorial, for example, the photographs are combined with texts to deliver a message. ETERNA is a good one to use in editorial as it would complement the text. The images with soft tonality and low saturation allow readers engage into the story seamlessly.
The soft tonality of ETERNA also looks great on matte paper. So when the editorial is printed on a matte paper, then it creates a further enhanced experience for the readers. When you think of the communication in a big picture, ETERNA has its use for sure.
Palle Schultz has published Part 2 of his Fujifilm X-H1 videos here on youtube.
While in his first X-H1 video, which we shared in our epic 48+ hours non stop live blogging here, Palle went over all the features in an interesting 20 minutes video, this second part will show you those features in action in Nepal.
Amongst the others, he shows
how the autofocus behaves when you set focus speed and tracking independently for natural looking focus (more manual focus-like)
lens flare
ETERNA
120fps FullHD slow motion upscaled to 4K
extreme shadow push
AF tracking of a group of funny and adorable kids
& more
Shooting Stills with ETERNA
Palle Schultz shows us some great video footage taken with the X-H1’s new ETERNA film simulation. And as also reported earlier today in the ETERNA development story, it is specifically designed for video use, where “time, the movement of performers, and the sounds and voices” have to create a “seamless flow” with the image itself.
So maybe ETERNA will, for most of us, not become our favorite film simulation for stills, but there are situation, where ETERNA can work well also in stills.
In his ETERNA dedicated article, with lot of ETERNA sample images, ivanjoshualoh writes:
“I must say initially I didn’t like Eterna. I find it’s a bit flat and the color are not its strongest feature. […] The more I shoot with it, I realize with all things; it has its weaknesses and strength. […] I feel not all pictures works beautifully with Eterna but a good number do. Its does give a beautiful mood to the feel. And I am beginning to see some light at the end of the tunnel.”
& More
Thoughts on the Fuji X-H1 after hands-on with it at Zed ProMedia Youtube. He says:
IBIS is really really good
Linear focus mode is awesome for video. Wherever you put the lens and bring it back, it is going to be the exact same distance every single time. It will sync up your focus exactly where you want it to be.
Fujifilm re-worked the camera. Has the same sensor/processor as X-T2, but it’s a completely different camera
More a professional body
It’s good that it’s bigger. There are tons of smaller options out there if you want a smaller camera
Back-button focussing button feels perfect and is in perfect position. Works great
Let’s examine the difference between photographic and cinematic expression.
In photographic expression, the basic communication is complete in a single frame. For that purpose we put emphasis on color as an important element to deliver the photographer’s message. For example, the blue sky is enhanced so when reflecting back to the memory, it is as clear as it can be. The colors are enhanced to an extent so that the image still looks natural. Other colors are treated the same way. In FUJIFILM, we refer the color reproduction as “Image Color”.
Cinema communicates differently. In cinema, there are the transition of time, the movement of performers, and the sounds and voices. The image designing in cinema should complement all these elements to create a seamless flow. If the cinematic image design were completed in each frame in the same way as the photographic expression with enhanced colors, then the flow would not be so smooth. In Cinema, the saturation is suppressed, so a particular color would not stand out. The tonality is wide to deliver the atmospheric vibe of the scene. This is the characteristic of cinematic image design. People often refer to it as “Cinema Look” or “Film Look”.
[…] The film simulation “ETERNA” is designed to achieve the “Cinema Look” in one take. The dynamic range is 12-stop wide. The highlight and shadow tones are both soft. The difference is obvious when it is compared with PROVIA (with the dynamic rage set at 100%). The dynamic range is comparable to that of F-Log. It has room for post production, so this also comes handy.
[…] The saturation is suppressed and is slightly adjusted on each key color. A touch of magenta was added on blue to achieve the image color, but to achieve the cinema look, the color is shifted toward cyan. The blue sky in the background will then complement the story. The cinema look is like an art of omission.
It’s interesting that they say that cinema look is the art of omission. This is what they also told us about the Classic Chrome film simulation here, where they said it “omits the element of color in order to stand for the story you want to tell to stand out“.
So ETERNA follows the Classic Chrome philosophy, but is even more desaturated.
If you want to know and see more of ETERNA, we have published a dedicated ETERNA article, which also includes a comparison of ETERNA Vs. other film simulations.
MESSAGE TO SOURCE: In case you read this “CMJ”, the rumor box should work now. With your permission, though, I’d love to chat with you via email or any other way you decide. Of course I guarantee 100% anonymity. And last but not least… THANKS a lot :).
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Fujifilm Manager Mr. Udono had a live stream with Thai youtube channel กล้องกล้วยกล้วย. It’s a one hour talk, with questions made in Thai and English answers of the manager. But don’t worry, I listened it all for you, and I’ll make summary for you guys…. you’re welcome ;)
The focus is on the Fujifilm X-H1, of course. You will find a more detailed list of statements at the bottom of this article.
For the start I will focus on some of his answers, that are more related to questions he got about the future of Fujifilm.
Full Frame Interchangeable Lens System As usual Fujifilm categorically excludes an interchageable lens system with full frame sensor. He says “No plans for FF. We have high quality APS-C sensor and Medium Format“
Full Frame X100F Successor I know that a wide spread specualtion is that the Fujifilm X100F successor might get a full frame sensor, and it could make sense, since Fujifilm would not have to build up a complete new line of lenses, but also here, Mr. Udono seems to indicate that this won’t happen. He says:
“The most important is design and size. With full frame, the camera and lens will become bigger. Compactness is important factor of X100 line.We don’t want to miss such important point“
So, if you ever hoped for a full frame X100… these words don’t really make much hope for that.
On the other hand, the Full Frame Sony RX1RII is actually very compact, and comparing it at camerasize. But compared to the Fujifilm X100F, the RX1 has no hybrid viewfinder, which for sure needs its space too in the camera body.
Medium Format Fixed Lens Camera The manager does not seem convinced by this idea. A fixed lens camera seems to make sense to him, if it is compact. A fixed lens MF camera would be much bigger than X100F.
Future APS-C Sensor Megapixel Will Fujifilm offer APS-C sensors with more megapixel than the the current 24MP? The manager answers:
“We have to think at balance between image quality and speed. More pixel take longer time to process. 24MP is already enough. If we have opportunity to increase we will, but we have to think at speed and image quality. For high megapixel images we have Fujifilm GFX 50S.”
IBIS Future Just like Fuji Guy Billy in the TCSTV live stream here, also Mr. Udono confirms that the IBIS mechanism is currently quite big, hence it does not fit into smaller bodies. His words:
“in order to keep IQ, at the moment Fujifilm needs bigger IBIS unit“
Product Planing – How Long does it Take to make a Camera / Lens? Mr Udono starts saying that they care of customer feedback when they design new products:
“We listen to customers and photographers. X-H1 we listened to photographers voice and added functions on top of X-T2. Especially for top end cameras we have lots of discussions with photographers. Direct comunication with customers, also via dedicated Fujifilm showrooms”
Then he shares more details about how long exactly it takes to develop and then launch a camera and lens to the market:
“Once we have a fix idea, it takes 1 year to make the camera. But before it takes another year of discussions. So 2 years in total. In case of lens development we need more time.”
And more:
4:2:2 and 10bit: Limitation of processor. We tried to have more specifications, but at the moment it’s difficult
MK lenses: Cover 70/80% of film needs. For web-users who shoot video. Not for cinema or TV
ETERNA: If lots of request, Eterna might come to other X series cameras
Size: small and lightweight is still top key factor for mirrorless, also in future
Fujifilm X-T2 next firmware update: We will think of upgrading it
XF200mF2: coming later this year
Touch Screen: more functions and improvements possible
Articulating screen: The mechanical parts requested to make articulating screen would make the camera bigger
Guest Post by The Overrated Photographer. You can follow him on instagram or on his website
I just wanted tell you all how much I hate you all.
It may seem harsh, but as a member of Photographers Anonymous (PA), life isn’t easy dealing with this GAS (Gear Acquisition Syndrome) addiction. Every Tuesday night we meet up, talk about our problems with photography purchases. Once in a while, a person slips up and they show up with a new body or lens, but we support them, we don’t judge, that’s what we do because we’re a family in it together.
But this isn’t about them, this is about me. This is about my problem…
Jun Watanabe – Manager of Product Planning in the Sales & Marketing group
Fujifilm Manager X-H1 Interview
DPReview interviewed Fujifilm manager Jun Watanabe about the Fujifilm X-H1.
Here some excerpts:
IBIS: Q: Fuji said in the past IBIS not compatible with X-mount? A: We have spent the past two or three years developing a system where using both hardware and software, we can cover [the necessary] imaging circle. The most important thing is precision. Because a sensor with IBIS is a floating device, it has to be perfectly centered and perfectly flat. We had already achieved a sensor flatness tolerance down to an order of microns, but the challenge was to maintain this precision with IBIS.
ETERNA: We wanted to create a more cinematic look, so we studied ‘Eterna’ – one of our cine film emulsions
ZEBRA: We couldn’t add zebra because of hardware constraints. The processor cannot support it. It requires too much processing power. At this time, we’ve achieved the best possible performance for the processor.
10 bit: There are 10-bit cameras on the market, but we recommend using Eterna to short-cut the recording process. We think 8-bit is enough for good quality.
SIZE: Professionals are generally more accepting of larger cameras, and [compared to DSLRs] the X-H1 isn’t that big. And we have had requests from some of our professional users for a bigger camera, especially those photographers that use our longer lenses. A bigger grip and more solid body were both requested.
KAIZEN: it’s not impossible to imagine that the X-T2 might yet benefit from some of the advances present in X-H1.
PROCESSOR: DPReview say that apparently there were internal discussions about including a dual, or even a completely new processor in the X-H1, but this would have added to development time, as well as cost. It’s possible too that some of the heat-management benefits of the X-H1’s larger internal volume compared to the X-T2 might have been nullified.
And since I get this question very often these days, the Fujifilm X-T3 will have a new sensor (less than 30MP) and also a new processor, as we reported here. So we can expect improvements over the Fujifilm X-H1, but probably also limitations, since the more powerful processor will be in an overall smaller body, so heat management will definitely be a challange to solve for Fujifilm. But the Fujifilm X-T3 will not have IBIS, and IBIS is indeed a mechanism that takes a lot of space in the X-H1, as Fuji Guy Billy told us here.
Overall I think that even when the Fujifilm X-T3 will be out later this year, there will be still enough reasons for many user to pick the Fujifilm X-H1 over the X-T3, first and foremost because of IBIS, but also the ergnomics and controls will be better for those guys, who feel like the retro controls slow down their shooting, or those who also work with big glass (such as the XF200mmF2).
Sure, Fujifilm could re-design the Fujifilm X-T3 to make it more similar to the Fujifilm X-H1, but personally I would consider this a huge error. Fujifilm should not change the much loved design, controls and ergonomics of the X-T2. Let the Fujifilm X-H1 be the camera that goes after traditional DSLR users, and the X-T3 keep 100% the original X-DNA.
“it has total of 68 sealing points on the body alone, and additional 26 sealing points for the battery grip. For your reference, the number of sealing points is 61 for X-Pro2 and 63 for X-T2 […] There are more buttons on the X-H1. There are also physical changes in the shape with the new devices. These factors contributed to more complicated weather sealing design for the X-H1. […] we test to see whether it could actually withstand -10℃ temperature. The temperature is actually set at lower than -10℃ for the test.
Coating:
“The X-H1 is also treated with a new coating on the exterior. If you compare the X-H1 with the X-T2, they may look very similar at first glance. Both have the same black hammer tone finish. But if you take a closer look, you will see that the grain size of the exterior coating is a bit different. […] The scratch resistance of the coating is measured in H. Previous X Series models are 4H, which is very durable already. The value is same as that of automobile body coating. The X-H1 achieves 8H scratch resistance.
Face Detection Tracing test at 梅晟義 Youtube. Keep in mind it’s pre-production firmware. Looks good so far, though. Sometimes it looks unsharp, but that’s because of the smartphone recording.
The X-H1 Coverage Continues
The buzz surrounding the Fujifilm X-H1 launch seems never to end, and while this night was the first night after 10 days, that I could sleep at least 6 hours, my X-H1 coverage continues without a pause.
But given the huge X-H1 buzz, let’s make a little summary of what has been posted already in the last 3 days.
A special note goes to TheCameraStoreTV live stream, where Fuji Guy Billy answered really many questions, including the one how Fujifilm made the X mount compatible with IBIS.
click here: TCSTV Live Chat with Fuji Guy Billy: How Fujifilm made X-mount IBIS Compatibile and Why Would Chris Destroy the X-H1? ;)
click here: Fujifilm X-H1 Wooden Niccolls Movie by TheCameraStoreTV
click here: Full List of Deals on Fujifilm X-H1, X-T2, GFX 50S & More
click here: Size Comparison: Fujinon XF 200mmF2 Vs. XF 50-140mmF2.8 Vs. XF 100-400mmF4.5-5.6 Vs. CaNikon Full Frame
click here: Fujifilm X-H1 Development Story #1 -Frame. Fujinon XF200mmF2 will Weight more than 2kg
click here: See the Fujinon XF200mmF2 Mounted on Fujifilm X-H1 – Coming Soon
click here: Fujifilm Complete X Guide Update: Includes Fujifilm X-H1 and Removes (discontinued) XC 16-50
Once again, Fujifilm has improved the AF-algorithm on the Fujifilm X-H1, making it Fujifilm best camera for autofocus tracking and low light focussing.
What we have for you today, are some media slides, that illustrate the AF improvement and that highlight the difference between the Fujifilm X-H1 and the Fujifilm X-T2.
But there is more.
I will also attach other Fujifilm X-H1 slides, including an even more accurate table of the IBIS efficiency, where you can see that the XF35mmF1.4 actually has an average of 5.7 stops of stabilization!
Speaking of media slides, there are a lot more of them in Anthony Thurstons’ article “5 Little Things That Make the Fujifilm X-H1 That Much Better“. I will share a few of Anothony’s media slides below and integrate them with some that are not included in his google fotos drive.
Overall the slides demonstrate how many areas Fujifilm has improved over the X-T2, and of course we all cross fingers that, where possible, some of these improvements will come to X-T2 & Co via firmware update.
