News & New Prod­ucts

ProPhoto - - CONTENTS -

The mir­ror­less cam­era ad­vance con­tin­ues with Fu­ji­film an­nounc­ing an all-new hy­brid stills/video X mount flag­ship, Sony un­veil­ing the third gen­er­a­tion ver­sion of its orig­i­nal A7 and Pana­sonic launch­ing a RF-style Lu­mix GX se­ries model. And the choice of lenses for Sony’s FE mount con­tin­ues to ex­pand with Sigma an­nounc­ing all of its high-per­for­mance Art line primes will soon be avail­able with the fit­ting and Tam­ron promis­ing a 28-75mm f2.8 zoom by mid-2018. Le­ica has a cou­ple of lim­ited edi­tions to tempt you, in­clud­ing an ex­clu­sive Aus­tralia Edi­tion of the pop­u­lar Q. Canon has come up with a world first, de­vis­ing an on-cam­era flash unit with au­to­matic bounce flash con­trol (it needs to be seen to be be­lieved) while Samyang has added a third lens to its XP line of high-per­for­mance primes for the Canon EF mount. For the lat­est news from the imag­ing in­dus­try visit www. propho­

Fu­ji­film is tar­get­ing film-mak­ers as well as pho­tog­ra­phers with its new X-H1 X mount ‘APS-C’ mir­ror­less cam­era, which it’s de­scrib­ing as “the high­est per­form­ing model in the X Se­ries range”. The ‘H’ stands for hy­brid.

Sim­i­lar in styling to the X-T2, the X-H1 has an all-new ruggedised and weather-sealed bodyshell that’s slightly larger and is made from mag­ne­sium al­loy that’s 25 per­cent thicker and has a durable scratch-re­sis­tant cost­ing. In er­gonomic terms, the con­trol lay­out is ac­tu­ally quite sim­i­lar to the medium for­mat GFX 50s, in­clud­ing a top panel read­out screen and big lock­able di­als for set­ting shut­ter speeds and ex­po­sure com­pen­sa­tion. The eVF has a res­o­lu­tion of 3.69 megadots and the 7.62 cm mon­i­tor screen fea­tures the same three-way tilt­ing ar­range­ment as on both the X-T2 and GFX 50S. It also pro­vides touchscreen con­trols, in­clud­ing AF touch­pad func­tion­al­ity when you’re us­ing the eVF.

The X-H1 is the first X mount body with sen­sor-based im­age sta­bil­i­sa­tion which op­er­ates over five axes and gives up to five stops of cor­rec­tion for cam­era shake. The sta­bil­i­sa­tion sys­tem em­ploys three ax­ial ac­celerom­e­ters, three ax­ial gyro sen­sors and a newly-de­vel­oped dual-pro­ces­sor which per­forms ap­prox­i­mately 10,000 cal­cu­la­tions per sec­ond. In-body sta­bil­i­sa­tion is part of a whole suite of fea­tures aimed at videog­ra­phers and start­ing with 4K record­ing in the Cin­ema 4K res­o­lu­tion of 4096x2160 pix­els at 25 or 24 fps, giv­ing a bit rate of 200 mbps. Full HD footage can be recorded at 120 fps for slow-mo­tion ef­fect and there’s a new ded­i­cated ‘Film Sim­u­la­tion’ pro­file for video called eterna which op­ti­mises the dy­namic range and flat­tens colours for eas­ier grad­ing in post-pro­duc­tion. F-log record­ing to the mem­ory card is also avail­able and an ad­di­tional dy­namic range set­ting of 400% which rep­re­sents ap­prox­i­mately 12 stops. The qual­ity of the sound record­ing via the built-in stereo mi­cro­phones is in­creased to 24-bit/48 kHz. A stereo au­dio in­put is pro­vided on the cam­era body, but as with the X-T2 the stereo au­dio out­put is on a sep­a­rate ver­ti­cal grip – called the VBPXH1 – which also serves as a booster for the con­tin­u­ous shoot­ing speed (up to 11 fps with the fo­cal plane shut­ter) and the max­i­mum 4K record­ing time (which is ex­tended to 30 min­utes). The grip houses two bat­ter­ies, ex­tend­ing the shoot­ing range to 900 shots. How­ever, the good news is that the grip is now bun­dled with the cam­era and not an ad­di­tional pur­chase. The X-H1 shares a num­ber of key fea­tures with the X-T2 in­clud­ing the 24.3 megapix­els ‘X-Trans CmoS III’ sen­sor and ‘X-Pro­ces­sor Pro’ imag­ing en­gine, the 325-points hy­brid con­trast/phase-de­tec­tion AF sys­tem, the full set of photo-based ‘Film Sim­u­la­tion’ pre­sets, in­clud­ing ACRoS B&W, and con­tin­u­ous shoot­ing at up to 14 fps with the sen­sor-based shut­ter. This also gives a fastest shut­ter speed of 1/32,000 sec­ond. Another first for an X mount cam­era is the pro­vi­sion of flicker de­tec­tion and re­duc­tion for more sta­ble ex­po­sure con­trol when shoot­ing un­der gas-ig­ni­tion light sources. Ad­di­tion­ally, the AF sen­si­tiv­ity in low light is in­creased by 1.5 stops and both these fea­tures are clearly aimed at sports pho­tog­ra­phers. The cam­era’s sen­si­tiv­ity range is equiv­a­lent to ISo 200 to 12,800 with ex­ten­sions to ISo 100 and 51,200. When us­ing the sen­sor shut­ter, the buf­fer mem­ory al­lows for up to 40 best-qual­ity JPeGs in a burst, 27 RAW files with loss­less com­pres­sion or 23 un­com­pressed RAWs. With the FP shut­ter, these burst depths in­crease to 80, 31 and 26 frames re­spec­tively. The X-H1 has dual mem­ory card slots for the SD for­mat, both with uHS-II speed sup­port.

The new cam­era’s launch co­in­cides with the avail­abil­ity of Fu­ji­film’s first mK Se­ries cin­ema lenses in the X mount (they’ve pre­vi­ously only been avail­able in Sony’s e mount). The Fu­ji­non mKX 18-55mm T2.9 and 50-135mm T2.9 zooms are op­ti­mised for video record­ing in that they min­imise fo­cus shift and op­ti­cal axis shift when zoom­ing, and re­duce lens ‘breath­ing’ dur­ing fo­cus­ing (i.e. a slight shift in the an­gle-of-view). Ad­di­tion­ally, the aper­ture col­lar can be set to seam­less ad­just­ment for qui­eter and smoother ex­po­sure con­trol.

The Fu­ji­film X-H1 is priced at $3399 (in­clud­ing the VPB-XH1 bat­tery grip) and will be avail­able in early March. The X mount MK cin­ema lenses will go on sale in June priced at $6149 for the 18-55mm and $6449 for the 50-135mm.

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