Fuji Xt1 Dynamic Range !!TOP!!
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-The maximum dynamic range is base ISO (remember raising ISO darkens the image and forces us to artificially brighten)-The maximum resolution is base ISO (when we darken an image, we generally lose detail)-More often or not I go with the RAW file
As I mentioned already, Fuji has some of the best JPEGs in the industry. X-T1 JPEG output is low in artifacts and has good detail and excellent dynamic range, especially when using more gentle highlight and shadow settings.
The X-T1 does not have an integrated pop-up flash like the X-E1 and X-E2, but rather opts to provide a clip-on flash unit. The supplied flash is actually pretty nice. When not in use, it folds down, keeping a low profile on the camera, and when raised into operational range, the flash sits significantly higher than other pop-up or clip on flashes, providing a little more flattering light than flashes that are closer to the lens.
The X-T1 focuses super fast, and it's super sharp, and unlike a real SLR or rangefinder camera, the XT-1's closed-loop mirrorless autofocus system ensures that focus is dead-nuts perfect every time, especially at f/1.2.
See the images above Like the skin tones The X-T1 is fantastic for skin, and it balances so well with the included flash it's unreal; as good as the world-leading X100S, just with less range due to the slower sync speed of the X-T1.
The finder doesn't let you see how it will overexpose if you've run up to past 1/4,000 in auto exposure, and it has no safety shift. You'll have to watch for the red numbers signifying \"out of range\" or look at the playback to see what's happening if you're trying to shoot at f/1.2 in daylight and running out of shutter speeds.
The leaf shutter of the X100S lets its built-in flash synchronize to about 1/2,000, letting it work great in daylight, while the focal plane shutter of the X-T1 is over ten times slower (1/180), so it has much less fill-flash range.
In photography, we define dynamic range as the difference between the brightest and darkest parts of a picture where we can still see detail. To put some numbers to this: the human eye can detect details in highlights and shadows that are about 20 stops (or 1 million times) apart in terms of brightness. However, our digital cameras can only see details in highlights and shadows separated by about 12 to 14 stops of dynamic range (roughly 4000-16,000 times).
Diffusors also work well when making portraits in high-contrast conditions. By softening hard light, they reduce the brightness of highlights, bringing them closer to the shadows and narrowing dynamic range again.
Also try photographing RAW files to increase dynamic range. Unlike JPEGs, RAW files contain all of the sensor data that the camera captured when you shot the picture, and this can be used to recover burnt-out highlights or dark shadows in post-processing. Just use the whites/highlights or blacks/shadows controls in your RAW processing software.
Back in their DSLR days (and a few compacts, as well), Fujifilm made sensors that had dual photosites per pixel position: one gathered highlight info, one gathered shadow info. These were combined to make a final image. 200% in that era meant \"one stop more dynamic range,\" and 400% meant \"two stops more dynamic range.\"
From this test I have to say no they do not. Fujifilm applies an in camera dynamic range adjustment and pulls a lower ISO to recovery highlights when needed. But when camera settings are all matched and neither shot is over or underexposed, the exposures will be the same. Myth, busted!
Obviously there are a whole new generation of Sony A7s that probably kill the X-T1 for dynamic range, but the value plus the lack of native lenses available means I'll be keeping my X-T1 for work stuff as well as play for at least another year. I could still be tempted by the cropability of the Sonys though. Looking forward to the improvements that the next gen of X-Series bring too.
- The Fuji excels with better usability, lots of dynamic range and room for shadow/highlight recovery, way better AF performance and a great low ISO performance. I can still live with ISO 6400 results.
I have always been impressed with the dynamic range of the Fuji raw files, and the X-T2 does not disappoint. In general, I do not have to blend images except in extreme circumstances. Below is an image I bracketed, the properly exposed image (on the left), the underexposed (right) was raised 4 stops. I zoomed in very close so you can see there is noise brought out of the shadows in this extreme adjustment, but no noise reduction has been applied (or sharpening), there is some color lost in the greens, but with some post processing this could be a usable image even with such an extreme adjustment.
For maximum quality I would recommend the following lenses to have a complete range for landscape photography: 10-24 f/4, 16-55 f/2.8, and 50-140 f/2.8. This gives you a full frame equivalent range from 15mm-200mm
For a lighter kit that still has incredible quality, I would recommend this: 10-24 f/4, 18-55, and 55-200. This gives you a full frame equivalent range from 15mm-305mm. The 18-55 and 55-200 have a variable aperture, thus not quite the quality of the 2.8 lenses, but still very good.
It is still limited to 3 shots, but you can do up to 2 stops apart now. I still could care less about this because it is so easy to turn the exposure compensation dial while watching the viewfinder/LCD and seeing the exposure in real time, rather than relying on bracketing. With the dynamic range of this camera I can typically capture everything in one shot, in high dynamic range situations I can take one for the foreground and one for the sky, that is all that is needed in most situations.
Comparing the Canon 6D set with the heavy XT 2 set is the nearest comparison to make. The f2.8 lenses on the XT 2 are the equivalent in focus separation to the f4 Canon lenses. The Canon set has the advantage that the 16/35 f4 will give more focus control than the 10/24 f4, more importantly the excellent 24/70 f4 has very good IS whereas the Fuji 16/55 does not, although it has a usefully wider range. The Canon set weighs only slightly more than the Fuji 2690 v 2567 and costs appreciably less. Anyone who prefers an optical finder would find the Canon 6D an easy choice, probably even more so when the new model comes.
Looking over the A6000's performances in our lab tests (read the full report here), it's hard to find much of a weakness. White balance wasn't the best, we've seen better performance at ISO 3200 and above, and the JPEGS right from the camera can look a little mushy with noise reduction on. That's pretty much it. At base ISO the dynamic range is well above 12 stops, the continuous mode easily held up Sony's claim of 12 frames per second with continuous autofocus, color reproduction was very accurate, the 1080/60p video mode was as good as we've seen from AVCHD, and the camera resolves plenty of detail even with the basic 16-50mm f/3.5-5.6 kit lens.
At ISO 800 and below we found that the RAW performance here stands up well to most other APS-C models on the market. At base ISO especially, it is just as good as we've seen from more expensive cameras like the Nikon D7100, Canon 70D, and even the current high-end mirrorless cameras like the Panasonic GX7 and Fujifilm X-T1. That you get a full 24 megapixels of resolution and great dynamic range is a testament to just how good Sony's sensor technology is.
The A6000 uses a large APS-C sensor that provides an ISO range of 100-25,600. The camera has three noise reduction levels when capturing JPEG images: Off, Low, and Normal. We tested all three at every full stop through the ISO range and found some positives and negatives that are worth discussing.
At ISO 100 with NR off, we saw 0.67% noise. That ramped up rather slowly through the ISO range, hitting 1.35% at ISO 400, 1.75% at ISO 800, and 2.45% at ISO 1600. Things get worse from there, with noise levels between 3.5% and 5.34% through ISO 25,600. Our usual cutoff for printable image quality is 2% noise, so you can safely go up to ISO 800 without any noise reduction and get great, clean images.
Compared to other cameras on the market the A6000 does very well at base ISO. It has about a stop less range than competing full frame cameras on the market, but it more than holds its own against all competing APS-C models. At the higher ISOs things aren't quite as good, however, and if you do a lot of shooting at high ISO speeds we really recommend upgrading to a full-frame camera.
The problem with Fuji is that it uses an X-Trans sensor, and it seems that no one can accurately measure its dynamic range. This made it impossible for me to compare the dynamic range of the XT2 to my existing Sony before I made the switch.
The dynamic range of the Fuji XT2 sensor is incredible. I cannot measure it precisely to give you the exact number of stops it covers but, based on my purely empirical experience; it is better than the Sony a6000, a6300, and a6500. In six weeks, I have not used HDR, even when shooting directly into the sun. The amount of detail I can recover in highlights and shadows is staggering.
As I mentioned before, the switch from Sony to Fujifilm turned out to be not what I expected at all. I got interested in Fujifilm because of the need for a better user experience and more advanced customization, but I stayed with it because of its image quality, dynamic range, and stellar lenses.
With this single versatile zoom featuring a maximum aperture of f/2.8 and a broad focal length range from 27mm wide angle to 84mm telephoto, the photographer can respond to a variety of scenes. Superbly portable thanks to its compact size, the fast linear motor-driven autofocus and the built-in functionality of four stops of image stabilization ensure comfortable, confident shooting even in challenging situations. 153554b96e
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