t h e w o r l d ’ s b e s t-s e l l i n g d i g i t a l p h o t o m a g a z i n e 26 A pr il-2 M Ay i s s ue 292 inspir at ion ide a s in-dep th re v iews X MArks the spot we put FujiFilm’s new Flagship X-h1 through its paces W e l c o m e JOIN THE CLUB... Welcome to the world’s No.1 weekly digital photography magazine. If you’re already a reader, thanks for your continued support and involvement; if you’re new to Photography Week, you’ve come to the right place! In addition to expert advice, brilliant tips and step-by-step tutorials, every issue features interactive galleries of the best new photos, how-to videos on essential shooting and editing techniques, and in-depth reviews of the latest camera kit. But that’s not the whole story. Photography Week is more than a magazine – it’s a community of like-minded people who are passionate about photography. To get involved, just follow any of the links below and share your shots and comments – your photo might even appear on our cover! JOIN T HE PHOTOgr aPHy WEEk COmmUNI T y aNd s Tar T sHar INg! faCEBOOk http://tiny.cc/7s2zgy TWITTEr http://tiny.cc/xt2zgy fLICkr http://tiny.cc/nv2zgy We’re more than just a magazine – read on and discover the many ways you can interact with and enjoy Photography Week CONTENTS Find out what’s inside this issue NEWS sigma lenses for sony Art-series lenses for E-Mount cameras to start shipping in May F E AT U R E Just add water Top tips for capturing stunning seascapes and coastal scenes PHOTOS gallery Our pick of the best reader images from around the world F E AT U R E I N S P I R AT I O N PHOTOS I N S P I R AT I O N side view from space Angled satellite photos capture amazing cityscapes and more CRASH COURSE feel the flour power Learn how to set up and shoot a dynamic ‘flour cloud’ portrait PHOTOSHOP get the perfect blend Master blending modes to create a cool double-exposure image CRASH COURSE GEAR fuJifilm X-h1 review We put Fujifilm’s new X-series flagship through its paces to see what’s changed from the X-T2 PHOTOSHOP Jus t 39¢/39p per issue! when you subscr ibe see tto he our subssubscribe c r i p t ion turn page for mor e more i nfo page to learn n e w s w h at ’ s h o t The week’s Top headlines in phoTography Sigma’S Sony E-mount art lEnSES arE on thE way Ditch the adapter: the seven prime optics will begin shipping in May U sers of sony full-frame that optimizes the autofocus drive and mirrorless cameras will soon maximizes the data transmission speed. have seven fabulous sigma the lenses will be compatible with respectively, and in July by the 14mm F1.8 DG hsM | art at £1,679.99 and 135mm F1.8 DG hsM | art at £1,399.99. as well as these initial seven lenses, art lenses to choose from. Previously, if sony’s Continuous aF (aF-C) and high- you had a camera like the alpha a7 III or speed aF, and will also be compatible sigma will also be launching the 70mm a7R III and wanted to use one of sigma’s with in-camera image stabilization and f/2.8 DG Macro|art and 105mm f/1.4 DG latest prime optics you had to buy its in-camera aberration correction. hsM | art at a later date. Canon-fit lenses and invest in its MC-11 the 35mm F1.4 DG hsM | art, 50mm If you’ve already invested in sigma adapter for sony cameras. But now F1.4 DG hsM | art and 85mm F1.4 DG lenses in Canon’s eF lens mount and are sigma is releasing seven art lenses in hsM | art will be the first to arrive, in using these in conjunction with an MC-11 sony’s full-frame e-mount fitting. May, priced at £799.99, £749.99 and adapter, you might like to be reminded £1,199.99 respectively – Us pricing was about sigma’s Mount Conversion to be confirmed at the time of writing. service, which will enable you to have sigma says the lenses will offer the same high-performance optical design as other lenses in the art line, although these will be followed in June by the the mount changed over to sony the e-mount models will feature a 20mm F1.4 DG hsM | art and 24mm F1.4 e-mount – for more information contact newly developed control algorithm DG hsM | art, at £859.99 and £799.99 your sigma subsidiary or distributor. f Ben Kapur Part landscape photographer, part YouTuber, 25-year-old Ben was recommended to apply for this Shootout as he’s local to the area, and enjoys shooting landscapes and seascapes on the Devon and Dorset coastlines. In addition to being armed with the right tools for long-exposure seascape work, Ben came armed with extra kit for recording video, as he’s an avid video blogger. http://tiny.cc/7rqqsy E A T U R E Shoot out! South Devon coaSt We head to sunny Devon to shoot a couple of coastal gems with two keen photographers, strong ND filters and second-hand Bronicas at the ready… paul haigh After a decade working around the world as a freelance photojournalist, several years ago Paul switched to teaching photography on the UK’s Jurassic Coast. Experimenting with analogue photography, mixed media and DIY camera construction, Paul enjoys fusing traditional techniques with digital ones – as well as his Nikon D300S, he brought along his medium-format film camera and iPhone http://tiny.cc/5tqqsy f E A T U R E challenge 1 Get full-on creative on the beach at beer Ben Kapur Costal photography and clear midday skies generally aren’t good bedfellows. Not only can empty blue skies be (whisper it) a bit boring, but the wide dynamic range – from the glare on the sea to the shadowy backlit foreground – can make it a challenge to record detail throughout the scene in a single take. But those were the conditions we faced on one of the (rare) sunlit early spring days we were treated to when we hauled up in Beer. The village is situated on the Jurassic Coast, with its sheltered Kit Sony Alpha 7 II with Zeiss 24-70mm f/4 lens at 24mm ExposurE 13 secs at f/13, ISO50 pebble beach facing Lyme Bay. While it isn’t one of the big Jurassic Coast photography draws like Durdle Door or Kimmeridge Bay, Beer has variety of subjects to shoot, from prominent cliffs and pebble shores to colourful huts and boats that have been winched onto the beach – so you can end up using everything from a telephoto to a macro lens. Ben was drawn to the shapes formed by the cliff and tideline, and, noticing an approaching cloud bank, set up his tripod and fitted an neutral density filter in anticipation of using a long exposure to blur the movement of the waves and incoming clouds. “Compositionally I think this image works really well, but the exposure was the tricky part,” he says. “As we were shooting in the middle of the day, we had very hard harsh sunlight to deal with, and it’s always difficult to manage the exposure when you have an image that requires a lot of dynamic range. “In the end, it was a waiting game until the cloud came in line with the sun to give a slightly softer light and reduce the harshness of the shadows.” e xper t opinion • Despite the familiar technique, Ben has successfully put his own stamp on things here • The distinctive colour effect adds mood and intrigue • Ben’s done well to retain a hint of the clouds here – burning them in more would perhaps give a more balanced result. f E A T U R E challenge 1 Get full-on creative on the beach at beer paul haigh Paul worked the beach at Beer like a photographer on a mission. Rather than opting for a classic long-exposure view, he experimented with the Lomography Neptune convertible lens system we were testing, as well as using his regular Nikon DSLR, an iPhone and a film camera. This image, ‘Beer, Bronica and Boats’, is a great example of how Paul was attempting to approach a familiar scene in a fresh way. “Looking for unusual viewpoints and striking compositions, like getting low to shoot fishing boats hauled up the beach, appealed to me,” he says. “But the early afternoon light was flat, offering little in the way of contrast or shadows, and I felt the image needed something else. “Someone donated a broken Bronica to me, which I’ve been trying to fix, and I wondered if the viewpoint offered by the Bronica’s screen might enhance the composition. Upping the contrast and bringing the highlights down a little on the raw file produced this image.” e xper t opinion We admire Paul’s desire to produce •something different – and to lug around the extra kit The dark, dense treatment ensures the image on the bright screen is the real focus Would resting the camera on a bed of purely pebbles have worked better? • • Kit Nikon D300S with 17-55mm f/2.8 lens at 55mm ExposurE 1/640 sec at f/6.3, ISO400 f E A T U R E challenge 2 Shoot the StackS at ladram bay Ben Kapur After a break for lunch we decided to mix things up a bit and try a different location for the afternoon session. Being the most local member of the group, Ben came up with some suggestions, and after seeing his previous shots of the sea stacks at Ladram Bay it was an easy decision to make the short drive along the coast. We arrived as the late afternoon sun was striking the red rocks and making both them and the gulls lining them glow. We wasted no time in setting up tripods and fitting neutral-density filters to help smooth the surface of the sea. “Having been to Ladram Bay before, I knew the location well and had a good idea of the compositions I wanted to get,” explains Ben. “Superlong exposures work beautifully with the sea stacks and can really enhance the mood of the place, but the sunlight was still relatively strong and creating issues with contrast. “One way of getting around this is to shoot with a black-and-white treatment in mind, and having shot here before I knew this composition would work well in monochrome.” e xper t opinion • The sidelighting brings out the texture and form of the rock • Ben’s put himself in just the right position to centre the reflection in the frame • On one hand it feels a shame to lose that vibrant orange colour of the stack, but the mono finish works a treat. Kit Sony Alpha 7 II with Zeiss 24-70mm f/4 lens at 28mm ExposurE 25 secs at f/11, ISO50 f E A T U R E challenge 2 Shoot the StackS at ladram bay Kit Nikon D300S with 17-55mm f/2.8 lens at 17mm ExposurE 15 secs at f/8, ISO100 SHOT OF THE DAY paul haigh It doesn’t have quite the same level of variety in terms of subject matter compared with Beer, but Ladram Bay has some fine natural architecture to explore with a lens. Paul reached for a 10-stop ND filter for this shot, captured as the early evening light was highlighting the stacks at the end of the beach. Paul says: “I crawled into a small cave hollowed out of the cliff face. Water cascaded over the entrance. Using a Lee Big Stopper to extend the length of the exposure, I composed an image that I hoped would feature both a misty waterfall and a smooth seascape around the stack. Sadly there wasn’t enough water cascading over the entrance to really show up as a substantial misty trail, but I was pleased with the composition. “Using RNI’s Ilford Delta film simulation preset for Lightroom (reallyniceimages.com), I converted the image to monochrome. I love RNI’s film simulations: they’re about the best I’ve tried, and the mobile app works brilliantly too!” e xper t opinion Paul’s positioning reveals a useful framing device, and adds intrigue • The mono •treatment enhances the light pools • Revealing more or less of the vegetation at the top would perhaps work better. f E A T U R E get more at the Shore Top tips for capturing striking seascapes and coastal scenes 1 2 high-contraSt optionS Keep it freSh Motion blur created by fitting a strong ND filter to the lens can take the edge off glare on the sea – compare Ben’s image on the previous page with the adjacent location shot. To retain more detail in the sky a graduated ND filter could have been added and angled to match the cliff, although shooting a second darker shot to retain sky detail and blending the two exposures might have been more preferable. Take a leaf out of Paul’s book, and try something completely different next time you visit a location you’re familiar with. Perhaps set a slow shutter speed and intentionally move the camera to create an abstract result. Try imposing restrictions on yourself: only shoot with one focal length, or set a different aspect ratio than you’d normally use. Or scour the online auctions for cheap ‘experimental’ lenses you can try out. 3 3 3 long expoSureS finD a frame Shoot a vlog A tedious aspect of using a square filter system such as the Lee filters 100mm range is screwing the adaptor ring off the lens when you put your camera away, then screwing it back on when you take it out again. Lee, however, makes lens caps that slip over the adaptor ring, so you can leave it in place. Using a foreground element to add a frame to a shot, as Paul did in his long-exposure image of Ladram Bay on the previous page, has several advantages. You can use it to fill featureless areas or conceal distractions, and to add context that gives your pictures a better sense of place. If you’re going to be putting in the time to wait for the right light on location, why not shoot some video clips and create a movie to post on YouTube? It’s a great way of attracting people to your social media channels or website and getting more exposure for your photography. s u b s c r i b e SubScr ibe today and enjoy Photogr aPhy week For juS t 39 c /39 P an iSSue * To find out how you can get Photography Week delivered straight to your device every week for just a few pennies, simply search for Photography Week on any of the platforms below ava il able on your de v ice now! http://tiny.cc/7bodfy http://tiny.cc/edodfy http://tiny.cc/heodfy *available for a limited time only. Standard subscription offer varies across platforms/devices – please refer to specific store for the most up-to-date offer G A L L E R y XPOSURE The week’s mosT inspiring reader phoTos Maker ChurCh in the snow NICK TURLEY “i couldn’t believe my luck when the winter storm dubbed ‘the beast from the east’ arrived, bringing heavy snow to Cornwall in late February and early March. the strong winds created a nice effect in this scene, as the drifting snow got stuck to the sides of the trees and church. i applied a simple black and white conversion to the image to make it look like a sketch.” http://tiny.cc/rd3cpy G A L L E R y The week’s mosT inspiring reader phoTos attraCted by the sun ALfAbILE SANTANA “i took this shot of three girls doing yoga on a beach at Praia brava de itajaí in southern brazil during a wonderful dawn. i took several photos, but this one was special because it looks like the girls are being attracted by the sun, and their reflections appear in the waters of the lagoon.” http://tiny.cc/nebosy duCk drool DoNALD P WhITE “this is a mallard drake that I photographed in the old Pennsylvania Canal at wildwood lake, harrisburg, Pennsylvania.” http://tiny.cc/h7rgsy G A L L E R y The week’s mosT inspiring reader phoTos VenFord Falls RICh WALKER “i took this shot of the Venford Falls double waterfall on a trip to dartmoor in devon, uk.” http://tiny.cc/bvrgsy G A L L E R y The week’s mosT inspiring reader phoTos dandelion Core TEDDY ALfREY “i photographed this dandelion in my wife’s garden in our backyard – apparently, i’m not so hot at weeding!” http://tiny.cc/lyrgsy PhotograPhy week wants your Photos! fACEbooK http://tiny.cc/qi0oey fLICKR http://tiny.cc/rn0oey taken a portrait you’re particularly proud of? shot a sensational sunset you’d like to show off? then join the Photography Week Facebook community and share your best photos today! you’ll get feedback from fellow readers and the Photography Week team, plus the chance to appear in Xposure, or even on our cover! I N S P I R A T I O N I T ’ S C O O L , T H AT Images © 2018 Planet Labs, Inc. and licensed under CC BY-SA 4.0 The besT Thing we’ ve seen This week these images aren’t your everyday satellite photos Angled images taken from 280 miles up offer amazing views of familiar locations ost satellite imagery captures the world from a top-down perpective, and while these images have all kinds of useful applications they can’t convey a sense of height. Capture images from 280 miles up in space at an angle, however, and the images look very different, with skyscrapers, mountains and other tall features rising up out of the landscape to create striking three-dimensional scenes. Satellite imaging company Planet has done just that, using its constellation of 13 M SkySat satellites to shoot a series of “experimental, off-angle images that capture some of the world’s most stunning vertical features”. Unlike most satellites, Planet’s are able to photograph locations on Earth at an angle, as well as from directly above. Shown above are,. clockwise from top-left, Shanghai, Houston, Doha in Qatar and Riyadh in Saudi Arabia. Click the link to see more amazing images, and read about the featured locations, in a post by Planet’s Robert Simmon at Medium. see mor e im age s h t t p: // t iny. cc /m 0 t r s y S K I L L S craSh courSe ESSENTIAL PHOTO SKILLS MADE EASY feel the flour power Create explosive action photos by adding a simple ingredient. James Paterson runs through the recipe for setting up and shooting a ‘flour cloud’ portrait Shooting a moving subject like a dancer throws up several challenges, not least Hours of which is trying to convey that sense of graceful motion in a still image. But something as simple as a handful or flour can show off the action in a wonderfully atmospheric way. The fine white powder hangs in the air, shifting with the action and creating dusty whorls that catch the light. It also makes an almighty mess, but that’s certainly a price worth paying for the extra flavour the flour gives the shoot. In this tutorial we’ll explain how to get set up and shoot your own evocative flour action portraits. Lighting plays a big part, and a three flashgun set-up here gives us beautiful backlighting that emphasises the shape of the subject’s body and lifts the flour. What’s more, you don’t even need a studio – any decent-sized space will do, and you could even shoot outdoors on a dry night. 2 S K I L L S STEP bY STEP JuST ADD fLOur 1 find a dark space We need a dim environment and a dark backdrop, so we shot in a private underground car park. arrange dust sheets to minimise the mess, but be aware that their colour might affect the light; here the reflected light from the blue material gave us an intentionally cool cast. 2 light the subject our flashguns were positioned on light stands, angled away from the backdrop to prevent spill, and set to manual power. The front light was fitted with a white shoot-through umbrella, the back-left light with a silver umbrella and the back-right one with a beauty dish. 3 set the exposure We fired the flashguns using a wireless trigger fitted to the camera and a receiver on one of the flashguns; the others were set to optical Slave mode. The camera was set to manual with a shutter speed of 1/200 sec, then we adjusted the aperture and ISo until the exposure looked right. Freezing with Flash It’s not so much the shutter speed that freezes the motion here, it’s the flash duration. When fired at full power the duration may be close to 1/200 sec, but at 1/16 power the duration will shrink to around 1/8000 sec or faster. So if you’re seeing motion blur in your flash-lit action shots lower the flash power and bump up the ISo. S K I L L S STEP bY STEP JuST ADD fLOur 4 sprinkle the flour We asked our model to hold flour in his hands then release it as he danced and moved. To show the movement in different parts of the body try sprinkling flour over the shoulders, arms and feet. If your subject has long hair, you could try sprinkling it there too. 5 work the poses It really helps if you can work with a subject who knows how to move their body. If you can trust them to get into interesting positions, it frees you to concentrate on perfecting the technique, timing and composition. even so, it might take several attempts to nail the pose. 6 direct your subject Strong back-lighting and side-lighting gives us these bright highlights along both sides of the body. We posed our subject to make the most of this edge light, asking them to turn their head and body one way or the other as they moved. Quick tip You don’t need expensive flashes for this; they only need to have manual power and an optical slave mode, features that most budget models will have E d I t I N g Ph otos h o P LEARN ESSENTIAL EDITING SKILLS FAST! d O W nl O a d T He P r O j eC T F i l e s h t t p : // t i n y. c c /4 r 6 m s y On a PC Or maC HOW TO... masTer Blending mOdes Learn how to get the most out of this simple yet versatile feature, and see how you can blend two or more images for incredible results n this video tutorial we’ll show you how to create a cool double-exposure image with the help of blending modes. Blending modes are a powerful and versatile tool, I enabling you to combine images in ways that aren’t possible with other tools. they dictate the way a layer interacts with the layers below it based on brightness and colour values, and while some work in quite simple ways others are more complex, so it’s often easiest to just experiment with the different modes to see what effects you get. W aT CH T He V ideO h t t p : // t i n y. c c / w f s d o y WANT more phoToshop TuToriAls? check ouT prAcTicAl phoToshop For more Photoshop tutorials, tips and advice subscribe to Practical Photoshop, the world’s premier Photoshop magazine. each month you’ll find an array of inspirational tutorials and accompanying video lessons that will help you master adobe’s industry-leading photo-editing software, plus amazing images from the world’s best Photoshop creatives, free downloadable content, and a beginner’s guide to the basics. ios: http://tiny.cc/99ehfy Android: http://tiny.cc/l8ehfy Zinio: http://tiny.cc/g65jiy CSC TEST ExpErt opinion on thE l atEst kit FujiFilm X-H1 The X-H1 looks like an X-T2 on steroids, but there’s a lot more to Fujifilm’s new X-series flagship than that www.fujifilm.co.uk £1,699/$1,899 (body-only) ositioned above the current X-Pro2 and the X-T2, the Fujifilm X-H1 is intended to be “the highest-performance camera in the X Series range of mirrorless cameras,” according to the firm. Key features in this latest arrival include Fujifilm’s 24.3 megapixel X-Trans P CMOS III sensor and X-Processor Pro processor, familiar from other models. In the X-H1 these are teamed with a new five-axis in-body stabilisation system – a first for Fujifilm – which works alongside its stabilised lenses to provide up to an impressive 5.5 stops of compensation for camera shake. The X-H1’s body is made from a magnesium alloy that’s some 25% thicker than that used in the X-T2, and which is weather-sealed for protection against the elements. Fujifilm has additionally fitted the new camera with a 3.69-million-dot electronic viewfinder, which has a 0.75x magnification (in CsC tEst FujiFilm x-h1 35mm terms) and a 100fps refresh rate, while the 3-inch tilting LCD screen has a 1.04 million-dot panel and is touch-sensitive – it also has a sideways tilt action. There’s an LCD panel on the top plate, too, for displaying key shooting and exposure information. This is the first time such a panel has been incorporated on an X-series camera, though the medium-format GFX 50S has one. At first glance the X-H1 doesn’t seem to be any more sports-orientated than the X-T2. However, it comes with a new optional grip accessory: the VPB-XH1 Vertical Power Booster. In addition to boosting battery life and making portrait-orientation shooting easier, the VPB-XH1 also increases the maximum burst rate of the mechanical shutter to 11fps, and features a headphone port for audio monitoring while recording video. With the help of this grip, the X-H1 becomes a pretty serious sports and action camera. 02 01 Build and handling Compared with the X-T2, the biggest control layout change is a more defined grip and the 1.28-inc LCD screen on the top-plate. Like other higher-end X-mount Fujifilm cameras, the X-H1 uses a traditional control layout, with a shutter speed dial on the top plate and a lens aperture ring on the lens itself (though not on all lenses). There’s no 03 1 The X-H1 is easier to hold than the X-T2, and better balanced with Fujifilm’s ‘red badge’ pro lenses. 2 The X-H1 uses the same 24mP X-Trans Sensor Pro as other Fujifilm models, but now it’s attached to an in-body stabilisation system. 3 The rear screen is touch-sensitive and tilts up and down; it also has a sideways tilt action for low-angle shots with the camera held vertically. 4 The X-H1’s top plate has a welcome status lCD for showing camera settings. 04 CsC tEst FujiFilm x-h1 01 02 03 1 Image noise The X-H1’s X-Trans sensor offers very good noise control, even at high iSOs. 2 Detail rendition With no low-pass filter over the image sensor, the X-H1 delivers crystal clear images. 3 Colour rendition Fujifilm’s Film Simulation modes closely match the properties of its classic film emulsions. need for the mode dial you typically find on other cameras, since the regular ‘PASM’ exposure mode options can be achieved by setting either the lens aperture ring or the shutter speed dial to the A position and adjusting the other manually – or you can set both to A for Program AE mode. The rear LCD maintains the X-T2’s three-axis pivoting design, which is especially useful when you’re shooting in a portrait orientation. The screen works well, although it’s not always easy to see clearly when you’re outdoors in bright light. It’s touchsensitive too, although perhaps not quite as responsive as touchscreens on some rival cameras; this isn’t necessarily a bad thing, though, as you’re less likely to inadvertently press it with a stray finger or, indeed, your nose. Both the front and rear command dials on the X-H1 move easily, and click into the body to perform certain functions (such as instantly zooming into the image upon playback). It is possible to ‘click’ sometimes when you meant to ‘spin’, but the X-H1’s dials have a pretty firm action, so in practice this shouldn’t happen very often. The main surprise is the shutter release. It’s extremely light – much lighter than on any other camera we can remember testing – and it could be some time before your trigger finger adapts to the very light touch needed to half-press the button for focusing, or the very slight extra pressure needed to fire the shutter. The second surprise is the uncanny quietness of the shutter. Fujifilm says it has incorporated a new shockabsorption system for what it calls “almost silent” operation. We’ve heard this kind of claim from camera makers many times before, but this time it’s CsC tEst FujiFilm x-h1 The X-H1’s rich colours and subtle tones are just what we’ve come to expect from Fujifilm X-mount cameras. true: the X-H1’s shutter action is not truly silent, but it’s way softer and quieter than any mechanical focal plane shutter should be. Performance The in-body image stabilisation system greatly enhances the X-H1’s low-light shooting capabilities. The X-H1’s autofocus system looks complex, but it’s actually quite straightforward. You can choose from single-point autofocus, zone AF (you can change the size and position of the zone) and wide-area AF. You switch between single-shot AF, continuous AF and manual focus with a lever on the front of the camera, and in continuous AF mode the wide-area AF option becomes a tracking mode. Tested with Fujifilm’s ‘red badge’ 16-55mm f/2.8 lens, static autofocus speeds are very fast. If you accidentally give the super-light shutter release a full press instead of a half-press The X-h1’s shuTTer aCTIon is not truly silent, but it’s way softer and quieter than any meChanICal foCal plane shuTTer shoulD be you might think the camera has fired without focusing. It hasn’t – it’s just very fast, and very quiet. Older, less sophisticated lenses like the 23mm f/2.8 pancake lens are slower and noisier, but that’s the lens, not the camera. In continuous shooting mode the autofocus system keeps up very well, both for single-point, zone and widearea tracking – although in tracking mode very erratic subject movements can cause the autofocus to lose contact with the subject. CsC tEst FujiFilm x-h1 Colour error FujiFilm X-H1 -1.3 NiKON D500 1.6 PANASONiC G9 1.7 -3.5 SONY AlPHA 6500 sCores Closer To zero are beTTer -5 0 5 10 15 20 We compared the X-H1’s lab results with those from three rival cameras: the Nikon D500, the Panasonic G9 and the Sony A6500. The X-H1 produced the lowest colour error out of this quartet. Fujifilm’s secret weapon is its extended dynamic range mode. This can produce raw files with a huge tonal range, as shown by this edited image. raw sIgnal-To-noIse raTIo 50 VerDiC T Some might be disappointed that the X-H1 appears to be only a modest upgrade over the X-T2, but Fujifilm’s enhancements are aimed squarely at professionals and experts, and tick the few remaining boxes that the X-T2 left unchecked. The new in-body stabilisation alone is enough to justify the modest price increase over the X-T2. Rod Lawton 40 DeCIbels The noise levels are equally impressive. Even at ISO6400, real-world images still look remarkably sharp, textured and noise-free. When you factor in Fujifilm’s excellent film simulation modes – the black-and-white Acros mode is especially impressive – you have a camera that doesn’t just perform well as a device, but produces first-rate photographic quality too. 30 20 10 0 hIgher sCores are beTTer. raw resulTs use Images ConVerTeD To TIff 100 400 1,600 6,400 25,600 The X-H1 and the Panasonic G9 come out on top for noise. The G9 is very slightly better at low ISo settings, which is surprising given its smaller micro Four Thirds sensor. raw DynamIC range sensor 24.3mP X-TrANS CmOS iii, 23.5 X 15.6mm Image proCessor X PrOCeSSOr PrO af poInTs 91/325-POiNT HYbriD CONTrAST/PHASe AF Iso range 200-12,800, eXPANDAble TO iSO 10051,200 maX Image sIze 6,000 X 4,000 PiXelS meTerIng zones 256 VIDeo 4K 4K AT 30FPS, uHD AT 30/25/24FPS VIewfInDer OleD eVF, 3.69 milliON DOTS memory CarD 2 X SD/SDHC/SDXC, uHS ii lCD 3-iNCH TilTiNG TOuCHSCreeN, 1,040k doTS maX bursT 8FPS (11FPS wiTH OPTiONAl GriP), 14FPS eleCTrONiC SHuTTer ConneCTIVITy wi-Fi sIze 140 X 98 X 86mm weIghT 673G (bODY-ONlY, wiTH bATTerY AND memOrY CArD) 14 eXposure Value The X-H1’s regular JPEGs and raw files offer good dynamic range, but the camera’s secret weapon – common to all the Fujifilm models – is its expanded dynamic range modes, which can be set to 200% or 400%, or left on ‘automatic’. Expanding the dynamic range pushes up the base ISO level by 1 or 2EV, which some photographers may not like, but the payback is raw files with a huge range of tonal information. 12 10 8 6 hIgher sCores are beTTer. raw resulTs use Images ConVerTeD To TIff 100 400 1,600 6,400 25,600 Again, the Panasonic G9 is a surprise winner in this test. But the Fujifilm X-H1 is a close second, tying very closely with the Nikon D500 for dynamic range. A P P s MORE GREAT MAGA ZINES FROM THE MAKERS OF PHOTOGRAPHy wEEK n-Photo PhotoPlus N-Photo is a monthly magazine for Nikon photographers, and is packed with technique and Photoshop video lessons every month. PhotoPlus is a monthly magazine for Canon photographers that features expert advice, tips and video tutorials on all things Canon. http://tiny.cc/x2ehfy http://tiny.cc/i4ehfy http://tiny.cc/32ehfy http://tiny.cc/y5ehfy Digital Camera WorlD PraCtiCal PhotoshoP Improve your Photoshop skills with the monthly guide to creating stunning images. 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