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Fujifilm GF 55mm f/1.7 Aperture Series: Colorado Aspen and Barn

A far distance scene is most demanding of all, such as in View Across Saddlebag Lake, Fresh Snow; the lens has to perform in a geometric plane, with even subtle weaknesses being exposed.

This aperture series from f/1.7 to f/11 offers another instructive look at the Fujifilm GF 55mm f/1.7 on a “deep 3D” scene, assessing sharpness, focus shift, field curvature, secondary color. The test scene is exceptionally revealing.

Fujifilm GF 55mm f/1.7 Aperture Series: Colorado Aspen and Barn

Includes images up to full camera resolution, plus crops.

A must-have gem for Fujifilm medium format.

CLICK TO VIEW: Ultimate Fujifilm Medium Format

Colorado Aspen and Barn
f5.6 @ 1/60 sec electronic shutter, ISO 80; 2023-10-14 09:34:43
Fujifilm GFX100 II + Fujifilm GF 55mm f/1.7 WR @ 45.3mm equiv (55mm)
ENV: Colorado, altitude 8450 ft / 2576 m, 60°F / 15°C
RAW: Enhance Details, WB 5000°K tint 15, push 1 stops, +20 Whites, AI Denoise 10

[low-res image for bot]

Fujifilm Pixel Shift Combiner : Multiple Headaches, Can’t Do Anything Well—Bad Color, Forced Lens Corrections, Film Profiles Lost

With the advent of the Fujifilm GFX 100 II, a 4-shot pixel shift mode was added, which does not exist on the Fujifilm GFX100S*. To which I thought at first... hooray!

To turn those 4 separate frames into a DNG, you must use Fujifilm Pixel Shift Combiner. Perhaps the world’s crappiest user interface for photo software, the FORTRAN programmers writing it must be laughing at us (doesn’t even support drag n drop). Big surprise, given the muddled state of the camera menu system. But I digress.

I could live with the crappy software, except...

* Is a firmware update coming for the GFX100S, or is the IBIS mechanism incompetent to do it?

Fujifilm Pixel Shift Combiner

Problems with the resulting DNG file

    Fujifilm Pixel Shift Combiner
    DNG offers no film profile

Color seems a little better. Sharpness is worse because of forced distortion correction. But a lot more is worse:

  • Taking the 4-shot pixel shift frame yanks the sensor to one side, so that a pixel shift frame cannot match a single-shot non-pixel shift frame. You can actually see and hear the sensor go clunk while changing to 4-shot mode.
  • ACR processing settings are radically different for the resulting DNG vs any of the single-shot frames (white balance and tint in particular).
  • Fujifilm film profiles are incompatible with the DNG (!), as shown. All you get is some generic "Color" camera profile. Which sucks.
  • Distortion correction is forced on, so that sharpness gains from pixel shift are smeared away by pixel stretching.
  • Vignetting correction is forced on.
  • Chromatic aberration correction is forced on, apparently inducing color fringing (!), since unless you check the box in ACR you will see apparently artifically created color fringing. Ummm...
  • Adobe Camera Raw AI Denoise cannot be used. Ironically, a single frame from the pixel shift series is at least as sharp if not sharper, and seems no less good on noise.

Fujifilm calls this disaster “accurate color mode”. I call it a clusterfuck. The inmates are running the asylum.

Obviously I could go mess with the pixel shift DNG and try to fix the godawful balance, but it’s now impossible to choose the film look (ASTIA) that I want, even if I can unfuck the WB and tint.

Which image do you prefer? Toggle to compare.

f8 @ 1/30 sec electronic shutter, ISO 80; 2023-10-14 09:35:57
Fujifilm GFX100 II + Fujifilm GF 55mm f/1.7 WR @ 45.3mm equiv (55mm)
ENV: Colorado, altitude 8400 ft / 2560 m, 60°F / 15°C
RAW: LACA corrected, WB 5200°K tint 15, push 1 stops, +20 Whites

[low-res image for bot]

CLICK TO VIEW: Ultimate Fujifilm Medium Format

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Reader Comment: incompatibility issues of Godox and other flash products with the EVF of the Fujifilm GFX100 II

Dr S writes:

This is a short one. You may or may not be aware of the incompatibility issues of Godox and other flash products with the EVF of the GFX100 II. The EVF blacks out completely and only the LCD can be used..... It has been widely reported and a stain for many portrait and other photographers who bought the camera or are considering the purchase. I am one of those. Last night in the wee hours of the morning Fujifilm announced FW Update 1.1 that fixes the issue.

I updated the camera and now the Godox triggers work flawlessly with the remote strobes. I bring this up because you have commented numerous times about Fujifilm's issues that have not been addressed. The most recent one is the fact with focus stacking it won't properly take an infinity photo. That fact Fuji has not addressed this and other concerns must be that certain issues are put on a priority list.

Of course they should fix them all, but I suppose there are limited resources, whatever that may be, to allocate to the issues. That is no excuse but something that we have to live with if we chose to own the product.

Lastly, the prime issue that truly needs to be addressed is the claim of "surgical precision AF." I have found, especially with the combo of the 100 ii and the new 55/1.7, the eyeAF is pretty darn good. It nails focus nearly every time. Can't comment about landscape because my technique is always AF +MF since Fujis have been notoriously bad in the past.

DIGLLOYD: that’s good news for flash shooter.s

It must be a low priority to not fix after 5 years (failure to reach INF for focus stacking). Or cognitive blindness or a cognitive commitment that the issues does not exist.

Regarding the 55/1.7 AF: at closer range I had very good results with it also. That's not the issue. My issue is that with all lenses including the 55/1.7, I see obvious blurry focus results on a regular basis in magnified Live View (where it is obvious), even as the camera confirms focus acquisition.

CLICK TO VIEW: Ultimate Fujifilm Medium Format

View Across Saddlebag Lake, Fresh Snow
f1.7 @ 1/3200 sec electronic shutter, ISO 80; 2023-10-02 09:33:41
Fujifilm GFX100 II + Fujifilm GF 55mm f/1.7 WR @ 45.3mm equiv (55mm)
ENV: Saddlebag Lake, altitude 10200 ft / 3109 m, 28°F / -2°C
RAW: Enhance Details, LACA corrected, WB 5000°K tint 15, +20 Whites, AI Denoise 10

[low-res image for bot]

Connect and charge all of your devices through a single Thunderbolt or USB-C port.

Fujifilm GF 55mm f/1.7 Aperture Series: View Across Saddlebag Lake, Fresh Snow

This aperture series from f/1.7 to f/8 offers a critical look at the Fujifilm GF 55mm f/1.7 on a far distance scene, assessing sharpness, focus shift, field curvature, secondary color.

The test scene is exceptionally demanding, being both at far distance and having snowy high contrast, thus revealing all shortcomings mercilessly.

Fujifilm GF 55mm f/1.7 Aperture Series: View Across Saddlebag Lake, Fresh Snow

Includes images up to full camera resolution, plus crops.

A must-have gem.

CLICK TO VIEW: Ultimate Fujifilm Medium Format

View Across Saddlebag Lake, Fresh Snow
f1.7 @ 1/3200 sec electronic shutter, ISO 80; 2023-10-02 09:33:41
Fujifilm GFX100 II + Fujifilm GF 55mm f/1.7 WR @ 45.3mm equiv (55mm)
ENV: Saddlebag Lake, altitude 10200 ft / 3109 m, 28°F / -2°C
RAW: Enhance Details, LACA corrected, WB 5000°K tint 15, +20 Whites, AI Denoise 10

[low-res image for bot]
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Reader Comment: Thumbs down on the Fuji 80 f/1.7 GF and Donkey Lenses

I have a bunch of stuff coming on the Fujifilm GFX100 II and the Fujifilm GF 55mm f/1.7, but having been gone for a month I’m playing catchup before I get rolling on that.

Roy’s summaries are always most entertaining and spot-on.

Roy P writes:

FWIW, I am declaring the Fuji 80mm f/1.7 as a dog, and I’m finally giving up on this lens.  I tested this lens for the third time, this time with the GFX 100 II, and quite extensively too, after which I am raising the white flag, and sending it back to B&H.

The autofocusing on the GFX 100 II is noticeably improved, but that is relative to the low bar set by GFX 100S.  It is barely adequate to freeze adults in engaged in normal conversations in a social setting, and the lens can’t chase kids like my 2-year old grandson running around.  The contrast wide open is quite weak.  By f/2.8 it becomes acceptably good in the central area, although some tweaks in post-processing helps.  But as you move towards the sides, you can see increasing lateral CA creep in.  You see LACA even at f/4.  I didn’t test it for focus shift, field curvature, etc.

I think the only good GF lenses worth owning are:

  1. 20-35 f/4
  2. 35-70 f/4.5-5.6
  3. 50 f/3.5
  4. 55 f/1.7
  5. 110 f/2
  6. 250 f/4

 If you have either the 35-70 or 55/1.7 or both, then the 50/3.5 becomes redundant.  But the 50/3.5 still has its charm as a compact, walkaround lens for street photography, although the max f/3.5 is a bit slow.  Still, it is the closest thing to a pancake lens in the medium format / semi-medium format universe, and it’s great value if you bought it at $500.

All the other GF lenses are desperately in need of next generation redesigns, IMO.  The two most hideous GF lenses I have tested were the 45 f/2.8 (Prime Donkey) and the 32-64 f/4 (Zoom Donkey).

DIGLLOYD: I concur, no disagreement.

The 55/1.7 is a gem. Together with the 20-35/4 and 35-70, the kit is outstanding. The 110/2 is nice, but has some drawbacks, the 250/4 is great but bulky and awkward. Your baseline kit should be 20-35mm + 35-70mm + 55/1.7.

The tilt-shift lenses are specialty and we have to wait until December arrival to asses .

Jason W writes:

This post is spot on.

I bought and sold the 45/2.8 and it's funny, because I don't know what it was that made this lens suck, but it certainly did. I loved the 50/3.5 but every image for the 45/2.8 felt clinical and lacking in charm. I like the aberrations and distortion on the 50/3.5 and I don't on the 45/2.8 is best I can sum it up. And perhaps the minor difference in focal length is somehow relevant.

The 35-70 has a lot of the 50/3.5 draw style, although that lens does it a bit better. The 80/1.7 is a horror with all the monstrous CA that does nothing good.

DIGLLOYD: the Fujifilm GF 45/2.8 has plenty of focus shift and field curvature. It’s actually quite good (as good as the 50/3.5), but much harder to get optimal results because of those things.

Message to Fujifilm: a Trivial Fix for Focus BKT Failure to Reach INF with GFX100 II/100S/100

The engineers in the audience might appreciate this... the whole situation is ridiculous.

Dear Fujifilm engineers,

Your Focus BKT feature has been broken for 5+ years. Back in 2019, it was a complete joke with some lenses, so badly broken that one can only conclude that no field testing was ever done. Or if it were done, whoever did it was incompetent. And it was never tested again, seemingly.

Today, Focus BKT still does not work correctly, failing to achieve infinity focus virtually every time (to varying degrees), which I have observed repeatedly with every lens I have tried (and proven it in published articles moreover I have hundreds of proofs since it always happens).

I know how hard it is to get code written correctly since I’ve been a software engineer for 46 years, since I was 12 years old. Still, this situation is pathetic.

A plausible explanation

The behavior I see imagines one of the most time-honored software bugs that has ever existed: some engineer forgot that assigning a floating point number to an integer will round down by default. It’s possible that this is not the explanation and the answer is more complex, but all behavior that I observe is totally consistent with that idea.

The errant code would look something like this:

float  fc = calcFrameCount(...);
int    numFramesToShoot = (int)fc; <=== 9.1, 9.3, 9.7, 9.99, etc all become 9 frames

Such a coding error would explain perfectly why the amount of error (the degree of softness/defocus of the last frame) varies from one focus stack to another.

A 12-year-old engineer (me in my boyhood) might make this mistake, but a major corporation with professional engineers? Any code review by peers* should catch it as a novice mistake.

* If the software engineering best practice of code review by fellow engineers doing is even implemented?

Fixing the issue with a kludge

So, Fujifilm, I offer you my at-a-glance and guaranteed-to-work fix, at least for all the failure cases I have observed:

// mask the bug; shoot one more frame than the bad code calculates
numFramesToShoot = numFramesToShoot + 1;

There you have it. It is zero risk and code review should take all of 30 seconds. Please remit a check for US$10K once the fix is implemented. And send me a Fujifilm GFX100 II with fixed firmware as compensation for the enormous and ongoing hassle and workload this failure has inflicted upon not just me, but your entire user base.

CLICK TO VIEW: Ultimate Fujifilm Medium Format

Glenn K writes:

cc: Sony

DIGLLOYD: yep.


Connect and charge all of your devices through a single Thunderbolt or USB-C port.

Fujifilm GFX100 II vs GFX100S: Zeroing-In on the Benefits that Matter

Should you spend $7500 for the Fujifilm GFX100 II to upgrade from the Fujifilm GFX100S?

The gains are specific, and quite limited.

Shot in 8K on Sony A7R V near Saddlebag Lake, downsampled to 4K.

CLICK TO VIEW: Ultimate Fujifilm Medium Format

Fujifilm GFX100 II vs GFX100S: Zeroing-In on the Benefits that Matter

Fujifilm GF 55mm f/1.7 WR: Optical Masterpiece

Corner-to-corner detail of the Fujifilm GF 55mm f/1.7 WR is spectacular.

It might be the best prime lens of the entire lineup, a must-have masterpiece of lens design!

It’s going to be hard to send this one back, but I cannot afford to buy it.

View across Saddlebag Lake to SE ridge near Mt Conness
f7.1 @ 1/320 sec electronic shutter, ISO 80; 2023-10-02 09:09:52
Fujifilm GFX100 II + Fujifilm GF 55mm f/1.7 WR @ 45.3mm equiv (55mm)
ENV: Saddlebag Lake, altitude 10200 ft / 3109 m, 28°F / -2°C
RAW: Camera ASTIA, Enhance Details, vignetting corrected, WB 5000°K tint 18, push 0.17 stops, +20 Whites, AI Denoise 10

[low-res image for bot]

Reader Question: Picture Profile for RAW + JPEG

Reader Leo G writes:

Can you set your film simulations for one slot and RAW for the other slot?

Is the RAW file being changed by the pic profile?

DIGLLOYD: yes, you can save RAW to one slot and JPG to the other slot. Or save both on the same card. I always save both to the same card, and use the 2nd card for a real-time backup, recording all stuff to both cards.

RAW is not an image per se. The RAW file data is nothing but computer bits which have to be interpreted into an image. A host of factors are involved, with the camera’s “picture profile” just one of numerous factors. These factors control how raw data bits are wrangled into a TIF or JPG. In no case is the raw data itself affected in any way whatsoever.

Most/all cameras not only embed a reduced-quality and lower-resolution JPG into the RAW file itself for fast previews. Indeed, one can strip-out this preview to reduce file size.

Various Camera Profile in ACR
(many more are available)

One can also shoot RAW+JPG, with a choice of quality and size for the separate JPG file, which incorporates picture profile as well as all other factors, baking-in all to the JPG. For dual slot cameras, it does not matter whether the JPG is stored on the same card as the RAW file, or separately.

I always shoot RAW+JPG SuperFine, because when reviewing images, I can assess detail much better with a full quality JPG rather than the low-grade embedded JPG. Most cameras are smart enough to use the full-quality JPEG associated with the RAW when reviewing images, allowing one to zoom in more for image review and with far lower compression artifacts.

On the computer, Camera Profile in Adobe Camera Raw is the equivalent to “picture profile” in the camera, though sadly the image rendition often does not match what the camera itself produces with the same profile. So if you want the look the camera produces, shoot RAW+JPG SuperFine and use that JPG from the camera.

Some camera vendors provide a variety of looks (camera profiles) and some offer few or none. Fujifilm does a particularly nice job in offering profiles corresponding to their film stocks, Sony has a variety but are not as nice as Fujifilm, other brands have choices but IMO mostly suck. On top of all that are all sorts of other settings that get baked-in.

Below, the same image from the Fujifilm GFX100 II, but with three different Camera Profile choices in ACR.

View across Saddlebag Lake to SE ridge near Mt Conness
f7.1 @ 1/320 sec, ISO 80; 2023-10-02 09:09:52
Fujifilm GFX100 II + Fujifilm GF 55mm f/1.7 WR @ 45.3mm equiv (55mm)

[low-res image for bot]

CLICK TO VIEW: Ultimate Fujifilm Medium Format

View across Saddlebag Lake to SE ridge near Mt Conness
f7.1 @ 1/320 sec electronic shutter, ISO 80; 2023-10-02 09:09:52
Fujifilm GFX100 II + Fujifilm GF 55mm f/1.7 WR @ 45.3mm equiv (55mm)
ENV: Saddlebag Lake, altitude 10200 ft / 3109 m, 28°F / -2°C
RAW: Camera ASTIA, Enhance Details, vignetting corrected, WB 5000°K tint 18, push 0.17 stops, +20 Whites, AI Denoise 10

[low-res image for bot]

Connect and charge all of your devices through a single Thunderbolt or USB-C port.

White Mountains Notes

I’ll be home in a few days to sort out a good trip’s photos, reporting on the Fujifilm GFX 100 II, Fujifilm GF 55mm f/1.7, and Sony FE 16-35mm f/2.8 GM II.

I stopped in the White Mountains but have now left, because steady cold wind made photography not just unpleasant, but blur-prone with a high failure rate.

Last night it was 19°F where I slept, and 26°F inside my Sprinter van, along with a steady ~20 mph NW wind—a combination that in the daytime might warm to 35°F which is not an issue but that wind makes it all pretty useless for photography albeit hiking is fine if one keeps moving.

There is still last year’s snow 11800' on northern exposures that will not melt this year.

Below, this snowshoe hare’s camouflage doesn’t work anywhere; it stands out like a sore thumb. As a kid, I shot and ate rabbits (and squirrels and deer), but now I value life and beauty more and more... let’s see if it makes it through the weekend what with deer hunters showing up.

Snowshoe Hare transitioning from summer to winter coat
f2.8 @ 1/160 sec, ISO 50; 2023-10-27 17:00:24
iPhone 15 Pro Max + iPhone 15 Pro Max 15.7 mm f/4 @ 15.7mm
ENV: White Mountains, altitude 11600 ft / 3536 m, 38°F / 3°C

[low-res image for bot]

Sad to witness, this winter-coat-ready coyote had its backbone blown apart by a high-powered rifle. Totally legal as I understand it. While I have hunted to eat and can accept with strong distaste the hunting of coyotes for pelts, pointless slaughter like this is hard to stomach. Especially in this high-altitude area with a tenuous balance of predator and prey eg not a ranch with sheep or some such. And whatever loser shot it did so 30 feet from the road, showing disregard for that legality and its obvious safety considerations.

Slaughtered coyote left for scavengers
f1.8 @ 1/3000 sec, ISO 64; 2023-10-27 12:27:22
iPhone 15 Pro Max + iPhone 15 Pro Max 6.9 mm f/4 @ 6.9mm
ENV: White Mountains, altitude 11800 ft / 3597 m, 33°F / 0°C

[low-res image for bot]

Using the MSR Guardian, I refilled my water bottles for a ~3 day supply.

Frozen-over high-altitude pond
f1.8 @ 1/3200 sec, ISO 80; 2023-10-27 12:09:27
iPhone 15 Pro Max + iPhone 15 Pro Max 6.9 mm f/4 @ 6.9mm
ENV: White Mountains, altitude 11700 ft / 3566 m, 38°F / 3°C

[low-res image for bot]
Water resupply from high-altitude pond
f1.8 @ 1/3000 sec, ISO 64; 2023-10-27 12:27:22
iPhone 15 Pro Max + iPhone 15 Pro Max 6.9 mm f/4 @ 6.9mm
ENV: White Mountains, altitude 11800 ft / 3597 m, 40°F / 4°C

[low-res image for bot]
Cold Sunrise
f1.8 @ 1/900 sec handheld IS=on panorama, ISO 200; 2023-10-28 07:14:55
iPhone 15 Pro Max + iPhone 15 Pro Max 6.9 mm f/4 @ 6.9mm
ENV: White Mountains, altitude 10760 ft / 3280 m, 26°F / -3°C

[low-res image for bot]
White Mountain Road to locked gate
f1.8 @ 1/5600 sec, ISO 80; 2023-10-27 16:00:27
iPhone 15 Pro Max + iPhone 15 Pro Max 6.9 mm f/4 @ 6.9mm
ENV: White Mountains, altitude 11857 ft / 3614 m, 40°F / 4°C

[low-res image for bot]

Note to Longtime Readers: Publish on Substack?

Standalone web sites like this one are an anomaly in the age of Platforms and click-driven content management systems. Some make their living at it (me) and some for personal reasons eg the highly technical but excellent Kasson.com. Who and what will be left standing in 5 years, let alone 10? I don’t have the 'personal reasons' option—it has to pay the bills.

I gratefully thank my longtime subscribers for their support and especially the last three years, which were my life's greatest challenge*, and still in transition.

Contractions in both the photography and computing industries are exerting pressures everywhere including sponsors of this site like B&H Photo and OWC. Plus general user satisfaction with photo and computer gear of unprecedented capabilities slows interest and purchases. Various sources of my revenue have dried up over the years. In short, financial pressures are coming to bear even as the baseline costs rise of running a corporation and web site rise.

Most frustrating and bearing directly on subscribership, the pace of content production here stemmed from from trouble I never asked for* but nonetheless has disappointed both me and my subscribers.

* As most longtime readers know I am only just now recovering from a 2.5-year test of perseverance and the required cognitive commitment to passing through it. That period plundered my finances and degraded everything, including this web site's coverage. Hence my special thanks to loyal subscribers.

Wider audience?

Forward-looking feedback and suggestions especially from current and former subscribers is welcome, monetization being the nut to crack.

I would like to continue the present format and will do so for a time. High-res images, aperture series, etc that I publish on this site would be difficult to impossible to present properly elsewhere, let alone manage over time. I am reminded of that every time I view other web sites and their frustrating presentation. Furthermore, it would be difficult to impossible to have the curated and indexed topical organization and search seen here reproduced on any platform—they all invariably suck in that regard.

In a fantasy world, I would have benefactors that would allow me to eliminate all ads and even subscription fees, exposing all content to the world, and just do my thing.

However, I must necessarily look at other monetization possibilities at least as adjuncts. Well, unless I can dramatically raise the revenue on this site. And while often experiments fail, sometimes they bear fruit—fail until success is a good operating principle.

My main thought is SubStack (and even a modest subscriber base could work). But what focus, what to charge, and how many people would subscribe, and how to relate it to here? Substack is poorly suited to images and video, so it might mean some complementary thing.

An obvious choicer is YouTube, but YouTube is not safe for business, because arbitrary cancellation can happen overnight, as recent events show over and over—punishment for wrongthink starts with demonetization. While I’m not even a footnote compared to well known names, it's a real risk for anyone who speaks their mind.

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OWC Oktoberfest Deals + Get-It-While-They-Last Garage Sale

First, CFExpress Type B rocks for real-world workflow. If you’re using a camera that takes CFExpress Type B cards, get the OWC FXR card reader and an OWC Atlas Ultra CFExpress or OWC Atlas Pro CFExpress card and enjoy.

ALSO: OWC quarterly garage sale...

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Suggested items, many more items on sale.

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The OWC Envoy Pro FX is a super-fast external Thunderbolt SSD excellent for primary storage or super-fast backups, or recording ProRes raw video from iPhone 15. The OWC Elektron is a extremely compact alternative for on-the-go capture/backup.

Factory Sealed and Used Macs

View all used Macs at OWC...

Having an Intel-based Mac around is important for compatibility with certain older software, and these are very low prices for a 16-inch display.

CFExpress Camera Cards to Take Over? Downloading a Big Shoot on SDXC Painfully Slow vs CFx

Rexcently out in my Sprinter van in the middle of nowhere, I had 160GB or so to download. Having configured the Fufjiflm GFX100 II to record both to SDXC and CFExpress Type B cards, I had my choice of which to download.

I inserted the OWC Atlas Ultra SDXC card into the built-in slot of the 2021 MacBook Pro M1 Max... "time remaining: 30 minutes". Uggh... I needed to get moving ASAP—unacceptable. And that’s without the needed backups. Time matters when sunset comes early and you need to be somewhere to shoot.

I pulled the SDXC card, attached the OWC Atlas FXR Thunderbolt card reader, inserted the OWC Atlas Ultra CFExpress Type B card and the job was done in about 2 minutes. WOW! While it’s more convenient to use a built-in card slot, I am not going to wait that long for a download. CFExpress rocks.

And for a blazingly fast backup (even faster), I backed-up stuff to the OWC Envoy Pro FX SSD.

SDXC vs CFExpress

SDXC is at the end of its road.

Little but some variant of CFExpress Type A will exist within a few years since the larger form factor of CFExpress Type B is too large for smaller cameras and likely won’t be needed at all within a few years. And CFxA is small enough to make built-in laptop readers feasible, whereas CFxB is not.

For example, the Fujifilm GFX100 II has one CFExpress Type B slot and one SDXC card slot, a situation that ultimately is likely to move to dual CFeA cards in some future camera.

CLICK TO VIEW: OWC SDXC

CLICK TO VIEW: OWC Card readers


Connect and charge all of your devices through a single Thunderbolt or USB-C port.

Commentary on Fujifilm GFX100 II

I’m working my way towards home. Wow, what a warm autumn, after two snowstorms things are 8°F to 11°F warmer than average, so pleasant, so enjoyable prior to the onset of cold conditions... eg 65°F at 8400' in Colorado, 78°F at 5700' in Nevada, etc. Admittedly, I have been doing a lot of enjoying of that weather, with my strength back after a 2.5-year test of perseverance and the required cognitive commitment to passing through it. It’s just too nice to not to.

ES vs EFC shutter

Is electronic first curtain shutter a vibration issue on the GFX100 II? It is awfully noisy, obnoxiously so, so much so that I am loathe to use it for Focus BKT where it bangs away like a roofer laying shingles, and yet it is a hassle to switch constantly back and forth between it and electronic shutter, which has its own issues. My concern is lower shutter speeds and situations where the tripod itself resonates and/or unstable ground, both of which require zero vibration. Usually that 2nd curtain is not an issue, but if the thing is banging away 5 or 13 or 24 times, the effect might be shutter shake. Note well that Fujifilm forces the shutter to ES when doing pixel shift, which surely is a testament to that risk.

Great EVF, but GFX100 II does not mover forward in its operational credibility

Battery life is outstanding.

Of particular disappointment with the GFX100 II are two things: (1) focus acquisition often beeps to indicate focus but is badly blurred (obviously!), a f*cking joke vs “surgical precision” claims, and (2) Focus BKT is just as broken with the 55/1.7 as other lenses, failing to achieve INF focus. Engineering incompetence in two critical areas and there are more.

  • Do not rely on Fujifilm autofocus—it will fail badly to the point of ruin all too often. I watched it do so over and over yesterday.
  • Do not relay on Fujifilm Focus BKT achieving a final INF-focus frame. It shows a 90% failure rate vs a carefully manually focused final frame.

Image quality

When home, what I’m keen to determine is whether the Fujifilm GFX100S really differs in detail and overall image quality from the Fujifilm GFX100 II. I need my NEC PA302W back at home to see that clearly. Other than that, the GFX100 II offers one only two features I care about: a vastly improved EVF (best on the market today) and overall improved responsiveness. But it has the same ol' bugs and usability frustrations as the GFX100S.

CLICK TO VIEW: Ultimate Fujifilm Medium Format

CLICK TO VIEW: Recommended OWC Atlas cards for Fujifilm

Check out the detail near to far. A tilt-shift lens could make short work of this scene but wow every crack and dimple in the mud is crisp!

The photographic “opposition effect” can be seen here in the increased brightness at center.

f9 @ 1/40 sec electronic shutter focus stack 16 frames, ISO 80; 2023-10-21 07:21:57
Fujifilm GFX100 II + Fujifilm GF 55mm f/1.7 WR @ 45.3mm equiv (55mm)
ENV: Lunar Crater area, altitude 5700 ft / 1737 m, 70°F / 21°C
RAW: Camera PROVIA, vignetting corrected, WB 5000°K tint 21, +30 Dehaze, +10 Clarity, diffraction mitigating sharpening, +10 Vibrance

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Fujifilm GFX100 II: IBIS Bug? Reader Comments, Plausible Explanation but Unanswered Question

re: Fujifilm GFX100 II: Terrible Blur with Image Stabilization (IBIS) at Relatively High Shutter Speeds

We know that electronic shutter (ES) has issues including image deformation which cannot be avoided other than by reducing the sensor readout transit time with each generation of camera, something Sony and Nikon have mastered, being 15X to 20X faster than Fujifilm medium format.

Single-shot 16-bit captures: Fujifilm GFX 100 II/100S/100 all take ~1/3 second and ~1/6 second for 14-bit. Why is it so much slower than 35mm cameras? After all, the Sony A7R V is 60 megapixels but can get the job done in 1/200 sec or so.

The core issue is that the Fujifilm GFX100 II appears to have more IBIS issues than its GFX100S/100 predecessors, based on field shooting (see images below, taken from dozens of problem images). Extreme blur appears to be new behavior versus using electronic shutter (ES) almost exclusively for five (5) years on the GFX100 and GFX100S.

However, I cannot rule out that some particular set of shooting conditions produced such atrocious results. But what puzzles me is how I could shoot with ES + IBIS for five years and not see such consistently poor outcomes. That is what makes me think that the GFX100S II has something problemetic at work, not the fact that it has the usual limitations of ES.

While one explanation seems highly plausible (see comments by Christoph K), why did the GFX100S seemingly not manifest these issues?

As yet I have not done A/B tests and I do not have a good answer. I need similar conditions to what I had that day in order to do a decent A/B of real field conditions (vs trying to move the camera myself).

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Sensor readout transit time

Jim Kasson is the real expert on sensor readout transit time. See his posts on the matter, starting with More on GFX 100 II electronic shutter speeds.

In the previous post, I reported the disappointing finding that, in spite of Fujifilm’s claims to increased readout speed, the scan time of the electronic shutter in 14-bit and 16-bit single shot modes was essentially the same as the GFX 100S and the GFX 100.

...So there is a mode that yields faster readout rates than the GFX 100S, but you have to set the camera up right to get it, and it comes at a cost.

Unchanged* sensor readout time aside, why does it appear that the GFX100 II performs so badly vs the GFX100S/100? Or is it perhaps just conditions that I never noticed for five (5) years?

* For single-shot mode in both 14-bit and 16-bit capture mode, the CH (continuous high) mode goes to 12-bit as per Jim Kasson’s ahgove.

Horizontal imaging artifacts under 120Hz LED lighting, Fujifilm GFX100

Christopher K writes:

The read out time for a Sony A7R V / A7R IV / Leica M11 is about 100 ms at 14 bit (and about 50 ms at 12 bit), but not 1/200 s = 5 ms. That’s Sony A1 territory.

So, at 14 bit A7IV/V 100 ms GFX 100/100s/100 II 150 ms sounds very reasonable for an equivalent sensor technology

DIGLLOYD: my assumptions were wrong it seems, based on using the A1 for a good long time. But it still puzzles me why the GFX100 II showed such bad results. There might still be some other behavior at work, in addition.

Stephen S writes:

Lloyd, I could hardly believe your images but it took only a couple of minutes to confirm the problem with my GFX 100 II set to electronic shutter. In my limited testing it is worse with IS set to shooting only, better with a lens with OIS. Strangely with IS continuous and a shutter speed ~1/focal-length there can be eight or ten entirely satisfactory images but then one with blur along the bottom edge.

I've used the GFX 100 since it was released, almost always with electronic shutter; I skipped the GFX 100s. I don't recall ever seeing anything like this with the GFX 100; certainly if it occurred with regularity I'd have noticed, and I do make some use of non-OIS lenses. Makes one wonder if only the cameras with "improved" IBIS are affected, I don't know. I'm keeping the older camera and will do some experiments with it.

I've never seen anything like this with the Sony A7R IV and Sony A7R V, which I usually use with electronic shutter

I suppose I'll be using EF full time except when on a heavy tripod with no wind. I'm always well stopped-down, so the bokeh impact of EFCS with fast lenses is not going to be a problem.

I'm puzzled, disappointed, and annoyed.

...following up on prior comment above:  When I began to study this I was getting frequent blurred images resembling yours, once every several exposures.  In some of these as in your examples, the blurring was really too severe to be from angular movement of the camera associated with hand-holding, so it must have been spurious movement of the sensor attributable to the IBIS system.  The more I tested the more the blur, when present, settled down to the lower edge of the image which is the end, not the beginning of the exposure.  You'd expect the opposite with hand-excited motion.

And strangely, the more I tested, the rarer the blurred images became. Today, in more than forty images with the GF 50mm and a Canon 135mm TS/E, with varying shutter speeds around and below 1/focal-length, no blur at all in any image.  I'm avoiding lenses with OIS because turning OIS off turns off IBIS.

I do not understand this!

Can it be that the camera's IBIS system, once it has some exercise, settles down to work correctly?  That's just too crazy!

DIGLLOYD: rightly so. Not in five years have I had such actively destructive results. I am sure I could do better in all cases with IBIS disabled. And these are very solid shutter speeds eg 1/60 to 1/100 second for a 55mm (48mm equivalent) lens, hardly pushing the envelope!

With bugs, there can be strange runs of behavior. Curiously, I have a CFExpress card reader whose behavior has the same “streak” of fail/work but always failing if I plug in my iPhone 15 Pro Max first. Stuff just sometimes happens that way. At this point, I suppose I have to cross test the GFX100S vs GFX100 II, but of course I cannot reproduce a motion scenario consistently so it might take a lot of shots to diagnose. Or maybe a few—depending.

Dr S writes:

Before testing and finding an alignment issue and before I left the camera store, in the desert I popped on the 50mm lens and took a few images.  I thought I had moved the camera while shooting a couple but after reading your blog entry this morning I now know it is the camera.

There was sufficient shutter speed to take an image.  You will notice some are fine and some are atrocious.  Until something is fixed I wonder what the workaround is.  All OOC jpegs.  Even one is oof when no movement is seen.  Hmm?

...Yes. I just got notification it has been sent back from repair. When I checked its status, the serial number of the body returned is different from the one I sent. My assumption is they sent a new body.... I hope so. It is scheduled to arrive tomorrow Fedex overnight. I'll do another test......tomorrow when I get the shipment. I'll let you know. BTW have you tested its eye-AF? When they talk about surgical AF, I wonder if they are referring to its ability to focus on the eye. For Landscape images I will still check with MF. I am looking forward for using the EVF as long as the new body works properly.

...Got the replacement body and tested ES with and without IS. Not only OOF but vertical lines are wavy as in the previous email link. I hope this is an issue that can be fixed via FW. EF seems fine with cursory testing. I haven't used much slower SS. My 100S does not exhibit this behavior. Now I will mount the 20-35 to determine whether or not the previous body was defective or whether or not I will scream.

...Just read your comment and the readers comments. I need to wrap my head around how I am going to take any image based upon the issue. In 2023, we shouldn't have to. Again i will test the 100s tomorrow. If it is bright outside and I know the ss will be fairly brief..... 1/300s or shorter. I don't think EF will be that terrible. However, I would like to use ES all the time. Maybe Nikon will come out with a larger sensor cam at some point and apply their ES engineering like they have on the Z9 and Z8.

DIGLLOYD: Dr S had a peculiar sharpness issue with the GFX100 II which now seems to be well explained by this IBIS issue.

Jim S writes:

As I understand it, IBIS from every manufacturer is designed to compensate for camera movement based on the assumption that the entire sensor is exposed at the same time (true global shutter). Most of the time, this assumption doesn’t cause a problem due to the amount of camera movement and sensor scan speed errors not exceeding the resolving power of the lens/camera combination. But with a long sensor scan speed and extremely high resolution, it’s like trying capture the image in a fifth dimension: length, width, height, time + time-shift. The sensor scan speed serves as a second shutter, which spreads a relatively short amount of time for the exposure over a longer amount of time required to scan the sensor. To picture this, imagine the sensor scan speed was a whopping five hours. The exposure would stay the same at say 1/60 sec.; however, each pixel would serve as a virtual time lapse frame, and your first exposed pixel and your last exposed pixel represent different points in time, for example, the first pixel recorded at noon, the last recorded at 5pm.

That said, I’m a bit shocked by the level of blur in the image you showed. Typically IBIS + sensor scan speed blur is something you can’t see unless at least viewing at 50% magnification. What you’re showing is massive blur. I have never seen this on the 100S nor 50SII. What this looks like to me is what would happen if I started moving the camera to set up the next panoramic frame before the exposure was completed from the previous frame. And I’m assuming the sensor would have to be scanned in two horizontal halves at the same time to produce the two bands of blur shown in your example.

Perhaps better explained by saying: the slow sensor scan speed can cause a form of rolling shutter for which IBIS wasn’t designed to compensate

On the 50mp GFX sensor, the sensor scan in ES was quite loud, so I could listen and wait to move the camera until it stopped. Can’t remember if the 100mp sensor’s ES scan is audible.

...[followup] Yeah, it has to be a firmware bug with IBIS specific to the 100 II. The blurred images you posted look as if IBIS quits working and is moving the sensor back to the zero/locked position before the sensor scan in ES is completed.

DIGLLOYD: agreed, the explanation (see next comment) makes sense, but why have I not ever seen such bad behavior with GFX100S? An A/B in similar windy conditions is what I need to compare the two.

Sure looks like an IBIS bug to me too. But... maybe it's just a limitation? Again, why not the GFX100S/100 showing such issues. Maybe over 5 years the conditions just never happened?

Christoph K writes:

Honestly, I was wondering a bit the same thing like you. And I am not 100 % sure how the sensor read out exactly works. I might ask Jim at Dpreview about it.

But my guess is: If we use MS, the shutter (slot) let’s say takes about 1/200 s to pass the sensor. Then it’s closed (I think the amount of light of every pixel is translated to a voltage which is stored in tiny capacitors) and it does not matter that it takes longer (1/3 - 1/6 s) to read out the sensor (= discharge the capacitors), there is no more light gathered on the sensor during that period of time. Therefore IBIS only has to control the camera movement during 1/200 s in this example.

It seams to be similar with EFC (open) plus MS (close) but I am not totally sure. But with ES its clear the the sensor gathers light for 1/3 s at 16 bit resp. for 1/6 s at 14 bit, independently of the exposure time. Enclosed an example of ES with the GFX 50s where the person is moving during the 1/4 s ES time, the camera was still. I mean here we would not expect IBIS to compensate for the movememt of the object but it shows that a camera movement during 1/4 s could be tremendous and impossible to compensate by IBIS.

DIGLLOYD: I agree on the times. AFAIK, the GFX100 II still takes about 1/3 secondto readout the sensor for 16-bit captures (sensor readout transit time).

And I think the basic premise is correct: with mechanical shutter, the exposure time equates to the time that IBIS must maintain the sensor in a fixed/stable position for the image eg a 1/80 second exposure IBIS need only stabilize for 1/80 second.

However, my assumption is that ES necessarily resets groups of rows as it prepares to scan them (otherwise the top vs bottom would have wildly different exposures 1/80- second at bottom vs 1/80 + 1/3 second at top). That cannot be. Thus my assumption is that IBIS operates in groups of rows (“bands”), as the sensor readout is done electronically, clearing a band of sensor rows prior to reading it, while waiting the requisite time before reading it. Or something like that.

My assumption has been that IBIS would operate continually during that time. But that means that IBIS has to keep that sensor stable for a full ~1/3 of a second, thus for a 1/80 second requiring IBIS sensor stabilization 26X as long. Thus producing bands of sharp/unsharp.

f9 @ 1/60 sec handheld IBIS=on electronic shutter, ISO 80; 2023-10-08 14:21:19
Fujifilm GFX100 II + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 42.6mm equiv (51.8mm) + polarizer Breakthrough Photography X4
ENV: Mt Conness, altitude 12200 ft / 3719 m, 60°F / 15°C
RAW: vignetting corrected

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f9 @ 1/100 sec handheld IBIS=on electronic shutter, ISO 80; 2023-10-08 14:14:40
Fujifilm GFX100 II + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 57.6mm equiv (70mm) + polarizer Breakthrough Photography X4
ENV: Mt Conness, altitude 12200 ft / 3719 m, 60°F / 15°C
RAW: vignetting corrected

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f11 @ 1/80 sec handheld IBIS=on electronic shutter, ISO 80; 2023-10-08 13:53:03
Fujifilm GFX100 II + Fujifilm GF 35-70mm f/4.5-5.6 WR @ 28.8mm equiv (35mm) + polarizer Breakthrough Photography X4
ENV: Mt Conness, altitude 11600 ft / 3536 m, 60°F / 15°C
RAW: vignetting corrected

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