Fujifilm X-H2, after the high speed, high resolution

Fujifilm X-H2, after the high speed, high resolution

Almost simultaneously with the new flagship, Fujifilm also unveiled the high-resolution version of its own new top of the range H Series. It is simply called H2. It offers almost double the megapixels compared to the twin most voted for performances (40 against 26) and 8K videos, in a camera body which, for the rest, absolutely identical.

Fujifilm therefore re-proposes the high speed / high resolution dualism that has characterized professional EOS for a decade, but with an important difference between the two models, which goes beyond the data of resolution and shutter speed. In fact, the new Fujifilm H2 uses a sensor that, unlike that of the H2S, is not of the stacked type. Also for this reason the H2 is decidedly less dedicated to action than the H2S.

It is therefore not an “all in one” camera that aims to combine action and resolution, as can be Nikon Z9 and Sony A1, but of a specialist model who is comfortable with static subjects and proposes himself one simple purpose: to ensure the highest image quality possible today with a Fujifilm X Series. A quality, according to Fujifilm technicians, unprecedented for the APS-C format.

We had the opportunity to test the car before the official debut, and we can therefore give our impressions which, for obvious reasons, will focus particularly on the performance of the sensor. We refer to the review of the H2S as regards the ergonomic aspects.

Good news comes from the list price, significantly lower than that of the H2S obviously the stacked sensor affects a lot on the final price. For the Fujifilm H2 we speak in fact (less than the usual penny) of 2300 Euros for the body alone, 500 less than the sprinter sister. A kit with XF XF16-80mm F4 R OIS WR will also be available at 2800 Euros. In practice, compared to the S version, with the H2 you buy, at the same price as the body, also the versatile standard zoom equivalent to 24-120mm at constant f / 4 aperture.

SPECIFICATIONS

X-H2

X-H2S

SENSOR X-Trans CMOS 5 HR APS-C X-Trans CMOS 5 HS APS-C
RESOLUTION

40.2 Mpixel – 7728×5152

26.16 Mpixel – 6240×4160

FILE FORMAT RAW 14 bit, JPEG, HEIF
SENSITIVITY (EXTENSION) ISO 125-12,800 (ISO 64-51,200) 160-12,800 ISO (80-51,200 ISO)
VIEWFINDER OLED 0.5 “5.76M dots 0.80x.
24mm eye-point
DISPLAY TFT Touch-Screen 3 “(7.5 cm) / 1.6M dots
LAYING TIMES MS: 15m – 1 / 8000s
ES: 15m – 1 / 180000s
MS: 15m – 1 / 8000s
ES: 15m – 1 / 32000s
SYNCRO FLASH (MS) 1 / 250s
(ES) 1 / 125s
CONTINUOUS SHOOTING (MS) 15 fps / 1000+ RAW
(ES) 20 fps / 1000+ RAW CROP 1.29x
(MS) 15 fps / 1000+ RAW
(ES) 40 fps / 140 RAW
EXPOSURE METER Main sensor / 256 zones
AUTOFOCUS Hybrid AF
N POINTS (ZONES) AF 425 total
Single: 13×9 / 25×17 zones
Zones: 3×3 / 5×5 / 7×7 on 13×8 grid
SENSITIVITY AF Phase: -7 EV
Contrast: -4EV
VIDEO

8K (16: 9) 7680×4320 25 / 30p
6.2K (16: 9) 6240×3150 – 25 / 30p
DCI 4K 4096×2160 – 100 / 120p
4K 3840×2160 – 100 / 120p
Full HD 2048×1080 – 200 / 240p
Full HD 1920×1080 – 200 / 240p

6.2K (3: 2) 6240×4160 – 25 / 30p
DCI 4K 4096×2160 – 100 / 120p
4K 3840×2160 – 100 / 120p
Full HD 2048×1080 – 200 / 240p
Full HD 1920×1080 – 200 / 240p

OTHER FUNCTIONS 5 Axis / 7 Stop Stabilizer, Panorama
COMPATIBLE OBJECTIVES X-Mount bayonet
I
MEMORY CARD 1x SD (UHS-II) + 1x CFe Type B
INTERFACES

USB-C, HDMI Type A, Mic-in, Headphone, Remote Shooting, PC Sync, Wi-Fi, BT

BODY
FLASH FLASH EF-X8 (NG 8)
BATTERY NP-W235 / 540 shots (CIPA, Normal Mode) NP-W235 / 580 shots (CIPA, Normal Mode)
DIMENSIONS (WxHxD)

≈ 136x93x85 mm

WEIGHT 660g

Let’s examine, with the help of the summary table above, the differences between the two H2 and H2S models. We have already mentioned the sensor, the main difference between the two models, while the ISO range remained unchanged. Indeed, to be precise, the H2 has an ISO base of 125 versus 160 and, as we will see shortly, this is not just a software option: the H2 is not very far from the H2S in terms of noise.

The shutter speed requires some extra explanation. Identical between the two models when using the mechanical shutter, it is reduced in the case of the H2 a 13 fps maximum with full frame electronic shutter. Higher shutter rates, up to 20 fps, result in a 1.29x crop factor.

Also pay attention to the different video formats. The H2 comes in 8K in 16: 9 format with the possibility of recording 24, 25 or 30 fps, and offers an intermediate resolution which is called 6.2K, exactly like on the H2S, but which records in a different format 16: 9 for the H2, 3: 2 for the H2S.

The minimum shutter speed with electronic shutter has been further reduced and, finally, the last difference concerns the autonomy. Although the two models use identical batteries, the H2 consumes a little more and its autonomy stops at 540 shots.

The different structure of the sensor obviously reflects on the operability. Its reading speed, significantly lower than that of the sensor that equips the H2S, gives rise to a very evident Rolling Shutter effectAnd less smooth viewing in the EVF viewfinder than we have observed (and appreciated) about H2S. Neither of these two things is, however, of great importance in this product. It would have it if the H2 was the only model in the H series, and was proposed by Fujifilm as an all-round flagship, but the differentiation between the H2 and the H2S is clear and unambiguous.

The target audience of the H2 will probably never have to deal with the Rolling Shutter effect and, in the remote case, will be able to shoot with a mechanical shutter at something like 15 fps, which today seems little compared to the 40 of the H2s but which, it should be remembered, are more than sufficient for the vast majority of dynamic contexts

The viewfinder will not be very fuid, e in continuous shooting you will experience the slide show effect. Defect with which almost all mirrorless photographers have lived up to now and which, for occasional use, we can undoubtedly accept.

In the face of these physiological performance penalties, the H2 effectively ensures an image quality at least a level of detail never before seen on an APS-C. Let’s start with the absolute data: about 5000 LW / PH after optimization

A truly remarkable figure when compared to that of the Sony A1 (Full frame 50 Mpixel, 5100 LW / PH) or the EOS R5 (Full Frame 45 Mpixel, 5040 LW / PH). Of course, Sony has to be acknowledged that the A1 was supplied and tested with the 24-70mm zoom, while the H2 with the new and more sharp XF33mm, and that the X-Trans sensors benefit from slightly “optimistic” scores thanks to the particular structure of their RGB filter. The fact remains that the APS-C sensors in the 24 Mpixel class record, at best, scores in the order of 3600 LW / PH (again the recent EOS R10, 24 Mpixel APS-C, stopped close to 3500 LW / PH). The 5000 of this H2 are therefore objectively excellent.

Another comparison, which some will certainly find out of place: the 50 Mpixel sensor of the medium format GFX 50S (later also used by the Mark II), at the time recorded roughly the same score. Sure, this is a sensor that debuted in 2016, and that maintains a significant advantage in terms of behavior at high ISO, but reading the same number at the bottom of the column made a certain impression.

H2-3200ISO

H2-3200ISO

H2S-3200ISO

H2S-3200ISO

H2-6400ISO

H2-6400ISO

H2S-6400ISO

H2S-6400ISO

H2-12800ISO

H2-12800ISO

H2S-12800ISO

H2S-12800ISO

At this point, many may be thinking, “All this resolution is going to cost money in terms of high ISO behavior.” Well, not that expensive actually. Here are some crops taken by the two cameras in the same conditions. As you can see, the difference starts to be quite noticeable at ISO 12,800, but it never comes, in our opinion, to a full stop of difference. If anything, it could be said that, if the H2S fully deserves to consider the 12,800 a native sensitivity, for the H2 this attribution is a little optimistic.

We were also really surprised by the malleability of RAW. The Fujifilm X-H2 in fact proved itself substantially ISO invariant between ISO 100 and 6400meaning by this that between the file shot at ISO 6400 and the one shot at ISO 100 and overexposed in post-production by 6 stops, we noticed no difference, except a pinch (really a pinch) of more chromatic noise in the processed file.


From above: shot at ISO 6400, shot at ISO 100 unmodified, shot at ISO 100 overexposed by 6 EV.

The focus is functionally identical to that of the H2S, but the higher pixel density also means greater number of phase detectors (the exact number not specified by the manufacturer), which results in greater accuracy especially in the case of subjects with very fine details.

Finally, the new and exclusive functions of this model should be emphasized: 1,4x and 2x digital multiplieroperated by cropping that leads to maintaining, respectively, 5472×3648 pixels (20M) and 3888×2592 pixels (10M), and the function pixel shiftfor the first time implemented in a Fujifilm model (20 shots give origin and a merger to be made in post-production from 160 Mpixel).

In conclusion, we really liked the H2S and we also really like this H2, which despite the many similarities with its sister has a profoundly different soul. Of course, this diversity with the H2S makes it a little less special. The H2S in fact, at the time of writing, the only APS-C camera that can really boast the title of mirrorless for sports photography.


“Are you sure you want to photograph me with that aperture?!?” A taste of the new XF56mm F1.2 R WR @ f / 1.2.

The H2 for, for its part, the APS-C that ensures today the highest level of detail, and it does so by costing 500 Euros less than its sporty twin. Two characteristics that will not fail to procure them several admirers.

Regrets?!? Well, we wrote in the H2S review that the new body structure convinced us, in a nutshell because it is more suitable for a sports camera. The H2, however, was used by us above all with the new XF56mm F1.2 R WR contextually announced (in a future article our impressions also on the new lens), and in a similar context, we would not have minded finding the time dial. .

Perhaps Fujifilm could have created two physically different lines, but we realize that this would have led to probably excessive higher costs and that, just as likely, it is just an excess of nostalgia of some old gentlemen. Would you like “old style” operation on a top-of-the-range studio camera?

#Fujifilm #XH2 #high #speed #high #resolution

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