Photography News Issue 67

The headline product this issue is the medium-format Fujifilm GFX100, boasting a mighty 102 megapixels. This is a pro-level mirrorless camera, but part two of our move to mirrorless features checks out three leading brands with more affordable options, too. We go wild and take the Olympus OM-D E-M1X on safari and review loads more gear our First Tests section.

Your FREE newspaper packed with the latest news, views and stories from the world of photography news Photography Issue 67 18 Jun - 15 Jul News Tests Reviews Interviews Techniques Competitions Exhibitions Clubs Produced by

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First tests Great kit to tempt you thismonth page 46

Camera talk Save your back and opt for mirrorless page 20

Get close Geraint Radford shows us his way withweevils page 36

Fujifilmhits 100 Fujifilm has unveiled the GFX100, a 102-megapixel mirrorless camera, featuring a raft of world firsts

Share of Photography News to help make your free monthly photographic read even better and be in with the chance of winning a 32GB Apple iPad! We want to make your favourite photography read even better and there’s no better way to do that than to get your views. Do you prefer inspiring content or techniques and how-tos? Portraits and weddings, sports or wildlife? We want to create content that interests you, somake sure you haveyoursayinthe Photography News reader survey. By telling us your thoughts, you’ll also have the chance to win a 32GB iPad, perfect for editing your photos on the go and reading the latest issue on. Visit photographynews. co.uk/readersurvey to take part in the survey and submit your views before 30 June. Have your say your views

Fujifilm’sGFXmediumformat systemhasanewflagship, the GFX100. It boasts a 102-megapixel resolution with a Bayer patternCMOS sensorwith a back-side illuminated (BSI) design. It features 3.76 million phase detection pixels across the surface, with approx 100% coverage to give fast and accurate AF, regardless of where the subject is within the frame. Autofocus, with the new phase detect system and using anAF algorithmadopted from the X-T3 andX-T30 models, is said to be twice as fast as current GFXmodels, plus there is improved continuous AF and tracking AF is available, too. The gain in AF speed is seen especially with GFX prime lenses. The GFX100 is the first medium format camera with five-axis in-body image stabilisation (IBIS), giving a claimed benefit of up to 5.5EV, enabling ultra-high resolution handheld shooting. Vibration is also reduced by the shutter unit, which is suspended by four springs to minimise shock. The deep-bodied camera can accept two batteries, giving an approximately 800-frame capacity while the body itself is dust and weather sealed at 95 locations across the body. The Fujifilm GFX100 will retail for £9999 for body only and is on sale from late June. There is a detailed first look of this impressive camera in this issue.

Fujifilm.eu/uk

Photography News | Issue 67 | photographynews.co.uk

News

Profoto adds power

a 10EV range. A fully charged battery gives up to 200 full-power flash bursts, and a cell can be recharged in 90 minutes. A built-in 2500 lumens LED light for modelling or video shooting can run continuously for 75 minutes, and this can be colour temperature controlled within a 3000-6500k range. The B10 Plus is fully compatible with Profoto’s Air Remote triggers. Add the Air Remote TTL, or use the Profoto A1 or A1X, and you have the option of wireless TTL and HSS flash features with a working range of up to 100m. Finally, the B10 Plus accepts Profoto’s OCF family of light modifiers, with more than 120 light-shaping tools available so any effect can be achieved. A single B10 Plus head costs £1795 and a duo kit is £3595. To find out more about how the Profoto B10 Plus performs, read our First Test in this issue. Profoto has also updated its A1, its speedlite- like flash dubbed the world’s smallest studio light. The A1X features more than 30 updates, which include a more powerful battery, faster recycling and Sony compatibility.

The A1X offers up to 450 full-power bursts per charge, a one-second recharge time, as well as a 20-channel Air Remote with HSS and Air TTL. To help ensure images are lit perfectly, you can take advantage of its TTL mode to allow your camera to calculate the perfect exposure. It also has a flicker-free modelling light built into the head, which allows you to see how the light will fall when half-pressing the shutter. Full manual control is also an option for those who want to fine-tune the exposure, and it features a large, high resolution display for easy navigation of settings. For those who want even more control over lighting, the design of the A1X features a magnetic click-on mount, allowing you to attach dedicated light-shaping tools; it can be used on its own or in combination. The range includes a grid kit, dome diffuser, wide lens, gel kit, bounce card and soft bounce. The Profoto A1X is available in Sony, Nikon and Canon mounts, priced at £949.

Profoto B10 Plus key features

500Ws output 200 full power flashes 75min continuous light running time

90min full battery recharge HSS, TTL with Air Remote TTL

Profoto’s B10, launched last year, set new standards when it came to battery-powered studio flash with an expansive feature set, good power delivery and great portability. This made it perfect for location shooting. Now, Profoto has taken the B10 concept further with the B10 Plus Air TTL, offering twice the amount of power with a 500 watt output that is controllable in 0.1EV steps across

profoto.com/uk

Samyang unveils tiny lens

The AF 45mmF/1.8 FE lens is the seventh Sony E-mount autofocus lens in Samyang’s tiny series. Weighing just 162g and very compact, the AF 45mm f/1.8 FE is a ‘tiny but premium’ lens. It features seven lens elements in six groups, which includes two aspherical optics and one extra-low dispersion element to help reduce aberrations and distortions. In addition, a nine-blade diaphragm and bright f/1.8 aperture produce pleasing bokeh, time after time.

The Samyang AF 45mm f/1.8 FE lens, designed for use with Sony full-frame E-mount cameras, is available now, with a suggested retail price of £349.99.

intro2020.co.uk

Olympus gets even tougher Save with Nikon now Nikon is offering instant savings on a range of cameras and lenses, including the Z 7, Z 6 and D850 until 15 August 2019. and high-performance cameras in time for summer.”

The new Tough TG-6 features Olympus’ acclaimed toughened performance, plus a whole range of new features. It is a rugged compact that’s dust proof, waterproof to 15m, shockproof to 2.1m, crush proof to 100kg and freeze proof to -10°C. The Olympus Tough TG-6 features the same TruePic VIII image processor from the OM-DE-M1X, a 12-megapixel sensor, aswell as an f/2 lens.Othernew features include the Variable Macro system, which allows you to focus as close as one centimetre, plus four different macro modes: Microscope, Microscope Control, Focus Bracketing and Focus Stacking. There are five different modes for underwater shooting; these include Underwater Wide, Underwater Snapshot, Underwater Macro, Underwater Microscope and Underwater HDR,

as well as three different options for adjusting Underwater White-Balance. It also boasts Olympus’ Pro Capture feature, which allows the camera to begin shooting and buffering images at 10fps when pressing the shutter button halfway down – this enables action shots to be captured more easily. Other features include built-in Wi-Fi for instant image transfers, art filters, a Live Composite mode and 4K video recording. The Olympus Tough TG-6 is available from July, in red and black, priced at £449.99. If purchased before 19 August 2019, you can claim a free Adventure Kit worth £49.99.

To give you a taster of the savings on offer, buy the Z 7 kit with 24-70mm f/4 zoom and you save £360, or on the D850 body you will pocket £180. The full list of instant savings can be found on the website.

Jake Cundy, head of business planning at Nikon UK, said: “Our instant savings promotion is the ideal way for photography enthusiasts to make savings instantly, allowing them to access great offers on new kit, without the need for redemption post-purchase. What’s more, with a vast selection of Nikon cameras and lenses on offer, from the award-winning mirrorless Z range to our entry-level D3500 D-SLR, it’s never been a better time to invest in some exceptional glass

nikonpromotions.co.uk

olympus.co.uk

Photography News | Issue 67 | photographynews.co.uk

News

Fotospeedannounces the fourthFotoFest

Tamron launches SP 35mm f/1.4 Di USD

To commemorate the 40th anniversary of its SP series lenses, Tamron has released the SP 35mm f/1.4 Di USD, promised to be its best yet. Designed for full-frame DSLR cameras, the lens’ large f/1.4 aperture and high-speed, high- performance AF functionality make it well-suited for nearly every photographic genre, including landscape and photojournalism. In addition to its diverse usability, the advanced optical construction offers high resolution performance from the centre to the edges of the frame, even at its maximum aperture of f/1.4. The same degree of quality can also be found in bokeh areas, allowing photographers to capture sharp images against beautiful bokeh backgrounds. With a highly durable fluorine coating offering water- and oil- repellent properties, along with a

moisture-resistant construction, photographers can be assured of a good degree of longevity with the lens. The lens will be available in both Canon and Nikon mounts, with expected availability at the end of July and the end of June, respectively. The lens will hit the market with a suggested retail price of £929.99.

intro2020.co.uk

Fotospeed’s festival of imaging returns this September with a host of world-renowned photographers, including Martin Parr as the headline speaker. The event takes place on 8 September 2019 in Bath. This year, Fotospeed is pleased to announce four leading British photographers who will be sharing their stories, as well as joining together for a panel discussion and Q&A led by The TogCast.

The Foto Fest speakers include Martin Parr, one of the best-known documentary photographers, Tom Way, a professional fine-art wildlife photographer, award-winning photographer Rachael Talibart and Nigel Danson, a full-time landscape photographer and leading UK photographer vlogger with over 100K YouTube subscribers. A day pass can be purchased for £40, allowing you to attend all of the Foto Fest talks.

As well as talks from leading photographers, Fotospeed also brings together a range of brands including Sony, Canon, Sigma, the RPS and many more, allowing you to talk to industry specialists and get your hands on the latest gear and kit, with plenty of special offers. The Foto Fest Marketplace is free entry for all.

Panasonic expands its Lumix S series

fotofest.co.uk

Panasonic’s news developments include the Lumix S1H, video capabilities for the Lumix S1 and two new teleconverters The Lumix S1H is the latest full-frame mirrorless camera to be developed by Panasonic, and is the world’s first camera that is capable of recording 6K/24p (3:2 aspect ratio), 5.9K/30p (16:9 aspect ratio) and 10-bit 60p 4K/C4K. It also features V-Log/V-Gamut with a dynamic range of over 14 stops A new firmware upgrade has also been announced for the Lumix S1, which includes features such as

14+ stops of V-Log recording, 4:2:2 10-bit 4K MOV 30p/25p internal video recording and 4:2:2 10-bit 4K 60p/50p HDMI output. The firmware is available free of charge for existing Lumix S1 purchases and for new purchasers from 8 July until the 30 September 2019. After that, it will be priced at £179. Further expanding its series, Panasonic has also unveiled the 1.4x and 2.0x teleconverters, which can be attached to the Lumix S PRO 70-200mm f/4 OIS, as well as the upcoming 70-200mm f/2.8 S series lens, which will be available later this year. Both teleconverters have a rugged design that makes them dust and splash resistant and able to withstand temperatures of -10°C. Available now, the 1.4x teleconverter has a recommended retail price of £489.99 and the 2x teleconverter £579.99.

Lowepro releases protective backpacks

Lowepro has brought its full 50 years of experience to the table in the design of its new Photo Active backpacks, designed for adventurous photographers and active creatives, and ideal for weekend breaks or longer trips. The backpacks are designed to accommodate today’s professional-level mirrorless kits, along with a wide range of personal and activity-based accessories. With a dedicated CradleFit laptop compartment, the BP 200 model and BP 300

model are capable of suspending and protecting a 13-inch and 15- inch laptop respectively. Both models also feature a QuickShelf divider system, which provides customisable organisation, allowing users to carry cameras, drones, clothes, travel accessories and kit in a unique configuration. The new range isn’t purely designed for function though; an ergonomic, ventilated ActivZone back panel offers comfort, even during long periods of carrying.

Pricing for these Photo Active backpacks starts from £149.95 for the BP 200 model, and £174.95 for the BP 300 one. Both models in the series are available at the end of June.

lowepro.com/global

panasonic.com/uk

Photography News | Issue 67 | photographynews.co.uk

News

Enter right now!

Nikon update

Nikon has released a firmware update for its Z 6 and Z 7 cameras. Firmware version 2.0 includes a new Eye- Detection AF function which automatically detects and focuses on eyes, an extended low-light AF detection range, for even faster focusing in low light, and autoexposure tracking in continuous high- speed (extended) mode. The firmware can be downloaded for free at: downloadcenter.nikonimglib. com/en/index.html

The Environmental Photographer of the Year competition is open, and there are fewer than 30 days left to submit your photographs. 2019’s competition is proudly supported by Olympus, the United Nations Environment programme and Arup. Entrants are expected to provide beautiful and skilful photographs, engaging enough to inspire serious action with regards to reducing impact

the

environment

and

in the areas of poverty, inequality and environmental degradation, among others. With regards to Olympus’ support, Georgina Pavelin, marketing manager, stated: “Olympus is proud to support Environmental Photographer of the Year. Capturing moments and documenting change is vital to our lives and we hope that photographers are able toutilise this

platform to not only demonstrate their talents but also help to raise awareness of current issues to evoke change.” Photographers from all over the world are welcome to enter the competition with up to ten photographs before the competition’s close on 30 June. Visit the UN sustainable development goals website at: un.org/sustainabledevelopment

promoting sustainability. This year’s submissions will fall into a range of categories including a young photographer award (full details of which can be found via the link below), with each supporting different UN Sustainable Development Goals. It is hoped that each category’s winning photograph will draw awareness to and inspire change

Lomography unveils Art lens for full-frame mirrorless cameras

Lomography announced the Petzval 55mm f/1.7 MKII lens, the first art lens from Lomography designed specially for mirrorless cameras. The lens features a bright f/1.7 aperture to create its signature swirlybokehandalsohasadedicated bokeh control ring, allowing you to adjust bokeh in seven levels. Its dual aperture system allows you to use Lomography’s aperture plates through the Waterhouse aperture system, so you can create different shaped bokeh – it even comes with five aperture plates in the box! The new design also features a long-throw focusing ring and stepless aperture diaphragm, making it a versatile lens for filmmakers who can adjust focus and f/stop while recording. The Petzval 55mm f/1.7 MKII is available to pre-order now and has

Lightroom and Elements. The new Nik collection has Raw compatibility too and you can access the plug-ins from within PhotoLab 2.3, DxO’s powerful image editing software. The Nik Collection 2 by DXO is available now at special launch prices until 30 June of £86.99 (instead of £125) and £49.99 (instead of £69). The Essential and Elite editions of DxO PhotoLab 2.3 are available too for £112 and £169 respectively. DxO PhotoLab 2 users can download the upgrade for free.

New fromNik The Nik Collection is a very popular suite of seven plug-ins among photographers. Google used to offer it for free but the plug- ins were not supported or updated for ages. The set was acquired by DxO, updated and given the title Nik Collection by DxO in 2018 and offered for £59. Now, after extensive research among customers, DxO has

launched a major upgrade called Nik Collection 2 by DxO. The revamped suite has high- res monitor support for Windows and gained 42 new creative En Vogue presets. There are ten new recipes for Color Efex Pro, ten in Silver Efex Pro, 12 inHDREfex Pro and ten in Analog Efex Pro. The plug-ins, as before, are accessible through Photoshop,

comes in three colours: aluminium black, priced at £349; brass varnish, priced at £399 and brass black, priced at £499. The aluminium black lens has an estimated delivery of July, with the brass lenses estimated for August.

dxo.com

lomography.com

Photography news

Editorial Team Editorial director Roger Payne Editor Will Cheung FRPS 01223 499469 willcheung@bright-publishing.com Digital editor Jemma Dodd jemmadodd@bright-publishing.com Chief sub editor Beth Fletcher

Advertising Team Sales director Matt Snow 01223 499453 mattsnow@bright-publishing.com Group admanager Sam Scott-Smith 01223 499457 samscott-smith@bright-publishing.com Key accounts Chris Jacobs 01223 499463 chrisjacobs@bright-publishing.com Key accounts Mike Elliott mikeelliott@bright-publishing.com

Design Team Design director Andy Jennings Senior Designer Laura Bryant Designer Man-Wai Wong, Emma Di I'uorio Distribution Distribution and subscriptionmanager Phil Gray philipgray@bright-publishing.com Publishing Team Managing directors Andy Brogden & Matt Pluck As well as your local camera club, you can pick up Photography News in-store from: Cameraworld, Castle Cameras, Jessops, London Camera Exchange, Park Cameras, Wex Photo Video, Wilkinson Cameras

Photography News is published 13 times a year by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Photography News is a registered trademark of Bright Publishing Ltd. The advertisements published in Photography News that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. Street pricing at the time of writing is quoted for products.

Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire, CB22 3HJ www.bright-publishing.com

Senior sub editor Siobhan Godwood Sub editor Felicity Evans Junior sub editor Elisha Young

ISSN 2059-7584

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Photography News | Issue 67 | photographynews.co.uk

News

Summer Solstice Solargraphworkshop RPSYouth Council The Royal Photographic

Society has launched a Youth Council aiming to engage young photographers. Award- winning photographer, Rachel Louise Brown will chair the council, which includes a panel of photographers in their twenties and thirties to advise RPS trustees on how the Society can increase its relevance to a young audience. Mike Taylor, chief operating officer of the RPS said: “Photography is intrinsic to the human experience, and the RPS is delighted to have the support of the Youth Council to help us understand how we can ensure the greatest breadth and impact of our work.” Speaking about her new role, Rachel said: “The RPS is an institution with a wealth of history, resource and knowledge bundled together with a passion for forward thinking. Having the opportunity to be a small part of its legacy is humbling.”

The science bit

The Royal Photographic Society’s Science Photographer of the Year competition is now open for entry. The competition is open to all ages and levels of expertise and there are two categories; Science Photographer of the Year and Young Science Photographer of the Year (under 18 years old). Entrants are required to take a visually appealing picture that tells a science story, with a camera or smartphone. Winners will be announced at an event in London in October. The winning photographs will be chosen by an expert panel of selectors including TV science

presenter Dallas Campbell. RPS science exhibition coordinator, Gary Evans said: “The competition is open to everyone. We are looking for images from all ages that tell a story about science – how it is used, how it looks or how it impacts people’s lives. Fun or serious, the selectors will be looking for the story behind the picture as well as the visual impact it makes.” The competition is £15 to enter (£12 for RPS members) and up to five images can be uploaded. Entry is free for under 18s. Simply register and upload images at science.rps.org. Closing date is midnight on 19 July.

to 12:00. You will be shown how to create a pinhole camera in order to capture a six-month exposure of the sun crossing the sky. Tickets for the event are priced at £4.85 per person and there is a free event for over 50s later that day. If you want to have a go yourself, instructions on how to make a solargraph camera for nothing out of recycled materials can be found on the front page of pinholephotography.org

The Real Photography Company is pleased to be hosting a Summer Solstice Solargraph workshop at the St Pauls Learning Centre in Bristol on 23 June, from 10:30am

rps.org

realphotographycompany.co.uk

Advertisement feature

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Thismonth, PN ’s editorWill Cheung, selected an image of a polar bear, from a trip to Churchill, Canada, to be printed by professional photographic and printing laboratory, One Vision Imaging. “When I got this portrait of her with one of her cubs filling the background I knew that this was the shot I wanted to have printed and displayed,” he said.

“It was a wonderful thrill unpacking the print. One Vision’s Box Frame service produced a beautifully presented result, with stunning clarity and tonality, which instantly took me back to the moment I pressed the shutter button for my memorable shot.”

onevisionimaging.com 0845 305 2686

Photography News | Issue 67 | photographynews.co.uk

Tell us your club’s latest news, email: clubnews@photography-news.co.uk

Clubs

Camera club news If your club has any news you want to share with the world, these are the pages for it. Your story might be about your club’s success in a contest, or a member’s personal achievements; it could be about a group outing you had recently or when the annual exhibition is on show. Any news is eligible for inclusion, so club publicity officers please read and take note of the submission guidelines (right) and get your stories in

Here’s how to submit

Deadline for the next issue: 8 July 2019

We need words and pictures by 8 July 2019 for the next issue of Photography News , which will be available from 16 July 2019. If you want to submit, follow these guidelines: y y Write your story in 250 words or fewer. Include the club’s website, meeting times, what the event is, opening times, entrance costs – anything relevant. y y We need an image for every story. JPEGs, 2000 pixels max on the longest dimension, any colour space, credits should be included in your text. y y We DO NOT use posters or images with words on the image front. y y Before the above deadline, attach the text document and JPEGs to an email and send to clubnews@photography-news.co.uk

Poulton-le-Fylde PS Poulton-le-Fylde PS has won first place in the prestigious USAGlennie Memorial Nature Salon 2019. This worldwide competition

We’re always keen to receive club submissions. To help with the planning and timing of submissions, here are the publication and deadline dates for the next few issues of Photography News . Issue 68, out from16 July Deadline for contributions: 8 July Issue 69, out from13 August Deadline for contributions: 5August Issue 70, out from 10September Deadline for contributions: 2 September Issue 71, out from15October Deadline for contributions: 7October Issue 72, out from 26November Deadline for contributions: 18November Issue 73, out from14 January Deadline for contributions: 6 January Helpful dates

attracted entries from 65 clubs. Poulton scored 252 points, ahead of second-place club, the Greater Lynn PS from Massachusetts with 248 points. In third place was the Entrance Camera Club from Australia with 243 points. Eight out of ten of Poulton’s images gained awards for the five photographers. Poulton PS’s Glennie entries can be seen on the external competitions section of its website. The club meets every Thursday evening from September to June. Meetings take place in Poulton Methodist Church Hall at 7.30pm.

poultonps.co.uk

F.ocus Photographic Group Group, Bridlington is holding its annual exhibition at the Bridlington Spa from 1 to 7 July. On display are prints that range from landscapes and portraits to nature, captured and produced by group members. This exhibition is open from 10am to 4pm and is situated in the Spa Gallery with free entry to all visitors. Refreshments are available on site. F.ocus Photographic Group secretary Stephen Womack LRPS comments: “The group’s annual exhibition is an incredible showcase for our members to F.ocus Photographic

PrestonPS

Bradford PS is holding its annual exhibition at Shipley Library, 2 Wellcroft, Shipley, Bradford BD18 3QH from 24 June to 6 July. Entrance is free, and some of the images will be on sale. BradfordPSnormallymeets Thursday nights at Upper Bolton Social Club. Please visit the website for details. Bradford PS

On 13 July, Preston PS is opening an exhibition at the Harris Museum in Preston that will be on show for several weeks after the opening date. Visitors will get to see the club’s work, featuring a variety of images from local novices and professionals, and there’s something to suit all tastes. “Preston PS has a wide range of abilities and skills to be viewed and would really appreciate the support. We’re very excited for this opportunity in such a stunning setting,” says media co- ordinator, CharlotteWhittle.

display their work at our new venue. Drop into the exhibition and enjoy the images on display and meet our members and chat

about all things photographic.”

facebook.com/ groups/305853770205059

bradfordphoto.org.uk

Caister Photography Club

Caister Photography Club’s annual exhibition will be held in the Great Yarmouth Minster, NR30 1NE. The exhibition runs from 16 to 20 July, from 10am to 5pm daily, and entry to both the church and exhibition is

free. There is limited free parking is available, with ample paid parking in the nearby Great Yarmouth Market Place. Light refreshments are available from the Minster’s own coffee shop.

Find out more about the club at its website where you can find links to individual member’s websites, as well as the club’s programme.

prestonphotographicsociety. org

caisterphotographyclub.co.uk

Photography News | Issue 67 | photographynews.co.uk

Tell us your club’s latest news, email: clubnews@photography-news.co.uk

Clubs

Grimsby PS

Tynemouth PS

Tynemouth PS is moving to new club premises at 106/107 Howard Street, North Shields, Tyne & Wear in September. Tynemouth has been meeting at its previous base in Front Street, Tynemouth, for the last 62 years, but is returning to nearby North Shields, where the society was founded in March 1903. The final AGM and annual exhibition in its old clubrooms were special events, as the society acknowledged the loyalty and work of two well-known members, Stan Bewick and Arthur Smith. Stan, who joined the society in 1957, was awarded the first Honorary Life President of the society in recognition for his outstanding work for the society and the NCPF. Arthur has been

Grimsby PS was the first photographic society in Lincolnshire, and this year it celebrates its 125th anniversary. The society is holding its annual exhibition of members’ prints at the Café Gallery, Grimsby Fishing Heritage Centre, Alexandra Dock, Grimsby DN31 1UZ from 13 July until 8 September. Entrance to the exhibition is free and it is open from 10am to 5pm Tuesday to Saturday. It is closed on Mondays except Bank Holiday Monday, when opening is 10am – 4pm. Society president, John Nash, said: “Our members have interests in all genres of photography and this provides the society with a well-rounded collection of work. “We hope

a member for over 30 years and has been an impressive worker and ambassador for the society, and was made an honorary life member in recognition of this. Both awards were made by Howard Wilson, who handed

over to incoming president Keith Hildreth. Tynmouth PS is looking forward to welcoming both old and new friends to its new premises.

visitors will be inspired by our images and may wish to join us.”

grimsbyps.wixsite.com/ grimsby-photographic/home

tynemouthps.org

Farnborough CC

Farnborough CC has a long-standing relationship with its twin town’s camera club, Photo-Cirkel in Oberursel, Germany. Recently, Photo-Cirkel invited Farnborough CC to take part in an exchange visit. The idea behind the exchange was for a member from each club to visit each other’s town to capture in photographs their impression of the two towns. Later in the year, prints will be exhibited in Oberursel featuring the results of the exchange visit. Last April, Farnborough Camera Club hosted Jutta Poetz from Oberursel for a weekend of photography that included visits to Farnborough Abbey, Farnborough Business Park with the balloon hangar, Aldershot Military Museum and Wellesley Woods. Members of the camera club even came across Rushmoor Fire Service training by the canal, and they kindly let them capture a few shots of the training.

In May, Gary Pratt from Farnborough visited Oberursel. He also had a busy weekend travelling around the town and local sites and up into the mountains.

For more information on Farnborough CC’s activities, see its website.

farnboroughcameraclub.org

Tyndale PC

Ripon City PS This year is the 70th anniversary of Ripon City PS, which it is celebrating with its flagship event, the annual exhibition on 31 August. It is taking place at Allhallowgate Methodist Church, Victoria Grove, Ripon HG4 1LG. The exhibition, which attracted over 400 visitors last year, is open from 9.30am to 4pm. A variety of prints and digital images can be seen, and visitors can vote for their favourite images to have a chance of winning a print of their choice. This year, there are live presentations – two in the morning and two in the afternoon – from four members on the theme of Around the World with Ripon City PS. Entry is free and refreshments will be on sale. There are car parks nearby and the fully accessible venue is in the heart of Ripon, within a fewminutes walk of the famous museums and the city’s cathedral.

Tyndale PC is holding its 2019 photographic exhibition in Dursley Methodist Church, Castle St, Dursley, Gloucester GL11 4BS.It opens12Julyfrom7to9pmand13July from 10am to 4pm. Refreshments will be served. Catalogues cost £1 giving entry to raffle.

riponcityphotographicsociety.co.uk

tyndalephoto.org

Photography News | Issue 67 | photographynews.co.uk

First look 14

Photography News | Issue 67 | photographynews.co.uk

FujifilmGFX100 PhotographyNews sawan early sample of the GFX100 at TPS. Now, this 102-megapixel camera has been officially unveiled, and is in-store from late June at a body price of £9999.We got to spend the day enjoying its charms

Specs

Prices £9999 body only Resolution

102 megapixels Image sensor 43.8×32.9mmBayer pattern with ultrasonic vibration cleaning, 11,648×8736 pixels File formats 14/16-bit Raws and JPEGs ISO sensitivity 100-12,800, expansion 50-102,400 Lensmount Fujifilm G mount Exposuremodes PASM Exposuremetering TTL 256-zone metering, multi/spot/ average/centre-weighted Exposure compensation +/-5EV in 0.3EV Image stabiliser Built in, sensor shiftmechanismwith 5.5EVbenefit Shutter Mechanical 60mins to 1/4000sec, Bmode to 60mins Electronic 60mins to 1/16,000sec Flash sync 1/125sec Continuous shooting Up to 5fps in continuous highmode, up to 13 uncompressed Raws Autofocus Intelligent hybrid AF (TTL contrast AF / TTL phase detection AF). Single point AF: EVF / LCD: 13×9 / 25×17 (changeable size of AF frame). Zone AF: 3×3 / 5×5 / 7×7 from 117 areas on 13×9 grid, wide/tracking AF: up to 18 area. AF-S: wide / AF-C: tracking, all Storagemedia 2 x SD Card (UHS-I/UHS-II) Viewfinder 0.5in approx 5.76million dots OLED colour EVF Monitor 3.2in, 2.36million dots, tilt in three directions, touchscreen, approx 100% coverage Sub LCDmonitor 1.8in Rear submonitor 2.05in Start-up time 0.4 secs Filmsimulation 16modes, including ETERNA Video format MOV (MPEG-4 AVC/H.264, HEVC/H.265 Movie resolutions DCI4K (4096×2160). 29.97p/25p/24p/23.98p 400Mbps/200Mbps/100Mbps up to 60mins 4K (3840×2160). 29.97p/25p/24p/23.98p 400Mbps/200Mbps/100Mbps up to approx 60mins Power supply 2 x NP-T125, 800-shot capacity Interfaces USB Type-C 3.2, HMDI Micro connector, Bluetooth, Wi-Fi Dimensions (wxdxh) 156.2×144×75.1mm excluding EVF Weight 1400g inc EVF, battery, x 2 cards Contact fujifilm.eu/uk

bit 65,536 per colour, which in RGB means you get four trillion colours in 14-bit and 281 trillion in 16-bit. The difference of 277 trillion levels is a lot, but whether you need 16-bit capture is a moot point and the vast majority of us are perfectly happy using 14-bit sensors. I did shoot a few 14-bit and 16-bit comparison images to see if could see any obvious benefit, but as I was using a pre- production sample, a full 14-bit/16- bit comparison needs to wait until I get hold of final production camera. Using a Samsung 128GBMicro SD card (with a write speed of 30Mb/s, not ideal with this the amount of data involved with the GFX100), the capacity was 3069 fine-quality JPEGs, and 598 uncompressed Raws or 1176 lossless compressed Raws. According to the frame counter read- out before shooting, the expected number of 14-bit and 16-bit Raws was the same and, as 16-bit Raws are bigger, I expected fewer shots – this is probably due to the camera not having final firmware. With fine JPEGS and 14-/16-bit compressed Raws, I had capacity for 849 shots. With the Samsung card, each shot took around five seconds to write, so as usual with high-resolution cameras, you need the fastest cards you can manage. There are two SD card slots on the GFX100 with the usual save options. I spent nine hours using the GFX100 pre-production sample, together with a bag of lenses: the 23mm f/4, 32-64mm f/4, 45mm f/2.8 and 100-200mm f/5.6. Of these,

only the latter has any form of image stabiliser – Fujifilm’s OIS with a claimed 5EV benefit – and we’ll get onto the GFX100’s IBIS system later. I am a Fujifilm system owner, so I found the menu intuitive, as the GFX100’s structure is the same as current Fujifilm cameras. That said, there are of course new features, so there are extra items and some are buried fairly deep. The rear sub LCD monitor and the rear sub monitor set-up menus, for example.

Words by Will Cheung

Fujifilm’s was announced in 2016 with the introduction of the 51-megapixel GFX 50S, along with three lenses. When the lenses were launched, Fujifilm stated they were designed to be good enough optically for 100-megapixel cameras – so the ambition was clear from early doors. The GFX100’s sky-high 102-megapixel resolution is the camera’s headline feature on a long list of headline features that includes a hybrid phase/contrast detect AF system, a super-high resolution 5.76 million dot electronic viewfinder and an in-body image stabilisation system offering up to 5.5EV benefit. So, let’s start with the sensor. It is a CMOS, back-side illuminated (BSI) Bayer pattern unit measuring 43.8x32.9mm. The GFX format is 1.7x larger than full-frame 35mm, and while we (along with everyone else) have been calling this image size medium format, Fujifilm is now rebranding it as large format. Whatever you make of that, the GFX100’s sensor has a native speed range of ISO 100 to 12,800, expandable to 50 and 102,400 and, as well as the usual JPEG and Raw format shooting options, in Raw you have the extra option of shooting either in 14- or 16-bit, both recordable as uncompressed lossless and compressed lossless formats. The technical difference is that 14- bit captures 16,384 colours and 16- GFX system

I saw a significant benefit in the GFX100’s system in terms of speed, sensitivity and sure-footedness

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Highlights

• •

102-megapixel resolution 43.8x32.9mm BSI sensor, 11,648x4304 pixels In-body image stabilisation (IBIS) with up to 5.5EV benefit X-Processor 4 engine Hybrid contrast/phase detect AF Face and eye detect AF

• •

•

• • • • • • •

AF down to -2EV 2 x SD card slots

100-12,800 native ISO range 5fps continuous shooting

4K/30p video

Dust- and weather- resistant build Two LCD sub monitors 5.76 million dot EVF

• •

Left A contrasty urban scene was handled by the GFX100 fitted with the 100-200mm f/5.6 zoom with multi-segment metering and aperture-priority delivering a spot on exposure. Exposure was 1/220sec at f/10, ISO 200 Below A handheld low-light exposure shot with the 45mm f/2.8 lens. Exposure settings were 1/160sec at f/7.1, ISO 3200

I have used the other GFXmodels quite a bit and it’s interesting that the three models have different design philosophies and handling characteristics while retaining a strong family resemblance and great usability. The GFX 50S has a deeper body and an optional slide-on waist- level viewfinder; the GFX 50R is reminiscent of film rangefinder cameras, with portability a major selling point. And now the GFX100, which has design and handling akin to a deep-bodied, full-frame DSLR that can take two batteries. During the day I took 511 images and a fewminutes of 4Kvideo. By the day’s end, I had just about flattened two batteries. Fujifilm claims 800 shots with two batteries, but it is true that I spent a while exploring menus and reviewing shots and I’m certain the batteries were not fully

charged when I received the camera in the first place, so I have no reason to dispute the capacity figure. The GFX has a USB-C port and you can use this to charge the batteries with a 30 watt power bank. I am used to electronic viewfinders and I certainly enjoyed those of the Nikon Z 7 and Panasonic S1R cameras, where actually, after a while you do not even notice that they are not optical. The GFX100 can be added to the list. With its 5.76 million dot resolution, the rendering of finely detailed scenes is remarkably impressive. That said, I did find on my sample that the camera did take a beat to adjust when panning from dark to very bright scenes, and vice versa. The high-resolution EVF does give the option to magnify into the image by 24x during focus check.

If there is one negative with the EVF, it is the finder itself, which protrudes far back enough so it just physically gets in the way and obscures the image if you’reusing the monitor for the low angle or waist- level shooting. I did a fewstreet shots in Tokyo with the GFX100 at waist level and the EVF did get in the way. It is true, however, that I could have slipped the finder off, but in the heat of the moment that didn’t cross my mind. User error! Autofocusing with the hybrid contrast/phase detect was good. Fujifilm claims a 200% faster autofocus speed with the GFX100 with the 45mm f/2.8 and 63mm f/2.8 lens, and 150% faster with telephotos, including the 110mm f/2.8 and 120mm f/4. Doing side-by-side tests with the GFX 50R and the lenses I had,

I saw a significant benefit in the GFX100’s system in terms of speed, sensitivity and sure-footedness. The phase detect system–which features 3.76million dots embedded across the image sensor – seemed to get the focus in just about the right place, then there was a little twitch as the

contrast detect kicked in to confirm focus. AF was smooth, too, and certainly quick when going from a near to a far subject and vice versa. During my time shooting stills with the GFX100, I used mostly either single zone or zone AF and went wide zone and touchscreen

LCD submonitor

Images The GFX100 has a large LCD sub monitor. Here you can have it as a general camera information readout display, showing virtual ISO and shutter speed dials or a large histogram. In general read-out mode, there is plenty of chance to customise what information you want showing. With the virtual ISO/shutter dials, adjusting settings is done by the front and rear input dials

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focus for video. The focus lever and whole-frame coverage of phase detection cells meant that nailing sharp focus on subjects towards the edges of the frame was easily done, with no need for focus lock and recomposing technique. Themonitor offers touch focus, too, which ismore practical when the camera is on a tripod – andworks fine for handheld shooting, too. The focus lever lets you navigate the active focus zone around the scene and pushing it lets you alter zone/point size very quickly. Significantly improved face/ eye detect AF was another aspect of the system worth talking about. Face/eye tracking was claimed to be enhanced by 500% in movie mode and more able to cope with smaller faces. Face detect was also more stable when something passed between you and the subject. There is also a face select feature, too, which can be used via the monitor or the focus lever. I am a keen AF-ON button user, focusing with the thumb and then recomposing. I think Fujifilm has skimped on the size of the GFX100’s AF-ON button and it is small, especially given the surface acreage of the camera. Have a look at how Canon and Nikon have treated this control on its top-end DSLRs, and you’ll see what I mean. That is not to say that it is unusable – because that is not the case – but it could have been bigger for even better handling. For me, the size issue applies to the exposure compensation button, which is ideally placed next to the shutter button, but again this seems small – or it’s too low profile. Speaking of controls, the GFX100 has comparatively few and notably, there are no shutter speed or ISO dials – at least in the physical sense. Both are virtual dials that appear on the large sub monitor and are operated via the front and rear command dials. While some would prefer actual dials, I found using the

Above The GFX100 was fitted with the 32-64mm f/4 lens. The exposure was 1/200sec at f/4, ISO 1600

virtual dials fine, although I would need more time to decide if I prefer them to the real thing. On the far left, there is a lockable mode dial with options for video and still shooting and, in-between, there is a multi setting. At its centre is the drive button. The video and still settings are obvious tags, but multi needs explaining: in other Fujifilm

cameras, the drive control contains menu options for bracketing (AE, focus, film simulation etc) as well as single and continuous shooting. In theGFX100, driveonlyhasthesingle and continuous shooting options with the bracketing etc functions assigned to the multi setting. It is a good solution, although Fujifilm could have gone further. In

multi, you can select auto exposure bracketing, which is fine, but setting the parameters of that bracketmeans going into another menu item. This is the same with other Fujifilm cameras, but for me I’d prefer the logic of engaging AEB, for example, and then setting the parameters of that bracket in the same menu. Duringmy timewith theGFX100,

I dare anyone not to be impressed with the output of the GFX100

Performance: image quality

These two shots were taken on the GFX100 andf GFX 50R fitted with the same lens: the 32-64mm f/4 with an exposure of 1/70sec at f/11, ISO 100.

Both cameras were tripod mounted and the shutter released with the self-timer. The 14-bit Raws were processed

through Lightroomwith some unsharp mask added later in Photoshop. The GFX 50R shots needed magnifying by 141%more

to produce the same subject size compared with the GFX100. All GFX100 images in this first look feature were taken using

a Fujifilm pre-production sample, so keep in mind that the firmware and images might differ on production cameras.

Original image

Taken on GFX100

Original image

Taken on GFX100

Taken on GFX 50R

Images The two shots were taken on the 32-64mm f/4 at 51mmwith an exposure of 1/125sec at f/11, ISO 100. Here, both processed Raws had sharpening added in Photoshop

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Performance: noise

The GFX100 has a native ISO range of 100 to 12,800 with expansion at the fast end to 102,400. We’ll test the full ISO range when we have a full production camera, but to give an idea, here are two shots taken at high ISOs. This Tokyo night scene was exposed for 1/25sec at f/8, ISO 3200 using the GFX100 fitted with a 32-64mm lens at 42mm. The camera was tripod mounted. The Raws were processed in Lightroomwith no noise reduction applied.

Original image

ISO 3200

ISO 6400

(the 100-200mm and 250mm) and having an IBIS system is very, very welcome for still and video shooting. In the IBIS menu, you can turn it off, leave it in continuous or have it active when you are actually shooting. I left it in continuous and did tests with shutter speeds down to 1/4sec. The system seems to work very well, so more to come when we get to try a production sample. Shoot 102-megapixel files and you’ll need the infrastructure to deal with the resulting huge amounts of data. If you are contemplating buying a GFX100, a fast computer, a decently sized high-res monitor and plenty of external storage are definitely advised. An in-camera compressed 16-bit Raw is around 130MB and a JPEG around 20 to 40MB. Which, when processed, becomes a 600MB 16- bit TIF – even a JPEG is more than 60MB. A full file opens to an image measuring 11,648x8736 pixels so you can print to 98.6x73.9cm (38.8x29.1 inches) at 300ppi without any software interpolation. Drop printing resolution down to a perfectly acceptable 200ppi, and you’re talking 147x110cm prints.

To say I am impressed is to understate my admiration for the camera

I shot almost entirely in aperture- priority AE mode with multi- segment metering. I did not have any total failures, even in strong backlighting situations. When all is said and done, if the image quality from a camera does not measure up, then you might as well give up. But seriously – I dare anyone not to be impressed with the GFX100’s output. I processed my 14- and 16-bit Raws through Lightroom and to say I am impressed is to understate my admiration for the camera. Of course, this is when it all comes right and I did get shots that weren’t perfectly focused or ruined by shake (probably through user error), but when I got it right, the detail was truly amazing. Being able to zoom into the image and see the clarity of the fine details was awesome.

The camera’s high ISO noise performance was also impressive. The GFX100’s 102-megapixel back- side illuminatedsensor– the firstBSI sensor this size to use copper wiring – means smaller individual sensor cells, but the BSI design helps keeps noise down. A firm judgement can’t be made until we try a production sample, but shooting at ISO 6400 or even 12,800would not be an issue in my view, and the quality at these high speeds is remarkable. The GFX100 is the first medium format camera with a five-axis in- body image stabilisation system offering a benefit of up to 5.5EV (with the 63mm f/2.8 lens). So assuming 1/250sec is a safe shutter speed for sharp shooting, 5.5EV is equivalent to 1/6sec. The GFX system has a couple of lenses with image stabilisation

Above Shot with the 100-200mm f/5.6 lens at 100mm on the GFX100 with aperture-priority AE, giving an exposure of 1/50sec at f/8, ISO 1600

Summary

The FujifilmGFX100 needs putting into context. It is a top- end camera targeted at pros and experienced enthusiasts and costs more than a very good family holiday. And, while the digital medium format camera market has grown, thanks largely to Fujifilmwith help from Hasselblad and Pentax, let’s face it: it will never be big. In that context, the GFX100 is great value for money and what Fujifilm has achieved technically is truly remarkable. Image quality (from a pre-production sample) looks incredible and it handles really well, thanks to the new hybrid AF system and IBIS. And you get all this in a body comparable in size to a pro full-frame DSLR. Having spent less than a day in the company of GFX100, I have to say I am very impressed and look forward to testing a full production camera in due course.

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