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The Complete Guide to Fujifilm's X-t20

The Complete Guide to Fujifilm's X-t20

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The Complete Guide to Fujifilm's X-t20

Comprimento:
1,184 página
9 horas
Editora:
Lançado em:
Jun 4, 2017
ISBN:
9781365953309
Formato:
Livro

Descrição

Written for Fujifilm’s outstanding X-T20 travel camera, this is EVERYTHING X-T20 explained in easy to understand language! It is the Manual on Steroids and much more… So if you’re uncertain about anything your XT20 does, grab this book! It’s packed with clear tutorials and examples, with nearly 400 tips and tricks to help you master photography with your X-T20.

n this 616-page full-color book, you'll learn:

* About every mode, menu, button, function, and socket.

* How to get fully touchy-feely with the new touch screen.

* How the new Fujifilm flash system and EF-X500 wireless flash works.

* All about Lighting – even Manual flash!

(Plus more!)
Editora:
Lançado em:
Jun 4, 2017
ISBN:
9781365953309
Formato:
Livro

Sobre o autor


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Amostra do Livro

The Complete Guide to Fujifilm's X-t20 - Tony Phillips

The Complete Guide To Fujifilm’s X-T20

Professional Insights for the Experienced Photographer

by Tony Phillips

Version 1.0

Covering Firmware v1.0

ISBN 978-1-365-95330-9

Published by The Friedman Archives Press

Copyright © 2017 Tony Phillips.  All rights reserved.  No portion of this book may be reproduced either in print or in any digital format without express written permission.  Contact the author at info@TonyPhillips.org

For Those Who Bought the Printed or E-reader Editions

There are a LOT of illustrations in this book that lose their effectiveness somewhat when converted to black-and-white print, or e-book reader screens like the original Kindle.

To offset these problems the Publisher offers a free, full-color, instantly- downloadable .pdf file of this eBook to all customers who bought printed books (either color or black-and-white), or who purchased an eBook through Amazon Kindle, Apple, Barnes and Noble, or other e-reader store. (The.pdf offers a far superior user experience. Think of it as the director’s cut – the way the author intended the work to be seen.)

To get your free .pdf file, just email (info@FriedmanArchives.com). Attach the receipt of the book you bought (if you didn’t buy it from the FriedmanArchivesPress.com website, then Friedman Archives does not have your customer information), and we’ll send you a download link. 

Gratitude

A heart-felt thank you to Justin Moriarty, and Fujifilm Australia for their valuable assistance with information and equipment which has contributed greatly to the quality of this undertaking:

Further thanks to my models, Jayne, Levi, Beth, Ben, Sarah, Sarah, Lincoln, Steven, Sophie, Serena, Mariah, Raylee and Steve.

All Fujifilm content used with permission. Thank you.

E:\DesktopPhotog&Pics\Pics\Lornas Images Tas SA Albany\DSC01860m45mm.JPG

Simply saying thank you isn’t enough. But I want to thank my wife Lorna for her enormous support. By now, she could surely write a book titled: Chasing a Shutterbug :-)

The Author

E:\Desktop\Pics\Family\SOURCE\07 Rear thru Canopy.jpg

E:\Desktop\Sony a57\Pics\zz My Pics for inclusion in book\LA\PA150926mTONY.jpg Tony is an author, photographer, pilot, teacher, and lecturer, and has a long-standing passion for photography. To date he has 10 published books on photography. Six on Fujifilm X cameras and lighting. He is recommended by MirrorLessons as one of 6 Authors of Mirrorless Camera Manuals Whose Books You’ll Actually Enjoy Reading. His book on the X-Pro2 was headlined in Fujifilm’s blog as The Most Comprehensive Guide on the X-Pro2. He conducts photographic seminars on the fundamentals of digital photography through to advanced lighting.

Anyone can learn to take great pictures if they have the desire. And, it is not so much the equipment (though it is important), as the person, that makes those pictures great.

Tony is widely travelled, a businessman and entrepreneur. He spends much of his time writing, teaching, travelling, lecturing, and hunting great images.

Visit www.TonyPhillips.org to learn more. Or email Tony at: info@tonyphillips.org .

Tony’s YouTube Channel:

www.youtube.com/c/TonyPhillipsPhoto

Some of Tony’s other photography books.

A Big Thank You

To thank you for buying this book, I’m offering a free PDF copy of the 132 page eBook Mastering Flash with Fujifilm X Cameras – usually a $9.95 value.

Mastering Flash is designed to do just that. To help you Master Fuji flash with confidence! It’s Lighting 101 for Fujifilm – including making manual flash a breeze.

Jump to Section 9.7 to see book contents and details on grabbing your copy.

I’ll also send you an .xls spreadsheet listing all the X-T20’s settings with brief explanations, my own personal settings, section references to info in this book, and a column to note your own settings.

This Book

In this book I make the assumption you’re an experienced photographer, and don’t need tutorials on downloading images, the basics of ISO, f/stop, shutter speed, or light and composition. (I include an appendix on this for reference however).  Nor do I delve into the software that came with your camera, or cover PC based image editing.

While many of the explanations for the camera’s features and functions are tutorial in nature with plenty of examples and tips, about half of this book is reference – allowing you to dip into it at your leisure.

Book Updates:

From time to time I write updates when new firmware is released. If you want to be notified when I do, email me at XT20@tonyphillips.org with "X-T20 Update Notification" in the subject.

Table of Contents

For Those Who Bought the Printed or E-reader Editions

Gratitude

The Author

A Big Thank You

This Book

Table of Contents

Chapter 1      Keynote Features

1.1

      

Speed – Sensor & Processor

1.2

      

Fast Electronic Viewfinder

1.3

      

Focusing

1.3.1      Autofocus

1.3.2      Focus Tracking & AF-C Custom Presets

1.3.3      Focus Zoom

1.3.4      Manual Focusing aids – MF Assist

1.4

      

Touch Screen

1.5

      

Fuji Flash Comes of Age

1.5.1      Flash Sync Speed – 180X

1.5.2      On-Camera Flash

1.5.3      Wireless Flash

1.6

      

High Quality Video

1.7

      

AUTO Modes

Chapter 2      Other Significant Features

2.1

      

Customization

2.1.1      The Q Button

2.1.2      Function Buttons

2.1.3      MY Menu – Customize your own menu!

2.1.4      Other Customizations

2.2

      

Shooting Modes - DRIVE

2.3

      

Inbuilt Films - Film Simulations

2.4

      

Advanced Filter Effects

2.5

      

Panorama

2.6

      

Multiple Exposures

2.7

      

High-Speed Shooting

2.8

      

Hybrid Shutter

2.9

      

Wireless – Wi-Fi

2.10

      

Tilting LCD

2.11

      

Styling, Build, Dials, Buttons

2.12

      

Additional Features

2.13

      

Some Nutshell!

Chapter 3      Essential Configuration

3.1

      

Essential Configuration

3.2

      

Customizing Camera Functions

3.2.1      The Customizable List

3.2.2      Customizing Fn Buttons

3.2.3      The Q-Menu

3.2.4      Deciding What to Assign and Where

3.2.5      Select Custom Setting (BASE…)

3.2.6      The MY Menu

3.3

      

Working with the Displays

3.3.1      Which Display?

3.3.2      Display Views

3.3.3      Configuring The Custom Display

3.4

      

Working With the Touch Screen

3.4.1      Shooting Stills with the Touch Screen

3.4.2      Shooting Movies with the Touch Screen

3.4.3      Touch Screen and AF Modes

3.4.4      Playback Images with the Touch Screen

3.5

      

Shooting Style Ideas

3.6

      

My Personal Camera Settings

3.6.1      Shooting Menu Settings

3.6.2      Setup Menu Settings

3.6.3      Playback Menu Settings

3.6.4      Drive Dial Settings

Chapter 4      Quick Start Guide

4.1

      

Focusing Essentials

4.1.1      How does the camera know what to focus on?

4.1.2      Single AF / Continuous AF Focusing Modes

4.1.3      Instant AF

4.1.4      AF Trick for Portraits

4.2

      

Shooting Modes - P-A-S-M

4.3

      

Panorama Essentials

4.4

      

Movie Essentials

4.5

      

Playback Essentials

4.5.1      Look At It This way - The Display Button

4.5.2      EXIF Image Information

4.5.3      Movie Playback Views

4.5.4      Magnifying the image

4.5.5      Thumbnail Views – Multi-Frame Playback

4.5.6      Image Deletion

4.5.7      Protecting an image or Movie

4.5.8      Viewing images on an HDTV

4.5.9      Slide Show

4.6

      

Power Essentials

4.6.1      Saving Power

4.6.2      Batteries

4.7

      

RAW Restrictions

Chapter 5      Shooting Essentials

5.1

      

ISO Essentials

5.1.1      High ISO Noise Levels

5.1.2      Manual ISO Setting

5.1.3      AUTO ISO

5.1.4      Auto ISO in Manual Exposure Mode

5.1.5      ISO Bracketing

5.1.6      ISO-Less Sensor

5.2

      

White Balance (WB)

5.2.1      Auto White Balance and Pre-Set White Balance

5.2.2      WB Shift - Fine Tuning the 7 WB PreSets

5.2.3      Color Temperature – Kelvin

5.2.4      Custom White Balance

5.3

      

Autofocus Options - AF Modes

5.3.1      Single Point

5.3.2      Zone

5.3.3      Wide/Tracking

5.3.4      AF-C Custom Settings

5.4

      

Metering (Photometry)

5.4.1      Multi (Multiple Zone Metering)

5.4.2      Spot Metering

5.4.3      Center Weighted Metering

5.4.4      Average Metering

5.5

      

Flash Essentials – A Lot Has Changed

5.5.1      Flash Control Modes

5.5.2      (TTL) Flash Modes

5.5.3      Flash Sync - Modes

5.5.4      Flash Compensation – TTL Flash

5.5.5      Flash Power – Manual Flash

5.5.6      Flash Types

5.5.7      Flash and Red-Eye Removal

5.5.8      Modeling Flash

Chapter 6      Film Sims and Filters

6.1

      

Film Simulation

6.1.1      Classic Chrome Film Simulation

6.1.2      Shooting In B&W

6.1.3      Acros Film Sim

6.2

      

Tweaking the Tweaks

6.2.1      Grain Effect

6.2.2      Tone Curves

6.2.3      Combining Tone Settings

6.2.4      Noise Reduction (NR)

6.2.5      Other Ways to Reduce Noise

6.2.6      Color

6.2.7      Sharpness

6.2.8      Dynamic Range (DR)

6.2.9      Image Size (L 3:2)

6.2.10      Image Quality

6.3

      

Combining Sims and Settings

6.3.1      Cool Pastel

6.3.2      High Contrast Monochrome (HCM)

6.3.3      Other Films – Tweaking Suggestions

6.4

      

Advanced Filters

6.4.1      Toy Camera

6.4.2      Miniature Mode

6.4.3      Pop Color

6.4.4      High-Key

6.4.5      Low-Key

6.4.6      Dynamic Tone

6.4.7      Soft Focus

6.4.8      Partial Color

6.4.9      Advanced Filter Restrictions

Chapter 7      Drive Modes

7.1

      

Movie

7.2

      

Bracketing (1 & 2)

7.2.1      AE Bracket (Automatic Exposure)

7.2.2      ISO Bracket

7.2.3      Film Simulation Bracket

7.2.4      White Balance Bracket (WB)

7.2.5      Dynamic Range Bracket (DR)

7.3

      

Continuous Low / High (Burst)

7.4

      

Single Frame

7.5

      

Advanced Filter (1 & 2)

7.6

      

Multiple Exposures

7.7

      

Panorama

7.7.1      Panorama Exposure

Chapter 8      Exterior Buttons Uses & Settings

8.1

      

Primary Exposure Controls

8.1.1      Program Shift

8.2

      

Aperture Ring

8.3

      

Shutter Speed Dial

8.3.1      Flash Sync Speed (180X)

8.3.2      TIME

8.3.3      BULB

8.5

      

Exposure Compensation Dial

8.6

      

Manual Exposure Mode

8.7

      

Focus Mode Selector

8.7.1      AF-S (Single-AF)

8.7.2      AF-C (continuous AF)

8.7.3      MF (Manual Focus)

8.8

      

Mic, USB, Remote Release HDMI

8.8.1      Microphone Jack

8.8.2      Remote Release Connector

8.8.3      HDMI

8.8.4      USB

8.9

      

DRIVE Dial

8.10

      

Delete Button (TrashCan)

8.11

      

Playback Button

8.12

      

Viewfinder Eyepiece Diopter Adjustment

8.13

      

View Mode and the Eye Sensor

8.14

      

AUTO Selection Lever

8.15

      

AE-L Button

8.16

      

AF-L Button

8.16.1      AF Lock Only

8.16.2      AE/AF Lock

8.16.3      AF-On

8.16.4      Instant AF

8.17

      

Front & Rear Command Dials

8.18

      

Focus Assist

8.19

      

Q Button

8.20

      

DISP/BACK Button

8.21

      

Fn Buttons

8.22

      

Film Plane Marker

8.23

      

Indicator Lamp

8.24

      

Other Controls

Chapter 9      Lighting - Using Flash

9.1

      

Flash Models

9.1.1      Fujifilm Accessory Flash Models

9.1.2      Third Party Manual Flash Models

9.1.3      Third Party TTL Flash Models

9.2

      

TTL vs Manual Flash

9.3

      

TTL Flash

9.3.1      Flash Compensation

9.4

      

Manual Flash Mode

9.5

      

Getting flash off-camera

9.5.2      Manual Commander IR Wireless

9.5.3      Manual Wireless Radio Triggering

9.5.4      TTL - Fly by Wire – Cables

9.5.5      TTL – Fujifilm’s Optical wireless system

9.5.6      TTL – Radio Re-Encoding Triggering

9.6

      

FP High Speed Sync

9.6.1      HSS benefits

9.6.2      Flash Power

9.6.3      Shooting HSS

9.7

      

Mastering Flash - Go Further with Lighting

Chapter 10      Lens Considerations

10.1

      

Fast Glass

10.5

      

XF vs XC Lenses

10.5

      

Fixed-Focal Length Prime Lenses

10.1

      

OIS – Optical Image Stabilization

10.2

      

Teleconverters

10.3

      

Adapting Lenses

10.3.1      M-Mount

10.3.2      Using Modern Existing Glass

10.3.3      Adapting Legacy Glass

10.4

      

Hankering for an X100F?

10.5

      

Lens Modulation Optimizer

Chapter 11      Movie Mode

11.1

      

Executive Summary

11.1.1      Playing Movies on the LCD

11.1.2      Uploading Movies

11.2

      

To 4K or not 4K

11.2.1      What is 4K?

11.3

      

Focusing in Movies

11.3.1      Touch Screen Focus:

11.3.2      Manual Focus (Hollywood Style)

11.4

      

Controlling Movie Exposure

11.4.1      Automatic Exposure for Movies

11.4.2      Aperture Exposure for Movies

11.4.3      Shutter Exposure for Movies

11.4.4      Manual Exposure for Movies

11.5

      

Other Movie Options

11.5.1      Metering for Movies

11.5.2      Movie Framerate

11.5.3      Movie Length

11.5.4      Lenses And Movie Making

11.5.5      WB – White Balance in Movies

11.5.6      Film Simulation

11.6

      

Recording Audio & Microphones

11.6.1      Mic Level Adjustment

11.7

      

Movie Files

11.8

      

Editing your Footage

Chapter 12      Wi-Fi, Wireless & Instax

12.1

      

Wi-Fi Remote Control

12.2

      

View / Transfer Images to a Device

12.3

      

Instax Printing

12.3.1      Pairing with an Instax PRinter

12.4

      

Other Wi-Fi Functions

Chapter 13      The Playback Menu

13.1

      

Raw Conversion

13.2

      

Erase

13.3

      

Crop

13.4

      

Resize

13.5

      

Protect

13.6

      

Image Rotate

13.7

      

Red Eye Removal

13.8

      

Wireless Communication

13.9

      

Slide Show

13.10

      

Photobook Assist

13.11

      

PC Auto Save

13.12

      

Print Order (DPOF)

13.12.1      Printing the Date on the Image

13.12.2      Removing DPOF selection and Resetting All (Unmark All)

13.13

      

Instax Printer Print

13.14

      

Display Aspect Ratio (Disp. Aspect)

Chapter 14      The Shooting Menus

14.1

      

Image Quality Setting

14.1.1      Image Size

14.1.2      Image Quality

14.1.3      Raw Recording

14.1.4      Film Simulation

14.1.5      Grain Effect

14.1.6      Dynamic Range

14.1.7      White Balance (WB)

14.1.8      Highlight Tone

14.1.9      Shadow Tone

14.1.10      Color

14.1.11      Sharpness

14.1.12      Noise Reduction

14.1.13      Long Exposure NR (Noise Reduction)

14.1.14      Lens Modulation Optimizer

14.1.15      Color Space

14.1.16      Pixel Mapping

14.1.17      Select Custom Setting (C1-C7 presets)

14.1.18      Edit/Save Custom Setting (C1-C7 Presets)

14.2

      

AF/MF Setting

14.2.1      Focus Area

14.2.2      AF Mode

14.2.3      AF-C Custom Settings

14.2.4      AF Point Display

14.2.5      Number of Focus Points

14.2.6      Pre-AF

14.2.7      AF Illuminator

14.2.8      Face/Eye Detection Setting

14.2.9      AF+MF

14.2.10      MF Assist

14.2.11      Focus Check

14.2.12      Interlock Spot AE & Focus Area

14.2.13      Instant AF Setting

14.2.14      Depth-Of-Field Scale

14.2.15      Release/Focus Priority – AF-S & AF-C

14.2.16      Touch Screen Mode

14.3

      

Shooting Setting

14.3.1      Scene Position

14.3.2      Drive Setting

14.3.3      Self-Timer

14.3.4      Interval Timer Shooting

14.3.5      Metering - Photometry

14.3.6      Shutter Type

14.3.7      IS Mode

14.3.8      ISO

14.3.9      Mount Adaptor Setting

14.3.10      Wireless Communication

14.4

      

Flash Setting

14.4.1      Flash Function Setting

14.4.2      Red Eye Removal

14.4.3      TTL-Lock Mode

14.4.4      LED Light Setting

14.4.5      Master Setting

14.4.6      CH Setting (Channel Setting)

14.5

      

Movie Setting

14.5.1      Movie Mode

14.5.2      Movie AF Mode

14.5.3      HDMI Output Info Display

14.5.4      4K Movie Output

14.5.5      HDMI Rec Control

14.5.6      Mic Level Adjustment

14.5.7      Mic / Remote Release

14.6

      

MY menu

Chapter 15      The Setup Menus

15.1

      

User Setting

15.1.1      Format

15.1.2      Date/Time

15.1.3      Time Difference

15.1.4      Language

15.1.5      My Menu Setting

15.1.6      Sensor Cleaning

15.1.7      Sound & Flash (Silent Mode)

15.1.8      Reset

15.2

      

Sound Set-Up

15.2.1      AF Beep Volume

15.2.2      Self-Timer Beep Volume

15.2.3      Operational Vol. (Volume)

15.2.4      Shutter Volume

15.2.5      Shutter Sound

15.2.6      Playback Volume

15.3

      

Screen Set-Up

15.3.1      EVF Brightness

15.3.2      EVF Color

15.3.3      LCD Brightness

15.3.4      LCD Color

15.3.5      Image Display

15.3.6      EVF Autorotate Displays

15.3.7      Preview Exposure & WB In Manual Mode

15.3.8      Preview Pic Effect

15.3.9      Framing Guideline

15.3.10      AutoRotate PB (Playback)

15.3.11      Focus Scale Units

15.3.12      Display Custom Setting

15.4

      

Button/Dial Setting

15.4.1      Edit/Save Quick Menu

15.4.2      Fn/AE-L/AF-L Function Button Setting

15.4.3      Selector Button Setting

15.4.4      Command Dial Setting

15.4.5      Shutter AF (Back Button Focus)

15.4.6      Shutter AE

15.4.7      Shoot Without Lens

15.4.8      Focus Ring

15.4.9      AE/AF-Lock Mode

15.4.10      Aperture Setting

15.4.11      Touch Screen Setting

15.5

      

Power Management

15.5.1      Auto Power Off

15.5.2      Performance

15.6

      

Save Data Settings

15.6.1      Frame No.  (Frame Number)

15.6.2      Save Org Image

15.6.3      Edit File Name

15.6.4      Copyright Info

15.7

      

Connection Setting

15.7.1      Wireless Settings

15.7.2      PC Auto Save Setting

15.7.3      GeoTagging Set-Up

15.7.4      Instax Printer Connection Setting

Chapter 16      Digital Imaging Topics

16.5

      

An Introduction to RAW

16.6

      

How Cameras Create JPEGs

16.7

      

Image File Types - RAW, TIF, JPG

16.8

      

JPG Artifacts

16.9

      

Shooting JPEGs

16.10

      

RAW Processing

16.10.1      RAW Conversion

16.10.2      Noise Reduction

16.10.3      Sharpness

16.10.4      Software Options

16.10.5      So what’s all that mean?

16.11

      

Image Resolution - viewing & Printing

16.12

      

Tone Curves

16.12.1      S-Curve – Adds Contrast

16.12.2      Reverse S-Curve – Removes Contrast

16.12.3      Brightening Curve

16.12.4      Darkening Curve

Chapter 17      Tech Topics

17.5

      

The Sensor

17.5.1      Megapixels

17.5.2      Phase Detect AF

17.5.3      No Optical Low Pass Filter!

17.5.4      Micro-lenses

17.5

      

The X Processor Pro

17.5.1      Upgraded JPEG Processing

17.5.2      Speed

17.5.3      14-bit RAW

17.5

      

Memory Cards

17.6

      

Sensor Dust – Checking & Cleaning

17.7

      

GPS GeoTagging

17.7.1      Geotagging Set-Up

17.7.2      Uploading Location Data to your Camera

17.7.3      Viewing Location Data in Playback

17.7.4      Alternatives for Geotagging

17.8

      

PC Auto Save

17.8.1      Setting up the Connection

17.8.2      Saving Images / Movies to your Computer

Epilogue

Appendix A      Additional Resources

A.1

      

Internet Resources

A.2

      

Tony’s Books

A.3

      

Publisher Offerings Of Interest

A.3.1      25 Ways to Wow! e-Booklet

A.3.2      Advanced Topics 2

A.3.3      Books on Other Cameras

A.4

      

Cameracraft Magazine

A.5

      

Ways to ‘Wow!’ with Wireless Flash

A.6

      

High-Impact Photography Seminars

Appendix B      Condensed Guide to the Basics

B.1

      

Shutter Speed

B.2

      

Aperture (F/Stops)

B.3

      

ISO

B.4

      

Exposure Variables – The Tradeoffs

B.5

      

Program Shift

B.6

      

The Histogram

B.6.1      Brightness

B.6.2      The Histogram Exposed

B.7

      

The Secrets to Outstanding Images

B.7.1      Light

B.7.2      Composition

Index

Chapter 1      Keynote Features

Modern cameras are quite complex little critters. They are really small hand-held computers with glass, knobs, dials and buttons that have many functions, and functions buried within functions. What do they it all do?

That’s what this book is about. In these pages, I delve into all the camera’s features, providing what I hope are clear explanations of what everything is, what it’s for, and how to use it – even the hard stuff. There’s hundreds of tips and tweaks to help you get up to full speed with it all and maximize your enjoyment, comfort, and skill with your camera.

You may have heard it said the X-T20 is an upgraded X-T10, or a cut-down X-T2, and in some ways it is, and others not. What it is, is a full-featured mirrorless camera. There’s more pixels, more speed, fast focusing, more customization, more range in settings, and more speed (did I say that?), 4K video, and more. In fact, the X-T20 is so good, it could be your primary camera, or a second camera body for pros and serious photographers, or the best travel camera you’ve ever used!

One of the biggest challenges with mirrorless cameras has been they weren’t fast enough. The issue is several-fold: first, the body is much smaller than a heavy-weight DSLR so there’s limited room to fit things like memory and fast processors; second, there’s no mirror, so the main sensor must provide focusing - and contrast focusing is comparatively slow. But the X-T20 demonstrates all that has changed.

This thing is fast – and capable! And fun! I really like it!

Let’s jump right in:

1.1      Speed – Sensor & Processor

At the heart of your new beast, is the fastest sensor and processor Fujifilm has yet released. Both are exactly the same as in the new X-Pro2, or X-T2. There’s a lot to be said about just why this is important, and you can read about both in the Tech Topics chapter starting in Section 17.5, if you want the low-down on why they make your camera so wonderful.

But for the moment, consider this. The new sensor allows for 24 MP at low noise, and it’s twice as fast as previous Fujifilm sensors. Significantly, it has a large area of phase detect pixels for fast focusing.

There’s no mystery about where the fast-focusing phase detect (PDAF) area of the X-T20’s X-Trans Sensor is. Just remove the lens and peek inside (Figure 1-1). For a far more helpful view of this when you’re in the mud shooting, thumb the Fn button assigned to moving the autofocus frame. The large squares in the view in  Figure 1-2 are where the phase detect pixels are. For fastest PDAF (phase detect) focusing, keep the focus frame inside this area.

There are yet other technological benefits in the X-T20’s sensor – like the absence of anti-aliasing filters, and micro-lenses to help keep those pictures sharp.

Similarly, the X Processor Pro is four times faster than the previous generation of Fujifilm processors.

This allows for upgraded JPEG algorithms, faster processing of images, 14-bit RAW files, and a very fast camera.

Again, read up more on this in the tech topics in Chapter 17.

Changing speed ourselves, it’s no good having all that performance if you can’t see what you’re getting, right?

1.2      Fast Electronic Viewfinder

If you’ve never used one before, one peak through the electronic viewfinder, and you’ll see the world in a whole new way. You’ll see what the camera sees as you change films, manage white balance, stretch the dynamic range, or alter aspect ratio.

Viewfinder resolution is a healthy 2.36 million dots! Refresh rate is 100fps in High Performance mode, and 60fps in Standard mode – which all means EVF lag is a thing of the past, and what you see in the viewfinder, is what you get. (WYSIWYG, for the old-timers among us!)

Of course, the big deal with an electronic viewfinder is you see a live view of what you are shooting, overlaid with relevant shooting information you usually only have on a rear LCD screen – except the EVF has much higher resolution. This works in all shooting modes.

Fujifilm brings new-ish thinking with EVF shooting information now rotating into portrait mode when you turn the camera on its side. Turn this on in MENU --> D:\Desktop\SetupSpannerIcon2.png --> Screen Set-Up --> EVF Autorotate Displays --> On. Surprisingly, the LCD doesn’t have this feature, so if you frequently swap between displays you must look for info in different places – which may be the only argument for ever turning this off.

The EVF displays the playback image too – reducing chimping (moving the camera from your eye to view your last capture on the LCD), since you can see it right in the viewfinder. For this to work, set the review option in MENU --> D:\Desktop\SetupSpannerIcon2.png --> Screen Set-Up --> Image Disp. --> to something other than OFF. Of course, you can always press the Playback button to review images in the EVF too.

What makes the electronic viewfinder so good?  It’s an Organic L.E.D. (OLED) display – the same kind used on high-end smart phones.  They’re brighter, have a wider colour gamut, and have a faster refresh rate (and resolution) than the camera’s rear LCD. 

One significant benefit the EVF brings to outdoor videography is you don’t have to strain your eyes looking at a sun-washed LCD on a bright day. Simply switch to EVF instead! Or if you are really into videography, you might want to invest in a field monitor with hood, to mount to the video rig you invariably need, to get the job done. Right?

The X-T20’s low-lag viewfinder is one of the essential ingredients that makes it a joy to use this camera. With it:

1.      You can see how your image will look before you shoot (exposure, white balance and depth of field),

2.      You get a live histogram for ultimate exposure management,

3.      You have great tools for manual (next section),

4.      You have compositional guidelines and a digital level should you want,

5.      You can display customizable shooting information,

6.      The EVF is great for shooting in low light.

The various viewfinder and LCD display modes are covered in Section 3.3, and Section 15.3 digs into all the Screen Set-Up options.

1.3      Focusing

1.3.1      Autofocus

You wouldn’t believe how many people ask me why they should buy an X-T20 above their current X camera. And the short answer is…

Speed…! Fast autofocus! (I know, I know, there’s lots more!)

While the X-T1 represented a huge step forward in Fujifilm’s quest for DSLR-like autofocusing speeds, the X-T20 is clearly right up there with the fastest, most accurate focusing X cameras to date - the X-Pro2 and X-T2. Notwithstanding the obvious bump in megapixels from the previous model, this is arguably the most significant aspect of the new sensor/processor pairing.

The X-T1’s sensor has 77 focus points with 15 phase detect points grouped at the centre of the sensor. Of these, 49 points are user selectable. The X-T20’s new X-Trans III sensor takes this to a whole new level with 325 focus points – 169 of which are phase-detect (PDAF), covering 40% of the sensor area – all points are directly selectable.

This allows for high-speed 8fps¥ stills shooting, autofocus as fast as most DSLRs, and predictive tracking at burst speeds in AF-C. (¥ up to 14fps with electronic shutter.)

Indeed, the X-T20’s focusing system is so good that the camera can truly be your primary shooter. Where AF speed lags somewhat is with some of the earliest XF lenses. Or put another way, where the X-T20’s focusing speed excels, is with the newest XF lenses specifically designed with linear focusing motors to keep up with the new processor. Read up on this in Chapter 10.

You don’t have to shoot with it for long before it becomes clear that the T20’s autofocus is fast and accurate.

1.3.2      Focus Tracking & AF-C Custom Presets

When the X-T1 was released, the buzz was all about predictive tracking. Essentially, that camera uses what it knows about the speed and direction of a subject to predict where it should focus when the next picture is taken, and it adjusts accordingly. This reduces the time required to take the picture since the camera is now altering focus ahead of time to account for the usual delays implicit in focusing before taking a picture.

The X-T20 still does all this, but the buzz has shifted, and now it’s about AF-C Custom Settings – predictive focusing presets, if you like.

What the presets do, is attempt to refine the concept introduced earlier, by using your input to better understand what kind of subject the camera should be tracking. Indeed, for best results, it’s imperative to match the action you are photographing to the appropriate preset. Without this input, some presets work rather poorly when used in contrary circumstances.

While the X-T20 has brought so many new features to Fujifilm shooters, these new tracking modes are a boon for sports and wildlife photographers, allowing us to shoot all kinds of motion at burst speeds with a high degree of certainty that we will accurately capture the action we wish to follow.

You’ll find presets like these in some other top-end cameras – and in spite of the apparent complexity, they are easy to use – and indeed, the icons are your friend, giving you a simple memory hook to match action-to-preset.

There are five AF-C Custom presets to suit the kind of action you wish to track. The presets only work in Zone AF, or Tracking AF focus modes.

Although it’s not apparent, each preset is comprised of three variables, which determine: 1) how tenaciously tracking should stay locked on a subject; 2) how evenly the subject is expected to move; and, 3) which part of the AF zone to prioritise during focus.

Given these variables, it is imperative the correct preset be selected for the intended subject, in order to instruct the camera what to do with intervening obstacles, temporary loss of the subject, subject velocity and consistency, and what should happen with initial, and subsequent focus in the focus zone. Since the variables are not explained in the camera or manual, I include a full rundown on them in Section 5.3.4.

Custom Presets, but which Focus Mode is best? Since these presets can be used with Zone AF and Tracking AF modes, some consideration should also be given as to which of these AF modes will provide the most accurate tracking given subject movement – especially with respect to high-speed subjects. Indeed, Zone, is one of the variables already mentioned, and Zzone AF mode gives good results. This is also discussed fully in Section 5.3.4.

Putting AF-C Presets to the Test: To test the presets under challenging conditions, I took myself off trackside to a race meet. The sub-second sequence in Figure 1-7 shows one AF-C preset in action.

Frankly, I didn’t expect AF-C to perform well in under these conditions, but as Figure 1-8 shows, the camera did a great job of focusing on my initial subject, and ignoring the obstacle rapidly coming up on the inside – between subject and lens. This is AF-C Custom preset 2 in action, ignoring obstacles.

It’s worth noting that how well tracking works depends somewhat on how outstanding your subject is. A subject moving from shadow to sunlight will probably be lost. Likewise, picking out distant subjects from a composition doesn’t always work well. This is due to the contrast/colour methodology used by the tracking system to identify the subject under the focus frame, and the hybrid nature (contrast and phase-detect) of the AF-C focusing system.

Presets and Lenses: Which lens you are using will also impact tracking results. Heavier lenses have a lot more glass to move during focusing. Additionally, the newer range of Fujifilm lenses have uprated electronics and linear tracking motors that work synergistically with the X-T20’s faster processor. Read more about this in the lens discussion in Chapter 10.

Many pages are devoted to AF-C Custom Settings in Section 5.3.4.

1.3.3      Focus Zoom

Focus Zoom is indispensable for eyeballing critical focus. It’s easy to use, and works in both AF-S and Manual Focus modes. Just press the rear command dial and your view is instantly filled with the area under/around the focus frame. This works even if you’ve relocated the focus frame as in Figure 1-9b - you zoom that area, not the centre-of-screen. This is a very handy tool, and easy to use without taking your eye from the viewfinder.

1.3.4      Manual Focusing aids – MF Assist

The X-T20 provides two great manual focusing aids to assist in fine-tuning manual focus.  Both work in concert with Focus Zoom, meaning you can manually manage focusing with a high degree of accuracy in the least amount of time.

The first MF Assist option is Digital Split Imaging – somewhat reminiscent of DSLR split screens from days of yore – or youth, depending on how old you are willing to admit you are. With DSI, you know your image is in focus when the panes line up. (Figure 1-10.)

The second is a very useful feature called Focus Peak Highlighting.  As you turn the lens focus ring, areas that have high contrast (which equates to sharp focus) are highlighted in coloured pixels.  (Figure 1-11.) 

Switch between these modes by long-pressing the rear command dial. A notification briefly flashes in the viewfinders alerting you to your selection.

You’ll notice a third mode as you toggle through these – Standard – which really means no MF Assist at all. Choose this and you are manually eyeballing manual focus in the viewfinder. Not very satisfactory unless you combine it with Focus Zoom.

MF Assist options have additional settings in MENU --> --> MF Assist. Your selection is saved, so from now on you can just use the rear dial for rapid selection. See 14.2.10 for more on these settings.

1.3.4.1      Digital Split Imaging

If you are sufficiently ancient enough (think wise… :-)) you’re likely to recall the heady days before autofocus existed, where split imaging was virtually the only way to achieve accurate manual focus.

With the addition of phase detect pixels on the sensor, Fujifilm has revived the concept with a digital split imaging system just for those of us hankering for the good ole days - or perhaps used to the array of focusing screens available on high end DSLRs (See Figure 1-10). In some literature, Fujifilm recommends the use of DSI for macro and wide aperture work.

There are two ways to engage this feature. The menu way, in MENU --> --> MF Assist --> Digital Split Image, or, the speedy way, which only works when the camera is set to Manual Focus mode. Just long-press the rear command dial for a second. As mentioned, you cycle through the manual focusing options by repeating this action.

Given the next MF Assist option, I don’t use digital split imaging much, preferring Focus Zoom with Focus Peak Highlighting for critical manual focus. Of course, autofocus is pretty good on this camera too!

1.3.4.2      Focus Peaking

If you’re new to this, you will find this fun and really useful. Using it is simple. Just rotate the focusing ring, and things that are in-focus (have high contrast) are highlighted in a snow of red, white, or blue. Of course, since it’s really highlighting high-contrast outlines in these colourful snowflakes, it’s not entirely foolproof. But it is quite good.

There’s a good array of highlight colours to choose that suit most shooting situations, and you can set the intensity of contrast to highlight in MENU --> --> MF Assist --> Focus Peak Highlight --> (colour + High or Low).

‘Low’ gives you the least number of snowflakes to contend with by selecting areas of highest contrast, and ‘High’ selects areas with a wider range of contrast – giving you a higher number of coloured snowflakes, and potentially a little less accurate focus.

I combine Focus Zoom with Focus Peaking for the best in manual focus. I have peaking set to ‘Low’ for critical focusing only.

1.4      Touch Screen

New to this level of Fujifilm camera, is a touch screen. People usually want these (if they want them at all) for rapid relocation of the focus frame, touch-to-take-pictures, and navigation in playback and menus.

The X-T20 delivers most of these, but not all. There is no menu interaction, and some, but not complete, playback integration.

Where the touch screen shines, is:

      in shooting movies, where pulling focus is as easy as it’s ever been;

      in the now widely used pinch-zoom and swipe features in stills (only) playback; and,

      for certain types of stills shooting where it provides rapid access to focus frame relocation, and touch-to-take-pictures.

There are four shooting touch screen options – but they operate differently for movies and stills.

For Stills shooting: Apart from OFF, the three options of interest are SHOT, AREA, and AF (Figure 1-12).

SHOT: immediately takes a picture, focusing on the subject under the area you touched. This does NOT relocate the focus frame – but does focus where you touch.

AREA: relocates the focus frame, but does not autofocus or take a picture.

AF: as above, with autofocus. No picture is taken. Tap the icon to disengage.

See section 3.4 for a complete run-down on each option, and how it applies to making pictures or filming.

If you focus-recompose, you might find yourself modifying that behaviour now there’s a touch screen. I mean, focus-recompose is a work around a camera limitation, isn’t it! If the camera knew what you wanted to focus on, the focus point would be in the right position every time. Of course it doesn’t know, so the next best thing is rapid relocation of the point where you have the time to do so. This works well except for fast moving subjects. Once you become used to this way of working, you may never want to look back.

The touch screen is not the only method available for relocating the focus frame. You can move it using a Function button and the Selector/arrow keys. Assign MENU --> -->  Focus Area to the button of choice. Once pressed, the arrow keys steer the frame on the screen. This works for the EVF also.

So that’s the touch screen. To read up on the LCD’s other feature – tilting – see Section 2.10.

Section 3.4 covers all things touch-screen, including use in playback mode, and how it applies to making pictures or filming.

1.5      Fuji Flash Comes of Age

Mastering lighting with flash will boost your creative photography no-end. Learning to use flash on and off-camera gets the most from shooting in the widest range of circumstances. And the truth is, if you’re serious about your art, there’s almost no better way to leap ahead than by mastering flash.

System Overhaul: The way you control flash in the X-T20 has changed significantly from earlier X cameras. Essentially, the options are quite similar. But Fujifilm has created a nested logic, and new nomenclature for flash modes to include the availability of HSS flash, and the extension of TTL flash to off-camera wireless TTL flash.

EF-X500 Flash: To make all this wizardry possible, Fujifilm has also introduced the new EF-X500 flash unit – capable of triggering and slaving in the new IR wireless mode, as well as on, and off-camera TTL and high speed sync shooting. To shoot TTL wirelessly though, you’ll need two of these beasties, which will bite into your wallet considerably. I fully imagined the Built-In flash would provide the perfect triggering device for the new system – but alas, it does not.

Commander Flash: Thankfully, for those comfortable with manual flash exposure, the new flash system retains the manual-only Commander IR wireless flash mode familiar in previous X cameras. Once you’re over the hump of using manual flash exposure, Commander provides a worthy, and significantly cheaper option for wireless, off-camera flash.

High Speed Sync: HSS flash (High Speed Sync) both on, and off-camera, rounds out the list of things that brings the Fujifilm lighting system completely up to spec. Above a shutter speed of 1/180th of a second, the camera automatically switches to HSS mode – all the way to 1/4000th of a second; meaning you have more creative capability lighting subjects and competing with strong, ambient light. Unsurprisingly, this functionality requires a HSS capable flash – and the only one to date is Fujifilm’s own EF-X500.

New Red-Eye Modes: Finally, if you absolutely must remove red-eye in camera, there are new, more intelligent red-eye modes – and even some that don’t require the use of that expression-wrecking pre-flash to work, but rather, they digitally post-process the image to remove red-eye after the fact, before saving the JPEG to the memory card.

1.5.1      Flash Sync Speed – 180X

Sync speed is the fastest shutter speed you can use with flash (without HSS). Beyond this speed, part of your image will be obscured by the shutter moving up the image.

There’s a full explanation of flash sync speed in the bonus eBook (see Section 9.7), but for the moment, I’d like to point out two things:

1) The shutter speed dial has a convenient mark etched at 1/180th to make the Sync Speed easier to remember (Figure 1-14); and,

2) If you have the EF-X500 flash atop the camera and dial past 1/180th, the camera automatically switches to the new FP(HSS) mode.

1.5.2      On-Camera Flash

The X-T20 has a Built-In flash with a healthy GN of 7 at ISO 200. Apart from that, there is an increasing range of Fujifilm and third-party accessory flash units.

My go-to flash is the diminutive EF-X20, which has manual flash exposure and TTL exposure compensation readily available on a dial atop the unit. I like the well-built Nissin i40 for similar reasons, and more power.

In practice, I use flash a lot – even in broad daylight. I like fill-flash, and I like to expose for the background and light the foreground where possible. If you’ve used the X100/S/T/F’s Real High Speed Sync much, you’ll understand what I’m talking about.

If you have the EF-X500, you can emulate the X100 series capacity to compete with ambient sunlight with the new FP(HSS) high speed sync flash function. HSS works both on-camera, and wirelessly (next section).

1.5.3      Wireless Flash

Look at any portrait studio and you’ll see lights everywhere – though rarely on top of the camera itself. That’s because professional photographers understand the least flattering place to put a flash is on the camera facing toward your subject. Where’s the best place?  ANYWHERE ELSE!

Broadly, there are a number of ways you can do this. Fujifilm provide two of them: Commander, manual wireless flash, and the all-new TTL/Manual Optical wireless flash.

You can also use fairly inexpensive cables to get your accessory flash away from the camera, and preserve automatic TTL flash exposure without the need for several new flash units. Apart from that, there’s radio triggers. Some provide manual flash exposure, others TTL.

Managing manual flash exposure is not as daunting as it might seem, and it’s well worth the effort for the huge benefit it can bring to your photography for very little outlay.

I cannot emphasize enough the significance of wireless, or off-camera flash.  In fact, it is so important that it fills a fair portion of my book: Mastering Flash with Fujifilm’s X Cameras. See Section 9.7.

See Section 5.5 for a

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