Is the S5 Pro still a worthwhile buy?

[fWord]

Now, this is my image to show you how well the Fujifilm S5 Pro handles mixed lighting, and at the same time, to illustrate its wide dynamic range. Keep in mind that the interior was much darker and the exterior wall was overblown. However, the S5 Pro managed to capture highlight details with ease.


Original RAF converted with Fujifilm Hyper-Utility HS-V3. Default settings with Dynamic Range set to 300%.

Another tricky one..... but not tricky enough for the S5 Pro.

Original RAF converted with Fujifilm Hyper-Utility HS-V3. Default settings with Dynamic Range set to 300%.

Interesting. The first one really made me look not to mention this was DR at 300%...imagine a little more detail with 400%! Under usual circumstances I wonder what that picture would have looked like.

Never thought I would have to read Ken Rockwell's stuff. In the past I browsed through his website only to find little bits and pieces of information.

I see that you used Hyper-Utility for these images. How much does this software cost and where should I buy it from? The original package does include a RAW converter, from what I've read. Is that enough to get the results you desire? Or does a user have to go to Hyper Utility to get the best out of the camera?

 

[jacob]

i've got one for sale at $150 new. original retail price is around $200. if you want just pm me with your contact details.

here's the link.
http://www.clubsnap.com/forums/showthread.php?t=433414

 

[jacob]

photobum: sometimes it makes me wonder are you really from Fuji Singapore :bsmilie::bsmilie:. unfortunately you're not else.....

thanks for sharing the pics.:thumbsup::thumbsup:

 

[Nikkornos]

This little stint with Leica lenses started with the Summicron 35/2 and grew from there. I'd definitely agree that the colors are lovely, plus a clarity I've never before seen in any of the other Canon lenses I've tried. Manual focus isn't always good however, because a misfocused colorful picture is hardly worth anything! :bsmilie:

I realize that in switching to an S5 Pro or any other Nikon-mount camera, I stand to lose all my Leica optics. Searching on Ebay made me realize that there doesn't seem to be an adapter to use Leica-R lenses on a Nikon camera. Besides, the effective focal length of the lenses I now have will be very unattractive to me. On FF now of course, a 35-70mm zoom, 90mm and 180mm prime see lots of use.

Speaking of the Nikon 24/2.8, there's an old Sigma 24/2.8 'super-wide II' that is reputedly very good. Is this the Sigma you are referring to? If I could afford to keep two cameras, I would certainly hang on to my Canon-Leica setup for enthusiast work and use the S5 Pro with an AF lens for cases where AF is far more critical.

The very informative and 'backed by real world pictures' posts are telling you :

1. you can still enjoy the Canon-Leica setup for serious work
2. you should get the now very affordable S5Pro and take advantage of the AF + superb images (especially skin tones, colours)

The old Sigma 24/2,8 super wide II macro is still available at several shops, new or used. I have used it on the F90x and D70s/D80 with fantastic results. In a DSLR, its a 35mm F2.8. It appears to give better results than the Nikkor 24/2,8 at times on Fuji Velvia.

I do not like the 17/18 to something zoom lenses. They are good value for money no doubt, but zooms are always a compromise.

Talking about the older 18-70mm lens, it did give me the convenience during travel but soon I retired it. I ended up using the 17.5/3.5 ATX, 24/2.8 Nikkor, 35/2 Nikkor, 50/1.8 Nikkor, 105/2.8 instead. A bit trouble some at times, but really once the situation determines which focal length is most desirable, you only need one camera one lens. I once used the 24/2.8 for an entire wedding dinner shoot. It was very light and picture quality was exactly what I wanted.

So, getting a S5 pro ? use I am contemplating too.

 

[Nikkornos]

Since I am ignorant on how Nikon cameras work, I might be in need of a good education. I see some older manual focus lenses with the 'rabbit ears'. What's the significance of this? Some time back I bought a 3rd party Nikon mount superzoom that didn't have the rabbit ears, yet it seems to meter well enough on my Dad's D80.

Camera purchases are terrible ideas in general because of the price trends. They always trend downwards, and very rapidly. Unless we're talking about the collectors items in Leica's rangefinder stable of course.

When the S5Pro was newly released it was retailing at almost the same price that I paid for my 1Ds MKI second hand. Even at that time the S5 Pro intrigued me. So naturally now that a new one could potentially cost even less than the resale value of my 1Ds, I did contemplate the switch.

It's funny to admit that I've gone down a downgrade path of late, from a bunch of Canon lenses to Leica optics which ironically seem cheaper, yet the quality is still most excellent.

I started playing with Nikkor lenses from the film old days. The rabbit ear on the front is a coupling used for the lens to tell the old film camera light meter which aperture setting. That was from the Nikon F days in the 50-60s. F mount, non AI. Then in the 70s the mount does not make use of the rabbit ear but a notch in the aperture ring and is called AI. Around the 80s we have the AIS, which is an additional knob on the aperture ring to tell the camera more information. There were services in Hong Kong to convert non AI, AI lenses to have AIS ring. Around the 90s we have the first AF lenses with in lens electronics. Then Nikon came out with AF-D where D is the distance information. Came AF-s which is the silent wave motor (some AFD lenses are really loud). When I expected Nikon to revamp the old classics like 50/1.4, 105/2.5, 35/1,4 , they introduced the G lenses and done away the aperture ring completely. The built quality dropped to Tamron consumer grades, and I think some of the plastic G lenses are made by Tamron.

I would say the pinnacle of Nikkor lenses are in the 80s-90s where the AIS lenese classic 24F2, 35F1.4, 28mm F2, 50F2, 50F1.8, 50F1.4, 55F2.8 macro, 85F2, 85F1.8 AF, 105F2.5, 135F2, 180F2.8 are all MUST have for a Nikon fan. I have collected all these over 20 years and love them. I think Nikon do not let the DSLR use the AIS ring is a marketing strategy. They make you pay for their new platic lenses because they need to make money.

I bought a Taiwanese book about reviews on the "MUST BUY" "MUST HAVE" or "AVOID THIS" Nikkor lenses for DSLR (upto D80). Its an extensive review and matches my real life experiences of how the lenses perform. One particular flag ship new Nikkor lens that cost S$2k is really bad. This lens also got a very poor review in that magazine. You can buy this nicely printed book in Bras Besah complex Popular Bookshop. Well since it is from Taiwan, its written in Chinese.

S5 Pro allows the use of old AIS and AFD lenses. Fuji will surely appreciate these older Nikkors as much as the new zooms.
Anyway, Fuji makes fantastic lenses. It will be great to see Fujinon on Nikon F mount. But thats a far fetch dream.

 

[bigpond]

:thumbsup: :thumbsup: :thumbsup:

 

[fWord]

i've got one for sale at $150 new. original retail price is around $200. if you want just pm me with your contact details.

here's the link.
http://www.clubsnap.com/forums/showthread.php?t=433414

Thanks for the link. I'm not actually in Singapore now and hence cannot buy even if I wanted to. I'd obviously rather use whatever is included in the package because it'd save me some money. Canon's RAW converter is awesome and I haven't needed PS except for cloning or special effects.

 

[fWord]

The very informative and 'backed by real world pictures' posts are telling you :

1. you can still enjoy the Canon-Leica setup for serious work
2. you should get the now very affordable S5Pro and take advantage of the AF + superb images (especially skin tones, colours)

The old Sigma 24/2,8 super wide II macro is still available at several shops, new or used. I have used it on the F90x and D70s/D80 with fantastic results. In a DSLR, its a 35mm F2.8. It appears to give better results than the Nikkor 24/2,8 at times on Fuji Velvia.

I do not like the 17/18 to something zoom lenses. They are good value for money no doubt, but zooms are always a compromise.

Talking about the older 18-70mm lens, it did give me the convenience during travel but soon I retired it. I ended up using the 17.5/3.5 ATX, 24/2.8 Nikkor, 35/2 Nikkor, 50/1.8 Nikkor, 105/2.8 instead. A bit trouble some at times, but really once the situation determines which focal length is most desirable, you only need one camera one lens. I once used the 24/2.8 for an entire wedding dinner shoot. It was very light and picture quality was exactly what I wanted.

So, getting a S5 pro ? use I am contemplating too.

Good points there. Obviously to get the best of both worlds (resolution and DR) I should keep both. The Sigma superwide sells for pretty sane prices second hand on Ebay, I've been looking at it every now and again but never bought one. In use I've found 35-40mm to be quite a natural focal length for me. But step up to 50mm and I usually find it too restrictive. Just the way I shoot, I suppose.

Getting involved in a new system is dangerous because I may be tempted to build a separate lens setup altogether, which may not be a tremendously good idea. Lenses like the 17-50mm f/2.8 from Tamron test really well on a number of websites, although vignetting and CA would be the key weaknesses. These are things I've had the luxury of avoiding with the Canon-Leica setup, so I've been badly spoilt. But in reality if I were using the S5 Pro setup for people shots only, I wouldn't be worried at all about the vignetting. It just seems more acceptable.

But indeed, something like a fast 50mm prime would be useful for more closeup portraits. I am very, very tempted by the S5 Pro, but $1500 is no small sum of money.

I started playing with Nikkor lenses from the film old days. The rabbit ear on the front is a coupling used for the lens to tell the old film camera light meter which aperture setting. That was from the Nikon F days in the 50-60s. F mount, non AI. Then in the 70s the mount does not make use of the rabbit ear but a notch in the aperture ring and is called AI. Around the 80s we have the AIS, which is an additional knob on the aperture ring to tell the camera more information. There were services in Hong Kong to convert non AI, AI lenses to have AIS ring. Around the 90s we have the first AF lenses with in lens electronics. Then Nikon came out with AF-D where D is the distance information. Came AF-s which is the silent wave motor (some AFD lenses are really loud). When I expected Nikon to revamp the old classics like 50/1.4, 105/2.5, 35/1,4 , they introduced the G lenses and done away the aperture ring completely. The built quality dropped to Tamron consumer grades, and I think some of the plastic G lenses are made by Tamron.

I would say the pinnacle of Nikkor lenses are in the 80s-90s where the AIS lenese classic 24F2, 35F1.4, 28mm F2, 50F2, 50F1.8, 50F1.4, 55F2.8 macro, 85F2, 85F1.8 AF, 105F2.5, 135F2, 180F2.8 are all MUST have for a Nikon fan. I have collected all these over 20 years and love them. I think Nikon do not let the DSLR use the AIS ring is a marketing strategy. They make you pay for their new platic lenses because they need to make money.

I bought a Taiwanese book about reviews on the "MUST BUY" "MUST HAVE" or "AVOID THIS" Nikkor lenses for DSLR (upto D80). Its an extensive review and matches my real life experiences of how the lenses perform. One particular flag ship new Nikkor lens that cost S$2k is really bad. This lens also got a very poor review in that magazine. You can buy this nicely printed book in Bras Besah complex Popular Bookshop. Well since it is from Taiwan, its written in Chinese.

S5 Pro allows the use of old AIS and AFD lenses. Fuji will surely appreciate these older Nikkors as much as the new zooms.
Anyway, Fuji makes fantastic lenses. It will be great to see Fujinon on Nikon F mount. But thats a far fetch dream.

Thanks for the low-down on the progression of the Nikon mount lenses. I've read numerous glowing opinions from users of the 105mm f/2.5, so that would essentially be a no-brainer assuming I was building a setup from scratch. Plus, 150mm effective focal length is potentially useful after I learned to like the Leica 180/4 on a FF camera. The 50/1.8 is an interesting one because some manual focus enthusiasts are actually adapting this lens for their Canon cameras in preference over Canon's own 50/1.8. I have never used the Nikon and only briefly had the Canon, so I can't say much about either.

The only thing that stops me from considering manual focus lenses on a potential S5 Pro is that it would leave me with the same problem again, the difficulty of focusing quickly and accurately for people photography.

 

[diediealsomustdive]

... from the Nikon F days in the 50-60s. F mount, non AI. Then in the 70s the mount does not make use of the rabbit ear but a notch in the aperture ring and is called AI. Around the 80s we have the AIS, which is an additional knob on the aperture ring to tell the camera more information...

Your dates a bit out. Non-Ai was up to around 1977, and Ai came with introduction of Nikkormat FT3, Nikon EL2, F2A and F2AS, followed shortly by FM, FE and F3.

And just a historical note for those nostalgic persons where old is good, for non-Ai you need to set your aperture to f/5.6 then release your lens. The lens to be mounted must also be set to f/5.6 so that the rabbit ear catches the latch.

That's not all - you then have to do the click click - twist the aperture to minimum then back to maximum to "index" the lens - to tell the camera what's the maximum aperture of the lens you've mounted.

That's why the new version is called Ai - for auto indexing.

Minolta, Canon, Olympus, etc all had "auto indexing" from the 1960's, Nikon was just plain old slow in getting the Ai bit going.

There is no additional "knob" on AiS lens, there is a groove at the rear lens mount.

AiS came around the time the E lenses were released, quietly. First 2 cameras to use AiS were FA and FG. AiS came with uniform aperture movement controlled from the mechanical lever at the lens mount to allow shutter priority and programmed exposure. For all intent and purposes today other than FA, FG, F-301, Ai and AiS lenses are functionally identical.

Again the S and P mode had existed long before Nikon did it. Just plain old slow.

... I think some of the plastic G lenses are made by Tamron ...

That's plain old speculation, although the same was speculated by many people.

S5 Pro allows the use of old AIS and AFD lenses. Fuji will surely appreciate these older Nikkors as much as the new zooms.

S5Pro is simply a D200 with a Fuji sensor. Fuji simply took the body from which they want to carve the camera out, so the ability to use manual Nikkors is really Nikon's decision, rather than Fuji appreciating Nikkors.

Anyway, Fuji makes fantastic lenses. It will be great to see Fujinon on Nikon F mount. But thats a far fetch dream.

That's also a not very accurate information. Fujinon lenses made for 35mm film use were good lenses, but never fantastic lenses. The legendary Fujinon lenses, IIRC are for broadcast equipment, not for 35mm.

Hope this helps. Just for your information, I own a Nikon F Photomic FTn, Nikkormat FT2, Nikon EL2, FE2, FG, F70, D70, D300 and D60. I also have several S2Pro. I have pre-Ai 50/1.4, 105/2.5, 28/3.5, 24/2.8 (the last 2 converted to Ai), Ai 50/2, 28/2.8, AiS 105/2.5, AF 35/2, 85/1.8, AFD 50/1.8, AFS 60/2.8, plus a few AFD/AFS zooms. I at one time had to click click to index the lens for a wedding shot, before the coming of Ai Nikons.

In the good old days it was really troublesome to use Nikon...

 

[Nikkornos]

Yup, thanks for some of the pointers. The old non-AI, AI, AIS dates is something almost forgotten, sort of childhood memory for me now. My Big F has not been used for many many years, but secondary school days was really hot. I still keep the Nikon F4 and F3 bought whe I was working in Hong Kong. The Nikkormat FT3 both black and white versions also got stowed in the dry box. Essentially, the very old film stuff I have got rid of most of them. Only keeping the AFD and some good AIS/AI stuff to be used with the F90x or a suitable DSLR. Cameras like FE, FE2 start showing reliability and accuracy problems and I have got rid of them almost ten years ago.

I don't shoot for a living, so in terms of hobby its too much money spent. I took up DSLR hoping to save the hussle/costs of film, but there simply is no comparison in picture quality, and end up spending more on the camera body. I have sort of given up on Nikon DSLR after the experience of D1, D100, D70, D70s... and went back to film. Only the recent D90 gets me excited again. Same for S5.

Fujifilm and Nikon worked hand in hand when Nikon was not able to make a D cam and required Fuji engineering support. They eventually broke away. The Fuji sensor is something I do like a lot.

Anyway, I also have the Fuji GW690. The optics of some Fujifilm D cam are also very good. I based my statement from the usage of these cameras. One of my old Fuji old D cam has only 3Mp and the pictures used by magazine are still ok.

 

[photobum]

photobum: sometimes it makes me wonder are you really from Fuji Singapore :bsmilie::bsmilie:.

You and I have met briefly, so you know I am not from Fujifilm Singapore.

The first one really made me look not to mention this was DR at 300%...imagine a little more detail with 400%! Under usual circumstances I wonder what that picture would have looked like.

You want to see details at DR 400%, let me show you this image.

Original RAF converted with Fujifilm Hyper-Utility HS-V3. Default settings with Dynamic Range set to 400%.

Original RAF converted with Fujifilm Hyper-Utility HS-V3. Default settings with Dynamic Range set to 230%.

Taken from my kitchen windows at the block of flat across at around 3:30 pm today. The sun was blazing hot and BRIGHT!!!. If you are wondering why am I home so early from work, I am not feel well today so I took a day medical leave.

Whenever I am shooting with the S5 Pro, I try not to set the DR to 400%. It usually makes my images look dull and lifeless. A DR of 230% is more than sufficient.

 

[fWord]

Your dates a bit out. Non-Ai was up to around 1977, and Ai came with introduction of Nikkormat FT3, Nikon EL2, F2A and F2AS, followed shortly by FM, FE and F3.

And just a historical note for those nostalgic persons where old is good, for non-Ai you need to set your aperture to f/5.6 then release your lens. The lens to be mounted must also be set to f/5.6 so that the rabbit ear catches the latch.

That's not all - you then have to do the click click - twist the aperture to minimum then back to maximum to "index" the lens - to tell the camera what's the maximum aperture of the lens you've mounted.

That's why the new version is called Ai - for auto indexing.

Minolta, Canon, Olympus, etc all had "auto indexing" from the 1960's, Nikon was just plain old slow in getting the Ai bit going.

There is no additional "knob" on AiS lens, there is a groove at the rear lens mount.

AiS came around the time the E lenses were released, quietly. First 2 cameras to use AiS were FA and FG. AiS came with uniform aperture movement controlled from the mechanical lever at the lens mount to allow shutter priority and programmed exposure. For all intent and purposes today other than FA, FG, F-301, Ai and AiS lenses are functionally identical.

Again the S and P mode had existed long before Nikon did it. Just plain old slow.



That's plain old speculation, although the same was speculated by many people.



S5Pro is simply a D200 with a Fuji sensor. Fuji simply took the body from which they want to carve the camera out, so the ability to use manual Nikkors is really Nikon's decision, rather than Fuji appreciating Nikkors.



That's also a not very accurate information. Fujinon lenses made for 35mm film use were good lenses, but never fantastic lenses. The legendary Fujinon lenses, IIRC are for broadcast equipment, not for 35mm.

Hope this helps. Just for your information, I own a Nikon F Photomic FTn, Nikkormat FT2, Nikon EL2, FE2, FG, F70, D70, D300 and D60. I also have several S2Pro. I have pre-Ai 50/1.4, 105/2.5, 28/3.5, 24/2.8 (the last 2 converted to Ai), Ai 50/2, 28/2.8, AiS 105/2.5, AF 35/2, 85/1.8, AFD 50/1.8, AFS 60/2.8, plus a few AFD/AFS zooms. I at one time had to click click to index the lens for a wedding shot, before the coming of Ai Nikons.

In the good old days it was really troublesome to use Nikon...

Haha, looks like I got way too much to learn here. It's like getting involved with a new system altogether. However Nikon owners are lucky. With Canon, those with a heavy investment in the FD lenses really lost out when the company went to EF mount. Sure, they made a special FD-EF adapter for the longer lenses, but it would have been a pain to use I imagine.

 

[fWord]

Only the recent D90 gets me excited again. Same for S5.

Interesting to hear a film user say this. I'm not really with the times, but what's new in the D90 that makes it much more attractive to you than previous cameras? The S5 looks like a lovely alternative for those seeking something 'different'. I just wonder how well the images will print.

The 1Ds I have does lovely 8 X 12" prints, and I want to venture to A3 but can't find anything of value in my collection that should even be printed that large. A long time ago I think the critics were saying that 6MP could yield a billboard sized print, but arguably if you print that big, resolution will be poorer, only that is won't be visible because of the viewing distance.

The next issue at hand is with certain competitions only accepting images of a certain number of MP or higher. 3MP seems to be the general figure these days, although Wildlife Photographer of the Year for example, needs a minimum of a 6MP (native, uninterpolated) image. This is disconcerting because this shows that the competitions are looking more deeply into the MP count when artistic merit is more important.

At another forum I read that stock agencies such as Getty won't accept a 6MP image anymore. Truth be told, I have never entered such prestigious competitions or ever considered sending anything into a stock agency, but it's a little point I always need to consider at some stage.

 

[fWord]

You want to see details at DR 400%, let me show you this image.


Original RAF converted with Fujifilm Hyper-Utility HS-V3. Default settings with Dynamic Range set to 400%.



Original RAF converted with Fujifilm Hyper-Utility HS-V3. Default settings with Dynamic Range set to 230%.

Taken from my kitchen windows at the block of flat across at around 3:30 pm today. The sun was blazing hot and BRIGHT!!!. If you are wondering why am I home so early from work, I am not feel well today so I took a day medical leave.

Whenever I am shooting with the S5 Pro, I try not to set the DR to 400%. It usually makes my images look dull and lifeless. A DR of 230% is more than sufficient.

Sorry to hear you are unwell, but those images are absolutely sick! Somehow it looks as though the highlights are about to blow but detail is still retained, and it's even more remarkable considering the photo doesn't actually seem to be underexposed on my screen.

Speaking of 'dull and lifeless', this was something I read elsewhere, that the S5 Pro produces images with great tonality and DR but the final results are usually lower in contrast. So, if I were to increase the contrast and post-process during RAW conversion in order to get a crisp image, am I effectively losing the edge in DR that the S5 Pro provides?

It would hardly make any sense to have an image with a wide DR that simply looks lifeless on print.

The other thing I am concerned about is the overall perception of sharpness with the S5 Pro images. Were those photos 100% crops? A soft image is very hard to sharpen and just risks artefacts. Once again I think the Canon-Leica combination really spoilt me as far as sharpness, clarity and colors are concerned, but that wouldn't give me such a handy amount of DR which would no doubt be able to save some of my photos.

When I was new I used to take frighteningly-bad travel photographs that had a featureless white sky and these days I need to find different angles to avoid that altogether. Didn't help for my cousin's pre-wedding shoot however. In a lot of photos the gown was blown out, which was rather disturbing also.

The only way I could save some detail in the gown was to underexpose slightly and then push the exposure during RAW conversion. When done minimally I realized that there isn't a perceivable increase in noise even from the 1Ds, which most people bag as being a noise machine.

 

[fWord]

Hmm...this was published some time back regarding Fuji's newest sensor development:

http://www.dpreview.com/news/0809/08092210fujifilmexr.asp

It makes me wonder if a new S5 Pro is in the pipeline after all. A number of people however seem to think that Fuji's DSLR days are over and they're focusing on compact digital cameras instead. How true is all this info? If what Fuji says about its newer sensor is true then we could really be looking at a camera that's capable of producing very crisp images as per the usual DSLR and yet maintain its key selling point of having massive DR.

 

[photobum]

Sorry to hear you are unwell

Thanks for your kind concern. The weather is changing, so cough and cold are unavoidable.

So, if I were to increase the contrast and post-process during RAW conversion in order to get a crisp image, am I effectively losing the edge in DR that the S5 Pro provides?

You won't lose the edge, trust me. In fact, with a wider DR, you will have more headroom to adjust the highlights.

Were those photos 100% crops?

Yes, they are.

The other thing I am concerned about is the overall perception of sharpness with the S5 Pro images.

I use a Canon 1Ds MK II, MK III and a 5D at work. Images from the Canon DSLRs are, no doubt, sharper than those from the S5 Pro. Nonetheless, images from the S5 Pro require little or no adjustment. These images also accept sharpening better with very little artefacts.

It makes me wonder if a new S5 Pro is in the pipeline after all.

The recently introduced Fujifilm SuperCCD EXR is to be used in their new FinePix S200FS. There is not intention of it being used in a DSLR.

 

[fWord]

I use a Canon 1Ds MK II, MK III and a 5D at work. Images from the Canon DSLRs are, no doubt, sharper than those from the S5 Pro. Nonetheless, images from the S5 Pro require little or no adjustment. These images also accept sharpening better with very little artefacts.



The recently introduced Fujifilm SuperCCD EXR is to be used in their new FinePix S200FS. There is not intention of it being used in a DSLR.

Arrgh...the decision is so hard. With all the money in the world I'd love to have both systems. Considering those samples were 100% crops then the definition is actually more than acceptable. I'd seen a sample or two on DPReview that looked as if nothing in the frame was sharp, like a blurred effect throughout. Thankfully you have shown me that those soft samples are the exception rather than the rule.

Is Fuji likely to produce anymore DSLRs? Or is the S5 the very last of them? Considering it caters to a niche market I gather it wouldn't have sold as well as the company would have liked. Fuji's compact cameras are popular however. When the f31 was fairly fresh on the market I wanted to buy myself a second hand one. Good thing I saved the money. The S5 is going to cost a good deal more but it's a much more capable package overall, likely to last me a while.

Haiz. Maybe I will wait for the Christmas sale here and then pick one up. My parents (and even I) will kill me for spending so much on a mere hobby.

 

[Nikkornos]

Well, after looking at the S5 and its results, here are the points:

1. The D200 body is professional grade and very sturdy
2. Fujifilm has been making film/CCD for many years
3. Works well with old AIS/AF/AFD lenses from Nikon
4. very good price now. MS colour about S$1100

very nice results from the Nikkor 24mmF2.8. The picture does not need much processing and already very very nice. It also works very well with the Nikkor 50mm F1.8 giving superb perspective when shooting portrait.

http://www.fujifilm.com/products/digital_cameras/s/finepix_s5pro/index.html

Comparing to the D90, which I also contemplate, it is a more solid camera to hold. D90 comes with kit lens in Singapore. Body alone is S$1400.

Why not you borrow a S5Pro, shoot some pictures side by side with you Canon/Leica combo and let us know?

 

[Nikkornos]

Looking at the the Revised Earning Forecast, it is unlikely there will be more aggressive new products in the DSLR sector from Fuji. Economy will slow down very quickly and Singapore is already in recession. Many have been retrenched, so you can expect good buys from used camera shops, as more will dump their cameras for cash soon.


Amid slack economic conditions throughout the world as well as surges in the prices of natural resources and raw materials, the operating environment in the current fiscal year ending March 2009 has been harsher than that of previously forecasted. Moreover, economic trends are expected to be further deteriorating and there will be less possibility of the early improvement in the operating environment. In response to these situations we intend to pursue the profit improvement initiatives such as additional cost down programs, cutting back the SG&A expenses and the structural reforms.

Considering the impact of the additional expenses for those initiatives and further deterioration of operating environment, we are revising our estimated earnings forecast downward as for the first half period and full fiscal year.


http://www.fujifilmholdings.com/en/news/2008/0828_01_01.html

 

[fWord]

Well, after looking at the S5 and its results, here are the points:

1. The D200 body is professional grade and very sturdy
2. Fujifilm has been making film/CCD for many years
3. Works well with old AIS/AF/AFD lenses from Nikon
4. very good price now. MS colour about S$1100

very nice results from the Nikkor 24mmF2.8. The picture does not need much processing and already very very nice. It also works very well with the Nikkor 50mm F1.8 giving superb perspective when shooting portrait.

http://www.fujifilm.com/products/digital_cameras/s/finepix_s5pro/index.html

Comparing to the D90, which I also contemplate, it is a more solid camera to hold. D90 comes with kit lens in Singapore. Body alone is S$1400.

Why not you borrow a S5Pro, shoot some pictures side by side with you Canon/Leica combo and let us know?

It's unfortunate that I'm not in Singapore at this time, and wouldn't be until march next year when I will be doing my cousin's AD wedding shoot and producing a album for him. There will be another pro on-site already so I'm not the only one there. But in Australia, where I currently am, it's a desert when it comes to hunting for photography gear. The second-hand market is almost non-existent and prices in stores used to be really high compared to that in Singapore, especially exchange rate considered.

Now I think the S$ and AU$ are almost on par however and I thought the S5 Pro looked pretty cheap here as a result. For body alone it's still expensive compared to MS Colour, but with the Tamron lens the deal is slightly sweetened. I wouldn't be able to borrow a camera here but would need to buy it in order to try it out.

That said I'm pretty sure that the differences will be very distinct:

1. The S5 Pro will run circles around the Canon-Leica system when it comes to DR.
2. The Canon-Leica system will smoke the S5 Pro when clarity and sheer resolution is the concern.

I haven't been looking very much into other brands, except maybe Pentax. The K10D looked pretty attractive in the past and now there's even the K20D.

Looking at the the Revised Earning Forecast, it is unlikely there will be more aggressive new products in the DSLR sector from Fuji. Economy will slow down very quickly and Singapore is already in recession. Many have been retrenched, so you can expect good buys from used camera shops, as more will dump their cameras for cash soon.


Amid slack economic conditions throughout the world as well as surges in the prices of natural resources and raw materials, the operating environment in the current fiscal year ending March 2009 has been harsher than that of previously forecasted. Moreover, economic trends are expected to be further deteriorating and there will be less possibility of the early improvement in the operating environment. In response to these situations we intend to pursue the profit improvement initiatives such as additional cost down programs, cutting back the SG&A expenses and the structural reforms.

Considering the impact of the additional expenses for those initiatives and further deterioration of operating environment, we are revising our estimated earnings forecast downward as for the first half period and full fiscal year.


http://www.fujifilmholdings.com/en/news/2008/0828_01_01.html

This is something a lot of Fuji users will lament. The loss of the S* Pro line will be sorely felt by these users. In this sense it is also imperative that I pick up the S5 Pro myself if I want to benefit from its imaging qualities. Don't know about others here, but I haven't seen too many second-hand S5 Pros in the B&S section.