Viltrox 85mm vs Samyang 85mm

Damian Brown Compared the Viltrox 85mm f/1.8 STM vs the Samyang 85mm f/1.8 ED UMC. Below is a summary of his findings and his individual lens reviews:

  • The Samyang is about 200g lighter and it’s smaller than the Viltrox
  • Samyang 65mm minimum focus distance Viltrox  80mm
  • Samyang min aperture f/22 Viltrox f/16
  • Filter size 62mm Samyang 72mm Viltrox
  • Samyang has a better name than Viltrox
  • Viltrox was cheaper, but now about the same
  • Viltrox has AF and the Samyang does not
  • Viltrox AF works well and has a stepping motor that can be smooth in video
  • The Viltrox has some purple fringing, but it’s easy to correct
  • Damian picked the Viltrox due to it having AF and mentions that we should see more Viltrox AF lenses in the near future

VILTROX 85mm f/1.8: B&H Photo / Amazon / Adorama
Samyang 85mm f/1.8: B&H Photo / Amazon / Adorama

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Modular Fujifilm GFX Drawings Received

A Reader sent in these Fujifilm GFX Modular system drawings. They look pretty good and it would be interesting if Fujifilm decided to make this system in the future since there was a lot of interest in it after we first covered it in detail here.

A Modular GFX system could be a cheaper more accessible one that would give users more options than they have today. For instance, there could be GFXR/GFXS/GFX100 style modules for the Modular GFX in addition to bellows, sensor modal swaps, and more. This would let users choose if between a clean dial free camera and one with manual controls for everything and anything else in between. What do you think?

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Fujifilm GFX100: B&H Photo / Amazon / Adorama
Fujifilm GFX50R: B&H Photo / Amazon / Adorama
Fujifilm GFX 50S: B&H Photo / Amazon / Adorama

 

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Fujifilm’s Mirrorless Digital Cameras Win EISA Awards For X-T3 and GFX100


Fujifilm’s mirrorless digital cameras win the EISA Awards
-FUJIFILM GFX100, equipped with the world’s highest 102 million pixels resolution sensor and FUJIFILM X-T3, achieving fast and accurate autofocus
-First win for the GFX Series and 9th consecutive win for the X Series

Tokyo, August 15, 2019 — FUJIFILM Corporation (President: Kenji Sukeno) is pleased to announce that FUJIFILM GFX100 (GFX100), GFX Series of mirrorless digital cameras carrying the Large Format sensor*approximately 1.7 times the size of the 35mm full-frame sensor, and the FUJIFILM X-T3 (X-T3), X Series of mirrorless digital cameras carrying the APS-C sensor, have both won the EISA Awards**. The GFX100 which realizes extraordinary image quality captured by its sensor boasting the world’s highest resolution of 102 million pixels*** was chosen as the Best Product in “Camera Innovation 2019 – 2020”. The X-T3 which achieves fast and accurate and fast autofocus was named the Best Product in “Advanced Camera 2019 – 2020.” This is the first EISA Award the company has won for the GFX Series and marks the ninth-consecutive win for the X Series.

Toshi Iida, General Manager, Optical Device and Electronic Imaging Products Division, commented, “We are very pleased to be recognised by EISA in this way. Both cameras are proving to be very popular and their success is testament to our years of investment in sensor, processor, and optical technologies. My team is passionate about getting it right for our customers. Looking at the demand for these two models, it seems we got things about as right as we could. Demand for the GFX100, especially, has massively exceeded our expectations”.

EISA CAMERA INNOVATION 2019-2020 – The “FUJIFILM GFX100” Digital Camera
Commenting on the GFX100, the judges said, “With the GFX100, Fujifilm has made a 100-megapixel medium format camera that does not suffer from the restraints usually associated with large-sensor, high-resolution systems. As the first camera of this type with in-body image stabilisation, it can be used for handheld shooting under a much wider range of conditions. The spring-mounted shutter mechanism is isolated from the sensor, minimising the risk of shutter vibration affecting the sharpness. The GFX100 is also the first medium format camera to offer on-sensor phase detection, which results in much faster autofocus. What’s more, it’s the first medium format camera to shoot 4K video with no field-of-view crop.”

EISA ADVANCED CAMERA 2019-2020 – The “FUJIFILM X-T3” Digital Camera
Commenting on the X-T3, the judges said, “With the X-T3, Fujifilm takes its popular X system to a higher level. The new 26-megapixel X-Trans CMOS 4 image sensor does not require a low-pass filter and therefore delivers unusually detailed images. The camera features extremely fast autofocus and continuous shooting at up to 30fps, making it well suited for action photography. The video mode is equally impressive, offering 4K recording at 60fps along with professional features such as F-Log and Hybrid Log Gamma. Photographers who don’t need all of the X-T3’s advanced features should also consider its less-expensive sister model, the X-T30.”

Fujifilm will continue to work on the development of excellent products and services that address user needs, thereby contributing to the further development of photographic culture.

For further information of the products, please visit https://fujifilm-x.com/en-gb/cameras/gfx100/ and https://fujifilm-x.com/en-gb/cameras/x-t3/

*The image sensor which has the diagonal length of about 55 mm (43.8 mm x 32.9 mm) and is approx. 1.7 times bigger than a 35 mm full-frame format.
**EISA (European Imaging and Sound Association) is the association of 55 special interest magazines on cameras, videos and audio equipment from 30 countries. The annual EISA Awards is one of Europe’s most prestigious awards given to the most outstanding visual-related products of various categories.
***For commercially available mirrorless digital cameras as of August 15, 2019, according to Fujifilm

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Fujifilm GFX100 Technical Analysis Part 2: Electronic Shutter Speed, PDAF Banding, and More


Jim Kasson has continued his analysis of the Fujifilm GFX100’s capabilities at a rapid pace, which is why we have another technological mega-post today of his findings. You can find the first post here and for those of you that have been asking about electronic shutter speed, it’s 1/3 – 1/6th, which you can read more about below.

The Last Word – Fuji GFX 100 sharpness, LoCA, focus shift with 110/2

  • F/2.8 is the sharpest f-stop at this distance

  • f/2 and f/2.2 are a fair amount softer, but f/2.5 is very sharp.

  • You don’t lose all that much sharpness even at f/5.6, but the sweet spot of the lens is between f/2.5 and f/4.

  • There’s enough focus shift that you should focus at the taking aperture.

  • The MTF50s obtained are about the same as I got earlier with the same lens on a GFX 50S.

  • That means that the pixel-level sharpness of the GFX 100 is less than the GFX 50S, and the picture-level sharpness is about the same. (This will need some more looking in to.)

  • If you don’t want to bother with the graphs, I’ll bottom-line it: there isn’t very much LoCA at all.

The Last Word – Fujifilm GFX 100 sharpness compared to GFX 50s

Now you can see that the GFX 50S has a higher modulation transfer function from about 60 cy/mm on up. That seems to imply that it has an even smaller effective fill factor than the GFX 100, in spite of the GFX 100’s much finer pitch (assuming the GFX 100 fill factor is 100%, this is a rough confirmation of Jack Hogan’s work on the GFX 50S microlens size a couple of years ago). Both curves stop at the Nyquist frequency for each camera. You can see that the GFX 50S, with an MTF of more than 0.6 at the Nyquist frequency, is more prone to aliasing than the GFX 100, with an MTF of about 0.35 at Nyquist. Both these numbers may be a bit high because of the high-contrast target, but I think the ratio should be approximately correct.

The Last Word – GFX 100 sharpening in Lightroom

Looking at these curves, it seems like the decreased pixel-level sharpness of the GFX 100 compared to the GFX 50S is not as significant as what are usually considered moderate sharpness moves in Lr or ACR.

The Last Word – Fuji GFX 100 vs 50S sharpness with 3D subject

The color balance is different between the two images. I’ll put that down to Adobe’s support of the GFX 100 currently being preliminary.

The GFX 100 image doesn’t look unequivocally sharper, but it is more detailed and smoother. But there are other systematic differences:

  • There is far less false color in the GFX 100 image.

  • The blue/purple fringing in the GFX 50R image that appeared to be LoCA isn’t present in the GFX 100 image, indicating that it was a false color artifact.

The Last Word – Fuji GFX 100, 50R aliasing differences

  • The GFX 100 can record finer detail before it starts to alias (It would be amazing if this were not true).

  • The aliasing is most striking with the GFX 50r

  • The false color is worse with the GFX 50R

The Last Word –Visual comparisons of Fuji GFX 100 14 and 16 bit raw precision

There are some small differences in the noise pattern, but they fade into utter insignificance when compared to the horizontal banding the comes from the OSPDAF system. If you eliminate the banding in post production, the differences might conceivably be worth worrying about, but they are tiny.

The Last Word – Visual comparisons of Fuji GFX 100 and GFX 50R shadow noise

My take: absent postproduction work to mitigate the OSPDAF banding of the GFX 100, and with no noise reduction, it has a usable dynamic range that is inferior to the GFX 50R. Because of the finer pitch, nonlinear noise reduction should be more effective with the GFX 100. I’ll test that in the next post.

The Last Word – Fujifilm GFX 50R and 100 shadow noise with nonlinear noise reduction

The GFX 100 image is smother, but traces of the PDAF banding that plagues the shadows with that camera remain.

The Last Word – Sensors outresolving lenses

There’s your answer. If you’re going to use diffraction, lens aberrations, and defocusing to create a strong enough low-pass filter that there’s no visible aliasing, your image is going to look really soft at the pixel level.

The Last Word – A visual look at GFX 100 focus bracketing step sizes

Say you’re doing focus bracketing. Decide how far out of focus is acceptable by picking a just-marginal image. set the step size to that or one unit less. If you’re doing stacking, decide how much softness the stacking program can manage, and pick that step size.

The Last Word – How fast is the GFX 100 electronic shutter?

14-bit That means it took the shutter 8.33*19.5 =  162 ms to make the trip. That’s about 1/6 of a second.

16-bit Now there are 42 bands. 8.33*42 = 350 ms, or about 1/3 of a second.

The Last Word – Quantifying the Fuji GFX 100 focus bracket step size

Regardless of the f-stop, the step size is that which produces about a 1 um diameter CoC. The camera is compensating for the f-stop to make your life easier.

The Last Word – A visual look at GFX 100 diffraction blur

The first image with no trace of aliasing is the f/16 one, although the aliasing is quite low in the f/11 image. Aliasing is eliminated with less overall blur than in the defocused examples in the earlier post, indicating that diffraction blur is more effective at countering aliasing than defocusing.

The Last Word – GFX 100 AF-S and AF-C accuracy with 110/2 lens

With the exception of shooting wide open or nearly so, we don’t lose much accuracy to get the improved speed in the GXF 100.

The Last Word – Averaging GFX 100 images

The random noise has diminished a lot, but the PDAF banding is even more apparent.

Note: I didn’t align the layers, and used EFCS shutter mode. There is some camera motion visible. Next time I try this, I’ll use ES shutter mode.

The Last Word – PDAF banding in GFX 100 in-camera JPEGs

You can still see the banding, just not in the darkest areas of the image. The in-camera JPEG crushes the blacks so hard that the banding is less apparent. It also employs heavier noise reduction.

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Adobe Adds GPU Acceleration to Lightroom Classic and Camera Raw: Fuji GFX100 Film Simulations Added


Adobe continues to address consumers complaints about their photography software running slower than competitors, but not their lack of stand-alone pricing. While it’s good that they continue to make their product better even as they vacuum money out of our wallets monthly it still isn’t addressing consumers largest complaint. The press release for this software leaked yesterday, but today is when the update went live and it does seem to be a little quicker than before, but I am dealing with very large files out of the GFX100.

Press Release:
Download the August photography releases today in the Mac App Store, iOS App Store, Google Play Store, and using the Creative Cloud desktop app.

Improvements to Lightroom Classic & ACR
Updates are available today for Lightroom Classic and Adobe Camera Raw, our two desktop-centric photography applications. These updates focus on performance and improving your workflow. Read More »

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NiSi V6 Filter Kit III Released


I demoed a NiSi filter kit for a little after I purchased my LEE setup and I was very impressed with its premium build quality and glass filters. The leather case that housed it all was one of the nicest out, but it was a little on the heavy side and not very functional. Well, now it looks like my small gripes about their system have been addressed with the new NiSi V6 Filter Kit III.

NiSi is also including the exceptional Natural Night filter in their Advanced and Professional kit, which is one of my favorite filters for making the night sky pop. It does a very good job at reducing or eliminating light pollution for those of us that do not have access to completely dark skies. You can use this filter with any 100 x 100mm or 150 x 150mm filters holder though so no need to switch filter systems unless you want to try something new.

V6 vs V5 Pro

The V6 features the following improvements over the V5 Pro:

  • New streamlined design – making it easier to insert and remove ND filters in any slot.
  • New Clip Design – Our unique clip system that holds the filter has been improved even further.  As well as the left to right pressed clips that hold the filter secure, filters are now easier to insert with guides along the clips.
  • Optimized design of the CPL – The C-PL is easier to insert and remove with a raised design, noticeably higher than the V5 Pro.
  • The holder rotates 360 degrees as well as features a lock to fix the filters in a single position.
  • New Soft Pouch – The new soft pouch to hold the V6 can be mounted on a tripod leg for easy access.
  • Upgraded Lens Cap – The lens cap is now even easier to fit and remove while protecting the CPL and Lens.

Starter Kit: B&H Photo / Amazon / Adorama
・ Medium GND8 100x150mm
・ ND1000 100x100mm

Starter Kit+: B&H Photo / Amazon / Adorama

・ Medium GND8 100x150mm
・ Reverse GND8 100x150mm
・ ND64 100x100mm
・ ND1000 100x100mm

Advanced Kit: B&H Photo / Amazon / Adorama

・ Medium GND8 100x150mm
・ Reverse GND8 100x150mm
・ ND8 100x100mm
・ ND64 100x100mm
・ ND1000 100x100mm
・ Natural Night 100x100mm

Professional Kit: B&H Photo / Amazon / Adorama

・ Soft GND8 100x150mm
・ Medium GND8 100x150mm
・ Reverse GND8 100x150mm
・ ND8 100x100mm
・ ND64 100x100mm
・ ND1000 100x100mm
・ ND32000 100x100mm
・ Natural Night 100x100mm

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