Fujifilm X-T5 to Feature 40MP Non-Stacked Sensor (No 26MP Stacked Version Planed)

It was one of the questions I got most since the X summit in May.

And today it will find an answer.

An answer that comes from a new source, but as you know, if I share it on FujiRumors anyway, it means that I have reasons to trust this source. In my eyes, it is just as reliable as if I’d have been told this from a trusted source.

The rumor is this one:

The Fujifilm X-T5 will come with a 40MP non-stacked sensor, the same one that will be used by the Fujifilm X-H2 HR. Fujiiflm has no plans to release a stacked version of the Fujifilm X-T5, hence no Fujifilm X-T5s.

In a recent survey where we asked you which sensor you’d like in which camera model, you can see that half of you want a 40MP Fujifilm X-T5 and the other half a stacked 26MP Fujifilm X-T5S.

Well, if you are really out for a stacked sensor SLR shaped higher end camera, you might just get the Fujifilm X-H2s at this point as waiting for the stacked sensor Fujifilm X-T5s will be time wasted.

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Which 5th Generation Sensor do You Want in the Fujifilm X-T5, X-Pro4, X-E5, X-S20, X-T40, X80, X200?

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Maybe it’s just because I haven’t had a decent sleep for weeks. Maybe I am just overthinking it all (but don’t worry, I am recovering greatly now)

But when I re-watched the X Summit, I was confused by the statement the Japanese Fujifilm manager made in regards to the 5th generation 26MP stacked and 40MP non-stacked sensor.

His statement:

there is no other camera platform more suitable to have them both than the ‘X-H” Series

I wondered what he meant by that, and I concluded it could be either one of the 2 options mentioned below:

  1. only the X-H line will offer both sensor options
  2. since the X-H line is the most suitable, it will be the first to feature both sensor options. Other less suitable lines might get both options too, but only later on as the priority is the X-H line
  3. NEW ENTRY: some FR-reader said this is just marketing blah blah blah aimed to sell as many X-H cameras as possible and then both sensors will find its way in most camera lines anyway

I’ve asked you guys in a survey what you think the manager meant, and here is the result of the survey.

SPECULATION (NOT RUMOR): In my eyes, it would make sense to put both sensor options in at least all of Fuji’s higher end models, as ordering the same Sony sensor in larger numbers, helps to push down the cost for each sensor.

But what Fujifilm will decide to do is unknown at this point. And maybe it is even unknown to Fujifilm itself.

And yet…

let’s assume for a moment that the interpretation the majority of you guys gave is correct. So let’s assume that only the X-H line will get both sensor options.

This would mean that in regards to all other lines, Fujifilm would have to make a decision on which sensor to pick for each camera.

And if that would be the case, I can already see lots of head scratching at the Fujifilm HQ trying to figure out which sensor is best for which line.

If that’s really the case, then I thought that the generous FujiRumors community will gladly invest a bit of its time to give Fujifilm its opinion on this matter by commenting on this article and by voting the surveys down below.

VOTE THE SURVEYS BELOW

** CLICK HERE to Read the Rest of the Article **

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Fujifilm’s Biggest Mistake (Northrup): Medium Format Distraction and Lack of Fast APS-C Zooms to Compete with Full Frame

Tony and Chelsea Norhtrup posted a video about the biggest error the various camera manufacturers do.

  • they don’t offer full frame. You have to jump to medium format
  • they need better autofocus
  • Fujiiflm saw youtube channels comparing their APS-C cameras against FF cameras
  • as a consequence, Fujifilm became too obsessed about sensor size and launched a medium format system
  • but Fujifilm launched their MF system in a time when the whole camera market was going down due to the rise of smartphones
  • by launching a new mount, they split all their R&D and marketing
  • their mounts are not compatible
  • they should have just stick with APS-C at this point and focus all their R&D for their APS-C system, giving us more X mount cameras and lenses
  • Fuji wanted to become a big contender, but they ended up being a niche (a niche the Northrup’s appreciate)
  • but to get work done, they pick a full frame Sony, Canon or Nikon
  • he’d shoot Fuji if they’d offer an XF50-100mmF1.8, as he’d get similar results to a full frame 70-200mmF2.8
  • he wants focusing speed of Sony and Canon, background blur, low light capability
  • all that does not need a bigger sensor, just bigger and faster lenses
  • Fujifilm misunderstood reviewers, and gave us medium format sensor instead of faster APS-C lenses
  • instead of making huge lenses for medium format they should have made huge lenses for APS-C

My own two cents?

GFX – a Distraction?

Offering medium format was a brilliant long term move and I have elaborated why here.

But yeah, I can’t see the future. Nobody can. So Tony’s opinion is just as valid as mine. The future will tell.

Two System, Less Cameras and Lenses for APS-C due to limited R&D

Maybe I am not so much into other brands, but I don’t feel like Fujifilm is releasing less gear than other brands.

The real issue was more that so far not many third party brands released AF lenses for Fujifilm, but that has been solved in the meantime.

But in some way it is true. No GFX system could potentially mean more resources for X mount. But I think this is also why Fujifilm waited so long before offering a second sensor option. They did want to wait that their APS-C lineup is rich in lenses and once well covered, they can free up resources for other projects.

Lack of Fast Lenses

First off, let me say that there are many fast Fujinon XF lenses such as the XF200mmF2, XF8-16mmF2.8, XF50mmF1.0 as well as all the nice f/1.2 and f/1.4 primes.

But what about the f/1.8 zooms he’d wish for the X system? Well, that brings us to the next point.

High ISO

In the past, pushing your digital cameras to high ISO was something we absolutely wanted to avoid, as the performance was so bad. To avoid to go too high with ISO, we did indeed need fast glass for low light photography.

But that was the past. Today, ISO performance on digital cameras is vastly improved, which means you don’t need to try to desperately avoid high ISO with super fast and expensive glass. Nope, you can also push ISO up much higher than you ever could in the past.

What this means is that you can put smaller, lighter and more affordable lenses on your camera, as you can compensate the slower aperture with a higher ISO value.

Down below I will share a video of an extreme low light recovery I made of my wife overlooking the hills of Ronda in Andalusia, Spain (we made our honeymoon there). She basically went from almost invisible black to nicely visible in clean colors (thank you X-Trans for that high color fidelity) and in my eyes also very contained levels of noise, which make the image pleasing and usable.

But what about Bokeh? Let’s talk about it.

Bokeh

Not enough background blur? Well, this one is easy to answer. I’ll just share an image down below. And it’s not even the fastest lens Fujifilm has to offer (you can get even more radical with this one).

Autofocus (and Computational Photography)

True, Sony and Canon have better autofocus. But the point with autofocus is, that once it is near perfect, there is not much to improve anymore. Fujifilm just needs to catch up with Sony and Canon, and then the “autofocus war” will be basically over, since there will be little room for further enhancements.

Where there is much more room for improvement, is computational photography. And this is an area where smaller sensors simply are superior to bigger sensors. In fact, if done wisely, it could be even lead to a Renaissance of the M43 system (as the Panasonic GH6 shows with its terrific high res handheld mode). And certainly APS-C has a potential advantage here over full frame or medium format.

 

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Ein Beitrag geteilt von Fuji_Rumors (@fuji_rumors)

DPRTV: There’s Nothing Magical About Medium Format Depth Of Field… and Not Even About Full Frame (or APS-C) ;)

DPRTV published a video with the title: “There’s Nothing Magical About Medium Format Depth Of Field“.

The video could also be perfectly titled “There’s Nothing Magical About Full Frame Depth Of Field“, but given how large their customer base shooting full frame is, I think they made a wise choice to avoid to put “full frame” in the title.

What DPRTV says is basically this: shallow depth of field does not depend on the sensor size, but on how fast your lens is combined with your sensor.

Eureka!!!

This is what we say since many years now here on FujiRumors, and I am happy that DPRTV is finally addressing this, too.

The Nr.1 reason why people think they need Full Frame over APS-C is to get shallower DOF. But by saying that a bigger medium format sensor does not necessarily give you shallower DOF over FF, this implies also that Full Frame does not give you necessarily shallower DOF over APS-C.

Fujifilm has some very fast APS-C glass to offer if you desire shallow DOF. For example you can put the Fujinon XF50mmF1.0 on any Fujifilm APS-C body to get a shallow DOF similar to an f/1.4 lens on full frame. Also the Fujinon XF200mmF2.0 gives you about the shallow DOF of a full frame 300mm f/2.8 lens. And then there is the XF8-16mmF2.8, the XF56mmF1.2 and more.

The reasons to pick APS-C, full frame or Medium Format is not shallow DOF, but others. But we won’t talk about it here today, as we covered this topic already in the past.

From FULL FRAME to Fujifilm APS-C: Six Years Later As a Full Time Landscape Photographer

Back in 2015 Andy Mumford, a full time landscape photographer, switched from using a full frame system to the Fuji X system and in this video he talks about what effect it’s had on his photography, both professionally and personally.

The video would be worth to watch also just for the stunning images he shares (including some from around my home in the Dolomites). So go check it out.

I feel he nicely brings to the point what it means to shoot with Fujifilm cameras. And I also agree that if you don’t print enormous images, then 16 or 26 megapixel are more than enough.

I do love to print my images, too, and so far the largest I have hanging at my home is a 90x60cm (35×23 inches) image taken with the 24MP Fujifilm X-E3, which looks absolutely perfect, even when watched in “photographers mode” (meaning not watching from the normal distance as every non-photographer would do, but by going very close to it and basically pixel peeping with the eyes ;))

Also Andy, who rarely prints beyond 1 meter (39 inches) is totally fine with the current resolution Fujifilm cameras offer.

As far as his thoughts go, here is is summary:

** CLICK HERE to Read the Rest of the Article **

LockCircle Cinematic X Cage for the Fujifilm GFX100S

I own the Fujifilm GFX100S and it astonishes me every time with its image quality.

But so far I haven’t shot a single video with it, and quite frankly, I think I never will.

However, that sensor, 70% fuller than full frame, is also astonishing video performer. Philip Bloom for example shot an entire documentary with the original Fujifilm GFX100. Gosh, some of you even mount a GFX camera on a drone for some epic areal footage!

And since the GFX system is flexible enough also for video work, there GFX cages out there, for example from Smallrig.

Now we have a new addition, coming from LockCircle, and it’s made for the Fujifilm GFX100S. You can see some images above and you find the press release, details and links below.

This cage is designed for high end professional medium format cinematography. So if this is your thing, definitely check it out. And since the GFX50SII uses the identical body, I guess it would work on that one too. But I the GFX50SII does not shoot 4K video, so I guess it is not as an attractive video option as the GFX100S.

Press Release

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