The goal posts of camera technology are being moved every day. When I say portraiture, you say higher resolution. When I say sports; you say faster, more accurate autofocus performance. When I say weddings and events, you say increased ISO sensitivity. And, when I say journalistic or street photography, you say medium format? Not really…
Most pros relegate medium format to studio, landscape, or tripod-mounted applications and more ergonomic formats for journalistic style photography. So, it was typical that I would pack my Leica gear for a recent one month assignment through the Mekong (Thailand, Laos, Cambodia, and Vietnam).
However, at the last minute, I was somehow compelled to swap it out for my medium format Fuji GFX 50s system taking up nearly 3 times the space. What was I thinking? Well, I wasn’t thinking straight for sure. But that is how some of the most remarkable things happen in life (Like when my wife said “Yes”)!
My last minute decision was partially influenced by the fact that image technology across sensor types (e.g., Crop, Full-Frame, and Medium) is converging rapidly and the features are blurring between such systems. So, at some point in the near future, I suspect these choices will be made for me anyway by process of elimination. I suppose I also wanted to test my patience and persistence. But, there was also an element of surprise I was seeking. I really wanted to see what this thing could do in the field under varied conditions and over a lengthy assignment.
Suffice to say, I was exceptionally pleased by the potential of the Fuji GFX 50S medium format in the field and hope that the following observations are an inspiration to all who are (i) facing decisions about upsizing or downsizing formats, (ii) interested in my approach to journalistic photography, or (iii) wanting to simply experience the beauty of the people and colors of the Mekong.
1. Medium format is too heavy and bulky for journalism and street photography; Or is it?
The Spanish site albedomedia made a quick hands on review on one of the third party lenses, that arises most curiosity in the Fuji X community: the Laowa 9mm F2.8.
I know for many of you guys, this lens is on the radar also for eventual astrophotography, but of course we are all still waiting to see how it performs, especially when it comes to coma.
But it seems that Laowa is actively promoting this lens also for astrophotography, since they display a couple of prints of the milky way taken with the Laowa 9mm F2.8.
With that said, here are some first impressions by albedomedia (google translated):
Zero-D stands for “zero distortion“
The denomination Zero-D has already been used for lenses such as the Laowa 12mm F2,8 Zero-D or the Laowa 15mm F2 FE Zero-D . The new Laowa includes a complex optical scheme consisting of 15 lenses in 10 groups, with a combination of aspherical lenses and special glasses with low chromatic dispersion.
Manual Focus only
The focus ring, of correct dimensions, presents a suitable firmness, but its route is too short to our understanding
Its metal construction is of good quality, and conveys a sense of quality in its finishes
At shooting distances more typical of interior design, here at the stand of the CP + , the Laowa 9 mm f / 2.8 Zero-D seems to offer a reasonably rectilinear performance
On the positive side is its very compact size, the feeling of good finishes […]. On the other hand, in the least positive, it would be short of its route of the focus ring – a price to be paid in part for the compactness – and above all a level of distortion that we believe does not agree with the name of the presumptive one.
After my article yesterday, about the EU regulation that says higher import taxes have to be paid in EU for still cameras that can record over 30 minutes, there was still scepticism if this was indeed correct. Some even went so far to say this is a fake news.
And guys, indeed this rule makes no sense, and it is hard to believe that such a thing exists in these days.
But as the biggest nerd-magazine in EU (which I regularly read ;) ) C’T writes, the rule has been set by the European Union back in 2007. At that time, there were only a few cameras able to be able to record over 30 minutes, so this wasn’t a big deal.
However, technology evolved, and today many cameras could easily break the 30 minutes mark (if the battery life allows it).
But will this limit be removed in future?
The best place research this, is the official site of the European Union itself, because it’s there, where such decisions are taken.
“[…] the European Union setting out criteria to distinguish between ‘still image cameras with a video camera function’ and ‘video camera recorders with a still image function’, the length of the single sequence of video being just one of them. Video camera recorders are subject to import duty of 4.9% or 14%, still image cameras are duty free.
Following recent technical developments, those criteria are currently being revised. While certain criteria may seem outdated, the combination of the quality of the video image and the length of the video (at least 30 minutes) are deemed to be objective and verifiable criteria which are applied in a uniform manner across Member States. The Commission is not aware of technical limitations to those devices developed by the industry to evade import duties. It is therefore intended to maintain those criteria.”
But in the same statement, the EU also says that, in discussions with the WTO, this limit will be removed for stills cameras:
“The Common Customs Tariff duties are fixed by the Council on proposals of the Commission. The Commission can in this context confirm that the product is part of the coverage of the revised WTO Information Technology Agreement, which has been negotiated by the Commission. This means that the customs duties for camcorder will be removed after the revised agreement enters into force and thus in extension benefit EU consumers.”
At this stage, the limit has NOT yet been removed for digital cameras, and this is the reason why the Fujifilm X-H1 and many other cameras still have the 30 minutes limit. So, whoever says that the X-H1 30 minutes limit is not because of EU legislation, is sharing wrong information.
However, this will change in future, as the EU says here:
The text commits 50 parties, including the EU’s 28 member states, to eliminate tariffs on IT products in four stages over a three-year period ending on 1 July 2019.
As also Sony itself confirmed to Max Yurvey here, Sony is waiting for the EU law to change to remove the 30 minutes record limit. According to Sony, it should happen in 2019.
But today, the 30 minute video record limit is still law, hence companies continue to limit their cameras to 30 minutes to save on import taxes, and make their cameras cheaper.
This will be removed, but given the burocratic monster the EU is, I believe it only when I see it :).
The one question now is, once this nonsense EU law will be removed, can the X-H1 get a FW update to raise the record limit?
Some of you wonder why the Fujifilm X-H1 has a 30 minutes video record limit. Where does this limit come from?
The answer is….
…. Legislation!
In 2007, the European Union decided to make European importers pay different import taxes on still digital cameras and camcorders, with the latter one having a higher import tax. Of course higher taxes translate into a higher price for customers.
The workaround for companies is to set the video record limit to 30 minutes, so that the device will be classified as “still camera”, and there are lower taxes to pay. Reuters wrote 11 years ago here:
“The EU trade experts decided last Friday that to be classified as a digital camera, equipment must not be able to record at least 30 minutes of a single sequence of video […].”
So no, there is absolutely no “overheating” issue behind the 30 minutes limit, as Palle Schultz also told us in our fantastic X-H facebook group here. Do you want longer record time? Then the Fujifilm X-H1 will get more expensive.
Now you can stop to struggle and puzzle… always happy to help ;)
Full Review of the Fujifilm X-H1 at photographyblog. The X-H1 is “highly recommended“. From the conclusions:
You’d probably think that adding an effective optical image stabilisation system, better AF system, more advanced video, tougher build quality, a higher-resolution EVF, welcome touchscreen functionality, a top plate LCD panel and Bluetooth connectivity would be more than enough to make the X-H1 the de facto choice amongst Fujifilm fans, and mostly I’d agree.
But there’s a small part of me that recognises that it’s also the biggest, heaviest and most expensive X-series camera to date, it suffers from the need to have the VPB-XH1 vertical battery grip fitted to take full advantage of the video capabilities, and the removal of the dedicated exposure compensation dial is at best mildly irritating.
So what Fujifilm have mostly added, they’ve perhaps also taken a little away, with the addition of IBIS, bigger handgrip and top LCD screen making the X-H1 the largest X-series APS-C camera to date. Whether size matters or not does very much depend on your viewpoint – we’ve seen some people expressing both disdain at the increased size of the X-H1, and some expressing delight.
Perhaps more worrying than the growth in size of the X-H1 is the growth in the price-tag – £1699 / $1899 body-only or £1949 / $2199 with the near-essential VPB-XH1 vertical battery grip puts it almost on a par with the fashionable new elephant in the room, the very recently announced 35mm full-frame Sony A7 III.
Fujifilm X-H1 Owners Feedback
It feels like that whoever owns the Fujifilm X-H1, is also part of our fantastic X-H1 facebook group. It’s impossible to sum it all up here on FujiRumors, so I’ll pick one feedback for you. If you are interested, feel free to join… you will see LOTS of stills and video samples, too :)
John R.
Made this super short vid testing out the IBIS AND 120p SLO MO (it’s fantastic) and Eterna film simulation. And here’s some random thoughts on Day 1 of shooting.
+ Eterna is incredible. Easy to get good results quickly in post. + IBIS is great but it’s not a gimbal that floats on clouds. Secure the camera and it’s incredible. + I’m shooting the video at high isos and for me the Fuji’s grain always at character. + Video does have a slight microjitters if you don’t dial in your settings. (Be interesting in seeing how Full Auto for video fares. + AF and shooting speed is snappier. + That shutter button, very responsive, very quiet, + Displays are brighter / clearer and it shows. + LED Display was a good choice. The EV is easy enough to find though I shoot on full manual. + A lot of new options inside the menus which are much needed.
– Size/weight: you can tell the difference from an X-T2. (Add on a 50-140 and you have something similar to a Canon 7DmII AKA.) – Add on a boost, and this isn’t a small camera. -The dials seem cheaper. – Eterna isn’t a great photo film sim. – Eye piece protrudes out, sometimes getting in the way of the display depending on the angle. – The touch screen has a learning curve. Will take a minute to get it to be second nature
I would describe the X-H1 this way… the X-T2 was a workhorse and a piece of art. The X-H1 is more a tool than a design element. But the thing is the X-H1 is an improvement. Many of the nagging issues of the XT2 are fixed but the cost is a bit more weight and the design.
If you need video and shoot photos, this camera is a no brainer if you invested in Fuji gear.
