Fujifilm X-T1 Review
The feature on the X-T1 that has garnered the most 'oohs and ahhs' around the office is its electronic viewfinder. While it uses the same high resolution 2.36 million dot OLED panel as the X-E2, the comparison ends there. With a magnification of 0.77x (equivalent), this EVF is slightly larger than the optical viewfinder on the Canon EOS-1D X. In addition to being large, the 'lag' of this viewfinder is one-tenth of that of previous models. It has both an eye sensor for auto-switching with the rear LCD, and dioptric adjustment.
|The X-T1's giant OLED electronic viewfinder sports 2.36 million dots and an amazing 0.77x magnification. The eye-cup doesn't protrude very far from the back of the camera, which may let in some incident light if you're wearing glasses. The eye sensor has just the right sensitivity, and won't turn on accidentally when you're taking waist-level shots with the tilting LCD.|
Fuji has taken advantage of the giant EVF in a number of ways, all of which enhance the shooting experience. They include your choice of 'full' or 'normal' views, with the latter using a smaller area of the EVF to display the image, as it can be difficult to see the edges of the frame in full view. There are also 'dual' and 'portrait' views, both of which are best illustrated below.
While full view on the EVF is spectacular, it can be a bit difficult to see the edges and corners of the frame. A quick switch to 'normal' view using the 'DISP' button takes care of that problem.
|Full view uses the entire area of the EVF to display the image you're composing, as well as shooting data.||If you're having trouble seeing the edges of the frame in full view, you can switch to 'normal'.|
From the 'why didn't I think of that?' department is the X-T1's portrait view. Simply put, when the camera is rotated 90 degrees, so does everything in the EVF, in contrast to most cameras which have the same view for portraits as they do for landscapes.
|When shooting in the portrait orientation, the view in the EVF adjusts accordingly, so shooting data is easy to read.
This is a quite a contrast to other cameras, which leave all shooting data in the same place as when you're shooting in the landscape orientation.
If you don't like this behaviour, you can disable it in the menus (Set-up Menu 1, Screen set-up, EVF Autorotate Displays).
The final unique EVF feature is Dual Mode, which is designed for manual focus. As shown above, a smaller window is shown to the right of the main view, which is displaying Digital Split Image in this case (focus peaking or basic magnified view are alternative options). This allows you to fine-tune focus without losing sight of the image as a whole. The Digital Split Image display only works in the centre of the frame, but for the other two modes you can select which area of the frame is enlarged.
|Dual Mode puts an enlarged view (shown) alongside the overall image, to make manual focusing easier. This can also show either peaking or the Digital Split Image display.
One slight oddity is that the magnified focus check view disappears when you half-press the shutter button prior to taking the picture.
Viewfinder Size Comparison
In case you needed another illustration of just how large the X-T1's viewfinder is, here it is compared to the Canon EOS-1D X, which has the largest optical finder of any current DSLR. The X-T1's EVF offers a fractionally larger view, which means it's substantially bigger then the optical viewfinder of a typical APS-C format SLR Such as the Nikon D7100. The X-T1's finder is notionally a little larger than on those on other mirrorless cameras like the full frame Sony Alpha 7 or Micro Four Thirds Olympus OM-D E-M1, but in practical use you'd be hard pushed to see the difference.
The X-T1 has the same LCD panel as the X-E2, but with the added ability to tilt upward by 90 degrees or downward by 45 degrees. This lets you easily use the camera for overhead or waist-level shots, but only if you're happy to shoot in landscape format. Like all tilt-only screens it becomes essentially useless the moment you turn the camera to the portrait orientation (but this does help keep the camera body slim).
One very nice thing about the tilting mechanism is that it doesn't sit 'under' the camera when the display is aimed downward. This keeps the camera level, rather than making it front-heavy, and means it won't foul a tripod head or quick-release platform either.
The display itself is 3" in size and has 1.04 million dots (720 x 480 RGB pixels). The refresh rate is excellent, as is screen brightness and color reproduction.
As you've probably noticed, there's no built-in flash on the X-T1. Instead Fujifilm has included a small external flash (EF-X8), which has a guide number of 11 meters at ISO 200 (8m at ISO 100). It's powered from the camera, using a couple of extra contacts that Fujifilm has added to the hot shoe. It locks onto the camera automatically using a sprung pin, which is released by pressing a button on the back.
The flash has all the usual modes, including slow sync for balancing with ambient light, and second curtain sync. It also features Fujifilm's 'Commander' mode, which allows it to be used to trigger studio strobes by disabling the usual metering pre-flash (note that Fujifilm has no dedicated wireless strobe system of its own). The flash flips up high above the lens axis, but can't be tilted back to bounce off a ceiling.
It's worth noting that flash exposure compensation is strangely inaccessible on the X-T1. It's buried deep down in the menus (Shooting Menu 4, Option 5 to be precise), and can't be assigned to a function button. This seems an odd oversight in a camera that's otherwise so user-friendly. So if you're planning on taking a lot of fill-flash shots with the clip-on unit, this could be a concern.
While other Fujifilm X-series cameras have built-in Wi-Fi, the X-T1 is the first to support smartphone remote control out of the box. Using the 'Fujifilm Camera Remote' app, you can preview your photo, adjust settings and, of course, take the shot.
|The Camera Remote app lets you adjust shutter speed, aperture, and exposure compensation, depending on the exposure mode the camera is set to when the connection is made.
Once connected, the phone overrides the camera's external controls. You can set ISO, Film Simulation, White Balance, Macro Mode, Flash Mode, and Self Timer from the app, and 'touch focus' almost anywhere in the frame. Unusually, you also can start and stop movie recording over Wi-Fi.
The live preview image is somewhat small, which means it's best to compose your shot on the camera's screen first. Oddly the app doesn't rotate if you turn your phone to the landscape orientation, so you can't get a larger view. This also means that if you have the camera in portrait format you have to turn the phone round to get the correct preview.
The Camera Remote app has absorbed the features from the previous Fujifilm Camera App, which means that you can browse (and then download) photos on the camera, or submit location data from your smartphone (for geotagging). As with previous versions of the Fujifilm app, though, this geotagging function only tells the camera where you are right now; it can't record a track of your movements using the phone's GPS, and use that to retrospectively sync location data to your images. In practical terms, this means it's pretty useless.
If you just want to send an image or two to a friend's phone over Wi-Fi without giving them any control over your camera, you can this too. You have to get them to install 'Fujifilm PhotoReceiver', which is a small (1 MB) app that, as its name implies, is designed purely to receive image files from the camera.
|Street Food 2017 by ziggyzag|
from Your City - Fast Food
|Running free by LassiM|
|1969 Oldsmobile 442 Resto-Mod by J Warren|
from O is for...
Our review of the Sony a7 III is well underway and, as part of this, we're publishing our studio test scene. We'll be building out the review in the coming weeks as we test and shoot the camera in a series of situations.
The new ExaDrive offers a three times higher capacity than the previous largest SSD, a 30TB model by Samsung.
A pair of images show what may be the upcoming DJI Phantom 5 drone featuring an interchangeable lens camera. While nothing is confirmed, it wouldn't be outside the realm of possibility given the company's recent experience with camera system development.
We were saddened to hear of the death last week of Chuck Westfall, a 35-year veteran of Canon USA, and a legend in the photography industry.
Nikon looks to be positioning its D850 as a serious video rig with today's announcement of its D850 Filmmaker's Kit. The kit includes the body, 20/35/85mm F1.8G lenses, an Atomos Ninja Flame external recorder, two microphones and an extra battery.
Photographers shopping around for Lightroom alternatives have likely encountered Alien Skin's Exposure X3. Here's an overview of its organization and editing controls, and how they differ from the competition.
Alien Skin has released a significant update for its Exposure X3 image editor, adding greater precision to adjustment tools and more printing capabilities, among other improvements.
The FAA has ordered helicopter pilots and operators to halt certain doors-off flights in the wake of a tragedy that killed five passengers.
Analysts TechInsights have torn down a Samsung Galaxy S9 Plus to have a closer look at the device's internal components and their cost.
Oppo's new high-end phones bear an uncanny resemblance to the iPhone X, with features like face unlock to a portrait lighting mode.
Recently we visited the 2018 CP+ show in Yokohama, Japan and as usual, we booked interviews with senior executives from several major manufacturers, including Sigma.
At this year's CP+ show in Yokohama, we sat down with senior executives from several major manufacturers, including Canon. Topics of conversation included Canon's ambitions for high-end mirrorless cameras, and the importance of responding to the demands of the smartphone generation.
We were recently able to follow local frame builder Max Kullaway as he created one of his AirLandSea bikes. Here are our picks of the photos we got, as the project progressed from bare tubes all the way to rideable bicycle.
On paper, the Sony a7 III is a tempting option for photographers who've been considering a switch to full-frame mirrorless. But how does its image quality stack up? We compare it to the Mark II and a few of its other peers.
Erez Marom shares the details behind this beautiful aurora photograph, captured on Haukland Beach in the Lofoten Islands, Arctic Norway, on a moonless evening.
Google Lens uses artificial intelligence and 'computer vision' to identify and provide information about businesses, landmarks and other objects using your phone's camera. And now it's available for iPhone users, too.
The company posted a record quarterly revenue of $2.08 billion for the first quarter of the 2018 fiscal year. That represents incredibly healthy year-over-year growth of 24 percent.
In the job posting, the Times' describes this role as "one of the most important and high-profile jobs in visual journalism." If you're looking for a high profile job in photojournalism, you could do a lot worse than being Photo Director at The Gray Lady.
According to a recent report out of South Korea, Samsung is increasing production of its ISOCELL image sensors in a bid towards market leadership for image sensors. To reach this goal, Samsung will have to dethrone current market leader Sony... no small task.
In this video, large format photographer Ben Horne shows off the incredible resolving power of 8x10 slide film by pixel peeping a massive 709.6-megapixel drum scan of one of his landscape shots. And you thought 100MP medium format was big...
Photographer Wendy Teal tells the heart-breaking story of a wedding she shot at a hospital on just 24-hours notice. The mother of the bride had been given one week to live, and Wendy responded to the couple's desperate social media plea for someone to capture their special day.
This tiny little plug-and-play VR/AR camera for Android phones uses a pair of greater-than-180° FOV fisheye lenses to offer both 360° video/photo capture and 360° livestreaming at 1440p resolution.
Syrp has announced the Magic Carpet Pro: a slider that offers filmmakers an 'infinitely extendable' range thanks to built-in track levers that let you connect lengths of track without the use of tools.
At CP+ we sat down with executives from several major manufacturers. Among them was Kenji Tanaka, of Sony, who talked to us about the a7 III as well as its plans to attract more pro shooters – without ignoring APS-C and entry-level customers.
How do you shoot macro photography on an 18x24cm large format wet plate camera? You 'connect' two large format cameras together! That's how wet plate photographer Markus Hofstaetter did it, and you can read about the whole process in this article.
The Fujifilm X-H1 is a top-of-the-range 24MP mirrorless camera with in-body stabilization and the company's most advanced array of video capabilities. We've tested the X-T2's big brother extensively to see how it performs.
Motorsports photojournalist Jamey Price recently flew to Canada with Lamborghini for the car company's Winter Accademia 2018, where clients get to drive the latest Lamborghini supercars on snow and ice. Yes... it is exactly as awesome as it sounds.
For the Pixel 2 smartphone's Motion Photos feature, Google built on its existing Motion Stills technology by adding advanced stabilization that combines software and hardware capabilities to optimize trimming and stabilization.
This "high-capacity advanced spider tripod" system can handle a maximum load of 65kg / 143lbs thanks to its reinforced design and 8-layered carbon fiber legs.
Photographer William Briscoe captured the beautiful two-for-one timelapse just outside Fairbanks, Alaska on January 31st, braving -31°F (-35°C) temperatures to get the shot.