FUJIFILM TO SHOWCASE NEW AND INNOVATIVE PRODUCTS AT WPPI 2018


FUJIFILM TO SHOWCASE NEW AND INNOVATIVE PRODUCTS AT WPPI 2018
Featuring the latest additions to the X Series Line, INSTAX Instant Cameras & Film and Digital Printing Solutions

Valhalla, N.Y., February 23, 2018 – As the leader in photo imaging, FUJIFILM North America Corporation will showcase a comprehensive portfolio of products that offer photographers the highest performance —from capture to print—at the 2018 Wedding and Portrait Photography International Conference & Expo (WPPI) from February 26-28 at Booth #1121 at the Mandalay Bay in Las Vegas, Nevada.

X Series and GFX Mirrorless Camera Systems
Fujifilm’s mirrorless X Series cameras and lenses including the newly announced FUJIFILM X-H1 and X-A5 will be on display. The Medium Format FUJIFILM GFX Mirrorless Camera System will be available for hands-on experience.

For the first time, show attendees will be able to have hands-on experience with the new X-H1, the highest performance camera in the X Series line of mirrorless digital cameras. The X-H1 features a 24.3 megapixel APS-C sized X-Trans CMOS III sensor and X-Processor Pro image processing engine for outstanding image quality. The first to feature in-body image stabilization, the X-H1 incorporates a range of extremely useful features that support shooting in various scenarios demanded by professional photographers and videographers. In addition to its dust and water-resistant properties and ability to operate in temperatures as low as 14°F \ -10°C, the X-H1 also features 25% thicker magnesium alloy than the X-T2, making this the perfect camera for a wide range of shooting environments. Additionally, improvements to the Auto Focus algorithm have achieved AF performance enhancements. With a comprehensive range of video features to improve movie production, the X-H1 includes a new film simulation mode creating understated colors and rich shadow tones, which enhances creative freedom during post-processing. Additionally, stable exposure during burst shots is achieved with the flicker reduction mode, adding the X-H1’s shooting capabilities.

The GFX 50S and its accompanying lenses are perfect for event and portrait photography.  A medium format mirrorless digital camera, the innovative GFX system combines an extraordinary sensor, processor and design with high-performance FUJINON lenses. Utilizing a Fujifilm exclusive 43.8 x 32.9mm (FUJIFILM G Format) 51.4MP CMOS sensor and taking advantage of the mirrorless system’s structure, the GFX system is capable of capturing exceptional tones and advanced color reproduction to provide the ultimate photography experience.

Also on display is the new X-A5, the lightest camera-zoom lens combination within the X Series lineup. With its ease of use and outstanding image quality, the X-A5 achieves exceptional skin tone reproduction, making it ideal for portraiture. The X-A5 is a cost-effective camera and is equipped with the new FUJINON XC15-45mmF3.5- 5.6 OIS PZ lens, a lightweight and compact lens with a smooth electric-powered zoom. With its 4K video capabilities, this camera allows for a wide range of shooting possibilities, ensuring that the user never misses capture of important moments.

At Booth #1121, Fujifilm will also offer a Check and Clean area for X Series and GFX bodies and lenses, free of charge for existing system owners. Read More »

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The Fujifilm X-H1 Development Story Film Simulation ETERNA


Getting access to the look of ETERNA on a camera is an exciting opportunity and some have already been toying with it in Lightroom by hacking the EXIF of their .RAF files to change the camera type to X-H1, which I don’t recommend, but it’s a fun experiment. As with any film simulation, the color bias and balance is what makes the digital film type unique and ETERNA tends towards a cyan desaturated look to keep the viewer focused on the entire screen, which is different than most photographers that go for a more vivid reproduction of color designed to draw the viewers eye to a point in a still image. In Fujifilm’s words:

“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”.”

“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”.”

ETERNA is designed to have 12 stops of dynamic range like F-log and to give a cinematic film look, but with less work, so you can shoot a high-quality motion picture quickly. This also leaves room for post-production.

“Velvia is a good example of image color. When you compare it with the standard PROVIA, you can see that it is not just high in saturation. The saturation level is adjusted on each key color. Blue, for example is added with a touch of magenta, to reproduce the impressive blue sky. The image color is achieved by adding colors on top of each other. It is like an art of addition”

We take the same approach to achieve the cinema look, but in the opposite direction.
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.

I personally love Fujifilm’s color science and the only film type I shot more than Fujifilm growing up was Kodachrome, which I hope someone brings back someday. X-H1 Development Story #4 -Film Simulation ETERNA- is an interesting look at color science, but I wish they would have gotten into the weeds a little bit more about the limits of how much this simulation can be manipulated since it’s designed to be graded like F-log. It won’t have the rang of an F-log file obviously, but many have worked wonders with this kind of footage.

ETERNA and internal F-log might convince photographers to get more into video/film again if they had any kind of background in video/film/TV production. I actually used to really enjoy the madness that was linear film/video editing before non-linear editing showed up. It’s just a very different kind of work and it started to turn me off before non-linear editing took off.

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X-H1 Camera: B&H Photo / Amazon / Adorama
X-H1 Body with Battery Grip Kit: B&H Photo / Amazon / Adorama
VPB-XH1 Vertical Power Booster Grip: B&H Photo / Amazon / Adorama

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Fujifilm X-H1 Too Big or Just Right?


Photographyblog did an extensive size comparison of the Fujifilm X-H1 to all the cameras they have on hand because they have heard that the Fuji X-H1 is too big. They photographed the Fujifilm X-T2, Fujifilm GFX, Panasonic GH5S, Sony A7R II, Canon EOS 5DSR, Canon EOS 5D Mark III, and the Canon EOS 80D from multiple angles if you want to take a look at them here, but frankly I haven’t heard the same thing form photographers that have been speaking with me directly about the Fujifilm X-H1. Many seem to be very happy with the DSLR like build, which was Fujifilm’s goal.

The Fujifilm X-H1 has put Fujifilm front and center and I personally know some Canon and Nikon shooters looking to switch to Fujifilm thanks to the X-H1, but they are waiting for unbias opinions like my own because there is a lot of hype out there. The site is called FujiAddict, but Fujifilm has zero sway over us and our site is one of the few still saying that the Fujifilm X-T2 will get the job done equally as well. Getting new gear is always fun, but in all honesty, the Fujifilm X-T2, Fujifilm X-Pro2, and Fujifilm X-H1 will all do the job equally when it comes to photography. I have even spoken with X Photographers that have the Fujifilm X-H1 that agree with me, so don’t rely strictly on marketing.

The new body and shutter button look very nice and comfortable to hold. I absolutely love my Fujifilm GFX 50S and do not mind a bigger body, but I am also not a huge IBIS fan. The Fujifilm X-H1 is just a different camera than the Fujifilm X-T2 and X-Pro2 and it will draw a very different type of photographer, so if you have an X-T2 or X-Pr02 be satisfied with what you have if the X-H1 is too big for you because I doubt Fujifilm will abandon us. Photographyblog might have a very different audience than I do or maybe this is just a fun comparison for comparison sake, but if you want to check it out you can find the image gallery here.

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X-H1 Camera: B&H Photo / Amazon / Adorama
X-H1 Body with Battery Grip Kit: B&H Photo / Amazon / Adorama
VPB-XH1 Vertical Power Booster Grip: B&H Photo / Amazon / Adorama

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Fringer EF-FX Smart Adapter Firmware 1.20


Fringer EF-FX smart adapters got firmware update again. The new version (v1.20) mainly address the following issues:

  1. Bug fixed: After certain period of time, Pro version may stop saving last aperture setting when you turning off your camera and turning it on again.
  2. Fixed wrong max aperture displayed issue for 70-200 and 100-400 when using 1.4x and 2x teleconverters.
  3. Fixed image stabilizer not working anymore issue for some Sigma lenses when the OS switch is turned to off and then back to on.
  4. Added Sigma100-400/5-6.3 OS Contemporary (C017) to the tested and optimized lens list.

The new firmware files and release notes can be found here.

The Fringer EF-FX is still out of stock, but Fringer Spring Savings is still going on.

via FringerDev

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New Manufacturing Facility to be Built at Toyama Chemical, a Fujifilm Company


Production of Liposome Drugs Utilizing Proprietary Technologies Including Anti-Cancer Agent FF-10832
New Manufacturing Facility to be Built at Toyama Chemical, a Fujifilm Company
Advanced production system utilizing cutting edge ICT technologies to be adopted, company to invest approximately 4 billion yen

FUJIFILM Corporation (President: Kenji Sukeno) will invest approximately 4 billion yen in the pharmaceutical production site of its group company, Toyama Chemical Co., Ltd. (President: Junji Okada), to build a new manufacturing facility. At the facility, the company plans to manufacture liposome drugs utilizing proprietary technologies such as its anti-cancer agent FF-10832 for the use of clinical trials and commercial marketing. Construction of the new facility will begin in September 2018, and the facility is scheduled to begin operations in February 2020.

Liposome drugs contain drugs in artificially constructed vesicles made from the same organic phospholipids that make up cell and bio membranes. Currently, Fujifilm is harnessing its advanced nano-dispersion technology, analysis technology, and process technology cultivated through the photographic film business to promote the research and development of liposome drugs that efficiently deliver drugs to the affected area and enhance efficacy. In particular, with its anti-cancer agent FF-10832, which encapsulates a marketed drug * in liposomes with a uniform size of approximately 80nm, the experiments on mice demonstrated increased stability of the agent within the blood, increased concentration of the agent within the tumor, and facilitating its release in the tumor, and a pharmacological benefit exceeded significantly compared to the marketed drug *not formulated with liposome when FF-10832 was administered at a lower dose amounting to 1/60th of the marketed drug. The company is working towards the start of Phase I clinical trials in the U.S. this year. The company is also conducting research and development aiming for the early start of clinical trials on liposome drugs other than FF-10832. Read More »

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DPReview: Fujifilm Jun Watanabe Interviewed – IBIS Works “using both hardware and software”

Jun Watanabe is the Manager of Product Planning in the Sales & Marketing group of the Optical Device & Electronic Imaging Products Division at Fujifilm. - Image By DPReview

Jun Watanabe is the Manager of Product Planning in the Sales & Marketing group of the Optical Device & Electronic Imaging Products Division at Fujifilm. – Image By DPReview

Fujifilm has finally come completely clean about their IBIS system after vaguely answering questions about how it works across multiple interviews. Back in September, I explained how IBIS on X-mount might work and it turns out Fujifilm does indeed use some software correction in their IBIS system. To be clear this is perfectly fine and Sony does the same thing. I am pretty sure that outside of m43 (m43 does manipulation too, but it’s to reduce the size of some lenses) it is impossible to do IBIS without some software correction or an oversized mount with oversized lenses.

“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.”

DPReview’s interview with Jun Watanabe covers a few more new areas that I will highlight below, but I am extremely happy that Fujifilm came clean before launch because I had some testing planned to show their software corrections. This is also likely why the Fujifilm X-T3 is still rumored to not have IBIS beyond the large IBIS size.

  • The most effective IBIS lens is the Fujinon 35mm f/1.4 XF R
  • IBIS and in body F-Log were top requests by videographers when designing the Fuji X-H1
  • Positive feedback on ETERNA and 200Mb/s internal recording
  • “Best solution for quick, high-quality video capture”
  • “Velvia is tuned to give you colors as you remembered them. More vivid blue skies, for example. Eterna is tuned in the opposite direction, for moderate saturation, with more cyan and green bias.”
  • Can’t include Zebra because of hardware constraints.
  • 8-bit with ETERNA is a better shortcut than 10-bit in Fujifilm’s opinion
  • Camera for Videographers and Photographers
  • Autofocus in low light and subject tracking improves
  • Added flicker reduction and dynamic range priority, etc…
  • “Minimum low light AF response has been improved from 0.5EV to -1EV”
  • “New phase-detection autofocus algorithm and parallel data processing”
  • “The X-H1 has the same processor as the X-T2 but the algorithms are new”
  • “A single autofocus point in the X-T2 was divided into 5 zones. In the X-H1, this has been increased to 20 zones.”
  • “Data from each zone is processed in three ways, for horizontal detail, vertical detail, and fine, natural detail like foliage or a bird’s feathers.”
  • “We’ve also achieved phase-detection performance down to F11, which means that phase-detection autofocus will be possible with our 100-400mm lens in combination with a 2X teleconverter, with a much higher hit-rate compared to the X-T2.”
  • Still, lenses will remain the same but, sounds like more MK lenses to come.
  • “Professionals are generally more accepting of larger cameras, and [compared to DSLRs] the X-H1 isn’t that big.”
  • Making it larger made it easier to cool
  • Fujifilm is trying to attract DSLR users by adopting a lot of the GFX features meant to help transitions.

Fujifilm is doing a lot right with their cameras today and they seem to have something for everyone, but if you are looking at the Fujifilm X-H1 for photography chances are most of the improvements will come to the Fujifilm X-T2 soon. Fujifilm doesn’t have a history of artificially limiting cameras the way other manufacturers do and I doubt they will start now. Granted we might have to wait until just before Photokina and the release of the Fujifilm X-T3, but I am sure that most of the AF and low light focusing improvements you see above will come to the Fujifilm X-T2 via firmware update along with internal F-log. In fact, I wouldn’t be surprised if that ends up being the next “rumor” spun up by other sites since it is a safe bet.

The Fujifilm X-T3 will be the real leap in image quality that photographers are looking for in an upgrade from the X-T2, while the Fujifilm X-H1 delivers the IBIS performance needed by a few and wanted by many. Given enough time all Fujifilm cameras might have IBIS, but Fujifilm is very much a company that tries to represent the needs of all photographers instead of just adopting mass market trends so hopefully, they will always have a professional non-IBIS camera available for those that want one. Some photographers like myself understand the drawbacks of IBIS from an engineering perspective and we would rather own cameras without the feature, but I am always willing to be convinced otherwise.

IBIS technology today is very good, but it should be optional and even Panasonic has acknowledged that by releasing the Panasonic GH5S. Fujifilm is being very deliberate in their marketing strategy and has even pivoted a little over the past few days of interviews. I have no doubt Fujifilm will continue to do right by their fans and it’s partially or why running this site is so enjoyable and why the FujiAddict base keeps rapidly growing.

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X-H1 Camera: B&H Photo / Amazon / Adorama
X-H1 Body with Battery Grip Kit: B&H Photo / Amazon / Adorama
VPB-XH1 Vertical Power Booster Grip: B&H Photo / Amazon / Adorama

 

 

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