Fujifilm Medium Format

Fortunately, one of Fujifilm’s goals was to make digital Medium format photography more accessible

Sadly I don’t own a digital Medium format camera. I do however own a Bronica, which is an analogue (film) Medium format camera. Bronica went out of business in the late ’90s, due to the popularity of digital. However both formats produce stunning images; but I appreciate I can’t really compare digital and analogue…..

Fujifilm was a latecomer to the digital Medium format market, yet they have not only caught up with their competition but have established themselves as a front-runner, thanks to their comparatively frequent product launches. Fujifilm’s GFX Medium format system was launched in 2016 with the GFX 50S, and since then, they have released four more versions – way more than any other brand.

Fuji, if you’re reading this, any chance I could borrow one?

Fujifilm was a latecomer to the digital Medium format market, yet they have not only caught up with their competition but have established themselves as a front-runner thanks to their comparatively frequent product launches.

Fortunately, one of Fujifilm’s goals was to make digital Medium format photography more accessible and announced their first camera would be available for less than £10,000. However, with the latest GFX 50 S ll body-only priced at just £3500, the secondhand value of their previous models has crashed. This did have a good impact on the Medium format market as a whole, and has made the older Fujifilm bodies particularly affordable; for some! I’m still going to have to stick with my X-series cameras!

Fujifilm has two options really, a 50MP or 100MP model. If 50MP is sufficient, you can choose between a DSLR-style body in the S series or a flat-topped rangefinder-style in the GFX 50R. To put this into perspective, my X-Pro 3 is ‘only’ 26MP. In either case, you’ll get a Medium format camera with current menus and none of the lags or sluggishness that most other used Medium format cameras have. Whether you choose 50MP or 100MP, you’ll get superb image quality, as well as amazing and varied colour adjustments that allow so many Fujifilm photographers to shoot JPEG-only.

Fujifilm’s GFX Medium format system was launched in 2016 with the GFX 50S, and since then, they have released four more versions - way more than any other brand.

Fujifilm GFX50R is perhaps the best Medium format camera for the money.
I like its size, small lens and the fact it has a flip-out back screen. Something the X-Pro3 does not have. Let’s also not forget the 3.69 million-dot viewfinder. Some say the autofocus isn’t as fast or as accurate as more recent models, and the sensor’s read-out speed makes the silent mode unworkable for fast-moving subjects, but the image quality looks excellent and the camera is, like all Fujifilm cameras, simple to use.

As enticing as the GFX 100's 100MP is, the GFX 50R is my favourite among the versions most likely to appear on the secondhand market right now.

As enticing as the GFX 100’s 100MP is, the GFX 50R looks like my favourite among the versions most likely to appear on the secondhand market right now. I appreciate the interchangeable viewfinders and handling of the GFX 50S, but the GFX 50R’s smaller proportions make it a better fit for my street, travel, documentary style of photography. One of the biggest reasons I got an X-E4 as a backup to my X-Pro3. The GFX is also well-suited to studio work and pretty much any other type of photography really; albeit its flat top means it doesn’t look as stylish as the GFX-50s. I hope that makes sense?

This article was written by © Christopher G – Narrating Images

X-Pro2 was probably the ultimate camera in 2016

The X-Pro2 was probably the ultimate camera in the X Series lineup, back in 2016.

The X-Pro2 was probably the ultimate camera in the X Series lineup back in 2016. Some may disagree, but it was packed with the newest features, including the latest X-Trans CMOS sensor and the processor. Which model is the most lovable X? This may be a more challenging question to answer. For me, it is currently the X-Pro3. And perhaps there is no end to the discussion, but FujiFilm feels that one of the four X100 models perhaps is the most loved X of all.

© Fujifilm

Fujifilm often set up meetings with the X-Photographers to get feedback on the products. I’d love to be involved. I did send Fujifilm a detailed list of suggestions, and feedback, but didn’t get a reply. Fujifilm prepares a proposal of improvements, but the demand from the X-Photographers is always one step ahead of their proposal.

But a strange things happen with the X100 series. The photographers all demand to “keep the camera the same and not change a thing.” This is not to say that Fujifilm should not change it at all; they are also expecting something new to the camera. To make the successor, Fujifilm had to be careful about picking parts for improvement and parts to keep unchanged. Thankfully, features such as electronic rangefinder and CLASSIC CHROME were positively received, probably because the things that they loved about the camera remained unchanged.

The 23mmF2 prime lens is one of the main reasons I love the camera so much – that at the 16mm F2.8. The lens remained unchanged in all X100 models. It renders soft images at maximum aperture and in close-up, but the photos get really sharp once stopped down. The lens is a hybrid. You can enjoy both sharp and soft images. The 35mm equivalent angle of view also makes it really easy to use the camera. There are photographers who take all their photos with this camera alone.

Per-Anders Jörgensen from Sweden created a book called “Eating with the Chefs”, with the X100 only. When you look at the pictures, you will be surprised how eclectic the images are and that they are, in fact, taken by a single fixed lens camera. “Mastering the camera” is not a thing they say often. But when you read the book, you can sense that the camera has become an eye and a hand of the photographer. It is as if the photographer has liberated himself from the typical use of a camera.

© Per-Anders Jörgensen

Another reason why so many professional love the camera is the lens shutter.
Zack Arias, a street photography master and a lighting pioneer, quickly saw the benefit of it, and created numerous works that only lens shutter can create with the high-speed sync flash.

© Per-Anders Jörgensen

There is more reasons to love the lens shutter: it’s so quiet. There is no focal plane shutter that can get as quiet as the X100. X100 makes minimal noise when releasing the shutter. Many appreciate this quietness, especially in reportage, documentary and family events photography. X-Photographer Gianluca Colla from Italy often talks about the importance of “Getting close”. He says the distance is the deciding factor in making the photos good or bad. There are things that cannot be captured from a distance away. To get close with the inner side of the subject, camera needs to be unassuming, and you need to act natural.

© Per-Anders Jörgensen

There are countless other reasons why people love about the X100 series. With 100 photographers, we would have 100 different reasons. But in the beginning, the camera was criticized as much as it was praised. “Why APS?”, “Why prime lens?”, “Why rangefinder style?” So many critics question the significance. However, as it turned out, the product planner was not so concerned about the negative response that the camera was getting back then. Because much more heated discussions had already taken place repeatedly within Fujifilm. His name is Hiroshi Kawahara. He is the person who gave birth to the X100 Series. He departed to a different path, away from the product planning of the X Series. His last word was, “Love the camera that you are involved with.” The camera he loved is still loved by so many still today.

© Fujifilm

A photographic film producer develops the world’s first fully digital camera

Did you know that Fujifilm developed the world’s first digital camera?

DID YOU KNOW THAT FUJIFILM developed the world’s first digital camera? In 1988 at the Photokina trade fair in Germany, Fujifilm announced the FUJIX DS-1P, the world’s first camera to save data to a semiconductor memory card. Taken for granted today, this method of storage was revolutionary for its time and was a Fujifilm original. With its then-impressive 2 megabytes of SRAM, the semiconductor memory card could hold 5 to 10 photographs’ worth of data.

© Fujifilm

So how did a company known for its photographic film come to develop an advanced digital camera, including all of the original technologies that made it possible? This article explores the background of this amazing world’s-first achievement.

Anticipating the digital era
Fujifilm was one of the first companies to envision the digital era, and to engage in digital camera R&D. In the 1970s, Fujifilm began developing CCD (charge-coupled device) technology, which a digital camera requires to convert visible light into an electric signal. In the 1980s, Fujifilm was already researching and developing digital imaging technologies. In 1988, Fujifilm developed the FUJIX DS-1P, the world’s first fully digital camera, and in 1989, it began sales of the FUJIX DS-X, the world’s first commercially produced digital camera.

© Fujifilm

Analog technology and its limitations
Before the development of the FUJIX DS-1P, still, video cameras using an analogue format were the main type of electronic camera. They stored frames to a magnetic medium called a video floppy. Back then, semiconductor memory was extremely expensive, and the idea of saving photographs in a digital format and viewing them on the low-performance personal computers of the time did not seem viable. Although video floppies were inexpensive, their data capacity was poor, and imperfect rotation could negatively impact image quality.

Taking on the digital challenge
Although it was recognized that saving photographs to a semiconductor memory card could offer low noise and outstanding colour reproduction, the extreme cost of this memory remained a barrier. Fujifilm, however, saw much more affordable semiconductor memory and much higher-performance image sensors and image compression technology on the not-so-distant horizon. So in defiance of the conventional wisdom, Fujifilm took on the challenge of developing a digital camera that stored still photographs on a semiconductor memory card. The result was the world’s first fully digital camera, the FUJIX DS-1P.

Fujifilm launched the world’s first fully digital consumer camera FUJIX DS-1P in 1988.

Corporate DNA that allows no fear of product cannibalism
Fujifilm was a photographic film manufacturer. So why was it enthusiastic about developing a camera that used no film at all? Fujifilm has always had a corporate atmosphere and environment that encourages creative destruction and allows no fear of leaving behind old technologies or cannibalizing current products. Fujifilm’s engineers are passionate about developing technologies and products that have a positive impact on society. So they dived straight into digital camera R&D and created several world’s firsts in the process.

© Fujifilm

Leading-edge products via original technologies
It’s in Fujifilm’s DNA to take on the challenge of developing its own technologies and create amazing, leading-edge products. The world’s first fully digital camera, the FUJIX DS-1P, is one key example. That DNA is just as alive today, finding its latest expression in the Fujifilm X series of advanced digital cameras.

© Fujifilm

ACROS Film Simulation

IT HAS BEEN OVER 15 YEARS since the introduction of the ACROS film simulation. Its history began with the model FinePix F700 back in 2003. The monochrome was called ‘B&W’ back then, and the image quality it produced was highly regarded.

Old Lives – Cirencester, UK – Fujifilm X-Pro3 – “ACROS” – © Narrating Images

At the same time Fujifilm were asked what film is the ‘B&W’ simulating? The answer to the question was, ‘B&W’ is based on PROVIA, and it is not based on Monochrome film. This fact also reflected the sentiment of the Image Design team at Fujifilm, that “It is too early to name a simulation mode after any monochrome films, which are all legendary.” So now we have a film simulation mode named after the monochrome film. To have ACROS mode, it had to meet a certain standard.

What does it take to be ACROS? What kind of monochrome expression does it need to have? First, it needed to be capable of expressing details like the ACROS film, which was often praised as ‘world’s finest grain’ Secondly, it needed to achieve print-like texture, like how a photo would appear when taken by a monochrome film and printed on a photographic paper. In order to become the digital ACROS, the mode needed to achieve both subject’s detail and texture.

This tonality curve, specifically designed for ACROS, has a distinguishable characteristic compared to the existing ‘B&W’. First, from the middle to the highest, the tonality curve is rather hard. By doing so, the detail stands out, and therefore the image appears clean and sharp. It doesn’t not mean, however, that it gets overexposed easily. The highest input and output remains at the same level. The dynamic range stays the same. We should now look at the shadow part.

Here is a link to my monochrome film simulator recipe for the Fujifilm XF10.

The tonality curve becomes rather soft, unlike the hard tonality curve from the middle to the highest. It means that we do not lose the detail as much as possible on the shadow range. The essence of monochrome expression exists in the shadow area. If it is too soft, then the image becomes too loose, and if it becomes too hard, then the picture loses its depth. The optimal balance in the shadow area determines the quality of the monochrome.

Residents Only – Cirencester, UK – Fujifilm X-Pro3 – “ACROS” – © Narrating Images

It is not only about the tonality curve.
To achieve the ACROS like texture, the film-like “graininess” is another important element. To be specific, ACROS mode has a completely different noise reduction algorithm from other modes. The “graininess” of the silver-halide films are what we see as ‘noise’ in the digital data. For colour images, they are the unwanted noise, but in the monochrome images, it becomes an important texture. Turning the noise into a grain-like texture is what makes ACROS unique and different.

Other manufacturers are also implementing the idea of creating ‘graininess’ to enhance the texture. Fujifilm is not the only brand doing this. You can find ‘Grain’ filter in the readily available photo processing software, and many monochrome photographers add ‘grain’ to achieve the monochrome film-like effect. Most of them try to achieve this by adding a grain-like element to the original image. They simply add another layer of ‘dotted graininess’ on top without changing the original photo composition. So something becomes unnatural in the process.

Church Shadows – Cirencester, UK – Fujifilm X-Pro3 – “ACROS” – © Narrating Images

ACROS is different.
Fujifilm developed it from the core of the image file to achieve a very complex and natural like grain expression. Optimal and different grain expressions are added to highlight and low light areas. You would not find unnatural dotted graininess in the highlight areas just like how the monochrome film behaves. In the low light area, you would see the graininess just like how it would appear with the monochrome film. There is undulating grain within the picture. And it adds depth like no other.

ACROS also changes the output of graininess depending on the sensitivity setting. As the sensitivity gets higher, stronger grain effect becomes visible, just like the film. Fujifilm had seen the advancement of high S/N ratio of digital cameras, but people generally wanted to take photos with the lowest sensitivity possible. But with ACROS, it may be a different story.

The unique grain effect, which becomes apparent at the higher ISO sensitivity. You can intentionally set the sensitivity high to enjoy the effect. Fujifilm had so much positive feedback on ACROS since the announcement, even before getting into explaining the technical aspect. “Add ACROS to X-T1 and X100T”, “Make it happen on the next firmware update!” Fujifilm had lots of requests. But unfortunately, this is very unlikely to happen. The image design of ACROS is only achievable with the resolution of X-Trans CMOS III and the processing power of X-Processor Pro.

Church – Cirencester, UK – Fujifilm X-Pro3 – “ACROS” – © Narrating Images

The fine detail that ACROS achieves is only possible with the resolution power of 24MP. And the complex grain effect is only possible with the powerful X-Processor Pro engine. It may be possible that the same concept can be achieved without the two new devices, but they can not say that to be ACROS? The answer is “No.” Fujifilm would not release a quality that does not meet a high standard.
Fujifilm also think that it is very unlikely that any RAW conversion software would achieve what ACROS achieves. Fujifilm all know that there is excellent RAW conversion software in the market, but we also believe that the magic of X-Processor Pro is not so easily solved.

Below is the ACROS recipe I used for the photos on this page.

Film Sim : ACROS
ISO: Auto
Dynamic Range: 200%
Sharpening: -1
Highlight: +1
Shadow: +2
Noise Reduction: -4
Exposure Compensation: 0

The Crown – Cirencester, UK – Fujifilm X-Pro3 – “ACROS” – © Narrating Images

Fujifilm’s first twin-lens reflex camera!

In 1954, Fujifilm introduced the Fujicaflex, which it developed to be the finest TLR produced in Japan.

A TWIN-LENS REFLEX CAMERA (TLR) has two vertically stacked lenses, one for the viewfinder and the other for shooting the actual photo. In Japan in the 1950s, demand for twin-lens reflex cameras (TLRs) soared for several reasons; they typically provided good image quality, were solid and durable, and were affordable.

In 1954, Fujifilm introduced the Fujicaflex

Due to the photographer’s usage of two lenses, what users saw in the viewfinder did not match what they saw in the image. It was extremely difficult to portray the subject’s relationship with the background as seen through the camera. Furthermore, the closer the camera was to the subject, the more difficult it was to achieve a precise focus, making shooting anything closer than a metre or two was problematic.

In 1954, Fujifilm introduced the Fujicaflex, which immediately became renowned as Japan’s best TLR. By integrating a cutting-edge lens that produced breathtaking, high-resolution images, the Fujicaflex differentiated itself from the many cheap TLRs on the market at the time.

A single mechanism altered the position of both the capturing lens and the viewing lens to achieve simultaneous focus, allowing photographs to be in focus at a distance of 70cm. A variety of other creative and forward-thinking features were also implemented into the camera. The side knob, when moved outward from the camera body, for example, changed the point of focus and moved the film ahead with ease. It was a nice touch that made taking pictures a little easier and quicker.

This article was written by © Christopher G – Narrating Images

The world’s first autoflash point-and-shoot camera

In the 1970s, point-and-shoot cameras became quite popular among amateur photographers. The film was loaded into a cartridge, and shooting was as simple as looking through the viewfinder and pressing the shutter button. When Fujifilm decided to get into the camera business, it worked with Kodak and signed a licencing deal. In 1975, the Pocket FUJICA line of point-and-shoot cameras launched, with five models ranging from entry-level to high-end.

After introducing the Pocket FUJICA in Japan, Fujifilm saw an upsurge in worldwide sales. In subsequent models, Fujifilm changed the orientation of the film within the camera from horizontal to vertical to make it easier to grip and eliminate blurry images caused by camera vibration. More people were encouraged to take up photography as a result of these and other advancements, resulting in higher sales.

Fujifilm kept looking for ways to improve the Pocket FUJICA range. Fujifilm was constantly seeking new ways to improve the Pocket FUJICA line. According to the company’s market research, flash photography is difficult and inconvenient for 75% of point-and-shoot camera users. As a result, in 1978, Fujifilm introduced the high-end Pocket FUJICA 550 Auto, which had a built-in pop-up flash. The flash was set to fire automatically, and the brightness of the light was adjusted to match the lighting circumstances. When combined with the camera’s autoexposure function, the autoflash made it simple to create beautiful images while avoiding costly mistakes. This was a first for a point-and-shoot camera, and it helped the Fujifilm Pocket FUJICA 550 Auto become another milestone device.

This article was written by © Christopher G – Narrating Images