Fujifilm has announced two new Fujinon GF lenses for its GFX 50S medium-format mirrorless digital camera system, the GF110 mm f/2 R LM WR (equivalent to 87 mm) and the GF23 mm f/4 R LM WR (equivalent to 18 mm).
The company notes the G Mount has a short flange back distance of 26.7 mm that reduces the back focus distance as much as possible. This prevents vignetting and achieves edge-to-edge sharpness. All GF lenses have been designed to support sensors of over 100-megapixels.
The company says the 110 mm lens is perfect for portraits, while the 23 mm lens is suited for landscape and architectural photography. Fujifilm states that, despite the super-wide angle of view of the latter lens, distortion is kept to a minimum.
Both new lenses feature fast and quiet autofocus by using a linear motor, are dust and weather resistant, and are capable of operating in environments as cold as 14°F / -10°C.
The 110 mm lens has 14 elements in 9 groups, including 4 ED lens elements: Super ED lens and three ED lenses for suppressed chromatic aberration and high resolution performance all the way to the edges, with a 9 blade aperture. The 23 mm lens has12 groups and 15 elements construction using two aspherical lenses, one super ED lens, and three ED lenses, and uses a 9 blade aperture, plus Nano GI coating to suppress ghosting and flare.
The GF110 mm f/2 R LM WR will be available in late June for $3,599.99 and the GF23 mm f/4 R LM WR will also be available in late June for $3,399.99.
It features 9 elements in 7 groups, including one aspherical ED lens, and has an inner focusing system, driven by a stepping motor for fast and silent autofocusing. The lens is also weather and dust resistant, and operates in temperatures as low as 14°F\-10°C.
Aperture and focusing rings feature precise click stops and smooth damping for easy operation. Super EBC (Super Electron Beam Coating) ensures high performance by reducing both flare and ghosting
The Fujifilm XF 50 mm f/2 R WR (black and silver) will be available in February for $649.99.
Successor to the X-T10, the Fujifilm X-T20 interchangeable lens camera offers a new APS-C sized, 24.3-megapixel X-Trans CMOS III sensor and X-Processor Pro image processing engine. The updated sensor and processor, along with an improved AF algorithm, boost the camera’s startup time and AF performance, dramatically improving its ability to track moving subjects. The X-T20 also has a large tilting touchscreen LCD monitor for multi-angle shooting and responds to quick gestures for a variety of efficient controls and picture review.
There’s also a new video option added to the Drive Dial to enable instantaneous switching from still photo shooting to the video recording mode.
The Exposure Compensation Dial now has the C position for exposure compensation up to ±5 stops, while the LCD monitor uses a tilting touchscreen panel for intuitive operation at almost any angle.
The X-T20 is also equipped with an Auto mode selector lever for selecting the fully-automatic Advanced SR Auto mode where the camera chooses the optimum settings for a given scene.
The new sensor’s enhanced signal processing technology has even greater control over digital noise with an improved ISO sensitivity of ISO 12800 available as a regular ISO option. At ultra-high ISO settings, says the company, the camera produces low-noise images, with deep blacks and smooth tones, delivering beautiful images even in low light conditions.
The camera also has a Grain Effect function for reproducing distinctive graininess seen in photographs taken with film cameras. The function can be set to Strong or Weak, and can be combined with any of the Film Simulation modes.
The company also says the camera reproduces warm skin tones, bright blue skies and rich green foliage.
It has a compact body made from magnesium alloy. The top plate features three precision-milled aluminum dials which give the X-T20 a premium feel and allow users to easily adjust the aperture, shutter speed and shooting functions.
The X-T20 features a 3.0-inch, 1.04-million-dot tilting TFT color LCD touchscreen monitor. It uses a capacitive touchscreen panel. Users can also opt to use the LCD monitor as a touchscreen to easily access shooting and playback modes. When shooting with the X-T20, you can use the touchscreen to select the focus area, focus on a specific point, and combine the actions of focusing and shooting in succession.
For playback, users can enjoy swipe to scroll through images, double-tap to enlarge, drag the image once enlarged, along with pinch-out and pinch-in sizing.
The X-T20 has an expanded number of focusing points, up from 49 in the previous model to 91 (up to 325 points). Approximately 40 percent of the imaging area (the centre area containing 49 focusing points) is covered with phase detection AF pixels to form a fast and precise phase detection AF area.
By redesigning the AF algorithm from the ground up, the X-T20 can now autofocus more accurately on points of light, low-contrast objects and subjects with fine details such as bird feathers and animal fur, Fujifilm suggests. The read speed of the Contrast AF system has been doubled compared to the previous model to enable faster and more accurate autofocusing. During video recording, the AF point transitions smoothly to track a moving subject to create natural looking footage.
Users can choose from a Single Point mode, useful when accurate focusing on a subject is required, and a Zone mode that allows them to select a 3×3, 5×5 or 7×7 zone out of the 91-point AF area. The centrally positioned 3×3 and 5×5 zones, in particular, deliver fast focusing thanks to the on-sensor phase detection AF. The Wide/Tracking mode is a combination of the Wide mode (during AF-S), in which the camera automatically identifies and tracks the area in focus across the 91-point AF area, and the predictive Tracking mode (during AF-C), which uses the entire 91-point area to continue tracking a subject. This feature enables continuous focusing on a subject that is moving up and down, left and right or towards and away from the camera.
The X-T20 features an AF-C Custom setting, which enhances focus tracking performance when shooting in the Continuous AF (AF-C) mode. In the AF-C Custom setting, users can choose from five AF presets:
- Preset 1 (standard setting for multi-purpose) is a standard setting that can be applied when shooting moving subjects as a whole. It is similar to the conventional AF-C setting, and is selected by default when no AF-C Custom setting is specified.
- Preset 2 (ignore obstacles & continue to track subject) is suitable when obstacles are likely to come into a selected focus area, blocking a subject.
- Preset 3 (for accelerating / decelerating subjects) is best suited to situations such as motorsports, which involves a subject that makes major speed changes including rapid acceleration or deceleration. It is particularly effective when using linear motor-driven lenses capable of high-speed AF.
- Preset 4 (for suddenly appearing subjects) gives focusing priority to a subject closest to the camera in the selected focus area, so as to swiftly focus on a subject that suddenly comes into the frame.
- Preset 5 (for erratically moving & accelerating or decelerating subjects) is suitable for shooting field sports in which subjects accelerate or decelerate rapidly, and also move erratically.
4K video can be recorded at [3840 x 2160] 29.97p, 25p, 24p, 23.98P, 100Mbps
Full HD video can be recorded at 59.94 fps, 50 fps, 29.97 fps, 25 fps, 24 fps and 23.98 fps, and with Film Simulation effects
The company says Lens Modulation Optimizer (LMO) image processing technology corrects optical defects such as diffraction to achieve edge-to-edge sharpness and a realistic three-dimensional effect.
The Fujifilm X-T20 body (black and silver) will be available in February $1,199.99. The X-T20 body with XF 18-55 mm lens kit will be available for $1,599.99; the X-T20 body with XC 16-50 mm lens kit will be available for $1,299.99.
This is the new premium rangefinder style compact digital camera from Fujifilm, featuring a unique Advanced Hybrid Viewfinder that allows users to switch between an optical viewfinder and electronic viewfinder. The X100F is the fourth generation release from the series and features a 24.3-megapixel X-Trans CMOS III APS-C image sensor, high-speed image processing engine and a high-performance Fujinon 23 mm f/2 lens, delivering what the company calls outstanding colour reproduction and gradation of tones in both stills and videos.
The viewfinder combines the features of an optical viewfinder (OVF) with an electronic viewfinder (EVF). While in Electronic Rangefinder mode, users can change the magnification, shown as EVF in the optical viewfinder, for greater accuracy when checking focus. The small EVF window can display 100 percent field of view as well as 2.5x and 6x magnifications, and the EVF frame rate has been increased to 60 frames per second.
To aid framing and focus while using the Manual Focus mode, the Real Time Parallax Correction function is applied to the focus area in addition to the guide frame. Photographers can also now check exposure and white balance in the EVF window.
The camera has enhanced AF performance with improvements to basic response time specifications. It has a startup time of approximately 0.5 seconds, a shooting interval of 0.2 seconds, shutter release time lag of 0.01 seconds and AF speeds as fast as 0.08 seconds.
The X100F gives users six AF modes including Single Point mode, Zone mode and Wide/Tracking mode for both AF-S for stationary subjects and AF-C for moving subjects.
The number of focus points in the X100F has been increased to 91 (up to 325 points), up from 49 in previous models, with approximately 40 percent of the imaging area covered with phase detection to form a fast and precise AF area. By combining these features with a greater ability to autofocus on points of light and low contrast objects, Fujifilm says the X100F captures beautiful detail in pictures with fine and delicate textures.
The Film Simulation function now features ACROS mode. Using X-Processor Pro’s advanced processing capability, the mode offers smooth gradation, deep blacks and beautiful textures to create stunning monochrome images, notes the company. The camera also features the Grain Effect function for reproducing distinctive graininess seen in photographs taken with film cameras. The function is available in a Strong and Weak setting, and can be combined with any of the Film Simulation modes.
The rear face of the camera has been redesigned to concentrate most of the frequently used functions on the right-hand side. This allows users to change camera settings quickly while holding the camera firmly and without having to take an eye off the viewfinder.
The Focus Lever positioned on the rear side of the camera allows users to use joystick-type operations in eight directions to easily select a focus area. The X100F also features a built-in ISO Dial that is incorporated into the Shutter Speed Dial. This enables the user to easily check ISO and Shutter Speed, in addition to aperture and exposure compensation, from a glance without having to power on the camera.
There’s a completely silent electronic shutter capable of exposures up to 1/32000 seconds.
The external surface of the X100F is finished with synthetic leather.
A Digital Teleconverter function lets you choose angles of view equivalent to 50 mm and 70 mm in addition to built-in lens’ 35 mm.
Advanced Filter Functions are Pop Colour, Toy Camera, Miniature, Dynamic Tone, Partial Colour, Soft Focus, High Key, and Low Key.
Interval Timer Shooting is available in intervals of one second to 24 hours with no limit on frames, for time lapse photography.
And manual focus is available during video recording.
The Fujifilm X100F (in black and silver) will be available in February for $1,699.99.
The Fujifilm GFX 50S medium-format mirrorless digital camera will launch late February with an initial selection of three Fujinon lenses – the GF 63 mm f/2.8 R WR, the GF 32-64 mm f/4 R LM WR, and the GF 120 mm f/4 R LM OIS WR Macro. Three more lenses will be arriving later in the year.
The GFX system utilizes a 43.8 x 32.9 mm, 51.4-megapixel CMOS sensor. The sensor has approximately 1.7x the area of a what we have come to call full-format of full size (i.e 35 mm) sensor.
Compared to a full size sensor with equivalent megapixels, the company explains, 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, unique to large size sensors. The texture and tone combine to give a unique three-dimensional effect.
For flash photography in the studio or outdoors during the day, the 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.
The GFX 50S uses the X Processor Pro (also used in the X-Pro2 and X-T2 cameras) and allows photographers to use proprietary Film Simulations with a medium-format sensor. The camera supports Full HD recording at 29.97p/25p/24p/23.98p. Fuji says 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.
With a compact and lightweight body constructed from magnesium alloy, the camera weighs approximately 43 ounces when paired with the 63 mm lens, and weighs approximately 60 percent that of a medium-format DSLR camera equipped with a sensor of the same size. When compared to a full-frame camera, the weight is almost identical.
Fuji suggests 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.
The GFX 50S has a 3.69-million dot organic EL electronic viewfinder and 2.36-million dot touchscreen LCD back panel. 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 touch panel is used for the rear monitor, with touch operation for the menu, focusing points and image playback.
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 26.7 mm that reduces the back focus distance as much as possible. This prevents vignetting and achieves edge-to-edge sharpness. All GF lenses have been designed to support sensors of more than 100-megapixels.
GFX lens barrels feature an aperture ring in the same manner as XF lenses. 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.
Just as with flagship X Series models, the GFX 50S features dedicated dials to independently set aperture, shutter speed, and ISO.
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. Exposure data such as aperture and shutter speed is displayed on this screen.
A 117-point (9 x 13 / maximum of 425 points when miniaturized) contrast AF system is used. 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 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.
The camera is weather and dust resistant, operating to as low as 14 F \ -10 C.
File formats include three different JPEG settings as well as two different RAW settings (uncompressed, compressed). TIFF output is also possible with in-camera RAW development.
The camera has two SD card slots (UHS-II recommended), and 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.
A newly-developed high capacity battery is said to deliver approximately 400 photos (with Auto Power Save ON).
The Fujinon GF 63 mm f/2.8 R WR (equivalent to 50 mm in 35 mm format) has an optical system featuring a construction of 8 groups and 10 elements, including one ED lens element. The external form of this lens has a diameter of 84.0 x 71.0 mm with a weight of 14.2 ounces \ 405 g. 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, says the company.
The Fujinon GF 32-64 mm f/4 R LM WR (equivalent to 25-51 mm) features a construction of 11 groups and 14 elements, 3 aspheric elements, one ED lens and one super ED lens. The lens demonstrates extremely high performance from the center all the way to the edges, uses internal focusing, reducing the weight of the focus lens and achieving fast and silent AF by driving focus using a linear motor, notes the company.
The Fujinon GF 120 mm f/4 R LM OIS WR Macro (equivalent to 95 mm) 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, Fuji says. Furthermore, by arranging the ED lenses properly, chromatic aberrations are also properly corrected. This lens is equipped with optical image stabilization (OIS) effective up to 5.0-stops.
The three additional GF lenses on their way: GF 110 mm f/2 R LM WR (equivalent to 87 mm), GF 23 mm f/4 R LM WR (equivalent to 18 mm), and GF 45 mm f/2.8 R WR (equivalent to 35 mm).
All GF lenses are dust and weather resistant, built to withstand operation at temperatures as low as 14 F \ -10 C, and have a Fluorine coating applied to the front lens element to create a hydrophobic coating that repels moisture.
A number of accessories will be sold separately, including a vertical battery grip; EVF Tilt Adapter; H Mount Adapter G (allowing you to use Super EBC Fujinon HC lenses developed for the GX645AF); View Camera Adapter G, allowing the GFX 50S to be used as a digital back; and tethered shooting solutions.
The Fujifilm GFX 50S camera body will be available late February for $8,499.99. Also available in February will be the first three GF lenses: GF 63 mm at $1,899.99, GF 32-64 mm for $2,999.99, and GF 120 mm for $3,499.99.
It has a similar size and design to the existing XF35 mm f/2.
The inner-focus AF system uses a stepping motor to drive lightweight focusing elements for silent and fast autofocus, says the company. When combined with the phase detection AF system of the X-Pro2 and X-T2, the lens can focus in 0.05 seconds.
The exterior is metal, and Fujifilm notes the aperture ring and focus ring have been designed with just the right amount of clicking and torque for optimum feedback and operability.
The lens is weather and dust resistant and operates at temperatures as low as -10°C / 14°F.
The lens features 10 elements in 6 groups with 2 aspherical elements; Super EBC (Super Electron Beam Coating) reducing both flare and ghosting; minimum working distance of less than 9 inches.
The Fujinon XF23 mm f/2 R WR will be available in September, initially in black only.
The camera features a newly-developed 24.2-megapixel APS-C CMOS sensor the company says produces crisp images in a wide range of shooting conditions, and excels in naturally reproducing skin tones, textures and colours.
The retro design will appeal to a younger generation, notes the company, and “gives a fresh impression of sophisticated photography.” The top cover, front plate and top dials are made of aluminum. The newly-developed faux leather has “significantly enhanced” the overall texture.
The LCD on the rear uses a touchscreen that offers Touch AF, Touch Shoot and Touch Zoom, for easy pinch-out finger gestures to zoom in and out.
The grip is designed to accommodate normal shooting and self-portraits effortlessly. The X-A3 has an ergonomic design that is based on real-world feedback from hundreds of casual photographers, says Fujifilm. The rear LCD employs a slide-and-tilt mechanism so that it is not blocked by the camera body when tilted 180 degrees to maintain 100 percent visibility. Users will be able to view the entire screen for precise selfie composition.
When taking a selfie, users can focus and release the shutter by pressing the vertical command dial, found directly below the index finger, helping to minimize camera shake.
The new Self Timer function now offers Smile Detection, Buddy Timer and Group Timer modes. Even without having to press the command dial or release button, the shutter is released when subjects smile, when two people come close together, or when a specified number of people come into the frame.
The X-A3 also automatically activates Eye Detection AF when the rear LCD is tilted upwards, and the Portrait Enhancer mode now offers three-step adjustments, using touchscreen operations.
There’s also a new skin-tone brightening function for portrait photography.
The X-A3 offers a total of 11 Film Simulation modes, such as the true-to-life colours of Provia (standard), the vibrant tones and saturated colours of Velvia (vivid), the soft tones of Astia (soft), or the documentary-style tones of Classic Chrome. Monochrome and Sepia modes are also available.
The normal sensitivity range covers ISO 200 to 6400, while extended sensitivity settings of ISO 12800 and even ISO 25600 can be selected. Fujifilm says the X-A3 produces clear images with astonishingly low noise, even on low-light nightscapes and indoor shots where high ISOs are essential.
A total of 10 Advanced Filters are available, including the new Fisheye and Cross Screen as well as Toy Camera, Miniature, Dynamic Tone, Pop Colour, Soft Focus, High Key, Low Key and Partial Colour.
Other features: 49-point focus areas for AF in the Single Point mode; Zone and Wide / Tracking modes with 77-point focus areas; new functions Release Priority / Focus Priority and AF+MF; in-camera RAW processing; Panorama and Time Lapse functions; interlocking of Metering and AF areas; support for the Adobe RGB colour space; choice of different colours in Focus Peaking for assisting MF; Full HD recording (1080/60p, 50p, 24p); and Wi-Fi image transfer and remote camera operation.
The Fujfilm X-A3 Kit (with XC16-50 mm f/3.5-5.6 OIS II lens) will be available in October. It will be available in silver, brown, and pink.
Let’s get the hype out of the way: Fujifilm is calling its X-T2 the “ultimate mirrorless camera.” More down to earth it’s a splash-resistant, premium, interchangeable lens camera with a large OLED electronic viewfinder (EVF), a camera housing the latest generation 24.3-megapixel X-Trans CMOS III APS-C sensor with no low-pass filter, producing crisp image resolution comparable to that of cameras equipped with larger sensors and higher pixel counts, says the company, all in a more compact and classically-designed body.
To top it off, the X-T2 supports 4K video recording that can use each available Film Simulation mode, including ACROS, to easily produce premium-quality footage.
The camera has a dramatically improved autofocus system, increasing the overall single AF points to 325, and the number of Zone focusing points to 91 (expanded from 49 in previous models). Approximately 40 percent of the imaging area (centre area containing 49 focusing points) is covered with phase detection autofocus pixels to form a fast and precise phase detection autofocus area that can be used in a variety of scenes.
Fuji says with the high-speed X-Processor Pro and the use of improved algorithms, the X-T2 refocuses more frequently, enabling predictive AF of advanced accuracy. The camera also has an enhanced ability to autofocus on small points of light, low-contrast objects and subjects with fine and delicate textures such as bird feathers and animal fur.
The X-T2’s contrast detection AF performance, enabled for approximately 65 percent of the imaging area, also has been improved. The data read speed has been doubled compared to previous models to achieve AF performance of higher speed and precision. Photographers will enjoy accurate focusing in all shooting situations, even in -3EV light.
Another area of improvement is the AF-C algorithm that has been significantly enhanced for even higher accuracy when focus-tracking moving subjects in the AF-C mode. According to the type of movement, users can choose individual settings for Subject Retention Characteristic, Acceleration / Deceleration Tracking Characteristic and Focus Zone Characteristic, or select one of five presets or customize specific settings for these three elements.
The camera reproduces warm skin tones, bright blue skies and rich green foliage in beautiful colours. The X-T2 includes the ACROS Film Simulation for smooth gradation, deep blacks and beautiful textures to create monochrome images. The camera also has the Grain Effect function for reproducing distinctive graininess seen in photographs taken with film cameras. The function is available in Strong and Weak options, and can be combined with any of the Film Simulation modes. You can easily obtain the effect of film-based photos, notable especially when the image is printed out.
Basic response specifications, such as startup time, shooting interval and shutter release time lag, have all been improved. The high-speed processing power and the use of improved algorithms have significantly improved the basic autofocus performance, and the X-T2 gives users AF-C Custom Settings for even higher accuracy in focus-tracking moving subjects.
The X-T2’s electronic viewfinder is capable of displaying up to 100 frames per second, while also maintaining the magnification ratio of 0.77x and a display time lag of 0.005 seconds. The duration of the viewfinder blackout, in which the EVF blacks out temporarily while the camera reads picture data, has been reduced by more than half.
The camera’s body is made of magnesium alloy, has weather-proofing at 63 points to achieve a high level of resistance to dust and moisture, and will operate in temperatures down to -10C (14F).
The company says similar ruggedness is applied to the new Vertical Power Booster Grip; it is dust-resistant, rugged and capable of operating at low temperatures. It holds two batteries, with one in the camera, to increase the maximum number of frames that can be taken per charge to approximately 1,000 (Normal mode). In Boost mode, multiple batteries can operate at the same time to give a boost to camera performance in continuous shooting, shooting interval, shutter release time lag and blackout time, while also extending the duration of 4K video recording to approximately 30 minutes. The grip also features a shutter release button, focus thumbstick, AE-L button, AF-L button, command dials, Q button and Fn button plus headphone jack to enable audio monitoring during video recording. The grip itself has battery-charging functionality where by using the supplied AC adapter, users can fully charge two batteries at the same time in about two hours.
Phase detection AF and motion predictive AF delivers continuous shooting up to 8 frames per second (up to 11fps using the Booster Grip); continuous shooting of 5fps in Live View.
Full 4K 3840×2160 30P/25P/24P shooting (using a card with the UHS Speed Class 3 or higher), with continuous recording up to approximately 10 minutes; Full HD 1920×1080 60P/50P/30P/25P/24P, with continuous recording up to approximately 15 minutes; HD 1280×720 60P/50P/30P/25P/24P, with continuous recording up to approximately 29 minutes.
Four different display modes: Full, Normal, Dual and Vertical. Full mode displays shooting information at the top and bottom of the screen to avoid obstruction of the view; Dual mode adds a small second screen for checking focus point with Focus Peak Highlight or Digital Split Image; Portrait mode, in Full or Normal modes, rotates the shooting information interface when the camera is turned vertically.
Wi-Fi and remote camera operation.
ISO 200 – 6400, extended ISO 100, 12800, 25600, Auto(maximum ISO setting from ISO 400 – ISO 6400 available) with High ISO 51200 setting.
The company says its Lens Modulation Optimizer technology maximizes each lens’ performance.
There’s an in-camera RAW converter.
Interval timer shooting for time lapse photography is available with intervals of 1 second to 24 hours.
Also new is the high-end, multi-function, external EF-X500 Flash. It is a hot-shoe mount flash with a maximum guide number of approximately 50, and includes support for the FP mode (high-speed flash sync) so that the flash can be fired at any shutter speed. The EF-X500 also supports multi-flash lighting. Through-the-lens (TTL) lighting control is available with single flash and also in the multi-flash setup.
The flash will handle lens coverage from 24 mm to 105 mm, up to 20 mm when the wide panel is used.
The flash head can be tilted up by 90° degrees, down by 10° degrees, to the left by 135° degrees and to the right by 180° degrees.
It’s equipped with an LED video light that can also be used as an AF assist light and catch light.
It registers up to 10 combinations of various settings to suit specific shooting conditions for quick activation.
The Fujifilm X-T2 (body only) will be available in September. The X-T2 and XF18-55 mm (27-84 mm equivalent) kit also will be available in September. The EF-X500 Flash will be available at the same time.
This is a camera I really wanted to get my hands on; it appeared to have both physical and operational similarities to Leica M-series cameras. While it didn’t deliver the full M experience, the X-Pro2 proved itself to be a neat amalgam of two different camera types, a unique package aimed at a discerning shooter who values image quality and functionality without excess baggage.
In many respects, the X-Pro2 reminds me of the BMW Mini, the Volkswagen new Beetle, and the new Fiat 500; each pays hommage to a vintage machine yet offers significant improvements and modern features, a retro look with all the mod cons, making it a device for the present, not the past.
So, while it looks something like an M-series Leica, it most certainly is not, yet allows you to partake of aspects of the Leica rangefinder experience, without the high cost. A current M Leica will set you back about $9,000 while the X-Pro2 comes in at about $2,000.
The “pro” in the camera’s name, and its price, make it obvious it’s not meant for snapshooters or beginners, although there’s nothing preventing you from sticking it on “A” and letting the camera do its thing. But that’s a heck of a waste. There are scads of far less expensive cameras out there which will fill the bill a whole lot better for the neophyte.
In fact, it’s easy to use the word “not” when describing the X-Pro2, without being negative. It’s not a DSLR. It’s not a rangefinder camera, something we’ll look at momentarily. It’s not for the beginner. It’s not your typical APS-C camera (heck, it’s not your typical camera, period). While carrying that “pro” name, it’s not a camera for the sports pro who needs fast long lenses, because Fujifilm doesn’t have those in its lens arsenal (although you can buy adapters to use Nikon and Canon, for example).
That’s a passel of “nots,” but the X-Pro2 is a decidedly aspirational camera.
I grew up using my father’s circa-1954 Leica M3 and later bought my own. We each had three lenses: 35 mm, 50 mm, and 90 mm. Our 35 mm lenses were f/3.5 Summarons with clunky “finder attachment,” aka “goggles.” The M3 was a rangefinder camera; instead of looking through the lens as with an SLR (now DSLR), when you looked through the viewfinder you were looking through the camera body via a set of optical “windows,” with outlines in the window to show you the area of coverage of each attached lens . . . sort of . . . and a split image system (rangefinder) for setting manual focus. The 35 mm lens needed a set of auxiliary lenses in front of the camera’s windows to give a relatively accurate display of the coverage.
While the X-Pro2 looks like a rangefinder camera, it isn’t, despite the Leica-like “windows,” as focusing is electronic/automatic (more on this in a moment) so does not require any auxilliary optics.
This is where the X-Pro2 takes a decidedly unique approach to viewfinders. The X-Pro2’s viewfinder is hybrid, combining both optical and electronic viewing. There’s a lever on the camera’s front to switch between optical and electronic. While the information displayed in each mode is almost identical, the optical “rangefinder” view shows the lens coverage outline whereas the electronic viewfinder does not, unnecessary since the latter is the view through the lens. Micro Four Thirds (MFT) camera anyone?
(Of course you could always use the large LCD on the camera back, rather than using the viewfinder. Mind you, with this camera’s small battery, it eats through a charge fairly quickly; a second battery is a wise purchase.)
With both the Leica’s optical rangefinder windows and the X-Pro2’s optical viewing windows being in close proximity to the lens, the actual physical size of the lens will determine how much of the lens gets in the way of your view – actually blocks a portion of your view – but only when using the optical mode of the X-Pro2 versus all the time with an M camera.
As with Leica M series cameras, the X-Pro2’s optical system works best with 24 mm through to 85/90 mm (equivalent) lenses, although the latter is actually pushing the envelope. Fujifilm makes a delightful 16-55 mm zoom lens (24-84 mm equivalent) which, because of its constant f/2.8 aperture, is a physically large lens, and it blocks a significant percentage of the view through the optical viewfinder window, making it almost unusable.
This is where the electronic viewfinder steps in to save the day. With a larger/longer lens attached to the X-Pro2, just switch over to the electronic viewfinder and you’re looking through the lens.
Personally, I’d suggest the optical viewfinder is at its best when you stick with lenses in the 28 mm to 50 mm (equivalent) range, and it strikes me that this is the range the X-Pro2 and its predecessor the X-Pro1 were designed around..
One more saving grace delivered by the electronic viewfinder is the optical system’s problem with parallax. With optical viewing, the closer your subject gets to the camera (i.e. minimum focusing distance), the less likely you are to get correct framing; you’ll find your subject is actually further to one side in the captured image than your viewfinder tells you. Once again, switch over to the electronic viewfinder when you come in close to your subject.
There’s one more twist to the X-Pro2’s viewfinder setup, and that comes with manual focusing. When opting for manual focusing with the optical viewfinder you kick in a electronic picture-in-picture view onto the bottom right of the finder, a close-up of the subject to help with your manual focusing. Remember, there’s no split image rangefinder à la Leica.
The Leica M series cameras made a name for themselves in photojournalism and street photography. They were, and continue to be, manual focus. The X-Pro2 is a modern, autofocusing camera with, as noted, a manual focusing option.
We’ve noted the dearth of Fujifilm-branded fast long lenses for sports photography, but working the sidelines of a football game, for example, with an X-Pro2 and 35 mm (equivalent) lens slung ‘round the neck, makes a lot of sense. The optical viewfinder lets you view what’s happening outside the lens’ area of view, so you can see the action heading in to the subject area. The camera also makes sense for wedding photography.
The X-Pro2 delivers excellent quality images, thanks to its 24.3-megapixel sensor, processor and Fujifilm’s lenses. ISO goes as high as 12,800 (extendable to 51,200); I got surprisingly good results at 25,600.
In the camera’s menu is a wonderful array of film simulation options, including Provia, Velvia and Astia, as well as the new Acros film simulation mode, with smoother gradation, deep blacks and delightful texture. I did quite a bit of shooting with the X-Pro2 in B&W, taking me back to my Leica and early SLR days. From what I remember (and having rooted out some of my old B&W work in my archives), the X-Pro2’s results are far superior (especially when you consider the problem of dust on the negs making a mess of prints). Interestingly, the camera offers the ability to add “grain” to images via a menu setting, to make your images look more film-like.
I found the camera comfortable in the hands, and certainly lighter than my full-format DSLR. Out of curiosity, I looked up the physical specs for the M3. The X-Pro2 is dimensionally slightly larger, but the M3 outweighs the X-Pro2 by a significant amount, thanks to the M3’s heavier metal construction. The X-Pro2 has a light yet strong magnesium frame and ubiquitous poly exterior, and is dust-, splash- and freeze-proof.
I guess the bottom line is whether I would consider ditching my full-format DSLR for the X-Pro2. My shoulder and back say yes, the difference in weight is significant. I am impressed by the image quality, the handling, the camera’s menu, the film simulations. Certainly the X-Pro2 is far less obtrusive, far less obvious in street shooting situations, for example, especially when using the physically small, fast prime lenses, and both quiet and unobtrusive when shooting available light in the church during the wedding ceremony. There’s no reason to suggest it wouldn’t work well in a studio situation; heck, it even has a flash synch connection and hotshoe. As for travel and landscape shooting, the smaller size is a major benefit, and you can’t complain about the image quality.
The X-Pro2 is a significant improvement over the now long-in-the-tooth (and less expensive) X-Pro1; check out a comprehensive side-by-side comparison here. And for a quick look at the camera’s features and specs, check out our January report on its release.
Is the X-Pro2 – a cross between a rangefinder camera, a Micro Four Thirds camera, and an APS-C camera – worthy of consideration as your prime camera? Absolutely.
The new flagship rangefinder style camera in the X-series line, the X-Pro2 is a camera Fujifilm thinks pros will gravitate toward. It features an Advanced Hybrid Multi Viewfinder capable of instantly switching between optical and electronic finders, a new 24.3-megapixel X-Trans CMOS III sensor, and a new X-Processor Pro that is claimed to deliver “dramatically improved” response times.
Camera features include: Advanced Hybrid Multi Viewfinder with 2.36 million dots and maximum speed of 85 frames per second; diopter correction mechanism with an eye point of 16 mm and a telephoto bright frame with enlarged focal length of 140 mm.
The company is claiming Fast AF of up to 0.08 seconds, Phase detection AF and motion predictive AF for continuous shooting up to 8 frames per second, start-up time of 0.4 seconds, shutter time lag of 0.05 seconds, shooting interval of 0.25 seconds.
The focal plane shutter offers a top speed of 1/8000 second, with flash sync speed up to 1/250 second.
A dust and splash-resistant body offers more than 61 points of weather sealing and freeze resistance to -10°C.
The rear screen is 3 inches.
There are two memory card slots, with one compatible with UHS-II standards.
A new monochrome ACROS film simulation is said to deliver smooth tones, deep blacks and rich textures. New Grain Effect mode is for images reminiscent of old film photos, especially when printed.
Maximum ISO is 12800, with extended ISO to 100, 25600 and 51200.
Interval timer allows shooting time-lapse sequences of one second to 24 hours, up to 999 frames.
A free application and wireless communication function allows users to remotely shoot images from smartphones and tablets via WiFi. Photos can be sent to an Instax Share Printer using a free app (iOS and Android).
Full HD video 1080p at 60fps; bit rate of 36Mbps; frame rates of 60 fps, 50 fps, 30 fps, 25 fps and 24 fps.
There are advanced creative filters and an optional hand grip.
The Fujifilm X-Pro2 (body only) will be available in late February for $1,899.99.