Herco

I can recommend the Lumix S1R or the Leica SL2 for this purpose. Both cameras have an excellent in-camera focus stacking capability with almost no work in post needed. Both cameras also have an excellent hi-res mode that combines 8 images into a 184MP raw file in-camera. So there's no additional work in post needed to combine the shots (like with Sony or the GFX100). In my experience it works flawless for landscape and architecture. Even with small movement in the image (like clouds or a passing plane). Finally, both cameras also have an excellent built-in hyperfocal indication and DoF-scale.

I've used the X-H1 for professional fashion and make-up portrait work for a while, but I replaced it (actually almost all my Fuji gear) with a couple of Z7II's. The eye detection AF of the X-H1 is close to useless. It switches eyes erratically and there's no way to control it. I always used face detect that worked reasonably well. The zebra pattern you describe are actually moiré artefacts which is more prone in darker areas esp. at higher ISO-values.. Under those difficult circumstances a 24/26MP or higher APS-C sensor without anti-aliasing filter tends to struggle with this. As for firmware updates, Fuji made it very clear that the X-H1 is in 'maintenance' mode, meaning only updates to accommodate new lenses/flashes or repair blocking bugs. We've been waiting for the Eye AF repair for ages now and Fuji will not do that anymore. Your 3) is certainly not something that can be fixed in firmware. So, don't expect Fuji to issue new firmware updates that will solve any of your comments. I'm not sure what your workflow is (jpeg-based or raw-based) and in case of raw, which software you use? The Fuji skin tones and colors are very nice in jpeg, but skin tones need a lot of work in raw. The jpeg profiles of the Z7 are not as nice as the Fuji film simulations, but the actual skin tones in raw are far easier to work with. We're using Capture One here in our Zürich-based studio.

The 16MP sensor in the X-Pro1 and X-T1 is still widely appreciated for its character. Compared to the later 24 and 26MP sensors, the pixel pitch is quite a bit larger. This impacts the levels of noise reduction and sharpening needed for the images. When moving to the 24/26MP sensors Fuji adopted a slightly different approach. They moved to a more aggressive NR and Sharpening. Advantage is that the images look cleaner and sharper, but the side-effect is that esp. skin (but also other textures) can look 'plasticky' or less organic. To counter this, I set the NR on the 24/26MP X-cameras to -2 or even -3. The sharpening goes to -1 or -2. That solves the jpegs and preview images somewhat. For raw files in Capture One you have far greater control. My recommendation is to set Sharpening to 140-180, Radius to 0.8 (1.0 for 16MP files) and the Threshold to 0 or 0.3 max. Halo Suppression can be around 5-10. For Noise Reduction you can set Lumi NR to 0 for low ISO and up to 50-75 for high ISO images. Set Details and Color to around 50 and use Single Pixel only for long exposures. I don't use LR anymore, so I have no idea of the values there. Since they have a different scale, you can't just copy the numbers between C1 and LR. That way the 24/26MP files come out with a bit more 'organic look' just like the 16MP had from the start. It's usually better to have some 'grain' rather than over-sharpening your images. The higher megapixel cameras, the more critical this gets...

Make sure you have the Performance set to BOOST in the Setup menu. That way, you'll get the highest screen refresh rate in the X-H1. The sensor and the processor are identical in the X-Pro2 and the X-H1. The EVF is not. The X-H1 has a higher res EVF that requires more processing, so technically it could lead to slightly longer blackouts. You might also want to check your focus and exposure settings in the X-H1. Both can also affect the black-out time of the EVF. Focus and Exposure Select focus mode C to vary focus with shot; to vary exposure with each shot, select OFF for BUTTON/DIAL SETTING > SHUTTER AE. Selecting CH in focus mode C restricts the choice of focus frames. Exposure and focus tracking performance may vary with such factors as aperture, sensitivity, and exposure compensation.

This could be a result of a variety of issues: - using defect or incompatible SD cards: make sure you use only the Fujifilm recommended SD cards and format them every time in the camera. Switch off the camera before taking the SD cards out/in. - whenever you take the SD cards out to check images on a computer and put them back in without reformatting, make sure you put the same SD card in the same slot. Don't switch card 1 + 2 if you use 2 cards. - whenever your computer has performed a write action to the card (e.g. deleting images after importing), make sure you reformat the card in the camera. - whenever you only use 1 card, make sure it's in slot 1. - check the menu options in the SET UP/Safe Data Setting menu. Check if your images go to a different folder? - do you experience error messages (like: error writing to card) or unexpected restart requests (like: please turn off your camera)? If so, that could mean a defect in your camera. I've used Fujifilm X and GFX cameras since 2012 (GFX since 2016) for a part of that time also professionally and I've had different issues with some of them related to writing images to SD cards. I can only say that Fujifilm cameras seem more susceptible to these issues, since I've never had this with other brands. For me it was part of the reason to stop using them for professional work. My trusted X-Pro2 will stay with me and never had any of those issues. On the other hand/end, the X-H1 was notorious.

Based on the past release schedule of the X-Pro cameras, I don't expect a new version before 2nd half 2023. The X-Pro3 is a niche camera for Fujifilm and the downward tilting screen was pretty controversial, combined with the steep pricing, leading to much lower sales numbers than the X-Pro2 reached at its peak (according to a friend who runs a large online cameras store in Europe). That could mean either a revised approach (e.g. an X100V-style LCD) or a delay in introduction of the X-Pro4 altogether. By the way, the X-Pro isn't actually a rangefinder camera. That is a term for a specific way of focusing. We could call it 'rangefinder-style' due to the OVF being positioned to the left. If you want a true rangefinder the Leica M cameras are the only current option to my knowledge.

Be aware that (unlike the X-Pro2) the X-E2s is not weather resistant. It's more susceptible to moisture building up in the camera.

When you buy the Pro-version of Capture One, it also has support for tethered shooting with the X-T2. Make sure you have a very good micro-B cable since Fujifilm cameras are very susceptible to cable quality and length. I can recommend the Tethertools cables.

Can you tell us at what ISO-levels? And does the moiré also occurs in 4K?

Aren't you accidentally looking at the embedded previews in the raw files? They have a reduced resolution. When you look in-camera you best view at the processed jpegs when you shoot raw+jpeg. Some users separate raw+jpeg across the two card slots and review only slot 2 (the processed jpegs). When you assess the images on the computer, make sure that the full raw file is loaded instead of the preview. Another suggestion is to look at focusing. Many people coming from a DSLR struggle a bit at first with mirrorless focusing. Make sure you have the right focus mode and shift the focus point to the desired location (joystick) rather than using the focus + recompose method. Finally and in all honesty, no matter how good the X-T3 is, there's still a difference with full-frame. Esp. in lower light situations. I've used the 5D in various versions and it is a 'beast' of a camera. Depending on which 35 + 85 you've used, it was until recently the go-to camera for most professionals and for a good reason.

Actually, WB can be wrong. I'm a fashion photographer by profession and for all my assignments it is crucial that we have the correct WB set. White really has to be white and not some sort of off-white, beige or blue-ish white. That is why we use a color spectrometer for every shoot and we set the WB manually, not on Auto where it also changes with the content of the frame. Now Fujifilm and Sony cameras are usually 200-300K warmer than a calibrated spectrometer reading. Leica and Nikon are usually very close and Panasonic and Canon are mostly in between. It can vary per type of camera. Of course I'm talking about raw here and not the jpegs which are graded and colored at will. In itself it is not a big issue because you can easily correct this in post, but in order to do that properly you have to have a reference. In that case a SpyderCheckr or ColorChecker can come in handy. Alternative can be a sheet of white print paper or a white painted wall (assuming it is really white). Of course, you only do this when correct WB is essential for your images. For my holiday snapshots I rely on Auto WB 😉

RAW files are the 'native output' of the sensor and if your camera sensor is a color sensor, it will be in color. Inside the RAW data however is a jpeg thumbnail as well as the jpeg settings (such as film simulations). Some RAW Processors (like Lightroom and Capture One) can read those settings and present the RAW file with the settings applied (like B&W). Others can't and just display the RAW file as is and you have to re-apply those settings yourself. Alternatively, you can have the camera create the jpeg for you with all the settings applied or connect your camera to your PC running FUJIFILM X RAW STUDIO | Software | FUJIFILM X Series & GFX – Global (fujifilm-x.com). That software contains the same settings as your camera and uses the camera jpeg engine to re-create the jpegs for you.

RAW files need indeed further processing. Until then, they tend to be less sharp and with less contrast than processed jpegs. You can set the RAW file to be compressed. That way it uses less diskspace. Since it is lossless compression, the image quality isn't affected. Fujifilm has a really good jpeg engine, so for many it is a struggle to get better image quality from their RAW file, compared to the out-of-camera jpeg. Regardless of which RAW processor you use: Lightroom, Capture One, Silky Pics... Thomas Fitzgerald published very good quick guides for processing Fuji RAF files in either Lightroom or Capture One. You can find them in his webstore: THOMAS FITZGERALD PHOTOGRAPHY. They cost a few $ but give excellent guidance and sample settings to get the best out of your RAF file for each specific sensor. The 16MP sensor in the X-T1 needs a few different basic settings compared to the 24 and the 26MP sensors.

Did the X-T3 got wet at anytime? The WR seals around the shutter release button and on/off switch of the X-T3 appear to be more vulnerable than those in the X-T2 and X-H1. It could be moisture building up on the contacts. Something that compressed air won’t solve. Perhaps have it serviced? I doubt that you’ll need a new top plate.

I’m afraid you have a valid point here. I’ve had Fujifilm cameras since early 2012 and used them for a few years also for my professional work. Both X and - for a short time - also GFX. After a few issues I stopped using them professionally, but I kept my X-Pro2 for incidental personal work. The Fujifilm Professional Service (PFS) is nowhere near ‘professional’, unless (probably) you live in the US or the UK. Very long repair times and no loan cameras or lenses when you need them. In order to become a viable professional solution, imo Fujifilm really needs to step up their FPS program. A camera is much more than specs and good looks.

Generally these longer zoom lenses tend to loose some sharpness towards the long end. Esp. off-center and certainly when you focus on nearby objects. For a 300mm, let's say within 6-7m. That is why you shouldn't put your faith in reviews that only look at 2D test charts positioned within a few meters. With a lens like the 70-300 go outside on a calm day (not windy), find a view with trees/foliage at least 15m away or further, setup the tripod and aim for a shutter speed of at least 1/200th, use the self-timer set to 2s and press the shutter release button. The image now should show sharp leaves and branches. A little loss of sharpness and contrast (softness) towards the corners is acceptable for a lens like this. You might want to take two shots: one with IBIS/OIS on and one where this is set to off. The IBIS of the X-H1 was Fuji's first and has been improved in later cameras to work better with tripod settings. The German magazine Fototest tested the lens recently and their overall verdict was that it was very good considering the price, They did see however, visible loss of detail towards the 300mm end.

I wouldn't go as far as to say that I recognize the Fuji images on Flickr, but Fuji is definitely tuned towards somewhat 'warmer' tones in their auto WB than most others. This is called 'consumer-aimed colors' often combined with a somewhat higher color saturation. It's aimed to produce pleasing colors and a warmer image which generally consumers prefer. Note that I'm talking pure RAF-files here (with profile set to linear), not the film simulations for jpegs. Many brands have an Auto WB Cool setting that shifts the WB a bit lower. Unfortunately Fuji doesn't have that so there are two options: (1) do it in post (2) use a grey + color card. The SpyderCheckr or ColorChecker are great tools. We use a color spectrometer to set the correct WB, but that is quite expensive for casual work.

That's strange... I've quickly looked-up some tables and according to me the CoC of a 6x9 is 0.07 and for the GFX100 it should be 0.038 (same cropped MF sensor size as the Pentax 645Z). Using a 90mm at f11 on a 6x9 set at approx. 11m hyperfocal should result in a DoF from 5.3m to infinity. For the GFX using a 45mm at f11 set at approx. 5m hyperfocal results in a DoF of 3.2m to infinity. I've never heard of a different definition for an acceptable CoC before... I can't understand why Fuji after all these years is still not able or willing to implement an accurate DoF calculator in their cameras. My H6D is accurate to the cm. Same for my wife's SL2... For typical landscape use (one of the GFX sweet spots) it's a must-have.

Hi Urbane. I actually advice to use Compressed for real world use. It has no loss of quality and the files are reduced in size by 50%.

Hi Urbane, the standard Large output file of the X100V should indeed measure 6240x4160 pixels. There are three settings determining the quality and format of the output file. In the Image Quality Setting menu there's Image Size where you can set the combination of aspect ratio and resolution of the RAW file. Usually this is set to Large 3:2. Then there's Image Size that determines whether you want a jpeg and/or raw file and what the quality of the jpeg will be: fine or normal. Usually this is set to Fine+RAW or only Fine if you only want jpegs. The 72 DPI as you describe only relates to the jpegs in Fine setting. It could be that Olympus has an ultra-fine setting (?). If you keep raw files, you can decide how to store them: Compressed or Uncompressed. With Fuji. the compression is lossless so there's no loss of quality when you select Compressed. Most users select Compressed in order to save SD Card storage space. A Compressed RAW file (or RAF as Fuji calls them) is around 28 MB in case of the 26Mp sensor in the X100V. An Uncompressed RAW file is easily twice that size. A JPEG out-of-camera is approx. 18 MB. My guess is that your Olympus was set to Compressed and each brand has it's own compression. Some are just more efficient than others. Whether the X100V is produces soft images is difficult to assess from a distance. My experience is that you have to get used to how cameras actually autofocuses as well as the whole dynamics of holding the camera and pressing the shutter release button. The X100V should be capable of sharp images with only slight fall-off to the edges and corners (in contrast to it's predecessors). My advise would be to practice with the camera and try out the different AF settings. When you doubt the camera, put it on a tripod and in manual focus mode and set MF Assist to Peak (focus peaking). Then you can finetune focus manually on a specific subject. The final image should be very sharp that way. Make sure your aperture is small enough to get a sufficient depth of field for the entire subject (f5.6 or f8)

This type of shutter release button that Fujifilm has on its X-T and X-Pro cameras usually has some play. However, I never had this much play in the collar itself. Esp. since the collar acts as on/off switch it sees a lot of action and possible wear in contacts and seals. I would have it checked by Adorama and if needed/possible replaced by another X-T3 copy.

Perhaps you can make changes to your workflow when focusing? The 100S normally has good AF that doesn't require the Distance Indicator, unless you want to work with the hyper focal points (e.g. for landscape). For portraits (as we do in our Studio) the AF in combination with eye-AF works reasonably well. However, like most Fujifilm cameras, there's a tendency towards front-focusing whereby the focus is on eye lashes instead of the pupil. That's usually only an issue with longer lenses at large apertures like the 110 at f2.

The Distance Indicator in Fujifilm cameras is notoriously unreliable. It can behave quite erratic and is often off by 1-2m or so. With an APS-C X-mount camera at f5.6 it is less of an issue, but for a GFX100 it becomes useless. It was one of the (many) points why we decided to stay with our H6D setup.

The 50/f1 and the 90/f2 are quite specialist lenses. Esp. the 90 is great, but for portraits you'd have to maintain a fair distance to get a classic portrait. It's also a difficult lens to nail focus at f2. I consider the 50/f1 as a 'hype' lens. It's very expensive and the image quality trails that of the 56/f1.2. I guess Fuji just needed something with an f1 aperture as a halo-product, when they realized that the previously announced 33/f1 became too big. For weddings and events an f1 is close to useless, since the DOF is so shallow, it becomes hard to nail focus in fast changing environments. You'll find yourself stopping down to f2.8 or f4 most of the time. Three lenses come to mind: the 50/f2 is highly underrated and can get you a bit better background separation compared to the 18-55 at f4. However, if you really want to experiment with shallow DOF, the 56/f1.2 is a great lens. Second-hand prices have dropped somewhat since the 50/f1 (but not much). A bit more universal might be the 33/f1.4. That gives you a clear distance from the f3.6 the kit lens offers at 35mm. A similar choice would be the 35/f1.4 (buy it second-hand, prices are dropping now). For video use, the 35/f1.4 and the 56/f1.2 are less practical. They have a slow AF performance, suffer a bit from focus breathing and are quite noisy when focusing. In that case, use a directional mic instead of the build-in mics and refrain from focus pulling. The 33/f1.4 and the 50/f2 work perfect for video.

It depends a bit on how long or wide you need the view angle to be and whether you still want to use the OVF or rely on the EVF. The 16-80 is a good lens but not especially great. In terms of image quality I'd prefer the 18-55 and pair it with a 14. That makes a great travel kit with only one filter size. If you don't mind a bit bigger, the 16-55/f2.8 is even slightly better than the 18-55 and it is weather resistant. If 16 is wide enough, you can forfeit on the 14 and get around with one lens. Fuji still has it's 18-135 which is relatively cheap as second-hand since the 16-80 arrived. It's not as good though and slower in aperture. In terms of image quality I'd rank the Fujinon standard zoom lenses as: 1. the 16-55/f2.8* 2. the 18-55/f2.8-4 3. the XC 15-50/f3.5-5.6 4. the 16-80/f4* 5. the 18-135/f3.5-5.6* 6. the XC 15-45/f3.5-5.6 The * marked will block a significant part of the OVF on an X-Pro3. Also bear in mind that the frame in the OVF gets really small above approx. 50mm. All lenses with variable aperture only have their fastest aperture at the widest point and quickly move to a slower aperture. The 18-55 e.g. is f2.8 at 18mm, but already f3.3 at 23mm and f4 at approx. 35mm (if memory serves me well). If you need a really longer solution than 80, the Tamron 18-300 was just introduced, but it's a bit of a big gun on an X-Pro3. Tamron has an excellent 17-70/f2.8 that seems perfect for APS-C, but we'll have to wait and see whether it will come for X-mount. Sigma is rumored to start offering X-mount lenses in 2022 and their recent 18-50/f2.8 is highly acclaimed for Sony E-mount APS-C, so hopefully that would be one of the first.