Fujifilm Professional Digital Camera

forms a perfect match with the Fujifilm FinePix HS50EXR Digital Camera

Thanks to the camera advisor at B&H I own the beautiful Fujifilm X-T20 camera. Although I have a super zoom digital this is my first semi-professional digital camera. My kit includes the compact 18mm - 55mm lens and I purchased the the slower compact 55mm - 200mm to round out my system. This lens is a worthy addition. Please note that it is a manual lens that will not communicate with this camera. To use remember to: GO TO SETTINGS - SETUP (wrench icon) - BUTTON/DIAL SETTING -SHOOT WITHOUT LENS- and turn ON. Reverse after you finish shooting. Great lens, great price, thanks again B&H...

I started out with digital but have gone back to film for the colors and process. I find that I shoot a lot less but score more keepers when I’m shooting film. With digital, I end up with too many photos and less keepers. Something about the mindset. However, with the X-Pro3, I find myself shooting as if I’m shooting film. This is the closest thing you get without actually shooting film. This camera is a beast. It’s Fujifilm’s most sacred camera. They fund the development of this camera with their other mainstream cameras like the X-T3. It’s like how Porsche treats their 911. The OVF is a blast to use, especially with the Fujicrons (f2 lenses). Mine is glued to the XF 35 f2; no blockage in the viewfinder. The OVF allows you to live the moment a little more authentically because it’s pretty much real life, unaltered. I’m glad I got the Dura Black because I feel this camera will be with me for a long time. I may even pass it on to my kids. This is Fujifilm’s most proud camera.

I recently decided to go back to using a digital Leica (M-262) as my primary camera. I was able to afford the purchase by selling my FujiFilm digital kit. To be honest, my cameras were several years old and getting a little long in the tooth. I figured I should sell them before they were worth pennies. I still own a Leica M6 35mm film camera and the most amazing FujiFilm X-100F digital camera. I already own two Leica lenses, a 1970 50mm f2 Summicron and a 90mm 2.4 Summarit. I felt the need for a faster lens. I already owned the Voigtlander 35mm 1.4 Nokton Classic which has great image and build quality so I eagerly awaited the release of the Voigtlander Nokton 50mm 1.2. This lens was anticipated to be an amazing alternative to the very expensive Leica 50mm lenses. I purchased my lens from B&H Photo in New York. I have always had good luck purchasing from them as they are very trustworthy and reputable. My Lens arrived new and amazingly well constructed as I expected. I do wish the lens came with the matching hood and maybe a dust pouch or bag. It just came in standard protective box and packaging (yawn). I think they are missing the mark by not adding some updated presentation packaging. I have found the lens to be very sharp and has a very nice Bokeh. Any lack of sharpness has been caused by being out of practice with the manual focus rangefinder, my eyes starting to age, astigmatism in my dominant eye and my now use of the dreaded spectacles. I am amazed at the image quality and construction of the Voigtlander. I have owned many 50mm lenses from different manufacturers to include the Canon 50mm L 1.2 and I have to say that this little guy (Voigtlander) takes the cake. It has amazing character to it. Vinny The Lens www.Vinnythelens.com

I bought this tripod to support my new FujiFilm GFX 50sii digital medium format camera. I was replacing an older model Gitzo aluminum tripod with a ball head. I have used the Manfrotto Befree a few times in cold weather (I live in British Columbia, Canada) and it has held up well in the snow. I am surprised by how light and compact this tripod is, given the maximum payload. So far, I am very happy with my purchase.

If you're trying to make the jump from amateur to professional photography this is a great camera for that effort. The fujifilm camera and 16-80mm kit lens have worked great for me. Not only do I feel like I can take a variety of shots both wide angle and telezoom, but I really feel like I can grow into the camera. It also has a vast selection of third party lenses that I can't wait to try.

I've been shooting on a 5DMIII for years, and was hoping the XT3 would be the mirrorless camera system that replaced my heavy DSLR. It was a blast to shoot on, I loved the way it felt and operated in hand, and was pretty impressed with the image as well. Ultimately, however, I ended up returning it and will instead get the 5D MIV, just because the Canon ecosystem has much to offer for editorial work and is better suited for fast-paced, professional work. However, if I was looking for a camera for general shooting, street photography, or travel, the Fujifilm XT3 would be my first pick, and in fact I plan to purchase one again in the future for personal use. In summary: The Fujifilm XT3 is such an awesome and fun camera to shoot on, and produces beautiful images, however I don't think it can replace a tried-and-true DSLR like the Canon 5D for everyday professional work.

The Black and White Mode is the first real film look i have found in any professional digital camera paired with the metal body, size and overall rangefinder design with the addition of the mode dial have all restored the digital camera back into the long historical evolution of the street photographer's camera.

While digital technologies continue to be perfected with professional camera use and their widespread applications, the latest Sony RX1RII fixed Zeiss lens camera (other cameras allow long-lens variants) exceeds expectations, especially when printing work on a large scale (with the Epson Stylus Pro 9900). While some relatively minor imperfections exist as with all cameras that professionals adjust to, the expansive quality of color, remarkable low-light resolution, extraordinary image quality and virtual unlimited visual potentials provide challenges that move into unchartered territory for artists (see attached site-specific photographic installation of 112x152cm prints). The most problematic issue is not Sony's: Adobe Photoshop has abandoned the long supporting professional community by not making a plug-in for this camera's RAW files (ARW in Sony terms). Two alternatives: 1) join the CC monthly feed of Adobe Photoshop (APS), abandoning the experienced professional use of all former Photoshop versions, or 2) for 99$ purchase the most basic APS Elements software that notes the Sony RX1RII RAW files are supported, at least noted in Elements literature. What a way to treat loyal professionals and Sony over the years, claiming that CC is better without meaningful details justifying the obvious money first, customer second policy for purchasing the CC version. Not mentioning inevitable future rises in CC prices, non-copyright protections in-Cloud, and not allowing printing in your studio with your own APS, even when CC RAW is tiff converted. Sony's RX1RII with Zeiss lens and its internal digital processor chip is remarkable for what the eye can see (numerous professional digital cameras now exceed what can be seen without mention), even with the rare if not unprecedented 600$ additional cost recently by Sony.

I've had 10 different digital cameras. I've done professional video and stills throughout my working life. My G9II (and Gh6) is the best camera I've ever used. The AF on the G9II for BIF and sports is extremely good. The video is a professional grade documentary or B roll cinema camera. Pair it with Panasonic PL grade lenses and it becomes a tool with which you can do your best work. The handheld hires is amazing.