I became very fond of Eterna while testing the X-H1 and found it became my default option, although like previous models you can alternatively apply any of the Film Simulations to video. If you fit the optional Vertical Power Booster, you can increase the mechanical shutter burst speed to 11fps. If you’re looking for a high-end mirrorless camera, you’ve come to the right place! With the AF area set to Zone or Single Point though, the X-H1 felt much more confident. The X-H1 is typically sold body-alone or in a ‘kit’ bundled with the XF 16-55mm f2.8 zoom. I’m also delighted those big chunky icons in the Q menu are now tappable too, although you can of course still use the AF joystick or cross keys for navigation. So the X-H1, like the X-T2 before it, is certainly capable of capturing fast action. The Fujifilm X-H1 is a larger mirrorless interchangeable-lens digital camera announced on February 15, 2018 by Fujifilm. Like the X-E3 before it, the X-H1 also offers gesture controls. 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 X-H1 may have phase-detect autofocus, but when pulling focus in movies it can still be strangely hesitant compared to rivals. Panasonic and Canon also offer simple remote shutter release apps that operate using Bluetooth only for a responsive experience and no connection delays. Sadly you can’t tap to refocus when filming video though, or even when composing prior to filming video – it only works when the app slider is set to take still photos. The video mode is fantastic too. Above: Fujifilm X-H1 and XF 100-400mm at 400mm. Moving onto the screen, the X-H1 inherits the unique articulation first seen on the X-T2 and refined on the GFX-50S. 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. 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. 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. 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. 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. Now it’s time to examine the image quality of the X-H1. Most notably the phase-detect AF system now works at lower light levels down from 0.5EV to -1EV, and can continue to operate at f11 which is useful when using the 100-400mm with a 2x teleconverter. After an initial struggle in sales, a price cut in 2019 gave it a second boost. These lenses are actually pretty close matches when the respective sensor’s behind them are taken into consideration: both start at 24mm equivalent, both deliver the same equivalent depth-of-field across the 24-83mm range, although the Sony extends a little further to 105mm. With identical cards in both slots, the time matched the Slot-2 figure of just over ten seconds. Above: 240 second exposure with X-H1 and XF 10-24mm. I’d also recommend fitting the Vertical Power Booster and setting it to Performance mode for the most responsive experience. 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. It saw many image quality and firmware additions over the course of the test period. The X-H1 becomes Fujifilm’s most capable camera for video to date, building upon the features and quality of the earlier X-T2. An option to Receive may seem redundant when you have various thumbnail views for importing on the app, but it’s actually very useful. To me this feels like a less satisfactory solution than on the X-T2, where the smaller body could be used as an excuse for reduced performance. I hope Fujifilm can improve their Bluetooth implementation in the near future, starting with proper geotagging. The FUJIFILM X-H1 is the first camera in the X Series to include ETERNA, a new film simulation ideal for shooting movies. I then removed the booster grip and set the speed back to 8fps. This top row of buttons are also slightly larger and more rounded than on the X-T2, making them easier to press especially with gloves. It’s Fujifilm’s second camera to complement the Wifi with Bluetooth which, in theory, should ease the initial connection. Panasonic remains the exception, choosing to enhance its DFD system that’s contrast-based only. Interestingly, the fly-by-wire focusing system of the X-series lenses can also be set to linear or non-linear, the former allowing you to mark points to hit focusing spots if desired. Once again it’s breathed a new lease of life into Fujifilm’s collection of fabulous prime lenses without optical stabilisation. 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. And finally if you turn both the shutter speed dial and aperture ring away from A, you’ll be in full Manual. In terms of exposure, you can manually set the aperture, shutter and ISO, and if desired, shoot with auto ISO when the shutter and aperture are fixed and effectively in manual mode. If you enable this, the app proudly states it’ll provide and embed location details for the next 60 minutes, but what it doesn’t tell you is it’ll be the same position for every single picture you take over the next hour, even if you move to a different location. That’s the best definition I can come up with. The ADV position lets you apply one of eight Advanced Filter effects included on earlier models: Toy Camera, Miniature, Pop Colour, High Key, Low Key, Dynamic Tone, Soft Focus and Partial Colour (with six sub-options to pass red, orange, yellow, green, blue or purple, leaving the rest of the image in monochrome). 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. Auto Exposure Bracketing (AEB) is available in three, five, seven or a whopping nine frames, unlike the basic three-frame option of earlier models (at least with their original firmware anyway). 200 ISO with Lee Big Stopper. All words, images, videos and layout, copyright 2005-2020 Gordon Laing. Above: Fujifilm X-H1 Eterna Film Simulation, Above: Portrait processed in-camera using, from left to right, Provia, Pro Neg Hi and Pro Neg Standard. It makes sense to exploit optical stabilisation where available in a lens, since it’s optimised for that particular focal length and proves more effective, especially for telephotos. In terms of being able to follow subjects through the viewfinder, I found the lack of feedback at 8 to 14fps made it difficult with all but the most predictable subjects when shooting at long focal lengths. 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. I wanted to confirm if both slots really were the same speed, so then timed how long it took to flush a burst of uncompressed RAW files onto the card. Here’s two examples using the XF 16-55mm, one panning, the other walking. In the video below I’ll demonstrate the X-H1’s movie features. I did occasionally experience the five stops quoted by Fujifilm, but not consistently. I can certainly live with vignetting or software correction for it, but am more concerned with softening in the corners. Like the X-T2, the X-H1 employs a 0.5in OLED panel for its electronic viewfinder and while the quoted magnification has fallen fractionally from 0.77x to 0.75x (a difference that’s not visible in real life), the panel resolution has been boosted from 2.36 to 3.69 million dots – that’s an upgrade from 1024×768 pixels to 1280×960 pixels. Gratifyingly you can tap anywhere on the live image on your phone to reposition the AF area, and the X-H1 will refocus straightaway. Finally! 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. The X-H1’s Shutter dial lets you select speeds from one second to 1/8000 in single EV increments, but if you’re in Shutter Priority or Manual mode, it’s possible to fine-tune shutter values using the rear dial by +/-0.6EV in 0.3EV increments. In poor light, it’s better than my X-Pro2, but not like a D5 and the likes. 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. It’s like Leica-quiet. The Bracketing menu offers a wealth of options including exposure, ISO, film simulation, white balance and dynamic range. 100% crops with IBIS off (left) and IBIS enabled (right). Bucking the trend for remote control apps, the choice of quality is actually set within the camera, not the app – you can choose the original image size or a reduced one at 3 Megapixels. So if you’re experiencing wireless issues, I’d stick with a USB cable instead. After the third 15 minute clip, the base and grip were warmer, but again nothing to be concerned about, and now the battery meter showed two bars remaining. When shooting handheld with body-stabilisation with lenses like the XF 16-55mm f2.8 or XF 90mm f2, the corners looked fine to me, and you can see several examples on my sample images pages. If the subject is fairly predictable, like an approaching cyclist on a track, the X-H1 has no problems at all, even at 400mm (600mm equivalent). 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. The Film Simulations are another part of the equation behind the lovely output from Fujifilm’s cameras. It would work sometimes, but not at others, and I found the experience quite frustrating when trying to capture Brighton’s seagulls. More importantly what I did notice was a very welcome absence of shake while composing. First off, the Fuji X-H1 is a beefier camera. Mounted on a G9, the total weight becomes 1040g. This allows the 3in / 3:2 shaped display to fold up vertically by 90 degrees or down by around 45 degrees. The Remote Control option shows a live image from the camera, surrounded by shooting information and a selection of buttons underneath. With the quality set to Large Fine JPEG and the drive set to 8fps with the mechanical shutter, I fired-off 142 frames in 17.91 seconds for a speed of 7.92fps, after which the camera continued to shoot, but at a reduced speed of around 5fps. No Wifi connection, no delay, no hit on battery life, no configuration, just constantly updated locations automatically embedded on your images. For me a very welcome addition. Once connected, the app offered the same four options as previous versions: Remote Control, Receive, Browse Camera and Geotagging. At least the AF joystick is still present and correct, as well as the clickable finger and thumb dials. Like earlier X-series bodies, the autofocus experience is highly dependant on the lens you use. 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. For example, in these portraits of Harry using the XF 90mm, the X-H1 regularly flipped in and out of face detection and only rarely engaged eye-detection, forcing me to disable the feature and simply select a single area instead. This leads me to the second option of the app, named Receive. It’s definitely a very unique shutter sound, unlike anything I’ve used before (Pen-F, Sony A7R, Fuji X100S, Fuji X-Pro1 and 2, Nikon Df/D800/D300/D3s and Canon 5d MK-something). It’s a feature Fujifilm debuted on the X-E3 and as a long exposure photographer I absolutely love it. To be fair, they’re not immune to this effect either, but I noticed it a lot less in my tests with them. You can choose the direction of the pan and the size from the menus with typical horizontal and vertical orientations generating images with 6400×1440 or 6400×2160 pixels respectively. Again like the X-T2, there’s a 3.5mm microphone input built-into the body, while a headphone jack is provided on the optional Vertical Power Booster grip. On the X-H1 you can configure the slots to record duplicate still photos for backup purposes on both cards, but sadly not video to both cards simultaneously (something the Sony A7 III can do). If you set the shutter speed dial to T, you can use the rear dial to choose from the entire shutter speed range of 1/8000 (or 1/32000 if using the e-shutter) to 15 minutes, an enhancement over the original X-T2 (as well as most other cameras) that stop at 30 or 60 seconds before handing you over to Bulb for anything longer. In your hands the X-H1 certainly feels very confident and comfortable. 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. But even though Fujifilm’s phase-detect coverage is smaller than most of its mirrorless rivals, it remains a very usable area and one that’s still comfortably larger than the typical lozenge or diamond-shaped AF coverage of most DSLRs. 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. More maybe like my Nikon Df/D600. No need to do anything other than make the initial pairing before then leaving the app running on the phone. Fujifilm has once again revolutionized the X-series with its latest release, the Fujifilm X-H1.Since its humble beginnings with the original X100 and X-Pro1, Fuji … Like most rivals, you’ll only be transferring JPEGs, not RAW files. Meanwhile the electronic viewfinder now employs a higher resolution 3.69 million dot OLED panel with 0.75x magnification. I used my 80-400 on the D500 and Had my 300 f2.8 + TC1.4 on my D5. While the X-H1 is classed in the mirrorless bracket, its design and feel is certainly akin to that of a premium DSLR. May not be used without permission. Regardless, there are a number of handling reasons to make you choose this somewhat larger body. Fans of slow motion will appreciate the ability to film 1080 up to 120p and have the camera interpret it to the desired output frame rate – for example filming in 120p and outputting at 30p or 24p for a four or five times slowdown respectively, or in 100p and outputting at 25p for a four times slowdown. Summary The Fujifilm X-H1 is the new flagship in the mirrorless X-series. 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. 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. 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. I’m hoping this performance may be improved with new firmware, but at the time of writing, this is an illustration of what you can expect. If you prefer an audio version of my in-depth podcast review, use the following player. Olympus, Panasonic and Sony now all have new larger batteries on their flagship bodies with roughly twice the power of their earlier generations, eliminating the short battery life worries of their predecessors. Like 0 ... 27 Apr 2019 3:43PM. Coming: GFX 50S X-A7 X-A5 So while Fujifilm quotes both slots as being UHS-II compatible, in my own tests I found Slot-1 was a little quicker to flush large bursts. APS-C Lenses Medium-Format Lenses (more cameras below) Film. Both cameras feature a rear tilting LCD design. 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. Meanwhile the Multiple Exposure option lets you take two shots and have the camera combine them into one. 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. New to the X-H1 is an electronic front curtain mode which uses an electronic shutter to start the exposure and a mechanical one to end it; this can help reduce the risk of shutter shock, although I never experienced any with the X-H1, so I stuck with either the fully mechanical shutter or the electronic one when I needed silence or the fastest burst shooting or quicker shutter. Set to uncompressed RAW, I managed 22 frames in 2.74 seconds for a speed of 8.03fps. Conversely the smaller lenses, like the XF 35mm f2, look slightly out of proportion on the X-H1. I’ll discuss the real-life AF performance in a moment. 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. 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. Above: Fujifilm X-H1 and XF 16-55mm at 55mm, 1/10. This camera is the offical camera of the guy that knows what’s up. Check prices on the Fujifilm XH1 at Amazon, Nikon Z TC-1.4x TC-2.0x teleconverter review. It’s virtually the best camera ever made: 11 FPS with autofocus tracking, 325 autofocus points, touch screen, 14 fps without tracking, 24mp, industry-leading image stabilization, weather sealed, great ergonomics, best shutter sound ever…the list goes on and on. Here’s how a few of them look on the same scene. 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