Viltrox 13mm f/1.4 Available on Amazon Shipping in May

Viltrox is either having trouble producing the Vilatrox 13mm f/1.4 or demand is extremely high since the shipping date has slipped multiple times with late April eventually becoming the target for release, which has now slipped into May coming from pergear. B&H Photo is still showing April, but it could slip too.

Viltrox 13mm f/1.4: B&H Photo / Amazon

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TTArtisan 50mm f/1.2 Silver Announced


TTArtisan announced its silver TTArtisan 50mm f/1.2 and it will be available for X-mount soon via B&H Photo / Amazon / Adorama

Additional information:

  • E\EOS-M\X\Z\L\M43-Mount Lens
  • Aperture Range: f/1.2 to f/16
  • Focusing Method: Manual Focus Operation
  • Minimum Focusing Distance: 0.5m
  • Focus length: 50mm
  • Filter size: 52mm
  • Max aperture: F1.2
  • Min aperture: F16
  • Frame type: APS-C/M43
  • Focus type: Manual
  • The closest focus length: 0.5m
  • Diaphragm Blades: 10pcs
  • Optical design: 7 elements in 5 groups
  • Weight: around 336g

via Photorumors

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Fujifilm Cooled IBIS Patent Found – Likely For Fujifilm X-H2 or X-H2S

An interesting Fujifilm patent was found today on IP Force by digicame-info and it is likely for the Fujifilm X-H2 or a future professional video camera. Panasonic and Sony have editions of their cameras designed for high-end video and the X-H2 will likely continue the trend with a Fujifilm X-H2 and Fujifilm X-H2S like others, but I would prefer for Fujifilm to launch a more video-centric line of cameras like Sony’s FX series.

It will be interesting to see how the Fujifilm X-H2 performs on launch since the Fujifilm X-H1 flopped due to the X-T line having some superior features. I am sure the X-H2 will be substantial in size like the X-H1, but shooting cameras like the Fujifilm X-T and X-E alongside the GFX really makes me hope that Fujifilm’s APS-C flagship line doesn’t get too bulky.

  • Applicant: FUJIFILM Corporation
    Publication number: P2022055674
    Application number: P 2020163229
    Publication date: 2022-04-08 Title
    of invention: Imaging device and imaging method
  • One embodiment according to the technique of the present disclosure provides an image pickup apparatus and an image pickup method provided with an image stabilization mechanism.
  • In recent years, an image pickup device may be used to shoot a high-quality moving image for a long time. The image pickup device is preferably used in an appropriate temperature range. Shooting high-quality moving images consumes a lot of power, and heat generated from the image pickup device itself exceeds the appropriate temperature range. In high-quality video shooting for a long time, the image pickup device activates a protection function such as forcibly terminating the shooting when the temperature exceeds an appropriate temperature range for the protection of the device itself and the safety of the photographer. Therefore, it may not be possible to secure a sufficient shooting time when shooting a high-quality moving image.
  • Further, in the case of repeated shooting, if there is no time interval in which the temperature of the image pickup device, which has risen during the previous use, falls to an appropriate range, it is not possible to secure a sufficient shooting time. Further, in an image pickup device with a camera shake correction function, since the heat-generating image pickup element is always floating at the time of shooting, it is structurally difficult to dissipate the heat generated from the image pickup element.
  • In view of the situation described above, in the present embodiment, the image pickup device and the image pickup device capable of rapidly cooling the image pickup device and securing the shooting time in an appropriate temperature range after the shooting is completed or the camera shake correction function is used. We propose an imaging method.
  • The image pickup unit 100 includes three heat pipes 180A to 180C. The heat pipes 180A to 180C are heat transporters that transport heat. The ends of the heat pipes 180A to 180C are installed on the sheet metal 108C of the cooling device 108. Further, the other end of the heat pipes 180A to 180C is installed in the heat sink 110. As a result, the heat generated by the cooling device 108 is transported by the heat pipes 180A to 180C, and can be cooled by the forced cooling mechanism 46 at the transportation destination.
  • The heat generated from the cooling device 108 can be transported by using the heat pipes 180A to 180C, and the cooling can be performed by the forced cooling mechanism 46 at the transportation destination. As a result, it is not always necessary to equip the sheet metal 108C of the cooling device 108 with the forced cooling device, and the space inside the image pickup device main body 2 of the image pickup device 20 can be effectively used.

via IP Force, digicame-info

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Translated Fujifilm Aniversary X and GFX Interview

Fujinon XF 33mm f/1.4 R LM WR
B&H Photo / Amazon / Moment / Adorama
Fujinon XF 23mm f/1.4 R LM WR
B&H Photo / Amazon / Moment / Adorama
Fujinon XF18mm f/1.4 R LM WR:
B&H Photo / Amazon /MomentAdorama

Fujifilm has been doing a lot of Japanese content that has to be watched via google translate. I do not recommend you give it a try and I did the best I could without reading into what is being said too much, but you can get a good idea of what both parts of this lengthy interview have to say. In short, there is a focus on size and performance with X mount that is somewhat constrained by price while GFX is pushing the upward boundaries of size and price while offering peak performance.

  • Fujifilm recently refreshed its f/1.4 lineup for Fujifilm’s 10th anniversary
  • Early lenses were not dust/drip-proof
  • One of the first lenses designed was the 18mm f/2 which was made to be compact and works out to about 27mm
  • The XF35mm f/1.4 was another lens developed for launch with high image quality and it was designed to be as small as possible too
  • The DC motors that were originally used for CFAF were quite loud, but the new redesigned lenses use linear motors which are quieter
  • The redesigned 18mm and 35mm are to be sold alongside the original 18mm and 35mm since the 18mm is a pancake and the 35mm is considered a god lens so it can’t really be taken away or replaced
  • The 23mm is for people that want to get closer than the 35mm or 33mm allow and it has excellent close-focus performance
  • Many lenses try to have it all but the 18mm, 23mm, and 33mm all perform well for all tasks
  • The 18mm, 23mm, and 33mm are all a little larger than the original lineup
  • Lens communication has improved substantially
  • Updated lenses should have apparent advantages and if they are larger they need to remain a tolerable size
  • It’s hard to improve the performance of a lens enough to replace it and update the family
  • Performance is now uniformly excellent across the 18mm, 23mm, and 33mm
  • The 16mm f/1.4 is also a beloved lens that would not be easy to replace
  • Optical designers must improve designs within price, performance, and size constraints
  • IF you don’t restrict yourself it is easy to improve optical design
  • Lenses should fit comfortably in your hand
  • Fujifilm has worked to develop a locking mechanism for free-floating elements in lenses that are powered off
  • Lens sealing has gotten much better
  • Lens hoods are designed to go on easier now

  • The lens’s ability to move elements effectively affects resolution and it is hard to get across to users these kinds of advancements
  • The 23mm is very sharp and there are aberration trade-offs as a subject moves closer to the lens that has to be balanced for sharpness
  • The 35mm is a god lens but the 33mm has super soft bokeh
  • The 18mm is a very bright and sharp lens
  • The lenses are designed to have even blur in front and behind a subject
  • Getting a light lens to AF quickly can be difficult and it is easier to do with heavier lenses sometimes
  • The optical design is very tricky and it is good to work with manufacturing to help hit price, performance, and size constraints
  • Designing for accuracy and easy of manufacturing is probably a recent change in Fujifilm’s philosophy
  • Even if you have a great design it doesn’t mean the factory will accept your design without it being reworked
  • Third parties help add diversity since not everything can be done at home
  • It is better to increase choice for customers
  • Offering a lot of glass helps to attract users
  • Fujifilm just cant make a bad lens or 3rd parties will capitalize on it
  • When Fujifilm finds out the pricing of third parties it can be painful for them to compete
  • It can also be a pain for 3rd parties to compete with Fujifilm’s lineup
  • Fujifilm is always aiming for 10 years from now
  • GF lenses are super high quality and other lenses will be clearer in the future thanks to GFX
  • GFX is about 4x the size of APS-C and even though it started at 50MP it is now above 100MP
  • GF lenses were designed to resolve above 100MP to make them more future proof
  • The 26MP of APS-C has its own unique design requirements
  • The size constraints of APS-C make it hard to design for more megapixels while keeping the size compact
  • It’s very difficult to design lenses for size constraints
  • There are 17 lenses in all including the 3 announced lenses for GFX
  • GFX still is missing a lot of glass and Fujifilm will address the gaps
  • Large format isn’t a large part of the market so Fujifilm was concerned about going into a bigger format sensor, but GFX has sold well
  • Fujifilm has to make sure GFX was designed to sell because it was a big investment of time and resources
  • Fujifilm is grateful they decided to go large format instead of full-frame
  • Originally Fujifilm thought maybe 10 lenses and later 17, but the sales and demands are pushing the growth of GFX
  • Fujifilm has very demanding customers
  • There are a lot of lenses they could do for GFX, but still working on what to prioritize
  • Making APS-C lenses more compact with closer focusing distances is pretty easy to do
  • APS-C is smaller than full-frame, but it can offer completely superior image quality to full-frame
  • There is more of a clear difference between APS-C and 44×33 Large format GFX which is why they went 4x the size of APS-C
  • Fujifilm is good at high image quality
  • Fujifilm tried to develop its own x transformer and they are working on a lot of film simulations now
  • X mount is high image quality with a compact size

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Posted in Interview| 3 Comments

ON1 Resize AI


ON1 Resize AI
ON1, creators of ON1 Photo RAW & a line of professional photo editing software for photographers, announce a new application for increasing image resolution, ON1 Resize AI, coming this April. Its predecessor ON1 Resize (formerly Genuine Fractals), has been the industry standard for photo enlargements for over 20 years.

ON1 Resize AI, the next-generation photo enlargement software, promises to give photographers even better results and the highest quality photo enlargements using state-of-the-art AI technology. This all-new super-resolution technology will allow customers and any photographer to enlarge photos while quickly maintaining and recovering an incredible amount of detail and sharpness.

“It’s simply amazing. We’ve been working on this project for quite a while, and everyone will be flat out amazed at how big they can make their photos. I’m still in awe of the results I can get using ON1 Resize AI,” says Dan Harlacher, VP of Product.

Existing methods of photo enlargement, or interpolation, make up new pixels or resolution by copying those around them, which often leads to enlarged photos with less detail, soft edges, and more noise. ON1 Resize AI uses deep machine learning to study different details we see in the world, whether natural textures like tree bark, animal fur, feathers, grass, leaves, rock, and skin to man-made textures like concrete, fabric, or brick. Studying millions of examples of the everyday world will allow the software to upscale photos and their textures to virtually any size, leaving photographers with ultra-high resolution images.

Price and Availability
ON1 Resize AI is available today to pre-order as an individual plugin and standalone application for $99.99. ON1 Resize AI will also be part of the ON1 Professional Plugin Bundle, which includes five of ON1’s professional plugins that work with photo editing applications like Lightroom, Photoshop, Capture One, and more for $149.99. Resize AI will also be available inside ON1 Photo RAW 2022 in a future update.

The official release date of ON1 Resize AI will be announced in the coming weeks, and the ON1 team expects it to be released in April. Owners of ON1 Photo RAW 2022 will get the fully integrated ON1 Resize AI in the next free update for Photo RAW soon after the release of Resize AI. Anyone who owns the individual product, ON1 Resize 2022, will also receive ON1 Resize AI as a free update. Finally, subscribers to ON1 Photo RAW will also receive the fully integrated Resize AI in Photo RAW AND the plugin for free as part of their plans.

Key Features

  • Crisp Details — ON1 Resize AI upscales your photo to the desired size and sharpens the final details incredibly well. Great examples are seen in photos with tiny hairs or feathers.
  • Creating Large Prints — At its core, making stunning poster-sized prints is where ON1 Resize AI excels. Easily crop to the paper size, AI-resize the photo with the ultimate detail, and then print it directly or save the file to send to a photo lab.
  • Ultra-Resolution — Crop a portion of your photo and still have amazing quality and detail. It can equate to having a longer lens without the expense or weight.
  • Breathe New Life into Old Photos — With older files and photos, the size and quality do not compare to what is available today. ON1 Resize AI allows for remastering old images and making them larger, sharper, and cleaner than ever before.
  • Reduce JPG Artifacts — Whether over-compressed and even small photos, ON1 Resize AI can reduce the JPG compression artifacts while creating new details, leading to an increase in resolution and higher quality upscaled images.
  • Upscale Video Stills — Use Resize AI on a still frame captured from your video editor to create high-quality prints.
  • Create Gallery Wraps — ON1 Resize AI’s unique gallery wrap feature can add reflected or stretched wings to the edge of your photo so you can make a gallery wrap without losing any image area.
  • Tiling — Divide the photo into tiles or strips to make it easier to print a mural. You control the size of the tiles and how much they overlap for trimming.
  • Batch Processing – The powerful batch-processing engine in ON1 Resize AI lets you enlarge a group of photos and control how they are named, what file type they are, where to save them, their metadata, and add watermarks.
  • Fill the Page — Your camera’s size or aspect ratio often doesn’t fit your printer. In these cases, recomposing or cropping the photo is necessary to fill the page. Other apps make this more difficult as you need to consider the size of paper and resolution so you can crop and resize simultaneously. ON1 Resize AI combines these functions, making it easy to fill the page in a single step.
  • Easier Printing — When it comes to preparing your photo to print, knowing the proper resolution for your printer and the correct amount of sharpening for your paper choice can be daunting. ON1 Resize AI’s built-in presets make this a breeze. Pick the kind of printer, the type of paper, and the size.
  • Softproofing— View a simulation of how your image will look when printed based on specific printer and paper profiles.
  • Works as a Plugin — ON1 Resize AI works as a standalone application and plugin from many popular photography apps like Lightroom, Photoshop, Capture One, Affinity Photo, Apple Photos, and Corel Paintshop Pro.
  • Powerful Workflow Integration — Resize AI goes beyond the average plugins. In CaptureOne and Lightroom you can batch process easily with powerful new resizing options. And in Adobe Photoshop it can handle layered files with masks, alpha channels, text, and adjustment layers in RGB as well as CMYK, Grayscale and LAB. This makes it perfect for not just photographers, but also graphic artists and print agencies.
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Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD Firmware 2 Released


Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD:
B&H Photo / Amazon / Adorama

Tamron released firmware v2 for the Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD the other day and the details and download link can be found below:

ModelProductMountLatest VersionLast Update Date
B06118-300mm F/3.5-6.3 Di III-A VC VXDFUJIFILM XVer.22022.4.4
Ver.2The operability of the focus ring during manual focus has been improved.Download Page

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