Latest sample galleries
Latest in-depth reviews
The Everyday Sling might just be the perfect pack for not carrying too much gear, combining comfort with Peak Design's signature modern style.
|Fujifilm executives (L-R) Shin Udono, Senior Manager, Sales & Marketing Group, Optical Device & Electronic Imaging Products Div., Toshihisa Iida, General Manager, Optical Device & Electronic Imaging Products Div. and Makoto Oishi, Manager, Sales & Marketing Group, Optical Device & Electronic Imaging Products Div. | Photo by Barney Britton|
Recently we visited the 2018 CP+ show in Yokohama, Japan and booked interviews with senior executives from several major manufacturers, including Fujifilm. Among the topics covered were the runaway success of the GFX system, how the company is moving into video and, of course, Instax.
The following interview has been edited slightly for clarity and flow.
We’ve shipped more than we expected and planned for. Even more impressive is the lens attachment rate, as we’ve sold so many lenses as well. Overall, GFX sales have exceeded our predictions.
As far as customer feedback, we heard mostly good things concerning the image quality – especially for users that shoot landscapes that need more dynamic range compared to APS-C cameras. Something that we didn’t expect was the number of high-end amateurs buying the GFX system. According to our survey, 80% of users are non-professional, and 20% are professional. That was a surprise.
|The Fujifilm GFX 50S comes with a large 43.8x32.9mm imaging sensor and uses the all-new GF lens mount.|
Other feedback is that our customers need more lenses in the lineup, especially in the telephoto range. We’ve already put on the roadmap that we are developing a 250mm F4 [198mm equivalent focal length] lens to meet their demand. Many customers also want more speed from the cameras, so we’re continuously doing a lot of work to make our GFX system more responsive.
And another thing is that for many customers buying the camera, it’s not a direct replacement for everything in their system; more customers are buying the GFX in addition to their existing system. Many of these customers may want to use their existing lenses on a GFX body, so we support many third-party adapter manufacturers to provide lens adapters.
Each photographer, each customer, requires a different style of camera
Also, we introduced a new firmware upgrade this month which includes a new 35mm crop mode, allowing 30.5MP cropped images. So overall, I think the image quality is the key thing. We’re surprised too that we can find over 100 lens adapters in the market, with 28 types of mounts.
At the moment, yes, but we are aware of requests from customers for other zoom lenses.
|The recently announced Fujifilm X-H1 takes a lot of styling and ergonomic cues from the GFX 50S, but is based around a smaller APS-C sensor and Fujifilm's X mount.|
One purpose of us doing the X-H1 is that some customers actually requested a bigger grip and better handling, especially together with bigger lenses like the 100-400mm. And this year we’re committed to introduce the XF 200mm F2, so these kinds of lenses definitely need a bigger grip.
And of course, the X-H1 is just an additional line and we’re keeping smaller cameras. Last September, we went the opposite direction with the X-E3. We said, ‘this is a minimalism camera.’ Less is more. One reason for these lineups is that each photographer, each customer, requires a different style of camera. Landscape, sports, motorsports, travel, reportage, street, they all require a different style.
We think our current product line mostly covers the purposes and styles of any kind of photography. So at the moment, we don’t feel that there’s anything we need to add, but we do want to focus on APS-C cameras. We think that’s a good format for the best balance between size, speed, quality, and now we have the GFX [for even greater quality].
Yes, we are considering it.
|The Fujifilm X-H1 offers a touchscreen interface to more easily (and quietly) take control of your movie shooting parameters.|
The amount is definitely growing. Yesterday, we met a photographer we’ve known for many years, and he started in still photography with the X-series, and now he’s taking more and more videos.
I think our strength is seen, in stills photography, as image quality straight-out-of-camera. Currently, many videographers spend a lot of time for post processing. We introduced a new film simulation called Eterna that is intended for video purposes, and many videographers that have already tested X-H1 said to us that it dramatically reduced their workflow because of the image quality from the camera.
I think we will see more users transition from stills to video rather than the other way around
Yes, that’s technically possible. We continue to be committed to firmware upgrades, but we need to decide which cameras really require new functionality.
|Fujifilm'x MKX series of professional yet relatively affordable cinema lenses now comes in X-mount for use on the company's own cameras, and not just in E-mount (shown here).|
I think that our main customers are stills photographers, but we will see more users transition from stills to video rather than the other way around. One thing that might be interesting to users is the MKX lens lineup. These are dedicated cinema lenses, so there may be some customers who want to use them and that’s why they would buy the X-H1.
All we can say is that there is much room to improve stills photography functionality for the X Series. Of course, our firmware is one way we can improve, but there are always some limitations and we keep making innovations for the hardware as well. So, together, we can make much faster and more accurate autofocus and [improve] video functionality.
We will see more competition with Canon and Nikon as well as Sony, but we will work hard to keep our uniqueness
It depends on which country and which region we’re talking about. For the US market, we definitely have focused on the high-end side, and that has been successful. But if you look at the Asian market, the X-A series are really popular mirrorless cameras. In Thailand, our market share for mirrorless is over 40%. The number of young people that are buying these cameras is amazing.
We don't have an old legacy. That is our strength, and also our weakness
So, in terms of creating a new market and appealing to new customers – these customers are used to smartphones, and they’re switching to mirrorless. For the Asian market, we want to continue this market creation. For the Western market, high-end and professional use is our main focus.
One of the good things about our products is that we don’t have an old legacy. We just started our mirrorless system six years ago, so we are not sticking to the 35mm format or legacy lenses. That is our strength, and also our weakness. But over the past six years, we’ve worked hard and now our lens lineup has over 30 lenses.
|Fujifilm's comprehensive lens lineup looks even more impressive when you consider that the mount has only existed for six years.
Image credit: Fujifilm
I’ve also been asked many times, ‘how do you feel about Canon and Nikon getting into mirrorless?’ My answer was always, ‘welcome.’ Because having those strong brands in the mirrorless marketplace increases general awareness of mirrorless, and that’s a good thing for the whole industry. And if the whole industry is growing, then we have a greater chance to grow as well.
So yes, we will see more competition with Canon and Nikon as well as Sony, but we will work hard to keep our uniqueness in design and usability; [one big way] we differentiate is by our analog controls. And of course, we need to keep innovating inside our cameras as well, improving the sensor, processor, and also by introducing new lenses.
|What do all of these cameras have in common? They all use Fujifilm Instax film.|
Our philosophy is that the camera is a tool for photography. At the end of the day, the customer wants great images whether they’re on a digital display, or in print; it’s the customer’s choice. The good thing about Instax is that customers, especially younger generations, realize the value of print photography and we want to encourage that. For example, our cameras can easily print directly on Instax, so we really want to promote the value of the print.
In Asia, we actually sell a camera and printer bundle. Even for high-end photographers who use the X Series, there are good opportunities especially for street photography; take a picture, make a print, and give it to your subject.
As expected from previous meetings with Mr. Iida and his colleagues, our conversation at CP+ 2018 was both honest and candid. The unexpected success of the GFX 50S is a great thing for both Fujifilm and photographers alike. Not only does this validate the development and manufacture of the camera in the first place, but it highlights how Fujifilm's bypass of the 35mm full-frame format was a good call. It will be interesting to see to what extent – and how quickly – the system grows in the coming years.
Certainly, Mr. Iida made the point that the X Series has only been around for six years, and now boasts a lens and camera lineup that is impressively comprehensive. While I don't necessarily expect that level of rapidity with more niche medium-format products, there's no denying the company's excellent track record of system-building.
The possibility of an X70 follow-up is intriguing, but the rest of the APS-C lineup does look awfully full. In covering everything from the entry-level X-A series to the new pro-oriented X-H series, I get the sense that Fujifilm will be focusing on the refining of existing products for the near future, as opposed to introducing something entirely new (though I'd love to be proven wrong here). And with possible full-frame mirrorless cameras from the likes of Canon and Nikon appearing on the horizon, Fujifilm's continued emphasis on improving their autofocus and video capabilities is going to be key as the competition heats up.
Fujifilm's take on video is certainly unique. The X-H1's excellent out-of-camera video quality has the benefit of appealing to both beginners and experienced users that grow tired of a lengthy workflow. And while that camera's video feature set is comparatively limited at this time, I fully expect that to be addressed in future models – particularly in light of the new MKX cine lenses.
|Camera Only, Base|
|See price on Amazon.com|
|Camera Only, w/ Booster Grip|
|See price on Amazon.com|
|w/ XF100-400F4.5-5.6 Lens, Base|
|w/ XF100-400F4.5-5.6 Lens, w/ Booster Grip|
|w/ XF16-55F2.8 Lens, Base|
|w/ XF16-55F2.8 Lens, w/ Booster Grip|
|w/ XF50-140mmF2.8 Lens, Base|
|w/ XF50-140mmF2.8 Lens, w/ Booster Grip|
May 6, 2018
Apr 12, 2018
Jun 19, 2018
Jun 15, 2018
The Fujifilm X-H1 takes its place above the previous range-topping X-T2. What does the new camera bring to the table, and what kind of photographer is it designed for?
Fujifilm's new X-H1 sits above the X-T2 in the company's X-series APS-C lineup. At the X-H1's launch in LA last week, we sat down with the camera's product manager, Jun Watanabe, for a detailed look at the new camera.
Fujifilm has unveiled the X-H1, a flagship 24MP APS-C camera that builds on the X-T2's feature set by adding 5-axis image stabilization, a touchscreen and more advanced video capabilities.
When the Fujifilm X-T2 arrived, it was more than just a modest upgrade to the already impressive X-T1. While the new X-T3 hasn't changed the overall design of the camera, this model is way more than an upgrade; rather, it's a quantum leap.
The Movie Maker is a compact, motorized slider designed for phones, action cams and small mirrorless cameras. We think it's a fun little kit and a good value proposition for the cost, provided you can work around a few of its weak points.
Nikon's Z7 is the first camera to use the all-new Z-mount, the company's first new full-frame mount since 1959. We've put together our first impressions based on quality shooting time with a pre-production camera - check out what we've found.
What's the best camera for a parent? The best cameras for shooting kids and family must have fast autofocus, good low-light image quality and great video. In this buying guide we've rounded-up several great cameras for parents, and recommended the best.
What's the best camera for shooting landscapes? High resolution, weather-sealed bodies and wide dynamic range are all important. In this buying guide we've rounded-up several great cameras for shooting landscapes, and recommended the best.
What’s the best camera costing over $2000? The best high-end camera costing more than $2000 should have plenty of resolution, exceptional build quality, good 4K video capture and top-notch autofocus for advanced and professional users. In this buying guide we’ve rounded up all the current interchangeable lens cameras costing over $2000 and recommended the best.
|The Lone Photographer by ed rader|
from My Best Photo of the Week
|_ERN9064 by ernesto juarez|
from Shoot yourself ! (with your camera)
|Neighbourhood Watch by Stevie Boy Blue|
from Zoo trip ~ Cute...
Canon has announced its latest superzoom camera, the PowerShot SX70 HS. Compared to the SX60 that came before it, the SX70 has a longer lens, higher resolution EVF, 4K video capture and support for Canon's new CR3 Raw format.
Cosina has announced its eighth lens designed specifically for Sony's E-mount system. The Voigtlander 21mm F3.5 lens is due out October 2018.
Sony has taken the wraps off of its new 24mm F1.4 GM full-frame lens, which the company claims is the lightest in its class. Despite its fast aperture, the 24mm F1.4 is remarkably light, weighing just 445 grams (15.7 ounces). The lens will set you back $1400 when it ships next month.
In this episode of DPReview TV we take a look at Sony's brand new 24mm F1.4 GM lens, a desirable focal length for many photographers. How does it perform? Chris and Jordan give us their first impressions.
We've had a little time to shoot with Sony's new wide/fast prime, both close to home and on the water in San Francisco. Check out our initial sample images.
Fujifilm released a firmware upgrade for its X-T3 mirrorless camera that addresses issues with distortion compensation and the mechanical lock on SD cards.
The app's algorithms have been trained using using 200 million cropping data points from real photographers.
Thanks to a software update, the Loupedeck+ editing console can now be used for video editing.
British photographic engineer MTF Services is claiming the world’s first third-party lens adapters for the new Nikon Z system with a collection of four units designed to allow cinema lenses to be mounted on the mirrorless full frame bodies.
Think Tank Photo has updated its line of heavy-duty rain covers and introduced a new, compact version for emergency situations.
The X-T3 is our first opportunity to analyze what's likely to be Fujifilm's next generation image sensor. Take a look at how it performs next to the competition in our studio test scene.
Canon's new normal is seriously sharp wide open. After shooting with it for a few days, we've prepared a gallery of real-world sample images.
Nikon will cease offering Brazil-based customer service and technical support, though the company stresses that it will still offer technical assistance and warranty repairs for valid warranties.
Two years ago, CatLABS of JP announced a plan to save Packfilm from the dead. Now, it's announced it's giving up its efforts to better focus its resources elsewhere.
The GoPro Fusion is designed to make it easy to capture 360-degree video and stills. We took it out recently on a typically hot Seattle summer day to see what it can do.
We've got our hands on a full-production Nikon Z7 camera and have updated our gallery with additional samples.
A new Kickstarter campaign seeks funding for Chroma Chrono, a programmable RGB camera flash that emits multiple colors during long exposures.
Think Tank Photo has launched a new lineup of six dual-access, water-resistant protective lens cases it calls Lens Case Duo.
Canon and Nikon finally entered the full-frame mirrorless market this summer with the brand-new RF and Z mounts. Now that we've had some time with the cameras, we wanted to revisit our earlier predictions and take stock.
The devices' camera specs look pretty much identical to last year's iPhone X but under the hood a number of important improvements have been made.
Blackmagic Design has announced the public beta of its new Blackmagic RAW video codec. The company says the new format combines the benefits of shooting Raw video with the ease of use and smaller file sizes usually associated with non-Raw video files.
Serif, the company behind the Affinity suite, has announced the latest update for its mobile Photoshop competitor Affinity Photo for iPad.
The Atomos Ninja V external video recorder and monitor will be ready to ship at the end of this month. The 5.2in Ninja V is designed to provide a smaller option, while still offering many of the features of the larger 7-inch models.
Having shot with the camera, spoken to Canon and read the tea leaves, here's what DPR Technical Editor Richard Butler thinks the EOS R tells us about Canon and the RF's mount's future.
After last week's teaser, lighting manufacturer Profoto has announced its 'small big' new product. The B10 is designed to be used as studio flash head but in a very small body, and has a powerful continuous light source for videographers as well.
Konseen has launched Photo Studio, a new light box tent large enough to photograph people, as well as objects.
Seagate has introduced new high-capacity hard drives for Network Attached Storage (NAS) devices: the 14TB IronWolf and 14TB IronWolf Pro HDDs.
The case was first announced earlier this year as a Kickstarter campaign and comes with a range of features aimed at iPhone photographers.
Manfrotto has introduced a new two-in-one tripod to its Befree lineup. Called the Befree 2N1, this new addition is both a tripod and monopod in one and is available with both of Manfrotto's locking mechanisms.