Fujifilm
“There is a texture I love. The 30mm tilt- shift lens is good for dashboard shots, but has also proved very useful for unusual high-angle shots”
GFX100 II SPECS › Sensor 102-megapixel GFX CMOS II HS › Lens mount Fujifilm G Mount › Engine X-Processor 5 › ISO Auto, Stills: 80-12,800 (expandable to 40-102,400) › Image stabilisation In-body sensor shift up to 8.0 stops › Screen 3.2in three-angle tilting touchscreen, 2.36m dots › Shutter speed 60 mins to 1/4000sec (mechanical) or 1/32,000sec (electronic) › Autofocus Intelligent hybrid AF, phase and contrast detection with 425 points › Frame rates Up to 8.7fps (electronic shutter), 8fps (mechanical shutter) › Recording media SD/SDHC/ SDXC, CFexpress Type B › Dimensions (wxhxd) 152.4x117.4x98.6mm › Weight 948g (with battery and memory card)
SPECIALE MOMENTS Driven by precision and quality, the FUJIFILM GFX100 II captures those high-octane moments in incredible detail
Cobb concludes: “What I love about the Fujifilm ethos is they’re not trying to compete with others. They have taken a different angle, saying: ‘OK, crop sensor for street photography, then we’re going to get a bigger sensor and make the glass work for that’. It’s like a loop back to serious majestic photography.”
I’ll do a stacked-focus shot from the passenger side right through to the driver’s seat – then choose what I want to be in focus later, while still using the sweet spot of the lens. I can create this large image, from which I can make other little images if I want – still of sufficient quality to print in a magazine. “Pixel Shift Multi-Shot mode is also great fun. From the far end of the studio, I can shoot a full side-on of a car. If I do that with Pixel Shift, I’ve then got the detail of every nut on every wheel.”
road less travelled – Cobb sees the advantages for “when there’s a need for upright videos. Once I’ve made the still, I can also create a quick high-res spin around the car. Video doesn’t feel like a compromise on the GFX100 II; it looks great out of the box and I aim to use video with the tilt-shift lenses.” He adds that the camera has a couple of additional interesting modes, including focus stacking. “We photograph many racing cars with amazing race histories,” he enthuses. “If we’re pressed for time,
especially when a client needs sight of images quickly and there isn’t time to process Raw files. “I used to shoot on FUJIFILM Velvia slide film, so I love the fact that you can emulate that look, alongside still shooting Raw. On a recent urgent job, the Film Simulations enabled us to deliver an advanced package to the client. They were over the moon with it, and we could follow up with any changes using the Raw.” In terms of shooting video on the GFX100 II – while noting this is a
for dashboard shots, but has also proved very useful for some unusual high-angle shots where we were able to come up really high. But instead of being over the top of the car, we could be behind it, yet still tilt the angle of perspective so it seemed we were more directly over the car than we actually were. The 30mm lens is phenomenal for levelling out and pulling back those parallels.” Fuel in the creative tank Cobb utilises the Film Simulation digital presets on the camera too –
fujifilm-x.com
Issue 114 | Photography News 15
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