I should also add I didn’t experience any issues with light leaks, trying two and four minute exposures at 400 ISO f4 in daylight with the lens cap fitted, and no evidence of any light entering the camera even with the port door wide open and nothing connected. Set the shutter dial to A, but turn the aperture ring and you’ll be in Aperture Priority. I repeated the test several times with the same result. I also felt it was odd that despite six pages of options for the various buttons, none of them allowed you to assign movie record to any of them. The theory’s the same on the X-H1, but you’re starting with a larger, heavier, not to mention more expensive body. Note you can record to the SD card and output over HDMI simultaneously, but if you’re filming 4k you can only do it to one at a time – a menu lets you choose whether the 4k is going to be saved onto the SD card or output over HDMI, the latter having the benefit in F-Log of supporting 8-bit / 4:2:2. by Jeremy Gray Preview posted: 02/15/2018. In Wide / Tracking AF mode with focus set to Single AF, the X-H1 automatically selects one or more AF points of its choice from the 13×7 array. To be fair though, on Sony’s A7 III I found its Slot-2 was half the speed of Slot-1 when using UHS-II cards, so at least the X-H1 suffers nowhere near that fall in performance. The earlier X-T2 offered a flat F-Log profile (at a base of 800 ISO) but only through the HDMI port to external recorders. The Z6 uses Nikon’s new Z-mount, so while there’s not as many lenses currently available, Nikon also made available a lens adaptor that enables Nikon F-mount lenses to be used on the new mirrorless camera. Like that option, you can view thumbnails in two different sizes, tap to enlarge for a closer look and choose to import if desired. I cannot believe that this camera exists… It is literally what I ever wanted in a body! Meanwhile the X-H1’s stabilisation may work a treat when you’re trying to frame a steady shot, but once you start to pan even slowly, the system becomes visibly jerky, whereas more mature rivals can support smoother handheld pans. This is a great quality general-purpose lens with a 24-83mm equivalent range taking you from wide-angle to short telephoto, with a constant and bright f2.8 focal ratio. The X-H1 certainly inherits a great deal of the X-T2 – indeed it could be described as an X-T2 with built-in stabilisation, a touch-screen, bigger grip, enhanced video and Bluetooth. Like previous bodies, the X-H1 applies its main image processing parameters using a set of Film Simulations that emulate classic Fujifilm film stock. Here’s some examples, all at 55mm f2.8. This time the X-Acquire utility connected slowly, but disconnected before I could do anything useful. Within each category, the degree of compensation varies depending on the lens in question, and rather than simply quoting a best-case scenario, Fujifilm’s been honest about what you can expect from specific models. Now the X-H1 allows you to record F-Log in-camera onto SD cards in 8-bit / 4:2:0. Both cameras feature a rear tilting LCD design. You could buy 4 of these for the price of one Nikon D5! So again, a reliable three to three and a half stops of compensation and a little more if you could accept minor blurring. Finally! If you fit the optional Vertical Power Booster, you can increase the mechanical shutter burst speed to 11fps. I also love the way the display remains active when the camera’s switched off, indicating the shots and battery life remaining at glance. The Fujifilm X-H1 looks like a chunkier version of the X-T2 with some aspects of the medium format GFX-50S thrown into the mix; indeed if the X-T2 and GFX got together, the X-H1 could be their offspring. One thing to note: The autofocus of the X-H1 is faster than the X-Pro2 and the sensor, even tho it is the same on paper, does better at high iso. The only thing the Bluetooth made easier was not having to manually select the X-H1’s Wifi network in the phone. During composition you can swipe-up to display RGB and brightness live histograms, or down to utilize the new dual-axis leveling gauge; this also works when composing through the viewfinder, although strangely once you half-press the shutter release the gauge returns to the old-style single-axis style. The last option is an interesting one, averaging the entire frame, but for the majority of my shots I stuck with Multi and that’s what you’ll see deployed in my sample images. Of course it’s early days for the X-H1, both in terms of the stabilisation being a version one system, and also my test sample being one of the first out the factory. In the video below I’ll demonstrate the X-H1’s movie features. For me a very welcome addition. The X-H1’s built-in stabilisation also works when filming video, allowing you to handhold footage with non-OIS lenses. Jean Pascal October 12, 2019 Fuji X-H1 review, X-H1 vs X-Pro2, review fuji x-h1. For staged portraits it wasn’t an issue as it would generally pick up the subject given a few seconds or a couple of attempts, but for quicker spontaneous situations I found I couldn’t rely on it as much as I’d like. So when filming in 4k with the body alone, the X-H1 allows 15 minutes per clip versus ten on the X-T2. You can also set a delay up to 24 hours before the sequence begins, although the camera still won’t assemble them into a timelapse video afterwards, something Canon, Olympus and Panasonic now offer as standard, sometimes even at 4k resolutions. I’ll get write more about the X-H1 as I go travel the world this winter… I’ll get back to you guys!Cheers, Roxham Road, Independent journalism quebec, enter canada illegally, migrant roxham road. Here’s how a few of them look on the same scene. Fujifilm reckons the battery is good for about 310 frames, but enable the built-in image stabilisation, deploy the wireless connectivity or start shooting movies and you’ll find the power depleting quite alarmingly. The final option on the Drive mode dial is Panorama. The 100-400 lens performed very well and sharpness is impressive. Lower the speed to 5fps or less and there’ll be minor blackout but the benefit of live feedback between frames, allowing you to more easily follow erratic subjects. Fujifilm Reviews. Out of curiousity I repeated the test with the bit rate set to 100Mbit/s, but the battery lasted virtually the same time – just three minutes longer, so within experimental error. It’s that good. Delve into the menus and you’ll also find an interval timer, with up to 999 (or infinite) frames captured at intervals between one second and 24 hours. Simply the best Fuji ever made. To measure the X-H1’s burst speeds and buffer depth in a more formal environment, I timed a number of bursts using a freshly-formatted UHS-II card, initially in Slot 1. You’ll also notice three indicators in the top and rear displays, showing the remaining life of each battery. Reducing the speed to 5fps allowed the X-H1 to deliver live feedback though and made it much easier to follow the subject – this was useful for cycling, but a necessity for random birds in flight. It also makes them much more usable for handheld video, more of which in a moment. Switching to the longer primes for portraiture, like the XF 56mm f1.2 and XF 90mm f2, challenged the system more, but still generally performed well. I repeated my tests with the card in Slot 2 and measured essentially the same results in terms of burst depth and speed. The battery life too is noticeably shorter than the best of the rest, again demanding that you shoot with the optional battery grip more often than not. And finally if you turn both the shutter speed dial and aperture ring away from A, you’ll be in full Manual. If you’ve used this system before it feels natural, but even if you’re coming from a system with a PASM mode dial, it’s easy to get to grips with. The X-H1 also inherits the 3in screen of the X-T2 which supports vertical and horizontal tilting, albeit still unable to face forward to the subject for selfies or filming pieces to camera; on the plus side it’s now touch-sensitive, allowing you to tap to reposition the AF area, pull-focus while filming, as well as swiping through various options. Roxham Road. Disclaimer 1: All the images in this review have been shot on a prototype X-H1. I find I can achieve the mood I want using these subtle but effective processes, rather than resorting to often heavy-handed filters on other systems. Like other bodies employing the X-Trans III sensor, the X-H1’s phase-detect system embeds 169 autofocus points within a 13×13 square area on the frame – occupying roughly 75% of the height and 50% of the width. Above: Download the original file (Registered members of Vimeo only). As it stands, the X-H1 really needs its booster accessory in order to compete in a number of regards with similarly-priced rivals, and having it fitted all the time transforms it into a different beast. The Fujifilm X-H1 marks the latest release in the X series of mirrorless digital cameras.Initially released spring 2018, it man’s the helms as the current flagship line for the camera maker with a 24.3-megapixel X-Trans III APS-C sensor and 5-axis image stabilization. I spoke to Fujifilm about this and was told it had already been resolved for the X-E3 with an update in January 2018 and that a future firmware update would fix it for the X-H1, but I wasn’t provided with any timescales. Tap an icon on the right side of the screen and a tray pops-out, letting you adjust the shutter speed, aperture, compensation, sensitivity, microphone levels, wind filter, headphone volume, film simulation and white balance. And again while the face and eye detection can work well in some situations, I found them sufficiently inconsistent that I was wary to use them outside of controlled posed situations. If you don’t like the shots as you take them, you have the chance to retry, but other than that there’s no other options. Note this is just for indication, not control – you’ll still need to change settings on the camera and use the camera’s shutter release to take the shot. And the price! The X-H1 employs the same 24 Megapixel APSC X-Trans III sensor as most of the bodies in the current X-series line-up, but is the first to stabilize it within the body; Fuji claims this new 5-axis system delivers up to five stops of compensation. The X-H1 is equipped with Wifi, allowing you to wirelessly transfer images or remote control the camera with a compatible smartphone. The ISO sensitivity is adjusted using a dedicated dial to the left of the viewfinder head as you’re shooting with the camera. Same for the shutter speed in Shutter Priority, or indeed either of them in Manual, but you can’t change the actual exposure mode remotely, nor can you effectively hold down the release button for Bulb exposures. Above: Fujifilm X-H1 and XF 90mm at 1/5. 100% crops with IBIS off (left) and IBIS enabled (right). This however no longer matters when paired with the X-H1, as it’s the first body in the X-series to feature built-in sensor shift stabilisation. If you’re an owner of an earlier body hoping for a fix, I believe you’re completely out of luck as the updating will require Bluetooth hardware in the camera and at the time of writing that’s just the X-E3 and X-H1. Before moving on, an additional respectful nod to Fujifilm for offering a 24p-friendly shutter speed of 1/48 when the camera’s set to the movie mode, and I also like the way the upper LCD screen switches to display video-related information like the time remaining. But equally its rivals aren’t standing still either and when comparing the X-H1’s movie features side-by-side with models like the Panasonic Lumix G9 (let alone the video-oriented GH5) and Sony’s A6500 and A7 III, you notice some key differences. I’ve been shooting with the X-H1 over an extended period, so read on for my in-depth review, comparing it to key rivals and other bodies in the X-series. Fujifilm’s X-series may be younger than Micro Four Thirds and Sony’s E mount, but in six years they’ve launched 25 quality models, and there’s several more from third parties, covering most bases. Fujifilm X-T3 is clearly the smaller of the two cameras. It’s Fujifilm’s second camera to complement the Wifi with Bluetooth which, in theory, should ease the initial connection. So far so normal, but if, like me, you prefer to shoot in the portrait orientation, just push a button on the side and angle it out sideways by about 60 degrees (this is also easier than the sliding lock on the X-T2). I feel this is an area Fujifilm really needs to address, especially on a larger flagship camera with built-in stabilisation. Regular readers of Cameralabs may remember Fujifilm previously stated sensor-shift stabilisation wouldn’t be possible due to the tight constraints of the X-series’ imaging circle. Yes, it’s that good. Like the X-E3 you can tap to pull-focus while filming, but the X-H1 now additionally offers a new Movie Silent Control option which ignores the positions of the aperture, shutter and ISO dials in favour of touch-screen controls. If you’re looking for a high-end mirrorless camera, you’ve come to the right place! Size-wise the X-H1 measures 140x97x86mm (40mm at its thinnest point) and weighs 673g including battery. It’s fast – with the 16-55mm f/2.8 XF, the X-H1 is as fast as a 1Dx or Nikon D5 with a 24-70mm f/2.8 in good light. Sony also nailed the process of image transfer a long time ago using NFC to simply copy a photo onto your phone during playback with nothing more than touching the two devices together. The 16-55mm f/2.8 still delivers quite a bit of a smooth bokeh. However, the X-T4 now includes IBIS making it an incredibly appealing option. Disappointingly despite its substantially enlarged grip, Fujifilm continues to power the X-H1 with the same compact NP-W126S battery of the X-T2, itself just a modified version of the X-T1’s old battery pack to better handle over-heating with 4k video. The overall look is more modern than many of the X-series bodies which preceded it and you may or may not like this direction in design. Once again it’s breathed a new lease of life into Fujifilm’s collection of fabulous prime lenses without optical stabilisation. Again like the X-T2, an optional booster grip (the VPB-X-H1) allows you to accommodate two extra batteries, boost mechanical burst shooting to 11fps and extend all movie clips to half an hour, while also sporting an AC input and headphone jack. Above left: Fujifilm XH1, above right: Fujifilm XT2. Even more impressive, you can dial-in up to 3EV increments regardless of the number of frames, allowing you to achieve a +/-12EV maximum range if desired (nine frames at 3EV increments). It’s also possible to customize what information is displayed for still photos and the movie mode. MSRP $1,899.00 $1,299.00 at Amazon Strangely on some earlier Fuji bodies, RAW recording was disabled in these bracketing modes, with the cameras switching to JPEG only, although this has been resolved on some models with firmware updates. Above: 240 second exposure with X-H1 and XF 10-24mm. There’s also face detection with optional eye detection. Lenses with OIS use their two optical axes for pitch and yaw, leaving the remaining three (X shift, Y shift and roll) to the body; the exception here is the recent XF 80mm macro which sports four axes of optical stabilisation and only utilities the single roll compensation from the X-H1 body. The fourth and final option on the app is Geotagging which as its name suggests, uses your handset’s GPS to deliver co-ordinates which are embedded on your photos. The one function that sets the Fujifilm X-H1 apart from all other cameras in the X series range is the addition of In Body Image Stabilisation (IBIS), which allows up to 5.5 stops of stabilization. I’d say I was getting at least three stops of compensation in this particular example, or a little more if you didn’t mind some very minor shake. Either way, one of my favourite things about the Fujifilm viewfinders is how the information is reformatted to remain upright when you turn the camera into the portrait orientation – it’s such an obvious thing to do (and easy too with a digital display) and yet hardly anyone else does it. I don’t use glasses myself but some of those who do have told me they prefer the X-H1 viewfinder to the X-T2. The latter is the default option. Meanwhile the Multiple Exposure option lets you take two shots and have the camera combine them into one. Above left: Fujifilm X-H1 Provia, above right: Fujifilm X-H1 Velvia, Above left: Fujifilm X-H1 Astia, above right: Fujifilm X-H1 Classic Chrome, Above left: Fujifilm X-H1 Acros, above right: Fujifilm X-H1 Sepia. After the first 15 minute clip, the base and grip of the camera were slightly warm and the battery meter indicated full strength. Previous. I’ll start with two video reviews: my First Looks which explains the headline features, followed by my podcast review with Doug Kaye for a deep-dive. The Bracketing menu offers a wealth of options including exposure, ISO, film simulation, white balance and dynamic range. I have several other clips demonstrating this effect in my first-looks video at the top of this page. The resolution also allows the X-H1 to match the detail presented by the best of its rivals including the Lumix G9 and Sony A7r III (albeit not the Sony A7 III’s viewfinder which stays at 2.36 Million dots). The X-Trans III sensor also equips the X-H1 with embedded phase-detect autofocus, although Fuji has improved its low-light sensitivity from 0.5 to -1 EV and now supports focusing at f11 (handy if you’re using teleconverters). Switching the same card into Slot-2 and a burst of 26 uncompressed RAW frames took 10.49 seconds to finish writing. 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