Fujifilm FinePix S5 Pro review
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.
Fujifilm FinePix S5 Pro
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.
Fujifilm FinePix S5 Pro
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.
Fujifilm FinePix S5 Pro with lens Nikon ED AF Nikkor 80-200mm 1: 2.8D (MKII)
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:
The evolution of the first SuperCCD / SuperCCD SR 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.
S-pixels have the usual sensitivity of the classic pixels / subpixels CCD matrices. R-pixels are smaller and less sensitive to light than S-pixels and are designed to capture details in bright areas of the frame. During shooting, the camera's processor combines data from these two types of photodiodes to obtain a wide dynamic range. Also pay attention to the complex polygonal structure of the sensor (somewhat similar to the structure of a honeycomb). Actually - this picture is the 'essence' of the S5 Pro camera.
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.
![Fujifilm FinePix S5 Pro with Tamron SP AF Aspherical XR Di LD [IF] 28-75mm 1: 2.8 Macro A09 (Model A09N & Model A09N II)](https://radojuva.com/wp-content/uploads/2012/05/fujifilm-finepix-s5-pro-camera-review-1.jpg "Fujifilm FinePix S5 Pro with Tamron SP AF Aspherical XR Di LD [IF] 28-75mm 1: 2.8 Macro A09 (Model A09N & Model A09N II)")
Fujifilm FinePix S5 Pro c Tamron SP AF Aspherical XR Di LD [IF] 28-75mm 1: 2.8 Macro A09 (Model A09N & Model A09N II)
live view
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).
Fujifilm FinePix S5 Pro with lens Nikon AF-S Nikkor 50mm 1: 1.8G SWM Aspherical
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.
S5 Pro with lens Nikon DX AF-S Nikkor 18-200mm 1: 3.5-5.6GII ED SWM VR IF Aspherical
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.
S5 PRO with lens Tokina AT-X Pro SD 12-24 F4 (IF) DX II 124
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 memory cards CF
Fujifilm FinePix S5 Pro with lens Nikon AF DC-Nikkor 105mm 1: 2 D Defocus Image Control
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 the Fujifilm FinePix S5 Pro is even higher than Nikon's top 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.
Compartment for batteries and memory cards 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.
S5 PRO with lens Industar-50-2 3,5 / 50
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 memory card bandwidth. Even if you use the fastest CF memory card, the data recording speed will not change. Most likely the problem is that after recording each frame, the camera spends time reading it again and displaying it on the display, which significantly increases the time it takes to record the remaining frames from the frame buffer queue. Once 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.
Fujifilm FinePix S5 Pro with a lens Nikon AF Nikkor 35-70mm 1: 3.3-4.5 (MKII)
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.
Original photos in JPEG format ('.jpg') can be at this link (164 photos, 800 MB). These photos were prepared for notes on NikonRumors.
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).
Original photos in format RAW ('.RAF') can view / download from this link (gallery on GOOGLE DRIVE, 40+ photos). The same photos can be found here, here и here.
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
Personal experience:
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
- Review by Sergei Merkulov (2024)
- Review by Sasha Akimov (late 2022)
- Review of Fujifilm FinePix S5 Pro, 2021, Vadim Om + comments
- Stream about Fujifilm FinePix S5 Pro, 2021, Vadim Om + comments
- Fujifilm FinePix S5 Pro 2021 Full Frame Review
- Interview about Fujifilm FinePix S5 Pro, 2021, Olegasphoto + Radozhiva
- Text review Fujifilm FinePix S5 Pro, 2021, Olegasphoto
- A detailed review of the capabilities of the Fujifilm FinePix S5 Pro sensor, 2022, Dmitry Evtifeev
- An interesting feature UPGRADE Fujifilm FinePix S5 Pro
- Another review of Fujifilm FinePix S5 Pro on andrew-lazarev.com
S5 Pro with lens Nikon AF DC-Nikkor 105mm 1: 2 D Defocus Image Control
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-S10, X-S20
- X-T100, X-T200
- X-E1, X-E2, X-E2s, X-E3, X-E4
- X-M1
- X-A1, X-A2, X-A3, X-A5, X-A7
- X-A20
- X-H1, X-H2S, X-H2
Results
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.
Personally, I find the Fujifilm FinePix S5 Pro one of the best 'for the soul' cameras (another one is Fujifilm FinePix S3 Pro). Fujifilm FinePix S5 Pro - it's a legend.
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Material prepared Arkady Shapoval. Training/Consultations | Youtube | Facebook | Instagram | Twitter | Telegram
Arkady, do you use any standard settings (what?) In S5 or do you configure the camera depending on the shooting modes? I mean: standard mode or film simulation, DD, fine-tuning BB and so on.
In some pictures, the picture is very reminiscent of when in RAVE you pull shadows and overdo it.
Question to those who have experience and of course to Arkady
I rent for myself
Evolution - Kiev 4M - Zenit E – Nikon 7000 –Nikon D750
I like to take pictures of people (for myself - not a business family, friends ...)
will I get any special gain in the picture when shooting S5 with respect to D 750 ..
Optics- 85 / 1.8_ 135 / 2_ 80-200 / 2.8
NO ... do not get ... What more do you want from what you have? Fujifilm FinePix S5 Pro is a camera for the soul and nothing more ... there is a certain difference in the picture and this is neither good nor bad, it is just something different. For example, D700 is cooler anyway ...
I don't quite understand the term cooler ...
what does it mean for the soul ?? the fact that it is technically pointless to bet with 750 is understandable ...
what I want ?? for example, a portrait of a child made with two cameras and a picture from under S5 will definitely like more than 9 out of 10 people, somewhere
"Will I get any special benefit in the picture when shooting the S5 in relation to the D 750"
Is your question sly? Why do you ask if you know everything and have a camera? You lie and did not add this camera to the list and then claim the advantage of the S5 camera. What are you doing this for?
wait .. I immediately indicated that I have d 750
I'm really interested in the opinion of those people who filmed on s5 ...
I can afford to buy it .. but I have no way to test it ..
the criterion is one-subjective view of those people who had the opportunity to compare ..
if it’s real, at least in one form, unhurried filming of children I get a prize in the picture then it’s worth it ..
no guile, I'm really interested
I don’t know what you subjectively mean by the word “win” ... but the Fujifilm FinePix S5 Pro has a really different picture and you can see from the tests here. When I bought it, I really saw the difference and my pets are the same, even the inexperienced in the photo ... The picture, if I may say so, is FAT ... many people try to explain it in different ways ... I believe that this matrix remembers more information, since the image is an information flow. And subjectively, people are trying to explain the inexplicable. Therefore, buy and try, since you have so much photo equipment for some reason, take another one you will not regret.
S5 Pro + Nikon AF-s 28-300mm 3.5-5.6G VR FX
Personally, I observed and confirmed for myself one regularity that the S5 Pro produces decent pictures only with the correct exposure, as soon as you pull an overexposed or underexposed picture even a little bit ... then it loses some of its attractiveness, not to mention jerking other handles. In other words, very beautiful pictures without processing, camera JPG.
Simon, (he is Svyatoslav, etc.) you write to Peter - “since you have so much photographic equipment for some reason,” but from himself:
Sony NEX5
Sony NEX7
Sony Alpha A77
Sony Alpha A850
Nikon Df + Fuji S5. It’s not good to reproach a person!
Kind people, tell me, can I fool the camera and use batteries from the d200, if I put a block on Pryatka and a Nikon battery in the block, will the camera work?
Is there a bat.lock for the camera?
In any case, in a simple batblock, the design simply 'duplicates' or 'lengthens' the battery contacts. Therefore, I give 99% that the D200 battery will not work.
So I think so, thanks for the prompt response.
Thanks for the review! very interesting! I would like to know your opinion about the suitability of this device in stock photography! Will he be able to compete with modern cameras? or is he hopelessly out of date for this?
It all depends on the specific flow and requirements. It happens that they simply require a high resolution, which c5 does not have. Well, the sharpness, it should be noted, c5 is not very good. For amateur use and for a number of professional tasks will do, but for drains in our time may not be enough. On the other hand, competent development can offset these disadvantages and you can easily take very sharp photos that are suitable even for very demanding drains. After all, there are photographers who trade on stocks and shoot on very old carcasses. Often there is much more important lighting is good, but at iso100 400d, for example, it is unlikely to differ much from 7dm2.
Well, about glass. Someone says that he sells photos from 18-55 for stocks very successfully, while others find fault with the sharpness of elkofixes from canon. So it all depends on the specific flow. Well, on what you suggest in terms of composition and the content of the photo in general. Maybe there will be such unique photos that they will be taken with a resolution of 3 megapixels. So in general, you can just try it yourself - although this is the most obvious, but also the most effective way, because everyone has different experiences.
Thank you for such a detailed answer! I will think)))
To Nikon 810 this camera will essentially yield only a) image size = matrix; b) the range of working ISO; c) the presence of a low-pass filter, which “lathers” the picture; d) modernity / usability of the interface. moreover, the latter is strictly not for an amateur and d810 is not ideal at all. the picture with S5Pro is qualitatively better, more voluminous, precisely due to the special light sensitivity due to the “double” ccd matrix. I don’t know what you mean by “stock” photography, but if you work correctly with light, good optics (this camera needs good), and good editors / converters, it is better than Heap in reality, only medium format.
> the picture from S5Pro is qualitatively better, more voluminous, precisely due to the special light sensitivity due to the "double" ccd matrix.
Yeah, twice as voluminous, immediately a 3D image is output :)
noooooo, 3D is in 3S Pro, and 5S Pro already has 5D picture =)
Then IS PRO has a complete presence effect, even with warm IR rays.
GOOD EVENING, I HAVE A QUESTION: I WANT TO BUY (ON AVITO) CAMERA - Fujifilm Finepix S5 Pro, MILEAGE 95 THOUSAND. IS THERE SENSE TO TAKE WITH SUCH RUN TIME? AND WHAT IF I CAN REPLACE THE SHUTTER IN THE SERVICE CENTER? THANKS !!! VADIM.
There's a meaning. Shutter from d200 set without problems.
THANKS HUGE FOR HELP, THINK. RESPECT, VADIM.
Friends! I have two cameras: D7000 and s5pro. I shoot mainly my wife, child and city landscapes. I use manual optics. On the D7000 I rent mostly DOMA, I take s5pro for a walk. I noticed that on s5pro it’s harder to get into focus. (On both cameras there is a focusing screen with a micro-raster, on the Fujik the center is also with doden wedges). Now you have to sell one of the cameras, don’t ask the reason))) So I don’t know which part to leave ((((And maybe there’s an option to sell both, and switch to another (which?) System ... (but then you will have to sell both the lenses and flash ...) Share, who would have acted in this situation?
7000 DSLR, fashionable, new (in chronology) - they will buy more willingly, S5 - a camera, real, but for an understanding, not everyone will appreciate. 7000 or an updated clone can be easily found and bought later if desired, an S5 in good condition is not so easy to find or buy. what can you do with the 7000 that you can't do with the S5? on the contrary, it is more difficult…. but the choice is still yours)
Thanks for the answer! About the state - you are right. My s5 only ran 32000, the condition is perfect ... I have had D7000 longer, and is already slightly worn. About the fact that you can't take off with fujik - there are conditions that fuju are poorly given: at home in the evening under a light bulb on one side and a window on the other, the fujik for some reason gives faded colors, and the D7000 pours acid. Acid looks brighter, photos are lighter but flat, faded looks paler but more voluminous ... D7000 is sharper. In the evenings at home, the D7000 is at iso 500 and fuji at iso 800. The “ears” of the color difference probably stick out from here. Noise in both cases is not visible "by eye". Yes, there is no time to process, I shoot in jpg.
Fuji has a very bad screen. You will neither appreciate nor show pictures on it. The D7000 has a super screen!
The ergonomics of s5pro are magnificent, everything is in its place, everything is convenient. D7000 after Fuji seems quite uncomfortable. But in the D7000 there are useful chips like the electronic level right in the viewfinder. Nikon's viewfinder is lighter, it is easier to work with manual optics.
The shutter sound of the D7000 is quieter, not so sharp. There is a silent mode. D7000 less Fuji.
But there is one catch: before the Fujik, I had no idea upload photos for discussion, and with the advent of the Fujik, I posted some photos on photo.ru. I can’t understand if the photo from Fujik is better than from the D7000, or it just seems to me, but from Fuji I see a volume that I don’t see with the D7000.
'volume' draws the lens.
Shoot several shots in the same conditions, with one lens with both cameras, reduce the photo from 7000 to S5 size, and compare 'head-on' - the picture, color rendition, detail. Then decide what you like best.
+ A lot depends on the camera settings. Of course, if you shoot in auto mode, the result may be unpredictable. But in general, with normal tuning, the D7000 will be no worse than the ghoul, and in terms of sensitivity and DD it is better.
But the S5pro is much rarer. If you like it, leave it, continue filming and do not regret anything :)
Actually, in dd and semitones, d7000 is sucked from the ghoul without unbending
Your professional vocabulary is inappropriate in this case.
And your arguments are meaningless and unreasonable.
if anything, everything draws light, especially volume))) shadow-light-shadow-light, etc., it turns out volume)
Light is primary in photography, it goes without saying. It's like in religion, only photography begins with the words 'Let there be light!' :-)
But we're talking about technology. And what does the picture give? The image is projected onto the matrix by the lens. Therefore, commenting on the above, we can conclude that the 'carcass' (matrix) cannot give 'volume', or a picture, color - yes, detail (or lack thereof) - yes, that's the whole task of the matrix - to adequately convey the color, and do not spoil the picture that the lens gives.
In fuja kkda, the picture is better due to the transfer of colors and halftones (and therefore the transfer of volumes) .. D7000 is dull in this regard.
Merge both and switch to mirrorless ones.
It is much easier to wear, but for your tasks it is quite enough.
exactly 6s steers and sings music
I have 2 cameras in toze (Fujik 5 Pro and Nikon D 7000), I had a choice with which to leave. Nikon sold.
So, first there were 2 Nikon?
All the same, I decided, took a couple of hours from a friend S5 Pro, although I put it off for a long time, I don’t know why.
Put Nikon 85mm f / 1.8G. He took pictures of children in the garden at sunset. Intentionally with busting in the exposition, so almost everything was quite strongly illuminated.
After that, he began to draw out the raves, and was completely stunned - the light was unprecedented, there were no noise, all the light-shadow was in place, the skin was not spoiled at all.
Now I understand why I was so afraid to take the S5 into my own hands. D610 is a complete lack of confusion now, in DD it is impossible to compare.
Clearly, we are talking here about light, overexposure and skinton in certain situations. Naturally, at high ISOs, as well as in detail or sharpness, there is no better D610 (i.e. significantly better, not marginally).
Now I’m looking for a good copy, but something very few of them remained, and the price flew in, although it was well deserved.
Peter, and in what program pull RAW?
Lightroom 6. Profile “camera pro neg std”, it seems.
I tried it, but somehow I didn't really like the Room for the S5 pro ... I tried it in this tool Zoner Photo and it seemed to me that it was better. There will be a desire to experiment.
Yes, in LR everything is somehow faded, it seems the contrast is falling too.
Thanks I'll know.
Yes, by the way, soared noticeably. Even if you forget about the crisis, given the old age of the model, prices are just harsh. On average, at the level of 5d, that is 25 thousand per normal instance. I am glad that about 8 months ago I was lucky to grab a cheaper one. I thought about selling, and then weighed the pros and cons and decided that I needed this cow myself :)
By the way, I saw comparisons with the d800, which also noticeably loses in dd in the fuju lights. Once again I will say that I am very sorry for this line. Would they now issue a fudzh c7 about some one at a price of 50-60 thousand with updated hardware and a matrix, with the same type of matrix itself - I think there would be buyers, even if the workers of the ISO are at the same level.
You know, I specifically checked that the highlights on the D200 and even on the D70 are pulled out much better than on the D610 and D3300 (and, therefore, on all the other latest models, I don’t know about the very latest D5).
For some reason, almost no one talks about this most important quality.
And yes, if Fuji had released at least the same S5, they would have taken it apart right away.
So, I finally found a good copy with a mileage of 40 thousand. I was just lucky. Everything was covered, both in real life and online, and everywhere they want some wild money. In one store I accidentally discovered where I went to just stare.
Everything is written correctly. Skinton is wonderful, better than the D200. It can be seen right away - for comparison, I showed people who were far from photography, everyone liked pictures with s5Pro more.
I have never spent so much time setting up skintones. And so well, and so on, until in the head it does not jam at all.
As for sharpness, you need to understand what needs to be done, how and what to shoot, and everything turns out sharp and contrasting.
I use the native program for processing rabbis, indicated by Arkady in the article.
If suddenly something, I will sell everything, but I will never get it.
Hello. Will the Nikon D7200 picture differ from FujaiS5 pro, the Nikon lens is 12-24 mm DX. I’m shooting in a jeep.
Be.
Who will be better?
Of course, Phase One XF)))
But seriously, the S5 Pro's picture is "more fun" even than that of the D810 (if you don't take into account the matrix format and the number of pixels, and the presence of a very thick woofer on the S5)
By the way, I thought about removing this filter / replacing it with a finer one, there are offices on the other side of the globe that do this correctly, while maintaining 100% camera performance. no one has carried out such an upgrade? if there is a similar experience, share.
There is no need to compare the incomparable. Love for the S5 Pro should not get in the way of justice ...
These are two different devices and each is good in its own way ... It is NOT NECESSARY to compare them. These are different people :))))
FudjiFilm S5 Pro + Tamron sp 150-600mm I bought it on ebay and having played enough with marketing cameras I realized that the colors of old, noisy cameras are more pleasing to the eye.
by cat or squirrel do not understand how good the color is
I have S5 and Other Fuji and Nikons ... There were no Canonies. This is for reference.
So I won't sell the S5 yet, and I take it and only it with me. This camera has a zest, charm, mystery as you wish ... I understand this in my own way: Since I believe in information fields, in relation to the camera, I guess that its matrix is three-layer, it captures more information that a person only catches by intuition and cannot explain, but only trying. That's the whole secret. Therefore, photographs from this matrix have well, as it were, more realism and this word and any word will not work. Someone talks about the “fatness” of photographs, someone about color, someone compares it with film, and these are all just attempts to explain the inexplicable. But all agree on one thing “the pictures are attractive” and this cannot be taken away. Compared to the D700, it's also a legend ... but it has its own peculiarity, its pictures are kind of refined and chic and they can't be compared with the S5 ... I don't see any more cameras that can stand out in something. Modern super sensitivities don't fucking need 25000 weeks it's just anal photos to do. Who needs it? Previously, masterpieces were made with ISO-65, but today ISO is not enough for them! Learning to take pictures is necessary. Those who don't have it talk a lot about the S5 Pro, and I think that this camera is more for the soul than for commerce. Well, he explained, it started ...
But do not dismiss it quickly ... well, also kodak dslr n14, but it's dumb with the matrix - the glue dries up and it falls off, and the processor is firmly attached to the matrix by software, replacement is not allowed ...
Fuj s3pro is also good, the owners say that it is in the picture that the c5 is even better. I have not tried it myself, I have only an A. There are actually many good old cameras by color. I liked the color 400d from Canon, 5d the first is very good in this regard, it makes me happy. Excellent color, maybe even better than 5d had 1dcm2 - I know many professional weddings who still shoot with this camera in Europe, with 1dx and 5dm3. From nikon I have d70s, d80, d200, which are very close in color to fuju c5pro, it's a pity there is no dd. Well, even with the color of sigma SLRs, everything is very interesting, although the cameras themselves are not very user-friendly there. Old Sonya type a200 also gave out a pleasant color. The aforementioned kodak (in spite of the problems with use) produces an excellent color.
As for ISO, then it depends on what to shoot. It’s unlikely that a bear that catches fish at ISO 600 can be removed at 8 mm at f65 after sunset. Even 20 thousand is not enough. With good high workers, you can in many cases forget about the outbreak, which the happy owners of d4, d5, 1dh already do. And in fact, this increases the number of successful frames. Even a very good puff is unlikely to stretch a series of 10 frames per second for 8-10 seconds. And here it’s enough to raise and shoot any fast object. In addition, in some places, outbreaks are prohibited and there high iso very much needed. And finally, for beginners, this is also a plus. People buy a camera, set the green mode, it sets ISO 3200, and there is porridge, be it an old camera on ssd. And new crop can easily cope with the task. In addition, it seems like over time and smoses improve. If the d7000 gave out a terrible skinton, then the d7100 is better, and the d500 is even better judging by the tests. Canon has the same thing. 5dm2 required a lot of shamanism with mobs, and 5dm3 in decent color already produced decent color.
Get me out of the auto-ban ... poh ...
I wrote about lenses and the comment disappeared somewhere ...
I looked at the flickr photo from this camera, I did not see anything beyond, or the pro owners of this camera do not hang out there ....?
Today's no processing as is a camera jpg whale lens without stub Nikkor 55-200
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