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As previously reported, Canon will be announcing a bunch of camcorders ahead of NAB on or around April 3, 2019. Camcorders being announced:
We also expect the PL mount Sumire (rumored name) prime lenses to be announced. Photography via Canon Rumors https://ift.tt/2v4dYqS March 29, 2019 at 08:48AM
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Press Release: Available in April 2019, the new accessory ensures compatibility of the Sigma lenses in EF and SA mounts with the L-Mount camera systems Ronkonkoma, NY – March 29, 2019 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced pricing and availability for the new Sigma Mount Converter MC-21, offering photographers a wider range of lens options for L-Mount cameras from Sigma, Leica and Panasonic. The Sigma MC-21 will start shipping in April 2019 and will be priced at $169.00 USD for Sigma SA-L mount and $249.00 USD for Canon EF-L mount.
Features The full list of compatible lenses and technical specifications can be accessed here and product imagery can be downloaded here. Pricing Preorder the SIGMA MC-21 at Adorama: Photography via Canon Rumors https://ift.tt/2v4dYqS March 29, 2019 at 08:42AM
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Fujifilm X-T30, Sony a6400 added to studio test scene https://ift.tt/2HL0SXB Fujifilm's X-T30 and Sony's a6400 are both highly capable midrange cameras, with APS-C sensors, similar resolution, excellent autofocus systems and similar pricing. So how do they stack up in our standard studio test scene? Take a look for yourself while we continue working through our full reviews. Photography News via Dpreview https://ift.tt/i0r8o5 March 29, 2019 at 08:01AM
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The post 5 Ways to Use a Piece of Glass for Unique Portraits [video] appeared first on Digital Photography School. It was authored by Caz Nowaczyk. In this video by Jessica Kobeissi, you’ll learn how you can use a simple piece of glass in different ways for some interesting portrait effects. ? You can use the glass from a picture frame to achieve these effects: 1. Glass AloneSimply experiment with the piece of glass using light reflections for shapes. 2. Water DropsAdd water drops to the glass and experiment with depth of field with it to create interesting effects on your model. Bringing the glass closer to the camera and focusing through it changes the effect. 3. Facial MistSpray a facial mist onto the glass to soften the image of the model and giving it an ethereal feel. 4. Clear GelSmear clear gel onto the glass to add interesting texture. Focus in on the gel or focus through to the model for a softer effect. 5. Shiny StickersAdd shiny stickers to the glass. Bring the glass closer to the camera for out-of-focus bokeh effects created by the light on the stickers.
You may also find the following articles helpful:5 Photography Hacks to Improve Your Creative Photography Easy to Create Fake Underwater Photography Hack DIY Photography Hacks and Accessories You Can Make at Home 5 DIY Hacks to Have in Your Camera Bag DIY Lighting Hacks for Digital Photographers The post 5 Ways to Use a Piece of Glass for Unique Portraits [video] appeared first on Digital Photography School. It was authored by Caz Nowaczyk. Photography via Digital Photography School https://ift.tt/29wB9CX March 29, 2019 at 08:04AM Butterfly And Loop Portrait Lighting Setup https://ift.tt/2UjxIor There are a few rather effective but simple ways to take stunning portraits with one light. This means that even if you are an amateur photographer, you can take great portraits without spending a fortune on expensive lighting equipment. We have already covered Rembrandt lighting in one of our previous articles – now we’re going to focus on butterfly and loop lighting. These two lighting setups are less dramatic than Rembrandt lighting and you can use them to achieve simple yet flattering portraits. The Equipment For Loop And Butterfly SetupsSince you’ll be shooting with a single light source, all you need is a minimal gear kit!
Even if you don’t have a reflector, you can still achieve pretty good results! Of course, if you prefer the softer quality of light and less noticeable shadows, you should definitely obtain a reflector since they are not expensive but they can definitely improve your portraits. Butterfly LightingButterfly lighting is one of the most popular and most versatile lighting setups. It’s rather simple – it consists of a soft light that hits the subject from above. It is called butterfly lighting because it creates a small shadow (in the shape of a butterfly) underneath the nose and chin. This type of lighting illuminates both eyes and both sides of the face equally and it creates a balanced and flattering look. An off-camera light used for butterfly setup should be placed directly behind the camera and slightly above the subject’s head. The light should be pointed down towards the model at about a 45-degree angle. When To Use ItThis portrait lighting setup can emphasize the jawline and the cheekbones, which makes it a great choice for fashion and glamour photography. It also makes wrinkles and uneven skin texture less pronounced. If you want to make an older subject appear more youthful, you should definitely give butterfly lighting a try! It’s relatively easy to modify butterfly lighting with reflectors. The use of reflectors will allow for more variations in this kind of lighting – anything from simple to glamorous is possible! Butterfly lighting was most popular in the 1950s fashion shoots, so you can use it to mimic this style of fashion photography. Loop LightingLoop lighting is somewhere in between butterfly and Rembrandt lighting – it’s not perfectly balanced but it’s not overly dramatic either. A larger part of the model’s face is still well lit, but since a key light is off to the side of the camera, shadows are clearly visible on one side of the face. It’s easy to recognize this type of lighting – it forms a short, rounded shadow in one corner of the subject’s nose. Technically speaking, loop lighting is a butterfly lighting moved to one side of the subject. In order to set it up, you just need to place an off-camera light next to the camera and off to the side, up to a 45-degree angle from the model. Just like in the case of butterfly lighting, the light should be taller than the subject but angled down at them. It might be tricky to find the perfect distance between the light and the camera, but you should definitely feel free to experiment with this distance. The light should be far enough from the camera to create shadows on one side of the face, but also close enough to the camera that both sides of the face are well lit. When To Use ItYou should use loop lighting when you want to give a bit of an edge to a regular portrait. Loop lighting is as flattering as butterfly lighting, but at the same time, it provides more visual interest and more dimension. It represents a great cross between soft and dramatic lighting. No matter what kind of portraits you like to shoot, always bear in mind that lighting can create a more flattering portrait, add drama and help the subject’s best features look even more stunning! Luckily, you don’t need lots of gear to create a variety of beautiful and meaningful lighting effects. In case you want to learn more about lighting in portraiture, feel free to check out the following links! Further Resources:
Further Learning:We hope you found this article on portrait lighting useful and inspiring. If you are looking to make beautiful portraits and are struggling with lighting, here is your chance to truly master light and produce amazing and inspiring images of your own. Understanding Light Book One is the first step towards your full comprehension on the subject of light, and how to make it work in your photography. In this guide you'll discover:
Discover the secrets to controlling and manipulating light in Understanding Light Book One todayShareable Images for Pinterest Photography News via Light Stalking https://www.lightstalking.com March 29, 2019 at 07:00AM
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Sigma announces pricing, availability of its MC-21 SA- and EF- L-mount adapters https://ift.tt/2U5iROU Earlier this month, at CP+, DPReview got its hands on the Sigma MC-21 adapters, a pair of adapters that allow either Sigma's SA- or Canon EF-mount lenses to be used on L-mount cameras. At the time we weren't given details on pricing or availability, but today that changes. Sigma has announced the Sigma MC-21 SA-L and EF-L adapters will be available starting April 2019 for a cost of $169 USD and $249 USD, respectively. As we were told at CP+, the SA-L and EF-L adapters can be used with 29 existing Sigma lenses, including 23 full-frame lenses and 6 APS-C lenses from the Global Vision lineup. This brings the total number of supported L-mount lenses to 40, including the 11 DG Art primes and and native L-mount lenses.
Sigma also confirms that data pre-loaded on the MC-21 adapters ensures autofocus and aperture control have been optimized for the supported lenses and says future lenses will hold the required data in the lens itself, meaning no firmware updates will be needed. The MC-21 adapters also support EXIF data transfer and various in-camera correction functions including chromatic aberration, peripheral illumination, magnification and distortion. Additional features include an integrated tripod socket for mounting larger lenses without tripod support and an internal flocking that's used to reduce internal reflections. On the Foveon front, Sigma notes it 'will aim to [eventually] replace its SA-mount lenses with the native L-mount versions, but until then, Foveon shooters can rely on the existing offering of Sigma MC-21 at a lower price point to ease the transition to the new system.' Press release: Sigma Announces Pricing & Availability for Sigma Mount Converter MC-21Available in April 2019, the new accessory ensures compatibility of the Sigma lenses in EF and SA mounts with the L-Mount camera systems Ronkonkoma, NY – March 29, 2019 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced pricing and availability for the new Sigma Mount Converter MC-21, offering photographers a wider range of lens options for L-Mount cameras from Sigma, Leica and Panasonic. The Sigma MC-21 will start shipping in April 2019 and will be priced at $169.00 USD for Sigma SA-L mount and $249.00 USD for Canon EF-L mount. FeaturesThe Sigma Mount Converter MC-21 allows for Sigma’s SA mount and Canon EF mount lenses to be used on L-Mount camera bodies. By attaching MC-21 to a Sigma SA mount or Sigma Canon EF mount lens, it becomes compatible with the L-Mount camera system without compromising usability and image quality. The development of Sigma MC-21 increases the number of interchangeable lenses manufactured by Sigma to be used with the L-Mount systems by 29, offering a total of 40 lens choices, including 11 DG Art primes with native L-mount. The addition of MC-21 to the Sigma accessory lineup will increase the accessibility of the L-Mount system and further Sigma’s role in the strategic L-Mount Alliance alongside Leica and Panasonic. The full list of compatible lenses and technical specifications can be accessed here and product imagery can be downloaded here. PricingThe lower price for the Sigma MC-21 in Sigma SA-L mount reflects the company’s appreciation for the loyal Sigma camera users as the MC-21 in Sigma SA-L mount allows for Sigma SA mount lenses to be used on any L-Mount camera body. Eventually, Sigma will aim to replace its SA mount lenses with the native L-mount versions, but until then, Foveon shooters can rely on the existing offering of Sigma MC-21 at a lower price point to ease the transition to the new system. Photography News via Dpreview https://ift.tt/i0r8o5 March 29, 2019 at 04:00AM
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Nice post from Adobe’s Lightroom and Photoshop Evangelist Julieanne Kost over on her Adobe Blog. It’s called “Assigning Flags, Star Ratings, and Color Labels in Lightroom Classic” but what I like in particular is that she quickly shares her own sorting workflow in the process. Here’s the link if you’ve got a sec (you’ll dig it, and it’s short and sweet). Have a great weekend everybody, and we’ll catch here next week. -Scott P.S. Over on my daily blog today, my post is called “It’s Update Your Portfolio Weekend” and if you’re overdue for freshening up your own portfolio, hop on over there and check it out. Here’s the link. The post A nice peek at Julieanne’s Lightroom Classic Sorting Workflow appeared first on Lightroom Killer Tips. Photography via Lightroom Killer Tips https://ift.tt/2sh0aZ8 March 29, 2019 at 03:17AM
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The Profoto Connect is a button-free wireless trigger that connects to your iPhone https://ift.tt/2WtTQtw Meet the Profoto Connect, a minimal button-free remote trigger that packs an unusual amount of power into a uniquely compact package. The Profoto Connect has just three onboard settings that are controlled with a twist of the puck-shaped device: auto, manual and off. Auto is effectively a TTL flash photography mode that will automatically detect the correct flash exposure needed for the scene when the shutter is pressed. For times when you need a little more control over the scene, simply turn the dial to manual and pair the Profoto Connect to Profoto's iOS app via Bluetooth. Once connected, all of the settings can be entirely changed directly from the screen of your smartphone or tablet. The device works with any Profoto AirTTL flash over the 2.4GHz frequency. It has an operational range between 330ft to 1000ft, features eight channels, has a 30-hour battery life and can be recharged via the onboard microUSB port. Below is a short behind-the-scenes video of Chicago children's photographer [Audrey Woulard](https://ift.tt/1gPQ29A), who normally works with natural light, taking the Profoto Connect and some Profoto lights for a spin. The Profoto Connect is available for pre-order for Canon, Fujifilm, Nikon, Olympus and Sony camera systems for $299. Photography News via Dpreview https://ift.tt/i0r8o5 March 28, 2019 at 10:01AM
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35 Magnificent Photographs Of Whales https://ift.tt/2HKXHzm Inspired by a news we featured about a whale swallowing a fellow diver (he is alive and well) we decided to create a beautiful photography gallery simply with whales. These are really gentle animals and shall be protected no matter what. I'm not even close to ever being a wildlife photographer, but I do enjoy viewing other people's wildlife photographs. So we hope you enjoy these 35 magnificent images of whales These wonderful creatures are just awe-inspiring and let's face it, you want your own images to be as impactful as these amazing photographs of whales but…honestly…how is your technique? Sometimes we don't get the photo we want because we have trouble getting over that last hurdle with our photography – and sometimes we aren't even sure what that hurdle is. Take this quiz and find out what holds you back from reaching the next level in your photography. It Is Always Great To Learn…But Is There Something Holding You Back?Did you know that there are basically 5 Photography Killers that can hold you back from reaching the next level in your photography journey? Every photographer tends to have a primary photographic challenge – their #1 Photography Killer – which is the #1 thing holding them back. Take the photography killer quiz and learn what your personal photography killer is and how to eliminate it! TAKE THE PHOTOGRAPHY KILLER QUIZ NOW Are Your Photographs As Magnificent As They Could Be?We hope that you've enjoyed these magnificent photos of whales. You too can get images like these with the wow factor that you envision. Identifying your #1 Photography Killer and fixing it will empower you to create photographs that you’ve always wanted. Photography News via Light Stalking https://ift.tt/2kwTW5i March 28, 2019 at 10:01AM
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CP+ 2019: Fujifilm interview - 'We want to show photographers the future' https://ift.tt/2HSVxgh
At the CP+ show earlier this month in Yokohama Japan, we sat down with senior executives from Fujifilm. During our conversation we covered everything from the upcoming GFX 100, to plans for APS-C and why the X100 still occupies such an important position in the company's lineup. Our interview was conducted with three senior executives in Fujifilm's Electronic Imaging Products Division:
This interview has been edited for clarity and flow. For the sake of readability, responses have been combined. In the long-run, how do you see full-frame and medium format coexisting?They definitely will coexist. Especially after we introduced the GFX 50R, we’ve seen a wider audience become interested in medium format and the sales of the 50R look very promising. I think this is a good sign. Do you have a target for market share of the full frame + market?We don’t have a specific number, but roughly speaking full-frame accounts for about 1/3 of the market right now in terms of value. It’s growing slightly. Medium format used to be something like 1% but after we introduced GFX, the medium format market has doubled. This is a good start. So we don’t have any specific target numbers, but our mission is to increase the size of the medium format market. After we introduced the 50S, we checked to see what kind of customers were buying it, and roughly 70% of the buyers were coming from other brands. Mainly DSLR users. These users still keep their existing systems, and the GFX is additional.
Do you have a sense of how many of your GFX customers are professionals?According to our surveys, 20% are professional, and 80% are non-professional. If you look at the GFX 50R, more of those customers are non-professionals. Learning from our experience with the 50R, I think that the customer base is growing. People who shoot street-style photographs like the 50R, which takes them back to the days of our medium format film cameras. Of course the focus could be faster, but they can live with the current system. Is it important to you that the proportion of professional users increases?Yes, of course. Especially after the [announcement of] Capture One compatibility, we increased our professional user base, and of course the GFX 100 is coming. What do you want the GFX 100 to achieve for Fujifilm?We hope that it will be successful commercially, but more importantly we want to show [photographers] the future - the potential of medium format. I think that full-frame can probably reach 70-80MP, but we need to stay ahead, using the larger format. So it’s kind of a technology showcase, showing our [confidence in] the format. The other side is that it’s a good way of demonstrating the quality of our glass. Our GFX lenses were all originally designed for 100MP resolution.
Do you have an update on availability of the GFX 100?It will be before the end of June - within the first half of this year. When you’re developing lenses for GFX, what was more important - the experience gained from developing lenses for the X Series, or experience developing lenses for large formats?I think really our experience from the X Series. They were designed to cope with modern sensors, and the need to control the light more precisely. What kinds of photography do you think the GFX 100 will be used for?Our immediate [target market] is commercial photographers, people who shoot fashion, landscapes, and so on but we really hope that general full-frame customers will start to look at GFX as a serious option for more general-purpose photography. With the GFX 100, with its phase-detection, back-side illuminated sensor and stabilization we’d like to see more customers adopt GFX. X Series photographers are more general-purpose, and GFX customers are those who love the look of medium format Do you see a difference between your X and GFX customers?It is different - X Series photographers are more general-purpose, and GFX customers are those who love the look of medium format, and the quality. With the 50R we’re expecting to see the gap narrow, because the style of the camera is more suited to snapshooting. The GFX 100 is one of the first cameras we’ve encountered that can shoot 16 bit Raw. When will photographers see the benefit of 16-bit over 14-bit?Mostly at low ISO, in very deep shadow detail. The benefit is subtle, even though there is four times the amount of data. It’s tougher to edit. 14-bit will let you shoot faster, which is why we don’t think [16-bit] is appropriate for APS-C.
What does Fujifilm need to do in order to lead in APS-C?Fundamentally, we need to keep up the pace of development for new devices. New sensors, processors, and the lens lineup. That’s the fundamental strategy. And I think the X-T3 is a classic example. Better focusing, 4K 60p and so on. We’re positioning APS-C against full-frame, and its faster, and more responsive because of the smaller sensor. So we’re really focusing on speed and of course image quality is [also] important. Versatility is the most important thing, and we’ll keep investing accordingly. The X-T3 has a major firmware update coming, and Fujifilm has a long-standing policy of updating older models - do you think in the long run this policy has helped or harmed total sales?We believe in maximizing the customers' satisfaction, to create a long-term strategy that will make our brand trusted by our customers. After launching the X-T2, a lot of X-Pro 2 owners started requesting 4K as well Fujifilm has invested a lot in video, in quite a short period of time. How have your customers reacted?Four or five years ago, movie functionality was almost ignored [within Fujifilm], but with the X-T2 we added 4K, and more than just resolution we’ve added new profiles, worked on the autofocus and everything else. It takes time, but definitely more and more customers are looking at Fujifilm as a serious video [manufacturer]. After launching the X-T2 with 4K video, a lot of customers who owned the X-Pro 2 started requesting 4K as well. We never thought that users of the X-Pro lineup would care about 4K video. We really hope that the GFX 100’s 4K movie will show people something new, as well. Do you think there’s room in the X Series or GFX-series lineups for a dedicated video camera?It’s possible. We don’t have any concrete plans but at some point in the future it might be a consideration.
You have the MK line of cine lenses for X-mount, do you think there’s a growth opportunity there in the future?Definitely, yes. Good video needs good video-oriented lenses, so it’s definitely a growth opportunity. The level of R&D investment is quite high, but we managed to make it make sense financially by having an E-mount option as well, alongside X-mount. That lets us reach a much broader base of customers. How have the MK lenses performed in the market?In line with our expectations. We didn’t anticipate huge sales numbers because although our [video’] customer base is growing, it’s still quite small. Are the E mount MK lenses selling to small production companies, rental houses…?Both, but at that price point a lot of end users are buying them directly [rather than renting]. Digital corrections have an impact on image quality Let’s imagine two lenses, both of which give comparable image quality: one requires no help from software corrections, while the other does, and is smaller and less expensive as a result. Which is a better solution for the photographer?That’s a very difficult question to answer. Our philosophy is to minimize digital correction, and maximize the optical quality of our lenses. The downside as you mentioned is cost and size. It’s a balance. Analog correction and digital corrections are different. Digital corrections have an impact on image quality, for example resolution. Even chromatic aberration - you have to [manipulate] each channel, R G B, and it reduces total resolution. Whereas analog, optical correction isn’t really ‘correction’, it’s about the physics of light. Are there some lenses where you do rely on software correction? And if so, when would you make that decision?We start with optics, and our designers start from the position of [needing] zero digital correction. And then if the lens looks like it will be too big, or too heavy, maybe we start talking about software. It’s always a balance but we regard optical quality as the first priority.
When you introduced the X mount lineup originally you talked about prioritizing optical quality even if it came at the expense of autofocus speed. Has your thinking changed since then?If you look at the first XF lenses, like the 35mm F1.4, they had beautiful optical quality but slow autofocus because the entire optical assembly had to move for focusing. That was the first generation. If we redesigned that lens now, probably we would take a different approach, and get a better balance of optical quality and autofocus. This is because we have new actuators, and new optical technologies. Compared to the first generation of lenses, we have learned and developed technologies to make lenses smaller without compromising image quality. In terms of technologies and production techniques, can you give us examples of how Fujifilm in 2019 is different to Fujifilm in the past?In terms of production we’ve started to introduce some automated lines. We still depend predominantly on the work of our craftsmen but, for example, when we make resolution adjustments to lenses, we’ve introduced some automation. So instead of a human making manual adjustments to the barrel, it’s done by machine, which is more accurate. When we started the X Series our focus was much more on stills Has your material science developed over that time as well?Yes. Both materials and coating technologies. Several years ago for example we started to introduce Nano GI coating, which we didn’t have in the first generation of lenses. Another difference from five years ago is the requirement for movie shooting in lens design. When we started the X Series our focus was much more on stills, but our recent lenses have inner focus systems which are much more suitable for video shooting. We do care about those customers. Do you see potential for Fujifilm to become a major player in the sports and wildlife photography market?In the future, yes. At the moment our customer base within that segment is small, but the XF 200mm F2 opens the door to those kinds of customers. It will take time, but in the future we see that kind of customer [coming to Fujifilm]. In terms of camera design, what needs to change in order to cater to those customers?We need to look at sensor and processor first, and performance, speed - we need to look at everything. If we asked 100 different X100F customers for feedback we’d probably get 100 different answers Do you have any thoughts on how you could evolve the X100 Series?If we asked 100 different X100F customers for feedback we’d probably get 100 different answers. What are the top requests? Number one would probably be for better glass, since that lens is a 2010 design. We started at 12MP and now we’re at 24MP, so that’s probably the number one. Second would be a split between people who really want a tilting screen, and people who really don’t want such a screen. Not much feedback about 4K, maybe weather-sealing is number four, but the most important thing is people don’t want us to change the style or the size. That’s a challenge. The X100 is where everything began - is it still an important product line for you?Of course, it’s a kind of symbolic line. That’s why we haven’t changed the naming convention. It’s a lot of pressure - we can’t make any mistakes! We’re already on the fourth generation and there’s a huge customer base that trusts Fujifilm so we need to work hard not to let them down. We’ve seen some manufacturers open up their lens mounts. What is the logic behind keeping X-mount a ‘closed’ mount, and do you think that might change?I don’t think we need to change our position. We’ve already created 31 lenses for all necessary focal lengths, so we don’t feel that we need to open up the mount to third parties. If a third-party manufacturer decided to create X-mount compatible lenses by reverse-engineering, would that help or harm Fujifilm?I think that from a customer’s point of view, more options are good. What do you think the next big revolution in digital imaging will be?From a sensor point of view, everyone is talking about global shutter. That is one thing, which will come at some point in the future. The other thing is more computational and Artificial Intelligence technologies making it into cameras. Probably those two things. If those two technologies were available to you right now, what would they enable you to do?The modular GFX! Just kidding. Global shutter would give us more freedom of design, no rolling shutter, things like that. It would expand the shooting possibilities. And AI and deep learning, that would let photographers just press the button and let the camera do everything, without worrying about controls, things like that. That’s the kind of camera that could be created. Editor's note: Barnaby BrittonFujifilm's Toshi Iida and his team are on a mission to change the world of photography, and they're hoping that the upcoming 100MP medium format GFX camera will help shake things up. There aren't too many photographers out there who really need 100MP and Fujifilm knows that, but an ultra high-resolution medium format camera with in-body stabilization and the ability to shoot 4K video is quite the party piece - or 'technology showcase', to use Mr Iida's words. That doesn't mean that Fujifilm is just showing off with the GFX 100. There are a lot of things that have prevented photographers from making the jump to medium format before now: size, weight, slow performance and middling autofocus being four of the major ones. The GFX 100 promises to narrow - if not entirely erase - the performance gap, while at the same time extending the image quality gap between full-frame and medium format in a way that no other manufacturer has ever been able to. The unique hybrid viewfinder of the original X100 isn't unique any more, because Fujifilm has used it in five other cameras since then Even if you have zero interest in a $10,000 medium-format camera, we've seen how Fujifilm uses experience gained from one product to inform the development of others, right from the beginning of the X series back in 2011. The unique hybrid viewfinder of the original X100, for example, isn't unique any more, because Fujifilm has used it in five other cameras since then, including the X-Pro 1 and X-Pro 2. Likewise in-camera image stabilization, which was developed for the video-focused X-H1 - itself a testbed of sorts for the GFX 100. While many of our questions at CP+ were focused on the GFX 100 and on Fujifilm's large-format strategy in general, Mr Iida also had a lot of encouraging things to say for APS-C users. For starters, it seems like Fujifilm's strategy of adding features to older flagship models via firmware isn't going to change in the near future. The X-T3 is the most recent camera to get a major boost in functionality, and it's reassuring to know that even after it's eventually replaced, its development might not cease. More than any other manufacturer out there, Fujifilm has really committed to APS-C While it seems unlikely that the X Mount will become an open standard any time soon, It's good to hear that Fujifilm won't fight with third-party manufacturers who create new options for their customers via reverse-engineering. It's worth noting though that one of the best disincentives to them doing so is Fujifilm's own APS-C lens lineup, which is extensive, if not comprehensive. More than any other manufacturer out there, Fujifilm has really committed to APS-C, and it will be interesting to see how the lineup evolves as Mr Iida pushes his engineers to create more specialist optics like the XF 200mm F2 for sports and wildlife photographers, and the MK range for video shooters. Meanwhile, at the other end of the customer spectrum, a lot of us are happy with the fixed lens, stills-focused philosophy of the X100 Series. It was interesting to hear from Mr Iida (and everyone in the room with him) that Fujifilm is very careful about how and when it updates the X100, which occupies a "symbolic" position in the catalogue. We don't know yet what a next-generation X100 will look like, but judging by the customer feedback (and by Fujifilm's track record of listening to and acting on that feedback) it's a pretty safe bet that a new lens will be part of the package. Photography News via Dpreview https://ift.tt/i0r8o5 March 28, 2019 at 08:07AM |
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