The fantastic Profoto A1X speedlight flash is now available with a Fujifilm hot-shoe for full TTL compatibility with Fujifilm X-Series and GFX cameras. Fast recycle times are a benefit to any photographer shooting weddings, events or press. With Profoto AirTTL technology you can use this flash as a remote light source, or as a control unit for multiple Profoto flash heads.
Travelling light
Profoto A1X is compact and powerful. The flash is powered by an on-board rechargeable Lithium-Ion battery. This high power battery recycles the flash head fast, removing the need for external battery packs and cables. The Profoto A1X has a magnetic system snap-on system for light modifiers and comes with a wide-angle diffuser and a dome diffuser and a bounce-card which each snap on / off in a moment.
The Profoto A1X for Fujifilm is £949 including VAT. To order call our expert sales team on 0207 582 3294 or email: sales@fixationuk.com
Profoto Air TTL
Profoto Air TTL technology allows you to use your camera system’s flash metering with a broad range of Profoto flash heads, from the on-camera A1X to the mighty Pro-10 Generator. Once your lights are in place, you can point, shoot and let your camera worry about the exposure. The wireless Air TTL connectivity, from camera to remote flash heads, saves you time when conditions change on location as the TTL metering will raise and drop the flash output as required. For precise control you can switch to Manual output and dial power up or down. The A1X and A1 speedlight flashes work as AirTTL commander units and as remote lights. Profoto also produce dedicated AirTTL remotes for Canon, Nikon, Sony and Panasonic TTL systems so you can use your familiar Profoto setup across a broad spectrum of cameras.
Be the next Fixation News Photographer of the Year by entering the UK Picture Editors’ Guild Award. We are proud to be one of the sponsors of this prestigious annual award celebrating news and current affairs photography.
Update: Entries are now closed. We wish all entrants the best of luck and look forward to seeing the winners revealed at the awards.
You can enter eligible photographs taken between Oct 31st until midnight on November 30th. Closing date for still photographic and video entries: midnight December 1st 2019 Register to enter and submit your images on the UK Picture Editors Guild Awards entry platform: pictureeditorsguild.awardsplatform.com/ details about submission requirements can be found on the UK Picture Editors’ Guild Award About Page.
We support this award because it gives us the chance to celebrate the hard work of some of our most loyal and regular customers from the industry. Here is the full category list & prizes for the award this year:
Canon Sports Photographer of the Year
Entry will be five pictures – fewer or more will not be considered a valid entry. – PRIZE £500
UK Picture Editor’s Guild Royal Photographer of the Year
Entry will be five pictures – fewer or more will not be considered a valid entry. – PRIZE £500
Fixation News Photographer of the Year
Entry will be five pictures – fewer or more will not be considered a valid entry. – PRIZE £500
Bloomberg Business Photographer of the Year
Entry will be five pictures – fewer or more will not be considered a valid entry. – PRIZE £500
Dave Benett Photos Arts and Entertainment Photographer of the Year
Entry will be five pictures – fewer or more will not be considered a valid entry. – PRIZE £500
Fleet Street’s Finest Photo Essay of the Year
… which tells a story and is accompanied by a brief, but clear, narrative to the story – minimum of 10 pictures; maximum 20 pictures. – PRIZE £500
Genesis Imaging Regional Photographer of the Year
Five pictures must be entered and judges will be looking for skill across a range of subjects such as news sport and features. Pictures must have to have been published by a regional newspaper. – PRIZE £500
Sony National Newspaper Photographer of the Year
Five pictures must be entered and judges will be looking for skill across a range of subjects such as news sport and features. Pictures must have to have been published by a national daily or Sunday newspaper Eligible entrants are staff photographers or freelance contributors commissioned by the paper. – PRIZE £500 Please check entry requirements on the UK Picture Editors’ Guild Award About Page.
Videojournalist of the Year
The video must reflect the wider role of a photographer during an assignment. The footage can reflect any subject. – PRIZE £500 Please check entry requirements on the UK Picture Editors’ Guild Award About Page.
Getty Images Young Photographers Bursary
Entrant to be 25 years old or under by close of entries at midnight December 2nd 2018 Entry will be five pictures – fewer or more will not be considered a valid entry Prize: £500 plus a return flight to the value of £250. The assignment must be completed by last day of September 2019.
Fujifilm Student Photographer of the Year
Entry will be five pictures – fewer or more will not be considered a valid entry. – PRIZE £500
Fujifilm has pumped its latest technology into its new X-Pro3 rangefinder digital body. This latest release features higher resolution, improved AF and is the most durable Fujifilm body yet. With an unusual rear LCD design Fujifilm prove that, as ever, they are brave enough to be different with a design that pays homage to the company’s analogue photography heritage.
The camera has launched in 3 colour variations Black , Dura Black and Dura Silver – more on the coatings below.
Coating variations for the X-Pro3 pictured left to right: Black, Dura Black and Dura Silver.
The Fujifilm X-Pro3 is the third generation of the X-Pro rangefinder-style digital mirrorless camera from Fujifilm. In 2012 the original Fujifilm X-Pro1 launched the X-Series interchangeable lens system. Since then the compact and portable system has been adopted by many documentary and street photographers. The new X-Pro3 has improved on its predecessor the X-Pro2 with: the latest generation sensor and processor, vastly improved AF sensitivity, a new film simulation mode, and an improved viewfinder. We dive into the details below.
4th Generation Sensor & Image Processor
The X-Trans CMOS 4 sensor is combined with the X-Processor 4 image processing engine for flagship image quality and recording performance. This technology was first seen in the Fujifilm X-T3 body and later the X-T30. The X-Pro3 has 26.1 megapixels with phase detection AF pixels built into the sensor. The processor can combine in-camera continuously shot images for HDR rendering and up to 9 frames for multiple exposures in different combination modes. The processor can handle high data-rates for 4k video recording for up to 15 minutes.
Enhanced Build and Durability
The X-Pro3 is built to withstand professional use with improved coatings, build materials and weather sealing
External body covers of the X-Pro3 are made from Titanium which is strong, corrosion resistant and light.
The X-Pro3 internal chassis is magnesium alloy for even more weight saving.
Surface-hardening technology Duratect protects the X-Pro3 from scratches and gives a nice metallic finish applied to Dura Black and Dura Silver versions.
Weather sealing applied at 70 points for enhanced moisture and dust resistance.
Improved Auto-Focus
Fujifilm have improved their AF algorithm which will enable auto-focus in lighting conditions of -6EV which is the light cast by a quarter-moon! The new firmware released with the X-Pro3 features an AF range limiter function to increase speed of AF lock-on with any lens. You can use these settings to dial in a focus preset point with any X-series lens.
The Viewfinder
The rangefinder style viewfinder gives you the option of an optical viewfinder or an electronic viewfinder. This lets you choose between a constant view of your subject or a display that represents your exposure and can play back your last shot all within a clear bright viewfinder so that you can keep your eye to the camera.
Optical viewfinder responds at the speed of light
OVF can be augmented with a smaller EVF window to display exposure simulation, enlarged focus area or pictures taken
EVF covers 97% of sRGB colour space for accurate colour reproduction
EVF boost mode increases apparent viewfinder smoothness to approx. 200fps
EVF delivered by a 3.69 million dot organic EL panel that delivers high contrast and fine detail.
Retro rear LCD panel
The rear LCD monitor on the X-Pro3 hinges down from the back of the camera 180 degrees. When flipped up, see the image below, the screen is closed into the camera. The LCD screen is designed for use when waist-level shooting, shooting overhead, and for accessing the menu and adjusting camera settings. When the LCD closes, on the rear of the camera there is a small square memory LCD screen that is always on and displays shooting settings such as frames remaining and, ISO and shutter speed. Or it can display the film simulation selected with ISO and white balance. This represents the film windows used to store box-ends on classic analogue cameras to remind photographers what film they had loaded.
The Fujifilm X-Pro range and all other X series cameras are based exclusively around the APS-C sensor size. This commitment to a single sensor dimension means that unlike Canon, Nikon and Sony systems the Fujifilm X-Series lenses are much smaller and lighter as they have never been required to project an image circle that covers a full frame sensor.
Fujifilm state that the X-Pro3 in Black will become from the 28th November and the Dura Black and Dura Silver versions will be available from mid-December.
The Sony A9 mark II is a full frame mirrorless camera body built for speed. With 24.2 megapixels, capable of shooting at 10 frames per second the A9 mark II will keep your subject sharp with 693 phase detection AF points built into the imaging sensor.
The original model Sony A9 was released in 2017, clearly positioned to disrupt to the domination of the sport photography industry by Nikon and Canon and their flagship bodies, the D5 and EOS 1DX mark II respectively. The mirrorless technology of the A9 delivered key advantages over DSLR bodies. The absence of a mirror allowed the A9 to be faster (up to 20fps), quieter (silent with the electronic shutter) and more accurate as the AF system was not disrupted by mirror movement and instead used phase detection pixel AF technology built into the imaging sensor. At Fixation we are very excited to see what new features and specifications the mark II version of the A9 will bring, pushing the technology available to professional photographers to new heights.
Built for professional photographers who require reliability, fast network speed and quick access to controls Supports SSL or TLS encrypted file transfer (FTPS) 1000BASE-T Ethernet terminal, enabling gigabit communication Blackout-free continuous shooting up to 20fps 24.2 –Megapixel Full-Frame CMOS Imaging Sensor Upgraded weather sealing for dust and moisture resistance 4k video recording Dual card slots, both UHS-II compatible for uninterrupted capture Compatible with the NP-FZ100 battery perfect for longer shoots 693 phase detection AF points built into the imaging sensor
Panasonic Lumix S1H versus S1 and S1R: What are the key differences?
Panasonic recently rocked the mirrorless world with the full announcement of its third full-frame mirrorless camera – the Lumix S1H. While it rounds out a trifecta that includes the Lumix S1 and Lumix S1R, this new model is quite a different beast.
If you’re thinking about hopping over to the full-frame S1 system and aren’t sure where this new model fits in, don’t worry – we’ve got you covered. In this blog we’ll take you through the main differences between the new Lumix S1H and the previous S1 and S1R cameras – as well as their similarities – so you can figure out which is the right buy for you.
In essential terms, the three cameras fulfil roughly three roles – the new S1H is a video specialist, the S1R is a high-resolution megapixel monster geared more towards stills, and the S1 sits somewhere in between.
But, of course, there’s much more detail than this to get into. So, let’s get started!
Key difference: The S1H masters video
The real key to understanding where the S1H sits in this lineup is video. While the Lumix S1 and S1R are stills/video hybrids, the S1H is very much a video-focused camera. For a comparison point, it occupies a similar sort of space the Sony a7s does compared to the a7 and a7R, though this is arguably even more of an extreme specialisation.
The Lumix S1H the first full-frame mirrorless camera to be equipped to shoot full-frame, uncropped 6K video (5,888 x 3,312) at 24 fps, as well as 4K at 60fps using a Super 35 sensor size.
Recording 6K “uncropped” means that it uses the entire width of its sensor, creating footage with a 3:2 aspect ratio. It also shoots 5.4K at up to 30p in 3:2 aspect ratio, 5.9K at up to 30p in a 16:9 ratio and Cinema 4K at up to 30p, or 60p with an APS-C crop.
The S1H can also record 10-bit internally in 4K and Cinema 4K up to 30p, bumping up to 60p with the HEVC codec. It records 6K, 5.9K and 5.4K in HEVC 10-bit 4:2:0. It also offers HFR (high frame rate) mode for slow-motion, which works in 10-bit with audio, unlike the VFR (variable frame rate) mode on the S1.
There’s also more coming for the S1H – Atomos, maker of popular recorders such as the Ninja Inferno, has promised that a RAW video update will be coming to the S1H, allowing it to put out 4K 60p in RAW format.
On this subject, it’s worth noting that a (paid) firmware update is available for the S1, which will give it some of the S1H’s functionality, such as 10-bit 4:2:2 internal recording and the V-Log flat gamma profile.
Key difference: ISO sensitivity
There’s an interesting key difference between the cameras here. At first glance, it seems like the S1 and S1H offer pretty much the same deal – both these cameras provide ISO ranges of 100 to 51,200, expandable to 50 and 204,800 (the high-resolution S1R is a slightly different prospect).
However, the crucial difference is that the Lumix S1H has inherited Dual Native ISO from Panasonic’s Vari-Cam line of professional camcorders. What this means is that the user can switch between native ISO settings of 640 and 4000 without incurring any increase of image noise, which can be massively beneficial for video shooters.
Key difference: Ergonomics and heat dissipation
All the extra functionality of the S1H comes at a cost – and not just a financial one! (Although, yes, also a financial one.) The camera is noticeably bulkier and heavier than either of its S1 siblings – weighing 1,164g, while the S1 and S1r both weigh about 1,020g.
This extra weight is in part due to a cooling system incorporated into the S1H – when you boot it up you’ll notice the fan working. This, however, is what allows it to offer unlimited video recording time no matter what resolution or setting you’re using, while the S1 and S1R have strict time caps if you’re recording in anything other than 4K 30p.
Another ergonomic difference is the S1H’s rear LCD screen, which it borrows (like several of its features) from the fantastic Lumix GH5S. It’s a fully articulating model which can be opened out to the side and rotated 180 degrees.
Finally, there’s also a difference worth noting in terms of card slots. While the S1 and S1R have dual card slots, one for an XQD card and one for a UHS-II SD card, the S1H just has dual slots that both accept UHS-II cards, which aren’t as fast as XQD
Key similarities
There are plenty of similarities between these cameras too. The S1H and S1 both sport a full-frame sensor with 24.2MP of resolution, though in the case of the S1H it also includes an optical low-pass filter, which sacrifices some resolving power in favour of reducing unwanted artifacts such as moiré – makes complete sense for a video-focused camera! (The S1R is a different beast, with a 47.1MP CMOS sensor).
The cameras all use Panasonic’s Depth from Defocus autofocus system which provides 225 autofocus points, and all can shoot at up to 9 fps, or 6 with continuous focusing. All the cameras also benefit from Panasonic’s 5-axis stabilisation system that provides exposure compensation of up to 6.5EV. All cameras also sport an electronic viewfinder with 5.76-million dots of resolution.
Conclusion
The Panasonic Lumix S1H does a great job of completing the trilogy, and once you understand the different roles that these cameras fulfil, it really shouldn’t be too difficult to pick which one is right for you. If you’re focused on video almost exclusively, the S1H is easily the pick – while it’s significantly more expensive, it’s much more sophisticated in every department.
If you’re shooting stills then the S1 and S1R are the best cameras to pick – while the S1H does have stills capabilities, it would make no sense to buy it for this purpose when the S1 can do everything basically the same for much cheaper. If you’re going to be shooting stills exclusively then the S1R makes more sense, while a hybrid shooter will want to plump for the S1.
Thanks for reading – and we hope we helped you understand these camera a little better!
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