Fifty Years of Fujifilm Mirrorless Medium Format Cameras

Yep, 51 actually. Back in the 1960s, unlike all its rivals in the medium format camera market at the time, Fujifilm decided to concentrate on rangefinder designs rather than reflexes. And, of course, rangefinder cameras are mirrorless, right?

As has been the philosophy behind the GFX 50S and now the 50R, Fujifilm’s key objective back then was to combine “carrying ease” with “handling speed” hence the decision to package the 6x9cm format in a 35mm-style rangefinder body.

The Fujica G690 was launched in March 1968 at the Tokyo Camera Show and went on sale in the December of that year. It was compact for a 6x9cm format camera and had interchangeable lenses. An internal mask covered the film gate when lenses were being changed. It had a coupled rangefinder and the viewfinder also incorporated frame lines which not only adjusted for parallax as the lens was focused, but also the field-of-view. Even Leica didn’t offer this facility on its contemporary 35mm RF cameras. An updated version, the GL690 Professional, was launched in 1974 along with a 6x7cm camera called the GM670 Professional.

However, in 1978, Fujifilm decided to adopt a fixed-lens configuration which, along with a switch to GRP bodyshells, resulted in significant weight savings. The original GW690 and GW670 both had a 90mm f3.5 lens which was equivalent – in 35mm format terms – in focal length to a 35mm on the 6x9cm format and a 42mm on the 6x7cm. These models subsequently evolved through Series II (1985) and III (1992) versions and an ultrawide GSW version of the 6x9cm model was introduced in 1980. It had a 65mm f5.6 lens which was equivalent to a 25mm.

A line of 6×4.5cm format RF cameras was introduced in 1983 to enable even more compact and lightweight designs. While the early models were fully manual (but with built-in metering), in 1995, Fujifilm launched the next-generation GA645 Professional which caused almost as big a stir as the original X100 digital camera did in 2010. It pretty much went ‘all the way’ with automation – autofocus, program exposure control, motorised film transport and a built-in, pop-up flash – with styling similar to the 35mm compacts of the time. It was a medium format point-and shoot camera. The GA645 had a 60mm f4.0 lens, but a wider-angle version, called the GA645W (and also launched in 1995), was fitted with a 45mm f4.0 lens. Both were subsequently upgraded in 1997, and rebadged as the GA645i and GA645Wi respectively, with the main change being the addition of a second shutter release button on the front panel. In 1998, Fujifilm introduced the last-of-theline GA645Zi model which had a 55-90mm f4.5-6.9 zoom lens (equivalent to 35-55mm) and a modernised body with a more pronounced handgrip.

Given this track record, don’t rule out a digital medium format X100-style camera (i.e. with a fixed lens) from Fujifilm sometime in the future.
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report by Paul Burrows
in Australian Camera

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Banc d’essai Fujifilm X | Quels objectifs pour le capteur 24 Mpix?

Banc d’essai Fujifilm X | Quels objectifs pour le capteur 24 Mpix?
La réputation des optiques Fuji, conçues pour les boitiers de la série X n’est pas usurpée. Nos tests le prouvent : elles sont compacts, bien fabriquées, agréables à utiliser et, face au capteur 16 Mpix, elles délivrent d’excellentes images.
En janvier, un nouveau capteur 24 Mpix est arrivé. Pour savoir si la gamme optique est à la hauteur du gain de résolution apporté par les boitiers X-Pro2 ou X-T2, nous avons refait tous nos tests ! Les “Fuji-fans” vont s’en régaler…

fujixlens09a fujixlens09aa fujixlens09b fujixlens09bb fujixlens09c fujixlens09cc fujixlens09d fujixlens09dd fujixlens09e fujixlens09ee fujixlens09f fujixlens09ff fujixlens09g fujixlens09gg fujixlens09h fujixlens09hh fujixlens09i fujixlens09iiet encore plus dans Chasseur d’Images N°387 – Octobre 2016
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Les objectifs testés ont été choisis afin de constituer des fourre-tout adaptés à tous les photographes. Deux focales fixes manquent à l’appel: le 18mm f/2 et le 27mm f/2.8. Ces deux grands-angles sont ultra-compacts, mais ne sont pas les plus performants de la gamme. De même, le zoom transstandard 18-135mm n’est pas dans la sélection car ses résultats au-delà de 70mm sont en retrait.
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Comment lire les tests:

testci1 testci2

Fuji X-T2 Sample Images

The new, highly anticipated X-T2 takes the FUJIFILM X mirrorless camera system to a whole new level of excellence. With its 24.3MP APS-C X-Trans CMOS III sensor and high-performance X Processor Pro image processing engine, the X-T2 fulfills the high standards of the FUJIFILM X system. The addition of 4K/2K video takes it one step beyond. With a string of features including high speed 1/32000 shutter, Intelligent Hybrid Phase detection AF, weather resistant body, 3-way tilting 3.0” LCD, 2.36 Million dots EVF and dual SD UHS-II memory card slots, the X-T2 makes a fitting successor to the popular FUJIFILM X-T1.

XT2sample07aby John Rourke
ISO 100, F22.0, 1/8, 20.9mm, Film simulation Velvia, Fujinon XF10-24mmF4 R OIS

XT2sample07bby Ines Thomsen
ISO 200, F1.2, 1/1000, Film simulation Astia, Fujinon XF56mmF1.2 R APD

XT2sample07cby Steve Christo
ISO 400, F9.0, 1/1250, 400.0mm, Film simulation Classic Chrome, Fujinon XF100-400mm F4.5-5.6 R LM OIS WR

XT2sample07dby Wang Ning
ISO 200, F8.0, 1/900, 10.0mm, Film simulation Velvia, Fujinon XF10-24mmF4 R OIS

XT2sample07eby Joe Ng
ISO 1600, F4.8, 1/500, 153.3mm, Film simulation Provia, Fujinon XF100-400mm F4.5-5.6 R LM OIS WR

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Fuji X-T2 Sample Images

via fujifilmusa

Le meilleur des APS-C 24 Mpix

Banc d’essai X-T2
Le Fuji X-T2 est un superbe appareil, très bien construit et bénéficiant de nombreux joints qui lui permettront de résister aux aléas de la vie mouvementée de photographe.
Performant et très polyvalent, il fait face à toutes les situations grâce à son capteur de 24 Mpix et son AF très réactif. La qualité des images, excellente jusqu’à 6400 ISO, en fait le meilleur des APS-C.

plus par Pierre-Marie Salomez dans:
Chasseur d’Images No386 – Août-Septembre 2016

Les défis de la mise au point et les différents modes AF des marques

Les défis de la mise au point
Depuis son apparition sur le Konica C35 AF en 1977, la mise au point automatique (ou AF pour Auto Focus) est devenue une fonctionnalité particulièrement affûtée.
Pourtant, malgré ses sophistications technologiques, elle se fait régulièrement pièger par des conditions de prise de vue non prévues par ses algorithmes.

RP290voir dossier complet dans Réponses Photo Nº290 – Mai 2016

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Les différents modes AF des marques

RP290a RP290b RP290c RP290d RP290e RP290f RP290g