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Fujifilm presented its new X system mirrorless camera in Lisbon: the X-H1. It is the new flagship device for the APS-C X-Trans sensor-based series. Cyber Layman was in Lisbon with a group of journalists from all over Europe (similar events were taking place in Japan and the United States) to test the device. It was 36 hours spent with the X-H1 always in hand. We had a choice of lenses as large as the entire Fuji range but we chose to rotate three lenses: the 16–55mm F2.8 telephoto, the 10–24mm F4 tele-wide and above all the amazing 56mm F1.2 Apo, a sort of Japanese Noctilux, a bomb for portraits and for looking for details in the city like a sniper.
We have already presented you on this page the specifications of the machine on which it is useless to go back. The 24 megapixel APS-C X-Trans sensor is that of the latest Fuji devices and is the strong point of diversification of the Japanese house's mirrorless cameras, because it follows a different logic from that of traditional Bayer filters, giving an “imprint” to the images very particular.
The strong points that characterize this new machine: the strong propensity for video (4K 60 and 120 fps), the ergonomics revised with a PowerBoost battery grip (from 300 euros) which in our opinion is not an optional given above all the battery consumption: less than 340 shots with one battery, the Boost has two more), new revised and enhanced autofocus that performs very well especially in following moving subjects with grace and without “Jumps”, as it must be for a video recording, stabilization on five axes always active in the body that earns about 5 stops, new film simulation (suitable for video) that is the Eterna 500.
4K video
The video rendering is impressive: the writer is relatively less experienced in video shooting with video cameras, but the Fuji here really does some interesting things. The 4K slow-motion with 120 fps is spectacular, the optics perform very well and on the whole you work very well thanks also to a rendering of the F-Log shooting system that allows you to compress the dynamic range of colors along a logarithmic scale whose then the yield is truly remarkable.
Fuji has a tradition of working with chemical films that here too is enhanced by a filter specially designed to emulate the cinematic performance of the Fortuna 500 (a great opponent of Kodak in the cinema field, with light output and bright and vivid colors very 80s-90s) plus made even more interesting by the new 17: 9 rirpesa format with 4096 by 2160 pixels.
Let's see the flaws: 4K shooting without PowerBooster lasts 15 minutes, which extend to 30 with the grip capable of giving more battery and computing power to the camera body. Which, however, tends to consume a lot (three batteries to do 20-25 minutes) and to heat up, both for the video and for the five-axis stabilization system always on. This is also a defect for the photographic part, so much so that not only has Fuji made this machine more than tropicalized and strengthened it with a riveted body, but it has also added a much wider heat dissipation plate.
Again: there is no audio output on the camera body but only on the grip, and the data output is a micro Usb instead of a Usb-C (as does Panasonic, for example). According to the writer, this and some other details make the use of video a first step in the Japanese house's attempt to attack a market controlled by others. An interesting but not yet definitive attempt. Enough to ask how to relate this machine to the X-T2 of which, by the end of the year, we will probably see an update to version 3.
Taking pictures at full throttle
Although the main indication advertised by Fuji's marketing is video, the camera seems to be ideal for photography. The body has a revised and improved grip on the body, more suitable for those with large hands, and the elongated eyepiece with a wider rubber pad is comfortable and pleasant.
There remains the problem of 'setting with the eyepiece so close to the screen that, if you do not deactivate the autofocus aiming on the display, it constantly moves the point with the nose. Furthermore, the display now has two axes of movement, but it does not rotate 180 degrees to show who is shooting in “selfie mode” how the shooting is proceeding: for that you always need a small external monitor or a cameraman.
We tried the camera in five different sets: simulation of a wedding photo shoot, couple photo outdoors, shot of two classical dancers, classic portrait, harp player. Then we did two photowalking around Lisbon, day and night. In the latter two we have ranged more with the lenses also including the excellent tele-wide 10–24mm F4. Wide and tasty shots, with the quality we are used to in terms of color rendering and exposure balance.
Instead indoors, after working a bit with the zoom 16–55mm F2.8 to see the performance and comfort of this lens (excellent: truly a mule suitable for all situations, especially for taking home shots at weddings or reportage where there is no time to change lenses) there we are relaxed for the posed shots focusing on Fuji's most prized lens: the legendary Fujifilm XF 56mm f / 1.2 R APD, the Noctilux with almond eyes, which has exceptional optical performance but does not have internal OIS stabilization and therefore “enjoys ”To be combined with the camera body equipped with IBIS internal stabilization.
The first thing that emerges is the highly photographic nature of the Fuji X-H1. While waiting for the video zoom lenses announced for this summer, MKX 18–55mm T2.9 and MKX 50–135mm T2.9, both focus shift and seamless iris with 0.8mm gear pitch for professional use, we must say that marriage with classic photography lenses is exceptional. Colleagues who favored the classic report lens, namely the excellent XF 23mm f / 2, found the kit extremely light but, from the point of view of overall ergonomics and overall dimensions, much heavier than the X- T2 especially with PowerBoost grip. Instead, the X-H1 pair with 56mm f / 1.2 is exceptional: the balance is great, the bulk is more important but absolutely justified, and the long cylindrical hood makes the look absolutely balanced, much better than with X-T2 or X -Pro2.
Always shoot freehand even with large apertures, long times, situations of uncomfortable balance, thanks to the internal stabilization IBIS, which gives “new life” to the 56mm lens, in previously difficult to manage with times that are below 1/125. Now, as if by magic, it swings with simplicity, well balanced even with the grip, and snaps all open in situations of very little light without hesitation or shake even at 1/30, allowing you to venture even at 1/15 and – holding your breath – to 1/8. Especially for the portrait in an uncontrolled environment, this allows you to work without anxiety with IS0 200, which is the basic one, instead of keeping high times and raising the ISO, allowing us to move freely, working the scene and looking for the best angle. without needing a tripod. The ISO yield however is more than good and up to 3200 totally acceptable for any use.
The machine is in pre-production and there is still some problem with the Raw files that on Photoshop they go but on Lightroom they give some problems, as well as in the Finder with updated macOS. We chose to take almost all of the photos in Jpg and the videos in 4K quick clips. The machine has two compatible slots both with UHD-II, which we put in sequential mode (without backup and without splitting Jpg from Raw). Unfortunately, the 4K and Raw clips burned out along with one of the two SD cards, which gave way. Instead, the other SD, which contained a good 70% of the photographs, had no problems. In these pages you can therefore see some photos taken directly in Jpg using the different Fuji presets, including our favorite, the high contrast Acros with yellow filter for black and white.
Credits: women's dresses are by Miguel Vieira while men's dresses are by Oficina Mustra
In conclusion
Fuji has put together known technologies, sensors already used, processors and algorithms more and more refined, making a game of constant integration and improvement of the existing. The new X-H1 has interesting features that make it more flexible in its use than its predecessor. It is not the machine of choice for reportage (that remains the X-Pro2), it is not the light mirrorless that competes with a reflex by setting (that is the X-T2) but it is a serious opponent, which grows and reaches have a very solid and robust setting, comparable to high-end reflex cameras. Compared to the competition of mirrorless cameras such as the Sony a6500 and the Panasonic GH5, the machine highlights a quality of greater flexibility: it is not the best at all but it still manages to offer itself as a winning alternative to both. In short, it is more balanced.
According to the writer, Fuji's attempt to open up to the world of professional video is not at the top but rather begins here: we will see how and how far it will go on (the house however, it seems decided to open a breach in this sector too). Instead, the feeling is that the X-H1 is an exceptional machine for traditional photography, freed from the need for a tripod at all costs and very “light” even for studio use as well as outdoors. In the commercial offer made by Fuji the battery grip is sold in kit for 300 euros more including the two additional batteries, which are not present if you buy the battery grip separately at the same price. Since this machine eats batteries for breakfast and lunch in salads, we recommend the purchase if only to have immediately, in addition to the battery grip (which is perhaps only useful in a few situations), the two additional batteries in your pocket.
Pro Remarkable stabilization in the body Remarkable tropicalization and robustness Much improved ergonomics Marriage of X-Trans sensor and still improved processor
Against It heats up a lot both the stabilization and the video Limited video output No audio output on the camera body but it is on the grip Very soft shutter button and short stroke
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