Fujifilm FinePix X100 In-Depth Review
We took the above test shot at ISO 400 with automatic ISO control turned off, but it's worth knowing that if you turn on the flash when Auto ISO is enabled, the camera will meter and set its exposure (including sensitivity) based purely on the ambient lighting, and without considering the flash, until it reaches a light level so low that it has to start dropping the shutter speed below the minimum set in the Auto ISO program to achieve correct exposure. Only at this point will it use the flash as the main light source, rather than simply as fill.
Film simulation modes
The X100 provides a range of colour 'looks' that Fujifilm - playing on its rich analogue photography heritage - calls 'Film Simulation' modes. These consist of three colour modes, named after the company's professional slide films - Standard / Provia, Vivid / Velvia, and Soft / Astia - and a number of monochrome modes that aim to simulate the effects of using coloured filters with black-and-white film (yellow, red, green or no filter), plus a 'retro' Sepia-toned mode.
|Mono (Yellow Filter)||Mono (Red Filter)||Mono (Green Filter)||Sepia|
Curiously, the Standard / Provia mode is (in our opinion) the least appealing of the three colour options, mainly because if its very 'open' shadow tone curve that reduces perceived saturation and 'punch'. Vivid / Velvia certainly lives up to its name - we're not convinced that it provides exactly the same look as the iconic film it's named after, but it's certainly very vivid and saturated. Highlights tend to blow more easily, though, and we'd probably be tempted to dial the Highlight Tone down a notch. Astia, meanwhile, provides a very attractive middle-ground, with excellent rendition of skin tones in particular. Of the mono modes, we'd be most inclined to use the red filter mode for landscapes, and green filter for portraits.
The X100 offers a great deal of control over its JPEG processing; you can adjust the colour, sharpening and noise reduction, and even set the shadow and highlight tone (contrast) independently. However any changes you make to these settings are applied across all the film simulation modes, so it's not possible to tailor them each individually to you tastes. A workaround to this is to save any preferred tweaks to one of the three custom settings sets, which can then be recalled through the menus, but it's important to remember that these save ISO and DR settings too. It's also worth bearing in mind that if you shoot raw, you have free control over all these processing parameters when using the X100's in-camera raw development after shooting.
Large aperture / high shutter speed combinations in manual mode
One apparent oddity of the X100 is that, if you set the camera to aperture priority and F2 in bright sunlight, the camera will select 1/1000 sec and the image will come out overexposed. However, if you switch to manual mode and dial in a higher shutter speed, the image will often come out correctly exposed, while claiming to be shot at the selected settings in the EXIF (for example 1/4000 sec F2 ). Obviously, this makes no sense.
|1/4000 sec F2 ISO 200, manual exposure||1/550 sec F2 ISO 200, with ND filter|
|100% crop||100% crop|
If you look a little closer at the correctly-exposed image file, though, it becomes clear what's going on. The background blur is clearly less smooth than it should be, with odd triangular-shaped highlights. This is because the shutter is unable to uncover the full diameter of the aperture at this speed, but just a segment of it instead. As a result, the background blur is messy and unattractive. (It also follows that achieving a correct exposure here was essentially down to luck - the effective aperture just happened to let in the correct amount of light.)
To illustrate this more clearly, we shot an out-of-focus orange LED lamp at F2 and a range of shutter speeds; the lamp was placed in the center of the frame. This shows the shading effect of the shutter blades on the aperture opening very clearly; essentially you can see the blades pivoting outwards from the 8 o'clock position, and opening progressively further at slower shutter speeds. (Note that the crops below are taken from landscape format shots, and therefore rotated 90 degrees anticlockwise compared to the example above.)
|1/4000 sec, F2||1/2000 sec, F2||1/1000 sec, F2||1/500 sec, F2|
Interestingly this implies that even at 1/1000 sec (the fastest shutter speed allowed in A mode at F2) the shutter blades haven't quite cleared the aperture opening completely. Only at 1/500 sec do we see the full uninterrupted aperture opening. Overall, we're not sure it's a good idea for Fujifilm to allow these fundamentally incompatible settings to be used together in manual mode.
|Brown Crown by Nilesh Trivedi|
from brown challenge
|D72_4852_DxO Smug by richpics|
from Aviation Legends: X-Planes
|Ancient Bristlecone Pine by ed rader|
from My Best Picture of the Week
|Everyone look at the camera by cjf2|
from Looking down the lens.
Sony's new 12-24mm F2.8 GM is the widest fast aperture zoom for full frame. Based on our tests it's a worthy recipient of Sony's 'GM' moniker.
Chris and Jordan took the new Sony 12-24mm F2.8 GM to Calgary's eclectic Ingelwood neighborhood. From record stores to spice shops, find out what got their attention when it was time to go wide.
The six prize-winning photographs and four honorable mentions were narrowed down from more than 6,000 entries captured across North America.
Though Thunderbolt 4 remains at 40Gb/s, its minimum requirements include dual 4K monitor support, faster external drive speeds and more.
You can now use compatible Fujifilm cameras with video conferencing software on macOS hardware without the need of a dedicated capture card.
The Epson V600 remains one of the most popular flatbed film scanners on the market. Revisit our review of this affordable and (mostly) easy-to-use option and see how its output compares to local lab scans.
Canon's mirrorless EOS R5 comes with a ton of features and capability stemming from its design inside and out. Come along with us on a guided tour of Canon's new high-end, high-megapixel camera and check it out for yourself.
Announced alongside the EOS R5, the R6 offers a lot of the same technology but in a more affordable, slightly more enthusiast-focused model. Take a closer look.
Alongside the EOS R5 and R6, Canon has announced a brace of lenses, all in the short to long telephoto range. Filling out the 'long' end are one L-series zoom, and two innovative primes.
Alongside a trio of telephoto lenses, Canon also announced a new 85mm this week. The RF 85mm F2 Macro IS STM is a compact, affordable alternative to the pro-oriented 85mm F1.2L.
The EOS R5 has been a long time coming – we knew it had 8K and we knew it had an AF joystick. But now that's it's here, what is it really like to use? Find out in our initial review based on hands-on time with the camera.
The R6 doesn't promise quite such headline-grabbing specs as its big brother, but it still packs a punch, whether you shoot stills, video or both.
Think you've read everything there is to know about the new Canon cameras? Chris and Jordan share eight important things you may have missed from today's Canon EOS R5 and R6 announcements.
We've been shooting around with the new Canon EOS R6. Initial impressions of image quality are positive, and out-of-camera JPEGs appear similar to that of the gold award-winning Canon EOS-1D X III. Have a look for yourself.
Canon has officially released the long-awaited EOS R5, the company's top-end full-frame mirrorless camera. Featuring a new 45MP CMOS sensor, Dual Pixel AF II system, 8K video capture and 20 fps bursts, this is the RF-mount camera we've been waiting for.
Although the Canon EOS R6 doesn't have the 45MP sensor and 8K video capture of the higher-end R5, it's still an incredibly capable camera with specs that outshine similarly priced peers.
The Canon RF 100-500mm F4.5-7.1L IS USM is the company's first super-zoom lens for RF-mount. Despite a relatively slow aperture range, it's very versatile, offering five stops of stabilization, weather-sealing and compatibility with Canon's new teleconverters.
Canon's RF 85mm F2 Macro IS STM is an inexpensive telephoto prime lens with a minimum focus distance of just 0.35m (14") and a 0.5x magnification. When attached to the new R5 and R6, it offers a whopping eight stops of shake reduction.
Canon has announced a pair of super-telephoto fixed-aperture primes. The 600mm and 800mm use diffractive optics to keep their size and weight down. They'll also be compatible with new 1.4x and 2x RF teleconverters.
Canon has announced a new small-footprint inkjet photo printer, the imageProGraf Pro-300. it will produce prints up to 13 x 19" and it goes on sale later this month for $900. A new textured photo paper will also arrive in July.
The new compression standard is set to reduce video file sizes by half to save space and speed-up transmission, paving the way for more portable 8K footage.
Sony recently confirmed plans to launch a successor to the video-centric a7S II. We don't even know the name of the camera, but Jordan already has a feature wish list for the new 'a7S III' – and it doesn't include 8K.
The Profot B10 is the first studio flash system that can be used when shooting with an iPhone camera.
The Pixii camera is an interesting little rangefinder camera that features a 12MP APS-C sensor and lacks a rear LCD display, opting instead to pair with your mobile device, which can be used to view and transfer images.
Sirui is launching an Indiegogo campaign for a wide-angle answer to its existing 50mm F1.8 anamorphic lens. The 35mm APS-C lens will come in a Micro Four Thirds mount with adapters for other systems.
Sony has added a 12-24mm F2.8 to its top-shelf 'G Master' series of lenses. It's the widest constant F2.8 zoom currently offered for full-frame, with a hefty price tag to match: it will sell for $3000 when it ships in mid-August.
Take a look at the view from Sony's new ultra-wide F2.8 zoom – we paired it with the a7R IV for some initial shooting.
Canon's EOS-1D X Mark III is one of the best DSLRs ever made. With fast burst speeds, great video quality and impressive autofocus, the 1D X III is equal parts cinema rig and sports shooter. Find out how it fares against steep competition in our full review.
Nikon Rumors is reporting that Nikon will announce successors to its Z6 and Z7 camera systems by the end of the calendar year.
Canon says the event, set to take place at 14:00 CEST in two days on July 9, will be its 'biggest product launch yet.'