Fujifilm FinePix S5 Pro

APS-C AF digital SLR camera

SHARE TWIT EMAIL

Specification

Production details
Announced:September 2006
System:-
Imaging plane
Maximum format:APS-C
Mount and Flange focal distance:Nikon F [46.5mm]
Imaging plane:23 × 15.5mm Super CCD sensor
Resolution:4256 × 2848 - 12 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:30 - 1/8000 + B
Sensor-shift image stabilization:-
Exposure
Exposure metering:Through-the-lens (TTL), open-aperture
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:830g
Dimensions:147x113x74mm

Manufacturer description

Fujifilm today announces the development of the FinePix S5 Pro, the keenly-awaited successor to the acclaimed FinePix S3 Pro. In a DSLR market that is much more competitive and dynamic than the one its predecessor was launched into, the FinePix S5 Pro will stand apart from the crowd by combining the much sought-after picture quality of Fujifilm’s Super CCD SR sensor with a fully digital and durable professional metal alloy body. With this superior combination of truly professional handling and image quality, Fujifilm expects the FinePix S5 Pro to appeal to an even broader range of professional photographers.

Fujifilm’s ultimate goal in development of its DSLR cameras has been to maximise image quality through constant research and development into its sensor technology. With the introduction six years ago of its acclaimed Super CCD, Fujifilm moved away from increasing the pixel density of its sensors in favour of image quality developments that increase the overall performance of the sensor. The FinePix S5 Pro will see the refinement of a winning formula – Fujifilm’s Super CCD SR II will be updated to the new Super CCD SR Pro. Using a unique layout of twelve million paired photodiodes (6.17 million larger ‘S’ photodiodes for main image information, combined with 6.17 million smaller ‘R’ photodiodes for bright area information), the S5 Pro will deliver improvements in noise, dynamic range, colour and tonality. Further improving the capability of the sensor, a new, improved low-pass filter will ensure that moiré and noise are kept to an absolute minimum. Fujifilm believes improvements in these key areas will be of more true value to professional photographers – the challenge is quality of information, not quantity of information.

The redesigned Super CCD SR Pro sensor will be at the centre of the camera’s performance. However the new Real Photo Processor Pro will ensure that the information is handled in such a way to produce images that are beautifully vibrant, with colour recorded as the human eye sees it. The processor’s two stages of noise reduction will deliver an impeccably clean image, and also permit light sensitivity up to ISO 3200 whilst achieving sharp, low-noise images. A new dark noise reduction process, subtracting the residual, ambient noise on the sensor from the actual exposure, helps the camera produce smooth, clean images when long shutter speeds are used.

The FinePix S5 Pro will also introduce one particularly sought-after feature; the ability to record jpeg and RAW files simultaneously to the card. This will enable photographers to view and distribute smaller-sized jpegs, whilst retaining the ability to work on the larger RAW files later on a PC or Mac. This dual option is available with a variety of image sizes, giving the option to store either a small, emailable file size, or a larger, more detailed jpeg.

With its predecessor achieving recognition for its excellent ergonomics, the FinePix S5 Pro will take the system into a different league, using a tough, professional magnesium alloy shell. With weatherproof seals, and first-rate design, the S5 Pro will be a camera truly deserving of the term ‘workhorse’, equally at home in the studio as on a nature assignment in a humid rainforest. The camera’s shutter mechanism will be testament to its durability, as it has been tested to exceed the key benchmark of 100,000 cycles.

The FinePix S5 Pro will also afford the user much greater control over the unique image parameters that its technology provides. Six stepped dynamic range settings between 100% (normal dynamic range) and 400% (dynamic range expanded by two stops) will enable the photographer to achieve exactly the tonal feel to their images that they want. In addition, three distinct settings for the ‘negative film’ preset option will further enhance the customisable nature of the camera, giving portrait photographers precisely the ‘look’ that they have in their mind’s eye.

Adrian Clarke, Fujifilm’s Director of Photo Products, said: “The development of the FinePix S5 Pro reflects Fujifilm’s commitment to the professional photographer. We remain determined to develop professional level products with the sort of image quality that made the FinePix S3 Pro a favourite among studio, portrait and wedding photographers. The introduction of the FinePix S5 Pro brings heightened performance, handling and image quality to our DSLR product group and we expect this to attract an increasingly diverse range of professional users. These are exciting times for us.”

Improvements of FinePix S5 Pro over FinePix S3 Pro

Image processing and quality

  • Real Photo Technology Pro, which combines the Super CCD SR Pro and the RP (Real Photo) Processor Pro, allows for greater dynamic range with smoother tonality from highlight to shadow
  • The improved Super CCD SR Pro features an optimised low-pass filter to reduce noise and minimise moiré
  • The newly developed RP Processor Pro features two cycles of noise reduction which enables photographers to take images at even higher sensitivities (ISO 100 to ISO 3200) with visibly reduced noise

Greater flexibility to control colour and dynamic range

  • For even greater creative control over the FinePix S5 Pro’s dynamic range, photographers can now choose from up to six preset ranges between 100% and 400%
  • For improved reproduction of natural skin tones, three new variations of the original film simulation mode (F1) have been added (five modes in total)

Other camera functions and features

  • Nikon F-mount compatibility for all functionality with all Nikkor AF-D/G and the latest AF-S optics
  • RAW+ jpeg (4,256 x 2,848 pixels, 3,024 x 2,016 pixels, 2,304 x 1,536 pixels) dual-save mode
  • Mac and PC supported tethered shooting mode via USB 2.0 port and optional Hyper Utility software
  • Robust lightweight magnesium-alloy body with moisture- and dust-proof seals
  • Durable shutter unit stands up to approximately 100,000 cycles
  • Adoption of high-precision i-TTL flash control
  • 11-point AF sensor with faster autofocusing than the FinePix S3 Pro
  • Supports 1/3, 1/2, and 1 stop lens aperture control
  • Shutter speed 30 sec. to 1/8000 sec, maximum flash sync speed of 1/250 sec.
  • 3 levels of custom function locking with password protection
  • 2.5 inch LCD with 235,000 pixels, gives 100% frame coverage. Colour and monochromatic 30 seconds live view function to check focusing
  • Li-ion rechargeable battery
  • Compact Flash (CF) Card (Type I/II) and Microdrive compatible

Face Detection Technology for post image verification

Uniquely developed Face Detection Technology LSI is under development for the FinePix S5 Pro. With one press of a button, the camera detects up to ten faces almost instantly after each image is captured. After shooting and during playback, the photographer can easily and quickly zoom in and check facial details such as closed eyes, focus and exposure on the LCD monitor

Optional Accessories

  • LAN Adapter to enable sending of image data at high speed over wireless LAN or Ethernet.
  • New Hyper Utility Software gives precise control for editing images taken in CCD-RAW 14 bit format It will also enable the FinePix S5 Pro to be remotely controlled by PC
  • Rechargeable battery
  • Battery charger
  • AC Power adapter

Similar cameras (39)

APS-C • Auto focus • Digital • Singe-lens reflex • Nikon F mount

Model Shutter Metering Modes Year
Fujifilm FinePix S1 Pro E, 1/2000 TTL • OA PASM 2000
Fujifilm FinePix S2 Pro E, 1/4000 TTL • OA PASM 2002
Fujifilm FinePix S3 Pro E, 1/4000 TTL • OA PASM 2004
Nikon D1 E, 1/16000 TTL • OA PASM 1999
Nikon D100 E, 1/4000 TTL • OA PASM 2002
Nikon D1H E, 1/16000 TTL • OA PASM 2001
Nikon D1X E, 1/16000 TTL • OA PASM 2001
Nikon D200 E, 1/8000 TTL • OA PASM 2005
Nikon D2H E, 1/8000 TTL • OA PASM 2003
Nikon D2Hs E, 1/8000 TTL • OA PASM 2005
Nikon D2X E, 1/8000 TTL • OA PASM 2004
Nikon D2Xs E, 1/8000 TTL • OA PASM 2006
Nikon D300 E, 1/8000 TTL • OA PASM 2007
Nikon D3000 E, 1/4000 TTL • OA PASM 2009
Nikon D300s E, 1/8000 TTL • OA PASM 2009
Nikon D3100 E, 1/4000 TTL • OA PASM 2010
Nikon D3200 E, 1/4000 TTL • OA PASM 2012
Nikon D3300 E, 1/4000 TTL • OA PASM 2014
Nikon D3400 E, 1/4000 TTL • OA PASM 2016
Nikon D3500 E, 1/4000 TTL • OA PASM 2018
Nikon D40 E, 1/4000 TTL • OA PASM 2006
Nikon D40X E, 1/4000 TTL • OA PASM 2007
Nikon D50 E, 1/4000 TTL • OA PASM 2005
Nikon D500 E, 1/8000 TTL • OA PASM 2016
Nikon D5000 E, 1/4000 TTL • OA PASM 2009
Nikon D5100 E, 1/4000 TTL • OA PASM 2011
Nikon D5200 E, 1/4000 TTL • OA PASM 2012
Nikon D5300 E, 1/4000 TTL • OA PASM 2013
Nikon D5500 E, 1/4000 TTL • OA PASM 2015
Nikon D5600 E, 1/4000 TTL • OA PASM 2016
Nikon D60 E, 1/4000 TTL • OA PASM 2008
Nikon D70 E, 1/8000 TTL • OA PASM 2004
Nikon D7000 E, 1/8000 TTL • OA PASM 2010
Nikon D70s E, 1/8000 TTL • OA PASM 2005
Nikon D7100 E, 1/8000 TTL • OA PASM 2013
Nikon D7200 E, 1/8000 TTL • OA PASM 2015
Nikon D7500 E, 1/8000 TTL • OA PASM 2017
Nikon D80 E, 1/4000 TTL • OA PASM 2006
Nikon D90 E, 1/4000 TTL • OA PASM 2008
Subscribe
Notify of
guest

Copy this code

and paste it here *

0 comments
Inline Feedbacks
View all comments

Copyright © 2012-2023 Evgenii Artemov. All rights reserved. Translation and/or reproduction of website materials in any form, including the Internet, is prohibited without the express written permission of the website owner.

35mm full frame

43.27 24 36
  • Dimensions: 36 × 24mm
  • Aspect ratio: 3:2
  • Diagonal: 43.27mm
  • Area: 864mm2

Unable to follow the link

You are already on the page dedicated to this lens.

Cannot perform comparison

Cannot compare the lens to itself.

Image stabilizer

A technology used for reducing or even eliminating the effects of camera shake. Gyro sensors inside the lens detect camera shake and pass the data to a microcomputer. Then an image stabilization group of elements controlled by the microcomputer moves inside the lens and compensates camera shake in order to keep the image static on the imaging sensor or film.

The technology allows to increase the shutter speed by several stops and shoot handheld in such lighting conditions and at such focal lengths where without image stabilizer you have to use tripod, decrease the shutter speed and/or increase the ISO setting which can lead to blurry and noisy images.

Original name

Lens name as indicated on the lens barrel (usually on the front ring). With lenses from film era, may vary slightly from batch to batch.

Format

Format refers to the shape and size of film or image sensor.

35mm is the common name of the 36x24mm film format or image sensor format. It has an aspect ratio of 3:2, and a diagonal measurement of approximately 43mm. The name originates with the total width of the 135 film which was the primary medium of the format prior to the invention of the full frame digital SLR. Historically the 35mm format was sometimes called small format to distinguish it from the medium and large formats.

APS-C is an image sensor format approximately equivalent in size to the film negatives of 25.1x16.7mm with an aspect ratio of 3:2.

Medium format is a film format or image sensor format larger than 36x24mm (35mm) but smaller than 4x5in (large format).

Angle of view

Angle of view describes the angular extent of a given scene that is imaged by a camera. It is used interchangeably with the more general term field of view.

As the focal length changes, the angle of view also changes. The shorter the focal length (eg 18mm), the wider the angle of view. Conversely, the longer the focal length (eg 55mm), the smaller the angle of view.

A camera's angle of view depends not only on the lens, but also on the sensor. Imaging sensors are sometimes smaller than 35mm film frame, and this causes the lens to have a narrower angle of view than with 35mm film, by a certain factor for each sensor (called the crop factor).

This website does not use the angles of view provided by lens manufacturers, but calculates them automatically by the following formula: 114.6 * arctan (21.622 / CF * FL),

where:

CF – crop-factor of a sensor,
FL – focal length of a lens.

Mount

A lens mount is an interface — mechanical and often also electrical — between a camera body and a lens.

A lens mount may be a screw-threaded type, a bayonet-type, or a breech-lock type. Modern camera lens mounts are of the bayonet type, because the bayonet mechanism precisely aligns mechanical and electrical features between lens and body, unlike screw-threaded mounts.

Lens mounts of competing manufacturers (Canon, Nikon, Pentax, Sony etc.) are always incompatible. In addition to the mechanical and electrical interface variations, the flange focal distance can also be different.

The flange focal distance (FFD) is the distance from the mechanical rear end surface of the lens mount to the focal plane.

Lens construction

Lens construction – a specific arrangement of elements and groups that make up the optical design, including type and size of elements, type of used materials etc.

Element - an individual piece of glass which makes up one component of a photographic lens. Photographic lenses are nearly always built up of multiple such elements.

Group – a cemented together pieces of glass which form a single unit or an individual piece of glass. The advantage is that there is no glass-air surfaces between cemented together pieces of glass, which reduces reflections.

Focal length

The focal length is the factor that determines the size of the image reproduced on the focal plane, picture angle which covers the area of the subject to be photographed, depth of field, etc.

Speed

The largest opening or stop at which a lens can be used is referred to as the speed of the lens. The larger the maximum aperture is, the faster the lens is considered to be. Lenses that offer a large maximum aperture are commonly referred to as fast lenses, and lenses with smaller maximum aperture are regarded as slow.

In low-light situations, having a wider maximum aperture means that you can shoot at a faster shutter speed or work at a lower ISO, or both.

Closest focusing distance

The minimum distance from the focal plane (film or sensor) to the subject where the lens is still able to focus.

Closest working distance

The distance from the front edge of the lens to the subject at the maximum magnification.

Magnification ratio

Determines how large the subject will appear in the final image. For example, a magnification ratio of 1:1 means that the image of the subject formed on the film or sensor will be the same size as the subject in real life. For this reason, a 1:1 ratio is often called "life-size".

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Manual focus override in autofocus mode

Allows to perform final focusing manually after the camera has locked the focus automatically. Note that you don't have to switch camera and/or lens to manual focus mode.

Electronic manual focus override is performed in the following way: half-press the shutter button, wait until the camera has finished the autofocusing and then focus manually without releasing the shutter button using the focusing ring.

Manual diaphragm

The diaphragm must be stopped down manually by rotating the detent aperture ring.

Preset diaphragm

The lens has two rings, one is for pre-setting, while the other is for normal diaphragm adjustment. The first ring must be set at the desired aperture, the second ring then should be fully opened for focusing, and turned back for stop down to the pre-set value.

Semi-automatic diaphragm

The lens features spring mechanism in the diaphragm, triggered by the shutter release, which stops down the diaphragm to the pre-set value. The spring needs to be reset manually after each exposure to re-open diaphragm to its maximum value.

Automatic diaphragm

The camera automatically closes the diaphragm down during the shutter operation. On completion of the exposure, the diaphragm re-opens to its maximum value.

Fixed diaphragm

The aperture setting is fixed at F/ on this lens, and cannot be adjusted.

Number of blades

As a general rule, the more blades that are used to create the aperture opening in the lens, the rounder the out-of-focus highlights will be.

Some lenses are designed with curved diaphragm blades, so the roundness of the aperture comes not from the number of blades, but from their shape. However, the fewer blades the diaphragm has, the more difficult it is to form a circle, regardless of rounded edges.

At maximum aperture, the opening will be circular regardless of the number of blades.

Weight

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

Maximum diameter x Length

Excluding case or pouch, caps and other detachable accessories (lens hood, close-up adapter, tripod adapter etc.).

For lenses with collapsible design, the length is indicated for the working (retracted) state.

Weather sealing

A rubber material which is inserted in between each externally exposed part (manual focus and zoom rings, buttons, switch panels etc.) to ensure it is properly sealed against dust and moisture.

Lenses that accept front mounted filters typically do not have gaskets behind the filter mount. It is recommended to use a filter for complete weather resistance when desired.

Fluorine coating

Helps keep lenses clean by reducing the possibility of dust and dirt adhering to the lens and by facilitating cleaning should the need arise. Applied to the outer surface of the front and/or rear lens elements over multi-coatings.

Filters

Lens filters are accessories that can protect lenses from dirt and damage, enhance colors, minimize glare and reflections, and add creative effects to images.

Lens hood

A lens hood or lens shade is a device used on the end of a lens to block the sun or other light source in order to prevent glare and lens flare. Flare occurs when stray light strikes the front element of a lens and then bounces around within the lens. This stray light often comes from very bright light sources, such as the sun, bright studio lights, or a bright white background.

The geometry of the lens hood can vary from a plain cylindrical or conical section to a more complex shape, sometimes called a petal, tulip, or flower hood. This allows the lens hood to block stray light with the higher portions of the lens hood, while allowing more light into the corners of the image through the lowered portions of the hood.

Lens hoods are more prominent in long focus lenses because they have a smaller viewing angle than that of wide-angle lenses. For wide angle lenses, the length of the hood cannot be as long as those for telephoto lenses, as a longer hood would enter the wider field of view of the lens.

Lens hoods are often designed to fit onto the matching lens facing either forward, for normal use, or backwards, so that the hood may be stored with the lens without occupying much additional space. In addition, lens hoods can offer some degree of physical protection for the lens due to the hood extending farther than the lens itself.

Teleconverters

Teleconverters increase the effective focal length of lenses. They also usually maintain the closest focusing distance of lenses, thus increasing the magnification significantly. A lens combined with a teleconverter is normally smaller, lighter and cheaper than a "direct" telephoto lens of the same focal length and speed.

Teleconverters are a convenient way of enhancing telephoto capability, but it comes at a cost − reduced maximum aperture. Also, since teleconverters magnify every detail in the image, they logically also magnify residual aberrations of the lens.

Lens caps

Scratched lens surfaces can spoil the definition and contrast of even the finest lenses. Lens covers are the best and most inexpensive protection available against dust, moisture and abrasion. Safeguard lens elements - both front and rear - whenever the lens is not in use.