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karingottschalk · 4 years ago

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When the folks at Fujifilm Australia’s PR consultancy asked if I wanted to borrow a Fujifilm X-H1 and some lenses I leapt at the chance to put this intriguing camera through its paces and to see how well Fujifilm’s first effort at XF camera in-body image stabilization aka IBIS and increased dedication to video production had turned out.

The Fujifilm X-H1 APS-C/Super 35 mirrorless digital camera and accessories. Photograph courtesy of Fujifilm.

Big lenses need balancing with big rigs. Fujifilm Fujinon XF 8-16mm f/2.8 R LM WR wideangle zoom lens on Fujifilm X-H1 with VPB-XH1 Vertical Power Booster Grip. Photograph courtesy of Fujifilm.

The loan also provided an opportunity to compare two of Fujifilm’s smaller wide-angle lenses, the Fujicron-style Fujinon XF 16mm f/2.8 R WR and the semi pancake-style Fujinon XF 18mm f/2.0 R.

Since experiencing the many joys of using vertical battery grips on DSLR-style mirrorless cameras with Panasonic’s Lumix DMC-GH4, DC-GH5 and DC-G9, I have been in the habit of always requesting vertical battery grips with loaner cameras that have them.

Unfortunately, a Fujifilm VPB-XH1 Vertical Power Booster Grip wasn’t available so I used the camera ungripped and found, despite that preference for adding hand or battery grips to all Fujifilm cameras, the X-H1 acquits itself well without one when used with smaller lenses.

On the other hand, I suspect a gripped X-H1 with larger, heavier Fujinon lenses attached such as the Fujinon XF 8-16mm f/2.8 R LM WR illustrated above would be easier to carry and operate all day long compared to the same lens on an X-T3 or X-T4, gripped or not.

It is, simply, a matter of balance.

Fujifilm X-H1, Fujinon XF 16mm f/2.8 R WR and XF 18mm f/2.0 R

Fujifilm X-H1.

Fujifilm Fujinon XF 16mm f/2.8 R WR “Fujicron” prime lens.

Fujinon XF 18mm f/2.0 R prime lens.

By the time the loan opportunity arose, there were rumours the Fujifilm X-H1 was about to be listed as discontinued and that soon occurred with heavily discounted camera, vertical battery grip plus lens packages appearing in foreign camera retailer websites shortly followed by similar deals in Australia.

Now the X-H1 and its camera-specific accessories are no longer available on the retail websites that I checked this morning, and I am in two minds about that.

If I were offered longterm loan of an X-H1 with VPB-XH1 Vertical Power Booster Grip, I most certainly would not say “no”!

Fujifilm X-H1

Photographs courtesy of Fujifilm.

Fujifilm X-H1 with Fujinon XF 80mm f/2.8 R LM OIS WR Macro lens.

Fujifilm X-H1 with Fujinon XF XF 16-55mm f/2.8 R LM WR professional standard zoom lens.

Fujifilm X-H1 with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kist standard zoom lens.

Fujifilm X-H1 with Fujinon XF 16-55mm f/2.8 R WR zoom lens.

Fujifilm X-H1.

Fujifilm X-H1 with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens and Fujifilm VPB-XH1 Vertical Power Booster Grip.

Fujifilm X-H1 with Fujifilm VPB-XH1 Vertical Power Booster Grip.

Fujifilm X-H1 with VPB-XH1 Vertical Power Booster Grip in portrait/vertical orientation and 3-way tilting LCD monitor untilted.

Fujifilm X-H1 with 3-way tilting LCD monitor flipped up for portrait aka vertical shooting.

Fujifilm X-H1 with Fujinon XF 16-55mm f/2.8 R WR zoom lens.

Fujifilm Fujinon XF 200mm f/2 OIS WR telephoto lens on Fujifilm X-H1 with VPB-XH1 Vertical Power Booster Grip.

Fujifilm X-H1 with VPB-XH1 Vertical Power Booster Grip and Fujinon XF 100-400mm f/4.5-5.6 R LM OIS WR telephoto zoom lens.

Fujifilm X-H1 with Fujinon MKX 18-55mm T2.9 cinema zoom lens.

Fujifilm X-H1 with Fujinon MKX 50-135mm T2.9 cinema zoom lens.

Fujifilm Wide Eyecup EC-XH W.

The X-H1 was an innovative camera but its release suffered from unfortunate timing, falling as it did between the X-T2 and the X-T3 and thus having the same sensor as the Fujifilm X-T2, the X-Trans CMOS III sensor as well as its own CPU, the X-Processor Pro.

At time of writing, the Fujifilm X-Pro3 and the X-T4 contain the latest generation sensor and processor, the X-Trans CMOS 4 sensor and X-Processor 4.

When I attended the Fujifilm X-Pro3 First Look Touch & Try Event at Ted’s World of Imaging in Sydney on Wednesday November 6 last year, a staff member there was keen for me to share my experience of recent Fujifilm cameras with a female customer.

There are all too few female camera store staff members hereabouts and possibly not so many with my particular background so it is understandable male staffers might point her my way.

She ended up taking advantage of the end-of-production-run X-H1 special offer after I gave her the pros and cons of the X-H1 and X-T3, and I hope she is doing well with her purchase.

The Fujifilm X-H1’s in-body image stabilization unit aka IBIS, the first iteration of it to appear in Fujifilm XF APS-C/Super 35 cameras. Has its design drawn from the larger IBIS unit of the Fujifilm GFX100? Photograph courtesy of Fujifilm.

She told me she already had a Fujifilm X-Pro2, loved it and relied on it for most of her work but there were occasions when she needed to photograph in low light and at night so was interested in the X-H1’s in-body image stabilization aka IBIS.

I related my experience with the camera’s IBIS and added that I could comfortably carry either the smaller X-Pro2 or the slightly larger X-H1 around in my hand all day long in a way that I found I could not with the X-T2’s more minimalist and less sculpted body shape.

The Fujifilm X-H1’s “firm-hold design allowing the index finger to concentrate on shutter release actions”. Photograph courtesy of Fujifilm.

Fujifilm X-T4 with Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens. Photograph courtesy of Fujifilm.

As above, Fujifilm describes the shutter release button and grip area of the X-H1 as a “firm-release design”, having the same configuration as other mirrorless and DSLR cameras which is more often described as a “trigger” or “pistol” grip by aficionados of the latter types of cameras.

My first digital camera, the Canon EOS 5D Mark II, has the same configuration and, despite that camera’s bulk and weight with the Canon EF 24-105mm f/4.0 L USM kit zoom lens attached, its “pistol grip” and soft-touch shutter release button made carrying and using it in the field on documentary projects easier than one might think.

It was, simply, a matter of balance. And then the kit zoom’s notoriously poor manufacturing quality control left me without a lens until I adapted a couple of vintage manual focus M42-mount lenses via a Gobe M42 Lens Mount to Canon EF & EF-S Camera Mount adapter.

The X-H1’s shutter release button is more sensitive than that of previous cameras like the X-Pro2, X-T2 and the like, the increased sensitivity apparently being aimed at professional photographers needing minimal lag between hitting the button and making the image.

In practice I found this lag minimalization to be very effective for portraiture, photojournalism and urban documentary photography, ensuring a higher percentage of selects than usual, as well as reducing subtle camera shake at the start of clips when shooting video.

The leaf spring switch of the Fujifilm X-H1’s feather-touch shutter button. Photograph courtesy of Fujifilm.

Having now experienced both types of shutter release button, I much prefer the one on the X-H1 and hope to see it used in more Fujifilm cameras for its speed gains, boosted stability and lack of a threaded cable release hole that can attract dirt.

Fujifilm X-T2 in black and graphite versions, with their prominent exposure compensation dials falling under the right hand’s thumb. Photograph by Jonas Rask, courtesy of Fujifilm.

In contrast, the lack of an exposure compensation dial on the X-H1 slowed down my shooting speed and efficiency somewhat compared to the ease and speed with which I can set exposure changes on X-Pro and X-T cameras.

Pros and cons where you gain speed in one aspect of the X-H1’s design yet lose speed on another.

The X-H1’s IBIS bestows two overlapping advantages, being able to shoot at shutter speeds slower than can usually be handheld, and having the confidence that one can resort to it if one must.

As anti-IBIS pundits are always keen to tell us, shooting moving objects while stabilized at shutter speeds too slow to handhold unstabilized will result in at least something being blurred through movement.

But the contrast between unblurred and blurred through movement can be a wonderful creative device to draw attention to the main and unmoving object in the picture.

Other advantages of the Fujifilm X-H1’s design and manufacture

Photographs courtesy of Fujifilm.

The Fujifilm X-H1’s “grain size of the exterior coating has been improved to achieve scratch resistance equivalent to 8H surface hardness”.

The Fujifilm X-H1’s body is “made of magnesium alloy, 25% thicker than previous models. The lens mount’s structure has been revised to achieve a compact and lightweight design that is also of high precision and more resistant to shock or damage than other models in the X Series”.

The Fujifilm X-H1’s shutter shock absorption mechanism. I found myself using its mechanical shutter far more than I would for other Fujifilm cameras.

With the exception of the Fujifilm X-H1, all Fujifilm cameras need hand grips or vertical battery grips. Fujifilm Finepix X100 with hand grip. Photograph by Karin Gottschalk.

Four more features of the Fujifilm X-H1’s design stand out: the black 8H coating making it more scratch resistant than its predecessors, its magnesium body that is thicker than its predecessors and its stronger lens mount that takes the strain off the body when mounting large, weighty lenses such as the Fujinon XF 8-16mm f/2.8 R LM WR, XF 100-400mm f/4.5-5.6 R LM OIS WR and XF 200mm f/2 R LM OIS WR Lens with XF 1.4x TC F2 WR.

Although I have yet to experience any of them, I suspect that the Fujinon XF 16-55mm f/2.8 R LM WR and XF 50-140mm f/2.8 R LM OIS WR professional red badge zoom lenses would also benefit from the X-H1’s strengthened lens mount as well as its stronger body and better balance achieved by attaching the VPB-XH1 Vertical Power Booster Grip.

I have focused here on the X-H1’s design and manufacturing qualities because the DSLR style is not my first choice when it comes to cameras for documentary photography and yet many aspects of the X-H1’s body design work for me in a way I have not experienced with Fujifilm’s X-T3 series cameras.

I have used the X-H1 alongside my X-Pro2 on day-long documentary projects where I have walked and walked and walked with a shoulder bag or backpack full of gear, and not once have my hands been fatigued in the way I have experienced with the Fujifilm X-T1, X-T2 and X-T3 cameras whether equipped with vertical battery grips or not.

Fujifilm has got the design of the X-H1 body closer to perfect for me, at least, than that of the X-T series.

Fujifilm, please seek inspiration from Panasonic and Olympus

Panasonic Lumix DC-GH5 with Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric zoom lens. Photograph courtesy of Panasonic.

Which is not to say that Fujifilm does not have some way to go with its X-H, X-T and X-Pro series cameras.

The Fujifilm x100 camera radically improved digital photography for me but its poor video quality and that of subsequent cameras meant I had to look elsewhere and I settled (solely) on Panasonic’s Micro Four Thirds cameras for their great stills and video quality and (mostly) Olympus’ M. Zuiko Pro lenses for their manual clutch focus and excellent optical and mechanical qualities.

Panasonic Lumix DC-G9 with Panasonic Leica DG Vario-Elmarit 12-60mm f/2.8-4.0 Aspheric zoom lens. Photograph courtesy of Panasonic.

As good as they already are, Olympus’ M.Zuiko Pro professional lenses for video and stills would be even better with the addition of an aperture ring that can be used clicked or declicked at the flick of a switch.

I chose the Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro over the Panasonic Lumix G X Vario 12-35mm f/2.8 Aspheric Power OIS kit zoom lens due to the former’s manual clutch focus mechanism, its all-black metal barrel and smoothly operating zoom and focus rings and its slightly longer focal range, forgoing the optical image stabilization of Panasonic’s standard zoom alternative.

The Lumix zoom’s OIS would have been useful for the IBIS-less Lumix DMC-GH4, but optical quality and excellent manual focusing comes first in my opinion.

Nowadays, I probably would have chosen the Olympus M.Zuiko Digital ED 12-100mm f/4.0 IS Pro as my first Micro Four Thirds zoom lens for the non-IBIS cameras in my collection, or the Olympus M.Zuiko Digital ED 12-45mm f/4.0 Pro plus the Olympus M.Zuiko Digital ED 17mm f/1.2 Pro for my available darkness work with IBIS-equipped cameras.

Olympus M.Zuiko Digital ED 17mm f/1.2 Pro, Olympus M.Zuiko Digital ED 25mm f/1.2 Pro and Olympus M.Zuiko Digital ED 45mm f/1.2 Pro professional prime lenses with manual clutch focusing, brilliant for shooting video or stills where accurate focus is absolutely critical.

The Fujifilm X-H1 for moviemaking

Coming soon.

Fujifilm’s Super APS-C camera system is one of the most affordable Super 35 platforms for professional moviemaking including feature-quality documentaries and narrative feature films. The two MKX cinema zoom lenses are amongst the most affordable of their kind, though Fujifilm needs to upgrade its prime lenses for serious video production. Photograph courtesy of Fujifilm.

Fujifilm cameras, photojournalists and World Press Photo 2020

Fujifilm GFX100 medium format digital camera with Fujinon GF 63mm f/2.8 R WR prime lens. Photograph courtesy of Fujifilm.

I first spotted a Fujifilm X-H1 in use by an expatriate Australian photojournalist, Jack Picone, alongside an X-T2 when shooting in available darkness and events like World Press Photo show that more and more photojournalists are relying on Fujifilm cameras for their daily work.

Fujifilm first used former Leica aficionado National Geographic photographer David Alan Harvey to promote the X-Pro2 and he is now using the X-Pro3 in his magazine work.

I and others in the magazine and newspaper spheres have also relied on non-rangefinder-style cameras to supplement our rangefinder cameras over the years and it is interesting to note how many World Press Photo award-winners are Fujifilm users this year.

Yasuyoshi Chiba uses Fujifilm X-H1 and GFX100 in-body image stabilized cameras for his available light photojournalism work, testimony to the cameras’ capacity to handle challenging environments and terrible light.

Fujinon XF 16mm f/2.8 R WR and Fujinon XF 18mm f/2.0 R

Photograph made with Fujifilm X-T3 and Fujinon XF 18-55mm f/2.8-4.0 OIS kit zoom lens at 18mm setting, equivalent to 28mm in 35mm sensor format. The 28mm focal length is perfect when one needs enough width to depict figures in landscapes and interiors, but without the exaggerated, attention-grabbing perspective of wider focal lengths such as 24mm and 21mm, 16mm and 14mm respectively in the APS-C sensor format. Photograph by Karin Gottschalk.

Up close and personal with Fujifilm’s Fujinon XF 16mm f/2.8 R WR Fujicron-style prime lens. The lens’ 24mm equivalent focal length can boost the feeling of being mere inches away from your subjects at the cost of exaggerating perspective.

What I want to see in the Fujifilm X-H2

Coming soon.

Links

B&H Explora – WPPI 2018: Fujifilm Launches Stabilized X-H1 Camera and MKX Series Cine Lenses

British Journal of Photography – The story behind Yasuyoshi Chiba’s World Press Photo of the Year – the award-winning photograph was made with a Fujifilm X-H1.

Fuji Rumors – Fujifilm X-H1 Snaps Top Winning Image at the World Press Photo Awards, but Canon is Still Top

Fujifilm X – X-H1

Instagram – Yasuyoshi Chiba

Olympus – M.Zuiko Pro professional Micro Four Thirds lenses

World Press Photo 2020 – World Press Photo of the Year, Yasuyoshi Chiba – made with Fujifilm X-H1 and unspecified 16mm lens.

Considering the Fujifilm X-H1 Camera with Fujinon XF 16mm f/2.8 R WR and 18mm f/2.0 R Lenses When the folks at Fujifilm Australia's PR consultancy asked if I wanted to borrow a Fujifilm X-H1…

#Fujifilm X-H1

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