Transcripts
1. Course Intro: Hi, my name is Josh and I'm
a professional travel and documentary photographer
working across different parts of Africa. In this course,
I'll be taking you through the full
range of cameras and lenses that are
currently on offer for Fuji Film's x and g, f x mountain ecosystems. We'll look at what's available
at different price points, what key differences there are between the models
and what sort of things you should consider when making a purchase decision. Once we've got a good
understanding of the specific cameras and
lenses that you can buy. We'll go through my
recommendations for kids at different price points,
meeting different needs. Don't get to have a look at my other courses as there are new ones coming
out all the time. If you have any questions, you can drop a message on the discussion board and I'll
get straight back to you. If you want to have
look at any of my work, you can find me on Instagram and Varro at an African tail.
2. The X-Series Cameras: Okay, first and foremost, we need to get to
know what cameras are available to you
within this system. Every camera on this
list is compatible with the same x mountain enters and all of them have APS-C sensors. Although the age and
resolution of them does vary. We will have a look at
Fuji Film's a mammoth g, f x line of medium format
cameras in another video. But for now, you don't
need to worry about whether these cameras
require different lenses. I'm going to say this now
as someone who has worked professionally with top of
the line full-frame cameras. I am more than happy with what I get from the cropped
Fuji sensors. In fact, I never
really think about it. The image quality is superb. The lenses resolve a
huge amount of detail. And I can get all the bokeh I need with their fast primes. If you are consistently
working in super low light, then you're probably
going to do better off with a full-frame camera. Although the noise from the Fuji sensors is
pretty pleasing. Other than that, don't let the sensor size
stand in your way. The detail and
colors you get from these cameras are
downright magical. Now to kick things
off, We're gonna take a quick look at what
I believe was one of the best entry-level
cameras that you could find on
the market in 2020. And that is the 200. He brought together a small
form factor, great features, reliable autofocus
and a stylish design, however, is only kept
on the shelves for a short time before
supply started dwindling. You won't be able to get one from any of the major retailers. But if you hop on eBay, you can find them
going for $4-500, which is a cracking deal. Standout features include
oversample for k, HDR video solid photo
autofocus and I, this, it pairs really well
with Fujifilm is compact F2 primes or with the much loved 27
millimeter pancake lens, any of which will
provide you with a lightweight and high
performing setup for travel, family, or street photography. Next, we're gonna have
a look at the XY 32, which was released as a lighter, more affordable
version of the z3. With it, you get the 26
megapixel x trans for sensor, which was also in the X t4. A beautiful metal body
hybrid auto-focus, a built-in flash over sample
for k and super slow motion, 240 frames per second. Now will this does
come at a cost of $900, which is not cheap. However, you can pick one
up for $700 secondhand. There was a great
deal of confusion when Fuji release the x D 32 because it had all the same hardware
as they XD Thursday, but with new firmware
capabilities. There is a slightly higher
resolution screen on the to. The slow motion was increased
to 240 frames per second. The autofocus algorithm
was improved and a couple of films simulations and jpeg controls were added. If none of those things are
a deal breaker for you, then you can save a chunk of
change and get the X t3 from MPB as low as $580 with
a six month warranty. Whichever one you go for. The z3 is a great option for people who really care
about their photography, but who don't need the professional grade video
features of the T3 or T4. And the bulk that comes with it. The next camera on
our list has become a really bloody popular of late. And that is the before. This is a photography focus
version in the XD 30. So you can expect just about
all the same features, but it doesn't have
the DCI for k. It doesn't have a
built-in flash. There is no microphone port
or super slow motion video. The reason this
sleek little camera has seen a sharp rise
in orders though, is because it is essentially an interchangeable
lens version of the staggeringly
popular x 100 v, which is currently
back ordered in basically every single country. It's sold in alpha $1,050, which is several hundred
dollars less than the 100 v. You can get the xy for width, the 27 millimeter
pancake lens for a similarly sexy and compact
street photography setup. The video isn't a
real concern for you, but size and weight is. Then I'll be quick to
recommend this camera. Moving on up on the price list, we reach our first
Fujifilm camera to depart from the retro
aesthetics and controls, and that is the excess Ten. Think of this camera is
the features of the X t3 put into a mini x H series body. This allows the excess ten to appeal to buy as more
familiar with the look and feel of other manufacturers or who prefer the
functionality of a possum dial over the controlled aisles of
the rest of the range. For $100 more than the x D 32, you get the same sensor, processor and ibis of the X t4, but with things like
the single card slot, slightly lower resolution EVF, the built-in flash,
which is good. I'm slightly more limited
video features of the XD 30. There isn't a whole lot more
to say about this camera. If you want Fujifilm tools and colors and a
lightweight camera, which functions much more like a miniature DSLR than the
excess ten is the one for you. Now we're gonna move on
with the category of cameras aimed at
capable enthusiasts and head into Fuji is fully featured cameras aimed
at professionals. The first in this category
has got some die-hard fans, and that is the 1700s
dollar X Pro three. There's no two ways about this. This beautiful
creature is out and out of photographer's
camera and it offers features
that you won't find in any other model
on the market. The top line is that it is
the brilliant center of the X t4 put into a
camera body with a joule, EVF, and aVF, like you'd
find on the next 100. Vague. What this
means is that you can look straight through
the optical viewfinder, just like in the film days. And if you don't want to use
the EVF and see the photo, you're going to get
in camera and just flick the front switch and the electronic
viewfinder pops up. And that's what you see. This is a very popular feature because it doesn't
take away any options, but instead gives you some brilliant new ones to help with the
shooting experience. The feature, the experts.
Three, that does intentionally take
something away from you, is the rear screen. When you're walking
around or shooting with your eye up to the camera. The screen is hidden from you, and you only get a
small display showing your exposure settings
and film simulation. If you want to see the photo
or shoot from the hip, then you can flip the
screen down and use it from that whole idea of this camera
is to focus on the moment. Just take the photos and
then review them later, instead of endlessly champing and checking them out as you go. Some people love
this, others don't. If you could see yourself
embracing this ethos, then the extra three has no contenders with this
aesthetic and feature set. And you should definitely
have a good look at it. Before we have a
look at Fuji phone's camera leases from 2022. There are two models that have technically
been superseded, but which are highly
relevant even today. And that is the x t3 and T4. These cameras are similar
in a lot of ways, including their 26
megapixel sensor, the same powerful processor, time bit for k up to 60 p, where the ceiling jewel
SD card slots type C ports for charging
and photo transfer. Next, C4 is a tiny
bit larger and has a fully articulating screen instead of a three-way
tilt screen. But it also brings a variety of newer features to the table. One of the most practical for daily shooting would be
the introduction of ibis, which allows for clean shots
or lower shutter speeds, as well as much
smoother video footage. It also comes with more
reliable autofocus, 240 frames per second video
and to new film simulations. So there is enough
differentiation between the two models. If you're choosing between them. The X t3 can currently be picked up at MPB for as little as $800, which would grant you a
professionally geared camera for much less than many of the other options we're
about to look at. The X t4 is still being sold
new for around $1,500 or so, but it can also be picked up lightly used for about $1,200, which is a good $500 cheaper
than the next model up, which is why it's
worth mentioning. If you are hybrid tutor who
needs a video and you want your camera to have
the retro aesthetics and controls of the line. The X t4 is the best
camera for you. After the X t4, the line
moved to a photography first ethos and things like the fully articulated
screen disappeared forever. Before we go on to
the next camera, I just want to explain what Fujifilm has done
more recently by releasing three flagship cameras in the space of one year. The X t4 was controversial because the new
video features that brought added a bit more bulk to the camera and it's
fully articulating screen was much more useful for videographers
than photographers. This happened because
Fujifilm was trying to attract the huge number of
hybrid shooters on the market. And they didn't have
anywhere to put that in technology except
into the Z line. Now, they have solved
this problem by introducing the SH2
and the x H2 S, which are the new cameras aimed at delivering
powerful specs for professionals that work
with both photo and video. That paved the way for them
to release a new slim down x T5 under the renewed
slogan, photography fast. Let's have a look at that camera with a smaller enlightened
body than the X t4. And the tilt screen of the E3. E5 has been a clear
response to the requests of Fuji users housing the next-generation 40
megapixel sensor, they SH2. It offers high
resolution imaging that truly takes advantage
of Fuji Films. Incredible new prime lenses, resolving more detail than
any other crop sensor. Well, bar the SH2. The new autofocus system is a significant step forward
in accuracy and reliability. And although Sony still retains the crown with its
god-like autofocus, Fujifilm is finally web
professionals need it to be the newer films simulation nostalgic NAG
is also found in the Z5. The ibis is now seven stops, and the ridiculous
160 megapixel mode from the SH2 is available
in this camera, although it does require a
tripod and a static subjects. Video shooters are by no means
forgotten by this camera, you can fill them in 6.2 K, or that resolution can be
down-sampled for k, h q. The 10-minute videos now 42 and the ibis is less
jumpy than the x2. For now, you do get
a microphone port, but not the full-size
HDMI internal ProRes, full sense of readout
or AK video, the x H2. All in all, this is a
real leap forward for the Z line is very well-priced
for what it offers. Photographers all
over the world have been throwing open their
wallets for this camera. And it's not hard to see why. Now we can turn our
attention to the fantastic x H2 and x H2S, which are aimed at
different types of professional shooters. They share the exact
same body with all the same port
buttons are the same amazing EVF and the same bright, fully
articulating screen. But once you get
beyond the looks, the SH2 is all about power and the x H2S is all about speed. The x H2 has the same 14
megapixel sensor as the T5. And as we said before, it brings in up to eight K
30 P video internal ProRes, 160 megapixel photo mode, and it cost $2,000. For $500 more, you get the H2S, which has 26 megapixels, but in the form of
super-fast stack sensor, which allows for some
incredible performance. It can shoot a
whopping 40 frames per second versus
speed record for K12 NT has slightly
better autofocus and it suffers from almost
no rolling shutter. This camera will be very appealing to sports and
wildlife photographers, wedding photographers and cinematographers who
don't need the eight K, but who want the slow
motion for k and the amazing rolling
shutter performance. This course is actually
being filmed with an x H2, which was the right
camera for me, as my work is often
printed or exhibited. And I rarely need the
speed of the H2S. I loved the experience of
my x 100 V and my X t4. But the XX line finally gives me the more focused and
professional field that my Panasonic S10 had on my Sony cameras that are used in the past and they
were so effective. I cannot recommend this
series more highly for those that want the Fuji magic without going down
the retro root. Well, that wraps up the cameras. By all means hop online, investigate further if there are one or two models that seemed
like a good fit for you. In the meantime, we're
going to move on to the brilliant
array of X amount.
3. Versatility First: The X-Series Zoom Lenses: Okay, Now that we've
covered the cameras, Let's get stuck into what
lenses are available to you. In this video, we're
going to cover all the Zooms from the ultra-wide to the
ultra telephoto and everything in-between. Before we dive into
the XF line that makes up the majority
of Fuji Films lenses. We're going to very
quickly look at Fujifilm Zach C range as they come in at a compelling
price point. For many people, they are
designed to be budget friendly, so they don't offer
where the ceiling super-fast apertures
or linear Zoom motors. But they perform
pretty well up to clay and they're all
really lightweight. Most of them are
only available as a kit lens bundled with
cameras like the xc 30. So individual pricing
is less relevant. The one lens that you can buy individually
is the xc 35 F2, and that comes in at just $199. The 16th to 53.5 to 5.6 is bundled with the
X t3 for just $100. The 15 to 4,053.5 to 5.6
comes in at the same price. Now the 50 to 230 millimeter
offers a long reach of 345 millimeter full-frame
equivalent for just $350 new. If you hop on Facebook, you can get it for like $250, which is not a lot of money
for such a versatile Zoom. Okay, so that's the
xc lenses for you. Moving on, we're going
to have a look at the XF zoom lenses working
our way from the wide end to the extreme telephoto to save me from having to read every letter of the long product names. Let's just quickly
clarify a few terms. 0 means it has an aperture ring. Lm means it has a linear motor. W means it's weather resistant. And OIS means it has optical
image stabilization. Alright, let's go. The 816 millimeter, F to 0.8
kicks things off with style, offering an ultra-wide
Zoom with weather sealing, a bright F21, a
constant aperture, and high performance optics. Now this lens is aimed at top tier landscape and
Asher photographers with additional coatings and
lens elements to eliminate lens flare and
chromatic aberration. Being one of Fuji is six red
band zooms make no mistake. This is a premium lens, which is why it will set
you back a full $1,700. For those looking for
an ultra-wide Zoom, which will leave less of
a dent in their wallets. The ten to 24
millimeter F4 offers a very slightly
narrower field of view while bringing
the cost down to 999. Although it only has a
maximum aperture of f. Four does have OIS, which will allow for
handheld shooting. It slower shutter speeds. It also retains the
weather sealing of the 816 millimeter while
being smaller and lighter. So definitely a
strong option for those not needing
to fork out for the Red Badge lands designed perfectly
complement the eight to 16. 16, 55 millimeter F2.8 is the next red badge lens offering all the optical excellence
of its wider sibling, but across a
standard zoom range. And many professionals
are used to having a 24 to 70 millimeter F2.8
as their workforce lens. And that is exactly what
this has meant to be. Covering a slightly longer 24 to 82 millimeter
equivalent focal length. This lens has a premium, builds excellent sharpness
across the range, linear focus motors
and where the ceiling, as someone who has
personally owned it, I can certainly recommend this
lens for anyone that wants one Zoom they can deliver in a wide variety of situations. It comes in at 999, but you can find them all
over the US market on sites like mpb.com for $700 or so. Now not diving into all of the third-party lens options that are out there for Fujifilm. But I consider sigma to be an
excellent lens manufacturer and tamarin is certainly a legitimate option
for the x mounds. They both make competitors for the 16 to 55
millimeter lens. Tamarin has a very popular 17, 70 millimeter with
stabilization for $800 new. And Sigma has released the super compact 18
to 50 millimeter lens for an amazing $550. While Fuji is Red Badge
lenses optically superb, these alternatives at
different price points do mean more options
for us as Fuji users. I'm getting back to
the Fuji lenses. Many people that don't want
the half of the 16th to 55 instead opt for this
60% to 80 F4 lens. Perfect for travel.
This first-time Zoom covers a very useful focal range while adding the
optical stabilization that the 60% 55 lakhs. Now of course,
you're working with the maximum aperture of f four. So we won't be as good
for low light situations or shallow depth of field. However, those are small
considerations for many people that want a compact Zoom that will
never leave their camera. It can be picked
up for $800 new, or as little as $500
on the US market. Stepping back into more
affordable territory, we have the famous
18, 55 millimeter F2. F4. Now if you mentioned this
lens on any online forum, countless worshipers
will flock to tell you why this compact little Zoom is so much more than a kit lens. It does have optical
image stabilization and a reasonable aperture range, but its sharpness and character, our beloved by all have
used it, including me. Don't even consider paying
the new price of $700. For this lens, the market is flooded with them
and you can get an open box one in excellent
condition for $350 online. Taking the flexibility of
that lens even further, you get the 1800s
35-millimeter F 3.5 to 5.6, which is aimed squarely
at hobbyists who want one it all lens
to take on holiday. Just like the 150th five is
new price of $900 is a lot more than I would
recommend paying when it's available for $500 on MPB. It is where the
sealed invest style, but it's not the
strongest optical performer in the bunch. So don't expect the sharpness or flare control of
a Red Badge lens. But then again, the
significantly lower price makes that a fair trade off. Tamarin makes an 18, 300 millimeter lens
for the x mount, which covers a
ridiculous vocal range, but which comes with
significant compromises to just about all elements
of optical performance, especially sharpness and
chromatic aberration. I personally would
not recommend going down this route as any lens which covers this
much focal range seems like a jack of all trades, but it really is
a master of none. One other lenses we've looked at could certainly be
used by videographers. The newer 1820s
millimeter F4 power zoom is the first on this list to be specifically aimed at them. With internal Zoom,
minimal focus, breathing, StatPlus, aperture control,
and a constant F4. This lens is
designed to give you smooth control of your
exposure while filming. Now, don't get me wrong. It's a beast of a lens
for anyone that wants a significant zoom range
in a premium body. But freelance
videographers should certainly look at this as
a potential workhorse. Sealed and perfectly balanced
with the new x h bodies. It's internal Zoom means
it can go on Gimbels, and it's Zoom speed and range can be controlled electronically for specific camera movements. For just 899 you. It is a strong value offering
from Fuji in this category. Continuing on in the
telephoto range, we hit the next red
badge Zoom from Fuji, and that is the 51, 40
millimeter F to 0.8. Just like its siblings,
the 816.16 55, this lens is bloody sharp and its overall performance is what working professionals
should expect. 70-200 mm equivalent. Wedding and event photographers, along with sports photographers working in closer quarters, should see this as their
bread and butter lens. Landscape photographers also
enjoy using this lens for its compression and its ability to hone in on specific elements. I would say it's a bit short for bird or wildlife photographers, but it can be coupled
with both the 1.4 and the two times
Telecon vertice from Fuji, if you do want to
extend its reach, it retails for $1,350 new and fetches around
$1,000 on the US market. Sitting in a slightly
different category is the 55 to 200 millimeter
F 3.5 to 4.8. I've owned this
lens, I can say is totally fine as a
longer telephoto. It's not the sharpest,
so the long end, but the optical
image stabilization works well and it can certainly serve as a safari or travel lens that
won't break the bank. I paid about $350
for my second hand, whereas it goes for $700 new. And after using it for awhile, I sold it for the exact same
price they bought it for, which is probably
what you could do to what I upgraded to from the 55 to 200 was the much newer 72
300 millimeter F4 to 5.6, which I still own. I switch to this because it's improved optical formula meant a significant increase in sharpness even with the
longer focal length, where the ceiling is
also important to me. So just added
feature was a plus, as well as its compact size and its ability to pair with the 1.4 and the two times
telecom inverters. Having used it for awhile, I would recommend this lens to anyone looking in
this focal range. Moving into the extreme
telephoto range, we have the next red badge lens, the 100 to 400
millimeter f 4.5 to 5.6. As you should now
know, that badge means it's super sharp, weatherproof, does a tank and
reliable at all apertures? There's not too
much to say here. It's a fairly big and
heavy lens for Fujifilm, but it has excellent reach
which can be extended by the telecom versus wildlife photographers
and bird lovers. This is the lens for you, although at $1,600 is not cheap. That being said, this lens
delivers excellent results, especially when paired with the autofocus capabilities
of cameras like the X H2S. Congratulations, you've reached the final zoom lens on our list, and it is a monster. The final Red Badge, 150 to 600 millimeter
f 5.6 to eight, is for those sports and
wildlife professionals that want the absolute
maximum focal range, they can get with a full-frame equivalent
range of 229 to 914 mm. This lens can be pushed
to an iWatch drink 1,828 mm with the
telecom inverter, just in case you want to
get a stunning picture of that eagle's eye from
a different city. Not only is it significantly smaller than its
counterparts from many, many manufacturers, it only
comes in at two grand new, which makes it a far more
affordable option as well. While most of you would never have any need for this lens, the few of you that do, I've got a compelling
option on your hands. If you can't stretch to
the $2,000 for this lens, tamarin offers a 150 to
500 millimeter for 14 99. And while it doesn't come with the optical excellence
of the Fuji, it does perform very
well for the price. Okay, that brings us to the
end of the zoom lenses. Hopefully you've got a
couple of options to go and look into a
little bit more. Carrying on from here,
we're gonna weight into Fuji Films famous pile of
high performance problems.
4. Compact & Sharp: The "F2" Primes: Before we dive into
the Fuji non primes, I want to properly discuss
third-party lenses. Now there are a variety of
manufacturers who produce lenses for the x amount of
different price points. But for the sake of this course, I'm going to limit the ones
I speak about two sigma, tamarin and veal trucks. Now the reason these
three have made the list is because sigma makes superb lenses and they're X-Men series deserves a
place in these videos. Tom Ron has some popular
and low-cost zooms. And Ville trucks offers really fast primes and a
fantastic price point. Ttr citizens Lensbaby
broken on and even void lambda have other toy or
manual focus lenses for Fuji. But these are two
nice to feature here. So feel free to have
a look into them yourself if they are
of interest to you. The first series
we're going to look at is the one that has made Fuji lens is famous
for being compact, affordable, and super sharp. And that is what we
will call the F2 line. The 14 millimeter 2.8 is the widest lens that Fujifilm
makes its rectilinear, which means it's not fisheye, but it will still include
just about everything in your scene is not whether seals, but it is a great
storytelling lens for travel or low-cost option for super
wide architecture shots. It is one of the
most expensive in this bracket at $900 new, but it sells for half
that price on the market. Now the 16 millimeter 2.8 takes away a little bit
of the field of view, but it adds whether ceiling and drops the price
right the way down to $400 new and
$300 second-hand. Our next lens, the
18 millimeter F2, is aimed a very
different audience, coming in at 27 millimeter
full-frame equivalent. It offers the same field of view as cameras
like the Leica Q2. And it's compact pancake design means it can work as a great
street photography lens. Are paired with the
x before you'd get an almost 100 v form factor with a wider
perspective of the Q2. Now at $600 new and $370 used, It's a great option for street shooters and
EDC lovers alike. Now we calm mentioned the sacred x 100 series without looking at a 23 millimeter F2. Now, that's essentially
the same lines you get on those cameras. Here. It's weather sealed, fast, sharp, and dull. Then at 35-millimeter full-frame
equivalent focal length. And it is the first lens I bought and trying
out Fuji system. It's just $450 new and there are hundreds of used ones out
there for about $320. If you want to get
photos of everything from your city to your family. This is the lens I'd recommend. The 27 millimeter 2.8 is
the only true pancake lens. It brings things titres
are 40 millimeter equivalent and you do
lose a stop of light. But those are the compromises of one of the slimmest
lenses in lineup. You can get this for $400
new or 320 elsewhere. And it comes bundled with the superior popular x C4 for those who want the form
factor of the 100 v, But in the form of an
interchangeable lens camera. Now, moving out of the world of street shooters and into
the world of nature lovers, we get the new 600 dollar 30
millimeter F2.8 macro lens. Now, unlike other macros, which tend to be 60 mm or more, this lens offers a
natural focal length for a lot of different
kinds of photography. Although the F28 aperture won't make it the best
portrait lens out there. Apparently it's
razor-sharp, capable of reproducing life-size
one-to-one macro images. And this is where the
ceiling means you can roll around in the Duke company
grass to your heart's delight. Every camera system
needs a variety of strong 50 millimeter
or equivalent lenses. And the 35-millimeter
F2 doesn't disappoint. Even smaller than
the 23 millimeter. It goes beautifully on the
compact Fuji body is offering a wonderfully sharp coverage and a very versatile
focal length. For many photographers, 50 mm is the first
prime they buy. And for just $400 new or $300 used a 35-millimeter has made its way into many
a shopping basket. Now the 50 millimeter F2
brings us into the world of portraits at 75 millimeter equivalently offers are
flattering perspective, while the F2 provides a
nice amount of Bokeh, obviously I won't offer the
same subject separation as the 50 millimeter F1, but it comes in at a much more accessible
price point of $450. And in a more compact
and where the cell body, finishing off this range, we get the two other macro
lenses on offer from Fuji, the 60 millimeter 2.4 and
the eight millimeter 2.8. Now the 60 millimeter is almost half the price of the Ac millimeter
coming in at $650. Knew it can produce
half-life sized images, and it's certainly
a good performer. The 80 millimeter
costs $1,200 new, but it's a full one-to-one
macro lens with whether ceiling and a
special focusing system. I won't go further into these lenses are
as macro shooters will want far more information than I can give in
this short segment. So if that's you, then go dive
into the specs on YouTube. That brings us to the
end of the F2 primes. In the next video, we're
going to head into Fuji Film's premium
range of planets.
5. The Money-Maker Primes: The time has come for the
true moneymaker lenses. If you all were a working
professional who needs to wow their clients with
magical detail or bokeh. And you're in the right place. Heading from wide to telephoto. Again, we kick things off
with the 16 millimeter 1.4. Now this has been
a fan favorite for years with great
sharpness and character, close focusing and
fast aperture. It has been the go-to
wide angle lens for a wide variety of whack. It will run you $850
new or 570 used. But before you leap on one, it's worth knowing
about the lens that has pretty
much superseded it. And that's the 18 millimeter 1.4 are part of Fuji Film's
new generation of primes. It is designed to render
the detail and sharpness needed for the demanding
40 megapixel sensors. It's improved focus motors complement the capabilities
of cameras like the H2S and as the same premium billed as
its siblings in this range, $1,000 a year and 820
used is a biggest bend, but it's optical performance
is a distinct step up. In the same way that
the 16 millimeter has been more or less replaced
by the 18 millimeter. The 20th three
millimeter 1.4 is now competing with the
new-generation of that lens. They're both superb, but where the oldest 23 millimeter
possibly has more character, the new land has uncompromising quality from edge to edge, fast autofocus, where the ceiling and of
course, higher price tag. Now the original 23 is
$700 new or 450 used, and the newer
version is $900 new and harder to find secondhand. Same story is repeated at
the next focal length where the 35-millimeter 1.4 has been replaced by the
33 millimeter 1.4. Now again, the character has been replaced with
better precision. And I would argue that the
33 millimeter is one of the highest performing
lenses I've used across any system. In fact, it's the one that
I'm filming on right now. You just want a fast and sharp 50 millimeter equivalent lens. Pay the $600 for the 35-millimeter
or 460 for a used one. And you will not
be disappointed. If you are doing
commercial work, you need edge to edge
perfection or weather sealing. The $800 for the 33 millimeter
will be well-worth it. Heading into the category
of portrait lenses, we have a number of excellent
options for professionals to consider an order of price. We have the older 56
millimeter one point to the new generation version. And the rarely seen APD version
of the old 56 millimeter. Then of course we
have the top of the line 50 millimeter F 1.0. Now the original 56 is very popular for its sharpness
and Bokeh, however, it's autofocus is not
the best and it does have a few quacks and it's
rendering of details. The new version was launched alongside the SH2
is it represents the latest and greatest lens design that we've been seeing in the 1800s, 3.33
millimeter lenses. It means it's
autofocus is snappier, sharpness is better
across the frame, and of course, it comes
with a higher price tag. The APD version of the old 56 is strange
because it includes an app modernization
filter specifically designed to produce
the smoothers bokeh. Now at $1,500, you don't often
see this lens in the wild, but it has been a unique option for the bokeh addicts out there. Speaking of Bokeh,
the final lens reign supreme with it's phenomenal
F1 points zero Aperture, designed to be the
no compromises option for professionals. It also costs
$1,500 and wallets, autofocus isn't the
best in the world. It's ultra shallow
depth of field and it's incredible detail are
really big selling points. A second to last lens remains in the portraiture category, and that's the 90 millimeter F2. Now people sing the praises
of this lens because like most hundred and 35-millimeter equivalent portrait lenses, it pretty much cuts the subjects out of their backgrounds. It's a bit big, but it's very sharp and it's
poker as beautiful. Mu is $800, but it's typically about 06:50 on
the second-hand market. That's a compelling price
for a lens that can do this. Our final lens is used by a
few people for portraiture, but really the 200 millimeter F2 is a premium sports lens, x photographer and
all around nice bloke Hendrik Sulla does some awesome sports
work with this lens. If you want to see
what it can do, then hop on his Instagram
and take a peak. Now stabilize its weather sealed is optically
perfect and it costs $5,000 with the 1.4
times Telecon better. If you're the one
person watching this course that genuinely
needs this absolute beast than dig deep into your
wallet and you'll get a bloody extraordinary
lens and return. Now that wraps all the bodies
and lenses for the x mount. In the next video, we're going to look at the
Fujifilm x 100 series that people are currently selling their kidneys to
get their hands on.
6. The Wildly Popular X100 Series: Before we go big with
a geometric series, we need to go small with
the compact X 100 line. Now I'm not just
going to discuss the latest iteration because each generation is still available for sale on
the second-hand market. And all of them are extremely popular just at
different price points. Now the story here is simple. Back in 2010, Fuji announced its first
ever exteriors camera. The 100 was a hit, capturing people's imagination
with its classic design, while also winning awards for its excellent image quality. You see known had released an APS-C sensor in such
a small mirrorless body, especially not with
such capable processor and an integrated
35-millimeter equivalent lens. On top of all that,
it also brought an innovative new features like the hybrid optical and
electronic viewfinder, which we now also seeing
cameras like the X Pro three. Now, anyone that has
or had the 100 can confirm that it's
certainly suffered from a lot of firmware bugs, but Fuji worked hard to provide updates to
fix the issues. Despite the fact it is now
well over a decade old. It's still sells for
around $450 used and is considered an
absolute cult classic. Now three years after
the initial launch, the next 100, Fuji
put out the x 100 S, which kept the same
design while updating things internally and
tweaking the button layout, brought in the new
16 megapixel x trans sensor that
Fuji had released, forever ditching
the Bayer sensors. And it removed the
optical low-pass filter to improve the camera's
overall sharpness. And the 100 S also had
improved autofocus, updated menus and the
smooth ER focus ring. But the reality is that the exon hundred got so many
things right that Fuji simply wanted to fix a few issues and update the tag. You might be surprised to hear
that this camera currently goes from $6-700 you used. So if you see one for
less than, jump on it. Just one year after the 100 S, the 100 T came out with a
few iterative improvements, but with pretty much the
same feature list and spend. A bit of a new tax like face detection and
Wi-Fi were added. But the most notable edition was probably the classic
chrome film simulation, which is still one
of Fuji is most popular in camera profiles. Now, right now you can find
them for between $800,000. And some would argue that classic Chrome alone
is enough to skip the 100 h. But this may
or may not matter to you. Following on from this release, foodie spent three
years developing the next model and packing
it full of goodies. Now the next 100 F was launched
in January 2017 alongside a full campaign of videos by x photographers talking about the features it has
now brought to market. Not only did it,
how's the new 24.3 megapixel x trans three
sensor and updated processor. It included numerous
updates to the design, such as adding the ISO in front command
aisles and improved viewfinder and New button
layout and a larger battery. Now internal improvements
also included a boosted ISO range up to eight frames
per second burst shooting. And of course, the
new autofocus system, as well as the brilliant
Digital Telecom inverter modes. As a result, this camera is
now going for $1000-1300, although some sellers
on actually aware of the popularity of
this camera and are selling it for
closer to 900. So keep an eye out. This brings us to the
king of the lineup, the camera which
has been sold out globally for months and months. The next 100 v. Now, taking everything that was great about the
earlier models and adding a fully re-engineered
super sharp blends, better autofocus to new film
simulations for K video, slow motion, 120
frames per second, full HD, or tilting screen. And whether ceiling. This camera has a whipped buyers up
into an absolute frenzy. Now, although it
has a recommended retail price of $1,400, the scarcity means people are
picking them up second-hand for anywhere $1700-2 thousand. Now I own an x 101, which was actually gifted
to me by a fellow creator. So I know how fantastic it is. That being said, this is a 100-percent luxury by
no one needs this camera. And for similar money, you can get the amazing
new 40 megapixel x T5, the eight k x H2, or even an x C4 with a
whole lot of lenses. Or that notwithstanding, if you have the money and
you want to enjoy the unique experience
of shooting with this compact yet
incredible camera, then go for it.
It's a ton of fun. Although I almost always advocate looking at
secondhand gear in this case, I would suggest you
get your name on the waiting list at your
local camera store. And you will get one
within a number of weeks for less than on
the second-hand market, unused and complete
with warranty. So that wraps up the 100 series. If you did pick up any
other cameras on this list, then head on over to
my other courses. And we'll work together
to make sure you're getting the very best out of it. Moving on, we're
gonna be looking at the raw power of the
medium format TFX series.
Josh Chard
