As for Eterna, here’s how it looks applied to the same scene as above, although you may prefer to judge its muted output on video. 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. In previous comparisons with small apertures around f16, I found the versions with LMO enabled were crisper, especially towards the edges, but equally never felt over-sharpened. The X-H1 also inherits the Grain simulations introduced on the X-Pro2, with a weak and strong option to choose from and, like film simulations, you can apply these to RAW files after the event using the in-camera processing. At least the AF joystick is still present and correct, as well as the clickable finger and thumb dials. Ok, that’s the theory, how about the experience in practice? When I first encountered this panel on the GFX-50S, I wasn’t 100% convinced, but over time I’ve grown to find it very useful and while it means the X-H1 departs from its purely retro styling, it is simply very useful. 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. This is a frustrating limitation inherited from earlier models and something that really should be fixed by now. Meanwhile the Multiple Exposure option lets you take two shots and have the camera combine them into one. 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. In terms of phase-detect coverage, the X-H1 is beaten by most of its mirrorless rivals. Above: Harry with the Fujifilm X-H1 and XF 90mm. And yet in order to match the battery power, movie clip length, burst speed and connectivity of rival bodies, you still have to fit this grip accessory. 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. 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. ISO, Film Simulation, Dynamic Range and White Balance bracketing are also available from the Drive menu should you want them, and each can be recorded with a RAW version if desired. Like the X-T2 you can film 4k UHD video at 24, 25 or 30p (with a 1.17x crop), as well as 1080 Full HD (with no crop) at 24 to 60p, and there’s no need to change the video region to access the different frame rates. Conversely the smaller lenses, like the XF 35mm f2, look slightly out of proportion on the X-H1. Turning to the rear, there’s been some minor juggling of buttons with AF-L now becoming AF-ON. For me this is a major benefit of stabilisation when it comes to stills photography, as it’s possible to avoid camera shake by simply using a fast enough shutter speed. The Bracketing menu offers a wealth of options including exposure, ISO, film simulation, white balance and dynamic range. This allows the 3in / 3:2 shaped display to fold up vertically by 90 degrees or down by around 45 degrees. It’s also worth remembering that while the Lumix G9 has a smaller sensor, its stabilisation is even better still, the screen can flip forward for filming pieces to camera, and there’s the option of filming 4k up to 60p; the GH5(s) adds unlimited recording times and 10-bit internal recording. Note the Lumix G9 takes the crown for the largest actual image size with a 0.83x magnification that really does look bigger, especially since the native shape of Micro Four Thirds will fill the viewfinder panel height, whereas the APSC and full-frame models normally use the wider 3:2 shape which has to be displayed with letter-boxing in most viewfinders. Read our full review of the new Fujifilm X-H1, Fujifilm's flagship X series camera, with 5-axis Image Stabilisation, and CINE 4K video recording. I have several other clips demonstrating this effect in my first-looks video at the top of this page. With identical cards in both slots, the time matched the Slot-2 figure of just over ten seconds. However, the X-T4 now includes IBIS making it an incredibly appealing option. In terms of continuous shooting, the X-H1 shares the same capabilities as the X-T2: a top burst speed of 8fps if you’re using the mechanical shutter, or 14fps if you switch to the electronic shutter. If you’d prefer complete silence, you can switch the X-H1 to its electronic shutter with the same benefits and caveats as before: on the plus side, you’re shooting in complete silence with the chance to deploy faster shutter speeds up to 1/32000 and quicker bursts up to 14fps, but on the downside there can be skewing artefacts due to rolling shutter if you pan the camera while shooting or try to capture subjects in motion (see below), and possible banding under some types of artificial light. This makes the X-H1 by far the largest and heaviest X-series body to date, most obviously sporting a substantially deeper grip and larger viewfinder head than the models that came before it. So the X-H1, like the X-T2 before it, is certainly capable of capturing fast action. So carrying a spare is an absolute necessity. Note 1080 video (in any shape) can be encoded at 50 or 100Mbit/s. Set to uncompressed RAW, I managed 22 frames in 2.74 seconds for a speed of 8.03fps. Meanwhile the performance of the X-Trans III sensor is well-known, delivering clean images with long exposures even when noise reduction is disabled; here’s an example where I dialled-in a four minute exposure using a 10-stop ND filter from Lee. 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. So again, a reliable three to three and a half stops of compensation and a little more if you could accept minor blurring. The big news on the upper surface though is the 1.28in LCD information panel inherited from the GFX-50S. You can import JPEGs at either 3 Megapixels or the original size, but again not RAW files. Throughout my tests with unstabilised lenses on the X-H1, I experienced similar results: typically a reliable three stops of compensation, or in some instances a little more. Fujifilm X-T3 is clearly the smaller of the two cameras. 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. More importantly what I did notice was a very welcome absence of shake while composing. So far so similar to the X-T2, but as mentioned at the start, the X-H1 offers some AF enhancements. Like the X-T2 before it, the X-H1’s Vertical Power Booster also enhances the performance of the camera, increasing the mechanical burst speed from 8 to 11fps, improving the overall response and extending all movie clips to a maximum of 30 minutes. Like the X-T2, burst shooting with continuous autofocus is available at 8fps with the mechanical shutter or 14 with the electronic shutter, and thanks to new shock absorbers, the mechanical shutter is quieter than before. Like most mirrorless cameras, the Fujifilm X-H1 employs a combination of phase-detect and contrast-based autofocus systems. In poor light, it’s better than my X-Pro2, but not like a D5 and the likes. By sharing the same sensor as the X-T2, the core capabilities are the same, although Fujifilm has enhanced a number of aspects. There’s still no in-camera HDR generation, but certainly enough bracketing to keep HDR enthusiasts satisfied. Add the Sony E 24-105mm f4G OSS to the A7 III and the length becomes 176mm and the weight becomes 1313g. As with previous bodies, Film Simulations can be applied to photos or videos, and while you can apply Eterna to stills, it’s really aimed at video use. Likewise for the eye detection which felt a lot less ‘sticky’ than many rival models. Regardless, there are a number of handling reasons to make you choose this somewhat larger body. I’m particularly fond of Acros with the Red filter option to darken blue skies and bring out cloud detail. Check prices on the Fujifilm XH1 at Amazon, Nikon Z TC-1.4x TC-2.0x teleconverter review. Like the viewfinder, the shooting information cleverly rotates to remain upright. In this in-depth review of the Fuji X-H1, we will take a closer look at what this mirrorless camera has to offer and why I consider it to be the best APS-C camera on the market today. Like 0 You can also deploy the entire sequence with a self-timer, after which it’ll capture all the frames without intervention. 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. Brighton’s swooping seagulls still provided a challenge but my hit rate increased dramatically compared to the wide area mode. 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 X-H1 may have phase-detect autofocus, but when pulling focus in movies it can still be strangely hesitant compared to rivals. The magnesium alloy shell is also 25% thicker than the X-T2, making it twice as strong overall, and the surface coating is more scratch-resistant too. Set the X-H1 to Zone AF or Wide / Tracking AF modes and it switches to the 91-point system only, reducing to the 49-point phase detect region only if you’re using continuous autofocus. I didn’t get to try a side-by-side with the X-H1 and another X-series body shooting the same subject with the same lens, so I’ll try to revisit this in the future, but for now I’m satisfied the built-in stabilisation is not having a negative impact on the corner quality of the frame. To test the effectiveness of the built-in stabilisation for stills with the XF 16-55mm f2.8 lens, I set it to 55mm (83mm equivalent) and shot a sequence of inages with progressively slower shutter speeds, first without stabilisation enabled, then with it working in continuous mode; as with all stabilised systems, I allowed it to settle-down for a second or so with a half-press before pressing fully to capture the shot. 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. In your hands the X-H1 certainly feels very confident and comfortable. Here’s some examples, all at 55mm f2.8. The X-H1 made the news in early 2018 for being the first Fujifilm camera with 5-axis stabilisation, a feature that was long overdue in the X-series mirrorless line-up. Above: Fujifilm X-H1 and XF 100-400mm at 400mm, 11fps, Zone AF. 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. I feel I’m one of the few people who bother to test this, so I’ll report back when there’s any news. It can be a subtle difference day-to-day, but point the X-T2 and X-H1 viewfinders at very fine details and you’ll notice the latter resolves them better with less moire or blurring, leading to a more natural view. Like that option, you can view thumbnails in two different sizes, tap to enlarge for a closer look and choose to import if desired. Now it’s time to examine the image quality of the X-H1. 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. I’ll discuss the real-life AF performance in a moment. The X-H1 inherits the standard nine simulations of earlier X-Trans III bodies, and debuts a tenth: Eterna which is designed to deliver a cinematic style to video without post processing. I’d also recommend fitting the Vertical Power Booster and setting it to Performance mode for the most responsive experience. The first X-series camera with in-body image stabilization, it offers several major upgrades from the X-T2, including more extensive video options, flicker reduction mode, electronic shutter, improved AF performance, and a higher-resolution EVF. Fujifilm X-H1 still good even 1 year later, review March 2019 This leads me to the second option of the app, named Receive. If you’re keeping the camera mostly still or making very small adjustments, I found it proved quite effective at eliminating the wobbles, but once I started to pan, the system would often mistake deliberate motion for shake and correct it – the effect being a shudder as it caught up with itself and reset; I saw this when panning or walking with the camera. 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. Fujifilm’s clearly improving its movie capabilities and there’s no denying the X-H1 is capable of capturing good quality footage; in particular the new Eterna simulation produces very usable footage out-of-camera without the need to grade and Fujifilm’s optics division are producing some high-end cinema lenses too. In particular, this was one of my major bugbears with the XF 16-55mm and XF 90mm, both superb lenses, but both models that I struggled to handhold as accurately as I wanted for prevision framing. Roxham Road. 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. 100% crops with IBIS off (left) and IBIS enabled (right). The X-H1 is typically sold body-alone or in a ‘kit’ bundled with the XF 16-55mm f2.8 zoom. 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. 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. One could argue that Fuji’s timing of the X-H1 release in February of 2018 was a bad marketing move due to the release of the X-T3 months after the announcement. Like earlier X-series bodies, the autofocus experience is highly dependant on the lens you use. I successfully captured long bursts of my friend Nick cycling round Brighton’s velodrome at approximately 30mph. The 100-400 lens performed very well and sharpness is impressive. 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. I also felt the Olympus OMD EM1 Mark II felt more confident with birds in flight than the X-H1, and both it and the Lumix G9 can shoot even faster bursts while additionally boasting various pre-capture modes that can buffer a few frames before you fully push down on the shutter, ensuring you never miss the moment. The X-H1 becomes Fujifilm’s most capable camera for video to date, building upon the features and quality of the earlier X-T2. 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. This in turn could explain the differences in compensation between lenses – perhaps the system deliberately reigns itself in when the imaging circle on a certain model is tight with little breathing space beyond. All words, images, videos and layout, copyright 2005-2020 Gordon Laing. In terms of battery life and overheating, I recorded consecutive 15 minute clips in 4k UHD / 24p at 200Mbit/s with stabilisation enabled using a fully charged battery in a cool room. More maybe like my Nikon Df/D600. For the record, Nikon’s D500 DSLR measures 147x115x81mm and weighs 860g including battery, so the X-H1 remains a little smaller and noticeably lighter, but it’s certainly one of the heftiest mirrorless cameras to date, and it’s revealingly a tad larger than the full-frame Sony A7 III. Now it’s no longer an issue on the X-H1 and it really does breath a new lease of life into their unstabilised lenses. This initiates playback on the camera, with the option to send a photo as you browse through them. On the day with stabilisation disabled, I required at least 1/100 to capture an image without wobble, but with stabilisation enabled, I achieved perfect results down to 1/10 and a handful of good ones down to 0.4 seconds. Compare that to the Sony A7 III which measures 127x96x73.7mm (62.7mm at its thinnest point) and weighs 650g including battery. The 24mm equivalent field of view is an eternal favourite with landscape and architectural photographers, capturing wider and more dynamic compositions than a 28mm, but without the distortion of an ultra-wide. On Micro Four Thirds, the closest match in coverage is the Olympus 12-40mm f2.8 with its 24-80mm equivalent range, but the f2.8 focal ratio delivers a less shallow depth of field, roughly equivalent to f4 on APSC or f5.6 on full-frame. ... 27 Apr 2019 3:43PM. Having three batteries certainly makes power worries a non-issue, but makes an already fairly large camera even bigger, not to mention more expensive. But again the experience on the X-H1 was transformational for me when shooting with the longer unstabilised lenses. When you first fire-up the app, it encourages you to pair the camera and phone over Bluetooth, a process that went smoothly for me, but it didn’t subsequently make the Wifi connection as easy as rivals with Bluetooth. X100V X100F X100T X100S X100. 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. There’s also face detection with optional eye detection. Here’s an example. 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. The A position on the dial sets the X-H1 to Auto ISO with the choice of three customisable banks in the menus, allowing you to adjust the default sensitivity, maximum sensitivity (up to 12800 ISO), and the minimum shutter speed (from 1/4 to 1/500). I then removed the booster grip and set the speed back to 8fps. I also tried the wireless version, connecting my laptop and the camera to my home Wifi network. So if you’re experiencing wireless issues, I’d stick with a USB cable instead. Fujifilm X-H1. Received images are graphically shown on your handset’s screen like stacked paper photos. In a departure for Fujifilm’s X-series bodies, the shutter release has been shifted forward onto the grip and is no longer threaded for a retro-style cable release. If you’re into tethered shooting, Fujifilm offers two solutions: the simple and free Fujifilm X-Aquire utility which allows you to save images direct to your computer, or the more advanced Tether Shooting Plug-in Pro for Adobe Lightroom which costs $79 and provides broader remote control with live view. Tapping your way through these nested menus can take time, but does allow you to make adjustments without visible clicks and also neatly allows you to maintain very different settings for photos and video without constantly having to readjust things like the shutter speed. As you’ll see, the Multi metering mode does a good job at evaluating the majority of the subjects I pointed the camera at, and I only needed to intervene for my long exposures or shots of distant birds against a bright sky. Despite further upgrades to the movie mode, videographers will also notice there’s no traditional red button to start recording – instead you’ll be using the shutter release button. I'd get mine new at Adorama, at Amazon, at B&H or at Crutchfield, or used at eBay. If you prefer a more subdued look, go for Astia, while portrait photographers may like Pro Neg Hi and Standard. The FUJIFILM X-H1 has a large, class-leading 3.69-million-dot high-resolution electronic viewfinder with the magnification ratio of 0.75x, boasting a display time lag … Here’s two examples using the XF 16-55mm, one panning, the other walking. I then fitted the Vertical Power Booster grip, set the drive to 11fps and managed to fire-off 79 Large Fine JPEGs in 7.46 seconds for a speed of 10.59fps. Moving onto the XF 90mm f2, on the conditions of the day I required a shutter speed of 1/200 for a perfectly sharp result when stabilisation was disabled. With the card inserted in Slot-1, a burst of 28 uncompressed RAW files took 7.47 seconds to finish writing to the card. I should however add that in an update over some earlier models, the X-H1 can at least record RAW files when shooting with Advanced Filters, although sadly you wonât be able to subsequently apply an alternative filter effect later or indeed remove it altogether â youâre stuck with the filter selected at the time of shooting and limited to adjusting the usual things like the white balance and film simulation. No Wifi connection, no delay, no hit on battery life, no configuration, just constantly updated locations automatically embedded on your images. Which feels supremely confident for shooting movies lenses guide for the price of Nikon! 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