The other SLR-type digital cameras have a much more limited shooting area.
Effective ISO 3200 adds up to better results than you might have thought possible in action photography with a digital camera.
It Works the Way You Do
With the DS-505A/DS-515A in your hands, what you see is what you get. Fujifilm’s original condenser optics system directs almost all the light to the CCD, so 98% of the scene in the real-image viewfinder is recorded—a vast improvement over the limited shooting area of the other SLR- type digital cameras. Simply use the lens of your choice, and compose just as you do with a 35 mm SLR.
Pushing the Limits
The DS-505A and DS-515A raise the effective ISO to an ultrahigh 3200. The key is the condenser optics system which delivers more light to the CCD—and that means greater sensitivity. With this extra performance, you’re ready for shooting in dim light, or you can switch to a faster shutter speed for action photography.
Cause for Confidence
Your photographs can’t be any better than your lens. That’s why the DS-505A and DS-515A are compatible with many of the acclaimed F-mount Nikkor lenses from Nikon. Not only can you count on professional quality, but composing is natural since the condenser optics sys- tem creates a field of view matched to the focal length.
Unequaled Speed, Uncommon Results
When every moment counts, you can depend on your Fujix digital SLR to come through for you. The DS-515A uses an innovative recording system to deliver an incredible three frames per second in a series of seven shots, while the DS-505A records continuously at one frame per second. To ensure that you always have the power you need, add the optional rechargeable battery for up to 1,000 shots from a single charge.
At the heart of any digital camera is its CCD image sensor—and that is why the high- performance DS-505A and DS-515A are earning the respect of demanding professionals.
DS-505A/DS-515A
Other digital camera
Condenser Optics System
Exposure sensor
Quick-return mirror
Focal plane
high-definition TV. Equally important, the pix- els are square, so there’s no conversion when you input your images to a PC. We’ve also developed High Data-Compression Technologies that speed up data handling without affecting image quality.
Pure Performance
The DS-505A and DS-515A have an RGB color filter with an S/N ratio far superior to that of a complementary color filter. Even the intense reds of a flower are rendered with incredible accuracy, while the gray tones of a suit remain unaffected.
| Right from the Start |
| The optical system’s low-pass filter can |
| save you the headaches that come with |
| color noise—the metallic look of red, yel- |
| low and blue specks glittering in the high- |
| | | lights. Even after the time-consuming |
Viewfinder | | | task of curing these defects with com- |
| | | puter processing, the results usually |
| | | aren’t completely satisfactory. But |
Low-pass filter | with our low-pass filter, you won’t be |
| | |
| | | bothered, because it prevents these |
| | |
| | | problems during shooting. |
| | | |
Since a CCD has a narrower exposure lati- tude than 35 mm film, adjusting the expo- sure was often a problem until Fujifilm found the solution. Our pioneering con- denser optics system has its own aper- ture, so it can control the exposure elec- tronically with absolute precision. That way you can concentrate on taking great pic- tures without worrying about exposure adjustments, even when you change from one F-mount lens to another.
The Ideal Balance
The Auto White Balance mode is so pre- cise that you’ll capture the subtleties of just about any subject, whether you’re shooting portraits or products. From sun- light and city canyons to twilight and studio shots, just select the appropriate setting, and the balance will be optimized automati- cally. There’s also a six-step Manual mode when you want complete creative control. And if you’re working in changing natural light or artificial light, you can adjust the color temperature from 3000K to 8000K.
DS-505A/DS-515A | Image memory card | Computer with |
| | internal card reader |
Data transmission over public telephone lines
Simply connect the DS-505A/DS-515A to a TV or a portable LCD monitor, and you can check an image immediately, even before it’s recorded. (The monitor is not included, and the image on the monitor is synthesized.)
Smaller Files, Faster Transmission
The DS-505A and DS-515A use Fujifilm’s own High Data-Compression Technologies to record images in the JPEG format. Not only do they follow an international stand- ard, but the file size is held to only
160 KB—without sacrificing quality. And, of course, smaller files mean less time spent transmitting data.
Only the Best Is Good Enough
After inputting your images from the cam- era to your PC, just connect a full-color printer from Fujifilm for the ultrahigh quality you want in your digital photography.
Our Pictrography 3000 and 4000 employ an unprecedented silver-halide photographic process to create up to
16.7million colors in 256 gradations for each CMY. And the NC-500 Thermo- Autochrome (TA) printer delivers photo- realistic results with a pioneering process based on paper that colors itself.
Easy, Quick Reviewing
Studio work requires one preview after another, and news photographers know there’s not a minute to spare when they’re up against a deadline. Those are two good reasons to use the unique analog video output terminal for checking images before and after shooting. It’s the easy way to eliminate the need for time-consuming data transfer and display on a PC.
The Storage Medium for Today
The DS-505A and DS-515A use an ATA- compliant PC card for storage. Available in 5 MB and 15 MB versions, our HG Series cards combine high capacity with data recording as fast as one frame per second.
Simplified Data Handling, Too
Fujifilm’s dedicated SD-D5 Photoshop™ plug-in simplifies working with numerous files and large quantities of data. You can display a number of images simultaneously in the Index format and then choose only the ones you want, just as you do with a contact print. You can also show the shoot- ing date, exposure conditions and other information to decide if you want to save it.
