When the X-H1 was introduced, it was described as a sibling lineup; specifically an approximately 60/40, video-weighted hybrid that also shot great stills. It had a larger body and grip, not just to facilitate the IBIS system, but to give it better balance with larger cinema lenses for owners seeking a capable video camera. The X-T series was defined to be exactly the opposite ratio; a stills-centric camera that also shot great video. However, like the odd inclusion of a factory adjustable leaf spring shutter switch on the X-H1, a feature that's more coveted by stills shooters, the X-T4 has also incorporated a couple of weirdly out of place features that betrays Fujifilm's original description of the X-T series being stills-focused.
I suffer from PTSD related depression that often fears its head during points of boredom. As such, I try to keep myself as busy as possible. It doesn't have to be physical activity, but anything that keeps my mind busy. That means winter can be when I'm at my darkest due to the weather, as my mobility is shunted due to physical disability and limited opportunity to do the things I love most. It's rained just about every weekend since December, and the 1 or 2 dry weekends were tarnished with a week's worth of rain or snow. Unless there's a specific need, I'd prefer to not camp in the rain or snow. After seeing Jay's macro product shots, I decided to do some floral macros, since I have an arrangement of gerber daisies that's survived since Valentine's Day. I didn't break out any lighting, shooting at ISO 4000-6400 and 1/100s shutter speed with a Sigma 50mm ƒ/1.4 DG Art on the GFX 50S. Figured I'd try and adapt my muscle memory for a focusing ring that rotates opposite of all other brands. Anyways, I really need to get outdoors. Hopefully the weather this weekend works out.
Despite white wall tests of the Canon EF 28mm and 135mm lenses showing acceptable levels of vignetting, my first real world use of them ended in failure.
Eye-AF works pretty well with this combination. Focus is slow, but it's able to find and lock onto an eye. Because of my experience with the X-T3, sometimes my expectations can be a bit skewed; face and eye detect on the 2018 X-T3 is quite good, especially on distant (small) faces as Fujifilm has improved by leaps and bounds in this area. How quickly I forget the GFX 50S is over a year and a half older, with an imaging processor based on the X-Processor 3 design in the X-T2 and not the current X-Processor 4. Combined with other hardware limitations, plus the fact that the latest firmware update was over a year ago, eye AF on the GFX 50S (or 50R, for that matter) cannot be expected to perform anywhere near that of my X-T3.
Since buying this head, I've quickly learned to love it, especially after buying the necessary hardware that allows me to invert it as needed. The smooth design, reliability and light weight has helped it find a permanent home atop my Gitzo GT1542 Mountaineer tripod, supplanting the GH1382QD ball head that came with it.
There are some drawbacks though. Uncannily enough, they’re the same as with the Canon EF 28mm ƒ/1.8 USM: slight vignette with a hard vignette at infinity focus. At ƒ/8, it isn’t very prevalent as you’ll see in the samples, easily corrected with a 5:4 crop that retains 48MP. However, as the aperture gets smaller, the vignette hardens, as you can see at ƒ/32, but still works at a 5:4 crop ratio. The lens works fine with a 3:2 crop at full sensor width and in 35mm crop mode, so you can choose what works best for you. Weirdly, the lens changes focus as you move in and out of playback mode on the GFX...
Widening out to an approximate 22mm in 35mm format terms, the Canon EF 28mm ƒ/1.8 USM does show some hard vignetting that is never fully resolved. It’s very, very slight and occurs at ƒ/4 and smaller at infinity focus. Vignetting is prevalent fully open, mostly disappearing by ƒ/4 at close focus distances. If the vignetting is a problem for you, the EF 28mm ƒ/2.8 IS might be a better bet but isn’t on Canon’s list of preferred lenses for the 5DSR, so it may or may not resolve well on a 50MP sensor.
As soon as I realized how the upright on the Ellie interfered with my battery door, I was able to devise a cheap solution for manufacture: a small bracket that would accept the rails and to attach the upright with truncated rails, aka screws, forward of the current position. I proposed the question to @3leggedthing's Twitter account, only to get, "we can't design a specific bracket for every camera and configuration I'm afraid."
Here's one of the first things I do when I buy a new camera: Secure the screws that secure the tripod screw port on the bottom of your camera.
After spending a few weeks with the Sigma 50mm ƒ/1.4 Art, I've come to realize maybe Sigma lenses aren't the solution for me. At least the 50mm has a very short focus throw, making manual focus a tedious process, even with focus aids like focus peaking and focus zoom. Autofocus is just too unreliable and slow to depend on for all occasions, making manual focus capability a priority.
One thing I quickly discovered is the intrusion of the lens hood when adapting 35mm lenses onto the medium format GFX. Since the 50mm Sigma casts an image circle closer to 40mm, it's going to pick up more of what's on the periphery of the field of view; in this case it's the lens hood.... Continue Reading →
Enough hyperbole. Mirrorless will not make DSLR cameras extinct the same way film remains extant despite digital. The market for DSLRs will contract significantly, likely surrendering the entry-level, systems camera market to mirrorless, but enthusiast and high-end DSLRs will continue on because you will always have its supporters who will vote with their wallets.
If you'd like to contribute your findings, please include lens specifics (brand, focal length, maximum aperture, lens version, firmware version, and if it's weather sealed or stabilized), adapter used, and camera used. Full sensor sample shots without the lens hood (JPEG, 2000x1500 pixel minimum) needs to be of a white or gray background at the widest aperture at both minimum and infinity focus, repeating this at ƒ/8 and at minimum aperture, be it ƒ/22 or ƒ/32.
This is the first in a series of posts on individual lenses adapted to the Fujifilm GFX 50S with the TechArt Pro EF-GFX adapter. Fujifilm GFX 50S, firmware v3.30 (latest) TechArt Pro EF-GFX, firmware v1.01 (latest) Sigma 50mm ƒ/1.4 Art, firmware v2.02 (latest) Summary: Full compatibility: Autofocus, EXIF OK. This lens shows a correctable vignette throughout the aperture range but is heavily affected by focus breathing. As the aperture shrinks, focus toward infinity causes the vignette to become harder and more pronounced. Despite this, it is easily cropped and corrected while maintaining 45mp or more.
As a Youtuber, credibility should be important to you if you're doing anything more than vlogging your daily experiences. Integrity is the only thing that can establish trust and credibility. So, here are my top 5 ways to establish, or protect, your credibility as a Youtuber.