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SDXC Card Errors on Fujifilm GFX100S + Reader Comment on Leica Failing to Report Card Errors

re: TESTED: 256GB OWC Atlas S Pro SDXC Card (plus comparison to Sony TOUGH SF-G)

Today I was doing some work with the Fujifilm GFX100S and I got both "read error" and "write error", using the Sony TOUGH SF-G128T card. I made the issue seemingly go away by reformatting it, but this is not exactly something you can do in the field if there are shots on the card!

Whether this was a card problem or a camera problem or both (compatibility oddities) is hard to say, but at least the GFX100S reported the error—some cameras do no—see below.

I have had zero problems using the OWC Atlas S Pro cards in the Fujifilm GFX100S or the Sony A1, at least not yet. So they are now my go-to choice, replacing Sony TOUGH, though I’m hoping I just have a bad card and Sony will see fit to replace it. I’m short on cards right now for all the cameras I’m using, so I had temporarily been using the Sony TOUGH card in the GFX100S.

Howard D writes:

This seems to be a known issue to Hasselblad. I tried the Sony Tough cards initially, as I had several of them, and got error messages and failure to write issues. The current owner's manual clearly states this:

"...some Sony high-speed SF-G UHS-II SD 300MB/ss memory cards might have poor compatibility, and therefore might not be able to read and write image data properly”

DIGLLOYD: I’ll see if Sony can comment.

Roy P writes

I had a big problem with my Leica M10 Monochrom failing to recognize a Sony 128 GB Tough card.  What is really strange is, the same camera worked just fine with other Sony cards, and Tough SD card that failed on the M10 Mono worked just fine in other cameras.

The way the problem manifested was, when I clicked the shutter release button, nothing would happen.  The LCD back would go blank, there was no sound of the shutter, and the camera would just hang up, requiring me to power it off, putt out the battery, reinsert the battery and restart.  There was zero feedback from the camera that it had any problem accessing the memory card, or for that matter, anything at all - the screen would just go blank and the camera would just die.

This problem occurred right after I was trying to take some shots with my M10 Monochrom on a tripod while using an old shutter release cable that screwed into the shutter release button my M10 M.  I fell into the trap of the "Post hoc ergo propter hoc" fallacy - this happened AFTER I tried the shutter release cable, therefore, it must have happened BECAUSE of the shutter release cable.

Convinced that something in the shutter release mechanism in the camera must have been damaged by the cable, I brought the camera to an authorized Leica dealer with a resident expert in M cameras, who tried taking some test shots and became convinced that the shutter must have been indeed damaged.

To make a long story short, my camera made two trips for warranty repair, one to New Jersey and one to Germany, where some unknown repair was done to it, and my camera was gone for over 3 months.  After all that, when my camera came back, I was dismayed that it still had the same problem, when on a hunch, I tried a different SD card, and the camera worked absolutely flawlessly.

The moral of the story is, Leica did an absolutely terrible job in the firmware by not reporting a card access or write error.  With any computer + storage system, even working together based on well-established industry protocols, it is at least understandable if not forgivable that there could be some problem in the interface.  But it is absolutely unforgivable that the camera did not at least put out an error message saying it couldn't talk to the memory card.

So anyone using a Leica camera should be aware that there is such a problem.  If the camera mysteriously hangs up while shooting, I would recommend trying a different memory card, perhaps a different brand altogether.  Leica cameras have a tendency to just hang up like this, instead of at least communicating the problem.

DIGLLOYD: not reporting an I/O error is a cardinal sin in a computer, or a camera.


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OWC Atlas S Pro SDXC Camera Cards: Now in 512GB Version

OWC Atlas S Pro SDXC

re: TESTED: 256GB OWC Atlas S Pro SDXC Card (plus comparison to Sony TOUGH SF-G)

Reposting this because OWC now has a 512GB card.I’ve had no issues with them in my Sony A1 or Fujifilm GFX100S but just today I had a "read error" and "write error" with Sony TOUGH in GFX100S.

I’ve been a user/fan of OWC products for 15 years or so. Outstanding products like the OWC Thunderbay, OWC Thunderblade, OWC Accelsior 4M2, OWC Mercury Elite Pro, OWC Envoy Pro SX, and many more.

Last year, OWC introduced a line of SDXC camera cards. I reported on their performance back in December 2021—excellent.

Exceptional sustained write speed along with a 5-year warranty and enterprise-grade flash durability make these look quite attractive.

Wwrite speed can be sustained across the entire card capacity, which many cards cannot do, even ultra-fast CFExpress Type A cards.

One thing I could do without is the write-lock tab, but OWC has included it, as with nearly all SDXC cards (Sony TOUGH cards omit it).

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Big theoretical performance numbers are certainly eye-catchers, but they are misleading when your workflow requires real-world speed. That’s why we take the extra time to run OWC flash storage solutions through intensive performance testing and share our test setup and parameters. Truthfully listing Atlas S Pro cards for reliable performance up to 276MB/s write and 290MB/s read speeds defines our commitment to the “OWC Difference” which ensures you’ll be completely satisfied these SD UHS-II cards will deliver the performance you are counting on.

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SHOOTOUT: Fujifilm GFX100S vs Leica M11 + Voigtlander M 50mm f/2 APO, Deck And Roof

re: Multi-Shot High Resolution Mode

Can the Fujifilm GFX100S deliver substantial additional detail over the 60-megapixel Leica M11 using the high performance Voigtlander M 50mm f/2. APO-Lanthar?

In diglloyd Medium Format:

SHOOTOUT: FujiFilm GFX100S vs Leica M11 + Voigtlander M 50mm f/2 APO-Lanthar: Deck and Roof

Includes images at up to full camera resolution.

CLICK TO VIEW: Gear used here, and related

Deck and Roof
f8 @ 1/140 sec, ISO 100; 2022-08-10 12:23:29
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 49.7mm equiv (60.7mm)
RAW: vignetting corrected, push 0.28 stops, +80 Shadows, -50 Highlights, +10 Whites, +10 Clarity, diffraction mitigating sharpening
5400K +26M

[low-res image for bot]

Backyard Bobcat (Lynx rufus)

I badly need a fast (bright aperture) longer lens such as the Sony FE 135mm f/1.8 GM, but I pressed the Sony FE 50mm f/1.2 GM into service tonight, along with a handheld flashlight.

I’ll be very sad if this bobcat eats my prized feline friend Tigger, but Tigger is a feral cat who survived alone for over a year before we took him in. He’s as alert and skilled as any bobcat, but this apparently juvenile bobcat is about 50% larger which would make it ~15 pounds (Tigger’s summer weight is 10.3 pounds). But I’ve sighted another somewhat larger bobcat twice in recent weeks (the mother?), both times in the middle of the day. It would make sense that this one is a juvenile of 8 months or so.

Look at those paws! The rear ones make it look like a rabbit, which of course is a favorite prey for bobcats and for Tigger.

Leo G writes:

Bobby is stalking Tigger! That’s why he was relaxed … stalking. He knows he has a prey there. He just has to wait. The look on his face is the clue. He is working. Under the circumstances I’d do two things: make Bobby uncomfortable when you see him. Noise, flashlight, even water hose. Try to get Tigger to use a litter box and stay in at night.

DIGLLOYD: that makes me unhappy. Tigger is still very much a wild cat outdoors, and no housecat and never seen a litter box and a very strong hunting instinct, particularly at night.

CLICK TO VIEW: Sony Lenses for Wildlife

Nocturnal backyard visitor — bobcat (Lynx rufus)
f1.2 @ 1/500 sec handheld, ISO 3200; 2022-08-06 21:07:56
Sony A1 + Sony FE 50mm f/1.2 GM RAW: LACA corrected

[low-res image for bot]
Classic bobbed tail of a bobcat
f1.2 @ 1/400 sec handheld, ISO 3200; 2022-08-06 21:10:51
Sony A1 + Sony FE 50mm f/1.2 GM RAW: LACA corrected

[low-res image for bot]
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FujiFilm GFX100S: Wondering How Close a Leica M11 Can Approach?

re: Multi-Shot High Resolution Mode

Recent examinations of performance of the Fujifilm GFX100S versus Sony A1 and Leica SL2 and Nikon D850 make me wonder whether the 60-megapixel sensor of the Leica M11 with the very best lenses (a very few) might be highly competitive.

And then there is the rumored Leica M11 Monochrom, which should be able to outperform the GFX100S on sharpness given a good enough lens.

By “best lenses”, I do not mean the Leica 50mm f/2 APO-Summicron-M ASPH, which has troubling performance limitations. Rather, I mean certain Voigtlander offerings and likely the Leica 35mm f/2 APO-Summicron-M ASPH and the Zeiss ZM 35mm f/1.4 Distagon (still ranked as the best overall M lens of all). Not very many, perhaps 3 or 4 lenses will be up to spec. Possibly the incredibly sharp Voigtlander FE 65mm f/2 APO-Lanthar (with lens adapter) might do very well too, if ray angle issues are minimal enough. Ditto for certain longer focal lengths.

The trick is getting ahold of the M11. On my to-do list. UPDATE: will have the M11 and lenses on Monday Aug 8.

FujiFilm GFX100S: Multi-Shot High-Res Mode Examined Critically — Can it Be Used Outdoors and How Good is It?

re: Multi-Shot High Resolution Mode

In multi-shot high-resolution mode, the Fujifilm GFX100S takes 16 images with the sensor shifted whole and half pixels, writing them all to the camera card. On the computer, FUJIFILM Pixel Shift Combiner assembles those 16 images into a single DNG file with 4X the pixels (2x linearly) eg 400 megapixels for an image of 23264 x 17448.

This page looks at image quality (or lack thereof) accruing from the Fujifilm GFX100S multi-shot high-resolution mode.

In diglloyd Medium Format:

FujiFilm GFX100S: Multi-Shot High-Res Mode Examined Critically

Includes images at 200 megapixels from f/5.6, f/8, f/11 from single-shot and multi-shot, plus matched crops and extensive analysis.

CLICK TO VIEW: Gear used here, and related

Deck and Roof
f11 @ 1/10 sec Multi-Shot HighRes, ISO 100; 2022-07-31 07:44:36
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 53.4mm equiv (65.2mm)
RAW: distortion corrected, vignetting corrected, +20 Whites, +10 Clarity, diffraction mitigating sharpening, SmartSharpen{35,0.8,20,0}

[low-res image for bot]

SHOOTOUT: Fujifilm GFX100S vs Leica SL2 + Leica 50mm f/2 APO-Summicron-SL, Deck And Roof

Can the Fujifilm GFX100S deliver meaningful additional detail over the 46.7-megapixel Leica SL2, especially when the SL2 is used in multi-shot high-res mode?

The Leica SL2 is presented in both single-shot and multi-shot high-res mode frames, resampled to match the GFX100S resolution.

In diglloyd Medium Format:

SHOOTOUT: FujiFilm GFX100S vs Leica SL2: Deck and Roof

Includes images up to full resolution through f/13, plus matched crops and extensive analysis.

CLICK TO VIEW: Gear used here, and related

Deck and Roof
f10 @ 1/25 sec, ISO 100; 2022-07-29 09:00:10
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 50.6mm equiv (61.8mm)
RAW: +20 Whites, +10 Clarity, diffraction mitigating sharpening

[low-res image for bot]

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SHOOTOUT: Fujifilm GFX100S vs Nikon D850 + Zeiss Otus 55mm f/1.4 APO-Distagon, Deck And Roof

How much more detail from the Fujifilm GFX100S vs the 45-megapixel Nikon D850 DSLR?

And how well do things work out for the GFX100S with its cheapest lens competing with the the about $3990 Zeiss Otus 55/1.4 APO-Distagon. Surely the Otus ought to pull half a rabbit out of the hat? Because you’re not going to find a better 50mm lens for the Nikon D850.

In diglloyd Medium Format:

SHOOTOUT: FujiFilm GFX100S vs Nikon D850: Deck and Roof

Includes images up to full resolution through f/16, plus matched crops and extensive analysis.

Coming soon: GFX100S vs Leica SL2 + Leica 50mm f/2 APO-Summicron-SL in both single-shot and multi-shot high-res mode.

CLICK TO VIEW: Gear used here, and related

Deck and Roof
f9 @ 1/80 sec, ISO 100; 2022-07-26 08:43:33
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 54.4mm equiv (66.4mm) RAW: +10 Clarity, diffraction mitigating sharpening

[low-res image for bot]

Fujifilm GFX100S: How Much Does Diffraction Affect Image Quality from f/5.6 to f/32?

This page shows diffraction dulling effects from f/5.6 through f/32 on the Fujifilm GFX100S/GFX100, which have ~3.76 micron pixels, same size as the Sony A7R IV and the PhaseOne IQ4 150.

Recommendations are given for handling the competing goals of increasing depth of field vs diffraction dulling.

Fujifilm GFX100/GFX100S: Diffraction Effects from f/5.6 through f/32

Includes various mouse-over crop series from f/5.6 through f/32, which allow intuitive understanding of what happens. Plus discussion.

CLICK TO VIEW: Related Gear

Diffraction effects: f/8 vs f/22
f22 @ 1/13 sec, ISO 100; 2022-07-24 11:25:59
Fujifilm GFX100S + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 54.4mm equiv (66.4mm)

[low-res image for bot]

 

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Fujifilm GFX100S: Does it Deliver Meaningfully More Detail than the Best 35mm? Or is it just an Oversampling Megapixels Poseur?

re: oversampling

'Oversampling' as used here does not reference the Nyquist theorem vis a vis oversampling. Rather, for the same imaging area, sampling at a greater pixel count relative to something else. Thus a 100MP GFX100S is oversampling relative to a 50MP GFX50S by a factor of 1.4X linearly. Similarly, I do not refer to optimal aperture (eg f/4 or f/5.6) nor to on-axis, because my interest is real photographic images, and that means the entire frame (not just on-axis) and typically f/8 or f/11 for the GFX100S.

re: SHOOTOUT: Fujifilm GFX100S vs Sony A1, Deck and Roof

Linearly, the Fujifilm GFX100S packs ~1.4X more pixels into a sensor only 1.22X wider than a 35mm sensor of 50 megapixels eg Sony A1. More pixels, and smaller.

35mm sensor: 35.9 X 24 mm (some are 35.9mm wide)
GFX100S sensor: 43.8 X 32.9
Ratio (width): 43.8 / 35.9 = 1.22X ==> 0.822 speed/focal factor

The 43.8 X 32.9 mm sensor size requires 6/10 stop more depth of field for equivalence. In addition, the 1.22X dimensional difference equates to 1/2 stop circle of confusion disadvantage relative to pixel size. The total 'hit' in terms of diffraction dulling is about 1 stop.

For the same DoF , that means f/8, vs f/5.6 on 35mm cameras.

Various sensor sizes

F/8 noticeably dulls the image on the 3.76 micron pixels of the GFX00S (the same effect is seen on the Sony A7R IV). Going to f/8 on 35mm vs f/11 on GFX100S, the effect hammers micro contrast.

Eyeball the edge-to-edge brilliance of the superb Voigtlander FE 50mm f/2 APO-Lanthar at f/5.6 vs what is seen on the GFX100S also at f/5.6 in Deck and Roof. Different league.

Now sum inferior lens performance + diffraction dulling. The total gain in sharpness can be next to nothing, as shown.

  • The Fujifilm GFX100S is largely a camera good for oversampling, offering minimal if any gain in total sharpness with most of the GF lenses, and only modest gains with the best lenses.
  • Lens performance is a limiting factor on the GFX100S, which is not the case with the best lenses on 35mm, particularly on Sony.

CLICK TO VIEW: Competing Gear

Proving it

See SHOOTOUT: Fujifilm GFX100S vs Sony A1, Deck and Roof

Reader Dr S writes:

Not that I own one but I am curious what the Nikon D850 with a Zeiss Otus 35mm lens would do with your same protocols used in the A1/GFX100s comparison. Yes, only 45mp, but a curiosity nonetheless with one of the best lenses in the world and the previous champion DSLR. Yes there are other lenses in your bag you could use and.... if you are so inclined.... please do so. Maybe I am not the only one who is curious.

DIGLLOYD: the Zeiss Milvus 35mm f/1.4 is a de facto Zeiss Otus by f/2, but the 35mm focal length (for 35mm format) has no direct match—a 28.7mm lens would be needed. Perhaps the Fujifilm GF 30mm f/3.5 would be close enough, but I’m not sure given deviations in actual focal length, plus distortion.

The 50mm focal length is more easily compared. I’ll see about adding them to the Fujifilm GFX100S vs Sony A1, Deck and Roof comparison using:

Christopher S writes:

Enjoying your photography reports, as always. I use regularly the Fujifilm GFX100s and Sony A7R IV depending mainly on how far I need to hike to a destination.

In general I tend to favor the GFX100s files because, to my eye, it’s tonal transitions are smoother, but a lot depends on the lens is being used, especially where sharpness is concerned. For example, even my relatively ancient and much used Sony 55mm f1.8 was clearly sharper across the frame than a brand new and presumably more modern GF 50mm f3.5 which I tried and returned.

One clear comparative weakness for the GFX system at this stage is the lack of lens options, as not all the GF lenses are equal to the very best comparable primes available for the A7R IV . But some certainly are.

I would like to encourage you to add further tests to this very interesting series, using for both systems the best prime lenses available. Say, the GF 23mm vs the Zeiss 18mm Batis, the GF 45mm against the Sony 35mm f1.4 GM or Voigtlander 35 f2 APO-Lanthar, or the GF120 Macro against Sony’s 90mm macro.

DIGLLOYD: I would not agree that Fujifilm GFX100S tonal transitions are smoother compare to the Sony A1, which in my view has superior best per-pixel, and is better per pixel than the Sony A7R IV. However, the GF100S has double the pixels, and oversampling is always better for image quality, everything else being equal. Look at it this way in terms of the same GF lens on the GFX100S vs the GFX50S II: there would be neglible if any sharpness gains, but all the digital artifacts are greatly reduced on the GFX100S.

I’s not clear to me that demonstrating the difference with more than a few combinations has much value once it is shown a few times, because it’s never going to be anything but a small difference (if at all) in sharpness and the dominant difference will always be the oversampling effect.

Reader Question: Simple Macro Work with Fujifilm GFX100S

Reader Jeff K writes:

I just renewed my subscription to your Medium Format section.

I am about to pull the trigger on a GFX100s. (Assuming I can find one in stock) I like to shoot macros and wonder if you have any experience using the GF extension tubes.

I suppose I will eventually want the GF120 macro lens but will probably buy one of the lenses currently being offered with a rebate, such as the 45mm, along with the body.

So, I am curious as to whether the 45mm and an extension tube might work for macros until I can budget for the GF120 macro.

DIGLLOYD: I was startled to see B&H Photo showing a 6-10 week backorder situation on the Fujifilm GFX100S—I wonder what’s up with that.

If macro is your thing, I would strongly advise the Fujifilm GF 120mm f/4. The Fujifilm GF 250mm f/4 with extension tube could also be interesting.

But barring the 120/4, rather than the Fujifilm GF 45mm f/2.8, consider the Fujifilm GF 35-70mm f/4.5-5.6, for two reasons.

First, the 35-70mm focuses quite closely, as close as 0.28x = 1:3.6 which on a medium format sensor is very close. And without extension tubes.

Whereas the GF 45/2.8 only goes to 0.14X = 1:7.1, which is a 4X wider area than the 35-70mm, a huge difference if the goal is close-up images. You’d have to add a chunky extension tube just to get to the same magnification as the 35-70, and awkwardly at that.

Second, the 45/2.8 is among the worst choices for macro, having strong field curvature and focus shift as well. Likely to be a frustrating lens to work with for macro.

Finally, I think most people are far better off with the 35mm format for macro work. Many more macro lenss choices, and easier to manage depth of field. OTOH, without automated focus stacking support (which the GFX100S has ), Sony is a make-work headache—Nikon is a better choice in that regard.

Thanks for using my links when buying, eg the Fujifilm medium format wishlist and similar, or any ad on this site.


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