Whoops, They Did it Again: Sony Announces A7III… Fujifilm X-H1 Vs. Sony A7III Specs and Size Comparison

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Sony A7III + Sony FE 70-200 F4 Vs. Fujifilm X-H1 + XF50-140 F2.8
Sony A7III + Sony FE 70-200 F4 Vs. Fujifilm X-H1 + XF50-140 F2.8

Sony Vs. Fuji (once again :) )

So it happened again, Sony launched yet another A7 series camera, the brand new Sony A7III.

The “battle” between Sony and Fujifilm is definitely an exciting one in the industry.

Not only because they both keep release great products, but also because their different philosophies.

As we have written here, Sony acts “fast and furious“, and never hesitates to put as quickly as possible the latest and greatest specs into their cameras.

So it can happen that, within a few months, they announce the Sony A6300 and shortly after the A6500 with IBIS. And not to talk of the infinite variations of Sony A7 (and now also A9) cameras.

Fujifilm on the other hand, is definitely not in a hurry when it comes to release new iterations of their cameras and they focus to support their customers with frequent firmware updates for their cameras.

But also the Fujifilm world sees major “specs-jumps” in their line-up, just not as rapidly as in the Sony world.

A good example is the Fujifilm X-H1, which now has IBIS. Fujifilm worked very long on their IBIS system, because they say they wanted their IBIS system to work perfectly without affecting image quality. Hence, it took them more time to come with an ideal IBIS solution for their cameras.

I am not here to judge which philosophy is better. At the end it will be the market to decide who’s the winner.

However, I have personal preferences, and in my case, I prefer to buy a camera that I know Fujifilm will take care of over next few years, giving me nice firmware updates.

Also, a potential downside of acting “fast and furious“, is that, maybe, sometimes, certain features will look great on the specs sheet, but not work as that good as intended in real life use.

For example, as imaging-resource tested here, the weather sealing on the Sony A7rIII has some serious design issues. And recently there were also some doubts about the Sony’s IBIS efficiency. Not to talk of all the overheating issues Sony was dealing with for a long time.

But in any case, it is undeniable that Sony is pushing the industry and continuously raising the “specs-bar“. This is a huge merit we acknowledge also here on FujiRumors.

Specs Comparison

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Fujifilm X-H1 Development Story #6 – Autofocus Unlimited

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The 6th epsiode of the Fujifilm X-H1 development story is now online.

This time they explain us how the AF team at the R&D department was able to improve the autofocus even further and the secrets behind the new AF algorithm.

“The focus point is divided into 5 blocks: top left, top right, bottom left, bottom right, and center. Some parts of the central block are overlapped with other 4 areas. The focus point is usually at the center, but not always. This division of focus points prevents the undesired font or rear focus and increases the AF accuracy.

The 5 blocks are then split into 4 lines. Each area are now split into even smaller pieces to further improve the AF accuracy. With this split, the algorithm, it can detect focus point on the subjects with flat texture.

Now, let’s count the number of phase detection pixels in the area. The area is divided into 5 block and then split into 4 lines. The total number of phase detection pixels is 20,000. 20,000÷5÷4=1,000. There are total of 1,000 phase detection pixels within the AF frame. 1,000 pixels provides enough information, but how is it used?

The information of the 1,000 pixels are measured in horizontal comparison, vertical comparison, and square comparison.

 

There are two types of phase detection pixels, A and B. With the horizontal comparison, the focus point is detected by measuring the difference between A and B pixels horizontally. The difference can also be measured vertically with the on sensor phase detection of X-H1. This is called the vertical comparison. And then the camera is capable of measuring the difference between all of pixels A and B in the given area. This is called the square comparison.

The three types of comparison are processed simultaneously for X-H1. Previously, it was in the order of square, vertical and then horizontal. “We discovered that simultaneous processing provides information with higher accuracy,” the AF team commented.

[…] Previously, autofocus with the phase detection was only possible up to +0.5EV, but it can now work at -1EV. The phase detection AF is supported up to the aperture of F11. Previously, it was only up to F8. This means that the autofocus is more robust to the high frequency subject.

The good thing is, that it is all software based, so we can hope for the new autofocus system also on the X-T2 and other X-Trans III cameras.

And keep in mind, the top speed of the AF remains the same.

Many X-Photographers who have tested the X-H1 commented that “the AF is faster”. But the fastest AF speed has not changed [as reported here]. What’s been changed is the area that Phase detection AF can cover. The new algorithm helped the photographers to accurately capture the scene that they wanted to capture.

Read more at fujifilm-x

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Fujifilm X-H1 Vs. X-T2 Vs. X-Pro2: Which Camera is Better for Which Photography Style? POLLS

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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.

So let’s vote now :)

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VOTE NOW!

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Venus Optics Laowa 9mm f/2.8 Lens for Fujifilm

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Laowa finally announced the long rumored Laowa 9mmF2.8.

Venus Optics still did not discoles the price, however, we have rumored here, that it will cost $499 ex-VAT in USA.

BHphoto is selling Laowa lenses, and its great to know that soon also a Fujifilm version will join.

Laowa lenses are made by the Chinese manufacturer Venus Optics, but as already highlighted by TheCameraStoreTV in their Best/Worst 2017 epsiode, we see more and more quality products coming from China, and TCSTV specifically mentions Laowa lenses amongst those Chinese quality products.

google translated:
Product overview

Product name LAOWA 9 mm F 2.8 Zero-D
Suggested retail price Open price
Expected market price TBD
Scheduled release date around early April 2018

Main Product Features

  • This product is the best lens for photographing landscape photographs, architectural photographs, interior photographs, star photographs and so on.
  • 3 special low dispersion lenses (ED lens) and 2 glass aspherical lenses are used extensively. By adopting an optical design with extremely reduced distortion to zero, it is possible to take landscape photographs and architectural photographs without the influence of distortion.
  • It is the widest angle lens (113 °) lens among the wide-angle lenses for APS-C cameras of the open F 2.8 which are on sale now. (*)
  • It adopts metal enclosure with excellent robustness and luxury. Effective flower type hood is attached
  • This product is the brightest, the most compact and lightweight lens among the same class products. Because it is very convenient to carry, it is also ideal for daily snapshot.
    (※) As of February 1, 2018 VenusOptics examined

Main specifications

  • Focal length: 9 mm
  • Maximum F value: F 2.8
  • Viewing angle: 113 degrees (corresponding format: APS-C)
  • Lens construction: 10 groups of 15
  • Number of diaphragm blades: 7
  • Shortest shooting distance: 12 cm
  • Maximum magnification: 0.13 times
  • Filter diameter: φ 49 mm
  • Weight: ~ 215 g * Variable depending on mount
  • Corresponding mount: FUJIFILM X, Canon EF-M, Sony E
    ※ Product specifications are subject to change without notice due to improvements etc.

via sightron via dc.watch

Product Images

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“Can ETERNA be Used for Still Photos?” Fujifilm X-H1 Development Story #5

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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.

Full story at fujifilm-x

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