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Fujifilm X-H1

APS-C AF digital mirrorless camera

Specification

Production details
Announced:February 2018
System: Fujifilm X (2012)
Imaging plane
Maximum format:APS-C
Mount and Flange focal distance:Fujifilm X [17.7mm]
Imaging plane:23.5 × 15.6mm X-Trans CMOS III sensor
Resolution:6000 × 4000 - 24 MP
Shutter
Type:Focal-plane
Model:Electronically controlled
Speeds:900 - 1/32000 + B
Sensor-shift image stabilization:Yes
Exposure
Exposure metering:Through-the-lens (TTL)
Exposure modes:Programmed Auto
Aperture-priority Auto
Shutter-priority Auto
Manual
Physical characteristics
Weight:673g
Dimensions:139.8x97.3x85.5mm

Manufacturer description

Valhalla, N.Y., February 15, 2018 – As a leader in advanced digital camera technology and outstanding image quality, FUJIFILM North America Corporation is excited to announce the new FUJIFILM X-H1, featuring a 24.3 megapixel APS-C sized X-Trans CMOS III sensor and X-Processor Pro image processing engine for outstanding image quality. The new X-H1 is the highest performance camera in the X Series line of mirrorless cameras, and the first to feature in-body image stabilization (IBIS), a new Flicker Reduction mode that allows for stable exposure under fluorescent and mercury lighting, DCI 4K and other impressive video capabilities.

“The new X-H1 is our first X Series model to feature in-body image stabilization, and we are very excited to introduce this camera to the market,” said Yuji Igarashi, General Manager of the Electronic Imaging Division & Optical Devices Division at FUJIFILM North America Corporation. “In addition to ensuring outstanding image quality, the X-H1 is fully equipped with an array of features and functionality specifically designed to enhance creative expression in a wide range of settings.”

The X-H1 boasts a newly designed, robust and durable body, and a range of features that support shooting in various situations by professional and experienced amateur photographers, and videographers. When used in combination with FUJINON lenses and Fujifilm’s signature color reproduction technology, the X-H1 produces outstanding image quality and video reproduction.

New 5.5 Stops In-Body Image Stabilization

The new X-H1 is the first X Series camera to feature in-body image stabilization, harnessing three axial accelerometers, three axial Gyro sensors, and a specially-developed dual-processor to achieve approximately 10,000 calculations per second. When combined with compensating mechanisms, the X-H1 produces uncompromised image quality and precision. 5-axis image stabilization is possible with all XF and XC lenses, with certain lenses capable of up to a maximum of 5.5 stops. In addition, a new spring mechanism has been added to reduce micro-vibrations caused by operation of the mechanical shutter. Photographers may also choose to use the electronic front curtain shutter or the electronic shutter, virtually eliminating the effect of vibrations to maximize the benefits of image stabilization.

Robust, Weather-Resistant Body Design and Easy Operability for a Wide Range of Shooting Environments

In addition to its dust and water-resistant properties and ability to operate in temperatures as low as 14°F \ -10°C, the X-H1 also features 25% thicker magnesium alloy than the X-T2. The camera also features a high quality, scratch-resistant coating and a compact, lightweight body that maintains high precision and strong resistance to impact shock torsion and other sources of deformation.

The new X-H1 features a high-magnification and high-precision electronic viewfinder with a magnification ratio of 0.75 times and 3.69 million dot resolution, leading the class for APS-C mirrorless cameras. The viewfinder display is extraordinarily smooth, with a display time lag of just 0.005 seconds and a frame rate of 100 frames per second, allowing the user to instantly confirm the movement of the subject and position the focus with great precision. The X-H1 also features a 3-direction tilt, 3-inch, 1.04 million dot electrostatic touch-panel LCD, which can be intuitively set to the desired angle. In addition, the 1.28 inch sub-LCD on the top of the camera, which emulates the design of the mirrorless medium format GFX 50S, allows for instant confirmation of shooting information.

The X-H1 incorporates additional improvements based on feedback from professional photographers, including a large grip design, leaf-spring switch for the shutter-release button, near-silent shutter sound, a new focus level, and a new AF-ON button and enlargements of buttons on the rear of the camera.

Comprehensive Range of Video Features Support Movie Production

The X-H1 is the first camera in the X Series to include ETERNA, a new film simulation mode that is ideal for shooting movies. This mode simulates cinematic film, creating understated colors and rich shadow tones, greatly enhancing creative freedom during post-processing. The X-H1 boasts many functional and performance improvements to video image quality, including the 1080/120P high-speed video mode (1/2, 1/4 and 1/5 speed slow motion) for recording spectacular slow-motion footage; F-log SD card recording which aids smooth workflow; a DCI 4K shooting mode (4096×2160); a 400% dynamic range setting (approximately 12 stops); 200 Mbps high bit rate recording; a high-sound quality internal microphone (24 bit/48 kHz); and verbal time codes.

First Flicker Reduction Mode and Improved Autofocus Algorithms

The X-H1 features a flicker reduction mode, allowing for stable exposure during burst shots even under fluorescent and mercury lighting. In addition, improvements to the autofocus (AF) algorithm have achieved a number of performance enhancements. Low-light limit for phase detection AF has been improved by approximately 1.5 stops—from 0.5EV to -1.0EV—raising the precision and speed of AF in low-light environments. The minimum aperture has been expanded from F8 to F11, and major improvements have been made to the AF-C performance while operating in zoom, making the X-H1 ideal for shooting rapidly moving subjects.

Vertical Power Booster Grip VPB-XH1

The Vertical Power Booster Grip (VPB-XH1) is a weather-resistant grip capable of operating at temperatures as low as 14°F/-10°C that fits two additional batteries to increase maximum number of shots to 900 (in normal mode) and increases the maximum period for shooting movies in 4K to about 30 minutes.

The Vertical Power Booster Grip features a shutter release button, focus lever, AE-L button, AF-ON button, command dial, Q button, and Fn button, providing the same ease of operation when using the camera in vertical or horizontal positions. The grip is equipped with a headphone socket to allow monitoring sound while recording, and includes recharging capability.

Wide Eyecup EC-XH W

The Wide Eyecup EC-XH W covers a broad area around the eye, greatly reducing light interference to enhance concentration during long shoots. The eyecup can be rotated in 90° increments, making it adaptable for either eye and for shooting either vertically or horizontally.

FUJIFILM X-H1 Key Features:

  • 24.3MP X-Trans CMOS III Sensor with primary color filter and X-Processor Pro Processor
  • 5-axis 5.5 stops in-body image stabilization
  • High-precision 0.5 inch, approx. 3.69 million dots OLED Color Viewfinder
  • Weather-resistant design; ability to operate in temperatures as low as 14°F/-10°C
  • ISO Sensitivity
  • Standard output: AUTO1 / AUTO2 / AUTO3 (up to ISO12800) / ISO200~12800 (1/3 step)
  • Extended output: ISO100/125/160/25600/51200
  • LCD Monitor
  • 3.0 inch, aspect ratio 3:2, approx. 1.04 million dots touch screen color LCD monitor(approx. 100% coverage)
  • Continuous Shootingo 14.0 fps (with the Electronic Shutter), 8.0 fps (with the Mechanical Shutter)o 11.0 fps (with the Mechanical Shutter and when fitted with VPB-XH1)
  • Movie Recording (using a card with the UHS Speed Class 3 or higher)
  • [4K (4096×2160)] 24P / 23.98P up to approx. 15min.
  • [4K (3840×2160)] 29.97P / 25P / 24P / 23.98P up to approx. 15min.
  • [Full HD (1920×1080)] 59.94P / 50P / 29.97P / 25P / 24P / 23.98P up to approx. 20min.
  • [HD (1280×720)] 59.94P / 50P / 29.97P / 25P / 24P / 23.98P up to approx. 30min.• Bluetooth® Ver. 4.0 low energy technology
  • New ETERNA film simulation mode
  • Simulates cinematic film, understated colors and rich shadow tones
  • New Flicker Reduction Mode
  • Provides stable exposure during burst shots even under fluorescent and mercury lighting
  • Advanced filters and Film Simulations, including ACROS
  • Accessories included: Li-ion battery NP-W126S, Battery charger BC-W126, Shoe-mount flash unit EF-X8, Shoulder strap, Body cap, Strap clip, Protective cover, Clip attaching tool, Hot shoe cover, Vertical Power Booster Grip connector cover, Sync terminal cover, Cable protector, Owner's manual

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35mm full frame

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

Travellers' choice

Note

Among autofocus lenses designed for 35mm full-frame mirrorless cameras only. Speed of standard and telephoto lenses is taken into account.

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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.

Electromagnetic diaphragm control system

Provides highly accurate diaphragm control and stable auto exposure performance during continuous shooting.

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.