viewfinder or lcd screen made in china

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The benefits of the viewfinder and LCD screen are often compared with one another. Depending on whom you ask, you might hear remarkably different opinions on the usability of the two.

Let’s go through some of the pros and cons of both and present you with an objective case for why you should pick one over the other. Keep in mind that this isn’t meant to dictate which shooting method you should use. There are valid reasons to use both; it just depends on the situation.

As discussed above, photography is all about precision. Viewfinders have been around long before LCD screens, and therefore many photographers find viewfinders more comfortable to work with.

Viewfinders offer much more precision when you are shooting, especially on a bright day. It allows you to focus on the small details. Viewfinders reduce image distortion and capture an accurate image. That’s why most DSLRs and high-end mirrorless cameras today still have viewfinders.

Running out of battery is a nightmare for photographers, especially if you don’t have any spares. That’s why viewfinders are considered optimal in these situations. Viewfinders use comparatively much less battery than LCD screens.

If you are shooting in an area where electricity is scarce, or don’t have access to a charger or backup batteries, the viewfinder will be a better choice for you.

Viewfinders are very convenient to use and provide smooth handling. When looking through the viewfinder, it’s easy to keep the camera steady. This makes the viewfinder an optimal choice when you need to zoom in or have a slightly heavier camera.

For many people, this extra effort of adjusting your eyeglasses is troublesome. However, some viewfinder cameras have a built-in diopter that can help make it easier to use with glasses.

Viewfinders can be much smaller compared to LCD screens. As a result, you may not be able to see everything you’re capturing in the viewfinder accurately. This drawback is very important for photographers who want to preview every single detail when taking a picture.

To see details on viewfinders, especially the electronic ones, you have to zoom in on the frame. However, this can lower the resolution of the preview. Luckily, if most of your shots consist of zoom shots, this may not bother you much.

What sets LCD screens apart from viewfinders is their ability to provide 100% image coverage to the photographer. In comparison, cameras with a viewfinder offer around 90-95% of the image, sometimes less.

What you see through the viewfinder doesn’t always end up in the final result. Small details can be crucial. That’s why this 5-10% difference in image coverage can be a significant reason why you might choose an LCD screen over the viewfinder.

When you are in a lower field-of-view, framing can be much more difficult. Many people can’t take a picture while lying on the ground using a viewfinder. This is where LCD screens come in. Flexible LCDs make it easier for you to capture images when you can’t reach awkward angles.

LCD screens produce great results for night photography. LCD screens are often used for night photography due to their bright image playback quality. They help you focus on the small details when you are shooting at night.

An evident shortcoming of the LCD screen is its lack of utility on a bright day. Because of the glare, many people cannot use their LCD screen at all on a sunny day. It’s hard to see anything on the LCD except the reflections.

Another drawback to using an LCD screen is its difficulty in handling it. Holding the camera while looking through the LCD screen is difficult and takes a lot of effort, especially when you are zooming and trying to be precise.

Another disadvantage of LCD screens is the fact that they can easily overexpose your image. This should not be a problem for seasoned photographers who can improve the quality of the image with better handling and precision.

Those were some of the benefits and drawbacks of using a viewfinder and LCD screen to consider. So, which one is best? The answer depends on your personal preferences and budget.

If you’re a traditional photographer, you’ll probably be more comfortable with the viewfinder. If you are a photographer who likes to focus on small details and image quality, you should opt for the LCD screen.

Production of Sharp’s AQUOS LCD color TVs passed the five-million mark*1 on December 28, 2004. Sharp has also been providing larger screen LCD TVs and higher performance models with a variety of lineup as well as delivering new viewing styles for LCD TVs.

Sharp was the first to bring electronic calculators incorporating ICs or LSIs to the market but further miniaturization would only be possible if the display could be made smaller. The fluorescent elements, or LEDs (light emitting diodes), used in displays up to that time consumed a lot of electricity, so calculators had to be equipped with bulky batteries. Sharp set out to find a new display that would use less energy and take up less space. After examining the problem from every angle, it was finally decided to begin research into LCD (liquid crystal display) technology in 1970.

Though the superior characteristics of LCDs had already been recognized by researchers throughout the world, the technology was generally dismissed as impractical for commercial use due to the difficulty of selecting and combining the necessary materials. But through the unrelenting efforts of Sharp"s engineers, the company succeeded in 1973 in introducing a calculator with the world"s first practical LCD unit. This second electronic calculator was truly a breakthrough and became a big hit. Compared to the first calculator, it was only 1/12 the depth, 1/125 the weight, consumed only 1/9000 the power, and could be used 100 hours on one D3 battery.

One Sharp success in optoelectronics was the development in 1988 of the world"s first 14-inch color TFT LCD. A mere 2.7 cm thick, it boasted a sharp, bright picture. This development showed that the long-awaited, wall-mount LCD TV and truly portable data communications terminals were on the horizon.

In October 1992, the debut of the LCD ViewCam introduced a whole new concept in video cameras. Its ease of use gave Sharp an immediate share increase in the video camera market. The ViewCam was chosen as one of just 16 products from among approximately 13,000 nominated for Nikkei Product and Service Excellence Awards. It was also chosen for the Nikkan Kogyo Shimbun"s (Japan"s leading industrial daily) 10 Best New Products Awards. The LCD ViewCam became the flagship product that showed the world that "LCD is Sharp" and contributed to boosting the company image.

Sharp created a buzz with the announcement of a 28-inch TFT LCD using next-generation LCD technology. The announcement boosted demand enthusiasm for LCDs for computers and large-screen wall-mount TVs in a new age of multimedia.

Using the new CG-Silicon (continuous grain silicon) technology jointly developed with Semiconductor Energy Laboratory Co., Ltd. (Atsugi, Kanagawa Prefecture), Sharp made a splash with its prototype ultra high-definition 60-inch rear projector that uses three 2.6-inch CG-Silicon LCD panels.

The technology gained much attention for its ability to produce breathtaking ultra high-definition large-screen images and was regarded as pioneering a new age of digital audio-visual enjoyment.

Sharp went on to offer consumers more ways to enhance their lifestyles with more AQUOS product introductions: a PC card slot-equipped AQUOS (LC-20B1/15B1/13B1), a wide 30-inch digital HDTV model (LC-30BV3) that can be a family"s main TV, and the AQUOS Theater, a stylish entertainment system that"s a combination of AQUOS and a DVD 1-bit digital theater system.

The most advanced facility for the integrated production of LCD TVs from the manufacturing of LCD panels to assembly of final products is completed in Kameyama, Mie Perfecture, Japan, and started operation. The plant also provides the rationalization of the process of production, inspection and delivery, as well as technology development, resulting in high production efficiency and high value-added performance.

2.8* LCD viewfinder V2 electronic viewfinder for Canon 550D/ Nikon D90 Taking videos or photos during the daylight is not easy, because it"s very hard to see the preview on the LCD screen of the digital camera or a even DSLR. This is a tool to change the LCD screen into a viewfinder LCD and it is placed directly on the LCD screen of digital cameras. With this viewfinder Me we can clearly see what is on screen, especially when taking video in the sunlight of the day.

The VFL912HD is a multi-format LCD color viewfinder reducing in thickness, weight and power consumption, achieving the use in various locations. It employs 9-inch WXGA wide aspect liquid crystal panel, achieving the functions required as a viewfinder by using the same functions and operations of our HTM/TM series CRT monitors and HLM/VFL LCD monitor and VF.

The panel uses the latest IPS technology and integrates LED backlights featuring high brightness, high contrast, wide viewing angle, quick response and good color reproducibility.

4:3 (16:9 mode), 13:9, 14:9, 15:9, 16:9 (4:3 mode), 1.85:1 (16:9 mode) and 2.35:1 (16:9 mode) line markers can be displayed. The monitor can also display a 1%-step wise safety marker between the range of 80 and 99% with respect to the line marker area. A safety marker over the effective screen area can also be set in 1% increment in the range between 80 and 99%. For location framing and alignment, useful markers like 5-grid and 10-grid cross hatch markers are also available.

Up to 4 different user markers, such as line and box markers can be preset pixel by pixel to your desired positions and sizes. The line and box drawing can be easily made with an USB mouse. The data can be saved in an USB memory device and copied to another VFL-912HD or managed on a PC. This function is optimum for positioning and layout in editing for teleshopping broadcast. * Patent pending

The shadow function provides shade on the video in the area outside of an area of 4:3 (in 16:9 mode), 13:9, 14:9, 15:9 or 16:9 (in 4:3 mode) marker. The shadow contrast can be set at 0%, 20%, 40% or 60% on the MENU. The use of this function allows you to instantly visualize the image area when switching the aspect ratio from 16:9 to 4:3 or vice versa. This shadow function can be remotely turned on / off and quickly operated.

The monitor incorporates as standard color bar signal, grayscale signal with pluge pattern, and window signal, which allows users to make easy VF adjustments.

- On the back of the T5i and T4i is a large LCD monitor. This bright LCD monitor is really useful, because you could view it from just about any angle from behind the camera. It also could speed up working with your camera, since it"s a giant touchscreen. Many of the items that you used to have to use buttons and dials for can be accessed with a simple press. The LCD monitor serves five real purposes. You can review images on the LCD monitor. You could do this immediately after you take a photo, or you can use the camera"s playback controls to browse through the photos on your memory cards. You can use the LCD monitor as a live view display as you"re shooting. This is an alternative to looking through the viewfinder. Many photographers find it useful. Additionally, when you"re shooting video, the LCD monitor is really the only way to see your scene. That"s because the camera"s mirror is in the locked Up position when shooting video. So the viewfinder isn"t an option. You can also use the LCD monitor to view your camera"s menu options and make changes to the camera. To change settings for many of the items shown in the information display, press the quick control button. You can then highlight items and press Set to view options for the highlighted item. You can also often just tap the screen and choose from the available options. Lastly, you can use the LCD monitor to see the shooting function settings. This gives you information about how the camera is configured. We"ll explore these options more throughout this course. For now, let"s just identify some of the major icons in the shooting functions view and talk briefly about them. The shooting mode indicator lets you know if you"re shooting in a mode like manual or aperture priority. This next set of numbers is the shutter speed. Next is the aperture indicator for your lens. A D+ icon means that the highlight tone priority is enabled, which protects the brightest highlights. Next is the sensitivity of the camera. It is indicated by its ISO setting. The exposure level indicator works the same way as it did in the viewfinder. Next is flash compensation value, which indicates if you"ve increased or decreased the intensity of your off-camera flash. The next row contains a lot of information. You could check which picture style"s applied to the files, as well as what preset is being used for white balance. Speaking of white balance, the next two indicators show you if you"ve corrected the white balance or are shooting a bracketed set for options. In the next row, some of the important icons include auto focus operation, which will show how the camera is currently focusing. I also check the drive mode indicator to determine if I"m shooting in a burst mode or with a timer. The metering mode shows which method your camera is using to evaluate exposure. Be sure to check the image record quality, as well, to know if you"re shooting a RAW file, a JPEG file, or a RAW plus JPEG. The bottom row has a lot of information, too. I tend to look at the following as being most useful. The battery check lets you know how much power you have left. I also like to see the maximum burst indicator to know how many shots I can capture before the camera"s buffer is full. The last number will also show me how many images can fit on my memory card. To change settings for many of the items that you see here is quite simple. Just press the quick control button. You could then highlight the items using the multi-controller and press the set button in order to edit it. This is a great way to quickly change many of the important settings on your camera without having to go digging in menus or hunting for a specific button. A few more items related to touch controls. You might want to make those a bit quieter. If you press the menu key and you choose the first record tab, you can actually turn the sound off, so that every single touch of the screen doesn"t lead to a beep. That can be pretty annoying to the people around you. While you"re in the menus, you may also want to visit the third setup tab. Here, you"ll see the touch control item. Now, don"t use any sharp objects on the screen, or you could damage it. Same goes true with wet fingers. So don"t touch the screen with a wet hand or if it"s raining. If it is raining, or you get water on the screen, power it down, get someplace safe, and gently dry it off. You"re not going to want to put any protective sheets over that screen, as well, because it could become unresponsive.

The Fujifilm X-H2 is a flagship APS-C sensor mirrorless camera which was released in September 2022. Along with the X-H2S model, it effectively replaces the three-year-old X-H1.

The X-H2 has a brand new 40.2 megapixel, APS-C sized, X-Trans CMOS 5 HR back-side illuminated (BSI) sensor, the latest X-Processor 5 image processing engine, 8K/30p, 6.2K/30p and DCI 4K video recording at up to 60p in 4:2:0 8-bit internally and 4:2.2 10-bit externally via HDMI with recording times of up to 160min, and an extended ISO range of 64-51200.

Other key features include 5-axis in-body image stabilisation (IBIS) which provides up to 7 shutter steps of compensation for stills, a 5.76M-dot OLED electronic viewfinder with 0.80x magnification and 120fps refresh rate, a tilting 3-inch touchscreen LCD with 1.62-million-dot resolution, and dual UHS-II SD and CFexpress Type B memory card slots.

There are 425 AF points with phase detection pixels across the entire frame (100%) and the auto-focus algorithm has been improved so that it"s 3x faster and offers better eye/face detection than the X-T4.

The X-H2 can automatically detect animals, birds, cars, bikes, planes and trains thanks to the X-Processor 5"s AI deep learning capabilities, a feature that no Fujifilm camera other than the X-H2S has had before.

The X-H2 is the first ever X-Series camera to feature Pixel Shift Multi-Shot, which automatically takes 20 shots to deliver 160 megapixel images for the ultimate quality when detail really matters.

The X-H2 additionally offers an ultra-fast electronic shutter that is capable of exposures up to an incredible 1/180000sec, exposure compensation up to ±5 stops, wi-fi and Bluetooth connectivity, 720-shot battery life and USB-C charging, interval timer shooting, in-camera raw conversion, multiple exposure and panoramic shooting modes, and a wide range of filter effects and film simulation modes.

The Fujifilm X-H2 is available in Black priced at £1899 / $1999 for the camera body only in the UK and US respectively. The XH2 is manufactured in Japan.

Whereas the X-H2S focused on out-and-out speed with its impressive 26 megapixel stacked sensor and 40fps continuous shooting capability, the even newer X-H2 concentrates on delivering sheer resolution and high levels of detail, with a brand new 40-megapixel X-Trans CMOS 5 HR sensor making its debut in the Fuji X-series camera range.

This is a BSI (back-side illuminated) sensor design that has much more of a focus on detail and resolution than out-and-out speed, backed up by the introduction of the Pixel Shift Multi Shot mode which creates 160 megapixel images.

The 40 megapixel sensor also allows the XH2 to record 8K video, actually surpassing the XH2S which can only record up to 6K video because it"s limited by its 26 megapixel sensor.

The X-H2 is the first ever X-Series camera to feature Pixel Shift Multi-Shot, which delivers 160 megapixel images for the ultimate quality when detail really matters.

Previously only seen on the company"s GFX-branded medium-format cameras, in the Pixel Shift Multi-Shot the camera records 20 frames, shifting the sensor by 0.5 pixels between each frame.

The resulting images are automatically combined into one DNG RAW file, which can be output to a desired file format using suitable RAW processing software.

You may not like the less traditional, less Fuji-like user interface or the rather eye-watering price-tag, but if you want the highest-resolution cropped-sensor camera on the market, this is the one to spring for.

Measuring 135.5 x 92.9 x 86.9mm and weighing 660g, the new X-H2 is slightly smaller but slightly heavier than the original X-H1 (which measures 140 x 97 x 86 mm and 623g) , although not by that much. If you"re a long-time user of the XH1 than you won"t notice too much difference between them in size and weight.

What will become quickly apparent, though, is the radically different control layout of this latest camera. Long known for their retro styling and plethora of traditional controls, Fuji have decided to drastically pare back the XH2 interface, so much so that it bears little resemblance to its forebear.

Most notably, the classic Fujifilm ISO and Shutter Speed dials that were located on top of the XH1 have made way for a lockable, DSLR-like PASM dial on this new model, positioned to the left of the viewfinder.

The thinking is that you can setup and register this hybrid camera in many different ways for both stills and video, then quickly recall them using the shooting mode dial.

It still remains to be seen how fans react to what is quite a radical departure from the usual Fujifilm blueprint, but it certainly makes a lot of sense for a camera that will potentially be used to capture a wide variety of subjects in a wide variety of ways.

The X-H2 has a large, sculpted hand-grip at the front. You can definitely fit three fingers on it, maybe even four depending on your hand size, with your little finger naturally curling underneath the bottom of the body. There"s also a prominent grip on the rear of the camera for your right thumb.

A textured faux-leather surface runs around the full width of the camera, with two metal eyelets on either side of the body used for connecting the supplied shoulder strap.

Other key changes to the X-H-series user interface include the addition of a lot more Function buttons, again intended to add as much flexibility to the setup of the camera as possible, including the replacement of the MCS dial on the front of the X-H1 with an unmarked Function button on the X-H2.

The rear of the camera has also been substantially tweaked, with the thumb operated joystick sitting much higher than before and the AF On and AE Lock buttons more conveniently positioned around it.

Over on the right of the top panel, the XH2 retains the very useful top-panel LCD, but it"s now been move directly alongside the viewfinder hump and been joined by a column of ISO, white balance and function buttons, along with a new one-touch video-record button that sits alongside the shutter release button, which is encircled by the Off/On switch.

Exposure compensation and shutter speed are now set using the front and rear command dials rather than via external controls as on the X-H1, with the aperture control dependent upon whether the attached lens has an aperture ring or not (the majority of Fuji"s lenses do) and whether it"s set to Auto or not.

Overall, the X-H2 reminds us of the X-S10, which also eschewed Fuji"s standard ISO dial, Shutter Speed dial and Exposure Compensation dials. Those changes were made to that particular camera in the pursuit of simplicity and affordability, though, whereas with the X-H2 they"ve been made to enable the camera to be more versatile and quicker to use.

The X-H2 offers a slightly different standard sensitivity range of ISO 125 to ISO 12,800 to the X-H2S, which can be expanded down to ISO 64 and up to ISO 51,200. This makes the X-H2 well suited to low-light shooting, allowing you to hand-hold the camera in places where you"d usually be reaching for a tripod or other support.

The image sensor used in the X-H2 is the next generation 40.2 megapixel, APS-C sized, X-Trans CMOS 5 HR back-side illuminated (BSI) sensor, making its debut in the Fuji X-series camera range.

Although it can"t match up to the headline-grabbing 40fps continuous shooting speed offered by the X-H2S and its stacked sensor, the new XH2 is certainly no slouch when it comes to burst sequences.

The X-H1 was a relatively fast camera when it was released in 2018, capable of shooting at 14fps using the electronic shutter or 8fps with the mechanical shutter., but the new X-H2 with the X-Processor 5 on-board ups the ante considerably.

Depending on your subject, being able to pick from 20 incrementally different shots could mean the difference between a near-miss and a "perfect" image, although you"ll need large capacity, high-speed CFexpress Type B memory cards to take full advantage of the sheer speed on offer.

To help with capturing the precise moment, the X-H2 also a clever Pre-shot burst shooting mode, with the camera constantly filling the buffer while your half-press the shutter button, and then keeping the most recent ones taken 0.5-1 seconds before a full press of the shutter button, eliminating any camera and human-added delay. Note that this feature only works with the electronic shutter.

Thanks to its 40 megapixel sensor, the XH2 offers a greater number of PDAF points (3.3 million) than the XH2S. Fujifilm say that the new model isn"t quite as fast at tracking moving subjects as the X-H2S, though.

The X-H2 also has a completely silent electronic shutter which provides a much, much faster top shutter speed of 1/180,000th second. This allows you to continue shooting wide-open with fast aperture lenses in the brightest of conditions without having to resort to fitting a glass ND filter or using an external flash and lights.

To make the camera even less obtrusive, when the electronic shutter is selected, there"s a Silent menu option which turns off the speaker, flash, AF-assist lamp and most importantly the shutter-release sound, instantly making the X-H2 perfectly suited to more candid photography.

It"s all very well being able to record at 20fps, but unless the camera can quickly, accurately and reliably focus on whatever fast-moving subject you"re trying to capture, it"s all for nothing.

Chief amongst these is the debut of subject-based computational AI, with the XH2 being able to automatically detect animals, birds, automobiles, motorcycles and bikes, airplanes and train.

Turning this feature on resulted in a super-high hit rate in terms of auto-focusing, with the camera often able to focus on the subject before we"d even spotted it ourselves.

The improved auto-focus algorithm that"s said to be 3x faster than the X-T4 and particularly the subject detection modes help to ensure that most of your images are sharp.

Also helping to keep things sharp is the XH2" 5-axis in-body image stabilisation (IBIS) system. The original X-H1 was the first ever Fuji mirrorless camera to feature In-Body Image Stabilization (IBIS), and the X-H2 joins it and the X-H2S, X-T4 and X-S10 as the fifth Fuji camera to offer it.

And as with most of its other key features, this new model ups the ante considerably. Whereas the X-H1 only provided up to 5.5 shutter steps of compensation for stills, the X-H2 provides up to a maximum of 7 stops, 1.5 stops better and the joint-best of any current Fujifilm camera.

Similarly, the OLED electronic viewfinder on the X-H2 has greater 5.76M-dot resolution, larger 0.80x magnification and a faster 120fps refresh rate than the X-H1, which had a 3.68M-dot EVF with 0.75x magnification and 100fps refresh rate.

Perhaps more importantly for a hybrid stills and video camera, Fuji have made an important change to this model"s LCD screen. The older X-H1 had a clever three-direction tilting LCD screen, but it didn"t tilt out to the side like the one on the new XH2, which has a fully articulating, vari-angle, 3-inch LCD screen with 1.62M-dot resolution.

You can flip out the screen to the side, rotate it forwards for easier operation when pointing the camera at yourself, and fold it flat against the back of the camera to stop it from getting scratched, which proves to be a more versatile screen for vlogging, movie shooting and photography in general.

The X-H2S offers a better video mode than the X-H2 and is definitely the one to buy if you"re predominantly a videographer, although this new model certainly gives it a run for its money predominantly thanks to its 40 megapixel sensor.

The newer camera offers a highest quality rate of 8K/30p with no crop recorded in 4:2:2 10-bit internally for approximately 160 minutes. The XH2S can"t record at all in 8K because of its lower resolution 26 megapixel sensor, topping out at 6K/30p.

Combined with a compatible HDMI recording device from Atomos or Blackmagic Design, 12-bit RAW video output from the X-H2 can be recorded as Apple ProRes RAW or Blackmagic RAW at resolutions and frame rates of up to 8K and 29.97 frames per second.

The X-H2 also features a digital zoom function that uses the camera"s 40.2MP sensor to deliver up to 2x of digital zoom with little to no loss in resolution, when recording video in 4K.

Thanks to its stacked sensor design, the XH2S offers a faster rolling shutter than the X-H2 (1/180s vs 1/88s in 4K), though, and also offers greater dynamic range (14+ stops versus 13+ on the XH-2). For 8K recording the rolling shutter on the X-H2 is even worse at 1/33s.

Most crucially, the XH2S can record in 4K at up to 120fps, whereas the X-H2 is limited to 4K/60p, which for many videographers will be more important than having 8K recording.

Both cameras can take advantage of a special fan accessory which screws into the back of the camera and improves the maximum recording time from 17 to 51 mins at 40 Celsius.

The X-H2 features both built-in wi-fi and Bluetooth connectivity. The latter option creates a constant, low-power connection between the X-H2 and a smartphone/tablet to transfer images and video using the Fujifilm Camera Remote smartphone app, while the former allows you to remotely control the X-H2 via a 2.4Ghz wi-fi connection using a smartphone or tablet and the Fujifilm app, and transfer images and video from one device to the other.

Another key change to the design of the X-H2 is memory cards, specifically the type that it uses rather than the number. Both the original X-H1 and this new model have dual memory card slots, but whereas the older model had two UHS-II SD format slots, the X-H2 has one UHS-II SD slot and one CFexpress Type B slot.

So if you want to take advantage of all the speed and resolution advantages that the XH2 offers, you"ll need to invest in some CFexpress Type B memory cards and probably a new card reader too, as the camera simply can"t shoot and record at its fastest rates if you only use SD cards.

This offers a CIPA-rated battery life of up to 720 shots on a single charge in normal mode on the X-H2, with real-life usage yielding even longer life. The X-H1 was rated at only 310 shots.

If you really want to extend the battery life, there"s a Vertical Battery Grip (VBG-XH) available for the X-H2 which accepts two NP-W235 rechargeable lithium-ion batteries to extend the life for up to 1700 frames between recharges.

A metal tripod mount is positioned inline with the centre of the lens and far away from the battery/memory card compartment, so you don"t have to remove the camera from the tripod to change the battery or the memory card.

The Fujifilm X-H2 produced images of outstanding quality. It records noise-free JPEG images from ISO 64 up to ISO 3200, with a little noise at ISO 6400 and more visible noise at the faster settings of ISO 12800 and 25600 (ISO 51200 is best avoided), an amazing performance for a camera with a 40 megapixel APS-C sensor. The RAW files were also excellent, exhibiting more noise than their JPEG counterparts but still producing very usable images from ISO 64-6400.

The night photograph was excellent, with the maximum shutter speed of 30 seconds being long enough for most after-dark shots, and the Bulb mode allowing much longer exposures if required. The Dynamic Range and HDR settings subtly improve detail in the shadows and highlights, while the extensive range of Film Simulation modes hark back to a bygone era, and the Advanced Filters allow you to have a little fun with your images in-camera.

There are 11 full ISO settings available on the Fujifilm X-H2 for JPEGs and RAW files. Here are some 100% crops which show the noise levels for each ISO setting.

These settings gradually increase the amount of detail visible in the shadow and highlight areas, with the side-effect of more noise appearing in the image. Note that you can"t actually turn this feature off. All three settings are available from ISO 500 upwards.

The Fujifilm X-H2 has a High Dynamic Range mode with five different settings - AUTO, 200%, 400%, 800%, 800%+. The camera takes three shots with different exposures, changing the shutter speed for each one, and then combining them in-camera.

The Fujifilm X-H2 enables users to capture RAW and JPEG format files. We"ve provided some Fujifilm RAW (RAF) samples for you to download (thumbnail images shown below are not 100% representative).

2022 is shaping up to be a big year for Fujifilm with the launch of not one, but two flagship APS-C cameras in the identical shapes of the speed-centric X-H2S and now the resolution-focused X-H2.

Both models represent the absolute pinnacle of what Fuji can currently achieve with an APS-C sensor and, ably supported by a long list of excellent lenses, they far surpass what the likes of Canon, Nikon and Sony have to offer with their equivalent systems.

The only question for us and more importantly for you is which model to plump for? The X-H2S offers incredible 40fps burst shooting, the best video capabilities of any X-series camera, and sensible 26 megapixel resolution.

Meanwhile the new X-H2 ups the detail ante to 40 megapixels, the highest of any APS-C camera, impressively without introducing too much noise at higher ISO values, and it also offers the cherry on top of 8K/30p video recording and still blazing fast 20fps burst shooting, albeit the latter being with a modest 1.29x crop.

If you don"t need the high resolution, better AF and improved video capabilities of the X-H2, you can happily save quite a lot of money by opting for one of the cheaper former flagship models such as the X-T4, a deal that is sweetened even further if you prefer their more traditional user interfaces.

The X-H2 does have one major advantage over its speedy sibling, namely price. The new Fujifilm X-H2 is priced at £1899 / $1999 in the UK and USA respectively, making it the second most expensive X-series APS-C sensor camera ever released.

That title goes to the Fujifilm X-H2S, which is priced at £2499 / $2499 body only. This makes the XH2S a whopping £600 / $500 more expensive than the new XH2, a difference that is primarily driven by the stacked sensor inside it, which is much more costly to manufacture than the BSI sensor found inside the X-H2.

In summary, while the X-H2 and X-H2S may look absolutely identical, thanks to their sensor technologies they"re aimed at two quite different types of end user, although the former model"s 8K video mode will muddy the waters a little for some users. Both are outstanding cameras though - all you need to do is make sure to pick the right one...

The X-H2S is the fastest, most capable APS-C sensor camera that Fujifilm have ever released, but it"s also by far the most expensive. Find out exactly what this new flagship camera is capable of and who it"s aimed at by reading our complete Fuji XH2S review complete with full-size JPEG, Raw and video samples.

The Fujifilm X-T4 is the successor to the very popular X-T3, which was released in 2018, principally adding in-body image stabilisation, greatly improved battery life, a quicker and quieter mechanical shutter, enhanced continuous AF and a number of design tweaks. Can the new X-T4 improve on what was already an outstanding camera? Find out now by reading our in-depth Fujifilm X-T4 review...

The Z5 is Nikon"s brand new entry-level full-frame mirrorless camera, sitting below the mid-range Z6 and flagship Z7 models in the three-camera lineup, and above the APS-C sensor Z50. Designed to compete with the likes of the Canon EOS R, Sony A7 III and Panasonic Lumix S1, does the Z5 have what it takes to stand out in an increasingly crowded market? Find out now by reading our in-depth Nikon Z5 review, complete with full-size sample photos and videos.

The new OM-1 flagship is both the last ever Olympus camera and the first ever OM System camera. Confused? Well no need to worry, as we take an in-depth look at what this new Micro Four Thirds flagship has to offer in our OM System OM-1 review, complete with full-size sample photos and videos...

The much anticipated Panasonic GH6 is finally here! But what does this new flagship camera offer, and can it really improve on the best-selling GH5? We find out in our review of the Panasonic Lumix GH6 mirrorless camera, complete with sample photos, test shots, videos and more...

The new Sony Alpha A7 IV is a new 33 megapixel, 4K/60p video, 10fps burst shooting, cutting-edge auto-focusing hybrid full-frame mirrorless model that pulls no punches in its bid to be the only camera that you need. Find out why we think this is one of the best all-round cameras of 2021 by reading our in-depth Sony A7 IV review...

Designed for broadcast and live production, you get a 6K sensor with +36dB of gain, wide dynamic range and B4 lens mount. Includes Blackmagic RAW, ProRes, H.264 and H.265 record file formats.

Get accurate focus control with Blackmagic URSA Broadcast G2. Eliminates the need to reach for the lens because you can control the lens direct from the tripod handles.

Get zoom control of B4 lenses with power zoom when using the Blackmagic URSA Broadcast G2. Now you can control lens zoom from the tripod handles! Even includes buttons for triggering camera functions.

The Blackmagic URSA Mini Pro EF Mount kit is available if you ever need a spare EF lens mount in addition to the original EF that comes with your URSA Mini Pro.

Optional PL lens mount which features contact pins for compatibility with Cooke’s i/Technology protocol allowing lens information to be saved as metadata and used in software like DaVinci Resolve.

The URSA Mini Pro F Mount lets you use your favorite Nikon stills lenses with smooth high precision mechanical iris control. Now you can pair digital film quality with classic Nikon AF‑S G and AF‑D series lenses.

New video converter that lets you receive a H.264 stream from any URSA Broadcast G2 and convert it back to SDI and HDMI video so you can send it to remote locations around your local Ethernet network, or via the internet globally!