Comparison Fujifilm X-T100 kit vs Fujifilm X-T20 kit 16-50

The sensitivity range of a digital camera matrix. In digital photography, light sensitivity is expressed in the same ISO units as in film photography; however, unlike film, the light sensitivity of the sensor in a digital camera can be changed, which gives you more options for adjusting shooting parameters. High maximum light sensitivity is important if you have to use a lens with a low aperture (see Aperture), as well as when shooting dimly lit scenes and fast-moving objects; in the latter case, high ISO allows you to use low shutter speeds, which minimizes image blur. However, note that with an increase in the value of the applied ISO, the level of noise in the resulting images also increases.

Aperture of the lens installed in the camera or supplied with it in the kit (for models with detachable optics).

In a simplified way, this parameter can be described as the ability of the lens to transmit light - in other words, how much the light flux weakens when passing through the optics. It is believed that two main indicators affect the characteristics of light transmission: the size of the relative opening of the lens and its focal length. Aperture is the ratio of the first indicator to the second; in this case, the size of the active hole is taken as one and is generally omitted when recording, as a result, such a recording looks, for example, like this: f / 2.0. Accordingly, the larger the number after the fraction sign, the lower the aperture ratio, the less light the lens transmits.

Zoom lenses (zoom lenses), as a rule, have different aperture values for different focal lengths. For such optics, two values of this parameter are indicated in the characteristics, for the minimum and maximum focal lengths, for example, f / 2.8–4.5. There are also vario lenses that maintain a constant aperture over the entire range of focal lengths, but they are much more expensive than analogs with variable aperture.

The high light transmission of the lens is important if the camera is planned to be used for shooting in low light conditions or for shooting fast moving objects: high-aperture optics allow you to shoot at low sensor sensitivity (which...reduces the likelihood of noise) and at low shutter speeds (at which moving objects are less blurry) . This parameter also determines the depth of field of the imaged space: the higher the aperture ratio, the smaller the depth of field. Therefore, for shooting with artistic background blur (“bokeh”), it is recommended to use fast lenses.

Focal length of the camera lens.

Focal length is such a distance between the camera matrix and the optical center of the lens, focused at infinity, at which a clear and sharp image is obtained on the matrix. For models with interchangeable lenses ( mirrorless cameras and MILC, see “Camera Type”), this parameter is indicated if the camera is supplied with a lens (“kit”); Let us recall that, if desired, optics with other characteristics can be installed on such a camera.

The longer the focal length, the smaller the viewing angle of the lens, the higher the degree of approximation and the larger the objects visible in the frame. Therefore, this parameter is one of the key for any lens and largely determines its application (specific examples are given below).

Most often in modern digital cameras, lenses with a variable focal length are used: such lenses are able to zoom in and out of the image (for more details, see "Optical Zoom"). For "DSLRs" and MILC, specialized optics with a constant focal length (fixed lenses) are produced. But in digital compacts, "fixes" are used extremely rarely, usually such a lens is a sign of a high-end model with specific characteristics.

It should be borne in mind that the actual focal length of the lens is usually given in the characteristics of the camera. And the viewing angles and the general purpose of the optics are determined not only by this parameter, but also...by the size of the matrix with which the optics are used. The dependence looks like this: at the same viewing angles, a lens for a larger matrix will have a longer focal length than a lens for a small sensor. Accordingly, only cameras with the same sensor size can be directly compared with each other in terms of lens focal length. However, to facilitate comparisons in the characteristics, the so-called. EGF - focal length in 35 mm equivalent: this is the focal length that a lens for a full frame matrix having the same viewing angles would have. You can compare by EGF lenses for any matrix size. There are formulas that allow you to independently calculate the equivalent of 35 mm, they can be found in special sources.

If we talk about a specific specialization, then the EGF up to 18 mm corresponds to ultra-wide-angle fisheye lenses. Wide-angle is considered "fixed" optics with EGF up to 28 mm, as well as vario lenses with a minimum EGF up to 35 mm. Values up to 60mm correspond to "general purpose" optics, 50 - 135mm are considered optimal for shooting portraits, and higher focal lengths are found in telephoto lenses. More detailed information about the specifics of various focal lengths can be found in special sources.

The magnification factor provided by the camera by using the capabilities of the lens (namely, by changing its focal length). In models with interchangeable lenses (see “Camera type”), indicated for the complete lens, if available.

Note that in this case the magnification is indicated not relative to the image visible to the naked eye, but relative to the image produced by the lens at minimum magnification. For example, if the characteristics indicate an optical zoom of 3x, this means that at the maximum magnification, objects in the frame will be three times larger than at the minimum.

The degree of optical zoom is directly related to the range of focal lengths (see above). You can determine this degree by dividing the maximum focal length of the lens by the minimum, for example 360mm / 36mm=10x magnification.

To date, optical zoom provides the best "close" image quality and is considered to be superior to digital zoom (see below). This is due to the fact that with this format of work, the entire area of \u200b\u200bthe matrix is constantly involved, which allows you to fully use its capabilities. Therefore, even among low-cost models, devices without optical zoom are very rare.

The ability to manually (or automatically, according to predetermined parameters) change the exposure parameters during shooting, that is, the amount of light falling on the matrix. It is used when the automatically selected exposure parameters do not give a satisfactory result — for example, in difficult conditions, when the illumination of the main subject and the background is very different. The camera's exposure compensation capabilities are recorded in the format "± x EV, in y EV increments", such as "± 3 EV, in 1/2 EV increments". The first digit indicates the maximum amount by which the exposure can be changed from the original value by the compensation process; the second is the step (step) with which the change occurs. EV is a specific unit of measure for exposure; a 1 EV change in exposure means a 2x change in the amount of light hitting the sensor. An increase in EV indicates an increase in the amount of light due to opening the aperture or an increase in shutter speed, a decrease indicates the opposite. All modern cameras with exposure compensation function are capable of producing it “in both directions”.

The maximum resolution and frame rate of video captured by the camera in the Ultra HD (4K) standard.

UHD 4K refers to resolutions with a frame size of approximately 4,000 horizontal pixels. Specifically, in cameras for video shooting, resolutions of 3840x2160 and 4096x2160 are most often used. Regarding the frame rate, it is worth noting first of all that a normal (not slow-motion) video is shot at a speed of up to 60 fps, and in this case, the higher the frame rate, the smoother the video will be, the less jerks will be noticeable when moving in the frame. If the frame rate is 100 fps or higher, this usually means that the camera has a slow-motion video mode.

File formats in which the camera can record video. Given that the footage is designed to be viewed on an external screen, you should make sure that the playback device (DVD player, media centre, etc.) is able to work with the appropriate formats. At the same time, many camera models themselves can play the role of a player by connecting to a TV via an audio / video output or HDMI (see the corresponding paragraphs of the glossary). And if the video materials are to be viewed on a computer, you should not pay special attention to this parameter at all: problems with format incompatibility in such cases rarely occur, but are usually solved by installing the appropriate codec.

— USB C. A universal USB interface that uses a Type C connector. USB ports themselves (all types) are used mainly for connecting the camera to a computer for copying footage, managing settings, updating firmware, etc. Specifically The Type C connector is comparable in size to earlier miniUSB and microUSB, but has a reversible design that allows the plug to be inserted in either direction. In addition, USB C often operates according to the USB 3.1 standard, which allows for connection speeds of up to 10 Gbps - a useful feature when copying large amounts of content.

- HDMI. A comprehensive digital interface that allows you to transmit video (including high resolution) and audio (up to multi-channel) over a single cable. The presence of such a port makes it possible to use the camera as a player: it can be directly connected to a TV, monitor, projector, etc. and view your footage on the big screen. In this case, broadcast capabilities can include not only video playback, but also demonstration of captured photos in slide show mode. HDMI inputs are present in most modern video equipment, and connection is usually not a problem.
Nowadays, there are several versions of the HDMI interface on the market:

• v 1.4. The oldest version currently relevant, released in 2009. However, it supports 3D video, is capable of working with resolutions up to 4096x2160 at a speed of 24 fps, and in Full HD resolution the frame rate can reach 120...fps. In addition to the original v.1.4, there are also improved modifications - v.1.4a and v.1.4b; they are similar in basic capabilities, in both cases the improvements affected mainly work with 3D content.
• v2.0. Significant HDMI update introduced in 2013. In this version, the maximum frame rate in 4K has increased to 60 fps, and support for ultra-wide 21:9 format can also be mentioned. In update v.2.0a, HDR support was added to the interface capabilities; in v.2.0b this function was improved and expanded.
• v 2.1. Despite the similarity in name to v.2.0, this version, released in 2017, was a very large-scale update. In particular, it added support for 8K and even 10 K at speeds up to 120 fps, and also further expanded the capabilities for working with HDR. This version was released with its own cable - HDMI Ultra High Speed; all features of v.2.1 are available only when using cables of this standard, although basic functions can be used with simpler cords.

— Headphone output. Audio output allows you to connect headphones to the camera. As a rule, it is represented by a classic 3.5 mm mini-jack. The presence of such a connector provides the ability to monitor sound during video recording in real time. This is especially important when filming interviews, vlogs and other similar projects.

— Microphone input. Specialized input for connecting an external microphone to the camera. External microphones are significantly superior to built-in microphones in sound quality. Firstly, they are not so sensitive to the camera’s “own” sounds - from buttons, control wheels, focus motors, etc. (and if the microphone uses a long wire and is not attached to the body, these sounds will not be heard at all). Secondly, external microphones themselves have more advanced characteristics. On the other hand, their use is justified mainly for professional video recording; therefore, the presence of a microphone input, as a rule, corresponds to advanced video recording capabilities

The number of focus points (autofocus) provided in the design of the camera.

The focus point is the point (more precisely, a small area) in the frame from which the autofocus system reads data for focusing. The simplest systems work with a single point, but their capabilities are very limited, and this option is practically not found today. Modern digital cameras have at least three focus sensors, and in the most advanced models this figure can reach several dozen.

The more autofocus sensors there are in the camera, the more advanced its autofocus capabilities will be, the more specific techniques it allows you to use. In this case, the selection of specific points used can be carried out both automatically, simultaneously with the choice of the subject program, and manually (however, the second option is more typical for professional cameras). In addition, the abundance of focus points has a positive effect on the quality of the tracking autofocus (see "Autofocus Modes").

In general, more focus sensors are generally considered a sign of a more advanced camera; however, differences in quality become really noticeable only if the difference in the number of points is significant - for example, if we compare models with 9 and 39 points. A lot also depends on the location of the points in the frame - it is believed that sensors distributed over a wide area work better than densely located in the center of the frame, even if their number is the same.