Below is the evolution of all of the Fujifilm FinePix series of CZK:
- Fujifilm FinePix S1 Pro - january 2000, based on the film Nikon F60 (aka Nikon N60), the first generation SuperCCD.
- Fujifilm FinePix S2 Pro - january 2002, based on the film Nikon F80 (aka Nikon N80), SuperCCD III (the matrix third generation).
- Fujifilm FinePix S3 Pro - february 2004, on the base Fujifilm FinePix S2 ProSuperCCD SR II matrix (second generation SR matrix)
- Fujifilm FinePix S3 Pro UVIR - August 2006, upgraded Fujifilm FinePix S3 Pro for shooting in IR (Infra Red) and UV (Ultra Violet) spectra.
- Fujifilm FinePix S5 Pro - september 2006, on the base Nikon D200, slightly upgraded SuperCCD SR II matrix (similar to the one installed on Fujifilm FinePix S3 Pro).
- Fujifilm FinePix IS Pro - June 2007modernized Fujifilm FinePix S5 Pro for shooting in IR (Infra Red) and UV (Ultra Violet) spectra.
The Fujifilm FinePix S5 Pro is an amazing camera. You take it in your hands, and you understand what it is Nikon D200, only labeled 'Fujifilm Super CCD' and 'Nikon F mount'. Fujifilm FinePix S5 Pro body completely copied from the camera Nikon D200... Fujifilm FinePix S5 Pro uses Nikkor lenses compatible with Nikon F-mount (cameras have the same bayonet mount), as well as all other peripherals - flashes, butblocks, remote controls, and more.
The Fujifilm FinePix S5 Pro has another modification called Fujifilm FinePix IS Pro, designed to work in the infrared and ultraviolet spectra. In the spring and summer of 2007, when the camera became available for orders and pre-orders, the price of the S5 Pro was $ 2.000, which somehow hints at its capabilities.
Important: Fujifilm FinePix S5 Pro is not a clone Nikon D200. Fujifilm FinePix S5 Pro and Nikon D200 - completely different sensors (matrices) that create an image and a radically different menu. There are other minor differences as well.
Main differences from Nikon D200
- Different batteries (not interchangeable).
- A completely different menu. Important: S5 Pro does not have Russian language.
- Fujifilm FinePix S5 Pro Live View
- The Fujifilm FinePix S5 Pro has the ability to view the number of frames taken by the camera for its entire life through the menu. Have Nikon D200 there is no such function, in order to see the number of frames captured by a camera in a lifetime, you need to use a special program and watch the frame counter in EXIF module of any photograph taken with Nikon D200. To see the mileage S5 Pro, just go to the menu 'SETUP->Maintenance->Maintenance Counter' where the camera mileage and even the number of shutter replacements will be indicated.
- The cameras are different frame buffer. About this is separately written below.
- Different maximum shooting speed (5 fps Nikon D200, versus 1.5-3 fps for the S5 Pro).
- Different ISO limit (3200 S5 Pro vs 1600 D200), although Nikon D200 reaches ISO 3200 in Hi1 mode.
- Different image quality.
- The S5 Pro has an image processing menu. The D200 is sorely lacking a post-processing menu.
- There is no Basic compression mode for JPEG.
Important about batteries:
- Fujifilm FinePix S5 Pro battery can be used with cameras without problems Nikon D100, D70, D70s, D50. Camera data use battery Nikon EN-EL3which does not have a programmable chip.
- Accumulators Nikon EN-EL3e и Nikon EN-EL3 Cannot be used in Fujifilm FinePix S5 Pro. That is, batteries from Nikon D200, D300, D300s, D700, D80, D90 (Nikon EN-EL3e) and Nikon D100, D70, D70s, D50 (Nikon EN-EL3) are not suitable for use with Fujifilm FinePix S5 Pro.
- The Fujifilm NP-150 battery cannot be used with D200 cameras, D300, D300s, D700, D80, D90. Although outwardly these batteries are identical.
The most important
Fujifilm FinePix S5 Pro can use film simulation modes. In fact, it always shoots with certain settings for film simulation.
There are 6 simulation modes (Film Sumulation) available in the camera menu:
- STD is a standard mode suitable for a very wide variety of scenes, including portrait and landscape photography. Unlike all other simulation modes, it allows you to adjust not only the color (Color), contrast (Tone) and sharpness (Sharpness), but also the dynamic range (D-Range).
- F1 is a film simulation mode specially designed for studio portraits. Simulates working with professional negatives. Primarily suppresses flares and flares from studio flashes in the maximum brightness zone. Does not tint the image (that is, the essence of the simulation is in a good study of the highlights).
- F1a is the same mode as F1, but with slightly raised chroma.
- F1b - conveys skin tone (facial skin tone) with smooth transitions. Also, this mode captures vivid natural colors and is great for outdoor portraits.
- F1c is the same mode as F1, but sharpened.
- F2 is a high saturation mode similar to FUJI-CHROME slides. Great for landscapes or architecture.
Additionally, in almost every mode F1, F1a, F1b, F1c, F2, you can adjust the color, contrast and sharpness, but only in a certain range of values.
Below is a diagram with the evolution of Super CCD matrices:
Critical: only native utility works best with RAW files Fujifilm Hyper-Utility HS-V3. Third party converters have a number of limitations and do not fully understand the complex structure of the SuperCCD SR / SR II sensor. Of the third-party converters, in my experience, Adobe LightRoom works best.
I am very pleased that the Fujifilm FinePix S5 Pro pays a lot of attention to portraiture and skin tone. Perhaps, every camera should have such functions.
Live View (live view / screen) is present in the camera, but has a number of features:
- In Live View mode, the images themselves slow down when sighted, like video recording on older phones. It seems that the frequency of image display in Live View is about 10-15 frames per second.
- In Live View, two methods are available: black and white and color.
- Live View does not support auto focus. In general, in order to focus through Live View on a number of non-motorized lenses, you need to switch the camera to manual focusing “M”, and on lenses with a motor, switch to M or (M / A) mode.
- Live View only turns on for 30 seconds. When Live View is on, you see a timer that counts down from 30 seconds to one second, after which Live View automatically turns off. For thoughtful focusing personally, 30 seconds may not be enough for me.
- When Live View is on, the PC link indicator blinks. Typically this indicator on the Nikon D200 shows the actual computer-to-camera relationship.
- And the most annoying thing in Live View mode is that when you press the shutter button, the camera does not take a picture. You must first manually turn off Live View, or wait for it to turn off automatically after 30 seconds, and only after that - take a picture. When you focus with your left hand using the focus ring on the lens, and then move your hand to the Live View off button in order to take a picture, the focus is lost, it is very annoying.
Important: mode Live view It turns on very quickly with just one button. To turn it on, just hold the bottom button for a couple of seconds in the vertical row of buttons to the left of the display (button with a magnifying glass and a man).
My personal opinion is that the Live View limitation of 30 seconds is an imprint of the mechanics and electronics of the shutter from the D200, which 30 seconds is simply the longest manually set excerpt... The Fujifilm FinePix S5 Pro most likely had to adjust to the mechanics and part of the electronics of the Nikon D200 itself. As a result, the Live View function is very poorly implemented and rather difficult to use. But for manual optics it is undoubtedly a godsend.
The Fujifilm FinePix S5 Pro camera is very easy to operate. Ergonomics are great, after you shoot with the D200 and then take the S5 Pro in your hands - you don't feel any difference, except in the image quality and at a slightly slower speed during continuous shooting.
The camera accepted from its parent all the basic properties:
- Shutter with minimum shutter speed 1 \ 8000 seconds (new Nikon D750 because it can’t!)
- Command mode flash control with Nikon CLS
- Fast flash sync Nikon FP
- The same focus module on 11 points (Multi-cam 1000)
- Same 1005-segment metering sensor
- Same built-in focus motor for working with optics type 'AF'-type
- Diaphragm rheostat for working with old manual optics
- Large monochrome display for quick setup of basic parameters
- Large and reliable CF cards
What is special about the S5 Pro?
The main feature of the S5 Pro camera is high dynamic range and a colorful picture (this is my only review where I mention the phrase "colorful picture"). The dynamic range of the Fujifilm FinePix S5 Pro is 200 stops higher than that of the Nikon D2 (4 times, 11.5EV vs 13.5EV).
The dynamic range of Fujifilm FinePix S5 Pro is even higher than that of TOP Nikon cameras: D5, D4 / D4s, D3 / D3s, D2X / D2Xs, D2H / D2Hs and Canon: 1DX, 1Ds / 1Ds Mark II / 1Ds Mark III, 1D Mark II / 1D Mark II N / 1D Mark III / 1D Mark IV, etc. (by the way, interesting stuff about dynamic range data with photonstophotos and dxo is here).
Actually, after the comfortable ergonomics, the high dynamic range is one of the strongest points of the S5 Pro.
Fujifilm FinePix S5 Pro uses Fujifilm SuperCCD SR II sensor (second generation Fujifilm SuperCCD SR sensor, also sometimes called Fujifilm Super CCD SR PRO), which includes two types of pixels (diodes): S-pixels in the amount of 6.17 MP, and R-pixels in the amount of 6.17 MP. In addition, these pixels have a specific orientation and position on the sensor. Different pixels have different sensitivity to light and allow you to work well in shadows and highlights, thus achieving a large dynamic range. The principle of operation of SuperCCD SR II is described in another my review of S5 Pro here.
In fact, 12.1 (12.3) megapixels in JPEG mode are 'bloated' interpolation. But still, I am of the opinion that the S5 Pro still has 12 MP, albeit with some reservations.
Speed and frame buffer
S5 PRO, unlike Nikon D200, can shoot at a maximum speed of 3 frames per second.
Attention: to get camera speed 3 fps, be sure to use STD Film Simulation and be sure to turn D-Range to 100% (STD). In this mode, only S-pixels of the matrix will work, and RAW files will weigh only 12 MB. And only in this mode the Seutp-> Shooting-> Shooting Speed: 2 fps function works correctly, which sets the shooting speed in CL mode.
Important: in all other film simulation modes, or in STD mode, but with a D-range of 130% or higher, the maximum burst speed will be 1.5 frames per second.
- 19 frames RAW at D-RANGE 100% STD (very, very good, more than Nikon D750!)
- 16 frames in RAW + JPEG or JPEG format with any quality setting at D-RANGE 100% STD
- 9 frames RAW at w2 (8 at IMAGE DISPLAY-> ON)
- 8 frames in RAW + JPEG or JPEG format with any quality setting at w2 (7 with IMAGE DISPLAY-> ON)
- about 1 RAW files can be obtained in 30 minute of shooting (at w2, ISO <= 640, IMAGE DISPLAY-> OFF)
- for 1 minute of shooting, you can get about 70 JPEG L FINE files (at w2, ISO <= 640, IMAGE DISPLAY-> OFF)
- about 1 RAW files can be obtained in 25 minute of shooting (at w2, ISO <= 640, IMAGE DISPLAY-> 2 sec)
- for 1 minute of shooting, you can get about 30 JPEG files (at w2, ISO <= 640, IMAGE DISPLAY-> 2 sec)
- in 1 minute of shooting, you can get about 18 RAW + JPEG L FINE files (at w2, ISO 1000, IMAGE DISPLAY-> 2 sec)
UPDATE: critical... Function 'SETUP-> DISPLAY-> IMAGE DISPLAY-> OFF' adds 1 frame RAW or JPEG with extended D-Range to the buffer.
Critical... If the 'SETUP -> DISPLAY -> IMAGE DISPLAY' function is set to 'CONTINUOS', or '4 SEC, or' 2 SEC ', then the camera very slowly writes the footage to the memory card... The recording speed does not depend on the bandwidth of the memory card. Even if you use the fastest CF memory card, the data writing speed will not change. Most likely the problem is that after each frame is recorded, the camera spends time on re-reading and displaying it on the display, which significantly increases the recording time of the remaining frames from the frame buffer queue. After the frame buffer is full, one picture is recorded for 2.5 secondseven if it is a small size 'S' JPEG with medium quality 'NORM'. This function can be disabled and the duration of the frame sequence can be significantly increased. If you use this recommendation, then in 1 minute of shooting, the S5 Pro can take about 70 JPEG L FINE pictures (at w2 and ISO <= 640)... Details here.
Please note that changing the size of the recorded JPEG file (L, M, S) or its quality (Fine, Norm), as well as changing the settings of the noise reduction function does not affect the number of frames in the buffer. After the buffer is full, the camera stops shooting and waits for data to be written to the memory card.... During this time, you cannot view the footage or adjust the menu. The next frame can be taken immediately after recording at least one file from the frame buffer to the memory card. You can view the filmed material or enter the menu only after the buffer has been completely cleared.
Camera RAW files with D-range 130% and higher at ISO 100-1000 use 14-bit color depth, are recorded without compression and weigh 25 MB (!). The same Nikon D200 could only afford 12 bit color depth. Perhaps this is the reason for the low speed of the camera. Nikon only switched to 14-bit color depth in 2007 with the release of the Nikon D3 / D300.
UPDATE: Critical (updated 04.02.2022/XNUMX/XNUMX). When using ISO 1250 and above, at a D-range value of 130-400%, only S-pixels (only half of the sensor) will still work, and the maximum burst speed will increase to 3 fps. Due to the fact that R-pixels will not work, there will be no significant increase in dynamic range at D-range 130-400% and ISO 1250-3200. In this case, the RAW file size at ISO 1250-3200 will be half the size of the RAW file at ISO 100-1250 when using D-range 130-400% . This situation is discussed, for example, here. The instructions for this say like this. To summarize, large D-ragne values of 130-400% have a physical justification only at ISO 100-1250 values.
UPDATE: critical... When using ISO 800 and higher, additional forced noise reduction is enabled, which results in slower recording of pictures to the memory card (pictures undergo additional noise reduction processing before recording). This results in shorter burst times at ISO <= 640 and at ISO> = 800.
Rumor has it that due to the fact that the Fujifilm FinePix S5 Pro shutter is taken from the Nikon D200, which is designed to work at a speed of 5 fps, shooting at a speed of 1.5 fps, the Fujifilm FinePix S5 Pro shutter lasts much longer than on Nikon D200.
Sample photos on Fujifilm FinePix S5 Pro (different lenses)
Below are sample photos on the Fujifilm FinePix S5 Pro, shot with different lenses.
Fujifilm S5 Pro + Sigma 135 / 1.8 Art = Dream Team!
Shown below are images with Fujifilm FinePix S5 Pro and lens Sigma 135mm 1: 1.8 DG A [for Nikon F mount]. JPEG from camera, no processing. Everything was filmed at F / 1.8 - only hardcore and positive emotions.
Sample photos on Fujifilm FinePix S5 Pro + Tokina 12-24 / 4 and Nikon 50 / 1.8G
In 2021, I was on vacation, shot a little with Fujifilm FinePix S5 Pro paired with good lenses Tokina AT-X 124 Pro SD 12-24 F4 (IF) DX II Aspherical и Nikon AF-S Nikkor 50mm 1: 1.8G SWM Aspherical, some photos were taken using a polarizing filter CITIWIDE CPL 77 mm (for Tokina) and Hoya 58mm PL-CIR... (for Nikon). JPEG everywhere straight from the camera, but some photos were cleaned of 'spots' due to a dirty sensor.
Original photos in JPEG format ('.jpg') can be view / download from this link (gallery on GOOGLE DRIVE, 50+ photos).
Many examples of photos with RAW source files can be found in the following reviews.
- Sigma 135mm 1: 1.8 DG A (ART) [there is a working link to the original JPEGs in the review]
- SIGMA ZOOM 18-50mm 1: 2.8-4.5 DC OS HSM Optical Stabilizer [there is a working link to the original JPEGs in the review]
- YONGNUO 35mm 1: 2 (YN35mm F2N) [there is a working link to the original JPEGs in the review]
- Tamron SP AF LD 70-210mm 1: 2.8 67DN [there is a working link to the original JPEGs in the review]
- Nippon Kogaku Japan Nikkor-S Auto 1: 1.2 f = 55mm [there is a working link to the original JPEGs in the review]
- Nikon DX AF-S Nikkor 12-24mm 1: 4G ED SWM IF Aspherical [in this and all reviews below, original RAW / JPEGs are lost, but RAW files can be found here]
- Tokina AT-X PRO SD 50-135 F2.8 DX N / AIS
- Nikon DX AF-S Nikkor 16-85mm 1: 3.5-5.6G ED VR SWM IF Aspherical
- Sigma EX 85mm 1: 1.4 DG HSM
- Nikon DX AF-S Nikkor 18-200mm 1: 3.5-5.6G ED SWM VR IF Aspherical
- Nikon AF Nikkor 28-85mm 1: 3.5-4.5 (MKII)
- Nikon N AF-S Nikkor 70-200mm 1: 4G ED SWM VR IF Nano Crystal Coat
- Samyang 8mm 1: 3.5 UMC FISH-EYE CS II Aspherical NI
- Nikon ED AF Nikkor 70-300mm 1: 4-5.6D
- Voigtlander APO-Lanthar 90mm F3.5 SL N / AI-S
- Nikon ED AF VR-Nikkor 80-400mm 1: 4.5-5.6D Vibration Reduction
- Nikon DX AF-S Nikkor 10-24mm 1: 3.5-4.5G ED SWM IF Aspherical
- Tokina AT-X PRO 80-200mm 1: 2.8
- Sigma 50-500mm 1: 4-6.3D HSM EX APO
- Nikon AF Nikkor 28mm 1: 2.8 (MKII)
- Quantaray AF LD 55-200mm 1: 4-5.6 Macro
- Nikon AF Nikkor 20mm 1: 2.8D
- A small interesting video on the topic here
- And an interview with me about Fujifilm FinePix S5 Pro here
You can also find my photos with Fujifilm FinePix S5 Pro at the links:
- 29/06/2021 (Tokina 12-24 / 4 II, Nikon 50 / 1.8G, landscapes), they are on FB и VK
- 30/06/2021 (Tokina 12-24 / 4 II, Nikon 50 / 1.8G, landscapes), they are on FB и VK
- 02-07-2021 (Tokina 12-24 / 4 II, Nikon 50 / 1.8G, portraits), they are on FB и VK
- 04-07-2021 (Sigma 135 / 1.8 Art, miscellaneous)
- 06-07-2021 (Tamron 70-210 / 2.8, summer warm sketches), they are on FB и VK
- 07-07-2021 (Nikon 50 / 1.8G, summer sketches with polaric), they are on FB и VK
- 08-07-2021 (summer sketches), they are on FB, VK, inst
- 13-07-2021 (summer sketches, Nikon 50 / 1.8G + macro rings), they are on FB и VK and inst
- 14-07-2021 (note about Nikon D40 + S5 Pro)
- 16-07-2021 (summer sketches, highlights), they are in inst
- 24-07-2021 (flowers on Meike 85mm 1: 1.8 AF)
- 14-08-2021 (portraits at Nippon Kogaku Japan Nikkor-S Auto 1: 1.2 f = 55mm), FB, VK, inst
- My gallery at 500PX
The Fujifilm FinePix S5 Pro is my soul camera and has the nicest color I've ever shot. And I shot with almost all Nikon and Canon cameras and many others. The Fujifilm FinePix S5 Pro can only compete in color reproduction pleasantness Fujifilm FinePix S3 Pro.
No matter how much I shoot, I still come to the conclusion that the number of particularly successful shots in color with the Fujifilm FinePix S5 Pro is the highest. But do not think that the Fujifilm FinePix S5 Pro immediately makes masterpieces. The Fujifilm FinePix S5 Pro is a rather capricious and difficult camera to understand. Its potential is only available to advanced users.
Fujifilm FinePix S5 Pro - this is exactly the conversation about the sensor Fujifilm SuperCCD SR PRO / Fujifilm SuperCCD SR II, with all the pros and cons.
A worthy Fujifilm SuperCCD SR II sensor
- Sufficiently high dynamic range (due to the combination of R and S pixels).
- Good / excellent / peculiar color rendition inherent in many cameras based on CCD sensors
- Fairly flexible RAW (.'RAF '), especially for' pulling highlights'. 14-bit color depth (rare for APS-C CCD sensors) + data storage without compression and loss
Disadvantages of Fujifilm SuperCCD SR II sensor
- Small detail due to interpolation. At best, we can talk about 'honest' 6-8-10 MP, but not about 12 MP
- Detailing is lame due to thick anti-moor filter (need 'sharp lenses' to maximize sensor capabilities)
- High noise level at high ISO
- Wide dynamic range is only available at ISO values of 100 to 1000 (at ISO 1250, R-subpixels are automatically disabled)
- Diagonal 'ladder' pixelization due to different rendering of details in the vertical/horizontal and diagonal directions, associated with a special arrangement of subpixels and interpolation (treated by shooting in 6 MP mode)
- Due to the unusual structure and arrangement of photosensitive diodes in the form of a polygonal structure, vaguely similar to silver halides in photographic film, the resulting image has its own 'character'
- Difficulty developing RAW files with third-party converters (due to the complex structure of the sensor)
- Image posterization when shooting in JPEG (treated by shooting in RAW with further conversion to TIFF)
- Pixel/subpixel burn-in over time (a common affliction in CCD sensors). Over time, the number of 'dead, broken, burnt' pixels increases significantly
- The sensor is afraid of gamma radiation, frequent flights are not recommended for the Fujifilm Super CCD SR II sensor
- Loose 'bumpy' picture with strong 'shadow pulling' from RAW or JPEG
- Noise reduction can not be turned off (even at ISO 100, even in the native converter and even when shooting in RAW)
- Yet totally a problem CCD Blooming (CCD blooming) not solved
- High power consumption of the sensor
- Rapid sensor heating when working in Live View mode. Live View works for a maximum of 30 seconds
- There is no way to easily and simply implement video shooting on this type of sensor
- High complexity and high cost of manufacturing such sensors
RAW / RAF Conversion, HYPER UTILITY HS-V3
Render original RAW files (with '.RAF' resolution) is best done with the old original utility Fuji Hyper-Utility HS-V3... For the best quality, you should configure the converter like this... This converter may not work on modern operating systems, or it will require a lot of cleaning tools to install it. The repackaged version (all unnecessary is cut out), optimized for working with Windows 7/8/10, can be download from this link... Your use of the Fujifilm Hyper Utility HS-V3 remains entirely at your own risk.
Also Adobe Lightroom and Adobe Camera Raw (a built-in plug-in in Adobe Photoshop) allow you to work well with Fujifilm FinePix S5 Pro RAW files. In my opinion, if you want to use third-party RAW converters, then the best way to use Fuji Hyper-Utility HS-V3 is to convert the original RAW files (with '.RAF' resolution) to TIFF format with 16-bit color depth ( the output should be files of 70 megabytes each), and later TIFF files should be processed by third-party converters, such as, for example, Capture One, Lightroom and any others. The TIFF format allows you to preserve the correct color rendition (which third-party converters cannot provide), 12 MP resolution and a margin of data for easy manipulation of sources.
UPDATED: A new version of the original (count 'native') FUJIFILM RAW FILE CONVERTER EX 3.0 (powered by SILKYPIX) now digests RAW files from Fujifilm FinePix S5 Pro. You can download on the official website... But it makes it noticeably worse than the original old FujiFilm Hyper-Utility HS-V3, the situation disassembled by me here.
More information about Fujifilm FinePix S5 Pro
- Another review of Fujifilm FinePix S5 Pro on photodzen.com
- An interesting feature UPGRADE Fujifilm FinePix S5 Pro
- Review of Fujifilm FinePix S5 Pro, 2021, Vadim Om + comments
- Stream about Fujifilm FinePix S5 Pro, 2021, Vadim Om + comments
- Humor about Fujifilm FinePix S5 Pro, 2021, Vadim Om
- Fujifilm FinePix S5 Pro 2021 Full Frame Review
- Interview about Fujifilm FinePix S5 Pro, 2021, Olegasphoto + Radozhiva
- Review of Fujifilm FinePix S5 Pro, 2021, Olegasphoto
- Text review Fujifilm FinePix S5 Pro, 2021, Olegasphoto
- Review by Sasha Akimov (late 2022)
- A detailed review of the capabilities of the Fujifilm FinePix S5 Pro sensor, 2022, Dmitry Evtifeev
- Another review of Fujifilm FinePix S5 Pro on andrew-lazarev.com
All Fujifilm X APS-C Interchangeable Lens Digital Mirrorless Cameras
- X-Pro1, X-Pro2, X-Pro3
- X-T1, X-T2, X-T3, X-T4, X-T5
- X-T10, X-T20, X-T30, X-T30II
- X-T100, X-T200
- X-E1, X-E2, X-E2s, X-E3, X-E4
- X-A1, X-A2, X-A3, X-A5, X-A7
- X-H1, X-H2S, X-H2
Fujifilm FinePix S5 Pro - camera with excellent professional ergonomics (controls like Nikon D200). The strength of the S5 Pro is sufficiently high dynamic range and pleasant color rendering... A serious drawback of the camera is the low burst speed when using a wide dynamic range - the shooting speed is only 1.5 fps. In many things the camera very much outdated.
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