FUJIFILM GFX50S, 63mm lens, iso 100, 1/125, f11. The Pro set at 1/4 power in regular flash mode recycled almost immediately, a welcome and noticeable improvement from the older model.
Is the Godox Witstro AD600 Pro a substantially better flash than its predecessor, the AD600?
I have now had the Godox AD600 PRO in my hands for 48 hours, since posting my ‘first impressions’ review. What have I discovered since, and is it a substantially better flash than its predecessor, the AD600?
I used the brand-new Pro unit earlier today on a fashion shoot for Berlin-based fashion brand, Hadas Hinkis.
Since in my first round of clinical testing, I had already determined that one PRO has roughly the same output as the twin H1200, when paired with the legendary Broncolor Flooter S, I felt confident to bring only the PRO on set.
As expected, the PRO performed flawlessly during the entire shoot.
TheCameraStoreTV had a fantastic live stream with Fuji Guy Billy today, and of course it’s all about the Fujifilm X-H1. Make sure to check it out here.
I was lucky enough to attend the live stream and make my questions, but Jordan anticipated me on the first big question I wanted to make to Billy: back in 2016 Fujifilm said X mount is not compatible with IBIS. What did Fuji do on the Fujifilm X-H1 to make it compatible? Here is Billy’s answer:
“We understand how IBIS works with pretty much all brands. We thought it was a very strong feature to incorporate.
At that time when we said that statement, the technology for us wasn’t there yet. Because, when we develop our cameras, image quality is number 1 for us. And we know that with IBIS, there is always some sort of loss in that, so we needed to develop a system that still mantains that high strict image quality. That really was successful with the X-H1.
We had to make the IBIS system a little bit larger in order to do so. That’s why the X-H1 itself is slightly bigger to accommodate that.
It’s the only IBIS system that has a dual processor that can make 10,000 calculations and that corrects instantly for any movement.”
How I understand this, is that Fujifilm studied other brands’ IBIS systems, they saw that those solutions won’t work on Fuji cameras, they needed time to develop a technology specific for their cameras, and their solution ended up requiring the whole camera to become bigger compared to other systems.
Heard that, I asked Billy if this means that IBIS won’t come to smaller Fujifilm cameras in future. Billy answered:
“currently the IBIS system is quite large and that’s why this camera itself is large. We really want to maintain image quality. Now it’s very important for us to develop the system. I think as we learn to grow and develop, who knows where that technology will go.”
This makes hope that one day we will see IBIS also on smaller cameras. But currently, it’s not possible. Related to this, I remind you that we rumored the Fujifilm X-T3 has no IBIS.
Now just a few more highlights of a long and very interesting live chat…. oh, and do NOT miss the Wooden Niccolls movie shot entirely on X-H1.
Jordan says Fujifilm has quickly gone from “nothing” to “very amazing” in the video market
Nobody buys a GH5 or A7sII to do professional stills and video. They are video cameras that have stills option. The X-H1, though, is a fantastic stills camera that happens to do excellent video.
Fujifilm will offer the LUT file for ETERNA. Eterna great skin tones. ETERNA on X-T2 is very possible in future (as we rumored here, it will come)
X-H1 has Jordans’ favorite APS-C shutter since the Pentax K3II. Super quiet.
10bit: X-H1 sensor and processor don’t have the speed yet to support the incredible data 10bit has.
there is some rolling shutter, but pretty well controlled, especially with some lenses and IBIS
Firmware updates are costly, but Fujifilm is committed to them
X-H1 has much larger heat sink, and processor can run much higher
Video Autofocus: Canon is on top, but Fuji and Sony are following.
15 minutes limit in 4K is due to sensor heat
The little things Fuji cares: they made the EVF sticking out, to avoid the nose to touch the screen, they improved the mechanism of the 3-way tilt screen and more
With manual focus lenses only, you only have 3 axis stabilization, because in oder to know shift, you need to know subject distance.
Back in January 27, TheCameraStoreTV announced they will be screening a Wooden Niccolls movie shot with “unreleased gear” at a movie theater. I placed my bet, and said it would be a movie shot on Fujifilm X-H1. If I was wrong, I promised I would shoot Sepia only for an entire month. So believe me guys, I am relieved to see I was not wrong ;) .
Well, right now the TheCameraStoreTV has published their movie on their youtube channel here.
All the BTS and B-Roll footage was Eterna. The actual scene was shot F-Log and expertly colour graded by Tyler Roth. He used a pre-production Eterna LUT as a starting point, but there are many manual adjustments in the scene as well.
UPDATE: Allow me quick follow up to the previous article: I confirm that Fujiflm has changed the front plate design of the X mount. If you don’t trust me, you can go to dpreview and see how the X-T2 can have two different mount designs, older are more angled, newer more round. This has not been made casually by Fujifilm, but there is a reason behind that. Most likely it is related to mitiage grid artifacts, as we reported here.
Kevin Mullins
The epic Fujifilm X-H1 live blogging is now officially closed, but you can check back to see a comprehensive list of first look reviews, samples and videos after 2 nights and 3 days of non stop coverage.
What we are trying to do now, is to enter more in specific to some of your questions, and focus on certain topics.
In our “All About IBIS” article yesterday, we made an in depth technical and practical analysis of IBIS.
Today we try to adress another question that I get also via email: for whom is the Fujifilm X-H1?
I was planing an article about it, but today wedding photographer Kevin Mullins published a youtube video where he answers this question.
And since I not only agree with him, but he also says it in a much better English than me, make sure to check out his video here.
In short:
The Fujifilm X-H1 is aimed at videomakers (where there is still room for improvement, though), sport and wildlife photographers
It’s for photographers who use big lenses, want a big grip, a solid body
For people who want extra functionality and don’t need small cameras
The X-H1 is all about power
The X-H1 is not really for wedding and street photographers. No reason to move to X-H1 from something like X-Pro2, X-T2, X-E3 etc., which are better for that
The X-H1 is another option in the Fujifilm line, and not an upgrade to the X-T2, so it makes sense to call it X-H1
If he buys the X-H1, then it’s for his videos work especially on the youtube channel. But not for weddings
It would be great if the autofocus and shutter system if the X-H1 would be rolled into the X-T and X-Pro line of cameras
He invested into the X system because of smaller size, and size is still an important factor for him
X-H1 has amazing video tech, internal F-log, Eterna Cinema film simulation, indipended custom settings for stills and video, touch screen and of course IBIS
sensitive shutter button, takes time to get used to, but those who shoot very quickly in sports or also weddings they will love it
sadly no articulating screen, and for video makers that would have been awsome
no audio connection in body. You must buy the vertical grip to monitor your audio
Down below, a video of The Photography Team that discusses the questions… X-T2 or X-H1?
Until that time, for most of my work, I used medium format cameras with leaf shutters, that provided sufficiently fast flash sync, up to 1/1600, with certain configurations.
But flash duration really was always my main concern, and I simply did not worry about needing to sync at any faster shutter speeds.
As I started to explore how High Speed Sync (HSS) and/or Hyper or Hi Sync (HS) could open up new creative possibilities, in conjunction with a medium format mirrorless camera, I looked at all available options, offered by the established companies such as Broncolor, Profoto and Elinchrom.
It is important to be very clear that there are basically only 2 different ways to sync at high shutter speeds: With HS, as used by Broncolor and Elinchrom, a very long flash duration is needed to provide a flash long enough, where a portion of that flash can be efficiently synced up with the shutter at high speeds. With HSS on the other hand, (the brands that use this method, such as Profoto, Godox, Jinbei and many speedlites), a rapid sequence of pulsating flashes, creates a very even and reliable solution. While HSS provides a smoother and more even exposure, it can lack the power of a ‘normal’ flash.
For almost all of my career, I exclusively used Broncolor, and even collaborated with the brand for about 10 years, for many marketing and promotional campaigns, including their launch campaign for the original Para 330, in 1999.
