Fujifilm has announced two new cameras: the GFX 100S medium format mirrorless camera, and the X-E4 an X series mirrorless APS-C sensor camera body. Both have an impressive specification seen in flagship models, squeezed into a smaller build. The full feature set of the GFX100 has been re-engineered to fit within the smaller, lighter body of the new GFX 100S. In a similar fashion the X-E4 has the same sensor and processor as the flagship X-Pro3, again in a more compact design.
Both camera bodies are more affordable then their flagship counterparts making them lighter on the wallet as well as lighter in your camera bag.
New Fujifilm camera bodies: GFX100S (left), X-E4 (right)
Fujifilm GFX100S Features
The GFX100S has at its heart a 102 megapixel medium format sensor. The sensors in the Fujifilm GFX series are 1.7x larger than the full-frame 35mm sensor seen in Canon, Sony and Nikon flagship bodies. Medium format digital sensors offer a different quality of image closer to that achieved with medium format analogue camera bodies such as the film cameras from Hasselblad, Mamiya and Fujifilm in the past. A large lens mount is needed for such a large sensor and the GFX100S has a reinforced chassis which is 1mm thicker around the mount while the camera is overall 500g lighter than the GFX100. The increased density at the lens mount gives greater support for larger GF lenses.
X-Processor 4 is the engine behind the impressive 102 megapixel sensor. It powers the on-sensor phase detection auto-focus making this camera versatile, accurate and very fast. The shutter unit has been re-designed and the in-body image stabilisation (IBIS) unit is a new design which is 20% smaller and 10% lighter than the IBIS in the GFX100 while delivering 6 stops of image stabilisation.
The large sensor is also capable of recording 4k30p video at 16:9 or 17:9 aspect ratios, and can record 10 bit F-Log to an internal SD card or output 12bit ProRes RAW via the HDMI port to an external recorder. 12 bit RAW footage can be output via HDMI to an Atomos Ninja V recorder to eliminate in-camera image processing and offer you freedom to make decision in post.
Fujifilm X-E4 Features
The Fujifilm X-E4 is a lightweight, rangefinder-styled camera built around the latest X-Trans 26.1MP CMOS 4 sensor and the X-Processor 4. With Fujifilm’s latest sensor and processor combined the X-E4 inherits features from the most recent Fujifilm cameras, including an updated AF system, 4K video recording and fast burst shooting rates. If you shoot to JPEG, there are now eighteen of Fujifilm’s film simulation modes to choose from.
The X-E4 has a tilting LCD screen which can be flipped to 180 degrees for forward facing monitoring. The AF system can achieve focus in 0.02 seconds and uses an advanced tracking algorithm to hold focus on moving subjects.
When recording video the X-E4 oversamples 6k footage to record 4k30p 4:2:0 8-bit in camera, or to output 4k30p 4:2:2 10-bit via HDMI.
The fantastic Profoto A1X speedlight flash is now available with a Fujifilm hot-shoe for full TTL compatibility with Fujifilm X-Series and GFX cameras. Fast recycle times are a benefit to any photographer shooting weddings, events or press. With Profoto AirTTL technology you can use this flash as a remote light source, or as a control unit for multiple Profoto flash heads.
Travelling light
Profoto A1X is compact and powerful. The flash is powered by an on-board rechargeable Lithium-Ion battery. This high power battery recycles the flash head fast, removing the need for external battery packs and cables. The Profoto A1X has a magnetic system snap-on system for light modifiers and comes with a wide-angle diffuser and a dome diffuser and a bounce-card which each snap on / off in a moment.
The Profoto A1X for Fujifilm is £949 including VAT. To order call our expert sales team on 0207 582 3294 or email: sales@fixationuk.com
Profoto Air TTL
Profoto Air TTL technology allows you to use your camera system’s flash metering with a broad range of Profoto flash heads, from the on-camera A1X to the mighty Pro-10 Generator. Once your lights are in place, you can point, shoot and let your camera worry about the exposure. The wireless Air TTL connectivity, from camera to remote flash heads, saves you time when conditions change on location as the TTL metering will raise and drop the flash output as required. For precise control you can switch to Manual output and dial power up or down. The A1X and A1 speedlight flashes work as AirTTL commander units and as remote lights. Profoto also produce dedicated AirTTL remotes for Canon, Nikon, Sony and Panasonic TTL systems so you can use your familiar Profoto setup across a broad spectrum of cameras.
Paul Stewart, Night Picture Editor at the Daily Express and documentary photojournalist, has worked in the imaging industry for over 45 years, both as a photographer and an editor. As soon as the first GFX’s arrived in our rental department, we were keen to see what working professional photographers really thought of the camera, and Paul was only too happy to oblige..
I was really interested to hear early rumours of the GFX 50S, as the idea of a mirrorless medium format camera was an exciting new development. Having swapped my full frame DSLR kit for the Fuji X Series and specifically the wonderful X-Pro2s, I knew that FujiFilm’s evolution of digital photography was well up there with their previous take on the medium and always considered FujiFilm to be people who develop their sensors with an eye to their great history as a film manufacturer. In fact, only Kodak, to my mind, produced high end pro digital kit with a similar quality of colour and detailed reproduction. Having seen the GFX 50S at Fixation’s FujiFilm Open Day I was delighted when they asked me to try the camera out.
When I was the editor of HotShoe International and indeed when I reviewed equipment for the British Journal of Photography, I had a strict policy of not doing or commissioning a review unless an actual photographer went out and shot a real job with the equipment (after all if you can’t earn a living with it, it’s not a lot of good to a pro).
The first thing I noticed about the GFX was the ergonomics which are superb. In comparison to my Phase One Mamiya 645AFD, it’s lighter (when used without the battery grip) and handles far more like a high end DSLR, making location use far easier, though it’s happy to sit rock solid on a tripod in the studio. The next thing I noticed was that the firmware, menus and ergonomics all take a big lead from the X Series cameras that I am already used to, which meant that integrating myself into the camera system was a doddle.
This is a really well thought out camera. The tri-axis tilt screen on the back means that you can shoot from almost any angle and still see what you are framing, making a “Hail Mary” more a matter of framing than prayer.
Likewise, the tilting view finder, which I originally thought was not going to be that interesting, turned out to be a godsend when shooting in bright light when wanting to shoot from a lower angle.
So what job did I decide to use it on? I was asked to be the host photographer for a Royal Visit by the Duke of Gloucester, who, of all things, was meeting three Virginia Indian Chiefs of the Powhatan People, all of whom were of the descendant tribes of Pocahontas and who were celebrating the 400th Anniversary of her leaving Brentford, where she lived, to return to America.
Sadly, she only got as far as Gravesend, where she died. The ceremonials were being held in Syon House, so I arrived a bit early to check out the light, which, although soft, was very low outside the venue. Inside, especially in the private green drawing room, it was abysmal but plunging on, I shot this job jpeg only to see just how good the dynamic range of this camera was. I expected it to be good. It was, in fact, exceptional. I shot some portraits of the various Chiefs and dignitaries with extreme highlights and shadow within them and the detail recovery was beyond that I expected.
The camera behaved faultlessly throughout the shoot. I never had to go onto the second battery that I had as a back up and was incredibly pleased with the results. Everything you see, including the grip and grin type PR shot of the Chiefs with Lord Watson of Richmond, were shot in a low level of available light. In fact the very first shot I shot with the camera in anger was the one of the marble statue in Syon’s Great Hall.
Looking at this just on the back of the screen made me realise just what a great camera this is. Although, like all medium format cameras it is expensive, when compared to Phase 1s and other makes, it’s well priced. The only down side to the camera that I have seen so far, is that FujiFilm went back to a Bayer Pattern rather than adopting their fabulous X-Trans sensor design as used in the X Series, which I find to be the best sensor I have ever used. It would have been nice to see a larger format version of this. However, in terms of colour rendition etc I find it hard to fault the GFX 50S.
I don’t feel that the Mamiya would have allowed me to do the location shooting that the Fuji allowed and the only downside is that I now have to try and sell my Mamiya 645 AFD/Phase One System so I can get a GFX!
No strangers to medium format, Fuji’s heritage lies with iconic cameras such as the GS645, G617 and the first AF medium format, the GA645.
While the design and technology are distinctly modern, the camera follows Fuji’s philosophy of portability and size, resembling a larger X-series camera. Despite boasting a medium format 50MP sensor – almost 70% larger than a full-frame DSLR – the camera itself is comparable in size to a D810, albeit slightly deeper.
Menu navigation and operation on the GFX is similar to its smaller stablemate, the X-T2 and existing Fuji users will feel at home with the controls.
The initial lens lineup comprises six lenses ranging from a superwide 23mm ƒ/4 (18mm equivalent in 35mm) to a 120mm ƒ/4 Macro (95mm equivalent), although not all lenses will be shipping immediately.
Swedish manufacturer Hasselblad has introduced the the X1D – the world’s first medium-format camera based on a mirrorless design.
The camera weighs half that of conventional medium-format systems and as Hasselblad reaches its 75th birthday it marks somewhat of a change in direction after spending the past few years focusing on developing its H5 and H6 medium-format lines for professional users.
The camera inserts itself at the top of the Mirrorless Camera range and will have definite consumer appeal, but the X1D has a lot to offer professional users too – handcrafted with a high quality metal chassis, weather sealing and of course premium image quality. More portable than other formats, Hasselblad claims its arrival, “makes medium format photography available to a new generation of Hasselblad users”.
The X1D is based around a 50MP medium-format CMOS sensor measuring approx 44×33mm with enhanced detail enabled by a lack of anti-aliasing filter. Any fans of the Nikon D810 and Canon 5DsR will be at home with this technology only recently adopted by DSLR makers. Images can be captured as RAW files (lossless compression), JPEGS or both; and with 16-bit colour depth, a 14-stop dynamic range and an ISO scope of 100-25,600, users can expect images with smooth tonal graduation and great clarity in all lighting conditions.
The camera is also capable of capturing videos although, in contrast to the many 4K-enabled cameras now available, its maximum resolution here is Full HD (1920×1080). A port is also provided both external microphones, as is a headphone socket for the purpose of audio monitoring.
The camera offers an extremely responsive 3″, 920k-dot touchscreen, plus a clear OLED electronic viewfinder. Physical buttons are kept to a minimum resulting in a very attractive and ergonomic style.
The X1D’s top plate features a conventional mode dial to select exposure mode, the custom setting bank or video. The camera’s hotshoe is compatible with Nikon flashes.
The X1D weighs just 725g with its battery included, which is lighter than most full-frame DSLRs currently on the market, and measures 150x98x71mm. It features dual SD-card slots, alongside a Type-C USB 3.0 port.
The camera can be tethered to a computer through its USB port, although Wi-Fi has also been included for cable-free control. The further addition of a GPS system will please those wanting to travel with it, although the maximum burst rate of 2.3fps may discourage action photographers.
Users can choose from spot, centre-weighted and CentreSpot patterns for metering, while the autofocus system employs a contrast-detect AF system with a manual override.
An accompanying XCD line of autofocus lenses has been launched alongside the camera, and two of these – the 45mm f/3.5 XCD and a 90mm f/4.5 XCD – should be available in time for the X1D’s late-August release. A further 30mm lens is expected to arrive before Photokina comes around. These lenses integrate leaf shutters and allow for shutter speeds as fast as 1ƒ/2000sec to be used, with flash sync at all speeds. Hasselblad’s HC and HCD lenses will also be compatible via an adapter.
Hasselblad X1D: Hands-on review
We were given the opportunity to get our hands on one of the few pre-production samples of the X1D currently available, along with one of the new 45mm f/3.5 XCD lenses. As final firmware has not been made available yet, all comments refer to this pre-production sample.
With the 45mm f/3.5 XCD lens and hood mounted, the X1D might appear about the same size as other medium format cameras in the hands, but the difference in weight is noticeable; it’s certainly light enough to be held for extended periods of time without encountering any fatigue. The grip may not be as sculpted as those on similarly sized DSLRs or CSCs, but it still provides ample room to get good purchase and fits well in the hand.
It’s a welcome find that the power switch is as accessible as it is – right in front of the rear command dial on the top plate. Another nice touch here is the design of the mode dial (pictured below); the whole dial pops up from the top plate for changing mode and recedes into the top plate when pressed down. This prevents any inadvertent change to a different setting – a common bugbear on cameras with similarly placed dials – and also helps to keep the top plate smart and streamlined.
This mode dial also provides quick access to three custom options, as well as the camera’s Full HD video recording function. Hasselblad has elaborated on the the camera’s video-recording abilities, stating that the reason the camera does not record 4K video was not a choice made by Hasselblad as such, but simply a limitation of the 50MP Sony sensor inside the camera. The Phocus 3.1 program that will ship with the software as standard will also provide support for video files from the camera in addition to still images.
Two controls next to the mode dial each have dual functions, one accessing ISO and White Balance and the other to change between auto and manual focus options. These controls work in conjunction with the command dials at the front and back of the camera, with this setup mirroring that of many DSLRs with dual command dials.
Those coming from DSLRs or Compact System Cameras are likely to get something of a surprise upon using the X1D for the first time. Like the recently launched Leica SL, Hasselblad has chosen to keep physical controls to a minimum on the rear, with control largely coming through the five buttons that line the display’s right-hand-side. Their basic functions are explained by icons, but these are paired with additional controls on screen so that they serve further purposes.
The GUI is, without question, one of the clearest on any camera currently available. Although there are differences, much of this appears very similar to the interface on the Hasselblad H6D that was announced earlier in the year. The Main Menu bears clearly labelled functions and graphics – no cryptic markings or abbreviations as on some other models – and everything appears to be logically segregated.
The display’s size also allows for key exposure information, such as aperture and shutter speed, to be much larger than expected, while a handful of icons that show things like focusing mode, white balance and battery life, sit alongside these. Unlike the H6D the X1D lacks a top-plate LCD, so it’s good to have all this information as clear and visible as possible.
The display also offers touch control and the way this has been integrated deserves special mention. You can, for example, simply swipe your finger across the display to change things like aperture or sensitivity, and checkboxes feature elsewhere to allow for simple, one-touch selection.
Hasselblad has also sought to make the camera behave much like a tablet or smartphone, with the screen responding to double-tap motions (particularly useful when scrutinising fine details when playing back images). The screen’s 920k-dot resolution may not appear to be as high as those on many current DSLRs and Compact System Cameras on paper, although it proves to be clear enough to allow for fine detail and focus to be checked with accuracy. Not only that, but in the conditions under which we were able to test the camera its viewing angle appeared to be excellent.
The camera’s viewfinder is backed by an eyecup, with a proximity sensor integrated in one side to alternate between showing the feed inside the viewfinder and on the main rear display. The depth of this eyecup means that the user’s face is set further away from the LCD than on other models, and this is particularly useful here as it prevents the screen from being smudged faster than would otherwise be the case through touch-operation alone.
The viewfinder boasts a contrast ratio of 230:1 and 24 bit colour reproduction, and its 2,36million-dot resolution means that the scene can be viewed with great clarity. One thing we noticed was a temporary drop in sharpness as the camera acquires focus, although this may only be specific to pre-production samples.
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