Fujifilm 2017 Rewinded

2017 was another exciting Fuji X year, and in order to cover it properly, I have shared almost 1,000 blog posts.

A lot of things happened, and maybe some of you might have missed something. So I have checked back all articles and selected some highlights for you. No FujiRumors rumors are included in this list.

It was not easy to pick out a few highlights… but below you can find the list month by month. Let us know what you consider the highlight of 2017.

Wow… now that’s an ambitious goal.

Fujifilm just published their new medium-term management plan, called VISION2019, covering a three year period from the fiscal year ending March 2018 (FY2018/3) to the fiscal year ending March 2020 (FY2020/3.).

And regarding their imaging division they write:

• In digital cameras, work toward capturing No.1 market share in the premium mirrorless camera market, promoting the X Series that continues to evolve with outstanding image quality, fast speed and mobility, alongside the medium-format GFX Series that uses a large sensor, 1.7 times bigger than that of full-frame cameras, to pursue the pinnacle of image quality.
• Reinforce the lineup of its highly reputable interchangeable lenses to continue to achieve increased revenues and profits in the mirrorless system business as a whole.
• Broaden the lens business by expanding the lineup of 4K broadcast lenses, launched ahead of the rest of the world, as well as the lineup of lenses for the fast-growing new video production market, including online video.
• With regard to the “INSTAX” instant camera and film, expand the sales of existing products and promote its square-format products for greater proliferation. Expand printing service solutions with added convenience, e.g. incorporating AI, to boost printing demand from smartphones to maintain the upward trend in profits.
• FY2020/3 targets: 380 billion yen in revenues, 45 billion yen in operating income and 11.8% in operating income ratio

The competition is obviously very strong, especially from Sony, who are dominating, as we can also see from the AmazonUS mirrorless bestseller charts. But it’s good to see Fujifilm so confident about their present and future products, such as the sensor stabilizied Fujifilm X-T2S and of course the Fujifilm GFX 100S.

And you know what would sound really PREMIUM, too? That XF33mmF1.0!

Now, I want you to get quickly to the comments down below, so I won’t copy & paste the entire long press release here on FujiRumors. But if you want to read more, also about the medical, documents & co solutions and goals, check out the Fujifilm page here.

Fujifilm has started publishing promo videos about some of their film simulations. You can see both videos in this article.

• Classic Chrome – Relive a Golden Age
• Provia – Vivid Memories

Also, a couple of Fujifilm X Photographers have also shared their Classic Chrome based film simulation recipes. You can take a look at their videos below, and if you particularly like a specific look, you will find the settings inside those videois.

A few weeks ago Fujifilm has also published their first official Film Simulation recipe called FRGMT BW, and it is baked into the menu system of the new Fujifilm GFX100RF Fragment Edition.

• Meet FRGMT BW – Fujifilm’s First ‘Official’ Film Simulation Recipe
• WINTER CHROME: Embrace the Cold Season with This New Fujifilm Film Simulation Recipe
• KODAK EKTAR 100 Film Simulation Recipe – Reinventing Color with FUJIFILM
• Film Pastel – A Lovely New Film Simulation Recipe
• This Recipe is Taking the Fujifilm Community by Storm – Classic Cuban Neg
• New “Hollywood Night” Film Simulation Recipe
• “Forgotten Negative” Film Simulation Recipe
• My Fujifilm X-E5 is Shipping… and These Are the 3 Film Simulation Recipes I Will You Put on the Dedicated Dial (for Now)

Classic Chrome Recipes

DGO vs DCG

After our in-depth article on Sony’s new DGO sensor, other websites have finally started to pick up the topic.

But their coverage is still incomplete — missing key details (and some serious drawbacks) that photographers absolutely need to understand in order to use this new technology to its full potential.

Why these points are being glossed over is unclear, especially since they’re crucial for Sony A7V users who could unknowingly lose up to 1 stop of dynamic range compared to the older A7IV if they’re not careful.

So let’s break down the pros and cons in a quick overview. And if you haven’t yet, give our main article a read — it clearly explains the difference between DGO (Dual Gain Output) and DCG (Dual Conversion Gain), which is essential to understanding this debate.

DGO advanatges

• Excellent dynamic range at low ISO

DGO limitations/downsides

• No DR benefit above ISO 400/500
• No DR benefit at all with electronic shutter
• Up to 1.5 stops DR loss with e-shutter compared to mechanical shutter
• the old Sony A7IV gives you about 1 stop more dynamic range than the brand new Sony A7V between ISO400-800 if you use electronic shutter, because on the A7V dual gain kicks in only at ISO1000 (vs ISO400 on A7IV

So, just be aware that there is no DR benefit when using electronic shutter and if you use ES in values between ISO400 and ISO800, you actually lose 1 stop of dynamic range over the older Sony A7IV

The Fujifilm Sensor Future

Sony is not keeping this technology to themselves.

In fact, the first mainstream hybrid camera to use a Sony DGO sensor wasn’t a Sony at all — it was the Panasonic S1II.

And since that sensor is already available on the market, I see no reason why Fujifilm couldn’t buy and use it as well.

So the real question becomes: what would you prefer for Fujifilm’s 6th-generation cameras — a DGO or a DCG sensor?

If you rely heavily on the electronic shutter, DGO might actually work against you. In the best case you get no benefit at all, and in the worst case you could lose up to 1 stop of dynamic range at certain ISO values.

But considering that high-end Fujifilm APS-C bodies already reach (for now) 15 fps with the mechanical shutter (compared to Sony’s 10 fps), the need for electronic shutter bursts is far lower on Fujifilm cameras anyway.

Personally, I’d be happy with either. I’m already “cheating” dynamic range via DR200/400, so both systems work for me. But if I had to choose, I’d take DGO if that still gives me access to DR200/400 — especially on GFX, where it could allow even higher pixel densities and higher base dynamic range, turning it into the ultimate high-resolution / high-DR platform.

My prediction?

I would not be surprised if DGO would soon become the industry standard. Nikon, OM System, Canon, Fujifilm — everyone will adopt it sooner or later.

But enough from me — let me know what you prefer by voting in the poll below.

Dual Conversion Gain (DCG) – The “Old” Tech

First things first: what exactly is Dual Conversion Gain?
Modern camera sensors — Fujifilm included — operate in two modes:

• Low conversion gain: used at lower ISO values
• High conversion gain: activated automatically at higher ISO values (for example, ISO 500 on the GFX100 II)

Let’s look at the Fujifilm GFX100 II dynamic range data using Photons to Photos data:

• ISO 400 → 10.49 stops DR
• ISO 500 → 10.91 stops DR
• ISO 640 → 10.62 stops DR

Why does dynamic range increase at ISO 500 and ISO 640 compared to ISO 400?

Because that’s the point where the camera switches into high-gain mode, which reduces read noise and produces a DR “bump.”

For years, this dual conversion gain jump was the key method to maximize sensor performance.

But that changed—recently, and dramatically—with the launch of the Panasonic S1II first, and now also with the Sony A7V.

Dual Gain Output (DGO) – The New Tech

With the Panasonic S1 II (Sony-made, partially stacked sensor) and now the Sony A7 V, something unusual appeared in the data: